CHROMOPHOBIA PAD

CHROMOPHOBIA SS17

A M Y J O H N S T O N

CONTENTS Concept Research

Exhibitions Holland & Sherry Vogue Archive Designers

Fabric Development Final designs Production Finals Reflection

CHRO·MO·PHO·BIA [krō’mō-fō’bē-ă]

(Also known as chromatophobia[1] or chrematophobia[2]) is a persistent, irrational fear of, or aversion to, colors and is usually a conditioned response.[2] While actual clinical phobias to color are rare, colors can elicit hormonal responses and psychological reactions.[3] [1] Campbell, Robert Jean (2009). Campbell’s Psychiatric Dictionary. Oxford University Press. pp. 186–. ISBN 9780195341591. Retrieved 22 August 2014.

[2] Doctor, Ronald M.; Kahn, Ada P.; Adamec, Christine (2009-01-01). The Encyclopedia of Phobias, Fears, and Anxieties, Third Edition.

Infobase Publishing. pp. 146–. ISBN 9781438120980. Retrieved 22 August 2014 [3] Ph.D., Gregory Korgeski, (2009-11-03). The Complete Idiot’s Guide to Phobias. DK Publishing. pp. 232–. ISBN 9781101149546.

Retrieved 23 August 2014

My Capsule collection: Chromophobia is designed for Spring Summer 2017.

A high end market is targeted through the use of traditional luxury fabrics and innovative techniques producing contemporary yet commercial garments.

Making great use of the local resources the collection takes inspiration from the fabrics of Holland and Sherry, the producers of some of the finest cloths in the world. Inspired by the hidden opulence of Holland and Sherry fabric stories the garments all have underlying details only known to the wearer. The collection overall portrays an ‘urban luxe’ mood through the use of original fabric manipulation and relaxed silhouettes. The research for this collection used a broad range of resources including photography, exhibitions, archives and illustration.

The concept of Chromophobia was introduced during a visit to Another Minimalism: California Light and Space exhibition at the Fruit-market gallery in Edinburgh. The exhibition displayed an array of works by minimalist artists who worked in the 60’s.

The materials of inspiration for this exhibition were on view and it is then I discovered ‘Chromophobia’ A book by David Batchelor. This book looks into the fear of or aversion of colour within western culture and so this became a starting point for research. The vast range of possibilities in portraying this concept was overwhelmingly intriguing.

In order to fit in with a high end market the collection, inspired by Holland and sherry uses luxury cashmeres for some key garments. These fabrics are modernised through the use of foiling and laser cutting and paired with performance sportswear fabrics in order to be cohesive with the ‘urban luxe’ mood.

The colour palette of the collection is primarily white with the addition of soft grey and subtle pops of neon green. The original concept for the collection involved no colour in order to portray the theory of chromophobia. On further development it was decided that the addition of not only a colour, but an acidic bold one would add interest aesthetically and if used carefully portrays the concept well.

Oversized silhouetted with a focus on a slim waist through cropped tops is a clear reflection of the inspiration from 80’s fashion. The vogue archive gave an insight into what high fashion advertised at the time, although the power-dressing trend provides a strong basis for silhouette I looked further into 80’s street-wear and home photo albums in order to get a sense of what the normal working classes wore.

EXHIBITIONS

Anne Veronica janssens June. 2011-13 Polished Anlaglass bar, ultraviolet effect

The simplicity and boldness of this sculpture

by Anne Veronica Janssens inspired the development of acid like tones through the research stage. The use of only one media and one colour adds impact to the sculpture. The use of polished anlaglass allows the colour of the sculpture to reflect onto the surrounding surfaces. This was noted in my research and I began develping ways to replicate this idea of reflection into fabrics. The idea of using a highly reflective colour and surface to project colour onto the body from the inside of a garment rather than have colour on the external of a garment was developed. This idea of hidden colour emerged as a portrayal of chromophobia, as the colour is only visible when it is reflected onto a surface underneath and not directly.

EXHIBITIONS

‘Cities in the Sky’ Koralia Maciej RSA Open Art Gallery; Scottish National Gallery This large- scale artwork was spread across two walls making it one of it not the largest piece on show at the exhibition. The display is created with multiple A1 pieces of varying materials depicting distorted photographs of constuction sites. The varying transparencies and layering of the images created a disorganised spectacle. The geometric details entertain without the need of colour.

