Rebecca Murray
Matriarchy Autumn/Winter 16/17
Process Analysis Document
The Brief: If the world ceased to exist as we know it and lay in ruin, what would fashion devolve to become? More importantly, if everything destroyed by masculine greed was taken over by women, what would that image of fashion be? Matriarchy explores this idea of a dystopian wasteland and presents a vision of the future, one where women have taken over and are the sole warriors of the world. This is a world where fashion isn't governed by labels and every woman is her own hero. A world where the practicality of what you wear is just as important as the overall look. Designed for Autumn/Winter 16/17, this collection aims to present a vision of the future set to inspire the rebellious young and the revolutionaries of the past. The women of the future need to always be prepared for any obstacle, meaning silhouettes must be simple and unfussy. This means focussing on practicality rather than complicating or restricting the wearer's movement in any way. This can be taken from the simplicity of the Artisan trend found in the WGSN trend forecasting reports. These reports focus on placing an emphasis on personal craft as well as loose, layered silhouettes that benefit the wearer through practical outerwear. Much like Mad Max: Fury Road (2015), the collection attempts to convey a sense of feminine superiority against the usual gender constrictions. This is portrayed through subtle asymmetric shaping along with luxury modern twists featured in fabric and details. The final pieces should be easy to move in allowing for the possibility of fast movements and potential combat. This is reminiscent of the modern woman’s ever-increasing ability to break free in a complete contrast to the many corseted pieces of the past. Layering will play a key role in ensuring all climates are tailored for, as it is important to ensure that the woman of the future is ready for any obstacle whether that be a hot desert sand storm or harsh winters. The garments should be able to lend warmth but in no way restrict the wearer.
Fast wrapping techniques and additional lengths of material help strengthen this idea. Leading on from this, fabrics have to be durable yet strike that balance between nature and being contemporary. Soft lightweight silks and striking treated leather help to marry this idea together with the other performance based fabrics that are both waterproof and woollen. Looking at the work of Rick Owens and Ann Demeulemeester, the designer should be inspired to be experimental in the design approach, taking inspiration from their past use of luxury materials and their conceptual story-telling methods. Design details must all be in aid of utility, showcasing a wide variety of pockets as well as creative fastenings and other potential storage details. These are essential to the DIY aesthetic as it provides the garments with more functional uses. Prints must infuse the collection with a sense of destruction and corrosion aiding in the visual representations of a world falling apart. This can be pulled from a wide variety of inspirations including the exploration of abandoned buildings and creative experimentations through mixed media and sketches. The chosen colour palette must pull from the earth in keeping with Autumn/Winter 16/17, creating a deep connection to nature through a variety of tones that create a vision of a warrior. Greens play a vital role being the main base colour that ties the roots of the work to the earth. Vibrant oranges are taken from the rust of man-made materials as well as the sand dunes found within the adaptation of the 2015 film Mad Max. Flashes of metallic should create a sense of industrial workmanship, highlighting the DIY edge within the ethos. Finally, pitch blacks should remind onlookers of the dirt of the earth and help connect the rest of the palette together. Finishings and construction should be considered highly important taking into account the luxury experimental womenswear market where the collection should endeavour to fall. The finishings should be suitable for this market within final fabric choices and garments should be lined wherever possible. Despite being a craft-infused collection, there should be no raw edges and fastenings should be cohesive throughout. Designs should consider a primarily female target market but with a hint of gender fluidity brought forward by the idea of potentially no limitation on gender in the future. There is no age range as a woman's ability is not limited by a number, only by how she sees herself. The collection should display a vision of an empowered women to influence women of any age to take part in this revolution. The modern day woman should not consider herself constrained by the limitations of the past. Matriarchy gives her the platform to throw herself into the future of woman's emancipation and ignore societies restrictions proving that this collection has no boundaries.
Contents:
// R
e s e a r c h
-
// C
Dan Wells Mad Max: Fury Road Abandoned Designers - Rick Owens - Ann Demeulemeester
o n c e p t
// D e v e l o p m e n t
- Design - Print
// T o i l e // P r o c e s s // P r o d u c t i o n // R e f l e c t i o n // R e f e r e n c e s
// D
an
Wells
// M
ad
Max: Fury Road
// R e s e a r c h // // A // D bandoned
esigners
// Uncovering Dan Wells // Research began with an accidental stumble upon an extract from the book Partials by Dan Wells; that helped spark the initial design concept for 'Matriarchy'. “The last to fall were the buildings, distant and solemn, the gravestones for an entire world.� This immediately forms a strong visual response in the mind's eye. You envision a world in ruin and questions begin to form; What would the world be like if we were thrown into dystopian ruin? What would fashion devolve to become? This was just an introductory idea but gave a base that would continue to grow and thrive from other influences.
