Perception of the Eyes Taɣawsa Tabaḍnit n Weckan n Ufeggag sɣur Karina Frances Edmonds

Perception of the Eyes Taɣawsa Tabaḍnit n Weckan n Ufeggag sɣur Karina Frances Edmonds d anerbaz yettwaqadren meqqren n 2020 Tarbaḥt A' Design Award n Lbrunz deg Taggayt n Tnaflit n Afeṣṣel n Tmuḍa, Iselsa d Iceṭṭiḍen.

LbrunzTamuḍa· 2020

Perception of the Eyes Taɣawsa Tabaḍnit n Weckan n Ufeggag

sɣur Karina Frances Edmonds

Amsaɣ: Karina Frances

Anerbaz n Tarbaḥt A' Design Award n Lbrunz deg Taggayt n Tamuḍa

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Anerbaz n Urraz Yettwasenqden

Senqed Addad n Urraz i #102508

Rzu ɣer usmel Wali deg A' Design Award Tabḍert n tɣamsa Tanecḍa n wammud

Initen

Afeṣṣel

Ɣef Perception of the Eyes Taɣawsa Tabaḍnit n Weckan n Ufeggag

Aḍris n Tektabt: Awal n Wallen d aceṭṭiḍ n ufeggag i d-tusa seg tmusni ɣef wallen d tmuɣli. Aceṭṭiḍ-a icabba i talɣa n wallen ɣef tɣara n uceṭṭiḍ, anda ddu icudd i talɣa, ma d amitel ittbeggin-d tiṭ. Tijeǧǧigin ttazzalent seg wemkan-nni ar akal, smaɣlent-d di tegnit yettwaḥeddren akken ad d-fɣent d talɣa i d-yețțarran d iluɣma. Talɣa-a tettemcabi i tugniwin n tussniwin n leɛlum ɣef usemɣer n tafat. Tɣara n uceṭṭiḍ tettwabna am uceṭṭiḍ n usaḍas s ucekkuḥ akked weglim n lekdeb yeǧhden, ayen i geǧǧin tijeǧǧigin ad ttwaḍmen s wudem iǧehden. Izirig n lḥeqq deg tɣara-agi ttɛawaden-d talɣiwin timezwarutin s wudem asirem.

Asmekti

Ɣef Tarbaḥt A' Design Award n Lbrunz

Perception of the Eyes Taɣawsa Tabaḍnit n Weckan n Ufeggag d amerbaḥ n Tarbaḥt A' Design Award n Lbrunz, tagmat ɛlayen i yisnulfa yelhan, yeṭṭafaren tinawt, tamusni d tezmert. Imerbaḥen n Lbrunz d isnulfa yelhan, ttbanen d timusniwin n tmusni n yimahilen-nsen. Perception of the Eyes Taɣawsa Tabaḍnit n Weckan n Ufeggag ad yili d asnulfu yettwaɛezzen, yelhan, amaynut. Perception of the Eyes Taɣawsa Tabaḍnit n Weckan n Ufeggag yettemlil ɣef yimawlan, yettwaɛezzen s tmahilt-is.

Deffir n ufeṣṣel

Tagrurt n tɣamsa

Ismawen n terbaɛt, iferdisen itiknikanen akked telɣut i d-yefka umeṣṣufeɣ.

Taɣara Tasuft: The uniqueness in my design is born from the empowerment created for one to radiate. Empowerment is also my inspiration. My design mirrors an embodiment of this spirit. This garment speaks about eyes and their poetic power. The design boldly enhances the human body, through the rawness of the breasts, mimicking eyes, to the enhanced hip lines, through sculpture. The leather strips, architecturally strike down from the pupil (nipple) to create an illusion lasering out as a form of vision and structural support. Beauty in design shines when poetry meets function.
Tigejdiwin & Akemmus: Size 6
Tibzimin: wearable art, eyes, vision, perception, poetry
Tasnakta n Ufares: The materials used for the geometric elements are particularly effective. By constructing a corsetry bodice from more robust elements with wire and stiffer fabric such as faux leather, the contrasting silhouette strips are enabled to be pulled tight and hold the criss-cross pattern beautifully, before falling into waves. This is reminiscent of scientific diagrams of refraction of light. The production of this design regarded structure, architecture, form and the body. In the making and testing of this design, I thought about physics regarding matters like the laws of gravity and structure in terms of its architecturally inspired form.
This dress has a sense of history in its construction echoing vintage hip lines whilst displaying thoroughly contemporary vision.(regard pdf) for full version of "Production, realization technology and materials)
Asewḥel n Usnulfu: Beginning with the research I was challenged with deep inner reflection, about myself, and identity regarding the theme “Who am I”. Especially because I haven't found myself in this stage of my life as a 15 year old. I believe we are always changing and growing as people, and a society. Also, I faced challenges that regarded transferring my ideas from my pen to the needle, as this was the first time I had created a collection.
Anadi: I looked at many sources that helped me better define my knowledge to create a 5 piece collection that could reflect me as a person and unravel my identity. Second, after building my knowledge to a level at which I was confident, I could begin the artistic journey, I began designing. Even when designing it seems as if research and design overlapped, because I was always learning something new. Everything I learned was applied to enhance my skills and help my ability in creating material that is so new to me in the arts. (regard pdf for full research)
Aseḥbiber: I was inspired by eyes and their magical properties with their ability to connect, reflect, and create visual poetry of the world around us. This poetic and magical ability for an eye to radiate vision is the inspiration for this dress. One can see these definitions through the garments architectural forms and illusions that run from the nipple to the ground.
Tanzagt n Usenfar: My fashion journey began with research April 2019, designing in May 2019, and finally completed in the summer of June 2019. The dresses were then showcased on the runway at NewYork FashionWeek Fall season (F/SS NYFW), the 7th of September 2019
Tanila n Umahil: The design has specific details that make the whole difference when looking at its performance as wearable art. While wearable art is very abstract and not the most wearable, I tried to make my designs so that they can still perform with attributes of the body making them more wearable. There are significant details that allow for this to happen, still encouraging the possibility of my design without making any major adjustments. This includes different systems created to convert art into wearable art.
Ibrivan: N/A
Igmamen n Terbaɛt: Tailor 15% work with patterns-( technical element).
Imsuren n Tugniwin: Image #1: Bruce Wang, 2019
Optional Image #2: Bruce Wang, 2019
Optional Image #3: Bruce Wang, 2019
Optional Image #4: Bruce Wang, 2019
Optional Image #5: Bruce Wang, 2019