Project 3

Tia Feng x

A Docu-Zine by Tia Feng

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Issue One

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June 2014

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Studio II

THE MARELLEN HEEL

‘Kathryn Wilson has established herself as New Zealand’s premier footwear designer in just a decade, growing from a fledgling designer to becoming an influential business woman with a brand that is in constantly high demand.’ (Kathryn Wilson.com) Upon first seeing Kathryn Wilson’s latest collection of footwear, this shoe struck me the most. I envision my muse, an effortlessly graceful woman whose modern elegance sets her apart from others, in the solid heel, laser-cut detail, and gold zip of the shoe.

PART

PART

PART

PART

PART

1 2345 RESEARCh

IDEATION

PROPORTION PERFECTING THE FINAL

1. Historical research

1. Concepts

1. block choice

2. developments

2. first toile

2. Inspiration research

3. second toile 3. range lineup

3. Storyboard images 4. Inspiration explanation 5. Final storyboard

4. third toile 4. chosen look

1. DETAIL RESEARCH

1. GARMENT PICTORIAL

2. FINAL TOILE

2. SELF EVALUATION

RESEARCH

THE UPDATED CLASSIC I am highly entertained by the idea of creating a garment that either directly refers to, or is reminiscent of, a traditional garment. I wish to include aspects of a traditional garment, such as the trench coat, but the end result would be a generation or two beyond the original.

A modern update of the classic for the modern woman, perhaps?

HIGH HEELS were first adopted by men in the European aristocracy in 1600s as a symbol of status. Women began wearing heels as a way to appropriate masculine power. Heels became increasing higher to maintain upper class distinction. Eventually heels were dropped entirely as it was impractical.

NEGATIVE SPACE

I am heavily influenced by typography in this project; in particular the negative space created either around the letters or in the letters themselves. Negative space is present in the shoe, in regards to the peeks of skin showing through the laser cut grid, or the triangle of skin revealed between the toe and the laser cut section of the shoe.

MINIMALISM

One of the most basic rules of minimalism is to have nothing of excess; to strip the design to its bare basics, and to only include design features that were completely necessary. These features must both serve design and function purposes.

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JAPANESE WAY OF DRESS has a significant influence on the style of my designs, many of the design features (collar, sleeve, obi) referencing the traditional Japanese way of dress, such as the kimono.

FORM & FUNCTION

A fundamental rule in Minimalism. All design elements must serve two functions: design and purpose. In this project, I wish to achieve a design that is versatile, modern, visually pleasing, and an absolute pleasure to wear.

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THE CLASSIC TRENCH COAT is a raincoat made of waterproof heavy duty cotton garbardine drill, poplin, or leather. The trenchcoat was developed as an alternative to the heavy sergecoats worn

by British and French soldiers during WWI. The trenchcoat’s military origin transformed into a businessman uniform staple, and is now a classic garment in any wardrobe.

SHOELACES / STRAPS My interpretation of the shoe was focused around the lasercut leather that was in a checkerboard pattern. The criss-cross reminded me of shoe laces, and there I began looking at overlapping strings and straps. This further translated into lines of different widths, which brought me to typography.

TAILORING Originally, women’s clothing were made by dressmakers and men’s were made by a tailor. During the 19th century women became more liberated, and began going to tailors to have their coats and jackets made.

That is why women’s suits are often referred to as masculine in style.

PARTS OF A TRENCH COAT

The trench coat’s main features consist of a collar, lapel, storm flap, double breast, collar tab, wrist straps, shoulder tabs, and a belt that ties around the waist and is secured by tying or with a buckle. The aspects I wish to focus on are the storm flap, collar, and the double breasted style of the coat.

INNERWEAR AS OUTERWEAR

One of the past year’s many trends was innerwear worn as outerwear. Modernised corsets or bras would be made more sculptural or less feminine so they could be worn on top.

Prada SS14 collection emphasized this; Miuccia Prada believed emphasizing the female undergarment was a way of bringing female power to the woman.

TYPOGRAPHY

Traditional Gothic as well as modern serif typography appealed to me because of the elegance exuded by the type.

The angles and curves created in the letters, as well as the different line widths and lengths were all aspects that I wished to explore in my design; it will be an abstract interpretation.

STORY BOARD After envisioning the woman in the Marellen heel, I compiled many images that fitted that description. Images of interiors, architecture, art, typography, women, and clothing. The images I had collected showed a muted colour palette, a natural, but sensual woman, and clothing of fine detailing. As I continued to update my story board, my chain of inspiration (derived from the heel’s laser cut grid) went from criss crossing to shoe laces, to a particular Yohji Yamamoto SS14 dress, to typography, and finally, thin lines vs thick lines. The journey of my story board alone was invigorating me to begin designing; little did I know, there was a much further, and more exciting journey ahead.

