COLLECTION MUSE The collection was created with consideration of my muse, someone who has inspired me and continues to influence me with the courage which she displays in defiance of her long and on going battle with depression. In spite of her long journey with the illness, she remains strong, motivated, determined and passionate about changing the perceptions of mental illness which is so, due to the stigma which surrounds it and the lack of understanding of this invisible condition. Regardless of the feelings which may be going on inside, she is not defined by her illness and remains the beautiful, vibrant and vivacious individual that she is, contrary to restrictive nature of the illness, her vibrant personality still radintly shines through. This to me is trully inpirational. This collection is tailored to suit females within the target age bracket of between the ages of 20-40. This young market was chosen as the concept topic is one which I felt it was important to spread awarenes of this topic to a younger audience, however, bearing in mind that they would need to have a more disposable income due to the brand being positioned within the mid market level. This is conveyed through the finishing of the garments and the luxurious fabrics which have been incorporated into the collection, with the inclusion of leather, suede and cashmere to name just a few.
ere to name just a few.
RESEARCH PROCESS
RESEARCH The research process was a very expansive one for me. I began as a starting point by researching mental illness as a whole. I looked into different mental health conditions, their signs, symptoms and effects, the stigma which surrounds mental illness, how mental health problems are perceived within the media, mental health within the fashion industry and the stigma which surrounds the different mental health conditions. Within my proposal from my summer project I stated that mental health was the point of interest for me, as at that time in my life I had two very different cases which were very close to me. I had originally thought that I may have considered ways in which I could incorporate both dementia and depression into a collection as I thought it could create an interesting concept. However, after careful consideration, I decided it would be best to only put the focus onto one of them and explore it more deeply. I decided to choose depression to focus on, as personally it was the one which was more emotionally engaging, deeply inspiring, thought provoking and in general more of a challenge for me to discuss. I found that putting the focus onto this idea was not only a way for me to look at it in a more positive light, but a chance for me to learn more about the condition. I began the research into depression by reading articles online, case files and blogs of real people talking of their experiences. I also spoke to my sister, who had been diagnosed with the illness and who was the muse and my motivation for choosing this concept . I made a compilation of different words and phrases of feelings, symptoms and descriptions of the illness. From here, as a starting block , I highlighted the words which I felt could be conveyed using fashion as a canvas and a means of exploration. For example words like, suffocating I decided could be shown through the use of high necklines. The more research I conducted the more I felt that this was an important subject. To me it was vital that I put across my personal opinion of the strength that these people have whilst being in a constant battle inside their heads which was contrary to the common perception and stigma surrounding depression- which suggests connotations of weakness due to the fact that it is an invisible illness which results in misconceptions.
Due to the sensitivity of the subject, I knew that i was important that my collection was only reflective of my families personal experience and the emotions which have surrounded it as the experience is different for different cases therefore it would not be acceptable to allow it to sound as though I was speaking on behalf of all people suffering from depression. I wanted to take this esoteric concept topic and put it across in way which can be more widely understood. I began to research artists and photographers who had done only this and used their mental health issues as inspiration for artwork and they ways that this was put across in their work. Artists such as Tracy Emin, Pablo Picasso and Van Gaugh.. I considered whether it would be best to take it down the emotional route or the slightly more scientific one. I researched some of the ideas which would be linked to the scientific path, for example brain images, brain scan imagery, chemical imbalances and the shapes and structures of the chemicals such as Serotonin which create these imbalances. This seemed like a productive route to go down as I reflected upon a discussion with my sister where she said it was once implied by a doctor that certain wires were crossed wrong in the brain and that was what was causing the way she was feeling. She said this was almost comforting as this was something which you could visualise. I began to consider almost viewing depression and the brain mechanically as a possible route too as I thought this may be more relatable to when it is something which can be visualised.
