KOPENHAGEN FUR STUDIO COLLECTION 2017/ 2018
With our Commitment to Bring Innovation and Inspiration to the Fashion and Fur Trade, we are Proud to Present STUDIO COLLECTION 2017/2018 The goal of this project is to provide knowledge about fur design in relation to sustainability. With Studio Collection 2017/2018, we aim to inspire designers and furriers to explore the full potential of fur and its unique range of sustainable qualities, and how it can be used in production and design. To support innovation in fur design further, Studio Collection 2017/2018 displays a limited selection of the annual technique collection, developed by Studio’s creative furrier team. These beautiful techniques serve as a reminder of the endless design possibilities of furrier craftmanship.
CONTENT
INTRODUCTION TO STUDIO COLLECTION 2017/2018 SUMMARY OF THE SUSTAINABLE ASPECTS OF FUR
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THE CAPE The technique behind the Cape Alternative use of the technique
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THE COAT AND THE WAISTCOAT The technique behind the Coat and the Waistcoat Technical drawings Alternative use of the technique
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THE JACKET The technique behind the Jacket Alternative use of the technique
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THE STOLE The technique behind the Stole Technical drawings Alternative use of the technique
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THE CLASSICAL The technique behind the Classical – part I The technique behind the Classical – part II Technical drawings Alternative use of the techniques
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INTERLINING 58 MENSWEAR AND FUR 60 THE DUFFELCOAT 61 THE OVERCOAT 62
Sustainable Aspects of Fur
Studio Collection 2017/2018
Summary of the Sustainable Aspects of Fur
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Fur is a unique material in terms of sustainability, particularly due to its durability and minimal requirements for treatment. Compared to other garments, fur has a very low environmental impact when in use as a garment. Fur contains a natural amount of fat, which makes it dirtrepellent and not easily susceptible to odour. It does not have to be washed, and it only rarely needs to be cleaned. For the most part, a fur coat needs only a bit of airing. If a fur piece is processed correctly by the furrier, it can be handed down from generation to generation. This means that often there are memories attached to fur garments, which naturally creates an emotional attachment to the piece, making the user want to hold on to it for many years. Fur has an obvious potential to be repaired and redesigned and when a piece is finally discarded, as a natural material it will decompose with minimal impact on the environment. With this in mind, fur obviously also needs to be ethically sourced. Kopenhagen Fur is the partner to work with to ensure exclusive quality, full transparency and high standards for animal welfare based on scientific research. Kopenhagen Fur has a long tradition of working with the circular economy and CSR – and the company continually strives to embed sustainability in the entire value chain. Kopenhagen Fur´s efforts were recently acknowledged with the Elle magazine CSR Style Award 2017.
With Studio Collection 2017/2018, the aim is to present a collection of high quality fur garments with classic and new experimental features. To illustrate the possibilities, some styles have several separate pieces that can be assembled in different ways or used alone. Multi-functionality and classic features can save resources and extend the lifespan of a piece, ensuring that the wearer will enjoy and keep the garments for a long time. Unlike the textile industry, the classical traditions of furrier craftsmanship are still in use in most workshops. These traditions have many sustainable aspects. As an example, the fur items in Studio Collection 2017/2018 have all been lined with supportive materials sewn on to the fur by hand. This maintains the shape of the fur and prolongs its life. Studio Collection 2017/2018 is an exclusive selection of Kopenhagen Fur´s natural mink types. We have chosen these mink types to show the variety of natural beauty. Furthermore, these natural skin types are alum tanned, which has a very low environmental impact.
Fur is a material with unique sustainable qualities, among the most important: • Fur is long lasting. If treated correctly, it can be handed down for generations. • Fur needs minimal treatment, which results in a low environmental impact. • Fur has a great potential to create an emotional attachment for the user,
which can result in a long period of ownership. • Fur can biodegrade without having a negative impact on the environment. Studio Collection focuses on prolonging the life of a fur garment by using the following design approaches: • Functional lifetime: meets the user´s needs through styles with high
flexibility and usability. • Emotional lifetime: ensures the relevance and attachment over time, using
classic as well as innovative elements in the design, and by offering full transparency in the value chain. • Technical lifetime: makes the garment last through using high quality fur and good craftmanship. If you want to learn more about working with sustainability and fur from a design perspective, you can download The Sustainability Cards developed by Design School Kolding in collaboration with Kopenhagen Fur from Kopenhagen Fur’s website.
THE CAPE DESCRIPTION: The Cape can be styled in different ways, with and without a belt, which creates different possibilities for the shape. Furthermore, it can be worn in different seasons, either on top of a jacket or on top on lighter garments depending on the weather and situation. 6
MATERIALS: Mink: Stardust/Jaguar/Black Cross/Mixed Mutations Silk: Lining Cotton/Horsehair: Supportive underlining
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The technique behind the Cape
With its many nuances, this pattern is perfect for larger productions where leftover skins do not necessarily match in colour. This technique can take on various expressions and is suitable for both subtle and more complex designs. The graphic manipulation of the strips adds an interesting detail to the rigorous striped pattern.
