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CONTENTS 4-5 DESIGN BRIEF 6-13 RESEARCH 14-15 DESIGN DEVELOPMENT/MARKET RESEARCH 16-17 FABRIC 18-21 COLOUR 22- 25
TEXTILES
26- 27 FINAL DESIGNS 28- 55 TOILING & DEVELOPMENT 56 - 69 FINAL COLLECTION 71 REFLECTION/BIBLIOGRAPHY
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Keeping in tune with modern developments, the collection focuses on the concept of gender fluidity; to feel unidentified as a particular sex or a dynamic ethos of being neutral. It breaks down barriers of fashion garments identifying in traditional means of sex and rather than appearing unisex it pushes to identify as one, whilst exploring the feelings and reactions to the term which is at present relatively new or unknown. Prematurely inspired by artist M.C.Escher’s interlocked designs and attitude towards reality, experiments with fluidity and the idea of the ‘unknown’ are trialled. Moving away from graphic geometrics and looking at the theory behind tessellation patterns, shapes loosen and expand starting a journey that will end up completely different by the end of the process. Eschers work provides interesting basis for pattern experimentation ideas to create unusual shapes, lines and volume within garments. The principles of tessellation being that the contours of one object fit perfectly into that of another ties in with the idea of man and woman and gender as a whole and provides a strong starting point for design research. Using the framework provided by the global pioneers of Japanese design such as Yohji Yamamoto and Issey Miyake, the collection adopts like-minded qualities such as exaggeration in bodylines, fluid structure and clean cuts.
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The main body of the concept comes from personal interpretations of growing up in Glasgow. Looking past the cheesy, stereotypical kilts and bagpipes that Scotland is imagined as; the concept looks into the gritty, urban reality of maturing in a rough, concrete surrounding. Materialising from the idea of strange beauty, vision and connection are vital in making the collection contemporary and unique by looking past the harsh and ugly surface of the city and finding attraction in areas that would be otherwise overlooked or considered passed their prime. The use of photography is utilised in pushing this idea further by analysing elements such as colour and texture with the lens acting as a personal viewpoint and individual narrative. Celebrating the grounded, working class population that dates back to the Glasgow slums, every individual of the present Glasgow reality is explored from poverty and addiction to the gay community; each painting the colours of the culture in their own way and being realised through mediums such as art and language. Completing first hand research and interviews with a variety of faces promotes the deep insight and intimate approach. Of course it is hard to ignore the beauty of the detailed historic architecture in Glasgow’s centre however the ‘pot of smoke’ constructions and everyday transport backdrops have their own curious beauty and intrigue. Conceptual art is a driving force in offering a visual aid of the overall concept and it’s values, portraying both a story and depth of personal connection. Barbara Kruger’s style of bold image and declarative typography offers strong relatable looks at controversial aspects of society. Robert Rauschenberg portrays a similar aesthetic however through different mediums, combining graphic and painterly art with unusual objects to create innovative composition and awareness. Taking advantage of both conceptions, the collection employs collage and overlay effects to better envision the depth of the ideas behind the garments whether this is in terms of supporting visuals or literally. With an expressive approach, emotion and mood are suggestive. Autumn/Winter trend ‘Artisan’ acts as a basis for styles to promote through the collection in tune with the fall season. Coinciding with the ‘working class’ aesthetic, the trend delves into industrial and rustic influences and ragged styles, promoting the idea of tradition and trustworthiness. Loose, over proportioned silhouettes contrast against hints of traditional tailoring and clean cut patterns with an overall theme of ‘fluidity.’ Oversized and awkward layering is used for rough styling and unsized garments fitting differently to each individual. Various techniques and crafts are used to create unique texture and a DIY aesthetic with focus on fastenings and hand made details. Contrasts of fabrics provide interest and 3D texture reminiscent of those present in the city surroundings. Varying weight, feel and composition of materials offer a portrayal of the differing emotions and chapters of the story being told, capturing a touchable insight. Layerings of wool and silks against more technical fabrics create the contrast of softness and harshness representing the make up and physicality of the city as well as the opposing opinions towards gender neutralism. Celebrating the unstyled as boundaries disappear. Merging the worlds of fashion and art this idea focuses on using different creative avenues to pursue a contemporary and unique design. Highly expressive and artistic through mixed media and surface texture, the idea is to promote a story and depth through the garments, as they will pose individual and personal attributes. Placed between a mid level and high-end market bracket, this collection is aimed to intrigue a varied customer. Competitors are relatable brands through style aesthetic although perhaps varying in other factors like price such as ACNE and Rick Owens. Each brand being edgy and unique through signature style, they also remain practical and luxurious enough in a high end bracket whilst continuing to be controversial through their choices in ‘facing’ the brand.
