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INTRODUCTION This Process analysis document will discuss the full process of the ‘Accidental Icon collection’- from initial ideas through to the styling and photography of the collection. Each stage will be explained in full detail, giving an understanding into the collections -influences, design decisions and the processes involved in its production. ‘Accidental Icon’ focuses heavily on some key themes- ‘Opulence out of Context’, ‘Inspiration from the ordinary’ and ‘Simple made significant. This is done through one particular muse whose lifestyle and relationship with clothes influenced the concept of the range. Her unconventional yet chic style is portrayed. Some influences include; menswear, sleepwear and headscarf details. These aspects provide an individual, contemporary edge as well as providing a strong narrative of the muse throughout. The luxurious collection plays heavily with simple elegance, focussing on styling, layering and the way garments are worn.
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CONTENTS Introduction pg 2 Collection Brief pg 5 Research pg 6 Concept pg 8-27 Design Development pg 28-36 Print pg 38-41 Fabric pg 42 Toile Process pg 44-73 Final Production pg 74-85 Photoshoot pg 86 Reflection pg 89 References pg 90
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ASPIRINING BRANDS: CELINE & MARNI
COLLECTION BRIEF The task was to design and create a collection of six looks. Each look was to have a minimum of three garments. This collection was to be designed, whilst closely considering target market, the season and its competitors. The aim of this project was to produce not only a successful, fully functioning collection but a chance to portray the individual’s skills, interests and personal style. It was to act as a reflection of what their brand would portray or the companies they aspire to work for. In this case Autumn Winter 16/17 was selected as the chosen season. This allowed the use of a variety of fabric weights as well as playing with layering and the opportunity to create outerwear. It was decided that the collection would be ready to wear for women. This meant that the collection would be fully functioning and made to standard size requirements rather than being made to measure. The designs, fabrics and finishing would also have to be suitable to the chosen market- High end, at an establishing designer stage and leaning more to the contemporary side of the industry. Therefore not necessarily the same level as a renowned fashion house but a competitor to that of newer brands. Portraying the individual’s skills, interests and personal style was extremely important. The aims and overall look of the collection were established early on. The collection would be functional and minimalistic. Alongside defining personal style and looking to aspiring brands such as Celine and Marni that the rough aims of the collection were devised. The collection aimed on being extremely functional, wearable and interchangeable. It had to be contemporary, through use of subtle details. The silhouette and proportions of the designs would be used to create impact as well as using styling in an interesting way. When considering influences for the concept it was always important that the collection has a personal impact. This was a choice to ensure a unique collection as well as providing a project that was both challenging and stimulating enough for the entire year.
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RESEARCH Research for the graduate collection started early on in the summer. Spending four months in London, interning meant that there were many forms of art and inspiration available. Exploration started with different areas of interest and inspiration. Attending art exhibitions as well as exploring museums opened up a variety on influences. Attending the Graduate Fashion Week show and visiting the Central St Martins Degree show gave an insight into what is expected of graduates as well as causing consideration of what was to be achieved. Trend research was used in the early stages, looking at WGSN and trend union. Some initial themes stood out, such as ‘Unconsidered beauty and no middle point’. This then led on to themes of inspiration from the ordinary. Throughout this time one personal inspiration kept cropping up however it was uncertain as to how the inspiration would be utilised. This theme created a connection and it was decided that the starting point would be the theme of the Inspiration from the unusual and the muse of the designer’s late grandmother. Margaret was chosen as a major inspiration because of her functional and fairly unconsidered style. Making her extremely relevant to the themes of inspiration in the ordinary. The designer was incredibly inspired by not only her style but also her attitude to dressing and her relationship with what she wore. She admired the fact that her style was accidental and although fairly ordinary, was hugely influential. Her style was described as being ‘effortless, functional and sturdy’. The elements considered in the research heavily reflected on the overall themes. Encouraging the designer to focus on what clothes Margaret wore and how she wore them. This was done through looking at old photographs- Leading to a variety of traditional garments. Considered alongside other examples of designers taking unusual influences and translating them into Fashion. These aspects lead on to the idea of altering a traditional item or object to add value to create something contemporary and covetable, therefore establishing the theme of ‘opulence out of the ordinary’. These influences are seen through; silhouette, details and fabrics. These elements combined allow the collection to give a narrative to who Margaret was as well as presenting the themes effectively. Memories also played a part in the development of designs, giving the collection a contemporary and personal edge as well as an embodying the influential woman who inspired the collection. Memories were considered by note, taking and mind-mapping.
