Mdes Final Year Project - Reflective Log by amy rose cooper

amy rose cooper spring / summer 2016 reflective log

amy rose cooper spring / summer 2016

reflective log amyrose cooper spring / summer 16

Exploring the concept of slow design through hand embroidery and classic silhouettes; creating timeless pieces which are designed to be valued and made to last.

cont ent s

inspiration

introduction 5-6

introduction to collection

research & background slow fashion

7-8

concept

9 - 10

theme

11 - 14

target customer & muse

19 - 20

development

21 - 22 embroidery

history of embroidery

29 - 30

23 - 24 garment construction

contemporary embroidery

resolution finished garments

31 - 32

25 - 26 detailing

photoshoot

15 - 16

who made your clothes? handmade

design rationale

33 - 34

referencing 35

36 - 40

bibliography image list

43 - 44 45 - 46

contemporary whitework (Franklin and Jarvis 2005, p10)

i nt r oduct i on As a starting point for this collection two main issues were identified; how to address the ecological and social damage fast fashion is doing to the world and to promote the preservation and continued use of heritage skills. The fashion industry is a major contributor to environmental and ethical issues; clothing is often mass-produced cheaply and quickly, resulting in low quality products sold at low prices. (Dickson, Cataldi and Grover 2011). This ‘Fast Fashion’ is not valued and has created a throwaway culture which has negative impacts on the environment. (Siegle 2011).

Mass production and the increased use of technology in fashion design has led to a decline in traditional crafts such as hand embroidery. This skill has been part of our heritage for hundreds of years and is now at risk of not being passed down from generation to generation. It was felt that a collection could be developed to combine both of these issues with each informing the other. This would create a collection of garments which are valued for their lifetime and using hand embroidery to promote the use of traditional skills.

“These skills will only survive if they live in each generation. They provide a link to our roots, and they are part of our shared heritage.” (Ellis-Petersen 2014)

i nspi r at i on design rationale / concept / theme / target customer / muse

des i gn r ati onal e

An interest in heritage crafts, sustainability and slow fashion has always been present and over the past 4 years this has continued to grow and develop into a personal strong direction. Growing consumer awareness and concern has created a need for a more sustainable and responsible way of designing and producing fashion. It is widely believed that the answer to this issue lies in the materials we use, producing garments from renewable sources or recycled materials. Consumers may often view sustainable fashion as being undesirable or unfashionable because the design has too much focus on sustainable manufacture and not enough on the

consumer; when in fact it is the consumer who will ultimately purchase and wear the garment. Rissanen et al. (2011) discusses this concept in ‘Shaping Sustainable Fashion’, describing it as “design for sustainability, as opposed to sustainable design”. Encouraging more sustainable behaviours by creating a connection between the wearer and the designer / maker. According to Rissanen this can be done by incorporating craft techniques in a contemporary garment, making the thought processes behind the design clear to the consumer; a concept which this collection hopes to continue and explore through its own craft techniques.

hand embroidery for amy rose cooper spring / summer 2016

c onc ept â&#x20AC;&#x153;Embroidered garments may sometimes lose their fashion appeal, but when they reappear we cannot help but be enchanted by the delicate images, the colors, and the elegance they portray.â&#x20AC;? (Mahe 2012)

This collection has been designed in response to the rise in Slow Fashion and the decline of heritage crafts, specifically hand embroidery; aiming to produce a range of garments as one of a kind pieces with carefully considered techniques and materials. Changing values of fashion through garments which are designed and made to last rather than trend led.

surrounding sustainable fashion and was combined with previous knowledge and interest in the Slow Fashion movement. By choosing to use hand embroidery in this collection, garments are given a unique appeal that cannot be standardised or mass â&#x20AC;&#x201C; produced. This collection celebrates the imperfections and qualities which make hand-made and one off pieces stand out. With so much standardisation within the current fashion market there is an identified need to revisit heritage skills which once gave garments their individuality and luxury appeal.

When creating and developing this collection, a main objective was to approach the issue of sustainability by focusing on the way garments are used and valued rather than the raw materials they are made with. In-depth research was undertaken into current practices

them e

â&#x20AC;&#x153;Embroidery as an art form is timeless and enduringâ&#x20AC;? (Mahe 2012)

To be successful in addressing these issues a collection must also be desirable to potential customers. It is not enough to create a collection which is more sustainable than a mass produced alternative; garments must also be of aesthetical high quality. (Kane 2015) To address this and to complement the concept of slow fashion and the promotion of heritage crafts; the theme of this collection focuses on high quality detailing and celebrating traditional embroidery techniques through a contemporary interpretation.

solution it was decided that the theme should focus on one specific embroidery style or technique. After research and exploration of different opportunities Whitework was chosen. It provided an opportunity to work with several different stitch techniques; including pulled and drawn thread; and through experimentation was easy to manipulate to create a contemporary effect. When developing this collection the aim was to create garments which are made for their purpose; garments were designed for their practicality as well as their aesthetic appeal. A belief that clothes should feel luxury to wear as well as look good was a key design philosophy in the development of garments.

