Degree Work Of Fine Arts In Fashion And Textile Design

Textilhogskolan i Boras
Textilhogskolan
2012-05-22 Rapportnr: 2012.3.8

Biker Jacket
Exploring the relationship between material and shape.
By Andreas Eklöf
Contents Abstract pg.3
Result pg.4-17
Line up pg.18-19

What Is A Biker Jacket pg.20

Functional Field pg.20
Fashion Field pg.20

The Strong Image pg.21

What Defines A Biker Jacket pg.21

Aitor Throup, Google Jacket pg.22

Moreno Ferrari, Trasparenza pg.22
Drape Technique pg.22
Tape Technique pg.22

Analyse pg.23

Aim pg.24
Developments pg.24
Experiment 1-15 pg.24-29

Final Line-Up pg.30

Sustainability pg.30

Reflection/discussion pg. 31

Critique pg.32

References pg.33

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 Abstract Staring to explore the fashionable biker jacket from the fifties
lead to the discover that it hasn’t changed much since its origin.
The stereotyped biker jacket with the genuine black leather and raw
details is an impact model and thought the jacket no longer is worn
while riding a bike is it still presenting an image of a rebellious life.

The aim of this work is to explore our traditional view of the

biker jacket through material and shape. Discovering that the bik-
ers riding position has big similarities with a standing cow gave
background to the material used in the classical jackets, the cow.
A living animal, a material that once lived. To use the cows and
the biker’s upper body as a model, recreating its shape into biker
jacket’s to develop the shape of the biker jacket further. By experi-
menting with untraditional non-textile materials instead of using
leather hopefully develop the traditional view of a jacket and bring
alternative material and construction forward.

Conclusion of the work is that when the materials with strong as-
sociations are mixed with the biker shape the materials take over
and the definition of the biker jacket becomes more complex.
New questions that has arise could be the use of other technical
materials, what happens when giving the jacket other functions, is
it still a biker jacket then.

Keywords Design, fashion, art, space, body, textile, stereotype, biker jacket,
position, draping, moulding, materials

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Result

Biker jacket: nr. 1  

1. Biker jacket made of horse leather.

2. Polo shirt made of polyester.

3. Blue denim jeans made of cotton.

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 Details:
1 Replica Jacket:
Black, 5 silver zips biker jacket made of 100 % horse leather. Continuative
stile. Positioned in a riding position for better comfort.

Shirt:
2 Skin tone transparent polo shirt made of polyester.

Trousers:
3 Blue regular denim jeans made of cotton with metallic rivets.

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Biker jacket: nr. 2  

1. Biker body made of plaster.

2. Polo shirt made of polyester.

3. Blue denim jeans made of cotton.

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 Details:
1 Biker body:
Draped biker body in plaster. 3 silver ziped jacket.

Shirt:
2 Skin tone transparent polo shirt made of polyester.

Trousers:
3 Blue regular denim jeans made of cotton with metallic rivets.

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Biker jacket: nr. 3  

1. Draped biker in tape.

2. Polo shirt made of polyester.

3. Blue denim jeans made of cotton.

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 Details:
1 Draped biker:
Draped biker body in black tape. 3 silver ziped jacket.Close function in back.

Shirt:
2 Skin tone transparent polo shirt made of polyester.

Trousers:
3 Blue regular denim jeans made of cotton with metallic rivets.

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Biker jacket: nr. 4  

1. Biker jacket in Radiant film.

2. Polo shirt made of polyester.

3. Blue denim jeans made of cotton.

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 Details:
1 Biker jacket in radiant film:
Biker Jacket made from biker body in bradiant film. 5 silver ziped jacket.

Shirt:
2 Skin tone transparent polo shirt made of polyester.

Trousers:
3 Blue regular denim jeans made of cotton with metallic rivets.

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Biker jacket: nr. 5  

1. Biker jacket with stomach in latex.

2. Polo shirt made of polyester.

3. Blue denim jeans made of cotton.

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 Details:
1 Biker jacket with stomach in latex:
Biker Jacket made from biker body with stomach in latex. 3 silver ziped jacket.

Shirt:
2 Skin tone transparent polo shirt made of polyester.

Trousers:
3 Blue regular denim jeans made of cotton with metallic rivets.

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Biker jacket: nr. 6  

1. Biker jacket with cow stomatch and sleeves made of cow hide.

2. Polo shirt made of polyester.

3. Blue denim jeans made of cotton.

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 Details:
1 Biker jacket with cow stomach and sleeves. Made of cow hide with hair:
Biker Jacket made from biker body. Reconstructed stomach and sleeves from the cow.
1 silver ziped jacket.

