tia feng
Studio 2015
Tia Feng contextual review + methods of practice
Contents
contextual review chapter i
brave new worlD chapter ii
new friends in new places chapter iii
up, up, and away chapter iv
post cards from far, far away BIBLIOGRAPHY
CONTEXTUAL REVIEW
Today’s world is the result of constant cyber connection: faces glued to electronic screens, ceaseless bombardment of fleeting trends, and an insatiable hunger for the instantaneous, new, and trendy. We’ve forgotten clothing’s potential for instilling emotions, resurfacing memories, and igniting dreams. When was the last time a garment made you dream? The desire to escape, to engage in an alternative reality and elevate to a higher state of mind has become foreign to the everyday consumer. The opportunity to indulge and fully immerse oneself in the sartorial fantasy is expiring, and the patience for appreciation and preservation of artisanal craft is rapidly dissipating. This work exists to provide an authentic escape route from life’s motions, through a young girl’s journey to fictional alternate worlds beyond ours. Mediums in dressmaking ranging from silhouette, fabrication, colour and surface design assist in communicating the narrative and creating a convincing escapist experience for the wearer. This is my breed of escapism: born from the oversaturation of cheap fashions of today, this generation’s indifference towards the deterioration of our planet as a result of these fashions, as well as the fostering of a detached attitude
towards clothing. My collection is a statement against the world we live in and the repetitive realities we are presented with each day – it is the ticket for escape, the offer to experience something otherworldly, and the chance to connect intimately with the designer’s vision. The exponential advancement of the digital realm has both gifted and crippled us with unlimited access to information, breeding a generation with insatiable hunger and impatience for endless updates of the ‘new’. This fuels today’s fashion industry – an industry accelerating in a vicious cycle of over 8 collections a year. In the last half-decade alone we have seen self-made bloggers and entrepreneurs built on the platforms of social media, infiltrate the industry and become influential ‘voices’ in fashion (Steele, 2013). While the staggering numbers of their virtual audience has equipped brands with unprecedented outreach capability, their shallow coverage of fashion lack the intellect and insight true fashion critics provide, subsequently ‘dumbing down’ the industry as a whole. Since this generation is bred on constant cyber connection and virtual communities, naturally opinions begin to mirror those of these influential online voices. This, combined with the nightmarish
acceleration of the fast fashion sector, has reduced society to a wear-now-discard-tomorrow selfishness towards clothing and an aggressive yearning for the Next Big Thing. Furthermore, fashion has gained “a reputation for a lack of depth and seriousness” due to the ephemeral trends in fast fashion, addictive marketing and advertising schemes all revolving around generating a high profit and minimizing costs without consideration of side effects (Palomo-Lovinski, 2011). A new form of mass exclusivity has arisen as a side effect of this sector; it “replaces exclusivity, glamour, originality, and luxury with ‘massclusivity’ and planned spontaneity” (Joy, 2012). Thus we come to the current dilemma in the industry: through rise of the digital realm and its constant stream of information, consumers sate their desires for luxury items through purchasing fast fashion knock-offs. “The turnover of fashion is just so quick and so throwaway … there is no longevity” (McQueen, 2009). “We are so conformist; nobody is thinking. We are all sucking up stuff; we have been trained to be consumers, and we are all consuming far too much” (Westwood, 2012). Consumers express little guilt to their contribution to clothing waste and encourage unsustainability
(Joy, 2012), simultaneously losing individualistic sartorial identity and resulting in a generation of like-dressers. We have driven our planet to deterioration. True individualistic style has become rare. The streets are oversaturated with diluted trends from the high-end luxury sector. The solution? I propose escapism. Escapism is the desire to seek distraction and relief from reality, through engaging in fantasy or dream. Like subcultures, the designer’s vision is like a new subculture for a niche community of people. It can be likened to the Lolita subculture in Asia, “it is more about personal expression and manifestation. It is a form of escapism – a way of taking flight and returning to childhood … into an imaginary world and momentarily remove her/himself from everyday reality” (Rahman, 2011). In fashion, designers such as Rei Kawakubo, Rick Owens, and Vivienne Westwood have introduced their distinctive style and attracted a cult following, with an international slew of religious supporters. “My clothes have an identity,” [Vivienne] says, “They have a character and a purpose. That’s why they become classics. Because they keep on telling a story. They’re still telling it.” Not only is clothing a transformation device, it is also one for translation. To contin-
ue, other designers such as Alexander McQueen, Viktor & Rolf, and Jean Paul Gaultier, have all successfully realized their visions and imaginative worlds into real, tangible collections; their clothing is the transportation device between the consumer and the fantastical realities they have created. In McQueen’s case, the escapism is in the dressing of the clothes: the wearer transforms into the strong, powerful, and seductive McQueen woman and lives the narrative woven into the collection (Chant, 2013). Rei Kawakubo creates “clothing that becomes a statement that transcends an incidental idea and seeks to appeal to a deeper meaning…[and] questioning the notion of perfection” (Palomo-Lovinski, 2011), while the works of Viktor & Rolf lie at the crossroads of fashion and fine art. Escapism today can also be seen as the retraction from fast fashion and fashion’s vicious cycle, and a return to places of originality, luxury, and high quality. Several designers, such as Jean Paul Gaultier and Viktor & Rolf, have already closed their Prêt-à-Porter lines to focus on haute couture, while others such as Meadham Kirchoff have left the industry entirely. Furthermore, Chanel’s recent acquiring and bolstering of Savoir-Faire secures the futures
