Solace by Kathryn Freer

SOLACE

PROCESS ANALYSIS DOCUMENT KATHRYN FREER 00124024 YEAR 3 | FASHION WORD COUNT - 2,734

CONTENTS

DESIGN CONCEPT

4-5

6-15 8-9 10-11 12-13 14-15

RESEARCH MYB TEXTILES LACE TREND INNER SANCTUARY WEATHERED TEXTURE

16-29 18-19 20-21 22-23 24-25 26-27 28-29

DEVELOPMENT COLOUR PALETTE FABRIC MANIPULATION SILLOUETTE DETAILS FINAL FABRICS FINAL COLLECTION

30-57 32-33 34-35 36-37 38-39 40-41 42-43 44-45 46-47 48-49 50-51 52-53 54-55 56-57

PRODUCTION SELECTED OUTFITS SNOOD COAT 1 TOILE TOP 1 TOILE FINAL COAT & SNOOD FINAL TOP SKIRT COAT 2 TOP 2 TROUSERS FINAL OUTFIT 1 FINAL OUTFIT 2 REFLECTION

58-59

REFERENCES

DESIGN CONCEPT

WITHIN THIS COLLECTION I AM EXPLORING THE THEMES OF INNER SANCTUARY AND WEATHERED TEXTURE TO CREATE CONTRASTING SENSATIONS OF COMFORT AND NEGLECT. PLAYING WITH THE IDEA OF BEING WRAPED UP IN BLANKET, ESCAPING THE STORMY, RUGGED OUTDOORS, I WANT MY COLLECTION TO EVOKE AN OVERALL SENCE OF WINTER MINIMALISM WITH CREATIVE TEXTURE. HEAVY INFLUENCE HAS COME FROM THE VISIT TO MYB TEXTILES LACE MILL WHERE THE HARSH GREY MACHINERY WAS PRODUCING SOFT DELICATE LACE. THIS CONTRAST OF HARD AND SOFT WORKS WELL WITH THE TREND. HOWEVER INSTEAD OF SOFT WITH COMFORT AND HARD WITH NEGLECT, I HAVE DECIDED TO MIX THEM UP IN ORDER TO GIVE THE COLLECTION A TWIST. THERFORE THE DARK GREY MACHINERY CONNECTS WITH THE SOOTHING BLANKET, AND THE WHITE LACE UNITES WITH ABANDONMENT. FOR INNER SANCTUARY, LOOKING AT THE WAYS OF A BLANKET AND THE WAY IT FOLDS AND FALLS TO CREATE BEAUTIVE DRAPE, IS MY MAIN INSPIRATION FOR SILOUETTE AND FABRIC. AS THIS ASPECT IS TEAMED UP WITH MACHINERY, THE LOOK WILL ALSO BE QUITE INDUSTIAL AND THE COLOUR PALETTE WILL BE INSPIRED BY THE HADWARE. AS FOR WEATHERED TEXTURE I WILL LOOK AT DESIGNERS, SUCH AS BALENCIAGA, WHO HAVE USED INNOVATIVE TECHNIQUES IN ORDER TO CREATE A CRACKED AND PEELING TEXTURE WHICH IS PERFECT IN RELATION TO THIS COLLECTION. THE COLOUR PALETE IS INSPIRED BY IDEA OF THE STORMY OUTDOORS AS WELL AS PALE, FOGGY LANDSCAPES.THE LINK TO LACE WILL COME THROUGH AS PASTEL COLOURS HAVE CONNOTATIONS OF DAINTY AND FRAGILE, LIKE LACE. ANOTHER ASPECT OF THIS COLLECTION WILL BE RAW SEAMS. I FEEL THIS LINKS TO HOW NATURALLY WE SAW LACE BEING PRODUCED AS WELL AS GIVING THE GARMENTS FRAGILITY ABOUT THEM. WE SEEN THE MILL INSIDE OUT AND LEAVING SEAMS AND EDGES UNFINISHED WILL REALLY ENHANCE THIS STORY. THIS LINKS BACK TO THE TREND OF NEGLECT AND ABANDONMENT. OVERALL THIS COLLECTION WILL BE A FUSION OF TEXTURE THAT IS INNOVATIVE AND FULL OF COMFORT. THIS COLLECTION IS FOR INDIVIDUALS WHO HAVE A DESIRE TO BE CONTEMPORARY AND ORIGINAL YET CLASSIC.

