Aftermath •
Jodi Easson •
Process Analysis Document •
H00157551 E19CA – E19CB 3 rd Year Fashion •
Concept Aftermath is a Collection influenced by the devastating terror and destruction that war has caused. We continue to ruin everything we touch and fight anything we disagree with rather than accepting that we are all human at the end of the day. This collection has two sides split by colour. Its not until we look closer at the collection that we see the similarities. The collection is also influenced by the toxic aftermath of war. We have poisoned the air and made it unsafe to live. The aim of the collection is to enlighten the world that they are fighting for lost causes because the damage is already done. If we continue to fight one another and destroy the planet, there will eventually be nothing left. An empty world. An Apocalypse. Aftermath’s concept derived from the misty atmosphere of the Yellow Rose, By Ann Veronica Janssen. The mist had similarities to smog or pollution. By teaming this idea with the current problems of war in the Middle East, the concept came together naturally. The main Inspirations for this Collection comes from imagery of Bombarded buildings that have left behind decaying textures and lines in amongst the carnage. Toxic wastelands have also inspired this collection In terms of print and pattern ideas. The artwork of Student, Giacomo Carmagnola has also strongly influenced the colour choices and mood of the collection. His face melting imagery fits perfectly with the ruin and decay of war and translates nicely in a repeat pattern. Also Urban Fashion and 1980’s Archive has inspired the silhouette and garment ideas. Inspiration was also taken from foiled fabric from Holland and Sherry. This inspired the fabric manipulation of the collection in order to bring more colour into the garments. The collection channels the style of military uniform and combining it with casual urban wear to create a hybrid style. There are also some elements of grunge to bring out the harsh side of war. The blend of sharp tailoring and casual draping again adds to the idea of opposites being able to come together as one and put differences aside. The Season of this collection is Spring/Summer 2017 and as the theme is quite dark and atmospheric the collection concept is not particularly “summertime”, the collection uses lightweight jerseys and meshes instead to get the summer vibe into the collection whilst also injecting a splash of colour. This Womenswear Capsule Collection is aimed at 21-35 year olds for a High End Fashion Marketplace. The garments would range around £500 to £1500 and be sold in High End department stores such as Harvey Nichols or in an independent store. The ambassador would obviously care a lot for the planet and try to make a difference in any way she can. She is kind and accepting to everyone. It saddens her that in this day and age, the world only seems to solve problems with violence. She is hopeful that one day the world will learn to be civilized and not rely on destroying the planet or each other to get by.
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Contents Concept _______________________________ Holland & Sherry ______________________ Exhibition Visits ______________________ Research _______________________________ Market/Competitors ____________________ Trends _______________________________ Colour _______________________________ Fabric _______________________________ Silhouette __________________________ Design Development _________________ Final Line Up __________________________ The Outfits __________________________ Working Drawings ______________________ The Bomber Jacket ______________________ toile _______________________________ garment construction _____________ The Harness Top ______________________ toile _______________________________ garment construction _____________ The Skirt _______________________________ toile _______________________________ garment construction _____________ The Hood _______________________________ toile _______________________________ garment construction _____________ The Polo Neck Top ______________________ toile _______________________________ garment construction _____________ The Jogger Bottoms _________________ toile _______________________________ garment construction _____________ Evaluation __________________________ References _______________________
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Holland & Sherry After being shown around the warehouse of Holland & Sherry, I was truly in awe of their bespoke, beautiful fabrics. Their wools are legendary and to experience the quality and service that goes into their wools was fascinating to me. But what particularly inspired me from my visit to Holland & Sherry was there new Spring/Summer 17 collection. It really pushes the boundaries of classic Holland & Sherry, by taking on vibrant colours to appeal to new trends. I admire change as it shows progression towards the future but I also believe that the traditional is also important and should not be forgotten. Whilst being shown around, my tour guide said, “The more traditional wools aren’t selling as well because people want brighter colours for the new season trends” this gave me the idea to prove that the fabric doesn’t have to be colourful to have colour. There are other ways of injecting colour into an outfit through fabric manipulation. I can use foils and printing to feed colour into my collection and just use plain traditional greys as a blank canvas. By doing this I can prove that the classic bespoke is still on trend and always will be.
