PAD by Monja Louise Heron

Monja Louise Heron P rocess analysis document

c o

n t e n t s Brief

Research

Design Development

Natural Dye

Natural Print

Toiling Process

Final Garment Construction

Reflection

Bibliography

B r i e f

Looking at the pure innocence of a child, Shutting the Window is a six outfit womenswear collection that steps into a world free of worry or evil; where no bad thing has ever happened. Innocence can be defined as a 'lack of guile or corruption; purity'; a mind untouched by the stresses and pains of adult life and growing up. Many argue that childhood is the best time of life; that it should be cherished and held onto, a time when everything is simpler and anything is possible. This is a reality for a child possibly because of an abundance of naivety and a lack of experience, but also because of the knowledge there is a parent waiting to catch their fall; a loved one will make everything better should it go badly. Shutting the Window explores how holding a hand to protect can give the courage to venture and create without fear. How waterproof puffer jackets and layers and layers of protective clothing allow safe adventures into a cold winter world. This Autumn Winter 16/17 collection discovers what it is to be innocent, what it takes to completely let go and see the world in a positive sparkling light again, and how the contrast of a perceived restriction can actually provide support to enable true freedom. Fabric choices help convey this point with thick and cosy cashmere over lightweight bamboo silk- protecting, but not containing or hiding the softer fabric. Fabrics are completely natural, free of bleach and chemicals and as untainted as possible. This reflects the pure and innocent nature of the collection and the childhoods it represents. As a child investigates the world, touch ivs often a principal sense used to discover new things, and so a sense of uninhibited exploration is achieved through different textures as well as warm and 'fluffy' fabrics. Fine and almost delicate materials reminisce of a new life delicately feeling its way in a strange world and mirroring the contrast that is at the heart of this story. Subtle protective details such as drawstrings assist in shaping garments and silhouette as well as demonstrating a mother's supportive hand. These small details softly remind of the safeguard any loving parent puts around their child, and offer a solid base to a playful silhouette. Silhouettes show the inquisitiveness of a child's exploration in life through large volume. Closer fitted and lightly tailored elements show support, helping garments cling to the body and so allowing big skirts to reach out further and aid unrestrictive movement.

Outfits are layered to protect against the harsh winter elements, and to also help play on shape and proportion. This reflects on how children's appearances and bodies alter all wrapped up safe from wind and rain. Prints are inspired by children's unrestrictive and free moving drawings and artwork. Children's descriptions of their paintings give an insight to the mentality that anything is possible if looked at in the right way. Pink scribbles can become a hippo or a series of grey lines can show a castle. Prints show this freedom of thinking with hidden drawings amongst a first glance of messy scribbles. Oversized polka dots are also used to reinforce a playful mood whilst referring back to childhood. Used on bold silhouettes, prints appear to almost stand alone, again reflecting a bold freedom only found in youth. Colour is introduced through the beauty of uncorrupted natural dyes to reflect the untouched, pure minds of the innocent. Being limited through natural dyes, colour feels almost washed out at times, giving the collection a nostalgic element while demonstrating the restrictive side to childhood. Natural colours extend to the use of pigments within the screen-printed patterns to keep a consistent and sustainable aspect throughout all six outfits. A clean palette comprising of shades of natural whites with variants of purple, pink and yellow aims to further show the innocence of the collection. Modern takes on primary colours are used for both the connotations associated with each colour, but also the fact that these are the most pure colours; the colours from which all others stem. White is heavily used to show innocence and purity but also a blank page; a starting point for anything the mind can conceive. This is emphasized with scribble prints on a white backdrop, literally reflecting drawing on paper. Use of pink within jacket linings wrap the consumer in motherly love and bold yellows bring fun sunshine and warmth to cold months. A target market of a 35-50 year old strong, independent professional woman who isn't afraid to make a statement, but feels a lack of excitement, a dreariness within everyday life is set. She has a good income that allows her to invest in environmentally ethical life choices that also extends to high end and ethical garments. She wishes for key pieces that are easy wearing and interchangeable to suit a busy lifestyle, but that return a sense of fun and joy to an often monotonous routine.