RESEARCH

MYB TEXTILES LACE THE VISIT TO MYB TEXTILES IN NEWMILNS WAS A GREAT OPPERTUNITY TO DISCOVER LACE AND START A BREDTH OF INSPIRATION FOR THIS PROJET. IT WAS SUCH A MASCULINE, MACHINERY BASED ENVIRONMENT WITH HAMMERING AND PULLING AND STRENGTHENING THAT YOU WOULD NOT THINK THAT THE END PRODUCTS WERE SO DELICATELY THIN AND BEAUTIFUL. THIS CONTRAST OF SOFT AND HARSH REALLY INSPIRES ME AND TRANSFERRED INTO DESIGN COULD CREATE A CONTEMPORARY AND INNOVATIVE COLLECTION. THIS TRIP DID NOT INSPIRE ME TO USE LACE. IT INSPIRED ME TO LOOK AT THE CONSTRUCTION BEHIND IT. LACE IS OVERUSED NOW AND DOES NOT HAVE THE QUALITIES THAT IT USED TO STAND FOR HOWEVER THE CONSTRUCTION, THE IDEAS BEHIND IT COULD INSPIRE TO MAKE A WHOLE NEW DESIGN CONCEPT.

FIG 1 - MYB TEXTILES LACE PRODUCTION

TREND

FIG 2 - JOHAN KU KNITWEAR

ELEMENTAL AW 16/17 “ELEMENTAL IS EPIC YET INTIMATE. EXPLORING THE ELEMENTS OF NATURE, IT HAS AN SOLITARY, ROAMING SPIRIT AS IT MOVES FROM THE RUGGEDNESS OF THE GREAT OUTDOORS TO THE INNER CALM THAT CAN BE FOUND INDOORS. A SUBLIME STORY THAT RUNS THROUGH DEEP WINTER, IT HAS EMOTIONAL INTENSITY AND AN ATMOSPHERIC FRICTION AS THE STILL AND STORMY COLLIDE.” - WGSN

INNER SANCTUARY WITHIN THE TREND OF ELEMENTAL, A KEY ASEPCT IS INNER SANCTUARY. THE THEME EXPLORES SENSATIONS OF COCOONING COMFORT AND THE SOOTHING CONSOLATION OF THE BLANKET. I RESEARCHED FURTHER INTO THE WAY THAT A BLANKET FOLDS AND FALLS CREATING DRAPE AND VOLUME. AND I WANT TO TRANSEND THIS INTO DESIGN. THE IDEA OF WANTING TO STAY INDOORS REMINDS ME OF BEING SNUG AND WRAPPED UP IN BED CREATING SCRUNSHED SHEETS AND DUVETS. THEREFORE CREATING AN INNER SACTUARY THROUGH COTH.

FIG 3 - DAVID WOJNAROWICZ (BLANKET)

FIG 4 - GREY TEXTURE

WEATHERED TEXTURE WHEN I THINK OF THE WORD “ELEMENTAL” I AUTOMATICALLY THINK OF THE OUTDOORS AND THE ELEMENTS OF RAIN, WIND, SNOW. FROM THE DISCRIPTION THAT WGSN GIVES OF THE TREND IT TALKS OF THE RUGGED OUTDOORS AND ESCAPING THE STORM. THEREFORE FROM THIS I GOT THE IDEAS OF WEATHERED TEXTURES, THE EFFECT THAT THESE ELEMENTS HAVE ON SURFACES. WITHIN RESEARCH THERE WAS A LOT OF DECAY, THAWING AND CORROSION. WHAT INSPIRED ME MOST HOWEVER WAS THE ERROSION OF PAINT ON WALLS. IT CREATES SUCH A BEAUTIFUL TEXTURE, PATTERNS BUT CLEARLY PORTRAYS A SENCE OF ABONDONMENT AND NEGLECT WHICH CONTRASTS SO WELL WITH THE SOFTNESS OF INNER SANCTUARY.

