When Things aren't What They Seem: the Mystery of the Illusory by Emma Mortimer

emma mortimer

WHEN THINGS AREN'T WHAT THEY SEEM: THE MYSTERY OF THE ILLUSORY EMMA MORTIMER IN COLLABORATION WITH: SHEFFIELD HALLAM UNIVERSITY CHRISTOPHER PERRY SHEFFIELD SILVERSMITH amie parsons photography jess ewart emily kate hewitson photography boss model management matt lawrinson pinders sheffield 2015

INTRODUCTION Growing up in Huddersfield, at the heart of Yorkshire's textile industry, has given the designer a background knowledge in the impressive textile heritage that is world renowned. Emma Mortimer has had an opportunity to experience first-hand the processes cloth goes through, from weaving to finishing which initially inspired her creatively, leading to various work placement opportunities and aspirations in continuing a career in tailoring. Tailoring and its craftsmanship traditions is a personal area of interest to the designer which created the basis of her final collection.

SECTION 1 DESIGN CONNECTION

ISSUES ADDRESSING Whilst studying under an experienced tailor as a trainee, Emma Mortimer recognised issues within the tailoring craft that needed addressing. The issue of importance to address within the project is to highlight tailoring as an art form and highly specialised craft as part of British heritage. The craft of tailoring is usually taken very seriously; particularly within bespoke tailoring, it is seen as a "mysterious and secretive art" (Sherwood, 2007). As an industry that takes itself seriously, the designer seeks to challenge its 'seriousness' to appeal to a younger audience. With the importance of focussing on heritage and craft, keeping a contemporary edge is sought after as something younger generations can relate to. This is done throughout the project, whereby traditions adhered to whilst challenging established perceptions; highlighting to the consumer that garments can be of high quality yet still have an amusing element. An important element of the collection to highlight is male attire and accessories adornment by relating back historically with a modern viewpoint, closely linking to the appreciation of craftsmanship.

PROJECT AIMS Within tailoring, the designer saw an opportunity to appeal to a younger market. The collection aimed towards a whimsical take on things that are not what they seem, from initial Trompe L'Oeil and optical illusion inspirations. To challenge the 'seriousness' of tailoring; humour is a human quality evoked through Trompe L'Oeil not usually associated with tailoring, used within the collection to revive consumer interest in tailoring within a younger market. Initial inspirations began moving to more significant emphasis on heritage and contemporising tailoring craft, again aimed to appeal to a youthful market. By evoking whimsy and humour within tailoring through use of colour combinations, Trompe L'Oeilinspired techniques were mixed with traditional tailoring practices. Hand stitch detail being a focus, challenging its perceived use in internal garment structure by displaying it externally on garments. Aims arose involving contemporary street fashion amongst tradition and craft, an unexpected notion contrasting structured tailored pieces against a relaxed street feel was anticipated to help balance the collection.

Working with a Sheffield-based silversmith aimed to emphasise links to craftsmanship and heritage. Utilising their knowledge and skills to further enforce issues addressed within the collection; the heritage of male jewellery adornment closely linked to attire to complete the look.

SECTION 2 DE SIGN pr o c e s s

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his attitude screams "I don't really give a damn"

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Pop Culture & Fashion Magic, 2014

customer/ muse To encapsulate the mood and direction of the collection, a muse was used. This was initially identified through Jimmy Q, because of his playful character portrayed though imagery. Being a professional skateboarder and model as well as professional tattoo artist, his multi-talented success informed creative inspiration. He is the type of client the collection is aimed towards, having confidence to carry clothes well.

This progressed into looking at a type of man as aligning to one individual was limiting. The target customer is a successful professional male aged 25-39. He is educated, with a taste for high quality goods, being well-cultured with regular ventures to art/ design exhibitions. His buying habits reflect a flamboyant and playful personality, reading magazines such as Highsnobiety, 10 and Hero for their modern and upbeat feel. He is style-conscious yet not too trend-led, with a good sense of humour; having an appreciation for quality craftsmanship and well-cut garments.

