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REMEMBER ME KNOT PROCESS ANALYSIS DOCUMENT
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CONTENTS DESIGN BRIEF 4-5
RESEARCH 6-19
DESIGN DEVELOPMENT 20-31
FABRICATION 32-33
FINAL LINE UP 34-37
TOILE DEVELOPMENT 38-73
FINAL GARMENTS 74-87
PHOTOSHOOT/STYLING 88-93
REFLECTION 94-95
REFERENCES 96-99
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REMEMBER ME KNOT DESIGN BRIEF
Focusing on the gradual loss of brain activity and functioning in the isolated world of dementia, this collection is inspired by the traumatic and life changing experience of living with a disease that strips an individual from themselves, their memories and life as they knew it. Concentrating particularly on the effect of this disease on the brain, the collection focuses on the deterioration of mind and memory. The collection explores the fluidity of forgetfulness and the concentrated moments of memories still maintained within the brain. As a designer I feel most inspired by the people I meet and the lives they lead. I experienced my Great Grandmother suffering from Dementia for over ten years. My lack of understanding towards the disease influenced my decision to use Dementia as the concept for this collection. Research into neurological structures has highly influenced the ‘Remember Me Knot’ collection. Dementia Is a Group of Symptoms that affect mental tasks like memory and reasoning. Dementia can be caused by a variety of conditions, the most common of which is Alzheimer’s disease. Alzheimer’s disease destroys the structures of the brain, slowly closing down pathways and areas resulting in memory loss and difficulty in verbal communication. The diseased knots and tangled neurons inhibit information being retrieved or retained. Garments are inspired by this deconstruction to transfer the disease into a contemporary collection. The vulnerability of the person suffering from the disease is explored through the use of a transparency within the collection. The disease carries a social stigma as the patient can find it difficult to communicate and often feels exposed and vulnerable in large social groups. This occurs when their memory capacity diminishes over time. Dementia sufferers are often confused and in some instances become very upset with their loss of recent memory recollection. Alzheimer’s can effect each sufferer differently and for this reason some garments within the collection can be worn several ways to reflect the diverse effects of the disease on individuals. The ‘Remember Me Knot’ collection has a feature print influenced by Alzheimer patients brain scans. The print interprets several types of brain scans including MRI, PET, DAT AND CT scans. Although the prints all show different problems and depths within an Alzheimer patient, I combined the scans together to distort the final product. The print is not continuous and has large areas of white space reflecting the missing moments of Alzheimer’s and large areas of concentrated colour. The print has been painted with water colours as this is the medium of choice for dementia sufferers during art therapy sessions. The medium is used for its easy use and fluidity which appeals to the dementia sufferer. Therefore it seemed appropriate to use this material when creating an expressive print for the collection.
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The collection has a limited colour palette of red, black, white and grey. Red was chosen as a reflection of my Great Grandmother’s personality. It was her favourite colour and most of her indoor and outdoor clothing contained her preferred colour of choice. Red also indicates areas of brain activity in PET scans. The red areas represent fragments of the brain where the disease has not yet been destroyed and where it is functioning normally. For this purpose red has been used as a prominent theme within the collection. The silhouettes and shapes for the collection are influenced by the time period of my Great Grandmother’s most precious memories - the late 1940s and 1950s. Shapes have been inspired from personal photos supported by secondary research. Personal photo’s revealed more practical garments for daily use which influenced the design development process to create a functional six piece collection. However, secondary research influenced the luxury and elegance within the collection. Silhouettes are clean yet exaggerated, combining details with a 1950s aesthetic and a contemporary style. Triangles are featured in paneling within garments to create a funnel effect replicating a confused to lucid approach. Garments also feature a triangular silhouette reflecting this. The 1950’s were a time period of luxury within fashion which has influenced both style and fabric choice. Fabrics used in the collection include coated cottons, leather, suede, pony skin and merino wool. Texture is highly regarded in the collection as Alzheimer patients often relax and respond to touching different textures. Given that texture and feel was confirmed as a very important aspect of Alzheimer patient relaxation therapy the ‘Remember Me Knot’ collection has interesting tactile fabrics. During this period many woman often made their own garments. The collection features two hand knitted pieces which are influenced by the make your own clothes trend from this time period. These hand knitted garments also appeal to the luxury market to which the collection is targeted. The ‘Remember Me Knot’ collection is targeted at women aged 25+ who have a contemporary style and choose to wear fashion statement pieces. They are hardworking individuals with a disposable income which they prefer to spend on hobbies and garments promoting their personal style. They have a preference for key luxury garments which are bold, contemporary and functional.
