P.A.D by Rebecca Jane Hines

REBECCA JANE HINES P . A . D

“I’m a Romantic Schizophrenic” - Alexander McQueen

RESEARCH PROCESS

C O N TENTS . . .

INTRODUCTION CONCEPT MARKET RESEARCH SCHIZOPHRENIA ROMANCE PERCEPTION MODERN ART DESIGNERS COLOUR

DEVELOPMENT PROCESS

FABRIC MANIPULATION FINAL FABRICS FINAL LINE UP TOIL PROCESS & WORKING DRAWINGS

FINALISING PROCESS

PHOTOSHOOT // FINISHES

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“Every Angle” The collection is based on perception. The concept rooted in the Alexander McQueen quote, ‘’I’m a romantic schizophrenic’. The collection focuses on the idea of ‘not all is as it seems’. Through the use of fabrics and the manipulation of details and structure the collection achieves a sense of Asymmetry. The collection was made with the idea that there is no right way to wear the designs. The collection was designed with an underlying statement: Distorted reality. It captures both romance and schizophrenia in a different light. We see romance as idealistic and tender, but when you look deeper into the idea of romance there are some undesired aspects. Schizophrenia, which is seen as a very dark and scary disorder, has some parallels to romance. The collection explores the distorted reality of romance and its connotations. The phrase ‘Rose tinted Glasses’ is often used when describing someone who is blinded by love. Schizophrenia alters what you see through the mind, whilst situations in life can also affect your perceptions and distort what you think you see. Through research I furthered my understanding of schizophrenia, familiarizing myself with the symptoms and the reality of the illness, I didn’t want to focus solely on the negative aspects of the illness but instead concentrated on the idea of having a ‘faulty perception’. The A/W 16/17 pret-a-porter trend Asymmetric was very influential to the collection, the concept of the collection and the ethos of the trend were very similar. The imbalance and geometric lines within the silhouette rooted mainly from the trend and developed through the concept. Haider Ackerman was the main designer who influenced the collection. Inspired by the asymmetry used within drape instead of geometric structures, informed the use of drape in a more contempory and challenging way. For A/W 16/17, I create an array of asymmetric silhouettes to imitate the feeling of imbalance and instability within your own mind. The use of drape and pleated fabric will be used to symbolize the fluidity of delusions. Through the use of cut out details the clothing will reflect the idea of vulnerability to expose the softer more fragile side of life when living with a faulty perception. Using poppers and strategic pattern cutting, garments can change aesthetically, symbolizing how what one person view may be in contrast to another persons and how as individuals we perceive in a unique way. Non-Functional details where incorporated into the designs. This was to mimic the idea of having a hallucination; and seeing something which is not there. I want to create the idea of instability and distortion by using fabrics which contrast with each other in the collection to create subtle a juxtaposition and a distorted effect. The use of silks, crepes, boiled wool, scuba, suede and fur worked effectively at contrasting with each other without overwhelming the collection. Within the collection I used a mix of fabrics some matt/marble to symbolize reality and other fabrics that had a shine and/or metallic look to symbolize make-believe. This was to emphasise how you decipher reality through your perception using your imagination. On particular garments I created a flake like effect of rose gold glitter across the fabric. This was used on boiled wool to create a contrast upon a very matt dull fabric. These particular garments were made to reflect the phrase ‘all that glitters is not gold’, commenting upon the idea of what is perceived as desirable and beautiful can actually something quite different. The collection also featured perforation. The idea behind this was to symbolize the faults and vulnerabilities within our-selves. The way we take information can sometimes be distorted by emotions and situations leaving us more vulnerable and exposed. These were incorporated into designs, which were made to be manipulated, leaving the option of the perforation to be visible or hidden. The colours within the collection were kept quite muted and calming. This aimed to help de-stigmatize the idea of schizophrenia; the collection didn’t want to be loud or offensive but instead comforting and more reserved. The colour palet rooted from a psychiatric term ‘Blunting of effect’; the term refers to the idea of how schizophrenics emotions can be withdrawn, diluting their personality. I wanted to capture this idea of dilution of a person, so I used a mix of blue greys and a dark ,almost black, navy like defusing ink into water. To represent romance within the collection I added nude like pinks and flesh tones both in very silk like fabric to signify skin. Metallic rose gold details were also used to incorporate the idea of ‘rose tinted glasses’ this famous phrase perfectly illustrates the idea of how love can distort your reality. This collection is exploring the reality of life for a schizophrenic. I explore and confront the idea of perception. It aims to challenge you to think about life from a different angle. I’ve made a collection that I hope will provoke a reconsideration of what people see and to challenge their perception of love, life and the people around them.

