Julius Arthur - Portfolio

JULIUS QUINN ARTHUR 2011

J U LI U S Q U I N NAR T H U R

INDEX // 0 // CV GRADUATE WORK // PAST WORK - PREFACE DEATH BECOMES HER PRE COLLECTION TAILORING SILHOUETTE PROJECT OBJECTS PROJECTS SHIRT PROJECT

PAST WORK P R E S E N TAT I O N OF ALL PAST WORK AND SMALL PROJECTS UNDERTAKEN AT UNIVERSITY, WORK AND INDEPENDENTLY.

COMMERCIAL WORK // 1 // URBAN TRIBAL - COMMERCIAL TRENDS 2 // SKUNK FUNK PROJECT

All the work presented to you here is original work that has been created either at university or within paid jobs. Other works presented are personal project that I have developed and carry on developing within my spare time. I have always studied and specialised in women’s wear but I have interests in product design, menswear and graphics which I am always exploring through my work. I find designing for the female form inspiring and form provoking, always pushing boundaries in structure and applied imagery, form print and surface.

Menswear for me is an escape into something personal and I wish to explore this further in the future, wether in a career or personally I’m constantly working on this.

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PRE COLLECTION

PRE COLLECTION RESEARCH WAS A PROJECT I DID AT THE END OF THE THIRD YEAR GOING INTO OUR GRADUATE YEAR. IT WAS TO ENABLE US TO GENERATE IDEAS AND THINK ABOUT WHAT WE REALLY WANTED TO CREATE FOR OUR GRADUATE PROJECTS.

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I looked at a lot of material and drew inspiration from

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// DEATH BECOMES HER

DEATH BECOMES HER A GRADUATE COLLECTION BORN FROM THE STUDY OF DEATH AND THE PREMIER COLLECTION FROM THE HOUSE OF QUINN. The chance to go crazy and really make what ever we wanted, a collection, a product, a magazine it could be anything. But I needed to demonstrate to myself that I could create something special and use my years of study to make something I have always wanted to make. So I created a six look collection that was based on things I love. Turning them into a series of women’s wear looks and one off garments that personified my skills and personal design handwriting. I hoped they would transform the wearer, have drama but still be wearable, and elegant.

I needed to create an aesthetic that I could take with me, something that would stick and grow into something more after the collection. This idea of curiosity and fantasy is never ending, it can hold so much to every kind of person, not only something personal to me but can be interpreted by others in their own way, much like art. Precious objects to be admired and coveted, cherished and passed down. That’s what I wanted to convey, and keep with me. To take to the next project and to use as I go on from this point.

Things that I liked, that I have picked up on my journey through uni, personal interests and what I liked aesthetically. Combining all this together I came up with images that tried to express the mood of the collection and a short video based on the research I found. This was presented and critiqued to then fine tune it and use key material to build a women’s wear demi couture collection.

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I wanted to add many layers to the story, and ettes of the gowns that form the back bones of to combine as much information as I could to the collection, realise the collection. Visual graphics and print has been something I have always included in my life and design work from college and I wanted to reintroduce it now. I used my original form provoking collages to create anatomic hybrid beasts and creatures, twisting and repeating them to create monochrome large scale digital print work to be included in the collection and to embellish the draped silhou-

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I built the fabric choices on construction materials used on the outside of garments and leathers, skins and furs as embellishments on top of this. Natural fabrics and fibres were key in putting this together as I wanted to keep a sense of quality and luxury about the garments. Undyed linen was largely used in the jackets and hand dying and deconstruction was used aesthetically after the garments were made up to introduce an aged appearance to the work. Layering of structure, form and shape over drape and elegant volume was also key in the over all appearance of the collection as a whole. And individual customisation of the textiles surface made the garments unique.

Teamed with a set of accessories made directly from taxidermy and animal parts the collection came together and was portrayed as six whole looks that bought it together as a module and bounced from one look to another, each with its own story and personality. This comes across in the photo shoot which needed to be very simple and direct to put the story across.

I have included my sketch book and portfolio for this project as well as relevant tech work I developed when The collection showing the construction and building blocks of key pieces within the collection. How the dresses were put together and informed and how the print worked with the final fabrics.

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The collection worked closely with on going research into taxidermy processes and using animal form to develop and inspire the construction of jacket blocks and style lines within the garments.

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// TAILORING

Looking at the origins of tailoring, British tailoring heritage and how to construct a tailored women’s blazer the next stages of the project were to take what we learnt and move these ideas on to our own interpretations and use of the techniques we picked up. I wanted to go into outer wear and tailored coats, combining tailored structure with relaxed form and texture to create an outer wear garment.

Hand bound silk bias edging and finishing, panelling and embellishments.

