Party Frock Masters Project Proposal By Sarah Gotheridge

SARAH GOTHERIDGE STUDENT NO: N0127848 PROJECT PROPOSAL MA FASHION & TEXTILE DESIGN PT 2019-2021 NOTTINGHAM TRENT

UNIVERSITY

SUPERVISOR: SEAN PRINCE COURSE LEADER: DEBBIE GONET

Party Frock ‘‘A cherished item of clothing eliciting excitement and joy on every wear, saved only for special occasions.

Capable of bestowing confidence upon the wearer, transforming their self-image and allowing them to shine.’’

Party Frock

SARA H

2

G OTHE RIDG E

Party Frock FI G URE

1.

FROCK,

MYS ELF

WE A R IN G

CHRI STM A S

DAY

M Y

1976 .

FAVO U RIT E FA M ILY

PA RTY

PH OTO.

3

‘‘Once you’ve made something and sweated over it for hours, you’re much less likely to throw it away. We need to go back to the textile manufacturing communities and appreciate those skills and craftmanship. We need to learn and preserve those skills as once they’re gone, they’re gone forever..’’

Table of Content

MA RY

4

C RE A H

Table of Contents

01

RATIONAL E

02

BAC KG RO UND

PAG E

8

PAG E

1 4

PAG E

1 6

PAG E

20

PAG E

22

PAG E

24

Values.

03

BAC KG RO UND

Craftmanship.

0 4

BAC KG RO UND

0 5

CRAF T

0 6

FASHIO N

07

INSPIRATION

PAG E

26

0 8

AIMS

PAG E

28

0 9

METHODOLOG Y

PAG E

3 0

10

R ESOURC ES

PAG E

32

11

VISITS

PAG E

3 4

&

WITHIN

FASHION

WITHIN

C RAF T

O BJ ECTIVES

Table of Content

Dressmaking

5

Table of Content

Table of Contents

6

12

RESEARC H

13

TAL KS

14

APPO INTMEN TS

PAG E

3 6

PAG E

3 8

EXHIBITIO NS

PAG E

4 0

15

MARKET

PAG E

42

16

D ESIG N

PAG E

4 6

17

CONTEXTUAL

PAG E

4 8

18

OUTCOMES

PAG E

5 0

19

CRITICAL

PAG E

52

20

ILLUSTRATIONS

PAG E

60

2 1

BIBL IOG RAPHY

PAG E

62

2 2

D EDICATIO N

PAG E

73

AND

SEMINARS

RESEARC H

&

TEC HNICAL

R E S E AR C H

RESEARC H

PATH

“People do not realise that behind every item of clothing is a skilled person. A t-shirt doesn’t just pop out of a machine, it is made by skilled hands..”

A NDE RS ON

Table of Content

JO NAT HA N

7

Rationale

Rationale

We live in a world where fast fashion has become the norm. The catastrophic environmental and human impact of this is now well documented, but what about the impact on fashion itself?

How has it changed our perception of fashion, attitudes and connection to the garments we wear?

In todays fashion industry the seasonal fashion and micro trends are over almost before they have begun and competition for increasingly low prices has encouraged a culture of mass consumption and disposability, rendering garments worthless after as little as one wear.

Dresses selling for £5.00 on Boohoo.com are not made to last. Corners are cut to shave cost at every stage of the production process resulting in poorly made, ill-fitting garments, made from

8

cheap fabric that deteriorates rapidly with every wash and wear.

With ever decreasing benchmarks of price point to remain competitive, even high street brands synonymous with quality have compromised standards, resulting in a decline of quality across the board. We are paying less for our clothes now than ever before. In 1987 a pair of Ski Pants from Top Shop cost £12.99, today a similar pair of black leggings on their website cost £12.00.

To put that into context, £12.99 in 1987 equates to approximately £35.92 in money today, meaning in this particular example that the price point of todays leggings is a third of what it should be in relation to rises in the cost of living over the last thirty years.

“Human destruction of the natural world is a crisis of behaviour, not simply of energy and material. It is about people, the choices we make and the dreams we chase.”

C HA PMA N

Rationale

JONATHA N

9

Rationale

“The only way to quench our appetite for fast fashion is to look beyond its short-lived satisfaction. Nobody should accept the norm that clothing is ok to unravel at the seams after a single wear.”

FASHION

10

F I GU RE

2 .

C ELINE

AND

C EL IN E

UNIT E D

IN S PIR E D

AUTUM N

201 3

COLLECT ION

BY

Z A RA .

The exponential growth of the fast fashion industry is symbiotic with our use of modern technology both of which have cultivated a culture of instant gratification; influencers, information, on-demand television, music streaming and downloads have shaped the expectations of consumers, everything is available now at the touch of a button. Fast fashion giants H&M and ASOS now offer same day delivery on their websites and even high-end designer brands are starting to bow to the urgency of acquisition with customers demanding a ‘See Now Buy Now’ approach to catwalk shows, with Burberry introducing this concept in 2016. Championed as a revolutionary measure to combat the blatant plagiarism by high street brands such as Zara who regularly seek ‘inspiration’ from the catwalk,

I would argue that this measure could have a detrimental impact on peoples perceptions of luxury garments, further diminishing consumer regard for the craft, skill and time required to design and manufacture garments.

