KERRYANNE CERVAN LECTRA MANUAL
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CONTENTS PAGE
TITLE
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MOOD BOARDS 4 - 7 CATWALK ANALYSIS
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COLLAGES 16 - 18 F&F MOOD BOARD 19 CUSTOMER PROFILE
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DESIGNS 22 - 26 FINAL DESIGN 27 - 28 PATTERN DEVELOPMENT
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LAYPLANS 44 - 45 PRINT DEVELOPMENT
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FINAL PRINT 50 - 51 PALETTE DATA 52 - 53 SCREENS 54 - 55 SPECIFICATION SHEET 56
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COLOUR MOODBOARDS
For initial inspiration I looked at 1920’s style along with interior for colour inspiration. I was quite drawn to jewel tones such as the emerald green and ruby red, this will be the direction I will be taking my colour scheme. These muted colours also work best for Autumn Winter, which is ideal. While I did want a pop of colour somewhere I didn’t want to get too risky with the colours as I felt that something that was darker and richer would be the best option for designing an occasion wear look, especially for Christmas.
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AUTUMN WINTER 2016/2017 KEY PIECES
CATWALK ANALYTICS
A romantic mood seems to have evolved this season with sweet and feminine dresses gaining importance with designers for A/W 16/17. Fabrics such as sheer silks, delicate lace and ruffles are essential for this theme to help create a flirty and youthful attitude. In continuation with this season’s sense of romanticism a lot of dresses have a lot of historical references mixed with a contemporary aesthetic. I will be looking at the 1920’s to mix with a new ideal of romanticism to create a slightly sexier look, pulling away from something that is sweeter. This is in reflection to the age of the average F&F customer. I believe that a woman would probably want to have a boost of confidence with a slightly more contemporary look rather than something dated and sweet. I am also opting against a more traditional 1920’s sylph-like silhouette as a feel this is less flattering for a wider range of women. I will be pulling from the 1920’s speakeasy vibe for detailing and the overall feel of the garment. The fit and flare dress has had an increase of 29% in comparison with the most bought styles from A/W 15/16, this is a style that has been used through F&F before and something that I will aim to look at with most of my designs. A tighter torso and then a flared bottom is the most flattering for a large variety of body shapes which is something that is most crucial to look at for designing for the F&F customer. Surprisingly the A-line shape has fallen to -40% in comparison to last year, this is also a shape that has been widely used by F&F in the past but this is something that I will not be looking into designing.
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AUTUMN WINTER 2016/2017 KEY PIECES
TEXTILE ANALYSIS
Dress detailing is showing a major increase for A/W 16/17, with designers opting for fabric play, texture and volume on focal points/details. Ruffles have been showing an increase from S/S 16 and have carried on into A/W with an increase of 83% since last year. Sequins have also been the largest detail to increase since last year, along with an increase on the sleeves, in particular bell, puff/gathered sleeves. These are all details that are connected to the Romantic Explorer trend, which is something that I have been heavily influenced by. One of the details I have found from researching the catwalks is that the play on textures is a must, with mixing different laces, crochets and printed fabrics. This is a detail in particular that I would like to work into. I am also interested in sequins but because of the price point we need to meet with the garment and understanding the F&F shopper I will try and look at changing this to embroidery which has also seen an increase since the last year, I’ve opted for this to possibly find a cheaper alternative to sequins but with the same lux feel. Sheer fabrics along with glitter, lace and velvet have also grown since the last season; these are all also continuing a sense of romance and soft femininity. My idea for the collection is to explore this romanticism and add a little of sex appeal to follow with the idea of a cocktail/party dress, something that I feel is missing from the current F&F collections. As for prints, florals and stripes seem to be the lead in the category; in reflection to the type of dress/jumpsuit I will be designing I feel that a floral print would be best suited. I am aiming to create my own print using my own primary imagery.