RESEARCH PROCESS -

M A R K E T R E S E A R C H The target market is aimed at 21-40 year olds. The target market is a very strong hard working individual. They have a strong sense of fashion and a passion for individuality. Their life-style is hectic and time is very valuable, these individuals want fashion which is reliable and wearable but also innovative and creative. The target consumer wants statement wear, which would be of the same standard as Victoria Beckman design finishes but also with the aesthetic details of Haider Ackermann I chose this age range as the target market has a high disposable income. The collection is branded at a high-end market level. The Ambassador for the brand is the elegant Poppy Delevingne. She inspires the designs as she is intelligent with a very classic, and timeless style which parallels the aesthetic of the collection. She is a very individual and talented model with a great sense of personal style.

SCHIZOPHRENIA the facts Schizophrenia is a very serious and rare mental health disorder. It corrupts the brain and creates a world which is distorted. One of its main symptoms is that you have hallucinations; you can see, hear and feel things, which arenâ&#x20AC;&#x2122;t really there. It is widely misunderstood and when asked the majority confuse schizophrenia with Multiple personality disorder/ Dissociative Identity Disorder (DID). The difference between schizophrenia and DID is that people with DID are diagnosed with having two or more distinctive identities which alternatively take control. This is a common misperception and is part of the reason a lot of people are quite frightened of meeting schizophrenics. After talking to a schizophrenic, Anna, she enlightened me as to how isolating the illness is. One of the most negative things, Anna said, was how her relationships with friends and family changed; she explained how she now has no friends her age due to the illness. After talking to Anna I was inspired to create a collection, which embodies aspects of the illness, the idea of fluid hallucinations and emotions attached to having such a serious illness. However, I aimed to destigmatise the illness. Too many people are scared by false information about mental illnesses and because of that people suffering from mental health issues such as schizophrenia are becoming even more isolated from the world.

Romance The Reality When one is in love its said everything they see is through ‘Rose tinted glasses’. This perfectly describes how when your so infatuated with someone real life turns into a blur and almost becomes merely a background of the love affair. Again this reflects back to the idea of seeing, feeling and hearing things which are and are not there and blurring the lines of reality and perception. When you look at the idea of love in a more cynical way you see that its traditions and routines are not necessarily as beautiful and innocent as portrayed in romantic fiction. I started to look at stereo-typical romantic gestures and began questioning the meaning behind them. I found more often than not that reality was far from what you’d expect from a romantic gesture. A prime example I found was the giving of flowers as a romantic gesture. Cut from its root the flower is doomed to shrivel and die.

Modern Art The Abstract This artwork really inspired me. This 3D piece hangs from the ceiling, where you can see a distorted root like reflection hanging underneath a Tree. I found this beautiful and completely mesmerizing. It made me think of how we can only see things which are the above surface; we don’t see everything. It made me reflect upon mental health in the way that we don’t really know or understand what a persons going through because we only see and perceive what is shown to us, be it by the individuals behaviour or by the media and public opinion. The whole reality of trying to understand and interpret the concept yourself is exactly what I find inspiring about modern art. It challenges you and pushes your senses to conjure up your own personal perception  <svg version=”1.1” xmlns=”http://www.w3.org/2000/svg” xmlns:xlink=”http:// www.w3.org/1999/xlink” xmlns:a=”http://ns.adobe.com/AdobeSVGViewerExtensions/3.0/”

