NANCY COFFEY A SELECTION OF WORKS PATTERN CUTTING / DESIGN
THIS PORTFOLIO IS BROKEN INTO FOUR SECTIONS OF MY WORK HISTORY AS A CREATIVE PATTERN CUTTER.
- FIRST SECTION
CENTRAL SAINT MARTINS LONDON
- SECOND SECTION
KTZ BOTH MENSWEAR AND WOMENSWEAR LONDON / BALI
- THIRD SECTION NICHOLAS THE LABEL MELBOURNE
- FOURTH SECTION DORO MELBOURNE
A SELECTION OF WORKS PATTERN CUTTING AT
‘INNOVATIVE PATTERN CUTTING’ CSM Within this part of my folio you will see a display of work from the innovative pattern cutting course I took at Central Saint Martins. I had the opportunity to learn from some of the best pattern cutters in the industry. My mentor for the course was Camila who has pattern cutter for CÉLINE and Viktor & Rolf and at the time of her mentoring me, worked at Alexander McQueen. The course was very intensive and plays a big part in the way I pattern make today. We worked from sketches, reference images and garments under strict time restraints.
FINAL PROJECT PROCESS & DEVELOPMENT
Jil Sander Fall 2009 Ready To Wear.
Working Drawings for prepartion before beginning the task. Final pattern pieces below.
Beginning with sewing coat block with sleeve and side panel. Adjust and correct as seen in image two...
Second toile cut & sewed, slashed & opened. Side panel removed and shaping of side seam begins with creating & underarm gusset.
Fashion tape to mark design lines, easy to change and remove.
Collar was created with a piece of fabric, neck measurements marked and then draping the shape on the stand.
Slashing the center back all the way across into sleeve, this releases a pull allowing it to sit in place accordingly.
Adjustments to side panels to create more volume, stop collapsing seen in left picture along with moving seams slightly over.
FINAL PROJECTFINISHED & FINAL TOILE
STRUCTURE & FORM
Pattern pieces of Alexander McQueen’s Two piece Suit.
Alexander McQueen, Spring / Summer ‘99. Two piece suit.
Development and Process of the suit jacket, created from draping on the stand.
Second Toile. Adjustment to the overall fit and correcting collar roll, â€˜Mâ€™ shape further up towards the houlder.
CÃ©line Spring / Summer 2011 Ready To Wear.
Front pattern piece also becomes the sleeve as it folds on itself. Back becoming a seperate pattern piece. Draped on the stand.
Adjustments notes: lift 3.5cm at front sleeve opening, create more of an â€˜Sâ€™ shape. Slash & open sleeve.
Viktor & Rolf Fall 2011 Ready To Wear.
First patterns made in an afternoon excersie, using both flat and draping pattern cutting techniques.
Pierre Cardin 1981.
First toile of Pierre Cardin sleeve, pins are holding in place further adjustment of taking 1.2 cm from each side of sleeve.
Pierre Cardin, 1966.
Adjustments to 3-dimensional bust area to increase size and reposition dart along with moving shoulder in 1.2cm.
First Pattern, Hermes Coat. Pattern created from draping on stand. 30 minute exercise.
Pierre Hermes Fall â€˜14. Ready to Wear.
Draping shift dress on the stand, fitted and corrected accordingly before modelling the layered top part with paper folds...
Folding the paper based from the size of the shift dress and cutting the neck and armholes. Placement of layers is unequally spaced.
When working on front pins should never cross to back. Important to see side seams when draping.
Marking Side seams with dots (more accurate then a line) and a â€˜Lâ€™ shape at the meeting points.
The art of draping : Practice, Patients and Persistence
Method 1: Using Designer Tape to create a corset based on design sketches.
Method 2: â€˜Tape and Paperâ€™ technique allows quick preparation of a corset pattern.
SHAPE THROUGH CUT SPIRAL CUTTING
Interesting way of cutting fitted garments in such a way you have to think as the seams wrap around the body at a 45 ° angle.
Normal straight 90 ° lines become 45 ° when using spiral cutting.
The patterns are created on the flat, front and back are overlapping allowing seam to run through and intersect.
Pattern at top is garment on left page and the pattern below is the front and back of a shirt.
A SELECTION OF WORKS PATTERN CUTTING AT KOKONTOZAI (KTZ)
Within this section of the folio you will see a display of work produced while working as a creative pattern cutter for KTZ. My role required me to pattern make for both womenswear and menswear. Each season I would work on between 50-80 garments for both the show and showroom. The company gave me the opportunity to explore and develop contempary clothing and functionality.
Creating shapes from archive pieces, this dress pattern was created by referencing one of John Galliono designs
Referencing other pattern makers work requires me to think like the original designer and expand on their ideas.
Circular Sleeve - Reference garment.
Using the shape of the sleeve to develop into both top and dress as well as exploring possiblities for creating a commerial garment.
John Galliono Union Jack Blazer Worn by Kate Moss
At my trial I was asked to create the Union Jack Blazer. I find myself getting very paricular about the fine details.
Reference image at top left for shorts. Bottom left ktz desiger & I developing and taping on stand.
Going through the processes along side the design team, helps to understand what they expect for the end result.
Image on the bottom left is a previous style from a past collection used as a base for the middle bomber jacket dresses.
Continuing from this style, we created the piece above, a bomber jacket dress with a 1m train made in georgette.
Apply the process I learnt at Central Saint Martins, seen earlier in my portfolio.
Working for KTZ allowed me to explore all processes and challenged my pattern making knowlendge.
