Fashion Future Portfolio by Lien Hsu

2018 F A S H IO N

FUTURE

JOURNAL PIL LO CAS E &IN NO VAT ION

YU YU HSU

Pillowcase Garment Process

1~4

Photograph 5

Fashion Future Proposal Customer ProďŹ le 11 Maret & Design 12

Tutor Record 13 Reference 14

INDEX

Inspiration 7~10

WEEK 1~4

PILLOW CASE

1. Draw the original pillowcase pattern on the sketch paper 2. Delay diagonal enlargement for the size you want 3. Divided by two into three equal parts of the length on the extension proportion of one large piece and equal width of 2 cm of the small piece.

4. Fold the divided part after making notched. Ironed the folded edge then put on the binding stitch on the edge. 5. Overlapping the three pieces (small piece and the folded big piece are piled opposite side), pin the layers before sewing them together. 6. Turn the pillowcase to the frontside then stitch the decorate line around the edges, the width is based on the proportion of the enlargement.

WEEK 5~8

PILLOW CASE

Putting two pillowcase into one large piece for a volume look.

At first, I try to make the ruffle at the front body. However, Joanne thinks it would be better to set the ruffle at the back. Leave the front body basic, and detail design at the back . Debbie discuss with me on the way I would like to make the ruffle. At first, we decide to insert the elasetic, but when Debbie show me the possible shape, find out the shape is too sharp and not close to my initial pinning shape. Thus We decide to make tunnle for a string to shrung up and a nature ruffle is made.

For the front look, it was needed to slice the one-piece pillowcase, to developed diﬀerent possible collar. As the right side, I have discoverd three looks , by ﬂipping and folding around. However, the end look is David’s idea to cover instead of revealing. And it’s actually more modern than the previous three looks I made. By the process, I realize less is more, instrad of thinking too board, the design should go with the natural shape it may occured.

WEEK 9

Final Look

n o i t a v o n In t c e j o r P The inspiration of my project is based on concerns of ethnic in fashion, by unravel old clothes, deconstruct and reconstruct to a ‘one-oﬀ’ piece that is unique at the same time zero-waste. New technique is applied in the unravel process, such as automatically release stitch tension. Instead of reworking on old clothes patches, at the same time, it can be wear in a variety way.

Innovation Project

Inspiration

Ethic Fashion

The phenomenon of fast-fashion, a response to an encouraging in consumers a superficial sense of identity and the good life through apparel, led through intensifying cycles of production, consumption, and disposal. (Clarke and Holt, 2015) Results in the increasing levels of waste with claims that more than 1 billion kg of textiles are being sent to landfill every year in the United Kingdom alone (Waste Online, 2008). Those Individuals influenced by materialistic culture tend to buy prefabricated designer ensembles to promote ‘look’ where no individual thought is needed resulting in fashion conformity.

Viven Westwood’s customer

However, fashion brand such as Vivien Westwood would like her consumers to understand the ‘story’ or value within her clothes, the ability to appreciate the ethos of the items they purchase by evoking the value of bricolage to reclaim the reserved of capitalist return to self-organized intention. Westwood’s customers see themselves as fashion bricoleurs who combine and adapt what is currently available to them. They contrast their DIY ethic with the prevailing lack of style, taste, and imagination in how people often consume fashion today. (Clarke and Holt, 2015) It is important to embroil consumers to engage in critical, collectively negotiated, and sustained creation of ethos in knowledge of what is right from wrong; wearing clothes has ethical resonance.