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CONCEPT After thorough research and consolidation of ideas, it was decided that the following elements would be most influential to the collection; Traditional Menswear, swimsuits, pyjamas, head scarf and personal memories. These aspects were selected for their relevance to the themes as well as the way in which they juxtaposed one another visually.
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INSPIRATION IN THE ORDINARY OPPULENCE IN THE EVERYDAY
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THE SIMPLE MADE SIGNIFICANT CHANGING CLOTHING CONTEXTS
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T H E W A Y S H E D R E S S E D W A S E F F O R T L E S S, I T W A S U N C O N S I D E R E D, F U N C T I O N A L 12 & STURDY
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MENSWEAR Referring to images of Margaret taken throughout her lifetime it was apparent that she often wore items of Men’s clothing. This was explored in terms of how the clothing looked and fitted a woman, specifically inspiring silhouette. A lot of the pieces Margaret wore were traditional staple pieces such as shirts, Macs, Trench coats, slacks and knitwear. These items were explored by looking at their silhouette, details, properties and fabrics. This was done through drawing, photography and handling similar garments. The way in which these garments were styled/altered for comfort was also considered; turn-ups and tying were just some of the techniques experimented with in the design development stage. Layering was another technique heavily focussed on, showing how different items can be worn together to give a new look or new meaning to the clothing as well as providing warmth and comfort.
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After thorough experimentation it became clear that the most favoured part of this influence was the boxy, oversized silhouette. Making proportion and shape important aspects to the collection. During the design process many different garments displayed this boxy silhouette, it was later decided that the trousers, jackets and coats would show this influence most obviously. The traditional nature of the garments encouraged the use of wools, gabardines, knits and cottons. Pockets were also selected to be a main detail. Knit seen in one of the images was heavily influential because of its sturdy yet textural qualities.
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SWIMSUITS Margaret’s life was another hugely important part in the development of the collection. Her simple yet extremely interesting life played on the themes of ‘opulence in the ordinary’. Brought up in Cockenzie, a small coastal town in East Lothian meant that she was a fond swimmer and lover of the sea. This was deemed an important aspect to display in the collection. She always spoke of her child and teenage summers spent at the Lido on the beach in her knitted bathing costumes. This was explored through looking at images of her during this time. This element was also considered to create an interesting juxtaposition between the menswear influences. Firstly, it was the texture of the bathing suits that was mostly focussed on. Knitting and smocking were some of the themes considered in creating a similar effect. This was thought of as a subtle influence and a way of adding texture to the collection. The designer then became interested in the shaping of the bathing costume, particularly the neckline shown in the image. This was seen as a typically feminine detail, which would work well alongside the boxy-silhouettes from the menswear inspiration.
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PYJAMAS Fashion pushes the boundaries of dressing and what garments are deemed for. This theme was made apparent at the ‘Shoes: pleasure and pain’ exhibition in London. The idea and the history of the velvet slipper was displayed. Through deeper research it was discovered how the slipper had strictly been considered ‘home attire’. The exhibition proved the slippers connotations of wealth, status and leisure. The decadence of the slipper and how its function has evolved throughout time was also conveyed. Velvet slippers are still seen as hugely luxurious items of clothing however they are worn more freely. They can be worn outside the home, often to black tie events. It almost seems that over time their role and the appropriateness of them has completely shifted. Trainers and other sporting pieces have also become widely worn in different settings. The concept of items out on context is another theme, which will be shown throughout the ‘Accidental Icon’.
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This theme is shown lightly through swimwear however pyjamas are the most obvious influence used. They were also focussed on because of memories of the muse in her traditional style pyjamas, an unusual element to consider however stylish all the same. Pyjamas have influenced silhouette in the collection as well as details such as buttons, collars and pockets seen throughout. Silk is also being used to achieve the desired shapes inspired by the pyjamas. 23
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THE HEADSCARF Headscarves were an iconic piece from Margaret’s wardrobe. Worn in a variety of colours and fabrics, the scarves were most often tied around her head but also worn loosely around her neck. This accessory has connotations of ‘Granny chic’ from the associations of older and more traditional women wearing them however once again this is an item in which it’s context would be challenged. The ‘Unexpected Icon’ collection challenges the ways in which this diverse piece can be worn and how it’s influence can be translated into modern, contemporary wear. The headscarf has been directly used as an accessory in the collection as well as its influence seen in other designs.
