GARMENT THREE: inspired by 'Madonna of the Yarnwinder' by Leonardo Da Vinci

This description details the process involved in developing this piece of work for my third garment. Im starting with the initial painting by Leonardo Da Vinci and have attempted to represent colours and symbolic imagery of the period which are both contemporary but relevent to the Renaissance.

The female portrait sampled from the ‘Madonna of the Yarnwinder (1499) has remained true to the original, apart from its conversion to black and white and with the addition of a textured halftone (in keeping with the previous two garment designs). There is a moiré pattern present here and the effect not only compliments the darker umber halftone pattern used in the background headscarf but also gives the impression of delicate flower buds. 

The halo contains the ‘Elizabeth 1^st’ pattern – keeping the link with ‘Yellow Lady’- and I have replicated a cherubic baby sampled from the painting ‘Madonna of the Carnation’ by Leonardo Da Vinci. This baby has been colourised, retaining a more realistic skin tone (complete with the same halo design).

Once again the positioning of this Madonna with child was central to the front panel of my third garment retaining the ’human’ focus. The back panel of the dress again is an abstract section of the faded terracotta background combined with a section of figurative nudes reversed out of black.

Gary Hume - Don't say a prayer for me now

The opaque hands (which encircle the child) are reversed out and lack any detail (reminiscent of the work of Gary Hume ‘ Don’t say a prayer for me now’). They are the final digital layer and are collaged photographic images. The hand position focuses the composition centrally on the child looking at his mother and reinforces the closeness between them.

A collection of earth tones make up the majority of this design – from the opaque faded terracotta background to the vibrant warm orange patterned halo – against the strength of the black circles of the body of the Madonna - these curved abstract shapes echo the female shape. This is the only digital image which has not been interpreted as a silkscreen print. The delicate details contained within the halo and the intricate figurative patterns on the robe are more effective when reproduced as a digital and textile print; giving an improved clarity of line and an enhanced, richer strength of colour.