Ethnic fashion- Margiela’s reuse patchwork

The philosophy in ethnic fashion can be found in contemporary fashion designers, those showing ‘authentic’ concept. On way to reverse what’s the ground of fashion is by deconstruction with the caring of tailorship, for example, ‘patching’, combining mismatched fabrics or reworking ‘salvaged’ jackets in an aesthetic way .This aesthetic of reuse and recyclability brings out an image that compose the notion of the environmental imperative, the 4R’s imperative (reduce, reuse, recycle, recover) to resist obsolesces, to recycle materials, and use resources eﬃciently.(Gill, 1988) A novel example of what Margiela calls récuperation is his turtleneck sweater made from a patchwork knit of cotton-and-wool socks (O’Shea 1991). based on material life-cycle analyses, for eﬃciency throughout a product’s manufacture, use, and recovery. Margiela gives recovered garments a new life, making use of a practice fairly well established by secondhand clothing stores. A desire to bring transformations to consumer society and its practices of obsolescence and disposability.(Gill, 1988)

http://blog.momu.be/2011/exhibition/margiela-knitting-instructions/

Pre -Raphaelite

The term was associated in particular with the pre -Raphaelite movement, which was founded by three painters in early 19th .They hold the point of view that one should have genuine idea to express and excluded of what is conventional and self-parading. They emphasis the personal responsibility of individual artists to determine their own ideas and methods of depiction.(Wikipedia, 2018)While the concept of Pre-Raphaelite ,it’s a rebel of Britian’s industrial revolutionmoralism. The believe of spiritualism, artistic freedom connect to arts and crafts movement.(The Art Story, 2018)

Hippy Fashion-Sustainable Fashion

Bohemians-' the heroism of modern life'.

The concept of wearing unique could be seen at the early 19th , when the bohemians started. Recorded in Elizabeth Wilson(1998:230-4) spoke about Nina Hamnett’s dress was equally bohemian and her autobiography contains many descriptions of her outlandish clothes, she wrote:"…. One had to do something to celebrate one’s freedom and escape from home,” “she never ceased to be surprised that people stared at her in the street,” The modernity of bohemians is they are free from commerce, and see the marvelous in the banal. They explored the most obscure, unpoetical and shocking aspects of modern existence, and found there new meanings and unexpected beauty.(Wilson, 2003) Wearing clothes that seem to be out of fashion is referred to artistic taste. And a bohemian style set out to ‘turn the banality of everyday life into an ongoing work of art with oneself center’ (Palmer and Clark, 2005) The bohemian is created as an identity that is critisim, expressed politically, aesthetically or in the artist’s behaviour and lifestyle.

During the 1960’s hippie era, when American society was going through many social, cultural and political phenomenons, Hippies were against the urbanization and industrialization. They were against the mainstream culture, like the bohemians, they create their own style by their own way of life. They were conscious about the reuse of second hand clothes and handicrafts. Thus, they seek clothes from flea market and they would do patchwork, hand stitch of garments & mended it clumsily by themselves. All the process were economical , cause zero-waste, instead, reusing resources, reworking old things to new, made hippies sustainable in fashion. The concept of creating decorative art by artist and his work through traditional skill was an attitude opposed to industrialization, this art& craft movement is contribute by William Morris.In the mid-1960s , the influence of William Morris was everywhere, written in Elizabeth Wilson(1998:230-4) described Henrietta Moraes’s action toward original identity, “...I spent quite a lot of time shopping, going into the Antique market to buy old forties summer dresses, lace petti-coats and embroidered shawls.” “ This hippie look, romantic, druggy, murky and floaty, not only expressed the mood of the movement, but was again a form of dressing that turned poverty on its head, demonstrating creativity and individual expression in the use of discarded remnants, second-hand clothes and ethnic items.

Vintage Fashion - Originality

The term “vintage" is used to cover a huge spectrum of clothes that are not newly designed. Second hand “vintage” designs are worn internationally by the avant garde be they young or mature. Middle-income to wealthy consumers obtain their ”new”used clothes from global and local sources as they seek to establish individuality through these garments that cannot be replicated. The quest for originality and the one-oﬀ is, in part, a reaction to the globalization of enormous fashion chains at all price levels.

