THE U N D O N E COLLECTION P R O C E S S A N A L Y S I S D O C U M E N T H A Z E L B O Y D H 0 0 1 2 8 5 5 5 E 1 9 C A Y E A R 3
CONTENTS
BEAUTY by DESIGN
1-6
DESIGN CONCEPT
7-10
LAYERS of LACE
11-12
SENSATION of FLOATING
13-16
INSPIRATIONS of a JELLYFISH
17-20
COLOUR
21-22
FINAL FABRICS
23-24
PRODUCTION
25-26
TOILLE PROCESS
27-30
FINAL OUTFITS
31-36
REFERENCES
37-39
B D
E
A U T Y BY E S I G N
THE BEAUTY BY DESIGN; FASHIONING THE RENAISSANCE EXHIBITION INSPIRED ME IN MANY WAYS. HOWEVER, A PIECE BY MAL BURKINSHAW STOOD OUT TO ME MOST,NOT JUST BECAUSE OF ITS BEAUTY, BUT BECAUSE OF THE MEANING BEHIND THIS WORK OF ART.
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I PERSONALLY FEEL THE USE OF LACE EMPHASISES THIS MESSAGE AS THE LARGEST JACKET STILL LOOKS AS INTRICATE, DETAILED AND DELICATE AS THE SMALLEST AND ALL OF THE JACKETS LOOK EQUALLY BEAUTIFUL. THE DIVERSITY IN THE RANGE OF SIZES DOES NOT DETRACT FROM THIS. ON THE CONTRARY, THE PIECE PROMOTES NOT ONLY DIVERSITY BUT ALSO A MORE BALANCED VIEW OF THE IDEAL BODY SHAPE. ON CLOSER INSPECTION EACH JACKET IS ADMIRABLE IN ITS OWN RIGHT, MAINLY DUE TO THE STRUCTURE OR USE OF LACE. THE DESIGNS IN EACH PIECE HAVE AN ABUNDANCE OF FINE DETAIL THAT I FOUND TO BE VERY INSPIRATIONAL. I CHOSE TO FOCUS ON ONE JACKET IN PARTICULAR; THE SECOND FROM THE RIGHT. THE LACE WORK ON THE ARMS CAUGHT MY EYE FROM A DESIGN POINT OF VIEW, AS IT IS UNUSUAL AND VERY STRIKING. THE PIECE CONSISTED OF SIX LACE BLAZER JACKETS RANGING IN SIZE FROM VERY SMALL TO WHAT COULD BE CONSIDERED AS EXTRA-LARGE. EACH JACKET WAS HANGING ON INVISIBLE THREAD SUSPENDED FROM THE CEILING. THE INTRICATE BLACK LACE CONTRASTING AGAINST THE LIGHT BOX ON THE WALL BEHIND WAS EYE CATCHINGLY STUNNING AS SOON AS YOU ENTERED THE EXHIBITION. MY UNDERSTANDING OF THE MEANING BEHIND THIS PIECE IS THAT DIVERSITY IN BODY SHAPE AND IMAGE SHOULD BE CELEBRATED. THE IDEAL BODY SHAPE CAN COME IN A DIVERSE RANGE OF SHAPES AND SIZES AND IS NOT SPECIFIC TO GENDER. TO CONVEY THIS MESSAGE, BURKINSHAW EXHIBITS SIX SIMILAR JACKETS IN SIX DIFFERENT SIZES THAT REPRESENT HOW THE SILHOUETTE OF THE IDEAL OF BEAUTY HAS CHANGED THROUGH HISTORY. THIS WORKS WELL AS IT GIVES A STRIKINGLY CLEAR VISUAL MESSAGE THAT SHOWS HOW THE IDEAL HAS CHANGED. BURKINSHAWS USE OF THE VARIOUS SIZED SILHOUETTES PROMOTES DIVERSITY AND CHALLENGES THE PERSISTING CONTEMPORARY NOTION OF THE IDEAL OF BEAUTY THAT DEMANDS A STICK THIN SILHOUETTE.