emerging trends Research undertaken at Somerset House in London Fashion Week February 2015 and the street style of Leeds uncovered trends amongst young males; casual/formalwear fusions, fitted, slim suits-features of the London cut discovered through research during work placements. Fitted suits with large backpacks bring a modern look, vibrant prints, lots of layering for winter with thick, heavy coats and oversized outerwear items. Further research brought about alignment to the 'OffBeat' trend covered by trend forecasting site WGSN, with its youthful tailoring influences and "urban smartness" (WGSN, 2015) mixed with "urban casuals" (WGSN, 2015) inspired by street art and culture. Classic tailored pieces are revived using print and vibrant colour teamed with monochrome contrasts. Also more fitted, younger silhouettes of the suit.

market The collection is entering into luxury designer level representing a high level of quality and attention to detail.

main competitors Crucial research was undertaken to develop an understanding of key competitors the designer aligns to within the luxury market.

agi & Sam This emerging new talent focuses on playfulness in appropriate quantities. Fun tailored elements and strong prints used show a youthful approach. Unexpected refreshing combinations of fabrics give them a unique defined style.

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i constantly strive for individualitywe never work to a formula

PAUL SMITH, 2014

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paul smith Established as a "uniquely British designer" (Hello, my name is Paul Smith Exhibition, 2014), his creative spirt combines tradition and modernity; similarly aligned values to Emma Mortimer's design practise. "Inventive use of traditional craftsmanship and cutting edge design". Colour is important in his designs, focussing on print to evoke humour, often in unexpected places, however he uses relatively conventional fabrics, shape and cut.

ozwald boateng Situated on Savile Row, Boateng has a more distinctively modern take on bespoke suits, combining contemporary fashiOn practise with traditional bespoke craftsmanship to create his signature suits in vivid colour. with an awareness that traditions need to evolve to survive, "Boateng cut and colour palette are pleasing to men who welcome attention" Rebecca Lowthorpe, Sunday Times 'Style' writer quoted by sherwood, 2010.

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i call what i do bespoke couture because it brings desing and craft together. I'm about modernising tradition ozwald boateng quoted by sherwood, 2010

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literature research th e history of tailoring The long-established heritage and craftsmanship of tailoring has not changed dramatically in decades, its importance stands prominent due to the skill and precision that is sought after by many men globally. The first reference to tailor in the Oxford English dictionary was in 1297 (Oxford Dictionaries, 2015). Tailoring began during the Renaissance period; loose robes were altered, cut and sewn together for definition; as accentuation of the human form was popular (Jasper Littman , 2012). Division of professions developed between the cutter, cutting the garment, and the tailor, constructing the garment. Within growing towns, master tailors were responsible for society's clothing needs. Tailoring became highly specialised, developing into a complex art form and guarded craft as it is known today.

Boyer (1996) states that English tailors, predominantly in London's Savile Row, became popular amongst men evolving from the Industrial Revolution. The 'look of the English gentleman' was born; fit became the distinctive garment feature, after previously being decoration, fabric and colour. Requiring great skill in vision and execution, tailors used woollen cloth to mould around the wearer and 'correct' imperfections, developed from years of experimentation and training.

Historical examples of iconic tailoring style such as the Teddy boy era of 1950s Britain created a defined youth market inspired by American Rock 'n' Roll music (BBC, 2014). The 1960s British Mod subculture of working class men were apparent for sharp tailoring style, investing in bespoke suits of Savile Row. Modern jazz, existential attitude and fastidious tendencies of immaculate dress were characteristic of the Mods rejecting the dull, uninspired post-war attitude surrounding them causing tailoring revival in statement dress sense.

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in a world where m as s - p r o d u c t i o n and ready-made clothing dominates the world of fashion, the tailor's role has become increasingly essential jasper littman (2012)

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male jewellery adornment Traditionally male jewellery and personal adornments were worn for functionality rather than display, although it is evident from historical imagery that men wore them as frequently as women. For example, buttons and buckles serve a practical use as fastenings, pocket watches tell the time, cuff links fasten cuffs; however they gave opportunity to display status and were often ornately decorated.

buttonhooks A buttonhook had a functional purpose yet its elaborate decoration made it look ornamental, an interesting point of research. Buttonhooks were used in the mid-Victorian era to ease the fastening of buttons, such as on boots, jackets, waistcoats and gloves. The device worked using the hook at the end to fasten the button. Victorians and Edwardians created intricate handle designs making statement pieces, changing for the "demands of fashion and wit of the inventor" (Buttonhook Society, no date). With the fascinating variation of shapes and sizes that they were made in, the idea around this item links to ideas of its functional purpose yet its decoration suggests it can be a piece of beauty.

