W A L K I N G S H A D O W S M H A I R I S T E W A R T
WALKINGSHADOWS - P A D D O C -
MHAIRISTEWART
C O N T E N T S
BRIE F RESEARCH - ARCHITECTURE - SHADOWS - DESIGNERS
CONCEPT DEVELOPMENT FABRIC MANIPULATION KNITWEAR TOILING FINAL COLLECTION RE FLECTION
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W A L K I N G
S H A D O W S Exploring structural architecture and surface shadow in depth, this graduate collection takes inspiration from various aspects of structures such as window shape, arches, bricks, slats and the general silhouettes of buildings. Architecture can be described as an urban transformation (Soma, Mishra and Pandit, 2013); these garments are a wearable translation of architecture. This collection will showcase fabric manipulation, surface shadow and exaggerated shapes creating a sound structure resembling architectural silhouettes that were of great inspiration; this is in keeping and reflective of Balenciaga. “Architecture should speak of its time and place, but yearn for timelessness.” (Gehry cited in Migayrou and Lemonier 2015) The collection consists of fourteen garments for a six outfit showcase. Designing for Autumn/ Winter 16/17 she aims to embody her theme showing that architecture can be grand, immense and spacious. Some of these elements such as grandeur, elegance, timelessness and beauty are what the designer hopes to encapsulate within her collection and thus reflecting the way in which her possible consumer would feel and portray whilst wearing this collection.
Shadows are light based silhouettes created by an object or person being in the way of light thus casting a shadow (Gombrich, 2014). Shadows can be frightening and symbolise the unknown but it is important to remember that these beautiful shapes of darkness cannot be created without the light. Everybody casts a shadow, which reflects unique elements such as their shape and size; this contributes to the diversity of culture and to individual characteristics. To emphasis the influence of architecture and to the unique characteristics of the individual the designer has entitled this collection ‘Walking Shadows’. Thus, reflecting that each person would create a different look, vibe and shadow whilst wearing the garments dependent on their style preferences. It is a contemporary collection for a varied market appealing to range of people. “There are dark shadows on the earth, but its lights are stronger in the contrast.” Charles Dickens (Dickens, 1837) The target market is aimed at twenty two to thirty five year old females however Miss Stewart wishes to emphasise that a person out with this age range with a contemporary high fashion interest or very strong personal style would be able to make a statement in many items from this collection. The target customer is thought to be highly motivated, active and goal orientated therefore the collection is aimed at those who enjoy fashion and buying themselves garments that are different, innovative and eye-catching. The designer also considered those who have limited time, due to a busy work schedule and personal life, who are keen to have a capsule collection that features garments that are interchangeable within their wardrobe. Thus allowing them to create different styles and looks with the dependant on the location or occasion that they are attending. The designer took this into consideration and aimed to design a ready to wear, high-end collection that incorporated the use of luxurious fabrics, innovative designs and techniques that would meet the original design brief. This would be reflected within the price of the garments therefore the target market would be those with a higher disposable income or those willing to save money to purchase a high quality garment that could be worn on a number of occasions.
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R E S E A R C H - ARCHITECTURE - SHADOWS - DESIGNERS
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T H E P A L A Z Z O
D E L L A C I V I L T A
I T A L I A N A Through researching a wide range of architectural structures and architects, the decision came about to use these finding’s as key inspiration for the collection ‘Walking Shadows’. One of the most influential images researched was that of The Palazzo della Civilta Italiana more commonly known as ‘The Square Colosseum’. It was erected and opened in 1943 on the demands of Benito Mussolini. The architects Giovanni Guerrini and Ernesto Lapadula used curves and angles, which juxtaposed each other perfectly to create a fascist symbolic landmark of Mussolini’s empire (Kaushik, 2013). The arched windows throughout this building inspired the designer to incorporate various shapes and silhouettes within the collection, as a result you can see a resemblance to these curves within the collections line-up; specifically the knitwear. The arches integrated into this structure create airflow through the building, just as the curves worked into the designer’s collection create a flow over the natural shape of the human form. Ironically this symbolic building, which has been influential to the fashion collection ‘Walking Shadows’ was bought, restored and altered into working space for the international fashion house Fendi (Squires, 2015).
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L E
C O R B U S I E R
‘Architecture is the learned game, correct and magnificent, of forms assembled in the light.’ Le Corbusier
Le Corbusier, born in 1887, was a famous and very influential architect whose desire for new and different styles was exceptional throughout his career (Biography, n.d). He designed many buildings throughout Europe and further afield such as The Carpenter Center for the Visual Arts in Cambridge, North America (Harvard, 2003). The designer for the ‘Walking Shadows’ collection became intrigued by his architectural flow, from the purpose of creation to his passion for the arts themselves and through research identified that the Carpenter Center for the Visual Arts building contains sphered surfaces, ramps and various geometric angular shapes (Harvard, 2003). Combining all of these silhouettes gave the designer the confidence to push contradicting themes of linear and angular shapes with curves. This is reflected in the jagged flow incorporated throughout the collection as Le Corbusier pushed the artistic boundaries to form something spectacular, which is the aim the designer wished to achieve within this line-up.