R e

s e a r c h

Seeing and being surrounded by the true happiness, joy and trust children experience on a daily basis in a nursery setting was a starting point for research into this collection. Spending time with two to five year olds, hearing their stories of how they take 'boring' everyday life and instead change it to see dreamlike possibilities led to a desire to achieve this in a grown up world; to investigate if adults can regain even a shred of that uninhibited joy and excitement, that trust. Looking at the differences between adult and youthful minds, seeing what is lost or gained as one grows older led to the understanding that a child is new, untouched where an adult is shaped by past experiences. Children's minds are a white blank canvas with nothing tainting or colouring their memories as the adults charged with their care do all in their power to keep that the case. Speaking to and watching the children revealed their lack of knowledge into health and safety as they fearlessly climbed, jumped and explored. This, in turn, showed a lack of bad experiences. Always having a mother looking out, watching over and waiting to catch a fall led these children to be completely na誰ve and trusting of the world; innocent of the bad things that can happen. It was this discovery that narrowed down the field of research and directed the course of the collection to look specifically at the contrast of a restrictive but supporting hand allowing true freedom and innocence. Because of the conceptual nature of the theme, ideal images representing innocence and trust were hard to come by. This was overcome by reading articles and reports, as well as visits to Jupiter Artland and investigating the ways in which children can physically wear their mother's protection gave inspiration to the visual aspects of this collection.

In order to experience the life of an inquisitive child, a trip to Jupiter Artland was rather insightful. This interactive, exploratory art gallery in which visitors are given a map to hunt for the artworks felt like discovering a new and strange but beautiful world. Allowing adults to appreciate beauty hidden away in unlikely places was much like the way children make up games and stories from everyday objects and surroundings. The safety of the map was reflective of a mother stopping her child from getting lost, subtly protecting whilst still allowing the freedom of discovery. Many of the artworks come in a form of interactive sculpture, where the viewer is encouraged to walk through a door, down some steps or even to climb. This led to being able to view adults of all ages reduced to a childlike sense of wonder and awe, literally running to explore what comes next. It can be reassuring to see that many 'grown ups' still long to find that inner child, to feel that seemingly lost excitement in mundane life Similarly to the idea of a map, the almost amusing ways in which children are wrapped up in layers of cosy clothing for winter shows a mother's love and protection; how she does all she can to keep them safe before allowing them to run and play freely. This was something interesting to see on a daily basis; how different a child appears when swathed in disproportionate jackets, scarves and hats and how this completely alters their shape. These images inspired silhouettes to be slightly oversized or disproportionate at times; layered and unbalanced, shortening or lengthening the body and legs for a humorous edge to the lineup. Finding the ways in which a mother protects as a big inspiration led to looking at reins. Being in a nursery environment, reins were often used as a safety precaution when out walking. These motivated a subtle take on a harness through the garments - non restrictive to arm movement, merely wrapping around the body to keep the chest and heart safe. Altering this to appear less obvious, less constrictive and to fit the mood of the collection led to a use of drawstrings throughout all six outfits. This draws in the garments and supports without obviously restricting.

An article in particular that put into words the need for a supportive parent to allow true innocence was 'Shutting the Window: the Loss of Innocence in Twentieth-Century Children's Literature' by Isaac Gilman. He describes this through the example of children's book Peter Pan:

â&#x20AC;&#x153;It is the knowledge that the window will always be left open, the knowledge of constant parental support, which enables the children to leave on their fantastical journey and embrace the freedom of their childhoodâ&#x20AC;?. (Gilman, 2007) The children knew and trusted that their mother would always leave the window open for them to fly back to the safety of home, and so had no fear of flying away to the magical Neverland. It is this message of unconditional love and care that this collection embraces and attempts to convey to an adult audience.

An expressive way to show the concept of true innocence was through the colour palette. Looking at the connotations of colours found that white in particular represents innocence, purity and a new start. Using this as a main base for each outfit clearly showed the purity of the collection, with details of colour and pattern alongside. Because of this and using natural dyes, the decision was made for all fabrics to begin in their natural state, undyed or bleached to add texture and depth.

