Rebecca Charlotte Mdes Fashion Design Logbook
CONTENTS
1 2 3 4 5 6 7 8
DESIGN CONNECTION
MARKET
UNDERSTANDING THE ISSUE The decline in craftmanship Raising Craftmanship Bernard Chandran THEME Creative Pattern Tomoko Nakamichi Origami Issey Miyake Kirigami DESIGN JOURNEY
SOLUTION
REFLECTION
BIBLIOGRAPHY
NAKAMICHI(2005)
FAUX LEATHER(2015
CATINIATA, (2015)
LOWTHER (2015)
WOOD (2014)
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Design Connection A Ready to wear Autumn/Winter 2016/17 womenswear collection focusing on bringing craftsmanship as a stronger presence in contemporary fashion. Featuring eight looks, the collection merges traditional Japanese craft techniques with new experimental pattern cutting methods. Garment designs are influenced by Origami techniques while fabrics are manipulated with intricate folding techniques inspired by paper art. The collection includes a range of garments, which encapsulate sleek minimalist silhouettes, layered shapes with intricate pattern cut detailing. These garments express the theme of Japanese craft flowing throughout the garments, looking into crafts such as Origami and Kirigami as the main sources of inspiration. Each garment presents a mix of folded intricate pattern cutting inspired by the Japanese traditional craft origami. The collection includes a combination of coats, trousers, skirts, dresses and shirts. Each garment includes an intricate pattern cut detail adding uniqueness and an extra dimension to each garment on closer inspection.
LOWTHER (2015
Colour Direction - Neutral - Chalky White Colour Direction
LOWTHER (2015)
The collection has been created from a range of neutral colour palettes featuring white shades and pale greys as the main colour palette throughout. The tones are following forecasted trends for Autumn/Winter 2016/17 from research gathered from the Worth Global Style Network (WGSN)and Vogue. The neutral colour tones emphasis as well as enhance the intricate techniques of cutting and folding that appear throughout each garment. This palette also makes the collection extremely versatile to wear together as an interchangeable collection or with any other garments the consumer may own. Fabric choices of loose weave cottons and textured wools to create jackets and shirt with additions of thick ribbed jerseys and Italian wool making up trousers and turtlenecks which add a layered and quality finished look to each garment. The mix of these fabrics creates a versatile collection with different textures and unique designs, which can be worn together in many ways.
lour Direction - Neutral - Chalky Whites - Mineral Greys
es - Mineral Greys
[ ] Oragami [awr-i-gah-mee]: the traditional Japanese art or technique of folding paper into a variety of decorative or representational forms, as of animals or flowers. (Dictionary 2015)
CATINIATA, (2015)
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Market
Customer/Muse - Chanel Iman - Creative Field - Age 25-35 - Urban Living- Exhibitions - Yohji Yamamoto - Helmut l LOWTHER (2015)
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The Market of the collection Oritatamu is designer Ready to Wear. The target market for the Oritatamu collection is for women aged between 25-35 who have the disposable income to buy into designer brands. The ‘After five’ collection is desgined for women who work in the creative field, as a designer, writer or possible style blogger, or working with craft in their careers. They could also live in an urban area with many other design influences around them. Also the consumer would have street style and inspires others to dress as they do, buying into designers such as John Galliano, Issey Miyake and Yohji Yamamoto. The creative customer would wear these looks after working within the creative fields to places such as exhibitions, shows and after work drinks with colleagues. The aim of the collection has the flexibility to take you from work to social occasions.
The customer would also buy designer garments with crafted elements, derived from their enjoyment in the arts and crafts. The range will be aimed at consumers that often have an emotional connection with their garments. Due to the high level of design quality and craftsmanship in each item, through the use of intricate pattern cut detail. Customers would be able to support the trend for craftsmanship to be worked back into design practices through contemporary fashion design.
