The past three weeks have been spent making my collection, and have been full of highs and lows. As this is my first time making a collection, I have faced and resolved many new practical problems, some of which I would deal with differently in the future.

Reusing my willow repeat print design from the first term I replaced the gold foil with a pewter foil, which appears more delicate and has an antique faded tone to it. As I have used pewter foils on the other embellishments, I felt the yellow gold would have looked like a mistake.


 

Assistance by second years: Sally, Alice, Lucy and Michelle on the embroidered bra and gold collar allowed me to spend more time on the more organic embroidery on the velvet knickers, and more complicated layering on the feather pants. Ideally, I would have lined both these garments, as the handstitch, although neat, has left an unslightly appearance on the inside, would also act as an irritant. Originally I intended to line the velvet knickers with the silk satin, but Fiona pointed out that when the velvet elastic was added the fabric would be very bulky in the sewing machine making construction difficult. I purchased some very light weigh habotai silk, however the colour I could source quickly, a pale ivory, was far too white. So I have settled on these garments being prototypes, showcasing how my embellishment could be applied to garments.

Making my own bra straps from double sided cream stretch velvet and cream components allowed me to keep continuity in the more practical elements of my designs, as well as adding to the comfort and tactility which is key to this collection’s founding concept.

Unfortunatly, the shape of my bra gapes a little when worn. For the purpose of the degree show, I can recitify this for the photoshoot with the help of tape! The garments hang nicely also, so will look presentable for the exhibition. However, as I want my work to be commericially viable, I think I will work from a ready made pattern to produce it again, as the pattern I produced was copied from a dissassembled cloth bra.

I am so very pleased with my sequinned cape, which took hours of work to complete, despite my lovely helpers! I salvaged the sequins from a broken cape from the 1920s, backing them onto mesh from a Victorian shirt ruffle. I love the scratched and tarnished quality of the sequins, and the painstaking quality of it’s production. A lot of love went into this garment and it holds within it emotion and history. I really want my design philosophy to be about cherishing, the pieces being made to be kept, looked after and loved.

Due to the fact I have little previous technical dressmaking skills, I have made several mistakes in the production of my collection. Elastic is messily sewn in places and I have had problems with baby overlocking the edge of the silk chiffon, as well as cutting patterns from it precisely. Because of this, I was forced to leave behind the idea of my doubled layered wrap dress. I intended to construct it from silk satin, layered over with chiffon, much like the floral knickers, only beaded all over the cape with 3d stitches which echoed a willow tree. I wanted the strands to fall below the hem of the cape, so they tickled the wearer’s bare back, revealing and concealing it like a tactile veil.

In the future I need to spend time throughly sampling finishings on all the fabrics I intend to use, and practise them so I have the techincal skill to bring them to life professionally. I have realised that I can still achieve my dream of selling my own designs, but I need to gain these skills! This is something I need to work on upon graduation. I am also considering working with seamstresses in order to manufacture small runs of my designs for a commericial context.

In my tutorial with Fiona, we discussed means of display. As my work is very detailed I want to display it in a similar way to the way I have displayed my moodboards. I want to give my work space to breathe, and an ordered quality to the layout of my show.

I want my show to have a boutique feel, but in an exhibition context and not look like a stall.

Image unknown source, found on an anonymous blog
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I would like to hang my garments flat against the wall, as above, presenting them as works of art. I love how they are against a white wall so the garments alone are able to convey the mood and aesthetic. I really do not want an over fussy display, with too many props or a distacting background.

Past embroidery student Lora Avedian’s degree show
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However, past student, Lora Avedian’s work also gave me inspiration for presentation. Although somewhat busier than I intend, I love the way a combination of selected drawings, photographs and elements of costume evokes a whimsical ‘other world’ in her final show.

 
Supermarket Sarah pop-up shops
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Visual merchanise artist, Supermarket Sarah’s quirky displays are both utterly ordered and yet retain a distinct personality, the objects working together to create a story as in a moodboard.