Using pink represented a mother's love, nurturing and compassion while yellow showed the happiness and brightness of the child's mind and brought a warm optimism to the collection. Purple brought a cool, calming effect to the collection; a stable accent colour. The combination of primary colours and white was very simplistic, but worked alongside the na誰ve, innocent and fresh story of the collection. Toning the colours down, and drawing from the slightly restrictive colours natural dyes produced resulted in an almost pastel palette; faded and worn-looking fabrics that induced a sense of nostalgia and fit with a slightly muted winter mood.

Prints equally explored this freedom of expression that children have. Returning to a nursery environment, and speaking to children as they drew revealed the worlds that could be created from little more than monotone crayon lines. Drawing from these children's artworks to discover hidden images and stories led to a desire to include prints with concealed animals and flowers; common subject matters for a two year old. Taking this hand-drawn effect added a personal, warm and almost imperfect touch to an outfit, something that contrasts beautifully with careful production.

Looking at designers such as Dolce and Gabbana and their AW15 collection, which celebrated motherhood, also influenced print. Garments featured hand drawn children's pictures as well as mothers and daughters on the catwalk. This hand drawn quality added nostalgia and a relaxed feeling to the luxury collection, an aesthetic desired within Shutting the Window.

D e s i g n d e v e l

o p e m n t

Design development proved a challenge in terms of reflecting the concept within the initial lineups. The preliminary lineup was intended to showcase the freedom and exploration of the inner child demonstrated through floating transparent fabrics contrasted with puffer jackets and big knit jumpers. Subtle panels of warm wool were designed to symbolically cover the heart and small, knotted waistbands brought a protective element. It was found that this did not show the playfulness, the fun component of the concept. Floating skirts appeared weak and did not reflect the creative, textured drawings and findings within the research nor the designer's own handwriting. The lineup required stronger foundations through structured fabrics, and shaped garments and so the lineup was revisited.

For a second look, an improved lineup was produced consisting of bigger, more voluminous silhouettes created through pleating and stiffer, heavyweight fabrics. These were contrasted with tight rib knits extending underneath disproportionate skirts and so bringing in an entire outline. Waistlines were raised to create an unbalanced figure and to add a sense of fun and unbalance to the collection. Cosy and protective puffer jackets were kept while off the shoulder tops with oversized necklines allowing an arm to be worn through the neck for a playful twist were added.

Again, this did not fully embody the intended message of exploratory play and innocence. The collection was overly complicated and lost the subtleness of a hidden support system, and so designs were revised. After these setbacks, a stronger and more fitting collection was produced. Adapting several garments and adding new details changed the entire lineup in a positive way to fully encapsulate the concept. Looking at J. JS Lee's autumn winter 2015 collection, which was inspired by her childhood, led to a realization that design can be playful and fun through subtle detailing. Gathers and small frill details incorporated a childlike appeal to garments while drawstrings were inspired both by childrenswear and a need to protect and bring silhouettes back to a supportive base. This gave silhouette a more defined and feminine shape, while dropped waistlines were kept to alter proportion and exaggerated pockets were added. Layering of dresses over trousers and chunky jumpers brought a nostalgic element as soft quilted jackets protected.

N a

t u r a l D y e

The process of naturally dyeing and printing fabrics was very experimental in terms of recipe. Through a personal experience of working with craftsmen in India, it was already known that all fabrics must be made from 100% natural fiber, and that a mordant must be used to maintain and develop the desired colours. For this purpose, aluminium sulphate (alum) was chosen after experimentation with alum, copper and ferrous. Alum both held the dye colour in the fabrics, and also increased the intensity and brightness of the colour; perfect for this fun collection. The process of sampling different natural dye types in the form of dye extract as well as natural substances was undertaken to find the most suitable colour matches. From these samples, it was decided that natural dye extracts would be the most suitable option for the time scale as highly concentrated and large quantities were readily available from ethical and natural companies. Using natural substances such as onionskins and blueberries, while producing the desired colours, required a larger quantity which was unrealistic. Fustic, Logwood and Cochineal were chosen for their yellow, purple and pink colours that reacted well to the alum mordant for dyeing.