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CLOSER INSPECTION OF THE LACE AND THE WAY THE INTRICATE DESIGNS WERE CREATED INSPIRED ME TO EXPLORE THE ACTUAL STRUCTURE OF THE LACE FURTHER BY DRAWING THE SHAPES FROM THE LACE MOTIF IN MY SKETCHBOOK. LINE DRAWINGS, BLACK AND WHITE CUT OUT DRAWINGS AND INK PAINTINGS WERE A FEW OF THE WAYS I DECONSTRUCTED THE PATTERNS AND LAYERS TO EXPLORE MY THOUGHTS FURTHER. I FOUND THAT THE LINES, SHAPES AND MOVEMENTS I CREATED LED ME TO THINK ABOUT THE SEA. I MIND MAPPED ON THE SEA AND CAME UP WITH ANSWERS SUCH AS ‘SEE-THROUGH’, ‘THE DEEP SEA’, AND ‘SEA-CREATURES’. THE IDEA OF TRANSPARENT SEA CREATURES LED ME TO INVESTIGATE IMAGES OF JELLYFISH. THEIR INTRICATE TENTACLES REMINDED ME OF SOME OF THE SHAPES I HAD DECONSTRUCTED FROM THE LACE.
STUDYING MORE IMAGES OF JELLYFISH, THEIR MOVEMENT, THE WAY THEY FLOAT EFFORTLESSLY AND THEIR APPEARANCE LED ME ONTO THOUGHTS OF ‘FINE’, ‘LAYERS’ AND ‘FLOATING’. I THOUGHT THE JELLYFISH TENTACLES LOOKED LIKE LAYERS OF DELICATE FABRIC FLOATING IN THE WIND. LOOKING CLOSELY AT THE STRUCTURE OF LACE AND INVESTIGATING THE SENSATION OF FLOATING LED ME TO THE BASIS FOR A DESIGN CONCEPT I WAS HAPPY TO DEVELOP.
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D E S I G N C O N C E P T
THIS CAPSULE COLLECTION IS DESIGNED FOR A HIGH END MARKET AND IS HEAVILY INSPIRED BY THE SENSATION OF FLOATING AND A DECONSTRUCTION OF THE STRUCTURE, TEXTURES AND INDIVIDUAL ELEMENTS OF LACE. I HAVE NAMED IT ‘THE UNDONE COLLECTION’. I HAVE EXPLORED THE SENSATION OF FLOATING BY STUDYING AND TAKING INFLUENCE FROM JELLYFISH. I CONCENTRATED ON THEIR GRACEFUL MOVEMENTS AND THE SENSE OF FREEDOM AND FLUIDITY THAT JELLYFISH APPEAR TO HAVE AS THEY FLOAT IN THE OCEANS IMMERSED IN WATER. I HAVE ENDEAVOURED TO INCORPORATE THIS SENSATION OF FLOATING AND THE RESULTING FREEDOM OF MOVEMENT INTO MY GARMENTS. I HAVE USED SOFT, SHEER, AND FLUID FABRICS IN MY COLLECTION TO EMULATE THE FEELING OR SENSATION OF FLOATING IN WATER. LIKE THE JELLYFISH, THE GARMENTS ARE BASIC YET STRUCTURED ON THE TOP WHILST ON THE BOTTOM, LEAFS OR STRIPS OF SOFT FABRIC FLOW FREELY AND GRACEFULLY. THE SHEER FABRICS WERE INSPIRED BY THE DELICACY OF NOT ONLY THE SENSATION OF FLOATING AND JELLYFISH, BUT ALSO OF LACE. LOOKING AT THE PRODUCTION METHODS IN MACHINED LACEMAKING I FOUND THAT THERE WAS GENERALLY A SOLID, STRUCTURED BUT SHEER, NET LIKE BASE LAYER TOPPED BY A DELICATE PATTERNED TOP LAYER.
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THE MAJORITY OF THE GARMENTS IN THE COLLECTION ARE FINISHED WITH A ROLLED EDGE. THE INSPIRATION FOR THIS FINISH WAS TAKEN FROM THE WAY THE RAISED PATTERN ON THE LACE IS BUILT UP OVER THE SHEER BASE. THIS IS PARTICULARLY EVIDENT ON THE SHEER CHIFFONS.