I love how clusters of objects form collections which bounce off other clusters of objects, combinding flat and 3d items. Like Supermarket Sarah, I intend to arrange my collection in this flat way, composing it on the white space of a wall. I may include drawings and photographs also, depending on how busy it looks.

Past work from second year, which composed various items against a white wall.

Example of fashion drawing I may display in conjuction with my garments.

Display, work in progress

Meeting Belle and Hannah to try on toiles, discuss ideas, and get to know each other was very successful! Luckily everything fit both girls, and the palette of the samples suited their colourings. Visually, the girls look good together, and they were both enthusiastic about the project. I hope this means it will be a very successful photo shoot!

Fiona confirmed my portfolio is heading in the right direction, and brought up the problem of the time taken beading and hand stitching. She suggested I ask some second years for assistance, which has proved very helpful! Already four lovely girls have helped stitch on printed pattern pieces which has speeded up the process a great deal. It was useful to see how I reacted in this situation too, as it is one I will be faced with in the future as an independant designer. I really enjoyed working collaberativly and was very proactive about sourcing people. I tried my best to make my volunteers feel relaxed and to make the atmosphere fun. 

I encountered some problems with pattern cutting, the chiffon being very difficult to cut acurately, and some printing problems with replicating samples as the foiling glue seemed to not be distributing the same way through the screen causing the marks on the patterns to be thinner. However both were overcome with some trial and error and I feel on track. I have already completed one pair of the four knickers I intended to make, and am on the way to making the others.

For this pair I chose the layered foiled foliage design, on silk satin behind, chiffon on front. I am pleased with the ghostly image this creates, as the same image is shadowed, barely there, glittering with movement, revealing and concealing. I reversed the silk satin to utilise the tactile shiney side, which would have otherwise been covered by the chiffon. By putting it next to the skin, the knickers would have a tactile quality when worn. I also replaced the standard lingerie elastic with stretch velvet in the cream from my colour palette, for an added luxury and sensuous experience for the wearer.

This week was very practical, and enabled me to organise my time, giving myself deadlines in order to achieve the completion of my collection, a successful photoshoot and time to make a look book and website.

My portfolio tutorial with Laura was useful. I was worrying about creating a ‘fashion portfolio’ alongside self promotional material as I felt it was not a relevant showcase of my work for the area of work I want to go into. As a graduate aiming to be a self employed designer/maker, I have been researching into how other lingerie brands and fashion labels visually communicate their work. It is final products which they produce to their hopeful customers, rather than works in progress which show the design process to potential employers. Laura reassured me that I was going about my portfolio in the right way and it wouldn’t be important for me to produce a traditional portfolio. This lifted a weight!

Sourcing models for my photo shoot with India Hobson in May has proven difficult. I did not want to go through an agency, for financial and also aesthetic reasons. As my collection intends to promote comfort in the female body, I did not see it as appropriate to employ professional models. Instead I wanted to work with women who I feel are beautiful, and would visually suit my ethereal aesthetic in a photograph. I managed to find two beautiful girls, Belle and Hannah, who have some experience modelling, and who are comfortable in front of the camera, as well as both being stunning! As I want the images to have an intimate and dreamlike feel, I think working with girls I get on with in a comfortable atmosphere that is laid back and fun will make the images more successful.

Gathering together my samples allowed me to choose a selection of seven samples which work together visually as a collection without being too similar. I have decided on creating four pairs of knickers, two bras and one wrap negligee, which I feel will be achievable in the time left. I have tried to select samples which have a different story to tell to make each garment individual. Some being flatter, some being more highly embellished with more texture.

A month’s worth of sampling; experimenting with print, layering and stitch, allowed me to develop my visual language to a higher and more sophisticated level. What excited me about the fabrics, techniques and compositions I had been working on previously in my embellishment was it’s refinement and simplicity, naive line and mark, and luxury and delicacy. However, previous critical feedback had directed me to bring stitching and beading back. My hesitation had been the practicalities of drape and complications when the fabric is applied to a the structure of a garment, and also I was nervous not to overload my work, to make it opulent rather than elegant. 