“The last to fall were the buildings. Distant and solemn. The gravestones for an entire world.� // Dan Wells, Partials //
Further inspiration that became a focal point of my research was the 2015 film Mad Max: Fury Road. A film with a strong postapocalyptic identity but with women at its core subverting sexism in film with a concept that was firmly in the viewers’ face the whole time. This provoked thoughts about the under-represented strength of women and as a feminist; naturally it was thought, what if women took over the future world? Then what would fashion become? The film itself was visually breath-taking with clever cinematography highlighting the costumes, in particular the difference between the male and female costumes, as well as the brutality of the world they found themselves in. Looking into the costume work in depth, all designed by Jenny Beavan, it explores the visions of a post-apocalyptic world created by George Miller. It puts a focus on the practicality of the designs as well as the visual impact. Beavan was very aware that although this had to be a cinematic experience, that these were workers, fighters and warriors so they had to be functional, adding in goggles, masks and unusual craft work. Working with a variety of materials, essentially junk, she created a whole new world of future fashion. This was an idea I wanted to continue but with a twist. The heroine Imperator Furiosa encapsulates this idea of a powerful woman taking back the world she is entitled to from mankind’s greed. This was the main theory from the film that helped form the central theme to the concept. It provoked ideas of women ruling a world in ruin and it made me think, if that ever happened what would fashion become for the women of the future?
// Abandoned Buildings //
// The Glasgow Steiner School //
Wanting to gain a better understanding of a world thrown into dilapidated chaos, it made sense to pursue further research into the slow collapse and decay of abandoned buildings and using photography, try to capture some of the deterioration and destruction that was present in a variety of abandoned asylums and schoolhouses. The concept had to be enforced with a sense of destruction. I took inspiration from two main buildings: one being the Glasgow Steiner school that caught fire and was closed down only two years ago. This was the perfect example of how quickly decay can take hold and the images provided a lot of creative visual stimulation to be felt through the design work and general ethos. The line work and textures captured helped to influence the silhouette and details further down the line with bold structures.
// Hartwood Nurses Home //
The other building was a forgotten nurses’ home in an abandoned mental asylum in Hartwood. This was purely a visual experience that helped with the more imaginative side of the design work. The rebellious act of clandestinely entering the building for research gave an adrenaline rush that created a sense of what it would be like to be as forceful and empowered as the characters in Mad Max, and what it would be like to be faced with a battered and dysfunctional world. The decision to explore first hand research provided some powerful and insightful imagery that helped me envision throughout the design process.
// R
ick
// D e s i g n e r s // // A D
Owens
nn
emeulemeester
// Rick Owens //
It was extremely important to look to designers similar to where the collection would fall within the market level. Although many designers were researched, one of the main influences was Rick Owens, a highly experimental designer with a blatant disregard for gender norms. This only makes his work more appealing especially in comparison to my own research, as one thing I didn’t want was for the designs to become too feminine. How he ignores the constrictions of gender was examined, which helped the understanding of how to make the collection more fluid. Looking at the strong statements from his previous collection, the overall aesthetic was considered as well as how he ensures his work conveys his story, whether though a strong final image, subtle layering or silhouettes.
// Ann Demeulemeester //
Another designer looked to for inspiration was Ann Demeulemeester. Her work in particular inspired some of the material choices as well as how they can easily convey a mood. Since there needed to be that primal link to nature, both fur and leather were looked at for their potential to help tell the story. She also creates pieces that give an air of power to wear. A further clear influence was taken from a variety of images from her Fall collections ranging from 2013 to 2015. All these collections featured strong belt work that emphasised the rock and roll edge of her brand ethos.
// Conceptualisation //
// Silhouette //
With various inspirations fully researched, it was easier to begin to refine areas within the concept. Silhouette inspiration was taken from the simple necessities of the DIY trend and further enforced by the costumes within Mad Max, designed for purpose but slimmed down for the feminine figure.
// Colour Palette // Fabrics //
Colours were pulled from the earth’s natural resources as well as similar colours within the trend predictions. There is a mix of dark earth greens for a hint of camouflage, rustic bright oranges taken from the sand tones in the film and weathered greys inspired by the destruction of natural resources. To finish, there are elements of dark black to highlight the other colours as well as flashes of metallic to resonate the feel of a worker’s tools. Fabrics represent the earth and the luxury associated with the market level. Textured greens, rich silks and carefully selected treated leathers and prints. The print was inspired by the designer’s own photography as well as the need to communicate the corrosion of the current world. Initially taken from a photograph, it was drawn into and experimented with creatively to portray the theme as much as possible.
