1920
MASCULINE TEXTURED
EXPERIMENTAL INDIVIDUAL
18-30 AGE RANGE CULTURAL ‘WHEN I GET DRESSED, I THINK OF IT AS DRESS-UP TIME, LIKE THE CLOTHES ARE COSTUME PIECES, THAT’S WHY I LIKE VINTAGE- IT HAS A STORY BEHIND IT. I’M NOT AFRAID OF WALKING DOWN THE STREET IN SOMETHING THAT PEOPLE THINK IS CRAZY. WHAT I CAN’T STAND IS LOOKING LIKE EVERYBODY ELSE’
SELF EXPRESSIVE
‘THERE ARE JUST SOME REALLY BEAUTIFUL PEOPLE IN THE WORLD. WHEN YOU’RE WALKING DOWN THE STREET, OR YOU’RE AT A RESTAURANT, SOMEONE CATCHES YOUR EYE BECAUSE THEY HAVE THEIR OWN LOOK. IT GOES WAY BEYOND WHAT THEY’RE WEARING - INTO THEIR MANNERISMS, THE WAY THEY SMILE, OR JUST THE WAY THEY HOLD THEMSELVES.’
MARY-KATE OLSEN
SISTER BRANDS
TERRAIN -
Inspired by the idea of merging house and garden to dreate an experience for the senses.
Instore layout in Newcastle.
For my research i have looked into old fashion workwear mainly from the 1920’s. A huge part of my research shows images of overalls. I am really interested in the pockets and leather straping within the overalls. After looking at artisan workwear and finding mostly apron/ leather inspired images i wanted to search further into history to find past fashion that linked in within it and inspired me.
STRAPING
POCKETS
Hand drawing of a Blacksmith
For my print research i looked into images of rust and the shapes created within them. Here shows the picture of which my prints came from.
PRINT DEVELOPMENT STAGES I used the Magic Wand tool to select different colours within the rust image. I then filled them with the five colours i chose from my colour pallette. Here shows the different layers of my print and how they build up over each layer.
These show how i used the Magic Wand tool to create my layers.
This shows my design on top of the original image.
I experimented with reflecting and changing the direction of the print. Urban Outfitters have a range of mirrored tapesty textiles which i used for an influence with mirroring.
MIRRORING
Here are my moulage experiments
Moulage experimenting over my print
After doing my collage design development i traced of the shapes within the designs and started to mix them up by combining the designs together. This was a really helpful way to get more rough idea sketches that i could then take further and expand within my design development.
Here show just a few of my blasting developments put together from the drawings above.
When making my toile i bagged out all of my leather panels to leave a clean, neat finish however when it came to making my real garment the leather was too thin to be able to support the metal O rings and would have stretched a lot. To solve this i stuck two skins back to back bonding it with glue under the heat press. This gave my leather more stability. Gluing my leather together meant that now i couldn’t bag it out like i did with my toile so i had to finish it with raw edge.
BACK OF TOILE
I bagged out the cord so that the inside of the welt pocket was hidden.
POCKETS INCLUDED IN FINAL GARMENT
Sewn into middle of the garment
FINISHED GARMENT