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AUTUMN WINTER 2016/2017 KEY PIECES
BELTS
Through researching Autumn Winter catwalks, trends, and influences I noticed that a style item that has grown in popularity is the belt. I find that a lovely structured leather belt helps break the mixture of textiles, which is something that I will be focusing on with my garments. Wide waist belts emphasise the appearance of a clinched waist, which is something an F&F customer would appreciate. Both buckled and back- fastened styles seem to be the stand out on the current catwalks. It is paired with a simple construction to help elevate the look. Corseted, western, and framed belts are also a standard for the season. The corseted belt is in direct translation to the historical themes, which seem to be a running influence for many designers such as Prada, Ellery and Luisa Beccaria. The framed buckle belts have evolved for winter to follow with a romantic direction, which is also the direction in which I have taken my designs. Square buckles seem to be the most dominate throughout the key looks with some designers taking influence from a Baroque component, which seems to be a popular interpretation. Some designers have also looked at textured frames, such as Blumarine and Miu Miu. Personally I think a simple squared buckle would be the best styling choose for my designs, as I simply want it to elevate my designs rather than completely overpowering them. I have yet to decide whether id like to incorporate an add on belt so that it came directly with the dress or jumpsuit or to simply style it with the belt so that the customers know that this is the vision for how the garment should be worn and allow for F&F to sell the belt separately. 15
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F&F MOODBOARD
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CUSTOMER PROFILE
The task for the F&F was to design a dress or one piece for Autumn Winter 16 for their occasion wear. They have also specifically pointed out that they would like this for the Christmas period, like a party dress. We have to also demonstrate that we understand the F&F customer and must show this within our research and our garment. I am aiming to design dresses and jumpsuit to truly see which one I would prefer in which style, this will give me more options when picking out which details I like. Through my research into the company I have found that their core customer base are women ages 30 +, however I’ve seen that with recent autumn winter campaigns their garments have been a little more risquÊ and are less basic than what the public are used to seeing from the company. This is something I want to follow through with for my garment. I have also been looking into Autumn Winter predictions for 2016 along with 1920’s trends and tried to find a style that I believe would better suit the brand and the customer. While still keeping in mind the F&F woman and their needs and wants I still want to push myself design wise to not be restricted with what I believe would be the safer option and design something that will stand out and hopefully set me apart from the rest in this competition. My designs are aimed at the 25 + F&F customer. She is a workingwoman and is ambitious and motivated. She takes inspiration from high-end stores and then searches for a more affordable alternative. She wants to look and feel good without the cost of expensive brands.
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THE FINAL DESIGN The final design I have gone for is the jumpsuit with the diamond cut out in the centre. I felt that this design could really develop through out this project and offer a different type of design to the F&F customer. I know that this design might be a bit too risquĂŠ for the audience I am targeting. However, I have been thinking of alternatives that I can offer and have thought about adding a button detail down the V to allow for the customers to decide how revealing they would like the garment. I think this would be a fairly good compromise because I can keep the style I originally envisioned and offer a customizable option to the customer. I also want to carry on with this idea of mixed textiles and mix a lace, crochet and even a print into the design. I feel like this would add a certain dimension and femininity to the design along with a certain type of provocativeness that will be different for the F&F customer.
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PATTERN DEVELOPMENT
Thankfully F&F were kind enough to send us some of their readymade patterns to help us get started. Along with this they sent a size chart, which is incredibly beneficial because their standard block size is different from the ones we use, so it will be a great help knowing the specific measurements we are tailoring our garment too. The blocks sent were for a loose fitting aline dress, a loose tshirt and tight trousers. Because I am creating a jumpsuit I am going to have to join the pattern of the tshirt to the trousers, luckily I have made a jumpsuit on the modaris software for a past project so I didn’t find it too difficult to think of how the pieces would have to be sewn together. The problems I was facing however are the fact that all the blocks are loose fitting and my jumpsuit needed to have a tight fitting top. Also there was no measurement for the neck to waist so it was a bit tricky to figure out just how much to cut off from the top to make it waist length. However, while looking through the patterns I noticed that there were notches on the dress pattern to indicate where the waist was. So using the straight tool I was able to create a new line on the dress which would be for a waist block, and then used F4 – Cut to cut out the new shape. I then inserted the tshirt pattern with the dress, married the two pieces and used the new line to cut out the new shape. This was a fairly easy process but it was just difficult trying to sort out the finer details such as keeping the arm whole of the t-shirt sleeve the same, while using the dress waist and measurements of the dress block.