Hand embroidery has many different sub categories and designs; over the years different techniques have been developed to suit the change in period styles. To provide a more in-depth analysis and a refined

embroidery development throughout project

“Luxury must be comfortable, otherwise it is not luxury” Quote by Gabrielle ‘Coco’ Chanel as used in ‘Chanel’ by Bolton and Koda (2005a)

c hanel

As the collection developed, Gabrielle ‘Coco’ Chanel became a source of inspiration for silhouette, fit and garment construction. Her work as a designer in the 1920’s and 1930’s was revolutionary in changing womenswear silhouettes through innovative design. In contrast to the structured, corseted clothing of past years she designed clothes to prioritise “comfort, simplicity and functionalism”. (Bolton and Koda 2005b).

These values were reflected in personal beliefs and used as inspiration. Simplicity, comfort and timelessness with an overall high quality finish were woven throughout the design process. When identifying a muse for this collection, key qualities were chosen to reflect this recurring theme of timelessness and luxury.

tar get c us tom er & m us e

Kirsten Dunst was chosen as a muse to inspire and inform the design process throughout this project; she reflects the theme and concept, and presents an ideal embodiment of the image this collection aims to reflect through the garments.

uniqueness and individuality in fashion. Embroidery can often be perceived as dated because of its association with tradition and femininity; the concept and theme of this collection aimed to challenge this by using traditional techniques in a contemporary way; updating the technique for a generations to follow. This preconceived idea was also challenged through the selected muse, by choosing someone described by Berti (2012b) as “apparently innocent and delicate but with a dark and rebellious side” to contrast against the natural delicateness of hand embroidery. She has an alternative and quirky edge which shows through her personality; a quality this collection hopes to reflect.

Kirsten Dunst was chosen for her timeless beauty; timelessness was an important factor in the theme and it was felt that the muse also needed to portray this. She is also known for her natural beauty and recognised for her authenticity, embracing her “peculiarities” or imperfections (Berti 2012a). As the concept became more focused and developed this became an important issue and influence to the project; opposing mass - production and uniformity, celebrating

kirsten dunst for a magazine (archdezart 2012) & band of outsiders spring ad campaign (carter 2011)

kirsten dunst - timeless (embrownings 2015)

This collection is aimed at women aged between 24 and 35 years of age. The target customer is looking for comfort in their clothing as well as aesthetic appeal; choosing quality over quantity. They will be quirky and have an alternative style with an interest in lasting fashion, choosing garments because they will value them instead of trend-led.

resear ch & backgr ound slow fashion / who made your clothes? / handmade / history of embroidery / contemporary embroidery

s l ow fas hi on

Slow Fashion is a term used by Kate Fletcher to describe a more sustainable way of producing and consuming fashion; an approach which covers more than materials and manufacture. It is fashion which is not only produced at a slower rate but incorporates issues such as producing less and pricing garments at their true value. Slow Fashion aims to change the way we produce and use fashion by creating a better relationship between the consumer and maker, with awareness and transparency in the design and manufacture.

This is a fashion movement which is growing in momentum and popularity. Robbins (2015) describes sustainable fashion as “more than hemp sack dresses” and says that “The easiest way to think about sustainable fashion is simply as awareness.” In today’s industry, mass production and standardisation has led to consumers having little or no awareness of where, how and by who their garments were produced. This is reflected through the way garments are valued.

w ho m ade y our c l othes ?

There is a growing consumer awareness and concern over how and where clothes are made and recent tragedies in the garment industry have contributed to this. Fashion Revolution is a global coalition of people connected to the industry who aim to create permanent change and create awareness of the processes and impacts involved in the creation of a garment.

One of the ways in which this was considered was through the use of handcraft techniques; each garment in this collection was hand embroidered. This is a more personal way of designing and producing fashion; it was a technique chosen because it cannot be mass produced and consumers will know where and how their garment has been made.

