Research. Tailoring. Sophie Moore Year two. Womenswear 2013.
Content. A History of Tailoring Tailoring Timeline Deconstruction Exhibition The Museum of London Exhibition The V&A Savile Row The Interview Inspired by Tailoring Aubin & Wills Cos Celine Stella McCartney
Concept The Wetsuit The Purpose The Construction Finisterre Deconstruction Concept Development Relevant Designers Luella Antonio Berardi Calvin Klien Stella McCartney Other Designers Evaluation of Research
A History of Tailoring.
The kimono is one of the simpliest and earliest patterns in terms of dressing and ‘tailoring’ to the body’s shape. But it is not tailoring, it is however a good contrast to show against a tailored pattern.
1150
Bliaut (back and front)
Belt (on fold)
Bliaut Skirt
Under robe.
(back and front)
back and front
From these basic pattern examples, it is clear how tailoring to fit the body has developed through past centuries.
1260
Under tunic sleeve Tunic back
Tunic front
Tunic sleeve
Tunic Skirt
Compared to the early medievil times, this tunic pattern shows definite shaping within the various pieces. Using seams to create shape within the garment.
1585 Collar
Coat back
Top sleeve
Coat front
Bottom sleeve
This coat pattern, although later than the previous pattern shown, seems to have less shape within the body of the garment, but more shape to the sleeves. This would have been a feature of the times’ fashion.
1863
Collar
Top Sleeve
Under sleeve
Coat front and side
Coat back
A coat pattern like this, is now the most common and most traditional tailoring pattern, and has been developed from a basic loung suit jacket. (shown over page)
The Lounge Suit Jacket
The traditional lounge suit jacket body is made up of three pattern pieces, a fore part, side panel and back piece. Variations of suit jackets are based upon this pattern, but slightly altered.
CB
Bust Line
Side
CF
A double breated frock coat pattern.
Ilike the pronounced peaked lapel on this jacket, and also how it has been accented with a contrast facing. By using a different material for the facing the tailor has made a feature of the lapel. One problem that appears with this jacket, is that it does not seem to fit Edward VII, as it is not fastened as it should be. This could have been a custom design and fit, giving allowance to Edward’s larger physique.
This image of Edward VII represents the tailoring of the early 20th Century. In his time, Edward VII was a Royal fashion icon.He was dressed by Henry Poole of Savile Row, one of the very first tailors to open shop on the renowned street.
Shown to the left is a Frock Coat, a popular garment of choice for formal wear up until WW1. The frock coat is usually double-breasted and is always cut with straight fronts. As with the frock coat before this jacket shows an accented raveer with a contrasting facing, and peaked lapels.
This illustration from the magaine Tailor & Cutter demonstrates another example of a formal evening dress suit. The ensemble includes tails, wing collar, white tie, starched shirt front,and a white pique waistcoat.I like this formal tails jacket for it’s shape, and how it curves around the body to form the tails at the back. This suit would require certain skills to achieve the fitted waist but still incorporate the tails, and how the hang at the back.
Dandy Bunny Roger was one of the select men who adopted the Edwardian cut, as defined by Saville Row Tailoring in the early 1950s. This photo shows him wearing a tightly waisted overcoat. The look was translated into the Teddy Boys style in the mid 1950s. Seen over page is Teddy Boys in long draped jackets, waistcoats with watch chains and peg-topped trousers. Mainly from working class backgrounds the Teddy Boys subverted the dress of their superiors.
Rudolph Valentino in 1925, wearing a tweed three piece smoking suit, with black cuffs and shawl collar. I like this particular suit for the contrast of the texture of the tweed against the opaque black shawl collar. The suit itself looks very smart but the rounded shape of the collar gives a softer edge rather than a sharp smart appeal.
Plus four trousers were popular in the 1930s, designed to hang over the knee, and so named for their four inch overlap. Originally worn for country pursuits among the elites the style clearly caught on within urban areas. Over page, on the right Cambridge undergraduates display how plus fours were worn of the time. With co-ordinated jackets and waistcoats. The look still looks smart but the less tailored leg gives a more leisurely appearance. Although these trousers would allow for more movement, the wool fabric could be quite bulky in a trouser shape like this.