Fundamentality fast fashion brands can only operate successfully by encouraging the mass consumption and disposal of clothing, which they do through low prices, short trend lifespans and no concern for the longevity of garments.

With a business model founded on low margins and high-volume sales, it is simply not in their interest to extend garment lifespan. And as the quality of garment manufacture declines, so do the expectations of quality for their customers.

Today’s shoppers have little basis for comparison when it comes to assessing the standard of makeup of the clothing they buy.

Rationale

Rationale

11

Rationale

Rationale

12

The craft of sewing and dressmaking is now rarely taught in schools or handed down through family generations meaning few people have knowledge of the skills required to make a garment. Even with the popularity of the BBC’s Great British Sewing Bee, dressmaking has been reduced to a contest of speed not skill, which does little to challenge or set itself apart from the concept of fast fashion. In this year’s final, contestants were given six hours to make a custom fit evening gown, negating the craftsmanship and time needed to make such a garment, directly to the masses.

As a passionate advocate for the art of dressmaking and fashion I believe fast fashion has devalued perceptions of clothing and created

a disconnect between consumers and their relationship to the garments they wear. Fashion by its very nature has always been about the new, but with fast fashion brands launching up to 18 collections a year, consumers buying into this philosophy will only be ‘on trend’ for an average of 2.8 weeks and that’s only if they were ‘savvy’ enough to purchase on the day of release.

Fashion itself is rendered meaningless.

So, in a world now accustomed to cheap, disposable fast fashion, is it possible to change consumer habits by resurrecting values and practices of the past to challenge our perceptions of fashion, redefine our relationship with clothing and encourage a more sustainable approach to fashion consumption?

THE

FIG URE

3.

FO NNESBEC H

WITH

A

FOCUS

A / W

ON

Rationale

‘‘Designing for longevity has been identified as the single largest opportunity to reduce the carbon, water and waste footprints of clothing. Quite simply, if clothes have a longer usable life, they can be replaced less frequently - reducing the volume discarded and meaning fewer resources are consumed in manufacturing.’’

WRA P

201 7

COLLECT ION .

D UR ABILITY

IN

A

D E S IG N .

BR AN D

13

‘‘Many practitioners claim that our destructive and unsustainable harvesting of this planet’s limited reserve of natural resources is due to an escalating human population, founded on the simple premise that more people essentially need more materials to support their existence. This is not actually the case: over the last 50 years the world’s population has increased by over 50 per cent; but our resource utilization has increased by more than 1,000 per cent for the same period.’’

Background

JONATHA N

14

C HA PMA N

VA

Background I grew up in a home surrounded by the results of my mother’s dedication to the art of sewing.

Every soft furnishing and every garment I wore was made to perfection by her. She instilled in me an appreciation for dressmaking and design which has shaped my career choices and help define my values and passions in life. From an early age she set a standard of craftsmanship that I have spent a lifetime aspiring to attain. Dressmaking to her was as much about the process of making and the love and dedication in every stitch as the completion of a garment. This ethos is second nature to me and one that has remained at the heart of my design practice.

LU E S F I GU RE

4 .

THIS

MY

SISTER

IMAG E

AND

WAS

I.

MADE

EXC LUD IN G BY

M Y

T H E

M OT H E R .

T E LEVIS ION FAM ILY

EVE RYT H IN G

PH OTO

1 978 .

IN

15

Background

C RA F TS 16

FI GURE

5.

HANDMADE

IN

BR ITAIN ,

C H E LS E A ,

N OVE M BE R

201 9.

Having worked as an independent designer/maker within the giftware and craft sectors for most of my career I am used to working in an industry where craftmanship and quality are an integral part of the finished product and brand identity. My business is built on my reputation for attention to detail and quality of finish.

Over the years selling my work to the public through exhibitions and design shows has allowed me to engage directly with customers and connect with other designers working in a multitude of disciplines. Subsequently, I have benefited from the shared experiences of a creative network, which has helped me gain insight into the buying habits and motivations of those drawn to craft, and as such, I have defined the following key traits in customers:

» They place value on the time and skill involved in craft and can equate the impact of handmade with price » They want to know the story of an object’s creation, it’s inspiration, development and craft process » They can be loyal to a particular maker, often becoming collectors of their work » They desire connection both to the designer and their work » They often prefer to buy one large or expensive object and will save up to do so » They feel good supporting independent designer makers, knowing that they are contributing to the continuation of their business » They are appreciative of the arts and craft » They prize creativity and unique design, and attribute greater value to the rarity of objects

M A N S H I P

Background

» They often see their purchases as an investment

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‘‘The old notion of faceless, mechanised luxury is dead. Fashion brands today must be borne out of craftsmanship, skills that recognise the value of the human hand. “Craft is our bread and butter at Loewe.’’

Background

JO NAT HA N

18

A NDE RS ON

C R A F TS

Background And whilst customer profiles vary in accordance with the type and location of individual craft shows, it has been my experience that craft buyers come from a wide range of income brackets and social backgrounds.