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Exhibition Visits
I visited museums at the start of this project for initial inspiration. Ann Veronica Janssens’s work at the Fruit Market Gallery was particularly inspiring to me. It was the atmosphere of the “Yellow Rose” that caught my attention. The light struggling through the smoke reminded me of pollution. I was also inspired by the toxic green colour of her “Polished Anlaglass Bar” which reminded me of poison. At the Royal Scottish Academy, I discovered the work of Shana Kaplow. I liked the ink effect of her work and the lines she used. I wanted to try and recreate my own prints in a similar style as I felt it went well with my concept.
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Research My collection is set in a post-apocalyptic world left behind by the devastation of war. By looking into toxic landscapes and demolished architecture I wanted to illustrate how destructive war is on the world. I found the work of Giacomo Carmagnola incredibly inspirational to my concept. His work combines military uniform with toxic drips that is extremely relatable to my concept and shows the corruption of war perfectly. I took inspiration for colour, print and line as well as the mood and story.
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Market/ Competitors • I have aimed my Urban Womenswear collection at an Independent, High End market level for 21-35 year olds. With a price point ranging from £500 to £1500. I see my collection being sold at the likes of Harvey Nichols along side its main competitors Alexander McQueen and Alexander Wang. Both of which have very unique urban styles and Inspirations similar to my concept. Making them admirable competitors.
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Trends
Digital Wave Power Shine & Hatched Effects
For Trends Research I visited WGSN for reference to the future predications of the Spring/Summer 2017 forecasts. The trends that caught my eye were from the “Digital Wave� collection. Power Shine focused on metallic and monochromes surfaces. This metallic surface reminded me of foils, which naturally, influenced my choice of foiling as a fabric manipulation technique for my final collection. Hatched Effects on the other hand was textured, rough and dusty. This influenced the mood, texture and colour of the collection. It reminded me of rubble and concrete.
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Colour • My collections colour scheme is very dark and muted with tones of grey, Khaki and Maroon. Accompanied with accent colours of metallic Green and Purple to add bursts of colour to a quite minimal palette. I had this idea that I should have two sided to my collection as it is based on war. I decided that the best way to show this and deliver the message was through the use of colour. The colours are opposing but in the end the collections coherency makes them unite as one. Much like the message I am trying to convey.
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Fabric As the brief is “Urban Lux” the fabrics must be casual but at the same time high fashion. I chose to work mainly with stretch fabrics as they represent urban style in my opinion. I bought a beautiful gunmetal silver sweatshirt fabric online which was perfect for the collection. Not just in the colour but in the quality too. I also purchased a fine ribbed and a plain grey jersey for lightweight garments. I used the plain jersey as a canvas for the sublimation printing which brought some originality and creativity to my collection.
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Silhouette • Urban Bomber jackets of the 1980s and WGSN trend predictions were the main inspiration for the silhouette of my collection but as war is a major theme, it only made sense to adopt elements of a military style such as epaulets and utility belts. By adding military to an urban style I hoped to achieve a new and inventive shape and style.
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Design Development I went through my normal process in designing for this collection. First off I started developing one garment. I design variations of the same garment until I have exhausted the possibilities. I then move onto the next garment. Once I have a large collection of designs I go through and select my favourites. With these favourite I experiment further with colour, fabric and any other further developments. Once I have coloured versions I start to pair the garments together to create outfits. Finally I select the outfits that work for the collection. Creating my final line up.
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Final Line Up As mentioned before this collection has two sides, Green and Purple. The Purple side is mostly inspired by toxic wastelands and poisonous, polluted air. The Natural world poisoned by war. This side uses a toxic spillage motif as its sigil to represent this.
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The Green side is inspired by demolished buildings, debris and iron framework. Our man-made creations and inventions pulverised and destroyed by war. This side uses a badge of broken lines to signify the destruction. Both are very different but they share a common enemy. War.
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The Outfits
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Working Drawings
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The Bomber Jacket
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Toile I found it quite complicated to do the corner seams of the sleeve, as there were many changes of direction and stretch fabric is not the easiest to work with. I took my time with it so I new what I was doing for the final garment. The welt pocket also was also quite difficult. Again, stretch fabric made it so. I planned on adding facings and nylon strapping to the final to stiffen it and flatten it out and improve the final look. I was very happy with the initial shape so not many adjustments were needed. I only had to bring the waist in by a centimetre or two before I got the desired shape.
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Garment Construction The construction of the final Jacket went extremely well. I thought that the use of mesh would complicate the corner seams further but on the contrary, it improved the construction. I added nylon straps as an extra to make the jacket coherent with the collection as I feel it adds detail. This is the only garment in the collection to not have fabric manipulation as I felt that it look just right without it. I also felt the collection needed a break somewhere from all the prints and foils.