Actor Farron Soutar wears a white three-piece lounge suit, known as a ‘duck’ suit. A duck suit made in flannel or linen was suitable attire for summer wear. The jacket to this suit looks a lot less tailored in terms of fit, as it is designed for a more relaxed, casual look. Another feature to note about this jacket is that the pockets are sewn onto the outer side of the jacket rather than jets. The detailing on the suit is quite simple as well, by highlighting features with a contrasted binding around the pockets, the lapels and the cuffs.
Pierre Cardin’s prototype for the Nehru Jacket in 1961, with a fly front and stand collar. Cardin’s ready-to-wear clothing became relatively affordable and his slim, tubular line immensely influential.
The beatles wore similar styled jackets, created by their Soho tailor Dougie Millings. John Lennon wears a collarless jacket that refers back to the modernists via Cardin.
Dries Van Noten’s A/W 87-88 collection ‘Rich Man Poor Man’ was inspired by English fashion from the 1890s. Shown in this image his bravura combinition of stripes and checks is shown. Although inspired by british tailoring, this ensemble is much more relaxed which was a popular fit in the 1980s.
Van Noten’s collection was made entirely from traditional British fabrics, including Harris Tweed and Liberty prints. His collection contrasted perfect tailoring with unexpected combinations of colour and pattern his trademark. Shown in this image the model is wearing a Harris Tweed jacket, Fair Isle waistcoat and a pair of voluminous striped trousers. Again the fit in this ensemble is quite relaxed.
Paul Smith’s A/W 01-02 collection included formal dinner suits teamed with giant checked overcoats. Paul Smith is just one example of how traditional tailoring has and still influenced modern day designers in their ready-to-wear collections. Smith has used traditional silhouettes and styles to create his suits but has added a modern element with the oversized coats featuring giant checked prints.
Raf Simons combines youth style with tradtitional tailoring techniques. His clean modernist silhouette is expressed in this two-tone overcoat shown as part of his menswear line Raf by Raf Simons. I like the simplicity of this coat and how it keeps to a straight tailored fit but has the added modern two-tone element in grey wool.
Vivienne Westwood’s A/W 08-09 collection featured a glen plaid suit with retro styling on the top half, but with an unmistakably modern twist to the loose crotch trousers, which recall her reign as the queen of punk. Westwood has always been strongly influsnced by British heritage and tailoring, but always adds an alternative modern twist to her garments.
This McQueen collection from A/W 08-09 incorporates both English tailoring and other cultural influences. An example of how todays fashion is modernly inspires by the heritage of British tailoring. The checked wool fabrics are synomynously associated with British heritage. The collection consisted of layered seperates where he explored new cutting techniques. Shown here a plaid jacket that wraps around the body and is tightly buttoned over a longer, fringed waistcoat.
Tailoring Timeline.
This timeline shows how the trends of traditional tailoring have remained consistant throughout time but also reflect the modern elements of the different eras. The lounge suit has always been the main basis of any suit, but varying on times and conditions, the suit has varied too.
1900
The Royals are the influence of men’s styling, wearing impeccable Saville Row tailoring.
1910S
WW1 saw the decline of Royal fashion influence and men expected their civilian suits to be as comfortable as their military suiits
1920S
In post-war times informality in suits increased. The roaring twenties saw a new flamboyance in menswear, with film star influences.
1930S Keeping up appearances in a suit remained important to many men during the global economic depression.
1940S
Rationing during WW2 meant that many details were removed from civilian suits.
The 1950s saw the birth of the Teddy 1950S Boy, with styles influenced from edwardian periods of dress.
1960S
Stars became the style setters of the 60s, being dressed by Saville Row as well as shopping in the new popular area of Carnaby Street.
1970S
Big shoulders, wide lapels and flares, 1980S with pronounced waists and bright colours were the fashioned suits for the 70’s.
