TR Transformational Reconstruction

TR, Transformational Reconstruction

SHINGO SATO, MASTER OF TRANSFORMATIONAL RECONSTRUCTION Shino Sato explains his TR, or Transformational Reconstruction, Pattern Design techniques.  Shingo sculpts his designs using flat pattern methods to build in 3-dimensional effects, often cutting them into pieced waves and geometric patterns of fabric and color.  He is an excellent, experienced instructor of TR in Milan and Tokyo and one of the most innovative pattern designers in the field.  For a look at Shingo's work see Julian Roberts' video of a recent TR Master Class at Central St. Martin's in London. Also view his video channel on YouTube or visit his website.  CFPD will bring Shingo to Chicago and Vancouver in spring 2011. Bunka Fashion College in Hokkaido 1986-1989/Azzedine Alaia in Paris as Technical Assistant 1989-1991/Trussardi in Milan as Modelist 1990-1993/Collaborations as Designer & Modelist for: Basile in Milan Venturi in Milan Massei in Milan Dainvest in Bergamo

Collections- Shingo Sato 1993-  Pitti Trend in Florence 1996-  Pret-a porter, Hotel Bristol in Paris 2000-  Haute couture Private Collection in Milan2002-  TRpattern Design Studio in Tokyo & Milan  TR technique Instructor for: London Central Saint Martins College of Art London College of Fashion London University of Westminster Nottingham Trent University Southampton Solent University Paris Atelier Chardon Saverd Parsons Paris School of Design Milano Polytechnic University Milano Domus Academy Milano Accademia Brera Belle d'Arte Tama Art University in Tokyo Musashino Art University in Tokyo Bunka Fashion College in Tokyo

Architectual and Sculptural Design           TR-3D Technique                                                                                 tr cutting school -the origami dress project   tr technique is a more intuitive, organic design process than the conventional +1/-1 mathematical based pattern cutting systems you may be used to. tr technique allows through trial and error, the discovery of chanced upon happy mistakes. by trying to figure out tricky design combinations, or by alternating your vantage points you can serendipitously arrive at unforeseen creative solutions or even more avant garde destinations than were originally foreseen. sometimes you might completely mess up and sometimes these mistakes will be a much better end result than what you were hoping to achieve; they may very well replace your initial idea, becoming the new unforeseen outcome to your trials. perhaps you might set out to challenge conventional rules further and set yourself many more goals and trials! for the further info about origami technique, please refer to the video " origami concept" shingo sato

TR-Draping Technique                                tr cutting school -the origami dress project

The Art of the Cut

In the 1930’s in Paris, France, Madeleine Vionnet revolutionized haute couture by using the natural fluidity of diagonal woven fabric to conform to the body with only a few seams and darts. This method of design and construction uses little or no hardware such as zippers, buttons or boning; the garments are also free of facings, linings, interfacings, shoulder pads and other construction features.  All the magic is dependent on cutting the design so that it breaks and falls in just the right place on the body, as it becomes a single pattern for a three-dimensional form.

The Vionnet’s concepts require that the garment be cut so perfectly that nothing else is necessary to convey the design. The garments float on the body, settling with such balance and purity that no further modifications are required. Bias cut garments match the anatomy of the wearer with fluid grace, giving the woman an elegance independent of personal figure characteristics. The cut flows around the body, streamlining the figure yet allowing the poetry of human movement.  She represented the epitome of a master “cutter” or pattern designer and pioneered the use of the bias to achieve intricate designs beyond the slip-dress, becoming a geometrician or architect in fabric.

In the Vionnet tradition, fabrics and designs are carefully analyzed for their ability to give the most drape on the diagonal and the most weight, which is necessary to skim the figure and balance the garment. Since each design torques differently in every fabric, the designs must be hand draped and cut on a form. This makes it possible to create decorative features structurally instead of applied and uses the reflection of light to the best advantage on the figure.  It also makes it impossible to copy the design commercially.

This lecture, Vionnet, the Art of the Cut, will explore all the ways Vionnet envisioned her cut pieces prior to draping and will identify principles and techniques that she used throughout her career, eventually producing over 600,000 designs.  It is a career which has never been equalled; she was the best.
  

   Madeleine Vionnet ~

   

   

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