Process Analysis Document Jennifer Twumasi The purpose of this project is to achieve my best possible outcome as I approached the end of my degree. The cultural impact of this project is stimulated by various findings; from my initial piece of writing which triggered my collection name to a piece of photography from Sølve Sundsbø. My processing analysis document is the journey of my final capsule collection. The name of the project is sensations and the influence is lace. My starting point was a brainstorm of words I associate to lace and sensations. Lace . Feminine . Web like pattern . Girly . Embellishment . Lazer cut . 16th Century . Dolce and Gabbanna . Traditional . Elegance . Trims can be used as decoration . Hand made . Valentino . Embroidery . Cotton thread . Timeless . Dear . Beautiful . Patterns
. Classy . Colourful . Linen or silk . Contemporary . Geometric shapes
Sensations . State . Afraid of failing at uni. . Circumstances . Changes in life . Frighten . Feelings- love, care‌ . Sensitivity – family .Emotions . Physical . Reactions . Concussions . Thoughts . Senses . Mood . Response
Research in V&A After gathering initial word associations to lace, I visited the Victoria and Albert museum to have a look and be inspired by things that could relate to lace. So I mainly looked at things with patterns; as lace is known for its repetitive patterns.
- Fig.1, 2, 3 V&A Ceramics (January 2015)
- Fig 4, 5, 6 V&A Glass (January 2015)
White For my final capsule collection, I picked the colour white as the colour for my collection. So I researched a poem that could be a starting point. I came across ‘white’ by Marvel-Maniac which I found so
inspiring. ‘Its clouds in the blue sky. And foam that splashed on ocean shores. It's the splendor of flowers blooming. It's the richness of pearls. It's the robe of the angels. It's the pale morning sky. It's the majesty of a wild stallion. Yet the beauty of a young mare. It's a crisp winter's chill. It's as sweet as vanilla. White is purity and radiance. Its clarity and peace. It cannot be angered. It's the mystery of the moon. It has the youth of a newborn foal. Yet it is ageless. It's the softness of a pillow. And as smooth as silk.
It has the brilliance of lightning. It's as enduring as true love. It cannot be easily overpowered. It's the light that shines from the heavens. It is never negative. It's encouraging and will stand by you. White is both power and love.’ - Marvel-Maniac
In the poem ‘White’ by Marvel-Maniac; the author defines white as clear and pure which inspired the title of my collection ‘Clarity’. Initial Stand Work In one of our design lessons we were taught how to make patterns with paper to give the illusion of lace.
- Fig.7 (author’s own, January 2015) I then decided to experiment with this idea on fabric. I began creating cuts and shapes to give the illusion of lace on calico. Then attaching the ‘cut out’ of the calico and putting netting underneath to create a transparent, clear motion to reflect my collection ‘clarity’.
I then began draping the ‘cut out’ sample on a plain bodice for design ideas. Afterwards, I experimented with some jersey because of the stretch in jersey I knew I will achieve some exciting draping ideas.
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Fig.8, 9, 10, 11, 12, 13 authors own (January 2015)
From my stand work I then noted to myself to gather further research on drapes and cut outs and designers related to my concept. Also I noted to gather sheer/see through fabrics and chiffon to sample with. Contemporary fashion designer influence Initially I looked at Valentino for a lace reference, as the brand is known for using lace and I think it best represents the feminine influence of my collection. From my stand work (with cuts falling into drapes); I decided to take the fragile cuts of drapes forward for investigation. I looked at Junya Watanabe's S/S14 collection which ties in really well with my inspiration. I explored this idea by sampling a metre of chiffon and organza from Shepherd's Bush Market costing ÂŁ2 a metre. I cut stripes into the chiffon to create very soft feminine drapes. Also, the drapes have a good connection to my concept from the previous semester (re-re project).
- Fig. 14, Junya Watanabe S/S14.
- Fig 15, Valentino Spring 2015.
I draped my sample in different positions to achieve some design development ideas.
- Fig 16, 17, authors own (February 2015) I also found a photograph form fashion photographer- Solve Sundsbo which works really in conjunction with my sample.
- Fig. 18, Sølve Sundsbø photograph.