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ORDINARY OBJECTS The designer’s memories play a part in adding to the story of the collections well as displaying the idea of ordinary objects being translated into something beautiful. These memories have encouraged exploration in accessories and the prints seen in the collection. These memories include things like getting traditional style sweets. Another large aspect was trips to the charity shops, coming back with plastic bags full of things. These particular memories inspired the bag designs seen in the collection; the sweetie bag and the carrier bag. The idea of the designs was to take the ordinary, every day inspiration and create them in a flawless and luxurious way. The accessories in the collection were important in displaying the themes as well as adding some of the muse’s character. The exploration into memories also inspired Novelty print ideas. These included prints of ducks, fish and chips and sweets. This idea was first thought of to add a naivety and playfulness to the collection however they were not taken forward. This decision was due to the overall look of the collection and the connotations it would add.
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DESIGN DEVELOPMENT THROUGH DRAPE Many of the silhouettes and details in the collection were determined using three- dimensional drape. The pyjama and headscarf were the most influential elements when it came to this technique. Other elements were explored through flat hand drawing; menswear and swimwear were the most obvious examples of this. 28
PYJAMAS Pyjamas were explored by looking at their silhouette, details, properties and fabrics. This was done through drawing, photography and handling similar garments. The preferred and most influential garments were then draped on the mannequin to experiment with the construction and the styling of the garment. It quickly became apparent that the use of buttons to create drape was an interesting and successful element in altering the silhouette of the designs. It added a softer touch to the boxy silhouette of the pyjamas. This gave the garments a slightly undone look and was a way of making a very traditional detail contemporary. This technique was then transformed into a variety of garments by using drawing. The pyjama dress, pyjama shirt and the button dress were all designs spurred from this technique. This was also explored similarly by using men’s cotton shirts, however the effect was not as interesting because of their stiffer qualities.
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The fit of the pyjamas were also considered – analysing how men’s pyjamas looked on the female form. This resulted in a dropped- shoulder look and elongated sleeves and hems. Their long nature, created a wrinkled effect at the hems- this became an important detail in the collection. The crinkle look was further explored by drawing variety of designs with the same buttery, folds seen in the draping process seen in hems, sleeves and necks. This detail mirrored the gathering and drape caused the buttoning in the pyjama shirt and pyjama dress adding cohesion to the ‘unexpected icon’ collection. Elongated sleeves can also be seen throughout the collection, this effect plays on the scale of proportion in the collection and gives it that slightly ‘undone look’. The knitwear, pyjama trousers and jumpsuit all display these details in slightly different forms.
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HEADSCARF
The tying of the headscarf and the effect it had on the garment’s drape was heavily focussed in the 3-d design development stage. It was used to alter, replace functions in garments. The tie shirt is an example of this which was initially inspired by tying a pyjama shirt, this garment was selected for it’s minimalistic yet effective detailing, the finer details, such as panelling were later decided using drawing. The tie bra let is another design in the collection which was heavily inspired by the headscarf, this design was created using drape. The sleeves are another garment in the collection which utilise these details- this design was a hybrid of the elongated sleeve pyjama influence and the headscarf.
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FLAT DEVELOPMENT
MENSWEAR The traditional menswear influence was most influential through boxy, oversized silhouettes and pockets. These elements were translated into a variety of garments using hand drawing and layout paper. Proportion was used heavily to create an impact, in particular with the oversized pockets seen throughout the collection; interesting positioning of these functional details were also considered during this stage. An array of rough design ideas were created from this elements, the oversized pockets on the sides of the garments were the most effective details selected alongside the forms of boxy coats and trousers seen in the collection.
SWIMWEAR Swimwear was explored in a variety of ways, it’s fit, it’s texture but most importantly it’s shaping. The designs began to reflect the neckline and straps of the swimming costume seen in the image as well as a similar textural element. These designs offer modern, wearable alternatives to the knitted bathing suit. This plays on the idea, stated previously of garments being worn in a different context. This neckline was combined with other elements seen in the collection.