CONTEXTUALISATION At this point I felt that I had plenty to work with and was successfully managing to take a divergent approach to the subject, however, it was moving into a more convergent way of thinking which I began to find more difficult. The contextualisation of the theme was one of the most difficult areas for me. Due to the fact that I was tackling such a personal and sensitive subject, I knew that I had to be careful in the way in which I put across my concept. It was clear that I wanted to juxtapose the negative connotations of the illness itself with the positive opinion of the sufferers which I had formed. I decided to go ahead and try to form a concept based on the idea of the juxtaposition of the way which the illness made them feel and this underlying stigma of weakness, taking into consideration all of the words and phrases from the beginning of the research process and how they could be included in terms of shape, silhouette and details, juxtaposed with the power and strength which I thought that they conveyed. I began to research colour meanings and symbolism and how this could be put across within my colour palette. I was delighted that not only did black have connotations of power, but also of depression I felt that this could be a clever coincidence. I decided to move forward with restrictive silhouettes, broken detailing and suffocation to illustrate the severity of depression, all which I felt could be conveyed through shape and silhouette and began to research ways which I could create the idea of vulnerability through broken shapes, however, through garments contract methods, rather than just surface detailing. I came up with the idea of creating broken and overlapping panels to physically create cracks in the garments. However, after presenting my concept, it became clear that this route would not create a strong concept and to the on looker would seem to be too literal of depression, although I could not see it at the time, in hind sight I am now glad that these ideals were rejected as I feel they would have restricted my creativity. However, I decided to keep the garment construction ideas which I had in mind.
I began to work back into my research, somewhere along the lines is was clear that I needed to take an even more obviously positive approach to the concept and be able to add a bit of colour to bring it away from the conventional and predictable perception of depression. Considering some of the options for routes I could take, I came up with the following ideas: Juxtaposition of the way that people with depression feel on the inside, in comparison to the front they put on to hide this Juxtapostition of the way that they feel on inside in comparison to how they view the outside world Juxtaposition of their inner personalty and the person they are in comparison to the way they view the outer world Juxtaposition of their inner personality which is unable to get out due to the illness which is suffocating them Juxtaposition of the way they see the outside world in comparison to what makes them happy Juxtaposition of what makes them happy in comparison to when they feel down. None of these ideas jumped out at me as being the inspiration I needed in order to form my concept as i felt that they suggested that people with depression felt like this all the time, however, in my experience of the illness moods and emotions could change from day to day or from one hour to the next towards the end of the list I felt I was becoming ever closer.
From this point I began to take into consideration the things that make me feel happy, liberated and carefree in the times when I feel sad, down or over whelmed, introducing a more nostalgic tone. I thought about being home in Orkney, with fresh air, sea breezes, long sandy beaches, the northern lights and beautiful sunset and sunrise skylines. This was the moment where I became aware that dusk and dawn skylines would create the perfect juxtaposition to the otherwise grey scale colour palette and I felt this could be reflective of the transitioning of emotions and not only illustrate the hard days of depression but also the good ones, and show that people with depression are not depressed all of the time as stigma would also suggest. It was also relatable to as everyone has good days and bad in some way or form and also was fitting for me to be be able to reflect on my opinion as I also wanted the collection to reflect upon my emotions, with the idea of when you are so close to someone their emotions also can have an effect upon yours. Sunsets and sunrises also display connotations of changes and positive times ahead which I felt was very fitting in reference to my theme. This view on the concept added the nostalgic and sympathetic approach that my original ideas were lacking. From here I was able to contextualise and finally formulate a more convergent approach to my concept.
CONCEPT SILHOUETTE The silhouettes for the collection are characterised by 3 differing factors. Silhouettes are tight and fitted in reflection to the restrictive nature of depression and the idea that just as when you were a tight garment, the pressure which it applies and how you are always aware of it. The outerwear silhouettes are oversize, loose and cacooning. This is influenced by the need to seek comfort and keep hidden away all of the things which are going on inside. There are also slightly looser garments, these are the ones which will be printed and act a as a contrast to the restrictive darker layers. These garments are loose in order to allow room for movement and carry on the more freedom aspect of the course.
COLOUR The colour palette has the greyscale side of dark greys and black tones which works in contrast to the yellows and oranges and varying colours and tones which are pulled out within the manipulation of the prints.