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While on the 3D software I was able to use one of the tools to draw on the pattern. The benefit of this is that I can draw out any style lines I like directly onto the body so I can really get a concise idea of how it is going to look. POINTS TO REMEMBER - - - - - - - -
Open 3D – simulate the pattern Alteration (F11) tool Smooth curve Draw on the pattern on the model and a red line will appear This will also appear on the pattern pieces in 3D For it appear on the Modaris pattern need to make sure that in the Properties bar prints display is ticked Back in Modaris go on ~F1 and press Prints display for the lines to then appear on the pattern Then F1 straight and semi circular tools to draw the new lines on the pattern pieces
A benefit with drawing the style lines on the pattern is to show that I have used the Modaris software for every aspect of the pattern making process, so instead of marking out the lines on a mannequin and then trying to translate it into the pattern I was able to use all the same software. Because I had yet to decide on how I wanted the neck of the top to look I was not able to figure out a way to finish off the neckline, which could be throwing off the fit of the top. Other than trying to find a way to finish off the neckline I was pleased with the direction in which the top part of my jumpsuit was heading. While my intention was not to keep the darts, as they do not look right in the top with the different panels I have kept it there for the moment so that I can work on one thing at a time. After I figured out which style I was taking I could then move the darts into the seams.
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To move the darts into the seams I had to firstly pivot the side seam dart into the waist and then find a way to make the style line of the side seam panel go through the dart. POINTS TO REMEMBER WITH PIVOTING A DART - F5 – Pivot dart - Click on bust point - Click on fixed point - Click moving point - Click new opening point - Click fixed point again - One of the issues I faced with moving the darts into the seams was that I had to change the style of the patterns on the top and where it was marked on the body so that it would follow with the direction of the dart. At first I was apprehensive with this because ideally I wanted the side panels to go through the bust in a certain way, so that the bust cups wouldn’t be so big. Because I had to change the pattern the bust cups are now much larger which I was initially unhappy with but after looking at it on 3D it wasn’t as bad as I had thought, and ultimately the goal with this was to have no darts in the bodice, which was achieved.
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Using the trouser pattern from F&F I was able to modify their pattern to create a high waisted, flared trouser block. To help me see the fit of the F&F trouser block I assembled it on 3D so I could visually see what alterations had to be made. Because my pattern is high waisted to fit with the cropped top I had to raise the waist of the pattern and also raise the crotch slightly as it was loose fitted around this area. I then brought out the sides of the trousers to make it wide legged and finally added the panels on the side to match up with the side panels on the top. There was a lot to modify with the trousers and an issue I faced was trying to find a fit that flattered the body better while making the trousers wider. With the images shown in the page you can see the transformation from the first pattern to the modified version.
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When putting the top and trouser pieces together I was able to add the final alternations to the pattern. Before putting the pieces together I knew that the top was too long but kept it just in case to see how it fit on the 3D and then to ultimately decide how much to take off. So because of this you can see the fabric bunching over the sides on the grey jumpsuit. I then decided to remove 2cm from the waist of the top and then assembled the jumpsuit again, this time I saw that the trousers were too tight around the crotch but I preferred how it sat on the waist and around her body, so I just dropped the crotch 2cm. I decided to keep the top and trousers separate because I felt that this would be most efficient for the layplan, as a joint top and trouser would be too long for a layplan. While I had a few fit issues at the start I was happy with the ultimate look of the jumpsuit I felt confident with moving forward.
