PAD by Moira Cain-Leon

p r o c e s s

a n a l y s i s

M o i r ac a i nl e o n 0

d o c u m e n t

CONTENTS

brief

Research

Colour

D e s i gn c o n c e p t // S i l h o u e t t e

Print Developement

Fabric // k n i t

128

surface design // d e t a i l s

production

ReFLection

130

132

Bibliography

References

The new science of chaos theory entails the idea that chaos and order are merely two aspects of the same underlying principle, and that chaos is an order unrecognized. The English word ‘Cleve,’ which denotes both the coming together and separation can be taken as the leitmotif of this collection, the tune of which is Astrology. The specific notes of which are each star signs qualities, characteristics and nature. With this information the collection demonstrates through the designs, colours and prints how some star signs are compatible with others, and how some clash. Astrology is a forerunner of our more sophisticated attempts to psychologize humanity. The ways behind human nature are exemplified, with a general theme throughout, flowing and clashing in a consequential system.

design brief

In life, there are people that naturally, one just clicks with, and a lot of the time, its not necessarily clear why. Alternatively, there are people that for whatever reason, it’s hard to connect with, while people around you, friends of family perhaps, that don’t have the same issue. However, this collection is observing the interactions of people, and their astrological characteristics, and demonstrates in the medium of fashion, why and how humans can interact, relate and connect on a deeper level with others. While alternatively, there is a barrier, and clash, between other humans. Although in life, society and the modern way of living, is almost impossible to escape many interactions, with people one is or isn’t compatible with, yet still has to make it work, for survival. Colours representing star signs, in a contemporary form, with artist like Hans Hofmann, Clyfford still and Mark Rothko, who demonstrate colours rather than image in their work. Some tones that represent compatible signs will ease into each other, with a print that incorporate each other, and compliment one another. In opposition, clashing star sign personalities would have contradicting and conflicting prints and colours, in a more boisterous approach. Certain colours and prints will portray characteristics and qualities exposing the nature of star signs. Some will be compatible, and interlink with each other, in print, colour and structure, and other will clash, and will have to be pulled together by details like oversized eyelets, belts, D rings, and buttons. Bringing together the super imposition of certain non-compatible qualities, in such a way as to eliminate the incongruences apparently inherent in the matériele. Although it may not seem as if the garment construction is meant to fit, or the prints and colours naturally coincide, it is part of the greater concept. The collection is comprised of 6 outfits, with a total of twenty-one garments. Layers are prevalent in the collection, not only because of the A/W trend, but because the layers demonstrate the different personalities of each star sign and horoscope, and the layers of the human psyche portrayed through each persons star sign qualities, and the way it is demonstrated through pattern cutting, details, print and colour. The silhouette and the elements are complimentary, like calling to like. Water (in the ice form) and earth represent a more structured silhouette, while air, fire and liquid water embody the flowing aspect of the universe. The combination of silhouettes, both fluent and structured is a way for the pieces of the collection to be likewise complimentary, like calling to like, allowing the “cleaving” which is the underlying theme of the collection. P a g e

The target market is aimed at the more audacious consumer. The cost being at the higher end of the market spectrum, due to luxurious fabrics, digital printed and surface decoration. Being an A/W trend, the collection requires more material, and design. Fabrics include wool, wool crepe, silk, suede, cotton satin, silk twill and silk crepe satin. Knitwear is evenly placed throughout the collection, and with embroidery and etching adorning the jackets, this only adds to the attention to detail, elevating the collection within the mid market level. Zoe Kravitz and Lisa Bonet act as the brand ambassadors for the collection, due to their growing recognition, and thier cotemporary and fashion forward styles. Being mother and daughter, they demonstrate that good style never goes out of fashion, and their ages appeal to the whole spectrum of ‘The Order Unrecognized Collections’ target market, which ranges from 22-65 yrs, with the price point ranging from £50-2,500. Though ‘The Order Unrecognized Collection’ has some pieces that can be seen as tailored to the younger generation, the numerous layers that make up the collection are created with the intention that older generations can select which garments and outfits they feel most comfortable in, and yet there is enough variation so that they do not feel they are struggling to find one or two pieces they want in each collection, while widening their scope for artistic boldness. The values reflect consistently well-made clothing, with an inclination to have fashion-forward cuts, alternative prints and colour-combinations. The brand focuses on the quality, and not the quantity, buying one staple piece that lasts, and can be interchangeable with other garments out-with the specific collection. The colour pallete is comprised from carefully selected tones that each represent a sign, with some overlapping, and some sign individual. Through the use of colour, which is emphasized within print, many characteristics are shown in combination, and interlink and clash, in an orderly chaos. The name of the collection is derived from all aspects of the signs characteristics, colour and personality compatibilities. It explains that although something may look like chaos, and altogether a non-understandable situation, there is order, and everything is where it’s meant to be, its just not recognizable for the uneducated eye. Though there is chaos, it is an ordered chaos, just unrecognizable to the viewer. This is the core of the collections theme, and aesthetic.

