STUDIO 2015
Tia Feng design process documentation
Contents
DESIGN METHODOLOGY MAP chapter i
ideation chapter ii
conceptualization chapter iii
experimentation chapter iv
rookie
research idea generation development
implementation
evaluation prototyping
branding/marketing
launch!
chapter i: ideation 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.
chapt
conceptu
ter ii:
ualization
mood board
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.
la u b e n 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.
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.
the gardens 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.
image analysis to extract design el
lements
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.
e g ima a
s i s y l a n
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.
this method allowed for greater interaction between ideas, resulting in a better designed result
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’.
collage
chapt
experime
ter iii:
entation
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.”
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.
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.
chapter iv: rookie
50%
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.
100%
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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80%
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.