LACE WAS A BIG INSPIRATION IN MY COLLECTION. NOT IN THE DIRECT SENSE, BUT RATHER IN A MORE DECONSTRUCTED SENSE. IN PARTICULAR, THE LAYERS, THE DELICACY, AND THE WAY IT HAS AN UNDERLYING STRUCTURE, AND TEXTURES THAT CAN RANGE FROM LIGHTWEIGHT TRANSPARENCY RIGHT THROUGH TO A MUCH HEAVIER, THICK OPACITY. INFLUENCED BY THE DIFFERENT LAYERS AND TEXTURES THAT CAN BE FOUND IN THE STRUCTURE OF LACE, I CHOSE TO WORK WITH A RANGE OF FABRICS FROM CHIFFONS THROUGH TO JERSEY. THIS ALLOWED ME TO CREATE A LAYERED LOOK THAT INCORPORATES A RANGE OF TEXTURES FROM A DELICATE LOOKING SHEER AND A LIGHTWEIGHT SEMI-TRANSPARENCY THAT IS CREATED BY FOLDING CHIFFON, RIGHT THROUGH TO THE THICKER HEAVIER FEEL OF THE OPAQUE JERSEY. THE LAYERED EFFECT IS EMPHASISED BY THE USE OF SHEER FABRICS ON TOP OF SATINS AND COTTON JERSEY’S. THIS ALSO GIVES THE GARMENTS AN ELEMENT OF STRUCTURE WHILST STILL ALLOWING THE LEAFS TO OPEN, GIVING THE GARMENTS A FLOATING, DELICATE EFFECT THAT MOVES FREELY AND EASILY WHEN WORN.
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BUILDING ON THE THEME OF FLOATING IN WATER BUT STEERING AWAY FROM THE OBVIOUS BRIGHT BLUES THAT USUALLY REPRESENT WATER, MY COLOUR PALETTE WAS INFLUENCED BY A POEM; ‘SHE REMINDS ME OF AN EMERALD HUE, OF GORGEOUS DEEP-SEA OCEAN BLUE’. THIS INSPIRED ME TO CHOOSE A COLOUR SCHEME THAT INCLUDES A RANGE OF LUXURIOUS SEA GREENS, SOME OF WHICH, WHEN EXPOSED TO CERTAIN LIGHT CONDITIONS, PROJECT AN EXTREMELY SUBTLE, ALMOST IRIDESCENT, DEEP-SEA, DARK OCEAN BLUE TINGE. THE PALETTE OF RICH GREENS IS THEN EMPHASISED BY OFFSETTING IT AGAINST AN UNDERSTATED BLACK JERSEY. THE OVERALL EFFECT IS A COLLECTION THAT UNDOES THE INDIVIDUAL ELEMENTS OF MANUFACTURED LACE AND INCORPORATES THEM INTO MULTIPLE, INDIVIDUAL LAYERS THAT ARE BROUGHT TOGETHER IN GARMENTS AND OUTFITS WHICH PORTRAY A SENSE OF FLOATING AND THE SOFT, FREE, UNINHIBITED FEELING THAT COMES FROM THE SENSATION OF FLOATING.