DEVELOPMENT

COLOUR PALETTE INSPIRED BY FOGGY LANDSCAPES, PASTEL COLOURS BLANKET OVER THE DARKNESS OF FORESTS AND OVER HILLS. THIS HARMONY OF OPAQUE FOGGY PINKS, BLUES AND GREY ARE SO BEAUTIFULLY BLENDED OGETHER TO FORM THE BASIS OF MY PALETTE. MOST PEOPLE SEE GREY AS A COLD COLOUR HOWEVER TO ME GREY SYMBOLISES COMFORT, WARMTH AND A VERY HOMELY ATMOSPHERE. GREY IS THE PERFECT COLOUR FOR INNER SANCTUARY AND ALSO SYMBOLISES THE DARK GREY, INDUSTRIAL MACHINERY WITHIN LACE PRODUCTION. THE PASTELS WILL REPRESENT THE DELICASY OF LACE HOWEVER CONFLICTING WITH THE WEATHERED OUTDOORS WILL CREATE AN ALLURING ILLUSION.

FIG 5- LANDSCAPE IN THE MIST

FIG 6 - EXPERIMENT 1

FABRIC MANIPULATION -INITIAL SAMPLE

RESEARCH INTO CRACKED PAINT AND ABANDONENED WALLS LED ME INTO EXPLORING HOW I WOULD TRANSLATE THIS INTO DESIGN. DESIGNERS SUCH AS BALENCIAGA, MARTIN MARGIELA AND RAF SIMONS HAVE ALL HAD A SIMILAR IDEA AND HAVE MANAGED TO ACHIEVE A CRACKED PAINT LOOK. THIS IS EFFECT IS CREATED BY PAINTING A THICK LAYER OF ACRYLIC PAINT ONTO A STRETCH FABRIC, LEAVING IT TO DRY THEN PULLING AND STRETCHING THE FABRIC IN ORDER TO CREATE LARGE CRACKS WITHIN THE PAINT. MY FIRST SAMPLE WAS NOT AS SUCCESSFUL AS HOPED HOWEVER IT MADE A VERY INTERESTING PEELED EFFECT. THE WHITE PAINT I FEEL IS MOST AFFECTIVE AND WITH A DARKER COLOUR UNDERNEATH SHINING THROUGH THE CRACKS MAKES THEM MORE DEFINED.

SILLOUETTE

FIG 7 - SILOUETTE INSPIRATION

I RESEARCHED INTO DESIGNERS SUCH AS COS, CHARLIE MAY AND THE ROW WHO ALL DESIGN SIMILAR TO WHAT MY AETHETIC FOR THIS COLLECTION IS. AS THE CONCEPT HAS A LOT GOING ON, THE SHAPES ARE BEST KEPT MINIMAL YET INNOVATIVE. THE WORD COCOONING WAS MY MAIN INSPIRATION FOR SHAPE AND SILOUETTE AS WELL AS INCORPERATING DRAPE AND FOLDS IN ORDER TO LINK BACK TO INNER SANCTUARY. THE STRATAGY BEHIND MY DESIGN IS THAT LONG COATS WILL ENVELOP THE BODY, OVERSIZED YET ELEGANT. THIS SYMBOLISES THE BLANKET BUT ALSO LINKS INTO THE LACE CONCEPT OF THE MACHINERY OVERPOWERING THE LACE. THE COAT IS MASCULINE, AND HAS HARD EDGES WHICH I FEEL IS PERFECT TO CONNECT BACK TO LACE PRODUCTION. FOR THE TOP AND BOTTOMS, THE SHAPES HAVE TO BE VERY CLASSIC AND MININMAL AS I DO NOT WANT THE FABRIC MANIPULATION TO BE DROWNED OUT BY OVERCOMPLICATED SHAPE. PETER DO IS ANOTHER DESIGNER WHO HAS GUIDED MY DESIGN AETHETIC FOR THIS COLECTION.

DETAILS I BELIEVE IN SIMPLE AND PEACEFUL DESIGN. I FEEL SIMPLICITY IS THE ANSWER TO THIS COLLECTION. I WILL ACOMPLISH THIS BY LEAVING ALL SEAMS AND EDGES RAW, I FEEL THIS MAKES A GARMENT SO MUCH MORE INTIMATE AND REVEALS THE STORY BEHIND THE GARMENT. THIS NATURAL AND ORGANIC SENCE TO THE GARMENTS RELATES STRONGLY TO THE THEMES ESPECIALLY TO NEGLECT AND ABANDONMENT. I THINK IF THE EDGES WERE FINISHED AND SEAMS LINED, YOU WOULD NOT GET THE SAME ATMOSPHERE FROM THE GARMENTS. THE OTHER DETAILS WITHIN THE GARMENTS, ZIPS AND EYELETS WILL BE QUITE INDUSTRIAL IN ORDER TO LINK BACK TO THE PRODUCTION OF LACE.