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SELECTION & COLLECTION DEVELOPMENT After the initial design development stage there was a mixture of different garments displaying an array of details and qualities. This meant that collating these designs in a collection took a lot of consideration and altering. It quickly became apparent that layering and balancing were important elements in the cohesion of the collection. The details had to be evenly spaced in the line up for the collection to look strongest. Combining the influential elements would help the process. The Jumpsuit is an example of this- the neckline was influence by swimwear and the leg shaping by pyjamas. It took many attempts to get a successful line up, constantly working back the way to try different garments or redesign one particular look. After receiving feedback a few times, the line up was ready for the presentation in week six.
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ACCESORY DESIGN The accessory design was influenced by ‘opulence in the ordinary’, which linked to memories. After sketching through a mixture of ideas, it was the sweetie bag inspiration and the carrier bag idea that were explored. The aim of these designs was to create luxurious pieces despite the origin of the idea. The designs were selected and placed after the final collection was confirmed ensuring the accessories enhanced the collection and didn’t distract from the concept.
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PRINT It was established fairly early on that the collection would have a print, initially a novelty style. Playing on the influences from the ordinary, prints of Snowdrops, fish and chips and sweets (all relating to personal memories) were created. These prints were bold but didn’t seem to work with the rest of the collection. It was vital that the prints were both relevant and sophisticated. After a lot of consideration and development portraiture style prints were created working from images of the muse. Researching vintage scarves inspired the illustrative, linear look of the prints. One design stood out in particular- it was a side profile illustration of the muse wearing a headscarf. It was bold, abstract in it’s placement and resonated the collection perfectly.
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Screen-printing seemed the best option for this navy print as, the desired fabric was a dark blue with a sand-washed finish. After finding more about the process from speaking to the print technician it became apparent that this process would be lengthy and a good quality wasn’t guaranteed. Digital printing seemed a more feasible option but it meant the fabric had to be compromised. Digital print meant incorporated more colours from the collection, using its palette to bring the fabrics together. After more development the print was selected in silk drill pale pink, navy and khaki. A Stripe print was also created to link with the menswear and pyjama influences. Opting for a vintage style stripe, the print consisted of khaki and navy stripes of varying thickness. This was also printed onto silk drill for consistency. The prints turned out to be very effective and have definitely enhanced the collection. The process was fairly turbulent so a lot of time was spent creating the final designs, which meant they were sent off later than anticipated. This didn’t cause a major effect on the production of the garments but did cause extra stress. This situation could have been improved if screenprinting had been decided against sooner.
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FABRICS The fabrics in the collection have been selected for comfort and wear ability, as well as their luxurious qualities. The collection boasts both boxy silhouettes and buttery drapes, which were achieved through the carefully selected fabrics. In the draped garments lighter weight fabrics are used, these include printed silk twills and crepe. The silk twill was chosen for its luxurious handle as well as its soft draping qualities. The twill weave fitted with the traditional influences and echoed the wool and cotton drills in the collection. The crepe seen in the outfits was selected to translate a vintage swimsuit texture. It’s heavy, double crepe qualities also allow it to create buttery, flattering shapes.
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In the more rigid designs, cotton drills and wools are used to create the desired shapes. Varying weights of wool are used throughout the collection to add warmth as well as for its traditional connotations. A cashmere jersey is also used for the stretch tops in this collection; providing warmth and luxury. This fabric which came in pink was also dyed at the university in a khaki colour to ensure the fabrics were cohesive and of the same luxury. Soft, medium weight leather has been used for the bags in the collection. This is to offer, sleek, luxurious accessories which convey the qualities of the brand and display the narrative of the collection. Fabric sourcing was an interesting but complicated process, which relied on quick decision-making. The organisation of fabrics was mostly successful; finding appropriate trimmings in the correct time proved challenging. This could have been improved with more detailed planning and sourcing trimmings earlier on in the process.