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Understanding The Issues The underpinning principle behind this collection intended to make craftsmanship a more contemporary concept in fashion today. Through the uses of intricate origami folding techniques, which has been a traditional Japanese craft for centuries combined and interpreted through the use of creative pattern cutting as a craft.
[ ] Craftsmanship Definition: the quality of design and work shown in something made by hand; artistry. (Oxford Dictionary 2015)
Decline in Craftmanship
Britain led the Arts and Crafts movement with John Ruskin and William Morris, with famous art schools producing world renowned works. It is unfortunate that this rich history has been left behind. Britain has a rich history of craft. Canvas Editor (2013) explains that the British were once a craft nation; a people of blacksmiths, stonemasons, luthiers, carvers, thatcher’s, glass-blowers, potters and shoemakers. Skilled craftsmen were powerful, trusted and highly respected members of every community for their ability to harness nature’s materials to create things of function and beauty. (MORRIS 1880)
Craftsmanship and manufacture has been declining in the world and in Britain for many years. Britain’s clothing industry has been left devastated as many brands departed the UK in favour of more economically advantageous manufacturing conditions and cheaper production facilities overseas in the emerging markets. For businesses, the quality of goods produced abroad, which so often had tipped the balance in our favour, had by the mid-1990’s come to rival what could be produced in Britain. (Penney 2013) The decline of craftsmanship steadily arose with the development of technology. Industry and science took precedence over the arts and skilled workmanship. Another reason for the decline in craftsmanship was the monetary support as it was not financially feasible to make a living from a craft. Therefore this led to the craft movements becoming more of a hobby. Within the technological society in which we live now, consumers can order in and import flat pack instantly and are not prepared for the time a skilled handcrafted piece takes to create.
Walpole explains that Craftsmanship and luxury continue to have a symbiotic relationship even if that is different from how it was in the past. For many consumers, they see the luxury experience as a continuum: from accessibly priced product to commissioning a oneoff from a world-class craftsman. Likewise a bottom-up desire for more locality, warmth and culture is challenging conceptual design across disciplines from architecture to fashion. As some of our most talented designers are first to acknowledge, how something is made does increasingly matter, whether in Beijing, Amsterdam or London. Walpole (2014)
FAUX LEATHER (2015)
[ ] Craftsmanship and luxury continue to have a symbiotic relationship even if that is different from how it was in the past. For many consumers, they see the luxury experience as a continuum: from accessibly priced product to commissioning a oneoff from a world-class craftsman. Walpole (2014)
Raising Craftmanship
[ ] Design is a forever increasing in popularity as a career choice however the opportunities in manufacturing are dwelling especially within the UK The iconic names of industrial Britain are history; in their place are the service economy and supermarkets selling mainly imported goods. Robert (Skidelsky 2013)
ARYMA (2015)
VIAJIYU (2013) THE JEWELLERY EDITOR (2015)
GAUDION (2012)
In recent years craftsmanship has raised in popularity. Justin McGuirk. (2011). states that the world has developed a post-industrial nostalgia for the preindustrial. In cultures today products are cheap and mass produced. Consumers are beginning to romanticize about the handmade and are willing to pay for quality over quantity. This is something the Oritatamu collection aims to achieve through the uses of fine craftsmanship and quality-produced garments with the pattern cutting skills, through utilizing creative pattern cutting craft and origami as an art form. Craftsmanship is becoming more popular throughout all the art disciplines. Through fashion, Architecture, Graphic Design and More. Rising a new breed of designers known as the “designer – maker’ Design is a forever increasing in popularity as a career choice however the opportunities in manufacturing are dwelling especially within the UK The iconic names of industrial Britain are history; in their place are the service economy and supermarkets selling mainly imported goods. Robert (Skidelsky 2013)
Many designers are looking for their products to be produced in Britain,to a high standard of quality however they are finding that they cannot get their products manufactured in Britain and are taking to creating them themselves, learning and fulfilling a more craftsman role. Lida Hujic. (2011) portrays that designers are developing their own brand of Artisan clothes making, creating a niche between High-street and High Fashion. This collection aims to address some of the issues in the decline of craftsmanship through the UK’s lack of interest towards craft and decline in manufacture along with the lack of monetary support for new designers. These problems will be solved through this collection by highlighting the use of traditional and contemporary craft techniques and skills in a contemporary fashion collection which is aimed at the designer market to promote and influence others in the uprising of craft in contemporary design.