I also discovered a skeleton inspired collection titled ‘Reveal the inner self’ by designer Wei Ting Lang. I believe this collection is relatable to my current collection ‘Clarity’.
- Fig. 19, Wei Ting Lang ‘Reveal the inner self’ Toiling Creating my first garment, I pinned a piece of fabric to a mannequin to create an under piece for my draped sample to go on top of. To achieve a fitted dress, I traced the silhouette I wanted on the fabric whilst the fabric was pinned on the mannequin.
- Fig. 20, 21, author’s own (February 2015)
After the fitted shape of my dress was achieved, I then traced it off on paper to create the pattern pieces for it. I then went on to fold about a metre and a half of jersey fabric into a rectangular and snipped into it with a pair of scissors as it was folded. When opened up the fabric had formed thin strips of drapes that would go onto the base dress initially created.
- Fig 22, 23, 24, 25, 26, authors’ own (February 2015) The outcome of the first garment was successful and I was very pleased with the result. So, I started thinking of what will work with it as a second garment. As, the dress is quite a busy garment, I wanted something that would compliment it rather than clash with it. The first idea that came to mind was to make a short jacket so you are still able to see the details on the dress. So I drafted a short jacket pattern to go with it. As cuts and slits is the main focus on my ‘clarity’ collection I had to incorporate it into the jacket. I thought of having cuts in the sleeves so it would not deter from the outfit as a whole instead work well together as an outfit. Also, it’ll keep the theme of the slashes and cuts in my collection flowing.
Once, I had a clear vision of my first outfit, I visited Berwick street in Soho to source some fabrics. The fabrics I got were samples of different versions of cotton, chiffon and jersey.
- Fig. 27, fabric swatches, author’s own, February 2015. Before I began to toile my second garment, I wanted to get more inspiration from objects/things with cuts and drapes and not just in clothing or fashion. So I came across a few images on pinterest of buildings that related to my work.
- Fig. 28, Wacky Building by Non Paratus on Flickr.
- Fig. 29, the wave building, Australia.
To achieve my short jacket that will go on my dress, I began by tracing around a size 8 bodice and having an opening at the front of the jacket. After the jacket was constructed, I folded the sleeves together and again cut slits into the sleeves to have slashes into it.
- Fig. 30, 31, 32, 33, 34, 35, authors’ own, February 2015. I found an image on pinterest of a garment by designer Maison Kayrouz’s AW/15 collection that was relatable to my jacket.
- Fig. 36, Maison Kayrouz AW/15 at Paris fashion week. Following, a successful completion of my first outfit toile, I had my tutors review it and give me their opinion. They suggested I make the jacket a raglan sleeve which will join in altogether; instead of having a different pattern for sleeves. As a result, I toiled a new version of the jacket with a kimono pattern I made.
- Fig. 37, 38, 39, author’s own, March 2015. My tutors also suggested the jersey cuts that go on my dress be made in a sheer fabric (a stretch nylon net) as jersey will cheapen the look. They also suggested the cut piece be integrated with the dress. Their last suggestion concerning the outfit was to make the jacket from denim. Once my first outfit was confirmed, I could begin toiling my second outfit. From my initial drawings of what my line up will be my second outfit was a top, skirt and jacket.
The skirt was the first garment from the second outfit I toiled. I made a basic fitted skirt. Then I cut lines into a metre of fabric that would be integrated on top of the skirt. The second garment of the outfit is a long jacket with slits at the back falling into drapes and exposing the back. I made this by tracing around a basic jacket block and lengthening it to knee length. The top is a basic fitted sleeved top.
- Fig. 40, 41, author’s own, March 2015. Fabric selection & making of final garments After a good completion of two outfit toiles, I could start making in my actual fabrics. I knew I needed denim for both jackets in outfits one and two. I estimated 3 metres for both jackets. I also estimated that heavy weight cotton for the top and skirt will be about 2 metres. Lastly, I estimated a metre of jersey for my dress and about 3 metres for the sheer fabric. Once, I had finalised my fabrics, I went to purchase them in Shepherds Bush market. The denim cost £6.50 per metre and I bought 3 metres costing £19.05 in total. The sheer nylon fabrics were also £6.50 a meter which also added up to £19.05. Lastly, the cotton for the skirt and top were £5 per meter, I purchased 2 meters costing £10 in total. All together my fabrics came up to a total of £49. After, I had bought all the fabrics; I constructed the garments, with all the finishing’s i.e. facings, hem etc...