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The research of the ‘Order Unrecognized Collection’ commenced with looking into each star sign, and their characteristics, colour preferences and interaction and relationships with other star signs. Research was conducted by looking at all twelve signs in detail, bringing to attention their inner most important key factors.

research

The exploration began large, so that later the concept and development could be converge, and become more distinguished. As each zodiac sign has colours and other-sign compatibilities and a body part it’s connected to, it is important to display all these aspects through colour, design and structure. As the groundwork developed, the four elements were considered for their structure and characteristics. With the zodiac signs research, and with all the information and colours displayed, the decision was made that the collection would represent six out of the twelve signs. This is for several reasons: There wouldn’t be a consecutive colour combination, because it would mean too many tones all together. Additionally, there would be an inconsistency with what areas of the body the clothing would highlight. And lastly, it would otherwise be too complex, and there would be too much information overlap. Each star sign taken forwards signifies one the four elements: Earth-Taurus and Capricorn Water-Scorpio and Cancer Air-Libra Fire-Leo. Having these elements that carry their own properties, along side each sign, with their characteristics, stimulated a lot of material and ideas for silhouette. There was a lot of artistic and design responses that were cultivated through this area of the research, as to understand what forms worked to represent the idea each element in a more conceptual manner.

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Fine Silk Crepe

Celine

E l e m e n t a l A / W

TREndS

knit

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Trends play an important role in the research segment, which aid the collection in being fashionable, and marketable, all the while, keeping true to the original concept. Elemental trend on WGSN was inspiring because it tied in with the four elements being a key actor in the silhouette of the collection. It was beneficial to survey what was forecasted, in terms of fabric, yarns, silhouette and marketability.. The main factor that was taken forward from the elemental trend was the fabrics, and the use of natural yarns, like wool and silk, which is also market appropriate. Being a collection for a mid brand level/ independent designer, the collection is deigned to be made from premium fabrics, for aesthetics, quality and market level.

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artist inspiration

The idea of colour holding a higher meaning than just an image or print was something that holds great significance within the collection. Artist examples like Mark Rothko, Clyfford Still and Hans Hoffman proved to be incredibly inspirational. Through their work, they display a lot of meaning, context and emotion in a non-pictorial way. Artistic responses were created in acknowledgement to their work, and to see if that could stimulate some prints, colour examples and mood. The responses proved a positive way to visualize what kind of prints and shapes could be to include in the collection. The print itself becomes a non-representational presentation, over and above its material aspect (each colour having a sign and characteristic attached to it).

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clyfford

still

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Hans Hoffman The initial paintings (with restriction of colour) was a starting point for expanding on CAD, and delve more into the preliminary idea of prints.

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artistic response

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colour P a g e

selection and Origin

The colour palette was derived from the initial research of each sign, and their colour preferences. Though each sign has partiality, due to the complexity of astrology, and dependent on each signs specific birthday, many aspects of the individuals sign changes. However the colours that were used were those that occurred the most (independent of birth date). Some of the tones were specific to only one sign. However, with this in mind, one colour may be the only thing in an outfit that characterizes that particular sign.

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SCORPIO TAURUS

o r i g i n o f c o l o u r s // taken forward to fInal collection

CANCER

LIBRA

LEO

CAPRICORN

design concept

The design concept, distilled from research has been narrowed down to six signs. However because it was a 6-outfit collection, the idea isnâ&#x20AC;&#x2122;t to have an outfit for each zodiac sign, but to have all design aspects come together, to form a conceptual vision. Each zodiac sign also has a part of the body that it is connected to (holds rulership over), and as the collection isnâ&#x20AC;&#x2122;t designed to be literal, and is more conceptual, aspects like colour, design and structure symbolize the signs and encompass all their individualities. An example would be, the colours and prints embody each sign, and with that, their own personal characteristic, compatibilities and elements. While the design of the garment, structure and silhouette highlight the sections of the body connected with the signs: Taurus- Neck and Shoulders Cancer-Chest and Stomach Leo-Heart and Spine Scorpio-Sexual Organs Capricorn-Knees and Joints Libra-Lower back and Buttocks

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d e v e l o p m e n t // s i l h o u e t t e

The water sign, with two properties and forms, one, the structured hard form of ice, and the other, the flowing ripples of it in its unfrozen form. Air, being only visible when interacting with a physical object, while fire has a flickering swift moving shape, that can be exemplified through a soft yet heavy silk like fabric. The structure of the collections designs represents all four elements. The design development was composed from several stages. For example, the development stage began with loose sketches that were the quick, initial ideas. To advance to a more specific direction, the designing progressed onto Illustrator, which abetted the visualization of the drawn sketches to become more 3D, with advanced detailing. This expanded the development process, and pushed it into a more technical direction, where garments could be layered on top of each other to achieve a clearer idea of the outfits, and the collection as a whole, encouraging range planning.