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R E S E A R C H AL Z H EI M ER S TANGL ED S I L H OU ETTE
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Figure 1
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Figure 1: The Cosmos (Carl Sagan) 2011 Figure 2: The Cosmos (Carl Sagan) 2011 Figure 3: Anatomy Blue Arteriovenous Malformation (James Archer) 2012 Figure 4: Neuroimaging in Dementia (American Society for Experimental Neurotherapeutics) 2011 Figure 5: Neuroimaging in Dementia (American Society for Experimental Neurotherapeutics) 2011 Figure 6: Neuroimaging in Dementia (American Society for Experimental Neurotherapeutics) 2011
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ALZHEIMERS The initial research began by exploring the brain, its functions and how the brain, and in particular memory, is linked to characteristics and identity. Focusing on Alzheimer’s Disease research started to separate into themes; the scientific reasonings, the loss of memory and identity, brain scans, artists who explore memory in their work, personal stories and alternative treatments such as art and music therapies. The research undertaken was broadening and becoming more of a theme rather than a design concept. Although I was extremely inspired by my research I began to refine my exploration. The research was developed into the sub topics that I was most interested in. I felt that I was more inspired to understand the disease rather than the emotions of losing memories. I also felt it would be too difficult to fully portray emotions within a fashion collection. Normally during my research stage I find images most influential. However due to the topic it was difficult to find images which helped to convey the concept correctly. Instead academic journals, case studies, documentaries and films helped develop the concept and visual research for the collection. I also drew inspiration from interviews as well as my own personal experience of the disease. Academic journals fuelled the majority of the visual research. However I felt in order to fully understand what I was reading in the journals it would be best to speak to someone researching Alzheimers. I contacted one of the head researchers for Alzheimer Scotland and he agreed to meet to discuss any queries I had. During my session with Dr Tom Russ I was educated on a range of different brain scans and what the range of colours and masses show within the scan. I found this really interesting and knew I wanted to develop this within my design concept. I was given several patients brain scans that I was allowed to use as part of my research that I hoped would influence an iconic print for the collection. I felt more informed after my session with researcher Dr Tom Russ and was confident I could portray the disease appropriately within a fashion collection.
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Figure 7: Research Collage (personal collection)
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Figure 8: Research Study Composition (personal collection)
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TANGLED The interviews and journals allowed an insight into the academic world of Dementia and the increasing concern to prevent and cure the disease. The collection will portray what happens in an Alzheimer brain. Particular research within neurological structures heavily influenced the design aesthetic of the collection. The brain is slowly destroyed by the disease and neurons become tangled and knotted. Through design details the collection will portray this breakdown caused by the disease in an innovative and contemporary style. During interviews it was evident that people see a shell of the person that they once knew. This idea would also be encompassed in the collection through the use of a transparent fabric. The transparency will also reflect how exposed someone living with Alzheimer’s feels when they cannot remember where they are or who they are with. The collection will also portray the contrast in memory and recollection from day to day and moment to moment. Often the Alzheimer survivor can have moments of pure clarity, their character revisits and their recollection improves before it is quickly gone again a moment later. The collection will feature triangular shapes reflecting the concentrated moments in contrast to the empty white space of the disease.
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Figure 9: Keep It Simple (Unknown) 2014 Figure 10: Sea of Memory 012 (Shin Ono) 2010 Figure 11: STONE. PAPER. FEATHER (Peter Vidani) 2014 Figure 12: Victor&Rolf (Viktor&Rolf) 2013 Figure 13: Greyscale (Seven of a Kind) 2013 Figure 14: Sabine (Alison Watt) 2008
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SILHOUETTE As the concept could not inspire the silhouette for the collection inspiration had to come from a different source. When researching into memories I had looked at old photos of my Great Grandmother. From these photos it was decided to use the time period of her most precious memories as inspiration for silhouette, the late 1940s-1950s. As Alzheimer disease grows within the brain it distorts the individuals perception of time and awareness. The distortion of time will also be reflected within the collection by using the 1950s as a source of inspiration for silhouette and shape.
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Figure 15: Silhouette Research (personal collection)
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Figures 16 - 21: 1950’s Silhouette Research (personal collection)
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DESIGN DEVELOPMENT
GARMENTS PRINT FABRIC
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The design development process was quite exciting as the initial research began to appear within garment designs. However it was challenging to pull cohesive outfits together to create a line up that reflected the concept. The main exploration was the idea of neurons becoming tangled. Using personal and couture photos from the 1950s I experimented with silhouette. However designs from the first part of development seemed too dated as too much inspiration was taken from the 1950 period. Therefore they did not convey my fashion handwriting or my design aesthetic. I quickly worked back into my design development, still influenced by the 1950s luxury however taking more inspiration from current trends and minimal fashion. The colour palette for the collection also developed from white and red to red, white, grey and black. This gave the designs more depth and made them more appealing. This new development made it was easier to begin range planning for AW16/17. The range planning then allowed me to create a cohesive collection that portrayed my fashion handwriting and design concept correctly.
