Show

The external Show was held at the St Pancreas Hotel in Kings Cross. Portrayed below is the staff wristband we all had to wear upon entering the building:

Today I assisted Bonnie and went to Brent Cross Shopping Centre to go and buy 3 pairs of men's blue ribbed knee length socks to match her previous 3 pairs. I then had to accessories her socks by covering them in glitter.

Today I Assisted James and helped to sew his garments together and help to sew all of the panels together.

Today I was also a runner and went to Berwick Street to Kleins to purchase some hook and eyes and then went to D.M. button holes to get some button holes made and have eye-lets incorporated onto James bags.

Today I was a runner and went into town to collect some bias binding and hook and eyes from Berwick Street.I then went on to help James cut out his final collection.

Today I helped out Christina Soteriou with her fashion photo shoot for her portfolio. Portrayed below are the images of her looks from the photo shoot.

Today I acted as a runner and went to Shephards bush to go and purchase some zips and then went to Berwick street to purchase buttons and threads from the Cloth House.

I then began helping out Olivia, by helping her to dress her models for her fitting and hand sewing the velvet fabric onto the padded bust. Furthermore, I then helped her to cut out her pocket bags for the trousers, and stitch them in place onto her trousers.

I then continued to help James by helping him to create his toile for his 5th look.

External Show

This week I began helping out James Hall for the External Show. I therefore began by laying his pattern pieces on top of the calico and ensuring that the grain line is parallel to the selvedge. Once layed out correctly, I then had to pin down all of the pattern pieces and use a rotary cutter to cut out the fabric in calico. I then began by sewing his toile together for the 1st of the 3 looks.

Today I helped out Ahn Phan. I began by hand sewing down the inside of the dress to conceal all of the raw edges, by using a blind stitch technique. Moreover, I then began to hand sew on all of the paper clips onto her jacket to add a nice decorative effect. This enabled the jacket to have a unique and eye-catching twist. Furthermore, I then made the labels for her garments, by getting the photographs of her garments and writing a short description on the garment bags portraying how each garment should be looked after and getting the outfits ready for hand in.

I then began toiling how to make a bag out of various string and ropes. After attempting various methods, I came to a conclusion of how to make the final bags, and the methods and processes in which we should use.

Week of Show

Today i continued helping out Tania. I started working on the accessories. I created the weave panels for the Shoes to be accessorised with.

I then helped out another third year student today called Tania Ortiz Zamorano by helping to weave her final garment panels. Portrayed below are images depicting the weave:

Today I helped out Tanja Nagy by cutting out her final fabrics. I had to pin on the pattern pieces onto her crepe fabric, ensuring that the patterns are laid onto the fabrics correctly and that the grain line is equidistant to the selvedge.

Today I traced off an array of patterns so that my partner had duplicates to adapt. I traced off the patterns for all three outfits, ensuring that the grain line and notches are transferred onto the new patterns.

Today I helped out another third year student called Tanja Nagy. Her collection is inspired and derived from ice and glaciers. I particularly like the way in which she has incorporated in the movement and shape of the glaciers into the shape and style of the designs. I initially began by tracing off the pattern pieces and extended the front and back jumper block panels to 65cm. Afterwards, I then cut out the pattern pieces in calico, ensuring that the grain line was parallel to the selvedge and sewed up the toile. Moreover, I then reverted back to helping my initial third year student Andrie by cutting out an array of patterns in calico, organza and polyester. After this was cut out, I then had to make a tutu pattern. In order to create this, I had to measure the circumference of the waist on the pattern which was 38cm and double this to equate to 76cm. After I then had to halve 38cm to get a 1/4 of the pattern measurement which was 19cm. I then added 19cm onto 76cm to get the circumference of the waist as she wanted a 1 1/4 tutu pattern circumference which equated to 95cm. I then formed a 95cm circle using the tape measure. Once the circle was created, I then added on a 15cm diameter all the way around. This then formed the basis of the tutu pattern.

Initially I began by helping out a different third year student today called Tania. Her collection is inspired and derived from prolifrolights. I helped out by drawing spec drawings on the computer. Later on, I then assisted my usual partner by tracing off patterns and adding on seam allowances.

Today I went fabric shopping and got a diverse array of fabrics for inspiration.

I began by cutting out more patterns on calico, ensuring that the pattern pieces were layed on the fabric correctly and that the grain line is running parallel to the selvedge. Moreover, I had to ensure that the grain line was equidistant to the selvedge by measuring the grain line. Once this was pinned on, I then had to cut out all the patterns in calico. I then began sewing the top toile. I initially made the cuffs and the neckline. Once this was created, I then sewed the bust panels together, ensuring that the notches matched up as this is her form of decoration which is reminiscent of the victorian era due to the shape and composition of the panels. Moreover, I had to re-trace off patterns which I had to manipulate and add seam allowance onto.