of traditional maisons who specialize in particular, high-quality techniques: Lesage’s intricate embroidery, Lognon’s pleating, and Maison Michel’s skillful millinery are a few. “Each maison is a global leader in its métier … the craftsmen and women who work in them … are fashion’s unacknowledged geniuses’ (Mellery-Pratt, 20115). As the industry accelerated and manufacturing shifted to Europe, combined with unpredictable demands, constant change in taste, and the inability to innovate led these maisons to near extinction. While now may be not be the right time to eliminate fast fashion, the beginning of a return to higher quality, ethically produced, and better designed clothing is an initial step towards escapism from “massclusivity”. Clothing is both a catalyst for transformation and a vessel for the intangible – it holds the ability to instill emotions, create or resurface memories, and inspire dreams – and today, an emotional and intimate relationship with clothing is rare to find among oceans of trendy clothing. In the film Notebook on Cities and Clothes, Wim Wenders describes the clothes as a transformation device, ‘[the model] had worn dresses by Yohji [Yamamoto] for some time already, and each time they seemed to have trans-
formed her. As if by slipping into these dresses she had slipped into a new part in an altogether new play.’ While this is a figurative transformation, the same can be said for Alexander McQueen, who empowers his women through dressing them: ‘when you see a woman wearing McQueen, [she] looks powerful… It’s almost like putting armor on a woman. It’s a very psychological way of dressing’ (McQueen, 2011). In more subtle ways than costume and theatre, clothing changes the body and perceptions of the wearer; this is evident through defining silhouettes and styles in each decade of the past century: Dior’s New Look, Quant’s A-line mini dresses, Saint Laurent’s le Smoking. But while all clothing can transform what’s surface, very little designers create clothing that touches emotionally. Wim Wenders describes his first encounter with Yamamoto as a trip down memory lane and a spiritual epiphany: ‘[Nothing] explained what I felt … [wearing] this jacket reminded me of
my childhood, of my father as if the essence of this memory were tailored into it … woven into the cloth itself. The jacket was a direct translation of this feeling and expressed far better than words’ (Wenders, 1989). Wenders imply a ‘soul’ is embedded in the garment, not in the cut or the shape, but rather in the fabric itself. In a cyber age where intimacy is shallow because of the pace at which we live and consume, discovering a raw emotional connection like Wenders is rare. When did we become so detached towards clothing? When did we stop cherishing clothes? When did we stop dreaming? A handful of designers across the past century have been true storytellers, creating worlds for viewers to escape to. Christian Lacroix. Jean Paul Gaultier. Rei Kawakubo. Viktor & Rolf. John Galliano. ‘Galliano’s romantic, escapist vision had a tremendous influence on fashion… [His] clothing cannot be separated from the complex narrative from which it was born.’ (British Style Genius, 2014). ‘[His] shows were all about excess and escapism, transporting the viewer into new, ex-
travagantly theatrical worlds’ (Goedluck, 2015). And what is my world? With this collection, I have only tapped into the beginning. While this narrative follows the journey of a young girl’s travel through alternate universes, the emotional and experiential rollercoaster she rides, it is very much a reflection of the past twelve months of my own life. This girl begins her journey full of naivety and ambition, and returns home with clarity and maturity. Each outfit is designed to express a significant stage in her journey, mirroring important moments in my past year. In creating this collection, all factors were considered in the decision making process to produce highly experiential garments and weave a convincing, multi-faceted story. These pieces were designed with the wearer in mind: what would they feel while wearing this? Which fabrics would best translate the same emotions
the girl felt? What colours, surface features, and silhouettes would tell this story most convincingly? What will transform the wearer into a traveller of these worlds? The weight, texture, and colour of fabrics and the surface design, to the silhouette, cut, and fabrication of each garment, as well as the proportions and lengths in each outfit were all considered. Soft jumpers with ribbing, playful pastel colours and bouncy petticoats were subtle references to childrenswear and the spontaneous imagination that comes from a dress-up chest. Exaggerated silhouettes created through both flat pattern cutting and draping produced clothes that were clearly distinguishable from everyday wear. The fabrication and colour assisted in communicating the girl’s emotions; lighter and brighter fabrics hinted at a happier stage, vibrant and rich colours spoke of a delirious state, while darker fabrics were ominous and sinister. The intricate fabric manipulation and surface design done by hand reference the artisanal craft of couture and gives the garment a personal touch; the wearer feels
immediate intimacy with the piece. Our world moves at a pace too fast to slow down and build a genuine relationship with our clothes. Perhaps the biggest disappointment is the ignorance and little guilt expressed towards fast fashion’s disposability and its side effects on the environment’s health, exploited factory workers, shrinking artisanal maisons, and the demanding pressures to accommodate consumers’ sartorial hunger. The pieces in this collection are made with the intention to become a piece of escapism for the wearer. Not just a transportation device to these fictional worlds, but a garment that could be depended on to deliver the same emotion, memory, and dream – undiluted – every time it’s worn. The fabrication, handmade details, silhouette, and complexity of the garments are designed to make viewers stop and take notice, to instill wonder and a yearning to dream. These clothes exist to provide an escape and an experience, to take us out of our monotonous routines and enter my breed of escapism.
