CV Personal Info
Birth: 25th April 1988
Name: Athena (Jo-Hsuan) Yuan
Education PG Dip Pattern Design and Garment Technology
2012. 09 - 2013. 06
London College of Fashion, UK 2006. 09 - 2010. 06
BA of Fashion Design Fu Jen Catholic University, Taiwan
Working Experience Freelancer Pattern Cutter \ Athena Chuang SS14/AW14/SS15 (womenswear)
2013. 10 - 2014. 09
Sophie Aimer AW14 (womenswear)
Dent De Man for Topman and ASOS (menswear)
Shao Yen SS13/ AW13 (womenswear)
2012. 08 - 2012. 12
Overkill AW12 (menswear)
Sophie Aimer AW11(womenswear)
2013. 10 - 2014. 09
2010.09 - 2011.04
Garment Technician \ Coddy Global Ltd
Textile Fair Assistant \ Marketing department of Taiwan textile federation.
Manual Pattern Drafting Tools
01. 60 Centimetre Ruler
02. Metric/ Imperial Convertible Ruler 03. 30 Centimetre Ruler 04. Flexible Ruler - for armhole/ rise measuring 05. Curved Ruler 06. Versatile Curved Ruler - for armhole/ rise drafting 07. Metric/ Imperial Shrunk Tape Measure 08. Eraser 09. Compass 10. Pattern Notcher 11. 0.5mm Propelling Pencil 12. Tracing Wheel 13. Professional Paper Shear 14. 0.5cm Twin Adhesive Tape
Pattern Cutting References
From the start of my pattern cutting career, the guiding books are pivotal references for the similar patterns I worked out with. Both of the sleeve variations and the collar variations books provided me general knowledge of varied types of structures. Pattern cutting books are truly the stepping stone to get in to pattern making world. When I was at my late BA stage in Taiwan, the Pattern Magic 1 & 2 edit by Tomoko Nakamichi has just published. The series are jumping out of routine pattern cutting techniques instead given much delicate draping techniques which were very inspiring while I took draping class at BA. That could be the moment I realized Iâ€™m fascinated by shaping silhouette of clothes more than any other part of works in fashion.
And then after my one year pattern cutting experience in a fashion manufacturing studio in Taipei, I headed to London for my post-graduate course - Pattern Design and Garment Technology in London College of Fashion in 2012. It’s exciting to know there is a lucrative market for pattern cutting magazines to survive in London. It means there’re a group of people love to make clothes by themselves. The Burda Style magazine I bought from time to time collected a good range of outfits along with their graded size patterns and sewing construction guide. It’s really handy for beginner to follow up. Some of the styles are decent and easy to make, yet there’re still some of stylish outfits or pieces for advanced users. On the other hand, I found separate patterns selling at the vintage markets or fabric shops around London. Although the patterns are relatively basic, I still can check on their grading principle. Having so many sources around allowed me to grow knowledge on pattern cutting industry.
Pattern Cutting References
01. TR Cutting ClassLeading by Shingo Sato, TR Cutting Class is known for its creative design of patterns. I have highly attention on their creation whether the 3D dart manipulation, the origami details or the integration technique, etc. Full of inspirational and sophisticated works are all invented by TR team. They mainly base in Japan and Italy and they also hold workshops around the world. Besides, they do online leveling classes for student worldwide. Iâ€™d like to attend their workshop if I got chance. 02. AssembilAssembil published the hand book, How Patterns Work, in paper version. They also have the E-book edition available. It is the book put into my wish list already!
03. The Cutting ClassThis online website provides the most updated trend and well analyzed images of the outfits on catwalk shows in technical way. They teach the fundamental of pattern cutting knowledge, glossary and sewing constructions. 04. Hormazed Geve NarielwallaThe artist manipulate paper pattern as his material of artwork. I first met him at Old Spitalfield Market and now his artwork is available on Saatchi art online. I personally considered Itâ€™s a genius idea to reuse the pattern and he made them to be priceless art.
I worked with the designer who has the same name as mine. Athena Chuang had worked at Fendi womenswear design team from 2010 to 2012 then launched the eponymous brand in 2013 in Taiwan.
She is probably the most demanding designer throughout the people I cooperated with. She really focused on garment construction and finishing. Young independent designers are rarely having the knowledge yet Athena can clearly express types of construction and finishing she desired. Itâ€™s efficient to work with the person like her because a complete explanation would lower the workload mutually.
Her fashion sketches also portrayed highly accurate proportion and sometimes added with notes or drawing of details. Though itâ€™s clear enough to follow her sketches some of the pieces are still very challenging. Mostly, half of her collections required draping skill. Numerous floral structures presented in her SS14 collection. The draped panels of flowers and flares are peculiar when flattened the shapes.