Today I had to trace off patterns from the standard pattern block. Afterwards, I then manipulated the patterns and added on seam allowance onto the patterns.

Today I began by making a waistband template for the trousers. In order to do this, I initially had to measure the front and back templates. When measuring this, I had to eliminate the darts from the waistband. After this was made, I then added a 1cm seam allowance around the entire edge of the waistbamd and cut it out in calico. Furthermore, I then had to cut this out in fusing and fuse the waistband with the fusing machine. This is in order to make the waistband more stability. Moreover, I then had to re-trace off the skirt pattern blocks and manipulate this in order for the pattern to be reminiscent of the design.

Intern for third Years Daily Account

Today I started to begin collaborating with my third year student Andrie. I began to explore her concept and ideologies of her collection which has been inspired and enthused by the Victorian Era. Today I was given a line up and told to replicate the trouser design in calico. I therefore had to pin down the pattern pieces onto the calico, ensuring that the selvedges are together and that the grain line is equidistant to the way in which I layed the pattern onto the calico. I ensured this by measuring the grain line was straight with a tape measure. Afterwards, I then had to make the shorts toile. This was interesting to make as I feel that the seam lines of the shorts are symbolic to the theme.

Psych Out- Fanzine

Moda- Museum of Domestic Design and Architecture- 2nd Visit

During the second session, I was coming to a final conclusion of the Journey and thought process which I had been through. I initially began looking into a woven fabric. This replicated pattern is reminiscent of the 1920's Art Deco movement.

Portrayed below is an image of the fabric which I was perusing:

I find this inspirational to look at as it is reminiscent of the Art Deco Movement which was extremely influential during this time period. 

I then began to peruse the other objects in which I found inspirational to look at. This consisted of:

The fabric depicted above was interesting to examine. It makes you deep in wonderment about what the creator was trying to evoke and portray. The use of colour continuity was fascinating as the profusion of bright colours make it captivating to look at.  

The map portrays a guide for motorists in order to avoid the hustle and bustle of London at peak times whilst on the road as there is always a lot of congestion. It gives you specific routes in order for you to have the most convenient route. I specifically found this map interesting as it enables you to see how London has evolved over the past few decades and how London is still a thriving city. 

I then finally began looking at Tuscan Bath Shanks which was a magazine portraying all of the latest bathroom styles. This was evocative of the Art Deco Movement. Depicted below is an image of the magazine alongside a drawing:

After perusing the Art Deco Movement, I came to the conclusion that I wanted to explore the Flappers style. This was derived from my initial starting point which was the collar. I explored this because I find the 1920's time period extremely influential and the emergence of flappers are a fundamental part of the 1920's in the fashion industry.

Depicted below is an image of a flapper:

Overall I found this process extremely useful as it enabled me to explore the different pathways in which a specific object could lead you down. It also enables you to find out an array of different techniques and processes used. Furthermore, it permits you to have a personal connection with the object and view it in a new perspective in which you may not have considered before. Therefore, I found this a great source of inspiration in which I can use in order to form the preliminary basis of further research assignments. 

https://www.google.co.uk/search?q=flappers&source=lnms&tbm=isch&sa=X&ei=9XH9UruRFIfT7Aa6v4DIDg&sqi=2&ved=0CAcQ_AUoAQ&biw=1280&bih=647#q=1920's+flappers&tbm=isch&facrc=_&imgdii=_&imgrc=fCc8y_-cW1LlIM%253A%3BQ7y1-6qA3viDPM%3Bhttp%253A%252F%252Fupload.wikimedia.org%252Fwikipedia%252Fcommons%252F4%252F41%252FAlicejoyce1926full_crop.jpg%3Bhttp%253A%252F%252Fen.wikipedia.org%252Fwiki%252FFlapper%3B2587%3B4893

Moda- Museum of Domestic Design and Architecture- Homework Date/Style

The chosen path in which I decided to navigate down was the Date and Style route. I began by conducting research into the history of the 1920's style and date of the object by researching into other printing techniques which consist of:

• Block Printing
• Screen Printing
• Hand Printing

These techniques were popularised during the 1920's time period. The objects are reminiscent of the Art Deco Movement. 

Another form of research in which I conducted was by going onto the Victoria and Albert, Whitworth Museum Manchester and the Visual Arts Data Service Museum by finding images of fabrics and prints which had been derived from this time period. 

The images portrayed below are from the Victoria and Albert Museum:

This fabric has been created through the use of screen printing. I have selected this fabric to peruse as it uses the same techniques and processes as the collar in which I examined at Moda. The use of colour continuity is fascinating to look at.

The shawl portrayed above is evocative of the 1920's time period which is when the collar for the dress was created. It is also reminiscent of a fabric whose print has been created using screen printing. 