Each fabric â&#x20AC;&#x201C; silk crepe de chine and silk noil â&#x20AC;&#x201C; took the purple and pink dye colours quickly and easily. Each was placed in a dye bath at 70 degrees Celsius for 10-15 minutes and post mordanted in alum. When treated the same, the wool crepe did took a duller, more washed out colour. To combat this, the wool crepe was then dyed a second time after being soaked in alum. This longer exposal to the dye created a stronger and deeper colour, to fit the desired colour palette. A strong yellow colour was harder to produce on all fabrics, and so each was also dyed a second time. Because of the natural quality of the dyes, and the quantities of fabric, an even colour was harder to produce, and so dyeing a second time helped to also fix this issue. The slightly uneven tone to the dyed fabrics created an interesting depth and texture that sat well within the lineup, and so on the purple dye in particular, this was kept. Adding different textures to the garments created an interesting desire to touch and explore â&#x20AC;&#x201C; for example when silk gave the impression of looking like suede or velvet. This reflected the heart of this collection's story.

n a t u r P r

a l i n t

To carry the natural message across all aspects of this collection, it was decided that prints would be screen-printed with natural dyes. This, while an experimental process, assists the collection in its ethical and sustainable message, refusing to use chemical dyes or digital prints. The same colours of dye were chosen to keep a consistency throughout the lineup and so Lac and Logwood were also used to print with. In order to use these with screen-printing, a safety data sheet for each colour was required as well as a risk assessment and recipe which was found with help from India Flint's book Eco colour: Botanical dyes for beautiful textiles. (Flint, 2008). Each print was printed onto acetate and exposed onto a silk screen. An alum mordant was again used to keep consistency and provide the best results in terms of colour and fastness. The fabrics were soaked in this alum solution for 30 minutes before being left to naturally dry. This coated the fabric and allowed the dye to take. Each dye paste was mixed and then printed before also being left to naturally dry. Through sampling, it was found that a 10% solution of Lac dye was not a strong enough colour, and so the intensity of this dye was increased to stand out more. The silk crepe de chine bled colour when passed six times when printing and so this was reduced to four to try and stop this issue occurring. It was also found that after steaming and washing each fabric to finish, that the wool crepe did not take the dye so easily which resulted in bleeding and loss of print in sections. To combat this, it was decided that this fabric would be replaced with a cotton sateen, which after sampling printed beautifully. Printing naturally, while highly untried, worked very well and produced successful polka dot and scribble prints which brought the collection to life and added depth.

T o P

i l i n g r o c e s s

outfit One

Pink Jumper Beginning with a size M knitted jumper block, this was elongated to reach mid-calf so as to be seen beneath the dress on this outfit. The knitted block was adequate for this garment to maintain a jumper feeling, as well as the boiled wool fabric having sufficient stretch to hold this style. A long panel was added to the bottom to mimic a rib. This was taken 20% smaller in width than the main body to become tighter at the legs. Becoming tighter reflected the protective and secure side to this collection. The same was done to the neckline to create a turtleneck seen on turtleneck top in outfit 3. Sleeves were shortened to the elbow and a gathered panel was added to create volume. The panel was created through using a full circle, which was then gathered around the outside at sewn to the hem of the sleeve. The boiled wool fabric was strong enough to maintain the desired shape alone with no fusible. The initial toile was too small to fit a standard size 10 â&#x20AC;&#x201C; in keeping with the rest of the collection, whilst having a slight loose fit and so the pattern was adapted and taken from a size L block, which worked well.

Layered dress The pattern for this dress was created using a size 10 dress block. The block was split into panels at the waist and shortened to finish above the knee. This hemline was asymmetric, stopping lower at one side seam. A full circle skirt was then added to the bottom to create volume and to keep consistent with dresses on outfits 4 and 5. Measurements for this were taken from the hemline of the dress and then lengthened to fit the design. The darts were kept in the top to ensure a close fit to contrast the looser bottom. This also helped the dress sit in place due to the asymmetric neckline which could create an unwanted baggy look. Initially, the middle section of the dress was too long and so this was shortened, and each pattern piece and fabric piece marked clearly to ensure everything matched appropriately.