I developed these trousers from a vintage pair of shorts, working to create a perfect fit and proportions.
Pushing the design further by finding other ways to place the same concept on other parts of the body.
This series was made from a material almost like paper. This was taken into consideration when pattern making.
Although the fabric was not typically classic shirting, it was important that it still functioned like a classic shirt.
Essentially working with our classics to revise them with the new seasons story.
Attention to detail, accuracy, draping and annotation needed into order to have a pattern ready for production.
One of my favourite series from this collection, â€˜inside outâ€™. Exploring tailoring and whats behind the lining.
Sketch of trousers with the first toile.
KTZ loved working with old army clothing, life jackets and parachute. This season I had to create parachute harnesses
I really enjoyed deconstructing and exploring how it worked, the process for the different straps & how to apply it to the design.
Developed this jacket from a previous bomber base, draping on top with vileve, refining the lines on paper.
This pattern I created has been used in their current season, still very affective!
A SELECTION OF WORKS PATTERN CUTTING AT NICHOLAS THE LABEL
Within this section of the folio you will see a display of work produced while working as a creative pattern cutter for Nicholas the label. During my time at Nicholas I worked on both Nicholas the label and N by Nicholas, their diffusion brand. Each collection was upwards of 200 styles, I would work on between 40-60 garments per season. I worked along aside some of the best pattern maker in Melbourne with over 25 years experience. Working at Nicholas gave me the opportunity to further my pattern making skills and overall knownledge of the industry standards.
NICHOLAS THE LABEL
Nicholas the label strives on creating a great fit for all women.
Paying attention to the finer details, always thinking about our client even when pattern making.
NICHOLAS THE LABEL
At Nicholas I worked with many delicate fabrics. Consideration of construction was always an importance.
It was important to try get the shape and pattern to final stages on the first one pattern/toile.
NICHOLAS THE LABEL
At KTZ we had more chance to develop and iterate, however, at Nicholas emphasised getting it right on the first attempt...
...with minor alts for second. All pattern were made with all details as if it would be the final to move to PP.
NICHOLAS THE LABEL
Inserting trims throughout pattern, annotation and templates all needed with taking the idea to production.
At Nicholas youâ€™re not assigned a particular category, such as dresses, tops, trousers etc. Learned to be cross functional.
NICHOLAS THE LABEL
Frills, Ruffles, Trims are what makes Nicholas so special. Also gave me the opportunity to master them.
For each garment we pattern made, it was our responsibilty to do consuption and consider the price points
NICHOLAS THE LABEL
There were 4-6 pattern makers at a time, which meant we had to work dynamically and share pattern responsibility...
...in order to process samples faster, which emphasised the quality of work and need to work well within a team.
NICHOLAS THE LABEL
Working with different frill and gather ratio, learning how it affects different fabrics.
Once I figured out the perfect frill, I was so happy to make as many snail patterns as needed.
From my first day at Nicholas I was given a demin style, something I hadnâ€™t worked with before...
...and I really enjoyed the opportunity to learn about different washes, strinkage test as well as felled seams.
A SELECTION OF WORKS PATTERN CUTTING / DESIGN FOR DORO Within this section of the folio you will see a display of work produced while working as a creative pattern cutter and designer for DORO. For Doro, I am the head designer, pattern maker, operator and production manager. This has developed a high level of accountability, adherence to deadlines, ability to work under pressure, and a strong creative process.
DORO is our childish fascination with shape, colour and paint. \ We have launched two collections, PLAY & ONE OF_. Both of our collections are based on creating relaxed staple pieces with a twist by using innovative pattern making and garment construction techniques, as well as sourcing high quality fabrics & hand painting our own prints. DORO embodies the idea of slow fashion, made to order pieces and limited production. We are sustainable and follow Australian ethical standards while creating cool, comfortable and clean designs which inspires our wearers and those around them.
Doroâ€™s AW17 collection ONE OF is an ode to trans-seasonal dressing.
Made using Japanese fabrics, the collection focuses on easy-to- wear, updated basics with loose silhouettes.
Memories of cold European winters and people watching in Tokyo translate into modern,
multi-seasonal pieces in a range of wool, fleece, cotton blends and silks.
The collection includes comfortable vests for layering, toggle buttoned jacquard coats and jackets,
...and Marcia Brady inspired long sleeve tops and dresses.
Sparkle pin stripes on grey wool create a clean and considered aesthetic, while ice blue fleece,
and a palette of muted pink and burnt orange strike a contemporary balance
Doroâ€™s signature hand-painted designs feature on crisp, mandarin collar shirt dresses and jacket linings.
ONE OF centres on everyday wearability. The relaxed pieces make for cool weather essentials yet encourage playful styling.
Inspired by a handful of skittles, school sports days and scribbling on endless sheets of butchers paper,
Doroâ€™s first RTW collection explores shapes with a bright fascination. Play SS17 rekindles a childlike enchantment..
..with colour and restores the pirit of recess. Play embraces fresh linen, crisp cottons and comfortable..
..elastics for easy wear, easy maintenance, and easy styling.
Doroâ€™s signature hats are paired with handpainted slip tops, scrunches up sleeves tees and uni-sex shorts.
Using primary colours on grown up silhouettes, Play results in modern, lively & versatile clothing made to last.
Small run production on both Play SS17 and One Of AW17.
Each garment is made, then painted on.
My designs are inspired by Japanese designers. There is something I really love about how they apply whole shapes...
...onto the body and exploring the possibilities of how they can be worn.
Work experience from Nancy Coffey, Freelance work not included.