Depicted above is a piece of silk dress fabric which has been adorned with a replicated hand printing technique. I find this interesting to view as the style and genre of the fabric is evocative of the 1920's.

I then perused the Whitworth Museum Manchester and looked for fabrics which were reminiscent of the 1920's time period. Depicted below is an intriguing image in which I found:

This fabric was created in the 1920's as depicted in "1924". This is reminiscent and evocative of the time in which the 1920's collar was created. Moreover, this print was created using block printing which was the technique used in order to print onto the collar.

Afterwards, I then perused the Visual Arts and Data Service Museum. Depicted below are two of the interesting fabric print combinations in which I found. 

This textile print was created by Paul Nash in 1925. The colours incorporated into this are slightly faded which is suggestive of the colours incorporated onto the collar. Moreover, it has been created using a printing technique called "Lino Block Print". 

This printed fabric has been derived from a "Wood Block Print". I find this print intriguing due to the use of composition and juxtapositions used. Moreover, you have to examine this fabric carefully in order to convey the hidden message behind this print. This print was created by Doris Carter in 1928. The striking use of black and white tones makes this print interesting and captivating to look at. It makes you engrossed into the detailed print, whilst becoming deep in wonderment as to why this was initially created.

http://collections.vam.ac.uk/search/?listing_type=imagetext&offset=0&limit=15&narrow=1&extrasearch=&q=screen+printing+1920&commit=Search&quality=0&objectnamesearch=&placesearch=&after=&after-adbc=AD&before=&before-adbc=AD&namesearch=&materialsearch=&mnsearch=&locationsearch=

http://www.whitworth.manchester.ac.uk/collection/advsearch/objdispextra/?irn=24436

http://www.vads.ac.uk/large.php?uid=63805&sos=10

http://belovedlinens.net/textdesign/raoul-dufy.html

http://www.pinterest.com/lucybarrett_uk/1920s/

Moda- Museum of Design and Architecture 1st Visit

Portrayed below is an image and drawing of the 1920's collar which I perused at Moda.

Initially I began to research into the collar as it was reminiscent of the 1920's style dress. The detailed hand block printed design was intriguing to look at due to the profusion of bright orange, brown, cream and blue tones depicted on the muslin collar. I got the sense from looking at this object that it had been "produced in an Artist's workshop". I then began to research into different types of fabrics used in the 1920's and 1930's time period which consisted of:

• Rayon
• Silk
• Artificial Silk
• Velvet
• Satin
• Jersey
• Georgette 
• Cotton
•  Wool

The ideology of looking into fabrics used during this time period was derived from me looking at the muslin collar. The object stimulated thoughts as thoughts were encircling me as I am particularly interested in the 1920's time period due to the Great Depression which occurred in America in 1929. This is when the stock markets collapsed causing the biggest widespread of mass unemployment. Moreover, in the 1920's we also saw the emergence of Flappers. This was a group of young women who had a disposable income and their dresses were adorned with beads. This is the reason in which I feel this object had a personal connection with myself as it permitted me to peruse this certain aspect of the history of the 1920's. The thoughts encircling my mind were: Who created this collar? What was their source of inspiration? Who generated the print? 

Portrayed below is the link used for the collar: 
http://www.moda.mdx.ac.uk/results?adv_text=collar&x=0&y=0&session=vg6rlkyOIsq&mi_search_type=adv&per_page=25&mi_adv_search=yes  
http://www.vintagedancer.com/1920s/fabrics-and-colors/ 

Inspired By

Ann Demeulemeester-

Ann Demeulemeester's is a fascinating fashion designer who draws her inspiration from a multitude of different thing which consist of: " gothic and punk". This links to the Psychobilly movement as it is derived from an eclectic mix of "Rockabilly" and "Punk" styles. Her designs are intriguing to look at due to the layering technique. Portrayed above is an image of a model wearing a Psychobilly inspired leather jacket. I have selected this collection because I feel that the layers of the garment depicted above is reminiscent of the split personalities of the Psychobillies. The staggered layers could also be reminiscent of the way in which the subcultures learn to grow over a period of time and how they begin to differentiate themselves from society. The subcultures evolve over a period of time and the staggered layers could evoke this message. I feel that there is a hidden meaning or connotation behind his collection. The tassels on the leather jacket is reminiscent of guitar strings. This plays an important role as the basis of the Psychobilly movement relies heavily on the music industry as there are many influential Psychobilly bands which were formed during the 1950's time period.  Moreover, the tassels tie up as a corset effect to create the shape of the garment. This counteracts the punk influence of the Psychobilly movement giving her an air of femininity.  There is also an androgynous essence based around the formation of this design. 

