• The Disruptive Designer

Men's Shed - Resin Trial One

20/12/2018 -

Aim: To see what happens when polyester resin is used on a tailored jacket.

Methodology: An unwanted tailored jacket was dissected into separate elements:

Lining removed - inner chest canvas removed - shell sleeves removed - one sleeve open - half shall separated - one shoulder pad removed.


  • Shell - 70% Polyester 30% Wool

  • Lining - 100% Polyester

  • Chest Canvas - Felt


  • Polyester Resin - General Purpose Lloyds Approved

Moulding method:

A selection of chosen discarded household plastic/metal/wood items were chosen for the exterior shape (convex) to include: Metal Tomato can, plastic milk bottle, plastic mushroom tub, plastic nail storage tubs, wooden pallet end, wooden orange box.

The items were glued to an mdf sheet for easier transport and handling and covered in cling film to act as a separate between the items and resin.

A table was cleared and a plastic sheet was placed onto and cleaned of dust. Resin was mixed as per instructions - 250ml and 7.5ml (3%) catalyst (hardener). The resin was spread on the table using a paint brush and a jacket panel placed onto and pressed, allowing time for the resin to soak up.

The panel was then placed over the object and stippled/painted using a paint brush and resin mix to the top layer. Once completed the wet panels were left to dry for 24hours in a ventilated environment.


Although wool can be mouldable when steamed (Typical tailoring practice of shaping the panels using a hot and cold iron to mould the panel to the clients form), given the fibre composition of this particular jacket and the tightness of the woven structure, it was unlikely to mould/stretch around objects without creating folds (darts).

Initially my intentions were to try to stretch and manipulate the resin soaked material however as this was not happening, I opted for carefully painting the folds, creases using the objects as a reference point and allowing the material to sit naturally over the top.

The results were very interesting, particularly the parts where part of the panel was left to drape in its natural state and the other half displaying a stiff draped appearance. This does correlate back to the "stiff tailoring" and "stiff dead body"Edward Carpenter suggests in his writings. This also links to the protected sculptures (Fine art) as seen in museums, monuments and figurines. Finally this links back to the draping of a pre tailoring matrix days and my 3D and 4D coffin draping.

I am particularly interested in the anthisist the project (opposites) is developing - A draped look but stiff - natural V cubism etc. this could be something that is explored further. Edward and William reacted against the social norm, therefore I should not be suprised this is happening.


Once again I have used discarded household items to help inform design and creative experimentation, this time as part of the moulding process itself. This part of the process the viewer would not initially be aware has taken place using such items, without being informed or told before viewing the artefact. The process therefore becomes just as important (if not more so) than the outcome itself. How this story is told needs some further thought.


Could the automotive theme come through stronger - moulding over related discarded car parts? bumpers? headlights? fuel cap and opening?

How does the jacket respond to convex moulding and duo (convex and concave) moulding?

What alternative resins could be used? Any of these environmentally friendly? offer flexibility in movement?

Can the moulded parts of the jacket (after resin) be coloured? how? car body wrapping? spraying?