CAPSULE COLLECTION - URBAN LUXURY BA FASHION YEAR 3
DARDANA DJANTIO ETCHIKE
ROOTS OF THE PAST
Course code: E19CA/CB Course Team: Justine Head, Jill Martin, Chantelle Morton, Nigel Buckner, Fouad E Georges HERIOT WATT UNIVERSITY
CONTENT
INTRODUCTION INSPIRATION HISTORICAL REFERENCE BRAINSTORM MOODBOARD SILHOUETTE COLOR DETAILS FABRIC COSTUMER PROFILE AND POSITIONNING 3D EXPERIMENTATION ON THE SATND DESIGN DEVELOPMENT CAPSULE COLLECTION PATTERN MAKING TRIMMING AND SEWING ACCESSORY MANIPULATING FABRIC PROCESS MAKING BIBLIOGRAPHY
CONTENTS
INTRODUCTION This document is a summary of my daily activities related to my studies, during my final year project. It is a diary form which tells the inspiring story of my final collection: ROOTS OF THE PAST. I wanted to share this journey of creativity, this feeling called inspiration that drives us always to go beyond our limitations, seeking the renewal of exploration and selfchallenge. The goal here was to produce a modern and urban collection for the
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Fig 1: Bern and Hilla becher blast Funaces. Take at the TATE MODERN
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INSPIRATION Compared with this project , my research began at the Tate Modern , after careful observation of the different exhibition show , I came across photographs of Bernd and Hilla Becher , a couple of artists . These photographs relating to the industrial landscape and highlighted cylindrical tubes were for me, the starting point for the theme of my collection. I had a sudden thought for this category of man working hard to build the company, this valiant category, whose efforts and sacrifices were not commensurate with the rewards. But, this category, remains the base, the key point of urbanization. Following my research was rich enough and decisive because, having come to the Tate Modern without any original idea about the theme of my project, I began gradually to build the future history of my collection.
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I have covered several different exhibition include:
These three different exhibitions, had in common the use of iron metal, cylindrical shapes, string and knot. It is why, at the end of my visit to the Tate Modern, I decided to focus my research around these key factors for me (industry, occupation of space, 4
-The One Mariza Merz on aluminum sculptures.
Fig 2: Take to the TATE MODERN
-The One Shella Gowda highlighting the contrast of two different associated materials, including iron and knitted hair.
Fig 3: Take to the TATE MODERN
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Fig 4
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HISTORICAL REFERENCE My concept is rooted in the history of the Industrial Revolution of 1900. And because my collection is an urban collection and luxury, I went into the base of the social urbanism, technical and industrial progress. Indeed, started at this time, European society has expanded the use of machinery in industry and in agriculture. All social strata were affected and economic and social environment has been modified forever. For this collection, I wanted to make a return in the past, but in a contemporary and futuristic look. I wanted to honor the memory of the workers who built the society in which we live, and whose efforts continue today to inspire workers.
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Fig 5: brainstorn make with the digital application
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BRAINSTORM The Painting of Lee Krasner: Gothic Landscape, which is an abstract representation, and impressive as evocative of tangled
Fig 6: Gothic Landscape, take to TATE MODERN
I have established the link between the past and the legacy left by these workers, hence: Title Roots of the pass
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MOOD BOARD In order to develop my project, I clearly defined after my visits museums, my research and after the development of my concept, the keys points of my collection. Thus, I focus my collection on the key point such as cylindrical shapes of tubes used in industry, handling ropes and fashion inspired by the inflatable style of Michiko Kochino. I selected the
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Fig 7: Personal drawing
Fig 8 : Pic ture work of anish kapoor
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SILHOUETTE
I was inspired by the way of dressing of vintage industrial workers around 1900
Although my collection is intended for the feminine range, I wanted to bring it a masculine touch, provocative at
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Fig 10: Anish Kapoor work
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The lines of my various designs at the beginning of my project, representing my cylindrical shapes, combined with critical images of the sculpture of Anish Kapoor, have directed my research towards the dress style Puffa, after analysis with my teacher. 16
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This is how I became interested by the pioneers of the fashion style of inflatable including: -Rey Kawakubo -Junya Watanabe
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Fig 16
I desired a voluminous silhouette, structured and elegant on the top, and the bottom quite right and original. During my image searches, I came across a photograph of Irving Penn about the Issey Miyake work. This photograph was the click of the bottom of my silhouette, because I could make the connection with the image of my vintage workers. In order to bring an original touch to my figure, I was inspired by Shella Gowda and Lee Krasner, to give an abstract note to my figure, so I joined in my silhouette board, the picture work of Eva Hesse that I foud during my reseach.
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Revelations by Aidan.