Perception The Notation Perception is a very interesting concept. The idea that what one person perception can be contradictory to another’s is fascinating. We are all individuals with different minds and different thoughts and processes. The Oxford Dictionary definition of perception is To perceive is to view and analyse what is in front of you. Within my research I looked into inkblot tests. This is where you blot ink onto paper then fold and unfold the paper to create an image. This image is usually symmetrical and different shapes occurred within the blot. Inkblot tests are used within psychology to analyse the patient’s mental health. If the person see’s negative and scary images within the ink blots it shows that the person is often unstable, where as if the person sees positive imagery it means they are in a positive mind set. I find the way that our mind-set dictates how we see the world is fascinating, if we’re in a good mood we see things positively and if we are in a bad frame of mind the same thing can seem negative. I wanted to take forward into my designs the idea of perception and seeing things in different ways. I used this within my adaptive designs. I created garments, which can be worn in different formats to display the idea that we all perceive things differently. I also took forward one of the inkblots and created a print for on the inside of the jacket garments.

Designer Influences The Inspiration When researching I came across Haider Ackermann I found his designs particularly interesting and inspiring. I found his use of dramatic drape innovative. I particularly loved his mix of geometric shapes and draped garments. His colour palettes tend to include harsh blacks and bold brights combined. The use of dark colours within drape creates a beautiful & grungy juxtaposition. Originally I didn’t want to look at trends for this particular collection however while doing background research I found the AW 16-17 trend A-symmetric pret-a-porter. This trend is about morphing shapes into new innovative forms. Taking proportions, recreating and redefining its origin. Looking at things from a different viewpoint. This completely echoed aspects of my concept. ‘What if we would put on our clothes upside down, backwards, forwards, lopsided and out of balance? Isn’t it time to change the way we wear clothes fundamentally?’- Trend union A/W16/17

Colour Pallet

The Blunting of effect I wanted to take inspiration from both main themes of psychology/ schizophrenia and romance and combine and create a juxtaposition of a colour palette. So I tried to link colour and tones with romance. This is when I came across this idea of a nude, shimmer-like dulled peach tone. This reflects the idea of flesh tones, which are explore the idea of nudity, which is linked to sexuality and sensuality within romance. I then brought the psychological aspect of the ‘Blunting effect’ this is a term used to describe when a person who is experiences a psychological disorder starts to become a diluted version of their original self, there emotions become lessened and they seem to be faded. To illustrate this within the collection I’ve used an array of blue-like greys with some black and midnight navy garments. The reason behind using blue tones and a navy almost-black shade is that it again helps to illustrate the idea that one person may see black, and others, navy

DEVELOPMENT FABRIC MANIPULATION

Perforation The process

For fabric manipulation I decided to laser cut perforation onto scuba parts on my garments. I decided to create a see through effect with two of the adapting garments. The idea behind the perforation was to highlight vulnerability whether because of a mental health illness or being infatuated. The perforation was also used to portray paranoia. The idea that people can see inside the garment reflects how people with schizophrenia often think people can â&#x20AC;&#x2DC;see intoâ&#x20AC;&#x2122; their minds. The process of creating the laser cutting was quite interesting. Starting with my basic patterns I then with the help of a technician had to use Electra to computerize them and place the rasterized polka dots on top. Through sampling I found the smaller the dots the longer it took to laser cut, as they would be close together. I also found an issue with having it too big made the fabric less durable and more floppy. Originally I had planned to laser cut both inner and outer garments. Due to the time consumption of the laser cutting the perforation, I decided to no longer use perforation on outer garments as it took over an hour for one skirt panel, and the jacket panels were over triple the length.

Foiling Effect The process

I also decided to use foiling on my boiled wool garments. This was a very last minute adaptation. I was content with my colour palette although thought that there was a slight lack of colour. My theme required it to be quite blunt and muted with flecks of metallic rose and silver. It was when researching fabric manipulation that I came across foiling. This is where you use bonda-web strips or glue and place foil on top, heat pressing to create a shape of your choice. Through experimentation I found the best way to create this flakes effect was to use glue and a paintbrush and randomly spread the glue. I wanted to create an effect where the shapes would fade with flecks of the metallic however through experimentation found that you couldn’t achieve that effect as adding light glue even made a bold imprint. The reasoning behind using this foiling was to incorporate more of the rose gold into the collection. Selected to refer back to the idea of ‘rose -tinted glasses’ and the concept of ‘all that glitters is not gold’, both referring to the idea that within life sometimes you see what you want to see and that you don’t always see reality.

