Process Annalysis Document Jessica Ranaldi H00151825 E18FT
Contents Brief - 3 Summer Work - 4/6 Trends -7/10 Scotland - 11/19 Indonesia - 20/29 Mash-up - 30/31 Market - 32/33 Colour Palette - 36 Fabric Palette - 37 Design Development - 38/41 Final Line up - 42/43 Toile - 44 Fabric Manipulation - 45/48 Working Drawings - 49/59 Final Outcome Evaluation - 60/62 References - 63/64 2
FREEDOM COLLECTION CONCEPT The collection “Freedom” is inspired by Scotland and Indonesia’s long lasting fights for independence, as well as various other aspects such as female rights and the student’s personal life and beliefs. The student investigated the theory of design through her collection, focusing on her own Scottish culture traditions, history and customs, as well as that of her stepmother and half-brothers Indonesian culture traditions, customs and history; combining both of the cultures in a ‘Global mash-up’. The student also researched the Chanel Pre-fall 2013 collection in detail, as the designs throughout are very similar to the students own design concepts. The student took a lot of inspiration fro the exhibitions she studied for her summer project. Many of the textured incorporated within the students designs are taken from the textures in the Phillyda Barlow exhibition and the Stills exhibition. The students colour palate was largely taken from the natural colours of Scotland and Indonesia’s landscapes, as well as colours from the SS16 colour palate research throughout her summer project. The student is very interested in politics and is a member of the SNP and a feminist, aiding her throughout her research process on Scottish freedom both intellectually and through the aid of interest. The collection “Freedom” is therefore very personal to the student as it incorporates her lifestyle and strong interests and beliefs, as well as her Scottish and Indonesian family. The Indonesian freedom war is largely unheard of, vastly covered up by the media, as well as this, freedom movements within Scotland such as the SNP and famous figures such as William Wallace and Andrew Moray were frowned upon by many, again hidden by the government as well as spied on; inspiring the student to create such layered and covered up designs, to represent the heart being enclosed within a cage or engulfed by the media. The many brutal stories and few photographs or prisoners of war on both the Indonesian and Dutch sides during the Indonesian independence war, as well as war, imprisonment, death and torture for treason between Scotland and England due to the Scottish fight for freedom, greatly inspired the student to create the tight bodices and cage-like designs to represent the restriction of freedom of the heart. There are also representations of freedom of speech within the collection through the headscarves with caged detailing across the wearers face. The headscarves are strongly inspired by Indonesian fashion, as well as the detailed patterns within some of the garments. The student gained a great deal of inspiration from the experience of visiting Indonesia and her stepmother who is Indonesian. There are traditional Scottish inspirations throughout the collection as well, the student used tweeds, tartans and leather throughout her designs and incorporated shapes inspired by traditional dress, kilts, plaids and shawls. In terms of fabric manipulation, the student incorporated a lot of knife pleating with in her collection, taking inspiration from kilts, architecture from both old Scottish buildings and old Indonesian buildings, and the linear design of rice fields. The leather used in the student’s designs has Indonesian floral patterns etched onto the surface in the layout of a cage structure using the laser cutter. The student took these patterns from the clothing and the décor at her father’s Indonesian wedding, featured in photographs throughout her sketchbook and mood boards. 3
Key Inspirational Elements From Exhibitions Visited As an inspirational starting point research was gathered from exhibitions; certain aspects from the exhibitions were taken forward throughout the research process, such as the colours and textures throughout A Life In Colour by Bernat Klein. The colours within the exhibition Aggregations by Kwang Young Chun were also inspirational to the collection, as well as the structural shapes created throughout, which were found to be reminiscent of architectural pleating. Set by Phyllida Barlow was inspiring in terms of the linear shapes formed and the contrasting texture combinations, such as shiny tape against matt cardboard and loose fabrics hanging from rough structures; the textural ideas here were taken forward and incorporated in fabric choices throughout the collection, leather against plain cotton or tweed for example.
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The exhibition, Here Comes Everybody by the team KennardPhillipps was a catalyst for the theory within the project. The political themes explored within the exhibition inspired similar themes throughout the collection, such as lack of freedom and unfair rights.
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Colour Inspirations Taken From SS16 Trends
From the SS16 trend forecasts, colours were taken forward from the Elemental and Eco Active stories into design work. The earthy, natural colours from the Eco Active palette create a nice atmosphere within the collection along side the soft pastel colours from the Elemental palette.
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Fabric Inspirations Taken From SS16 Trends
Crafted fabrics brought into modernised styles are a theme within the Elemental story, as is the trend of fabric manipulation inspired by traditional architecture. These styles were taken forward into design work, as architecture was largely researched and influential throughout the project, as were traditional crafted fabrics, therefore it fitted to continue experimenting with the themes interlinked. Architecture in particular inspired the patterns on a pair of trousers and a jacket, as well as laser etched onto a bodice.