Commonly buyers tend to have a tremendous respect for craft and revere the artistry and skills of those that have forged a career within the industry and that includes knitwear, accessory and jewellery designers, all of which traditionally come under the banner of craft. But for some reason, fashion designer/makers working with cloth do not. There may be very good reasons for this which I intend to investigate further but I would surmise that by its very exclusion from high end craft shows, fashion is not attributed the same set of values as all other disciplines within the craft industry, by an audience who theoretically should engage and appreciate it as much as any other craft. Fundamentally my project will seek to demonstrate the craftsmanship of fashion with the purpose of redefining attitudes towards clothing.

M A N S HI P FIG URE

6 .

L E AT H E R

ART IS AN S

AT

LOEWE .

19

Background

D R E S S 20

FI GU RE

7.

MY

BEG INNER

DRESS M AKIN G

C L AS S .

PE R S ON AL

PH OTO

201 6 .

M A KI N G

Background

Five years ago, I was offered an opportunity to teach beginner dress making classes. As my mother was rarely away from her sewing machine, even from a very early age I had a basic understanding of how garments were made; this was my first encounter with people who literally knew nothing and had varying degrees of expectation on the difficulty of the task they were about to undertake.

Initially most students would be disheartened with the quality of their sewing in comparison to the sample garments I produced. As an exercise to improve their confidence, I would ask them to examine the seams and manufacturing quality of three garments (if possible, at three different price points) within their wardrobe and report back on their findings. Without exception students would be shocked by the quality of the garments they purchased from the high street, having paid little attention to it before.

On completion of my classes I found that most students went away with a new appreciation of the skill of dressmaking and the real value of garments. A dress is not so disposable if you’ve spent 18 hours making it. Through their own desire to master the skill of dressmaking, students developed an eye for quality and what that should look like in a garment, and it is this discovery that will form a core concept throughout this project.

21

Craft within Fashion

Craft within Fashion

22

One area of the fashion industry synonymous with craftsmanship is Haute Couture. Designers creations are brought to life by teams of the most skilled craftspeople in the world with couture houses utilising and fostering the talents of a wealth of creative individuals. Many specialist techniques and traditional hand-craft skills are kept alive by the Haute Couture industry.

With garments taking hundreds and sometimes thousands of hours to make, the precision, detail and perfection of these garments is only experienced by a select few. Those able to afford the massive price tags that reflect that level of artistry are a minority and it is estimated that there are only a few hundred regular customers of Haute Couture worldwide.

Design houses Dior and Chanel in particular have always revered the skills of its artisans known as ‘Les Petit Mains’.

The creation and manufacture of garments is a fundamental part of Haute Couture’s appeal, something which is seldom acknowledged in the fashion industry.

High end designer garments are made by skilled workers but their part in the process usually ends in the factory. In most sectors of the fashion industry craftsmanship is something that is inferred through the quality and pricing of a finished garment, not through the recognition of the expertise of individuals responsible for its creation. That goes to the designer behind the label.

Craft within Fashion

H AUT E CO UTU RE FIG URE

7A .

DIOR BY

HAUT E MA R IA

COUTUR E .

G R AZ IA

S PR IN G /S UM M E R

C H IUR I.

201 7

23

C RA F T Fashion within Craft 24

FIG URE FALL

7 B

. D E LP OZO

WINTER

201 9

-

PR Ê T-À- COUTUR E ,

M OD E R N

FE M IN IN ITY.

Through my research I have observed signs that this is changing. Designers such as Jonathan Anderson have championed craftsmanship, using his appointment as creative director at Loewe to establish the Loewe craft prize in 2016. The brand has craftsmanship at its core, producing collections that utilise traditional craft practices from around the world to hand embellish garments and accessories.

In recent years ‘craft’ has become more fashionable, with brands such as Mulberry, Christian Louboutin, Alice Archer, and Delpozo participating in London Craft Week in 2018. I

believe their presence at this event and others like it will begin to establish the practice of garment making and fashion itself as a craft like any other, giving those that dedicate their lives to the pursuit of excellence in this field the recognition they deserve.

More importantly is the opportunity to show fashion in a new context for consumers, one that is accessible and directly equates garments with craft, quality and the handmade. One that has the potential to re-establish a connection to the garments we wear and stimulate debate about how our clothes are made.

Fashion within Craft

Fashion within Craft

25

Inspiration

Inspiration

26

Home Haute Couture Perfectionism Historical Style Childhood Personal Objects

Inspiration CLOCKWISE FROM TOP LEFT: FIGURE 8. NANA’S CATS . FIGURE 9. CHARLES JAMES BUTTERFLY D R E S S AT

1 955.

F I GU RE

L A N H YDROCK .

COUTU R E

SPRI NG

10.

MY

FI GURE 2011 .

BAL LERINA

12 .

MY

SINDY

MOTHER

AT

DOLL .

A

FIG UR E

DIN N E R

1 1 .

DAN C E

H OUS E KE E PIN G 1 976 .

FIG UR E

1 4 .

BE LLS D IOR

27

Aims and Objectives To fashion exquisitely made garment/s, finished to perfection inside and out, that embody the concept of my project, highlighting longevity, craftsmanship and connection.

» Research fabric properties, relating to wearability, comfort, longevity and aftercare » Synthesis research areas to formulate a cohesive design concept » Experiment with interchangeable pattern pieces to create adaptable designs » Explore historical methods of prolonging garment wear, for example: underslips and underarm protection » Investigate construction methods and design features that allow for size fluctuations and future size alteration » Find appropriate methods of finishing and construction techniques to demonstrate and push capabilities.

