URBAN LUXURY PROJECT By:
(Samira Ebrahimi Aghbelagh)
PROCESS ANALYSIS DOCUMENT (PAD)
Revolution Course Code: E19CA-E19CB Course coordinator: Justine Head Lecturers: Justine Head, Jill Martin, Chantelle Morton University: Heriot-Watt University
Introduction It is a written report outlining the research analysis done for Revolution. I recorded my findings and I have used primary as well as secondary studies, which includes drawing, my own photography, quick sketches, detail, taking notes of silhouette and shape, colour, line, layer and textural elements, critical evaluation, trend research, fabric manipulation, critical analysis of the work, the designer ‘s aesthetic, reflective comments on my work regarding my designs, references design development and capsule collection for the high end market place. I wanted to create something that would make the wearer feel special, fashionable, contemporary, luxurious, urban, as well as look honoured.
Image 1: Concept Mood Board
Image 2: Detail Mood Board
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My Brain Storm High-end is intended for people who demand good quality products
museum
who do not mind how much they cost
Designers work
Willing to pay a lot of money
Gallery, Exhibition
Mix
Research
Louis Vuitton
Wanting very good quality products
stir
Black Colour
Hermes
my collection
DETAIL
Burberry Brand target
Luxury Luxurious
Alexander Macqueen
A/W17
Versace
Valuable Urban
Luxury fabrics
mixes high and low
Balmain
Givenchy
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unique twist on ready-towear
My collection comes from several objects such as those dating back in history as well as the modern ones. My concept aims at introducing/incorporating stylishness in a modern world.
Image 3: Customer Profile
Museum Research and Texture Findings:
Image 4: Sheela Gowda Tate Modern Museum (Macfarlane 2015).
“ Sheela Gowda’s large scale installation consists of two contrasting materals, that is, steel car bumpers and knotted human hair (Caygill 2001).
Image 5: Sheela Gowda Tate Modern Museum m
“Gowda’s work is rooted in her experience of daily life in Bengaluru (formerly Bangalore), India, observing the paradox that ritual and superstition endure and co-exist alongside modern-urban and economic transformation.” I got inspiration from Sheela’s work for my texture on my fabrics and I am going to draw as well as develop it to see how it comes up in my work.
Image 3: Sheela Gowda Tate Modern Museum
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Image 6: King Shaka Zulu
My collection shows how previous ages had drawn inspiration from the past; it is also inspired by the present and the future. The collection is all about history, culture, fashion, style and luxury, which always are essential qualities of a concept that goes beyond creation of design. The season for my collection is A/W 2017 and the trends I am following are proportional elegance, sexy, high-class quality, luxury, and modern-urban and authentic creativity for successful fashion-aware individuals. The concept of my collection is based on the power of Queen Elizabeth I of England and the influential leader King Shaka Zulu who was the most significant leader of the Zulu Kingdom in South Africa.
Image 6: King Shaka Zulu
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Image 8: Elizabeth I of England Born: 1533; died: 1603
Queen Elizabeth I was in fact the first queen to have ruled successfully with limitless power. She never married and has regularly been referred to as the “Virgin Queen.” Elizabeth is best remembered for bringing the Renaissance to England. The image made me search for other images from that period. I thought everything was amazing and I never wanted to say, it is complicated, but after few days I realised that it is a complicated concept and my mind was totally overloaded and I was thinking to change my concept. “Sometimes I feel like I am drowning but again I have always felt peace and quiet under the ocean with me, myself and I. .”(Bolton, Frankel, & Blanks2012 , p.93) I was like someone presenting a story, a dream and a performance.
Image 9: (Vila Llonch 2009, p.30) (Caygill 200, p.25)
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Image 10: My Illustration, Inspired by African Culture
“The handle of this fan is carved in the form of a richly attired warrior’s head. Fans, parasols and feather costumes featured in courtly life.” This fan inspired me to use innovation in my design; I am going to do more research about different type of fans and how to use it as a skill in my collection to make it more strong and creative.