FIG 8 - LESS - RAW A/W 14

FINAL FABRICS AS I WOULD LIKE TO USE RAW SEAMS AND EDGES, FABRIC SOURCING WAS KEY, AS I REQUIRED A FABRIC THAT WOULD NOT FRAY. I ALSO HAD TO KEEP IN MID THAT THE WOOL FABRIC HAD TO BE BLANKET-LIKE THUS HAS CONSIDERABLE DRAPE TOO. I DECIDED ON GREY BOILED WOOLWHICH HAS BEAUTIFUL DRAPING QUALITIES AND ALSO WHEN CUT IN ANY DIRECTION THE FABRIC DOES NOT FRAY OR TEAR. I DECIDED TO GO WITH A 78% POLYESTER, 22% POLYURETHANE IN A PINK/NUDE COLOUR WHICH AGAIN DOES NOT FRAY THERFORE WOULD CREATE PERFECT CLEAN CUT SEAMS AND EDGES. I FELT THIS COLOUR OF FABRIC WAS JUST PERFECT AND GIVES THE COLLECTION THAT FOGGY POP OF COLOUR. AS FOR THE IVORY/WHITE FABRIC, THIS FABRIC DOES FRAY BUT THE DRAPE WAS IRRISISTABLE AND I FELT IT WENT PERFECTLY WITH THE OTHER TWO FABRICS. THEREFORE I WILL NEED TO FINISH THE EDGES OF THE GARMENTS MADE IN THIS FABRIC HOWEVER I HAVE RESEARCHED INTO THE DESIGNERS THAT USE UNFINISHED EDGES, SUCH AS ‘RAW’ AND ‘CHARLIE MAY’, AND THEY HAVE ACCOMPANING GARMENTS THAT ARE FINISHED. FOR THE PAINTED SECTION OF THE GARMENTS I AM USING A CLOUDY GREY 100% COTTON WHICH HAS FULL STRETCH, PERFECT FOR APPLYING ACRYLIC.

FINAL

FIG 9 - LINE UP 1

COLLECTION

FIG 10 - LINE UP 2

PRODUCTION

PROPOSED OUTFITS MY TWO FINAL OUTFITS CONSIST OF 3 GARMENTS EACH AND I FEEL ENCAPSULATE EACH ASPECT OF MY THEME. THE GARMENTS UNDERNEATH ARE MINIMAL YET EFFECTIVE WITH ELEMENTS OF MY FABRIC MANIPULATION. THE CENTRE SEAMS ON BOTH TOPS ARE VISIBLE OPEN SEAMS, WHICH IS AN INTERESTING EYE CATHING FEATURE. BOTH COATS HAVE ELEMENTS OF DRAPE AND FOLD. THERE IS ALSO THE ADDITION OF A HAND KNITTED SNOOD, WHICH I FEEL GIVES COAT 1 ANOTHER LAYER AND FEEL OF WINTER AND AGAIN CREATES FOLDS. OVERALL I THINK MY GARMENTS ARE INOVATIVE , CLEAN CUT AND MINIMAL.

FIG 11 - PROPOSED OUTFITS

SNOOD DURING RESEARCH I WAS COMING ACROSS A LOT OF KNITWEAR WITHIN THIS TREND THEREFORE WANTED TO HAVE A TRY AT HANDKNITTING MY OWN SNOOD. AFTER SOME RESEARCH AND A HELPING HAND ON GETTING STARTED FROM MY MOTHER, I CHOSE TO DO A PATTERN OF KNIT 1 ROW, PURL 1 ROW WITH A SIZE 8MM KNITTING NEEDLE. THE PINK YARN USED MATCHES THE PINK BLUSH COLOUR OF THE FABRIC IM USING IN MY DESIGNS AND IS PURE WOOL. THE GREY IS A WOOL, ALPACA BLEND AND THREE BALLS OF YARN OF EACH COLOUR LATER, I MANAGED 70 INCHS LONG AND 45 STITCHES WIDE.

FIG 12 - HAND-KNITTING

FIG 13 - FINAL SNOOD

COAT 1 TOILE I STARTED PRODUCTION WITH COAT 1. IN ORDER TO FUTHER DRAPE AND TO CREATE A MORE OBLIQUE SHAPE, I EXAGGERATED AND EXTENDED THE PATTERN OUTWARDS AT THE SIDE SEAM. THIS ALLOWED AN EXCESS OF FABRIC TO DRAPE AROUND THE BODY. IN ORDER TO CONSTRUCT THE TOP PART OF THE COAT I ERASED THE SHOULDERS AND SCOPPED DOWN FROM THE NECKLINE.