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Figure 22: Design Development (personal collection)
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Figures 23-26: Print Paintings (personal collection)
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As previously mentioned, the collection will feature a print inspired by brain scans from Alzheimer patients. I was given several brain scans to work with however I was very aware that I didn’t want the print to look like a brain as this would not be aesthetically pleasing. I therefore used watercolours in a range of colours to replicate the shapes seen in a brain scan. I worked on a range of different scans before scanning in the paintings. I did not want the print to be repeated as Alzheimer’s is not consistent and effects each survivor differently. Using photoshop I created a layered print and enlarged the paintings which also helped distort the inspiration of the print. The print has areas of black which contrasts with areas of white space. This was a deliberate design decision as it reflects the lucid moments to the memories that cannot be retrieved.
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Figures 27-32: Print Developments (personal collection)
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FABRIC Fabrication was extremely important to the success of this collection. Alzheimer patients often respond well to touching different textures and this is something that became important when selecting fabrics. As the collection had a 1950s influence, luxury fabrics were chosen to reflect this. Pony-skin, lamb nappa, pig suede and merino wool were all chosen for their contrast in texture but also influenced by the 1950 time period. The most difficult to source was the transparent fabric as plain PVC would not work well with the other chosen fabrics. However after much research the transparent fabric chosen had an individual texture, worked well with other fabrics and reflected the entanglement of the nerves and neurons inside an Alzheimer brain.
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Figure 33: Final Fabric (personal collection)
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Figure 34: Knots (personal collection)
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FINAL LINE UP Overall I am very happy with the final line up. The concept has been portrayed within fabric manipulation, digital print, transparency and triangular design features. The limited colour palette works well and creates cohesive and iconic garments. Red has been incorporated into every outfit and represents the person suffering from the disease. The knotted garments are aesthetically pleasing as they make a statement but remain functional to the wearer.
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Figure 35: Final Line Up (personal collection)
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T O I L I N G A N D D E V E L O P M E N T
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L O O K
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O N E
Figure 36: Look One Illustration (personal collection)
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Figure 37: Look One Toile Development (personal collection)
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LOOK ONE // BOW BLOUSE The bow blouse was manipulated from a size 10 blouse block. This was chosen as a starting point as the design had no darts. The block was developed to create a loose fit around the body whereas the sleeves were manipulated into a semi fitted sleeve with a dart at the back elbow creating a slender silhouette. The toile process was more an experimentation into creating the shape and volume desired for the bow. A range of different panel shapes and lengths were develop in the original toiles. At first the panels were gathered to give the blouse a more feminine style. The volume created was appealing however the bulk of fabric caused by the gathering was not suitable for a french seam finish. Therefore the panel shape was reconsidered. The panels were then developed to widen as they crossed the body however narrowed when approaching the seams to cause less bulk and fit nicely into the french seam finish. The panels however did not create the structure that was envisioned for the garment therefore a range of different fusible were applied to the panels. A lightweight fusible was decided as appropriate as it allowed the structure to be achieved without adding unnecessary weight to the garment.
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LOOK ONE // WAISTCOAT The waistcoat has quite a tailored style and therefore the pattern was developed by the tailored jacket block. The suppression and length of the garment was measured to a size 10 fit model and the appropriate measurements were then applied to the pattern. Pattern experimentation began by trying to get the right fit. However there was too much suppression and this took several toiles to correct. In the original toile the collar has been incorporated into the panels of the jacket. However after consideration the shape of the collar changed and thus needed a separate pattern piece. The waistcoat has a large belt with a width of 10cm - this was a design decision as the belt was to become more of a feature. Large patch pockets were added to the front panels of the waistcoat. Although happy with the construction of the final toile the size of the patch pockets were enlarged for the final garment.
LOOK ONE // SLIM LEG TROUSERS The slim leg trousers were developed using a size 10 straight leg trouser block. The design for these trousers required some manipulation round the waist of the garment. As the garment had triangular side panels, disturbing the original side seam, they had to be manipulated correctly for the trousers to fit the wearer. Through dart manipulation the shape of the triangle was designed to join the side seam 43cm down from the waist. The first toile still included the side seam but incorporated the triangular shape to make sure the new pattern without darts fitted the model. Once that was achieved the side seam was then taken out and a triangular panel inserted. When happy with the fit of the triangular panel patch pockets were then attached. The point of the triangle was difficult to sew neatly however as the final will be in suede the seams will be glued open giving the inner garment a neat finish. The trousers were also tapered in to change the trouser leg from straight to slim.
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Figure 38: Look One Toile Development (2) (personal collection)
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L O O K
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T W O
Figure 39: Look Two Illustration (personal collection)
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Figure 40: Look Two Toile Development (personal collection)
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LOOK TWO // KNITTED DRESS The knitted dress required a lot of manipulation in order to create the tangled fabric at the centre back of the dress. The shape of the dress was designed by combining a small stretch t-shirt and skirt block. The dress was then given full length sleeves and a more appealing neckline. In order to create the fabric manipulation at the back of the dress, the pattern was developed using the slash and spread technique. The centre back was notched every 2.5cm and then cut open diagonally across the pattern before being spread. The spreading of the pattern was not equal as it was decided this may look to routine. Instead the spreads were unmatched and different widths to create the tangled effect.