// I
nitial
Designs
// R -V e
ised
Line Up
// D e v e l o p m e n t P r o c e s s // // F L U // P D A D inal
ine
p
rint
esign
nd
evelopment
Initial Designs // In the initial research and development stages, there was a large amount of experimentation with flowing layers and belt restrictions. It became clear very early on that the development had started to lose its way. There was almost a block that was controlling the design outcome, focussing too much on how commercial they would be rather than the finishing point it needed to get to. The first developed line up is unclear and does not tell the story of the collection, almost too feminine it was nowhere near where it needed to be. Upon returning to the research, more influence was taken from the ethos of influential designers and the work became more experimental by choosing to zone in on the craft of individual pieces and stand out details. The silhouette was not practical enough so it was stripped back, leading back again to the craft and how functional each piece could be. However, it still needed to give a sense of strength. It was realised that this could be done with less regimented lines and so it was decided that symmetry would be abandoned, working into details like sleeve styles and hem lines. To emphasise functionality, varieties of belt work were experimented with as well as layering that was more subtle; for example, skirts folding in ways that hid pocket details and light hooded pieces that would lend some warmth to the wearer. At this point a lot of design development had been undertaken to reach a point where a story could begin to be told on paper. However, when faced with the collection as a whole and considering the technical drawings which highlighted the work within them, it was obvious that there were certain problems that needed to be addressed. The cropped pieces, although complex, were still too feminine, not quite reaching that statement of empowerment that the garments needed to present. In addition to this, certain design details that had been in the works for weeks were described by lecturer’s as “too pretty� to work with the concept. This was the opposite of what the intended statement was so the development had to be revisited once again. To rectify this, sizing and measurement details were further experimented with, playing with lines that did not conform to symmetry and creating garments that gave better sizing ranges as well as being easy to wear and throw on.
Re-Vised Line Up //
This fully revised line up, although not creatively enhanced, was the final plan for the collection. However, due to manufacturing complications which are explained later on, there are some slight changes between that and the final line up.
Final Line Up // The final line up is clearly much stronger and tells the story that was intended from the beginning. It radiates strong women in garments that it is believed are both fashion forward as well as being fearless in their design and practicality. Each piece is cohesive with the others and all outfits can be easily interchanged, ideal for ever-changing climate conditions. The bold asymmetrical silhouettes help pull it away from femininity and convey the rebellious side of the concept. Complex construction and additional belt work aid the utility of the wearer, as well as giving a darker edge. This was needed to contrast with the rustic orange and help it stand out. The imperfect greens help bring in texture and add in that primal link to nature that it required. I think overall the designs help push the boundaries of modern functional garments, with the belt work adding a luxury twist and the sizing details being something a bit different that helps elevate the collection as a whole. An important note to add is that the fur pieces after toiling and construction clashed badly with the collection an the tough design decision was made to remove them entirely from the collection.
// Print Design and Development//
The addition of a print was decided upon as it helped tell more about the corrosion of the earth’s materials and added to the idea of a world falling apart. Photos taken from research were drawn into and enhanced through CAD software to illustrate more texture leading to a print that works well within the range of garments. Many variations were tried with different colour ways but it was felt the darker grey helped bring together more elements of the collection; making everything more cohesive overall. In terms of fabrics, printing was tried on a variety of synthetics; finally settling on a breathable waterproof that was both functional and would aid in creating the shapes and panelling that lie within the garments
// T o i l e i n g P r o c e s s //
Look One
// // Dress & Skirt //
Originally, this garment was to be one dress with an overlayer. A very loose approach was taken to the construction at first to get an initial feel for how it would drape. A dress block was drafted for the underneath layer and then an additional shape hand drawn from paper was added. The paper was used directly against the stand. Although far from being where it needed to be, this helped the initial understanding of the lines and the sewing that would be needed. The piece was cut to shape and then removed from the stand to be put against the original basic shape, tracing off the new one ready to toile in fabric to see how the actual piece might drape and fall. This obviously would have slight shaping issues which would need changing because fabric reacts differently, but the initial response made this much easier to edit. The fabric was further cut into, finding the desired shape and the front and back darts were removed for a more flattering look, choosing to instead add side darts for shaping. After the initial shape was created, it had to be considered how the piece would fit into the dress. It was found that to have this happen neatly was impossible without adding more seams which it was felt would detract from the garment. The design decision was made to turn them into fully lined separate pieces. This actually added to the practicality of the garment as it added both warmth and an additional piece of attire useful to the wearer. The bodice of the dress was subtly gathered near the bust so that it could cling to the body and create a cleaner silhouette. Some sizing issues arose during the full toileing stage of the garment but these were easily fixed.