Final Fabrics The texture

I chose to use a variety of weights of fabrics. I didnâ&#x20AC;&#x2122;t want to stick specifically to traditional A/W fabrics. I chose to use faux suede, a lilac light grey and black. I found the texture of the suede to be very soft and comforting. Silk was incorporated, as it is specifically known for being a sensual and romantic fabric. The idea of its soft skin-like delicacy perfectly reflects the concept. Boiled wool was also used for two jumper garments this completely contrasts with the soft silk fabric creating juxtaposition. I chose to use fur as well to add another texture within the mix; I wanted a sleek patent-like tone within the collection and found that the fur perfectly finished the palette.

Garment PROCESS -Final Line up -Working drawings -Toiling Process

OUTFIT

FURR COAT CUT OUT TOP CHANGING TROUSERS

OUTFIT 1 . The cut out top When developing the pattern for the cut out back top I started with the basic block and created princess seams down the font. After the first toil I found that due to the cut out at the back the dress was a lot less fitted than desired. I then started to take more out of the front darts and then from the side seams to fit the model better. It took three fittings to final make the dress fit the model size ten. The only issue I faced with this dress was the fit of the body however through toiling I managed to create an elegant and well-fitted garment. Originally there was going to be a drape insert in the garment, however after making the shell I decided makes it a more commercial piece. The adapting trousers The adapting trousers were one of the trickiest garments within the collection. I toiled there several times. I wanted to add a flap to the front of the garment, which would also move to become a drape like detail at the side. There were a few issues in the toiling process for this, firstly I had to add an extra 1cm seam allowance to the leg where the flap had already been bagged out. Then there were also issues with the poppers. On one of my toils I had placed poppers in incorrect places completely disrupting the fit on the trousers. The Fur coat When toiling the fur coat I created a grown-on sleeve. I wanted this jacket to be very oversized. Originally I had planned to create a cinched-in waist by using a belt which went inside the jacket. However after toiling in the pink faux fur I decided that when using my final fur fabric, the garment would look nicer as a bolder oversized shape. Issues I had with the toiling process of this garment were that creating the grown on sleeves caused issues with the fit of the front. Using pins I had to remove fabric from the middle section of the jacket where I had inserted a seam.

OUTFIT .

CROPPED JUMPER WINGED CULOTTES

OUTFIT 2

. Cropped jumper For the cropped jumper I started using the stretch block as originally the garment was going to be made of a jersey fabric. I had made several toils with jersey and managed to get the toil perfect. Then I further researched fabrics and decided on a boiled wool jersey instead. This meant that the fabric was a lot less stretchy than previously expected. I then took the original stretch pattern I made and added 2 cm to each seam. This then created an adequately fit, however there was excess fabric under the arm. I then added a dart from the arm to the bust to allow for a better fit. The neck then also had to be adjusted, as the head would no longer fit through the hole. This meant the collar stood a little further from the neck than desired, in toiling I adding a zip however did not like the aesthetic of having a zip in a pull over jumper. Winged culottes Developing the pattern for the winged culottes was quite simple. Firstly I took the trouser pattern, then through cutting and spreading created the shape and silhouette of the trousers, I then wanted more volume and a pleated within the centre of each leg so I added a 10cm pleat. When toiling I found that sewing down the pleat for 8 cm made it more fitted at the waist more like the design I had originally planned. I then created the pattern for the winged sides. These adaptations were made to add an odd detail to the garment. During the toil process they were simple to sew into the seams over for the final garment I planned to attach them into the French side seams.

OUTFIT .

JumpSUIT COAT CAPE

OUTFIT 3 .

