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Pollenology Graduate Collection Log Book Mdes Fashion Design Suzie Whall

Pollenology Graduate Collection Log Book Mdes Fashion Design Suzie Whall










2. Design Philosophy / 3. Design Rationale / 4. Market / 5. Theoretical Research / 6. Literature Research / /7. Creative research / 8. Design Journey and Personal Craft / 9. A personal Reflection

1.Saab(2005 / 2. Hubert (2004) / 3. Hg2 (2015) / 4. Cameo (2014) / 5. Valentino (2012) / 6. Heltne (2015) / 7. Whall (2015) / 8. Whall (2015)



Pollenology Pollenology; a collection encouraging the hybridisation of traditional craft and new technology. Inspired by pollen, bulbs and flora demonstrated in the bulbous silhouette, folds of fabric and seam detail. The collection explores the idea of design and emotion through the garments giving a protective encasing to the body which is reflected in the protection of traditional crafts. Three dimensional fabric florals accompany a digital print crafted by using photographs of the fabric florals gives an illusion of dimensions and aesthetically enhances the garments with bursts of texture alongside print. The collection is made of natural fabrics such as wool and leather sourced to offer a high end collection for spring summer 2016. Opaque spherical bags compliment the collections silhouette

and mirror the illusion of dimensions once filled with live flowers. The collections colour pallet inspired by heritage withering buildings offers a sophisticated yet feminine tone as well as reflecting masculine details such as leather jet pockets, silk pocket linings and bound seams. Enhanced by the use of print linings and bindings the collection demonstrates detail on the inside as well as the outside which was inspired by the visual impact encased inside a flower bud. The collection aims to enhance the appreciation of traditional craft and revive threatened techniques and trades by collaborating these skills with new technology.

9. Matsushige (2014) / 10. Bella (2013)


Design Philosophy Design DNA Connection to Design Oppotunity in Contemporary Design Issue in which is explored

A body of work has been developed undertaking extensive research and design development informed by inspiration addressing the issue of the decline in craftsmanship, heritage and skills being passed down through generations and introducing new technology to revive this.A particular point of interest is design innovation when a traditional trade or craft collaborates with new technology. This creates eclectic design with many influences resulting in an individual approach to design. The design philosophy showcases passion for surface design, print and texture in contemporary womenswear and expresses the hybridisation of Digital print and hand crafted fabric florals through a womenswear capsule collection of eight looks. A collaborative approach to encouraging both skill sets will create innovative design addressing the issue. Psalt (2013) also said the most important aspect of collaborative or cross disciplinary design is a breath of market research and in that being open minded and cross disciplinary in inspiration.

11, Valentino (2012)


12. Whall (2015)

Initial research into dieing trades led to research exploring the decline in craftsmanship, hand crafted design and textured extravagance in clothing. The purpose of the collection titled ‘pollenology’ is to encourage the marriage of an old craft with new technology in order to create a platform in which the two styles can be combined to strengthen the ascetic impact. The decline in heritage crafts and lack of skills being passed on will result in the extinction of specialised skills which would have a large impact on the creative industries. The collection has been visually inspired by floral forms a theme embodying encasing and protecting the body but also the traditional skills used. Hemp (2000) who explores a similar theme but in pottery describes using floral forms inspiring of something which is Full-bodied and yet restrained, they have seams, gentle curves and mystery about what’s inside.


Design Rationale Concept Theme Inspiration




54% of people working in a creative trade, fear their trade is under threat of dying out.

