PRESENTATION

LOOKBOOK:

Here are some pages i have come up with for the lookbook











POSTER IDEAS:


This design is quite simple so i decided to invert another image and by using the transparency tool i came up with:

BACK TO 2D

In the meantime I have been searching presentation ideas for my photo shoot and lookbook. I want to create a lookbook that incorporates not only the final jacket but a kind of story that goes behind. I have been looking at makeup and styling. I have been particularly influenced by WAH nails (http://wah-nails.com/), Dazed & Confused shoots and Boudicca ads. I really love the colour palette's WAH nails uses. It is quite quirky and bright and vibrant. As my jacket is a yolk yellow it is quite bright and i feel the design suits this feel and mood.

One really unique thing about dazed & Confused magazine is that there is this certain casual yet confronting feel about some of the photography. I love how you will find a $4000 dress juxtaposed with surreal people, objects, and locations.


Akiko (The Big Pink, ComanechI)
A bed is regular and used in most homes yet we get to see it in a shoot. I love the reality of the photo there is no fake beauty.



WAH Nails


(http://www.boudiccawode.com/)

I really think the use of repetition is visually appealing and sells the product in an organic way. I am thinking of using repetition of an image in a poster or in the lookbook as a way of presentation.

TOILE #3

I solved all my problems by sewing all my pieces with the seam allowances showing. Through this idea I have enabled a raw edge to my design and as I have the felt the edges won't fray. I really like this idea as it creates a bolder statement to the piece and also plays on the fact that everything is cut to precision.

...now to test my theory and cut the real deal

TOILE #2

I added a facing to the neck however it can not work as the lapel has been joined to the shoulders and will not allow for a facing to be bagged out.


I tried to solve the idea of linings by doubling the pattern up and sewing it on itself. It created a few problems as the position where the second lining finished and bagged out did not sit right and created bulk at the underarm. I am working with a woollen felt and it is quite thick on its own let alone doubling the fabric. I thought I could use facings to cover up some raw edges.

-As I decided I would have no lining I thought it would be a good idea to make some seam allowances wider to support the bulk of the fabric, for example: the CB seam I made 2cm.


-I added a tab on the lapel that imitated an under collar however I needed to enlarge the pattern as in felt it would be too bulky to bag out at that small size



I started looking at pockets and where it would sit on the body, how long i wanted it. I also wanted to look at a pocket that would have no pocket bag and would be open like you see in capes.

TOILE # 1

I was able to achieve the silhouette I wanted however there were some details like the hem, it needed to go as when the side panel that attaches to the underarm folds up it twists the garment. Another factor from this first toile I need to consider is the sleeve, how the sleeve and side panel attached to the underarm. From here I started thinking about facings and linings ... how was I going to achieve a lining with this pattern? And how would facings work?

I want to try and create this pattern and shape in fabric as this silhouette appeals to me most.



I have been looking at ways I can produce designs on a 3d scale. I started tracing fifth scale block patterns of the jacket bodice. From this I created shapes from the block and experimented with the folding of paper. I used the method of extending the pattern at different points however I did not have in mind what the final garment would look like.

SYBILLA

Sybilla, Raincoat Dress and Umbrella, 1988-1989 collection.

I find this silhouette bold and appealing. The triangular shapes are really interesting and the jacket looks as if it has been tied together on itself. I am really intrigued to try and develop my own silhouette with the same aesthetic.

colour palette

Woman Torso. Oil on wood. 58 x 48 cm. The Russian Museum, St. Petersburg, Russia.


Suprematism. 1915. Oil on canvas. 87.5 x 72 cm. The Russian Museum, St. Petersburg, Russia.

I drew from artists who used abstraction through their work. The abstract art period itself practiced colour, form and materials and the idea of questioning the traditional functions of art. I was particularly inspired by Kasimir Malevich’s work. The year of 1917 provoked controversy for these artists breaking free from humanity, nature, politics, or social message. The art depicted what was in an artist’s brain. I found this concept really intriguing and I used a colour palette from some of Malevich’s paintings. I wanted to explore colour and design through the jackets. The movement of Malevich’s colour way really inspired me.

Filep Motwary

FILEP MOTWARY*MARIA MASTORI FALL/WINTER 09/10

I find this piece to be very bold. What interests me is the volume in the hem of the jacket. I find it quite delicate and romantic in contrast to the jacket bodice that is rather stiff. Another interesting thing about this jacket is that it has no sleeves. It only implies the lapel which appears to be enough information to recognise this garment as a jacket.

Nikoline Liv Andersen

Nikoline Liv Andersen- collection called: GLORY
(http://www.nikolinelivandersen.dk/)

She has this tragic romanticism that is reflected through her work. This collection in particular inspires me however all her collections are of interest. Detail is used to tie the collection together. There is a lot of embellishment. This Edwardian feel is seen throughout the collection. She reflects on this theme through the silhouettes and even fabric choice, e.g. lace. She uses rainbow colour through different pieces in different ways and then tones down everything with a pastel whites, blacks and hints of pink.
The jackets interest me most as she uses tiny waists to compliment the giant sleeves. The appliqué is quite quirky too it appears she is using tiny beads that almost remind me of Lego and mixes this combination with lace and what appears burn out technique through the fabric. The tiny clasps go back to her Edwardian aesthetic.
The beauty and frivolousness in the collection is something I want to gain in my collection. As Anderson is also an artist I find it hard to find her work being sold and it is hard to obtain. Even her website does not appear to have locations of stores. I find this correlates with my market level as well as she is an immerging designer making her debut into the design world and I feel my collection would be in the same position. Exclusively being sold however very limited.

drawing restraint

André Adolphe-Eugène Disdéri Michaux sur son vélocipède (Michaux on His Bicycle), 1867.

