When Old Meets New by Alexandra White

WHEN OLD MEETS NEW BY ALEXANDRA WHITE

WHEN OLD MEETS NEW Alexandra White In collaboration with: Sheffield Hallam University J.R.C Photography Madeleine Emily Day Pinders Sheffield 2014

CONTENTS

ONE

DESIGN PHILOSOPHY

TWO

THE IDEA

THE STORY

FOUR

THE JOURNEY

FIVE

WHERE? WHO? WHY?

THEORETICAL

SEVEN

BE CREATIVE

EIGHT

DEVELOP AS A DESIGNER

NINE

EXPERIMENTATION

TEN

IT’S NOT THE END

REFERENCING

THREE

SIX

ELEVEN

CHAPTER ONE DESIGN PHILOSOPHY DESIGN DNA DESIGN RATIONALE CONCEPT

ALEXANDRA WHITE DESIGN DNA “Fusing old with new... Mixing new technology with traditional hand skills to create luxury pieces of contemporary craftsmanship.”

HOW WILL I SUCCEED?

WHAT DO I WANT TO DO?

WHO AM I?

DESIGN RATIONALE I identified a personal area of interest within the fashion industry and recognised design opportunities and problems that I could address. Initial research and investigations led to a proposed plan for a project looking at machinery and handcraft in the Makers Movement which is a current revival of guilds and small groups of creative people combining their skills over the internet to create items that are not mass produced. As an inspiring designer interested in handcraft and detailing, my aim is to create contemporary garments that clients want to treasure over an item that has been mass produced. The idea being that no item is exactly the same and this the reasoning behind the choices I have made throughout this project.

CONCEPT 10

â&#x20AC;&#x153;To explore the idea of the Makers Movement in a fashion context through the development of a luxury fashion collection combining craft and new technologyâ&#x20AC;? 11

CHAPTER TWO THE IDEA AIM OPPORTUNITIES THEME

AIM To fuse new and old, machine and handcraft, traditional and contemporary. A project thatâ&#x20AC;&#x2122;s objective is to make people treasure the item they have bought, to stop mass consumerism and manufacture. To reintroduce craftsmanship into modern day garments.

OPPORTUNITIES As a designer I have always taken a keen interest in handcraft and new technology in contemporary fashion collections. Studying in Sheffield and originally brought up in Manchester, the Industrial Revolution has always been a major part of my interest and how it has influenced production of textiles and other products. I have used this influence to guide me through the design and sampling processes using the information and imagery as both literature and creative research.

THEME

The Industrial Revolution was the first introduction of machinery to society and changed production methods forever, above is a montage of machinery used to aid production which I used for inspiration for the shaping and colours in the garments. This was also used to develop the prints and texture.

CHAPTER THREE THE STORY

THE DECLINE OF CRAFTSMANSHIP SUSTAINABILITY AND CONSUMERISM NEW TECHNOLOGY AND ARTISANAL SKILLS

“ONE THING THAT MOST PURCHASES HAVE IN COMMON IS THAT PEOPLE NO LONGER CONSUME PURELY FOR PRACTICAL PURPOSES” (Jansson-Boyd, 2010 )

DECLINE OF CRAFTSMANSHIP The introduction of machinery during the Industrial Revolution saw the start of declines in craftsmanship. Dormer (1997, p.95) suggests that we live in a material world in which objects including those that are handcrafted are more than just props, they are heirlooms and tools of self expression. Consumers should develop an emotional attachment to objects they buy to make them treasure them. He also proposes that items which are handcrafted have more of a meaning than those made by machinery.

Before the introduction of machinery, skills were passed down through generations within small communities and guilds. Traditions were lost and quality of production went downhill. Dormer (1997, p.188) advises that originality and creativity are both concepts that cause problems within crafts; these rely on the conservations and handing-on of shared knowledge accumulated over generations. This project addresses the decline in craftsmanship and the need to reintroduce it into contemporary garments so that the traditional skills can be passed down just like they were during the Arts and Crafts Movement and Pre-Industrial Revolution. These skills can be learnt via the internet which revolutionises the use of technology and is a current trend in todays society.