Puff Shoulder Sleeveless Shirt
02 Round Neck Top
Another merit of working with Athena Chuang is that her design is feasible. She is good at creating cut-lines or pleats to distribute the darts. I love to experiment upon her sketches. And I actually gain experience from the cases. For instance, when I checked the flare at the hem of dress, I wondered which way to form the flare would be similar to the sketch. It could be formed by shirring, tuck or both. Also, depending on the degree of circular sector the flare would appear different.
In brief, Iâ€™ve freelanced for her three collections from SS14 to SS15. We together worked out very well. And the most pleasant compliment would be her satisfaction of my patterns.
03 Flare Dress
Arched Hem Pleating Skirt
05 Balloon Cape
po ck et
o pe nin g
Sophie Aimer is the first independent designer brand I worked for. Designer Sophie Liu is the new fashion talent in Taiwan. As soon as graduated from BA, she launched her own brand in the age of 22. Weâ€™re both young and new for the fashion industry. Therefore, cooperation seems no gap between us. The collection Black Bird Fly is made of a series of beautiful jacquard fabrics and decorated with genuine leather patch as detail. Most of the styles I worked on were outerwear. In the period of toiling, I definitely grow a lot on my pattern cutting skill as it was my debut output. During the drafting stage I need to create fullness or pleating to meet her requirement. Several times of modification is needed. Henceforward, I found that I enjoy working with designers who only provided their sketches. Through the communication I comprehended what they want and set the rough measurements for my first draft pattern. I considered itâ€™s my most ideal way to work as pattern cutter.
06 Jacquard Mixi Coat
Jacquard Double Breasted Blazer
09 Jacquard Pleating Mini Skirt
I went to Shao Yenâ€™s studio at Nowcorss in 2012 summer as intern and especially focused on making patterns. The collection I began to work for Shao, Sitter, is inspired by both western artist Joan Miro and the Italian portrait painter Giuseppe Castiglione who stayed at the court of Chinese Emperor in 18th century.
What I mainly in charged items were shirts. The big collar and circular cuff of the shirts are referring to the idea of dragon robes. And I remember the front armhole shape was hard to achieve because the cut-line was too close to bust. There were several modifications then we finally split the sleeve into front and back panels for a better fit.
It was worthwhile to work for Shao Yen because I learnt the steps of working on fashion design form a Central Saint Martins MA graduate. The rich of sources deepen the development of his every collection. I realized that an independent Fashion Designer has to put so much effort from sourcing to sampling until the press stage even the trade show. I certainly learnt a lot from Shao Yen.
10 Wide Collar Shirt
I was fully responsible for the pattern of Shao Yen’s AW13 collection, Stalker, while I’m still taking the post-graduate course in LCF. It’s the first time I have to work on the whole collection. Time was intense and we were running for the deadline of LFW. However, the outcome of video remains impressive.
Inspired by the iconic surrealist black and white films by Buñuel, Dali, and Cocteau, SHAO YEN's AW13 collection is a playful montage of various fashion genres.
Reinterpreted through the use of velvet, faux fur, leather and denim, this collection displays a myriad of layers and textures. Sedate colours of navy and grey are accented with sparks of white, pink, silver and assorted wild animal patterns.
I’ve been really thankful that Shao put trust on me and willing to give me the chance to work with him. The characteristic of his collections are not showing curvy feminine dresses, instead, the casual, loose fit silhouette combined with extraordinary details were the essence I observed.
11 Cut-out Quilting Denim Jacket
12 Hooded Cut-out Quilting Denim Coat
Left cut line
Right cut line
Open Knee Jeans
Open knee jeans mock-up
Overkill is a street casual- wear brand in Taiwan. The target customer age ranges from 18 to 30. Their iconic logo is the skull emerged on the detail of products. It was my first menswear case in 2012 spring. My experience on menswear was limited at that time. But I’ve always wanted to challenge myself to do menswear pattern. Therefore, I bravely take the task. In general, Overkill menswear has slim fit shape. The biggest difference between menswear and womenswear pattern is that shapes and cut lines of menswear tend to be straighter then womenswear. I considered classic menswear brands are relatively tone down and focused on details.
I mostly handled jackets, shirts and cargo pants in their AW12 collection. The sketches overkill team offered were clear enough to follow. They provided technical drawing and listed with trim and stitch types which is the formal way to work in the ready-to-wear industry. There was a variety of embellishment like artwork printing, mechanical embroidery, tags, patches, etc. Moreover, pockets, zippers and snaps were widely used in their design. It was the most detailed series of pattern I ever made. The cargo pants even had six kinds of pocket patterns that I had to mark with different colours to avoid confusion. I wouldn’t say I’m specialized in menswear pattern but with the experience of working for overkill, I’m open my mind to take menswear challenges.
14 Biker Jacket
15 Shearling Collar Jacket
16 Navy Print Shirt
17 Pockets Cargo Pants
18 Colour Block Jacket
Dent de Man BITE by Dent de Man is the casual diffusion line of Dent de Man mainline. Inspired by the same colourful vision of vintage prints, BITE combines slim tailoring with a vivacious sense of fun and originality.
