The Making Of My Final Outcome

Whilst making my final outcome, there were a number of things I needed to change from initial plan. These changes were both a result of personal preference (changes to my final design) and for technical reasons (changes to the pattern). For my final outcome, I decided to make a bralette that had a very futuristic theme, and I would make a suspender belt and a collar to match. An example of a change that had to be made during the development of my final outcome, was the suspender belt pattern. Whilst designing my outcome, I had settled on a suspender belt design that meant I would need to have three panels on both the front and back parts of the suspender belt. The pattern I used only had two panels for the back and one panel for the front, this meant that I needed to reshape and adjust the pattern in order to let me carry on making my outcome as planned. Below are images of the pattern that I ended up using to create my suspender belt, after my adjustments had been made.

Another change I decided to make whilst creating my outcome was purely aesthetic. In my initial designs, I had planned to create a collar that was completely made out of foiled PVC pleats, layered up and stitched together closely to give my collar volume. However, once I had actually reached the point of making the collar, I felt that this would be quite a plain garment in comparison to the rest of my outcome, and I believed I could create something better that would match both my bralette and suspender belt much more. Here is the collar that I created instead, it takes aspects from all areas of my outcome, rather than just using one technique like I had originally planned.

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Refining My Ideas

Futuristic designers have been something that I have enjoyed looking at during many points in this project, I feel that I have been drawn to the more sci-fi side of architecture-like fashion. For example, when looking at the work of Viktor & Rolf, I was immediately drawn to the more out there, futuristic collections such as the Autumn/Winter 2011/12 ready to wear collection (http://www.vogue.co.uk/fashion/autumn-winter-2011/ready-to-wear/viktor-and-rolf). This collection features a very simple colour palette, and I was particularly drawn to the silver pieces, as I felt that these had the most impact.

Whilst experimenting with the bralette pattern, I decided to look into the work of Maya Hansen (http://mayahansen.com/). Her futuristic designs inspired me to create one half of a bralette which incorporated PVC, silver lamé and white organza. I used machine embroidery in a triangle pattern on the cup which was made out of PVC and organza, to which I added an organza gather on the edge to give it an attractive finish. The bottom two pattern panels were decorated with simple straight stitch stripes on PVC and lamé. The final mini outcome has an interesting futuristic, almost sci-fi quality that doesn’t look out of place when put beside the work of Maya Hansen. I really like this sci-fi look, and I would like to explore this theme a little more as I feel it has a lot of potential to inspire my final outcome.

I feel that the prior mentioned Viktor & Rolf collection in particular has inspired me a lot, in conjunction with Maya Hansen, to go down a more theatrical, sci-fi route. For my final outcome, I think I would like to use a very simple colour palette, using only silver and white, and I will give impact to my work by picking the techniques I use very carefully. I definitely would like to create a full bralette as part of my outcome, as I feel my previous experimentation with the pattern has been hugely successful.

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Initial Ideas: Mini Outcomes

I began to develop the ideas I derived from looking at other designers into mini outcomes. Looking at the work of Nathan Pass encouraged me to use simple shapes to create interesting samples, and I was particularly inspired by his use of triangles, and how he layers them together to create all sorts of unique collars and accessories. I focused on stitching squares that had been folded into triangles in rows to create long strips. This then gave me the idea to combine these strips together to add both structure and texture to the sample, a concept which led to the spine accessory mini outcome I made. I used a combination of PVC and denim in my ‘spine’, and left hanging threads in pink, yellow and blue to give a bright and eye-catching appearance.

As the project progressed, I began to move towards a more contour fashion based theme. I first of all started looking at 1920’s brassier pattern, to get me used to the very constructed nature of contour garments such as bras. After looking at Emilio Pucci’s (http://home.emiliopucci.com/) black, lace-like, floral garments, I was inspired to create a brassier with a similar design. I trapped a piece of black net between two pieces of PVC and free machine embroidered a black, floral pattern before constructing the full garment.

In keeping with the contour theme I had recently explored, I began to look at the work of Dolce & Gabbana (http://www.dolcegabbana.com/) to inspire the design for a more complex piece. Their Byzantine collection influenced me to create a bralette that incorporates religious imagery. I printed out an image of a religious mosaic, similar to those found in Dolce and Gabbana’s collection, onto iron transfer paper. I ironed the image onto a piece of calico and used it to create the bottom half of my bralette. The cup of my bralette was made out of net, which I stitched and beaded into, then stitched two pleats onto the top edge, one in net and one with the leftover image transfer. I am very pleased with how this first attempt at making a bralette turned out, and I am very keen to use this pattern again.

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Initial Research

In order to help me generate ideas, I began to look at the work of some highly influential designers. I looked at a lot of designers who used various techniques to add texture and structure to their work, and I was particularly inspired by Petra Storrs’ (http://petrastorrs.com/) predominant use of a monochrome colour pallet, and also her use of shiny materials such as metal and PVC. Her work led me to create my own samples using PVC and foil, to add a reflective quality to my work which reminds me of modern, metal architecture.

I was also greatly influenced by Iris Van Herpen’s (http://www.irisvanherpen.com/) extremely decorative work, which incorporates techniques such as cutting and folding fabric in different ways to create some interesting textures and patterns. It was this observation of the work that led me to explore the technique of slashing into foiled vinyl, and twisting the resulting strips over and stitching them down to create a unique, ribbed appearance. I think these samples are extremely interesting and have an almost futuristic feel, especially when silver foil has been used.

Viktor & Rolf (http://www.viktor-rolf.com/) have a collection that I found to be extremely eye-catching. Thin, sheer fabric is layered up to create thick, bulky areas and is cut into in different shapes and angles. When applied to a garment such as a dress, the technique gives it an almost ‘impossible’ appearance, and it looks to be defying gravity itself by keeping its shape and not collapsing. I responded to the work by using organza in a number of ways to replicate the texture-filled nature of the collection. I pleated and pin-tucked layers of the sheer fabric, but I particularly enjoyed the effect that gathering it gave. I really love the fact that even a material as light and delicate as organza, when used in certain ways, can create samples that look extremely bold and vibrant.

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The Brief: Architecture

When I was given my project title of Architecture, I was extremely eager to get started. I thought of all of the different types of architecture that are out there, and found ways to link them with textiles techniques. My first thoughts involved modern architecture, high sky scrapers and almost gravity defying buildings with unique and 'out there' shapes with awe inspiring designs. I thought about the use of metal and glass in architecture, and how this could translate into the use of shiny materials such as lamé, which could be combined with transparent PVC. I was also struck by the idea of using origami in my work, after looking at some particularly eye-catching buildings. I could make some unique shoulder pieces devised from bundles of origami cootie-catchers and pinwheels.

I then began to think more about older architecture, perhaps with more intricate details. I considered the beautiful engravings that can be found in older buildings such as churches and stately homes, and how these can be used to inspire some beautiful textiles outcomes. I could use vanishing muslin to create floral designs similar to those found in such engravings, and I could also use a cut away technique to cut intricate patterns out of stiff fabrics like interfacing. I could then work into the surface with stitch and beading. When looking at images of the beautiful architecture mentioned above, I was immediately thinking of the intricate patters and details I could incorporate into lingerie designs, for example in corsets and bra-lets. This idea intrigues me the most, as I often find that the most effective techniques are the small scale delicate ones that can be used in response to the impressive architecture of the past.

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