STORYBOARD This is the final development of my storyboard before I began conceptualizing. Here, the influences are typography, art, interiors, Prada SS13, Yojhi Yamamoto SS14, and J.W. Anderson SS14. I began looking into typography, specifically fonts like Didot. The harmony between thin lines and thick lines were also a strong point of interest; this is particularly evident in the type and art installation featured. Strong shapes from Prada and J.W. Anderson, with a particularly heavy Japanese influence seen in Prada. Following on the Japanese route, another area I am exploring is negative space.

CONCEPTS The half, pleated top idea is worn over a short button up and wrap bra.

Asymmetrical hems with wide sleeves, reminiscent of a Japanese kimono.

Pleats at the sides and brought to the front and back flat panels with straps at the waist.

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Exploring the combination of pleats being released and worn over a garment like an apron.

When i design, i do so subconsciously. i let the pen guide my lines and this, in my belief, c These concepts explore the female undergarment as a tied or wrapped piece of outer we

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A cropped kimono sleeve top, worn over a pleated skirt. In these concepts, the use of pleats is repeated often.

Here, the wrapping idea is born. Different methods of wrapping around the torso.

Wrapping over a wide sleeved button up and a pleated skirt; wrapping wide panels of fabric creates a make shift bra.

Wrapping technique done over the shoulders and not around the torso.

A combination of an outerwear bra, wide sleeved crop shirt, and full pleated skirt.

One of the final explorations of just the kimono sleeve crop top.

creates a steady flow of pure creativity and conceives spontaneous, interesting ideas. ear, the japanese inspired kimono sleeve, the classic button up, pleats of varyiing width.

CONC Through all concepts, the wide kimono sleeve is evident.

Pleats used differently: horizontally constricting fabric at the bust and waist

A off-tangent i inspired after view ferent weaving tech and Chanel SS

A jacket with wide sleeves and asymmetrical hem.

Tied with thin string instead of original wrapping technique.

Exploring weaving technique, reminiscent of shoe laces and other weaving methods.

These concepts further explored the kimono sleeve, introduced a new weaving te

CEPTS Elongated asymmetrical hem top.

idea; wing difhniques S14.

Pleats stitched down horizontally across the hips then released.

A new neckline is introduced, semi off shoulder, paired with asymmetrical hem.

Weaving technique paired with asymmetrical hem dress.

Pencil skirt introduced.

Not continued.

echnique, different neckline, pleats holding and releasing fabric across the body.

DEVEL Wide panel wrapping idea is used here over the short sleeved kimono top, with pleated skirt underneath.

Simple tie above the bust with extra fabric creates a double flap.

Silhouette is angular, but simple.

Short sleeved jacket with two storm flaps and a back cape.

Pleats at the hems.

Short sleeved jacket with double lapels. Pleated panel at the right, and three belts cross over asymmetrically across the waist.

Drop sleeve t-shirt dress with long pleated panel; creating movement.

Using the negative space technique linda demonstrated, my developments becam

LOPMENTS A large cocoon silhouette inspired by vintage Dior and Balenciaga coats. Basis for further jackets.

Jacket with no belts. Wide lapels and panels of pleats and asymmetric hems.

Short sleeved raglan jacket featuring a pleated panel, asymmetrical hems, exaggerated storm flap and double belts.

Similar to jacket on the left, this time with three belts as constricting devices

Raglan sleeve jacket with exaggerated storm flap, symmetrical crossing of the belts, asymmetrical hem and a pleated panel.

me more about shape. I moved away from dresses and skirts to coats and jackets.

RANGE LINE UP

After meeting with linda, it was evident my concepts were far too complicated and had too little to do with shape. through using the negative space technique she introduced, much simpler concepts were created that challenged shape and silhouette more.

LOOK ONE The last of the dress concepts, a much simpler and elegant concept consisting of double pleat panels and asymmetrical dresses with wide short sleeves.

LOOK TWO Derived from Look One, but transformed into a short sleeve jacket. Belts mixed with previous asymmetrical wrapping idea.

LOOK THREE A more simplified version of Look Two, featuring a thinner lapel and a storm flap.

LOOK FOUR A simplified dress: asymmetrical panel and neckline, paired with wide drop sleeves and a drop waist pleated peplum.

LOOK FIVE A shorter dress, still composed of asymmetrical hems and pleats of varying widths. The wrapping idea is present, and the top is reminiscent of the way a kimono wraps around the body.

LOOK SIX Reverted back to symmetrical crossing of belts. This coat features a wide lapel, raglan sleeves and a pleated panel.

THE CHOSEN DESIGN The conceptualization process has been a long and fruitful journey. My original ideas have been thoroughly explored and experimented during this, and the outcome is welcomed surprise. Here, I have reverted back to my shoe lace idea, where the straps cross symmetrically. Asymmetrical hems are prominent, as is the pleated panel. An exaggerated storm flap and rounded raglan sleeves balance the design. This coat will require precise construction and perfected proportions for the design to be versatile, beautiful, and a pleasure to wear with anything.