Inspired by the artworks of Koralia Maciej and further photographs of construction sites this print was developed in order to bring an aspect of print into the collection.

The hectic lines and intricate details are brought into order through repetitive symettry . Although this would have been efective as a print it needed developed further in order to fit a higher market .

LASERCUTTING

The prints were then devloped for lasercutting and the designs experimented with scale and pattern.

The lasercutting enhanced the initial print designs allowing them to be brought forward in the design process.

In order to incorporate the idea of hidden colour within the lasercutting the student played with the concept of small colour details. The first idea to incorporate this was to layer the lasercutting over a bright colour but this seemed too obvious.

So going back to the reflection of colour onto it’s surrounding surfaces the idea of a double sideed fabric; pale or neutral on one side and bright on the hidden underside would create the desired subtle view of colour.

HOLLAND & SHERRY

Blue

Sapphire

Collection

“The blue colors in a sapphire are intensified when observed from different angles in polarized light. Infusing the cloth with sapphire dust intensifies the blue and creates opulent cloth beyond compare.”

The particles of sapphire added to the fibres of this cloth are so small they add little to no effect to the appearance of the fabric. What they do add is detail to the concept, the story of the fabric.

The Sapphire particles are not visible to the naked eye but they are known to the wearer. It’s the knowing about this hidden detail that adds to sense of exclusivity and luxury with Holland and Sherry fabrics.

HOLLAND & SHERRY

The Black Pearl Collection The dust of black pearls is crushed and incorporated into the fibres of the wool before weaving the cloths for this collection.

The collection is a range of lustrous dark fabrics with subtle iridescence inspired by the surface of the pearl.

Again the addition of the crushed pearls has no effect on the physical appearance yet the addition of the pearls is known to the wearer so adds luxury and value.

The Chromophobia collection brings forward this idea of hidden details by introducing subtle design details that will be for the wearers eye’s and knowledge only. Carrying of the essence of luxury through fine cashmere wools innovated with the addition of metallic foils to replicate the shine of a pearls surface.

VOGUE ARCHIVE

Using the Vogue archive as a main reference point the collection took a variety of inspirations from trends of the 1980’s. Focusing on powerdressing and active sportswear; a relaxed silhouette was developed.. Focusing on the archive between 1984 and 1985 the main inspiration was from advertisements at the time rather than articles.

Oversized Masculine garments inspired by the Powerdressing movement are neutralised with feminine cinched waists and unexpected cropped lengths. Cropped tops reveal a high waisted trouser or skirt allowing waistband details to be clearly seen. Sportswear gives a slight insight in an urban aesthetic of 80’s streetwear but old family photos from the 1980’s provided an un-edited reference into the fashion of the working classes; raw edged, oversized T-shirts tucked into highwaist trousers and an abundance of denim.

1980’s glamour and swimwear inspired the plunging necklines and high rise legs. The plunge necklines enhance femininity but are styled with basic jersey garments for a more versatile look.

FABRIC

High Shine and metallic fabrics are inspired by luxury sporstwear campaigns and 80’s swimwear.

The use of foiling to incorporate metalic details into garments for this collection enables traditional fabrics such as wool to be reworked for and urban aesthetic.

In order to continue the idea of reflecting colour rather than it being directly visible; tight fitting undergarments and base layers are used as a metallic base layer to reflect the neon green hidden in the linings of outer garments.

“A large part of why I am so interested in denim as a material is that culturally and throughout history, it has acted as a signifier to such a variety of social groups, with often juxtaposing connotations.�

Matthew Adams Dolan presented his debut collection for Spring/Summer 2016.

His aesthetic is inspired by the simplistic approach of brands such as Maison Martin Margeila. He works prominently with over-sized silhouettes and in denim.

Taking advantage of denims androgynous properties and unrestrained silhouettes his designs are wearable by anyone.

This collection looks to denim as a uniform to every class and subculture.

Denim is a staple that is recreated again and again. The root of research for this collection was in the tradition of the fabric.