// Sleeve Cover // To get the natural texture from the sleeves, it was decided to first slash and spread the sleeves with 3cm gaps in an apple peel technique. Once toiled, it was decided that it needed to be more dramatic and bulky. It was felt that this would give the garment more of an armour-like finish to convey the warrior aesthetic. The garment was re-toiled but this time elastic was added and stretched between the outer seam. The result was exactly what was wanted. The main bodice was created from a basic bodice block with large sections removed from the lower halves and necklines so that it could fit easily over the wearer's head and sit neatly against the chest. This required no further changes and was ready for production.
Look Two
// // Tabard Top With Wrap Neck //
The top design was originally a much shorter pleated crop top. This top was made directly on the stand using paper at first to gauge a basic shape and then utilising fabric to work out the folded details and wrap neck. After the toile review, the decision was made that the cropped under layers had to be changed as they didn’t convey enough of an empowering message and the pleats in this top drew too much attention to the bust. The design therefore had to be re-developed. Keeping the neckline, a tabard style was envisioned with belt work detail at the sides to enable changes in sizing. A basic bodice block was taken and elongated and further squared off from the bottom; the neckline was dropped so that it could sit cleanly on the shoulders. The sides were left mainly empty because there needed to be easy access to the high waisted trousers underneath.
// Trousers // Shaping and sizing was experimented with to form a unique design. This enabled the wearer to quickly step into the garment and fasten it at the front leaving a dropped shape, sitting against the wearer before bulking up again towards the knee. The design was far more practical than the previous result and fitted the brief better. The toileing process was attempted several times. A higher waist was added to the initial trouser block but a quick toile of this showed it was not going to have any real effect. Then the pattern was increased dramatically in size to both the front and back sides and the crotch was dropped. Further toiles were made until it was the right fit, but it was still not the right silhouette. The decision was made to cut directly into the toile to see what would happen to the shape if a section was taken away from the side leg. This provided a highly successful result which was quickly transferred to paper so that it would be ready to produce. The knees themselves also took some trial and error before getting the shape. An organic shape was wanted that was not symmetrical but would pull the leather in different directions. Attempts were made with pleating, panels and even elastic before the thought came to try changing the physical shape of the panel and then use deep irregular pleating.
Look Two
// // Coat //
The coat was not tailored and instead had a belted section so it was easier to take a blouse block and elongate the piece. The sleeves had to have the same effect as the ones in the sleeve based garment in Outfit 1 so the same technique was applied to the blouse block sleeves. The neck piece had to be able to side away from the actual neckline of the garment and still stand up. The original design had an intriguing bend at the front to give it more shape. A creative approach to the pattern work was taken and a line was drawn that it was assumed would work. It couldn’t be determined how the finishing would work yet but the shape was the primary concern. The line was measured and then a large rectangle was squared out for the actual stand-alone collar piece. A quick toile was finished which proved very successful giving almost exactly the shape desired. The bend at the front needed to be more dramatic so a quick tuck was stitched on one side to see if the shape would keep. The final change helped perfect this particular toile and no further changes were needed
Look Three
// // Top & Asymmetric Skirt //
This was intended to be one dress piece but when toileing the construction would be too bulky, so it was better to make it into two separate pieces which helped make everything interchangeable. This is one of the simpler pieces as the top was similar to the bodice of the dress in outfit 1, the pattern was taken and tweaked to be longer. For the skirt pattern, the skirt of the dress block was used and some of the darts were removed for a cleaner line. Further lines were drawn where the layers were to fall as well as where the concealed pocket needed to be to be partially hidden with slight reveals at the sides. These were then all traced off and toiled quickly.
// Over-Sized Roll Neck Jumper // For this garment, the blouse block was taken and elongated, then a line was marked as to where the zip fastening would go. Due to the fact this piece was intended to be fashioned from a knitted rib, it made sense to have as little seam lines as possible. The line was cut where the fastening would go and the side seams were placed together and traced off. For the neckline, the patterns neck measurements were simply widened and an elongated curve was added and squared off at the top. A large amount of excess was added so that the shape could be easily adapted during toileing. The toile was largely successful with just some proportions needing altered to make the 2D to 3D realization more accurate.