FIG 14 - COAT 1 TOILE 1

FIG 15 - COAT 1 TOILE 2 FIG 16 - COAT 1 TOILE 2

AFTER CONSTRUCTING THE FIRST TOILE (LEFT) THE TOP HALF OF THE COAT WAS TOO THIN AND SCOOPED DOWN TOO FAR. THE SECOND TOILE WAS MORE SUCESSFUL AFTER I WIDENED THE TOP HALF AND RAISED THE SIDES WHICH PRODUCED A MUCH BETTER SHAPE AND SURPRISINGLY MORE DRAPE.

FIG 17 - TOILES

TOP 1 TOILE FOR THE TOP THAT IS GOING UNDERNEATH COAT 1, THE PLAN IS TO MAKE A BOXY CROP TOP WITH SLEEVES. THE ORIGIONAL IDEA WAS TO HAVE RAW SEAMS ON THE RIGHT SIDE OF HE GARMENT TO MAKE THEM A FEATURE AND KEEP IN TIE WITH THE THEME. HOWEVER ONCE TOILED I WAS UNSURE THEN AFTER I BOUGHT THE FABRIC THAT I PLANNED TO USE FOR THIS TOP, THE WRONG SIDE OF THE FABRIC WAS A COMPLETELY DIFFERENT COLOUR THEREFORE I DECIDED TO DO CLEAN, NORMAL SEAMS BUT LEAVE THEM RAW ON THE INSIDE.

FIG 18 - TOP 1 TOILE

FIG 19 - FINAL COAT FRONT

FIG 20 - FINAL COAT BACK

FINAL COAT & SNOOD

FIG 21 - FINAL COAT 1

FINAL TOP

FIG 22 - TOP AND COAT

FIG 23 - ARM FOLDS FABRIC

WHEN ON A MANIQUIN, THE FINAL TOP’S SLEEVES STICK OUT THAT MADE ME UNSURE OF THE GARMENT. BUT WHEN ON A PERSON, THE SLEEVVES SOFTEN AND CREATE FOLDS NEAR THE ARM ( FIG ) WHICH I ACTUALLY FIND QUITE LOVELY AS THEY SORT OF BLEND IN WITH THE DRAPES IN THE COAT. 42

AFTER CHANGING MY IDEA WITHIN PRODUCTION OF THE TOILE AND NOT HAVING A VISIBLE CENTRE SEAM, I FELT I STILL HAD TO ALTER THE DESIGN A LITTLE. FIGURE 22 SHOWS THE ORGINAL FRONT OF THE GARMENT. I FELT THE NECKLINE WAS FAR TO HIGH AND WHEN UNDER THE COAT IT SHOWED AND I WAS UNSURE OF THIS THEREFORE I ALTERED THE NECKLINE TO FIGURE 23. I FEEL THIS IS A LOT MORE AFFECTIVE AND APPEALING. AFTER CHANGING THE NECKLINE I DECIDED A ZIP WOULD FINISH THE BOTTOM OF THE SEAM BEAUTIFULLY AS WELL AS ADDING A FOCAL POINT. HOWEVER I WAS UNFORTUNATELY UNABLE TO FIND A ZIP THAT I WAS HAPPPY WITH COLOUR-WISE AS THE TOP IS A UNIQUE HUE

FIG 24 - ORIGINAL TOP

FIG 25 - FINAL TOP

FIG 26 - PAINTING MY FABRIC

FIG 27 - FINAL FABRIC PAINTED

FIG 28 - FINAL SKIRT

FINAL SKIRT I WANTED MY FABRIC MANIPULATION TO BE A DOMINANT ASPECT WITHIN MY GARMENT AND I THOUGHT OF NO BETTER WAY OF DOING THAT BY MAKING A FULL PAINTED SKIRT. THE PATTERN IS BASIC, ONLY AS TO NOT OVERPOWER THE PAINT AND TAKE AWAY FROM WHAT IM TRYING TO ACHIVE. THE PAINTED JERSEY TOOK 3 DAYS TO COMPLETELY DRY AS A THICKER APPLICATION CREATES A BETTER CRACKED EFFECT. THERFORE ONCE THIS BODYCON SKIRT IS PUT ON A BODY AND STRETCHED THE CRACKS WILL BE PROMINENT AND EVIDENT. 45