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LEO-HEART TAURUS-NECK STRUCTURED AND DRAPE FIRE AND EARTH

sketchbook example

Cancer and Leo, Heart and chest Scorpio, sexual organ

Embroidery

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CAPRICORN, HIGHLIGHTING KNEES STRUCTURED SILHOUETTE-EARTH

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Print Development

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Clyfford Still RESPONSE ORIGINAL TO COLOUR WAYS The prints are all derived from the creative responses that were undertaken while experimenting within the sketchbook.The main significance of the prints and colour combinations means that the collection isnâ&#x20AC;&#x2122;t literal. The idea is not to have one garment or outfit that represents on zodiac sign, but to have the colour integrations, and garment design to mix together, is a swirl of conceptual, abstract and creative visual enhancement.

H A N S H O F F M A N R E S P ON S E ORIGINAL TO COLOUR WAYS

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E a r t h E l e m e n t Drawing Response p r i c o l o u r

n t w a y s

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Offbeat Trend A / W 2 0 1 5 / 1 6

Trend Research

P a t t e r n s // PRINTS

The WGSN trend ‘Offbeat A/W 15/16’ demonstrated the power of print mismatching. Because clashing, whether loud or harmonious, plays a big role in portraying the collections concept, the trend research lead to print experimentation, placement, coordination’s, and mismatching.The page adjacent illustrates a fraction of the extensive experimentation that was undertaken during the design concept and development stage, to achieve a harmonious disharmony.

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S K E T C H B O O K Pattern Clash-Print development D E V E L O P M E N T P a t t e r n C l a s h E x p e r i m e n t s //

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Knit

FABRICS

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Choosing the final fabrics proved to be challenging. Many of the garments are digitally printed, thus, the process of elimination was down to what fabrics would be available. With the market-level taken into consideration, silk twill, crepe de chine, satin and cotton-satin seemed the most appropriate. The outerwear is predominantly wool, cashmere and suede. Suede is present in quite a few garments, while Geelong yarn is used for the knit, due to its high quality, softness and durability. Additioanlly, wool crepe and polyester are present within the collection, which act as staple A/W fabrics.

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h a n s h o f f m a n // a r t i s t r e s p o n s e jacquard knit image

JACQUARD SAMPLE

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The knit development is slightly less in quantity than the rest of the garments; this is because it is a minor (but important) feature within the collection. Knit is incorporated into the collection for a few reasons, the most obvious is that itâ&#x20AC;&#x2122;s an A/W trend, and because it demonstrates a difference in texture and shape than woven fabrics. It is also valuable to have variation of techniques within a collection, while making it more marketable, as knitwear is an ever growing market.

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details- embroidery

Trend Research-Development and details Offbeat A/W, 16/17 Embroider y/Needle Point

Offbeat-trend A / W 2 0 1 5 / 1 6

Embroider y development Knit

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Offbeat A/W 15/16 was additionally significant during the research stage as embroidery and needlepoint fabric was included as a highend feature, which inspired some motif design, placement and fabric samples. Embroidery as a technique is considered to be on the higher market end, due to the labour involved, the considerable thread-usage and attention to detail. As a lot of the fabrics used in â&#x20AC;&#x153;The Order Unrecognized Collectionâ&#x20AC;&#x2122; are printed, by adding embroidery into it, with addition of knit and etching, elevates the collectionâ&#x20AC;&#x2122;s price point.The embroidery is only featured as small section of a garment, however it is incorporated into the garments that are predominantly of a plain colour, thus breaking up the block-colour, and adding texture.

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surface design e t c h i n g t e m p l a t e clyfford sti ll artist response

Details- Etching Remaster Trend A / W 2 0 1 5 / 1 6

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The technique of etching on the mohair/moleskin was a decision made after researching Louis Vuittonâ&#x20AC;&#x2122;s A/W 15/16 collection. Because all the outerwear (apart from the embroidery sections) is plain fabric, the gap between the printed and plain garments was quite noticeable, therefore it was decided that it would benefit the collection to have a subtle bridge from graphic prints and patterns to a more rugged, yet high-end feature. Etching creates a raw texture, while still being A/W appropriate, and lends itself to the collection, which is why it works in harmony with the slightly busier under-layers of the collection.