The ‘athletic cut’ creates an inverted V-shape on suits, with power-dressing style. Wall Street was a big film and fashion influence of the time.
1990S
The 90s saw grunge and sportswear as major fashions, with the suit taking a lower profile, simple black suits were the most popular of the time.
Luxury names in ready-to-wear came back 2000S into the limelight during the millennium, with the demand for made-tomeasure suits growing on Saville Row.
Deconstruction.
This Corneliani mens jacket was made in Italy and is made with super 110s, eatra fine merino wool. It typically follows the lounge suit pattern. With a single breast fastening, two darts in the front, two jet pockets with welts and a top front pocket.
The lapels are hand sewn as with a tailored jacket.
Edge stitching along the lapel means that the facing will sit so that it covers the seam.
Melton is sewn by machine underneath the collar.
The top front pocket is machine sewn on, unlike the tailoring method of hand sewing.
The jacket has a traditional four button vent on the cuff. But the buttons are sewn very closely together. I would expect them to be evenly spaced, as this would look aesthetically better in my opinion.
A double vented back. And pitched sleeves. The front seam on the sleeve has been displaced and the back has not.
Internally the jacket is fully lined, with two jet pockets one side and one jet pocket on the other. The jacket features canvasing and interfacing for structure. The pad stitching was done in a ready-to-wear form, usually done by hand in traditional tailoring.
The shoulder pads of this jacket are not particularly thick. and almost become part of the internal canvasing and interfacing.
There is also extra canvasing around the armhole for added shaping and structure. This is similar to that of a traditional tailored jacket.
This jacket is a Next jacket, off the high street. I wanted to explore all aspects of how tailoring has been interpretted. This jacket features no lapels, and a single breast fastening to the neck, and two patch pockets.
A fully lined jacket, but Instead of canvasing this jacket has interfacing in the whole of both front panels. The patch pockets are also interfaced for extra structure and support.
The shoulder pads are quite thick for added silhouette, and similar to a tailored jacket have extra canvasing around the armholes for shape and structure, in both canvas and interfacing.
This is a label-less jacket. I found the shape and style of it interesting, with no collar, wide lapels and a double breated fastening. The extended panel detail and box shap of the jacket is also quite different to traditional tailoring.
On removing the lining of this jacket I found it had no internal structure, no canvasing or interfacing. The shoulder pads, made from foam, had completely disentigrated over the years inside the jacket.
This jacket has a very box like silhouette. I particualrly like the lapels on this jacket, I feel that they make the jacket cleaner and simplier without a collar.
Exhibition.
The Museum of London.
This tudor jacket is an example of early tailoring, In the sense that it is shaped to follow the form of the body. With a seam at the waist creating supression. The interesting thing about this waistcoat as well is that there are similar silhouette’s and structures on the catwalk today. This relates to ready-to-wear fashions but not necessarily traditional British tailoring.
This elobarately decorated coat is an edwardian style military jacket. The distinctive red wool is contrasted with the gold embroidary and buttons. One design feature that particularly struck me was how shaped the sleeves are. they have pitch but are very curved. The problem with this is that when the arm is held straight the fabric would bunch up at the elbow. Another noticeable factor of this jacket is the balance, because when the buttons are undone the coat hangs back rather than straight down.
This is an example of a boys jacket that would’ve been reproduced in mass production during the victorian times. This shows how the difference between bespoke tailoring and mass produced clothing was defined within the early stages of tradtional tailoring. This jacket is very simple, with little definition of shape in the body and arms. Although shaping wouldn’t have been required for a boy in the victorian ages, this jacket doesn’t seem to be suppressed in any way to replicate the from of the body.
Here is a 1940s woman’s uniform. The style of this jacket is similar to a military jacket, with a mandarin collar and belted waist. But unlike early 1900s uniform this jacket has simple detailing with white piping and plain buttons. The sleeves have pitch and shape similar to that of the military jacket shown before, except the shape is not as savirely pronounced.
Exhibition.