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Having the full jumpsuit on the 3D I was able to bring in my print and fabrics into the different parts necessary. This is a great advantage because I was able to see how the fabrics would work together with the print and to help with the sizing of my print. Looking at the full outcome I saw that I had some minor alterations to carry out, such as making the trousers longer and fitting the sleeve to make it tighter. I also wanted to find a way to make the lace transparent so that it would look more realistic on the 3D. To modify the sleeve I used the same process as with drawing the lines on the bodice to make the different panels. By drawing on the sleeve I was able to see how close I needed to go to the arm so that it isn’t too tight fitting. You can see the new sleeve on the grey jumpsuit image.
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LAYPLANS
frontbust2 12
frontbust2 12
backsidep 12
backsidep2 12
fronttrou 12
backtrous 12
f&ffulljumpsuit
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f&ffulljumpsuit
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backsleev
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frontslee
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backsleev
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frontpane 12 frontpane 12
backsidep2 12
backtrous 12 fronttrou 12
f&flace__1,124 m__1,410 m__76,03 %__12/05/16
backsidep 12
f&fcrochetlace__0,466 m__1,410 m__25,23 %__12/05/16
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f&ffulljumpsuit5 12
frontslee
backsidep 12 backsidep2 12 frontpane 12
backsidep 12
backtrous 12
fronttrou 12
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frontpane
frontbust2
frontbust2 12
backsidep2 12
fronttrou2
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backtrous2
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backtrous2
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fronttrou2
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f&fprint__1,125 m__1,360 m__61,08 %__12/05/16
64,98 % efficiency
1,410 m width
1,124 m length
fronttrou 12 backtrous 12
f&flining__1,124 m__1,410 m__64,98 %__12/05/16
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f&ffulljumpsuit5
PRINT DEVELOPMENT
Within my research I had found that print and pattern have grown in importance for designers for A/W 16. Head to toe florals and patterns are being mixed with the different textiles to create an eccentric statement, which is what I was following with. Florals are one of the leading prints for designers and is a print that I felt better suited with the lace and crochet mix. To make the print I took photos of different types of wild flowers that grew in the fields around my house in Spain. Using photoshop I created the graphics that I would then use in Kaledo print to create the final reduction print of my idea. For the print I wanted to try and develop an oversized floral print. However, a placement print it wouldn’t be as cost effective as a repeat pattern, and this is something that worried me because we had to keep to this strict price point and at the moment with my idea of using mixed details my garment might already be over the price point. So I decided to go with a repeat pattern and make the flowers slightly oversized. To help me decide with the size I wanted with the print I put my Modaris pattern onto the virtual reality and then with the design studio I was able to import my print into the garment on 3D for a better visual. Through here I was able to see which size the flowers would best suit the garment, model, and flow with the rest of the textiles. The first few tries I had with making a print weren’t so successful and almost discouraged me to not use a print because it just wasn’t coming out as I had pictured it. The problem I had been trying to develop a reduction print without making it look so blocky. Because I was trying to reduce the amount of colours used in the print I just couldn’t make it work with some of the designs. You can see an example of this in figure 1 and 2 where the colours have not really mixed well within the print. After a few trials and tests I finally found the right amount of colours needed for the print to look as similar to the graphic as it could be and I found a way so that the colours intertwined more within themselves to stir away from the blocky look it had before.
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FINAL PRINT
I opted for this colour way for the final print because I felt that this went best with the mix of textiles. The darker tones of the print suit much better with the black in both the lace and crochet. To show the prints in more detail I have put in the palette data for 4 of the prints to show how much colour is used in each part of the print. I have also added the different screens that would be used for screen-printing. By creating the different screens for the print I was able to clearly see how each colour affects the print. While there are some screens like 3 and 5 that don’t seem to have much detail in them, when I took them away from the print it made quite a bit difference to the over all look. So it just goes to show that the minor details are important. Because F&F do use screen-printing when it comes to their prints instead of digitally printed I wanted to show that I have thought about this and kept it in mind with the development of my print.
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PALETTE DATA
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SCREENS FOR SCREEN PRINTING 1
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