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d e t a i l s // f a s t e n e r s

To represent hostility, and the idea of resistance, the fastenings play an important role within the collections concept. For example, the metal eyelets, belts and D rings that are included throughout the collection show the idea of natural and non-compatible zodiac combinations and their ease of coming together, and or the indication of being pulled together with force, establishing a clear sense of non compatible elements and societies unnatural gluing of these personalities.

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line up manufacturing

technical drawings

toiles P a g e

With the development on illustrator as a firm base for editing and experimenting, print prototypes, print placements and colour-ways were tested, as well as being paired with different garment types. This was constructive as a way to get a clear understanding of the print styles, combinations and colours, what worked and what didnâ&#x20AC;&#x2122;t. In addition to print placement, the illustrator-designs benefited greatly as a clear instruction for outfit planning as a prerequisite to the line-up. Three potential line-ups were created in the form of outfit-plans because it enabled a clearer process of elimination. Additionally, it was a way to demonstrate the many variations of outfit combinations and styling to gauge the aesthetic for the final chosen line up. The balance had to be right to combine all aspects of the research, design-concept, development, prints and details. Though there were three potential line-ups for experimentation and alternative combinations, some exchanging had to be done to achieve the best of all outfit plans. Thus, the final line up became the optimum combination of all three examples.

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Look 1

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SECOND SHRUG ATTEMPT

FIRST SHRUG ATTEMPT

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TOILE

COAT with asymmetrical shrug

The main body of the coat had no issues, but the cape/shrug proved to be difficult to achieve. Because the first two shrug attempts hadnâ&#x20AC;&#x2122;t worked by using the principle of a circle skirt method, the pattern was redesigned from an A-line cape, and reworked to fit around the top of the coat. Significant amendments had to made to the original A-line cape pattern for the shrug to end at the center back, thus achieving the desired aesthetic. This design feature demonstarted the Leo body rulership of the spine, while the front panel supports Leo (heart) and Cancer (chest).

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TOILE WITH FABRIC OVER THE HEART-SIGNIFYING LEO

TOILE WITH FABRIC OVER THE HEART-SIGNIFYING CANCER

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TOILE 1+2

a s y m m e tr i c a l k n i t

The first toile was created in a woven fabric, to achieve fit and proportion, with the fabric section being placed over the heart, which is one of Leoâ&#x20AC;&#x2122;s body rulerships. The second toile was recreated in knit fabric, which is a closer resemblance to the final fabric. What was more apparent in the knit fabric was that the centre front of the garment is not the centre of the body, and there needed to be more fabric on the cut away side to balance it out, which would solve the issue with an excess of fabric nearer the ribbed collar. The side of the garment that has the fabric differs in both toiles, one signifies Leo, the other Cancer, but it was decided to have the fabric over the heart for the final garment. Knit facing was added to achieve the sharp finished edges.

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3) + 4)

2) To rectify to issue, the new shape was cut on the stand, and the new shape was traced off the toile and amended on the pattern for toile No.2.

toile1+2

paired top with d ring belt detail

1) The front panel, on the top layer was too wide, and should show off more of the top underneath.

The neckline was originally not amended from the block, which proved to be too small for a human head to go through. A new neckline was shaped, but the technical drawing depicted a longer neckline, rather than curved. Images 3) + 4) illustrate the new neckline, and how much needed to be cut away from the original. The pattern was then amended for toile No. 2. The belt was too wide for the D rings, which are approx. 4cm wide, and the belt was originally 7 cms wide. Toile No.2 demonstrates the correct size belt. Toile No. 2 was manufactured with the lining, to overcome any issues that would happen during the second stage. What became apparent was that with the lining and facing and the two tops, attaching it all at the shoulder seam created far too much bulk. Therefore, to avoid complications, the top will become two garments instead of one and not attach at the shoulder seams.

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TOILE 1+2

a s ym m e t r i c a l S K I R T w i t h c u t o u t d e t a i l

Images 1+2 demonstrate that the length of the belt was too long, on either side, which was amended on the pattern for toile No 2. After the toile was made, it was decided to cut more into the hem, to create more of an impact with the angular cut away, on both the front and back, which can be seen in picture 6) Approximately 5 cms more was taken away from the skirt, which really highlights the knee area, signifying the Capricorn body rulership. The pocket was added to toile no. 2, but contrary to the original technical drawing, it was sewn on to the same side as the cut out. It was changed because it has a more balanced overall aesthetic as if the pocket was the section taken away from the hem. The pocket was also sewn just below the waistband, so that the top of the belt and pocket meet, thus taking anything that distract the eye, and takes away from the minimalistic simplicity. It was decided that, though not traditional, to have the skirt lining and facing attached at the hem to achieve the sharp angular lines that the cut away shape needed to have a professional execution.

