Kinetic Pattern Cutting
During my formative assessment both Atacac and Kinetic Pattern cutting was mentioned. Looking into both briefly, I can understand why they have been suggested and the link to my work. Kinetic pattern is an alternative to the traditional tailoring matrix and process of pattern creation, subsequently challenging the relationship between the garment, body and movement. This also fits well with Edward Carpenters view on the suit as coffin for the body and restricting senses and movement.
Taken from Rickard Lindqvist thesis he explains clearly the meaning of the term Kinetic.
The origins of ‘kinetic’ are from the Greek word kinein, meaning ‘movement’ or ‘to
move’ (Merriam-Webster 2014b). Human kinetics, or kinesiology, is the application
of biomechanics in studies of human motion characteristics. From the perspective
of kinetics, in considering the relationship between a piece of fabric being draped
over the body, the fabric is affected by linear (translational) and angular (rotational)
kinetics. Translation is caused by the net force that impacts the fabric (gravity pulling
it downward), and rotation is the consequence of the net torque (the rotational
and twisting movement of the body around a number of biomechanical points) (cf.
Özkaya et al. 2012:89, 109).
Taken from their website to explain Atacac design process.
Atacac explores and develops an alternative model for designing garments that takes as its point of origin the actual, variable body. Instead of a static matrix of a rigid body, this kinetic garment construction theory starts out from balance lines and certain key biomechanical points on the body. For a deeper understanding of the design method please read the digital book Kinetic garment construction.
Today it is possible to digitally design three-dimensional garments. However, in comparison to other design disciplines, such as industrial design or architecture, 3D simulation in the fashion industry is still done in a limited scale. Computer assisted design radically changes the design process and makes two-dimensional sketches become obsolete.
In Rickards thesis, pg 12, 2015 he shows the early experimental work of his developmental theory for the body, focusing on the tailored jacket and its relationship to body movement. In the images below you can see a proposed pattern for his second attempt.
The advantages to this form of approach are in the improved or heightened emotional connection of the wearer to the object, particularly in motion, but also Rickard states it has a 10% waste reducing in resources due to the seam reduction.
Consideration: My early 4D coffin draping which combines the 2D tailored block over the 4D pattern used a subtraction cutting methodology (after Julien Roberts) seeing multiple separate pieces positioned around a 4D shape. (Cube with smaller inner cube and void between). The 2D pieces were connected and cut using Roberts method, creating a negative void that was sewn together. The cube was then sculptured over a body form. I am now wondering what would happen if I approached the 4D cube adopting Lindqvists kinetic approach instead? Certainly worth looking into.