CONTENTS
INTRODUCTION CUSTOMER PROFILE
OUTFIT1 TECHNICAL DRAWING TECHNINCAL SPECIFICATION
THEME BOARD MOOD BOARD COLOR BOARD
OUTFIT2 TECHNICAL DRAWING TECHNINCAL SPECIFICATION
MATERIALS BOARD PRINT DESIGN
OUTFIT3 TECHNICAL DRAWING TECHNINCAL SPECIFICATION
DEVELOPMENTS COLLECTION LINE-UP
OUTFIT4 TECHNICAL DRAWING TECHNINCAL SPECIFICATION REFERENCE
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NTRODUCTION Nowadays, not many millennials are eager to visit the local wet market because they might prefer the cleanness of the supermarket . The dirt from the butcher’s apron, the raw displays of the store and the lighting effect of the scene are totally in contrast to the local supermarket’s. By transforming these visual images from the market journey through fabric and silhouette manipulation, a new aesthetic of the local wet market is developed. The research is focused on the observations of the daily wear of butchers and meat textures. The collection will be presented in a specific scenario with the aid of silicone-embroidery and hand-painted pattern. It aims at exploring the potential of unattentive chaos in to an organised-market presentation.
MATERIALS SILICONE, SILICONE HARDERNER, PVC, ACRYLIC PAINTS, GLITTERS INSPIRATIONS MEAT TEXTURE AND PATTERNS
CUSTOMER PROFILE BACKGROUND INFORMATION NAME: ISABELLA BLOW/ AGE: 26+
JOB: FASHION DIRECTOR
ANNUAL INCOME: HKD 600,000 EDUCATION DEGREE: CENTRAL SAINT MARTINS, TEXTILES (MASTER DEGREE) RESIDENCE: LONDON MARTIAL STATUS: SINGLE CHILDREN: NONE LEISURE ACTIVITIES: YOGA AND GYM MUSEUM AND GALLERY VISITS COFFE SHOP READING
FAVOURITE DESIGNERS: JOHN GALLIANO ALEXANDER MCQUEEN PHILIP TREACY VICTORIA BECKHAM
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FORWARD THINKING / LOGICAL DYNAMIC / CREATIVE / TIMELESS / SURREALISTIC / IDEALISTIC / EXOTIC
FAVOURITE STORES: MAISON MARGIELA PRADA EPICENTER(NEW YORK) L’ECLAIREUER (PARIS) LANE CRAWFORD(HONG KONG)
VACATION COUNTRY ESTATE IN PROVENCE CRUISE TRAVELLING WITH PARTIES EUROPE, SOUTH AMERICA, AFRICA
FASHION DIRECTOR OF VOGUE ITALIA ISABELLA BLOW
ARTISTIC / CLASSIC
P s y c h o g r a p h i c
Isabella considers herself an activist, believing in a more artistic and surrealistic world. She is an early adaptor with a classic twist in her style. She is extremely open to new ideas and actively seeks for
new
innovative
ideas
in every aspect of her life.
MATERIALS VELVET IRONED WITH WRINKLES INSPIRATION MEAT TEXTURE
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HEME BOARD
The Theme Board is to give a fresh impression to the audience about the new aesthetic I found in the wet markets, it is not essential to show the original disorganisation of the market scene nor the consumer group. However, it is important to bring up the modern atmosphere through lighting effect on the board. Main elements: 1.A contrast of the the fluorescent in color tone and black-white 2.The
raw
display
of
the
butcher’
light tone. stall
3.The experiement of the coloration on fabrics 4.A model picture of one of the design
OOD BOARD
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“Anticipated Vision� which is diagonally flows towards the flower pot. This is presented in an elegant way with sausages and ham composed into a flower. The shiny beads behind the butche is the experiement of silicone and velvet fabric. The meaty velvet could connect with the main fabric of the collection.