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FINAL GARMENTS COAT with asymmetrical shrug asymmetrical KNIT paired top with d ringS AND belt detail asymmetrical SKIRT with cut out detail

The suede coat originally had a belt and belt loops, like it was displayed in the toile, however there was not enough suede to achieve this look, therefore a compromise was made so that the coat had a much more relaxed silhouette, and can be closed by the two front buttons. Additionally, the front panel with the embroidery differs from the toile, because it was decided that the panel with the cancer motif should rest of the heart (Leo), and that the half shrug should wrap around the chest (cancer) to embody the interlocking of both signs. There were issues with gluing the hem of the suede skirt, so that it had a crisp edge, which for obvious reasons didnâ&#x20AC;&#x2122;t come up with the suedette toile. The front of the skirts hem, around the cut-out section had the worst damage, which was somewhat salvaged with scraping off the glue and regluing it down, to have a flatter appearance.

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look 2

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TOILE

wrap coat with belt and shrug detail

Coat 2 design was changed slightly once the shrug was designed and fitted on the coat. The original design had the shrug and an adopted lapel. However, once it was all places onto the toile, the aesthetic was not to the standard of the rest of the collection. The composition looked unprofessional, which resulted in the shrug being redesigned to coincide more with the rest of the coats. The belt detail was kept, however the D rings detail was changed to a knot belt.

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TOILE

cropped top with front panel and belt

Most of the amendments for this garment were made during the pattern cutting stage. The extra dart in the top panel was an added to the pattern to achieve a more tailored shape, but also because aesthetically it looks more interesting, and really celebrates the two panels, though attached, show an independence, as if they are two tops (image 1). 2+3) The length of the front panel with the attached belt was too long on a body, and in comparison to where it should lie, and would create hardship for the model to walk and have fluid movement as the belt wrapped around the legs slightly. 4) The measurement was amended to so that the belt wrapped around the buttocks (Libra,) and at the front the sexual organ (Scorpio).

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TOILE 1

TOILE 2

TOILE3

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TOILE 1+2+3

SKIRT asymmetrical wrap

The second toile was fully lined, which helped work out what needed to be changed for the final. The first toile was beneficial for shape and length. however, the addition of the lining, showing the skirt fully finished, highlighting the unforeseeable errors during the first toile. The back panel should meet the dart (image 3) to demonstrate a clear purpose, and presice pattern cutting, therefore, the pattern has been amended for the third toile. Furthermore, the skirt underneath should not show through the side split (image 4). The third toile demonstrates that the side split has been moved down past the end of the skirt underneath, and the back panel meets the dart (image 5+6).

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FINAL GARMENTS wrap coat with belt and shrug detail cropped top with front panel and belt asymmetrical SKIRT with wrap detail

The sleeves for this look were cropped, which differs from the toile.This was done to demonstrate diversity within the collection, and to establish small differences from look fiveâ&#x20AC;&#x2122;s coat, as they share a similar shrug and the same fabric. The top worked well, with the only notable issue being the attaching of the lining to the button stand, and the fabric showing distress to unpicking stitches. The skirt had many issues regarding the fabric and construction. The silk twill proved very difficult to work with, and being paired with suede was particularly challenging. The lining, being slightly heavier than the silk was used for the full skirt because the heavier lining had to be used for the suede, which is not ideal but less obvious than having two different linings for the skirt. Moreover, the silk twill freys easily, so executing a clean angular shape for the side split proved incredibly hard. The attachment of the back panel in silk twill to the suede was originally going to closed by a button, however, the long silk panel pulled the down, over the buttons, so it had to be permanently attached with a slip stitch, which consequentl, has a more professional finish. The suede skirtâ&#x20AC;&#x2122;s hem ends at the perfect length the show off the models knees, which signifies Capricorn.

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look 3

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TOILE 1+2

coat with asymmetrical front panel

The original technical drawing and toile No.1 coincide with each other, however the amended technical drawing was recreated to have similarity to outfit 4 coat, so that they tie the collection together in an addition sense, as coats 1,2 and 5 all have similar features, while coat 3, 4 and 6 have similar key features. The original technical drawing was also incorrect, as the top panel was meant to be over the heart, which represents Leo. Alternatively, the top-stitching creating a really professionally finished garment.

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The toiling process proved difficult because the collar was meant to be cut as two pieces, and attached at top seam, however, during manufacturing, it was doubled over, which caused an the collar to twist, pulling and distorted the shape of the front panel (image 3).

TOILE 1+2

croppe d top with asymmetrical front panel

From pattern to toile the decision was made to take out the full collar (see original technical drawing) because it would create too much bulk. The amendment means that the front panel and the collar are attached and when lifted, the head can pass through more spaciously.