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The Harness Top
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Toile The top had a few issues to fix in the toiling stage. The first was the neckline. It was too baggy and needed to be adjusted down the centre front. I simply trimmed what needed to be taken away to solve this. The second problem was the straps around the neck. It restricted all the stretch of the jersey making it not very comfortable. The straps also made it incredible difficult to get on and off. I came to the decision that I should make them simpler in order to make the garment more understandable.
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Garment Construction I changed the straps in the final garment. Although I liked how they sat in the toile, they were just confusing to get on and off. I simply had to contextualise the straps to be more understandable and easier to wear. I had a small hiccup with the printing. The sublimation printing took two attempts, as the heat press was not big enough to cover the entire fabric causing the pattern to go offset in places. In the future I would consider digital print for larger fabric surfaces to stop this mistake from happening again. The foils worked but some of them peeled off silver. Although this was not technically what I wanted, the silver still went with the colour scheme and the concept.
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The Skirt
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Toile I initially wanted the skirt to stick out like an A-line skirt but once I completed the toile I realised that it would hang more like a circular skirt due to the fabric. The only way I could think of to make the skirt stick out would be to put a few layers of fusible on the inside of the skirt. I did not want to do this as it would ruin the look of the inside of the skirt and in the end, I grew quite fond of the new shape and how it turned out. I decided to keep it the way it was.
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Garment Construction I did not have much to fix between the toile and final because I was happy with the final shape. I did, however, have a few changes on the waistband. I completed the skirt but disliked the waistband. It wasn’t sitting right and it was lacking in details. I research other ways of how to make an elastic waistband. I came across one that I ended up using not only in the skirt but in the trousers too. I now think the waistband fits the market level and has more detail than the previous plain one.
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The Hood
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Toile I was pleased with the look and shape of the hood toile. There wasn’t much I felt at that stage needed done in terms of modifications. I was delighted with how the hood turned out. I wanted the hood to be slightly oversized, which I felt I achieved on the first attempt. I did not try the straps out on the toile, as I wanted to save the nylon straps for the final garment. I felt that it didn’t need to be tested, as it was more final placement design rather than actual construction.
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Garment Construction When it came to hemming the final garment, the edges puckered due to the stretch of fabric. As I didn’t hem in the toile, this problem never arose. I then had to go back and work out how to get the garment to sit flatter when worn. I fixed this issue by adding a stay tape/binding along the edges and eased the fabric into it. This helped support the shape and helped the garment sit as I intended it to. I also had plans for detachable sleeve straps but in the end I liked the way it turned out and I felt that if I added more it would look too cluttered with the overall look of the outfit.
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The Polo Neck Top
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Toile I was extremely happy with how the toile turned out for the polo neck. So much so I wanted to complete the toile to wear it for myself. There wasn’t much I had to do in terms of adjustments. The only concern was that the sleeves were a little baggy. I took them in by a few centimetres to correct the fit.
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Garment Construction Much like the toile, I did not need to modify the top too much. However, I did encounter a problem with the mesh fabric. Overlocking the mesh wasn’t the most appealing way to sew the top together as you could see the raw edges from the outside through the mesh. I had the idea to bind the seams with matching coloured fabric. It looked much nicer than a raw edge and I felt it fit better with market level.
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The Jogger Bottoms
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Toile To save time and fabric, I just made one trouser leg on the jogger bottoms toile. I did initially think that the trousers were too long but when I tried them on I realised that it gave them an extra gathered look at the cuffs which made them looked more Urban and fashion forward so I kept them the way they were. I also tested out the pocket and the panelling, to my delight everything sat right and no adjustments were needed.
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Garment Construction
This garment took the longest as I kept changing my mind about them throughout the make. I considered lining the back of the mesh but I decided against it as the trousers matched the top without a lining and I preferred it without. I also reconsidered the waistband. As I mentioned earlier, I only completed the trousers waistband when I had chosen the style I wanted on the skirt’s waistband, as both were the same. So it wasn’t until the skirt was complete that I completed the Joggers.
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Evaluation Overall I am incredibly proud of my collection. I feel my final collection has delivered the message of my concept. That it does not matter about our differences, whether that is colour or opposing sides, it is not about what we believe in or what we look like, we are all human in the end and it should not matter. We should not be fighting but living and accepting or differences. Making this world a more accepting place, before it is gone for good. I am pleased with the final garments. I feel I have demonstrated a clean and professional collection and I am very proud of it. It was particularly exciting to experiment with fabric manipulation techniques. I feel it adds a personal side to the collection making it unique to me.
