PAD

PROCESS ANALYSIS DOCUMENT REPURPOSING THE FAMILIAR Rosalynd E Mair H00129055 Fashion Theory Into Practice E19FT Aude Le Guennec BAF3 WORD COUNT: 1875

1. 1

CONTENTS

. 2

3

INTRODUCTION

4

VOGUE ARCHIVE

6

RECYCLING

8

SUSTAINABLE DESIGNERS

10

DESIGNER RESEARCH

12

DESIGN DEVELOPMENT

14

TREND RESEARCH

16

STREET STYLING

18

VIVIENNE WESTWOOD

20

EXPERIMENTATION

22

DESIGN DEVELOPMENT

24

MANUFACTURING PROCESS

26

CONCLUSION

28

REFRENCES

INTRODUCTION “Repurposing the Familiar” is an intuitive garment collection, focusing on the issue of sustainability within the fashion industry. Repurposing safety pins, and taking them away from their basic function of discretely joining two pieces of fabric together, I have brought them to the foreground, as the focus and main embellishment of the garments. Taking what many would consider a very basic, boring household item, while still performing their function of joining combining fabric together, I have reimagined the original purpose of the safety pin and have up-cycled them to create a bold statement and strong embellishment.

This has been done in a very creative way, steering away from the traditional methods and practices of constructing a garment, while still being functional and very wearable, creating contemporary, intuitive pieces.

1. 3

. 4

VOGUE ARCHIVE When first tackling this project, I began looking at the Vogue Archive to find inspiration images that I found interesting and appealing. After collecting a wide range of images, I began comparing and contrasting them. I found that the majority of my garments had some form of strong detailing to them, whether that be embellishment, fabric manipulation, print or colour, which gave them all a very creative edge. I realised that when researching, not only just in this project but also others, I am subconsciously drawn to garments and images with fine detailing and a form of intricacy to them. This is something that I enjoy creating and experimenting with, forming unique and interesting designs, so felt that this would be a good angle to take in this project. Not only were the Vogue Archive images I selected similar in detailing, but also in silhouette and shaping. They are all of a loose silhouette and structure, having an, almost, casual look to them. They could also be described as boyish due to their lack of shaping and loose fit, but every aspect of them is very deliberate and has been clearly thought out. Contrasting this relaxed style with strong and very purposeful detailing, could create a very interesting and unique look, resulting in original and contemporary designs.

1. 5

. 6

RECYCLING The idea of recycling and sustainability in the fashion industry, is quite hard to grasp due to how disposable the industry is based. I decided to look in to this idea and began looking at unusual objects that have been reused and reworked into garments and fashion pieces.

I liked the idea of creating something beautiful out of what many would consider to be waste product and unusable. Reimagining objects and giving them a new purpose would not only allow me to be very creative, but would result in really interesting and unique garments. Most of the garments I found were made of very standard, almost boring, household and found objects that you would never consider putting into fashion pieces. I like the intuitive thought behind these ideas and how imaginative and fashion forward the designs are. I would like to create garments out of something very simple and basic, but reimaging and reworking the object in to garments that are innovative and beautiful.

1. 7

. 8

SUSTAINABLE DESIGNERS Following up from my research in to recycling, I decided to become more specific and focus in on a certain area. I began looking in to ethical designers that use the technique of recycling everyday objects in to garments. The designers that stood out to me were Sorcha O’Raghallaigh, Gareth Pugh and John Petrey. O’Raghallaigh uses safety pins to create structural and architectural shapes with a simple and sophisticated silhouette, creating a very effective contrast between opposing elements. Pugh uses the most unusual and extremely disposable objects such as the bin bag. He is able to take something as un-elegant and basic as a plastic bag and create beautiful dresses with interesting shapes and silhouettes creating an all round delicate and luxurious look, descriptive words that you would not usually associate with a bin bag. Petrey looks in to the idea of sculpture more, using found items to create interesting garment structures. From objects as basic as plastic cutlery to drinks cans, Petrey is able to create unique and interesting designs that, although are not wearable, are incredible works of art. After looking in to these designers it is evident that you can create unique and beautiful pieces out of recycled objects, completely unrelated to fashion, and give them a new life.

1. 9

. 1 0

DESIGNER RESEARCH The designer that stood out to me the most however was, Sorcha O’Raghallaigh. She had used safety pins as a form of embellishment in her designs and I really like this idea. The safety pin is an object used to aid in the manufacturing process of a garment which is usually deliberately kept hidden, O’Raghallaigh however, has brought them to the foreground of the garments making them an interesting design feature and the main focus of the pieces. I, therefore decided to research this idea further, looking at designers that have also used safety pins as part of their designs, such as Balmain and of course Versace and the iconic Elizabeth Hurley Safety Pin Dress.