LIEW(2013)
Bernard Chandran – Is a Malaysian fashion designer, whose quirky vision reinvented the traditional Malay Garb for a more high fashion audience. He has become one of London’s most influential designers. His garments are developed to the highest standard employing a small team of 70 workers who are vigorously trained to make sure that they can provide the quality Chandran is looking for in his Artisan Designs. Bernard Chandran States that, ‘ I have always believed in quality craftsmanship; I believe that our strength even though ours is ready to wear presentation. We emphasize quality, good cut and craftsmanship”. (Componere 2011) This collection has followed these rules to create a well crafted quality collection of garments that emphasize and try to reignite the use of craftsmanship in fashion design as a whole, looking through into different forms of traditional crafts such as creative pattern cutting, laser cutting and Japanese traditional crafts such as Origami and Kirigami. In addition, ancient styles and more recent technologies have been mixed to bring light to the craftsmanship that can be brought into a contemporary fashion collection.
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Creative Pattern Cutting Joining the craft of creative pattern cutting and Origami together to create creative pattern cut garments influenced by the fold and shapes seen in Origami. This highlights the subtle and unique designs helps to create subtle and unique designs. This level of quality craftsmanship was achieved in the collection through a series of toiling and developing garment patterns, leading to a functional designer product.
LOWTHER (2015)
Tomoko Nakamichi Tomoko Nakamichi is renowned for her text books Pattern Magic. The techniques used in these books and unusual cuts and draping have heavily influenced the design and pattern cutting within this collection. The designs help push the limits of pattern cutting into an art form. Following the Roots jumper as a base for many designs the collection was developed through the craft of pattern cutting taking the skills and applying them to manipulate and interpret the origami influences into the garments.
NAKAMICHI (2005)
ORIGAMI INSTRUCTION (2015)
Origami Origami has exsisted through many centuries, mostly passed through time by oral tradition. “the oldest known written document about Japanese origami, the Senbazuru Orikata ( “how to fold one thousand cranes”), surfaced in 1797” (origami instructions 2015) and has been an influence in design practices since including contemporary design. Origami has inspired many disciplines and products used throughout everyday life, this is seen in interiors such as lamps and architecture of buildings and influencing furniture design. By combining Origami and pattern Cutting together through a series of toiling and designing, the garments show a range of intricate origami detail within the pattern cutting through the use of folds and unique necklines and arm structures.
KIMIYA (2015)
The use of Origami within the project is different from many other Origami influenced fashion. The aim of this project was not to create structured, 3D pieces to attach onto or create out of the garment fabrics but to interpret and influence origami subtly in each garment, using small folds and darts and the way a garment is sewn together eliminating seams and replacing them with new folds creating contemporary shapes.
[ ] This ancient art of paper folding has greatly influenced artists and designers from fashion to architecture, inspiring numerous origami style products and spaces. (DESIGN&PAPER (2013)
Issey Miyake is a Japanese fashion designer. Most renown for his technology influences within his designs. Issey Miyake has been a designer that has highly influenced this collection throughout the design process, making and styling. His use of technology influenced the mix of traditional crafts with new technologies to produce contemporary crafted products. Miyake understood far earlier than most the value of incorporating the disciplines of technology and art in his work. Indeed, he has been exploring the connections among the sectors for close to half a century. (Foreman 2014) Issey Miyake was an inspiration to the collection. Miyake’s design and photography style has heavily influenced the styling for the photography in the collection. The styling was to portray the model in shadow with a plain expression similar to Issey Miyake’s. This was achieved through the use of lighting methods within a photography studio setting.
