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Sustainability skin project

Mar 29, 2016

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Year 2 term 3 Sustainable skin project - (Second skin)
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TABINDA KASUER ISHAQ

BA HONS FASHION DESIGN REALISATIONYEAR 2 TERM 3

SKIN SUSTAINABILITY

JENNY HOLMES & DIMITRI THEOCHARIDIS

INEQUALITY

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CONCEPT RATIONALE

Inspired by the colour purple this collection bears focus upon the economical disparity . Taking inspiration from sumptuary laws and poverty.

With a stable liking for the colour purple I chose to select it as a colour of research for my sustainable skin project. During the first step of my research I found the initial source of the colour - the murex shell. Fascinated by the texture the shell retains, I sketched the shell in numerous ways and then manipulated the images to create a set of murex inspired prints. However I didn’t want to continue with the shell exploration and so I carried out a small survey amongst friends and family – the survey entailed for the participants to tell me all which they associate with the colour purple – I recorded these findings in a typography image (page9). I also researched the meaning or association of the colour purple across the globe by researching in books and talking to my multi-cultural friends – to under-stand what the colour symbolises for a wider selection of people (page10). From both my personally constructed survey and the research I was intrigued by the constant reference to the word ROYAL. Although I was somewhat aware of the royal connotations the colour possessed I didn’t fuller understand the reasoning behind it – and so I began researching the shade deeper to understand the rooting of Royal association with purple. I first defined the dictionary meaning of Royal – understanding that royal is a reference to kings and queens I then commenced my research. During my research I came cross the sumptuary laws of Pur-ple which existed during the Elizabethan era – and it is from this research I became versed of why the colour purple is associated with royalty, class and high social status. As the laws were active during the 1558 – 1603 it was only a natural choice for me to analyse the royal fashion of that period. Although I researched and was fascinated by a great deal of features evident in Elizabethan fashion I found myself predominantly interested by the vast use of jewels, precious gems, stones and gold thread which was so generously used in royal attire. This finding then led me to explore royal gems in greater depth. During my visit to the tower of London I saw and recorded numerous images of the gems stored at the Tower. Mostly riveted by the imperial state crown I analysed the plentiful gems clustered across the head piece. From the analysis of my pictures and personal sketching of the crown and its gems I noticed the several shapes apparent in the carving of the gems. Squares, rectangles, triangles and circles – the multi shapes which manifest the crown formed the inspiration of my silhouettes. As a great believer of the power of fashion – the power it holds to educate, change and revolutionise I always try and focus my collections towards issues which need to be educated or resolved. And thus far from my research I had not been able to conclude a concept which I was happy with. Therefore I went back to the initial word ‘ROYAL’ - this time I defined the antonym of the term and was now in-troduced to the polar opposite of royal – BEGGAR. I then identified which colour is largely associated with beggars, homelessness, poor and poverty – I was now presented with colour brown. Captivated by the 2 subjects at hand now royalty and beggar – I began thinking of the economical state – and the phrase ‘The rich get richer and the poor get poorer’. Upon further research of the global economy between the rich and poor I was introduced to – economic inequality. This new subject formed the basis of my concept – which was to visually represent the economic inequality which exists around us today in the 21st century. As mentioned earlier the silhouettes of this collection are inspired by geometry which was executed from the gems present in the crown jewels – However open the study of beggars I was absorbed the prominent feature of layering and draping which is present In beggars attire – for this collection as I intent to fuse the characteristics of royal and beggars together I have chosen to try and incorporate draping into the collection – which provides the collection with a more interesting texture and silhouette. Ideally I would try and incorporate layering into the collection and produce various pieces of numerous lengths which would be worn in layers – however due to time restrictions and limited technical skill I opted for the draping which would be more apt for me at this stage and provide a similar illusion. The colours of the collection will be deep shades of purple. As this project requires a factor of sustainability I wanted to concentrate on sustainable dyeing processes. I researched with home dyeing meth-ods of brown and purple – using beetroot, red onion skins, red and blue food colouring (see technical file), however due to several failed attempts in achieving the ideal colour I changed my sustainability topic and opted to use organic cotton jersey.