13. Hubert (2004) / 14.Whall (2012) / 15. Hitman (2011) / 16. Saab (2005)


It may be cause for alarm that 54% of people working in a creative trade fear that the skills within their trade are dying out BABBAGE(2010). Extensive research throughout the collections development and design informed by inspiration addresses the issue of dieing trades by encouraging the hybridisation of hand crafted embellishment with a new technology such as digital print. With the economic climate of 2015 it can be assumed that consumers have less disposable income to spend on investing in something bespoke, handcrafted and made with a specialised skill, small trades and crafts cannot survive without demand as the skills tend not to be passed down through generations or transferred to other creatives to be continued. This is a great shame as there is already a strong industry and mass produced products

and clothing declining the personal and unique garments that in the past were very popular. The collection was created to encourage individual design and the use of hand sewn embellishment for textural visual impact with the aim to provoke the demand and appreciation for hand crafted embellishment along side an increasingly popular medium in fashion; digital print. A collaborative approach to nourishing both skill sets will create innovative design displaying the combination of heritage and contemporary skills. It is highly important that the collection has also been considered in contemporary design trends as it is aimed at a high end market. Each garment is designed and manufactured with high quality fabrics, luxury finish and trim and creatively considered design features for spring summer 2016.


Market Clientelle Muse Market Level Customer







17. Palermo(2015) / 18. Campbell (2015) / 19. Chung (2015) / 20. Bailey (2015) / 21.Alsop (2014) / 22. Fendi (2015) / 23.Whall (2013)

The collection is for the luxury womenswear market for retail in luxury department stores such as Selfridges, Harrods and most popularly Liberty due to the more creative craft clientele. Featuring unique designs and conceptual silhouettes the garments give the wearer a presence. The bellowing mass of fabric is softened by using luxury neutral fabrics contributing to a sophisticated look. Detailing such as bound print seams, silk pockets and leather welt pockets are used creatively yet are presented in an elegant masculine tailored style. The market level is also reflected in trim and finishing in that the linings are of high quality silk which is digitally printed in feature prints as well as bound edges encouraging the segments of each garment. Sourced mint and golden zips and trim edge pockets and fastenings bringing focus to the design detailing. The collections customer is a poised women ages 25-35 with a creative flare


for styling and self presence. My muse Ella Eyre demonstrates this customer in that she’s a creative and contemporary client who isn’t afraid to stand out but in her blooming success she now finds her style maturing as she finds a balance between sophisticated and quirky. Ella Eyre was my inspiration to nourish this problem and create a creative collection with a polished finish. The collection offers a sophisticated look for Spring/Summer 2016 complimenting WGSN Macro trend past modern, where opulence and romance make a comeback. WGSN(2015) Throughout the body of research and design a masculine feminine hybrid will naturally be present in that the protection theme is strong and gives a masculine air contrasted with a feminine romance of the floral influences. This is embodied in the use of opposing materials and fluidity of fabric alongside an impact of texture and interest.

Past Modern s/s16


Soft pop s/s16

25 24. WGSN (2014) 25 WGDN (2014)


Theoretical Research Creative Industry Movement in craft education Collaborative work Design and emotion

Craft is a core component of the UK’s thriving creative industries, employing over 100,000 people and showing an above average increase in gross value added between 20082012 . In addition to this economic value, craft is also a vital and increasingly popular aspect of the nation’s social and cultural life. CRAFTCOUCIL(2013) However questionnaires in the research stage of the design journey shows 18% have taught themselves or haven’t learnt at all. This illustrates the decline in education of artisan skills projecting a silent future for skills such as hand crafted embellishment and fabric manipulation as the specialised skills wont be passed on. Although the collection initially demonstrates the collaboration of hand crafted fabric manipulation and digital print, It also demonstrates designs collaborating Floral artistry with fashion. This is derived from a personal experience of the designer working as a floral artist and having to recreate the trade to be contemporary and relevant in 2015. Also inspiring the hybrid approach to design is the experience of working with FROG a brand who collaborate Floral artistry, photography and fashion in their business. Owner David JayetLaraffe said in todays contemporary market you cant just be a painter, a florist or a photographer you have to mix it up and offer something eclectic. JAYET-LARAFFE (2015) This statement