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The updated storyboard shows further study into different serif typefaces; the angles and curves of the letters, as well as coats as references. In the fonts I have used, there is an unspoken balance that is created from all components of the typeface; I wish to translate this balance into my work.

THE

1ST TOILE

The main focus of this initial toile was to create the foundation for the raglan sleeve, and also to draw the design lines of the concept to determine the next toile.

As previously mentioned, I had transformed my bodice block into a raglan sleeve. However, the resulting dart in the raglan sleeve was strangely wide (15cm).

Once sewn, this dart created heavy dragging across the shoulder seams.

The slash and spread technique was used across the shoulders to release the fabric and reposition into it’s natural position.

The design lines were more difficult than the shoulder seam dragging. It was my first time creating such a steep asymmetrical hem, and to draw the desired proportions and lengths was difficult. When it came to make the final decisions and confirm the lines, I was hesitant to make wrong choices.

design lines drawn and cut, pleated panel sectioned off with tape.

THE

2ND TOILE

storm flap needs to be extended.

This toile is the major foundation for all my further toiling. Here, I realized the original asymmetrical hem I had decided on was far too steep, throwing off the proportions I had drawn in my design. A softer, shallower convex curve was drawn to correct this.

The storm flap I had originally drawn is far too small here; it does not even reach to the centre of the right side. On the toile, I have drawn new lines as to where the storm flap should extend to.

Lastly, the raglan sleeve needs further adjustment. The current slope is curving upwards, whereas it should be straighter or curve in a downwards cresent.

Lastly, the pleats in this toile are of 3cm width. This requires much fabric; which results in much more volume than intended. In the next toile, the width of the pleats will be doubled.

LENGTHS & PR no fusing used in the collar. collar also cut on bias.

Storm flap should not be level with pleat panel; the lengths are not proportional.

Front rides up; I have not accomodated for the chest. A total of 7cm must be slashed & added to the front pieces.

wider pleats are much more flattering and has less volume.

The third to fifth toiles resolved the pr the garment. The 3cm pleats of the pre ume. Collar stand and collar has been front left panel, I have not accomodate do so. The pleats will be continued com pleasing effect.

Now begins the toiling process for the same line where the pleats begin. The lengths proportional on the body agai

ROPORTIONS

roblems with raglan sleeve and finalized the shape of evious toile has been changed to 6cm to reduce voln added (a reference to the classic trench coat). In the ed for the bust, thus 7cm will be added to the hem to mpletely through the back, to create an overall more

e fine details. Here, the storm flap finishes on the storm flap will be shortened by 7cm to make the in. Furthermore, the collar and collar stand sit un-

comfortably as it has been wrongly cut on the bias.

The next toiles will fix this issue and explore the fine details, such as pockets, method of closure, and collars, in the garment.

It was decided that the belts which would cross over were superfluous and had no place in the design; they served no purpose in cinching the coat or restricting the garment (this would disrupt the pleats and the asymmetrical hem), thus they were removed and I will be focusing on pockets instead. My aim is to have design features that serve both design and function purposes.

4 As I used the negative space technique to outline and fill in the silhouette, my designs transitioned to outerwear. Thus I began looking at the traditional trench coat, as well as the modern Burberry version, to get a better understanding at the functional features of a trench coat and their purposes. Many of the features are already seen in my toiles, such as the storm flap (albeit exaggerated), the collar with wide collar stand, the raglan sleeve, and the way the coat would overlap like a double breasted coat.

Through the next toiles, I am aiming to perfect the finer details.

THE COLLAR

The classic trench coat collar has a fairly straight collar that can be upturned, plus a collar stand with hooks and eyes at the ends for closure. The collar and collar stand is very firm and stiff, for the purpose of shielding the neck.

The traditional trench coat has an equally stiff collar but has a collar tab that secures across the neck with buttons.

POCKETS

The Burberry trench coat has long and wide jet pockets that are slanted at a steep angle. Ergonomically, this is perfect for easily slipping the hand into the pocket and the arm rests comfortably as a result of it. Since the trench coat has a military background, I will be exploring a variety of pockets, as well as pocket styles of jackets.

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EXPERIMENTATION

I began experimenting with a double welt breast pocket, and a double welt and flap pocket for the right panel. However, after several tries in positioning the pockets in a visually pleasing manner, I realized my attempts were fruitless and discarded the pocket styles entirely. Two pockets on the right, especially in different styles, was visually far too heavy for the garment, and the breast pocket was also positioned too low on the body. After discussion with Linda and fellow classmates, the existing pockets were replaced with simple, single welt pockets.

