Hanna Hanhela Fashion Portfolio

Portfolioby HannaHanhela 2013

Final Collection 2012

Iwasinfluencedbyprotectiveclothing,

where I have been looking at armour,

both European and Japanese samurai and

motor biking body armour.I have also

taken inspiration from child labourers

protectivewear.

Iwantedtheconstructionformygarments

tohaveasfewstylelinesaspossible,

reflectingthesheetsoffabricworkers

usedtowrapthemselvesinforprotection.

Theweakspotsinarmour;lessprotected

areasandjoints,inspiredcutoutsand

openbacks.

The ritual behind and the purpose of

the ritual; to get dressed for being

protected, was something the samurai

warriors engaged in, and has had an

impactonthewayIapproachedthedesign

processofmycollection.

Complexity and simplicity in form of

strapsthatwraparoundandarmourlike

constructionsmeetwiththecleanshapes

andsilhouettes.

Main dress made out of heavy matte jersey

panels sewn together and bound with an

organza binding.

Shoulder detail made out of pieces cut from

a perspex sheet, sprayed black and crocheted

together with black fishing acrylic fishing

line.

Main dress and shoulder detail hand stitched

together by strong fishing line.

Fasteng is at the back of the dress using

lobster clasps mainly used in jewellery.

Black heavy matte jersey dress with a

shoulder detail made out of crocheted

perspex-pieces.

A-lined silk coat with wool blend on-

grown raglan sleeves bound with silver

silk ‘sharkskin’ binding.

The top facing has a ‘sharkskin’ bias

trimming, running along the facing edge,

creating an interesting detail.

The pocket facing is also made from the

same ‘sharkskin’ constructing a hint

ofsilver in the pocket opening.

Canvas, fusing and stay flex tape were

used for constructing the garment, making

sure there fabric did not stretch and

the weights of the fabrics matched.

All main body pieces are bagged out. The

facing is the whole top bodice, which

makes it unnecessary for a lining.

Black silk jacket with wool

blend sleeves and contrast

slit pockets, with two

functioning zip fastenings

at the front.

Silver grey jacket with a ‘sharkskin’

grown on raglan sleeve without

fastening.Rounded neckline and cut

outs exposing the mid-section of

the body.

The front of the jacket is fully

canvased of a medium weight, and

the lapels are further fused in a

heavy weight interfacing to create

more structure.

The bottom lapels swings out when

the jacket is worn, which causes

great strain to the corners. It was

necessary to reinforce them with a

piece of organza to make sure no

damage would be caused over time.

The inner edge of the facing creates

a perfect circle. A thin trimming

of ‘sharkskin’ is running along the

facing edge towhich the lining is

hand felled.

Silver grey wool silk coat

with kimono sleeve with

an on-grown raglan. Sleeve

panel in silk ‘sharkskin’.

Tailoring

My inspiration for the tailoring

project came from a comic book I found

at a fleemarket in my hometown about

the Moomins.

‘The Moomins’ are sympathetic creatures

and as a child I used to adore them

and their ways of life.

They symbolized a type of childlike

roundness and awkwardness, which

translated into cropped lengths in

sleeves and hems, rounded shoulders

and silhouettes with few interruptions

in pattern and lines.

I was also intrigued by how children

are portrayed in photos from the 19th

century. They usually come across

looking unfomfortable and dressed in

ilfitted clothes they might have grown

out of or have not yet grown into.

-fully lined, hand felled in

-hidden buttonstand, lined

-slight funnel collar

-front edge and neckline

edge stitched by hand

Constructed using traditional

tailoring techniques, like the

front body canvas with a hand

felled edge tape.

Cross stitched salicia in the

hems for turning and attaching

facings.

The sleeve was basted into

place to make sure it is eased

in evenly.

To create a defined roll on the

sleevecap, a folded strip of

bias cut canvas was attached to

the seam.

The basting holds the inside

canvas to the main body, until

it has been secured by occasional

sync stitching through seams and

the lining is felled in.

The rounded shoulder gets

its structire from a self

constructed shoulder pad made

from two layers of different

types of canvas cut out in

opposite grains, and one layer

of thin felt cloth.

The layers are then pad stitched

and moulded to a round shape.

A stiff collar canvas is used

for pad stitching the collar.

The padding allows for the

collar to get its rounded

shape.

There is a pair of single jet

pockets at the front, of which

the sides are stab stitched

close by hand.

-small rounded canvassed collar

-exposed gunmetal zip fastening

-two piece, grown on, cropped set-in

sleeve, with three short darts

-rounded shoulder

-short double vents at back

-fully lined

41

hanna-LoTTa hanheLaI was influenced by samurai armour and child labourer

protective wear. The ritual behind, and the purpose of,

the ritual of getting dressed for being protected, was

something the samurai warriors also engaged in, and

has had an impact on the way I approached the design

process of my collection. The weaknesses in construction

and the strengths in structure of these garments were

used as main inspirational sources. I wanted the

construction for my garments to be as minimal in style

lines as possible, reflecting the sheets the fabric workers

used to wrap themselves in for protection. The picture is

a detailed shot of my tailored silver kimono coat made

from wool silk with a raglan silk ‘sharkskin’ sleeve. The

lining of the coat is in the shape of a circle and is hand

sewn in the trimming of the sharkskin running along the

facing edge.

Experience

2013February- SarahBaadarani

FreelancePatterncutter

Patterncuttinggarmentsandgloves

Cuttingoutandhandfinishingsamplegarments

2012October- Teija

FreelanceStudio/DesignAssistant

Development/PatterncuttingofAutumn/Winter13

Prepofproductionpackssenttomanufacturers

CommunicationwithmanufacturersinLondon

Attendmeetingswithsuppliers

Managinginternsandmachinists

2012September-December MargoSelby

ProductionAssistant

Productionofsoftjacketsandscarves

Cuttingoutforproduction

2012July-SeptemberTeija(FashionFringe)

StudioIntern

Patterncutting,Toiling,Drapingforthe

spring/summercollection

Designingandexecutingaccessories

Attendfittingsessions

Stylingoflookbookshootandcatwalkshow

atLFW

GraduateFashionWeek2012

OneoftheselectedtorepresentUCARochester

atGFW

2011May-June GraemeArmour

StudioIntern

Patterncutting,Patterngrading

Draping,Toiling

Conceptresearchforautumn/winter2012

Education

2009–2012BA(Hons)FashionAtelier

UniversityfortheCreativeArtsRochester,UK

2008-2009VästraNylandsFolkhögskola

Finland,ArtProgramme

2008DiplomaWorkinFashionDesign

PorvoonLastenjaNuortenTaidekoulu,Finland

2005-2008MatriculationExamination

BorgåGymnasium,Finland,UpperSecondary

Skills

Technical

TraditionalBespokeTailoring

Creativecutting

FlatPatternCutting

Draping

CorsetMaking

Flou(fabricmanipulation,biascut)

DesignIllustration

Precisesewingskillsadaptibletomany

fabrics

Goodtimemanagement

Teamworker

Computer

ExtensiveknowledgeinAdobeIndesign

ExellentskillsinAdobeIllustrator

GoodknowledgeinMicrosoftWord

CompetentinPowerpoint

SufficientinExcel

Language

Native: Finnish,Swedish

Fluent: English

Basics: French

HannaHanhela

[email protected]

07792441261

A competent, committed and creative fashion professional

withexperienceworkingindynamichighenddesignstudios.

Proficienttechnicalknowledgeinbothgarmentconstruction

andCAD.Holdgreatabilitytoprioritiesandhighlyadaptible

tonewinspirationalenvironments.