Jumpsuit To create the trousers for the jumpsuit I took the silhouette of the adaptable trousers. Then in order to create the pleating drape effect I first added pleats into the toils. I found that this did not give the desired look and experimented with sizes of pleats and placing. But none of these created the anticipated effect. I then after consulting with a technician I found that adding extra fabric to the top and shrinking it with elastic created the drape effect desired. Developing the pattern for the top was very simple as I had previously created the silhouette I wanted with another pattern. So I took the main body part of this other pattern and attached it to the trousers. The pattern was made of a different type of material so when it came to the fit it was tighter and creating a very nice open centre detail at the back of the jumpsuit. Originally the jumpsuit had a sleeve however during the make I decided I preferred the jumpsuit sleeveless. A drape detail was added onto the jumpsuit was that attached with a zip at the side for drape. This meant that the jumpsuit could be worn with the drape or without. Creating the pattern for the drape was quite straightforward, first I cut a square of fabric on the bias and then whilst it was on the mannequin I cut the shape that I desired. Once I had the basic shape I then added pleats to exaggerate the drape even more. Another add on to the jumpsuit was that attached to it there was a zip at the side for drape. This meant that the jumpsuit could be worn with drape or without. Creating the pattern for the drape was quite simple firstly I cut a square bit of fabric on diagonal to the biased and then whilst it was on the manikin cut the shape that I desired. Once I had the basic shape I then added pleats to exaggerate the drape even more. Coat and cape The shape for the outer shell of the coat/waistcoat was very minimal and simple. First I added a lot of length, then I create an asymmetrical detail making one side of the jacket 20cm + longer than the other, I then created a curved shape allowing for a smooth transition from the short to long side. On the toil I played about with the idea of zip pockets at the front but instead just created in seam pockets. For the fur cape on top, I really struggled to create the shape I wanted.

OUTFIT .

TOP ADAPTABLE SKIRT

OUTFIT 4 . The top The toil process for outfit four was quite simple I took the basic block and made it more fitted, and then added a stand colour. When creating the drape I again took a rectangular block of fabric on the bias then cut the shape that I desired when the fabric was pinned on top of the top toil. Again once I had created the desired shape I then added pleats to the block for a more draped look. When creating this garment I planned to bag it out during the final make to create more movement within the fabric. The adaptable skirt The skirt was made of two parts one the underskirt and two the top layer adaptable skirt. To make the top layer skirt I took the basic block and then through toiling created a shape which allowed the skirt to be manipulated in a few ways. One way was to create a draped distorted shape and the other was to create more geometric shapes and show the perforated under layer. The issues I had with the top skirt was that I had to allow room for movement on one side seam and to make sure that the zip was fully functional. The under skirt was a much more simple pattern and only had to be adjusted at the hemline to create a slant.

OUTFIT .

DRAPE WAISTCOAT CULOTTES JUMPER LEOTARD

OUTFIT 5 .

The culottes The culottes for outfit five were taken from the shape of the previous culottes. Keeping the size the same I then split the original 10cm pellet into two so there was now four pleats at the front. With these culottes I also added a visible zip to the left centre. When creating these culottes it was also easier as the basic silhouette I had previously created. I also added in-seam pockets to this pair. Which create an issue as I had planned to french-seam to finish. I toiled the culottes and found that you could French seam the pockets as well, however I had to adapt a pattern so that the pockets allowed for more seam allowance. . The drape waistcoat The drape waistcoat was made from the blouse block; firstly I created the shape I wanted. However I found it wasnâ&#x20AC;&#x2122;t fitting exactly as I wanted to then I pinned the fabric and got rid of the excess fabric. By adding panels I also created a closer fit to the body. Finally I created pleats on the cross over panel section. In order to get the right amount of drape I experimented with sizes and positions of pleats as well as with way the pleats sat best. I wanted to make it reversible so I bagged out the pattern completely, the only issue with this technique was that due to the pleating on both sides the garment looked slightly baggy in the cross over section. The jumper leotard When developing the pattern for the jumper leotard I started with the leotard stretch block and created a fitted shape, I then made the sleeve. I created the cut out for the sleeve simply by making the one-sleeved toil then cutting exactly where I wanted the sleeve to be cut out. I then took that shape and placed it on the pattern and subtracted it from the pattern piece. I again originally toiled this in a jersey so when making the garment in boiled wool jersey I had to add extra fabric into the sides and an invisible zip at the back.