Image 11: Reflect the Technology Inspiration
My collection is going to be innovative, creative, strong, and I am focusing on combine and customize luxury fabrics with a sense of urban wear to create my collection innovative for a young contemporary high-end market.
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Image12 : Africa /Warthog mask
mage 13,14,15
From these pictures I got inspired to create an extraordinary face for my girls. Then I realized it is better to combine them in my designs as a symbol of the unconscious in a place of darkness and give it a strong identity.
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Image 16: Texture mood board inspiration
Image 17: What is luxury exhibition? (Victoria& Albert Museum)
Image 18: Bag piece from Fashion museum (Bath)
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Silhouette inspiration
Image 21: Alexander McQueen design A/W 2013, Paris
Image 20: Alexander A/W 2008
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Image 19: Vivienne Westwood design 1996 Les Femmes Collection
Colour choice: Colour phycology inspired me to choose my final collection’s colour. The palette shows through seductive black, midnight black and black olive. The black colour is ideal because it never grows old and makes the pieces timeless.
Image 22: Colour Board
Why Choose Black? The meaning of colours can contrast depending on culture and backgrounds. Each colour has various sides to it. Colour phycology inspired me to choose my final collection’s colour. From psychology point of view, respect and power are important to me. I have chosen black colour because I have a personality with it; I may be considering for safety from any negativity that surrounds me. I am an independent person, strong as well as decisive, and I like to be in control of situations and myself. In my opinion, black shows my personality colour, I might be too serious and I like to keep people at a distance, guarding my feelings and building a thick barrier between others and myself. The palette shows through seductive black, midnight black and black olive. Also, black colour never grows old as well as makes the pieces timeless. I may wish to create an atmosphere of mystery and trickery. I hold things inside and I am not good at sharing myself with others, probably out of fear. I am methodical in my work, making sure all is completed as needed, down to the last element. I may have lost vision of my focus in life and I am going through a very negative phase. I may be retreating behind black throughout a tough time in my life such as a thoughtful illness or a stage of unhappiness - black protects, allowing for a secret personal recovery without curiosity from others.
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Fabric Choice Lace and net fabric gives my women a sexy and smart style. It creates for them a very stylish, urban and extraordinary style. I inject these details with being; composing various textured techniques, using curious material and interested procedures and allows variety to develop. I believe that during the period of research for this project my skills became more developed and focused.
Creating the title After doing the research, I was very confused on choosing the name of my concept, so I started playing with the ideas of my research. I was struggling with what the concept was to be and then I decided to create what I might find in books, my previous studies and concept, movies, magazines and newspapers, wallpapers and even from my conversations with people. I selected extraordinary as a general inspiration (Wilcox 2015). Somehow, the idea stuck and became part of my concept. As the words changed, I updated my concept’s name and finally after all; I named the concept Revolution.
Designers Inspiration Valentino inspired me in neoclassIcal designs, cultural attraction and the importance of returning to the beginning of time in order to create a new viewpoint. Alexander McQueen inspired me in creative cuts and strong ideas. On the other hand, John Galliano did it in madness designs, using fabrics in a very clever way and creating fantastic shapes, silhouette and extraordinary models faces. Similarly, Issey Miyake and Giles inspired me for creative pleats while Molly Goddard SS15 inspired me in contemporary designs (Donofrio-Ferrezza & Hefferen 2008). In essence, these were the greatest and the most influential designers who inspired me.
Image 23: Mood board from Alexander McQueen Fall/Winter 2014 Paris Fashion Week
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Image 24: PARIS WOMENSWEAR S/S 2016 VALENTINO
In my perspective, the collection is contemporary, using legendary models; they look fantastic and also have character, confidence and attractiveness to work a garment like that.
Image 25: GILES S/S 16 Tudor-inspired collection took Elizabeth I (Print inspiration on my fabric) (Anon
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Image 26: Lanvin Fall 2015
Image 27: Molly Goddard London’s Central Saint Martin’s fashion graduate
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Image 28: Molly Goddard A/W 16
Texture inspiration:
Image 29: My own photography, Marisa Merz Tate Modern Museum (Wassilak 2016).