PRINT DESIGN The prints have been created using original photography from back home of beautiful dawn and dusk skylines which have been manipulated to highlight the movement of emotions but also to make sure it wasn’t literally a sunset on a dress. For the print design, I experimented with different photographs and warped them in different ways which gave me different colour ways. One aspect of this which I liked was the idea that depending on what part of the print you patten piece fell onto, each garment would be different and unique and would demonstrate slightly differing colour ways. I originally had samples printed on to silk/lycra/rayon from the printing service inside the university, however, unfortunately the colours of these samples came out completely distrorted and much more orange than they were supposed to be, Due to time constraints, and the waititng list and heavy usage of the print room this smesterin the I knew it would take too long to have more samples recoloured and then more time to get the final fabrics printed. In the end I had to source the printing fabric from elsewhere, however, this is still slighlt dissappointing to me,as the other fabric which I wanted to use in uni was a nicer fabric- although, in hindsight it may have been slightly too thin for purpose.
FABRIC MANIPULATION OVERLAPPING PANELS Overlapping panels which weave in and out of each other are used in order to create the idea of vulnerability and by using these techniques and putting prints underneath the darker garments, when worn the panels pull apart ever so slightly, subtly revealing coloured layer underneath. This was done in order to create the idea of brokenness and vulnerability through garment construction rather than just overlaying as a surface detail. It creates the idea of light breaking through darkness and all of the connotations which surround this idea.
LASER CUTTING AND ETCHING Using etching and laser cutting also subtly demonstrates this idea and echoes the shapes which feature in the details of this within the panelling. I wanted to use both etching and laser cutting as this also gave the impression of the cracks coming apart. My design ideas for the laser cutting began as an intricate design, however, I decided to scale the while design up a but to add a but more of an impact and so as not to compromise the strength of the fabric.
FABRIC
I chose my fabrics in reflection of my mid level market brand positioning but also to be in keeping with my concept. Lamb nappa leather and goats suede were chosen due to their heavier properties and luxury feel. Leather was also a great fabric to be etched. My original choice of heavy stretch jersey for my printed garments was an unfortunate mistake, as although the prints printed the best onto this fabric, it did not have the properties for what I wanted it to do. French crepe creates the looseness of the mid printed layers and a stretch crepe replaced the heavy jersey. The coats also continue this luxurious with a cashmere wool blend coating fabric begin one and a rougher textured boiled wool coat fabric .The use of premium linings also continue this wit the lining fabric being chosen to compliment the outer shells of garments.
DESIGN DEVELOPMENT
DEVELOPMENT Taking these new ideals and key points into consideration, I began to sketch once more, feeling more inspired, more in touch with my concept and with a much clearer direction. Hundreds of drawings formed and I felt inspired by the concept which I had come up with and my ideas of how I would address them. However, when it came to range planning I struggled to refine the ideas and begin to pull them together to create a cohesive collection. I developed different shaping of overlapping panelling and different ways that this could be incorporated and place within certain garments, however I found that because this was also a new technique to me, I was unsure exactly how some of the aspects would work without being able t experiment. I felt that I was;t finding the combinations which I was looking for in order to be able to make a collection. I wasn’t willing to settle for some thing which I was unhappy with so I creepy going until finally I became inspired again, Eventually i was able to pull together a line up which I felt was happy with and was ready to finally get into the workshop and begin to develop these ideas further,
FINAL LINE UP TO BRING FORWARD INTO PRODUCTION
THE TOILE PROCESS
LOOK ONE
SPLIT PANEL JUMPER In order to create this garment, to keep it consistent with the other oversized garments within the collection, I used the size 16 women’s tailored jacket block in order to achieve the oversized shape. I took the patten out 2 cm at each side seam so that when they were to be joined, the 2 sides crossed over at the side seam which were joined under the sleeve. This created an overlap under each arm and the desired side split so that the printed garment could be seen underneath. I repeated this process with each side of the centre back, tapering out an extra 2cm and joining at the neckline underneath the oversize turtle neck, with an overlap, to create a split on the back of the garment too, the idea being that, allowing the colour of the print to break through the splits.