1. 11

. 1 2

DESIGN DEVELOPMENT At this stage, I then began developing design ideas using safety pins as surface decoration, creating elegant shapes with a seemingly boring item found in a sewing boxing, as contrasting embellishment. The designs did not quite work at this stage and I came to the conclusion that more research was needed. I like the idea of using the safety pins to aid the structure and manufacture of a garment. This is the original purpose of the object, so this should be used to aid the construction of the garment.

1. 13

. 1 4

TREND RESEARCH Researching further, I decided to look in to trends on WGSN and found that I liked the Spring/Summer 2015 trend, “Bio-Dynamics�. This trend is all about bold prints and casual silhouettes, which I believe related well to my Vogue Archive images. I also focused on the colour palette and colours within the trends bold prints, to settle on final colours for my designs. My chosen palette is bold and dynamic red, pink, yellow, orange and black.

1. 15

. 1 6

STREET STYLING Looking at the research of both my Vogue Archive and trend images, I felt that the silhouettes reflected street styling. I therefore looked in to this for inspiration for the structure and shape of my garments. I also found that bold prints were also featured a lot tying in with the “Bio-Dynamics� trend.

1. 17

. 1 8

VIVIENNE WESTWOOD With the project aimed at a high-end market level, I decided to look in to the Vivienne Westwood brand as not only does she fit in to this target market, I also believe that she is attune to the aesthetic that I was trying to create. Westwood is known for her grunge styling, but also her elegant and sophisticated designs creating an interesting contrast, something I felt very much related to my theories.

1. 19

. 20

EXPERIMENTATION After extensive research and gaining a clear focus and direction to my work, I then began experimenting ways of using safety pins to aid the structure of the garment. I tackled this in different ways using various printed fabrics, in order to fit in with the “Bio-Dynamics� trend, and experimented with different techniques. I found I liked the square technique best, believing it to be the most effective and felt that that I could create something very interesting and unique using this method. After making a sample of this technique, I found that I liked how the fabric had a large print that, when cut, each square contained a different part of the pattern. This resulted in each piece being unique and individual, something that I believe worked very affectively. I therefore sourced fabric that reflected this and my chosen colour palette. In my experimental samples all the safety pins were the same, however I liked the idea of using different sizes and colours to create different structures to the garment and add more detail and colour and then made the decision to use this in my final designs.

1. 21

. 2 2

DESIGN DEVELOPMENT At this stage, I restarted my design development, feeling that this time I had a better and more clear understanding of the concept and aesthetic that I wanted to create, after carrying out in depth and thorough research. I like the unique and almost randomness of my experimental samples and decided to continue this in my designs. The contrast between my chosen fabric, with its painterly and artistic pattern, against the strong geometric squares and bold, architectural safety pins, was the main focus of my designs at this stage. I concentrated on the casual and relaxed street-style silhouettes, which I believe works well with the safety pin construction idea. I then selected my final 6 outfits to create my garment line-up, and chose the one in which portrayed the message and aesthetic I wanted to convey the most effectively to take into production.

1. 23

. 2 4

MANUFACTURING PROCESS To start the manufacturing process, I began creating the squares of fabric, by cutting strips of three different sizes. I then roll edged finished these strips in order to create these squares and stop them from fraying to ensure the strong structure of the garment would be kept. I then began constructing the garment by pinning the squares together in to one large piece of the correct width and length of the skirt I wanted to produce. I then joined both ends of this large piece together, creating a tube and the basic skirt shape. Once this was complete I constructed the lining using French seams to fit in with what would be appropriate and expected at a high-end market level. The lining was to be in black fabric to keep the primary focus on the bold pattern of the main garment and the intricate safety pin detailing. I then made the waistband out of the bold fabric and attached it to the lining, and in turn the skirt to the waistband using safety pins keeping in with the garments aesthetic. The safety pins are also used for their primary function of keeping two pieces of fabric together, as they are used as the fastening at the side of the skirt, to allow the wearer to get the garment on and off. For the top, I began the manufacturing process in the same way, starting by creating one large piece. I then fitted it to the mannequin, creating the basic top shape and structure of the garment. I then constructed the sleeves and attached them, completing the garment. I believe I tackled the manufacturing process in the most effective and successful way, concentrating primarily on the main construction of the garments as this was hugely important in my design aesthetic.

1. 25

. 2 6

CONCLUSION After exploring the idea of recycling and sustainability in the fashion industry, I believe I have created very successful and effective designs. Up-cycling the safety pin, and using it as a form of embellishment in my garments has resulted in very contemporary and unique pieces, which not only make a statement and convey a strong recycled message but are also very wearable designs that can be sold at a high-end level. Repurposing the safety pin and bringing it to the foreground of fashion pieces portrays an innovative design concept and construction process making a bold statement. I believe I have tackled this project in a creative and intuitive way, producing effective and aesthetically pleasing contemporary pieces.