“ARTISANS WERE DRUMMED OUT OF WORK BY MACHINES WITH TRAGIC CONSEQUENCES BOTH FOR THE EXPERIENCE OF THE MAKERS THEMSELVES AND THE QUALITY OF THE THINGS THEY PRODUCED” (Adamson, 2007)

SUSTAINABILITY AND CONSUMERISM 20

Jansson-Boyd (2010) proposes that an emotion is a feeling that comprises physiological, behavioural and cognitive reactions to internal and external events, such as when a consumer is especially pleased with the effectiveness of a product. This should be the reason why people buy products yet many consumers over buy to keep on trend and up to date. Things like quality are often over looked and disregarded for fast fashion. Consumers should feel a connection to a garment which should encourage them to keep and wear it for longer. The garments created in this project address this need to sustain and consume less because of their bespoke and individual nature.

“IT APPEARS THAT CONSUMERS ARE PURCHASING PRODUCTS AND SERVICES IN THE HOPE OF EXPRESSING WHO THEY ARE TO GAIN SOCIAL STATUS IN HOPE OF BECOMING HAPPY” (Jansson-Boyd, 2010)

NEW TECHNOLOGY AND ARTISANAL SKILLS Technology that is available to use in a fashion context is extremely wide and varied. Digital technologies such as fabric printers, laser cutters and 3D printers are being more widely used to create new and exciting garments. Artisanal skills and techniques such as lace making, knitting and block printing are just a few of the artisanal skills that had been diminished by the introduction of machinery in the Industrial Revolution. Designers such Hermione De Paula and Fyodor Golan use digital printers for the production of their garments. Iris Van Herpen has revolutionised the used of 3D printing in fashion producing whole collections of 3D printed garments. Lilly Heine and Marchesa use laser cutting in different ways. During this project I have experimented with a few different types of technology and handcrafts to see their effects and how they could work on garments. The most successful and suitable for the project were the digital fabric printer and traditional hand stitches to secure items.

CHAPTER FOUR THE JOURNEY

TIMELINE THE MAKERS MOVEMENT AND THE THIRD INDUSTRIAL REVOLUTION HOW HAS INDUSTRIALISATION HELPED CRAFT PROGRESS

TIMELINE

The First Industrial Revolution changed Britain for the better, it allowed many developments especially in the textile industry with the introduction of machinery. This helped speed up production methods and allowed smoother running of textile businesses. The Second Industrial Revolution saw advancements in machinery that improved the production further although these developments were not welcomed by everyone and some guilds reformed to start the Arts & Crafts Movement where decorative objects were made by traditional methods. The Third Industrial Revolution and The Makers Movement are happening right now, we are amidst a community of people who are wanting to make and do things themselves using the internet to communicate, fusing contemporary materials and traditional techniques. This was a key element in my project, the progression during this period is what influenced the entire collection from the print to the detailing on each garment.

THE MAKERS MOVEMENT “IT IS NOT CRAFT A ‘HANDCRAFT’ THAT DEFINES CONTEMPORARY CRAFTSMANSHIP: IT IS CRAFT AS KNOWLEDGE THAT EMPOWERS A MAKER TO TAKE CHARGE OF TECHNOLOGY” (Dormer, 1997) A movement filled with people who want to make and do things that moves away from pre-packaged goods or services. This movement relates to the area that I am investigating because it too is a rebellion against mass manufacture and over consumption. It is when the web meets the real world and produces Cottage Industries much like those that were around before the First Industrial Revolution, and a new generation believing that they can make anything that they can imagine with simplified accessible processes.

THE THIRD INDUSTRIAL REVOLUTION “THE THIRD INDUSTRIAL REVOLUTION IS JUST A COMBINATION OF THE FIRST TWO: IT’S THE WEB REVOLUTION MEETS MANUFACTURING” (Kansara, 2012) Manufacturing is going digital which will dramatically increase productivity. 3D printers can produce multiple copies of the same item just like a photocopier. Additive manufacturing ensures minimal waste from the production of products, it also uses less energy than conventional factory production reducing cost.