Look Four
// // Racer-Back Top //
The top for this outfit was fairly straight forward, the dress block was taken and a line was placed at a curved angle to get the shape I wanted and the bust darts were removed. The shoulders were further removed and a line placed to neaten the shape from the neck to the bust. The back was slimmed down for more of a racer-back look. This was initially toiled quickly for shape and found it would not sit flat at the bust so the darts were put back and instead a similar method of gathering from outfit 1 was used to get the shape wanted. The neck piece was simply a standard neck measurement squared off by the height wanted and then slashed and closed inwards in 5 places for 0.5cm each time. This was then elongated to create an overlap where the popper fastenings would go. Another quick toile of this pattern proved successful and the garment was ready for production. Belt loops would be added in final production to help secure the belt in place.
// Trousers // These were one of the simpler trousers to put together. Having already done this in look 6, it was known that everything from the knee down was to be the same so that part of the pattern was finished. The pockets again were again, the same as outfit 6 so it was mainly the fit and the leather waistband that had to be worked out. The basic trouser block was adapted to the paneling of the design and the darts at the waistband were closed off which helped raise the waist itself. Then all that was needed was to make decisions on the depth of the waistband and draft zip guards. A measurement of 12cm was decided on as it needed to remain a focal point due to the rest of the construction being similar to other designs within the collection.
Look Four
// // Sleeve Cover //
This is the simplest piece within the whole collection so it was very easy to simply take someone who was the right size and fit material in a V shape draped around the shoulders and form the ruched shape by hand. The rough fabric shape was then traced round and the v was smoothed into a simpler dropped shape. What added complexity was the angled line through the garment where a pocket would be placed. It was easy to simply use a ruler to draw a line and then cut and add seam allowance. The first toile of this was exactly what the design called for so other garments could be moved on to.
// Belt-Work // For this belt work, a measurement was taken from a standard size ten model from under the bust and wrote down for production later. Then a measurement was taken using a tape, of the rough amount needed to create the straps. It was known that you could not control how big the hides would end up being, so a rough toile with faux leather was made before production to ensure the silhouette was sitting right.
Look Five
// // Top //
This top is considered to be the most complex within the collection. Lines were drafted on a bodice block to mimic the original design as much as possible. The shoulders were removed and smoothed into the neckline. A neck piece of similar construction to the top in look 4 was drafted but made tighter to keep a smooth silhouette of material. Faux leather was sewn on in an attempt to replicate the belt work as much as possible. Originally there was a back piece but after experimenting with different strap styles, the decision was made to alter the design. Other alternatives were found to be more dynamic. Extra materials and panels were added to create more unique line work and an additional leather piece was designed to add another functional element to the garment.
// Trousers // These trousers had a fairly simple construction with similar panels and knees to those in look 2 so it was easy to take the lower half of the pattern and replicate it, but the upper half had to be more streamlined. The trouser block was used, and again the darts were removed to help raise the waist and tailor it in. Panels were transferred in and the crotch was dropped for a more stylised silhouette.
// Hooded Top // The hooded top had some elements similar to others. For example, the hood was a replication from the coat in look 6 so only the neckline measurements were changed. The bodice block was taken and spread out at the bottom then squared off to give a loose shape. A similar collar technique was applied as used in the coat in look 6. However, it was made smaller and instead of being angled, it was made into a rectangle, as the collar needed to sit straight in an overlap against each other. The sleeves were of a similar style again to the sleeves in look 1 so this was replicated. The only issue found during the toile process was the need for the back strap from underneath the top to come over the front to hold the hooded top in place. It was decided a small hole would be made and faced to allow the strap to fit through. This solution worked well and allowed it to sit nicely and provided a nice finish as well as a successful silhouette.
Look Six // // Wrap Top // There was no visible way to easily draft the garment from the blocks so it was decided to work exclusively on the stand with material strips to get the initial shape and then work into it later by tracing off the shapes and smoothing them into cleaner lines. This took some time with 3 different sets of toiling stages to get the right shape. At the toile review, similar to the other cropped pieces, it was decided it was too feminine and needed work to convey the concept more. The overall look needed to remain as it was reminiscent of something that could be thrown on quickly and wrapped for warmth and this feeling needed to be kept. Small adjustments were made adding longer lengths and deeper sections to cover more of the body. The final toile had a shape with crisp lines that worked better overall with the design ethos.
