Contents:
Research Design Concept
2
Vogue Archives
3
Recycled/Upcycled Techniques
4-5
Workshop Entries Entry 1 week 7
7-9
Entry 2 week 8
10
Entry 3 week 9
11
Entry 4 week 10
12-13
Entry 5 week 11
14-15
Entry 6 week 12
16
Conclusion
17
Bibliography
18
1
The concept of the “Winter Solitude” collection began with the story of YukiOnna, the snow woman: known in Japanese mythology as an exceptionally beautiful ghost with skin as white as snow, long black hair and lips as blue as ice. Her eyes strike terror into humans as she lures them in with her beauty. She is thought of as only being seen during blizzards and hides within the mist if threatened.
“ Winter Solitude” – Process Analysis Document - Research
Design Concept: Unmoving like the mountains above, tall and strong in midst of winter’s solitude…
Her lonely beauty inspired the aesthetic and story of this collection. Using the setting of the story, I wanted to use a colour palette reminding of a winter landscape with a variety of greys and ice blue, bringing forth Yuki-Onna’s icy look. Alongside with the story, the other main concept of this collection is the traditional kimono: its straight silhouette, elegance and simplicity. A Japanese garment with a rich history that has transformed over the last thousand years. I took two traditional Japanese aspects and redesigned them into a modern look, keeping the initial look of the kimono.
Atmospheric
2
“ Winter Solitude” – Process Analysis Document - Research Week 1
The Vogue Archive: Research of 5 images; looking at textures, lighting, shape, silhouette and colour.
Yuki-Onna portrayal As we were given the freedom to research anything, as long as it was from the Vogue Archive, I began looking at the Japanese Kimono: an elegant and historically rich garment that has been my passion for many years. However, it was difficult finding anything relevant or inspiring that I could use in the Vogue Archive. The links were that of Westernised kimonos, such as bath robes or simple straight silhouettes. I did find one link that caught my eye: the Norell Kimono from the 60’s. Although modernised to fit the time, it echoed some traditional aspects of the garment that I was looking for. The two kimono-dresses were folded shut at the front, secured by a belt (In Japan, an obi – sash – is used to secure the kimono). What I found inspiring about the images was the structure and the simplicity of the garments. I knew I wanted to re-create the traditional shape of the kimono into something modern, yet capture its timeless eloquence. The challenge of re-creating this garment would be the limitation as the kimono itself is a basic ‘T’ shape; it is not bombarded by pattern prints and covers most of the skin of the wearer. The black and white image inspired the direction of mood/atmosphere I wanted to use within my collection: dull colours, simple and winter themed.
3
Keeping with the Japanese theme, I began researching for Oriental methods. The Vogue Archive: Norell Kimono - Origami (Paper folding)
-
Ikebana (Flower Arranging)
-
Chanoyu (Tea Ceremony)
-
Tsumami Kanzashi (Hair Ornaments - Fabric Folding)
“ Winter Solitude” – Process Analysis Document - Research Week 2
Recycled/Upcycled Techniques:
Tsumami kanzashi and origami struck my Research of old techniques, such as knitting, interest; it would add texture to the simple embroidery or printing, which would be fabric, make the outfit appear more modern incorporated within the final designs. and add towards the bleak-winter atmosphere I was going with. The material would appear almost as if it were rock; strong and masculine.
Issey Miyake: Japanese designer Issey Miyake is also a designer who began his career focusing around the kimono. I took much inspiration of how he worked with the fabric, to create interesting shapes and contortions but keeping the kimono silhouette intact. Although Miyake created textured fabrics (i.e. the miniature-pleated fabric), I took the initial idea of contorting material to change the surface and effect: fabric manipulation.
4
Issey Miyake Kimono
Using fabric manipulation with the collection would add to the overall aesthetic of the story; I wanted to use this technique as Tsumami a Kanzashi way to represent bare rock surface, giving the kimono a harsher appearance. It was suggested to use this technique in larger scale as it would be the main detail of the collection. It was also suggested that if I did want to go with this technique I should try making it part of the garment and not embroidery that I would sew on top.
5
Fabric manipulation examples
6
“ Winter Solitude” – Process Analysis Document [Week 7-12]
Workshop Process: Pattern making; realization of garments from 2D to 3D; toiles to final construction.
“ Winter Solitude” – Process Analysis Document Week 7
Workshop Entr y 1: Starting pattern making. The standard kimono pattern.
7
After the informal presentation during week 6 it was suggested which outfit I should turn from 2D into 3D; however it could not be decided between outfit 1 and outfit 4, so I had to try combining both of them. The final design idea for this project was made from the kimono jacket, the long grey top/dress but instead of the simple blue trousers from outfit 1, I incorporated the initial trousers design of outfit 4. As the entire look of the outfit is inspired by the kimono, I had to ensure the silhouette as well as the drape and loose fit would appear authentic to its roots. For the fall of the sleeves, the fabric for the final design had to be a certain weight: too light and the sleeves would not create lovely drapes and look odd; if the material would be too heavy it would not be comfortable to wear as well as pull at the seams too much. The overall silhouette of the outfit had to be straight and simplistic just as a kimono.