pocket watches Research revealed the pocket watch's links to craft, "demonstrating the craftsmanship of the maker" (BBC, 2014), being an inspirational source working with the garment. pocket watch made by joseph windmills

Historically watches were made from hand tools with no artificial light present (BBC, 2014), as in the image to the left. Its intricate detailing was time-consuming requiring precision, making it costly and rare at the time, therefore a finite amount of people could have afforded it. It was the most popular type of portable clock design in the sixteenth century, an integral part of male fashion. Originally worn as a pendant around the neck until 1675, they then became small enough to sit inside the pocket, popularised by Charles II of England.

optical illusion 33

Studies into things that reveal themselves to be not as they first appear (Oxford Dictionary, 2015), apparent in the likes of optical art, creating movement and confusing the visual senses. Modern day optical illusionists, particularly Felice Varini was a main inspiration in the way the artist plays with depth perceptions on architectural and urban spaces.

Optical illusion is a vast subject area challenging different areas of the brain causing scientist to engage in studies into it. There are many factors used to create such illusions; physical, physiological, and psychological; commonly using colour, lighting and geometrical shape/geometrics. The notion of optical illusion was present dating back to the architecture of Ancient Greece.

trompe L'oeil: its french translation meaning Deceives the eye

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Oxford Dictionaries, 2015

trompe L'oeil Inspiration was drawn from Trompe L'Oeil, a complex illusionistic technique originating from a style of paintingwhereby the viewer is momentarily deceived, believing that they are seeing three dimensional reality (Dars, 1979). The idea links to what the collection aims to achieve, as it is somewhat unassuming, becoming entertaining upon its discovery. This style of painting has been adopted for over two thousand years. The earliest Trompe L'Oeil murals can be found in the ruins of Pompeii; part of the rich culture of Greek and Roman Empires. this translates to modern day adoptions of the art form in street art (right).

theoretical research part 1 museum visits

Hello, my name is Paul Smith exhibition

Insight into British designer Paul Smith's perspective on design and his methodology.

bankfi e l d m u s e u m An in-depth look into tailoring archives Handling historical garments aiding knowledge of finishing techniques and detail as well as inner construction methods.

Leeds Industrial Museum Armley Mills tailoring exhibition A documented history of the northern tailoring industry and textiles manufacturing to help inform the creative process and practical decisions in developing further knowledge into cloth properties and garment construction.

creative research phase 1

early design stages Thorough creative development; toiling, sketching and sampling, helped refine work to produce a stronger collection. The main ideas explored further were print, colour blocking, metalwork fastenings, a defined tailored shape and hand stitching decorative features.

design development bomber jacket development; within casual pieces the aim was to incorporate tailoring structure and detail which was achieved through thorough toile development.

print An extensive body of work was produced in experimental print generation, derived from computerised and photographic pattern generation. The strongest prints were inspired by key illusion imagery combined with the study of tailoring techniques (opposite). These worked best in monochrome against vibrant colours used. Taken from photographs of herringbone/ pad stitching samples created, inverted and repeated. This joined chevron pattern has slight imperfections to mimic the element of human error occurring in hand work. As the print is not symmetrical it resulted in an illusory effect giving the appearance of movement.

embellishment Traditional hand stitch techniques influencing the collection are used as decorative external detail rather than its original function within the garment as pad stitching. The decorative stitching was in an accent colour to contrast garments, experimentation with stitching methods and varying thread qualities was conducted to minimise the fraying effect.

colour and shape inspiration was pulled from the work of felice varini

fabric & colour story Colour palette devised originally from the art works of Jose Parla (opposite) because of their fun use of colour and vibrancy.

Fabric selection was of significant importance as their properties affected garment structure. High quality fabrics sourced complement traditional elements, although vibrant colours are used they still retain the value of the garment, such as silk sleeves in the bomber jacket with vibrant interlocking blue and orange pattern. Selected fabrics were cottons, merino wool, wool/cashmere, pure wool, jersey and fleece.

a c cent co l o u r

The strong vivid shade of blue was a main feature within the collection, recurrent amongst street style research as well as designers Ozwald Boateng, Alexander McQueen, Hentsch Man and Katie Eary.

line up development Initial generation of the first working line up resulted in further development; the colourways clashed dramatically causing an overexaggerated comical effect, therefore key colours needed refining.