C
OLOR BOARD
The color inspiration is drawn from the site visit both indoor and outdoor wet markets, with a careful observation of the main color I discovered within the scene and then combine into a harmonised chaos to be represented in the color board.
m ATERIALS BOARD
The materials to be used could be extracted from the displays of the bucher’s stall. The main fabrics are having the red tone as well as the similarity of its texture in an abstract form.
1. CHIFFON WITH PRINTS
MORE RIGID NON-ELASTIC
2. VELVET
IRONED EFFECT ELASTIC
3. PVC ACRYLIC PAINTS
TEXTURED NON-ELASTIC
4. PRINTS WITH ORGANZA
SEE-THROUGH NON-ELASTIC
5. ORGANZA
CREASED EASILY NON-ELASTIC
6. SILICONE BEADS
TEXTURED SHINY
7.COTTON NET/VELVET
MORE RIGID NON-ELASTIC
8. ORGANZA WITH PVC
2 LAYERS NON-ELASTIC
9.BEADS COTTON
RIGID WITH BEADS IN WHITE, GREEN AND WHITE
10. BLACK COTTON LINING
SOFT LIGHT IN FABRIC
11. WHITE COTTON LINING
THICK BUT SOFT IN TEXTURE
12. BEADS WITH SILICONE DECORATION
RIGID IN TEXTURE
p RINT DESIGN
Instead of just scanning the pattern of the meat, I have transformed the composition of a meat pattern through filtering in photoshop.
HEAT-TRANSFER PRINT PRINT DESIGN 1 THROUGH SCANNING THE MEAT PATTERN ON COMPUTER AND PRINT ON A PLEATED ORGANZA THEN RESCANN IT AND CREATE THE PRINT
ULTRA-VIOLET SCANNING Ultra-violet printing method is carried out in a box with the wet ink immediately exposed to the UV light and injected on the materials (Formax, 2019). This method could be applied on any materials, such as PVC. However, due to the technical limitation, the UV printing box has a very small size which can only fulfil a small part of printing material.
PRINT PATTERN
DESIGN
PRINT DESIGN 2 HEAT TRANSFER PRINTING IT IS A FILTERED-FABRIC DESIGN THROUGH THE RE-SCAN OF A PRINTED PATTERN. IT HAS ADOPTED THE SKILL OF “SYMMETERICAL EFFECT”
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ccessories In order to match the outfit and color of the collection, I have tried to re-make the texture of the shoes by applying silicone and acrylic paint.
The pattern of the shoes is inspired from the butcher’s apron, simulating the stain on floor. Instead of using dark tone color, I transferred it with a lighter sharp colors. As well as the common footweat of the butchers, the transformation of a water boot could create a connection with the theme. .
THE SHOES PAINTING WITH ACRYLIC PIGMENTS AND SILICONE DIY WITH THE PVC BOOTS
THE SHOES PAINTING WITH ACRYLIC PIGMENTS AND SILICONE
THE GLOVES PAINTING WITH ACRYLIC PIGMENTS AND SILICONE
VELOPMENTS
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By Quinn (2003), the way to represent fashion is always about pushing the limit and breaking the boundaries against the conventional aesthetic. Taking a recognised artistic image, for instance, the messy image of the butcher’s stall, the design of the collection could translate the concepts into body decoration or clothing. The final outcome could act as a modern interpretation of human’s “imagination, memory and emotion” (Craik, 2009). Therefore, the whole collection should maintain an overall presentation of the concept “ beauty lies within chaos of the traditional wet market” through fabric, prints, accessories or even photographs. Meanwhile, Jackson Pollock ( Wright, 2019) also mentioned that the modern artist worked with space and time, it was more about expressing his emotion rather than depicting the scene. So, in the coming design experiements, more abstract strokes of the prints could be adapted as well a free form silhouette development.
The very impressive scene in my memory comes from the “redness within water� in the wet market, the typical vivid red plastics bags for packing the fresh poultry or fish, the brown wooden cutting-board, the water stains left on the plastic boards, etc. The whole situation is very disorganized because of the items are placed in a limited space.