FIG 30 - COAT 2 FRONT

FIG 31 - COAT 2 SLEEVE

COAT 2 PRODUCTION FOR THE PATTERN OF COAT 2, I AGAIN EXTENDED OUTWARDS TO CREATE MORE SHAPE AND ADD A TOUCH OF DRAPE, NOT AS MUCH AS COAT ONE HOWEVER. THE PRODUCTION OF COAT 2 WENT VERY SMOOTHLY WITH NOTHING TO CHANGE WITHIN THE TOILE OTHER THAN EXTENDING THE HOOD FURTHER OVER THE HEAD BY 5CM. FOR THE SLEEVE (FIG. 31) I SEPERATED THE PATTERN INTO FRONT AND BACK TO CREATE A CENTRE SEAM. I THEN CUT AND SPREAD EACH PIECE 10 TIMES, EACH SPREADING BY 5 CM. THIS MADE LIKE AN APPLE PEEL SHAPED PATTERN WHICH, WHEN SEWEN TOGETHER, ALONG WITH ELASTIC, YOU GET THE RESULT SHOWN.

FIG 32 - COAT 2 SIDE

FIG 33 - COAT 2

TOP 2 TOILE

AS STATED WITH TOP 1, THE ORIGINAL PLAN WAS TO HAVE VISIBLE SEAMS ON THE OUTSIDE TO MAKE A FEATURE. HOWEVER THE FABRIC WAS NOT SUITABLE ON THE WRONG SIDE TO BE ON SHOW. THEREFORE SINCE TOILING THE DESIGN HAS CHANGED TO NORMAL SEAMS AND JUST LEFT RAW ON THE INSIDE. THE TOP ITSELF SERVED SOME PROBLEMS WITH FIT, IT MAY HAVE JUST BEEN THE TOILE FABRIC, BUT IT WAS VERY BAGGY AROUND THE SIDE SEAMS WHICH CAN BE SEEN IN FIG. TO FIX THIS I RE-PATTERENED AND MOVED THE DARTS INTO THE CENTRE SEAM, THEN TOOK 2CM IN AT THE SIDE SEAMS AND TAPERED OUT TO 1CM AT THE HEM.

FIG 34 - TOP 2 TOILE

FIG 35 - TOP 2

FOR THE CRACKED JERSEY, I HAD TO FIGUE OUT A WAY TO KEEP IT STRETCHED TO SHOW THE CRACKS, BUT NOT TO PULL THE FABRIC UNDERNEATH. THUS I TRIED OVERLOCKING THE JERSEY WHILE PULLING IT, LOCK STITCHING IT, BUT FUSING THE FABRIC WHILE STRETCHING THE FABRIC WORKED BEST. THIS GAVE THE FABRIC STIFFER PROPERTIES AND EASIER TO WORK WITH. IT WAS DIFFICULT TO STRTCH IT AND FUSE AT THE SAME TIME BUT I THINK IT TURNED OUT WELL. THE ORIGNAL DESIGN WAS MEANT TO HAVE A TURTLE NECK COLLAR, HOWEVER I DECIDED AGAINST AS I LIKED THE RAW EDGE OF THE JERSEY. ALSO I HAD ORIGINALLY MEANT TO HAVE A ZIP IN THE BACK HOWEVER, TOP ONE HAS NO ZIP THEREFORE IN ORDER TO MAKE IT COHEESIVE I MADE THE BACK OPEN, SIMILAR TO THE FRONT OF TOP ONE. 49