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CRUX
“The most important part of something”
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The initial desire to create gender-neutral clothing arose from the difficulty of having to pick which gender of clothing to focus the collection on. Having dwelled in both over the years and although feeling that personal strength lay with menswear, it didn’t feel like a choice that should have to be made. The decision was made to take the idea of gender restriction and stereotype within the industry further and explore. With the term of gender fluidity becoming more prominent and talked about in the current year, it felt like it was something worth investigating and understanding. Gender fluidity – “Gender Fluid is a gender identity best described as a dynamic mix of boy and girl. A person who is Gender Fluid may always feel like a mix of the two traditional genders, but may feel more boy some days, and more girl other days.”
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To begin, gender stigma in fashion was researched. Editorials focusing on the role of gender, such as Candy magazine and the recent Acne campaign, inspired the direction in which the collection would go in, however it was felt that these ideas pinpointed and drew attention to the issue rather than moving past it. It was at this point the summer inspiration from M.C. Escher came in to play. The tessellation principles of his work being that many linear shapes fit in to one another to create an overall image provided inspiration for fluidity in design. It was decided that the collection, instead of featuring a couples or androgynous narrative, would be completely neutral and exchangeable.
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To create gender fluid clothing I initially wanted to literally create fluid lines to represent this. Japanese design was a strong driving force in the inspiration behind this with their pioneering minimalist design focusing on aspects of cut and silhouette. I firstly experimented with the idea of drape however felt this did not tie in with the gritty, urban concept I was trying to portray. Designers such as Yohji Yamamoto and Issey Miyake inspired the idea of oversized, simple shapes that could intertwine between gender. The principle ideas behind silhouette were taken forward and merged with sportswear elements to create unique and contemporary shapes for all body types.
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Looking at identity in the form of gender, this in turn translated to looking at my own personal identity. Considering the things that make someone into the person he or she becomes, personal experiences of growing up in a brutalist background were drawn from. Dwelling on the concept of strange beauty, I really wanted to capture the raw elements that paint the picture of a city like Glasgow. Initially struggling to put into words or design what I wanted to say, conceptual art was used to express the emotions and aspects that needed to be portrayed. Inspired by the work of Robert Rauschenberg, collage and mixed media was experimented with to visually represent the concept. As well as this, Barbara Kruger provoked the use of possible typography in my work.
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To capture fully the reality of the city, first hand research was undertaken in different areas. I interviewed people from different backgrounds in the area such as homeless Andy and Matthew from the gay community, which provided interesting insight to how different people experience the same surroundings. I wanted to convey this aspect further in my work and looked for something to represent the vast amount of stories found yet unknown within a busy and constantly evolving city. “Sounds of Silence� by Simon and Garfunkel became the narrative of the collection which conveyed the mood of the story being told.
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Really striving to convey the beautiful vulgarity of the city, it was felt that the most effective way to do this would be through photography. This also allowed the involvement of other art mediums, which really highlighted the expressive approach the collection was taking. I was happy with the original images taken but opted to push them further so that they were more appealing and left a subtle hint of a story waiting to be told. Blend modes and layering techniques were experimented with on Photoshop and I also trialled using the lyrics from the song narrative that had been chosen. These were then printed onto acetate to represent the depth and transparency of the concept. These images provided a strong visual aid to base my concept around and would prove extremely important as I went through my design process.
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The design process proved the most difficult step of progress. The initial designs took heed of the oversized and rough look inspired by the “working class� background and history, using fringing and strapping to further represent utilitarian elements. Draping lines wrapped around the body to morph into the form of fluidity and frame the figure. Although the designs worked well, when put together in a full line up it was far too feminine and did not reflect the gender-neutral theme at all. Although I felt I had pushed myself a great deal in terms of design and liked the line up, it was not innovative enough nor did it tell the story I was creating. In saying this, upon review it was decided that outfit 6 could be used as a starting point for further research as it appeared as a neutral layer where anyone could be underneath. This ended up featuring in the final line up with minor changes. Going back to the drawing board, the realisation came that from drawing on female templates, this was hindering the ability to think more freely and in a non-gender direction. Unable to draw an equal body shape to both sexes, a stick like figure was used to develop ideas further. This immediately improved thinking and progress as it was realised the designs had to be much more boxy and oversized with an element of structure just like the figure being drawn around. There were particular garments that I definitely wanted to feature in the collection before the development progress began such as jumpsuits and dresses. In order to prove that each sex should be able to intertwine in terms of dress, it had to be proved by making sure each garment was unbiased and challenged stereotypes.