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1. Prepare three or four types of mink fur. The types should be the same sex and hair length. Draw vertical strips 1 cm apart.
2. Cut out all the strips.
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3. Combine the strips. Make sure the strips are placed together according to the hair length.
4. Sew all the strips together.
5. Choose the strips you want to manipulate and undo the attached stitch. Draw a cross-section on the leather side and cut.
Alternative use of the fur technique
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6. Sew the new placement back together.
7. Last step: nail the skin to a board to straighten the pattern and the skin.
THE COAT AND THE WAISTCOAT DESCRIPTION: The Coat and the Waistcoat can be used in these two versions. The sleeves are detachable and can be made in different versions to create different options for the user. The style can be used in different seasons with either heavyweight or lightweight garments underneath. 14
MATERIALS: Mink: Stardust/Jaguar/Mahogany/Dawn Silk: Lining Cotton/Horsehair: Supportive underlining
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The technique behind the Coat and the Waistcoat
The pattern of the sleeves is based on a traditional furrier technique called ‘intarsia’, which leaves zero waste. It is quite a time-consuming technique, and, while it may not be the most suitable for production, it creates stunning results and a beautiful unique pattern.
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1. Draw the pattern on the leather side of four different types of prepared mink.
2. Cut the four skins according to the pattern.
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3. Use the principle of intarsia to combine the skins.
5. Sew the fur together on the fur machine. Repeat the stitch by sewing the same lines twice but in opposite directions.
4. By using the principle of intarsia, the pattern will emerge and create four different versions of the same pattern.
6. Nail the skin to a board and let it air dry for approximately 24 hours. Speed up the process by exposing the nailed skin to hot air from a heater.
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7. Cut the dry skin into 0.5 cm vertical strips using a cutting machine or by hand.
9. To create a new pattern, carefully place the strips in the opposite order. See technical drawing for details.
8. Make sure all four skins have the same number of strips.
10. Last step: sew the 0.5 cm strips together in their new order.
Alternative use of the fur technique
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STEP 3 Use the principal of intarsia to combine the skins together.
STEP 10 Switch every other part using the principle of intarsia to combine the skins.
STEP 9 Reverse the order of the strips so the starting point will be the endning point.
The finished technique.
THE JACKET DESCRIPTION: The Jacket is a multi-functional style. It can change from long to short sleeves as the lower part of the sleeves can be zipped off. The Jacket can be worn with and without the collar and the collar can also be worn separately and styled with other items from the user’s wardrobe. 24
MATERIALS: Mink: Palomino Cross/Mahogany/Palomino Silk: Lining Cotton/Horsehair: Supportive underlining
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The technique behind the Jacket
This technique represents an easy way to make a pattern without wasting any fur, as it is made with straight 5 mm strips sewn into the fur. This technique gives you the opportunity to create interesting graphic or organic patterns. Simultaneously, you can control the difficulty level by deciding if you want something simple and productionfriendly, or something more intricate and unique.
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1. Draw an organic pattern directly from the garment pattern onto the prepared skin by using transfer paper.
2. Cut the lines drawn on the skin with a furrier knife.
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3. Draw and cut 0.5 cm vertical lines in a contrast colour.
4. Place the fur strips according to their pattern and hair length.
5. Sew the fur strips into the skin using a fur machine.
Alternative use of the fur technique
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6. Add further details until you reach the desired look.
7. Stretch and flatten the skin by nailing it to a board using a nailing gun or by hand.
THE STOLE DESCRIPTION: The Stole is an easy-to-wear version of the classic stole, meant to be worn in a modern context. The Stole has a casual look, which enables the user to style it with various items from the wardrobe.
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MATERIALS: Mink: Jaguar/Brown Jaguar/Black Cross – Cinnamon/Palomino/White Silk: Lining Cotton/Horsehair: Supportive underlining 33
The technique behind the Stole
The technique used on the top part of the Stole is similar to the technique used on the Classical. The technique used on the lower part of the Stole is designed to use leftover fur, where hair length does not need to be equal.
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1. Prepare three different types of mink fur. Draw vertical strips of different lengths, varying in width from 1 cm to 2.5 cm. Cut out all the strips.
2. Combine the strips and divide the total into two sections. Sew all strips on fur machine. Make sure the strips are placed according to the hair length.
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4. Cut all the strips using a furrier knife.
3. Draw diagonal lines in widths of 1.5 cm and 2 cm.
5. Carefully switch and replace every other strip in the two different sections with each other.
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6. Sew all strips together.
7. Repeat drawing of diagional lines with widths of 1.5 cm and 2 cm, this time in the opposite direction.
8. Cut all strips.
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9. Repeat the process of switching and replacing every other strip in the two different sections. See technical drawing for details.
10. Finally, moisten and nail the fur to a board to straighten and flatten the skin. When the skin is dry, remove it from the board to steam and brush the hairside.
11. Pattern of fur technique.
Alternative use of the fur technique
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STEP 1 Draw an equal pattern on the chosen skins.
STEP 2 Combination of the skins in chronological order.
STEP 3 + 5 Draw additional pattern and replace every other strip.