2 Image 30: My own photography, Marisa Merz Tate Modern Museum (Wassilak 2016).
Image 31: Pattern manipulation on the stand
Image 32: Sleeve inspiration
Image 34: Shape Mood board
Image 33: Gathering inspiration from my top design
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Shop Research I went to Selfridges shopping center to pick my favourite designs and designers and also research about main range and diffusion. Therefore, I found the differences between main range and diffusion (Kelly 2011). In this case, main range is more creative, unlimited, special, grown up, more unique and expensive but diffusion means reduced and saturated, has more flexible design and it is more creative, cheaper than mainrange, wider and more affordable.
Image 35
Image 36
Image 37
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Urban research:
Image38: Simon Rocha’s design detail Image 39: Miu Miu skirt shape inspiration
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mage46: Urban look
Image 42
Image48
Image 45
Image 41 Image 47
2 Image 44
mage 51: African look inspiration mood board
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I
represent a community prepared to revolutionize the importance of artifact , and modernize the art and design industry by producing inventors and audiences who are closely together .
Image 54: Pattern manipulation mood board on the stand to create a 3D shape
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Images 55, 56, 57: Creating line I had established a silhouette that was obviously challenging and sexually apparent, focusing on layering, lining of Queen Elizabeth I and perfect for my girls’ body shape.
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It was concerned about creativity and making things, which was dedicated to my girls and inspired by African extraordinary faces, demonstrating my fusion of ideas.
Image 59: Fabric manipulation
Through the concept, the silhouette, complex in manipulation of structural constructions and beautifully moved dimensions is a three dimensional pattern, which floats on the fabric. The silhouettes of these manipulations are feminine. While the shape of these pieces looks like dresses, it prevents the girls from doing what a young girl should be able to do (Harden, Davies, & Clews 2009, p.51-55). Thus, I decided to make some changes in my collection to be wearable for a young urban customer who is not afraid of spending money on a fashion product and make it for imaginary girls, curious, clever and luxury, as well as urban looking.
Image 60: Sampling
I painted this drawing with white fabric paint on my fabric, inspired by Victorian line and shape and African symbols.
Using three different types of fabrics to make a 3D shape, inspired by Victorian theme Image 61:
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Image 62, 63: Mood boards combining Victorian shape and silhouette with African culture detail
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D esign
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D evelopment
2 Image 65, 66: My dawing, using different media
Images 67 : My hand drawing printed on the fabric
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Image 68
My digital print on crepe silk fabric, was inspired by African symbols, combining with Victorian silhouette and shape.
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Mood board
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Image70: Jacket design suggestion (Flat drawing)
Image 71: Alexander McQueen design inspiration for collar design
Image 72: Headpiece design at Design Museum
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The high neck of the piece will force my female to look up and it makes my collection stronger. Otherwise, it is an essential element to keeping the piece on and it demonstrates Victorian theme alongside the African culture.
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Design Development n culture.
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Mood board I use trickery to infinity as developing, controlling with shapes and combinations that develop into distinctive shapes on a woman. This is how an extraterritorial innovative point is added to the in-depth collection of works within my girls’ wardrobe (MorchÊ 2008). The collection is the feminine symbol for style and delicacy due to its well-structured appearance.