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fkA TWIGS Brand Ambassador
It was around the development stage that market research really became important. As the brand would be featured between a mid and high-end market level, fabrics, make and design all had to reflect this. After researching further into brands that actively seek to test society in fresh ways such as ACNE and J.W. Anderson, I was able to better understand ways in which collections could work for both sexes. However, rather than creating the shock factor as Rick Owens did in his AW 15 menswear show in which males cascaded the runway with their genitals on show, I wanted to create an unbiased and relaxed ambience across the collection. This way it wouldn’t feel so outrageous and could attract a larger variety of customers as well as approaching the subject as the norm to better attitudes towards gender fluidity. Aiming the collection towards a younger market seemed sensible as attitudes of youth are increasingly loosening towards freethinking stigmas. In keeping with this, a minimalist design approach was taken infused with a sports/ streetwear aesthetic to cater to the current and forecasted trends of the Crux buyer.
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Heavy wools and structured silks such as taffeta and dupion were originally picked to convey a harsh exterior as well as representing the Autumn/Winter season. After review I didn’t feel that they were terribly exciting or representational of the textures featured in my research. I really wanted to convey the contrast of harsh and soft consistency found around the city that also coincided to challenge fabrics that are traditionally worn by one sex or another. I opted to incorporate more technical fabrics with a sports aesthetic for a contemporary market and undertook a lot of sourcing to find fabrics that contradicted yet harmonised. Coated cottons and power mesh fabrics contrasted against the loose silks and jerseys however I felt that knitwear would work really well to tie all the different compositions together. Alpaca yarn was sourced as although very soft, it has a harsh and hairy 3d texture and also tied in with the desired market. This was then dyed to the desired colour and knitted on the Shima machine. I also opted to incorporate Dring fastenings into the collection as these were extremely efficient for altering fit and gave an interesting utilitarian look. I feel that fabric choice is one of the strongest aspects of the collection.
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Carrying on from photography experimentation in the Summer, I wanted to continue forming bonds between image and design realisation. The most effective form of doing this was through colour. As the collection is based heavily around the city surroundings of Glasgow and urban influence in general, a visual aid was sought after to depict the life and movement of the place. Using dark neutrals of blacks, charcoals and greys as a base to the run down and deterioration of historic Glasgow that echoes throughout remnants of slums and council estates from the last few decades. The mundane shades represent the struggles faced in the every day pot of smoke and the high-rise brutalism that outskirt the city. Vibrant hues were picked from images taken around different areas considered important to the culture. In the initial line up, pastel shades of orange, pink and yellow were used as accents and pops of colour against the neutral tones. Although the initial colour scheme would have been nice for a womenswear collection, the palette, as well as the design, did not work for the gender fluid statement I was trying to achieve nor did it feel like it represented my hometown, a personal identity that was trying to be showcased. The struggle continued further when trying to recreate the colours already picked in a more contemporary manner. Many trials of palettes were experimented with using colour blocking however it just didn’t seem to work no matter what selection of colours were being used. Upon review, going back to the initial stages of research seemed to help when considering what I actually wanted to say through my collection. The problem seemed to be that I was trying too hard to push my ideas further when they were strong from the beginning through the photography undertaken. It was decided to use the acetates I had created from my images to portray colour through the collection as it gave a unique and raw element as well as a narrative.
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After using a lot of expressive artwork both through research and creative response towards the collection, the idea was to have this represented and recreated in some form. Looking to mimic the colours and stories painted across Glasgow, whether this be literally or narratively, brush strokes and paint textures were experimented with. Firstly creating hand painted pieces with wall paint, this lead to the idea of painting directly onto the fabric. This proved to be unsuccessful as the collections main colour base was dark shades so I went forward with the method of reactive dyeing onto lighter based fabrics instead. The process was time consuming but effective. In order to achieve the green, yellow and red shades that were most dominant in my photography, a lot of trial and error was endured to create a personal colour chart. Samples of strokes were then painted directly onto fabric using a thickened dye to stop from bleeding. This worked well however, it was decided that the technique and finish did not fit the market level of the collection and that the colours were not achieving the same glow that came from the photography.