chapter i: brave new world When was the last time a garment made you dream? The desire to escape, to engage in an alternative reality and elevate to a higher state of mind has become foreign to the everyday consumer. The opportunity to indulge and fully immerse oneself in the sartorial fantasy is expiring. This work exists to provide an authentic escape route from life’s motions, through a young girl’s journey to fictional alternate worlds beyond ours. This is my breed of escapism: a statement against the world we live in and the repetitive realities we are presented with each day – it is the ticket for escape, the offer to experience something otherworldly, and the chance to connect intimately with the designer’s vision.
joe webb eugenia loli yeo jungmin sarah eis ben giles
These dreamscapes were created by digital and physical splicing and collaging of images, either vintage or digitally rendered. The result is a surreal, escapist vision that pushes the borders of what is physically possible. IT WARPS OUR USUAL PERCEPTIONS OF THE WORLD AROUND US - THE FICTIONAL WORLDS I HAVE CREATED AIMS TO DO THE SAME.
Dreamscapes
My
own
worlds
My personal dreamscapes were created from sourcing both modern and vintage images, spanning from nasa to old issues of vogue. the same idea is applied: to warp our perceptions of what is ‘of this world’.
these images were created to push myself to think beyond what is ‘normal’, while still creating something pleasing. as the process of creating these images went on, it became easier to imagine worlds that did not yet exist. it became easier to splice and connect images together, each time the vision became clearer. through repetitively envisioning new worlds, theSE FICTIONAL WORLDS BECAME INCREASINGLY REALISTIC.
To create an experiential collection, the designer must have a strong and vivid vision of the escapist fantasy they wish to make reality. This, combined with experimental/unconventional techniques, is one formula to creating escapism. My aim was to provide a plausible alternate sartorial reality for consumers to indulge in; I have done so through the creation of four FIctional worlds of my own, Gloop, Glitch, The Gardens, and Nebula. Contemporary artworks fueled the visions for these worlds, while my imagination FIlled in the rest of the narrative.
glitch
glitch was born from imagining a world of people who looked pixelated and glitched to us. in actuality, the glitch world looks completely normal to people of glitch. So unless you are from glitch, their world will never resemble anything other than a buzzy television screen.
a l u neb
Nebula is very similar to living under a microscope, or at the size of microorganisms. THe world is filled with oversized cells and organisms in infinite colours and varying translucencies, travelling through this world is like one amazing acid trip.
gloop
GLOOP WAS CREATED FROM THIS IMAGE. I IMAGINED A WORLD CONSUMED IN BUBBLING AND FROTHING MASSES OF FREEZING LIQUID ICE. THE CLOTHES WERE AS CIRCULAR AS THESE ROUND FORMS, AND AS WARM AND INSULATING AS POSSIBLE. FROM THIS WORLD THE SIGNATURE PIECE, THE GLOOP FAUX FUR BOMBER, WAS CREATED.
s n e ard
g e th
the gardens is a world that looks just like ours, but with one significant difference - internally, everything is made of flowers. Cut open anything, an apple, a car, even a person, and out will spill a tsunami of flowers! anatomically Strange, but definitely some of the nicest people you will ever meet.
o t s i s y l a n a e g ima
visual & design elements were extracted through analysing these images. these discoveries then went on to inspire pattern shape, silhouette, design lines, colour, texture, print, fabric manipulation techniques, and surface design ideas. this method, subjective and experimental, was far more FITTING FOR MY PROJECT THAN THE TRADITIONAL ‘DESIGNING FROM A MOODBOARD’ PROCESS.
s t n e m e l e n g i s e d t c a extr
THE MORE IMAGES I ANALYSED, THE MORE I DISCOVERED. SOME IMAGES SEEMED TO VIBRATE, OTHERS HAD A RHYTHM. FOR EXAMPLE, THE LINES IN IMAGE THREE WERE PLEATS, BUT ALSO A GRADIENT OF COLOURS. SILHOUETTES WERE EXTRACTED FROM THE FIFTH IMAGE, ICE CREAM-LIKE BLOBS THAT WENT ON TO INSPIRE CONCEPTS FOR THE GARDENS.
e g ima a
s i s y l a n
co
s t p nce
a n o d e s a b
s i s y l a n
Instead of the traditional ‘designing by a mood board’ technique, I found the ‘image analysis’ technique far more effective as it gave ideas not just for garments, but patterns, textures, prints, fabric manipulations, and much more. The subjectivity of this method only boosted the originality of my FIctional worlds and the concepts that came from them. These concepts were then illustrated on croquis in moving positions. Again, instead of the traditional front and back method of designing, these moving croquis pushed garment conceptualization further – what would the side look like? How would this garment move? What fabric would make this garment look like this?
r
ghte
rai as st h h glitc uettes o silh
nebula f eatures transluc ent fabri cs
cold and gloop is icy!
concepts based on
new worlds Another method, which helped produce better-integrated concepts, was the collaging technique. I imagined what clothes from each world would look like, and then collaged clothes from different worlds together to create the girl’s travelling wardrobe. The fusion between the worlds was euphoric, almost. The resulting concepts were unlike clothes that were of this world, at times I even questioned if some of these outFIts could even be made into real garments. But it is the idea of ‘what is possible’ that fuels this work and reassures my aim.
interaction between worlds!