Fashion Revolution Day 2015 focused on supply chain transparency; encouraging companies to take responsibility and understand who makes their clothes and then communicating this to their customers (Fashion Revolution 2015b). Transparency and responsibility are needed for brand reputation and to help the consumer connect with the people who make their clothes. These principles were personally held values and beliefs throughout the progression of this project. Creating a small scale collection inspired by this involved understanding and carefully considering every aspect of design and manufacture.

If this collection had been designed or produced on a larger scale, the same decisions would have been made based on these philosophies. After researching and sourcing fabrics for this collection the decision was made to use mainly linen. Linen is made from flax and uses less pesticides and chemicals than cotton and all of the plant can be used (Green Choices 2015). Linen is a strong fibre and the garments in this collection will last their lifetime, this will encourage consumers to value and treasure their clothes.

“To understand that we aren’t just purchasing a garment or accessory, but a whole chain of value and relationships.” (Fashion Revolution 2015a)

every piece of embroidery created for this collection was personally hand stitched

handm ade

Whilst there is an expanding movement in sustainable fashion, there is also a growing trend for handmade, one of a kind products. Consumers are wanting to stand out from the crowd, becoming more interested in one-of-a-kind products. They are no longer concerned about trend following and owning the same as everyone else. One-of-a-kind products have become the trend and they’re actively looking for a story behind a piece, something to differentiate it as unique and individual. (Adamczyk 2014). This is also supported by Barrett (2008) who says that the popularity and importance of embroidery has re-emerged in recent years because of the time it takes to accomplish; stating that in today’s culture time has become a precious commodity. The time and consideration put into every piece because they are handmade, are what gives this collection its link to quality and luxury. Through the use and application of hand embroidery, this collection aims to promote the benefits of handcraft within fashion, focusing on what differentiates it

from mass production. As opposed to mass production, when using handcraft techniques it is impossible to achieve uniformity. Handmade products have ‘imperfections’ or irregularities which make them unique. Even when using the same embroidery techniques in this collection it is impossible to achieve exactly the same results. These imperfections are often seen as a negative quality; however this collection hopes to celebrate them as a characteristic which shows the connection to the maker. There are other current links to celebrating and valuing diversity in the fashion industry. There are campaigns to recognise the beauty in people of all races, shapes and age and to see that “imperfections” are what makes us beautiful and unique as individuals. There is a growing movement towards using variety in fashion models; fashion week 2015 saw a change with many designers choosing to use models who are alternative to the normal. This is a positive change within the fashion industry.

“Imperfections are beautiful” (i-D 2014)

hi s tor y of em br oi der y

â&#x20AC;&#x153;For centuries, embroidery has been an integral part of a fashion designerâ&#x20AC;&#x2122;s work as those with an eye for creating extravagance and beauty will generally feature richly embroidered clothing in their collections.â&#x20AC;? (Hand & Lock 2012)

In many cultures whitework was used to decorate clothing worn for religious ceremonies such as wedding dresses; along with all hand embroidery it reflected luxury, wealth and status (Franklin and Jarvis 2005). It is a style of embroidery which has been passed down through generations and has evolved from basic stitch patterns. This adaptability of reflects the design philosophy behind the collection; creating garments with a sense of timelessness which are designed to be valued and looked after.

Whitework is a traditional technique which has been used to adorn garments and furnishings for centuries. It is a term used to cover many types of embroidery which were traditionally worked in white thread using natural fabrics.

historic examples of faggoting & drawn thread (adored vintage 2013) & (vintage dancer 2015)

whitework embroidered muslin dresses (maudelynn 2015)

embroidery developed in a two day whitework workshop

c o ntem por ar y em br oi der y

Whilst undertaking research for this project, a workshop teaching contemporary white-work embroidery provided first-hand insight into ways of using traditional stitches in a contemporary way. This workshop was essential to the project to gain a better and wider knowledge of techniques. It was also useful to be amongst other hand embroiderers who were working on individual projects; to see how people can interpret embroidery in their own personal style.

Over two days a sampler was developed showcasing various stitches. Stitches were manipulated using different weights of fabric, various thread thicknesses and by introducing colour to a traditionally white thread on white fabric technique. Two of these stitch techniques became the main feature in this collections theme, pulled and drawn thread work.