1. 27

REFERENCES

. 2 8

All Things 90s. (2013). 90s Fashion. Available: http://90s-fashion.tumblr.com/. Last accessed 10th December 2014.

haute-queeny. (31st March 2014). Vivienne Westwood. Available: http://about-face-and-fashion.tumblr. com/post/81352764437. Last accessed 10th December 2014.

Anjelika Temple . (20th April 2013). 15 Inventive Dresses Made from Recycled Materials. Available: http:// www.brit.co/recycled-dresses/?utm_campaign=pinbutton_hover. Last accessed 10th December 2014.

Carlotta Cogliati. (October 1966). Bebedetta Barzini. Available: http://www.vogue.it/en/encyclo/people/b/ benedetta-barzini. Last accessed 10th December 2014.

Infashuated. (7th January 2014). SORCHA O’RAGHALLAIGH : FORGET ME NOT. Available: http://infashuated.com/sorcha-oraghallaigh-forget-me-not/. Last accessed 10th December 2014.

Davies Street. (2011). Vivienne Westwood Spring/Summer 2012 Bridal Collection. Available: http://theweddingcommunityblog.com/bridal-collections-2012/vivienne-westwood-springsummer-2012-bridal-collection/. Last accessed 10th December 2014.

Deni Kirkova for MailOnline. (25th September 2014). Kylie Minogue’s gold hot pants and Liz Hurley in THAT safety pin dress voted the most famous fashion moments Read more: http://www.dailymail.co.uk/ femail/article-2768032/Kylie-Minogue-s-gold-hot-pant. Available: http://www.dailymail.co.uk/femail/ article-2768032/Kylie-Minogue-s-gold-hot-pants-Liz-Hurley-THAT-safety-pin-dress-voted-famous-fashionmoments.html. Last accessed 10th December 2014.

Ecouterre.com. (2014). Reused / Recycled Eco-Fashion . Available: http://www.ecouterre.com/category/ reuse-recycle/. Last accessed 10th December 2014.

FASHION BOMB daily. (13th December 2013). Beyonce Wears Norma Kamali, Versace. 3.1 Phillip Lim, and more in Series of Videos for New Album. Available: http://fashionbombdaily.com/2013/12/13/beyoncewears-norma-kamali-versace-3-1-phillip-lim-series-videos-new-album/. Last accessed 10th December 2014.

Fashion Place Face. (2014). Dope Outfits For Girls. Available: http://fashionplaceface.com/dope-outfits-forgirls/. Last accessed 10th December 2014.

John Petrey Sculpture. (2014). The Dress Series. Available: http://www.johnpetrey.com/index.html. Last accessed 10th December 2014.

Monty Coles. (20th March 2012). Vintage Vogue Tuesday #34. Available: http://vogueaustralia.tumblr.com/ post/19615474724/vintage-vogue-tuesday-34-every-tuesday-we-bring. Last accessed 10th December 2014.

Mudinfedi. (28th March 2011). The Frankenpattern Vivienne Westwood Muslin. Available: http://www.carmencitab.com/2011/03/frankenpattern-vivienne-westwood-muslin.html?utm_source=feedburner&utm_ medium=feed&utm_campaign=Feed:+CarmencitaB+%28Carmencita+B%29. Last accessed 10th December 2014.

Seven - 13. (28th June 13). Sport Luxe. Available: http://houseofhandsomestyle.blogspot.co.uk/2013_06_01_ archive.html. Last accessed 10th December 2014.

Steven Meisel. (2012). Steven Meisel. Available: http://steven-meisel.tumblr.com/post/372568857. Last accessed 10th December 2014.

STYLEBiSTRO. (2010). Balmain at Paris Fashion Week Spring 2011. Available: http://www.stylebistro.com/ runway/Balmain/Paris+Fashion+Week+Spring+2011/Details/TemlR5jIugY. Last accessed 10th December 2014.

Tarciso. (26th February 2010). Craig Lawrence A/W 2010 Fashion Film. Available: http://www.designerhk. com/en/node/2332. Last accessed 10th December 2014.

firstVIEW. (2012). Gareth Pugh - Ready-to-Wear - Runway Collection - Women - See more at: http://firstview.com/collection.php?p=0&id=38799&of=12#sthash.5UOaH1Qj.dpuf. Available: http://firstview.com/ collection.php?p=0&id=38799&of=12. Last accessed 10th December 2014.

1. 29