Throughout the process I explored potential prints – beginning from the very initial stage of research where I tested with the possibility of a murex inspired shell – I found jewel inspired prints to be much more appealing and apt for the collection, However I decided not to print on the fabric but to instead embroider the collection with gems, stones and beads – taking inspiration from Elizabethan fashion. The consumer was identified taking in consideration numerous factors – including quality of fabric , craftsmanship, cost of materials including overall time and expenditure spent on the whole process, as well as the style of the clothing, the retail price, and potential retailers.

As well as using organic cotton jersey for my sustainability issue I also have opted to use recycled jewellery to embellish my dress.

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PURPLE

Shades

Purple, the name and the colour, comes from a dye made from the mu-

cus glands of a tropical sea snail, the murex. This discovery is at-tributed to the Phoenician god Heracles, the guardian deity of the city of Tyre. One day his dog bit into a murex shell and its mouth imme-diately turned purple. His companion, the beautiful nymph Tyrus, de-clared she would sleep with the god only if he dyed her a garment in the same shade. Heracles obliged and the famous Tyrian purple dye was born Murex snail

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MUREX INSPIRED TEXTILE PRINTS

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PURPLE ACROSS THE GLOBE Purple is considered a royal colour in many countries including Britain.

The Byzantine emperor purple symbolised power and high status they only signed edicts in purple ink.

In Portugal purple is a prominent colour in church stained glass, the colour purple or violet is seen as uniting the “wisdom” of blue and the “love” of red and symbolizes justice and royalty.

A “purple heart” is a U.S. military decora-tion for soldiers wounded or killed in bat-tle. It signifies Bravery courage and value

Traditionally, in Iran, purple is a colour of what is to come. However a sun or moon that looks purple during an eclipse is an omen of bloodshed within the year

Purple was the royal colour of Rome only worn by the elite

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Royal

roy·al/

Adjective: Having the status of a king or queen or a member of their family.

Sumptuary LawsThe color purple has been associated with royalty, power and wealth for centuries. In fact, Queen Elizabeth I forbad anyone except close members of the royal family to wear it. Purple's elite status stems from the rarity and cost of the dye originally used to produce it.

Clothes were an important status symbol to the Elizabethans, and a person had to dress in accordance with their social status. It was thus in keeping that the Royals dressed more magnificent than everyone else. No one was allowed to rival the Royal’s appearance.

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The Elizabethan era was a society divided by class. The Royal, rich and upper class considred to be the best amongst man - and so it was permissable for them to illus-trate their high status through fashion. cloths of gold, dyes of tyrian and clusttered Amethyst stones, gems and jewels were promininet in thier garments.

Traditional gems and stones used in royal attire. Diamonds,Emeralds, Sapphires, Rubies, Topaz, Opals and Amethsyt stones.

Royal jewels

AMETHYST STONE

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The Crown Jewels

The crown jewels are both ceremonial and symbolic regalia worn by the brit-ish monarchs during state functions, such as coronations and the state open-ing of parliament. The oldest part of the jewel dates from the 12th century, but undoubtedly the most famous and priceless piece is the imperial state crown, which is set with over 3000 gems 1 large ruby, 6 100 diamonds, rubies, emeralds and sapphires are clustered across the crown.

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Shapes within the Jewel

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Geometry

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Geometry inspired silhouette’s

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Brown colour symbolises humility and poverty and for this reason is often associted with monastic life.

roy·al/

Antonyms: Having no status being lowborn beggarly and poor.

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Poverty

THE RICH GET RICHER THE POOR GET POORER

No one really knows exactly how many people live in poverty, strug-gle to get by and live in the poorest condition here in england as well as across the globe BUT what is known is that this problem exists this issue is there and it needs to be resolved.

ECONOMICAL INEQUALITY

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Economical inequality is a global issue more evident and severe in certain countries including China & Brazil. Poverty, beggars, home-lessness even exits in BRITAIN.

Bradford named worst in country for rich-poor divide

LAYERINGLayering and draping is a prominient feature in homeless dress - beggars layer nu-merous dress pieces in fear of going naked or cold during the winter season.