CHOSEN POCKET

The chosen pocket style and placement is shown by the first working drawing. Two simple welt pockets were chosen for coat, as they provided the least amount of clutter and complimented the existing design features.

The large slanted pocket on the right side is slanted at a steep angle to contrast the angle of the asymmetrical hem.

The breast pocket is mostly hidden by the lapel when the coat is open, but is still of a suitable size for ease and function.

THE FINA

The final toile would be my seventh toile. Much of the fine detailing was experimented and the final ch final, the storm flap will be given an asymmetrical hem, the jet pocket extended, and a collar tab added. are French seams, while facings and hems are d

AL TOILE

hanges confirmed in the last three toiles, aspects such as pockets, collar, waist tie, and storm flap. In the . This final toile prepares me to confidently construct the final garment. In terms of seams, major seams double folded to create a neat and clean finishes.

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Model: Cindy A Ryeong Ju Photographer: Vanessa Zhen Editing: Tia Feng

THE WILSON COAT The final result was far more feminine and soft than I anticipated, and it is a beautiful and wondrous accident. The movement in the garment is full and lively; the asymmetrical hem and lapel create exciting angles as the coat moves. The pleat is the most joyous, as it opens and closes gracefully with each step she takes.

SELF EVALUATION Calico, the fabric that is usually over-looked, has been brought into the spotlight with this project; a shocking but refreshing change from what I am used to working with.

During my conceptualisation process, I had drawn up to 150 concepts. The method with which I design has a high efficiency rate but a wide margin of error. Of those 150 concepts, 120 were discarded. The remaining 30 were used to generate a set of 70 developments, which were then cut down to 10 looks for the range line up. As I look back on those 10 designs now, I cannot help but think how naive and lacking I was. It was only when Linda suggested I colour in negative space and highlight the silhouette, that I realized how little my concepts focused on shape. From there, I saw a gradual pull-back in the complexity of my designs; a graduation into a realm of silent beauty. Dresses and skirts became coats and jackets, complexity and superfluous design elements were discarded for an overall more harmonious, simplified, and timeless garment.

In many ways, I am incredibly grateful for the negative space technique. At times I become too focused on the details, and it is times like these that I must take several steps back and re-evaluate what I am designing.

In my toiling process, up to seven toiles were produced. The first three were the most simple; it was a matter of perfecting the placement of the design lines so the garment was visually pleasing in terms of proportion and length. The most difficult pro-

cess was the next step: perfecting the fine details. There is no doubt that this is where the most learning was achieved. To create something simple is, in fact, incredibly difficult. The storm flap needed several adjustments in length, size, and angle of the slope. The collar was inspired by the trench coat, as was the storm flap and collar tab. The pleats were of a much smaller width at first; but gradually changed to a greater width to balance the coat.

The sleeve size was widened; this gave the coat a pleasing rounded shape that complimented the raglan sleeve. The choice of pocket styles and pocket placement was also time consuming. Several working drawings were created to compare the different styles. In the end, the most balanced result were two single welt pockets. Throughout the process, I researched into the traditional trench coat and its functional elements, some of which are included in this coat. I aimed to create a piece that was reminiscent of a traditional garment, but was also a generation or two beyond the original.

Although I have worked on this garment for a short period of time, I have worked intensively. A harmonious balance between the asymmetrical features of the coat has resulted from my perseverance. The dyed calico was much softer than I anticipated, but it was a welcome surprise after I finished the final garment.

The soft calico gave the coat a silent vulnerability (instead of the rigidness seen in the working drawings), and is overall startlingly feminine.

As of now, there are no immediate, drastic changes I would make to the coat. I believe I am at a stage where I must begin working on the other looks in the range line up before I

see any significant changes. This is not the end, but merely a pit stop.

I am waiting for the natural dialogue to occur as I begin working on the other looks, but until then, I am pleased with the result I have achieved so far.

Reflecting on this project, the most precious things I have gained is the appreciation for a garment that is simple in design, versatile, timeless, and flawlessly constructed, and the perseverance to create such a garment. There is an unspoken joy and warmth that comes from wearing a piece that defines you; it is both an extension of you and a refuge for you.

In all honesty, this garment is more reserved than what I am used to designing. When I look at the coat, I feel relief; an internal sigh. But I wish for my future garments to induce a stronger, more intense emotion in the viewer and the wearer. Exhilaration, perhaps. The coat comes from a hidden, conservative, and traditional side of myself; it is just a facet of myself as a designer.

Upon viewing at BA graduate shows of top fashion universities such as Parsons and Central Saint Martins, I see there is much ground I must cover in the next eight months if I wish to create a collection that can compete internationally. I have high aspirations, and I am more than willing to work hard to achieve them. This project has taught me how to successfully combine both flawless construction and creative design into my future projects. I will continue to work hard until I achieve my goals.

- Tia Feng, June 2014