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L L
A Y E R S OF A C E
ON VISITING THE MORTON YOUNG AND BORLAND MILL, I WAS INSPIRED BY MANY ASPECTS OF LACE AND ITS PRODUCTION PROCESS, FROM THE INTRICATE DESIGNS THROUGH TO THE DIFFERENT FINISHING’S THAT COULD BE USED. IT WAS FASCINATING TO SEE HOW THE INDIVIDUAL ELEMENTS OF THE MATERIALS AND DESIGN WERE BROUGHT TOGETHER TO PRODUCE THE END PRODUCT. I WAS PARTICULARLY INTRIGUED BY THE INDIVIDUAL LAYERS THAT MAKE UP THE FINISHED LACE. HOW THE RED AND GREEN CARDS ARE USED TO PRODUCE DIFFERENT TEXTURES AND LAYERS. THE RED CARDS WERE USED TO PRODUCE THE PATTERNS WHICH LOOKED TO ME AS THOUGH THEY WERE MADE OF FINE NEEDLE WORK LOOPING ON TOP OF THE BASE LAYER. IT REMINDED ME VERY MUCH OF A ROLLED EDGE AND INSPIRED ME TO LOOK INTO USING THE ROLLED EDGE MACHINE FOR FINISHING ELEMENTS OF MY GARMENTS. STUDYING PHOTOGRAPHS I HAD TAKEN OF THE LACE, I EXPERIMENTED WITH DRAWINGS OF CLOSE UP SECTIONS. THIS LED ME TO FOCUS ON THE PROPERTIES OF LACE, PARTICULARLY HOW SOME AREAS WERE DELICATE, SHEER AND FRAGILE LOOKING WHILST OTHERS LOOKED MORE OPAQUE AND STRONGER. THIS GAVE ME THE INSPIRATION TO EXPERIMENT WITH BUILDING UP LAYERS OF CHIFFON, CREPE, SATIN AND JERSEY TO ACHIEVE A SIMILAR RANGE OF EFFECTS, FROM SHEER TO OPAQUE. WHEREAS LACE INCORPORATES THIS RANGE OF EFFECTS INTO A SINGLE FABRIC, I CHOSE TO EXPLORE HOW I COULD DECONSTRUCT THE INDIVIDUAL ELEMENTS OF LACE AND INCORPORATE THEM INTO MY DESIGNS AS MULTIPLE, INDIVIDUAL LAYERS THAT COULD BE BROUGHT TOGETHER IN A GARMENT OR OUTFIT.
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S E N S AT I O N OF F L O A T I N G THE SENSATION OF FLOATING IS, LIGHTWEIGHT, FLUID, FREE……. THE SENSATION OF FLOATING IS BEAUTIFUL. THE INSPIRATION FOR MY DECISION TO INCORPORATE THE SENSATION OF FLOATING INTO MY DESIGNS CAME FROM MY RESEARCH INTO LACE AND MY VISIT TO THE BEAUTY BY DESIGN EXHIBITION. IN INVESTIGATING THE PROPERTIES OF LACE I STUDIED SOME OF THE PATTERNS THAT COULD BE FOUND ON ONE OF THE JACKETS IN THE EXHIBITION. DECONSTRUCTING AND EXPERIMENTING WITH THE PATTERN LED ME TO DISCOVER SHAPES AND LINES THAT REMINDED ME OF THE SEA. THE TRANSPARENCY OF THE SEA SEEMED TO ECHO THE TRANSPARENCY OF THE LACE AND THIS LED ME TO RESEARCH IMAGES OF THE SEA, SEA CREATURES, AND FLOATING IN THE SEA OR WATER.
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I THOUGHT ABOUT THE VEDANA OF FLOATING.THE PLEASANT, THE UNPLEASANT AND THE NEUTRAL. THIS LED ME TO THINK ABOUT A JELLYFISH FLOATING FREELY IN THE WATER (PLEASANT), THE THOUGHT OF DROWNING (UNPLEASANT), AND INK FLOATING IN WATER (NEUTRAL). I THEN DISCARDED DROWNING AND EXPLORED THE IDEA OF INK FLOATING IN WATER. I LIKED THE IDEA OF FOCUSING ON THE MOVEMENT OF THE INK AS IT FLOATED FREELY IN THE WATER, HOWEVER, BY EXPERIMENTING WITH INK DROPPED INTO WATER I FOUND THAT HOW IT MOVED AND FLOATED IN THE WATER WAS HEAVILY INFLUENCED BY THE WAY IT WAS POURED INTO THE WATER. I WAS MORE ATTRACTED BY THE IDEA OF EXPLORING THE SENSATION OF FLOATING BY RESEARCHING JELLYFISH AS I FELT THIS WOULD SHOW ME A MORE NATURAL FLOATING EFFECT. WHEN I FOCUSED MY RESEARCH ON JELLYFISH I FOUND I WAS CAPTIVATED BY THEIR DELICACY AND THE WAY THEIR TENTACLES MOVED FREELY AND ALMOST EFFORTLESSLY WHEN THEY FLOATED IN WATER. I REALISED THEN THAT THE SENSATION OF FLOATING COULD BE AN IDEAL SENSATION TO INCORPORATE INTO MY COLLECTION AS IT WOULD WORK WELL WITH THE DELICATE LAYERS OF DECONSTRUCTED LACE THAT I HAD BEEN RESEARCHING. IT WOULD ALSO HELP ACHIEVE MY GOAL OF MAKING MY WEARER FEEL GOOD, LIKE FLOATING ON AIR OR IN WATER. TO ME, THE SENSATION OF FLOATING ALSO CONJURED UP PLEASANT CONNOTATIONS OF FEELING FREE AND UNDONE. I WAS INSPIRED TO INCORPORATE THE SENSATION OF FLOATING INTO MY DESIGNS.
