mhippisley@ecuad.ca
Wearable Armour
2 Jackets, Sterling Silver Rings, Chainmail Exploration
Wool, Satin Lining, Upholstery Fabric, Polyester Suede, Steel, Copper, Sterling Silver, Turquoise, Tiger’s Eye, Turquoise Howlite, Sodalite, Abalone, Conch Shell
Drawing from both historical references and personal experience, the project explores how structure, material, and interaction can shape the way someone moves through the world. From structured outerwear to small, handheld objects, each piece considers how design can offer support in subtle but meaningful ways.
Garment Process
The garment portion of the project focused on structure, silhouette, and presence. I began by developing patterns for a wool coat, exploring how shaping and construction could influence posture and create a sense of support. Through multiple iterations, I refined the balance between structure and wearability, using techniques inspired by corsetry and 1950s tailoring to define the body.
In contrast, I created a fur-trimmed coat that explored volume and movement. This piece focused less on control and more on expression, using exaggerated silhouette and material to create a strong visual and physical presence. Together, these garments investigate how clothing can either shape the body in a controlled way or expand outward, allowing the wearer to take up space more boldly.
Material and Object Exploration
Alongside the garments, I explored chainmail and small wearable objects as a more intimate form of “armour.” I began by learning traditional chainmail techniques, starting with a 4-in-1 weave and expanding into more complex patterns to understand how structure and flexibility interact. This process highlighted the balance between strength and movement, while also introducing a repetitive, meditative way of working.
I then translated these ideas into softer materials, knitting and crocheting forms inspired by chainmail. This allowed me to explore how the visual language of protection could exist in textiles, shifting the idea of strength from something rigid to something soft and comforting.
In parallel, I created a series of silver rings and small objects, experimenting with wire patterns and soldering techniques. These pieces became more interactive, designed to be worn, held, or fidgeted with. Through this, I explored how small-scale objects can provide subtle emotional support, offering moments of focus or comfort throughout the day.
Testing and Iteration
Testing focused on how these pieces function in everyday use, both physically and emotionally. The garments were evaluated based on how they influenced posture, movement, and presence, while the smaller objects were explored through interaction. The chainmail jewelry and rings, in particular, became tactile and engaging, allowing for small, repetitive movements that can feel grounding or calming.
This phase reinforced the idea that support can exist at different scales. While garments shape how someone is perceived externally, smaller objects can offer a more private form of reassurance, something carried or worn for personal comfort rather than visibility.
Wearable Armour redefines the concept of protection through clothing and objects, moving away from physical defence toward emotional and psychological support. Through a combination of structured garments, experimental textiles, and interactive objects, the project explores how design can influence confidence, presence, and self-perception.
This work expanded my understanding of what clothing can do. It challenged me to think beyond function and aesthetics, and instead consider how design can actively support the wearer in subtle, personal ways. Moving forward, I am interested in continuing this direction, creating pieces that not only express strength visually but help people feel it in their everyday lives.
Final Outcomes