Frills were sewn on top so the drawstring would be hidden without too much bulk being added around the seams. These were created as long rectangles, doubling the waist and hem widths and then gathered for a more exaggerated look.

outfit two

Cropped top This top was taken from a size 10 bodice block, which was shortened to create the cropped top, and darts were moved on the front from the shoulders to the side seams. This made a nicer and cleaner look and helped the top sit perfectly on the bust. Several attempts were made to achieve the volume in the sleeves before achieving the preferred outcome. Slashing and spreading, and gathering a rectangular panel at top and bottom did not work and so a circle was tried. Using a wrist measurement for the center circle, and then gathering the outer circle created a sleeve panel that was tight on the wrist and then grew out as in the designs. This technique worked perfectly and helped in adding volume throughout the collection's silhouettes.

gathered trousers Using a basic trouser block and adding length to the waistline created these high waited trousers. Slashing and spreading helped achieve a wider top section. Darts were ignored and the waistline was made wider so a dramatic gather was created when the drawstring pulled tight. The trousers were then tapered down to the hem so as not to become too wide-legged. The drawstring was put in through an added panel around the natural waistline, which was sewn on top of the main body. Pockets were made to be large and curved so as not to create any harsh lines within the lineup. This toile worked very well with a nice natural frill around the waist when the drawstring was pulled.

Cross over dress A bodice block to create the top section was used and cut at the natural waistline. To create the front cross over, the top was cut on the diagonal across the chest from the shoulder to the opposite side seam. The same was done at the back, but a slight curve was added to reflect the curving pockets throughout the lineup. Darts were kept to ensure the cross over maintained its shape across the bust as this easily fell out of place otherwise. Again, the waist was widened to create a gathering effect to follow many other garments when the drawstring was placed in. The skirt was taken from the oversized waist measurement, and extended in an A-line silhouette to create volume. An uneven curved hem finished this for a playful aspect. Pockets were taken from the trousers on the same outfit for consistency. Although a gathered piece of fabric was sewn into the pocket following the gathers in outfit 1.

outfit three

scribble jumpsuit Following the trousers on outfit 2, this jumpsuit had a widened waistline, but in contrast did not taper towards the ankles. Instead, a drawstring was sewn in at each ankle to create frills at each leg and so, a straight leg was kept. The top reflected the dress on outfit 1 in its asymmetric neckline whilst keeping the darts for shaping. Having an asymmetric seam between the top and trousers again proved difficult, and so everything was marked very clearly to avoid confusion. A frill to conceal the drawstring was again added around the waistline. This panel was doubled in size again and gathered, but sewn along the asymmetric seam line. Initial toiles didn't have an appropriate fit with the body being too short and so length was added. It was also challenging to sew the frill and drawstring on without catching any fabric in the stich lines because of the awkward positioning so this was done with great care.

turtleneck top An adapted bodice block formed the basis for this garment, with darts again moved from shoulders to side seams to keep consistent with outfit 2 crop top. A turtleneck was added through a rectangular panel of fabric along the neckline. Despite the first toile being too short, this garment worked well and came together quickly.

puff jacket Before patterning, a sample of quilting was made to determine the shrinkage when the fabric was sewn with the wadding. This then helped determine how much larger to make each pattern piece. The body of the jacket was taken from the tailored jacket block as a basis. Darts were ignored to keep the jacket slightly oversized to be warmer and more protective. The side seams were taken at an A-line shape constant with other silhouettes within the collection. This again added to the oversized look. Sleeves were cut above the elbow to allow for the large circular panels. These were to reflect those found on top in outfit 2, and were the most challenging section of the jacket. Because gathering couldn't be done with the quilting, because of the volume and density of the fabric, the circle was split in two. The first toile was a half circle with the inner circles taking measurements from the wrist and hem of the sleeve. The larger outer circles were sewn together to create the 3D shape. Although this worked, it did not create the dramatic oversized shape hoped for, and so full circles were used. This also turned the shape from oblong to circular which fit within the lineup better.