// Trousers // These trousers initially also had the leather paper bag effect waistband so had to be altered. Another replication of the trousers from look 2 was not required but it still had to be cohesive. The idea was continued of an easy design that could be thrown on and clipped, the sections were moved to the sides and two clipped design details were added. This was easier to draft than look 2 as there was no dramatic shaping at the front, just simple lines that fell towards the knee. The leg design was similar to look 2’ as again their needed to be a consistent look’ but instead of moving straight through the centre it was changed to veer off inwards for a totally different look. The toile process took less time to perfect than look 2 and was finished in two tries.
Look Six // // Belt Work // Belt Work Being the most complicated belt work within the collection, it was toiled straight from the faux leather in strips to avoid wasting time. For the main waistband, a waist measurement was taken along with the 12cm depth wanted and squared off. This was then slashed and spread inwards for a tighter fitting belt. The pieces sat nicely together and there was no need to toile further. This could be easily be chalked off onto the main leather during production.
// Hooded Coat // Much like the coat in look 2, there was no tailoring needed so the blouse block was taken again and squared downwards to the required length. The neckline was further lowered and widened for a cleaner fit. The hood was drafted using Helen Joseph Armstrong’s book ‘Patternmaking for fashion design’ to the neckline measurements. A few quick toiles of this hood were drafted before assembly to ensure it could sit right. The sleeves were exactly the same construction as the ones in look 2 so could be replicated very easily. The collar piece was originally a rectangle made from the neckline measurements but the design called for it to sit away from the wearer’s face. Initially it was assumed it needed to be more angled and so it was cut into centrally and made smaller. This did not sit well and was not considered to be a nice design feature. The original rectangle was returned to, and this time it was slashed and spread outwards at 6 different points for 0.5cm each time. An extra angled piece was also added to give it more striking dimensions. This proved far more successful and when all elements were toiled together it did not need re-toiling as it suited the required design aesthetic well.
// Skirt With Belt Details //
// High Neck Asymmetric Dress // There were still some problems with sizing going into production of this dress. Because it was imitation suede, it couldn't be ironed in case it melted and could only be steamed. However, when steaming the fabric shrunk considerably. Fortunately there was just enough fabric left to re-cut the garment pieces and start again. The second attempt was successful and fully lined in habotai silk.
The skirt because of a thorough toile process was easy to construct. The lining pattern was difficult to work out at first but by referring back to the main pattern and construction method a solution was found. It was worrying that the leather and buckles might weigh the fabric down but when put on a live model it sat fine. Attaching the zip to the lining was fairly complicated but again, persistence and careful planning helped the process.
// Sleeved Cover // The sleeves were one of the pieces finished towards the end of the time frame as since other pieces from looks 2, 5 and 6 also had similar sleeves, the construction came easily and could be neatened in a similar fashion to the hooded top in look 5. The neckline was faced and the hem was neatly completed by double turning and stitching in 1cm.
Look One //
Look Two //
// Tabard Style Top // This was the first top cut from silk and was problematic to start with as the lines had to be even which is difficult to maintain even with weights. The construction consisted of first sewing the main fabric to it’s lining at the hem to ensure it would turn up for an even finish throughout. The sides were then partially sewn together so that the belt work could be sewn in later. The belt work was made from twelve pieces of 7cm width leather strips of two different lengths. These were carefully glued and stitched with four belt buckles placed in and the rest hole punched. The wrap neck was carefully placed at notches in between the front main piece and lining fabric and sewn by turning through. Finally the leather straps were top-stitched into the sides which finished the garment.
// Oversized Trousers // Since the print on the trousers was so sporadic, it did not need to be pattern matched. The knees for the garment had been completed earlier so were ready to be inserted when needed. Toileing had made the production process relatively simple and easy to replicate. Panels were placed together and quickly sewn. The waist was faced for a neat finish since there was no waistband and the jetted pocket was finished with silk for an upmarket detail.
// Coat With Structured Collar Detail // The coat again was made easier to construct from the toileing process. The difficulty came when attaching and lining the sleeves of the garment. One of the functional details was that the sleeves could be detached via the two-way open ended zips. This was quite complicated as the materials were quite thick when combined but with careful pinning was completed successfully. The collar had to be attached on one side and then secured with two lines of top-stitching 1cm apart. The jetted pockets were finished with silk to match the trousers.
Look Three //
// High Neck Top // The top was of similar construction to the bodice of the dress in look 1 so it made sense to give them the same finishings.