HOW HAS INDUSTRIALISATION HELPED CRAFT PROGRESS? The spinning mule and cotton gin aided quicker production for textile items. Even if the end product is produced by hand, industrialisation will possibly have been involved in the preparation of the material. Current textile designers are using traditional textile methods with new materials to create interesting pieces. This fusion shows how traditional crafts are being used in contemporary ways. Technology has also developed so much that 3D printing machines will soon be prominent in homes where consumers will be able to design and print objects themselves adding to the nature of the DIY / Maker Movement. I would not have been able to produce the collection I have without the use of machinery and the handcraft skills that I taught myself using forums on the internet or those that were passed onto me during placement. â&#x20AC;&#x153;CRAFT DOES INDEED NEED TO INTEGRATE ITSELF WITH DIGITAL MEANS - THE TWO ARE NOT INCOMPATIBLEâ&#x20AC;? (Adamson, 2007)

CHAPTER FIVE WHERE? WHO? WHY? BESPOKE CLIENTELE HISTORY

BESPOKE

Quality craftsmanship The market level has been identified as luxury as this best represents the concept and predicted outcome. The bespoke market is growing; where consumers are wanting and looking for garments that arenâ&#x20AC;&#x2122;t mass manufactured. I want to design garments that consumers want to keep and treasure to contribute to decreasing the need to over consume.

What IS happening globally Designers such as Fyodor Golan and Suzie Turner were recognised as suitable competitors, research from the time carried out on placement in these studios helped with the decision to research into and incorporate embellishment and hand techniques into the design work with a fusion of technology based products. Both Design Houses finish every garment by hand; Fyodor Golan use technology mixed with traditional hand sewing techniques whereas Suzie Turner uses only traditional couture methods learnt from french embroidery schools.

CLIENTELE The target customer will be someone who wants a garment designed for an occasion. They will be young and interested in new technology and hand craft in garments looking for something different that is bold and contemporary and will appreciate products of craftsmanship that are on trend but still individual. I have evidenced referral to the clientele throughout the project through a questionnaire at the beginning to gain an idea of interest in the intended outcome. The design ideas were addressed and analysed individually, reflecting on these helped with the design and development process.

HISTORY Placement opportunities were undertaken at three different companies in London where techniques such as hand sewing and manipulation were learnt. As a designer interested in embellishment and textiles in contemporary fashion collections, learning these techniques from professionals was key to personal design development. I believe that garments are more interesting when they have been finished by hand; when a consumer knows that someone has spent time carefully finishing a garment it should make them want to keep that garment over mass produced clothing. During my time at University, I have always shown a key interest in textiles and during the second year I undertook a design specialism project where I produced my own fabrics by hand using manipulation and embellishment techniques. Towards the later stages of second year I had the opportunity to work with a designer for a professional practice project, I chose to work with print and distortion of the body producing a fully printed dress. My interest in textiles led me onto experimenting with different ways of producing texture during third year, this was my first introduction to the 3D printer, I developed cubes that would be fused together and interchangeable with different fabrics to allow the wearer to alter and customise their garments.

CHAPTER SIX THEORETICAL ASK THE QUESTION DATA ANALYSIS THEORY

“CONSUMERS ARE UNABLE TO DEVELOP AND SUSTAIN ATTACHMENTS WITH OBJECTS LACKING SUCH CHARACTERISTICS AS THE OBJECTS DO NOT POSSESS THE DIVERSITY AND PLURALISM OF CHARACTER REQUIRED TO HEALTHILY SUSTAIN ENQUIRY” (Chapman, 2005)

ASK THE QUESTION ONE. How do you feel after you have bought an item of clothing? (Tick those that are appropriate) o Confident 22.5% o Attractive 15% o Happy 82.5% o Individual 7.5% o On trend 7.5%

TWO. Are you attracted to a piece of clothing because of the: (Tick those that are appropriate) o o o o o

Feels Looks Label / brand Quality Cost

25% 82.5% 12.5% 42.5% 40%

THREE. Would you be interested in buying a contemporary garment that is a fusion of craftsmanship and technology, such as a digitally printed fabric mixed with hand beading techniques? o Yes 85% o No 15%

4. Would you be more inclined to buy a product that you know has been worked on by hand? o Yes 60% o No 40%

FIVE. Why is this? “Crafted items are more likely to be produced in smaller numbers giving them an individual feel.” “The product appears to be higher quality when worked on by hand.” “I feel it has more of a personal touch and you know that not every item is exactly the same.”

SIX. In printed garments, what would you look for in the print? (Tick those that are appropriate) o Small section printed 12.5% o Whole garment printed 37.5% o Detail 62.5%

SEVEN. In a beaded garment, what would be the deciding factor to purchase it? (Tick those that are appropriate) o o o

Quality of beading The amount of beads How much of the garment is beaded

56.4% 7.7% 43.6%

8. Would you be more inclined to buy a garment which shape is: (Tick those that are appropriate) o On trend 2.5% o Flattering to your body type 45% o A mixture of both 55%

DATA ANALYSIS I compiled this questionnaire to gauge an idea of what the expected target market would look for in garments that are a combination of craft and new technology. The results showed that consumers are more inclined to buy items that make them feel happy and confident, and that the look and fit of the garment is the most important aspect when buying clothing. The research shows that in most cases it is the detail in the print that is the most important to the consumer. I used this research to guide the design ideas and the print work for the collection, reflecting consistently back to what the survey results suggested. *Percentage results based on multiple answers given in a survey with 40 participants

“AN EMOTION IS A FEELING THAT COMPRISES PHYSIOLOGICAL, BEHAVIOURAL AND COGNITIVE REACTIONS TO INTERNAL AND EXTERNAL EVENTS AND THEY TEND TO BE INTENTIONAL IN THAT THEY REPRESENT SOMETHING IN PARTICULAR, SUCH AS WHEN A CONSUMER IS ESPECIALLY PLEASED WITH THE EFFECTIVENESS OF A PRODUCT ” (Jansson-Boyd, 2010)

THEORY

Dormer (1997) suggests that when the making of an object requires skill; it is precious due to the materials or time invested in labour. Expressive in terms of subject matter, function, traditional or historical reference and is enduring, we live in a world in which objects including those that are crafted are more than just props, they are tools of self-expression. This collection was produced with the aim to address these needs of the consumer whilst still being contemporary and bold. Charny (2011) proposes that it is precisely because we now have industry, where machines take over so many boring and repetitive tasks, that those who have emerged from impoverishment can afford to celebrate craft as something we do for pleasure and leisure. The reason for producing this collection was to reintroduce craft to luxury garments in a fusion with new technology.

CHAPTER SEVEN BE CREATIVE TRENDS DESIGNING SAMPLING

TRENDS After researching predicted trends using WGSN, forecasts showed that for Womenswear 14/15, embellishment trends led to clusters of beading and texture. Simplistic designs with the full or majority of the garment printed were predicted to be popular.

DESIGNING A collection of simple dresses. From experience at Suzie Turner and Fyodor Golan, clients order bespoke dresses and so I made the decision to do a collection of dresses because of this. The dresses would be made out of digitally printed fabric with a 3D printed section attached using hand stitching techniques taking into account the trend predictions. Each dress would be individual with a different part 3D printed. Imagery for the prints taken from a montage of the inventions during the Industrial Revolution.

SAMPLING I used the digital printer to produce samples of fabric and the 3D printer to produce objects that could be sewn onto the fabric. The software for 3D printing is called Solidworks, it was reasonably easy to use for basic objects and shapes. I chose to make two bead-like objects and a shoulder piece. After reflection, it was decided that the project would progress and develop organically if handcraft was made a larger feature in the dresses and the 3D printing was eliminated to allow the project to evolve.

SOLIDWORKS / 3D PRINTING

CHAPTER EIGHT DEVELOP AS A DESIGNER REFLECTION REINVENTION COLOURWAY

REFLECTION After reflection and re-assessment of the project and where my skills lie, it was decided that I would do further research into hand finishing techniques. As a designer these skills are what interest me the most, I enjoy working with my hands and physically making textile pieces. The idea that a garment has been worked on and finished by hand is very appealing to me and something that I will continue to develop and work on after this project. It was interesting looking into how 3D printing is developing within the fashion industry and I may investigate this further when I am not under a time constraint to see how I can incorporate it into my work with handcraft whether it be on my own or in collaboration with another designer / maker.

REINVENTION

Research showed how garments were finished traditionally and revealed some costume techniques used a fagoted stitch to join panels together. Other techniques such as a blanket stitch, cross stitch, handmade frog fastenings and button and loop fastenings were also used. Re-assessment of the prints took place and new repeat prints were produced which were bolder and more interesting, the developments in the prints also enabled the designs to be made slightly simpler within the seam lines and construction.

HANDCRAFTING Cross Stitch for hems and seam joins. Fagoted Stitch for hems. Blanket Stitch for hems. Frog fastenings. Couture Beading for decoration. Rouleau loops and buttons for fastenings. These hand techniques were used throughout the collection to add interest and detailing that is not usually found in contemporary fashion collections. The idea behind the hand finishings was to add a bespoke feel to the individual garments because then no garment would ever be able to be reproduced exactly the same as before which would appeal to the consumer who is wanting to move away from mass manufacture. 48

COLOURWAY Through further development of the print, a series of colours were identified, these are not the final colours but were used in the development of the dresses. They were picked from the prints that had been formed from the montage of imagery of the Industrial Revolution, the majority of the colours were from an image of the railway lines which were dramatically developed from the introduction of industrialisation.

CHAPTER NINE EXPERIMENTATION DESIGN DEVELOPMENT Sampling reflective analysis

“SIMPLICITY IS ABOUT SUBTRACTING THE OBVIOUS AND ADDING THE MEANINGFUL” (Maeda, 2006)

DESIGN AND SAMPLING DEVELOPMENT

The designs continued to evolve throughout the development process. Using the new prints and the chosen fabrics, I produced samples in my sketchbook for each look. This involved working methodically through each design; adding in relevant handcraft techniques and altering some of the panelling to make the colour blocking more interesting. Changing the amount of print variety on each individual dress to make them more appealing and allow them to work better as a collection whilst still targeting the correct market level.

REFLECTIVE ANALYSIS After discussion and reflection on the design work, print and fabric selection so far, it was decided that the fabric selection should be narrowed down to aid the overall intended design outcome. The shape and length of each dress was also altered so that there was diversity within the collection. The allocation of the prints to each dress then took place.

CHAPTER TEN IT’S NOT THE END REFINING DRAFTING AND DETAILING WHEN OLD MEETS NEW

“THE REWARD OF MAKING IS THE OPPORTUNITY TO EXPERIENCE AN INDIVIDUAL SENSE OF FREEDOM AND CONTROL IN THE WORLD” (Charny, 2011)

REFINING After deciding on the colour balance for the collection, I started to add the print to the design sketches in the line up so that I could see how the collection worked as a whole. I then went onto analyse and refine each design individually, paying attention to the details this included removing the lime from the colour palette because it did not work well with the rest of the collection. The method I used for creating the line up was to collage the print and colour blocking, this allowed me to quickly assess what was working and what was not. I have used a range of development methods throughout the project to generate ideas and samples ranging from quick sketches, moulages and collage. The collages allowed me to make the prints the correct size for each garment and dictate how much fabric would be required for each print meaning I could have different designs printed on the same run of fabric to avoid waste. I then started to work out which design would have which handcraft on them, referring back to previous sampling development that had taken place. Having the samples of the prints, handcrafts and toiles allowed me to work simultaneously on all garments.

DRAFTING AND DETAILING The process of putting the garments together began with purchasing the fabric from London and buying the appropriate trimmings and embellishments. The toiles that were previously produced were altered and fit checked. After further research I decided not to line the garments because I wanted the finish on the inside to be as good as the outside, this is something that I was taught on placement, and also because historically garments were not lined. All seams are either bound or french seamed to eliminate any ugly edges, the hems are all rolled and either machine stitched or hand finished. The raw edges of some of the armholes and necklines are also bound for continuity, the dresses that have been bagged out are those that incorporate a lot of beading. I decided that under the time constraints it would be appropriate to do the majority of the machine work first and then do the hand finishings after, this also allowed me to see the collection develop as a whole. During the making process some of the original chosen colours for some of the panelling changed as the collection evolved.