outfit FOUR

GODET DRESS Initially, this dress was taken from a bodice block, and in keeping with the cross over dress in outfit 2, was cut diagonally from shoulder to opposite side seam to create a cross over top. Darts were again kept to hold the shape of the top particularly around the bust. The top was cut at the waist and a double circle skirt was added to the bottom. Using double the fabric made a beautiful wide skirt that created ideal movement within the dress. However, it was found that having so much fabric underneath the top was too much and didn't create enough exaggeration when it flared out. To amend this, the skirt was dropped to begin as the outer top ended, although the cross over still finished at the waistline to draw attention to this. The top was then lengthened, as stayed fitted until the skirt joined. The darts were taken into princess seams to create a sleeker and more fitted look to the dress. To make this dress have a slightly different look and appeal to the circle dress in outfit 5, the double circle skirt was changed into multiple godets. Instead of the traditional triangle shape, these were curved at the top to keep a soft line while adding exaggerated volume. Despite this collection being natural, a zip was the only solution to getting in and out of the dress. YKK Zip Company was contacted about their recycled material zips as an alternative to the standard. Unfortunately, because of a long lead time and minimal order, this was not possible for the final garments.

fRILL toP An elongated bodice block formed the basis for this top. Taking the darts into princess seams formed clean lines and kept the shape of the body. A wiggled hemline was created to keep a playful edge. Doubling the waist size and gathering created the large frill. This again concealed the drawstring and reduced bulk. This additional piece was sewn on a diagonal to create fun within the garment. First toiles were not exaggerated enough and so the frill was made larger and longer to really amplify the detail.

outfit FIVE

CIRCLE DRESS Much like the godet dress in outfit 4, this dress began with a double circle skirt from the waist. The top followed the dress in outfit 1 with an asymmetric neckline and so this was used for continuity. However, it was found again that with the over top, the skirt from the waist was too bulky. The double circle skirt was then dropped to the finishing point of the top for an exaggerated flare. Darts were kept for shape, and to keep the dress with clean lines, the front body had no center front seam line. As with outfit 4 godet dress, a zip was required to easily get the dress on and off.

gathered top Following the pattern for outfit 4 frill top, this garment had the same shaping with princess seams and length to keep consistent throughout the collection. Although this top was finished with a simple drawstring put on with an additional narrow panel. This toile worked very well from the start with fit and design.

quilted jacket This second quilted jacket had the same body as outfit 3's jacket. This was to keep garments and silhouettes in keeping with each other, and to maintain the wrapped up and protected aspects these jacket bring. The sleeves on this jacket however are one piece without the voluminous panel. Instead, these sleeves were made wider reflecting the A-line shape of the jacket body.

This toile worked well, coming together nicely and accurately, with the only challenge being the size of the quilted panels.

outfit six

purple jumper As with the pink jumper in outfit 1, this jumper's main body is the same with a turtleneck and rib-imitation panel. No darts were needed due to the natural stretch of the fabric. The sleeves however differ and reflect that of others within the collection. Unlike the quilted jacket in outfit 3, this fabric gathered easily and so there was no need to split the panel into sections to gain the desired volume. Instead, the panel was made in a singular circle and gathered around the outside and later sewn to the sleeve. Although getting the required volume could be difficult, this fabric held its shape well.

gathered skirt This skirt proved difficult, with several attempts being made to gain the correct silhouette. Using a similar method to the trousers in outfit 2, this skirt had a slash and spread method applied to an elongated waist, while a drawstring brought the waist in and produced gathers. Using fusible on the additional section helped hold its shape. Getting the correct skirt shape, however, was challenging. Using a circle skirt was not sturdy enough to hold its shape, and the wiggly hemline was lost in the quantity of fabric. Changing the fabric to a stiffer cotton sateen and using an A-line shape allowed the skirt to sit as desired.

f i n a g a r m

c o n s t r u t i o n

l e n t

c -

outfit one Pink Jumper

It was decided that this jumper should be fully lined in silk habotai as the boiled wool fabric sits against the skin which could be uncomfortable. Facings were used around the hem and sleeves, whereas the lining met the doubled over turtleneck at the neckline. A small tack between the lining and main body was put in each underarm to hold the lining in place.