// Asymmetric Skirt // // Rib Knit Oversized Roll Neck Jumper // The jumper construction was relatively simple. Once the pieces were cut out, stay-tape was applied to the armholes, seams and neckline. This made it easier for the pieces to be overlocked together. The zip was sewn in with a lock-stitch machine with care taken to ensure an overlap meaning the plastic of the tape would be concealed on this inside leaving a cleaner finish. It was given a simple hem finish and the armholes were later completed with the rib cuffs.
The skirt pieces once cut out were all partially lined with habotai silk as it would make the garment easier to move in with the exception of the middle layer. This was finished with the same same orange crepe backed silk lining. This was done to add a touch of luxury to the outfit, fitting in with the high end market. A pocket was sewn through the necessary layers and then all pieces were carefully pinned together before the final waistband was attached. Finally, a popper fastening was added for a quick functional touch that also matched the rest of the collections fastenings.
Look Four //
// High Waisted Trousers With Leather Waistband // The trousers were finished with a leather waistband so did not need faced or lined. The breathable waterproof fabric was easy to sew with as there was no stretch. The pocket details were again very straightforward and overall there were no complications. The most difficult bit was sewing the waistband as it was harder to obtain a neat finish. Unlike the belts, it was not a straight piece so required careful guidance through the machine to ensure an even finish.
// Two Strapped Rib-Cage Belt // Strips were measured to be double the intended width and cut from the hides with a scalpel. These were further glued inwards providing a neat finish at the sides. The front pieces were punched so the buckles could be inserted and then stitched into place. The shoulder straps were top-stitched in contrasting thread to strengthen the finish and the central belt was doubled over with the four shoulder straps put into place. Finally the central belt was punched so the third buckle could be placed and then top-stitched to ensure everything was secured. This was again done with contrasting thread as a design detail.
// Racer-Back Top // Due to the fact this was an imitation suede fabric, it had to be fully lined so that it would be more comfortable against the skin as well as the fact it would give the garment a high end finish, fitting within the market level. A silk habotai lining was chosen which proved difficult to sew against the suede and in particular with the zip but was finished with persistence and by carefully easing the fabrics through the machine.
// Oversized Cover // There was not as much to the structure of this garment so to give the fabric more weight it was decided to line the garment as this would also give it a cleaner finish and cover the lined pocket detail.
Look Five // // Lightweight Hooded Top // The garment had to remain lightweight and so was left unlined with 1cm double turned finishings on the sleeve holes and hem. The hood and collar were fully faced for a more solid structure leaving no raw edges visable from the outside. The hole for the strap at the back was faced for a neat finish. The sleeves when toiled left a rough finish, to improve on this during production an additional 1cm seam allowance was added to the existing pattern. The pieces were then sewn wrong sides together with the elastic. Finally they were then turned back similar to a french seam and stretched out before being sewn. This created a neat finish suitable for the luxury market.
// High Waisted Dropped Crotch Trousers // Unfortunately, these trousers were unable to be present for the photoshoot due to time restraints. The actual garment was finished with a waistband facing and a double turned trouser hem. The jetted pockets were made from the orange silk for a pop of colour. The popper fastening has a metallic finish to be cohesive with the other metallic detailing within the collection.
// Silk Halter Neck Top With Belt Details // Being a very delicate silk, the garment was carefully lined in the same fabric for a clean finish using tissue paper on either side when sewing to ensure the pieces did not slip or pucker. The belt-work was sewn with a contrasting orange thread to have more of a visual impact than the simple sheen of the leather. Gun Metal Grey buckles were used to complete the design as they added a clean and professional finish without being too shiny.
Look Six //
// Wrap-Style Top //
// Hooded Coat //
Each piece for this garment had to be partially lined with areas left to slot in the connecting pieces that could pulled through and stitched. This garment required constant referal to the toile at every sewing stage to ensure no mistakes were made. It was finished with popper fastenings to be cohesive with the finishings in the other looks.
The majority of the coat could be completed in the same way as the coat in look 2. The pockets were difficult as the material was very thick but they were essential to the design because they added another element of utility. The hood was faced for a upmarket finish and the inside was lined.
// Buckled Trousers // With this design, the knees were already prepped and the lower legs and pocket details were the same as before so it was easy to quickly produce these. The top half took more time but still was relatively uncomplicated because of a lengthy toile process. One side of the buckles was sewn into the side seam however, it was then realised that there was no seam for the other side to go into. This problem was solved by measuring 8cm and slicing directly into the pieces. The hole was then carefully faced before being sewn together encasing the other belt piece. This created a neat finish and to complete the process, a waist facing was attached.