OUTFIT

DRAPE NECK WAISTCOAT OUTTERSHELL CURVHEM WAISTCOAT CUT OUT BACK DRESS

OUTFIT 6. Drape neck waistcoat This was made through experimentation on the stand firstly taking a square block of fabric and cutting into the shape desired and then adding pleats within the fabric to create a more draped effect. Dress The dress was very simple to figure out the pattern as it was very similar to the pattern for the top of outfit 1, all that was needed was to figure out the length required and make sure that the fit of the lower dress was accurate. Outter shell waistcoat For the outer shell waistcoat I used a very simple process, I created an asymmetric shaped hem, which had a slight curvature within the design, this was achieved through simple pattern-cutting techniques. I then developed placement of zip on the front, which again was quite straightforward.

FINAL SHOOT

-REFLECTION

OUTFIT 1 On reflection I was happy with this outfit. I really loved the final look altogether, however there were slight details I would of changed. THE FUR COAT This garment was fully lined with in seam pockets. I was extremely happy with the final out come of this garment. The only issue I had was with the zip, ensuring it wouldnâ&#x20AC;&#x2122;t catch on the fur. THE TOP The top was fully lined and finished with an invisible zip and two poppers at the neck. I was very pleased with the final outcome of the top.. The only thing I would of changed with this garment was to make the zip and an open ended invisible zip THE TROUSERS The trousers were fully lined and only attached at the facing. Popper and zips were used as finishes for the adaptability function. I was pleased with this garment however there was a slight issue with fit that on reflection I would change if I were to remake the garment.

OUTFIT 2 On reflection I was pleased with the final finish. The foiling was very successful and the shape of the culottes was as imagined. THE CULOTTES I was pleased with the final outcome of these, however in make there was a slight issue with sewing the fusing to the flaps creasing a crease effect which could not be recut. THE JUMPER I was extremely pleased with the final outcome of the jumper and found it to be one of my favourite final garments due to the foiling and the drape affect across the front.

OUTFIT 3 I was happy with the final finish of this outfit. The jacket was one of my best designs within the collection. THE COAT/CAPE The jacket was fully lined with the collections print. I was very pleased with the final finishes to the coat and cape. The only issue I had with the cape was the popper was very delicate and hard to find due to the amount of fur. THE JUMPSUIT The jumpsuit was finished by fully lining it. I was content with the jumpsuit however I felt the quality of lining on the inside was not of the best standard.

OUTFIT 4 On reflection I was pleased with the final finish. The drape was successful and the movement within the skirt was very effective. THE SKIRT To make the skirt, firstly I laser cut holes into scuba. Again using bagging out I created the outer moving shell. Using the under layer of the skirt as a substitute facing/ lining. I French seamed one edge of the skirt. Then overlocked the rest of the skirt and hem. THE TOP The top was made through attaching the outer shell to the lining shell. Completely finishing the top. The back had an invisible seam inserted to the centre seam. The drape within the top was made in a similar way to the drape waistcoat where it was bagged out then attached into the seams of the garment.

OUTFIT 5 Overall I was content with this final look.. I was happy with the culottes and the jumper leotard however I found that the shape of the waistcoat was slightly too big. THE CULOTTES The culottes were faced and French seamed, with two inseam pockets. I was very happy with the fit on these and the final outcome. THE JUMPER LEOTARD The jumper leotard was very successful. The foiling and the fit were perfect. This garment was finished using the double stretch stich machine. THE WAISTCOAT I was happy with the finish and the poppers in the final garment however I found the waist coat was a little too big and needed to be more fitted.

