FASHION PORTFOLIO WOMENSWEAR
INTRODUCTION - ABOUT GRADUATION COLLECTION Finished products. Inspiration & Mood. Design Process. Pattern making.Textiles & colours. Working sketches .
Finished products. Inspiration & Mood. Design Process. Textiles & colours. Digital flats. Commercial interpretation.
PRINT DESIGN & KNITWEAR Mood boards. Design process. Target group. Pattern making. Print design & knitwear. Working sketches
DRESSMAKING & DRAPING Finished products. Pret-a-couture. Textile manipulation. Design Process & Draping. Working sketches.
“How do you choose your inspiration?”
GENERAL AIM & DIRECTION
Features & interviews in various fashion magazines, such as Model Citizen Media and Lemontrend.
I aim for authenticity in everything I do. I believe the value behind a creative work lies in the essence, and not the appearance. In the fashion field, everything revolves around appearances - which has triggered a subtle sense of rebellion in me. I wish to rebel against superficiality and militate towards emotion and essence. Featured in Scandinavia Standard during backstage preparations at the Copenhagen Fashion Week.
My inspiration revolves around the concept of death and its variations. Not necessarily the act itself, but more the symbolism and emotional understanding behind it. Death has become for me an endless source of inspiration due to various factors. First of all, it is one of the most intriguing phenomena to mankind, since we know nothing about the outcome, thus creating a mysterious atmosphere and a taste of the unknown and human vulnerability. Secondly, our perception upon death has a strong emotional weight – revolving around feelings such as loss, fear, despair and many others. Due to my destructive and constructive approach, my work is aiming to highlight and transcend mental and behavioural patterns, showing a different perspective of a natural evolutive phenomena.
I have graduated a bachelor degree in Fashion Design from TEKO Design + Business (VIA Design) in Denmark. I have specialized in womenswear, along with all the segments involved - ready-to-wear, couture, knitwear, print design, textile design, draping, etc. Due to my educational background, I got the possibility of experiencing with both design and business within the industry, thus offering me a broader understanding of the complete value chain behind fashion nowadays.
Featured & interviewed by UK based fashion magazine, during Copenhagen Fashion Week.
Graduation collection “Letters to you” featured in VOGUE IT, along with a short review written by Myra Postolache.
FRINGES & EMBROIDERY Fabric manipulation techniques focused on embroidery -through knots and weaving- and fringe making. The natural textiles were embellished with hand-dyed and handsewn fringes made out of cotton, wool and ostrich feathers. The organza skirt is hand embroidered on the top layer and sewn together with french seams.
LETTERS TO YOU SS2017
Natural textures, pastel colours and textile development. Combining statement wear, streewear and couture, to express flexibility in terms of interpretation and purpose.
STAND COLLAR & SILHOUETTES
COLOURS & TEXTURES The collection is blending clean silhouettes with textile design and colour-blocking. Stand collars and circular sleeves become the signature of the collection, revealing an unconventional elegance. The colour palette is aiming to translate an innocent, childish and playful atmosphere, emphasizing even more the contrast between the designs and the theme - suicide. Every textile manipulation embodies a reinterpretation of means of suicide.
MOOD & STYLE
The styles of this womenswear collection have a touch of playfulness, that is meant to emphasize the courage and joy of dying. Main design tools gravitate around the aesthetic interpretation of different means of suicide - such as rope, overdose, etc.
The collection is inspired by suicide, both metaphorically and physically. It is approached in a playful and innocent manner, that is meant to question whether the stereotypical beliefs embody true authenticity. Normally viewed as a grim act of desperation, the collection aims to point out that suicide can be an innocent act of ultimate evolution, triggered by a high self-awareness and the need to evade an already dying mankind.
Construction of designs focused on an efficient solution for merging classical cuts, exaggerated elements, textile embellishment and clean finish. The final looks have been constructed with facing, lining, inside pockets and fusing -where necessary.
PATTERN DESIGN & CONSTRUCTION
The final patterns are made ready for production, including grain line, notches, style name, size and seam allowance.
The touch of streetwear in the collection is underlined also by the use of bomber jackets, constructed using raglan sleeve instead of the classical sleeve.
JUMPSUIT SHELL: linen; LINING: dotted printed cotton; TRIMMINGS: cotton yarn embroidery, invisible zipper, buttons;
SHELL: waterproof fabric; LINING: stripped printed cotton; TRIMMINGS: cotton yarn knots, invisible zipper; High-waisted shorts, with back pipped pockets, facing and lining. Closure at centre back, with invisible zipper. Shell fabric embroidered with cotton yarn knots.
MORPHINE size 36-44
Short-sleeved jumpsuit with stand collar, flap pockets, lining and rolled-up hem. Shell fabric embroidered with two “smiley” faces on the bust point areas. Closure at centre back, with invisible zipper.
AMBIEN size 36-40
SHELL: cotton fabric, cotton ribbon; LINING: taft; TRIMMINGS: cotton yarn, wool yarn, ostrich feathers, plastic zipper;
Waist length bomber jacket with raglan sleeve, ribbon, inside pockets and lining. Shell fabric is embellished with cotton, wool and feathers fringes. Closure at centre front, with visible zipper.