is embodies the collection and what its purpose represents. Using a breath of inspiration and translate shapes and techniques into fabric manipulation creating a mass of texture which could also be translated in print giving the collection depth. Floral influences have also been used in the creation of floral spheres to fill opaque spherical bags for a creative styling choice showing floral artistry in a contemporary fashion environment. 60% of the target market asked said they would be interested in a collection combining luxury and craft to own a high end garment which is on trend with digital print but also they would feel more strongly towards a garment that had a hand crafted element due to knowing the time and skill put into the creation of surfaces to be worn. This is a theory expressed by CHAPMAN (2005) explaining through phycological research that in Emotionally Durable Design, if the consumer has an emotional attachment to an object like a child with a teddy bear, items and design will be cherished more therefore industries like fashion will be generating fashion at a slower pace and garments will be more valued making the industry more sustainable. One notion of this is that garments with high skill and intricate design will be more cherished than those which done as proved by 55% of the target audience asked.

“It’s actually very easy to design and manufacture a toaster that will last 20 years; that can be done. What’s not so easy is to design and manufacture a toaster that someone will want to keep for 20 years, because as people... we haven’t been trained to do that,” CHAPMAN(2005)

26. Gough(2015)


Literature Research Education of skills and trade Creative education New technology




Across that period (2007/08 to 2010/11) the number of 16–18 year olds participating in Key Stage 5 craft courses in any institution fell by 15%. CRAFTCOUNCIL (2013)

27. Barth (2015) / 28.Klein (2015) / 28. Heimtextil (2011)

It is thought that less than 10% of people working in the craft trades came through an apprenticeship or educational route, as the vast majority of creatives are self taught mostly ages between 25-30 years WOOD(2010). The age group identified is thought to have been less likely to be taught how to sew in a school environment acknowledging a decline in more creative subjects. Participation in craftrelated design and technology GCSEs fell by 19% between 2007/08 and 2010/11 to 29,000 learners at the end of Key Stage 4. Across that period (2007/08 to 2010/11) the number of 16–18 year olds participating in Key Stage 5 craft courses in any institution fell by 15%. CRAFTCOUNCIL (2013) A decline in education of creative and craft skills contributes to a decline in the availability of skills to create these textures in future design for fashion, interiors and art. The purpose of my design is to encourage these skills again and doing this through collaboration with a new technology such as Digital print. YUAN ET AL(2012) Said In today’s fashion world, technology has taken on an important role for the creation of novel design effects. As a type of digital technology, digital print is applied for decorative purposes with unique



fashion design looks. With this technology, simple and complex patterns on the surface of garments. Distinct patterns and textures that would cater to the demands of industries and consumers. Introducing new technology to a garment immediately makes it more desirable in todays market which is the purpose of using this as a platform to encourage hand crafted embellishment alongside digital print. ZORAN(2013) shares my theory as a designer stating new technology such as digital print and three dimensional printing are emerging fields that are opening up new possibilities for craft, art and design. A collaboration of skills, disciplines and techniques such as leather tanning, laser cutting and embroidery. Using garments as a platform to display techniques and skills. No skill is stronger than the other in the collaboration but both enhance one another. The idea is not to revive fabric manipulation of hand crafted 3 dimensional florals but as ZORAN(2013) says the aim is to transform it into a new object in which both objects, in this case the digital print and fabric florals become one surface and the re-assembled object functions resemble both aesthetics.


30. Sunshadows (2010) / 31. Novels (2015) / 32. Lessuer (2014)


Creative Research Hybridisation Visual Stimulus Collaboration Skills and Techniques


Initial research and concept development began to link the protection of heritage crafts, to protective skins in nature. This was derived from the designers personal purpose of protecting skills in the floristry trade. With an already extensive knowledge of Buds, Bulbs and pollens the collection is focussed on this as visual inspiration, analysing the folds of petals, encasement of bulbs and the textures in pollen. Furthering the exploration of this theme from cocoons and seedlings, the collection embodies bud like forms surrounding the body continuing the theme of protection. The cocooning of the corps provides a comforting environment of a luxury standard.