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Final line up back
Fashion Illustration
Final line up front
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Trousers tailoring process
Outfit 1 toiling process
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g
r Shi
t
in r o l tai
s s e c o r p
37 Showing my process has allowed me to live an experience, which is out of the ordinary.
Shirt tailoring process board
Using gathering technique for my shirt design
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My shirt tailoring with a reference form design museum
39 Image 94: Technical drawing of outfit 1/ Shirt (front and back)
Silhouette mood board
Technical drawing of outfit 1/ Sleeveless jacket (front and back)
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Jacket tailoring process
Jacket toile
on it and it tookwas the the timemost to unpick thepart trimmings and make it as fabpattern Making my jacket difficult of my process so far. The Making myitcoat was the most difficult part of make my process far. Thelots of was big and needed a large space to cut and . It alsosoneeded pattern big and it needed a large toI cut (Clothfabric, so Iwas decided to use recycled fabric,space which gotand frommake a table cloth with house.com n.d.). It also fabric, decidedthe to trimmings use recy- and many gold trimmings onneeded it and itlots tookofthe timesotoI unpick cled fabric, which I gotitfrom a table cloth many gold trimmings make as fabric, ready towith cut and make. on it and it took the time to unpick the trimmings and make it as fab-
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Outfit 1 fabric board
Jacket yoke
Inside the jacket
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I have made several mistakes during my jacket making. First of all, the fabrics were thick, and it was very hard to workwith them . I also cut my jacket’s fabric from the wrong side and I did not have enough of it to cut the rest (Adlington n.d.). Thus, the only way that I thought is the best was to attach three pieces of the same fabric together and use some trimming between the edges to make them look professionally finished. I was totally disappointed, but the outcome was successful, and it became better than I designed it in the beginning. By making a complicated sleeveless jacket, I wanted it to look more creative and challenge myself. I use trickery to infinity as developing, controlling with shapes and combinations that develop into distinctive shapes on a I use trickery to infinity as developing, woman.controlling with shapes and combinations that develop into distinctive shapes on a woman. This isThis how an extraterritorial innovative point is added to is how an extraterritorial innovative point is added to the indepth collection of works within my girls’ wardrobe (Morché the in-depth collection of works within my girls’2008). wardrobe The collection is the feminine symbol for style and delicacy due to its (Morché 2008). well-structured appearance. The collection is the feminine symbol for style and delicacy due to its well-structured appearance.
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Image 105: Outfit 1 mood board
Image 106: Outfit1 trousers
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Image 107,108: Outfit 2 design idea
Image 109: Outfit 2 collar hand drawing
Image 110: Fabric manipulation
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Sampling
Outfit 2 making process:
I used elastic for trousers ankle part of the trousers but it became very tight, so I unpicked the whole section and made it again. I was more confident in making my second outfit. My choice of fabric was better and my vision was wider.
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Image116: Trousers drawing (outfit 2)
Image 117: Using my own drawing design on organic sattin cotton fabric for top design and silk crepe fabric for coat lining and top design
Image 119: Shaka Zulu club’s African dancers (My own photography)
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I went to Shaka Zulu club to see the venue to book it for my photo shoot. The venue is related to my concept.
Image118: Outfit 2 coat front and back
The dark dreamy intricately formed surface length garments took over three months to design and create. After the initial drawings, patterns and prints were developed, the particular development of handcrafting the pieces started. It began with a pattern and fabric manipulation on the stand and each outfit made up of more than one meter of fabric. Presumably, the Virgin Queen and King Shaka Zulu would most certainly have approved.