Therefore, it is important to create a contrast between colors and objects to create a shocking impact to the audience: 1. choosing a contrast color tone: red and green 2. placing the traditional flourecent light in contrast to a nostalgia scene 3. discover the contrast relationship between the objects in markets and city life 4. the materials to be placed in the theme board should reflect the main direction of the collection: plastic materials.
Here is the process of creating the mood board: Main elements: 1. the butcher’s apron 2. the fabric in connection to the meat 3. the texture of plastic materials 4. the contrast of butcher’s wear and the new design direction (couture-like dress) 5. the flower pot makes of ham and sausages
With a further development through sketches, it is noted that a consistent element should be shown in a collection, therefore I have taken a focus of the meat arrangement and the pattern of its texture
The outcome of mixing silicone with acrylic on PVC(FRONT)
The outcome of mixing silicone with acrylic on PVC (BACK)
C
OLLECTION LINE-UP Hong Kong wet market millenial says NO
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Inspired by the form of raw meat placed on the wooden desk of butcher’s stall, with imagination of the meat packed in a plastic package. It looks like the ruffles of an evening gown. Combining the pants’ shape of the butcher in the wet market, the upper part is more elegant in contrast to the exaggerated silhouette of the pants. F
With unified
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silicone pattern
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decoration of meat
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to create a on velvet fabric.
MATERIAL 1 PRINT 1
TECHNICAL DRAWING OUTFIT 1 ITEM 1 GARMENT TYPE: BODYSUIT FABRIC: CHIFFON WITH PRINTS
ELASTIC BAND AT THE CENTER FRONT
1 WHITE INVISIBLE ZIPPER FOR THE HEAD PIECE 1 WHITE INVISIBLE ZIPPER FROM NECK TO THE HIP LINE
FOUR DARTS ON BOTH FRONT AND BACK
DESCRIPTION: A FULL LENGTH BODY SUIT COVERS HEAD ALL OVER UNTIL THE LEGS THE PRINT IS CARRIED OUT THROUGH HEAT-TRANSFER METHOD
FRONT
BACK
MATERIAL 2 TECHNICAL DRAWING OUTFIT 1 MATERIAL 6 ITEM 2 MATERIAL 10 GARMENT TYPE: RUFFLE-JUMPSUIT FABRIC: VELVET WITH SILICONE BEADS,COTTON LINING
A MINI BRA SHAPE UNDER THE RUFFLE LAYER
1 BLACK INVISIBLE ZIPPER TOWARDS BUST LINE
SILICONE BEADS PAINT ON LEFT FRONT SIDE (FABRIC MANIPULATION)
TWO DARTS AT THE BACK DESCRIPTION: A RUFFLE-STYLED JUMPSUIT WITH AN EXAGGERATED SIDE CURVE
FRONT
BACK
MATERIAL 1 PRINT 1
TECHNICAL SPECIFICATION ITEM 1 GARMENT TYPE: BODYSUIT FABRIC: CHIFFON WITH PRINTS
NOTES: 1. A black 0.5mm elastic band is attached on the center front Front hood height after gathers is 20 cm 2. A white invisble zipper is attached from top of the head to the lowest neck point 3. A white invisble zipper is attached continuously from the first one til the hip line (55cm for the zipper length)
MATERIAL 1 PRINT 1
TECHNICAL SPECIFICATION ITEM 1 GARMENT TYPE: BODYSUIT FABRIC: CHIFFON WITH PRINTS
132CM
20 CM
DESCRIPTION: A FULL LENGTH BODY SUIT COVERS HEAD ALL OVER UNTIL THE LEGS THE PRINT IS CARRIED OUT THROUGH HEAT-TRANSFER METHOD
39 CM ZIPPER LENGTH
55 CM ZIPPER LENGTH
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Continue the ruffles interpretation of the meat form, this outfit explores the even more direct presentation of the shape of a “meat�. However, with two different fabrics to present the fibre of the meat. With a body suit which has black dot patterns, indicate the stains from apron transferred to the body. F a b r i c s : With silicone painted with acrylic pigments creates an abstract pattern. The ruffles are printed with a pattern on organza first then applied with circle cut method to create a ruffle shape.