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After review, a decision was made to use the original photography acetates as basis for digital prints. Rather than trying to reinterpret these in new ways, the original effort was much stronger on it’s own. The process for this moved to digital print and began by sampling the layered images onto different fabric compositions such as cottons and silks to see how the colour transferred and also to determine the best scale. The prints worked much better when blown up as it zoomed in on specific areas of the images such as text within signs or minute shades of colour that would be otherwise overlooked. This also emphasized the contrasts in colour and texture within the photographs. Having colour picked green as the main accent and basis to the collection, I wanted it to feature in subtle but effective areas across the line up. Several dyeing tests took place until the exact shade was reached, a slightly luminous dark green which featured in many of the vivid snapshots taken around the city. Only four garments ended up having dyed fabric featured in them but the pop of colour added depth to the collection and proved successful.
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toiling and development
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LOOK ONE
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Sling Jumper After the initial toile using the knitted top block as the base did not achieve the desired relaxed fit, the pattern was redrafted using more innovative methods. Drawing around the original pattern and referring to the technical flat, this time measuring around a male’s body, including arms, to get a width for the garment. Extra length was added to the sleeves to give an intentional ill-fitted look. Using the shirt block on its side for shoulder and arm hole shape, it was then folded smaller as the jumper sits half way down the arm. This meant the ribbed sleeve could then be attached in the newly formed armhole, using the new folded pattern piece to calculate the depth. This toile proved a lot better having only to take it in slightly at the right hand side and moving the armhole slightly. This then created a larger side seam, which also sat better.
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Mesh Tank Top The small T-shirt block was used to ensure it would be tight fitting. The high neck was grown on and extended up from the centre front so that it would be ruched down when worn. The toile worked perfectly, only having to increase the arm hole size to coincide with the vest dress in look five.
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Drape Trousers Starting from a 34 inch trouser block, this was cut and spread six times. The first toile did not achieve the desired drape as it was not exaggerated enough whilst being tight instead of loose on the legs. A new pattern with a 38 inch waist was drafted so that it would begin much larger and more emphasised and easier to alter. Split into segments again, the crotch was also dropped. Alternative ways of sewing up the leg were trialled by using a straight lockstitch seam and also folding and tucking the intervals. The latter method was too structured which made the original method the better fit as it achieved better drape. The waist was huge so it was brought in a few inches, still oversized enough to maintain the drape and to allow the elasticated waist to pull it in.
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Asymmetric Coat This garment first started off as a coat. Feeling that it would be nice for the kimono sleeves to feature elsewhere in the collection , experimentation with different ways of pursuing this began. Ultimately it ended up as inverted kimono sleeves, which worked very nicely and were unusual, however it felt daft to hide the details of the garments underneath. Different aspects that featured in the collection already were trialled such as an asymmetric collar and ruched seam up the centre back however nothing sufficed. After taking the sleeve out and still being unhappy the pattern was scratched and started again. This time aiming for a waistcoat look, it was decided to have asymmetric hems to tie in with the skirt in outfit four and to have a belt tie using D-rings. By adding a storm flap this also offered another opportunity to add print into this outfit. Grown on cap sleeves were added on to add extra detail and shape and the storm flap was to be studded down. The toile worked really well as the pattern had been drafted using previous patterns as a base, only adding extra detail in the long side seam by having a D-ring fastened split.
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LOOK TWO
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Pleated Shorts These were made from the gents trouser block, cutting panels for the front and back pieces to create the pleats, also dropping the crotch. The toile went together well, however the pleats sat too open and the main short body had to be fuller. It was decided to decrease the pleats in size so they would be boxy but more defined. The inner part of the shorts were taken in as the toile turned out huge whilst keeping the hem at the same width so that there would be extra fabric towards the bottom.
Cami Top A boxy rectangular shape was drawn using body measurements including arms as a guide width to make sure it would be loose when worn normally. The straps were extended upwards to be joined together by D rings, making them extra long in order to be able to adjust the length to the person wearing the garment. The toile worked perfectly only needing to be widened slightly.