PRINTED STRETCH DRESS In order to create pattern for this garment, I experimented with the blocks, using the knitted stretch block and the knitted stretch skirt block and joining the two of them together, I was then able to create a stretch dress shape. I toiled this in a mesh stretch fabric, as the fabric which I intended to use for the toile was a heavy and tight stretch jersey and I felt that the stretch properties of this fabric would be similar, although the intended fabric was heavier.
STRETCH HIGH NECK TOP I created the pattern for this garment using the small knitted stretch top block. However, I found that the sleeves on this were too loose and I wanted them to be more restrictive, therefore I took them in at the side seems 1cm each side. This created a nicer fit. This was then toiled in a stretch fabric.
STRETCH PRINTED SKIRT This skirt was toiled using the small knitted stretch block. I took it in by 1cm at the hem each side as I felt that it was slightly too loose.
OVERSIZE KIMONO COAT- SHORT VERSION I created the oversize Kimono Coat by beginning with a size 16 women’s tailored jacket block. Once I had created the overall shape and adjusted to the desired length, I then went to work in creating the kimono sleeve in order to create the oversize and cacooning effect which I wanted to achieve. I borrowed a book from the librarymin order to find out how to create the kimono sleeve effect and then I extended under the arm in order to make a much bigger drape.
LASER CUT SKIRT
In order to create the laser cut skirt I used the size 10 skirt block and changed it in order to create a pencil skirt in keeping with the restrictive silhouettes. I then added where I intended the panels to be placed in connection with the laser cutting and moved the darts into these .
LOOK 2
PRINTED UNDER DRESS Similarly to the previous printed dress, I created the pattern by joining both the knitted stretch skirt and knitted stretch top together. However, on this one I lowered the neckline slightly by a few centimetres.
OVERLAPPING PANEL DRESS I began the process of toiling this dress by creating the initial silhouettes before adding the complicated panelling. I Played around with the fitting of the size 10 dress block, however, I did not want he darts as they would get in the way of the panelling but wanted to try to keep it fitted. I then decided to experiment with my creation of knitted stretch block, I created another one by taking it a size up and from there, was able to create a bigger one. I toiled this in the beige fabric which had a very slight stretch like the final suede which I would be using to toile this dress in. To my surprise I was very happy with the fit of this garment and from here began to add in the more complicated panelling.
CROPPED KIMONO JUMPER
The cropped kimono jumper was created by taking a size 10 bodice block and extending out at the shoulders to create the kimono syle sleeves. I then took it in 2cm at each side taper in to the waist. I then added the neckline which I made from a rectangle as I wanted it to be a big and voluminous necklinw, but didn’t want it to sit completely against the neck.
LOOK 3
PRINTED KIMONO TOP The kimono style top was one of the things which I toiled the most throughout the process. Originally my idea was that it should be slightly more fitted, however and ir had a grown on neck line. These two aspects did not woek well and I found that the garment tended to pull in different directions. Following rhe creaion of the Kimono coats I really like the draping bature of the sleeves, so I decided in order to create a bit more movement and a bigger juxtapositiong between the printed and non printed garments I would make it looser with bigger sleevs which became thinner at the end. I then got rid of the grown on necklines. I created this using the size 10 bodice block and following instructions from a book which I borrowed from the library adding extra fabric under the arms to create a decent drape.
OVERLAPPING PANEL SKIRT I created this skirt by using the size 10 skirt block. Initially, I toiled just the silhouette of the skirt several times in order to make sure I got the desired fit before I started to incorporate the more complicated panelling. Once I achieved the shape which I was happy with, I added in the panelling. The first time I did this skirt I made it much more complicated than it needed to be. After Bruce telling me how he would have done it, it became much clearer so I went back to the pattern, And altered the panelling so that it was less pieces of fabric.This was done by marking on the shapes of the cracks which I wanted to create and then establishing where they would overlap. I then had to cut out facings and these to create the sharp corners to allow me to see the structured effect which I was hoping to create. This was toiled in the beige fabric which was in the work shop as it had a slight stretch.