I didn’t face any challenges at this stage as I had toiled the garments prior to this stage.
- Fig.
42, 43, final garments, author’s own, March 2015. At this stage, I realized I had five garments and the brief states we needed six complete garments. As a result, I was undecided on making something simple to compliment one of the outfits or making a singular dramatic garment. I also had to bear in that I had a deadline the following week to have all the garments completed. The reason being that we had photographers booked to do photo shoots of our completed garments. After careful consideration, I opted for a singular dramatic garment. The final design I decided to make is a basic dress with shredded cuts of fabric on top. I decided to make a toile so I can familiarise myself with the making before I proceed to making the final. I toiled a basic skirt block. Then I started on the slashed piece. I founded a metre of three individually pieces of calico. Then cut stripes into each piece.
- Fig. 44, author’s own, March 2015. When opened up, I began to pin the pieces onto my basic skirt to see what design worked best. I draped and pinned them on in various ways till I finally like the outcome.
- Fig. 45, author’s own, March 2015.
Following the completion of this toile, I had another discussion with my tutors in terms of what will be the best option of fabric for this garment. They recommended, I use the nylon net again for the cuts. However, I did not want to use that again as I found the finishing difficult. Also the toile was more structured, whereas with the nylon it will fall and drape. So I suggested, using cotton organdie as it will still be sheer and clear (which reflects the collection title ‘clarity’). Also, it’ll still give me the structure I want. For the base (the dress) I opted on getting lighter weight cotton. After, my fabric selection had been finalised I went back to Shepherds Bush market to purchase the fabrics. I found the cotton organdie and the cotton from the same store I purchased my pervious fabrics. The cotton organdie was £5.50 a meter and the light weight cotton was £5 per meter. I bought three meters of the cotton organdie and two meters of the light weight cotton. In total, the prices for those fabrics were £26.05. Overall, all my fabrics spent for this collection came up to £75.05. When all the fabrics had been purchased I constructed the dress. I began by sewing the basic dress. Then as always, cut some slashes into the organdie. It was much stiffer than the nylon. The outcome was exactly how I had imagined and hoped for.
- Fig. 46, author’s own, March 2015.
- Fig. 47, author’s own, March 2015.
Photo shoot By the day of my photo shoot, not all the garments were completely finished. Some of them still needed facings. Nonetheless, I had the shell of the garments so the shoot could go on as scheduled. I asked three friends to kindly model the three different looks from the collection. I purchased plain white heels for each model a as the clothes were quite busy so I did not want to overdo it with accessories. The shoot took place in Battersea Park in Chelsea which was accessible to me, the models and Linda Jonsdotter, the photographer. I had a great team; the models and photographer were all very professional. The day of the shoot was a success and I was pleased with the results.
- Fig. 48, 49, 50, 51, images from photo shoot day, author’s own, March 2015. Final thoughts I have thoroughly enjoyed this project all the way through. I fell in love with my concept right from the beginning and have carried that through all the way. I wisely played to my strengths by keeping my
silhouette’s simple with details (as making is not my strongest point). I am proud of the collection and thrilled with the end results.
References Poem- White- Marvel-Maniac - http://sacredtouches.com/2015/01/28/626-white-is-the-beautifulbroken-lace-of-snowflakes-falling-on-your-face-mary-oneill/ Junya Watanabe S/S14 - https://uk.pinterest.com/pin/289074869807850638/ Valentino spring 2015- https://uk.pinterest.com/pin/184506915959778375/ Sølve Sundsbø photograph, viewed January 2015, https://uk.pinterest.com/pin/289074869807856965/ Wei Ting Lang ‘Reveal the inner self’ photograph, viewed January 2015, https://uk.pinterest.com/pin/289074869807850864/ Photograph, https://uk.pinterest.com/pin/289074869808588490/ The wave building, Australia, photograph by Christopher Frederick Jones, viewed March 2015, https://uk.pinterest.com/pin/289074869808206131/
Maison Kayrouz, Autumn/Winter15, Paris fashion week, viewed March 2015, https://uk.pinterest.com/pin/289074869808702719/