PENN (2011)
ISSEY MIYAKE
Kirigami ORIGAMI RESOURCE CENTRE (2015)
Kirigami was derived originally from Origami which is intricately cut to create sculptures through the cuts and folds. "kirigami" was coined by Florence Temko. She used the word kirigami in the title of her book, Kirigami, the Creative Art of Papercutting, 1962. The book was so successful that the word kirigami was accepted as the name for the art of paper cutting. (Oragami Resource Centre 2015) This technique is similar to Origami in which it is a paper art. The original intention was to include a mixture of Kirigami and Origami into the collection. Kirigami was going to be introduced into each garment through the new technology of laser cutting. The aim was to Laser cut intricate shapes into fabrics to create a textured and unique look to the garments. Laser cutting is the method of using a laser to cut out materials. Laser Cutting is mainly used within the industrial manufacture business. However in the 21st century it has been more commonly used by designers and hobbyists and brought into contemporary design and is used in a multitude of design practices. The aim was to mix old traditional craft with new technologies. After investigation and toile into laser cutting garments it was decided that laser cutting would be withdrawn from the collection due to the amount of techniques involved into the creation of each garment. Too many techniques would have compromised the quality of each garment and time spent on construction to create a designer product. Fabrics unfortunately became too fragile making garments un-functional for a ready-to-wear collection.
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Design Journey
LOWTHER (2015)
LOWTHER (2015) The concept of the project was met and a successful collection was achieved. The theme of traditional crafts mixed with new technologies was showcased well. The project began with an initial project proposal and time plan which formed the basis of the research and underpinning. Also the target market, market sector and possible areas of exploration were identified. The journey of craftsmanship has been developed throughout the course of creating the Oritatamu collection. The collection focuses on the pattern cutting and toile of each individual garments to ensure it is of the highest quality and portrays visually the theme and concept of the project.
LOWTHER (2015)
Starting the project with the theme of traditional Japanese crafts and the outlook to interpret Origami and Kirigami into a collection of clothing was first developed as imagery analysis. This was to focus on what Japanese inspired imagery could be used as a base for a laser cut design. A bamboo design was then developed and toiled in a mixture of fabrics and moulaged. The method to create these designs affected the integrity of the fabrics and gave off an unfinished look. Through investigation and further toile it was decided that the laser cutting technique would not be used because it contradicted the overall look and finish of the garments. Origami was introduced into the project by learning the different folding methods and forms of paper. This incurred problems when transferred onto fabric as it gave a very structured appearance and the choice of fabrics that were used made garments become bulky and difficult to work with. Therefore for this collection it was decided that Origami would be used as an influence through the use of small intricate folds and darts in each garment to give a sense of the Japanese feel and the skill of the Origami craft was still present.
Pattern cutting as a craft to create more individual and unique shapes where the most difficult aspect in this project. The initial inspiration from pattern magic caused problems with the fabric choices and functionality. The uniquely placed armholes made flexibility in garments difficult. This was overcome through arm hole and sleeve manipulation through a series of toiles and feedback where arms were grown on and seams where eliminated, yet keeping the Japanese and creative pattern cut techniques visible. Designing the garments was an enjoyable experience to be free to think of new ways to eliminate seams and add folds. Designing Japanese influenced garments to interpret into 3d garments was a process in which I would continue in future projects.
The manufacture of the products was made easier through the development and toiles that had taken place as well as the constructive criticism that was given in critical reviews to make sure the garments worked well and functioned as a designer ready to wear brand. Learning to manipulate wools and jerseys was a beneficial learning experience. This was an opportunity to grow in the knowledge of fabrics and how to manipulate them this project has helped to develop a well thought out collection.