Shirt:
2 Skin tone transparent polo shirt made of polyester.

Trousers:
3 Blue regular denim jeans made of cotton with metallic rivets.

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1. Draped cow in tape.

2. Polo shirt made of polyester.

3. Blue denim jeans made of cotton.

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 Details:
1 Taped cow body in off white tape:

Shirt:
2 Skin tone transparent polo shirt made of polyester.

Trousers:
3 Blue regular denim jeans made of cotton with metallic rivets.

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Line Up.

1. 2.

5. 6.

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3. 4.

7.

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 Introduction and What is a Biker jacket? There is a significant difference be-
motive tween biker jackets made for fashionable purposes and those
worn for motorcycling. Wikipedia mention there is leather
jackets and motorcycle jackets, together they been called biker
jackets and with different purposes it could be divided into two
separate fields; functional and fashionable field (Wikipedia.com)

Functionalfield The motorcycle jacket is safety equipment designed to pro-

tect the wearer from accidents. It also designed for a comfort-
riding witch can be seen on the construction of the jacket.
While they are bent forward over their motorcycle the
jacket are styled to be longer at the back than the front, the
sleeves are bend for better movement in proportions to the riding
position combine with armour plating round shoulders and elbows
(Wikipedia.com).Also the material has been replaced from leather
to better alternatives like Kevlar.Kevlar is stronger than leather but
it’s also benefits to be water and abrasion resistance. Combine with
air permeability the material Kevlar appear to be a safer and more
protective alternative than leather. S.Wells et al (2004) gives an-
other view on the use of new material with reflective or fluorescent
colours that have considerably reduced motorcycle crashes during
the time they have been in use. The development of material had an
important impact on the development of garments. The motorcy-
cle jacket design has changed a lot during its history and according
to M. Delong et al (2011) the sport industries develop the jackets
forward by trying to explore new better materials, functional de-
tails, colours and techniques. However the industries are interact-
ing with the evolution of society to push its safety further but also
to find better equipment’s for the riders and it’s surroundings.
Picture 1. KTM motorcycle jacket

Fashionable field A leather jacket primarily designed for fashion purposes is not
likely to be of much use in a motorcycle accident due to their
light and not functional construction. However it is made
to create a potentially intimidating appearance of an image.
Associated with the subculture called, greasers, motorcyclist
and music subcultures the most characteristic one is the stereo-
typed Perfecto motorcycle jacket from 1950´s. (Wikipedia.com)
However passage of time M.Delong et al (2011) means that the
design are not longer constructed for riding a bike, it’s more
about recreating an image. That means it’s functional construc-
tion has been more modify for a body that actually doesn’t
need to ride a bike but wants to look like a biker or rebellious.
The definition of leather or a biker jacket appears in the
recognition of cuts, zips, bulks and off course the 100 % black
leather. Briefly the biker jacket is recognition from the stereotyped
one, it declare that it is a biker jacket and not just a leather jacket.
Picture 2. Perfecto jacket

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 The strong image Development in the leather jacket had an important
impact on the development of Fashion during 1950´s as author
Shaun Cole (2010) describe in his article the black leather jack-
et that the ”Brando- look” became a stereotyped style for people
living on the edge in the way of clothing but also in the way of being.
In the movie “The wild one” where the jacket first was exposed,
the intention of the jacket was to use/wear it when you/they drove
a motorcycle. Later Shaun Cole explains that the “Brando-look”
began to influence on fashion, advertising and entertainers making
millions of people adopted the “Brando-look” unaware of it’s origin.
During the history it wasn’t no longer that necessary to ride a
motorbike. Today the aim of the jacket has been transformed for
mainstream lifestyles witch embrace some of the jacket’s original
Picture 3. Strong images
rebellious mythology. Or a rebellious life or a life that needs to
seem rebellious and demands a black biker leather jacket. Today the
biker jacket in fashion present an activity but also a mode of being.