With this in mind I was able however to strike a balance by carefully considering placement of embellishment over the printed marks. Fiona’s advice to us all in tutorials, of working over a range of samples as a collection, rather than trying to include all your visual information in each design was particularly useful. This enabled me to scatter my embellishment over a number of experiments, which in turn kept a fluid, organic and sparkling simplicity to the samples on their own.

I am very excited about selecting from my pieces to create my lingerie collection!!

After reassessing my progress, I decided to work with shapes which have proven successful: the low rise french knickers from the first project, and the wrap dress. I decided to create a very simple bra pattern from taking apart a triangle bra, and copying the shape. I felt that adding a bra to the collection would make it feel more conclusive as a collection of lingerie.

I feel this shape has potential in showcasing my print and stitch skills, due to the block shapes from which it is constructed. As, it fastens at the front, I will not have to worry about complicated fastenings. Also I feel this is a more sexy design, as the removal would be more graceful and less awkward!

I have been working on turning the pattern drawings I have been working on into screen print stencils, so I am able to experiment with foiling, discharge and flocking to create sensual, glittering embellishments, with which to adorn my garments.

Preparing for the peer presentation was challenging, but ultimately revelationary. Looking back retrospectively over my development as an artist, I was able to see clearly a progression and select key features that have always been important to my developing visual language. I realised that fashion, the body, romantic relationships, and femininity have been key interests from an early age. I noticed my stubborness, for better or worse has kept me true to myself aesthetically and kept me focused, even though this could be perceived to be narrowing myself.  I found the act of delivering the presentation enjoyable, although a little scary, but altogether I feel quite sure of myself artistically and feel far more confident in myself as a practitioner.

I began to panic, and have come to reassess my whole project. Working from shapes I have designed myself has proved very time consuming and frustrating despite narrowing down from six to three looks. This is something I want to revisit after graduation when I have my own free time to perfect my own patterns, but with the deadline looming three months ahead I have come to give myself a more realistic goal and focus on creating a collection which showcases my current strengths.

Example of problems: this negligee sat beautifully on the mannequin, but behaved very differently on the body.

 Tutorials by past student Amy Senogles, and my tutor Fiona, helped me to realise the important values I want to keep in my work. Throughout the degree I feel I have been pushed to create work which compromises beauty and aesthetic appeal, in favour of the pursuit of realising a concept through visuals. I feel that the ‘tentative’ approach, which has been so often associated with my practice, is as a result of feeling that creating pieces which can be admired purely superficially is somehow disappointing my tutors. However, since realising that my strong sense of the visual is something I do not want to compromise, and the fact I value this higher than the concept which inspired it, I feel I am more in a position to enjoy and flourish in my work. 

Fiona recommended I look for inspiration in fashion brand B O U D I C C A.(http://www.boudiccacouture.com http://www.platform13.com/pages/contents.html)
The brand creates beautifully made clothes, which are wearable, however the thought process and concepts which conceived the final design outcomes are put across through their marketing. The websites, which navigate like books, showcase written and visual inspiration alongside finished garments with beautifully shot fashion images, creating an experience which is encapsulated in the wearable ‘product.’ I would similarly like my work to be accessible on two levels: superficially and, if the customer/viewer is inclined, on a more intellectual level.

All items from the Antique and Vintage Textiles and Fashion fair

Volunteering at the Antique and Vintage Textiles and Fashion fair was particularly inspirational. Looking at and gathering sources of inspiration for embellishment of cloth inspired me to go back to drawing, and generated the idea to move my project forward. Using shapes which have been successful (the french knickers from first term and the wrap around dress I recently toiled), and working towards creating one very simplistic soft bra, I intend to produce a range of beautiful and refined simple patterened fabrics which I will then use to produce a collection. The focus of the garments being the range of decoration rather than a range of shape.