Outfit 1
Outfit 4
8
One of the most important details of the traditional kimono is that it has not shoulder seam attaching the front panel and back panel. This gives the silhouette a looser fitting around the shoulders.
Body – Front and Back 1X
The standard pattern for a kimono is consisting of several rectangles, which are placed alongside the fold of the fabric.
Fold (as no seam is required) Open Seam Sleeve 2X
It was essential to have darts present as they helped to sew the right panels together. Measure 66cmx41.5cm for the torso panel, an average size for kimonos as it was larger than the average shoulder width. I shortened the length as I wanted the hemline above the hips and kept the sleeve length similar to that of the main panel. The toile for the kimono jacket was constructed quickly with 1cm seam allowance. Due to the placement of the darts, it was easy to differentiate the panels and sleeve holes. It became clear, however, that to hide the seams and neaten the open seams along the sleeves, I would have to make a lining.
Collar 2X
Pattern plan for basic kimono
9
Since the toile was a practice garment, I had to also practice the fabric manipulation and how big the panels would have to be to fit the jacket. To assist in keeping the manipulation the same size, I created a large paper grid with 2inchx2inch squares which I placed over the fabric and marked the necessary points. However, making the panels was harder than I expected: it took almost 3 hours to sew and it required a lot of hand-stitching. Also, if the stitch was not secured very thoroughly it would snap easily. To solve the fragility of the manipulation, I secured every stitch with a double knot and pressed the panel slightly to reduce the added stretch but had to be very careful with the panels nonetheless.
Fabric manipulation samples
“ Winter Solitude� – Process Analysis Document Week 8
Workshop Entr y 2: Top and trousers patterns and toiles. 10
Staying with the rectangular pattern scheme, I created the pattern for the top including bust darts for better fit around the chest. The darts would take in 2cm and as seen on the toile it shortened the front fabric misaligning the hems. To correct this, I added an extra 2cm to the front panel. To neaten the sleeves and neckline I decided to create one large facing, securing both parts as well as adding stiffness to the sleeves. The facing reached below the darts, however when I tried the garment on I would have preferred to lengthen the facing by another 3cm. The garment, although it was possible to put on without a zipper or buttons, was slightly too tight and I had to add 2.5cm to Trousers each toile side to widen it along the hips.
The trousers were the most elaborate pattern out of the entire outfit. It was also the one garment that took the longest to make and the one I had most difficulties with. I transformed the basic trousers pattern by shortening the length and adding a large pleat (40cm in width) into the front panel. The 40cm-pleat was fused to stiffen the shape but to keep it in place, I had to sew along two edges and press the fabric thoroughly. From the first toil, I realized the legs were too tight and had to be widened for wanted appearance.
Unequal hem
“ Winter Solitude� – Process Analysis Document Week 9
Workshop Entr y 3: Fabrics. 11
After visiting Edinburgh’s fabric shop, I had managed to get 3 fabrics: one dark grey linen, lighter grey woven (with slight elastin) and a satin ice blue. The linen was perfect for the main aesthetic of the collection; linen was one of the (poorer) fabrics which people such as farmers and workers wore during the Japanese medieval era. Although the fabric did not look cheap, the texture gave the reminder of a harsh life in the winter countryside. The grey woven fabric seemed suitable for the top as I did not want zips or any other fastening in the design. The extra elasticity in the material allowed for even easier access into the garment.
Fabric - linen
My main concern was about the satin: although I wanted the texture and colour of this material (as it reminded of ice), the question was if it would be appropriate for the trousers. Due to a tight time schedule, I bought the satin but if I had another opportunity I would have preferred buying a light woven fabric instead.
Fabric - satin
“ Winter Solitude” – Process Analysis Document Week 10
Workshop Entr y 4: Final garment construction. 12
Back in the workshop I attached the fabric manipulation panels to the kimono jacket with a simple lockstitch, noting that the panels were not long enough to fit the jacket and were a little too wide. To solve this, I made the necessary adjustments to the paper grid by adding the length and shortening the width.
The final fabric for the kimono was cut: due to fabric being slightly too short I had to shorten the sleeves by 4cm, making them into the same length as the torso panels. The fabric itself was not frail but to be cautious I over-locked all the seams as the material was linen. Kimono toile with fabric manipulation
Final kimono jacket
13
The top was not difficult to sew together but the facing deemed to be trickier than expected particularly underneath the armhole. Due to the fabric’s nature, it moved quite a bit whilst sewing and gathered in places it should not have. It took three attempts to attach the entire facing to the garment but it has left a visible mark near the seam of the armholes where the fabric has gathered slightly. As it was week 10, I had no extra time to redo the facing since I still had to make another garment. Another problem that occurred was during the finishing of the hem. Due to the sharp corners of the square shape at the front, the fabric folded in an odd way. To solve this I cut the seam slightly but it left raw edges visible on the garment.