Innovation Project Deconstruction

The theory of deconstruction was associated with Jacques Derrida (1930-2004), he questioned whether its possible to understand structure without knowing the history. “Being as presence in all senses of this word. It could be shown that all the names related to fundamentals, to principles, or to the centre have always designated an invariable presence. “(Derrida, 1978 p. 353.) Derrida looked through absence behind presence. The ambiguous between fundamental ideas that was often on dichotomies, one was often “privileged” whilst others were ”subordinated”. Instead of reverse the two relationship, he suggested a “free play” which couldn’t be easily divided into categories. (Walker and Dell, 2008) The idea of deconstructive approach to architecture and further inﬂuence fashion, “Deconstuctivist Architects were said to use the critical tactics of Deconstruction in order to question accepted architectural notions of form, function, permanence, harmony, order, meaning and beauty” (Walker, 1992). Designers started to question what “grounding” perspective in clothing and fashion were based to support the individual’s discipline. For Margiela, the garment is an architecture that “ﬁts out” the body, and thus he shares an architectural inquiry into the process and mechanics of construction.

Punk Fashion

Punk heavily influenced by the situationist movement, which was a group of avant-garde political revolutionaries, found favoured with the disenfranchised youth of London amid a climate charged with ethnic tension(Savage, 1991), reflecting themselves as both a product and a victim of late capitalism. As to fight against capitalist authority, they intentionally disconnect themselves from the parent culture and represent themselves as aliens, inscrutable. Punk fashion led by McLaren and the Westwood-wearing band the Sex Pistols, they worked to catalyse fellow working class youth into issuing a creative ‘up yours’ to establishment mores (Lydon, 2014). The deconstruct and reconstruct, the transforming of recycled clothing into one-of-kind masterpiece is explicit references to a punk sensibility of ripping, slashing and piercing clothing as well as an artificially enhanced “grungy” or “crusty” dress, thus setting up a fantasy dialogue with opposed to the mass production and traditional idea of the craft in tailoring .(Gill, 1988)

Inspiration Contemporary Refashioning

Punk was an early manifestation of deconstructionist fashion, which is an important component of late twentieth-century postmodern style, a style that is described as ‘unfinished’, ‘coming apart,’ ‘recycled,’ ‘transparent 'or grunge, could be seen in thework of contemporary fashion designers such as Rei Kawakubo and Martin Margiele. Garments that continue the concept of ‘deconstruction’ associated with the writing of philosopher, Jacques Derrida. A term used to describe the process of uncovering the multiplicity of meanings in text, has been used to analyze everything from modern art to architecture. As applied to fashion, deconstruction has come to imply a decoding of both meaning and designer intent, as well as a descriptive term for certain structural characteristics.(Metmuseum.org, 2018) For example, Margiela deconstructs the binary relation of clothing and bodies, a dissolution that occurs in wearing clothing, as clothes become bodies and bodies become clothes. Using linings extracted from recovered ‘vintage’ dresses, dress made from miss-matched fabrics, old jacket been re-cut, tacked, sewn and re-detailed, seams and darts reversed and exposed to the outside. Deconstruction in fashion is an auto-critique of the fashion system: the reflexivity of such to reveal the enabling conditions of fashion, the concepts of ornamentation, glamour, spectacle, illusion, fantasy, creativity, innovation and the principles of its practice through form, material, construction, fabrication, pattern, stitching, finish.

Innovation Project

Inspiration

Contemporary Refashioning

Innovation depends on the history

Designer sought to interrogate the formal aspects of construction in fashion. (seams, hems linings, -‘inside’ / ‘outside’, ‘underwear’ / ‘outerwear’ etc.), the conventional generic categories of dress (‘formal’ / ‘informal’) (Walker and Dell, 2008) To illustrate, Margiela reproduces the seamlessness of fashion, the idealized form, by the literal production of seams: seamlessness through seams. In doing so he admits that to be formed through garments involves a process of being formed or an analytics of construction. To consider deconstruction fashion’s capacity to reﬂect on the nexus of making, wearing, thinking, and dwelling that happens in fashion and people’s relations with all clothing;

https://assets.vogue.com/photos/56425a46d180b84a7b5dc7e4/master/w_1200,c_limit/MARTIN-MARGIELA-FALL-1997-RTW-DETAIL-05.jpg

Innovation Project

Customer’s proﬁle

Purpose

Insipration

Inspired by bohemians, punk, deconstruction. The products is made by deconstruct and reconstruct of second hand clothes, the unravle process is conduct base on a new technical process. The collection is designed after analyzing similar fabric to become unity in the collection. Most recent ‘anti-fashion’ focus on the embody work of design, creates more aesthetic look. However, the innovation of my creative thinking is to give functional purpose for the reworking fashion. That is, perhaps a top wear could also be worn as bottom at the same time. To create multi-wearable of the bricolage second hand clothes.