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Pictures take at the Saatchi gallery.
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Theses pictures have been take at the Saachi Galery
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COLOR For this Project, the preset and limited choice of colors was limited to three colors: black, gray and white. I was quite confused because these three colors are my favorite colors and the choice should be limited to one color. At the same time, I wanted a color that would fit my contextual story, while creating both a contrast in this context. I wanted a form of prohibited, a form of rebellion of the color compared to the context. I was really undecided, and my visit to Saatchi Gallery for me was very decisive in the choice of my color when I discover there, the exhibition:
I was moved by the beauty of the white, and the connotation of both pure and dramatic emanating sculptures. Lines and curves created a strong contrast between them. I decided to use white for my project ,to play with its reflections, not only because I wanted to bring this color by a dramatic note to my creativity , but also because white for me will be an occasion to challenge myself, at the same time by this delicacy than by its immaculate aspect. I opted for the fresh cream. In order to make an urban touch and a reminder of metal in my collection, the exhibition of Julia Dault
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that perfectly married my concept by its cylindrical shapes created by the combination of materials Plexiglas , aluminum and strings, oriented me to choose to associate a holographic reflect in my immaculate cream.
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DETAILS According to the experimentations of my sketchbook, the details of my collection revolved around three main points:
- Sarouel trouser style. - Parallel lines obtained with my drawings, and the puffa fashion style. - Abstract manipulation of strings. And gathers
I made three pictures details, in order to make clear and understandable my idea.
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FABRIC
I visited fabric market, including I went to Shepherd Bush, Hackney Central and Soho. I also searched on the internet and I ordered tissue samples to test the quality. Sometimes the fabric prices were quite high. But the value was predetermined for this project, the recommendations were accurate and it should not exceed £10 per meter of fabric. My choice of fabrics was initially dominated by my client profile. I desired quality material expressing the strength, courage and boldness. I also wanted fabrics that would allow me to experience my 3D shapes and structures. During my fabric research, I selected the white leather cream for his masculine touch, its nominative and luxurious character. Then I discovered a white knitted cotton fabric, soft and tight. I desired to integrate the different variations of the color white. Most exciting for me in my research fabric was the hardanger, a very rigid fabric used in embroidery. As its name suggests, the hardanger is very rigid and very difficult to manipulate‌ hence the danger. But my desire to challenge me without cease, and the beautiful texture of the hardanger wore my choice on this fabric with which I desired to realize structure. I bought wool, inspired by the exhibition Shella Gowda. Finally, I discovered an imitation holographic tone that I desired use for details.
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Fig 18
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I created an imaginary virtual profile costumer, but realistically that I associated with the ideal costumer image for this collection. 32
COSTUMER PROFILE AND POSITIONNING For this collection, my client was in a segment, composed of active young women extroverted between twenty and forty years old and very influenced by the futuristic fashion and avant-garde fashion. Wanted an image women dominated by youth and strength, with a feminine style, a masculine light touch avant-garde. So I developed my customer profile around this rather selective and specific category. I desired a skimming customers with high purchasing power, a customer who will stop at nothing to satisfy his desires. Given the positioning of the collection, purchasing power was a pretty decisive factor. I desired position myself on the luxury market and high fashion. Compared to the quality of the clothes from the collection, and because of the rather delicate and meticulous manufacturing process and also referring to the time taken on each garment, the price of my collection would be quite high in the market.
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I also wanted to create a contrast between the cylindrical shapes and tangled thread 34
3D EXPÉRIMENTATION ON STAND My studio work starts here by creating forms for my drawings, illustrated in my sketchbook with paper. I desired to create structured and cylindrical shapes in 3D.
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After creating my samples, I positioned them in different angles for viewing, multiply the ideas in order to subsequently develop my creations. I drew my various experiments and I made screenshots.
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Then with Calico, I began to reproduce the same cylindrical shapes. It was not an easy task because this task required more stiffness of the fabric. So, I’ve inserted some paper, and I got a beautiful rounded cylindrical 3D. I was really satisfied with this form, which inspired me to read my work.
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I played with the lines and shapes by enlarging or diminishing sometimes. And each model category was related to different inspirations and manipulation in my sketchbook. I designed dresses, trousers, skirts, jackets, coats and tops.
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DESIGN DEVELOPMENT In order to develop design of my collection, I used images on my silhouette and lines of my drawings. Then, I combined them. I have also drawn my experiments paper on the stand that I combined with my silhouette.
I combined the drawings Manuals to digital drawings, according to my silhouette and shapes of my clothes, I played with different fabrics, to expand the choice of my offer face my market.
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The difficulty for me at this stage was the time taken to draw garment on Photoshop. Some models were quite complex and the process of drafting required a lot of patience.