FIG 36 - FINAL TROUSERS

TROUSER PRODUCTION FOR MY TROUSER DESIGN, I WANTED SOMETHING COMFORTABLE YET FIERCE AND INTNSE AND THE SLITS UP THE SIDE ACOMPLISH THIS. THE IDEA OF WALKING FAST AND DETERMINED WEARING THESE TROUSERS WITH THE FABRIC FLOATING OUT IN ALL DIRECTIONS CONVEYS A STORM. THE TROUSERS WERE SIMPLE ENOUGH TO CONSTRUCT HOWEVER I DID HAVE PROBLEMS WITH THE ZIP AT THE BACK. THE INVIZIBLE ZIPPER FOOT WAS SEWING TOO NEAR TO THE ZIP MAKING THE ZIP TOO NEAT TO SHUT. THEREFORE I HAD TO UNPICK SEVERAL TIMES BEFORE BEING ABLE TO FULLY CLOSE THE ZIP. THIS FRUSTRATION UNFORTUNATELY DAMAGED THE FABRIC AROUND THE ZIP AND I WAS TOO SCARED TO UNPICK IT AGAIN FOR IT NOT TO WORK AGAIN. SO I’M UNHAPPY WITH THE QUALITY OF THIS ZIP AND KNOW I CAN DO BETTER. THE FABRIC FRAYS THEREFORE I COULD NOT LEAVE THE EDGES UNFINISHED LIKE THE OTHER GARMENTS THEREFORE ALL EDGES ARE DOUBLE TUNERED AND TWIN STITCHED DOWN. ROBBIE GAVE ME SOME ADVICE TO LINE THE INSIDE BUT I FELT THIS WAS GOING AGAINST MY THEME OF VISIBLE PRODUCTION.

FINAL OUTFIT 1 OUTFIT 1

FIG 37 - OUTFIT 1 (OPEN)

FIG 38 - OUTFIT 1 (CLOSED)

FIG 39 - OUTFIT 1 (SNOOD)

FIG 40 - OUTFIT 2

FIG 42 - OUTFIT 2 (HOOD)

FIG 41 - OUTFIT 2 (SLEEVE)

FINAL OUTFIT 2 OUTFIT 4

REFLECTION

THIS PROJECT HAS BEEN VERY STIMULATING AND GIVEN US A LOT MORE FREEDOM TO DESIGN AND CREATE AS THERE WAS MORE OUTFITS. MY COLLECTION FULFILLS ALL REQUIREMENTS AND ACOMPLISHED EVERYTHING IN MY CONCEPT. I AM VERY HAPPY WITH WHAT I HAVE ACHIEVED. I HAVE NOT ONLY STRENGTHED MY SKILLS BUT FEEL I HAVE TRUELY FIGUED OUT WHO I AM AS A DESIGNER. IF I WAS TO CHANGE ANYTHING WITHIN MY WORK THIS SEMESTER, I WOULD MAKE MY GARMENTS MORE DEMANDING WITHIN PRODUCTION IN ORDER TO REALLY CHALLENGE MYSELF. MY GARMENTS MAY BE MINIMAL BUT I FEEL THEY TELL A STORY OF NOT ONLY MY THEMES BUT ALSO WHO I AM AS A DESIGNER. EVERYTHING IS RELEVENT TO MY RESEARCH, NOTHING IS A SHORTCUT, IT ALL HAS MEANING AND I HOPE THAT THIS IS EVIDENT. TO CONCLUDE I AM EXTREAMLY HAPPY WITH THIS PROJECT AND ITS OUTCOMES.

REFERENCES

WGSN Forecasting team. (2014). Megatrend A/W 16/17 - Elemental (Introduction). Available: http://ezproxy1.hw.ac.uk:2309/content/board_viewer/#/56015/ page/2. Last accessed 5th April 2015.

IMAGES

FIG 2 Johan Ku, (2011), The Hole[ONLINE]. Available at: http://www. johanku.com/2011-12AW_imagePhotos.html [Accessed 09 March 15]. FIG 3 Dianne B., (1983), David Wojnarowicz (blanket) [ONLINE]. Available at: https://www.artsy.net/artwork/peter-hujar-david-wojnarowicz-in-dianne-b-fashion-shoot-blanket [Accessed 11 March 15] FIG 4 Unknown, (2014), Grey Texture [ONLINE]. Available at: http:// www.thecuratorandco.com/2014/10/22/colour-curation-grey/ image-76/ [Accessed 11 March 15]. FIG 5 Yi Sung Tsai, (2014), LANDSCAPE IN THE MIST [ONLINE]. Available at: http://stampsy.com/user/16804/latest/9933 [Accessed 28 March 15]. FIG 6 FASHION GONE ROUGE, (2014), UNKNOWN [ONLINE]. Available at: http://fashiion-gone-rouge.tumblr.com/ post/101282649971 [Accessed 02 April 15]. FIG 8 Kamil Zacharski, (2014), LESS ~ A/W â&#x20AC;&#x2122;14 [ONLINE]. Available at: http://raw-fashion.com/en/campaign/less/ [Accessed 02 April 15].