TECHNICAL DRAWING OUTFIT 2 ITEM 1 GARMENT TYPE: BODYSUIT FABRIC: COTTON NET/VELVET
MATERIAL 7
ELASTIC BAND AT THE CENTER FRONT
1 BLACK INVISIBLE ZIPPER FOR THE HEAD PIECE 1 BLACK INVISIBLE ZIPPER FROM NECK TO THE HIP LINE
FOUR DARTS ON BOTH FRONT AND BACK
DESCRIPTION: A FULL LENGTH BODY SUIT COVERS HEAD ALL OVER UNTIL THE LEGS THE PRINT IS CARRIED OUT THROUGH HEAT-TRANSFER METHOD
FRONT
BACK
TECHNICAL DRAWING OUTFIT 2 ITEM 2 GARMENT TYPE: RUFFLE DRESS FABRIC: VELVET, PVC, COTTON LINING,ORGANZA
MATERIAL 2 MATERIAL 3 MATERIAL 4 MATERIAL 11 2
3
4
AYSYMMETRICAL SHOULDER STRAPS
2 3
3
2 PVC ACRYLIC PAINTS WITH SILICONE AND BEADS
2
2
3
4
3
2
DESCRIPTION: A RUFFLE DRESS IS WORN BY ONE HAND OUT(LEFT SIDE WITH SHORTER STRAP)
2 4
THE VELVET FABRIC IS IRONED WITH TEXTURE. THE RUFFLES ARE MIXED WITH INVISIBLE PVC IN 5 LAYERS
FRONT
BACK
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The upper part is a shirt that butchers always wear in contrast to a giant skirt in the lower part. The silhouette of the skirt comes from the sliced form of meat. The original idea is the dress acts as a water pond with water drops down from the waistline. However, the three water drops are not coherent with the fabric and also the curves of the skirt. Therefore, I did not attach the water drops at the end. F
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Shiny organza in green and black colors are used. The shirt is printed with organza fabric and sewn with PVC to create a special texture and dimensions
TECHNICAL DRAWING OUTFIT 3 ITEM 1 GARMENT TYPE: CLASSIC SHIRT FABRIC: ORGANZA WITH PVC
MATERIAL 8 PRINT 1
THE PLACKET HAS NO BUTTON ON. IT IS OPEN FREELY
THERE IS A WHITE ELASTIC BAND ALONG THE HEM IT HAS TIGHTENING EFFECT ON WAIST
TWO LAYERS OF THE SHIRT WITH ORAGNZA OUTSIDE
DESCRIPTION: A TWO-LAYER SHIRT WITH ORGANZA OUTSIDE WHILE PVC INSIDE THE FRONT PLACKET DOES NOT HAVE BUTTON THE SEE-THRHOUGH EFFECT IS CREATED THROUGH LAYERING THE ORGANZA FABRIC HAS A PRINT ON
FRONT
BACK
TECHNICAL DRAWING OUTFIT 3 ITEM 2 GARMENT TYPE: SKIRT FABRIC: ORGANZA
MATERIAL 5
ELASTIC BAND IS INSERTED
FULL CIRCLE CUT
DESCRIPTION: A FULL CIRCLE SKIRT WITH ORGANZA FABRIC ELASTIC BAND INSERTED IN THE WAIST BAND IT IS WORN UNDER THE SLICED-MEAT DRESS ITEM3 IT IS EASY TO BE CREASED IT IS LIGHT IN WEIGHT SHINY TEXTURE UNDER THE LIGHT
FRONT
BACK
TECHNICAL DRAWING OUTFIT 3 ITEM 3 GARMENT TYPE: SKIRT
MATERIAL 5
IT IS AN OPENED-FORM WAISTBAND IT IS WORN ON BODY BY CLOSING THE SNAP BUTTONS