After my tutorial with Fiona, and the realisation that each garment I have designed has taken almost a week to develop a functioning pattern for, I have come to reassess my plans. I feel my brief has been somewhat overambitious, and am currently concentrating on creating the first three looks on my ‘line up.’ After which I will consider embellishment and go back to drawing to develop my ideas. Fiona felt that, currently shape and fabric choice alone were not enough to carry the message of my ideas, and I am coming to agree. 

Creating a toile for my wrap around backless negligee has helped me develop my sewing skills quickly. Constantly working on the machine has allowed my sewing to become neater, and allowed me to understand construction far more clearly. I am really enjoying creating garments, as they have a function. The feeling of making something someone else can enjoy, and turning a conceptual idea into a product, is something that is driving me forwards.

Reviewing my materials along the way, in a similar fashion to the ‘materials review’ has been helpful to keep a consistent look and allow the project to grow as a collection.

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The lecture this week, given by Alex Russell, confirmed my ambition to be very much in control of the commercial side to my practise in the future. Russell’s talk of agencies taking a higher percentage than you of your design and the fact you lose the copyright to your work when it is sold to an external organisation did not appeal to me. Also the working method to survive in this side of the art world completely does not suit me. As a commercial print designer, Russell works quickly and in a dizzyingly varied manner. Fundamental principals in my design philosophy were highlighted this week! In contrast to my work being simply a commodity, I feel I want my work to embody a kind of luxury and specialness. Yes I want my work to appeal to a market commercially, and be very much a product; I however want to retain a sense of emotion in my design.

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I have spent most of the week toiling, working out how to create the triangle dress I designed. From a frontal view, the dress is demure and innocent, childlike and ethereal in its tent like shape, however the dramatic scoop back reveals an expanse of flesh, and the hem lifts to reveal half of the buttocks, a shape I borrowed from Marlies Dekkers. More complex than I imagined, the toiling process was one of trial and error. Working from my head instead of a pattern block, remixing various garments I have myself to make patterns, has been a challenge, but ultimately successful. Mistakes have taught me key principals of dressmaking, and allowed me to consider practicalities such as how to finish my garments and fabrics which would lend themselves to the shape, whilst fitting in with my project. The nature of my shape is gravity defying, the front being heavier and larger than the back. I discovered by applying elastic to the hem of the scoop back, like in a dance leotard, the shape stayed flat against the back and kept the shape. I also learnt how to add volume to a pattern wherever you like by cutting into your pattern and opening it up.

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I visited Platt Hall to study some unstructured vintage underwear. The experience was very influential and worthwhile. Fabrics were fragile, worn and faded; shades of cream, pale nudes, green; crepe, silk, silk satin, lightweight cotton, lace layered over chiffon. They were seeped in history and beautifully made, still intact, made to last. It was useful to see how they were constructed, French seams, bindings and tiny hems were finished perfectly, often by hand. Shapes were comfortable and unusual, French knickers were almost skirts, relaxed in draped fabrics, bras were wispy and soft, with strange cross-wrap fastenings. Tops were cropped and waists high, inserts of sheer fabrics gave a peek of skin.

All from Platt Hall archive
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Godiva Boutique - Edinburgh

I also visited Edinburgh this weekend and spent some time in local boutiques and vintage emporiums. Godiva, a shop stocked exclusively with graduate collections was an inspiration. I learned that they accept look books from any recent graduates, and I intend to follow this up! I loved looking at the embellishments and delicate fabrics in Amstrongs Emporium. I love the intricate silver patterns that glint on this tulle fabric, and the carefully placed oriental motifs. Clustered of beading which disperse into scatters like sta constellations and delicately placed marks. I am however worried that, given the time taken so far for me to produce shapes, I will not have enough time to make a collection which is so highly embellished.