// Caged Belt // This was the most complex belt work. It required constant fittings to a live model as well as careful construction planning. It was first created from 7 cm strips but this was found to be too bulky against the rest of the garments. This was changed to 5cm which made movement much easier. Originally the design had a pocket attached but the leather was too thin so this idea was abandoned as it was not aesthetically right for the collection.
// Reflection //
Reflecting on the designer’s process from initial research to completion, it is easy to see a growth within the ideas and a clear development of fashion handwriting. There is an obvious understanding of creative pattern work and it is evident that the designs have only strengthened given time. The designer has displayed an ability to take constructive criticism and apply it successfully to her work. There is a noticeable ability to work independently and problem solve strategically. The only changes that could be hoped for is that a design point for the final collection had been reached sooner to allow more time for production. Also it is a shame that the fur did not work in the end with the collection as this resulted in a waste of fabric and money which could have been avoided. There were also many issues in the beginning in getting the colours right within the digital print which was fixed by simply changing how the colours reacted in software programmes. This is another thing that could have saved time and money if it had been realised sooner. In conclusion, the collection can be considered highly successful as it fits the brief and tells a clear story as well as being a clear visual representation of the designer’s style.
// References //
Research // Blanks, T. (2013) Ann Demeulemeester fall 2013 ready-to-wear fashion show. Available at: http://www.vogue.com/fashion-shows/fall2013-ready-to-wear/ann-demeulemeester (Accessed: 26 April 2016). Fury, A. (2016) Rick Owens fall 2016 menswear fashion show. Available at: http://www.vogue.com/fashion-shows/fall-2016-menswear/rick-owens (Accessed: 26 April 2016).
Images // (No Date) Available at: https://i.ytimg.com/vi/hEJnMQG9ev8/maxresdefault.jpg (Accessed: 27 April 2016). Dazed (no date) Ann Demeulemeester SS16. Available at: http://www.dazeddigital.com/fashion/gallery/20687/22/ann-demeulemeester-ss16 (Accessed: 27 April 2016). Optimism, visual (no date) Carapace: Steffy argelich by robert harper for jalouse october 2014. Available at: http://visualoptimism. blogspot.co.uk/2014/09/carapace-steffy-argelich-by-robert.html (Accessed: 26 April 2016).
Leitch, L. (2015) Ann Demeulemeester fall 2015 ready-to-wear fashion show. Available at: http://www.vogue.com/fashion-shows/fall2015-ready-to-wear/ann-demeulemeester (Accessed: 26 April 2016). O’Donovan, M., Hellqvist, D. and Dazed (2011) Rick Owens menswear A/W11. Available at: http://www.dazeddigital.com/fashion/ article/9378/1/rick-owens-menswear-a-w11 (Accessed: 26 April 2016). Rick Owens fall 2015 ready-to-wear fashion show (no date) Available at: http://www.vogue.com/fashion-shows/fall-2015-ready-towear/rick-owens/slideshow/collection#38 (Accessed: 26 April 2016).
Rick Owens LILIES (no date) Available at: http://non-format.com/rick-owens-lilies (Accessed: 26 April 2016).
Road, P. and Heath, I. (2015) MAD MAX: FURY ROAD SERIES: In conversation with Jenny Beavan, costume designer - creative media skills. Available at: http://www.creative-media-skills.com/mad-max-fury-road-series-in-conversation-with-jenny-beavan-costumedesigner/ (Accessed: 26 April 2016).
Tom hardy variations — so hyped for this. The trailer alone is better.. (2015) Available at: http://tomhardyvariations.tumblr.com/ post/113933869381/so-hyped-for-this-the-trailer-alone-is-better (Accessed: 26 April 2016).
The single most important innovation that every woman’s clothing needs (2015) Available at: http://mic.com/articles/125620/pocketsare-the-single-most-important-innovation-that-womens-clothing-needs#.MCkWYvyw8 (Accessed: 26 April 2016).
Final shoot images courtesy of Suzanne Heffron.
Ventus, G. (2015) Gender ambiguity on the runway. Available at: http://the-rosenrot.com/2015/01/gender-ambiguity-on-the-runway. html (Accessed: 26 April 2016). Wray, A. (2016) REDEF ORIGINAL: Costuming the tipping point with mad max: Fury road’s Jenny Beavan. Available at: https://redef. com/original/costuming-the-tipping-point-with-mad-max-fury-roads-jenny-beavan (Accessed: 26 April 2016).