What defines a During the history of the jacket you can see a clear difference in
biker jacket? shape, construction and colour in the biker jackets purpose for riding
motorcycles while those for fashionable purpose has stayed the same.
Fashion purpose: Recognition in the stereotype, 100 % leather, zips
and the colour black. Functional purpose: Movement, protection by
high-tech materials and relationship to the body. Strong colours.
During the history it is a clear difference in shape, construction
and colours in the biker jackets purpose for riding motorcycles
while those for fashionable purpose has stayed the same. Mr
R.Tanaka (2003.6) presenting in his book Motorcycle jackets, ul-
timate bikers fashion biker jackets in various different styles in a
period from 1950´s to 2000. These jackets have different function
details, cuts and attitudes but generally the shape of the jacket’s is
the same and what all have in common is the material leather. Mr
Picture 4. Biker Jacket 1950
Schott R.Tanaka explains that is has been different trends in each time
era, giving the jacket of those periods their own characteristics.
The character who been wearing the jacket has changed but the
jacket as a model consist the same. The importance of these facts
M.Delong et al (2011) describes the perspectives of our view to the
strong image of the biker jacket in fashion in an interesting way:

“In the twenty-first century, the meaning of the image is so strong that
people might be buying the image, the community, the ideas, and the
spirit more than creating or living them. While the form remains con-
sistent, its function and meaning may change with the context, time,
Picture 5. Leather Jacket 2012.
Alexander Mcqueen and wearer. The ultimate purpose of wearing the jacket can be to
create reality or an image through design symbolism. All in all, the
black leather jacket has transformed in this century, but its power
lies in the continuation of the classic image of the twentieth century.”

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 Aitor Throup, In corporation with the fashion brand C.P. Company Aitor Throup
Google Jacket designed 20th Anniversary Edition of C.P. Company’s most iconic
pice - The Google jacket. Inspired of the car race Mille Miglia,
Aitor analysed the original elements of the first Goggle jacket
and took literal approach to driving ergonomics and functional-
ity. The aim of the project was to create a piece, which was even
further informed by its driving concept than the original. Cre-
ated a garment even more focused on the concept of driving the
overall structure and balance of the piece had been constructed
around a human form in a driving position (the arms were for-
ward and slightly bent, and there was excess volume built into
the back) in order to maximise driving comfort. Analysing the
original elements of the biker jacket and take literal approach to
the driving position when you are driving a bike is something
Picture 6. Google Jacket
which could be translate into the project. (Beinghunted.com)
Aitor Throup

Moreno Ferrari, Smith.C and S.Topman (2005, 32) describe Moreno Ferrari work
Trasparenza in the Trasparenza project when he used sheets of plastic bubble
wrap; it’s commonly used to protect fragile artefacts. He use the
materials purpose to create garments for a safety and security.
In the same way this project will be experiment or reflecting with
new materials that are not associated with the fashionable biker
jacket normally.

Drape technique The frustration to work flat on a table and work out
the shape by imagine. In the dialogue of the book
Draping, art and craftsmanship in fashion design the English histo-
rian of costume James Laver discusses the word draping and noted:

“A combination of draping fabric on the body and making garments to

measure is possible by means of the modern art of draping, an exacting
craft technique for developing a garment. You could call it sculpting
in cloth”. (draping, art and craftsmanship in fashion design pg 11)

Started to explore the constructing techniques in a more

different way and during the project “Mittprojektet”
(winter 2010/2011) and found a lot of inspiration from
shoemakers work, or how the shoemakers construct a pattern.

Tape technique Shoemakers use tape around the form, in their case a foot made out of
wood. The tape works as a close fitted draping and by drawing lines at
the taped shape you get new cuts. By cutting up the lines you created
on the tape at the form you get new pattern pieces from the shape.
By making small cut sections with a knife at the tape pattern pieces
Picture 7. Tape Technique
will become flat and easier to work with. These parts can be used to
cut out material and by put ting them together again you have the
shape of your shoe.

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Analysing The fashionable biker jacket has a clear connection
between the stereotyped biker jacket and its genuine black leath-
er. It s also interesting that it’s no longer serve any function for
riding, but still it´s been called a biker jacket. According to me it
is a leather jacket but no biker jacket. If the biker jacket doesn’t
perform its proper functions it is to me, in one-way, rather
pointless .To present the jacket in its real and prop-
er context “riding a bike” instead, will cause the gar-
ment to shape and form the body in an interesting way.
Still this project is not about to create the perfect bik-
er jacket meant for riding in fashion, it’s about reflect-
ing or define our understanding to the impact model.
By recognise the jacket of its origin in details and cuts that
categorized it as a biker jacket and giving alternative suggestion
of materials and techniques is to change it into another context.

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 Aim The aim of this work is to explore the traditional biker jacket
through material and shape.

Developments To develop the traditional view on the black leather jacket and
bring the construction forward and open up ideas about what
a biker jacket can be. The experiments are divided in four sec-
tions which are my base up on the stereotyped biker jacket,
body, material and the relationship.The experiments are selected
from 1, 2, 3 and so on, exploring and reflecting these sections.