The collection looked overworked because of the excessive amount of detail in each piece and key design features were not referenced enough across the collection. The process caused the designer to be more selective of the many ideas fused together within the collection.

The revised line up stripped back high levels of detail and colour. This on reflection was unsuccessful as the essence of the collection was lost, but provided a learning experience showing the importance to retain a balance within the collection.

creative research phase 2 toiling To aid design visualisation and establish a silhouette, toiling was crucial. It was important for balance, fit and proportion as the aim of the final outcome was to establish a clean silhouette particularly within tailored pieces.

During the construction of garments, the tailored jackets were 'basted' using traditional hand stitch techniques holding the garment together, incorporating traditional methods of tailoring, allowing final assessment of the garment before final construction took place. Advice was taken from tailors in terms of techniques, processes and materials used in order to improve the collection.

Theoretical research Part 2 Action Research

Working with models during the initial toile critique allowed conversations about fit within tailored pieces. Traditionally, formal tailored trousers are fitted to a high waist which is the case within garments for the collection. Feedback provided from the trouser fitting was that they were of substantial fit and comfortable height, as any lower created a more relaxed feel which already comes across in casual pieces. The length of the jacket was another crucial area to ensure balanced proportions as imperfections are more obvious in tailoring, again the length was substantial as it worked with the length of the trousers and height of the waistband.

final line up

The final line up generated after the initial toile critique. Upon reflection of previous work a revised colour palette with accent colours was decided and high levels of detailing paid attention to, as these were key features completing the collection.

collaborate Embarking on a collaboration with a Sheffield-based Silversmith gave the opportunity to combine creativity, skills and craft. A proposal was put in place to make fastenings based on historical and contemporary research undertaken into functionality. The collaboration was with Christopher Perry, chosen because of his quality craftsmanship, attention to detail and small team base allowing direct and frequent contact. His works fit with the collection's aims having contemporary outcomes. A high level of detail was needed in the craft to complement the level of detail within tailoring. It was important not to overcomplicate the design yet retain a distinctive look. The experience helped develop the designerâ&#x20AC;&#x2122;s skills and knowledge of a new area. Communication and organisation were key, and constant problemsolving took place to achieve a stronger outcome.

Combining different working methods was the biggest challenge, as the silversmith worked at a different pace to the designer, resulting in many re-negotiations of deadlines and last minute finishing. Overall the outcome was positive, giving a finishing touch to pieces, incorporating a level of interactivity with garments. The Victorian button hook-inspired shape used as garment fastenings in the collection make a historical reference to male personal adornments, for functionality as well as display. However some pieces within the collection are used purely for display purposes highlighting the modern man's attitudes and needs. The craftsmanship shown within pieces of male

personal adornments is evident in hand craft that links back to tailoring.

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my designs are contemporary yet based on conventional techniques Christopher Perry, 2015

The pieces were silver plated as a finishing.

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Carabiners feature as unexpected garment fastenings linking back to the skateboard culture the muse partakes in. In redefining its use it still retains a practical function whilst being made a visual feature complementing silverware pieces.

SECTION 3 pr o ject outco m e s

working line up

To translate tailoring elements into contemporary practise, the collection is made up of 8 looks combining a street edge in the incorporating of carabiners, and metalwork attachments as well as traditional collar melton and chest canvassing. The modern, clean silhouettes are informed by traditional tailored garments. Fabrics include a high

quality range of wool/ cashmere suiting, 100% high quality wools, cottons and silks. The collection consists of tailored jackets and trousers layered up with tailored coats, alongside garments featuring a casual/ formal combination such as the shirt t-shirt and hooded shirt, as reference to things that are not as they first appear.

Detachable pockets and backpacks add a level of interactivity to the garments. Silverware pieces complete the look featuring attachments on shirt collar and cuffs, jacket cuffs and lapel. Other features include printed monochrome linings, printed stitch techniques, Trompe L'Oeil-inspired pockets and button embroidery detail.

