Supported by:
MA Fashion Design Innovation/ Final Project
I think it is vital to identify and solve the problems, which the fashion industry is facing. By the end of my course, I made a serie of as much sustainable as possible product from the begging, and my customer would be able to pass it over generations. I studied Joseph Beuys (one of the founders of the German Green party) and Anselm Kiefer’s ideas and artworks. Each material used in their sculptures or painting would have a special meaning. Felt, fat, and wax would represent warmness. Oak, for Beuys, was a symbol of Nature supremacy and perfection. I developed these ideas, combining them with Estonian folk costume (my heritage).
Kiefer, 2012
van Noten, 2009
Kiefer, 1994
Haas, 1921
Collaging
Toile
3D Experiments
Waistcoat
3D Experiments
Print Development
Dress
3D Experiments
Top/ Trousers
Photoshoot
Photographer: Rosie Anderton
Model: Martyna
Ivanauskaite
Photoshoot
Photographer: Rosie Anderton
Model: Martyna
Ivanauskaite
In my opinion, Stella McCartney represents sustainable chic. It is an environment-friendly family brand, which celebrates cultural heritage. With this project, I would like to honour my late grandfather. He worked as a rocket engineer for the Soviet Army but had to quit because the ideology was going against his humanist thoughts. Some of the garments he owned were 20/30 years old. He was good at sewing and repairing all his wardrobe himself. My grandfather was an example for me of the ways to embrace green practices into the lifestyle. In my practice, I use many sustainable approaches. For example, all my patterns are made by using digital software – CLO3D, Lectra. It helps me to reduce the amount of waste from prototyping, sampling. I pay attention to the material origins of collaborating with sustainable Estonian farms that produce one of the best alpaca yarns. I repurpose some fabrics from my bachelor collection and use deadstock fabrics from RS Textiles and other suppliers. I need to continue exploring green methods within the fashion industry. I believe this project could be the next step in my selfdevelopment without hurting the environment.
Stella McCartney archives Fall/ Winter 2010
Stella McCartney archives Spring/Summer 2011
Janislav Solovjov Arts University Bournemouth 2021
CLO3D experiments
My grandfather, 1965
Collaging
Stella McCartney archives Fall/ Winter 2010
My grandfather, 1963
Janislav Solovjov
Arts University Bournemouth 2021
Knitting experiments
My grandfather, 1962
Stella McCartney archives Fall/ Winter 2010
Lacing
My grandfather, 1962
Knitting experiments
The garment I am aiming to create is a coat made from the repurposed Bryce coat. I would combine it with my knitting weaved with unravelled yarn. Vintage jumpers and sustainable Estonian alpaca farm yarn will suit perfectly for that. To give my garment an extra touch, I would hand-embroider and felt the edges. If there is not enough fabric, I will reuse RS Textiles deadstock fabrics from my final BA collection.
Final garment
Janislav Solovjov
Arts University Bournemouth
2021
The connection between Estonian folk celebration and contemporary dance gave birth to my collection for strong and chic women like Tilda Swinton. Dancing steps of Martha Graham and Maya Plisetskaya inspired draping, lightness of fabrics and flightiness of silhouettes. The 19th century coloured postcards of Estonian traditional clothes influenced colours and prints. The folk garments worn by peasants in Estonia played a big role creating my collection – their reflection might be found in embroidery, garment structure and shapes. The finishings found their origins from the vintage garments as well. The combination of the traditions of the Estonian way of dressing and modern dancing movements created an extraordinary mix of drape and colour.
Midinet, 1989
Graham, 1956
Plisetskaya, 1976
Design development in Lectra Modaris
Draping on stand
Avedon, 1966
Voolmaa, 1981
Design development in Lectra Modaris
Design development/ Collaging
Final line up
Presented on Graduate Fashion Week 2019 Gala show, selected to top-28 collection of GFW 2019
Showcased on London Fashion Week 2019 (GFW x BFC pop up)
Janislav Solovjov
Arts University Bournemouth 2019
This collection is about discordance between Soviet realitiy in the 1930s and Soviet art. In the 1930’s Soviet forced-labor camp-system touched almost every family. However, the art was light and colourful - Malevich, Lissitzky, Tatlin, and Rodchenko. Their artworks represented a “bright” Soviet future, but their lives were hurt by the system. This imbalance gave birth to this collection.
Finalist of the BFTA compition 2019
Deineka, 1928
Gerasimov, 1939
Tiidermann, 1937
Tiidermann, 1937
Design development in Lectra Modaris
Finalist of the BFC X Givenchy compition 2019
Givenchy is a brand of elegance and great fit. My mother was a ballet dancer in the Cairo Opera Ballet Company. Having grown up with her dancing and around dancers, I believe, a garment’s fit can be connected to a ballet dancers’ form. As with many dancers, my mother had to leave ballet quite early in her career due to injury, but her photographs from that period are graceful, fashionable and iconic. My mother is a strong woman, who never looks back, knows what she wants, and she strives for perfection. For me, she characterises the Givenchy woman and is my muse as a designer.
My mother, 1991
Design development in Lectra Modaris