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M A N C H E S T E R &
The inspiration from worldwide architecture has been discussed and related to the collection ‘Walking Shadows’ however this collection has also been inspired by architecture within the United Kingdom and more specifically the variety and beauty of the building within Edinburgh, Manchester and the Scottish Borders. In order to further her knowledge of the architecture within these locations, the designer conducted primary research through excursions. This allowed the designer to take photographs and record details related to the use of shape, colour and design that would then influence her final collection. Manchester proved to be the most inspiring location as whilst strolling through the busy streets it became evident that this built up city contained architecture from many different styles, time periods and architects which resulting in a variety of aesthetics been evident within one location. This variety of aesthetics within the city and the blend between modern and historical architecture emphasised to the designer that opposites can attract and flow well together. The need to show contrasting elements was incorporated into the ‘Walking Shadows’ collection and is reflected within the garments contained in the line-up.
E D I N B U R G H
Whilst researching architecture in Edinburgh, the King’s Building Campus of Edinburgh University commanded the designer’s attention. This campus contains a number of buildings and areas that incorporate interesting and different angles, shadows and aesthetics (Ross, 2012). The campus is a mixture of old and modern architecture juxtaposed in the perfect way, merging together to create a beautifully structural chaos. One building contained within this campus, the Noreen and Kenneth Murray Library, inspired the collection as the designer explored the hub created by architect Lord Austin-Smith (Ross 2012). This four-storey building was completed in 2012 and designed exquisitely for the purpose of achieving the perfect educational environment. The slats across half of this building create perfect lighting inside the building ensuring there is enough light to promote productive working. These slats produce shadow and set the building apart from the more dated buildings around the campus. The wooden exterior combined with the slats has created a very linear design inspiring, the fabric manipulation featured throughout ‘Walking Shadows’.
The designer noted that the stark metallic buildings within the city commanded attention and provided a vast amount of reflection, therefore creating beautiful colours and shapes when refracting both natural and artificial light. In comparison, the older buildings showed a higher level of grandeur and charm thus allowing the designer to note that these buildings radiated warmth and durability, and that they were built to last. This was further informed by the use of building materials, colour and textures such as the warmer sandstone bricks and rounded windows. As a result, this inspired certain outer wear aspects of the final collection.
All buildings are specifically designed to incorporate the appropriate shapes, colours and textures dependant on the architects brief, the location of the building and the time period that it is built. The same principles can be applied to the fashion industry. Miss Stewart has designed her collection with the aforementioned principles in mind whilst also bringing joy to those who wish to purchase and wear her creations.
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S H A D O W S “Find beauty not only in the thing itself but in the pattern of the shadows, the light and dark which that thing provides.” Junichiro Tanizaki When light is blocked by; an object, person or building a shadow is created which denotes that shadows are all unique; each one individual and beautiful. Through research and observing the slats on the Noreen and Kenneth Murray Library the designer was able to identify patterns emerging within the shadows and incorporate this concept within this collection through fabric manipulation. Shadows are often associated with dark and depressive emotions, symbolic of childhood fears of the shadows or darkness. Often people seem to forget that you cannot see a shadow without the light to form it, therefore the designer has explored creating surface shadow within her collection through the use of fabric manipulation. Shadows can be beautiful and can be a place for shelter from the sun and the ideology that in order to see and appreciate the light and good times we must know darkness and the shadows has influenced this collection. This inspired the designer and her philosophy that all humans can be likened to ‘Walking Shadows’ waiting for their light and their moment of beauty.
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“Even though I walk through the valley of the shadow of death, I will fear no evil, for you are with me” Psalm 23:4 14
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B A L M A I N &
B A L E N C I A G A
“Keep to the basic principles of fashion and you will always be in harmony with the latest trends without falling prey to them.” Pierre Balmain
Pierre Balmain created Maison Balmain as a couture fashion house in 1945. His designs exuded class, elegance and grandeur always in keeping to the era in which they were created (Major, n.d).
Cristobal Balenciaga was one of the most influential and famous Spanish designers of his generation whose main focus was on elegance and class rather than fleeting style (Miller, n.d). Practicality, durability and comfort were high on his design agenda to ensure quality for money and garments that could be worn time and time again. His creative use of colour and texture are what set him apart from other designers of his era and this has been influential to this collection.
The company added a ready-to-wear collection in the year of the founder’s death. Oscar de la Renta revived Balmain’s core aesthetic of elegance and sophistication whilst adding a contemporary twist, much like present designer Oliver Rousteing. Rousteing has recreated the intense beading and embroidery in a lavish and youthful way, which has resulted in the creation of gorgeous collections with inspiring silhouettes (Pressler, 2015).
Balenciaga Fall 2015 ready-to-wear by Alexander Wang explored the opulence and lavishness of Crisobal’s original customers. The shapes created through cocooning and curved silhouettes are fabulous and symbolic of the early career of Balenciaga. Exaggerated and structured pieces were paired with figure hugging garments to create a perfect mesh (Vogue, 2015), similar to the aim created in this collection.