â&#x20AC;&#x153;There are hundreds of hand embroidery stitches, most of which cannot be duplicated by machine. This fact makes hand embroidery a unique, personal, and very human art.â&#x20AC;? (Corbet 2011)

devel opm ent embroidery / garment construction / detailing

em br oi der y

After completing the contemporary whitework embroidery workshop, further research and development led to several experiments with stitch size and colour. The most successful of these initial experiments were the drawn thread pieces. Although they were based on a traditional technique the finished result was distinctive

and contemporary. Individual threads were removed from the warp or weft of the fabric and then grouped together. It was interesting to see the different results that could be achieved through different stages of the technique, by leaving the threads ungrouped or only grouping certain sections.

Hand embroidery became the main theme and feature in this project; it reflects luxury, quality and timelessness. Hand & Lock (2012b) state that hand crafted work adds quality and luxury to any garment; a recurring theme and goal throughout the development of this project when looking to Chanel for inspiration and considering garment construction. After exploring this idea through hand embroidery the project expanded to focus on creating detailing and silhouettes in the same way.

gar m ent c ons tr uc ti on inspiration & development

Learning from previous projects, a high importance was placed on toiling and moulage; throughout the collection development embroidery samples were pinned to mannequins which became inspiration for initial design ideas and helped with visualisation of a resolved piece. Photos and sketches were produced from both toiling and moulage which were then analysed and further developed. They helped to inform pattern cutting and construction for each piece and were used as a way to document the changes and updates made to a design.

toile and moulagt in design & development stage

detai l i ng Throughout four years of study a personal strength and interest has grown in quality detailing on garments. Detail and intricacy is a quality which is personally valued in hand embroidery, crossing over to garment construction as awareness and knowledge of different methods and contemporary examples has increased. This collection took inspiration from historical and contemporary sources on pocket, fastening, finishing and construction styles.

development of detailing for amy rose cooper spring / summer 2016

Focusing on garment detail helped to vary ideas in the design process and to challenge myself as a designer, pushing to create higher quality garments with more aesthetic intrigue.

Towards the end of the project the decision was made to use a contrasting print as a running theme through garment finishing and branding. The idea was that it would link garments and collection literature together and make it recognisable as a whole. It would also show through a sense of personality from the maker; something that is unexpected but gives the garments extra intrigue.

Direct inspiration also came from first-hand experience at White Stuff design headquarters whilst on a placement. Whilst there it was clear that White Stuff pride themselves on their attention to detail and quality. It was impressive to see the wide variety of prints, buttons, trims and linings they use to contrast against a garment; often this detailing is hidden inside a garment and isnâ&#x20AC;&#x2122;t visible until closer inspection. This unexpected detail succeeds in reflecting their personality in their garments, it shows their quirkiness, â&#x20AC;&#x153;irreverent sense of humourâ&#x20AC;? and highlights the consideration put into every piece (White Stuff 2015).

It is a personal belief that fashion and garments should reflect the personality and values held by the designer and maker. Similar to the concept of incorporating craft techniques into contemporary fashion, it helps the customer to identify and connect with the garments. Ultimately creating an emotional attachment where they can value garments, prolonging their life cycle and delaying disposal. (Rissanen et al. 2011) This collection aim to accomplish this through the application of hand embroidery, creating timeless designs which are still treasured as pieces of art in years to come.

Personality and individuality are qualities that this collection hopes to reflect in each garment.

r esol ut i on finsihed garments & photoshoot

Exploring the concept of slow design through hand embroidery and classic silhouettes; creating timeless pieces which are designed to be valued and made to last. This collection aimed to produce a range of garments which are designed and manufactured as one-of-a-kind; celebrating heritage craft through hand embroidered designs to create garments which are valued for the skill and consideration behind each piece. Inspired by whitework embroidery, this collection uses traditional techniques in a contemporary way to continue the practice of hand embroidery for further generations.

The collection features a range of eight outfits for womenswear Spring Summer 2016. Consideration and an extensive analysis was given towards the individual pieces for this season, focusing on luxury, comfort and aesthetic appeal. It will be aimed at the luxury designer market.

design & styling by amy rose cooper / photography by ellie grace / modelled by lucy smith