PRINTED SKIRT This skirt was created using the block for the stretch skirt, however I knew that my fabric was to be heavier than the stuff which I used to toile the garments, therefore I added 1cm extra to add a bit of more room.
LONG KIMONO COAT This coat was created by adding kimono sleeves to the size 16 womens jacket block. I kept it straight when extending it in order to create a nice shape at the hem. I then put in the panels and was very happy with the shape and finish of this coat.
ETCHED LEATHER TROUSERS I spent a lot of time toiling different trouser in order to get the desired fit. Orignally I combined the size 10 skinny jean block with the skinny trouser block to try to create a pair of fitted high waisted leather trousers. This was still slightly too wide for the effect that I wanted. It was tight around the calfves which is what I wanted, however, I wanted them to be tightly fitted but perhaps with a slight slouch. I decided to try using a legging block to help to taper in the fit that was too late above the knee. I took a size L as I knew anything smaller would be too tight. Eventually after several toiles I began to get the shape, just in time for patterns to be digitised in preparation for laser cutting.
STRETCH LUREX/ LEATHER TOP For this top, I used the stretch top which made for outfit 1 as a basis for the fit. From here I was able to put in the panels to in keeping with my broken theme . I was happy with the result.
SPLIT PANEL TOP
The Split printed top was a variation which was not in the original line up whcih I came up with. I felt that the printed garments weren not creating a big enough contrast and I wanted to create the idea of the black coming through the prints as well as rhe prints coming through the black symbolising the overlaping of emotions. I made this top from the size 10 dress block. I ignored the darts as wanted to create the loosedness and marked on where I wanted the panels to be. I was happy with the look and slght volume which this top added to the collection as I felt that before there wer too many repetitions withing silhouettes in my collection.
LOOK 5
KIMONO DRESS I created the pattern for this dress by getting a size 10 bodice block initially and following the instructions of extending it out from the shoulder point in order to create the kimono sleeve. From this point I widened the sleeves and this allowed me to be able to to create the oversized draped effect in the sleeve which I desired. Originally this was to be just a fitted dress with Kimono sleeves so in the workshop I decided to experiment with creating splits so that the printes would seperate so that the retrictive garment underneath can be seen.I was very happy with this effect as ike the split top, this added more movement to the collection,.
LUREX STRETCH DRESS I created this dress from the stretch bodice and skirt outline which I made for the printed garments, Following this, I added a turtle neck in order to reflect back on to the suffocating theme.
OVERLAPPING PANEL COAT I created this coat by using the size 16 womans jacket block once gain in order to create the over size silhouette. I marked on where I wanted the cracks to form in the same way as I had done for the skirt and dress. I then marked on the facings and cut all of these out at te same time so that I was able to see that shape that the panels would create when the coat was put together.
LOOK LOOK66
For me, the toiling process was more rushed than I would have liked it to have been. Having trouble finalising my concept and eventually getting my initial line up together meant that I was very late in getting in to the workshop. Eventually when I did finally get in it was realised that my line up was very complex and within the time that I had left it was going to be a struggle. It was not until after the toile review stages that I simplified my line up and finally felt happier and was able to get on with it. The workshop was a place where further development and experimentation was able to take place. It is also a place where ideas were rejected and in some areas developed further. At the end of the toiling process, my line up had progressed more as I felt the previous one had too many similar shapes within and it needed some more movement to create a better contrast with the black garments. Also after a discussion with Alana, i decided to remove some of the laser cut garments as I felt that the prints had come out so well and if all of them were covered then it would be a shame.
FINAL GARMENT CONSTRUCTION
SPLIT PANEL JUMPER
The construction of this garment was relatively straight forward. The fabric which was chosen to construct it was a boiled wool jersey fabric. The edges of the split were overlocked using a four thread overlocker due to the stretchy nature of the fabrc and this was then top stitched down in order to create a neat edge.