Image 120: My bag design
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Image 121: Accessories, African sunglasses design process
Image 118: Earing-making process
Image 118:procFinal Earing-making Collection Photoshoot Image 118: Earing-making process process Image 118: Earing-making
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References Adlington, L. (n.d.). Great War Fashion. Anon, (n.d.). [online] Available at: http://showstudio.com/ file:///Users/ apple/Desktop/REFRENCE,ILLUSTRATION,CREATIVE%20DESIGNS/An%20 Exquisite%20Paradox.html [Accessed 25 Feb. 2016]. Bolton, A., Frankel, S. & Blanks, T. (2012). Alexander Mc Queen Savage Beauty. London: MetPublications. Caygill, M. (2001). The British Museum A-Z companion. Chicago: Fitzroy Dearborn Publishers. Clothhouse.com, (n.d.). Cloth House | home. [online] Available at: http:// www.clothhouse.com [Accessed 25 Feb. 2016]. CMS, S. (n.d.). MacCulloch & Wallis. [online] MacCulloch & Wallis. Available at: https://www.macculloch-wallis.co.uk/ [Accessed 25 Feb. 2016]. Donofrio-Ferrezza, L. & Hefferen, M. (2008). Designing a Knitwear Collection. New York: Fairchild Books. Harden, R., Davies, J. and Clews, S. (2009). Fashion Museum Treasures. London: Scala Publishers. pp.51-55. Heffern, F. &Donofrio, L. (n.d.). Garments. pp.78-255. Kelly, E. (2011). The Sick Rose. London: Hodder & Stoughton. Lemme, A. (1986). A Guide to Art Deco Style. Secaucus, N.J.: Chartwell Books.p.23
Macfarlane, R. (2015). Conceptual Art in Britain at Tate Britain, Nina Power on Art and Protests. V&A MAGAZINE, (Issue N38), p.19. Morché, P. (2008). A Year in Fashion. Munich: Prestel. Pinterest, (n.d). Alba. [online] Available at: https://uk.pinterest.com/ pin/518688082054534449/ [Accessed 25 Feb. 2016]. Pinterest, (n.d.). Everything on Pinterest - people's latest finds from around the web. [online] Available at: https://uk.pinterest.com/categories/everything/ [Accessed 25 Feb. 2016]. Racinet, A. (2006). The Complete Costume History. Köln: Taschen. Showstudio.com, (2015). #Valentino #SS16 backstage makeup by @ patmcgrathreal hair by @GuidoPalau pic by @fashiontomax http://t. co/4TvJG4Gdyy. [online] Available at: http://showstudio.com/collection/valentino_paris_womenswear_s_s_2016/lucy_norris_reports_ on_the_valentino_show_2453 [Accessed 25 Feb. 2016]. Taylor, C. (n.d.). Inside HBO's Game of Thrones. Vila Llonch, E. (2009). Moctezuma and the Aztecs. London: British Museum Press. Vita & Moda, (2013). McQueen Elizabeth I. [online] Available at: http://vitaandmoda.com/2013/03/10/mcqueen-elizabeth-i/#more-1671 [Accessed 25 Feb. 2016]. Wassilak, C. (2016). Performing the Camera at Tate Modern. Tate Etc, [online] (issue 36), p.1. Available at: http://www.tate.org.uk/context-comment/articles/tate-etc-issue-36 [Accessed 25 Feb. 2016]. Wilcox, C. (2015). Alexander Mc Queen. London: V&A Publishing, p.336. Wynd, V. and Proctor, O. (n.d.). Viktor Wynd’s Cabinet of Wonders.
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Beaux Arts Bath Illustrations, Portraits and Commissions Exhibition by Nicola Newman Liberty London Selfridges Oxford Street London Harrods DOVER STREET MARKET Cloth House (fabric shop) Barnett Lawson trimmings ltd MacCulloch & Wallis ltd Shepherds Bush (fabric and trimming shops,/ market) The London Bead Co.Ltd trimming shop Fan New Trimmings shop (Oxford st)
Films: DIOR & I YVE SAINT LAURENT The Secret World of Haute Couture- BBC Documentary CSM MA FASHION SHOW 2015 CSM BA Press Show 2015 CSM BA Fashion Show 2015 GAME OF THRONES INSIDE HBO’S Movie SAMSON AND DELILAH GONE WITH THE WIND BBC Documentary ‘ The Works’ Alexander McQueen ‘Cutting Up Rough 1997 McQueen And I Valentino Garavani Museum 10min tour Valentino’s Homes Around the World
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Other Resources Museums, Galleries and Exhibitions: Chelsea College of Art and Design: BA Textile Design Degree Show 2015 CSM BA Fashion Design Degree Show 2015 Work in progress Royal College Of Art 2016: PHD Textile Exhibition Royal College Of Art 2016 MA Textile Exhibition Royal College Of Art 2016 Fashion Exhibition Royal College Of Art 2016 SAATCHI GALLERY SAATCHI GALLERY CHANEL EXHIBITION NATIONAL PORTRAIT GALLERY Savage Beauty Exhibition Shoes: Pleasure and Pain Exhibition What is Luxury? Exhibition Victoria & Albert Museum British Museum The Wallace Collection Museum Tate Modern Museum Childhood Museum Hunterian Museum Tate Britain Museum Fashion Museum, Bath Shaka Zulu Club in London Gilgamesh club and restaurant in London
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