Portfolio by
Hanna Hanhela
2013
Final Collection 2012
I was influenced by protective clothing, where both
I
have
been
European
and
motor
biking
body
taken
inspiration
looking
at
Japanese armour.I from
armour,
samurai have
child
and also
labourers
protective wear. I wanted the construction for my garments to have as few style lines as possible, reflecting the sheets of fabric workers used to wrap themselves in for protection. The weak spots in armour; less protected areas and joints, inspired cut outs and open backs. The
ritual
the
ritual;
behind to
protected, was warriors
and
get
the
something
engaged
in,
purpose
dressed and
for
of
being
the
samurai
has
had
an
impact on the way I approached the design process of my collection. Complexity
and
simplicity
in
form
of
straps that wrap around and armour like constructions meet with the clean shapes and silhouettes.
Main dress made out of heavy matte jersey panels sewn together and bound with an organza binding. Shoulder detail made out of pieces cut from a perspex sheet, sprayed black and crocheted together with black fishing acrylic fishing line. Main dress and shoulder detail hand stitched together by strong fishing line. Fasteng is at the back of the dress using lobster clasps mainly used in jewellery.
Black heavy matte jersey dress with a shoulder detail made out of crocheted perspex-pieces.
A-lined silk coat with wool blend ongrown raglan sleeves bound with silver silk ‘sharkskin’ binding. The top facing has a ‘sharkskin’ bias trimming, running along the facing edge, creating an interesting detail. The pocket facing is also made from the same ‘sharkskin’ constructing a hint ofsilver in the pocket opening. Canvas, fusing and stay flex tape were used for constructing the garment, making sure there fabric did not stretch and the weights of the fabrics matched. All main body pieces are bagged out. The facing is the whole top bodice, which makes it unnecessary for a lining.
Black silk jacket with wool blend sleeves and contrast slit pockets, with two functioning zip at the front.
fastenings
Silver grey jacket with a ‘sharkskin’ grown on raglan sleeve without fastening.Rounded neckline and cut outs exposing the mid-section of the body. The front of the jacket is fully canvased of a medium weight, and the lapels are further fused in a heavy weight interfacing to create more structure. The bottom lapels swings out when the jacket is worn, which causes great strain to the corners. It was necessary to reinforce them with a piece of organza to make sure no damage would be caused over time. The inner edge of the facing creates a perfect circle. A thin trimming of ‘sharkskin’ is running along the facing edge towhich the lining is hand felled.
Silver grey wool silk coat with kimono sleeve with an on-grown raglan. Sleeve panel in silk ‘sharkskin’.
Tailoring
My
inspiration
for
the
tailoring
project came from a comic book I found at a fleemarket in my hometown about the Moomins. ‘The Moomins’ are sympathetic creatures and as a child I used to adore them and their ways of life. They symbolized a type of childlike roundness
and
translated sleeves
and
into
awkwardness, cropped
hems,
which
lengths
rounded
in
shoulders
and silhouettes with few interruptions in pattern and lines. I was also intrigued by how children are portrayed in photos from the 19th century.
They
usually
come
across
looking unfomfortable and dressed in ilfitted clothes they might have grown out of or have not yet grown into.
Constructed tailoring
using
traditional
techniques,
front body
like
the
canvas with a hand
felled edge tape. Cross
stitched
salicia
in
the
hems for turning and attaching facings. The
sleeve
was
basted
into
place to make sure it is eased in evenly. To create a defined roll on the sleevecap,
a
folded
strip
of
bias cut canvas was attached to the seam.
-fully lined, hand felled in -hidden buttonstand, lined -slight funnel collar -front edge and neckline edge stitched by hand
The basting holds the inside canvas to the main body, until it has been secured by occasional sync stitching through seams and the lining is felled in.
The rounded shoulder gets its structire from a self constructed shoulder pad made from two layers of different types of canvas cut out in opposite grains, and one layer of thin felt cloth. The layers are then pad stitched and moulded to a round shape. A stiff collar canvas is used for pad stitching the collar. The padding allows for the collar to get its rounded shape. There is a pair of single jet pockets at the front, of which the sides are stab stitched close by hand.
-small rounded canvassed collar -exposed gunmetal zip fastening -two piece, grown on, cropped set-in sleeve, with three short darts -rounded shoulder -short double vents at back -fully lined
hanna-LoTTa hanheLa I was influenced by samurai armour and child labourer protective wear. The ritual behind, and the purpose of, the ritual of getting dressed for being protected, was something the samurai warriors also engaged in, and has had an impact on the way I approached the design process of my collection. The weaknesses in construction and the strengths in structure of these garments were used as main inspirational sources. I wanted the construction for my garments to be as minimal in style lines as possible, reflecting the sheets the fabric workers used to wrap themselves in for protection. The picture is a detailed shot of my tailored silver kimono coat made from wool silk with a raglan silk ‘sharkskin’ sleeve. The lining of the coat is in the shape of a circle and is hand sewn in the trimming of the sharkskin running along the facing edge.
41
Hanna Hanhela
Experience
hannalhanhela@gmail.com 2013 February - Sarah Baadarani Freelance Pattern cutter
07792441261
Pattern cutting garments and gloves Cutting out and hand finishing sample garments
A
competent,
committed
and
creative
fashion
professional
with experience working in dynamic high end design studios.
2012 October - Teija Freelance Studio/Design Assistant
Proficient technical knowledge in both garment construction and CAD. Hold great ability to priorities and highly adaptible
Development/Pattern cutting of Autumn/Winter 13 Prep of production packs sent to manufacturers Communication with manufacturers in London Attend meetings with suppliers
Technical
Managing interns and machinists
2012 September-December Production Assistant
to new inspirational environments.
Skills
Margo Selby
Production of soft jackets and scarves Cutting out for production
2012 July-September Teija(Fashion Fringe) Studio Intern Pattern cutting, Toiling, Draping for the spring/summer collection Designing and executing accessories
Traditional Bespoke Tailoring Creative cutting Flat Pattern Cutting Draping Corset Making Flou (fabric manipulation, bias cut) Design Illustration Precise sewing skills adaptible to many fabrics Good time management Team worker
Attend fitting sessions Styling of lookbook shoot and catwalk show at LFW
Education
Computer Extensive knowledge in Adobe Indesign
Graduate Fashion Week 2012 One of the selected to represent UCA Rochester
Exellent skills in Adobe Illustrator Good knowledge in Microsoft Word Competent in Powerpoint
at GFW
Sufficient in Excel
2011 May-June Studio Intern
Graeme Armour
Pattern cutting, Pattern grading Draping, Toiling Concept research for autumn/winter 2012
University for the Creative Arts Rochester, UK
2008 - 2009 Västra Nylands Folkhögskola Finland, Art Programme
2008 Diploma Work in Fashion Design
Language Native: Fluent: Basics:
2009 – 2012 BA (Hons) Fashion Atelier
Porvoon Lasten ja Nuorten Taidekoulu, Finland
Finnish, Swedish English French
2005 - 2008 Matriculation Examination Borgå Gymnasium, Finland, Upper Secondary