Dolan looked into the American roots of the fabric and researched the weaving process; inspiring him to de-construct and rework the fabric for his own work. This idea of reinventing a traditional fabric inspired me to look at ways of enhancing the structure of fabric in my designs. Pairing traditional Holland & Sherry wool with basic and sports fabrics to produce new silhouettes and an urban aesthetic.

DESIGNERS

Geometry meets tribal in Kokon to Zai’s Spring/ Summer 2014 collection. Although the collection is over three years old it’s a collection I look to time and time again. Marjan Pejoski portrays the Kokon To Zai concept through so many mediums & aesthetics the opportunity for inspiration is endless.

This collection is inspired by the Berber women of North Africa, the tribal prints and traditions have been re-contextualised into clean cut geometric patterns.

The communication of pattern without the use of print in this collection inspired my use of laser-cutting. Through laser-cutting bold shapes are communicated much like the patterns in this collection are produced through layering, appliques and embroidery. This method of communicating a pattern allowed me to bypass the use of print enabling me to eliminate the use of exterior colour in my designs.

FABRIC DEVELOPMENT

In order to be lasercut the fabric I used had to be a natural fibre or a natural and manmade mix in order to avoid fraying I chose leather. I chose leather for it’s luxurious handle and high end appeal. The first Isuue I encountered whilst using leather was trying to get hides of the same colour and thickness. I then had the problem of the underside being discoloured and or rough.

Initially I planned to dye the underside of the leather with a bright neon tone in order to create a double sided fabric for garments that were not lined. Fter trying sublimation printing and dying unsuccessfully I decided to try backing the fabric with a neon green mesh. This hid imperfections and created the double sided appearance I wanted. I did this by using bondaweb between the layers of fabric and exposing the leather to heat only 3 seconds at a time.

Although this added bulk and stiffened the handle of the leather it’s the solution I decided to go for.

In order to have my designs lasercut I digitized the patterns and placed my designs accordingly.

Unfortunately due to leather not being completely flat the laser cutter burned the edges of my design in places. This is a problem that was out of my control. The lasercutting also had a similar effect to the heatpress as the heat draws out the moisture of the leather it again toughened up. This is a problem that could have been predicted had I tested out the lasercutting on the exact leather I intended to use for my design.

Unfortunately due to costs it was not possible to test as there was no excess leather prior to my final fabrics being bought. If I was to create these designs again I think I would have the leather cut by hand in order to avoid the moisture being drawn out and avoid the blackened edges.

FABRIC DEVELOPMENT

Originally I wanted to use foil in order to highlight the woven structure of one of the holland and sherry samples we recieved. However this particular fabric was difficult to get hold of. Instead I opted to used foil on 100% cashmere in panels on some garments and entirely for others. The metallic foil adds luxury details and updates the traditional aesthetic of the Holland and Sherry wool fabrics.

FINAL LINE-UP

FINAL LINE-UP

CHROMOPHOBIA Range Plan

LOOK ONE

This first look consists of a metallic sheer back tee, leather lasercut shorts and a cropped jumper.

The first toile of the shorts initially had mesh panels and I was happy with the silhouette of these. After toiling in a stiffer fabric to imitate the drape of leather I decided it was best to eliminate the mesh panels and make the shorts purely of leather as mesh would not hold the shape.

After experimenting with the pattern to eliminate any shoulder or arm seams this jumper ended up constructed similarly to a batwing top. I was happy with the overall silhouette of the toile but as you can see on the right sleeve it needed to be tapered, the result of this tapering is shown on the left sleeve. I then decided I wanted to add volume to the sleeve in order to do this I added length to each sleeve but I did not add the length to the mesh panel; this meant when sewing the sleeve the mesh panel is stretched to match the cuff and produced a ruffled effect adding volume at the cuff.

The sheer back top originally did not have the zips in the shoulder seams but down the back. During construction of the first toile it was obvious that it would be best to avoid inserting a zip into silk chiffon as it’s just too fine. Instead the zips were made into a design feature and added an element of choice in the wearing of the garment.