STRETCH PRINTED DRESS
Unfotunately this garment was the second attempt at the creation of this look. Having taken a risk in ordering my prints onto a thick jersey fabric, as I felt that the actual print printed onto this fabric the best in terms of colour, unfortunately it was too thick and did not have the stretch properties which I was in need of. I tried to rectify this by adding a seam however they dresses were just too small for the required size. Because of this, I then had to order another batch of printed fabric, This time I decided to go back to my fabric swatches and opt for a stretch crepe fabric which I thought had a nice texture, as the other jersey fabrics felt cheap and insubstantial. When this fabric arived the construction of this garment was very straight forward, All edges were overlocked together using a 4 thread overlocker and the hems finished using the
LOOK ONE
LOOK TWO
OVERSIZE KIMONO COAT The oversize Kimono coat was very straight forward to sew together. The only problem whic occured was that due to the length across the shoulder and the width of the fabric, each piece had to be cut out singally as it was too wide to be able to cut on the fold.
STRETCH LUREX TOP The stretch top went together with no trouble. All edges were overlcked together and then the hems were cover stitched to finish due to the stretch nature of the fabric.
STRETCH CREPE PRINTED SKIRT Like the printed dress I ran into a problem with this skirt as the stretch fabric was too thick. Because of this I re ordered a new fabric and re made the skirt. This was over locked together using a four thread over locker and I attatched a waist band by overlocking on. I then cover stitched the hem of the skirt in order to finish.
LASER CUT SKIRT I encountered several problems wWith the contruction of this skirt,. The first skirt which I got laser cut, the laser panels were too big therefore they cut into the seam allowance. making it very flimsy. I was not happy with this, therefore I had I recut. The next skirt which was cut was very fragile. For a reason which neirher me nor the technician could figure out the laser went arouns every line twice, this meant that it cut through the leather too far and the skirt did not survive the photoshoot, eventually ripping in several different areas. I had it recut once more in time to re do it for the hand in, however there was not enough leather to cut while oieces so the centre front had to have a seam put up the middle. I hope that this one will be better. The skirt required quite a bit of time to sew together due to the matching up of all of the subtle etched lines. However, it is still one of my favourite pieces from the collection.
LOWER NECKLINE PRINTED DRESS This dress was sewn up in the sameway as the printed dress from outfit one with no issues although this was also the second attempt at the printed dress due to the problem which occured with the fabric.
OVERLAP PANEL DRESS Having toiled this more complicated garment several times I was able to put it together fairly confidently. The only issues I encounteres was when it came to the linigng of the garment due to the fact that I had not had time to toile it with the lining, just with facings.
KIMONO STYLE CROPPED JUMPER Due to the width of the jersey which I used to create this garment, I was just able to cut it on the fold of the fabric Hems were cover stitched and the rest was overlocked together with a four thread over locker, I was pleased with the outcome of thi garment.
PANELLED LEATHER LEGGINGS I created these panelled leather leggings by overlocking together the stretch leather and top stitching. Was difficult gettin the panels to match up edpecially when top stitched as thi s slight movement.
LOOK THREE
LOOK FOUR
+ LONG KIMONO COAT
This coat went together with little difficulty and I was very happy with the outcome of it in this fabric.. However, once again the pieces could not be cut on the fold due to the with of the sleeves and the width of the fabric.
KIMONO STYLE TOP
Having rejected the idea of the grouwn on necklines in the kimono top I was much happier with the fits of the garment and love how it came together in the printed fabric with the lurex jersey waitband and cuffs. The top was sewn together and the lurex was overlocked to attatch to the printed fabrics- a facing was added to the neckline
PRINTED SKIRT
This skirt I was able to make out of the thicker jersey fabric however I altered the pattern slighly to make it bigger and inserted an invisible zip. It was the overlocked together and the facing was attatched to the top .
OVERLAPPING PANEL SKIRT
After having toiled several times I was happy to get it put together real . Lining these garment were complicated but i had done a sample trying it out so was hapy to go ahead. The only thing that changes was I changed the formation of the way the panels overlapped each other, as I came across the skirt laid together wrong and I preferred the shape of it, \+
LOOK FIVE
LEATHER/LUREX STRETCH TOP
I had no problems in the construction of this garment, the lurex and stretch leather garments were overlocked together in the same way as the first stretch top however the panels on this one were top stitched.