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Stripe patterned fabrics are trends within both the Deep Summer and the Soft Pop textile trends. The linear lines were partly inspirational in the experimental and design of pleated fabric within the collection.
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The Elemental and Deep summer trend stories both involve metallic textiles. Deep Summer shows the use of shiny, smooth and mysterious effects, while Elemental has soft matt metallic materials. The use of metallic fabrics was taken forward in small doses within the designs, for example silver ribbons and braids were used.
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Colour Inspirations Taken From Research on Scotland
Colours from Scotland’s landscapes and architecture were chosen for their natural, earthy feel. The natural blues greens and browns work nicely with the colour of blue taken from the Scottish flag and the Suffragette purple, green and white. The colours inspired by Scotland combine well with the earthy, rich Eco Active colours and the soft Elemental accenting colours.
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Fabric Inspirations Taken From Research on Scotland
The stonework on old Scottish architecture was inspiring to fabric choices as the texture is reminiscent of a thick woven fabric or a tweed fabric. The Shimmering glass windows act as a beautiful contrast and are reminiscent of smooth fabrics such as leather and of metallic fabrics, harmonising with the fabric inspirations from the trend research.
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The detailed dĂŠcor found both on the inside and the outside of Scottish churches was inspiring in terms of detailed or embellished fabrics. Again contrasts between rough and smooth were taken forward.
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Fabric Manipulation Inspirations Taken From Research on Scotland Inspirations for fabric manipulation were intensely drawn from kilts due to their traditional aspects and strong significance throughout Scotland and there are therefore personal connections brought to the collection in that sense. The knife pleating technique used for kilts was used frequently throughout the collection, as well as the wrap style and leather belts. Inspiration for knife pleats was also taken from the linear designs featured on old Scottish architecture, as well as from the exhibition and trend research.
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Shape and Silhouette Inspirations Taken From Research on Scotland
The silhouettes of historical clothing in royal styles, worn by Mary Queen of Scott’s for example, were influential in the design work; ruffs, bodices, detailing and under-dresses were some of the features taken forward.
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Traditional Plaids and shawls inspired the silhouettes of some of the outerwear within the collection. Kilts and highland dancing gear were also influential in the design of the collection through the shapes created using blouses under fitted bodices and kilt style skirts. The dark shiny cage-like door was photographed in St Giles church, however it is reminiscent of an old style jail cell door, enclosing somebody inside. This inspired the design of cage-like bodices and headpieces, symbolising the lack of freedom of speech, heart and country.
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Fashion Theory Inspirations Taken From Research on Scotland
The theoretical themes of lack of freedom were explored more thoroughly; the categories of Scottish independence, gender equality and freedom of speech were researched and developed into design paths, which would directly link with the Indonesian theory themes. Both historical battles for independence from Great Britain and contemporary attempts, such as the recent referendum, were explored in order to gain a greater knowledge of the struggles endured in the attempts and to take this knowledge into design terms and ideas. The idea of being caged or engulfed was explored more so through the use of oversized shawls, hoods and heavy-duty leather bodices and belts.
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Colour Inspirations Taken From Research on Indonesia
The colours inspired by Indonesia are again natural colours from the landscapes throughout the country. Brighter tones but similar colours to the earthy colours taken from Eco Active, Indonesian landscapes include bright greens, blues, terracotta browns and light greys. The palette also takes inspiration from the red of the Indonesian flag and from artwork such as grey stone pieces or metallic embroideries.
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Fabric Inspirations Taken From Research on Indonesia
Inspirations for metallic and detailed craft style fabrics are furthered by the beautiful embroidered fabrics used in customary Indonesian dress, as well as art work and traditional crafted Indonesian fabrics.
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Fabric Manipulation Inspirations Taken From Research on Indonesia
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Fabric manipulation techniques are brought more inspirations through Indonesian architecture and landscapes, the linear designs on the temples and the rice fields stimulate more thoughts of knife pleating, as do the expanding feathers on the national creature, the Garuda. As well as shaping fabric manipulations, ideas of surface etching and patterned fabrics come from Indonesia’s artwork and architecture as well. The detailed designs make very nice surface patterns, in particular the designs on the décor photographed at the student’s father’s Indonesian wedding.
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Shape and silhouette Inspirations Taken From Research on Indonesia
The traditional dress throughout Indonesia was also researched when considering shape and silhouette forms. The long skirts and fitted jackets were taken into design work, as well as the use of beautiful headscarves.