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TOILE PROCESS
LOOK 1
SLEEVELESS COAT The sleeveless coat was created using a combination of the tailored jacket and dress block. The basic straight shape created from this was then splayed to give more volume. A large pocket was sewn on the side of the garment. The first toile had achieved a good shape and fit however it appeared the designed should be slightly more challenging. Second toile was created in wool to give a more accurate representation of finished garment. Panelling was added to the back in a traditional yoke style as well as a built in pocket on the front. A pocket was added on the breast of the jacket to add functionality and make the garment more challenging. The side patch pocket was also turned into a square bellows pocket, to add a more dramatic effect. The toiles were very successful in achieving the desired look. The main criticism in the toile review was that the shoulder darts should be removed. These were removed and tested to ensure the fit was still good around the bust of the design.
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CULOTTES The culottes in the collection, took their outer shape from the pj trouser pattern in look 5. They were reduced in length and a jean-style fly added. A shaped waistband and oversized patch pockets were also created for the pattern. The first toile was extremely successful. Perfect placement of the side seam pockets took time and consideration but was achieved after the second attempt. The initial toile was not finished properly at the jean fly but a smaller sample of the jean fly and waistband was created to ensure a smooth production of the final garments.
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SWIMSUIT TOP The shaping and fit was traced from the Swimsuit inspired jumpsuit and the sleeves were elongated to ensure they would sit off the shoulder. The initial toile was successful in its shaping and fit. The sleeves were elongated further in the second toile. The original toiles were created in an extremely stretchy fabric, containing far more elasticity than the final fabric- crepe. It was vital that the garment be retoiled in a more suitable material. The pattern was made slightly wider to account for less stretch. A zip and binding were added to final prototype for practise. The binding and zip were fairly fiddly however this still seemed the best option. It kept the shaping of the garment without adding unnecessary bulk.
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POLO NECK The polo neck was created using the stretch top blocks; the main changes made to these blocks were the necklines and the sleeves. The sleeves were elongated and splayed from the elbow down to create the oversized look and reflect the hems seen elsewhere. Experimentation was carried out on a number of sleeves to ensure the desired crinkle effects and polo neck was achieved, done by adding tucks just above the hem of the sleeves. The initial toile was a good fit around the torso however the polo neck had to be improved and the sleeve made tighter. The polo neck was achieved through experimentation. Attempts were made creating grown on polo necks as well as altering the shaping neck. After a few attempts it became clear that a folded polo neck achieved the desired look. This technique also ensured neat finishing for the final product. The sleeves were also brought in from the underarm to the elbow for final production.
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PYJAMA DRESS The pyjama dress took a few toiles to perfect. The outer shape was created using the men’s shirt block, for the desired boxy shape. The draping was created by the button placement being asymmetrical. The dress originally only had the draping in the front but was added to the back for the second toile. This gave the garment more volume and a bolder silhouette. The tucks and the collar were the most challenging elements in this stage. The tucks were calculated to allow the elongated side of the pattern to match the shorter side. During the toile review, it was suggested that the collar of the pyjama dress was to be made visible, this was to allow cohesion between this design and the pyjama shirt.
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CARRIER BAG The carrier bags were simplistic to develop. The drape and dimensions were achieved in first toile; seams were added in between the straps and the main bodies of the bag to reduce waste for the final leather garments.
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POCKET JACKET The pocket jacket originally had a traditional collar. This was ruled out in the pattern production stage as it was felt that the collar would take away from the pyjama collar on the dress worn underneath. The pocket jacket took its silhouette from the crop sleeve coat and patch pockets were added over the side seams. Size and fit was achieved in the first toile however a yoke was added in the second to reflect the same detail as seen in other garments.
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TIE SHIRT The tie shirt was created by simplifying the shirt block and elongated the centre front. It took three attempts to get the right amount of volume and drape. The shaping of the ties was explored to ensure the right amount of drape and a good fit. The shoulder seams were removed to create a sleeker, draped fit. The panels were moved to reflect the swimsuit inspired necklines and the final toile was bound to ensure the technique would work with this design. More volume to the ties was suggested in the toile review, this was done by elongating and widening the centre fronts of the pattern before final production.
JUMPSUIT The jumpsuit was created using the stretch unitard block. The swimsuit inspired neckline was added. The shaping of the bottom of the jumpsuit was created in a similar way to the sleeves in the crinkle top designs- splayed from the knees down and tucks added. The desired neckline was created using free hand and a French curve. This neckline matches the small top in look one. Similarly to the top in look one, the prototype had to be sewn in a more suitable fabric and increased to ensure a good fit. Binding was also fairly fiddly with this design due to the shaping of the neckline.