The V&A
This tailcoat is from the 1700s and is made of wool and sewed with silk thread. Men wore tailored wool coats and breeches, with a crisply laundered neck cloth. Men’s waistcoats would be the display of his individuality as menswear was gradually becoming more understated. Compared with other historical jackets I have seen, this one seems a lot more plain, but it is more dressy than others, in the way that it is shaped and how the buttons are a statement detail
The British aristocracy spent much of their time at country estates, where hunting and outdoor activites were pursued. And so a demand for practical garments became high. Plain wool coats, in a slightly more functional cut were designed and a well known style of British heritage, which soon became popular in Paris during the 18th Century. Tailors also designed similarly cut garments for women which were then reinturpretted by dressmakers to create coats for travelling, walking and other outdoor pursuits. This riding coats at the V&A show the practical ajustments made to the traditional jacket. The most prominent change is the shorter front, where the hem finishes at, or just below the waist, for a more comfortable seating position. Another noticeable feature is thet where the men’s jackets are double breasted, the woman’s jacket is only single breasted, this is accomodating to the bust.
Anderson & Shepherd Davies & Son Dege & Skinner Ede & Ravenscroft Gieves & Hawkes Henry Poole & Co. Huntsman Welsh & Jefferies Ozwald Boateng Richard Anderson Richard James Spencer Hart Timothy Everest Tony Lutwyche Athony J. Hewitt Chittleborough & Morgan Hardy Amies Kilgour Maurice Sedwell Norton & Sons Douglas Howard Edward Sexton Henry Rose John Pearce Mark Powell
Savile Row.
“...Savile Row is the only street in the world where you’ll see the Duke of Devonshire walking up the east side of the street for an appointment with his tailor while notorious Babyshambles lead singer Pete Doherty staggers down the west side to be measured up for his first bespoke suit.” The Row has stood in Mayfair for two centuries now and is still standing strong, a representation of British style and heritage at it’s finest. Bespoke tailoring is a tradition, and although there may be slight influence of current fashions of the time, a bespoke suit is always bespoken for by the customer. Each house on the Row has it’s own identity and style, so as a customer you need to decide which suits you and your style the best. Tailors very rarely release who their customers, it’s a very confidential process. And Savile Row itself was once a very confidential place, but the present day now sees shop front window displays, inticing gentlemen in. But also intriguing visitors from around the world to see a glimpse of the British gem that is Savile Rows finest bespoke tailoring.
Henry Poole & Co. 15 Savile Row
The “Founder of Saville Row”. Founded by James Poole in 1806 and specialising in military uniform, Henry Poole & Co have a renown history with business concerning Queen Victoria, Napoleon, and other global Royalty. Henry Poole was once the largest establishment on the Row, employing 300 tailors, 14 cutters and making 12,000 bespoke garments a year. The company today remains a family frim and is now run by Simon Cundy. Cundy claims “Poole leads and others follow”.
Huntsman 11 Savile Row
Founded in 1849 by Henry Huntsman and specialiing in breeches and sporting clothes, Huntsman is notoriously the most expensive Savile Row tailor. The company’s bespoke bloke is said to be one of the most destinctive on the Row. With sharp shoulders, a slightly longer length, and the one-button cut, which Huntsman pride themselves on. Huntsman invented the one-button cut in the 1950s, it is a hybrid of a riding jacket and a dinner jacket.
Gieves & Hawkes 1 Savile Row
Gieves & Hawke has been resident at it’s No.1 location on the Row since 1912. The company provides naval and military uniform to the British forces, and have close connections to the Royals, dressing Princes William and Harry for the wedding of their father and the Duchess of Cornwall. Moving with the ever changing times we live in, Gieves & Hawke have a smaller firm, Gieves, which appeals to younger generation, and showed at Paris fashion week. Described as young, intelligent and sharp, the Gieves collection is designed to invite new customers onto the Row, whilst keeping to Gieves & Hawkes’ bespoke British heritage.
The Interview.