Finished top
“ Winter Solitude” – Process Analysis Document Week 11
Workshop Entr y 5: Final garment construction. 14
Fabric was too wide at the back when overlapping
The fabric for the trousers was cut; I had decided instead of using the shiny surface of the fabric I would use the other side on the outside. The wrong side of the fabric had a slight shine to it but much duller than the right side. Fusing the pleat added a slight stiffness to the fabric. At that point of time, I was contemplating using an applique for further stiffness but I thought the material was stiff enough for the wanted design. The fabric required over-locking as it was fraying severely.
Bulk created due to length of pleat
Whilst sewing the pleats into place I had come to notice a problem in the design: one of the pleats was too long. I did not notice it in the toile due to the different fabric and it was too late to change the mistake. I should have made the pleat that goes underneath the other pleat 1-2cm smaller so it would not bulk at the fold. Due to this problem, an obvious bulk has formed at the front which could not be fixed. Another mistake with the pleats was that I should have given them a slight curve at the top hem where the waistband would be attached to. It would have looked neater and would have reduced the bulk slightly.
15
An invisible zip was placed at the back seam. The fabric was slippery and contorted the finishing of the zip slightly. Only after attaching the waistband did I come to notice that I had placed the zip too low, by 1cm. It would have taken too much time unpicking all the stitches and redoing the zip and waistband. The good thing was that it was not visible when the garments were put together.
The waistband was the most difficult and troublesome part I had to do for the entire outfit. Because the material was so slippery, the waistband kept moving out of place and the sewing became very messy. I tried to reattach the waistband at least 5 times until becoming too frustrated with it. This is the one part of the outfit I was not happy with at all. Preferably, I would have redone the entire garment but I was running out of time.
Current stage of outfit
“ Winter Solitude” – Process Analysis Document Week 12
Workshop Entr y 6: Final garment construction. 16
The kimono jacket needed a lining to hide the fusing and seams, as well as making it more comfortable for the skin. However, I forgot to purchase a lining so I used a dark blue material I found in the workshop. It worked well with the grey colour and fit into the theme of “Winter Solitude”. Since I was not sure how to do the lining for a kimono, I took reference from a Zara kimono jacket that I own. I used the same pattern for the jacket for the lining as well and attached it to the sleeves and collar. The great thing about the lining is that it added to the drape of the jacket, especially around the sleeves. It smoothed the fall of the material giving it the wanted aesthetic. Zara kimono jacket as reference
The lining changed slightly around the hem after being attached; being longer at the centre back seam than the front. To rectify I cut off 2cm until the hem was in a straight line. The top was finished off, although it had some raw edges at the front which I could not get rid of.
“ Winter Solitude” – Process Analysis Document Week 13-14 - End
Conclusion: Was the outfit a success or a fail? 17
At the end of the course, I would put the success of the outfit at a positive end. Although it has mistakes and flaws which I should have approached in a different way, it has close similarities to the 2D design. The garments are wearable and convey the main themes and mood. I would however, if I had the change to redo this project, make some changes. For the top, I would add a vent at the back as well as widening it even more for better function; the trousers I would make out of a stiffer woven material, changer the lengths of the pleats for better fit as well as the waistband. If I could do the garment again, I would make it longer as the effect of the pleats would be more dramatic. The zip should have been placed slightly higher than it is to be more aesthetically pleasing. The jacket should have been slightly longer and the manipulation panels should have been inserted before the lining for neater finishing. The top in the illustration is shorter than the actual outfit but I personally find it looks good either way. I have enjoyed this course as it allowed me to work with kimonos which I am very passionate about. I do, however, think 6 weeks for 3 garments was a little short while the sketchbook took away extra time.
Bibliography Information: Davisson, Z. (2013). yuki Onna - The Snow Woman. Available: http://hyakumonogatari.com/2013/12/18/yuki-onna-the-snow-woman/. Last accessed 12th Dec 2014. 18
Hiramitsu C. (2005). Japanese Tradition in Issey Miyake. Osaka University Graduate School of Letters. 1 (1), 1-42. Dalby, L (2001). Kimono Fashioning Culture. London: Vintage. 17-47. Dalby, L (2001). Kimono Fashioning Culture. London: Vintage. 183-192.
Imager y: Unknown, (2012), In Fog [ONLINE]. Available at: http://www.inaisce.com/#/fog/ [Accessed 07 December 14]. Unknown, (2013), Kimono with embroidered dragon [ONLINE]. Available at: http://www.polyvore.com/kimono_with_embroidered_dragon_from/thing?id=105104712 [Accessed 07 December 14]. The Vogue Archive, (1964), Vogue's Eye View: The Norell Kimono [ONLINE]. Available at: http://ezproxy1.hw.ac.uk:2415/vogue/docview/904299422/BD3EEA2514DD4B9APQ/2? accountid=16064 [Accessed 07 December 14]. Bert Stern, (1964), Vogue's Eye View: The Norell Kimono [ONLINE]. Available at: http://ezproxy1.hw.ac.uk:2415/docview/904299422/flash/1?accountid=16064 [Accessed 07 December 14]. Unknown, (2013), Unknown [ONLINE]. Available at: http://jvstyle.com/store/ru/collection/cvetuschij-pen.html [Accessed 12 December 14].
19