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I played with these forms by enlargement techniques because I wanted to incorporate gather in order to create more volume and structure.It took me a long time, especially for the pattern who needed to
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PATTERN MAKING For the realization of my pattern, I referred to the kimono form that I manipulated and developed.
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For the realization of trouser patterns, I used basics blocks, and I redesigned them by adding lines according to my design. This was a difficult task because I wanted to get low zipper effect like sarouel trouser without creating a mass effect between the legs. I had experimented several time my pattern until my entirely satisfaction.
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I used patterns to classic and simple cuts straight skirts, and to achieve my structured pleats, I played with technical modification patterns in order to create a wavy effect. 49
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TRIMMING AND SEWING ACCESSORY For this collection, I wanted a fairly personalized and original note. I did not wanted to buy pre- made accessories, I wanted to give my personal touch and my identity at garments. Using the imitation fabric lather at holographic tone, I made very thick insertion binding with foam and rope. These insertion leather, I wanted to integrate then into the seams to accentuate the rounded cutting, and contribute to the dramatic notes that wanted for my collection. The difficulty here was due to the fact that the leather stretched at its seam. That’s was very annoying and It took a lot of care and tactics for making them. I also produces simple insertion binding with fake leather, without integrate foam and rope.
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MANIPULATING FABRIC I bought wool and I made my own fabric texture. This step was exciting enough for me, given the fact that I like to manipulate materials in order to create new texture following my inspiration. This was my abstract key in the collection, Inspired exhibition Shella Gowda , my drawings , and associate of my further research that led me to the work of Eva Hesse.
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But the decisive image was a photograph of the work of Anish Kapoor for concrete coils at Gladstone gallery at New York. These forms have directed me in choosing my wool, and in the formation of my texture, I decided to reproduce the same texture, sometimes exaggerating the length of the string.
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For the cuffs of my jacket, I created a texture of line, by overlaying the fabric knitted by little band. I was inspired by the development of my sketchbook and photography of the famous Michelin, Essential in the engineering industry and the tire revolution.
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At the end I was quite satisfied of the result of these experiments. 57
To give volume to my jacket I had to make gather of each pattern section, it was necessary to check every time furrowed measurements were accurate. Then, to keep the foam in order to structure my jacket, I added first light mesh lining. 58
PROCESS MAKING
The achievement of each garment was a delicate task and a long process. I had to build me a lot of patience, as each garment was quite tricky and contained a lot of detail. This stage of my Project took me a long time.
Also, return the jacket once lined was not easy, because according to the construction process, I could not put the foam at the end. So we had to compress the jacket in order to sew it and also to return the jacket. At that time, I was pleased with the choice of lining, because although his lightness, it was pretty tough. 59
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It was very demanding sewing my jacket because Couture were quite thick , this task has destroyed many needles and sometimes I was forced to complete very thick hand- stitching. The hardest part was to fix the sleeve cuffs, this task was very difficult.
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I wanted a perfect finish, I associated overlooking and finishes with bias. One of the difficulties encountered as was ironing. I had to protect each Ironing imitation leather fabric with light calico.
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The laying of the closing of the jacket was quite difficult, but soon in order to manufacture my garment, failing to insert the zip directly on the jacket as I have process, I plan to insert previously closed on a straight strip, to obtain a better finish. Then I will place the strip be-
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Working with the hardanger was not an easy task. This fabric was steep and his seams was thick. But in the realization of my skirt, the result obtained by the ripples in 3D was what I wanted and I was satisfied. But the mistake here was to completely close the skirt at first, and then fix the undulations of the free pan of the skirt. I had to perform this task with hand sewing, and the challenge here was to avoid catching the lining with stitching. For the future, I will carry out this task first before closing the skirt. I like hardanger and I think it’s quite dramatic and structural rigidity.
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BIBLIOGRAPPHY
BOOKS - The Art of manipulating Fabric, Collette Wolff, Krause Publications Craft, 1 oct. 1996 - 311 pages. MUSEUM - Tate modern - Saatchi Gallery - National Portrait Gallery SHOPS - Selfriges - Dover Street Market - Harrods INTERNETS Pictures: - Fig 4 : https://infogr.am/Industrial-Revolution - Fig 9: http://www.artofmanliness.com/2013/11/25/manly-manfulman-up-the-language-of-manliness/ - Fig 15: https://remakingtheunfinished.wordpress.com/2012/06/11/ issey-miyake-and-irving-penn-charlotte-2/ - Fig 16: http://www.resurrectionvintage.com/blog/japanese-designers-%E2%9E%9B-iseey-miyake-irving-penn/ Websites -https://uk.pinterest.com (Fig 8, 11,12,13,14,17,18,19,
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