LOOK TWO // TRANSPARENT CAPE The transparent cape was developed originally from the circle technique and the blouse block neckline. However this technique needed a large amount of fabric and after many toile experimentations it was decided that this technique would not be best used for this garment. Instead an A-Line cape was then developed. Again using the blouse block as a starting point, the toile was sewn and made the shape desired with less volume. It also meant the cape fitted better around the shoulders. The waistline was marked on the toile for the placement of a wide belt. Two cuts were made 6cm either side of the centre back for the belt to weave through. Two slits were cut up either side of the front cape for the arms and belt to sit through. As the final garment would be left raw there were no finishes required during the toiling process. The original pattern was then extended by 20cm for the final garment.
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L O O K
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T H R E E
Figure 41: Look Three Illustration (personal collection)
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LOOK THREE // CROP SHIRT The shirt was created using a size 10 bodice block. The front bottom darts were manipulated to fit diagonally from the side seam of the shirt. This meant that they were less obvious but still obtained the fitted silhouette. The darts had to be decreased by 6cm as when moved they were not sitting correctly on the body. The chiffon panels were then developed - a rough shape was drawn on the pattern before the panels were then slashed and spread to create more drape and volume. The panels were gathered from the body seams only and were flat when atta ched to the button stand. As the fabric was being attached at the button stand this also had to become a separate pattern piece. The standing collar was developed with an overlap that would be attached with poppers for the final.
LOOK THREE // CULOTTES The culottes were developed from a size 10 standard trouser block. The large pleat at the front of each leg was developed using a box pleat technique with notches every 8cm. This created the volume in the garment. The pleat was then stitched closed to 21cm down from waist. This allowed the top of the leg to have a more fitted silhouette and made the invisible side zip sit better. Although happy with the final toile I extended the le ngth by 20cm for the final garment as I felt the culottes may be too short for a professional model to wear.
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Figure 42: Look Three Toile Development (personal collection)
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Figure 43: Look Three Toile Development (2) (personal collection)
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LOOK THREE // MINI SWING COAT The mini swing coat was developed using a size 10 tailored jacket block. The pattern was slashed and spread by 10cm at both the front and back panels. The collar was developed using a standing collar technique. After experimenting with several lengths the final collar was developed. The sleeve pattern was then developed. A panel was inserted into the sleeve. The pattern was then slashed and spread equally from both panels - this created the flared lantern silhouette. Welt pockets were attached at an angle to the centre front panels.
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L O O K
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F O U R
Figure 44: Look Four Illustration (personal collection)
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LOOK FOUR // KNITTED JUMPER There was no toile for the knitted jumper as it would of taken too long to hand knit. There was a range of different knitting patterns and wools experimented with before deciding on the final wool and pattern. The different wools created several textures and stretch however my final decision was made of luxury yarn choice and colour.
LOOK FOUR // BRIEFS The briefs were developed from a x-small stretch leotard pattern. The crotch of the briefs were widened and the leg shape were dropped to create more of a boxer brief shape than a pant cut. The front of the pants were given side panels which are then overlocked together, The waistline and leg holes are finished using the cover-stitch for a neat and appropriate finish.
LOOK FOUR // TRANSPARENT SKIRT The skirt was developed from a size 10 straight skirt block. The darts were manipulated out of both the front and back of the skirt due to the properties of the final fabric. Manipulating the darts out of the pattern created some fitting issues around the waist and hip area. This took several toile experiments before finding the correct fit. An open ended zip was then attached at the centre back of the skirt.
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Figure 45: Look Four Toile Development (personal collection)
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Figure 46: Look Four Toile Development (2) (personal collection)
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LOOK FOUR // TANGLED COAT The tangled coat was developed using the same slash and spread technique applied to the knitted dress. However the spreading of the pattern was increased as the coat could handle a larger volume of fabric than the knitted dress. However due to the thickness of the fabric and the enlarge tangles, the spread technique was used every 5cm instead of every 2.5cm. The garment was created using the small ski jacket block. The pattern was extended to 110cm (knee length) and a V-drop neckline, 41cm down from the top of the pattern, was designed to the front and back of the coat. The final toile is fused with a heavy interfacing to reflect the weight of the final fabric. However the final garment will only be fused at the centre front in order to balance the weight of the coat.
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L O O K
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F I V E
Figure 47: Look Five Illustration (personal collection)
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Figure 48: Look Five Toile Development (personal collection)
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LOOK FIVE // TRANSPARENT TOP The transparent top was developed from a size 10 bodice block. As the final fabric could not have darts I manipulated the shape of the dart into the overall shape of the garment. There is a button stand at the centre back of the toile. However due to functionality the final garment will have an open ended zip extending into the collar.