OUTFIT 6 On reflection I was very happy with the final outcome. There were some finishing issues within the drape garment however otherwise the outfit was a success. The outfit embodied the contrast between drape and asymmetry well, reflecting the idea of fluidity of perception. THE DRESS The dress was fully lined and unattached at the bottom. An invisible zip was attached at the centre back of the dress. Poppers were also used at the neck of the dress to hold it in place. THE DRAPE NECK WAISTCOAT The waistcoat was made through a method of pleats and bagging out. in order to get a nice finish at the back I attached a button-stand , poppers were then imbedded onto the back as a detail and to allow the garment to be worn in different ways. The neck of the garment was made with binding and stitched together with a popper inserted at the back. THE OUTER WAISTCOAT The waistcoat was fully lined and faced with two jetted zip pockets. on the inset of the waistcoat is a printed lining of a blot test I produced. This garment was successful except that the lining print was slightly green due to a factory error.

PHOTOSHOOT -STYLING

HAIR // MAKE-UP For hair I wanted to keep it very minimal and simple, I didnâ&#x20AC;&#x2122;t want to over stylize the shoot. I wanted a very sleek and clean look. When it came to styling the hair I stuck to three different styles; bun, pony tail and down and straight. Within make up again I wanted a very natural and pure look. In order to keep the model looking fresh-faced there will be minimal foundation with slight blush to the cheeks and a shimmer nude shadow with mascara and a natural brow. The lips will be again very fresh and use a blush tone to brighten up the face.

Poses // LOCATIONS When researching into poses and the look I wanted to capture within the shoot I was interested in the idea of broken body and so used stools and the model sitting on the floor. I didn’t want the model to use static or strong poses, I wanted the theme to be quite ‘broken doll like’ to reflect the idea of vulnerability. However I didn’t want her to look lost or sad facially.

Props // CREative Ideas Props// Styling When styling the outfit I didn’t want to use any jewellery, I wanted the focus to be on the garments. The shoes I selected were a range of boots and nude heels to compliment not dominate the garments. I used mirrors within the shoot to symbolize the idea of looking at one’s self from another angle. I liked the idea of using broken mirrors and circular mirrors to reflect upon the asymmetry and perforation within the collection. Finally I also used a sheet of foiling within the shoot. I’d looked into the idea of water distorting the reflection but found that in actuality it would be very tricky and potentially very messy. When I was using the foiling on the jumpers I found that before the foiling was cut from the roll you could see your reflection within it. I found it fascinating, as it would distort like the water with movement but without the associated problems.

Reflection Overall Iâ&#x20AC;&#x2122;m content with my final collection. I am very happy with the designs and aesthetic of the collection, however looking back upon my fourth year experience I would of liked to spend more time perfecting the pattern and toil process. One weakness I have is creating my 2D drawings into 3 dimensional garments. If I were to change anything about this year I would go back and take more time on designs development and push my designs further. Iâ&#x20AC;&#x2122;ve found this year extremely challenging, however through this year I feel I have firmly developed myself and my style as a designer. Through the year I have pushed myself a lot more than any previous year and found it to be very rewarding. Since this was my final year I tried to be as independent as possible but could not have completed my collection to such standard without help from tutors, technicians and my peers. My overall experience of fourth year was very challenging and informative. A lot of work and time is required within this course and I feel I have put all possible eÂŹffort into this year. As a designer I feel that I have learnt that time management and attention to detail is essential when it comes to designing and creating a collection.

refrences Image of Tree from Saatchi gallery London – Own photography – Artist - Jorge Mayet¬ Philip Thomas (1997). The dialects of Schzophrenia. london: Schizophrenia. Available: http://www.samh.org.uk/mental-health-information/mental-health-problems-explained.aspx#schizophrenia. Last accessed 28/12/15. (2009). Community Mental Health Services. Available: http://www.nhslothian.scot.nhs.uk/ Community/EdinburghCHP/Services/Pages/CommunityMentalHealthServices.aspx. Last accessed 12/01/16. 2010). Schizophrenia. Available: http://www.rcpsych.ac.uk/healthadvice/problemsdisorders/schizophrenia.aspx. Last accessed 10/01/16. (2012). N/A. Available: https://www.victoriabeckham.com. Last accessed 12/11/15 (2011). N/A. Available: http://www.haiderackermann.be. Last accessed 20/12/15

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