Layered dress This dress was sewn together using a lockstitch machine, and fully lined to finish. This created a neat, luxury feeling in keeping with the target market.

outfit two Cropped top

Using a lockstitch machine to construct this top and fully lining to finish ensured a clean look. Button loops were sewn at the center back neckline for ease of wear. These were sewn between the main body and lining to conceal. A tack was put in each underarm to hold the lining in place. Using the silk crepe de chine was challenging because of its tendency to slip and move, but this top has been successful with careful sewing.

gathered trousers

These trousers were half lined to finish the waist nicely. As no waistband was used due to the drawstring, a facing was used around the waist continuing to below the drawstring. This was to stop any lining becoming visible when worn as the frill created by pulling the drawstring tight could reveal the inside. The hem of both the lining and main body of the trouser were double turned for a clean finish, and a tack was put in the crotch to hold the lining to the trousers and stop it coming out of place. Each leg was French seamed, as these seams would become visible due to the lining finishing at the knees.

Cross over dress

Due to the crossover, it was required that this dress be lined carefully. Before lockstitching the top together, the top layer was lined and then sewn into the waist at front and back. The dress was then fully lined with facings around the armholes and hemline for a neat finish.

outfit three scribble jumpsuit

Like the trousers in outfit 2, this jumpsuit was half lined to the knees with French seams used down each leg, as these would be visible. A double turned hem was also used and a tack at the crotch to stop unwanted movement of the lining.

turtleneck top

This top was fully lined so as to conceal the button loops in the center back. These were sewn between the lining and main body for a neat finish. The lining was attached to the doubled turtleneck, and facings were used at the hem and sleeves. A small tack was used in each underarm.

puff jacket

Due to the size of this jacket, lining was a challenge. Quilting the jacket was done with a layer of silk habotai lining as well as the wadding and cashmere fabric. Because of this, a silk habotai lining was appropriate due to the double layer. Facings were used around each armhole, hem and center front opening. Pulling the jacket through the lining was a challenge and so a larger hole was left in the sleeve lining to achieve this. A large buttonhole was then put in the center front to finish and a tack in each underarm.

outfit four GODET DRESS

Because of the fitted look of this dress, an invisible zip had to be used to allow it to be worn. The dress was then fully lined so as to create a luxury finish. Much like the crossover dress in outfit 2, the front crossover was lined before being sewn to the main body. The lining was left to hang and the catch into the rest of the dress.

fRILL toP

To create the desired frill, the silk noil fabric was fused and lined and faced before being sewn to the top. The main body of the top was then fully lined and faced around each armhole and hem.

outfit five CIRCLE DRESS

Again, an invisible zip was used and so this dress was fully lined to keep it neat and to finish appropriately. Tacks were used under each arm to hold the lining in place.

gathered top

This top was fully lined again to conceal and neaten button loops. A facing was used around the hemline. This was the best finish technique to keep the shaped hem.

quilted jacket

Because of the narrow sleeves, this jacket was less of a challenge then that in outfit 3. However, similarly, this jacket used a double layer of silk habotai when quilting and lining. Again, facings were used around each sleeve and hem, with a continuous facing being used around the center front opening and front hemline.

With thanks to

Photographer

Lindsay Holman

Model

Robyn Frances

Makeup Artist

Mhairi Stewart

outfit six purple jumper

Much like the jumper in outfit 1, this was fully lined to best finish this fabric which would rub against the skin. A lockstitch machine was used to construct the jumper and a soft silk habotai used to finish with tacks in each underarm.

gathered skirt

To hold the shape of the hemline, a facing was used. The grown on waist was also faced below the drawstring line to stop any lining becoming visible. To help hold a sturdy shape, this facing was fused.

r e f l e c

t i o n

Reflecting on the outcome of this honors project, it is clear that immense progression in terms of design, pattern cutting and developing a personal design aesthetic has been achieved. Despite aspects of the year having been challenging; such as time management, prioritizing workloads and maintaining a high standard of work, an innovative and creative outcome has been produced. Extensive experimentation to achieve desired shapes such as the voluminous sleeves on one quilted jacket and select tops resulted in an accurate 2D to 3D realization. This ensured the playful nature of the story and collection was brought into reality. Natural printing was very successful with bold colours having been achieved, despite this being a very untried and unknown technique. Having accomplished this maintained the strict 100% natural rule of the collection whilst adding a very fun and na誰ve aspect throughout. Creating these prints from initial idea to reality is an exciting process that brings forward potential possibilities to further explore into environmentally sound fashion. However, experimenting with different fabric types and their success rates with printing at an earlier stage would have ensured a faster outcome. Quilting such large jackets proved a challenge. Ensuring accuracy in quilting lines matching up at seams, as well as keeping pockets straight was very difficult on such thick fabric. However, the jackets both maintain the desired silhouette and provide a contrast of protection to the carefree collection. A variation in neckline throughout the collection may have added a nice change, and so this could have been researched further for added interest. Overall, a beautiful and fun collection has been successfully created to fulfill the goal of bringing happiness into the fashion industry whilst being innovative and sustainable.

