The Armor Primary Function: Netlaquentiliztli itech Neixcuitilli ītēchcopa Samantha Chijona Garcia and Vladimir Cuenca

Tlanāhuatīlli The Armor Primary Function: Netlaquentiliztli itech Neixcuitilli ītēchcopa Samantha Chijona Garcia and Vladimir Cuenca cē cencā mahuizzō tēmacēhualōni īpan huēyi 2020 Mahuizolli A' Design Award Iztacteocuitlatl īpan Ixitiliztli Toltecayotl, Ixitilizpan, Nemachiyotl ihuan Tlanextiloyan Tlachihchihualiztli Nēhuilīztli Tlamantli.

IztacteocuitlatlIxitiliztli Toltecayotl· 2020

The Armor Primary Function: Netlaquentiliztli itech Neixcuitilli

īpal Samantha Chijona Garcia and Vladimir Cuenca

Tlanāhuatīlli: Jazz Martinez Gamboa

Mahuizolli A' Design Award Iztacteocuitlatl Tēmacēhualōni īpan Ixitiliztli Toltecayotl Tlamantli

60,069

Tlaneltīlīlli Tēmacēhualōni

Xictlaneltilia Tēmacēhualli ītēchcopa #102743

Xiquitta Tlahcuilōlcalli Xiquitta A' Design Award ītechcopa Āmatl Tēmachiyōtīliztli Tlamachiōtl

Tlapalli

Tlanēxtilistli

Ītechcopa The Armor Primary Function: Netlaquentiliztli itech Neixcuitilli

In Neixcuitilcali quen inin tilmatli tlachihchiuhtli ipampa in tlacatl Richard III itech ce neixcuitilli tlen itech ce iamox Shakespeare. Inin tlaquemitl mochihua ica tlamantli tlen omocuepqui ihuan tlen aoc omotequitiaya. Tepoztli mecatl motzomaya ipan ce tilmatli twill, in campa monepantla cuetlaxtli metztlaquemitl quichihua ce occe tlachiuhcayotl tlen monepanoa ica cuetlaxmecatl ihuan buckles. Ce tepozmaitl quitzacua in maitl, ihuan ce terciopelo ecahuiztli tlen icuitlapan quipia tepoztli motequitia quen ce cuatepoztli. In chicuacen tlacotontli huel motlalia nozo moquixtia ihcuac in tlacatl mopatla itech in neixcuitilli. In tlachihchihualiztli quinextia in tlahtoani ihuan noihqui in tlacatl tlen huel yolcocolo tlen itech nemi.

Tēixīmachōtiliztli

Ītechcopa Mahuizolli A' Design Award Iztacteocuitlatl

The Armor Primary Function: Netlaquentiliztli itech Neixcuitilli ca in quicuic in Mahuizolli A' Design Award Iztacteocuitlatl, hueyi tlamahuizoliztli tlen momaca in huel yectli, tlanextic ihuan mahuiztic tlachihualli. In quicuicah Iztacteocuitlatl ca cenca cualli ihuan cenca yancuic tlachihualli in quinextia in tlamatiliztli, toltecayotl ihuan ixtlamatiliztli intlachihuanime. Ca quinequi in The Armor Primary Function: Netlaquentiliztli itech Neixcuitilli ca cenca cualli, cenca motequiuhtia ihuan yancuic. Ni dizayno in quicuic Iztacteocuitlatl quihuelitia in toltecayotl, tlamatiliztli, dizayno ihuan teknolohia. The Armor Primary Function: Netlaquentiliztli itech Neixcuitilli quiyolchicahua in tlacah, quipaquiltia ihuan quitlamahuiztiltia.

Tlanēxtilistli Ītēixpan

Āmatl Tlanextīliztli

Tlapōhualli, tēquitqueh īwan tēchmachilīztli ōquinmaca in tlanēxtīlīlli.

Cē Zan Ītēchcopa: 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.
Huēyiliztli īhuān Tlacualtepēhualli: Armor- 45cmx30cmx55cm
Helmet- diameter:57cm High: 23cm
Tōcāitl: Costume design, Shakespeare, Richard III, Armor, theater, cuban designer, Samantha Chijona Design, schijonag.
Tlachīhualiztli Māchiyōtl: 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.
Tlanāhuatīlli Nētēcahuilīztli: 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.
Tlatēmōliztli: 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.
Tēyōllālīliztli: 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.
Tēquitl Cāhuitl: The project started in June 2018 in Havana, Cuba and ended in September 2018 in Havana, Cuba.
Tēquitl Ōhuitl: 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.
Patentēmeh: Copyrights belong to Chijona, Samantha, 2018
Calpolli Tlācah: Designer and Creative Director: Samantha Chijona
Designer: Vladimir Cuenca
Īxiptla Tlanēxtīlli: Image 1,2,3,4,5: Samantha Chijona Photographer/ Samantha Chijona Designer /Richard III/ The Armor /Model: Maria Gabriela Sanchez, 2018