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SLEEVES The sleeves were created using the sleeves from of the bodice block. This gave the basic outer shape. Cuffs were added and experimentation was carried out to get the desired tied look. They were fitted to the arm by a shaped topstitch running directly through the armhole. The sleeves originally tied behind the back, this was changed as it defeated the purpose of the collection behind functional and wearable. It was decided that the ties would instead be attached to the cuffs and would hang on the outer edges of the design. This echoed the ties inspired by headscarves seen in the other looks. There was a short sleeve knit top developed for this look however after the toile review it became apparent that the design was stronger without the top underneath, so was removed from the collection.
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BUTTON DRESS The Button dress was created using the dress block. The drape and the ‘buttoned up wrong’ look, was created in a similar way to the pyjama dress design. However the asymmetry of the design caused more problems because of the fitted nature of this design. Tucks were used on right side of the garment to ensure the pieces met at the centre back. Calculations and a number of toiles were completed to create the desired look. Tucks were also added at the side seam to lift the longer side of the garment and create a straighter hem. During the toile review it was suggested that the panelling in this design was reduced. This was achieved by altering the front panels to begin from the armhole. The back panels were also removed, leaving two centre back pieces. Half of this garment was sewn to ensure that fit was not lost around the bust and waist. The design looked far sleeker after these changes. The fit and drape of the garment had also worked better than expected.
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PYJAMA SHIRT This look began by altering the blouse block. The drape was achieved by altering the button placement and asymmetry. The traditional style collar was challenging, as it was a first attempt. The desired style was achieved after a number of attempts.
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PYJAMA TROUSERS The pyjama trousers were developed from the trouser block. Splicing was used to add volume to create the oversized, crinkle look at the hem. This look was added by placing small tucks above the bottom of the trousers. The first toile was a promising fit and silhouette, so no alterations were made before the final garment.
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ROUND NECK TOP The round neck crinkle top is identical in fit to the knit top seen in look one. The only difference is the round neck. The tucks on the sleeve were achieved through experimentation. Different techniques were used to mimic the crinkle effect. Tucks, gathers and elastic were some of the ways in which this was attempted. 65
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WIDE LEG TROUSERS The wide leg trousers were created using the trouser block. Splayed from the hip down, created volume and ensured a good fit at the waist. The fly and waist mimic the culottes, meaning that the same process was used. The proportions and flare of the trousers were achieved within the first toile.
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TIE BODICE The tie top seen in the final collection started out as a completely different design. It was successful in its shape and fit but sadly couldn’t be worn with the crop sleeve jacket. This was due to panels that tied across the shoulders. A new design was created, taking inspiration from the other pieces in the collection. The tie bodice was produced as a combination of the swimsuit neckline and the tie shirt seen in look three. It was created using the blouse block and draping directly on the stand. The fit was the most challenging element of this piece because of the ties that also fastened the garment around the body.
CLUTCH BAG The clutch bag was simplistic in its construction but more so than the carrier bag. This was due to the dimensions and the proportions between the rolled flap and the main body. The bags were toiled in a faux-suede to create a realistic prototype.
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CROP SLEEVE COAT The ski jacket block was used because of outer shape. Volume was added to the sleeve through subtle splicing. The original toile was done purely to show the shape, which was achieved. It was then decided that the design could be made more functional by adding pockets. The pocket on the sleeveless coat was added to both sides of the jacket. A yoke and panelling were also added to the back of the design. The details were decided upon by placement of pockets on the toiles. A large back waist belt was added to the design, adding drape to the overall shape.
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INITIAL TOILE LINEUP
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RESOLVED TOILE LINE UP
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LOOK 1 The sleeveless coat worked well with the combined neck, armhole and front facings. They looked sleek and were not as complicated to construct as expected. The polo neck top and culottes were both fairly straightforward to produce and the results successful. The swimsuit top was simple in its construction however the elastic binding was extremely fiddly to sew. Sewing one side of the binding first overcame the problem.