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I N S P I R AT I O N S OF A J E L L Y F I S H
MY ORIGINAL COLOUR PALETTE CONSISTED OF DIFFERENT GREY TONES AND BLUES. TAKING INSPIRATION FROM THE SEA, THE COLOURS WERE FULL OF DEPTH, YET I STILL FELT THEY WERE LACKING VIBRANCY AND VARIATION OF HUE. I TOOK TO THE INTERNET TO RESEARCH DIFFERENT SEA’S WHICH WERE HABITAT TO JELLYFISH, AND FOUND A POEM WHICH INSPIRED ME TO USE GREENS, IN PARTICULAR LUXURIOUS EMERALD GREENS. ‘ SHE REMINDS ME OF AN EMERALD HUE, OF GORGEOUS DEEP-SEA OCEAN BLUE’ WHEN EXPOSED TO CERTAIN LIGHT CONDITIONS, SOME OF THE GREEN FABRICS PROJECT AN EXTREMELY SUBTLE, ALMOST IRIDESCENT, DEEP-SEA, DARK OCEAN BLUE TINGE. THE PALETTE OF LUXURIOUS, RICH, EMERALD GREENS IS EMPHASISED BY OFFSETTING IT AGAINST AN UNDERSTATED BLACK JERSEY.WHEN I BEGAN RESEARCHING JELLYFISH IT WAS WITH THE SOLE THOUGHT OF RESEARCHING AND BETTER UNDERSTANDING THE SENSATION OF FLOATING. I RESEARCHED THEIR PHYSIOLOGY, THEIR MOVEMENTS, AND HOW IT MIGHT FEEL TO BE ONE FLOATING IN THE OCEAN.
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I THEN FOUND THAT I WAS VERY INSPIRED BY THE BEAUTY OF THE JELLYFISH THEMSELVES SO I DECIDED TO TAKE INFLUENCE FROM THE CREATURES THEMSELVES IN MY DESIGNS. MOST JELLYFISH HAVE A CORE WHICH IS STRUCTURED YET FLUID. PULSATING THEIR CORE ALLOWS THEM TO PROPEL THEMSELVES THROUGH THE WATER. THE SURROUNDING AREAS TEND TO BE A LITTLE MORE TRANSLUCENT, LIGHTWEIGHT, LONGER IN LENGTH THAN THE CORE AND THEY FLOAT FREELY AND OFTEN SPECTACULARLY IN THE WATER. A JELLYFISH IS A DELICATE YET DECEPTIVELY STRONG CREATURE WHICH MOVES IN ELEGANT SWISHES AS IT FLOATS THROUGH THE OCEAN. I CHOSE TO RECREATE THIS IN MY DESIGNS THROUGH THE USE OF PATTERN CUTTING AND FABRIC CHOICE. THE STRONG CORE OF THE JELLYFISH IS REFLECTED IN THE STRUCTURED DESIGN ELEMENTS OF MY GARMENTS. WHILST THE LONGER, DELICATE, FLOATY TENDRILS ARE REFLECTED IN THE FOLDED LEAFS AND LAYERS OF SHEER AND LIGHTWEIGHT FABRICS THAT ARE A DESIGN FEATURE OF MY OUTFITS.