:SHELL dotted printed cotton :LINING ostrich feather, invisible zipper :TRIMMINGS Crop top with stand collar, circular short sleeves and lining. The shell fabric is embellished with ostrich feathers. Closure at centre back, with invisible zipper.
& STYLES PRESENTATION
HIGH WAIST SHORTS
PINK IS FOR BOYS SS2016
WOMENSWEAR MOVEMENT & STILLNESS
The designs behind â€œPink is for boysâ€? focus on strong contrast on multiple levels - colour palette, geometry, textiles, etc. The two main fabrics used are wool and silk organza. The blend between these two textures underlines the opposition between the two universes behind the concept.
When there is no space for understanding, nor acceptance, nor support, there is no air to breathe. You suffocate. And you die. But maybe right in the middle of SOCIAL SUFFOCATION the survival instinct emerges and aims for rebellion. A rebellion that creates the space for a new oxygen, that no one can breathe, but you.
EXPRESSION & MINIMALISM
The colour palette contains mainly black and white, with a few variations - off-white & greys. The inspiration behind the colours consists of the simplicity of black paint on a white canvas.
COLOURS & TEXTILES
PROPRIETY OF SOCIETY
The inspiration behind â€œPink is for boysâ€? is aesthetically drawn from sculpture and painting of abstract expressionism artists. The physical inspiration is merged with the concept of social suffocation and the need for escape. The designs become the representation of symbolic social encagement, the same way the emotion of the artist is contained in the painted white canvas. Moreover, each garment is constructed with rectangular pieces of fabric -folded and draped-, with no use of classical pattern elements. The textiles become the white canvases, wrapped around the body, encaging its emotion.
GRAPHIC & 3D
INTERPRETATION The mesh between geometric lines and organic details underlines the aesthetic inspiration of painted canvases.
DESIGN PROCESS & DRAPING
Development of garments done mainly through draping. The rectangular pieces of fabric were folded as origami paper, in order to produce various silhouettes. The process continued with merging the complexity of origami with the simplicity of minimalism.
Draped silk/wool blazer with long sleeves and lapel panels. Wool yarn trim applied at the edges of the garment for decoration. Inside finish with bias band. Closure with button at centre front.
Silk organza crop-top with nylon straps. The garment contains two inside pleats in the front and one in the centre back. Nylon band trims top-stitched on the fabric for decoration. Finish with bias band at hem and neckline.
Wool plush cardigan with exaggerated long sleeves and open front. Cotton ribbon used for neckline and cuffs. Inside finish with overlock stitch.
PRINT & KNITWEAR
INSPIRATION & MOOD The clash between print and knitwear follows the storyline of post-war anxiety that pushes the individual to retreat in an imaginary bubble world of forgetfulness - associated with the memory of a goldfish. The difference between reality and imagination becomes readable in every step of the design process and outcome.
COLOURS & PRINTS
PATTERN DESIGN & CONSTRUCTION
The knits are created with hand-knit machine. They resemble a military colour palette and texture. The prints are created using different interpretations of a goldfish, merged with variations of striped prints.
The project involved experimentation with hand knit, machine knit. deconstructive knitwear and textile design.
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Regular fitted shirt, with placket and doble collar. Stiffened cuffs and collar. Button closure in the front.
High-waist trousers, toreador length, with same fabric belt and pipped pockets in the back. Stiff material quality.
Slim-fitted shirt, with short sleeves and mandarin collar. Button closure in the front, with invisible placket.
Short dress with no sleeves and stiffened flare. Stand collar with zip closure in the back.
Long dress made of printed jersey, with ribbon in the waitsband, cuffs and collar. Slim fit, with long sleeves and high collar.
Knee-length jumpsuit, with short sleeves, stand collar and waistband. Zip opening in the centre back.
â€œAshes & Snowâ€? revolves around the concept of accepting death as a form of pure sacrifice for the evolution of mankind. The collection is based on the Romanian folk poem, Mioritza - the story of a shepherd on his way towards death.
The projects showcase the development of pret-a-couture designs, manufactured both industrially and manually. The overall silhouettes are sewn together on industrial machinery, while the textile manipulation is created with various hand-sewing techniques.
DRESSMAKING AND DRAPING
ASHES & SNOW
Draping was the main technique used for generating ideas in the design process.
In terms of the expression of the collection, several symbols have been used - such as the lamb to symbolize sacrifice, or the antler to emphasize the human thirst for killing the weak and helpless.
The fabrics used in the collection revolve around a soft, flowy quality - such as organza, silk chiffon, veil, crepe de chine, etc.
DIGITAL FLATS The working sketches were done in Illustrator, showing garment proportion, cuts, top stitching, transparency, colour and flat representation of textile manipulation.
TEXTILE USE “Ashes & Snow” contains three main types of textile manipulation, as part of the “couture” finish. Fabric gathering and pleating, along with “pinched” stitch folds are created using industrial machinery. The free-hand stitching is done manually, creating an organic drape on the textile.
SACRIFICE OF THE LAMB
The draping line-up was created in three stages. Initial drapings were created on half of the draping dummy. The photos of the drapings were then duplicated and flipped in Photoshop and added to a body.
Besides the technical moulage, additional draping elements have been used - such as pleating, gathering and flare development. The experimentations have been constructed using cotton calico, in different qualities.
The draping and moulages have been constructed around the idea of bust dart manipulation and placement.
Published on Dec 13, 2017