The Armor Primary Function: Seaparo sa Setšoantšiso ka Samantha Chijona Garcia and Vladimir Cuenca

Moralo oa The Armor Primary Function: Seaparo sa Setšoantšiso ka Samantha Chijona Garcia and Vladimir Cuenca ke mohlodi oa khau e hlomphehang haholo ya 2020 Moputso oa Silevera oa A' Design Award Mokhahleong oa Tlhodisano oa Moralo wa Bonono ba Dipapadi, Sethala, Setaele le Sebaka sa Pontsho.

SileveraBonono ba Dipapadi· 2020

The Armor Primary Function: Seaparo sa Setšoantšiso

ka Samantha Chijona Garcia and Vladimir Cuenca

Moreki: Jazz Martinez Gamboa

Mohlodi oa Moputso oa Silevera oa A' Design Award Mokhahleong oa Bonono ba Dipapadi

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Mohlodi oa Khau ea Netefaditsweng

Netefatsa Boemo ba Khau bakeng sa #102743

Etela Sebaka Sheba ho A' Design Award Tokollo ya Boraditaba Baeche ya Moputso

Mebala

Moralo

Mabapi le The Armor Primary Function: Seaparo sa Setšoantšiso

The Armor ke seaparo sa setšoantšiso se entsoeng bakeng sa sebapali Richard III moralong oa setšoantšiso oa terama ea Shakespeare. Seaparo se entsoe ka thepa e sebelisitsoeng hape le e sa sebelisoeng. Mela ea tšepe e rokelloa jaseng ea twill, athe li-gaiter tsa letlalo tse alollanang li theha sebopeho se ikemetseng se kopantsoeng ka meqhala ea letlalo le li-buckle. Boea ea chainmail e koala letsoho, athe katiba ea velvet e nang le tšepe ka hare e sebetsa e le helmete. Likarolo tse tšeletseng li ka kenngoa kapa tsa tlosoa ha sebapali se fetoha nakong ea terama. Moralo o bontša morena hammoho le monna ea fokolang ka hare ho eena.

Kamohelo

Mabapi le Moputso oa Silevera oa A' Design Award

The Armor Primary Function: Seaparo sa Setšoantšiso ke mohapi oa Moputso oa Silevera oa A' Design Award, kananelo e hlomphehang haholo e fuoang meralo e phahameng ka ho fetesisa, e ntle le e tsosang maikutlo. Bahapi ba Silevera ke mesebetsi e khanyang haholo le e nang le boqapi bo ikhethang e bontšang botsebi, talenta le bohlale ba baqapi ba eona. The Armor Primary Function: Seaparo sa Setšoantšiso e lebelletsoe ho ba mosebetsi o motle, oa mohlala, o nang le boprofeshenale bo bonahalang le mehopolo e mecha e tebileng. Moralo ona o hapileng Moputso oa Silevera oa A' Design Award ke mohopolo o hlokomelehang haholo le o ratoang o tlisang molemo mme o sutumelletsang meeli ea bonono, mahlale, moralo le theknoloji. The Armor Primary Function: Seaparo sa Setšoantšiso ke mosebetsi oo batho ba bangata ba o lakatsang, o tsosang litakatso, o tlisang maikutlo a matle le o tsosetsang ho makala le ho hlolla.

Ka Mora Moralo

Sete ya Boraditaba

Litlhaku, ditho tsa sehlopha le lintlha tsa botekgeniki tse fanoeng ke moetsi wa moralo.

Boleng bo Ikhethang: This armor, made with fully recycled materials, mixes metallic corset nerves referring to the classic western armor, topped by a butcher's chainmail glove that evokes the bloodthirsty of the character with leather leggings overlapping layers denoting the various faces assumed by the character during the plot. From a modernist vision in terms of fabric, overlapping and weaving of pieces the structure refers to the vulnerability of the King and the man who lives at the same time in Richard III.
Boholo le Phuthelo: Armor- 45cmx30cmx55cm
Helmet- diameter:57cm High: 23cm
Lithegi: Costume design, Shakespeare, Richard III, Armor, theater, cuban designer, Samantha Chijona Design, schijonag.
Theknoloji ya Tlhahiso: The armor is compound by 6 pieces. 1: The metal structure, it is metal lines sewn on a twill weave jerkin jacket, 2: the leather armor, leather gaiters overlapping forms an independent structure that joins the rest of the set with leather straps closed by buckles, 3: The metal glove, a chainmail glove closes the cuff to give the sleeve a shot, 4: The helmet,
a velvet hat lined with metal strips works as an armor helmet 5: The pants, a black twill pants and finally 6: Black leather boots to the knees.
Phephetso ya Moralo: The development of the piece became a challenge, I wanted to do something great for the character but working in Cuba is always difficult due to the lack of resources, so while researching, I also located materials. Looking in an antique warehouse I found these old pieces of unused corsets bones and leather leggings and decided to use them. With only one month to prepare the entire theater play with more than 16 characters we were detained in this armor for a week, assembling, testing and sewing piece by piece in search of achieving an attractive but useful result.
Dipatlisiso: My research flew over two essential aspects, the historical and the technical. After having studied for years Western and Japanese armors, the challenge of creating one was wonderful. I had to solve how I should use the historical engineering structures in those garments with the modern materials I had in hand. I read and compiled images and information, of the western armor, I appropriated the metal and the order of the parts while from the Japanese I took overlays of leather pieces sewn with cord. The result was a very visual and modern armor that keeps its basic function, protection.
Kgothaletso: Having studied for years structures that we use when dressing and that have protected and distancing ourselves from the real world I choose one of my favorite, the armor. I took advantage of the study of Western and Japanese war pieces and modernized it with the use of materials and disused pieces. The text of Shakespeare's play emphasizes the two faces and the physical problem of the character I used it as inspiration to separate and show the two parts of Richard III.
Nako ya Projeke: The project started in June 2018 in Havana, Cuba and ended in September 2018 in Havana, Cuba.
Tsamaiso ya Mosebetsi: The piece is compound by 6 small parts, the main three, armor jacket, pant and boots are easy to put, also it has another leather structure which should be placed with buckles while the hat and the glove are closed by an elastic piece. the interaction between the actor and the piece is determined for the modular form of the main piece, the person can take off the leather part, the helmet, the glove and keep only the base jacket, pants and boots, in the same way he can add more pieces throught the evolution of the character inside the theater play.
Diphatente: Copyrights belong to Chijona, Samantha, 2018
Litho tsa Sehlopha: Designer and Creative Director: Samantha Chijona
Designer: Vladimir Cuenca
Litlotla tsa Setshwantsho: Image 1,2,3,4,5: Samantha Chijona Photographer/ Samantha Chijona Designer /Richard III/ The Armor /Model: Maria Gabriela Sanchez, 2018