Maurice Sedwell 19 Saville Row Tailor : Mr Eithan Sweet Maurice Sedwell’s house style is defined by a fitted lounge jacket with a distinguished peak lapel. But as Mr Sweet explained to me, a suit is always designed to the client and ultimately the client has the final word on almost every aspect; colour, shape, style and details. ‘The client has to feel comfortable in his suit, otherwise he won’t wear it.’ - Eithan Sweet At Maurice Sedwell, all the fabric is sourced from either Britain or Italy and is always super100s or more. They have clients in over 50 countries, with a big clientèle base in Russia. Upon entering the store, the atmosphere felt very traditional and masculine, with deep green carpets, brown leather sofas and mahogany cabinets full of finished and unfinished suit jackets. There was also some sample jackets displayed on stands arranged around the shop, which I was able to look at and Mr Sweet kindly talked me through various aspects of these jackets. For example there was a women’s jacket with a fitted waist and very strong pronounced shoulders. This shoulder shape, Mr Sweet explained to me, was achieved by adding more ease and more height into the top part of the sleeve (the crown), then additional padding and wadding was worked into the seam to add a smooth raised curve then the sleeve dropped. Another interesting aspect I noticed about this jacket was that it had a straighter sleeve than the other jackets on display, still with pitch but no shaping into the silhouette. This was another point that myself and Mr Sweet discussed, the fact that when adding pitch and shape to a sleeve, it is all very well to work the pitch and shape into the front of the sleeve, but what he’d noticed, when working with customers, is that the back seam of the sleeve and armhole would sometimes pucker when the arm is in a natural position, as it tends to hang backwards. So when drafting the sleeve it is always wise to consider this, as well as the front.
Another topic I discussed with Mr Sweet was the traditional meaning of tailoring, and the rise of Ready-to-wear. He explained that they would always have the familiar customers and that a ‘walk in’ was very rare. He told me that although tailoring is defined as gentlemanly elegance, it is still very much a ‘bread and butter’ trade, with the majority of their tailors, working to pay the mortgage; ‘if we don’t finish the suit, we ultimately don’t get paid, and it’s a 7day per week job.’ He also touched on the subject that there is a big age gap in the industry’s workers, the average tailor being aged between 40-80years old. Which brings the question to mind, is tailoring a dying craftsmanship? After visiting Maurice Sedwell, I felt that my knowledge on Saville Row and the tradition of tailoring is very much expanding and I got a real sense of what Saville Row means, in the terms of heritage. Whilst being in the Saville Row store I got a very strong sense of a British tradition and atmosphere. I realise now, that buying a tailored suit is more than buying a tailored suit, it is buying british. And although a suit may cost on average £3000, it is a one off, made to measure, hand crafted garment, with a hidden history and story.
Inspired by Tailoring.
Aubin & Wills is a highstreet company that prides themselves on their British heritage. And their style is highly influenced by Savile Row tailoring. To have a bespoke jacket or suit made for you personally costs thousands, but the fashion industry offer a similar cut to suit every pocket. Except the chances are the jacket from the highstreet won’t fit you perfectly, bespoke tailoring is another perfect, cut personally to you. This jacket from Aubin & Wills is representative of a hunting jacket, made in a brown wool and with a one-button cut. The leather collar is a modern day highstreet twist to this interpretation of a tailored womans jacket.
The peacoat is traditionally a coat designed for the navy when out at sea. With it’s versatile double-breasted fastening, the option of having the jacket fully fastened to the top or undone to create lapels. There are many interpretations of this jacket style in todays fashions, both in designer ready-to-wear and the highstreet. The cut of the peacoat is slightly less fitted, this with a shorter length allows for more freedom of movement. This is an example of how tailors have altered the lounge suit pattern to suit the varying needs and practicalities of mens tailored suits, these slight changes in tailoring have effected menswear as we know it today.
These mens and womens jackets to me represent what is presumed of British country wear. The cut and styling of them has been adapted over the years from the real thing to a fashionable garment. Country pursuits such as riding and hunting is what called for jackets similar to this to be designed for gentlemen of the Aristocracy. These particular jackets are not a good representation of these sporting jackets though as they have been drastically altered, more likely for costs of manufacturing (less detailing costs less), but also for fashion forward thinking of what will sell on the highstreet.