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LOOK 2 The Pyjama dress worked surprisingly to plan, meticulously marking the tucks on the pattern pulled off and saved a lot of time. Sewing the collars together was challenging but was achieved after a few attempts. The drape worked very well in the silk twill. The pocket went well up until attaching the lining. The hem was difficult to sew in, originally causing puckers in the outer coat as well as the jacket to splay. The use of leather transformed the look of ‘the carrier bag’ successfully adding structure and drape. 76
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LOOK3 The jumpsuit was constructed using open seams; this was to ensure the seams lay flat in the fitted areas. The crepe fabric is both flattering and holds the gathers at the hem nicely. The binding on the neckline was very time consuming. The production of the tie top ran smoothly up until finishing the neckline. Originally it was to be bound however, the binding kept slipping, creating holes. A pin hem was used instead, creating a neater and more rigid edge.
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LOOK 4 The button dress worked well due to effective pattern marking. The separate hem facing left a very neat finish and the weight of the wool works well with the gathers. The sleeves kept their structure in the cotton twill, which had been an issue in the toiling stage.
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LOOK 5 The pyjama shirt had similar issues with the pyjama dress but worked successfully. The trousers worked extremely well, opting to use open seams because of thick handle of the fabric. The facings at the waist are slightly bulky but sit flat when worn.
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photography: Nuala Swan make up artist: Erin Stewart styling & design: Hannah Louise Baxter
LOOK 6 The coat was simplistic in its construction and finishing. The back detail was the most challenging aspect and took some tweaking to achieve it. The detailed pulled the front of the coat, creating puckers. Reducing the weight of the detail and tacking it in a couple of places improved this. The crinkle sleeve tops both turned out well. Over locking was not the favoured method of production but limited options were available for this technique. The desired shape and finishing of the trousers were successful however the fabric creases badly, making the final product less attractive. The trousers could have been fused to reduce the creasing or a more appropriate fabric could have been selected. This proved that the ‘crease’ is an important aspect to test when sourcing fabric.
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STYLING It was important that the photo-shoot was minimalistic and simple- relating to the overall look of the collection. It was also imperative that the garments were the focal points of the shots. The at home dressing room location was chosen to look as if the model was trying on another persons clothing, exploring who they were through the clothes. This idea encouraged shots of relaxed reclined looks as well as images of tying/trying on garments. Jeurgen Teller’s work was influential to the image style and compositions. This look was a personal preference as well as relating the retro images used in the research stages of design process. Nuala Swan was chosen to take the images because of her use of film photography as well as her unique style. Styling and make up was kept minimal throughout. Make up included a fresh face with a subtle pink eye shadow to match the dusty pink seen in look six. The hair was styled in a fairly undone way, sometimes tucked in, and placed behind the ears. The leather bags and headscarf were used in the shoot along with a button earring, which was made for the collection, using some of the buttons seen in the designs. Navy heels were covered in navy ribbed socks, to give a lounging feel as well as complimenting the looks.
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REFLECTION This year has been a huge learning curve and a journey. I feel the collection has achieved the aims I set out; it’s wearable, unique and contemporary. It has allowed me to develop my personal style and helped me establish the type of designer I want to become. I also feel it is relevant to the brands I aspire to. The areas in which I feel I have excelled are creating the narrative and seeing the vision of the collection as a whole. The areas I enjoyed most are getting to explore my ideas and be in control of all aspects. It was especially rewarding seeing the different elements of the collection come together. I feel I have pushed myself and gained confidence in my abilities. The elements I found most challenging were focusing on the other modules during garment production stages and ensuring that I didn’t rush the final products. Of course small management changes could be made if I were to do this again, however no big changes would be made. I feel I have worked incredibly hard on my work this year and continue to keep doing so.
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REFERENCE LIST -WGSN -Trend Union ‘A/W ‘16’ -’A Gentleman’s Wardrobe- Classic Clothes and the Modern Man’ by Paul Keers -’A gentleman gets dressed up’ by John Bridges and Bryan Curtis -’Gentleman- A Timeless Fashion’ by Bernhards Roetzel - ‘Men’s Dashion inn the Twentieth Century’ by Maria Costantino - ‘Fabrics and Pattern Cutting’ by Winifred Aldrich - ‘Metric Pattern Cutting for Women’ by Winfred Aldrich -Vogue.co.uk -Vogue Archives
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