After researching haute couture headpieces, I have thought about showing it on a plinth with photographs behind it to show the piece in context. Someone with blonde hair would be best to model the fascinator as this would not dull the transparent colours of the perspex. I would have them wearing a plain dark blue top that matches the colour of the central pyramid to accent this key bit of detail.
After exploring various colours and finishes in perspex, I felt the angular fashion of the flower petals were better suited to a cooler colour scheme. The mixture of transparent and frosted finishes also suggested an icy feel.
To maintain its strong resemblance to a flower I’ve experimented with making anthers, to sit within the central pyramid.
When I looked into the construction of the embellishment of the ring and making the hinges for the pyramids out of acrylic, it led to some technical problems, due to the small-scale, which caused the piece to be redesigned into a bracelet and then into a fascinator to combat this.
I had to change the design of the hinges in order to be able to construct it.
I plan to use 5mm thick acrylic so that I have enough thickness to drill into the side of it, to form the holes for the pegs. Each piece of the fascinator is going to be laser cut so that the tabs for my hinges fit together exactly.
At the Lost in Lace exhibition Ana Holck produced work that included the use of perspex hinges, which I am using for my unfolds, opens out or spreads out project. Her architectural work tries to show an understanding and awareness of space as she replicates the hexagonal concrete pavement that is commonly found in Rio de Janeiro out of perspex and hinges the shapes so that the structure flows throughout the interior of the museum. I find Holck’s construction of the hinges does not appear to impair the continuity of the visual effect which is what I would like to do with my piece of haute couture fashion accessory to make it more aesthetically pleasing.