Rough Moodboard Idea

Just an rough mood board drawing on imagery from the previous assignment and new images relating to silhouette and fabrics. At this point I'm very interested in undergarments for Autumn/Winter 2012, I feel there is a gap in the market for comfortable sleepwear and intimates for lounging about in front of the fireplace, garments built for comfort and style that are not covered in stars or love hearts or do not scream sex with the pains of wires or boning.  

Fall/Winter 2012 - Key/Useful Trends

These are trends that I find particularly interesting and could see working into my collection; some I have previously explored and some I think would help me communicate my concept more clearly and help turn it into a marketable collection. 

Amalgamated: colour, Winter 12/13.

 This is extremely close to my previous colour pallet. These is a soft and hazy merge between light and dark, from gentle nudes to deep forest and foggy blues. This colour pallet is quiet and dreamy which suits my concept very well, it also reminds me of underwater seaweeds and aqua waters.

Flapper, Winter 11/12

 There is come back of 1920's flapper dresses not only in the silhouette but also the highly beaded ilks and transparent fabrics. This look is very glamorous and has feelings of chic romance. For winter garments this would not be very practical but ideas of beaded establishments could be included in subtle ways perhaps in trims or detailed areas. As for the silhouette, with my concept of layering and loose garments it could Incorporated quite easily.

Hand-knit woollens, Winter 12/13.

Wool is perfect for creating cosy garments and it can create many interesting textures. I am very keen on incorporating wool into my next collection as i did in my previous one, I think I will be using a woolen knit to replace my previous constructed wool fabric as it is very time consuming and would not suit the price range of a middle market. Wool is perfect for the winter season as it provides great warmth and is such a great natural resource for New Zealand. The image of the socks gives me ideas about undergarments for Autumn and Winter and also refers to fabric morphing. 

Lean restraint, Winter 12/13.

Silhouettes head south with easy, flowing garments providing comfort and easy movement. Yet again revering back to 1920s and Orientalism -caftans and kimonos. 

Fabric Morphing and Fabric Collage, Winter 11/12.

 The Fabric morphing happening is very similar to what I was trying to achieve in my last assignment, I want to keep exploring this as it adds textural interest in the garment and relates to my concept. Fabric collage might be an interesting way to explore fabric morphing or the merging of memories within my concept (note- the collage is very geometric)

Retro romance, Winter 11/12.

Looks are highly influenced by the 1920's, 30's and 40's and the silver screen glamour, there is an air of sophistication combined with classic masculinity. key elements such as crepe fabrics, dropped waistlines, classic masculinity, fur and beads. I think looking back to the past for silhouettes and styles could help evoke the memory and age part of my concept, I feel especially drawn to the 1920's-30's and the Orientalism within garments at the time.

Interesting trends F/W 2012

Asymmetry S/S 2012-13

 Asymmetric designs seem to be occurring in soft fabrics with lose silhouettes and dropped waist lines, creating a feeling of 1920's. Their is a feeling of relaxed breathable clothing for luxury lounging. The asymmetric designs give opportunity for layering and create a modern edgy look, they make the garments interesting to the eye and prompt ideas of architecture but also ancient Greek dress.

Unusual Combinations F/W 2012

There is a big trend for unusual fabric combinations. We can see just from these few Wool with chiffon, a contrast of see through and dense, patchworks of fabrics, Fur,wool and silk all in the same outfit, Hard with soft. These fabric combinations are introduced mainly through garment layering and not only create depth to the outfits but also draw importance to textile contrast and sensitivity which intrigues the viewer.

Velvet F/W 2012

Velvet fabrics are back in creating an old school luxury appeal. Most in rich greens, blues, purples, reds and of course black, the soft movement,sensual texture and light reflective qualities of velvet are showcased through draped garments. Velvet offers a warm elegance to the autumn and winter months. The embroidered velvet reminds me of 1920s Orientalism. 

Intimates trends

W/F 2011-12 Initimate Trend.

"Maximalism reminiscent of the old curiosity shop as well as today's concept shops such as Merci in Paris and Anthropology in New York and London. The atmosphere conjures up images of the Silk Route, the riches of all the cultures of the world. Indian embroideries mix with African jacquards, taffetas are decorated with semiprecious stones and stretch satin are everywhere... And, not to forget, the best of current masculine chic and graphics, echoes of the eccentric style of the American Iris Apfel"

-This could link to the memory aspect of my garments, also giving me an idea about silhouettes, perhaps loose like Kimono? Could a silhouette trigger memory or history?

S/S 2012 Intimates Trend.

miro

"Trend report for S/S 2012 is beautiful. There are a lot of floral prints, polka dots, and micro fibers used in intimates. There is also a lot of lace used that creates a beautiful feminine look. These looks are all so beautiful and I can't wait to see them emerge."

-A. Nilles

Translation of Concept from Assignment 1

What was my previous collection about?
My collection was about the layering and decaying of memories and the way they make up our identities. Their layers can protect us but as we age holes appear that may leave us feeling lost, or expose repressed memories hidden beneath.

• Memory
• Decay
• Loss
• Depth
• Hidden
• Protect
• Identity

There was also a emphisise on natural fibres, raw fabrics (calico, silk) and naturalness of wool.

Was my message clear?
I think my concept was clearly conveyed through the created fabrics and fragility and layering of the garments. However I think they could have been more strongly conveyed perhaps though the concept board and final board, perhaps by drawing specs because all the layers and asymmetric designs made it hard visualising and understanding each separate garment. 