The surface design of the collection is a collaboration of three dimensional florals; hand sewn in high quality wool and cotton deliberately placed at random to mirror growth between cracks of concrete. Layering this with a digital print of a manipulated photograph of the three dimensional florals will give an illusion of the print coming away from the garment. PSALT(2013) said that the key to their success is the

brand being a master of all trades but learning or working with specialists.This enables a company to excel in innovative design working in new ways to create something unique. By solely focusing on these two elements I have ensured they are both executed and combined to conclude in a high quality finish with strong visual impact.


41.Hourani (2014)

The collections aim is to revive artisan crafts and provide garments with emotional impact. ‘It’s not how you feel about the design that’s important; it’s how the design makes you feel about yourself The role of product development is to fulfil the complete consumer experience. That may start with how a product looks, but it leads to how a product feels, sounds, and makes you think.’ SAWHNEY,(2007). Many fashion designers aim is to be memorable, Weather that be to be a functional piece of design, express a philosophical underpinning or just provoke a reaction. For all of these outcomes the design must provoke the consumer’s emotions for example surprise, excitement or nostalgia. Without provoking these emotions a design will not be competitive and therefore successful. From initial drawings in the design process, the encasing shape of floral buds and bulbs became inspiring in the concept that the forms provide a protective armour for what is to grow of the seeds. Through the silhouettes created by bellowing fabric the aim of the collection is to give the wearer a sense of protection, a safe encasement surrounding the body. This element of protection mirrors the protection of artisan and heritage crafts.

43. Cressman (2015 / 44. Blossfeldt (undated)


Design journey and personal craft Development Experimentation Refining Problem solving







From a strong concept designs were developed consistently considering the visual inspiration of cocooning the body. The toiling process developed a bulbous shape created by crinoline segments which are boned and structured by metal hoops giving a spherical shape to be coated in wool-side silk to form a skirt. This segmented structure is transferred into a shirt and a cape as well as the curved edge being mirrored in the seams of garments. inspired and matured through sampling a scallop edge was developed reflecting the curved petal edge of a flower in which is over exaggerated in the garment hems.

44-46 Whall (2015) / 47 Hernshaw (2015) / 48 Sunshadows (2010) / 49. Charisse (2015)

50 Whall (2015)

Although the collections inspiration and look is feminine, a variety of fabric manipulation techniques, surface experiments and techniques have been explored to give the feminine look a masculine raw edge. This was inspired by the withering heritage interiors in which the education of heritage craft are home to. The withering of interiors of the architecture were particularly inspiring and was a strong avenue to explore to result in an opposing style to the feminine style of the collection.





55 51.Whall (2015) / 52. Brighid (2015) / 53Moglu (2015) / 54,55 Whall (2015)

A series of problem solving occurred in the developmental stages of the collection being designed as hybridising craft with contemporary design meant altering the values of artisan slightly to result in a high quality finish. For example Craft is fundamentally about something hand rendered, simple and often created in up cycled materials. However n order for a craft technique to compliment a contemporary collection the hand crafted floral embellishments were made from the high quality fabrics that the garment shell is constructed from, as well as being stitched partially by industrial machine in order to give a long lasting embellishment in which will hold structure appliquĂŠd on to the structured base.



The garments structure has also been thoroughly innovated from the first toile’s, garments such as the bulbous dresses were manufactured in a lighter weight fabric and although had the pattern structure of the segmented sphere, the fabric fell in a grecian gather not the desired impact of a spherical skirt. Therefore after a variety of toiling structures it was found that a boned crinoline skirt gave the necessary base for the wool side silk to encase. Metal hoops are also encased in between the lining and crinoline to ensure the circumference of the sphere also holds structure. 58-61




A large part of the experimentation phase of design was through print creation. After experimenting with fabric distressing, manipulating, screen print and sublimation print. Digital print was chosen to become the contemporary craft to work alongside the 3d embellishment. Developing the digital print was a vital part of ensuring the concept of the collection came through in the collection. Images of 3d florals were manipulated on photoshop and through a process of repetition, layering and scale the print was designed with an overlapping print in which can be repeated. A large scale was decided upon to reflect the size and shape of the 3d floral embellishment used alongside the print on the garments. The tone of greyscale was precisely matched to the grey tones in the sourced wool to ensure the printed fabric complimented the other collection fabrics suitably.









