FAS HIO N D E S IG N PO RTF O L IO BA in Design and Business
D E S IG NE R S TATEM EN T 3
eCOCHIC D E S IG N AWA RD S 2014/15
24-25
2014
B A PR oj e ct
4-11
2015-16
S o nderb org Fash ion day
2015
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26-35
2014
12-13
c usto mi z ed jac ket 36-41
2013
2015
e X P E R IM EN TAL D R ES S D ES I GN
Ap degree: F inal exam
14-23
VERNER PA N TO N E 42-47
2013
“WORK FOR A CAUSE NOT FOR APPLAUSE. LIVE LIFE TO EXPRESS, NOT TO IMPRESS. DON’T STRIVE TO MAKE YOUR PRESENCE NOTICED JUST MAKE YOUR ABSENCE FELT.” UNKNOWN
Subcut dress with cut aways added back onto the dress
subtrac ti o n c u tting as a z er o waste design co n c ept The definition of cut away pattern pieces are radically innovated. Julian Roberts’ subtraction cutting method was further developed into a zero waste design method through research and experimentation. The result was a guide towards a less numerical way of zero waste pattern creation. Each garment was designed for a closed loop production system by using monofilamented end-of-roll fabrics. Their lifecycle could be lengthen also with the possiblity of repairing them.
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Turning a subcut trouser into a 2in1 zero waste pattern.
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Brainstormed about the leftover pieces from the subcut trouser until they had a function.
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An unsuccessful attempt helps evaluate how to move past the trial and error phase.
Each attempt to transform subcut designed patterns into zero waste was documented through different media.
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Markers, Pastel crayons, Photo
www.
Photo: Julian Roberts
Link to website
The development of my subcut jacket prototype at the Short Course of Subtraction cutting in London College of Fashion.
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The finished zero waste subcut jacket and trouser Photo: Fanni Koller Model: Zs贸fia T谩trai
The process of establishing the zero waste version of the subcut jacket.
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www.
Link to GIF
Click on it to see animation of the back of the jacket
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Photo: Nóra Tóth
Poster: Samuel Vasko
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E vent o rgani z atio n Sønderborg Fashion Day was a self-initiated project in collaboration with SSF recognizing the gap in local fashion events. It was a sponsored 2-day event connecting visitors, fashion design students, designers and industry specialists. The introduction of trends took place with my trend forecast presentation opening the way to the ‘Light up the sky’ themed catwalk. Each participating designer/team could create one refunded outfit and/or exhibit existing designs. Besides participating, recruiting volunteers and designing the interior was my responsibility too.
Model: Edina Kiss
The Fashion Day follow up workshop where locals could participate in different fields of fashion. I introduced the 3D manipulation of fabrics.
My fake crocodile leather jacket on the catwalk.
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fashi o ning fabri c s The inspiration behind this project was to go back to the roots where you grew up. I chose a Hungarian traditional dance called Palotรกs originating from the Baroque era. It is still danced frequently as an opening to balls. This exam challenged me to be a reflective practioner, to constantly reflect on the outcome, evaluate and learn by doing.
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The music sheet is from a Hungarian composer Ferenc Liszt. It is a typical genre for ‘Palotás’.
This project is the fusion of music and fashion. It involves a devised system of music notes defining the designer’s role in the design process thorough a series of exploration and experimentation with manipulating the fabric.
The music notes define the inspiration to mimic according to the new set of rules.
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Heat pressed origami sample dyed with sublimation painting
Final outcome: Sublimation dye only visible at side
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Sublimation dye painted sample heat pressed into origami Page 17
Shibori tie and dye techniques
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Process work from idea development of manipulated fabric samples to the preparation of the fabric for prototyping.
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Photo: Aivaras Gabrielius Ĺ vedarauskas
Marble tieing and red dyeing, 3D orgami folding by heat pressing
Continuation of origami heat pressing
Subtraction cutting pattern design of how to sew the hole pairs together. Page 20
Heat pressed velvet with black sublimation paint, Red dyed cotton
Sample piece scaled up for prototype
Photo: AGS
Photo: Aivaras Gabrielius Ĺ vedarauskas
Photo: AGS
Close-up of a hole created by the twist in the fabric resulting in pockets at the side
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Shibori tie technique with marbles and dying
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Photography lessons were put into practice in a green room to stage the lighting so the images could be photoshopped into interiors and lookbooks.
Close-ups of the garment with twist in the fabric generating holes. Model: Anna Paulsen Page 23
I was selected by the local judging panel to be one of the Top 3 applicants to represent Denmark in the Semi-finals with a concept of reconstructing second hand garments.
www.
Link to website
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SUSTA INABLE FASHI ON DESI GN COMP E T I T I O N The competition challenges emerging fashion designers to create mainstream clothing with minimal textile waste. The 2014/15 competition cycle expanded with Denmark and Sweden to compete with Hong Kong, Mainland China, Taiwan, Singapore, Malaysia, UK, and France.
Computerenhanced drawing Page 25
embro idery and embellis hment The internship placement at Suzie Turner Couture located in London served as a base for the final exam. Extensive primary and secondary research defined the trends and solutions how to utilize two layered lace couture garments and to extend their life. The solution was introduced through a collection in a sales portfolio with one outfit sewn.
navy blue pt 19-3940 tpx
main colours
black pt 19-4005 tpx red pt 18-1660 tpx
Emerald pt 19-5420 tpx nude pt 14-1122 tpx
access colours
white pt 13-0002 tpx
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At Jean Paul Gaultier exhibition observational sketching Marker
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Observing base garments below 2 layered lace garments
2 layered lace garments
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Miniature collection overview in all colour combinations
Matrix system defining the variability of the garments according to colours
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100% Lycra Plain knit
100% Pure Silk Satin back crepe
100% Silk Duchess silk satin
100% Polyester Lace Page 32
The collection consisted of base layers that could be combined with the top layers. The top layers could have embroidery and embellishment on them, so hand wash only, while the base is machine washable. The top layers could be combined with different bases.
Swarovski 4mm bicone crystal hand embellishment
The top layer lace was hand stitched together so no seam allowance was visible. Page 33
Model: Adél Jáger
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Observation of favourite objects the target group is emotionally connected to. Created by the use of graphite pencils and markers.
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DR A P IN G AN D P R I N T D EV ELOPMENT A specfic female target group with bigger bust was surveyed upon what object they feel attached to, concluding to a perfume bottle as a source of inspiration for print and silhouette design for a draped jacket.
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Experimentation of lines and pattern repetition for print placement on lining. Soft T binder used on lining.
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Draping and finished garment 100% Plain weave polyester
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Furnit u re and fas hi o n The project’s inspiration was Danish designer Verner Pantone, known for his 60’s styled furniture. The task was to connect his furniture designs with fashion and create three outfits. By combing the trends in fashion with his designs a retro futuristic collection was the outcome with the space age in mind.
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Hand drawing shape transformation and collage from space rocket
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Collection range building Graphite pencil
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Hand drawn, watercoloured and computeraided line-up with fabric samples and painted colour swatches
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co n tact i n for m ati on
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