PRINTED SPLIT TOP
This dress was fairly straight forward to initially out together, however there are a couple of things which I would change had i had time to do them again. Firtly the top stitching of the splts, in hind sight I wish I had carries this on straight up either side of the panel rather than cut across the seam as I feel this doen not look neat.. I deecided that it would do more damage to the fabric to unpick it and redo therefore I had to leave it. Secondly, I would have poaiioned it slightly differently on the print because due to the shape of the panels and where they were laid on the print, and where the seams are sitting on the print, now that it is sewn together it looks as though it is squint.
ETCHED TROUSERS
The constructionof these trousers took longer than plannes as it took a long time for me to be able to get the etched lines to match up especialy whn they were sitting across a diagonal panel line, which meant I had to off set the panel slightly so that when it was sewn together and folded open that it was in the right place.
LUREX JERSEY DRESS This dress was put together in a similar way to the prined dresses. The difference being that this garment has a neckline attatched at the top rather tham a facing. With the lurex you had to be careful of pulling as it would show up if a thread pulled..
KIMONO STYLE SPLIT DRESS This dress went together well the only issue was to be that on certain areas the overlocker didnt not seem to like the fabric and the tensions went slightly wonky. Again, after careful consideration I decided to leave this as the crepe would have pulled and marked had I unpicked it.
OVERLAPPING PANEL COAT This coat caused a few problems within the process of sewing up due to the heavy nature of the fabrics and the layering of the psnels , Because of the overlapping panels, each section of the coat had to be double faced. In order to do this,
LOOK SIX
PHOTOSHOOT
PHOTOSHOOT My original idea for the photoshoot was that I wanted to go home and have it shot on the beach as the was something which was very personal to me and also in keeping with my theme. I wanted the photography to convey the mood of having fresh air and freedom. We did this and some of the photos were nice photos, however it just felt that there was too much going on in the images and this took away from the actual clothing too much, I decided to go back to the drawing board with the photography aspect. After racking my brain at very short notice at another concept for the shoot, I came up with the idea pf just using the wall outside my house with the idea of using a familiar setting. This set a more basic background for the photos which we then edited to pull the colour out of the surroundings, reflective of the way that depression has the ability in which to do the too. I left the colour of the prints as they were however which made them stand out in they way that I wanted. This is the shoot which I decided to stick with for now. Due to the last minute nature of this second shoot I was forced to take the images myself, however in the future after university, I hope to get the collection professionally photographed. Over the previous few pages, were some of the imaes from shoot one which were rejected.
PERSONAL REFLECTION
In reflection of this final year, I feel that the course has both pushed me and inspired me in ways which I did not know were possible, I am overall happy with the outcome as I feel that the garments are reflective of the concept which I was trying to portray. I feel that there are areas which could be changed but overall I am proud of the skills which I had learned and the independence I have gained when it comes to creating a collection. In hindsight and reflecting on the way in which I went about the course there are a few things which I would do differently. Firstly, I would relax and enjoy the process more, in the beginning stages I feel that I put to much pressure on my self to come up with the ‘perfect’ collection and instead all this did was hinder me. I would also learn to have a bit more self confidence within my work and believe in myself more. I feel that this year putting extra pressures on myself has hindered me from achieving some of the things which I wanted to achieve I have found that panicking and changing things because I don’t feel they are good enough only leads to more panic in the final stages.. However, whatever the outcome of this year, I am proud of myself for getting to the end and for tackling a theme which was not easy, it has been a learning experience on another level for me and in many ways, if nothing else has helped me through and enabled me to see the positives in a testing time. I look forward to seeing how the skills which I have learned from this year and the previous years will go on to help me in the future.
BIBLIOGRAPHY
Pages 1-8- Artists Own Imagery Page-11 Sampson, Christian. Depression. 2016. Web. 30 Sept. 2015. Pages 12-31 - Artists Own Imgery Pages 32- 43 Cooper, Alannah Toile photos. 2016 44-69- Artists own imagery