Nevertheless this issue was amended, and for toile No. 2, there were two collars cut, resulting in the collar having the desired effect, standing higher than the first toile. The only amendment for toile No 2 was to make the collar approximately 5 cms longer, for the final. The panel side on toile 2 is different to toile No.1, because it rests over the heart, however it was decided to change back for the final, as there was some debate about how all the panels went across the same side of the body in most of the garments. orginal technical drawing

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amended technical drawing

front panel- attempt 1

front panel- attempt 3

front panel- attempt 2

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toile 1+2

culottes with front panel and belt detail

The culottes shaped worked really well, the only issue was with the front panels. The first try (blue/ grey colour) slanted up too much, rather than lying straight and parallel to the breasts. This was a result of the being an excess of fabric at the side. And by preventing the excess, the panels had to be pulled ( pattern attempt 2). Therefore, another pattern was drafted for the panels (demonstrated in the black fabric) that show the correct style and tighter fit to the hips. The length and shape of the culottes, however, had the perfect fit.

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toi le

wrap jacquard knit top

The knit jumper was toiled in rib to investigate how to finish and shape the knit. Attaching the collar (image 4) proved to be trying, as only a section of it can actually be attached before the collar moves down to be the main body of the top. Therefore a mock example of a detachable strap was highlighted (see image 5) to get a sense of whether the collar could be attached with this detail, rather than physically attaching it. The dropped sleeve worked, however with the bulk of the rib it creates more volume than intended, which will not happen with the jacquard knit as it is a finer knit.

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FINAL GARMENTS coat with asymmetrical front panel croppe d top with asymmetrical front panel wrap jacquard knit top culottes with front panel and belt detail

The coat is almost identical to toile No. 2 except for the addition of a welt pocket, which has been incorporated onto the side of the coat opposite the panel. This coincides with coat 4 and 6, while adding extra detail to the coat. The front panel on the top is on the side of toile No. 1, because by mixing up the sides of the panel, it prevents the style from becoming repetitive. The wrap jacquard knit top was fully fashioned for the final, resulting in the collar being overlocked to the main body of the knit. Because the toile was a cut and sewn, it was unclear how to the collar was going to be attached, which was resolved with the fully-fashioned finishes. The culottes have an added panel of black crepe down the side seam. This was because the print is quite intense, and the black crepe breaks it up, while still a being subtle addition. It also adds support to the wool crepe panels at the top that are heavier than the printed satin.The culottes were overlocked on the inside, because the technique of French seams was used, the pattern would not have matched up as accurately.

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look 4

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TOILE 1+2

COAT WITH FRONT PANEL DETAIL

An issue that was overcome during the manufacturing of the coat in look four, toile No.2, was the way in which it was to be closed. The fundamental issue was with the technical drawing, as there was no indication of how the coat was to be fastened. Because it has an overlap, with the left side overlapping the right side rather than meeting in the centre front, (smaller panel being a representation of Leo, as it highlights the heart, and Cancer, highlighting the chest) a hidden button stand was incorporated into the centre front (top right image), which finished the garment to a higher standard than, for example, a visible zip sewn onto the main body of the coat. The piping was an experiment, however, it will not be included in the final. P a g e

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A fundamental amendment was made during the pattern stage, which is visually obvious when looking at the original technical drawing and then either the toile, or the amended technical drawing. The shape of the armhole has been created to have the same shape as the cut out. This was changed for a more overall continuity and fluidity in appearance. The second toile was fully lined, with the added detail of eyelets. The toile and lining worked really well, with no amendments needed.

TOILE 1+2

TOP with cut a way detail and eyelets

The amended technical drawing demonstrates there will be the new addition of the eyelets.This was added because it holds more relevance than just a zip, or another type of fastener. The collar will be held together by buttons, which ties in aesthetically with the eyelets.

ORIGINAL TECHNICAL DRAWING

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AMENDED TECHNICAL DRAWING

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TOILE

asymmetrical tank TOP with d ring detail

The only amendments needed to be done for the final garment is that the strap that is wider, isnâ&#x20AC;&#x2122;t adjustable like the more narrow strap, which meant that it was too long in comparison to the other one. Therefore, just 2cm need to be taken off the pattern for the final. Additionally, the bodice section was too big, so bigger darts had to be incorporated at the front and back so that it didnâ&#x20AC;&#x2122;t slip down. Image 1 demonstrates how much of an overlap there is so that it fits on the model. Originally the initial toile was made without the lining, but once the darts were added, the because the shape was correct, the lining was added for experimentation. It was decided that, because the areas of fabric were so small, to not have facings, but fully line inside so it had a sleeker finish.

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AMENDED BELT PLACEMENT WITH D RINGS

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TOILE 1+2

suede skirt with wrap detail and eyelets

No amendments were needed for toile No. 1, except like outfit 1, top, the belt was too big or the D rings. Toile 2 of this skirt is fully lined, however the outcome of the fit is much too big in the suedette. Therefore, the seam allowance will be taken off for the final, in an attempt to have a more fitted silhouette. Additionally, half of the belt was sewn onto the wrong side, with has been displayed in the photos above. The belt is meant to meet at the centre back and close with D rings, instead of meet at the side seam. The eyelets, are too far apart, they now act as a point of reference.