THERE ARE 4 SIZES OF THE SLICED-MEAT FORMS. THE TOPPEST IS USUALLY THE SMALLEST SLICE
TWO SNAP BUTTONS ARE PLACED AND PRESENTED WITH DOTTED LINES
DESCRIPTION: OVER 60 PIECES OF “SLICED-MEAT FABRIC” ARE PLACED ONE LAYER OVER LAYERS 2 COLORS IN BLACK AND GREEN ORGANZA FABRIC THERE ARE 2 SNAP BUTTONS ALONG THE WASIT BAND
FRONT
BACK
TECHNICAL DRAWING OUTFIT 3 ITEM 4 GARMENT TYPE: WAIST BAND FABRIC: ORGANZA
MATERIAL 5
DESCRIPTION: THE MINI RUFFLES ARE SEWN ON BOTH TOP AND BOTTOM OF THE WAIST BAND
THE 0.5MM RUBBER BAND IS SEWN AS THE BOBBIN THREAD FOR THE FORMATION OF GATHERS THE MINI RUFFLES ARE ALONG BOTH TOP AND BOTTOM OF THE WAIST BAND AND ARE FINISHED BY LOCK STITCHES IT IS WORN OVER THE ITEM 1,2,3 TO COVER THE WAISTBAND OF ITEM3 MAINLY
ELASTIC BAND AS BOBBIN THREAD TO CREATE THE GATHERS
FRONT
BACK
TECHNICAL SPECIFICATION ITEM 2 GARMENT TYPE: SHIRT FABRIC: ORGANZA WITH PVC
MATERIAL 8 PRINT 1
NOTES: 1. THE SHIRT IS SEWN WITH ORGANZA AND PVC AT THE SAME TIME 2. THE PLACKET IS OPENED FREELY WITHOUT ATTACHING BUTTONS 3.THE 2 CM WHITE ELASTIC BAND IS ATTCHED FOR THE HEM OF THE SHIRT TO CREATE GATHERING 4.ORGANZA FABRIC IS OUTSIDE WHILE PVC IS INNER LAYER
TECHNICAL SPECIFICATION OUTFIT 3 ITEM 2 GARMENT TYPE: CLASSIC SHIRT FABRIC: ORGANZA WITH PVC
MATERIAL 8 PRINT 1
IT IS A FREE-OPEN PLACKET
20CM
2.5CM
THERE IS A WHITE ELASTIC BAND ALONG THE HEM 34 CM FULL
TWO LAYERS OF THE SHIRT WITH ORAGNZA OUTSIDE
DESCRIPTION: A TWO-LAYER SHIRT WITH ORGANZA OUTSIDE WHILE PVC INSIDE THE FRONT PLACKET DOES NOT HAVE BUTTON THE SEE-THRHOUGH EFFECT IS CREATED THROUGH LAYERING THE ORGANZA FABRIC HAS A PRINT ON
34CM FULL
MATERIAL 5
TECHNICAL SPECIFICATION OUTFIT 3 ITEM 3 GARMENT TYPE: SKIRT FABRIC: ORGANZA
NOTES: 1. CUT THE SKIRT IN FULL CIRCLE 2.THE HEM IS FINISHED WITH LOCK STITCH
TECHNICAL SPECIFICATION OUTFIT 3 ITEM 3 GARMENT TYPE: SKIRT FABRIC: ORGANZA
MATERIAL 5
33.5 CM 2.5 CM ELASTIC BAND IS INSERTED
FULL CIRCLE CUT
250 CM HEM IN STRAIGHT
DESCRIPTION: 97 CM
A FULL CIRCLE SKIRT WITH ORGANZA FABRIC ELASTIC BAND INSERTED IN THE WAIST BAND IT IS WORN UNDER THE SLICED-MEAT DRESS ITEM3 IT IS EASY TO BE CREASED IT IS LIGHT IN WEIGHT SHINY TEXTURE UNDER THE LIGHT
FRONT
BACK
TECHNICAL SPECIFICATION OUTFIT 3 ITEM 4 GARMENT TYPE: SKIRT FABRIC: ORGANZA
MATERIAL 5
NOTES: 1. THE SIZE 1 “SLICED MEAT FORM” IS PLACED AT THE LOWER PART, THEN PUT SIZE 2 AND 3 ON TOP OF THAT. 2. CREATE LAYERS AND THEN HAND STITCH TO FIX THE POSITIONS 3. MACHINE STITCH ALONG THE WAIST LINE POSITION WITH THE WAISTBAND