Methods and Experiment 1,Biker Jacket: Stereotyped Biker Jacket Biker jacket size
procedures M constructed for fashionable purpose. Serve no riding function
but contains the essential details like leather, zips, pockets, short
collar and the colour black. Tight fit and the shape of the back part
is litter shorter than the front that is characteristic for a biker jacket.

Conclusion: Relationship between the new material, shape and

construction to our view of the fashionable biker jacket by using
the essential details like the zip and cuts: as recognition of its origin.

Experiment 2, Shape of a biker: Working more three-dimensional

the development of making a fashionable biker jacket suited for
motorcycle riding the Google jacket designed by Aitor Throup
gives me a new kind of perspective how to shape a biker jacket.
Decided to do a jacket for motorcycle riding, a motorcycle jacket.
Created a dummy by moulding a biker sitting in his right posi-
tion on a motorbike and later turned it into a dummy of fibre-
glass. Found the shape and could recreate it into patterns and gar-
ments by using the tape drape technique on the biker dummy .

Conclusion:Relationship between the body’s riding posi-

tion to our view of the fashionable biker jacket by use the bik-
ers position as a general silhouette into the garments: as a
recognition of its origin and for the biker jackets purpose.

Picture 8. Moulding A Bike

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 Experiment 3, When is it a biker jacket?: Experimented through
sketching by presenting five different pictures from a classic leather
jacket positioned for riding Starting from the classic biker jacket to
an object made of plaster, moulded in a riding position and asking
the question: “When is it a biker jacket?”The recognition of the
biker through silhouette, position, form and details was the most
interesting parts. The silhouette from the riding position continues
from the first to the last picture. The silhouette made people recog-
nize it as a biker jacket. However presented white moulded figures
with no biker details, people start to discuss if this could be a biker
jacket, not if it was a biker jacket.

Conclusion:Recognition of the biker jacket through silhou-

ette, position and details in relationship to an alternative ma-
terial.If By not use the biker position the expression would
be different. By using the biker position but changing the
material the object still become recognised as a biker jacket:
Change the volume or the silhouette with the material by us-
ing the riding position and details as recognition to its origin.

Picture 9. When Is It A Biker Jacket ?

Experiment 4, Is it a biker jacket?: Working with the pro-

portions in relationship to the biker dummy. Using black
and transparent plastic in five different pictures from
slim to huge asking the question: “Is this a biker jacket?”

Conclusion: The only reference to a leatherjacket is the black co-

lour in all of the experiments besides the last one. Here it’s not
just the colour that makes it into a jacket, it’s the shape, a close fit.
Almost as a second skin.

Picture 10. Is It A Biker Jacket?

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 Experiment 5, Relationship in shapes: Describing, “What’s define a
biker jacket” M.Delong et al (2011) noted:

“While the form remains consistent, its function and meaning may change
with the context, time, and wearer. The ultimate purpose of wearing the
jacket can be to create reality or an image through design symbolism”

Leather is a given material in the biker jacket. During my in-

ternship at Tärnsjö Tannery (summer 2011) I thought about
how obvious it was that the material once had lived. Sometimes
you forget that when you just buy leather as square meters.
The raw hides in Tärnsjö are in the beginning of the pro-
cess still shaped as cows; you can clearly see where the legs,
neck and shoulder have been on the animal. It’s obviously
that the leather comes from an animal, a living creature with
hair and scratches from living in the wild and natural form.
The tanning process put a lot of effort into flattening this hides into
leather. With this already shaped material that we try so hard to flat-
ten it out, the abstract thought was to use the leather as it was from
the beginning in it’s real shape. That thought inspired the process to-
found a humorous relationship in the cows shape and a human biker.

Conclusion: Recognition of the bikers riding position and the cows

standing position in relationship to the context. To use the cow’s up-
per body as a model, recreating it’s shape into biker jacket’s the shape
reminds you riding a bike but also of it’s background - the living ani-
Picture 11. Relationship In Shape
mal: Relationship in proportions and recognition like cuts and details.

Experiment 6, Draping part 1, the biker body: By using the tape

technique on the a human biker body and cut it loose from the
form. The most interesting was the glossy tape. By using sever-
al layers of tape it got stiffer and the shape stayed more impact.
Before braking down the three dimensional body to a flat pat-
tern the cuts needed to be placed. Copy the cuts/lines into my
taped form by using the stereotyped biker jackets as a model.

Conclusion: Reflection of a method technique and recog-

nition of the biker jackets origin: Found a method of giv-
ing form, both in the garment and the body combined with
a new material which gave an expressive language in it self.