To design personalised fabric prints that evoke meaning and emotional attachment. » Create a sketchbook to collate a range of imagery and meaningful objects that tell a story » Develop colour palette » Use Photoshop and Photoshop Textile Designer to develop printed textile designs » Look at historical methods of image capture and record keeping such as Anna Atkins Cyanotypes and Emily Dickinson’s Herbarium

Aims and Objectives

» Investigate methods of curation and display to inspire a cohesive meaningful print design

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» Experiment with screen-printing techniques, particularly those that could be used to embellish digital printing, such as flock and foil » Explore pattern effects using objects and heat press » Develop repeat and large scale continuous digital prints and sample on a variety of fabrics

» Examine methods of seamless/engineered print design and application to garment sections » Evaluate craft/hand produced printing processes versus digital/technological developments in printing fabrics To produce an educational Lookbook that documents the story and processes involved in the garment/s design and creation. Highlighting construction methods, finish and attention to detail. » Document and photograph each stage of garment design and creation » Utilise CAD sessions to learn basics of In-design » Research printers and printing products to source a high-end photobook To create a garment aftercare and repair kit. This may include a ‘wear diary’, designed to encourage attachment and foster a sense of history between owner and garment.

» Investigate make do and mend practices » Consider methods of utilising fabric waste to create kit » Source suppliers of high-end haberdashery equipment » Design packaging and create simple repair instructions To advance my technical and design skills » Examine make up of high-end and vintage garments » Research Haute Couture garment construction and finish » Sample appropriate technique and finish methods

» Develop creative pattern cutting skills To produce a design portfolio that represents my design aesthetic and the body of work I have created. » Learn to use Adobe Illustrator software and develop a deeper understanding of Photoshop

Aims and Objectives

» Practice traditional hand finishes and fastenings

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Methodology

Methodology

Visual Research. Contextual Resea Finish Research. Garment Construct Conversations. Surveys. Networking.

Design. Exposure to Art and Cra Research. Market Research. Anthr Research. Critical Analysis. Reflectiv Pattern Sampling. Stand Work/Drap Experimentation. Fabric Design Perfecting Couture Techniques. T Dressmaking Techniques. Sampling Perfecting Garment Fit. Experiment

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Methodology

arch. Material Research. Garment tion Research. Field Trips. Interviews. . Self-Reflection. Exposure to Fashion afts. Garment Analyse. Historical ropological Research. Psychological ve Practice. Drawing. Mark Making. ping. Pattern Cutting. Embellishment Experimentation. Practicing and Toile Creation and Development. g Garment Finishes and Closures. tal Printing Methods.

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Resources

Resources

University Sewing and Cutting Room Apps. Books. Journals. Websites.

Videos. You-tube. Laser Cutter. Scr Library. Lectures. Workshops. Muse Technicians. Fabric Store. Industry P SDC Society of Dyers and Colour Home Studio and Equipment.

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Resources

ms. Photoshop. Illustrator. Indesign.

University Garment Construction reen-printing Studio. CAD Studio. eums. Art Galleries. National Trust.

Professionals. Historians. Collectors. rists. Webinars. Linkedin Learning.

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Visits

Visits » Kew Gardens, Richmond » The Eden Project, Cornwall » Calke Abbey, Ticknall » Kedleston Hall, Derby » Hardwick Hall, Chesterfield » Wightwick Manor and Gardens, Wolverhampton » Moseley Old Hall, Wolverhampton » St Michaels Mount, Marazion » Coleton Fishacre House & Gardens, Kingswear » Greenway House, Brixham » Trelissick House and Gardens, Truro » Godolpin Gardens, Helston » Lanhydrock House, Bodmin » Glendurgan Gardens, Falmouth » Natural History Museum » Science Museum

Rosetti Collection. Wightwick Manor and Gardens, Wolverhampton. Personal Photo.

Visits

FIGURE 15.

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Research Appointments » Clothworkers’ Centre for the Study and Conservation of Textiles and Fashion, V & A 8th January 2020 Postponed Due to Covid-19 » Costume Museum, Ashbourne » Pickford House Museum, Derby

CLOCKWISE FROM TOP LEFT: FIGURE 16.

Chanel, Evening Dress 1932.

Research Appointments

F I G U R E 1 7.

36

Balmain, Evening Dress 1955.

FIGURE 18.

Givenchy, Evening Dress 1955.

FIGURE 19.

Dior, Cygne Noir (Black Swan) Dress 1949.

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Research Appointments

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Talks, Seminars & Webinars

Talks, Seminars & Webinars » Couture Inside Out, Fashion and Textile Museum, London » Colouring the Future, Society of Dyers and Colourists, NTU, Nottingham » Sustainable Development of Fashion International Conference, Fuzhuo, China

Industry

» Arts, Crafts and Fashion, Fuzhou University, Jimei Campus, China » Intangible Cultural Heritage, Fuzhou University Gulangua Island, China » Intangible Cultural Heritage: Paper Cut, Jinjiang Fuzhou University Science Park, China » Manufacturing Process Fujian Seven Group Co. LTD, Fuzhuo, China » Performance Fabrics, Anta, Fuzhuo, China » The future of print: sustainability and beyond, Print 4 Webinar

» New boundaries in a CV19 world: opportunities or a return to the status quo? Michael Marsden » Fashion as Design, MOMA, Coursera FIGURE 20.