LOOK FIVE // SEMI FLARE TROUSERS The semi flare trousers were developed from the size 10 standard trouser block. The trousers were tapered in from the side and inner seams to create a more fitted upper leg. To create the flare the slash and spread technique was applied from 10cm below the knee point. This technique created more volume in the flare of the trouser. The design features manipulation from the front and back trouser leg at the side seams. The shape of the manipulation was drawn onto the original toile before amending the pattern and shapes of the trousers. The front darts were manipulated into the new panel shapes however the back darts were kept int the design for fit reasons. The pocket bag was attached to the trouser leg- although this is not technically correct this was the only way to create a seamless pocket.
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LOOK FIVE // SUEDE JACKET The suede jacket was drafted using the size 10 leather jacket block. The jacket was slashed and spread by 10cm at the front and back of the jacket to create the A-line shape desired. The lapels and break point were determined using a fit model. The break point is 27cm up from the hem. The sleeves were also slashed and spread before being extended by 10cm. The triangular cut outs sit from the side seam of the jacket creating diagonal front panels. Patch pockets were then inserted into the front bottom panels, sitting underneath the cut outs. The original cut out design did not sit well on the body. The cut out had to be suppressed by 2cm in order to create a better fit. Once this issue was fixed it was evident the right side of the jacket and the back of the jacket was too baggy. Both these areas had to be suppressed - the front was suppressed by 3cm whereas the back was suppressed by 6cm. As the back of the jacket fitted well around the shoulders it was not appropriate to change the shape of the pattern therefore the suppression started 18cm from the nape. Once the extra volume was suppressed the jacket fitted better and had a cleaner silhouette. As the jacket was going to be constructed out of suede, panels had to be introduced in order for pattern pieces to fit on the skins. Panel experimentation was then developed in the sleeves before a final design was determined. Although the toile fabric was relatively different to the final fabric it required the same techniques and therefore was helpful for practising leather and suede stitch options.
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Figure 49: Look Five Toile Development (2) (personal collection)
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L O O K
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S I X
Figure 50: Look Six Illustration (personal collection)
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Figure 51: Look Six Toile Development (personal collection)
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LOOK SIX // FLARED TROUSERS The flared trousers were developed using a standard size 10 trouser block. The design was similar to that of Look 3 culottes. The large triangular pleats were created using a box pleat technique. The pleats were stitched closed down 21cm this emphasised the triangular shape created and also allowed the trousers to be more fitted over the top leg. The pattern was extended by 30cm as the trousers were to look too long for the wearer. However this was too much extra fabric and amendments were made for the final garment. The overall fit and shape of the garment was created quite quickly and did not require as much experimentation.
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LOOK SIX // TRANSPARENT TOP The bodice was drafted from a size 10 bodice block. Originally using size 10 fit models the pattern and shape of the bodice was developed. However it became evident that using fit models did not really work as each model was a different shape and therefore the bodice wouldn’t be a general size 10 garment. The decision was made to use a size 10 standard mannequin for fit and shape of the bodice. This made it easier to develop the pattern. Boning was added to the panels of the bodice for structure. The boning was attached into the seam allowance creating a seamless yet structured effect. Originally the zip would of been attached at the centre back however due to the knotted panel placed on top of the bodice this was not appropriate. The zip was then designed for the side seam. The length and size of the knotted panel was determined and then tacked into place at one side. This would allow the wearer to wear the garment however they wish.
LOOK SIX // TRANSPARENT JACKET The transparent jacket was developed from the size 10 leather jacket block due to the properties of the final fabric. This allowed the jacket to have minimal seams. The jacket pattern was extended in length and in width to create a slight A-Line silhouette. The lapels were developed creating a strong triangular shape, evident in other garments from the collection. The sleeves were slightly flared and extended by 10cm. Toiles also show experimentation in design details. Original designs had a wide belt woven in and out of the jacket however when toiling it became evident that this was similar to another design and therefore this design feature would not feature in the final garment. Patch pockets were also featured on the centre front panels.
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Figure 52: Look Six Toile Development (2) (personal collection)
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F I N A L
G A R M E N T S
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Figure 53: Look One (personal collection)
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LOOK ONE BOW BLOUSE
The final blouse was constructed in a white shirting fabric suitable for the shape of the garment and the structure of the bow. The body of the blouse had a french seam finish, however this was quite difficult to keep neat due to the panels attaching into the side and shoulder seams. As one of the panels was attached very close to the armhole I made the decision to overlock these seams. The hems are double folded for neatness and to match the aesthetic of french seams. The neckline has been faced attaching into the button stand on either side. The external panels have been fused with a light white interfacing and then sewn with a bagging out technique. I decided not to tack the panels in place as the wearer can then tie the panels in any way they chose.