LOOK TWO

I used a trial and error method for the first few toiles of the trousers. This toile had excess fabric at the crotch and too much volume added at the hips. This problems were solved by first taking off some of the added volume at the hips and taking off some of the excess fabric at the inner thigh. The waist was then retoiled numerous times after raising the overlap at the front and drafting a facing. Initially the trouser were going to fasten with an invisible zip at the side seam however during the toiling process it was decided a more creative fastening would be suited. After further trial and error the waistband was finalised with two hidden button fastenings.

The first toile of thebodysuit consisted of raising the leg to above the hip, the low back and deep plunge were marked whilst on the stand in order to ensure the placement was correct. I marked and altered this toile on the stand until I was happy with the shape and fit and altered my patterns accordingly.

Measurments were then taken from this in order to create the custom ‘buckle’ for the bodysuit.

I was very happy with the shape of the first crop top toile. Keeping it simple enabling the fabric manipulation to be the key feature. The only alteration made to this toile was to raise the curve higher at the back in order to make the detail of the bodysuit underneath more visible.

The first Toile of the Jacket was too short but it did have the proportions I was aiming for. I added length to the sleeves and tapered them as tight as possible in order to give the gathered appearance when worn; similar to the jumper.

I then toiled with the upper panel and altered the placement of this whilst on the stand. After I was happy with the placement of the upper panel I marked where the pockets should go on the stand before adding the desired length.

Look

one

analysis

Overall I am very happy with this outfit as a whole. I think I have been successful in fulfilling the brief producing an urban luxe collection targetted at a high end market.

The Trousers are made from Holland and Sherry pinstriped fabric with cashmere foiled panels. I am happy with the silhouette and overall production of these trousers. The hidden button fastening adds a luxurious function to the garment. The trousers are fully lined with a neon green mesh adding cohesion throughout the collection. The facing of these trousers is made from the same foiled fabric as the panels.

The Metallic bodysuit is fully lined with the same neon green mesh as the trousers and jacket. I was unhappy with the coverstitching on the plunge neckline of this bodysuit however it would have been ineffective to unpick this stiching to do again as it ould have marked the fabric. The addition of this 3d printed buckle I designed brings the bodysuit together and the added detail suits the target market.

I was happy with the silhouette and placement of lasercutting on the croptop however the stiffness of the leather was not the exact handle I had intended the top to be this affects the comfort and wearability of the top. If I were to do the top again I would choose a softer thinner leather and the design would be handcut rather than laser cut.

The tailored Jacket was an additional garment to the collection as an extra for this outfit. Overall I am happy with the silhouette of the garment however i think the sleeves could have benefited from being longer to add extra gathering to the appearance and they should have been tapered further up on the sleeve.

If I was to redo the jacket I would elongate the collar and slim it down slightly but overall I am pleased with the finished product.

Look

two

analysis

I am happy with the finshed look of this outfit the garments piece together well. The construction of the shorts was a challenge because of the stiff and thick properties of the leather. This meant that the inside of the waistband is not manufactured to a professional standard. Unfotunately due to this nature of the leather I could not unpick the waistband as needle marks would be visible.

Unfortunately perforation marks are visible on a seam of these shorts this was due to a malfunction with a lockstitch machine. In order to avoid this problem in the future I will practice more patience when it comes to working with such an unforgiving fabric. I also should have toiled this garment with the lasercut already done as I would have realised that the seam allowance was visible through the lasercut design; this meant I had to trim seam allowances to 0.5cm and glue them down rather than them being 1cm with topstitching.

The foiled Holland and Sherry top was a little stiffer than I’d originally intended this could have been avoided had I toiled using a fabric more similar to handle incorporating the added stiffness of the bondaweb and foil. The sheer silk chiffon back was extremely difficult to work with and unfortunately the fabric did pull at a couple of points . This is something I could not control and it was down to bad fabric choice.

I am happy with the silhouette and execution of the cropped jumper. I chose to line it with neon green as a design feature to reflect the colour over the metallic Holland & Sherry top.

REFERENCES

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Page 30-31: 6, S. (2016) GOLD TEXTURE 2 - for iphone art print by Simone Morana Cyla. Available at: https://society6.com/product/gold-texture-2-for-iphone_print#1=45 (Accessed: 16 April 2016).

REFERENCES

A M Y J O H N S T O N