This interaction between wardrobes of different worlds resulted in concepts that were escapist visions themselves - this method was highly effective in creating concepts that stretched beyond our usual FIeld of ‘fashion’.
this method allowed for greater interaction between ideas, resulting in a better designed result
the concepts become so obscure! numerous ways of interpretation
cut + paste!
THE CLARITY OF WHAT EACH WORLD LOOKS LIKE HAS BECOME VIVID ENOUGH TO IMAGINE IDEAS FOR THEIR TRANSLATION ONTO FABRICS. THE TECHNIQUES, MATERIALS OR MEDIUMS I WOULD USE OR COULD EXPLORE WERE VAST, BUT THE YOUNG GIRL WAS NEVER FORGOTTEN. THESE IDEAS WOULD ALWAYS REFLECT HER NAIVETY, CURIOSITY, AND INNOCENCE.
Fabrics!
FLOWER STENCIL SHAPE - ACRYLIC PAINT + STENCIL = FLOWER PRINT ON GRID LACE
These samples uses a technique similar to marble printing. The shapes formed by the ink is intended to be reminiscent of Gloop.
Flowers using a gathering technique! by folding strips of fabric in halves, a petal shape can be created by cutting continuous semi circles. Unfold the fabric, gather on the uncut end, then twist and tack to create a FLower. FLOWERS MADE OUT OF RUCHED BIAS BINDING.
Cut up strips weaved through a grid-lace
Initial marble printing tests were done on watercolour paper, with oil and acrylic paint.
Heat transfer printing. This is a time consuming method but it allowed for maximum control over the design, opacity and density of colour. these shapes were inspired by nebula.
GLOOP SAMPLES! INCISIONS WERE MADE INTO THE BLUE FAUX FUR, THEN ACRYLIC PAINT WAS FILLED IN THE INCISIONS. SOME PAINT SPLASHED OVER THE TOP.
These samples were inspired by glitch. blobs of paint poured onto PVC, then scraped across with a FLat ruler.
ORANGE FAUX FUR WITH ZIPS TO REVEAL BIAS BINDING FLOWERS UNDERNEATH - A COMBINATION OF THE GARDENS AND GLOOP.
Garments were patterned and made to be as accurate to the illustration as possible, in terms of silhouette, proportion, and length.
+
The bomber was the hardest to pattern, its size and design lines and silhouette made it diffICULT TO PERFECT.
from sketch...
EACH PANEL OF THIS ORGANZA SKIRT WAS PATTERNED ACCORDING TO THE DESIGN LINES IN THE ILLUSTRATION.
! l a n fi o t
UNFORTUNATELY THE HEAT TRANSFER TECHNIQUE WAS TOO TIME CONSUMING, THUS THE END GARMENT DID NOT FEATURE ANY NEBULA PRINT.
+ The bomber application was done according to this initial sample. making incisions then FILLING WITH WHITE AND ORANGE PAINT.
THE FLOWERS WERE A SUCCESS!
=
evaluation AT THIS STAGE, THE INFLUENCE FROM THE WORLDS ARE SLOWLY COMING THROUGH, BUT FURTHER EXPERIMENTATION ON FABRIC MANIPULATION & SURFACE DESIGN NEEDS TO BE DONE IN ORDER TO BETTER TRANSLATE THE VISIONS IN MY MIND TO REAL GARMENTS. the FINAL GARMENTS WERE FAR FROM HOW I ENVISIONED THEM. AT THIS POINT, MY PATTERN CUTTING AND FABRIC MANIPULATION/SURFACE DESIGN SKILLS ARE LACKING, THUS RESULTING IN AN OUTFIT I AM HIGHLY DISAPPOINTED IN. IT SEEMS AS IF THE REFERENCES NEED TO BE MORE DIRECT/OBVIOUS, WHILE RETAINING THE SAME FUN, CHILDLIKE WHIMSICALITY OF THE IDEA.
chapter ii: new friends in new places!