SLIM LEG TROUSERS
The suede trousers have been sewn together using a selection of suede/leather seams. The pockets were topstitched into place with a 0.5cm stitch. The pocket itself is not lined as I really liked the feel of the wrong side of the suede and I also thought adding in another layer of fabric could make the pocket sit quite bulky on the leg. The body of the trousers were stitched and then glued open. This was a design decision to keep bulk to a minimum, especially at the crotch and side seam and as the trousers were being lined it was an appropriate finish. The trousers were then lined with a thin grey lining which was lock stitched and overlocked together.
WAISTCOAT
The final waistcoat was more difficult to construct due to the properties of the fabric used. As the fabric had a pile, similar to that of velvet, the fabric warped and moved when sewing the panels together. This meant I had to resew the panels, which I then notched every 10cm, in order for the panels to match in length. The suede patch pockets were also difficult to sew in place at each side. The pockets were folded and glued before being placed into position on the front panels. Again these pockets are not lined as I really like the feel of the suede.
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LOOK TWO KNITTED DRESS
The knitted dress was one of the most complicated garments to construct. I found it very difficult to transfer hand knit into a fabric that could be cut and sewn. Using a 4mm knitting needle I sampled a small square to measure the width of each of the stitches. The knit I used is a stocking stitch (one row knit, one row purl.) I chose to use a plain knit as felt it was already difficult transferring hand knitted garments into cut and sew patterns. I then measured each pattern width to see how many stitches I would need to cast on for the pattern to fit on each panel of knit. Cutting into hand knit was always going to be a risk however I knew I could not create the back panel by fully fashioning the garment. I therefore pinned the patterns onto the knitted panels and lock stitched round each pattern to secure the knit before cutting into the fabric. I then cut 2cm away from the stitch line allowing the knit to unravel without unraveling into the pattern. I decided to match the direction of knit at the top and shoulders of the dress. This meant that due to the back panel being manipulated the knit pattern did not match at the bottom of the dress. I joined the panels together with the lock stitch machine and then used the knit overlocking machine to finish. I used thicker thread as the knit was quite thick when gathered together. The centre back of the dress was quite bulky and even using the thick overlocker did not quite capture all the loose bits of yarn. However the dress is fully finished and even on thinner seams the yarn is not completely captured within the overlocking. Due to the knit’s merino content the yarn will create fluff when cut. Therefore the issue could not have been solved without using a cheaper acrylic based wool which would not have appealed to the luxury fashion market the collection is designed for.
TRANSPARENT CAPE
The cape was constructed using leather style seams. The thermupolyuzrethane (TPU) based fabric was best treated like leather due to the fabrics composition. I used invisible thread to make the garment appear seamless. I left the edges of this fabric raw as after trying several finishes (please see workshop journal) I decided this was the most appropriate finish. The fabric will also not unravel or fray due to its plastic based composition. The cape was sewn right side to right side due to the curve of the shoulder. The belt of the fabric was sewn with a lockstitch machine and then glued. I also had to construct the belt from panels as I did not have a bit of suede long enough for this pattern piece.
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Figure 54: Look Two (personal collection)
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Figure 55: Look Three (personal collection)
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LOOK THREE CROP SHIRT
The shirt body was constructed with french seams as this was appropriate for the market. The hems of the garment have a double folded hem as I felt this was a neat way to finish the garment. The standing collar is attached with a single small fastener at the bottom of the fold over. I felt adding a fastener to the top of the collar would be too restrictive and the collar stood correctly without the extra fastening.
SUEDE CULOTTES
The suede culottes have open seams that have been stitched and then glued open. I felt this was the most appropriate finishing due to the invisible zip and bulk of the fabric. The culottes have also been faced and lined. I used a heavier duchess satin lining due to colour matching. This has made the garment more heavy and on reflection I could of chosen a contrast coloured lining in a lighter weight to reduce the volume of the garment.
MINI SWING COAT
The black coat is constructed with a black moleskin and lamb nappa leather. The moleskin allowed the jacket to capture the structure and shape I desired. The leather pockets were attached to the front panels before attaching the jacket together. The leather lantern sleeves have been lock stitched and then glued open for a seamless transfer between the two fabrics. I also faced the sleeves in the leather as I felt this was appropriate and would help keep the structure of the sleeve. The coat is lined in a printed duchess satin appropriate for the weight of the garment.
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LOOK FOUR KNITTED JUMPER
The knitted jumper was relatively difficult to construct as I fully finished this garment. As I never toiled this garment it was a trial and error process. The garment is made from a superfine 100% merino wool with a stocking stitch using 4mm needles. I contrasted the polo neck with an all knit stitch. I wanted the arms to be relatively constricted therefore I began knitting a cape shape first, encompassing the arms and restricting movement. I then knitted two sleeves to be attached into either side of the cape again with an all knit stitch to contrast to the main jumper.
BRIEFS
The briefs were constructed with a 4 thread overlocker and then cover stitched at the waistband and legs.