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DRAPING - Experiment with draping on the stand to create an illustion of layering which is a promineint fethature in poverty stricken/ homeless peoples fashion.

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Design Development

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TOILING OF FINAL DESIGN

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Fabric Research : Jersey/stretch

Stretch fabric is a term that refers to synthetic fabrics which stretch. Stretch fabrics are split into two categories: 2-way stretch and 4-way stretch.2-way stretch fabrics stretch in one direction, usually from selvedge to selvedge. 4-way stretch fabrics, stretches in both directions, crosswise and lengthwise.

Fabric Board

Deep Purple Organic Cotton Jersey £12/PM

Bamboo stretch Knit £15 P/M

Organic Italian Jersey£15 P/M

Organic Italian jersey with Lurex gold thread£18 P/M

Viscose Jersey£10 P/M

Stretch Georgette Sil£18 P/M

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Dyeing is the process of adding colour to textile products like fibres, yarns, and fabrics. Dyeing is normally done in a special solution containing dyes and particular chemical material. Mordants which are dye fictures are then used to se-cure the dye on the textile.

Red cabbage, Mulberries, Elderberries, Blueberries, Blackberry, Hyacinth, Red Cedar, Raspberry, Pokeweed, Hibiscus, Dark hollyhock petals and basil.

Oak bark, Sumac, Dandelion Roots, Broom, Walnut hulls, Tea bags, Fennel, Coffee Grinds, Acorns, Beetroot, ivy twigs, Birch bark,

salt, cold water, white vinegar, vinegar

Natural dyes products to create a purple colour

Sustainability - sustainable dyeing

Natural dyes products to create a Brown colour

Natural Mordants (Dye fixtures)

Natural dye experimentation

Red and blue food colouring

Blueberries and red and blue food colouring

Hyacinth FlowerLilac food colouringBeetroot

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ColourBoard

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Economic level: working/ upper class

Psychological makeup: confident, self-defined, adventurous, experi-mental, individualistic, posh, elegant, selective Taste.

Life-style. Relaxed, socialite, ballet, opera, horse riding, weekend re-treats.

Age: 28 - 35

Sex: Female Work: self-established. Managerial or ownerships/trustee position.

Shop: Harrods/ Selfridges/ house of Fraser/ Harvey Nicholas/ John Lewis.

Costumer profile Collection Retail target: Harrods

Competitors: Net a porter/ Lanvin/ Maxmara / DAS

Price: 190

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Print Exploration

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Deep purple

Organic Cotton Jersey

Recycled Embellsihments

Deep purple Organic Cotton Jersey Recycled Embellsihments

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Deep purple Organic Cotton Jersey Recycled Embellsihments

Deep purple

Organic Cotton Jersey

Recycled Embellsihments

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Deep purple Organic Cotton Jersey Recycled Embellsihments

Recycled EmbellsihmentsOrganic Cotton JerseyDeep purple

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Deep purple

Organic Cotton Jersey

Recycled EmbellsihmentsRecycled EmbellsihmentsOrganic Cotton JerseyDeep purple

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Deep purple Organic Cotton Jersey Recycled Embellsihments

Deep purple

Organic Cotton Jersey

Recycled Embellsihments

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NATURAL DYEING EXPERIMENTATION ON ORGANIC COTTON JERSEY

Begin the natural dying process by gathering the desired berries, seeds, flowers, roots, nuts or insects. The water ratio is 2:1 so make sure to gather enough ingredients.

Chop the harvested items into small pieces preferably no more than half an inch in size. Measure the chopped ingredients then place them in an old large pot. Add double the amount of water to the mixture. Boil the mixture for approximately one hour. Remove the mixture and strain.

Prepare the fabric before placing it in the natural dye in a separate large pot. The preparation process places a fixative on the fabric that helps it absorb the natural dye. When using a berry dye, boil then simmer the fabric in eight cups water and one cup plain salt for one hour. When using a plant dye, boil then simmer the fabric in four cups water and one cup cider vinegar for one hour. Prepare larger amounts of the fixative solution by using an 8:1 ratio for the salt water and 4:1 ratio for the vinegar water.