Greet ings from
Vie
! m a N t
ate
to cre Z N d n a m na ts in Viet usion’. n e d u t s n o me ‘F ashi between f n based on the the t c e j o r p tive ctio collabora four outfIt colle a
New Zealand VietNam Fashion Collaboration Project Two fashion students, one from New Zealand and one from Vietnam, collaborate to create a four outFIt collection to present on a runway in Ho Chi Minh City, Vietnam in August 2015. MY PARTNER WAS KHAI CHUNG FROM HO CHI MINH UNIVERSITY OF ARCHTECTURE, A FELLOW FIRST GENERATION (OUR PARENTS ARE BOTH FROM THE SAME CITY IN CHINA). BY NATURE WE WERE ALREADY TRAVELLERS, FOREIGNERS TO NEW PLACES BEYOND OUR BIRTH PLACE. THE THEME WAS ‘FUSION’ - OUR COLLECTION WAS CENTERED AROUND THE CORE THEME OF ‘TRAVEL’. THE NARRATIVE FOLLOWED THE JOURNEY OF TWO GIRLS, MINE, WHO TRAVELLED TO WORLDS BEYOND OURS AND TRANSLATED THESE WORLDS THROUGH HER CLOTHES, AND KHAI’S GIRL, WHO ROAMED OUR EARTH AND WHOSE CLOTHES WERE A FUSION OF THE COUNTRIES SHE VISITED, NAMELY VIETNAM AND NEW ZEALAND. this collection included a conceptual element, as well as a cultural element; our takes on the ‘fusion’ theme went beyond the basic fusion of cultures.
the range lineup
! 1 k o Lo
Look onE IS COMPOSED OF MY SKIRT AND KHAI’S TOP. MY SKIRT IS A MULTI-PANELLED SKIRT WITH RAW EDGE AND BIAS BINDING FLOWERS ON TOP. IT REQUIRES A PETTICOAT TO SUPPORT THE SHAPE. This SKIRT HAS UTILISED FLAT PATTERN CUTTING.
IT WAS DECIDED EARLY ON, THROUGH THE COLLAGING EXERCISE, THAT SILHOUETTES WOULD BE LARGER-THAN-LIFE. THIS RAISED THE QUESTION OF: ‘HOW WOULD THESE SHAPES BE SUPPORTED?’ THE SOLUTION WAS TO CREATE PETTICOATS IN VARYING WEIGHTS OF TULLE/NETTING. THIS ALLOWED FOR VARYING SHAPES TO BE CREATED.
Look
2!
LOOK TWO IS MOSTLY A KHAI DESIGN, MY GARMENT IS A COMPLIMENTARY PIECE TO HIS OUTFIT. THIS ORGANZA APRON/WRAP DRESS IS BASED ON A SIMILAR PATTERN TO THE NEBULA SKIRT. THIS DRESS IS FROM THE GLITCH WORLD. EACH STRIP IS HOT KNIFED THEN TACKED ONTO THE GARMENT. WHEN THE GARMENT MOVES, THE STRIPS FLUTTER IN THE AIR, AS IF THE WEARER HAS BECOME A GLITCH PERSON.
Look 3!
NEBULA SKIRT - HEAT TRANSFER TECHNIQUE WAS ABANDONED FOR HOT KNIFE/APPLIQUE TECHNIQUE. THIS TECHNIQUE BUILDS DEPTH IN THE GARMENT DUE TO THE VARYING LEVELS OF TRANSLUCENCY IN EACH FABRIC. THESE MULTIPLE LAYERS ARE REMINISCENT OF THE NEBULA WORLD, WHERE THE SKY IS FILLED WITH LAYERS UPON LAYERS OF MICROORGANISMS
Look 4!
Look four features the blue faux fur bomber. BY now, several issues have been resolved: each panel piece is larger than its base, which gives each panel its rounded shape. The base is now a knit, this helps cinch in the excess in the panel pieces. The surface application is pastel liquid latex, easier to work with than the acrylic paint, and more reminiscent of gloop.
LOOK 2
arts of fashion america ANNUAL COMPETITION HELD BY THE ARTS OF FASHION FOUNDATION AMERICA, THIS YEAR’S THEME IS ‘TRANSLATION’. “The collection tells the story of a young girl and her journey through parallel worlds. The FIrst world is Glitch, a world of pixels. The second is Gloop, a freezing mass of liquid ice. Last is The Gardens, where everything is made of FLowers. Wanderlust and guileless imagination ARE the basis of this collection. Translation is the spontaneous transaction between her travels and her clothes, taking qualities of each world with her as she moves onto the next. This girl is a whimsical traveller and a passionate dreamer who sees the universe as one great melting pot of inFInite possibilities.”
Strapless dress has FItted bustier to GIVE SUPPORT
The bomber has been repatterned, by revisiting the original raglan pattern. i repatterned the sleeve to create the silhouette I wanted, and from there I split the body and sleeve pieces according to the design lines, then slash and spread each panel by 25%. The excess is the amount that can be gathered without visible puckers in the faux fur.
! e n o Look
By this stage I have become comfortable with doing FINAL GARMENTS WITHOUT MUCH HESITATION. THE BOMBER PATTERN WAS REVIEWED, AND REPATTERNED, AS THE PREVIOUS SLASH & SPREAD METHOD WAS DONE INCORRECTLY. MY APPROACH TO PATTERN CUTTINg CHANGED. WHILE SOME PIECES COULD BE FLAT PATTERNED, OTHERS HAD TO BE DRAPED AND CUT ON THE BODY. FOR EXAMPLE, THE NEBULA SKIRT: EACH PANEL WAS PATTERNED FLAT, THUS WHEN THE GARMENT WAS WORN, ITS OVERALL SILHOUETTE WAS FLAT AND STUCK CLOSE TO AN A-LINE SILHOUETTE. THE GARMENT HAD NO BOUNCE, OR MOVEMENT, UNLIKE ITS ILLUSTRATION/INTENDED DESIGN.
tiny tucks
Cutting on
the body
at the wais
tband
Look two!