Intangible Cultural Heritage: Paper Cut Artwork. Personal Photo.

» Fashion’s Future: The Sustainable Development Goals, Fashion Revolution, Future Learn

Talks, Seminars & Webinars

» Staying Cool in the Art School, Vanessa Brown Webinar

» Carbon Literacy Training » Art and Design School Research Conference, 2020 39

Exhibitions » Tim Walker: Wonderful Things, V & A » Robin Hood Gardens, V & A » Museum of the Moon, V & A » Museum of the Moon, Derby Cathedral » Art & Innovation, Science Museum » Eyam Cake Village, Eyam » Japanese Ghosts and Demons: Woodblock Prints from the Ashmolean Museum, Derby Museum » Powerful Nature: Inspiring Japanese Art and Culture, Derby Museum » Fashion House, Pickford House Museum, Derby » Looks Sew Good: Magazines and Dressmaking Patterns from the 1930s, Pickford House Museum, Derby » Invisible Worlds, Eden Project, Cornwall » HumanKind, Calke Abbey, Derbyshire » Waking the witch: Old ways, new rites, Bonnington Gallery

Exhibitions

» Zandra Rhodes: 50 Years of Fabulous, Fashion & Textile Museum, London » Norman Hartnell – A Tribute, Fashion and Textile Museum, London » Costume at the National Theatre » Kara Walker, Fons Americanus, Tate Modern » Olafur Eliasson, In real life, Tate Modern 40

FIGURE 21.

Babes in the Woods Photoshoot.

Tim Walker: Wonderful Things, V & A. Personal Photo.

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Exhibitions

CLOCKWISE FROM TOP LEFT:

FIGURE 22.

Matsouri Evening Gown Spring-Summer 2020.

FIGURE 23.

Maliha London Anna Dress.

FIGURE 24.

Market Research

Joanna Fleming Evening Gown.

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Market Research As my finished garment/s will be bespoke and manufactured, without compromise to the highest standards I can possibly achieve, I would place my collection at the high end of the fashion market. As it would be unrealistic to place myself alongside established Haute Couture houses I have searched for independent luxury designer-makers most of which reside in the bridal market, but initial searches have led to the discovery of the following dress and occasion wear designers.

Joanne Fleming A Brighton based designer maker, specialising in bridal and occasion wear with made to order dresses starting at £1800 and bespoke at £3000.

Maliha London Produce ready to wear gowns made in the UK, starting at around £1000.

Ilona Matsour Based in Berlin offers limited edition handmade gowns from £350 to £2000, sold through her own website and Wolf and Badger.

Couture service starts from £1000 from her studio in Shropshire.

Suzannah Crabb Couture

Market Research

Claire Mischevani

Making everything inhouse in her London studio, couture dresses start from around £2500. .

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Market Research As my design influences are centred on vintage design, I have also looked at designers working in the vintage revival sector.

Dig for victory A Brighton based business using vintage fabric to create custom made to measure dresses from £500.

Get Cutie Handmake their dresses based on customer measurements in the UK offering a selection of vintage inspired silhouettes from £100.

Palava A print focused fashion brand, offering ready to wear garments manufactured in the UK with a strong ethical ethos. Dresses retail from £125 to £165.

Market Research

CLOCKWISE FROM TOP LEFT:

FIGURE 25.

Dig for Victory Custom Made Swing Dress.

FIGURE 26.

Get Cutie, Dita Dress.

F I G U R E 2 7.

Palava , Cynthia - High Wire Dress.

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‘‘Every item of clothing we produce at Palava is designed and made with care. We don’t follow fashions and we don’t do flimsy. Our stitches are strong, our shapes are classic and our prints are unique.’’

Market Research

PAL AVA

45

46

Design &

Technical Research Design research will centre on high end garment construction and finish techniques, obtained through primary and secondary sources. I aim to carry out extensive research in this area which will be achieved as follows: » Direct examination of high end and vintage garments » Visiting Selfridges, Bond Street stores and Browns » Attending Haute Couture seminar at the Fashion & Textile Museum » Visiting the Clothworkers Study Room at the V&A to examine a selection of vintage Haute Couture, including garments by Dior, Balmain, Givenchy & Chanel » Arranging to view the vintage garment collection at Hope House Costume Museum » Interviewing the curator of the Fashion House Exhibition at Pickford House » Books and online information, tutorials and videos

FIGURE 28.

Norman Hartnell Garment Hem Details. Norman Hartnell – A Tribute, Fashion and Textile Museum. Personal Photo.

Design & Technical Research

.

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Contextual Research Through predominantly secondary research, I will examine the key areas listed below using critical analysis to evaluate the subject matter, underpin my concept and formulate ideas.

In addition, for the subject of Objects and Attachment, I will be considering my own connection to objects I hold dear, using a reflective writing model to explore theories of material memory and nostalgia. As I tend to have a particularly strong sense of attachment and nostalgia in comparison to others, I may also consider conducting surveys and interviews on peoples’ relationships and feeling towards treasured possessions to try and gain a broader perspective than my own. This will enable me to question the validity of the merits and usefulness of the application of this concept to my garments in order to strengthen connection to extend longevity.