Finally to hybridise the use of both 3 dimensional artisan embellishment and digital print a series of images were taken to analyse ti placement of the 3d florals. It was decided that as the print when used is very regimented, the 3 dimensional florals are placed in a more wildly random way growing up the garments. this contrast works well, allowing the 3 dimensional florals to overlap onto the printed fabric giving the illusion of dimensions.



Conclusion A personal Reflection

Conclusion of Graduate collection project Reflection Analysis Creative Outcomes


I have created Pollenology from my own personal experience of dieing trades to encourage the hybridisation of traditional craft and new technology in the hope to revive crafts in which are in threat of being forgotten and not passed on through generations. The inspiration of floral forms allows the link of protective encasings in which I have transferred into garments representing the protection of traditional crafts. I have learnt skills to craft three dimensional embellishment in a large scale for astethic textural impact alongside developing a digital print based on manipulated three dimensional florals enhancing the contrast and reflection of both forms of embellishment. Designed for Spring Summer 2016 The collection alines perfectly with the past modern trend reviving romance and opulence in a contemporary style. I have researched, experimented and developed ideas and processes to achieve a high quality outcome with attention to detail showcasing my skills as a designer with the aim to make an impact on the contemporary design

industry as well was reviving the traditional aspects of craft in which should not be forgotten. I styled the collection with opaque synthetic spherical bags in which give a contrast to the natural aspects of the collection. I used my skills as a floral artist to fill the bags with live flowers targeting another threatened trade and continuing the theme of encasing the living in a protective bulb. I feel the collection as a whole and through fine detail explores and represents the concept of the hybridisation of traditional craft and digital print embodying my inspirational theme of protective floral forms. Upon Reflection I am overwhelmed with the success of hybridising a 3D floral with a digital print and found the scale and use of similar fabrics worked exceedingly well. Finishing the garments with a laser cut leather disc which was then embroidered with my logo lead me on to thinking abut development through to another collection using laser cutting and embroidery as the next form of hybridised surface design.




BABBAGE, Joanne. (2010). Last craftsmen fight to save their trades. Available: Last accessed 9/3/15. CHAPMAN, Jonathan (2005). Emotionally durable Design Objects, experiences and empathy.  . Earthscan. CRAFT COUNCIL. (2013). participation in contemporary craft education and training. Studying craft;trends in craft education and training. 1 (summery), 4,5. CULTURE. (2015). New figures published today reveal that the UK’s Creative Industries are now worth £76.9 billion per year to the UK economy.. Available: Last accessed 30/3/15. HEMP, Christine. (2000). Anne Hirondelle, Ceramics; Visual artists; Personal profiles. new york: American Craft Council. 60-63. JAYETLAFFETTE,David. multi disciplinary design. 9/9/14. PSALT, Design(2013). Student conference on multi-disciplinarary design. In: Multi-Disciplinarary Design, 14/11/13. SAWHNEY, Ravi K (2007). Giving designs emotion. Machine Design WGSN. (2015). Macro Trends 2016. Available: campaign=%2AUKEMEA_Brand_UK&gclid=CNCJv9jEt8UCFcrpwgodJCsAZg. Last accessed 1/1/15. WOOD, Robin (2010). Chairman of the heritage craft association Available: Last accessed 30/3/15. YUAN, Guoxiang; Jiang, Shouxiang; Newton, Edward; Fan, Jintu (2012). Embellishment of Fashion Design . UK: publicationBlock. 106-111. ZORAN, Amit. (2013). Hybrid Reassemblage: . An Exploration of Craft, Digital Fabrication and Artifact Uniqueness. . 46 (1), 5-10.