The previous pink skirt was patterned as FLat panels THAT WERE ATTACHED AT THE WAISTBAND. THIS TIME, I UTILISED A CIRCLE SKIRT AND SLASHED TO ADD FABRIC SO THERE COULD BE TUCKS AT THE WAIST BAND, CREATING MORE FABRIC AND A FULLER SILHOUETTE. THE FOLDS IN THIS SKIRT ARE DEEPER. THE DESIGN LINES WERE CREATED THROUGH CUTTING ON THE BODY, THE TOP IS A SIMPLE CAP SLEEVE BOAT NECKLINE TOP.
to:
Art
s o f F San ash Fra ion, ncis co, USA
chapter iii: up, up, and away!
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and so the story goes... Here, we delve further into the girl’s journey - where she goes, what she sees, what she feels, and most importantly, how her clothes reFLECT HER TRAVELS. EACH OUTFIT IS A STAGE IN HER JOURNEY, BUT IS ALSO A SIGNIFICANT MOMENT IN HER EMOTIONAL ROLLERCOASTER. EVERY OUTFIT HAS A PERCENTAGE - THIS INDICATES THE LEVEL OF INFLUENCE FROM THE WORLDS, AS WELL AS THE HEIGHT OF HER EMOTIONS. by now i have begun to think from multiple angles in order to create a multi-faceted collection. all angles are considered, from fabric, to colour, to silhouette and surface design.
Look one
THE GIRL FIRST ENTERS THE WORLDS, SHE DOESN’T KNOW HOW SHE GOT HERE, BUT SHE’S NOT AFRAID. THE WORLDS BEGIN MANIFESTING ON HER CLOTHES, SLOWLY. THIS ROMPER IS A REFERENCE TO SIMPLE CHILDRENSWEAR, BUT THE XXL RUFFLES TWISTING AROUND THE GARMENT HINTS AT THE PLAYFULNESS OF THE GIRL. THE FUZZY CHECK PRINT REFERENCES SCHOOL UNIFORMS AND PICNICS, REMINISCENT OF CHILDHOOD. THE SILVER FLOWERS AT THE BOTTOM SIGNAL THE GARDENS MANIFESTING ON HER.
Look two She BECOMES INCREASINGLY IMMERSED IN THESE NEW WORLDS AS SHE ENTERS GLOOP. HERE, IN THE FREEZING MASS, SHE PICKS UP A BOMBER JACKET. HER ROMPER TRANSFORMS INTO A DRESS, AND FLOWERS EXPLODE ON ITS SURFACE. HERE, TEXTURE (THROUGH FUR, LATEX, AND FLOWERS) IS INTRODUCED, AS WELL AS NEW COLOURS SUCH AS PURPLE AND GREY. THIS LOOK REFERENCES HER HEIGHTENED EMOTIONS AND A STEP TOWARDS DARKESS.
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Look three
THE CLIMAX. SHE IS COMPLETELY EXHILARATED BUT ALSO OVERWHELMED BY THE WORLDS. SHE’S TRAPPED BETWEEN GLOOP AND GLITCH, AND SHE DOESN’T KNOW HOW TO ESCAPE. THE DARK COLOURS AND SIZE OF THE GOWN EMPHASIZE HOW SWAMPED THE GIRL IS, WHILE THE STRIPS OF PURPLE AND ORANGE REFERENCE THE GLITCH PARTICLES TRAPPING HER DOWN.
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Look four
THE GIRL ESCAPES GLITCH AND GLOOP, BUT IS BROKEN AND DISTRAUGHT AFTER THE ORDEAL. SHE REACHES THE GARDENS, AND BEGINS HER RECOVERY. THE PINK SKIRT FROM AOF IS REUSED, BUT WITH HANDMADE FLOWERS INSTEAD OF BIAS FLOWERS. THIS OUTFIT ALSO INCLUDES A KNIT TOP WITH RUFFLE SLEEVES AND PINK RIBBING, THE SOFT GOLD KNIT LIGHTENS THE DARK COLOURS OF THE PREVIOUS OUTFIT.
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Look five
the girl fully recovers, FINDS CLARITY AND HAS MATURED THROUGH HER JOURNEY IN THIS NEW UNIVERSE. NOW, SHE IS READY TO RETURN HOME WITH HER NEWFOUND SELF. THE IRIDESCENT FABRIC IN THIS OUTFIT HAS A PEARLESCENT SHINE AND LIGHTNESS, REFERENCING HER WEIGHTLESS SELF. HANDMADE FLOWERS SPELL ‘DREAM AWAY WITH ME’ ON THE WHITE DRESS. THE SILHOUETTE SUBTLY REFLECTS LOOK ONE.