I styled the jacket with a hand made duffle bag and aviator accessories to realise the inspiration and create a whole look.

Our chosen garment then had to be included in a complete look for the catwalk so I teamed it with a dress and so my combined look is played out in these images.

I wanted to use traditional and reclaimed materials, sheep skin, parachute silk, military details found from army surplus suppliers and all tied together with hand finishes and couture elements.

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My inspiration was from female parachutist, parachutes and female aviation. Looking at outerwear appropriate to the task, shearling jackets, practicality, utility, form, structure, detail and embellishment. Combining this with feminine form and elegance that came through in the drape of the dress and the oversized style of the jacket.

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// SILHOETTE PROJECT / CREATING FORM

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Looking at form, shape and silhoette in fashion and how using draping, cloth and manipulation can create drama, and the more avande gaurd looks you see from the big fashion houses. Creating concept is crutial, and from these ideas, diluted, diffusion lines can be created that represent a brand. This type of design is the playing cards of fashion, teh showman ship and the PR of the designer. They draw in attention to the brand, label or house and can create the stepping stones of any fashion house. Looking at different types of form mak-

ing, from layering, fabric manipulation and volumous fabrics and cloth, such as furs, velvets, quilting, layering, pleating, stretching etc. combinations of these create interest and added layers such as embroidery can really make a look special. This way of working can take time to execute such work and make sure the products quality is the same as any other grament. This is the fun part of fashion and you can really let loose in creating the most beautiful ideas.I have used this concept and looked at natural forms as my inspiration. in particular the showmanship of birds, and how through defence, mating, and protection, bird create the most outragouse forms in nature and can provide a good source of inspiration.

form away from the body

blue tits grouse pigeons

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DRAPING ON THE STAND TO CREAT REALLY SIMPLE BUT DRAMATIC SHAPES AND FORMS THAT ARE INFLUENCED BY MY ORIGINAL INPIRATION OF BIRDS. HOW CAN THE DRAPING STAND AWAY FROM

THE BODY AND BE SUSPENDED FROM THE HUMAN FORM TO CREATE A GARMENT.

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OBJECT WAS A PROJECT ABOUT CREATING AND UTALISING THE CHARACTURISTICS OF A FOUND OBJECT WITH FASHION DESIGN.

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I cam across this old utility bag from the second world war, it was covered with pockets, strapes and fasten

ing. it was put together much like the cube of a box and could be undone and put back together depending on its content. I though it was a really interesting object to take apart and analyis. The different sections could be applied to garments or it could be re-interpreted in many different ways.

I wanted to re-use the ideas of the bag and make the parts from other things, the pockets were to be remade but with softer looking materials and I wanted to combine some sort of fabric manipulation to it. this then moved on to the idea of greating soft garments and then using the hard restricive aspects of the bag to manipulate the garements and restrain them. The utility ide was also pulled back in by applying pockets and fastening to

the garments that weren’t hidden, and showed over the softer materials used in the dresses. I looked at femail restrictive underwear as another path to inform the shapes of the garments and to bring in a third more femanine aspect to the project.

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6 // OBJECTS

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SHIRT PROJECT The Ideas I wanted to look at were

MENS ON WOMEN’S PANELLING SOFT AGAINST HARD TEXTURE AGAINST FLAT TO DESIGN AND MAKE A SHIRT OF YOUR CHOICE DEVELOPED FROM YOUR UNDERSTANDINGS OF DRAFTING AND MAKING A SHIRT BLOCK THROUGH TO A REALISED GARMENT The shirt project was the first project given to us at university and my first presentation of what I could achieve in a short space of time. We had four weeks to design and make using the idea of “shirt”. So I grabbed one given to me by the shirt tailors of Savile Row and took it apart, moved it forward, developed it and came up with this...

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BLOCKING - GEOMETRIC ASYMMETRIC

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2a

THE SHIRT

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THE FINAL OUTCOME IS A WOMEN’S WEAR DINER SHIRT WITH PLEATED COTTON ORGANDY AND SILK ORGANZA. THE PLEATING CONCEALED WITH PANELLED FACINGS AND CURVED SEAMS TO CREATE HIDDEN FORM AND STRUCTURE AND PRESENCE OF THE UNEXPECTED.

OF THE UNEXPECTED. HIDDEN FORM AND STRUCTURE AND PRESENCE FACINGS AND CURVED SEAMS TO CREATE PLEATING CONCEALED WITH PANELLED ORGANDY AND SILK ORGANZA. THE SHIRT WITH PLEATED COTTON IS A WOMEN’S WEAR DINER THE FINAL OUTCOME

SHIRT THE 2a

COMMERCIAL WORK

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1 // URBAN TRIBAL - COMMERCIAL TRENDS 2 // SKUNK FUNK

J U LI U S Q U I N NAR T H U R

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URBAN TRIBAL

TRIBE NATION___PRIMEVIL JUXTAPOSITION

URBAN TRIBAL Looking at combinations of “tribal”and look ing at how the idea of tribes translates to the urban landscapes. London is a mecca for individ ual styling, customisa tion and street style.