Picture 12. Draping The Biker Body

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 Experiment 7, Draping part 2, the cow body: Finding my model,
a plastic cow in real size from Fallbygdens Ost-mejeri. Taped the
upper body of the cow and cut it lose at the same principles as
before and tested the technique by using several different tapes.

Conclusion:Draping technique to give forms but also a reflec-

tion of an alternative material and garment: Finding interesting
proportions in the cow. To translate the cow shape into the biker
jacket it’s important to recognise the new shapes from biker jackets.

Picture 13. Draping The Cow Body

Experiment8, Draping part 3: Draping with larger size off plastic
film on the biker dummy. Same principles like the tape technique
you attaché the film on a dummy but in this case the film could
cover the whole body in one pice instead of smaller stripes of tape.

Conclusion: Development of technique in relation to the method.

What could be a problem is the sloppy expression of craftsman-
ship. What’s important is to present the taped garment with
details that are recognised to the biker jacket which could be a
great compliment to find a more skilfully. Its also very important
that other garment is well made to balance the taped garment.

Experiment 9, The film: A serial of pictures mutated from a cow,

tape cow to a biker Jacket in a very high speed combine with several
clips or elements from Kenneth Angers movie “scorpion Rising”,
accentuate the general concept of this project. A starting point
to work further with in shapes, body image and techniques.

Conclusion: Finding an atmosphere in relation to the bik-

er stereotype:. Kenneth Angers movie Explorers ������������������
the wor-
ship of rebel icons of the era in a very experimental way
(wikipedia.com). The stereotyped biker dress with jeans, polo,
boots, sneakers, and express or define the style in a very good way.

Picture 14. The Movie

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 Experiment 10, Method part 1: Instead of thinking that the
body should give form to the garmen, the garment should give
form to the body. Started to re-create the two shapes in differ-
ent scale. Something that was interesting in the cow shape in re-
lationship to the human body was the stomach, arm, neck and
back. Something that was interesting in the biker jacket was
the shoulders, elbow and the ending. Together with stiffer fab-
ric the shape got clearer. By investigate the shape further ad-
justments was needed on the size a to be more suited for the
human body. Scale the cow to a smaller size the proportions be-
came impractical to the human body by the arms and chest.

Conclusion: Relationship in body and proportion work-

ing with scale: The idea to work with scale needed to be
more adjusted for the human body. Developed the pattern
based on the biker dummy for a more useful fit and want-
Picture 15. Scale ed to keep the characteristic shape of both human biker and
the cow, but it still needed to be recognise as a biker jacket.

Experiment 11, Developing Method part 2: Reconstruct the cows

shape and the biker directly on the biker dummy instead of work-
ing on the pattern the controlled process create the opportunity
to change the shape to be more customized for the human body.

Conclusion: Classic draping to recreate the proportions: this

technique was used on garments with specific proportions in re-
lation to the biker body. For example: the volume was too big
but the arms were interesting, changing the body to be more
customized for the human body but kept the arms as they were.

Picture 16. Reconstruct

Experiment 12, Alternative material: Like the motorcycle

sport field develops new material it create new shapes and co-
lours. By putting the fashionable biker jacket in a new direc-
tion as Moreno Ferrari reflects his material in his Trasparen-
za project the use of alternative material developed the
shapes and structures in a new direction, reflecting leather.

Conclusion: Finding the cow skin as a context for the living ani-
mal the other developed material needed to be recognise to the
biker jacket as well. Influenced of high tech material I crated an
illusion of futurism. By plastic films, plastic bags, fake leather
and aluminium tape I collaring two or three different material in
one silhouette and found an interesting relationship in the shape
and material composition. Following I started to create archive of
material, trying to find interesting relationships and expressions.
Picture 17. Material

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 Experiment 13, Body: Inspired of my tape method I wanted
to explore more material, which could give form but also ex-
press my working process. I decided to recreate my plaster and
plastic dummy in more wearable conditions the plaster dummy
needed to get bigger by using a bigger model. The procedure
was the same as when I moulded the human biker. Opposite
to the plaster and stiff tape I found a similar technique based
of the same idea as when I create the plastic dummy. Instead of
plastic you use latex and the result become a close imitation of
a human skin. I could create the material in two- dimensional
(flat on a table) or in three-dimensional plastic form (theatre
masques). I decided to make it flat as recognition of the flat leather.

