Summer Lightning

Jemma Pilcher is a fresher ariving at Imperial with an impressive portfolio following an art foundation. Phoenix commissioned this shoot to show off three beautiful bodices from her back catalogue. - Ed

I am fascinated by the language of clothing; what does an ensemble say about its wearer? These pieces were designed to create a persona, as well as being aesthetically beautiful items. Although the bodices are made to fit and be wearable, they were sculptured from pieces of cardboard, masking tape, pattern paper, and lots of PVA glue. The pattern paper proved to be the perfect material for this project; when doused in glue it becomes very translucent. This made it possible for rose petals and playing cards to still be visible when sandwiched between the layers of the paper, giving it a really delicate, exquisite quality. I have tried to push the boundaries of what can be achieved by humble materials. The majority of the adornments, therefore, such as jewels, rose heads, and stitch marks, have simply been painstakingly painted on.

My main source of inspiration has come from Vivienne Westwood’s boucher corset, from the fall/winter 1990-91 portrait collection; modelled on the shape of an 18th-century style corset. This asset-accentuating garment is not just terribly sexy; as it was made from stretch fabric it liberated the wearer and allowed greater mobility. Hence forth, Vivienne’s corsets became a symbol of female sexual empowerment, rather than constraint. This is a recurring concept throughout these pieces and is a particularly key theme for the ‘Queen of Hearts’ bodice. I liked the idea of using a storybook character to influence one of my designs. The monstrous and foul-tempered Queen of Hearts seemed like a suitable symbol of power and grandeur. Although this is a far sexier version than the classic representation of the Queen of Hearts, I have embroided her catchphrase into the paper to imply her tyrannical character. The phoenix corset was inspired by the ‘Phoenix’ portrait of Elizabeth I. In this portrait, the mythological bird is used to symbolize the queen’s longevity, uniqueness and strength. I wanted the bodice to have an armour-like quality to represent her empowerment and I chose rich, velvety colours typical of Tudor portraits.

Continuing with the theme of animal symbolism, the stag ensemble was designed to capture the grace and strength of deer. Not only are deer my favourite animal, but they were a prominent element in Celtic folklore; which describes them as having connections with the woodland goddess and fairy realm. I wanted, therefore, to make this ensemble look fantastical, whilst retaining an understated elegance. The cardboard deer skull headdress adds drama and creates a rather eerie and stirring presence, as the empty orbits stare down on you. The skirt is made from calico and is decorated with a paper floral-motif appliqué, pheasant feathers and screen-printed deer heads. A rampart deer cut out of the same fabric as the skirt, adorns the front of the bodice, like a sigil on armour. Overall, the attention to detail has paid off, as the ensemble looks beautiful and bears an air of mystery and romanticism.