WHEN THINGS AREN'T WHAT THEY SEEM: THE MYSTERY OF THE ILLUSORY

designer EMMA MORTIMER photographer amie parsons model matt lawrinson hair & makeup jess ewart collaboration with christopher perry 2015

SECTION 4 reflect i o n

reflection Reflecting on its outcomes, the collection helps raise the awareness of the importance of tailoring within British heritage in a fun and engaging way. This is done by complementing traditions with "a nod to the past" yet bringing it into modern day by the incorporation of a streetwear edge. Adding an element of playfulness and whimsical edge adds a human emotion to approach a more youthful clientele, through Trompe L'Oeil detailing, print and colour. In aiming to create an impact, the collection showcases

traditional skills learnt and adapted, showing how they can be made relevant and contemporary without losing their meaning. Research development in a particular area of interest was important to inform design decisions, aid the creative processandfurtherstrengthen collection outcomes. Focussing on a highly specialised area created a challenge, however experience gained working within a tailors helped inform pattern drafting, construction and eye for fit. Skills have constantly been

improved, in terms of design Emma Mortimer has developed a stronger eye for detail as well as improving her construction knowledge, further improving and informing design decisions. A joint collaboration with silversmith Chris Perry embodied the craftsmanship element as an example of how tradition can be brought into the present for a youthful edge. Reflecting on this project it is believed that it has success in bringing craftsmanship to the forefront of design.

SECTION 5 referen c i ng

bibliography books

SHERWOOD, James (2007). The London Cut; Savile Row Bespoke Tailoring. Rizzoli International Publications. SHERWOOD, James (2010). Savile Row; The Master Tailors of British Bespoke. Thames & Hudson. DARS, Celestine (1979). Images of Deception: The Art of Trompe Lâ&#x20AC;&#x2122;Oeil. Phaidon. GUALDONI, Flaminio (2008). Trompe L'Oeil. Skira Editoire. STOREY, Nicholas (2008). History of Men's Fashion: What the Well Dressed Man is Wearing. Pen & Sword Books Limited.

m u s e u m s / exhibitions Hello, my name is Paul Smith. (2014). [exhibition label]. Design Museum, London. 2014. Behind the Seams. (2014). [exhibition label]. Armley Mills, Leeds. 12 September.

websites

ART EFFECTS (2002). Trompe L'Oeil. [online]. http://www.trompe-l-oeil-art.com/trompe. html BBC (2014). Teddy Boys. [online]. http://www. bbc.co.uk/britishstylegenius/content/21870. shtml BBC (2014). The Mod Attitude. [online]. Last updated 2014.http://www.bbc.co.uk/ britishstylegenius/content/21864.shtml BBC (2014). The Teddy Boy Attitude. [online]. http://www.bbc.co.uk/britishstylegenius/ content/21865.shtml

BBC (no date). A History of the World: Pocket Watch made by Joseph Windmills. [online].http:// www.bbc.co.uk/ahistoryoftheworld/objects/ GhEUrhTeShaKwt9O5dxKlw BOYER, G. Bruce (1996). The History of Tailoring: An Overview. [online]. Last updated 26 Febru-ary. http://www.lnstar.com/mall/literature/ tailor4.htm BUTTONHOOK SOCIETY (no date). Introduction. [online].http://www.thebuttonhooksociety. com/introduction.php BYWATER, Michael (2009). Savile Rogues: London's RakishTailors.[online].IntelligentLifeMagazine, summer 2009. http://moreintelligentlife.com/ content/michael-bywater/savile-rogueslondons-rakish-tailors CAD AND THE DANDY (no date). Savile Row Tailors. [online].http://www.cadandthedandy.co.uk/ savile-row-tailors CAMBRIDGE UNIVERSITY PRESS (2015). Trompe L'Oeil. [online].http://dictionary.cambridge.org/ dictionary/british/trompe-l-oeil CIARAN (2012). The History of Bespoke Tailoring. [online]. Posted 29 June. http://www. jasperlittman.com/2012/06/the-history-ofbespoke-tailoring/ ECONOMIST (2012). The third Industrial Revolution. [online]. Posted 21 April. http:// www.economist.com/node/21553017 ENCYCLOPAEDIA BRITANNICA (2015). Journeyman. [ o n l i n e ] . h t t p : / / w w w . b r i ta n n i c a . c o m / EBchecked/topic/306791/journeyman HISTORIC NEW ENGLAND (2015). Functional Elegance: Male Adornment. [online].http:// www.historicnewengland.org/collections-

archives-exhibitions/online-exhibitions/ JewelryHistory/themes/Male_Adornment. htm HISTORY OF WATCHES (no date). History of Pocket watches. [online].http://www. historyofwatch.com/watch-history/historyof-pocket-watches/ JASPER LITTMAN (2012). Traditional Craftsmanship Modern Approach. [online]. http://www.jasperlittman.com/clients/ahistory-of-savile-row/ JONSSON, Eric (2015). A Brief History of Trompe L'Oeil. [online]. Last updated 2015. http://www. jonssonsworld.com/Brief_History_of_ Trompe_Loeil.html METROPOLITAN MUSEUM OF ART (2014) Trompe L'Oeil. [online]. http://www.metmuseum.org/ toah/hi/hi_tromp.htm