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Sweatshirt Dress The bomber jacket pattern from outfit five was used as a guide, however brought in to be less oversized. The overlay detail was added in the same way, only featuring in the front. The shoulder line was squared across drawing a very small join so the neckline would be more exposed. The original sleeve pattern of the bomber jacket was used before it was exaggerated so it still had the volume effect but not too much bulk. The proportions of the toile were fine, however the jersey used was far too lightweight and meant that it pulled down on the overlay panel. The sleeves worked much better with elastic sewn in the top seam instead of the original straight seam used. It was decided to lengthen the jumper to level out the proportions of the overall outfit.
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LOOK THREE
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Jumpsuit To create the desired shape, the jumpsuit had to be made in a similar method to a skort with a double layer on the right leg. Starting by using the trouser block, it was cut and spread from the crotch to create extra fabric at the bottom to appear purposely too long and create movement. A men’s jacket block was grown on and mirrored cross to make the top section. The first toile showed that the top layer would have to be caught in with the bottom so the garment would move and function as one. The neck line was also cut and spread to create an oversized cowl high neck. The first toile shape was a good start, however the trousers looked flared which was not the desired shape. The legs were redrafted to be more boxy, gradually adding width from the crotch and hip points. The top layer was taken in at the left and the curved layer was narrowed and curved more to replicate the drawing. The casual jacket sleeve block was used and cut in spread in both parts. The 2nd toile had a much more effective shape on the top and also on the trousers. I did not like the looseness at the neck so decided to remove this and grow the high neck on, making it extra long so the fabric would naturally fall on itself and drape. It would be joined at the side with studs for easy access. Four sleeve types were trialled using the same pattern but altering ways of ruching it. The method used in the end was by tucking random bits of fabric and folding them towards the seam on both sides to create an effortless pushed up look. The final toile with all reworked areas worked very well. Mesh Tube Top A square was drawn using a male body width measurement, so that it would stretch when worn over an arm also. The length of the curved wrap over on the jumpsuit was almost doubled to make sure the mesh would be on show underneath the garment. It worked well when toiled.
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LOOK FOUR
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Pleated Skirt The skirt was started with a 36inch waist.; the pleats worked well but it was far too wide. It was toiled again a few more times however it was sitting too flared and not structured enough. It was decided that the pleat width, as with the shorts in outfit two, were too wide so they were made smaller to match the other pleats featured in the collection. As the skirt was not working well with the overall outfit, it was redesigned to feature digital print, using two separate layers. The toile trialled making the pleated layer asymmetric however this appeared too feminine. Instead, the pleats were created at one level, however this layer was made shorter than the printed panel which harmonised with staggering lengths across the overall collection.
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Knitted Jumper I wanted to use as little seams as possible in this garment to avoid bulk from the knit. It was originally created using the ski jacket block in a kimono style pattern so that everything could be cut in one piece. By cutting it on fold it meant that the only seam would be under the arm. The toile sat fine however the design lacked interest. Ribbed cuffs and a ribbed neck were added for extra detail and also tied in with the harsh and soft aspects of the concept with the fluffy plain knit against the structural elements of the rib. As the Shima machine could only knit with 1 meter width, the jumper was trialled with arm seams however this lacked a high end look. It was decided to use the original kimono pattern, meaning that the knit would be cut in the opposite direction to accommodate the whole pattern piece. This would work as it was so oversized and still maintained stretch.
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Trousers The same pattern for the underlayer on the jumpsuit was used for this garment as it kept the collection coherent. The toile worked perfectly first time due to trialling with the jumpsuit.
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Kimono Top To create this top with as little seams as possible the Tshirt block was used on fold. The neck was curved down to a V shape whilst the length was slightly elongated, marking out the channel in the process based on the width of the webbing that would be used. As the back was already open it was possible to reflect the back onto the dropped arm seam. The same shape was used for the back panel, other than bringing the back neck up and stopping midway to the centre back seam to create the opening for the straps to join. The first toile turned out really well, all that was changed was the channel being moved up slightly so it wasnt as close to the hem. The sleeves were also slightly shortened so they didn’t hide too much of the jumper underneath.
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LOOK FIVE
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Vest dress The T-shirt block was used to get the neck and armhole shapes, the latter being vastly exaggerated to create an oversized sports vest shape. The length of the dress was elongated to the floor to give plenty of fabric for the dress to be ruched and pulled up. The toile was sewn with elastic in the side seams to pull the fabric and create natural texture for a more interesting look. Once sewn together, straps were added to both the outer and inner side seam. The inner then picked up at the side to create natural drape when joined. The toile was extremely successful first time.
