The Armor Primary Function: Nguo yeMutambo naSamantha Chijona Garcia and Vladimir Cuenca

Dhizaini The Armor Primary Function: Nguo yeMutambo naSamantha Chijona Garcia and Vladimir Cuenca ndiye mukundi anokudzwa zvikuru wemubairo unoremekedza we2020 Mubairo weSirivha we A' Design Award muChikwata cheKukwikwidza cheMitambo yePaSiteji, Maitiro neNzvimbo.

SirivhaMitambo yePaSiteji· 2020

The Armor Primary Function: Nguo yeMutambo

na Samantha Chijona Garcia and Vladimir Cuenca

Mutengi: Jazz Martinez Gamboa

Mukundi weMubairo weSirivha we A' Design Award muChikwata cheMitambo yePaSiteji

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Nezvekwa The Armor Primary Function: Nguo yeMutambo

Book Text: The Armor inguo yemutambo yakagadzirirwa munhu anonzi Richard III mumutambo wepamberi wemutambo waShakespeare. Nguo iyi yakagadzirwa nezvinhu zvakadzoreredzwa uye zvisisashandiswi. Tambo dzesimbi dzakasonwa pajaketi retwill, uku maganongoni ematehwe akapindirana achiumba chimiro chakasiyana chakabatanidzwa netambo dzematehwe uye mabuckle. Gurovhu rechainmail rinovhara ruoko, uye ngowani yevelvet yakachengetedzwa nemapikicha esimbi inoshanda sengowani yesimbi. Zvikamu zvitanhatu zvinogona kuwedzerwa kana kubviswa apo munhu anochinja mukati memutambo. Chimiro chinoratidza zvese mambo uye munhu asina kuvimbika ari mukati make.

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Nezve Mubairo weSirivha we A' Design Award

Mubairo weSirivha we A' Design Award wakahwinwa ne The Armor Primary Function: Nguo yeMutambo, rukudzo rwakakwirira zvikuru runopiwa kumadhizaini epamusoro, anonaka uye anofadza. Vakunda veSirivha mabasa anopenya kwazvo uye ane kugadzira kwakasiyana anoratidza unyanzvi, hunyanzvi hwekusikwa nekungwara kwevagadziri vawo. The Armor Primary Function: Nguo yeMutambo inotarisirwa kuva basa rinoshamisa, rinotangira vamwe, rine hunyanzvi hunoonekwa uye zvitsva zvakadzika. Dhizaini iyi yakahwina Mubairo weSirivha we A' Design Award chigadzirwa chinoshamisa, chinokudzwa chinobatsira uye chinosundira mberi miganhu yehunyanzvi, sayenzi, dhizaini netekinoroji. The Armor Primary Function: Nguo yeMutambo chigadzirwa chinoshuvirwa nevazhinji, chinomutsa zvishuvo, chinouya nemanzwiro akanaka uye chinomutsa kushamisika.

Shure kweDhizaini

Bepa Renhau

Zvikwereti, nhengo dzetiimu nezvimwe zvakadzama zvakapihwa nemudhizaina.

Hunhu Hwakasiyana: 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.
Kukura & Kupakiwa: Armor- 45cmx30cmx55cm
Helmet- diameter:57cm High: 23cm
Matagi: Costume design, Shakespeare, Richard III, Armor, theater, cuban designer, Samantha Chijona Design, schijonag.
Tekinoroji Yekugadzira: 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.
Changamire yeDhizaini: 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.
Tsvakurudzo: 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.
Chikurudziro: 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.
Nguva yePurojekiti: The project started in June 2018 in Havana, Cuba and ended in September 2018 in Havana, Cuba.
Mafambiro eBasa: 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.
Mapetenzi: Copyrights belong to Chijona, Samantha, 2018
Nhengo dzeTimu: Designer and Creative Director: Samantha Chijona
Designer: Vladimir Cuenca
Zvikwereti zveMifananidzo: Image 1,2,3,4,5: Samantha Chijona Photographer/ Samantha Chijona Designer /Richard III/ The Armor /Model: Maria Gabriela Sanchez, 2018