I find this inspirational due to all of the additional elements incorporated onto the jacket. The tassels enable me to feel the beat of time and the melody of the Psychobilly songs that were a world sensation. It permits you to feel the melody of the Psychobilly music. I find the varying lengths of the chords interesting to peruse as it could be reminiscent of the different tones of this music genre. The curvature of the jacket has been slashed into three layers protruding out of the hem. The layers cascade around the leg of the model to create a sense of style as it differentiates itself from any other garments within Demeulemeester's collection.  The curvature adds depth and realism to the garment. As the entire outfit is black, the raised textured effect creates the sense that there are different shades and tones of the black colour palette depicted on this outfit. The boxy structure of the jacket enable the shoulders to be accentuated and creates an air of masculinity. The use of the broad shoulders depicts superiority and dominance. 


To conclude, I find Ann Demeulemeester's collection the most inspirational as she enables me to envisage a deep, thought provoking analysis of this style and diverse fusion of subcultures.

Inspired By

Nicola Formichetti/Tierry Mugler

Nicola Formachetti is the director of the house of Mugler anthology. He has produced a collection derived from the Psychobilly Subculture. The stark influences are portrayed within the use of fabric incorporated into his collection. The predominant colour pallet is black which is evocative of the colour pallete used for the Psychobilly Subculture. The way in which all the clothes are poised has an air of masculinity. I particularly like the use of compositions and juxtapositions used in order to create this unique collection. The use of make-up and tattoo's depicted on the models also adds to the Psychobilly essence. The tight fitted garments are figure hugging and compliment the posterior of the body. The masculinity is encircling this collection. Moreover, the use of fabric content varies within this collection, making it a more modern and contemporary collection which has been enthused by the ideology of Psychobillies. The references that make this collection link to my subculture is depicted in Tenacity evoked within the collection. He draws on the conclusion that his style evokes the same attitude and theme as the movement, henceforth why it has been influenced and derived by Psychobillies. The references embedded into this collection is portrayed in the leather tassels protruding out of the jacket. When thinking of these, it reminds me of the tassels depicted on a motorcycle jackets and evokes freedom. The use of the word 'freedom' links to my subculture as they were trying to define themselves and be free from the capitalistic world. 

 I find this collection interesting and captivating to peruse due to the leather straps cascading around the arms of the jumper. This adds a nice decorative effect to the garment whilst being reminiscent of the leather jackets adorned with studs. The contrasting fabrics depict the shift in style and core attitude. This also portrays the shift in the fashions as fashions and styles always evolve throughout time. I feel that the way in which the straps encircle themselves around the body with a metal clasp as the focal point represents the subculture as a whole. There are leaders and there are followers of the movement. The focal point is therefore the main icons of the subculture such as "The Cramps", "Ramones" and "Johnny Cash". The rest are followers of the subculture and add their own idealistic interpretation. I feel that they add their own idealistic interpretation by creating their own unique style and by manipulating the colour pallettes and adorning their clothes with studs.

Part 3- Inspired By

Gareth Pugh-

I feel that Gareth pugh’s idiosyncratic style has been derived from the psychobilly movement as his style is reminiscent of the same theme and attitude as the Psychobillys. His distinctive style has been influenced by the psychobilly movement due to the ominous black colours used and the style, shape and texture of the fabric which is evocative of this subculture. Gareth pugh first started emerging in 2003.  His distinctive style and fabric choice is reminiscent of the leather jackets and leather skirts which the Psychobillies wore.  The style and attitude of the garments have been depicted in the cut and shape of the garment. Each line entails its own story and is there for a specific purpose, function or design. Gareth Pugh states that this collection was informed by "the struggle between lightness and darkness". I feel that this could be a deeper context rather than relating to black and white contrasting tones. I feel that this could reflect personality or even evoke a sense of style embedded within the clothes. Psychobillies were trying to create a subculture in order to be able to define themselves and their own identity within this world. Due to Gareth’s distinctive and eclectic style, it is able to evoke a sense of individuality and evoke character which is what the Psychobilly movement is trying to convey.

Thoughts were encircling me as I find Gareth Pugh’s designs inspirational due to the compositions and juxtapositions of the fabric. Moreover, the sheen cascading down the fabric plays an important role. The light and dark tones portray the split personality of the Psychobilly. In addition, the sheen flowing down the fabric can also depict the music styles with the horror movie posters and how we rely on both of these categories in order to form the Psychobilly movement. Each line sewn on the fabric can portray a different aspect in which the Psychobilly movement is made up of. Furthermore, the same concept can be applied for the zips incorporated onto the garments. When unzipping the garment, it enables you to reveal another layer of the Psychobilly movement and delve into the history and content behind this subculture. I like the curvature of the designs which is why I find Pugh’s work so captivating to look at.  I like the way in which the fabric accentuates the shoulders and hips on certain garments. I find this inspirational because I feel that it is reminiscent of the Psychobillies trying to accentuate their personality and style to make themselves stand out and be unique within this world. 

Portrayed below are three moodboards reflecting inspiration for my Psychobilly movement: