A COLLECTION CONCEPT
RENEW
ALLYSHA FABE
CONTENT 1-2 3 - 12
THE CONCEPT OF RENEW GARMENT/MARTERIAL INFORMATION
13 - 14
RENEW METHODOLOGY
15 - 28
LOOK VARIATIONS
29 - 30
CREDITS AND THANK YOU
Blossfeldt, Karl. “Allium Ostrowskianum.� Photograph. 1928. Art Forms in Nature, Karl Blossfeldt.
1
RENEW In the natural world there is a process that allows for growth and renewal. This can be specifically seen in plants as they develop from a seed to a beautiful natural form that changes and grows . Even at what seems to be it’s life end, plants gently return to the earth, leaving their greenery to biodegrade into the soil which will eventually aid in the growth of new plants. It was this amazing aspect of plant life that inspired me to create RENEW, a collection of garments, that have a system of renewability designed into their very being, reflective of the renewal process seen in plants. Each item is composed of a sequence of either two or three layers that are connected to one another through a series of many buttons. These buttons allow the user to make the decision to take apart the layers and wear them as separate entities or leave them as their grouped form. This incorporates the user into the renewal process which creates a stronger relationship between said user and the garment. The large amount of buttons I have chosen to use for each article of clothing, although seemingly tedious to un-do, is meant to take some time to provide the user with a true physical connection that again integrates them into the growth process. Additionally, the entire collection has been made out of organic cotton, which I chose to feature because it is a renewable resource. Many of the fabrics are presented in their natural un-coloured state, but any dyes used are either natural or fibre reactive low impact dyes. These factors allow the fabric to safely biodegrade back into the earth when a garment is no longer wearable, returning to nature to be part of the life process again similarly to the way plants biodegrade and return to nature. Overall, by integrating the user into a system that allows them to renew their garments, it is my hope that they can come to the understanding of the interconnectedness of all living things and acquire a stronger connection to their clothing thus providing a greater sense of happiness.
2
a
FIBRE CONTENT 100% cotton thread
ORIGIN Germany
PROCESSING Undyed
fio I
fio II
FIO TOP
fio III
MATERIAL/FIBRE CONTENT 100% organic cotton over nickel
ORIGIN U.S.A./Laos
PROCESSING Undyed textile, hand-covered e 3
b
c
d
FIBRE CONTENT
FIBRE CONTENT
MATERIAL CONTENT
100% organic cotton thread
100% organic cotton thread
Nickel
ORIGIN
ORIGIN
ORIGIN
The Netherlands
The Netherlands
Unknown
PROCESSING
PROCESSING
PROCESSING
Undyed
Low impact dye
Unknown
a
b
c
d
e
f
g
h
FIBRE CONTENT
FIBRE CONTENT
FIBRE CONTENT
100% organic cotton
100% organic cotton voile
100% organic cotton muslin
ORIGIN
ORIGIN
ORIGIN
Laos
United States of America
United States of America
PROCESSING
PROCESSING
PROCESSING
Undyed, hand-woven
Undyed
Undyed
f
g
h 4
a
FIBRE CONTENT 100% organic cotton yarn
ORIGIN Peru
PROCESSING Undyed
alesco I alesco II
a
ALESCO TOP
alesco III
MATERIAL/FIBRE CONTENT 100% organic cotton over nickel
ORIGIN U.S.A./Laos
PROCESSING Indigo Stripes, hand-covered e 5
b
c
d
FIBRE CONTENT
FIBRE CONTENT
FIBRE CONTENT
100% cotton thread
100% cotton gros-grain ribbon
100% organic cotton ribbon
ORIGIN
ORIGIN
ORIGIN
Germany
China
Unknown
PROCESSING
PROCESSING
PROCESSING
Undyed
Undyed
Unknown
b
c
d
e
f
g
h
MATERIAL CONTENT
FIBRE CONTENT
FIBRE CONTENT
Nickel
100% organic cotton
100% organic cotton muslin
ORIGIN
ORIGIN
ORIGIN
Unknown
Laos
United States of America
PROCESSING
PROCESSING
PROCESSING
Unknown
Indigo dyed stripes, hand-woven
Undyed
f
g
h 6
a
bene esse I
MATERIAL/FIBRE CONTENT 100% organic cotton over nickel
ORIGIN United States of America bene esse II
PROCESSING Undyed textile, hand-covered
e