OUTFIT TWO IS ARTS OF FASHION LOOK TWO, ONLY IN DIFFERENT COLOURS.HERE, I READJUSTED SOME PANELS ON THE GREY FAUX FUR BOMBER. OTHER THAN THAT, NO OTHER CHANGES WERE MADE.
OUTFIT ONE WAS MODERATELY SIMPLE TO PATTERN, AFTER SO MUCH TIME SPENT ON EXAGGERATING SILHOUETTES AND MAKING PETTICOATS, DRAFTING GARMENTS LIKE THESE WERE NOT DIFFICULT. SINCE THE CONCEPTS ARE ALL DRAWN ON LIFE-SIZED CROQUIS, THIS MADE ESTIMATING LENGTHS MUCH EASIER.
from toiles...
THE SKIRT OF THIS GOWN IS THE SAME SKIRT AS AOF LOOK TWO - BEFORE IT WAS CUT INTO SEPARATE PANELS. THIS SKIRT HAS 12 METERS OF FABRIC, THE SHEER VOLUME OF IT HAS A CONSIDERABLE WEIGHT AND FLOUNCE, ENOUGH TO TWIRL BUT NOT ENOUGH TO ENGULF. THE RUFFLES ADDED ON TOP EMPHASIZE THE SILHOUETTE, WHICH IS ALSO SUPPORTED BY A LARGE PETTICOAT UNDERNEATH.
after a mannequin FITTING OF ALL FIVE OUTFITS, IT WAS DECIDED THAT THE GREEN KNIT DRESS OF LOOK FIVE DID NOT FIT WITH THE COLLECTION. THE GOLD KNIT TOP OF THIS OUTFIT WAS MOVED TO LOOK FIVE, AND THE RUFFLE TOP FROM AOF LOOK TWO US BROUGHT BACK, BUT IN DIFFERENT COLOURS.
WITH THE ADDITION OF THE GOLD KNIT TOP (AFTER REMOVING THE GREEN KNIT), THIS OUTFIT BECOMES MORE COHESIVE WITH THE REST OF THE COLLECTION, WITH THE FLOWERS COMPLETING THE LOOK.
to finals!
The innocence and guilelessness at the beginning is communicated through the romper, a reference to a simple childhood wardrobe but with an exaggerated shape and large rufFLes spiraling around the garment, the FLowers signal the beginnings of the other worlds manifesting on her clothing. As the journey progresses, the inFLuence from the worlds become increasingly stronger. The clothes – their silhouette, their fabrication, colour and surface design change as the girl changes. The second outFIt sees a strapless dress with an explosion of FLowers from The Gardens, and an introduction into the Glitch world in an organza pencil skirt with black applique stripes; she is becoming more intertwined as she delves deeper into this new universe. But not all things are sweet – she becomes lost and overwhelmed in Glitch, the dark gown she adorns almost swallows her. The ruffles that were once innocent and playful in Look One have now become sinister, wrapping around her like ropes, and the contrast stripes trap her. Recovery is found in The Gardens, the lightness of the iridescent organza and warmth of the FLowers nurse her, the gold and pink tones hint at a brighter future, and the words ‘Dream Away’ in flowers encourage her to carry on. The final outFIt sees the girl as one vastly different from the one who entered the worlds. She has a newfound clarity: the soft pastels, silhouette, and fabrication of the last outFIt epitomize her femininity and allude to a more sophisticated girl.
chapter iv: postcards from far, far away PHOTOGRAPHER: MICHAEL ENGELBRECHT MODEL: HYERIN OH ASSISTANT: ALIYYA RACHMADI
part one
where am i?
how did i get here?
am i lost?
where to next?
current mood
THIS YEAR, NOT ONLY HAVE I DISCOVERED THE TIP OF MY DESIGN LANGUAGE, BUT ALSO SEEN A GLIMPSE OF HOW MUCH STRESS AND WORK I CAN HANDLE WITHOUT HAVING A MELTDOWN. THANK GOD. THERE HAVE BEEN TIMES WHEN I HAVE RESENTED THE WORK I HAVE CREATED, BUT I HAVE LEARNT TO COMPROMISE, TO UNDERSTAND THAT NOTHING WILL EVER BE PERFECT, AND THAT IS FINE. INITIALLY, IT WAS DIFFICULT TO BREAK OUT OF THE SAFE SHELL I WAS IN. MY WORK BEFORE THIS WAS QUITE COMMERCIAL, BUT I WAS QUICK TO REALISE THAT THAT TYPE OF DESIGN WOULD NEVER BE ABLE TO KEEP ME ENTERTAINED FOR A LIFETIME. I FOUND MUCH MORE THRILL IN CONCEPTUAL DESIGN THAT GAVE FOOD FOR THOUGHT AND MADE PEOPLE DREAM