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References Exhibition Visits… • • • • •
Shana Kaplow, (2015), Carried Along [ONLINE]. Available at: http://www.shanakaplow.com/Low-Lying-Area [Accessed 13 March 16]. Ann Veronica Janssens, (2013), Polished Anlaglass Bar [OWN PHOTOGRAPH]. The Fruit Market Gallery, Edinburgh. One Long Peel, (2013), Sulphur world [ONLINE]. Available at: https://onelongpeel.wordpress.com/category/ethiopia/ [Accessed 13 March 16]. Alexandr Labetskiy, (2007), Smoke [ONLINE]. Available at: http://www.dreamstime.com/stock-image-smoke-image508591 [Accessed 13 March 16]. Ann Veronica Janssens, (2007), Yellow Rose [OWN PHOTOGRAPH]. The Fruit Market Gallery, Edinburgh.
Research… • • • • • •
Giacomo Carmagnola, (2015), Waterfall Acid [ONLINE]. Available at: https://www.behance.net/GoreCarmagnola [Accessed 13 March 16]. One Long Peel, (2013), Sulphur world [ONLINE]. Available at: https://onelongpeel.wordpress.com/category/ethiopia/ [Accessed 13 March 16]. Wallpaper Cave, (2016), Post Apocalyptic City [ONLINE]. Available at: http://wallpapercave.com/apocalyptic-wallpaper [Accessed 13 March 16]. Teen Vogue/Boo George, (2015), Zendaya Coleman [ONLINE]. Available at: http://fashionbombdaily.com/snapshot-zendaya-coleman-teen-vogue-february-2015/ [Accessed 13 March 16]. Sinister-One, (2006-2016), Urban Warzone [ONLINE]. Available at: http://sinister-one.deviantart.com/art/Urban-Warzone-Wallpaper-43270678 [Accessed 13 March 16]. Unknown, (Unknown), Gas Mask [ONLINE]. Available at: https://uk.pinterest.com/pin/147704062757431147/ [Accessed 13 March 16].
Market… • • • • •
Harvey Nichols, (2016), Harvey Nichols [LOGO]. Available at: http://www.harveynichols.com [Accessed 13 March 16]. Alexander McQueen, (2016), Alexander McQueen [LOGO]. Available at: http://www.alexandermcqueen.com/gb/alexandermcqueen [Accessed 13 March 16]. Alexander McQueen, (2015), McQ Pre-Fall [ONLINE]. Available at: https://wsnvioletvision.wordpress.com/2015/02/09/mcq-alexander-mcqueen-pre-fall/ [Accessed 13 March 16]. Alexander Wang, (2016), Alexander Wang [LOGO]. Available at: http://www.alexanderwang.com [Accessed 13 March 16]. Alexander Wang, (2012), Pre-Fall [ONLINE]. Available at: https://multiplefashiondisorder.wordpress.com/2012/02/15/alexander-wang-fall-2012/alexander-wang-fall-2012-32-natasha-poly/ [Accessed 13 March 16].
Trends… • •
Front for Moooi, (Unknown), SS17 [ONLINE]. Available at: http://www.wgsn.com [Accessed 13 March 16]. Gulle Tekstil, (2015), Foil Fabric [ONLINE]. Available at: http://www.wgsn.com [Accessed 13 March 16].
Colour… •
Giacomo Carmagnola, (2015), Acid Veil [ONLINE]. Available at: https://www.behance.net/GoreCarmagnola [Accessed 13 March 16].
Silhouette… • • • • •
Alice and Olivia, (2015), Skater Skirt [ONLINE]. Available at: https://uk.pinterest.com/pin/246149935861024172/ [Accessed 13 March 16]. Prabal Gurung, (2015), Epaulette Jacket [ONLINE]. Available at: https://www.lyst.com/clothing/prabal-gurung-epaulette-jacket-olive/ [Accessed 13 March 16]. Nina Ricci, (2013), Pre-Fall [ONLINE]. Available at: https://uk.pinterest.com/pin/147704062757533910/ [Accessed 13 March 16]. Bullhead Denim Co., (unknown), Drawcord Jogger Pants [ONLINE]. Available at: https://uk.pinterest.com/pin/147704062757802268/ [Accessed 13 March 16]. Carmelo Varela, (2012), Druid Coke [ONLINE]. Available at: https://uk.pinterest.com/pin/147704062757533866/ [Accessed 13 March 16].
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