Norma Kamali Parachute Skirt

Discourage people to conduct the habit of ‘buy and throw ’in fast fashion. Educated customer the importance of recycle to protect our environment from deterioration. At the same time, encourage customer to wear original, unique, rather than blinding pursuing fashion.

Typical Customer

My product suit a range of diﬀerent proﬁles, typically those care about our environment, and also seek of trendy individuality styles.

Age

teenagers,adults, 18-40

Size

one-size

End use

designer clothing vintage, high street fashion stores, ex:Zara

Innovation Project

Market & Design

Retail Analyze

Since the second hand clothes can only guarantee a design but not a standard fabric. which will be impossible for mass market; However, the remanufacture product should be promoted as tran-seasonal in a high price. The need to set a higher price is to raise attention of consumption. The target consumer group are those who appreciate eco-design fashion styles.(Dissanayake and Sinha, 2015) With the inspiration of Margiela’s design characteristic, bring new life of old things and Vivien Westwood’s design philosophy of cherishing bricolage . The marketing strategy also encourage consumer to bring back their old clothes and open class to tech lesson on deconstruct and reconstruct of the ‘out of interest’ clothes. At the same time, they will have a discount on purchasing tran-seasonal collection of sustainable fashion. Fabric selction base on material

Fabric

The intention is to produce sustainable, transseasonal fashion collection. Therefore, trend information such as seasonal colours, fabrics and silhouettes are not taken into consideration in this process, yet a collection has a deﬁnite colour theme, which is not inﬂuenced by seasonal information rather inspired by fabric itself, analyzing the identity of various source of discarded clothes, their adequacy and suitability to collage into new design. The outcome of the collection is based on similar colours or prints to create a trend generated by material analysis.(Dissanayake and Sinha, 2015)

New technology in Disassembly

University of Leeds and C-Tech Innovation with Madeira Threads, have developed a disassembly technology using a new sewing thread that loses its tensile strength when exposed to microwave radiation. By using this technology, designers and manufacturers can choose to manufacture either whole or parts of a garment, depending on disassembly needs. The sewing thread behaves conventionally until exposed to the radiation (Philpot et al., 2013). The speed of disassembly again suggests commercial beneﬁts to remanufacturing. (Dissanayake and Sinha, 2015)

Eﬃciency Pattern cutting technology on irregular shape

A technology similar to that used by leather cutting machines, combined with a pattern-making software, enable efficiency in creating volumes. Leather cutting machines allow cutting required shapes over an irregular shaped single ply. By using an inbuilt projector camera, the user can place the digital patterns effectively in an irregular shaped material and also make timely modifications to the patterns. This kind of a technology would minimize the cost and unproductive time associated with manual pattern cutting, and also increases the material consumption. (Dissanayake and Sinha, 2015)

Manufacturing process

The procedure of the reproduction starts from collecting waste textile & apparels, sources include consumers, charity shops, fabric merchants. After cleaning, sorting and storing based on three sectors: color, product category and fabric type and ready to remanufacture. (Dissanayake and Sinha, 2015)

Tutor Record Week 1

Date:10/4 &10/5

Week 5

Date: 11/1, 1/2

Week 7

Date: 11/15,11/16

Staff Comments

Joanne: Try to make the design of the layout extended from page to page to create a better visual express when ﬂip through pages in book form.

Debbie: if you want to create more volume of your pillowcase, you should combine two pillowcases to wider the width rather than making a bigger one-piece pillowcase, because the length will be longer which is another issue to concern.

Joanne: Regarding you innovation project , as your topic is reconstruct and deconstruct, you can think of technique fabric, transformation of the reconstruct piece.