» Sustainability through longevity » Emotional Durability » Objects and Attachment » Craft Designer Makers

Contextual Research

» Make Do and Mend » Utility Clothing » Home Dressmaking of the 1930’s and 40’s » Nostalgia » Perfectionism » The Art of Mending

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FIGURE 29.

Nana’s Beswick Panda. Personal Photo.

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‘‘In a machine age, dressmaking is one of the last refuges of the human, the personal, the inimitable.’’

Outcomes

CHRIST IA N

50

DIOR

Outcomes

Outcomes

At this stage I’d like to take an experimental approach and feel it is important to let the findings and evolution of my research define the final outcome of my project. However, as my passions lie within the field of dressmaking and occasion wear, I envisage that I will produce either a dress or collection of dresses that epitomize the development and core concepts of my work. That may seem obvious given the title of my project, but ‘Party Frock’ to me represents the desire to recreate a feeling of love, excitement and attachment through the completion of a garment that wholeheartedly embodies that ethos to address the issues I have raised. Party Frock aims to spark long forgotten memories, relating to the joy and transforming qualities of clothing to provoke thought and remind us that a deeper connection to the things we wear is possible. One that is informed through more meaningful internal values than those imposed on us by the transitory fads dictated by the fashion industry. This may take the form of an interactive installation designed to engage and educate the onlooker.

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Critical Path Year 1 Term 1: Monday 9th September – Friday 20th December 2019 The focus of this terms work will be on research and synthesising my findings to formulate the basis for my proposal and the development of my design practice. With completion of my proposal due mid-November, I will then begin print and technique sampling that will inform the develop of my garment design. In order to achieve this, I will need to complete the following: » Contextual Research, critically analysed » Visual Research, critically analysed » Technical Research, critically analysed » Personal Reflective journal, completed weekly » Collated areas of research to produce cohesive plan » Masters proposal first draft » Present concept to tutors and tutorial group » Experimented with Photoshop Textile Designer » Sourced and sample external digital printers » Initial print design development » Sample prints, including screen-print and heat press transfer -Updated Critical Path Following Change to Part Time-

Critical Path

Term 2: Wednesday 6 January – Thursday 9 April 2020

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This term sees the start of the research module and incorporating this into my schedule, alongside the need to generate further opportunities for my business will be an important factor in developing a realistic critical path, in order to manage my time effectively. In terms of design development I will begin to collate my work so far to present to the group at the beginning of February. From this I will analyse my progress to establish a plan of action for the term, highlighting areas of interest to be explored and technical skills that need to be developed.

I will continue to sample with die sublimation printing techniques and begin screen printing samples based on digital designs developed so far. The results of these will inform further progress and be used to inspire digital design. The focus this term will be on print

experimentation and research. Resulting print samples will be used as the basis for garment development. I will also begin experiments with Cyanotype photography and examine methods of simulating cyanotype imagery, digitally. I will continue contextual research through gallery visits, reading and online study. This term I intend to complete the following: » Format digital print designs and order print samples » Continue technical research, critically analysed » Continue personal reflective journal, completed weekly » Revise draft proposal, considering feedback and layout and complete for deadline in July » Prepare PowerPoint and present concept to tutors and FTK cohort » Research Cyanotype process » Source equipment and materials for Cyanotype process » Experiment with Cyanotype process » Record processes and create technical file » Investigate further historical photographic processes for experimental image capture » Incorporate and manipulate cyanotypes through digital means to develop textile print designs » Start to photograph and record design processes and techniques for look book creation » Visit Andy Warhol Exhibition, Tate Modern » Visit Aubrey Beardsley Exhibition, Tate Britain » Visit Filthy Lucre: Whistler’s Peacock Room Reimagined, V&A » Visit Kimono: Kyoto to Catwalk, V&A » Arrange Appointment at Lace Archive with Gail Baxter » Complete weekly reading list for Research Module » Develop research question » Investigate appropriate methodologies to conduct research

» Write report on findings » Start Linkedin Indesign beginner course » Experiment with Lumen Print

Critical Path

» Put together Pecha Kucha Powerpoint presentation

» Source expired photo paper and photographic solutions

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» Compile list of suppliers for current and new photographic processes » Start garment design development based on print samples » Visualise garment print, scale and placement » Use drape and drawing to progress garment silhouette and design » Continuing reading and research on couture construction and finish techniques » Sample couture hand finishes and stitches » Create sample and technical books of my textile print samples -Updated Critical Path Due to Covid-19-

Term 3: Wednesday 15th April – Friday 28th July 2020 Writing this retrospectively, Covid-19 had a big affect on my plans for the spring term, effectively rendering my schedule a little redundant. Like many others, initially I struggled mentally with the impact of this unprecedented situation on my studies, business and personal life. Adapting to life after lockdown became my priority and for me personally, my work became my solace during this difficult time. Many of my planned goals were effectively thrown out in favour of a more organic approach to my design development.