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DEEP-SEA
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OCEAN 21
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BLUE
MY ORIGINAL COLOUR PALETTE CONSISTED OF DIFFERENT GREY TONES AND BLUES. TAKING INSPIRATION FROM THE SEA, THE COLOURS WERE FULL OF DEPTH, YET I STILL FELT THEY WERE LACKING VIBRANCY AND VARIATION OF HUE. I TOOK TO THE INTERNET TO RESEARCH DIFFERENT SEA’S WHICH WERE HABITAT TO JELLYFISH, AND FOUND A POEM WHICH INSPIRED ME TO USE GREENS, IN PARTICULAR LUXURIOUS EMERALD GREENS. ‘ SHE REMINDS ME OF AN EMERALD HUE, OF GORGEOUS DEEP-SEA OCEAN BLUE’ WHEN EXPOSED TO CERTAIN LIGHT CONDITIONS, SOME OF THE GREEN FABRICS PROJECT AN EXTREMELY SUBTLE, ALMOST IRIDESCENT, DEEP-SEA, DARK OCEAN BLUE TINGE. THE PALETTE OF LUXURIOUS, RICH, EMERALD GREENS IS EMPHASISED BY OFFSETTING IT AGAINST AN UNDERSTATED BLACK JERSEY.
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JELLYFISH AND FLOATING
F I N A L F A B R I C S
IN KEEPING WITH THE SENSATION OF FLOATING I CHOSE FABRICS THAT ARE FLUID, SOFT AND LIGHTWEIGHT. THE DESIGN CUT AND ROLLED EDGE FINISH OF THE SHEER CHIFFON ENHANCES THE FLOATY FEELING OF THE FABRIC AND REPRESENTS THE DELICACY OF THE JELLYFISH’S TENTACLES. BEING IMMERSED IN WATER GIVES A VERY SMOOTH FEELING, SO I CHOSE A SATIN TO REFLECT THIS. A VERY SOFT JERSEY GIVES STRUCTURE TO THE BODY OF THE OUTFITS AS INSPIRED BY THE JELLYFISH’S SOFT BUT STRUCTURED CORE. LACE THE DIFFERENT WEIGHTS AND LAYERS OF THE 4 DIFFERENT FABRICS IN 5 DIFFERENT COLOURS ARE USED TO REPRESENT THE DECONSTRUCTED LAYERS IN THE LACE, FROM THE DELICACY OF THE SINGLE LAYER OF TRANSPARENT CHIFFON, THROUGH THE SLIGHTLY THICKER CREPE, TO THE HEAVIER OPAQUE JERSEY. THE ROLLED EDGE MACHINE WAS USED AS A FINISHING TO GIVE THE FEELING OF THE LAYERED LACE AND TO ENHANCE THE OVERALL LOOK AND FEEL OF DELICACY.
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PRODUCTION
I FEEL THE PRODUCTION STAGE WENT QUITE SMOOTHLY AS I HAD A STRONG IDEA OF EXACTLY WHAT WAS TO BE DONE FROM DAY ONE IN THE WORKSHOP. STARTING WITH A DRESS BLOCK, I ADDED LENGTH AND VOLUME UNTIL I HAD MY DESIRED SHAPE AND TOOK IT IN ALONG THE SIDE OF THE BODY TO MAKE THE STRUCTURE MORE FITTED. I KNEW I WANTED THE TOPS OF THE DRESSES TO BE BASIC AND STRUCTURED, MUCH LIKE A JELLYFISH. THIS WAS TO EMPHASIZE THE BOTTOM HALF OF THE GARMENTS. FOR THE LARGE SKIRT AND THE LONG CAPE, I DECIDED NOT TO PATTERN CUT AND INSTEAD I STARTED BY DRAPING MATERIAL TO UNDERSTAND THE BEST WAY TO CREATE THE SKIRT.