BENE ESSE DRESS
f
bene esse III
FIBRE CONTENT 100% cotton gros-grain ribbon
ORIGIN China
PROCESSING Undyed e 7
bene esse IV
b
c
d
FIBRE CONTENT
FIBRE CONTENT
FIBRE CONTENT
100% organic cotton voile
100% cotton thread
100% organic cotton thread
ORIGIN
ORIGIN
ORIGIN
United States of America
Germany
The Netherlands
PROCESSING
PROCESSING
PROCESSING
Undyed
Undyed
Low impact dye
a
b
c
g
d
h
FIBRE CONTENT
FIBRE CONTENT
FIBRE CONTENT
100% organic cotton muslin
100% organic cotton
100% organic cotton jersey
ORIGIN
ORIGIN
ORIGIN
United States of America
Laos
United States of America
PROCESSING
PROCESSING
PROCESSING
Undyed
Undyed, hand-woven
Undyed
f
g
h 8
enduro I
enduro II
ENDURO PANT
c
enduro III 9
a
b
MATERIAL/FIBRE CONTENT
FIBRE CONTENT
100% organic cotton over nickel
100% cotton gros-grain ribbon
ORIGIN
ORIGIN
United States of America
China
PROCESSING
PROCESSING
Low impact dye textile, hand-covered
Unknown
FIBRE CONTENT
FIBRE CONTENT
FIBRE CONTENT
100% cotton thread
100% organic cotton thread
100% organic cotton twill
ORIGIN
ORIGIN
ORIGIN
Germany
The Netherlands
United States of America
PROCESSING
PROCESSING
PROCESSING
Unknown
Low impact dye
Low impact dye
c
d
e
a
b
d
e
10
a
b
FIBRE CONTENT
FIBRE CONTENT
100% cotton gros-grain ribbons
100% cotton thread
ORIGIN
ORIGIN
China
Germany
PROCESSING
PROCESSING
Unknown (Black), Undyed (Cream)
Undyed
vita I a vita II
VITA COAT
h
MATERIAL/FIBRE CONTENT 100% organic cotton over nickel
ORIGIN United States of America
PROCESSING vita III 11
Undyed textile, hand-covered f
c
d
e
FIBRE CONTENT
FIBRE CONTENT
FIBRE CONTENT
100% organic cotton thread
100% organic cotton thread
100% cotton thread
ORIGIN
ORIGIN
ORIGIN
The Netherlands
The Netherlands
Germany
PROCESSING
PROCESSING
PROCESSING
Undyed
Low impact dyes
Unknown
b
f
c
d
e
g
i
FIBRE CONTENT
FIBRE CONTENT
FIBRE CONTENT
100% organic cotton voile
100% organic cotton twill
100% organic cotton muslin
ORIGIN
ORIGIN
ORIGIN
United States of America
United States of America
United States of America
PROCESSING
PROCESSING
PROCESSING
Undyed
Low impact dye
Undyed
g
h
i 12
13
1
2
3
7
8
9
13
14
15
4
5
6
10
11
12
16
17
18
METHODOLOGY Using the fio top as an example, the connection between the user and the garment can be demonstrated when taking a close look at the numerous steps it takes to detach and then re-attach the layers. With so many buttons, the user must make a conscious descision to go through the un-buttoning (or buttoning) process that physically and mentally connects them to the system of renewal.
14
15
Shown: bene esse I and bene esse II anf bene esse III = bene esse IV (DRESS)
16
17
Shown: bene esse III (TOP), enduro II (BOTTOM)
18
19
Shown: fio I (TOP), enduro I (BOTTOM) 20
21
Shown: fio I and fio II = fio III (TOP), bene esse I (DRESS)
22
23
Shown: vita I and vita II = vita III (COAT - without arm buttons), bene esse I (DRESS)
24
25
Shown Left: alesco II (TOP), bene esse II (BOTTOM) Shown Right: alesco I and alesco II = alesco III
26
27
Shown: alesco I (TOP), bene esse I (DRESS) 28
CREDITS
GARMENT DESIGN PHOTOGRAPHY STUDIO SAMPLE MAKING ASSISTANCE ASSISTANT PROFESSOR OF FASHION
ALLYSHA FABE WHITE BALANCE STUDIO BROOKLYN KITAE OF NEW YORK TIMO RISSANEN
DESIGN AND SUSTAINABILITY PROFESSOR OF FASHION DESIGN
29
SOO KIM
THANK YOU
PHOTOGRAPHY
DAKOTA DANGER DOYLE/REBECCA ENIS/ NICOLE ABESAMIS
MODEL GRAPHIC DESIGN ASSISTANCE PHOTO EDITING SEWING ASSISTANCE STYLING MATERIALS
JESSICA SOLIS BOYUN YANG KATHLEEN KEHRES/BOYUN YANG KATHLEEN KEHRES/DAKOTA DANGER DOYLE CHLOÉ BENSAHEL HABU TEXTILES NEW YORK ORGANIC COTTON PLUS JOHNATHAN EMBROIDERY STEINLAUF & STOLLER SHINDO RIBBONS PACIFIC TRIMMING ECO BUTTERFLY
OTHER CREDITS
JENNI RIEN/CHRISTIN PETTIBONE/JOELLE RIFFLE PARSONS THE NEW SCHOOL FOR DESIGN
OTHER THANK YOU’S
JOEL FERREIRA AND MY FAMILY
Artists and photographers retain ownership and all rights to their original photographs and designs. ©Copyright October 2013 30
Allysha Fabe allyshafabe@gmail.com