AND ASK ‘WHAT IF’? IN ALL HONESTY, THIS YEAR HAS BEEN A YEAR OF REALISATIONS AND EPIPHANIES. AS A 14 YEAR OLD READING TEEN VOGUE AND STYLE.COM, I ALWAYS HOVERED TOWARDS COMME DES GARCONS AND ALEXANDER MCQUEEN. ONLY THIS YEAR DID I REALISE I HAVE ALWAYS SUBCONSCIOUSLY GRAVITATED TOWARDS THE DESIGNERS WITH VIVID STORIES; WITH COLLECTIONS YOU COULD LOSE YOURSELF IN. I REALISED THAT THIS IS THE BREED OF WORK I WANTED TO CREATE AS WELL. IN ALL ASPECTS OF MY WORK, I AIM FOR A HIGH STANDARD. THIS APPLIES TO THE INTEGRITY AND LEVEL OF THOUGHT/CONCEPT IN MY WORK, AS WELL AS DESIGNERS I LOOK UP TO. WHILE MY COLLECTION AIMS TO OFFER ESCAPISM, THE REAL PROJECT WAS BORN FROM MY DISSATISFACTION TOWARDS CONSUMERISM AND THE FAST PACE AT WHICH
WE NOW LIVE AND CONSUME. THE THOUGHTLESS AND TRENDY CLOTHING THAT FILL THE STREETS IS WHAT DRIVES ME TO CREATE BETTER DESIGNED CLOTHES, CLOTHES THAT HAVE INTEGRITY AND STRIVE TO BE IMMUNE TO THE CHANGING TIMES. originality and a clear vision are two things i hold dearly when it comes to my work; A CLEAR VISION NEEDS PERSEVERANCE AND PATIENCE TO CREATE AN ACCURATE PHYSICAL EMBODIMENT. THE NEXT STEP FOR THIS COLLECTION IS HOW TO MAKE IT ACCESSIBLE AND RELATABLE TO A WIDER AUDIENCE. CURRENTLY, ONLY A NICHE MARKET OF PEOPLE WOULD BE ABLE TO AFFORD THE CLOTHES I MAKE, WHICH CONTRADICTS MY VISION FOR THIS COLLECTION. THE ESCAPISM I WISH TO PROVIDE IS ESCAPISM THAT IS ACCESSIBLE TO ANYONE INTERESTED. THUS, CURRENTLY, ONLY BEING AVAILABLE TO PEOPLE OF A CERTAIN WEALTH GOES AGIANST MY IDEOLOGY. SOLUTIONS TO MAKE THIS PROJECT MORE ACCESSIBLE MUST BE DISCOVERED. HOWEVER, AS FOR THIS COLLECTION ITSELF, IT IS ONLY A SHELL FOR ITS CORE THEME, AND MY AIM AS A DESIGNER. THIS COLLECTION REVOLVES AROUND TELLING A STORY, THIS YOUNG GIRL’S STORY. I HAVE ONLY EXPERIMENTED WITH A FEW FABRIC MANIPULATION AND SURFACE DESIGN TECHNIQUES THIS YEAR - THERE IS MUCH, MUCH MORE TO BE DISCOVERED AND LEARNT. FROM NOW ON, IT WILL BE A JOURNEY OF DISCOVERING NEW TECHNIQUES AND USING THEM TO MAKE REAL THE VISIONS IN MY MIND.
part two
the future looks bright
dream away with me
we can go anywhere
PHOTOGRAPHER: MICHAEL ENGELBRECHT MODEL: HYERIN OH ASSISTANT: ALIYYA RACHMADI
keep dreaming, little girl
thanks THE BIGGEST THANKS GOES TO MY MOTHER, WHO HAS BEEN A PILLAR OF SUPPORT AND LOVE AND GUIDANCE FOR MY WHOLE LIFE BUT THIS YEAR ESPECIALLY; I LOVE YOU. THANKS TO MY OHANA/SQUAD/ESSE: JOey & COco & BOOBS FOR THE GOOD TIMES & BANTER & GOSSIP & FOOD THANKS TO THE LECTURERS WHO HAVE GIVEN ME ENDLESS SUPPORT AND ADVICE THESE PAST THREE YEARS THANK YOU TO 6GOD FOR YOUR WISE WORDS & DOPE BEATS, MAY YOU FOREVER TURN UP IN THE 6 LASTLY, THANK YOU LORD FOR ALWAYS WATCHING OVER ME AND MY LOVED ONES. THIS YEAR WOULD NOT HAVE BEEN POSSIBLE WITIHOUT YOU.
bless
references Chant, A. (2013). “Craft, Magic and Excellence”: Love Looks Not with the Eyes. Fashion Theory, 17(4), 539-544. doi:10.2752/175174113X13673474643606 Joy, A., F. Sherry, Jr, J., Venkatesh, A., Wang, J., & Chan, R. (2012). Fast Fashion, Sustainability, and the Ethical Appeal of Luxury Brands. Fashion Theory, 16(3), 273-296. doi:10.2752/175174112X13340749707123 Palomo-Lovinski, N. (2011). Confessions and the Sense of Self: An Intellectual approach to Fashion Design. Design Principles and Practices: An International Journal, 4(6). Rahman, O., Wing-sun, L., Lam, E., & Mong-tai, C. (2011). “Lolita”: Imaginative Self and Elusive Consumption. Fashion Theory, 15(1), 7-28. doi:10.2752/17517411 1X12858453158066 Steele, V. (2013). Letter from the Editor. Fashion Theory, 17(1), 5-6. doi:10.27 52/175174133X13502904240613