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T O I L L E P R O C E S S
FIRSTLY I TRIED KEEPING THE MATERIAL IN ONE PIECE AND PINNING IT ONTO THE STAND, BUT FOUND I WOULD NEED NEARLY FIVE TIMES THE MATERIAL TO ACHIEVE THE VOLUME I WAS AFTER.
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I THEN TRIED MAKING STRIPS OF MATERIAL AND FOLDING THEM BEFORE PUTTING THEM INTO THE WAISTBAND AND FOUND THIS WAS THE BEST SOLUTION. THE STRIPS RESEMBLED THE TENDRILS OF THE JELLYFISH MORE ACCURATELY, WOULD FLOW BETTER WHEN WORN AND WORKED WELL WITH THE ROLLED EDGE FINISH. IN THE FINAL STAGES OF THE TOILLING PROCESS, AFTER RESEARCHING THE AVAILABLE FABRICS, I REALISED I HAD TO ALTER A PATTERN FOR MY GREEN SATIN DRESS AS IT WAS A LITTLE TOO LARGE FOR THE DESIRED FABRIC. I SOLVED THIS BY MAKING THE SKIRT OF THE DRESS IN FIVE PANELS INSTEAD OF FOUR. THIS ACTUALLY WORKED BETTER AS THE PANEL COULD GO
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F I N A L O U T F I T S
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AFTER SPEAKING WITH ROBBIE, WE CAME TO THE DECISION THAT A THIRD GARMENT ON MY SECOND OUTFIT WASN’T NECESSARY AS IT WOULD BE HIDDEN BY THE DRESS ON TOP. I FELT THE OUTFIT WORKED BETTER AS A TWO PIECE SINCE IT DIRECTED MORE FOCUS TOWARDS THE CAPE SET AGAINST THE BACKDROP OF THE BLACK JERSEY DRESS. OVERALL I AM VERY HAPPY WITH MY FINAL GARMENTS; I FEEL THEY ARE A GOOD REPRESENTATION OF MY DESIGN CONCEPT, WILL WORK WELL FOR MY CHOSEN MARKET, AND CLEARLY REFLECT THE BRIEF.
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1 ‘JELLYFISH’, ETSY.COM; 2011 2 LACE IMAGE, H.BOYD;2015
REFERENCES
3 LACE JACKETS IMAGE, H.BOYD;2015 4 LACE JACKETS IMAGE, H.BOYD;2015 5 LACE JACKET IMAGE, H.BOYD;2015 6 ‘BLUE’, L.MCLEAN;2014 7 ‘WHITE JELLYFISH’, J.DURRANT; OCTOBER 2014 8 LACE IMAGE, H.BOYD;2015 9 LACE CARDS IMAGE, H.BOYD;2015 10 ‘DEEP-SEA’, K.JACOBS; MAY 2008 11 ‘CRYSTAL REEL’, Z.HOLLOWAY; 23rd MARCH 2009 12 INK IMAGE, H.BOYD; 2015 13 INK IMAGE, H.BOYD; 2015
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14 ‘DANCE WITH ME’, N.MISTUKOVA; 16th JULY 2011 15 ‘JELLY TAIL’, C.GIVINCVRLOS; JUNE 2014 16 ‘UNDONE’, B.PATERSON; AUGUST 2014 17 FABRIC IMAGE, H.BOYD; 2015 18 TOILLE IMAGE, H.BOYD; 2015 19 TOILLE IMAGE, H.BOYD; 2015 20 TOILLE IMAGE, H.BOYD; 2015 21 TOILLE IMAGE, H.BOYD; 2015 22 TOILLE IMAGE, H.BOYD; 2015 23 ‘FINAL OUTFIT IMAGE’, S.MCCLYMONT;24thAPRIL 2015 24 ‘FINAL OUTFIT IMAGE’, S.MCCLYMONT;24thAPRIL 2015 25 ‘FINAL OUTFIT IMAGE’, S.MCCLYMONT;24thAPRIL 2015 26 ‘FINAL OUTFIT IMAGE’, S.MCCLYMONT;24thAPRIL 2015
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