TRANSPARENT SKIRT
The skirt has been sewn right side to right side using invisible thread. I could not overlap these seems as the fabric would not sit correctly when worn due to the curve of the hips. The zip was inserted to the centre back with the fabric sitting over the zip tape to blend the zip into the fabric. The zip was entered tooth to tooth with the excess tape cut off as a hook and eye would not be appropriate on this fabric. Again the fabric has been left raw due to its properties.
TANGLED COAT
The tangled coat was sewn together with only the front panels and sleeves fused. The weight of the tangles at the back of the coat meant that the coat hung slightly backwards. Fusing the front of the garment and adding in-seam pockets gave the front of the coat more weight allowing the garment to sit appropriately. I had to flatten the drop V at the back of the jacket as the facing would not sit correctly when sewn to a point. Although this was not an original design decision I do not think it effects the overall appeal of the garment. The coat is fastened with a single larger fastener that is hidden with a decorative button at the breaking point of the centre front.
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Figure 56: Look Four (personal collection)
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Figure 57: Look Five (personal collection)
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LOOK FIVE TRANSPARENT TOP
The transparent top is sewn with invisible thread and finished with an open ended zip at the centre back. The top has overlap seams stitched flat at 0.5cm. The design altered due to the properties of the final fabric. The top was originally to be fitted however when making this top the fabric would not sit correctly on the body. I therefore adapted the pattern for the top to flare. The length stayed the same with only the silhouette changing. I actually preferred this style better and thought it was more cohesive with the overall aesthetic of the collection.
SEMI FLARED TROUSERS
The trousers were overlocked, sewn together and then pressed open. Due to the pattern pieces crossing over from the front to back panels of the trousers the pocket bags had to be overlocked separately.
SUEDE JACKET
The pony-skin/suede jacket was complicated to construct due to the difference of weight and nature of both fabrics. The jacket is constructed of two different types of seams using the lock stitch machine. Some of the seams have been flat stitched at 0.5cm. This created a really effective design feature. Other seams have been glued depending on where they are in the jacket. The cut outs were very difficult to finish as I did not want to over stretch the suede when attaching them to the facings. Unfortunately the front facing of the jacket does not sit correctly as I had an issue inserting the zip. However as I was working with suede and had already stitched the facings around the cut outs and attached the lining I was not prepared to unpick the jacket as I felt this would do more damage to the suede. On reflection the zip teeth should have stopped 2cm higher (rather than 1cm) than the fabric edge due to the thickness of the pony-skin. If I was to make this jacket again I would take the different weights and properties into consideration and amend the pattern accordingly.
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LOOK SIX BODICE
The bodice was lock stitched together at 1cm allowing room for the boning to be attached and stitched in the seam allowance. I sewed the boning through the lining to keep the lining and body attached as this is what is done in high end corsets and bodices. The external panel is tacked to the bodice for commercial reasons however the knot is not attached to the bodice allowing the wear to free style the panel.
FLARED TROUSERS
The flared trousers were overlocked and stitched together at 1cm with an open seam. This allowed the invisible zip to fit seamlessly into the garment and also created less bulk at the seams. The trousers have been faced at the waistband however I did not line these trousers as I did not find this appropriate for the fabric I was using.
TRANSPARENT JACKET
The transparent jacket was difficult to construct as I could not notch or pin this fabric. I therefore had to continuously check the fabric was feeding through the machine correctly. I also used invisible thread at 1cm on the lockstitch machine to finish this garment. It was difficult to place the patch pockets correctly as the fabric continuously moved under the machine. Due to the properties of the fabric the jacket was left raw however I think this is a very eye catching design feature and works well within the collection.
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Figure 58: Look Six (personal collection)
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P H O T O S H O O T A N D S T Y L I N G
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The photoshoot for the collection was shot in a photography studio. Due to the concept of the collection it was not appropriate to shoot at an outdoor location. A photography studio with different colour back drops; white, grey and black was chosen as this complimented the fabrics and reflected the collections colour palette. I arranged for some props to be used such as 6ft triangular mirrors and blocks. I wanted quite a natural but eye catching model. The make up for the shoot was quite plain with a strong lip complimenting the red in the collection.
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Figure 59: Editorial Make Up (personal collection)
Figure 60: Backstage (personal collection)
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M A K E
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H A I R
Figure: 62
Figure: 61 Figure: 63
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Figure: 64
Figure 61: Speckled (Alex Evans) 2015 Figure 62: Nora (One Management) 2015 Figure 63: Sleek Silhouette (Lucas Flores Piran) 2015 Figure 64: Nora (One Management) 2015
L O C A T I O N
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P R O P S
Figure: 66
Figure: 65 Figure 67
Figure 65: Melitta Baumeister Graduate Collection (Paul Jung) 2013 Figure 66: Fragmented Mirror Angle (Jeppe Hein) 2013 Figure 67: Birdasaurus (Kat Irlin) 2015
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RREFLECTION E F L E C T I O N
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Figure 68: Reflection Collage (personal collection)
On reflection I am delighted with the final result of my graduate collection. I have developed my skills and challenged myself as a student but also as a designer. Although the process has been stressful at times I have thoroughly enjoyed the experience. I thrived of the creative freedom I was given as I realise I may not have this opportunity again. I believe the collection portrays my design aesthetic successfully and I appreciated the feedback and constructive criticism given to me from lecturers and peers which also helped develop my work into an innovative and fashion forward collection One of the challenges I faced was time management as I found it difficult to constantly keep on top of the work load. I have developed my pattern and construction skills, although I do not consider this as my strong point I feel I have worked very hard to improve in this area. Overall I am very pleased with the concept I have developed and feel proud to have designed and produced a collection based on an issue personal to me and many others.