Balmain Fall 2014 ready-to-wear was the most influential season to the designer as she was intrigued by the use of form fitting silhouettes blended with baggy and oversized elements, durable and eye-catching fabrics and a high level of attention to detail (Vogue, 2014). The embellishment on Balmain’s garments is incredible and encouraged the fabric manipulation seen within ‘Walking Shadows’.
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G I V E N C H Y &
F E N D I
Karl Lagerfeld is the creative director of Fendi; this brand is infamous in many areas from clothing to accessories. Fendi’s Fall 2015 readyto-wear collection has taken inspiration from The Palazzo della Civilta Italiana, which has also inspired ‘Walking Shadows’.
Born into aristocracy, Hubert de Givenchy had an eye for design and was particularly gifted at designing opulent and luxurious garments for the upper class of his generation, including that of style icons Audrey Hepburn and Jacqueline Kennedy Onassis (Biography, n.d). He knew how to keep design alive and youthful through the use of shorter hemlines and straighter silhouettes.
Lagerfeld’s collection has taken direct response from the marble within the building for certain fabrics and colours, creating structured silhouettes including the use of leather panelling to achieve shape within garments (Vogue, 2015). This inspired panelling throughout this graduate collection. Karl Lagerfeld has re-designed Fendi stepping away from the floral patterns and influences towards a more edgy contemporary look. By using elongated silhouettes and puffy fabrics to create a duvet dress effect, Lagerfeld has shown his eye for making the unpleasant pleasant in fact he can make ‘ugly’ appear pretty to those in the fashion world.
Ricardo Tisci is the present designer at Givenchy; he has been a source of great inspiration to this graduate collection, especially his Fall 2012 ready-to-wear collection. His inspiration reflects elements of equestrian tailoring; mixing leather and silk in order to achieve his exaggerated sleeve, silhouette and shape (Vogue, 2012). This inspired Miss Stewart and provided the confidence to incorporate leather within her collection in order to create interesting silhouettes and fabric manipulation. The way in which he merges hard fabrics and soft together to create an effortlessly contemporary collection that flows together is exceptional and one that will be reflected in ‘Walking Shadows’.
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C O N C E P T
S I L H O U E T T E
F A B R I C
The aim was to focus on slightly exaggerated shape and creating garments with oversized elements, such as the curved base of sleeves, certain collars and palazzo style trousers. These shapes were influenced from the primary research of architecture; through this Miss Stewart has created garments with very contrasting silhouettes and details. Utilising an extravagant curved silhouette in parts of the outerwear and knitwear garments contrasted with edgy, angular pockets and linear fabric manipulation ensure that garments within this collection are being made with the aim to emphasis structure and create and catch interesting shadows.
Some fabrics used within this collection are required to hold shape while others need to flow, to reflect this the designer used leather to hold structure and to create luxury whilst foiled suede allowed her to to create the metallic effect found in the modern architecture researched. The mustard polyester crepe draped beautifully and worked perfectly to create the desired flow; including a wool mix of various tones of grey and burnt orange along with the burnt brick orange shima knitwear created textural depth within ‘Walking Shadows’.
C O L O U R
F A B R I C M A N I P U L A T I O N & B O X P L E A T I N G
Within her accumulated research certain colours were influential and influenced the colour palette for ‘Walking Shadows’ to create a cool Autumn/ Winter collection with pops of colour added to reflect the warmth you want to feel during these seasons. Metallic silver and grey modern buildings were scattered in amongst older architecture within Manchester city centre thus inspiring the combination of cool metallic’s and the warmer and brighter burnt brick orange and mustard tones. Khaki green was incorporated into the collection as the older buildings and stonework often included greenery and moss. The designer feels the khaki and black colours tie together the brighter tones for a varied and complementary colour palette.
To further develop the concept of surface shadow, resulting in inspiration from slatted architecture, and to create this on her fabrics; the designer incorporated different textured fabrics for the manipulation. This resulted in a different effect, look and hold each time. This became a key element of the collection through pin tuck sewing to create a ridge to catch the light and cast a shadow. Through incorporating box pleats into the mustard crepe she was able to create shadow within the pleat that would alter as the wearer moved thus adding depth to the structural collection and enabling it to flow with the body wearing it.
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D E V E L O P M E N T
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The first stage of design is development, developing every idea until reaching “perfection”. The designer was unsure of where to begin due to the high number of ideas that she had and due to this felt that her initial design did not meet her original design brief. The designer revisited her initial research and inspiration to ensure that her designs and drawings reflected the influence of urban architecture. One key feature of the design process was to ensure that the garments would reflect the concept of fabric manipulation and it was central to the design process that this was incorporated from the initial design stages.
In week six there was a development and line-up review, which was extremely beneficial for the ‘Walking Shadows’ designer, this review required the designer to present her first draft of the full line up in pictorial form. The feedback received allowed the designer to reconsider her designs, as it appeared to be two different line-ups merged together rather than one cohesive collection. This feedback enabled the designer to revisit her initial designs in order to create a more contemporary fashion aesthetic. The peplums and flares were rejected at this stage, instead figure hugging silhouettes and palazzo wide leg trousers were incorporated into the line up to reflect the original design brief.