I am fond of this design. Repetition in a sepia tone could be interesting when developing my design work and presenting work.

http://www.cremaster.net/cc_trailer/cc_trail4.htm



These two videos have really inspired me as they look at design and art in a different manner. The second video (OTTOShaft) is all about different restrains of drawing. The artists have calculated ways to manipulate their outcome. This is really amusing and an effective way of designing.

Elsa Schiaparelli's famous circus jacket: designed 1938
(photograph by Cecil Beaton, courtesy of Sotheby's,London)

I am really influenced by Schiaparelli's designs. Particularly in this jacket not only are the colours and print beautiful but the pattern is also interesting. It features one piece sleeves that are darted at the cap. If you look at the horses on the sleeves they very carefully matched. As I have been doing the tech report I have slowly started to notice different details in jackets that I wouldn't have before.

pattern making inspiring design

I thought these patterns were interesting as they had no side seams. Pattern making is vital when desiging and taking designing to a 2 dimensional format takes the design to a whole new level and makes it personal. I liked how if you needed to widen or narrow the garment, you would have to draw in a side seam, slash along the seam and spread the pattern. You can see Issey Miyake's signature on his patterns. The technique is really effective.

if it can be fused then it can be split

“...monetary idealisms
between
passed-over arithmetics
and sanguinary mathematics
between the 'structural' entity
of an 'obsessing sole'
and the conduct of living things
in contact with the 'obsessing sole...”
Salvador Dali

I am influenced by the idea of surrealism, instead of interacting in logical ways, each idea can move in a different train of thought. I feel I can express this through tailoring in some sense.
Tailoring qu’est-ce que?... I see mathematics and movement of lines calculated by the ‘obsessing soles’*(obsessing soles, people obsessing over made to measure garments). These lines that are made to satisfy and measure a person perfectly. Tailoring imitates ‘living things’ through the use of dividing, measuring limitations of the body. This ideal of mathematics and calculations I believe is yet to be discovered and uncovered by me.



These images I have found of a house being divided into sections are interesting. I have thought about how I can relate it to tailoring. It mimics a structure however in order to come up with a new design it has been divided and split into pieces. Putting them together like a puzzle in order to fit could be an interesting concept.
This week I started playing with my unpicked blazer and I photographed it hanging being tied and suspended in different ways it being the structure of my design.
Then I wanted to split the jacket in sections and re-puzzle them together creating an interesting image. In the images created I can see garments being remade from different pieces of the original structure. I have chosen to use an alternative method of deconstructing.

relationships

Interpretation of shoulderpads:



I have been unpicking a double breasted men’s jacket and after a lot of close observation I have noticed it is not of high quality. The internals might as well be hidden because as I pulled back the layer of lining it was quite funny. This is interesting as lining is usually used to clean up rough edges however imagine a jacket with no lining and all these mistakes out in the open it would be quite shocking.



POCKETS

The jacket includes only welt pockets. Here I have an example of the great sewing of this unknown tailor. There was a hole on the LHS of the pocket and to avoid it he sews around the problem. Sewing around the problem is fine when I guess you have lining to cover up all inaccuracy. Another strange thing is that for interfacing the tailor uses blue scraps of fabric on the LHS and black on the RHS. This could be an interesting design idea. I am guessing by using two different colours it is easier to differentiate the right to the left.



SLEEVES

The lining is connected to the wool and then the wool is connected together at the side seam. Reminds me of bones in the body connecting to other bones. All the seams are pressed open and the lining is tacked at places e.g., the shoulder of the sleeve. The sleeve has curved shape as patterns are made to accommodate the natural swing of the arm.

big fun.

Heathers - 1988
typical 80's fashion
costume designer Rudy Dillon enhances shoulder pads, tights, hats under this quirky scheme of colour.






Winnona Ryder's blazer has been deconstructed in sections with fabric alternation. This is really awesome and creates a second dimension to the blazer.

'Red jacket with heart', Harris Tweed
Autumn/Winter 1987–88

Westwood had self-taught tailoring skills this particular jacket is interesting as the lapel has been merged into a love heart. There are elements of a traditional jacket however it's coincided with Westwood's quirky touch.

'A coat of grapes is on my back again,

I ride upon my zebra.

Pterodactyl beak-hat on my brow,

The truth is like a stranger.' - Marc Bolan


1973

"Dressing is her means of communication"-Karl Lagerfeld

Karl Lagerfeld is a design whom I appreciate. He has incorporated tailoring throughout his career. I have tried to capture elements he drew into the 70's and 80’s. What really attracts me is his ability to constantly draw from Coco Chanel and appropriate elements that represent elegance, simplicity and beauty.


1977
Lagerfeld’s signature pinstripe suit makes me think about the use of pattern and how effective it can be to differentiate a tailored jacket. The use of pattern on pockets and sleeves and different elements of a jacket could be interesting.



1977


1983 - spring
photo by Bill Cunnigham

Everything about this outfit is beautiful. The essence of the sleeves and romanticized fabric with a simple pair of pin striped trousers. I believe the structure of the jacket is breathable to a female’s body and has stepped into a comfort design which reflects on Gabrielle’s vision of liberating women. It evokes a quite masculine feel however is complimented with feminine fabrics and also the sleeves are flamboyant and full of volume.

References:
Piaggi, A 1986,Lagerfelds Sketchbook,1,Thames and Hudson Ltd, London.