POP CULTURE & FASHION MAGIC (2014). The Life of Jimmy Q- James Edward Quaintance IIIâ&#x20AC;&#x2122;s Story. [online]. Posted 23 November. http:// fas h i o n a n d p o p c u lt u r e m a g i c . b l o g s p o t . co.uk/2014/11/the-life-of-jimmy-q-jamesedward.html RANDOM HOUSE (2014). Optical Illusion. [online]. http://dictionary.reference.com/browse/ optical+illusion SAVILE ROW BESPOKE ASSOCIATION (2014) History. [o n li n e].http://www.savi lerowbespo ke. com/about-us/history/17th-18th-centuryhistory/ SHERWOOD, James (2006). Bespoke Bites Back. [online]. Financial Times, 1 April. http://www. ft.com/cms/s/0/6551a77e-c11c-11da-94190000779e2340.html#axzz3OhMeUImQ

MISRA, Tanvi (2014). Congo Sapeurs: Is the Guinness ad true to Life? BBC. [online]. Posted 18 January. http://www.bbc.co.uk/news/blogsmagazine-monitor-25783245

SVARC, Luke (2014). What is Mod subculture? : A Guide to the 1960s Scooters, Fashion and Music Style with Adaptor Clothing. [online]. Posted 24 April. http://www.menswearstyle. c o . u k / 2 0 1 4 / 0 4 / 24 / w h at - i s - m o d subculture/1098

OXFORD DICTIONARIES (2015). Tailor. [online]. Last updated 2015.http://www.oxforddictionaries. com/definition/english/tailor

TAILOR REVIEWS (no date). The History of Tailoring. [online].http://www.tailorreviews. com/the-history-of-tailoring

OXFORD DICTIONARIES (2015). Trompe L'Oeil. [online]. Last updated 2015. http://www. oxforddictionaries.com/definition/english/ trompe-l%27oeil?q=Trompe+L%27Oeil

The BRITISH MUSEUM (no date). Jewellery and men in Tudor and Jacobean England [online]. http://www.britishmuseum.org/research/ research_projects/all_current_projects/ c o l l a b o r at i v e _ d o c t o r a l _ awa r d s / jewellery_and_men.aspx

PERRY, Christopher (2015). About Chris. [online]. h tt p://www.c h r i sto p h er-p er ry.c o.u k/ profile/

POCKETWATCH.CO.UK (no date). History of Pocket Watches. [online].http://www.pocketwatch. co.uk/page/pocket_watch_history/

TRINITY (no date). Ozwald Boateng- Design Philosophy. [online]. http://www.trinityfilm. c o.u k/fi lm s/a_m a n s_sto ry/ozwa ld s_ design_philosophy

VISUAL ILLUSION.NET (2011). Optical Illusions Throughout History. [online]. http://www. visualillusion.net/Intro/Page02.php WALSH, Alana (2014). Fun Facts About Tailoring. [online]. Last updated December 2014. http:// www.b u r dasty le.c o m/b lo g/fu n-factsabout-tailoring WGSN(2015).[online]. http://www.wgsn.com.lcproxy.shu.ac.uk/ content/board_viewer/#/57558/page/3 NEWSPAPER ARTICLES

journals WANG, Regina and WANG, Chung Fen (2012). Composition Methodology of Optical Illusion Design. Visible Language, 46 (3)

IMAGE REFERENCE LIST BY PAGE NUMBER

3-4 PRIMARY IMAGE TAKEN AT TAYLOR & LODGE, HUDDERSFIELD TEXTILE MILL 7-8 PRIMARY IMAGE TAKEN AT ARMLEY MILLS 11 IMAGE OF JIMMY Q FROM PINTEREST 12 TOP TO BOTTOM: PRIMARY IMAGE TAKEN AT LONDON FASHION WEEK IMAGE OF JIMMY Q FROM PINTEREST 13 IMAGE ENCAPSULATING THE 'OFFBEAT' TREND FROM WGSN 14 IMAGE ENCAPSULATING THE 'OFFBEAT' TREND FROM WGSN 15 LEFT CLOCKWISE: IMAGE ENCAPSULATING THE 'OFFBEAT' TREND FROM WGSN PRIMARY IMAGERY researching leeds street style