My focus shifted from utilising university facilities to what I had to hand, what I could rely on and use to experiment and develop my designs technically and aesthetically. Whilst many goals were not necessarily ‘ticked off’ the results of working in this way proved highly beneficial and has shaped and changed the course of my masters. Consequently, the following is a list of achievements for the summer term, not my original critical path. » Experimented with Cyanotype, Lumen and Solar Dye printing » Progressed expertise in Cyanotype printing » Developed methods of creating Cyanotype imagery centred on core themes to design textile prints » Created methods of printing Cyanotype directly onto fabric » Experimented with methods of de gumming silk scraps for dye sampleing » Investigated possibilities for Cyanotype print directly onto garments or garment components Critical Path

» Compared pros and cons of pure Cyanotype printing against digital end result » Catalogued Cyanotype samples alongside technical data to produce sample books » Catalogued Lumen samples alongside technical data to produce sample book » Catalogued Die Sublimation samples alongside technical data to produce sample book » Developed home methods of creating viable negatives for Cyanotype and Lumen print 54

exposure

» Continuously photographed and documented findings, technical data and experiments » Set up a blog to record critical analyses of my progress » Utilised apps and online tools such as flick books to digitalise and visualise my work » Completed Linkedin Indesign Beginners course to gain rudimentary skills to enable me to complete, proposals, look books and all accompanying graphics to a professional visual standard » Completed Linkedin Courses on Photoshop basic skills and Photoshop for Fashion Design to re-assess and advance my skills in the absence of formal training » Participated in university webinars, conferences and debates » Completed Fashion Revolutions, Sustainable Development Goals course » Enrolled on Carbon Literacy Training Course » Started textile print visualisation for garment designs Summer Holidays: » Resume Research Module Report » Collate reading materials and start bibliography » Outline Report Structure » Finalise Research Methodologies » Conduct Research » Write Draft Report » Utilise garden bedding plants in further Cyanotype experiments » Conduct miniature Cyanotype garment tests » Create doll garments to test feasibility of future visualisation and exhibition plans » Continue to read and research couture techniques Year 2

I will continue to research and develop my ideas throughout this term with the intention of finalising garment and fabric designs that will form the basis of the final outcome of this project. Once allowed access to NTU facilities I may resume pre-lockdown experimentation in the print room, but this would be in the form of further embellishments to my Cyanotype prints. Working at half scale the focus will be on garment design, pattern placement and scale. I will need to develop my skillset to ensure the fruition of my ideas are completed to

Critical Path

Term 1: September – December 2020

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the highest possible standards of design and manufacture. To allow maximum time to craft my final outcome, this term it is essential that I ensure the completion of the following: » Book model » Book photographer » Consider alternative methods of displaying final outcomes » Investigate potential of continuous print design » Develop and finalise fabric print designs » Finalise fabric requirements from suitable suppliers » Select final printing methods and ensure external suppliers can deliver » Finesse Couture hand finish and closure techniques » Start sketchbook design development » Generate garment silhouettes on dolls and mini mannequin » Use couture research to inform garment design and finish » Continue to record design processes and techniques for look book creation » Source silk offcuts for mini dresses » Produce mini garment toiles » Ensure any manufacturing issues are resolved at mini toile stage » Finalise garment design and complete toiles, incorporating all finishes, closures and techniques integral to final garment » Draft final patterns and technical specifications for garments » Finish rough draft of research module report if not completed during summer

Critical Path

Term 2: January – April 2020

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I am reluctant to make any design plans that make me reliant on NTU facilities to realise my final project aims. Whilst I do not want to limit myself or deny myself access to the amazing opportunities NTU presents, it is more important to me to be in a position to complete my masters in the manner, I envisioned it. As a designer/ maker a final 3D outcome is integral to my design practice and my own personal satisfaction. I am in the fortunate position that I could complete my masters as intended at home if need be. However, I would like to utilise NTU facilities in some way, perhaps to produce samples for future development or simply to improve my skillset. This is something that will become more apparent as the year goes on and ideally we may be in a position with Covid 19 whereby such considerations aren’t necessary.

At the start of this term I would like to revisit some of my original interests, screen printing, laser cutting and embroidery to enhance my design conclusions from last term. This will of course be dependant on how my work develops over the coming months.

The research module will resume this term and it is my intention to re-attend classes to aid the completion of my finished report. In order to dedicate as much time as possible to the completion of a couture garment next term it is vital that I complete the following by Easter: » Complete a series of mini finished couture garments. » Document and photograph creation of mini garments » Highlight and photograph couture finishes used within garments » Film stages of development and sewing practice » Look into doll hair replacement » Create mini catwalk » Practice animation to perfect catwalk visualisation » Continue to critically reflect on project through blog » Contact Lydia to book fittings » Fit toile on model if using » Adapt toiles and patterns to ensure perfect fit » Order all fabrics and notions » Commission digital printers » Book screen printing studio time if using » Book laser cut studio time if using » If considering Carnival shoot, investigate feasibility and start plans » Discuss design concepts with photographer » Ensure photography manipulation and processing can be completed within required time span, allowing time to create look book.

Critical Path

» Speak to Nick about compositing images. Could Lydia be included with dolls?