I think there was a large gap between the garments I was drawing and the garments I was creating, the ones I was creating evoked a mood of fragility and aged memory which was exactly what I was trying to do but with the Final line up It was not possible to make the dresses (due to time and materials) which stopped me assessing the 'real' look also I could have drawn from previous imagery throughout my research to use in my boards to further the understanding of my concept.

What was important in the last collection?
The Fabric, layering and what the holes revealed.

What aspect do I want to expand on?
I would like to expand on the practicality of the clothing and the function.
While still incorporating some of the designed fabric I would also like to try other fabrics. I want to explore the layering and holes idea further but in a wearable modern way.
I also want to keep expanding natural fibres with an emphasises on wool- pushing for more eco friendly garments. 





How is my design signature emerging?
I think my signature design is developing through my fabrics, I am very keen on textiles and believe they play a large factor into the beauty and reading of a garment. I also find my designs becoming very soft and having a intimate relationship to the body.

What worked?
I think the created fabrics really worked to convey my message but perhaps I can increase the impact of these fabrics by adding more plain fabrics to contrast and balance out the 'see through' effects.

What can I edit out?
I think I could edit out the amount of loose draped garments and bring in some more fitted garments. The woolen yarn fabric also needs to be developed as it was very time consuming to make (meaning it is expensive to produce) and in its current state I can not see it as a comfortable, practical winter garment.

Woman's Undergarments

Elle MacPherson's lingerie is highly feminine with a little bit of 'vavavoom' and is highly influenced by old Romance, using a lot of lace and frills. I like Elle Macpherson's lingerie because it makes a woman feel sexy and feminine and a little romantic.

 Lonely Hearts line 'Lonely' adds a modern edge to lingerie, while still having feminine aspects such as lace and delicate silks, they offer a new perspective on undergarments with architecture inspire lines and cutouts (this gives some of there lingerie a sporty look). I like Lonely Hearts lingerie as it offers a new look to lingerie and appeals to the modern 'trendy' woman being artistic and fresh.

Peter Alexander focuses on sleep wear. Offering cute and fun prints and comfortable sleepwear to an adult audience (also has kids range). He features garments such as P.J sets, shorts, singlets, t-shirts, nighties, ropes and other comfortable sleepwear. I think Peter Alexander is great as he is filling a gap in the market for quality upper-market sleepwear that doesn't focus on sex appeal or seriousness. 

Lingerie Overview

The main difference between high and low end lingerie is the fabrication and practicality of the garment. A Bonds bra might appeal to a working woman for everyday wear where as a sheer chemise by McCartney would be reserved for a more intimate occasion as a ‘show piece’ – a clear difference of ‘want’ and ‘need’ (much like the Singlets viewed in the Market Overview), practical and impractical.

Market Report Overview

From this market research I have noticed a few major things that set low and high end garments apart.  Construction, Fabric & Style.

The construction of the garment is not as accurate and is often simpler in low end garments, this may be due to the speed in which these garments are sewn in order to accommodate to a huge demand, the more simple a garment the less knowledgeable the seamstress has to be and the quicker the process. The lower end garments were often finished with closed seams, 5 thread cover stitch (which eliminates the need for prior over locking) or knits might have a bound edge. As garments become higher end bound edges are very basic and other finishing such as French seams or facings might be used, these would both require more fabric therefore upping the garment price.

The difference of fabric between the high and low end of the market contributes largely to what is seen as high and low end fashion. Lower end brands use a lot of cotton and cheap synthetics where as high end use more expensive fabrics such as silk or linen. The design of the fabric is also a key factor, low end brands use basic fabrics and have poor prints (usually on cotton) where as high end designers might design their own fabrics and prints, this adds a unique selling point to their garments and also pushes up the price. The use of knits in lower end garments eliminates the need for darts or tailoring to fit their mass consumer. The changing quality of zips, buttons and clasps can also be notices.

The style of garment also says a lot about a brand and their consumer. Lower end brands may use ‘staple designs’ that will sell and sell again (such as men’s singlet or plain jeans) to appeal to a broader audience or make cheaper ‘watered down’ versions of the latest trend where as expensive brands often appeal to a selected consumer with a specific style and attitude to their clothing, this makes their audience smaller but because of the ‘rare’ appeal and quality of their clothing, they are able to push up their prices.

Although top end designers show complex pattern making skills they can also make simple garments similar to low end designs, the biggest difference being the fabric and execution put into the garment.

Assignment 1 - New Directions. Final Boards.

Final Lineup

Mood Board

Fabric Board

Colour Board 

Illustrations

Boards Presentation

Experimentation Garments

Synopsis

This collection is inspired by memories and the way they degrade, hide and change. As we age our fragile memories layer upon one another, some merge creating altered memories, some begin to perish, revealing holes in the memory which might make one feel exposed or through which suppressed memories might emerge. This concept is expressed throughout the layering of delicate handmade fabrics which hang from this distorted straps, some have holes which gape open like a wound leaving the body or inner fabric exposed. The fabrics themselves are semi-transparent which create a hazy layering of tones and subtle patterns much like the haziness of a memory or dream. The model wears tatty woollen socks and her hair hangs in an untidy French plait, a girl within a dreamtime, her worn and delicate memories, drifting about in a soft warm glow.