Conclusion: Recognition and reflection in alternative material in

relationship to our traditional view of the biker jacket: The choices
of material are based of giving form. Present the process into the gar-
Picture 18. Moulding a Body
ments are recognition about the method and the result of garments.
Development of the method the biker jacket is a recognition of it’s ori-
gin and it’s present and the reflection is what this means for the future.

Experiment 14, Colours: Experiment with alternative materials cre-

ated the possibilities to find new colours in different variations. I
collected material from the company 3M and with them I found
interesting relations between material and colours (3m.com).

Conclusion: Colours could tell a lot of things. Thecolours

I’ve been using so far give a functional illusion and futuristic
expression.

Experiment 15,First line up: On the tape shapes a have the pos-
sibilities to drew the lines of how the garments should be con-
structed. I decided to use the same cuts in every garment .By
making the same cuts in every garment my vision was to pres-
ent something really clear and simple to follow when the biker
jacket turns into a cow in the end. The problem was that this
line-up became to linear, the shapes changes proportion-
ally making all the jackets looking alike but in different sizes.
And I was still focusing mostly on the cows shapes so even when
adding details that could be connected to the biker jacket the re-
sult was still too much cow rather than biker jacket and human.
Analysing the cuts on the cows shape compared with the cuts
on a biker jacket they were too different to be merged together.
Picture 19. First Line Up
Conclusion: Go back to the aim and focus on the biker jackets
material, shape and details.

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Final line up Nr 1. By making a replica of an original biker jacket I decided not
to change its look.

Nr2. Using experiment nr 3, moulding the riding position on a real

person in plaster to create a jacket and later adding zips. This one
has clear similarities with the biker jacket because of the silhouette.

Nr 3. Black tape jacket using experiment nr 4. This jacket is made

out of tape and the shape comes from taping the dummy in the
riding position. This jacket reminds of the leather jacket because of
the colour and here is the detail zips important as well. Also the sil-
houette reminds of the bikers position helping with the definition.

Nr 4. By using the pattern from the tape jacket and chang-

ing the material I have my radiant jacket. This jacket has all the
details of a biker jacket as top stitches, zips and finish. But also
the pattern from the jackets before. The material used is very dif-
ferent and the appearance takes over making it harder to define.

Nr 5. I wanted to explore what happens if you change the shape

of the jacket but keep all the essence of the original in it. By
added the shape of a huge stomach into the jacket the result be-
came a biker jacket with cow similarities. This jacket is made out
of latex, giving it more animal references. Latex has the appear-
ance of skin and rind, as untreated leather. The backside of this
jacket could be defined as a biker jacket but the front has bigger
changes and the material confuses. By having more volume and
latex that collapses as skin it defines more as a body than a jacket.

Nr 6. The cow jacket. The same pattern as jacket nr 5 in the torso

but the stomach and the arms comes from the draped cow. Ma-
terial in cow leather tanned so the hair is still on the hide. This
one has the least jacket references in spite cuts and zips. The ma-
terial takes over and making it into a cow more than a jacket.

Nr 7. Taped cow, the original cow just draped in tape from ex-
periment nr 5. This one has no clear jacket references but the posi-
tion is similar to the bikers riding position. This refers back at the
original, what a biker jacket is made out of and leather from a cow.

Sustainability The way I could refer back to sustainability would be thought

the use of materials. In my process I questioning materials and
that is the same discussion going on in the fashion industry to-
day. All companies needs to evaluate the material being used, if
you could replace them with better ones. It could be materials
produced better or materials that could be recycled or is recycled.
Talking about leather jacket the best way would be to use vegeta-
bily tanned leather that don’t effect humans or the environment as
much as chrome tanned leather does. But off Corse leather is also
a sensitive question, what gives us the right to kill something living
to make clothes out of when we no longer need the clothes for our
own survival. Maybe to use other more different material in biker
jacket would be more sustainable. Other materials have replaced
looking at the biker jackets in the functional field the leather.
Many plastic materials are being developed to have less effect on
environment and possible to recycle. The use of new materials has
also developed the construction of the functional jackets. Maybe
that would be more interesting to let materials decide the design.