COS.
I have looked at Cos for their streamline silhouettes. Cos are a European highstreet store and globally known for their clean style. This coat caught my eye, as it has little suppression and tailored forms, but they way in which this coat hangs would involve technical pattern cutting and internal structure, similar to that of tailoring.
Again, this coat and jacket from Cos’ current season, do not follow the shape of the body but they are cut in such a way that they hang beautifully on the body, creating clean, boxy shapes.
Designer.
Celine.
Celine’s style is very clean and pure. The lady’s trouser suit is very androgynous but this particular shade of blue adds a feminine appeal. The cut of this particuale jacket is quite basic, but it will have been inspired by a tailored jacket. However it will not be made to order as with a bespoke tailored jacket. I also like the slim-leg trousers, they hang well from the waist and the shape in the leg is quite flattering. In tailoring the individuality is the personal fit and choice of fabric, in the R-T-W, the individuality is a personal choice in colour options.
This long over coat is similar to that of a men’s overcoat. The cut has almost deliberately been designed for a man, keeping with the androgynous look. They is no shaping to follow the female from. Ho.wever with a top jet pocket and two jet pokets just below the waist, this is similar to detailing found in a tailored jacket. I particularly like the contrasting green jet pocket, small elements like this create subtle modern twists to a traditionally inspired garment
Designer.
Stella McCartney.
Stella McCartney trained as a tailors apprentice and as a British designer she is consistantly inspired by her British heritage, but she will always inturpretate it in a personal way. Her recent A/W collection featured elements of tailoring but as it was R-T-W, there were modern elements and silhouettes, with exentuated curves and broad shoulders. I particualrly like the skirt suit, with exentuated hips which create a dramatic feminine hour glass shape.
Tailoring isn’t just about following the form of the body, it is about moulding the fabric to create shape, and that shape could be following the body, or equally it could be distorting the shape of the body. I particualrly like the contrasting features of the coats on the opposite page. I also like how the coatsare fastened, with a front panel and zip that go into the shoulder seam. This is asymmetric cut is a good way of breaking up the block form of the coat. The coat on this page is cut to create beautiful curves, made up of various strip panels aroung the body, with a seam at the waist only around the back. The general silhouette and detailing of the jacket is similar to that of a traditional tailored jacket with a top pocke and two jet pockets with welts.
Concept.
The wetsuit was invited by Jack O’Neill, and is a garment designed most purposefully to keep people warm during cold water sports, such as surfing. Made out of neoprene, a form of rubber, wetsuits have developed over the years to improve their performance. In a sense a wetsuit is tailored, tailored to fit the body in a particular way and for a particular reason and innovated for purpose. I intend to look into how wetsuits are designed to fit and move with the body, and how this achieved with the pattern cutting. I want to look at how I can relate the purpose made elements of a wetsuit into traditional tailoring.
Wetsuits.
The Purpose.
As surfing has become a more intense sport wetsuits have had to adapt to the motions of the body wearing them. This image shows how the wetsuit can affect the performance of the surfer. If there isnt enough stretch in the suit the surfer is restricted in his movement. To achieve the full potential, wetsuits are now made of a super soft neoprene and the seams have been developed, so that not one seam is straight, every seam in a wetsuit is a curve, for maximum stretch. Other technical developments of the wetsuit are to do with temperature control, so the top range suits have no stitching, all seams are sealed using heat and silicon tape.
The Construction.
Because of the purpose of a wetsuit, the pattern cutting is crucial to fit. As well as the actual construction of the suit in terms of the seams. The suit is cut in a way so that it fits as close and tight to the body as possible, and because of the extremely soft and stretchy neoprene there is no restriction in movement when doing this. But with a tailored suit, the fabrics generally don’t have stretch and so when designing my garments I will need to be considerate of this, allowing ease of movement.