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Wrap Kimono Top The Kimono Top in outfit 4 was used as a base for the pattern, however this top couldn’t be joined at the shoulder as the pleated panel meant it wasn’t symmetrical and the 2 front panels also differed in size due to the wrap over. The first toile was far too big and too long and did not create the desired shape, as it was loose and droopy. After retoiling a few more times, the sleeve was removed and instantly provided more appeal. The sleeves were removed from the design altogether as it had a stronger shape on its own. The pleats were created at the same size as the others in the collection, disappearing into the side seam and armhole for a neat finish.
Bomber Jacket The ski jacket block was used, widening and lowering the armhole to create a dropped, oversized look. The sleeve was extended out from the newly created armhole and cut and spread to create volume and extra fabric for a ruched effect. The overlay was continued right around the jacket to become an effective detail; it would then be studded down in place and all edges would be finished with a knitted rib for an urban, sports inspired look. The overall shape was sewn together with the outcome being that the sleeves worked well and would be pushed up by the rib, however extra spread was added to the pattern to exaggerate the look even further. As the toile sleeve kept collapsing the extra fabric to the cuff, the final fabric used would have to be much more structured.
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LOOK SIX
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Jumper The Ski jacket block was squared out from the shoulder and down to the hem to create an extreme dropped shoulder. The remaining sleeve was extended down making it extremely long in order to be pushed up and create a ruched effect. The neck was shaped in as it was far too loose and baggy on the first trial, which gave the opportunity for the power mesh to stretch and have a better fit when worn. The sleeves were also reshaped to make them tighter and more fitted, contrasting against the large and loose body.
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Cross Body Cami The shirt block was used as a basis for the neck point however the overall shape was drawn freehand from design, using measurements for width. The front and back were sewn together and the overall shape was approved. The small shoulder seam kept slipping off so this was curved into the neck point more and the hem was straightened to achieve balance. The top was fully lined for a high quality finish and also to make the fabric more sturdy to hold the shoulder up against the weight of the D ring strap. Drape Trousers Same as outfit one.
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FINAL COLLECTION
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Sling Jumper The jumper was overlocked together using the knit machine. The only issue that arose was how to finish the curved armholes that created the hanging shape. Cover stitching or a facing would create too much bulk and take away from the loose shape that was already sitting perfectly. It was decided to leave the edges raw as the boiled wool allowed for this and it also fitted in with the harsh ideas in the concept. Mesh Tank Top The initial idea was to leave the neck raw, however as the fabric was cut in the opposite direction to attain optimum stretch it did not cut well. The top was sewn together using both the flat lock and four thread overlock machine, finishing the hem and neck by cover stitching and the armholes using the single needle bind machine. Drape Trousers Originally intending to sew these together with French seams because of the silk fabric, it was realised the extra bulk created would loose the effect of the drape that had been trialled extensively to achieve. These were instead finished with open seams, also adding in seam pockets into the finalised trousers as they would sit better this way and would add extra value to the garment. An elasticated waistband and cuff were used to finish the trouser in order to fit whoever would be wearing them. Asymmetric Coat The Jacket was sewn together with open seams and fully lined with silk habotai. The storm flap was also fully lined to be fully functioning. All exposed areas were finished with a facing and the overall jacket was held together when worn by a D ring belt.
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Pleated Shorts The shorts were put together with open seams as this was the most appropriate finish when taking into account the panels and weight of the fabric being used. A cashmere mix spun wool was used for the overall base of the short to create a subtle yet effective contrast against the sheen of the wool twill used for the pleats. The shorts were finished with an elasticated waist for a basketball ball dropped short kind of look finishing the hem with the flat fell machine. It was difficult to hem the shorts all at once for the best finish, as they had to be pressed in and out several times. Cami Top The final top was made out of silk fuji dyed to the desired shade of green. The dye did not take as well to the silk as it had to other garments so it was dyed twice, still ultimately coming out a little less vibrant. It was sewn together using the lockstitch and completely lined using the same fabric creating a high-end finish. The straps were finished using the spray painted D-rings to join together and adjust to fit. Sweatshirt Dress A heavier weight brushed cotton jersey was used for the body of the final garment to offer structure so that the overlay panel could be sewn in more neatly, which was also joined to the main body of the jumper using popper studs. Contrasting crepe silk was used for maximum drape and to avoid pulling on the garment, sewn in with elastic at maximum stretch in the upper arm sleeve seam to hold up the weight of the crepe satin fabric and to avoid the bulk of the drape dropping towards the sleeve end. This worked well and was secured in with the overlocker. As the neckline could not be cover stitched because the plastic fabric changed the nature of the stretch fabric, this was finished with a facing. The sleeves were finished with rib to maintain the sports aesthetic in the collection.