LOWTHER (2015) PARSONS (2015)
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Creative Outcome
PARSONS (2015)
PARSONS (2015)
PARSONS (2015)
LOWTHER (2015)
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Reflection
PARSONS (2015)
On reflection of the project, the designs for the collection could be transseasonal. The designs in the collection could include a variety and combination of coats and light kimono shirts. The kimono shirts in the loose weave cotton combined with the heavy felted coats would enable it to be a trans-seasonal collection. The Oritatamu collection could be further developed by integrating new prints. Also new laser cutting techniques which work with more robust fabrics could be included in the collection. New laser cutting designs could be developed using larger cuts so that the fabric holds better structure, does not fray and loose its shape. Garments could be created using a range of different fabrics for example kimono shirts being made in thick wools to hold the origami folds as a more 3d structure.
PARSONS (2015)
NAKAMICHI (2005) The inspiration for the creative pattern cutting in the collection was taken from Pattern Magic (2005). However this led to problems with the fit and functionality of the clothing. The arm holes in the roots jumper where uniquely placed in the side seams but this caused movement restrictions of the arms and shoulders. This problem was resolved by growing on arm holes into the garments. The designs were developed by layering a variety of garments including creating tighter fitting jersey garments to layering oversized coats and shirts. This worked towards fixing the design problems and developed into an asset to the collection. On reflection the most important stage of the design was making sure that the origami and pattern cutting worked well together to create functional as well as contemporary designs.
The project has developed pattern cutting and design skills to further enhance my design career and this is an area of research that I would like to develop further. As an aspiring designer wanting to work within the designer ready to wear market I am now hoping to focus on garment structure and design. My knowledge of different fabrics has been developed through the experimentation and research that the project has required. I am now more confident in manipulating fabrics and patterns to create a unique and well-crafted pieces. This opportunity has furthered my passion for bringing craft into a more contemporary light and its development into everyday society, which has developed my skills further.  
PARSONS (2015)
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Bibliography Department of Business Innovation and Skills. (2013). Future of manufacturing: a new era of opportunity and challenge for the UK - summary report. [online] Last updated 19/05/2015. https://www.gov.uk/government/publications/future-of-manufacturing/future-of-manufacturing-a-new-era-of-opportunity-and-challenge-for-the-uk-summary-report. Design & Paper. (2013). Origami LOVE. [online] Last updated 19/05/2015. http://www.designandpaper.com/?p=2411. Dictionary Reference. (2015). Origami. [online] Last updated 20/05/2015.http://dictionary.reference.com/browse/origami. EDITOR, Canvas (2013). The Death of Arts and Crafts . [online] http://canvas.union.shef.ac.uk/wordpress/?p=1673. Last updated 17/05/2015. FOREMAN, Liza. (2014). Issey Miyake's 50 Years of Making Connections. [online] Last updated 20/05/2015.http://www. nytimes.com/2014/12/02/fashion/issey-miyakes-50-years-of-making-connections.html?_r=0. HUJIC, Lida. (2011). Craftsmanship: a dying art? [online] Last updated 16/05/2015.http://www.theecologist.org/green_ green_living/clothing/1055165/craftsmanship_a_dying_art.html. Independent. (2010). Sir Paul Smith: 'I lament the decline in craftsmanship'. [online] Last updated 16/05/2015. http://www. independent.co.uk/news/people/profiles/sir-paul-smith-i-lament-the-decline-in-craftsmanship-2065562.html. MCQUIRK, Justin. (2011). The art of craft: the rise of the designer-maker. [online] Last updated 17/05/2015. http://www. theguardian.com/artanddesign/2011/aug/01/rise-designer-maker-craftsman-handmade. MORRIS, William (1880) "The Beauty of Life," a lecture before the Birmingham Society of Arts and School of Design. In: The Ideal Book: Essays and Lectures on the Arts of the Book, ed. Peterson, William S. (1982) Berkeley: University of California Press Origami Instructions. (2015). The History of Oragami. [online] Last updated 19/05/2015 http://www.origami-instructions. com/history-of-origami.html. Oragami Resource Centre . (2015). Kirigami. [online] Last updated 15/05/2015. http://www.origami-resource-center.com/ kirigami.html.