30
Reflection The way he walked, looked and dressed was perfect. However
and discussion in opposite to the photo-shoot in the studio I wanted to make
this in a newatmosphere and photo it in a very uncomplicated
way. Finding the right atmosphere and photo it with my mobile
camera the expression became very raw. What I didn´t really ex-
During this project the focus is on the shapes taken from the pect was how much the biker model took over my garments. It felt
biker’s position, the classic leather jacket and the cow. I have experi- like my work become more focused about the personality rather
mented with the shape between those opposites, the human body then my jackets. Still I like it but it also create other questions. By
and the cow’s body. That has been the limitation to have something change the biker jackets look and the character way of clothing but
to refer to and after finding interesting shapes the material was ap- also the way of personality the work would be something totally
plied to the form. When comparing old fashion leather jackets with different, question the existence of the stereotype biker with his
today’s functional biker jackets the interesting thing is biker jacket. To present my work in the best way showing that
the fact that the use of new materials has developed the this work is about the biker jacket and not about the stereo-
new jackets much further. The design is unrecognizable typed biker I decided to present my work with jeans, skin-tone
compared with the old biker jacket from the fifties. Instead of just polo shirts combine with skin-tone masks and black boots.
using leather and the color black it’s experimenting with strong My vision was to hide the persona behind the masks. Question
colors and different materials is added for protection. arises if it was necessary to use masks as a part of the collection,
The jackets are more futuristic than nostalgic. If my project for me it is just an alternative way of presenting the jacket not
instead would have focusing only on materials how would the image. In the end i decided to present the models without
the shape hade changed then? If I had used technological masks. The result shows how different the expression could be by
materials with special functions or other qualities what
presenting the collection with a mask or with a strong personality.
affected would that have hade on the design. For example when
doing the plaster jacket I used plaster swaddling to drape on the
body but if I instead hade molded the jacket as you do when mak-
ing a sponge cake, getting the shape in one piece. How could the
jacket become with that technique? The radiant material being used
in the collection have no other function than transparency and
giving radiant colors but it would be interesting having a
textile material with those qualities but at the same time
functioning as a jacket, a fashionable jacket worn everyday. What I
find interesting is how the construction in fashionable biker jacket
has changed from riding bike to standing right. The Fashionable
biker jacket is a leather jacket with no riding functions and the
main problem was to change the biker jacket into its real context,
riding a bike. Questions that has been important during this pro-
cess are how far I should go from the origin jacket and how neces-
sary it would be to present the jackets as biker jackets, what would
happen if the jackets become something totally different? The
first idea and line-up was about presenting a biker jacket which
turns into a cow as the whole collection became a to linear
expression. It didn’t really discuss the biker jacket it became more a
investigation about the shape of the cow. When explored the jacket
and reflecting over its traditions I wanted it to break loose from the
stereotype garment and that it would become something new.
But sometimes when the shape imitated the cow too much I
lost the origin and the jacket became something different, this
made me realize that some recognition was needed to be clear.
The essentials parts of the biker jacket lays in the silhouette, leather
material, zip details and of curse the black color. Other essential
part of the stereotype image is the biker himself and when pre-
senting the collection question arise about the wearer’s person-
ality. The image of this guy having this leather jacket is stereo-
type in the same way as the jacket itself is. The imagined biker
has a tradition of dressing which could be used when styling the
collection and putting it in a context. Maybe this project needed
of a personality behind this jacket, working with a stereotyped
garment associated with a stereotyped life style could it be nice
if the wearer communicated this. When looking for the ste-
reotype biker I find him in ICA Supermarket. Dressed in black
with a big beard and unwashed long hair he could be recog-
nized as a biker from the 70´s. I wanted to find someone who
could act with my garments in a junkie or simple way, associ-
ated with a personality who could create reality into my project.
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 Alternative style: As Sofia mention her interest is not in working so
Critique of another focused with one technique or material. She finds it mote interesting
students work. to investigate different techniques and working more “chapter like”.
Where every outfit is a new chapter and research for an
“Under construction” explores different ways to de- expression rather than different variations of the same
velop structure and techniques in an experimental way technique I divided every outfit in a technique defining structure.
of working with textiles and mixed media on garments.
Sofia’s work shows that structure in textile is a lot about
levels and layers in the surface area, putting small-
er units together in order to build a larger collection.
Inspired by animal’s surfaces and structures she tries to cre-
ate her own structures and techniques. But also by coping how
cells form tissue by grouping and how those groups create an or-
gan that together with other organs create an organ system, her
outfit is like the organs creating an organ system or collection.
This is very clear in her work, seeing different component put together
in shapes that become garments and how surface and structure unite.
This way of thinking, building the fabrics as modules and units
is about creating a three-dimensional feeling that is almost like a
landscape to explore.But why is it so important to find new struc-
tures, what other than the interest in animals is important in the
structures? Is it to change how we construct garments or how we
look at garments? What’s in it for fashion with new structures,
what do they say? I know what I see as important for fashion
with structures but what is Sofia’s aim with it? With alternative
materials in several different techniques like knitting, weaving, drap-
ing, wrapping, attaching Sofia explore new ways to create structure
and surfaces in a material but also in garments. This new shapes
and structures are innovative and show the ability to use both tex-
tile and non-textile materials to create an outfit. The garments are
really hand made and special because of the “one of a kind” feeing.
Still it is a thin line between when garment have a specific surface struc-
ture or when it is a garment decorated with modules of a certain material.
This line is according to me past in two outfits that for
me would have been stronger with different techniques.
Instead of attaching eyes to a garment Sofia could have ex-
plored printing, she uses the other techniques so well that
it would have been interesting seeing a landscape in a print.
Maybe printing the eyes as an optical illusion or using a different
motive could be a good alternative to not risk decorating an outfit.
The other outfits have this strong landscape feeling that is not as
clear in the “eye-outfit”, you don’t feel that you could walk into it
as you can in the other.The last outfit with crystals would according
to me be stronger if the crystals could be integrated with the pants
in some way. Now the crystals forms a jacket and I would like to
se the crystals taking over the whole outfit making it into an “or-
gan” and not pants and a jacket.The technique that is used in her
work is so strong and their fore the difference in techniques is so
important to not repeat themselves. Sofia writes about sustainabil-
ity and how to use waste material as a part of the process. I think
about Martin Margielas work Artisanal and for example the outfit
with used gloves. In that collection he uses gloves that have been
used and considers being waste and creates an outfit out of that.
That could also be a technique that Sofia could use, maybe there is left
over waist from the other garments or experiments or if there is different
waste from something else to use to build a different technique from.