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Jumpsuit As the jumpsuit underwent a rigorous toile process, this eased the final make. The jumpsuit was originally planned to be put together using French seams because of the lightweight draped fabric used to make it, however because the pattern and layers were so complicated and attached in at parts and out at others, it was decided that using open seams would be the most effective finish. The overlayer neck and crossover join were finished with facings while the curved edges were neatly double turned and bagged out to create the desired shape. It was hemmed using the flat fell machine to maintain the oversized length and neat finish, with the waist being elasticated for ease of fit to varying body shapes. Mesh Tube Top In keeping with the sports aesthetic the tube top was sewn together using the flat lock machine and cover stitched around the edges to finish.
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Pleated Skirt The make of the skirt went smoothly. The pleats were secured in place with the heat press machine and finished with a flat fell hem. The digitally printed layer was fully lined as it was fine silk fabric and coincided with the other drape tops. An elasticated waistband finished the garment. Knitted Jumper An alpaca and merino mixed yarn was sourced for the knitwear featured in the collection. It was dyed using the shade card created and washed and spun for a soft finish. The garment was sewn together using the knit overlocker, stretching the rib slightly when sewing to bring in the volume of the jumper. The rib was all finished on the shima machine. The hem had to be coverstitched as it could not be finished on the machine due to the knit being cut in a different direction. Trousers Due to the weight of the fabric, open seams were chosen to finish this garment. A premium flannel wool was used as a contrast to many of the technical fabrics used across the collection and in keeping with the Fall season. A large 8cm hem was taken using the flat fell machine for a superior finish and to fall nicely on the floor when worn. Kimono Top The make of this top was surprisingly one of the most difficult to finish due to the closing of the channels and the nature of the coated cotton fabric. Due to the curves of the pattern pieces all seams were finished using closed seams and double turned neatly at hems for a high quality finish. Any other exposed areas were finished with facings. The green webbing made a lovely contrast against the dark technical fabric.
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Vest Dress The final dress was sewn together with elastic just like the toile, however this time lock-stitching first and then overlocking in for a neater finish. The neck and arm holes were bound and the hem was finished with the coverstitch machine. Wrap Kimono Top The top was sewn together using open seams and facings. The hem was double turned and flat felled for the pleated panel. A single popper stud was used to hold the shape together when worn. Bomber Jacket The final make went smoothly, only altering construction by sewing in elastic at a reduced pull to the top seam in the sleeves. The reason for this was to maintain the structure of the sleeve and to stop the weight of the extra fabric falling down. The jacket was fully lined and finished with ribbed cuffs, the former chosen to be digitally printed which added extra exclusivity to the overall garment.
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Jumper The jumper was sewn together using a mix of sportswear machines including flat lock, overlock and cover stitch machines. This provided the ability for stretch in the garment and also coincided with the contemporary theme of quality finishes throughout the collection. Cross Body Cami The final garment was made from the silk fuji fabric which was coated by hand and digitally printed. It was lock-stitched together and fully lined for a high quality finish. Drape Trousers Same as outfit one.
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REFLECTION
In reflection, I am really happy with the overall outcome of the collection. I feel I pushed myself massively this year from the word go by choosing to go in a direction unknown to me. Deciding to design gender neutral clothing was much more difficult than I first thought and I feel that I achieved this aesthetic well across my collection without losing my own signature style in the process. I feel I had many varying elements to the concept and have brought them together coherently as well as developing in areas such as colour and fabric where I normally might struggle. I really tried to utilise all the skills I could this year by trying out various methods of print and experiencing dye and knit for the first time. I really appreciated the continuous feedback given throughout the year and feel I took criticism in my stride which helped develop my collection further. There is not a lot I would change about my collection however I would have liked to experiment toiling more as drafting patterns with no body shape to go by was challenging and may have aided more when it came to make.
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BIBLIOGRAPHY
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