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R E F E R E N C E S
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James Archer , (2012), Anatomy Blue Arteriovenous Malformation [ONLINE]. Available at: http:// streetanatomy.com/2012/06/12/interview-with-james-archer-of-anatomy-blue/ [Accessed 24 April 2016]. Alex Evans, (2015), Speckled for Chlor Magazine [ONLINE]. Available at: http://www.beautyscene.net/ beauty-shoots/speckled-by-alex-evans-for-chloe-magazine/ [Accessed 24 April 2016]. Jeppe Hein, (2013), Fragmented Mirror Angle [ONLINE]. Available at: http://theredlist.com/wiki-2-351382-1160-1268-view-denmark-profile-hein-jeppe.html#photo [Accessed 24 April 2016]. Kat Irlin, (2015), Birdasaurus [ONLINE]. Available at: http://thenletitbe.tumblr.com/ post/136196016320/birdasaurus-kat-irlin [Accessed 24 April 2016]. Paul Jung, (2013), Melitta Baumeister’s Graduate Collection [ONLINE]. Available at: http://trendland. com/trendwatch-melitta-baumeister/ [Accessed 24 April 2016]. One Management, (2015), Nora [ONLINE]. Available at: https://noravai.files.wordpress.com/2014/07/ nora03_0214_r1.jpg [Accessed 24 April 2016]. One Management, (2015), Nora [ONLINE]. Available at: http://wwd.com/eye/people/gallery/modelcall-nora-vai/#!2/nora-vai-model-call-2014-wwd-7756500-portrait/ [Accessed 24 April 2016]. Lucas Flores Piran, (2015), Sleek Silhouette [ONLINE]. Available at: http://www.refinery29. com/2014/09/74304/best-hairstyles-fashion-week-spring-2015#slide-27 [Accessed 24 April 2016]. Viktor & Rolf, (2015), Viktor&RolfStyle [ONLINE]. Available at: http://www.vogue.com/fashion-shows/ pre-fall-2015/viktor-rolf [Accessed 24 April 2016]. Carl Sagan, (2011), The Cosmos [ONLINE]. Available at: http://www.livescience.com/14413-brainimages-portraits-mind.html [Accessed 24 April 2016]. Seven of a Kind, (2013), Greyscale [ONLINE]. Available at: http://sevenofakind.tumblr.com/ post/55497082387 [Accessed 24 April 2016]. Unknown, (2014), Monday Mood: Keep It Simple [ONLINE]. Available at: http://thechroniclesofher. blogspot.co.uk/2014/09/monday-mood-keep-it-simple.html [Accessed 24 April 2016]. Peter Vidani, (2014), STONE. PAPER. FEATHER [ONLINE]. Available at: http://stonepaperfeather. tumblr.com/post/36533594679 [Accessed 24 April 2016]. Alison Watt, (2008), Sabine [ONLINE]. Available at: https://raggedclothcafe.com/2008/04/27/alisonwatt-by-kanti-jocelyn/ [Accessed 24 April 2016].
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A D D I T I O N A L B I B L I O G R A P H Y
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Alive Inside. 2016. DVD Alzheimer Disease International . (2015). The Global Impact of Dementia. World Alzheimer Report 2015. 1 (1), p1-p92. Dexter, Dr. D, 2011. Brainstorm: Investigating the brain through art and science. The Guardian, 14 January 2011. Reinke, N. (2012). Dementia. Understanding Dementia. 11 (11), p5-p10. How to Stay Young. 2016. BBC Chancellor, B Duncan, A Chatterjee A. (2014). Journal of Alzheimer’s Disease 39 . Art Therapy for Alzheimer’s Disease and Other Dementias. 1 (1-11), p1-p11. Mr Alzheimer’s and Me. 2016. BBC Tartaglia, M Rosen, H Miller B. (2011). Neuroimaging in Dementia. The Journal of the American Society for Experimental Neurotherapeutics. 8 (1), p82-90. Schott J, Warren J, Barkhof F, Rossor M, Fox N. (2011). Suspected Early Dementia . Rational Imaging . 1 (3), p1-p5. Still Alice. 2016. DVD.
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