Creating small tribes of young people sharing in common ways of dress, showing off, and being individual.

starting with the most ex treem rep -

The initial ideas are over the top combinations of everything that ties in with Urban Tribal, taking inspiration from the individual nature of street style.Looking at the popular items from vintage to retro, and how these items can be represted in new product. We need to create what is “cool” and make it easiy accessible to the customer.

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Urban tribal emulates these qualities in dress codes and combines then with traditional tribal influences from around the world to put togeth er an exciting collec tion for H&M highstreet.

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STREET STYLE | FASHION TRENDS STREET STYLE PLAYS A HUGE ROLE CITY TO CITY, WORLD WIDE IT HAS BEEN PICKED UP ON BY PRESS, STYLIST, DE SIGN HOUSES AND FASHION COLLECTIONS AND IS BEING UTAL ISED AS A SOURCE OF INSPIRATION. IT CAN INSPIRE WHOLE COLLECTIONS OR INFLUENCE A WAY OF DRESSING AND THIS COM BINATION OF GARMENTS IS UNIQUE. RECREATING THE APPERENCE IS ABOUT COMBINATION AND JUXTAPOSITION OF CLOTHES, ABOUT MIX AND MATCH AND HOW COMBINING TEXTURE, PRINT, AND LINE CAN CRE ATE HUNDREDS OF LOOKS FROM A SMALL WARDROBE. THE ESSENCE OF THIS IS SOMETHING I AM TRYING TO TRANSLATE HERE AND USE THIS IDEA OF URBAN TRIBAL TO CREATE A STRONG LOOK FOR THE COLLECTION. COLOUR, PROPORTION AND TEXTURE ARE THE MAIN FOCUSES AND TO SHOW THIS I HAVE CREATED THESE COLLAGES TO DEMONSTRATE A FREENESS IN SCALE AND COLOUR COMBINATIONS TO GET THE FREEL OF URBAN TRIBAL.

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Brighton is a hub of indidual style and has a huge vintage following individual style is important in the creatve city.

Brighton has amore relaxed at titude to dress ing, it is still styl ish but the empha sis in on the out come look ing easy to wear and from a collection you want to be able to dress it up and down.

FROM TREND TO TECHNICAL___PRINTS___TEXTURES & TEXTILES

SAMPLE COLLECTIONS FROM TECH AND SPEC DRAW INGS I HAVE USED PLACEMENT PRINTS AND DIFFERENT TEXTURES JUST TO GIVE AN IDEA OF HOW THE DEVEOPMENT BEGINS FOR SAMPLE COLLECTIONS. THE COLLECTION WORKS IN A LOUD WAY AND WOULD IMPACT ON A CATWALK OR PR EVENT BUT FOR THE HIGHSTREET NEEDS TO BE SIMPLIFIED AND UNIFIED TO CREATE A SOLID COLLECTION AND SET OF LOOKS. THE STAPLES OF THE COLLECTION ARE T-SHIRTS, SHIRTS AND SKIRTS AND THEN KEY PEICES ARE BROUGH IN TO HIGHLIGHT THE MOST PRODOMINANT LOOKS OF THE TREND, SUCH AS THE JACKETS AND PANELLED DRESS, WHICH IS VERSATILE IN ITS ENDLESS POSSIBILITIES OF PRINT AND COLOUR BLOCKING. THE SHAPES ARE SIMPLE, EASY TO MANUFACTURE, BUT THE TEXTILES AND PRINTS BRING IN THE ELEMENTS OF THE TREND WITH ITS MIX AND MATCH NA TURE.

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SKUNKFUNK IS A SPANISH COMPANY THAT WE WORKED WITH ON A COMPETITION TO REDESIGN THE NEW COLLECTION FOR 08/09. I USED THE MENSWEAR AS INSPIRATION AND DESIGNED A SMALL CAPSUAL COLLECTION THAT WAS EASY TO DRESS FROM FOR THE MALE ATTITUDE TO STREET WEAR.

The ides needed to utalise an eco / fair trade aspect, but i wante dto make sure that the designs sold them selves and that the eco element was not the USP. I dodnt want t to take away from the collection, I wanted the buyer to be concious of it, but not just pick any of the garments purely on the eco take on the fabrics.

The menswear skunkfunk was producing was vast and there were to many choices, so the capsual warbrobe was to make it A) affordable and B) so that the items could be put together with ease and marketed as such.

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SKUNKFUNKS / ECO STREET FASHION

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