The images here show how the panels are designed around the body. Because of the maleable nature of neoprene, it can be stretched and curved into a shape. For example, here, one panel, is able to come from the side panel, up under the arm and down into the sleeve all the way to the wrist. The way in which the panel is cut, with only curved, shaped seams allows for this. I would quite like to try and experiment with incorporating this into my designs. And possibly sample some pattern cutting to try and achieve this idea of one panel that contibues from the body into the sleeve.It is similar to a Kimono sleeve and raglen sleeve hybrid, but fitted.
This photo is good example how the panels for this wetsuit have been cut to fit around the leg. The seams are the leg are shifted forward and are curved, for added stretch allowing more ease. The front and back, lower leg panels do not meet at the same point, and are both above the knee, this prevents rubbing at the back of the knee. I may consider looking at this design feature, of shifting seams on the leg. But I don’t want to have too many different pattern pieces, so I will have to consider this in my design and pattern cutting.
This long-john suit has a slightly different cut to the previous wetsuit but it is still designed to fit tightly. The V-shape in the body, joining the top and bottom, follows the line of the centre of the body and goes with the curve of the spine. I quite like the shape of this body panel, and althought effectively it is a design feature it also works functionally as well.
The legs on this also have a different cut to the previous wetsuit, with an armour styled panel on the shins and knees. I like thise simple shape, and feel as a design it balances out the suit, in it’s shapes and colours. This is a shape I would like to potentially think about taking into my design work.
This is a more high-end wetsuit, the neoprene being much softer with more stretch and the chest panel has a honeycomb effect insulation to hold more heat. However the cut of the pattern is very similar to the first suit I looked at. The seams are curved and consideration has been taken to ensure they are in a practical place to provide ease of movement. I like the shape of the front chest panel and how the side panels join into it. I think this creates a nice shape, following the form of the body. This is something I want to consider within my garments.
Again the main idea of the panels on the legs of this wetsuit is to provide ease of movement. But the pattern is slightly different, with an oval at the knee for knee pads. The other panels that make up the rest of the leg, have been shaped to follow the curves of the calf and thigh. You can see the slight S-shape seam that is evident on the lower part of the leg. I think that these shapes, if translated into a trouser could make an interesting cut.
This underarm panel is the same as the first wetsuit I looked at, except the underarm panel wraps all the way around the arm, meeting at a seam that runs along the top of the sleeve.
Finistere.
Finistere is a British company that specialises in outdoor wear. They have recently started to develop a wetsuit design, and the images on the previous pages (taken from the Finistere website) show how a wetsuit is constructed. On some lower budget wetsuits the seams are flatlock stitched. But on the more high-end suits the seams are bonded together with glue and heat, and sometimes double sealed with silicon tape. By sealing the seams in this way it allows less or no water to seep into the suit, but also it increases the ease of stretch, which therefore allows for more movement.
Deconstruction.
To gain a better understanding of the construction of a wetsuit, I decided to deconstruct a wetsuit and analyse it further.
This close up shows the honeycomb insulation used in the chest piece to add extra warmth. I like the textured effect it creates. I also like the colour of this wetsuit. By looking at these details, I hope that initially it could help me with my choice in fabric, for example, colours, textures and weight. I want to be considerate in my fabric choices, as this is a tailoring project. I don’t want to use neoprene, although it could be an option, but I would like to keep to tradtions and use wool.
These images show how the silicon tape has been heated and set to seal the seams. This could be something that I can experiment with, developing seam ideas that could reflect the construction of wetsuits.
The construction of the back of the wetsuit is done in a way so that it follows the curve of the back. I like the shape of this panel, I think it looks like a feature piece, although it is done for a functional purpose. The image to the right shows how the silicon seal goes straight through to the inside of the suit, and fully seals the seam.
Concept Development.
The whole design base for wetsuits is to allow for ease movement, every element of the suits has been developed to stretch and manouvre with the body. I would like to take this concept into my garments, by condiering the function of a jacket and trouser. The main points of daily movement is the joints in out bodies; elbows, knees, waist, hips. By incorporating the shapes and developed factors of wetsuits and considering the function of a tailored suit and how we move in it, I hope to design garments that are aesthetically pleasing but also function as a daily piece of clothing.
Relevant Designers.
Designer.
Luella.