As the student started to experiment with outerwear ideas very exaggerated shapes started to appear, such as extremely oversized and rounded silhouette knee or floor length coats. These continued to be developed to include large collars, visible zips and buttons. To contrast this, various trench style coats were incorporated into the collection to create an alternate aesthetic with belts synching the waist as opposed to the curved silhouette. From this, she began to develop above the knee and dungaree style dresses with a peplum frills or pleats at base or waist, upon reflection these did not meet the original design influence or brief. By designing contemporary garments such as pencil skirts, cigarette style pants, jumpsuits and flares allowed a more cohesive look to be achieved. This allowed the designer to gain a clearer insight into her final collection.
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Upon reflection the inclusion of a trench coat was rejected in favour of aviator and bomber style jackets. This was a defining moment as it allowed the designer to create rounded designs through curving the sleeves and adding stand up or asymmetric collars therefore reflecting the architecture observed within the city locations. The designer felt this look to be more unified and reflective of the vibe her collection aimed to radiate. This enabled the designer to provide a coherent and cohesive line up that was reflective of the initial brief. The student has further developed her knowledge of creating a fashion collection and the importance of ensuring that her written brief contains relevant information to guarantee a cohesive structure to the line-up. This has been a positive development and has allowed her to gain a high level of confidence in her research and design skills.
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F A B R I C
M A N I P U L A T I O N & K N I T W E A R
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C R E A T I N G S H A D O W
S U R F A C E
The designer has a particular interest in fabric manipulation and this was a key element of the collection ‘Walking Shadows’. Through extensive research of various forms of fabric manipulation, she discovered a form of pin tucking forming linear ridges on the fabric that created surface shadow, which was central to the collection. This method related to the inspiration gained from the slats on various buildings in Edinburgh and Manchester. This form of fabric manipulation integrated with the concept and the designer was intrigued by the difference in finish dependant on the fabric used. The leather held the shape very strongly whereas the cotton did not hold it initially but once ironed in the correct direction made a different kind of shadow all together. Using this effect throughout various garments achieved differing results, leading to a cohesive pattern. Thus maintaining her process of thought from the beginning that each structure is different in its own way but still strong and tantalizing. This fabric manipulation and the differing effects it has dependant on the fabric makes this collection unique as it captures the attention of customers and designers by being eye-catching and unforgettable.
“Being different and thinking different makes a person unforgettable. History does not remember the forgettable.” Suzy Kassem
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K N I T W E A R
The designer acknowledged that it would be beneficial to add more textural depth to the collection and determined that this could be achieved through the use of knitwear; by altering the original concept of jersey fabric jumpers to knitwear enabled a more cohesive collection. Researching various types of knit, including jacquard and plain knit, it was decided that the body of the jumper should be created in a 1x1 Rib in keeping with the linear aspects throughout the line-up. To achieve the burnt brick orange colour the designer sought advice from the dye technician at the university before examining dye swatch books until she identified a colour that complemented her collection. Once knowing the specific colour required and finding out details about the twelve-gauge shima knitwear machine the next task was to identify the best wool for the collection. Researching various types of wool from alpaca to lambs wool, she decided on a 72tex super Geelong lambs wool from the yarn store. This is high-quality lambs wool, which the designer was recommended by various members of the yarn stores team for its quality and its suitability for the dying process. On reflection, this aspect of development was unsuccessful as the information given to the designer was not accurate and since the yarn had been previously treated when dyed the yarn became weaker. This was reflected in the finished fabric as when knitted runs and holes appeared. The designer was extremely unhappy with this so decided to unravel the yarn already knitted in order to have it recoated and knitted again to increase strength. This process was successful and gave the designer an imperfect knit which she was able to incorporate into her theme with ease as buildings contain imperfections but that is what makes them interesting, different and beautiful just like this ribbed knit.
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T O I L I N G
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P R O C E S S
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O U T F I T O N E L O N G
L E A T H E R J A C K E T
This pattern took time to perfect as the designer wanted to achieve a perfect fit so that it was slightly over sized but not too exaggerated. Initially she worked from a size ten tailored jacket block, whilst editing this pattern it became apparent this would not work therefore the designer changed to the block blouse, as the fit is loose yet still contains some shape. This pattern was altered to add length and to create curved volume, in-keeping with the original concept. The sleeve pattern was amended, by creating a seam down the middle adding a slight curve and adding a greater curve along the underneath of the sleeve; with the correct curvature achieved she traced off and created a four piece sleeve ensuring that the base of the sleeves could be fabric manipulated to add texture. Upon toiling, it was realised that the method of seam would have to change to create less bulk as this jacket was being made from thicker cowhide. Making samples of seams enhanced the designer’s knowledge and allowed her to select a lapped seam enabling a high-end finish. This was refined to one rather than two stitch lines to enhance the aesthetic of the garment. Using pleather for toile allowed the designer to identify how this would work on the finished garment. Overall, the toile was successful in terms of the fit wanted in the sleeves and body.
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P A N E L J U M P S U I T
This was the designer’s first jumpsuit design and due to this the process was daunting. A size ten bodice block was used for the top half and the women’s trouser block also in a size 10 to complete the garment. Taking time to consider the process it became apparent that the top and bottom halves matched up at each seam and especially the front darts, to ensure a high quality garment. The bodice block contains front darts from the shoulder seams these are unseemly so she made the design decision to move the darts to the bust in order to maintain the fitted aspect of the top in a more flattering way. Using the trouser pattern from outfit four enabled the correct measurements for the knee panel placement in the first toile. Adding 5cm onto the length of the trouser block gave the length required to skim the models ankle. The first toile of both the bodice and trousers was successful, leading the designer to add panels to the front and back of this garment bodice to enhance the complexity. As the bodice worked correctly the panels traced from it worked well creating different angular shapes and adding a new texture to this garment.
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O U T F I T T W O J U M P E R
The designer wanted to create a jumper with a curved grown on sleeve and curved base resembling arches. After drafting the pattern plan from the size 10 knitted top block, the designer added the sleeve onto the body of the pattern to create the grown on sleeve. The base of this sleeve grew onto the bottom of the jumper, using a ribbed knit meant the width of the fabric was 70cm which smaller than the usual 140cm so there had to be a seam down the middle of the front and back. Although the first toile was a success it was decided that a high neck jumper would be more in keeping so the designer re-patterned to include a grown collar. After re-toiling in rib knit using the four thread knit overlocker produced the desired outcome.
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P L E A T E D T R O U S E R S
This pattern was drafted from the size ten trouser block and then altered to include the inverted box pleats at the front and back. An 8cm box pleat was decided upon resulting in having to split the pattern either side of the 8cm to enable the 4cm to be added to each side for the pleat. 4cm was then added to each side of the trouser base, which tapered inwards up towards the hip line to add a fuller effect to the wide leg trouser. The designer was satisfied with the pattern of the pleat until it became apparent to her whilst pressing the front pleat into place before top stitching that it did not meet. After trying the back and realising the same problem had occurred she did not continue with this toile. The designer reverted back to the pattern, soon realising the problem was because she forgot to remove the darts from the pattern adding in various extra centimetres into the pleat causing it to be incorrect. Noticing this issue quickly meant it was easily resolved. After removing the darts and adding 10cm to the length so that the trousers would touch the floor with heels, 0.5cm was also added to the seam allowance to include French seam to give a high quality finish. With this complete, the designer felt that the pattern was correct. The second toile was a success and provided the correct fit at the waist and wide leg look without being over bearing.
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O U T F I T T H R E E P I G
F O I L A V I A T O R J A C K E T
Wanting to achieve a similar silhouette with this jacket and the jacket in outfit six meant she could work from the same pattern plan and create this more aviator style bomber jacket although this garment is asymmetric and contains two collar pieces. Using the same 2 piece curved sleeve pattern ensured that there was no ease created and the sleeve went in without puckering. Toiling this jacket in a non-leather woven fabric was positive despite a few minor collar alterations. It was one of the favourites pieces at her toile review, filling the designer with hope. After tweaking the collar she toiled again in pleather achieving a better outcome which she was pleased with.
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Z I P F R O N T T O P
From the size ten bodice block the designer created an asymmetric front opening top with a panel of fabric manipulation to the wearers right, which added depth, and texture to the outfit. She knew a low V-back would be a nice contrast to the two low V-neck front garments featured. The creation of a sharp point worried the designer but by using a facing she felt this would be manageable. The pattern for this piece was correct first time leaving the designer very happy with the fit and look of this top.
L E A T H E R S K I R T Using the skirt block in a size ten, the designer began to envisage how to achieve the tight fitting pencil skirt idea she desired without darts as it was to be made in leather. After careful consideration she decided the shape required the darts to enable the skirt to hang in the desired fashion. The designer considered how bulky and unseemly this garment could become so sought advice from a technician and made the choice to include darts but to cut them open once sewn and glue them down to achieve a more high-end finish. The technician’s expertise increased accuracy within the front and back split as the pattern was altered prior to toiling. By incorporating a split up the front and back along with the textured fabric manipulation added a contemporary edge to the skirt. After patterning the skirt to her best ability and achieving the desired result, the seam allowance was altered to 1.5cm. The designer felt this really brought her collection together and was one of her favourite pieces.
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O U T F I T F O U R L O N G
L E A T H E R J A C K E T
The jacket body pattern created for the longer coat in outfit one could be utilised for this toile resulting in a straightforward process as alterations had already been made to the previous jacket enabling the designer to know what did and did not work.The main differences between these two jackets are the leathers used for the pockets and the collar. This particular jacket has an asymmetric collar larger at the wearers left side tapering round to a smaller collar on the right. Using paper patterns on the stand the designer experimented with different angles and sizes until finding the one she preferred. After toiling both jackets in outfit one and four she made the decision the lapped seam was a better fit and gave a cleaner more professional finish.
S T R A I G H T N E C K T O P
This garment changed drastically after the toile review when the designer realised her first idea was not as strong or cohesive as the rest of the collection when she saw the completed line-up. The first design used the bodice bock in a size ten adapted to appear more cropped. Three panels were designed to create a layered look however when taken from 2D to 3D this was unsuccessful. Reverting back to the pattern plan it was clear she still wanted the bodice block to be cropped but it did not require the layering so instead she opted for a panel of fabric manipulation straight across the bust, this was more flattering and in keeping with the rest of the line-up. After this pattern was corrected she toiled the garment creating what she felt was a great piece that is interchangeable within the collection.
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S K I N N Y T R O U S E R S
This garment reflects the look of the trouser part of the jumpsuit created for outfit one. The women’s trouser block in a size ten was used to create a slim fit figure-hugging trouser to fall on the ankle. These trousers would contain a knee panel of fabric manipulation. After toiling for the first time it dawned on the designer that she had not included additional length to the pattern resulting in the knee panels being positioned wrongly, which did not achieve the look desired. On completion of toile number one it was apparent that the trousers were not tight enough and therefore were tapered in 2cm from the hip line downwards to create the perfect fit. Toile number two was improved and achieved the fit, silhouette and correct knee panel placement the designer craved for this garment.
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O U T F I T F I V E C R O P P E D J U M P E R
Adding this second knitwear jumper to the line-up made it more cohesive as the jumpers are similar in pattern although this jumper is very cropped it still contains the grown on sleeve and curved base in keeping with the brief. The first toile of this cropped jumper in a jersey fabric was successful in creating the right shape and silhouette. A grown on, high neck collar was added to the design and this was ready to be re-toiled in rib knit to gain experience of sewing the correct texture of fabric. The designer was very happy with this cropped effect and it seemed to be very flattering on the body.
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L O W V- N E C K J U M P S U I T
This jumpsuit was relatively straightforward to pattern and toile correctly as the base of the jumpsuit was the same as the trousers from outfit two. After working out previous issues in the trousers the designer was able to use the correct pattern first time. The size ten bodice block was used to create a pattern for the top by altering the front into a deep V-neck and removing all darts, to ensure a less bulky top whilst using suede. Removing the darts and keeping a form-fitting top was harder to achieve than the designer first anticipated as she was using pig transfer, a light form of suede. To overcome this she used the pattern piece and attached this onto the mannequin to enhance her understanding of the fit before toiling. She then realised near the chest needed supressing 1cm to create a flush finish over the chest in the deep V creating the correct shape and silhouette she desired.
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O U T F I T S I X P I G
F O I L B O M B E R J A C K E T
Using the women’s blouse block in a size ten to achieve a loose fitting bomber style jacket, meant having to edit the length of the pattern to achieve a slightly shorter body. Deciding to create a curved back panel so the back body would be in two pieces subtly kept the theme cohesive throughout maintaining the inspiration from arches and curved windows. This theme was continued through the sleeves of the jacket, using two parts, similar to each jacket within the line-up. Using thinner foil for this jacket meant a normal seam could be used as opposed to the long jackets that required the use of lapped seams. After consideration and realisation the designer acknowledged that easing a sleeve into leather or suede would be near impossible; fortunately the designer realised this before creating the jacket toile. This meant she had to revert back to her pattern plan and remove the ease to create a sleeve top in the exact same measurements of the body armholes front and back. Her realisation of these problems before toiling resulted in her first toile being designed as intended.
L E A T H E R D R E S S
The ‘Walking Shadows’ designer created this pattern from the size ten dress block in order to achieve a figure hugging waist and hip dress. After running up the pattern and toiling in a lightweight fabric to test it she soon realised removing the shoulder darts altogether and not sewing in the waist darts did not achieve the silhouette desired. The low V-neck again needed supressed by 1cm to flatten the unflattering gaping at the chest as with the jumpsuit in outfit five. Revisiting these problems in the pattern she realised having the waist panel of fabric manipulation meant she could incorporate the darts she moved from shoulder to waist going into the seam thus creating shape and less bulk than having the seams and darts present. Toiling the second time in pleather the correct silhouette and flattering shape was achieved. She was very pleased to achieve this in a similar fabric to that being used for the final garment enabling the designer to visualise the finished garment.
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F I N A L
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P R O D U C T I O N
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O U T F I T
O N E
L O N G
L E A T H E R J A C K E T
The designer finished this jacket by including a satin lining, sleeve facings and a grown on facing to the base of the jacket. Using the cowhide was harder than anticipated but the lapped seams with one row of topstitching at 0.5cm made it look neat and professional. Making bellow pockets out of the pig transfer proved challenging but when finished looked striking and different. This jacket contains a silver open-ended visible zip, which adds an edge. The leather required copious amounts of hammering to ensure the final product was neat and not bulky.
P A N E L J U M P S U I T
After using a three-thread overlocker to finish edges and neatly pressing the darts, the designer was required to sew the jumpsuit body together. Bagging out the leather panels of the jumpsuit in satin lining ensured a neat and tidy finish to the outside of the garment. Facing the neck and armholes and finishing off with a lining reaching half leg contributed to a professional finish. The trouser hems were turned up a centimetre and sewn.
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O U T F I T
T W O
J U M P E R
The knitted jumper was easily cut out from the rib leaving a centimetre seam allowance on which the designer used stay tape on the right side of the fabric to ensure no stretching of the rib. She hoped to catch all the stay tape in-between the four thread overlocking. This worked out well minus a few small areas where the stay tape needed cutting away providing a very neat finish to the seams. Using a facing at the neck line, creating small cuff from the rib and cover stitching the base resulted in a tidy finish although in future the designer would also face the base of the jumper to ensure an immaculate finish.
P L E A T E D T R O U S E R S
These crepe yellow trousers are sewn together accurately through pressing the pleat correctly and topstitching down the pleat until the knee. Using french seams to finish the trousers before half lining them created a neat and professional finish. Closing this garment with an invisible zip reaching from the center back to the top of the waistband alongside the double turning the hem provided a luxury finish.
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O U T F I T
T H R E E P I G
F O I L A V I A T O R J A C K E T
This jacket collar perplexed the designer at first but the finished product is very neat, this was achieved by ensuring that both parts of the collar are bagged out for quality. This jacket was sewn together using a 1cm seam allowance as normal, then hammering and gluing the seams for a flat finish. The curved back panel was created by sewing a top stitch along each side of the seam at 0.5cm. The garment was completed through the use of facing on the base and armholes attaching to satin lining before closing it with a silver opened ended zip.
Z I P F R O N T T O P
Using glazed cotton to create this asymmetric top gave a glossy and interesting finish. The panel of fabric manipulation was bagged out with lining to create a professional aesthetic, before being attached to the main body of the garment and finished neatly by inserting an invisible zip at the front. Carefully finishing this top with facings the designer placed particular emphasis on creating the point at the back prior to lining to demonstrate quality.
L E A T H E R S K I R T
This skirt was sewn together with a 1.5cm seam allowance that was hammered and glued down precisely. Cutting open the darts and gluing these ensured there was no excess bulk enabling a neat finish. The fabric manipulation looked exquisite in this leather and was relatively easy to sew. Creating the bellow pocket took time and was difficult to sew as it kept sliding on the leather. This required perseverance in order to create a high quality final garment. An invisible zip was placed at the center back going through the waistband to the top prior to finishing this garment with a lining. 64
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O U T F I T L O N G
F O U R
L E A T H E R J A C K E T
Similar to the jacket in outfit one, it is finished with a satin lining, sleeve facings and a base facing, which were to be grown on. Unfortunately the designer removed the excess fabric at the base of the jacket. This meant that she had to include an additional facing and the hammering process took longer than anticipated. The bellow pocket on this particular jacket did not work out as planned as this leather was thicker than anticipated which meant that sewing the pocket onto the garment resulted in excessive movement. The designer completed the garment with an open ended silver zip.
S T R A I G H T N E C K T O P
For the top the designer sewed all elements together using a 1cm seam allowance before hammering and gluing the leather back piece. Once again she bagged out the manipulated fabric panel thus looking neat and finished to a high standard. An invisible center back zip reaching the top of the neck was inserted prior to finishing the garment with facings and a lining. As the neck has a straight finish the facing did not fold in as well at the seams due to the material choice, which resulted in excessive hammering in order to achieve the desired look.
S K I N N Y T R O U S E R S
Overlocking these trouser pieces with a three-thread overlocker meant that the designer was required only to half line these to produce a professional finish. The pockets and the center back invisible zip are finished to a high standard. The final adjustment was to turn up the hem by one centimetre and sew this in place. 66
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O U T F I T
F I V E
C R O P P E D J U M P E R
This jumper, similar to the knitwear in outfit 2, was sewn together with stay tape and the four thread knit overlocker to create a high-end finish. With the arms having a small ribbed cuff, the neck being faced and base being cover stitched as neatly as possible. In future, the designer would have faced the bottom of this jumper instead to create a more defined curve.
L O W V- N E C K J U M P S U I T
Merging the crepe and pig transfer for the jumpsuit went well. She began pressing the pleat and topstitching neatly once again similar to the trousers in outfit two. She successfully french seamed the trousers together for a high quality finish before joining the suede top to the bottoms and finally hammering and gluing the seams down neatly. A long invisible zip was inserted in the center back prior to lining the body and half leg. The hem was then double turned to ensure a professional finish.
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O U T F I T
P I G
S I X
F O I L B O M B E R J A C K E T
This jacket was sewn together with a 1cm seam allowance before hammering and gluing the seams down to create a flat and neat seam. Whilst sewing together the curved back piece again she chose to topstitch at 0.5cm along each side of the seam to create a professional looking garment. Using a fabric manipulated collar made it more challenging to sew in but as it was bagged out with the regular wool it looks effective and not to bulky which was a worry for the designer. The bellow pockets are sewn onto a high standard however conserving the leather was a challenge for the designer, as it kept moving. The pockets placing is different by just under 1cm resulting in one being closer to the zip than the other, making a design decision to leave it was difficult for the designer but she felt for less than a centimetre she was not willing to move it and expose holes in the leather. This was disappointing, as she had hoped for a perfect garment however as her jacket is lined, faced and finished with an open ended silver zip she has still achieved a quality finish.
L E A T H E R D R E S S
This dress is one of my favourite pieces. The final is to a high quality and looks very neat. It is sewn at the normal 1cm seam allowance then hammered and glued into place for a flush finish over the body. There is an invisible zip sewn under the wearers left arm. This garment is lined and faced to achieve the high quality finish the ‘Walking Shadows’ designer craved.
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R E F L E C T I O N One of the defining moments of this academic year was when the designer discovered her aesthetic and was able to recreate this from the initial research project through to production before finally compiling her written work. Fourth year has taught her to expect the unexpected and to reflect upon each design to ensure that you continually develop your knowledge, strengths and the ability to both accept and to give constructive criticism. The feedback received this year has enabled the collection ‘Walking Shadows’ success; amending her drawings and designs based upon this has allowed Mhairi Stewart to create a contemporary commercial collection. It is through these opportunities that she has been able to strengthen her theme and produce a cohesive collection whilst developing her skills and knowledge as a young designer. Upon refection there are changes that would be incorporated into the design process in future to ensure accuracy and to increase the efficiency of the design and manufacturing process. One such change was highlighted within the knitwear as the designer felt that further research and practice was required to achieve the perfect knit however through seeking guidance and further reading she was able to achieve the colour she desired for the knit. The knitwear would be altered in future to include a facing along the bottom, this would further enhance the curved shape. The designer has furthered her knowledge of how to finish and construct garments and in future this knowledge would be applied to constructing the very low cut dress (outfit six) and jumpsuit (outfit five) resulting in a higher quality finish. The leatherwork is one aspect of the collection that the designer is delighted with although upon reflection further research and time would have been beneficial to allow her to experiment with leather and the different sewing techniques. The designer is thrilled with the quality of jackets she has created, with the exception of the bellow pockets, as she was unaware of how challenging it would be to sew these out of leather. Through perseverance and experimenting with different sewing techniques the designer has produced these to an acceptable standard but not the high-end finish she hoped for. Using fabric manipulation and working with leather has been a success and is something she will take forward and utilise in her future career. Reflecting upon this past academic year the designer is able to determine a more cohesive approach to both her written and design work. This has been achieved through hard work, detailed planning and effective time management. The designer has developed her work ethic and strongly believes that she has worked to the best of her ability and has furthered her knowledge of the design and manufacturing process, which will be beneficial to future employment within the fashion industry.
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B I B L I O G R A P H Y
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Images – Figure 1 – Hahijary, B (2015), Unknown [ONLINE]. Available at: http://www.indonesiadesign.com/design/wp-content/uploads/2016/02/ blogdsc03498.jpg?lightbox%5Bmodal%5D=true [Accessed 1 Februaryruary 2016]. Danielleaondesign (2015), Unknown [ONLINE]. Available at: http://www.daniellaondesign.com/blog/palazzo-della-civilta-italiana-fendis-new-home [Accessed 4 February 2016]. Italian Vogue , (2015), Unknown [ONLINE]. Available at: http://cdni.condenast.co.uk/1920x1280/o_r/Palazzo-della-Civilta-Italiana-vogue-18jul13-rex_b1.jpg[Accessed 4 February 2016]. Figure 2 – Unknown, (2015), The Carpenter Center for the Visual Arts [ONLINE]. Available at:http://scandinaviancollectors.tumblr.com/ post/84258119515/le-corbusier-the-carpenter-center-for-the-visual [Accessed 4 February 2016]. Harvard (2015), The Carpenter Center for the Visual Arts [ONLINE]. Available at:http://ccva.fas.harvard.edu [Accessed 4 February 2016]. Figure 3 – Primary imagery from – Mhairi Stewart Figure 4 – Unknown, (2013), University of Edinburgh unveils Noreen & Kenneth Murray Library [ONLINE]. Available at:http://www.urbanrealm.com/news/3941/University_of_Edinburgh_unveils_Noreen_%26_Kenneth_Murray_Library_.html[Accessed 4 February 2016]. Figure 5 – Unkown, (2015), Shadow of a Leader [ONLINE]. Available at: http://www.lionshare.org/blog/2015/4/29/the-command-of-jesusmake-disciples [Accessed 17 February 2016]. Figure 6 – Monica Feudi, (2014), Collection RTW 2014 [ONLINE]. Available at: http://www.vogue.com/fashion-shows/fall-2014-ready-towear/balmain/slideshow/collection#40 [Accessed 24 February 2016]. Figure – 7 Monica Feudi, (2015), Collection RTW 2015 [ONLINE]. Available at: http://www.vogue.com/fashion-shows/fall-2015-ready-towear/balenciaga/slideshow/collection#26 [Accessed 24 February 2016]. Figure 8 – Monica Feudi, (2012), Collection RTW 2012 [ONLINE]. Available at: http://www.vogue.com/fashion-shows/fall-2012-ready-towear/givenchy/slideshow/collection#3 [Accessed 24 February 2016]. Figure 9 – Yannis Vlamos , (2015), Collection RTW 2015 [ONLINE]. Available at: http://www.vogue.com/fashion-shows/fall-2015-ready-towear/fendi/slideshow/collection#2 [Accessed 24 February 2016]. Fabric manipulation, knitwear and toiling Images – Mhairi Stewart Final graduate collection photography – by Shaun Ward Photography http://www.shaunward.com 80
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