32
Reference: S. Wells, B. Mullin, R. Norton, J. Langley, J. Connor, R.L.Yee,
R. Jackson,2004, Motorcycle rider conspicuity and crash re-
lated injury: case-control study, BMJ, 2 February 2004, www.
bmj.com,http://www.bmj.com/content/328/7444/857.full

M.Delong, K.Gage, J.Park, M.Sklar, 2011,The Black Leather

Jacket ,berg fashion library, Oktober 2011, www.bergfashionlibary.
com, http://dx.doi.org/10.2752/BEWDF/EDch3312

S.Cole.2010 “Macho Man “ Clones and the development of mascu-

line stereotype “, Bergs Fashion Library, Oktober 2011, , www.berg-
fashionlibary.com, http://dx.doi.org/10.2752/9781847888679/
DWNOGA0011

R.Tanaka, 2003,Motorcycle jacket: Ultimate Biker´s Fashion,

Schiffer Publishing Ltd, England

Smith,C. S,Topham. 2005, Xtreme Fashion ,Prestel Publishing

Ltd, Germany

A. Duburg, K. Schacknat, 2009, Draping, Art And Araftsmanship

In Fashion Design
2nd edition 2009, D´jong hond publisher/ the netherlands

Wikipedia, Biker Jacket, 2011-12-08,2011-12-08,

http://en.wikipedia.org/wiki/Biker_jacket

Wikipedia, Leather Jacket, 2011-12-08, 2011-12-08,

http://en.wikipedia.org/wiki/Leather_jacket

Wikipedia, Scorpion Rising, 2011-11-25, 2011-11-25,

http://en.wikipedia.org/wiki/Scorpio_Rising_(film)

3m, Radiant film, 2, 2012-04-28,2012-04-28,

http://solutions.3msverige.se/wps/portal/3M/sv_SE/Industrial-
Adhesives-and-Tapes/IATD/Applications-For/Radiant-Light-
Films/

Picture Picture 1: Own picture, KTM motorcycle jacket.

References: Picture 2: Own Picture, Perfecto leather jacket..
Picture 3: Strong Image, Wikipedia.com
Picture 4: Perfecto Jacket, Schott.com
Picture 5: Leather Jacket, Mcqueen.com
Picture 6: Google Jacket, Bienghunted.com
Picture 7: Own Picture, Tape Technique.
Picture 8: Own Picture, Moulding a biker
Picture 9: Own Picture, When is it a biker jacket?
Picture 10: Own Picture, Is it a biker jacket?
Picture 11: Own Picture, Relationship
Picture 12: Own Picture, Draping the biker body.
Picture 13: Own Picture, Draping the cow body.
Picture 14: Own Picture, The film.
Picture 15: Own Picture, Scale.
Picture 16: Own Picture, reconstruct.
Picture 17: Own Picture, Finding alternative material.
Picture 18: Own Picture, Developing of draping.
Picture 19: Own Picture, Line up ( deleted)

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