TECHNICAL DRAWING OUTFIT 3 ITEM 4 GARMENT TYPE: SKIRT FABRIC: ORGANZA 69 CM 2 CM
MATERIAL 5
IT IS AN OPENED-FORM WAISTBAND IT IS WORN ON BODY BY CLOSING THE SNAP BUTTONS
35MM
SIZE 3 30CM LONG SLICED MEAT FORM IS PLACED AT THE UPPERPART SIZE 1 80CM LONG SLICED MEAT FORM IS PLACED AT THE LOWEST AND INNEST PART SIZE2 50 CM LONG
DESCRIPTION: OVER 60 PIECES OF “SLICED-MEAT FABRIC” ARE PLACED ONE LAYER OVER LAYERS 2 COLORS IN BLACK AND GREEN ORGANZA FABRIC THERE ARE 2 SNAP BUTTONS ALONG THE WASIT BAND
FRONT
BACK
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The design comes from the water splashes form on the floor of the wet market. The unsymmetrical ruffles placement give a dynamic effect of the outfit. The green colour connects with the environment near the butcher’s stall. Not only selling meat, but the wet market is also associated with fresh vegetables.
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The red velvet would be the texture of the top; the green organza would be used for the ruffles alongside the curves on one side; the middle part on the waist is the creative beaded fabric with a thicker texture. The silicone pigments decoration as for outfit 1 would also be used for the top here.
TECHNICAL DRAWING OUTFIT 4 ITEM 1 GARMENT TYPE: DEEP-V BLOUSE FABRIC: ORGANZA, VELVET FABRIC: ORGANZA
MATERIAL 2 MATERIAL 5
ORGANZA IS SEWN FOR THE RUFFLES AND ALONG THE LEFT SLEEVS
MINI RUFFLES ARE ATTACHED ALONG THE NECK-LINE BEADS DECORATION IS DRAWN ON THE VELVET FABRIC
DESCRIPTION: IT HAS V-SHAPED NECKLINE THE BLOUSE IS DECORATED WITH BEADS PATTERN AND SILICONE IT HAS RUFFLES ALONG THE LEFT SLEEVES
FRONT
BACK
TECHNICAL DRAWING OUTFIT 3 MATERIAL 5 ITEM 4 MATERIAL 9 GARMENT TYPE: WAIST SKIRT MATERIAL 10 FABRIC: BEADS COTTON, ORGANZA, BLACK COTTON LINING
DESCRIPTION: IT IS WORN ABOVE THE BLOUSE ITEM 1 AND ITEM 3 THE PANTS IT HAS RUFFLES ALONG THE LEFT SIDE OF THE HIP CURVE THE WAIST SKIRT IS SEWN WITH BEADS COTTON
IT HAS BLACK COTTON LINING
RUFFLES ARE SEWN WITH ORGANZA INVISIBLE ZIPPER IS ATTACHED
FRONT
BACK
TECHNICAL DRAWING OUTFIT 4 ITEM 3 GARMENT TYPE: PANTS FABRIC: VELVET, ORGANZA FABRIC: ORGANZA
MATERIAL 2 MATERIAL 5
2 DARTS ARE CREATED ON THE BACK OF THE PANTS
1 WHITE INVISIBLE ZIPPER FOR THE BACK FROM WAIST LINE TO THE HIP POSITION
DESCRIPTION: THE RUFFLES ARE SEWN ALONG THE LEFT SIDE CURVE OF THE PANTS IT IS MAINLY IN VELEVT FABRIC
FRONT
BACK