Student Action:

Adjust the shapes extended across the two page, or allocate the image from between the connection between pages.

Week 2

Date:10/11,10/12

Student Action:

Look through fashion blogs and WGSN to gain more visions on idea development.

Combine two pillowcase to become a boarder piece.

Week 6

Date: 11/8, 11/9

Week 8

Date: 11/22,11/23

Staff Comments

Joanne: Instead of putting elements too organized in a line, try on more different layouts to avoid plain look.

Debbie: To create a natural rufﬂe look, there are two ways, one is stitch on the elastic on the folded pleats, another one is inserting a tunnel on the back to create drape look on the rufﬂe.

Debbie: Your pillowcase is already ﬁnished, it is not recommended to make the bottom part of the two side into symmetric, you should better leave it as the nature look it is now, as it’s a trace of the reconstruct process of the pillowcase.

Student Action:

Explore different ways to display elements, experiment different shapes and lines for a more lively look.

Week 3

Date: 10/18,10/19

Staff Comments

Joanne: it’s better to make your journal colorful instead of black and white, because the standard of the printing will be a risk.

Student Action:

At ﬁrst, Debbie help me on making the pleats for the elastic, before she is ready to stitch, she show me the appearance it may look. It turns out the rufﬂe will be in a jagged edge instead of a curving soft look. So Debbie helps me to work on the tunnel, and it turns out similar to the pinning look.

Student Action:

Decide not to go further to create any unnecessary detail on the natural look.

Student Action:

Add colors to my journal.

References The Art Story. (2018). The Pre-Raphaelite Movement, Artists and Major Works. [online] Available at: https://www.theartstory.org/movement-pre-raphaelites.htm [Accessed 2 Dec. 2018]. The Art Story. (2018). The Arts & Crafts Movement, Artists and Major Works. [online] Available at: https://www.theartstory.org/movement-arts-and-crafts.htm [Accessed 2 Dec. 2018]. Palmer, A. and clark, h. (2005). Old clothes, new looks. Oxford: Berg. El Ojo Positivo de la Moda. (2018). The Nanny: referente de los ´90. [online] Available at: http://ojopositivo.com/the-nanny-referente-de-los-90/ [Accessed 2 Dec. 2018]. Blog.goethe.de. (2018). A PROJECT ON RAW MATERIAL SOURCING FROM OLD CLOTHES - local international. [online] Available at: http://blog.goethe.de/local-international/pages/webelhorst.html [Accessed 3 Dec. 2018]. Howarth, D. (2018). Six standout collections from Parsons 2017 graduate fashion show. [online] Dezeen. Available at: https://www.dezeen.com/2017/05/27/standout-collections-parsons-school-design-graduate-fashion-show/ [Accessed 3 Dec. 2018]. Morby, A. (2018). Six designers to watch from Westminster's graduate fashion show. [online] Dezeen. Available at: https://www.dezeen.com/2017/05/25/ﬁve-student-designers-university-westminster-london-graduate-fashion-show/ [Accessed 3 Dec. 2018]. Thomas, P. (2018). 1970s Punks Fashion History Vivienne Westwood, body piercing - Fashion History, Costume Trends and Eras, Trends Victorians - Haute Couture. [online] Fashion History, Costume Trends and Eras, Trends Victorians - Haute Couture. Available at: http://www.fashion-era.com/punks_fashion_history1.htm [Accessed 7 Dec. 2018]. Metmuseum.org. (2018). [online] Available at: https://www.metmuseum.org/toah/hd/vivw/hd_vivw.htm [Accessed 7 Dec. 2018]. Clarke, J. and Holt, R. (2015). Vivienne Westwood and the Ethics of Consuming Fashion. Journal of Management Inquiry, 25(2), pp.199-213. Dissanayake, G. and Sinha, P. (2015). An examination of the product development process for fashion remanufacturing. Resources, Conservation and Recycling, 104, pp.94-102. Gill, A. (1998). Deconstruction Fashion: The Making of Unﬁnished, Decomposing and Re-assembled Clothes. Fashion Theory, 2(1), pp.25-49.