r ef er enci ng bibliography / image list

bi bl i ogr aphy

ADAMCZYK, Alicia (2014). Why Brands and Retailers Are Running With the ‘Slow Fashion’ Movement. [online]. Posted 20 November. http://www.forbes.com/sites/aliciaadamczyk/2014/11/20/why-brands-and-retailers-are-running-with-theslow-fashion-movement/ BARRETT, Annin (2008). A Stitch in Time: New Embroidery, Old Fabric, Changing Values. [online]. Textile Society of America. Paper 79. http://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1079&context=tsaconf BERTI, Francesca (2012a). Kirsten Dunst: The Muse of Sofia Coppola. [online]. Posted 31 December. http://www.iwanttobeacoppola.com/journal/2012/12/31/kirsten-dunst-the-muse-of-sofia-coppola.html BERTI, Francesca (2012b). Kirsten Dunst: The Muse of Sofia Coppola. [online]. Posted 31 December. http://www.iwanttobeacoppola.com/journal/2012/12/31/kirsten-dunst-the-muse-of-sofia-coppola.html BOLTON, Andrew and KODA, Harold (2005a). Chanel. New York, Yale University Press. BOLTON, Andrew and KODA, Harold (2005b). Chanel. New York, Yale University Press. CORBET, Mary (2011). 5 Points to Consider about Hand Embroidery. [online]. Posted 17 August. http://www.needlenthread.com/2011/08/5-points-about-hand-embroidery.html DICKSON, Maureen, CATALDI, Carlotta and GROVER, Crystal (2011). The Slow Fashion Movement. [online]. Posted 7 May. https://www.notjustalabel.com/editorial/slow-fashion-movement ELLIS-PETERSEN, Hannah (2014). Traditional skills at risk of dying out, says craft group. [online]. The Guardian, 30 December. http://www.theguardian.com/culture/2014/dec/30/traditional-skills-endangered-heritage-craft

FASHION REVOLUTION (2015a). Why Do We Need A Fashion Revolution? [online]. http://fashionrevolution.org/about/ why-do-we-need-a-fashion-revolution/ FASHION REVOLUTION (2015b). Transparency. [online]. http://fashionrevolution.org/about/transparency/ FRANKLIN, Tracy A and JARVIS, Nicola (2005). Contemporary Whitework. London, Batsford. GREEN CHOICES (2015). More sustainable fabrics. [online]. http://www.greenchoices.org/green-living/clothes/more-sustainable-fabrics HAND & LOCK (2012a). Fashion. [online]. http://www.handembroidery.com/embroidery/fashion/ HAND & LOCK (2012b). The History. [online]. http://www.handembroidery.com/hand-lock/the-history/ i-D (2014). 10 reasons imperfections are beautiful. Fashion. [online]. Posted 22 May. https://i-d.vice.com/en_us/article/10-reasons-imperfections-are-beautiful KANE, Colleen (2015). Who made your clothes? A ‘Slow Fashion’ revolution rises. Posted 24 April. https://fortune. com/2015/04/24/clothes-slow-fashion-zady/ MAHE, Yvette (2012). History of Embroidery before 1900. [online]. Posted 12 November. http://www.fashionintime.org/ history-of-embroidery-before-1900/ RISSANEN, Timo, et al (2011). Shaping Sustainable Fashion: changing the way we make and use clothes. London, Earthscan. ROBBINS, Kendall (2015). How can you shop for fashion sustainably? Voices. [online]. Posted 24 April. http://www.britishcouncil.org/blog/how-make-sustainable-fashion-choices SIEGLE, Lucy (2011). To Die For: Is Fashion Wearing Out the World? London, Fourth Estate. WHITE STUFF (2015). About us. [online]. http://www.whitestuff.com/about-us/

image references: ADORED VINTAGE (2013). Vintage Details. Vintage Blog. [online]. Posted 8 July. http://www.adoredvintage.com/ vintageblog/page/7/ ARCHDEZART (2012). Kirsten Dunst for A Magazine Spring/Summer 2012. [online]. Last updated 2013. http:// archdezart.com/2012/04/17/kirsten-dunst-for-a-magazine-springsummer-2012-david-armstrong/ CARTER, Alex (2011). Kirsten Dunst in Band of Outsiders Spring Ad Campaign. [online]. Last updated 2015. http:// pursuitist.com/kirsten-dunst-in-band-of-outsiders-spring-ad-campaign/ EMBROWINGS (2015). Embrownings. [online]. http://embrownings.tumblr.com/ FRANKLIN, Tracy A and JARVIS, Nicola (2005). Contemporary Whitework. London, Batsford. MAUDELYNN (2015). Three very early 1800s Muslin Embroidered Dresses. [online]. http://maudelynn.tumblr.com/ post/109354875837/three-very-early-1800s-muslin-embroidered-dresses VINTAGE DANCER (2015). 1930s Day Dresses, Afternoon Dresses History. [online]. Last updated 2015. http:// www.vintagedancer.com/1930s/1930s-day-afternoon-dresses/ image sources: amy rose cooper / ellie grace photography / pinterest / vogue / white stuff / tumblr