18 TOP TO BOTTOM POCKET DETAILING ON AGI & SAM COAT FROM PINTEREST AGI & SAM BOMBER JACKET SLEEVE PRINT FROM PINTEREST ILLUSTRATION OF AGI & SAM'S A/W 12 COLLECTION FROM WWW.GQ-MAGAZINE.CO.UK 19 PRIMARY IMAGE TAKEN AT 'HELLO, MY NAME IS PAUL SMITH' EXHIBITION, THE DESIGN MUSEUM LONDON 20 LEFT TO RIGHT: PAUL SMITH COLLECTION FROM PINTEREST ICONIC PAUL SMITH PRINT FROM PINTEREST 21 OZWALD BOATENG FROM WWW.OZWALDBOATENG.CO.UK PAGE 22 OZWALD BOATENG BESPOKE SUITS FROM PINTEREST

16 TOP LEFT CLOCKWISE: IMAGE ENCAPSULATING THE 'OFFBEAT' TREND FROM WGSN image from wgsn PRIMARY IMAGE TAKEN AT LONDON FASHION WEEK

23 TOP TO BOTTOM: PRIMARY IMAGE TAKEN OF MENDING WORK AT TAYLOR & LODGE, HUDDERSFIELD TEXTILE MILL MEDIEVAL CLOTHWORKER APPRENTICE FROM PINTEREST

17 MAN'S PRINTED JACKET BY AGI & SAM FROM PINTEREST

24 TOP TO BOTTOM CLOCKWISE: PRIMARY IMAGE OF TAILOR'S SHEARS TAKEN AT CARL STUART TAILORS

PRIMARY IMAGE OF CLOTH MADE IN HUDDERSFIELD TAKEN AT DUGDALE BROS & WHILST UNDERTAKING WORK PLACEMENT TAILOR MEASURING FROM PINTEREST 25 LES SAPEURS FROM PINTEREST 26 LEFT TO RIGHT: TEDDY BOYS AND MODS FROM PINTEREST 28 PRIMARY IMAGE TAKEN OF HERRINGBONE STITCH/ PAD STITCHING SAMPLE CONSRUCTED DURING NEWHAM COLLEGE TAILORING COURSE 29 LEFT TO RIGHT: BUTTONHOOK FROM WWW.AMAZON.COM BUTTONHOOKS FROM WWW.THEBUTTONHOOKSOCIETY. COM 30 TOP TO BOTTOM: BUTTONHOOK HANDLES PINTEREST SKETCH OF A BUTTONHOOK

FROM

31 TOP TO BOTTOM: A POCKET WATCH MADE BY JOSEPH WINDMILLS FROM WWW.BBC.CO.UK SKETCH OF A POCKET WATCH

32 TOP LEFT CLOCKWISE: A POCKET WATCH WORN ON A GARMENT FROM WWW.TOKYOFLASH. COM A POCKET WATCH FROM PINTEREST A POCKET WATCH WORN ON A WAISCOAT FROM WWW.THEWATCHFORUM.CO.UK DIFFERENT WAYS TO WEAR A POCKET WATCH FROM PINTEREST

40 TOP LEFT CLOCKWISE: PRIMARY IMAGE FROM 'HELLO, MY NAME IS PAUL SMITH' EXHIBITION AT THE DESIGN MUSEUM, LONDON PRIMARY IMAGE OF PAUL SMITH'S INSPIRATION FROM 'HELLO, MY NAME IS PAUL SMITH' EXHIBITION AT THE DESIGN MUSEUM, LONDON PAUL SMITH'S COLLABORATION WITH MINI COOPER FROM PINTEREST

33 FELICE VARINI'S WORK FROM WWW.VARINI.ORG

41 TOP TO BOTTOM: BANKFIELD MUSEUM FROM WWW.CALDERDALE.GOV PRIMARY IMAGE TAKEN OF MILITARY UNIFORM AT BANKFIELD MUSEUM, HALIFAX