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FINAL GARMENTS COAT WITH FRONT PANEL DETAIL TOP with cut a way detail and eyelets asymmetrical tank TOP with d ring detail suede skirt with wrap details and eyelets

In hindsight, having grown on facings to the sleeves and hem would have suited the heavy wool fabric of the coat much more adequately. Because it is quite thick, the extra seams for the attached facings create a lot of bulk, making the coat quite stiff. The button stand worked well in principle, but again, because the fabric was so thick, and at the point of the button stand, there are four layers of fabric. Nevertheless the overall aesthetic of the coat works really well, with the addition of the welt pockets adding to its marketability and functionality. The top with cut away detail and eyelets has been shortened compared to the two toiles. This is so that the underneath tops hem detail would be more visible. The asymmetrical tank was a challenge because the print had to be matched up, which was achievable in most seams, however, matching some of the print perfectly wasn’t possible, because then the actual pattern pieces wouldn’t have been matching, throwing the whole garment off proportion. The skirts has a much more fitted silhouette after the seam allowance was taken off, which was decided after toile No.2. The jet pocket doesn’t have such a nice crisp finish, as it should in comparison to a woven fabric, because it couldn’t be ironed. The eyelets are in a much nicer position and a less far apart than in the toile, however created a slight pulled effect on the suede. Nevertheless, the overall aesthetic of the outfit works really well, and it fulfils all of the design purpose and the collections vision.

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TOILE 1+2

LONG COAT WITH SHRUG DETAIL

The first toile was designed from a tailored jacket pattern. Because there are two additional seams at the front and back of the coat, it meant that the hem curved in towards the body slightly, even with shoulder pads. The second toile was redesigned with a dress block size 12, instead of a tailored jacket block, and the darts in the dress block were made into seams, producing a much more tailored fit. The top-stitching detail works to expose the shapely lines, and makes it a celebrated feature, rather than a way of creating a more fitted shape subtly. The shrug worked perfectly, but the back neckline was traced off incorrectly, which meant a pleat had to be added for the toile, however this will not feature in the final.

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TOILE 1+2+3

asymmetrical dress WITH EYELET DETA IL

During attaching the lining/ facing to the main body of the dress in toile No. 2, it was uncovered that an error was made in toile No.1. There was a misinterpretation translating the technical drawing to pattern, where there was a space made for an invisible zip (image 1), however, the dress should open and close from the functional eyelets at the side seams and also the front and back panels (image 2 and 4), which was recovered during toile No.2. Image 5) demonstrates the additional detail of the dropped shoulder seam, which was added (like in outfit 4, cut out top) (outfit 3 jacquard knit) for a more fluid aesthetic, as the panels go across the front the shoulder seams drop as if in one flowing motion. Toile No. 2 lining and facing worked with no issues. However, what was brought to light once the lining and facing was attached, was that toile No. 2â&#x20AC;&#x2122;s length was too short, barley reaching over the models bottom, so to rectify the problem, toile No. 3 was created. Eight cmâ&#x20AC;&#x2122;s were added (visible from the change in fabric colour in images 7+8) which resulted in an appropriate length.

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toile

knit PULL OVER

The toile for the knit jumper worked well, however when the side attachments where placed, it was decided that it would cover too much of the dress underneath, therefore it has been taken out, for a more subtle approach. Additionally, the cover stitch was used to finish the raw edges, however, the final would be fully fashioned.

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FINAL GARMENTS LONG COAT WITH SHRUG DETAIL Asymmetrical dress WITH EYELET DETA IL knit PULL OVER

The final coat worked well with the dress pattern instead of the tailored jacket block. The etching achieved its full potential, with a strong effect on the garments aesthetic. The knit pullover’s hem differs in shape slightly to the toile. To have it fully fashioned on the Shima Seiki it had to be angular, which ended up better because the shape of the knit reflects on the angular shape of the dresses hem. The dress had many issue with production. The fabric was incredibly hard to work with in many respects. It moved relentlessly, so getting the pattern piece in fabric to the paper one was a challenge. The pattern at the back became so distorted that the hem was marginally on the bias, which meant it flicked out slightly, though when it was attached to the facing it held its shape somewhat better. Additionally, pins and needles pulled the fabric, which makes a visible mark on the print. The silk twill fabric stretched so much at the front that an elastic strip had to be incorporated between the main body of fabric and the lining, to pull the fabric together so it didn’t gape underneath the chest panel. Though this wasn’t part of the original design, it did make a big difference to the fit, consequently fitting better than the original design would have, had it not stretched. The eyelets were, perhaps, too heavy for the lightweight fabric, resulting in the fabric being pulled around the edges of the eyelets, even though the facing that holds the eyelets was double fused.