1SAAB, Elle (2005) Pre Fall 2015,[online] 2 HUBERT (2004) Tonnerre la petite venise4, [online] 3 Hg2, London (2015) London, Shops, Liberty [Online] 4 CAMEO, The Label (2014) A floral Wonderland, Style logistics [Online] 5 VALENTINO (2012) Modern yet true to heritage [Online] 6 HELTNE, joakim (2015) Human Sculptures [Online] 7 WHALL,Suzie (2015) Pollenology [photograph] Sheffield, UK May 2015 8 WHALL,Suzie (2015) Pollenology [photograph] Sheffield, UK May 2015 9. MATSUSHIGE, Kenta (2014) Autum/ winter [online] 10. BELLA, Was (2013) Blog, Perfectly Imperfect. [online] 11. VALENTINO (2012) Modern yet true to heritage [Online] 12.WHALL,Suzie (2015) Pollenology [Collage] Sheffield, UK May 2015 13.HUBERT (2004) Tonnerre la petite venise4, [online] 14. WHALL,Suzie (2012) Pollenology [photograph] Sheffield, UK May 2015

15. HITMAN. (2011) Behind the desk [online] 16. SAAB, Elle (2005) Pre Fall 2015,[online] 17. PALERMO, Olivia(2015) London Fashion Week [online] 18. CAMPBELL,Edie (2015) London Fashion Week [online] 19. CHUNG, Alexa (2015) London Fashion Week [online] 20. BAILEY, Laura (2015) London Fashion Week [online] 21.ALSOP, Louise (2014) Big Yellow Love [online] 22. FENDI (2015) The Fendi Finale, Grazia [online] 23.WHALL, Suzie(2013)Liberty [photograph] London, UK May 2015 24. WGSN (2015) (2014) Past modern Trend [online] 25. WGSN (2015) (2014) Soft pop Trend [online] 26. GOUGH, Julie (2015) Specimens, cocoons, feathers. [artist online] 27. BARTH, Leonie (2015) Graduate Collection. [online] 28. KLEIN, F (2015) Light blue grape hyacinths [online] 29. HEIMTEXTIL (2011) Heimtextil Trend Preview 2012/2013 [ online] 30. SUNSHADOWS (2010) Bursting. [online] 31. NOVELS,Pakistani Urdu(2015) [online] 32 LESSUER , Maria Karam (2014) Side view of emerging Ornamental Onion flower (Allium) [online] 33-40 WHALL, Suzie (2015.) Developmental work of Pollenology. [Own work} Sheffield, uk, May 2015 41. HOURANI, Rad (2014) Ready To Wear. [online] 42 CRESSMAN, Scott (2015) Anemone Occidentalis Seed Head [online] 43.BLOSSFELDT, Karl (Undated) Passiflora (Passionflower) Bud [online museaum ] 44-46 WHALL, Suzie (2015.) Developmental work of Pollenology. [Own work} Sheffield, uk, May 2015 47. HERNSHAW, Olivia (2015) The importance of MA. [online] 48. SUNSHADOWS (2010) Bursting. [online] 48. CHARISSE (2015) Whimsical Garden seed.[online] 50,51 WHALL, Suzie (2015.) Developmental work of Pollenology. [Own work} Sheffield, uk, May 2015 52. BRIGHID, Billing (2015) [online] 53. MOGLU, Tom, (2015) Collage & Mixed Media Artist[ online] 54- 76 WHALL, Suzie (2015.) Developmental work and final imagery of Pollenology. [Own work} Sheffield, uk, May 2015

Pollenology Graduate Collection Log book  

Suzie Whall Mdes Fashion Design Sheffield Hallam University

Pollenology Graduate Collection Log book  

Suzie Whall Mdes Fashion Design Sheffield Hallam University