Oxford Dictionary . (2015). Craftmanship. [online] Last updated 14/05/2015 http://www.oxforddictionaries.com/definition/english/craftsmanship. PENNEY, Loren. (2013). Contributor Bio Loren Penney 18 Loren Penney is a qualified professional journalist specialising in the area of fashion and lifestyle. Degree educated in communications and journalism from the prest. [online] Last updated 20/05/2015. http://www.yourreadybusiness.co.uk/how-made-in-britain-is-reinvigorating-our-fashion-and-manufacturing-industries/. PETTINGER, Tejvan (2013). Relative Decline in Uk Manufacturing. [online] Last updated18/05/2015. http://www.economicshelp.org/blog/7617/economics/economic-growth-during-great-moderation/. SENNET, Richard (2009). The craftsman. London: Penguin SKIDELSKY, Robert (2013). Meeting our makers: Britain’s long industrial decline. [online] Last updated 19/05/2015. http:// www.newstatesman.com/culture/culture/2013/01/meeting-our-makers-britain’s-long-industrial-decline. SWAN, Bianca J (2011). Bernard Chandran A fashion Extraordinaire . [online] Last updated 19/05/2015 http://www.componere-magazine.com/bernard_chandran.html. The Walpole. (2014). Luxury And Craftmanship. [online] Last updated 19/05/2015 http://www.thewalpole.co.uk/craftsmanship-in-luxury. WONG, Nolan. (2014). Oragami and Kirigami. [online] Last updated 20/05/2015. https://prezi.com/--nvkie9hgmp/origami-and-kirigami/.
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Image Reference ARYMA (2015) 4_Craftmanship [online] http://www.aryma.co.uk/commissioning/craftsmanship CATINIATA, (2015) Origami Fold 05 [Online] http://catiniata.deviantart.com/art/Origami-Fold-05-411720079 FAUX LEATHER, (2015) Advantages of faux Leather [online] http://faux-leather-fabric.com/faux-leather-advantages/ GAUDION, Tina (2012) Architectural Digest, The classic British brand embraces innovative technology and old-world craft at its sprawling new location [online] http://www.architecturaldigest.com/shop/2012-12/burberry-london-flagship-store-regent-street-article KIMIYA, Satoshi (2015) 15 Worlds Best Origami, Origami Dragon [online] http://totallynailedit.com/15-worlds-best-origami/ LOWTHER, Rebecca (2015) Mdes Graduation Project. THE JEWELLERY EDITOR (2015) The Bold Burberry Britain Watch [Online] http://www.thejewelleryeditor.com/2012/10/ the-bold-burberry-britain-watch/ LIEW, David (2013) OnFeature, Backstage a Talk with Bernard Chandran [online] http://www.onfeature.com/backstage-atalk-with-bernard-chandran/ NAKAMICHI, Tomoko, (2005). Pattern Magic – Stretch fabrics, Laurence King Publishing ltd. ORIGAMI INSTRUCTION (2015) origami – Instructions, Origami Crane [Online] http://www.origami-instructions.com/ origami-crane.html
ORIGAMI RESOURCE CENTRE (2015) Designing Origami Architecture [online] http://www.origami-resource-center.com/ designing-origamic-architecture.html PARSONS, Amie (2015) Photography PENN, Irving (2011) Irving Penn and Issey Miyake: Visual Dialogue [online] http://www.designboom.com/design/irving-pennand-issey-miyake-visual-dialogue/ VIAJIYU (2013) Via Tuscany: Craftmanship [online] http://viajiyu.com/blogs/viajiyu/7831639-via-tuscany-craftsmanship WOOD, Benjamin (2014) Wild, Augustine, and the Political Theology of Leisure [online] http://www.politicaltheology.com/ blog/wilde-augustine-and-the-political-theology-of-leisure-benjamin-wood/
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