b i b l i o

g r a p h y

Research Gilman, I.G. (2007) Shutting the window: The loss of innocence in twentieth-century children's literature. Available at: http://www.lib.latrobe.edu.au/ojs/index.php/tlg/article/view/32/36 (Accessed: 23 October 2015). Lott, T. (2015) How I crushed my eight-year-old's innocence at Dismaland. Available at: http://www. theguardian.com/lifeandstyle/2015/sep/04/how-i-crushed-my-eight-year-olds-innocence-at-dismaland (Accessed: 23 October 2015). Lott, T. (2016) What exactly is the innocence of childhood? Available at: http://www.theguardian.com/ lifeandstyle/2013/may/10/what-is-childhood-innocence (Accessed: 15 February 2016). Why adults are going back to colouring books (2014) Available at: https://www.psychologies.co.uk/whyadults-are-going-back-colouring-books (Accessed: 12 October 2015). Wood, J. (2015) The story of dolce & Gabbana's hurrah for Mamma AW15 show. Available at: http:// www.marieclaire.co.uk/news/fashion/548623/dolce-and-gabbana-aw15-collection-pictures.html#index=1 (Accessed: 26 September 2015). Hinde, N. (2015) Just in time for mother's day, D&G pay homage to Mums in Milan. Available at: http:// www.huffingtonpost.co.uk/2015/03/02/dolce-gabbana-aw15-show-mothers_n_6781846.html (Accessed: 26 September 2015). Ferrier, M. (2015) Trend for coloured hair takes its inspiration from childhood toys. Available at: http:// www.theguardian.com/fashion/2015/aug/30/trend-for-coloured-hair-takes-its-inspiration-from-childhood-toys (Accessed: 28 September 2016). team, M. editorial (2015) SS14 trend: Childhood-inspired fashion on the catwalk. Available at: http:// www.mariefranceasia.com/fashion/trends-and-tips/trend-childhood-inspired-fashion-on-the-catwalk-9366.html#item=33 (Accessed: 23 November 2015). Patel, A. (2015) Milan men's fashion week: Miuccia Prada puts on endearing runway. Available at: http://www.standard.co.uk/fashion-0/milan-mens-fashion-week-miuccia-prada-puts-on-endearingrunway-inspired-by-childhood-images-10336141.html (Accessed: 19 September 2015). Santos, E. (2014) Coloring Isn't just for kids. It can actually help adults combat stress. Available at: http://www.huffingtonpost.com/2014/10/13/coloring-for-stress_n_5975832.html (Accessed: 29 September 2015).

Natural Dye and Print Flint, I. (2008) Eco colour: Botanical dyes for beautiful textiles. Australia: Murdoch Books. Aranya (2011) Celebrating the revival of natural dyes. Available at: http://www.aranya.com.bd/page/details/1 (Accessed: 14 November 2015). Roberts, K. (2006) Organic screen printing. Available at: http://organic.lovetoknow.com/Organic_ Screen_Printing (Accessed: 19 November 2015). usfgarden (2012) Screen printing and natural dyes. Available at: https://usfgarden.wordpress. com/2012/10/24/screen-printing-and-natural-dyes/ (Accessed: 19 November 2015). s, I. (2016) La Tienda pigments at the Greenshop. Available at: http://www.greenshop.co.uk/natural-paint-128/pigments-197/la-tienda-pigments-139/ (Accessed: 19 November 2015). (No Date) Available at: https://www.mvstylenaturals.com/natural-fabric.php (Accessed: 19 November 2015).

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