All details of embellishments on garments from Armstrongs Emporium - Edinburgh

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This week I have been concentrating on developing shapes that convey my concepts of a girlish playful sexuality. Although in my tutorial Fiona was keen for me to push my embellishment skills, I have decided to put this on hold for the time being. I am keen to develop a ‘canvas’ on which to work, before I begin testing ways of embellishing.

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Mint Siren
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Mint Siren
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The Lake and Stars
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Elise Aucouturier
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Elise Aucouturier
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Elise Aucouturier
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Marlies Dekkers
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I have been particularly inspired by the elegant simplicity and comfort of lingerie design companies such as Mint Siren, The Lake and Stars and Elise Aucouturier. Each of which are feminine and sexy without being ultra-provocative and overcomplicated. Another influence is Marlies Dekkers ‘bare bottom’ dress, which is demure except for the back hem of the dress that delicately skims the wearer’s derriere. A contrasting main source of inspiration has been Katherine Edmunds’ handmade boutique childrenswear brand, Wovenplay, which evokes images of 1920s dance recitals and dress up parties whilst still being modern, playful and simple. Each garment is wearable but has a dressing up box feel. In developing my designs, I have intended to create looks that subtly walk the line between childlike innocence and womanly seduction.

Wovenplay
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Wovenplay
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I have developed a whimsical fashion design style, almost by accident. I have attempted to keep my drawings free and spontaneous whilst still observing shape and structure. Alongside more playful quick drawings, I have been photographing my own garments, having them around whilst I get my ideas onto paper, to see what is possible.

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‘Indelible’ - Shelly Goldsmith

The lecture Shelly Goldsmith gave reminded me of key concepts, which drove me to become interested in garment making from a conceptual standpoint. Goldsmith’s work discussed, fundamentally, the intimacy of textiles. The closeness of cloth to the body, and the way clothes could be said to retain emotional experience. On foundation, I became fascinated by Edmund Locard’s exchange principal, which Goldsmith discusses in her piece ‘Indelible’. Locard, a pioneer of forensics discovered that with every contact of two substances, an exchange is made. For example, when you touch a surface, you leave a trace of yourself behind you, and likewise retain a residue of the surface. I find this idea romantic, and in the context of lingerie, inspiring. I want my work to feel intimate to the wearer. Loving, comfortable. I want the experience of wearing the garment to be erotic, with or without a partner to share the experience with. I want my garment to be a kind of protector, a lover.

Since the hand in I have gone back to the beginning of the design process to assess what it really is I want to explore through lingerie, and condense this into a concise and effective brief. Looking again at the stories which inspired me, and visual references I have been able to recognise a concept forming. The process of identifying key elements, choosing inspirational words and forming a colour story and mood boards was not unlike the process of planning my essay.  Editing out, selecting the most important parts, helped create clarity, and made it far easier for me to communicate my ideas through text and image.
 

Feedback from both Nigel and Fiona was useful. As critiqued before, I was told to stop being tentative and be bolder in my expression. Previously I assumed this meant in my choice of materials, marks and colour palette, perhaps my themes. I have always been disinclined to discard my subtlety, as this is something I wish to develop and keep as a key part of my visual language. However, after questioning, I learned this is not the direction they intend. Being bolder can be read as a more lateral direction. Fiona commented on how confidently I discussed the themes I am interested in my essay, and how I need to translate this into my practice to fully expand my work to it’s potential. I feel I am on the way to doing this, by breaking down my project into managable chunks so I can fully understand what it is I want to convey, and allow my visuals to fully convey my ideas.

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On set of ‘The Rochdale Pioneers’

Thanks to my voluntary job at the Royal Exchange Costume Hire, I was able to work for a day as a costume assistant on set for the film ‘The Rochdale Pioneers’, which is based on the story of the Co-Operative Supermarket. I thoroughly enjoyed working on set, as it was sociable, busy yet laid back and I loved the sense of teamwork and achievement of working together with others to a collective end goal. This is something I would definitely consider doing again.