STEP 6 New placement of strips.
STEP 7 + 9 Repeat process of drawing additional pattern and replace every other strip.
The finished technique.
THE CLASSICAL DESCRIPTION: The Classical is a homage to the classical fur coat. The coat is, however, an interpretation and can be styled in different ways, with and without a belt, which creates two different possibilities for the shape.
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MATERIALS: Mink: Jaguar/Brown Jaguar/Black Cross Silk: Lining Cotton/Horsehair: Supportive underlining
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The technique behind the Classical Part I
This beautiful fur pattern is a variation of the traditional furrier technique called ‘let out’. Despite its complexity, it can be done by most production places. You can choose any type of mink you wish and still create an interesting version of this classical method of working with fur.
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1. Create your desired colour palette by choosing two different minks.
2. Mark the centre back of the skin and draw diagonal lines 0.5 cm in width on your preferred angle, creating a v-shaped pattern.
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4. Combine the two skins by exchanging every other line.
3. Cut down the centre back with a furrier knife to divide the skin into two. Cut the diagonal lines using a cutting machine or by hand. Repeat on both skins and ensure an equal number of lines.
5. Sew all strips together on a fur machine.
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7. Sew centre-back together again. Ensure all lines are placed correctly across each other.
6. Moisten and nail the skin to a board to ensure straight lines.
8. Last step: repeat the nailing process. When dry, remove the skin from the board to brush and steam the hairside.
The technique behind the Classical Part II
This beautiful fur pattern is a variation of the traditional furrier technique called ‘let out’. Despite its complexity, it can be done by most production places. You can choose any type of mink you wish and still create an interesting version of this classical method of working with fur.
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1. Choose two mink types according to your desired colour palette.
2. Draw diagonal lines 0.5 cm in width on your preferred angle.
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3. Cut diagonal lines using a cutting machine or by hand.
5. Sew all strips on fur machine.
4. Combine the two skins by exchanging every other line.
6. Moisten the leather side of the mink using a brush and some water.
7. Last step: nail the skin to a board to ensure straight, flat lines.
Alternative use of the fur technique
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TECHNICAL DRAWING FOR THE CLASSICAL 1/2
TECHNICAL DRAWING FOR THE CLASSICAL 2/2
STEP 2 Draw an equal pattern on the chosen skins.
STEP 2 Draw an equal pattern on the chosen skins.
STEP 4 Combination of the skins in chronological order.
STEP 4 Combination of the skins in chronological order.
The finished technique
The finished technique
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Interlining
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In Studio Collection 2017/2018, all garments are supported by interlining following the classical traditions of craftmanship. Pockets, sleeve holes and hems are supported by cotton tapes and horsehair, and all garments are underlined with a muslin fabric basted on to the fur. This supports the fit and adds longevity to the garment.
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MENSWEAR AND FUR
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Whilst fur has been frequently used for menswear, it has been used for luxurious garments with a practical purpose, for trimming and linings as well as for full-fur styles. User studies show that luxury for men often equals a functional style with a good fit. To create relevance for the male user, Studio Collection contains two styles with an iconic and understated look, made for a broad male audience. The only fur technique used is sheared mink.
THE DUFFELCOAT DESCRIPTION: This style is a luxurious version of the iconic duffelcoat. The luxury is, however, understated and the coat is also practical and warm, which will appeal to most men. It is an easy-to-wear style, which can be styled up and down by the user. As an example of a fully biodegradable style, the Duffelcoat is made with natural fibres only.
MATERIALS: Mink: Dawn/Natural Black Cotton: Lining Cotton/Horsehair: Supportive underlining Horn: Buttons 61
THE OVERCOAT
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DESCRIPTION: This is a luxurious version of an iconic overcoat. It can be used with and without a detachable fur lining and the lining can be used as a separate piece. The Overcoat can be used in different seasons. The wool chosen is made for furniture and is as durable as the fur. As an example of a fully biodegradable style, the Overcoat is made from natural fibres only.
MATERIALS: Mink: Dawn/Natural Black Wool: Outer fabric Cotton: Lining and strings Cotton/Horsehair: Supportive underlining Horn: Buttons
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KOPENHAGEN FUR STUDIO Kopenhagen Fur Studio is Kopenhagen Fur’s centre for creativity, innovation and craftsmanship. Committed to bringing innovation to the fur trade, Kopenhagen Fur Studio offers access to the finest and most extraordinary types of fur in the world, as well as multiple design and technique samples. Every year, some of the world’s most prestigious designers and established fashion houses are invited to work with Kopenhagen Fur Studio’s skilled in-house furriers. Through these collaborations, Kopenhagen Fur Studio’s partners get a proper introduction to the world of fur and can assist the fur trade in finding new, creative ways of using fur – stimulating the demand for fur in the future as well. To further support innovation in design, Kopenhagen Fur Studio also cooperates with some of the world’s leading design schools in training young design students how to work with fur. These collaborations challenge the traditional perceptions of what can be made out of fur. The development of new techniques means that fur is now found in haute couture, prêt-à-porter and street fashion.