The sample was made in Portuguese
BITE by Dent de Man is a small project
tailoring pieces, the colourful patterns
I took at the start of 2013. I just in
are loud enough to be a statement. I
factory. Therefore, again, itâ€™s better for
charged of two patterns, trousers and
definitely love the dandy look from
having a habit of stating everything
shorts. Designer Alexis is also a fashion
Dent de Man. The ankle length
clear on the patterns.
agent at east London. I was
trousers is one of the typical London
Not until I finished my work did I know
introduced to him at the time he has
that the project was a collaboration
just started his design career. It was
I think Menswear trousers are focused
with Topman. I felt so proud and
my first time to work with foreigners. I
on the position between inseam and
delightful the product I made was
really appreciated that he trusted me
outseam. To create a slim and clean
selling at Topshop and ASOS. Though
totally. Basically, his collections are
silhouette of trousers draft pattern, the
the cooperation was short, itâ€™s still a
made of abundant African print
outseam needs to be straighter and
fabrics. Although the styles are classic
trims the leg from the inseam.
19 Slim Tailored Trousers
Iâ€™ve been showing my big interest on origami techniques since I was in BA. I believe origami has similar concept to pattern cutting. They both pursue of the three-dimensional form based on two-dimensional template. Origami can easily create exaggerate silhouette via folding. Besides, the technique is broadly used in contemporary fashion.
Origami is always the subject I want to challenge yet it was a bit overwhelming at my final collection of BA. Thus I retrieve the subject in my post-graduate course. I created a coat with striking origami panel at back and plain double breasted front only has under lapel. My inspiration was taken from the origami lamp shade I bought at Habitat, the home deco store. Besides, I associated my work with cubism art. I noticed there are various slash lines composed in cubism artworks which is the expression of movement and spatial relations. My work has the same trait because when the tessellation diagram adapted to fabric, it became much flexible. The coat followed the rhythm of footsteps when worn.
The toile stage was a long run as I was stuck with how to join the zigzag edge of origami panel to the front panel. I finally found out there was a missing triangle which should be added onto front side seam for the sake of supporting the jagged edge of back.
Another task is folding fabric. Itâ€™s easy to leave crease lines on paper but hard to maintain them on fabric. The material of origami panel is crucial factor for the final appearance. I chose silk organza because itâ€™s light, crispy and papery. I did manual pleating on the organza which is truly time-consuming. I firstly transferred the diagram onto fabric and then creased the fold lines with iron. The fold lines need to be parallel to each other, and the tip of creating neat folding transition is threading to the fold junctions and pull. This tip helped to achieve sharp pressing lines.
However, ironing seemed not secure enough to keep the creases. My classmate suggested me to use starch spray and the consequence was unexpectedly good. The organza became much crisper then it used to be. And the origami pleats got stiffer after covered by spray.
I love my idea of having the balance between innovative and modest. Though itâ€™s not a piece of daily wear, I still made a big step for combining origami and fashion. Besides, the whole processes are handled by me. I learnt every time when there was issues happened not only on pattern cutting but more about sewing procedure and pleating.
1. Cutting wool panels. 2. Fabric combination: wool, artificial hair calf, silk organza 3. The front and back in correct fabric 4. Folding origami on organza assisted with iron & thread.
20 Origami Coat
Milk Box Skirt is another project I accomplished in my post graduate course. The inspiration was from both Comme des GarĂ§onsâ€™ AW12, the over-exaggerated and structured collection, and the SS09 Calvin Klein architectural ready-to-wear. I was fascinated by how they built up another three dimensional frame out of human body. I also had researched a lot of references about packaging design which I think the approach coincides with pattern cutting. This project is an exercise of learning creating boxy structure very much self educated. It was something I lacked of but improved via this project.
Smaple Making Process First Proto
I made the first toile simply by copying the milk box template (only remove the base). This proto is failed because the neoprene canâ€™t actually hold the structure on waist. The skirt kept collapsing. And I was struggled how to construct the panels to make the whole silhouette solid.
First Modification on Mannequin
I decided to make modification on mannequin. Through slashed and opened the paper patterns, I realized the geometric form on body needed extra fullness. And I also created four panels at each side of waist to support the arched front and back yoke.
I made a progress on the second proto not only because my modification worked but also the felt wool fabric can achieve stiffness. However, thereâ€™s still a minor problem on the front yoke and the front skirt. I imagined the front would look like latern sleeve yet it was still not given enough fullness. I should have known the back is easily formed with the support of hip but not the front.
Draft of Second Modification The drawing of dotted lines is the area needs to be modified.
Since the seam of front yoke and skirt has no support from body. I added sleeve head roll to reinforce this seam. I used fully fused felt wool as material and it did provide a sharp and geometric appearance. This garment has bulky junctions at the sides of triangles so itâ€™s important to trim off the extra fabric at the corner of seam allowances when sewing. Third Proto
21 Milk Box Skirt