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look 6

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toile 1+2

coat WITH FRONT PANEL AND BELT DETAIL

The chest panel is designed to go over the heart side, again, to represent Leo and Cancer (heart and chest) Toile No. 2 demonstrates a fully lined and finished coat.The top-stitching has the desired effect, and the panel fits perfectly around the collar. The slanted welt pockets add to the functionality, while making it more marketable has a really nice professional finish.

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S U R P R E S S I N G N O 2, W I T H B O T T O M B O D I C E D A R T S A D D E D,

toile 1+2+3+4

S U R P R E S S I N G N O 1, W I T H B O T T O M B O D I C E D A R T S A D D E D

WRAP top WITH LATTI CE CORD DETAIL

Top 6 toile No.2 had many issue with attaching the lining, so much so that the centre front of the yoke had to be cut in half to pass through the lining. However, the route problem was with the pattern, which was amended for the 3rd toile, in order to achieve a much more appropriate fit. The third toile has added suppression of approximately 2 cms on each side, however the 2 cms wasnâ&#x20AC;&#x2122;t enough to create a fitted shape, even with the new addition of the darts at the waist. Consequently, the extra suppression created a closer gap for the lattice drawstring detail to have full visual effect; the gap between the two front panels was widened. The 4th toile demonstrates an added 2 cms of suppression, and extra darts, which have finally achieved a close-fitting silhouette. The darts at the waistline create a much more feminine fit in comparison to the first two toiles.

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toile 1+2

trousers with yoke and belt detail

Toile No.1 trousers worked well in length, however the waist was too high, because the pattern was drafted to have a much longer waist. Despite the additional height added to the trousers, the waist was drafted too high. Therefore a four cmâ&#x20AC;&#x2122;s had to be taken off for toile No. 2. The front panels in toile No.1 also gaped a bit at the side, so the pattern from Look 3 culottes was used to achieve a more tightly fitted shape. Toile No. 2 was the correct fit, and the facing gives a very professional finish to the lower waist section of the trousers.

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FINAL GARMENTS coat WITH FRONT PANEL AND BELT DETAIL WRAP top WITH LATTI CE CORD DETAIL trousers with yoke and belt detail

The coat chest panel was shrunk by the embroidery, which meant that the edge of the panel where the metal popper is, doesn’t quite reach the shoulder seam, where on toile No.2 it does.The same issue with the weight of the fabric and the sewn on facings, created too much bulk, like Look 4’s coat. However once Look 4’s coat issue had arisen, to be consistent with style, the sewn on facing was used. Nevertheless the top-stitching worked nicely to bring out the seams a feature, and as a constant technique throughout all the coats in all six looks. Nonetheless, coat six is the strongest aesthetically, and the oversized D rings really add to the boldness of the garment. The top final worked without an issue, and the fit has come a long way since the first couple of toiles. The seam down the centre front of the yoke was avoided having learnt from toile No.2’s mistake of attaching the lining. The trousers combination of crepe de chine and wool crepe worked well together, and, like in Look 3’s culottes, the wool crepe yoke supports the heavier front wrap panels that tie at the front. Though the print of the trousers didn’t need to be matched up like Look 3’s culottes, the inside seams were overlocked rather have French seams. This was a conscious decision so that there was consistency in make and technique, and also because it would have been too bulky to French seam the wool crepe.

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REFLECTION

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Reflecting on the collection as a whole, there are aspects that have worked exceedingly well, and aspects that could have worked out more smoothly. Using silk twill worked within the context of the collection, however, the handling of it for production was not ideal, and in some ways, lessened the quality of the garments. Nevertheless the silk twill garments look high end, and the digital print colours are vibrant and look outstanding. Most of the issues of manufacturing were obvious while the lining and facing where being attached , due to the unusual shapes and panels. However these issues were overcome during the toile stage, meaning it was an excellent basis for the finals to be produced to a higher standard. The majority of the problems that arose with the finals were from due to final fabrics. The final toile fabrics were all chosen with the purpose of having similar qualities, however, because the properties are not entirely the same, there were still a few problems that had to be overcome. The synthetic silks didnâ&#x20AC;&#x2122;t fray as much as real silk, which was the root of many of the manufacturing issues. The garments however, fulfilled their design potential, and delivered a physical interpretation of the collections theme. Whatâ&#x20AC;&#x2122;s unique about the collection is that the concept is not obvious and literal, but, a contemporary collection that is one of a kind. Overall the collection was a success, both visually and contextually. It demonstrates a contemporary depiction of Astrology, and fit appropriately within the mid market level.

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