34 FELICE VARINI'S WORK FROM WWW.VARINI.ORG 35 TROMPE L'OEIL BY HOLGER TRULZSCH FROM WWW.ARTIC.EDU 36 A MODERN STREET GRAFFITTI INTERPRETATION OF TROMPE L'OEIL FROM PINTEREST 37 'HELLO, MY NAME IS PAUL SMITH' EXHIBITION POSTER FROM WWW. DESIGNMUSEUM.ORG 38 PRIMARY IMAGE FROM 'HELLO, MY NAME IS PAUL SMITH' EXHIBITION AT THE DESIGN MUSEUM 39 LEFT TO RIGHT: PRIMARY IMAGE OF PAUL SMITH'S DESIGN WORKSPACE FROM 'HELLO, MY NAME IS PAL SMITH' EXHIBITION AT THE DESIGN MUSEUM PRIMARY IMAGES OF PAUL SMITH MEN'S WOOL JACKET WITH DIRECTIONAL STRIPES TAKEN AT 'HELLO, MY NAME IS PAUL SMITH' EXHIBITION AT THE DEISGN MUSEUM, LONDON PRIMARY IMAGES OF PAUL SMITH MEN'S WINDOW PANE CHECK JACKET FROM 'HELLO, MY NAME IS PAUL SMITH' EXHIBITION AT THE DESIGN MUSEUM, LONDON

42 ALL PRIMARY IMAGERY F MEN'S TAILORED GARMENT DETAILS TAKEN AT BANKFIELD MUSEUM, HALIFAX 43 LEFT TO RIGHT: PRIMARY IMAGE OF MEN FOLDING CLOTH BY HAND (EARLY 1900S) TAKEN AT LEEDS ARMLEY MILLS PRIMARY IMAGE OF A MAN USING A BAN SAW TO SHAPE CHEST CANVAS 44 ALL PRIMARY IMAGERY OF MACHINERY USED FOR VARIOUS CLOTH WEAVING PROCESSES 45 LEFT TO RIGHT: PRIMARY IMAGERY OF LINING BEING PRINTED LINING DESIGN CREATED USING PHOTOSHOP AND ILLUSTRATOR 46 LINING DESIGN CREATED USING PHOTOSHOP AND ILLUSTRATOR 47 DESIGN DEVELOPMENT RESEARCH IMAGERY BANKFIELD MUSEUM

USING FROM

48 TOP TO BOTTOM: AGI & SAM BODY WARMER FROM PINTEREST INITIAL TOILE DEVELOPMENT 49 LINING DESIGN CREATED USING PHOTOSHOP AND ILLUSTRATOR 50 SAMPLES 51 DESIGN DEVELOPMENT 52 TOP TO BOTTOM: WORK OF FELICE VARINI FROM WWW.VARINI.ORG DESIGN DEVELOPMENT 53 LEFT TO RIGHT: PRIMARY IMAGERY COLLECTION

FABRIC

54 LEFT TO RIGHT: KATY EARY A/W 15 FROM WGSN HENTSCH MAN A/W 15 FROM WGSN ALEXANDER MQUEEN A/W 15 FROM WGSN 55-58 DESIGN DEVELOPMENT AND PRIMARY RESEARCH INTO FABRICS 59-62 PRIMARY IMAGERY OF TOILE DEVELOPMENT AND CONSTRUCTION 63-64 ILLSUTRATIONS 65- 66 CHRIS PERRY AND CO-WORKERS AT WORK IN HIS WORKSHOP FROM WWW.CHRISTOPHER-PERRY.CO.UK 67 PRIMARY IMAGERY OF DEVELOPMENT 68 LEFT TO RIGHT:

CARABINER FASTENING RESEARCH FROM WWW.AMAZON.CO.UK PRIMARY IMAGERY AND SKETCHES 69 PRIMARY IMAGERY of metalwork pieces 71-72 WORKING LINE-UP DRAWN UP 73-74 WORKING LINE-UP DRAWN UP 75-94 FINAL COLLECTION PHOTOGRAPHY IN COLLABORATION WITH AMIE PARSONS 99 WORK OF VARINI FROM WWW.VARINI.ORG PRIMARY DEVELOPMENT: SKETCHES, TOILING, ILLSTRATIONS FINAL COLLECTION PHOTOGRAPH BY AMIE PARSONS

emma mortimer