This Luella collection is a real resemblance of wetsuit features, with panels that are cut to follow and distort the shape of the body. I don’t particularly like the bright colours or how they have been combined together, but they highlight the shapes of the panels. And for that reason I felt it was a good example of how wetsuit pattern cutting can be translated into clothing.
Designer.
Antonio Berardi.
This Antonio Berardi collection caught my eye because of the A-line drop from the waist, and also the flat lying lapels and collar. I think the shapes are really feminine, but the very block, square shapes of the top body are a good contrast to the flared skirts. I also think the A-line movement, reflects the waves, relating back to the wetsuits and their purpose. I would quite like to design my tailored jacket not only to follow the form of the body but also to enhance or destort it, as Berardi has done here.
Designer.
Calvin Klien.
Calvin Klien’s example of R-T-W tailoring is clean and chic, representing the style of the brand. But there are added shapes to the pieces that interest me, that not only follow the shapes of the body, but also distort them. For example the peplum shape that excentuates the waist and hips. As well as the shapes on the dress that reflect the form of the bust. This reflection of the body’s forms and shapes are similar to that of how the wetsuit designs follow the body as well.
Designer.
Stella McCartney.
Stella McCartney’s latest A/W collection, shown previously, caught my eye because the shapes she has used are very similar to that, that I found in my analysis of wetsuits. I also really like the silhouettes of these dresses.Something that particularly stands out to me is the underarm panels, that look very similar to the underarm panels of a wetsuit pattern. These dresses are a good example of how pattern cutting can not only reflect the shapes of the body but also distort the shape, by highlighting certain areas, such as the waist and hips.
Other Designers.
This tweed jacket was part of an editorial piece, it is by Givenchy and caught my eye because of the contrasting sleeves. I would quite like to consider using contrasting fabrics and colours with my garments.
The wool coat to the left is by Calvien Klien and I really like the silhouette of it. With an oversized look to it, but purposefully done, and a dropped waist, peplum shape. I also like the elongated dis-proportioned lapels.
The Fendi felt coat on the right is beautifully moulded. I love the clean, straight, yet curved silhouette. And also how the lapel detail appears to be an additional jacket beneath. The monchrome colouring is also a striking feature of this coat.
Evaluation of Research.
I feel that I have compiled an extensive amount of research which has looked at the history of tailoring and it’s development of what it is today, and how it represents British heritage. I have achieved this by researching into how tailoring begun and the rise of Savile Row, how the style of the suit has changed through times to meet the trends and cultural demands of the decades. I have also gained an understanding of what defines a suit to be bespoke, and what the differences are between a tailored jacket and a R-T-W inturpretation of a tailored jacket. Interveiwing Mr Eithan Sweet of Maurice Sedwell, gave me a good insight into the tradtions of the Row and how they have developed their system over the years but also kept to their treasured traditions. By visiting museums, I now understand the variations in the history of tailoring and how certain styles came about to be popular, for example the massive impact that the Royals had in publicising Savile Row and setting particular trends. I can now also differentiate the various suits for varying occasions, such as the sports or hunting jacket, the tails caot, the morning coat, the tuxedo and the baseline suit that is the lounge suit.
By deconstructing jackets, I managed to develop a better understanding of how a jacket is constructed. And also saw the differences between a R-T-W or highstreet standard of jacket compared to a tailored jacket. The R-T-W jacket internals mainly consisting of fusable interfacing, and the tailored jacket internals being compiled of various canvasing and sometimes interfacings. These construction methods inforce the fit of the jacket, creating structure and shape. By researching into the internal structure and external construction of the jacket I feel that I will be able to consider this when designing my garments. Although I am aware that the initial ideas may alter as I work through the design process. My concept research into wetsuits has given me a good grounding in which to start my design process. From my concept, I would like to take certain panel shapes, as well as potentially incorporating construction methods. For example I would like to look into the possibility of manipulating seams and experimenting with different ways of sewing or sealing them together. My concept research will also be reflected on when choosing my colour palette and potential fabric choices, taking into consideration, texture and weight as well.