Simmer the wet fabric in the natural dye solution until the desired color is achieved. Note that the fabric will dry lighter so simmer the fabric until it is slightly darker than the desired color.

Laundry any naturally dyed fabric separately and in cool water. Add one cup of plain salt to the load to help set the dye. Air dry the fabric to retain vibrant colors.TECHNICAL FILE

Lilac food colouringBeetroot

Red and blue food colouring

Blueberries and red and blue food colouring

Hyacinth Flower

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JERSEY FABRIC MANIPULATIO N

SMOCKING JERSEY Mark the grid you’re going to use as a guide with chalk. I used intervals of 2 cm (or 1 inch), but feel free to make the intervals bigger or smaller. As you can see, I made three rows of dots, which serve as a guide for three rows of stitching. I worked from right to left, doing the first two rows of pleats in one go and reversing the work for the third row.

with the chalk dots as a reference, sew the first horizontally adjacent dots together (top left and right). You can see that when you bring those two dots together, the fabric will form a pleat between them (top right). To keep the pleat in place and fix it, make a few stitches on the same spot.

When you’ve finished your first pleat, stick the needle into the fabric and pull it out at a dot exactly above the second of the two dots you’ve just sewn together. You can now make a pleat in the second row. When you connect this dot to the next one you’ve marked out (middle left), again a pleat will form.

Once you’ve secured the pleat together with a few stitches, return to the first row and stitch the next two dots together (bottom picture). Continue this way, alternating between the first and the second row

When you’ve come at the end of the part that you wanted to smock, reverse from left to right and use the dots in the third row as a reference to make pleats. You will now start to see that beautifull honeycomb pattern. I just needed three rows of stitches in this work, but if you want a a bigger smocked surface, just add more rows.

RUCHING JERSEY

Select the piece of clothing you wish to ornament with ruching. Turn the item inside out, and meas-ure the length of the seams you will be ruching.

Cut a piece of elastic for each seam. Each elastic should measure the length of the seam plus one ad-ditional inch.

Pin the elastic to the garment using a few fabric pins, leaving an extra inch above the hem to hold while working with your sewing machine.Select the zigzag stitch setting on your sewing machine. If you desire more frills and bunches in your ruche, select a longer zigzag stitch length.

Insert the needle through the thread and elastic at one end of the seam. Sew a zigzag stitch through the center of the elastic and the seam, to the end of the seam and elastic. As you sew, slowly and care-fully pull on the elastic in order to stretch it, which will result in cleaner ruching.

Select the straight stitch setting on your sewing machine, and add several straight stitches to the end of your ruching so as to tack down the end of the elastic.

Cut the excess elastic and thread away from the garment. Turn the piece of clothing right side out once to see the ruching effect on the seam.

SHIRRING JERSEY

Prepare your fabric for shirring by marking parallel rows on the right side of your fabric, using an erasable fabric pen or pencil or marking chalk. Lines of shirring are traditionally from ¼” to 1” apart. The final distance will depend the overall look you want to achieve: closer together = really ripply, farther apart = softer and more puckery.When drawing your lines, don’t forget to account for any seam allowance along the raw edge. In our example, we marked our lines ½” apart. To account for a ½” seam allowance, we marked our first line 1” in from the raw edgeSet up your sewing machine for a straight stitch. You can also use a narrow zig zag stitch.Thread the top with regular sewing thread.Wind the bobbin BY HAND with the elastic thread, slightly pulling the elastic as you wind it. Do not actually stretch the elastic as you wind it onto the bobbin. Begin sewing on your first marked line.You can backstitch at the beginning and end to secure the threads. Or, you can bring the needle thread to the wrong side and knot it with the elastic thread on the back. Also, if you are sewing the shirred piece into a seam, that seam’s stitching will provide an added anchor for the shirring.Replace the fabric and sew your next line. Be sure to gently pull the fabric flat as you sew each row.Continue shirring across your fabric until it is the length you need for your project. Your shirred fabric is ready to be incorporated into your project and YOU are an expert at elastic thread shirring!Spritz the shirred area with water then touch it with your iron to encourage the stitches to pull up even tighter.