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Term 3: April –July 2020 At this stage of my masters I envisage my final outcome as a series of experimental completed mini couture dresses with at least one blown up to a life-sized evening gown. These will be featured in an installation that embodies my masters concept and demonstrates my design skills creatively and practically, whilst considering all accompanying resources to be exhibited alongside my final outcome to a professional standard. As New Designers selection takes place at the beginning of June, this must be factored into my schedule. To achieve the actualization of my master’s project I will need to complete the following: » Make full size garment. » Document and photograph stages of creation » Liaise with photographer and model to arrange photoshoot » Book hairdressers » Consider styling and acquire all necessary accessories or props » Find shoot location and organise bookings if required » Create look book and all accompanying graphics, business cards, postcards, pop ups etc. » Consider making souvenir textile gifts, using Cyanotype imagery and offcut fabrics from garment » Visualise exhibition space, design, create and acquire all necessary materials to achieve realization » Create professional portfolio » Edit film, animation and photography

Critical Path

» Book video projector for display

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59

Critical Path

Illustrations Figure 1. Myself wearing my favourite party frock, Christmas Day 1976 Family Photo.

Figure 2. Celine and Celine Inspired Autumn 2013 offering by Zara 20 July 2020 https:// www.thefashionspot.com/runway-news/320417-zara-celine-designer-knockoff/ Figure 3. Fonnesbech A/W 2017 Collection. A brand with a focus on durability in design https://designforlongevity.com Figure 4. My Sister and I. Excluding the television everything in this image was made by my mother. Family Photo 1978.

Figure 5. Handmade in Britain, Chelsea, November 2019 https://www.handmadeinbritain. co.uk/event/handmade-chelsea-the-contemporary-craft-and-design-fair/#Photo-Gallery Figure 6. Leather artisans at LOEWE. https://www.loewe.com/eur/en/craft/craftcommitment.html Figure 7. My beginner dressmaking class. Personal Photo 2016.

Figure 7a. Dior Haute Couture. Spring/Summer 2017 by Maria Grazia Chiuri https:// youfashion.net/fashion/fashion-dior-springsummer-2017/ Figure 7b. Delpozo Prêt-à-Couture, Fall Winter 2019 - Modern femininity https://www. delpozo.com/en/pret-a-couture/ Figure 8. Nana’s Cats. Personal Photo 2019.

Figure 9. Charles James Butterfly Dress 1955. https://www.metmuseum.org/art/collection/ search/159388 Figure 10. My Ballerina Sindy Doll. Personal Photo 2020.

Illustrations

Figure 11. Housekeeping bells at Lanhydrock. Personal Photo 2019.

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Figure 12. My Mother at a dinner dance 1976. Family photo 1976.

Figure 14. Dior Couture Spring 2011. https://www.vogue.com/fashion-shows/spring-2011couture/christian-dior/slideshow/collection

Figure 15. Rosetti Collection. Wightwick Manor and Gardens, Wolverhampton. Personal Photo 2019.

Figure 16. Chanel, Evening Dress 1932. 22nd November 2019 http://collections.vam.ac.uk/item/ O85664/evening-dress-chanel/ Figure 17. Balmain, Evening Dress 1955. 22nd November http://collections.vam.ac.uk/item/ O120591/evening-dress-balmain-pierre/ Figure 18. Givenchy, Evening Dress 1955. 22nd November 2019 http://collections.vam.ac.uk/ item/O138326/evening-dress-givenchy-hubert-de/ Figure 19. Dior, Cygne Noir (Black Swan) Dress 1949. 22nd November 2019 http://collections. vam.ac.uk/item/O117683/cygne-noir-black-swan-evening-dress-dior-christian/ Figure 20. Intangible Cultural Heritage: Paper Cut Artwork. Jinjiang Fuzhou University Science Park, China. Personal photo 2019.

Figure 21. Babes in the Woods Photoshoot. Tim Walker: Wonderful Things, V & A. Personal photo 2019 Figure 22. Matsouri Evening Gown Spring-Summer 2020. https://matsouri.de/en-gb/springsummer-20 Figure 23. Maliha London Anna Dress. https://www.maliha.london/product-page/anna Figure 24. Joanna Fleming Evening Gown. https://joanneflemingdesign.com/home Figure 25. Dig for Victory Custom Made Swing Dress. https://www.digforvictoryclothing.com/ Figure 26. Get Cutie Dita Dress. https://getcutieboyparker.co.uk/collections/dresses/products/ dita-dress-new-prints Figure 27. Palava Cynthia - High Wire Dress. https://palava.co/blogs/palava-blog/a-memory-ofhampstead-heath

Figure 29. Nana’s Beswick Panda. Personal photo 2019.

Figure 30. My Nana, Mother, Sister and I, Christmas Day 1976. Family Photo.

Illustrations

Figure 28. Norman Hartnell Garment Hem Details. Norman Hartnell – A Tribute, Fashion and Textile Museum, London. Personal photo 2019.

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Dedication

Dedication

For my Mother who taught me perfectionism, the joy of dressmaking, Hollywood glamour, fairy tales, beautiful dresses, movie stars, musicals, art, craftsmanship, arranging knick-knacks, the romance of film and the value of things.

Dedication

For my Nana who taught me everything else.

F I G URE

30.

MY

CHRI STMAS

N A N A , DAY

M OT H E R ,

1976 .

SIST E R

FA M ILY

A N D

PH OTO.

I,

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