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Theory Inspirations Taken From Research on Indonesia
There were two main theories explored throughout the research of Indonesia, their battle for Independence and the personal connections the student has with the country. Indonesia fought for independence against the Dutch and won the very brutal battle in 1945, gaining their independence. This theme links directly with the themes of freedom and independence, explored throughout other areas in the project, including the Scottish culture, therefore a vital theme for the global mash-up.
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Theory Mash-up of Scotland and Indonesia
Mash up and links
The struggles for Independence are a clear and strong link between Scotland and Indonesia, as is the relationship the student has with both counties. The student has visited Indonesia, her stepmother being Indonesian. Having Indonesian family was a great starting point in the Indonesian research and created another link between the two cultures.
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Designer Influences and Target Market
As well as art, trends, and the two cultures, various designers’ work was also researched in coming up with design ideas and in narrowing down a chosen target market. Chanel’s Pre Fall 2013 collection and Alexander McQueen’s Autumn/ Winter 2013 collection were both highly influential in the style and look of the collection. The use of ruffs, structural bodices and large sleeves were taken forward as inspiration in the design work, as well as other aspects.
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It was decided early on that the collection would be aimed at a high-end market, such as celebrities; this was because there is more freedom of design at this market level. The collection could then be trickled down to lower levels, becoming more wearable for lower level consumers. An example of the aimed level is Lady Gaga pictured wearing Alexander McQueen’s dress from Spring/Summer 2011, it was however then trickled down to lower levels as can be seen in the Coast dress pictured below, which has clear influences from Alexander McQueen’s dress.
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Further Explored Theory
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Final Colour Mash-Up
COLOUR BOARD The core colours within the palette are taken from the Indonesian and Scottish flags which are combined to create a purple, also linking with Indonesian dress. Nature, scenery and architecture are also large influences within the palette, bringing in greens, stone, black and deeper earthy tones. SS 16 Eco Active and Past Modern palettes are influential in my colour choices.
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Fabric Palette
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Draping on the stand
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Design Development Key Outfits
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Taking all of the research and influences throughout the course of the project, the design development process formulated six outfit designs for the collection.
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Final Line-up Illustrations Fronts
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Final Line-up Illustrations Backs
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Toiles
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Fabric Manipulation
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Look 1 Breakdown Jessica Ranaldi
Leather Belt Front
Tailored Fitted Trousers Front
Leather Belt Back
Tailored Fitted Trousers Back
Knife Pleat Fitted Shirt Front
Knife Pleat Fitted Shirt Back
Sleeveless Tailored Jacket With Hood Front
Sleeveless Tailored Jacket With Hood Back
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Look 1 Outfit Jessica Ranaldi
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Look 2 Breakdown and Outfit Jessica Ranaldi
Knife PleatTie Front Blouse Front
Leather Etched Bodice Front
Kilt Style Skirt Front
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Knife PleatTie Front Blouse Back
Leather Etched Bodice Back
Kilt Style Skirt Back
Look 3 Breakdown Jessica Ranaldi
Caged Leather Bodice Front
Stretch Off Shoulder Dress Front
Knife Pleat Belt Cape Front
Caged Leather Bodice Back
Stretch Off Shoulder Dress Back
Knife Pleat Belt Cape Back
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Look 3 Outfit Jessica Ranaldi
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Look 4 Breakdown Jessica Ranaldi
Tailored Jacket with Knife Pleat Collar Front
Leather Belt Front
Slip Overdress Front
Chiffon Ruffle Blouse Front
Tailored Jacket with Knife Pleat Collar Back
Leather Belt Back
Slip Overdress Back
Chiffon Ruffle Blouse Back
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Look 4 Outfit Jessica Ranaldi
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Look 5 Breakdown Jessica Ranaldi
Belted, Open Tailored Jacket Front
Knife Pleat Plaid Interpretation Front
Gathered Detail Dress With Tie Fastenings Back
Gathered Detail Dress Front
Tailored Jacket Back
Knife Pleat Plaid Interpretation Back
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Look 5 Outfit Jessica Ranaldi
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Look 6 Breakdown Jessica Ranaldi
Shirt With Gathered Collar Back
Ruffle Stretch Waistband Underskirt Back
Shirt With Ruffle Front Front
Ruffle Stretch Waistband Underskirt Front
Headscarf with leather bands Front
Open Belted Overskirt Front
Headscarf Back
Overskirt Back
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Look 6 Outfit Jessica Ranaldi
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Evaluation of Collection
In evaluation of the project the student enjoyed the idea of designing a collection based on theoretical influences, as well as particular cultures. The student is happy with her end result, however she feels that when designing her collection she perhaps utilised too many historical and traditional influences within the designs and could have incorporated more contemporary styles, however regardless of this the student feels that her collection fits in with the intended target market. The student feels that all of the various inspirations were used well together in order to create a strong message of the fight to freedom in many different contexts, throughout the collection.
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References
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