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HOW TO MAKE THE DRESS PATTERN HOW TO SEW THE DRESS PATTERN

Place the pre designed jersey block onto tracing paper trace around the block marking all notches, in-cluding darts, seam allowance centre front centre back, neckline, shoulder, side seam, any darts as well as the grain line,.

Once the basic jersey pattern block of a dress has been traced, taking a ruler from the centre of the neck-line illustrate a diagonal line to meet the waist line. From the opposite side starting again from the centre of the neckline take the line towards under the armhole.

Measure the length of the dress as required and cut hemline. Working from the centre front elongate the left side of the dress making it asymmetric. elongate by 15cm this can be altered depending on prefer-ence,

Cut the back of the dress following the pre drawn jersey block, making alteration to length to suit front and annotating ease space.

once all patterns have been drawn together, now draw each piece of the dress individually on a fresh piece of tracing paper - around each piece add a seam allowance of 1cm.

Cut each piece individually, with seam allowance.

Plce the prepared pattern onto fabric - position in a way to reduce fabric wastage and pin.cut carefully arounjd each pattern piece, making sure to make small cuts into the fabric indicated nothes, eact.

stich pieces A and B to C. Attch front shoulder to back shoulders. sew side seam of right side.

Taking pattern peice D pin positioning of ruches on the panel. (ruches of of various lenghthsattch pattern piece D in the allocated space ensuring the rouches are created along the sticth.

nearing towards the bottom of piece D, to create a cureve using a pattern master and dressmakers chalk illustrate a circular pattern, cut the excess fabric using the circular guideline .

stich across the arm holes, neckline an hem.

Overlock using 3/4 thread overlocker.

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HOW TO SEW A T-SHIRT

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PPD

BA HONS FASHION DESIGN REALISATIONYEAR 2 TERM 3 SKIN SUSTAINABILITYJENNY HOLMES & DIMITRI THEOCHARIDIS

PPD I particularly enjoyed this module – although we dint have a great deal of practical lessons I still feel I have developed – which I feel is most important. I liked the brief – and it helped to go over the brief as a class – to read it with the teachers and to try and un-derstand it together and exchange ideas and thoughts. I think by doing this as a whole class it was reassuring and thought provoking. This is something which I would recommend is done at the beginning of every new project.I chose to work with the colour purple – I have always been intrigued by the royal and religious connotations attached to the hue. The research was slightly puzzling at the very beginning not knowing where to start, so for the 1st week I continued to gather as much research around the colour as possible – I then analysed the research and narrowed it down to a few key points I was most intrigues by . It also helped knowing that we had to do certain things by a particular week – it allows for us to stay focused and by having mini deadline throughout the project allows us to be working towards something as well as an understanding of how long each aspect of the project should be taking - which is beneficial for future reference as I found a lot of us of-ten spend too long on research which then results in limited time in focusing on other aspects. This time I tried to gather as much primary research as possible trying to refrain from secondary research – attending exhibitions. Museums, libraries I felt this helped a great deal – the opportunity to touch and look at things in real allowed me to observe things in more than one angle. This resulted in me introducing a wonderful combination of inspirations into the collection. This I think has been one of my key developments this year the ability to exclude research and introduce a variety of concepts and visuals and to integrate them together to create a more cohesive collection and development. Pattern cutting is an aspect of design which I struggle with the greatest – but both Dimitri and Jenny helped me to understand the basic of pattern and the importance of trial and error - Their teaching style was won-derful. They were approachable, knowledgeable and very understanding which really helped set the right atmosphere in class. Working with jersey wasn’t as hard as I presumed I initially struggled with the machine but after changing the needle the process was very easy – although not perfect I would say I have improved on both on pattern cut-ting and sewing skills – yet still a long way to go. I understand I’ve made a few mistakes in my garment – and am looking forward to knowing how they can be rectified.

Overall a great project –great lecturers/ teachers.

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