WHEN OLD MEETS NEW

This is not the end...

The idea behind this collection is to be able to keep adding to the garments to appeal to the customers needs, they can be adapted so that more craft techniques can be added to each one. The garments vary with the amount of handcraft they have on already and so there is room for adjustments depending on the clients needs. If I was to continue with this project and way of working the client would be able to be involved in the design of the print and with what types of handcrafting were put onto the garments so that it is made to their requirement and is individual to them.

This is the brand logo that I have chosen to represent the collection and myself as a designer. I wanted the design to be simple but interesting which is why I chose to combine the two letters, it also reminds me of the seam lines in the garments and the fusion of two things together which is the essence of my collection.

BRANDING

Swing Tags

‘When Old Meets New’

Alexandra White

Look One

Look Two

Look Three

Look Four

‘When Old Meets New’

Alexandra White

Look Five

Look Six

Look Seven

Look Eight

The swing tags I have designed alter between pink and yellow to go with the collection, I also plaited embroidery threads together to attached the tags to the garments with.

CHAPTER ELEVEN REFERENCING ACKNOWLEDGEMENTS IMAGE LIST BIBLIOGRAPHY

ACKNOWLEDGEMENTS Sheffield Hallam University J.R.C Photography Portland Works Jessica Clarke Madeleine Emily Day Pinders Sheffield

IMAGE LIST Alexandra White Google Images J.R.C Photography Pinterest Style.com WGSN

BIBLIOGRAPHY ADAMSON, Glenn (2013). The Invention of Craft. London, Bloomsbury Academic. ADAMSON, Glenn (2007). Think Through Craft. Oxford, Berg. CHAPMAN, Johnathon (2005). Emotionally Durable Design: Objects, Experiences & Empathy. Trowbridge, Cromwell Press. CHARNY, Daniel (2011). Power of Making. London, V&A Publishing. DORMER, Peter (1997). The Culture of Craft. Manchester, Manchester University Press. FARR, Christina (2013). 3D Printed ‘Tech Couture’ Dresses Hit The Runway at Paris Fashion Week. [online]. Last accessed 14 May at: http://venturebeat.com/2013/01/22/3-d-printedtech-couture-dresses-hit-the-runway-at-paris-fashion-week/ FASHIONING TECH (2014). Haute Tech. [online]. Last accessed14 May 2014 at: http://www.fashioningtech.com/profiles/blog/list?tag=Haute+Tech FYODOR GOLAN (2014). Fyodor Golan. [online]. Last accessed 14 May 2014 at: http://fyodorgolan.co.uk JANSSON-BOYD, Catherine. V (2010). Consumer Psychology. Berkshire, Open University Press. KANSARA, Vikram (2012). The Long View: Chris Anderson Says the ‘Maker Movement is the Next Industrial Revolution. [online]. Last accessed 14 May at: http://www.businessoffashion.com/2012/11/the-long-view-chris-anderson-says-the-makermovement-is-the-next-industrial-revolution.html MAEDA, John (2006). The Laws of Simplicity. Massachusetts, MIT Press. NOBLE, Joshua (2011). Function, Fashion and Future: Q&A with Mary Huang. [online]. Last accessed 14 May 2014 at: http://thecreatorsproject.vice.com/blog/function-fashion-and-the-future-qa-with-mary-huang The British Museum (2011). What is the role and value of crafts today? [online]. Last accessed 14 May at: http://blog.britishmuseum.org/2011/08/17/what-is-the-role-andvalue-of-crafts-today/ TURNER, Suzie (2014). Suzie Turner. [online]. Last accessed 14 May 2014 at: http://www.suzieturner.com/couture/ V&A (2014). What is Craft? [online]. Last accessed 14 May 2014 at: http://www.vam.ac.uk/content/articles/w/what-is-craft/ WGSN (2014). WGSN: Creative Direction. [online]. Last accessed 14 May 2014 at: http://www.wgsn.com.lcproxy.shu.ac.uk/content/section/home.html