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Fashion workbook.
Citation preview
Capitol
ismWhen one is born with a hunger,
this hunger shall never die.
CONTENTSone: abstract
two: research
three: collections that
relate
four: market level
five: silhouette
six: trimmings
seven: details
eight: customer
nine: colour
ten: fabrics
eleven: initial response
twelve: colour ways
thirteen: stand /toile
work
fourteen: penultimate
line ups.
fifteen: final line up
sixteen: look by look/
tech drawings
seventeen: final
photographic line up
eighteen: illustrations
nineteen: evaluation.
The concept is an amalgamation of dystopia, mixed with modern day
misconceptions of the “Beautifully Vulgar”. Entitled “Capitolism” the
collection embodies and resonates the style of the “Citizens of the
Capitol” as written in ‘The Hunger Games’ trilogy of books, and the
latter films based on the literature. To properly compliment the
concept, it is important to embody the spirit of the “Capitolists” for
whom the collection is designed for. To do this, the collection must
be aesthetically pleasurable, yet oxymoronically, it must maintain
a sense of vulgarity throughout. Which will be achieved through
uses of fabric and construction techniques, manipulations of
fabrics et al.
The collection will respect the values of both the citizens of ‘The
Capitol’ as well as the ‘Tributes’. there will be an over emphasis
on silhouette to typify with the ‘Citizens’ as well as a sense of
confusion to the garments, to sympathise with the situation of the
‘Tributes”.
The themes and issues addressed in ‘The Hunger Games’ are indeed
a heightened version of our reality, civil unrest is evident in many
of the worlds cultures, a drift between societies, lends itself to
one, overall, broken society. A government many are unhappy with,
and many citizens living below the bread line is a reality in itself,
and thus, the collection becomes relevant.
There is an anti-tailoring feel to the collection, and through
appropriately sourced inspiration, the collection holds relevancy in
modern day fashion.
It will be designed as a pre-fall 2014 collection, aimed at the
higher end of the fashion spectrum.
“The Capitol is a veritable hive of debauchery, greed and materialism, tinged with an uncomfortable beauty that resonates throughout the city.”
the hunger games trilogy of books, served as a vital inspiration for this
collection. through its themes of survival and hunger for change, as well
as a sense of rebellion, the collection can find its basis in these novels.
the game itself is a game of survival against all odds in a broken,
dystopian society.
“...may the odds be forever in your favour...”
Seneca crane
Seneca crane, head gamemaker of the 74th annual
hunger games barely receives a mention in the novel
‘the hunger games’ whereas in the film he is focused
on much more heavily.
this mans style and sophistication, an exterior so
beautifully presented, an interior seemingly
so vulgar, yet with an unfortunate sentimental side
that would lead to his untimely demise, is the
epitome and very typification of this collection,
the pride taken in his appearance, and self
assured aggorance make him the ideal man.
to play ring leader in such a brutal game
takes a man with a certain amount of gaule
and confidence.
to dissect the man further, seneca crane is a
man of more than one dimension, unlike so
many in the capitol, who, whether through
personal choice or through dictated thought,
typify little with the other citizens of
panem (the ficticious country which forms
the basis of the hunger games) . Crane
spares the lives of the novels protagonists,
be it thourgh pity or through having no
other option, and pays the ultimate price for
his
actions.
brave or foolish, or perhaps just a victim
of his circumstance , this man who was
deemed insignificant in the initial novel
paved the way for real change in the
dystopian world of panem,
stylistically speaking he is , as all capitolist
men are, incredibly well kept, as his
immaculate facial hair and attire would
suggest, fashion with an edge and
fashion that goes against the grain,
in a world falling apart these few
men stand vulgarly tall in the face
of this adversity, for they are in no way
adversed by these circumstances, rather like
the monarchy of old, they are untouchable, the
purest luxury is all that they will accept, and
why not, when its all within your grasp, all one
can do, is try to grasp it all.
out of the fire...
in the year 2011 london and indeed the nation
was plunged into a darkness of which our
country had never seen to such a degree.
there was a sense of unrest and unease
amongst the lower classes of the
country which began to literally spill out
into the streets of the nATion.
dystopia, the supposed ficticious state of
an anti-paradise,, was very much a reality in
the summer of 2011. any citizen could
typify with the angst, but many were horri-
fied by the antics of the
disgruntalled, jaded youth., the sense of re-
bellion, without cause or indeed clue. echoed
throughout the country, and few
believed we as a nation would get though
this period unscarred.
this sense of uncertainty creates a back-
drop from which to design, be it in terms of
colour or silhouette, a river of uncertain
discomfort runs through the collection.
...into the flame.
eyes wide shuteyes wide shut
eyes wide shuteyes wide shut
a higher state
of unconsciousness
a touch of luxury.
the hermes $90,000 crocodile tshirt, one of the
most expensive ready-to-wear garments, ever.
a vulgar display of money over sense, or a thing
of beauty to be celebrated, rather than actually
worn?
Thierry Mugler
Mugler
Mugler
Michel berandi
Michel berandi
a swinging silhouette
from front to back,
gathering in places
to create dramatic
draped effects,
ruching sections to
remove volume in some
sections whilst
maintaing volume in
other places in the
garment.
Pockets in seams,
curved pockets,
placement.
placing pockets into
a seam, situated mid
body to break up the
garment, and add
functionality to the
garments.
curving the side seam
pocket into a semi
circular shape,
through a relaxed
approach to design
adds interest to the
garment.
Dart into neck
by adding the dart into the
neckline, the grown on hood
becomes more shaped,
adding definition to the
hood, in terms of the lapel
area, adding more volume
creates more drama.
The Man.
PANTONE 428 C PANTONE+ Solid CoatedR 193 G 198 B 200L* 79.48 a* -1.29 b* -2.10HTML C1C6C8
PANTONE Cool Gray 10 C PANTONE+ Solid CoatedR 99 G 102 B 106L* 42.91 a* -0.23 b* -2.80HTML 63666A
PANTONE 19-3906 TCX Dark ShadowPANTONE® f + h cotton TCXR 74 G 75 B 77L* 31.94 a* 0.08 b* -1.25HTML 4A4B4D
PANTONE 15-1049 TCX Artisan’s GoldPANTONE® f + h cotton TCXR 242 G 171 B 70L* 76.10 a* 20.84 b* 61.21HTML F2AB46
PANTONE 7597 C PANTONE+ Solid CoatedR 209 G 65 B 36L* 50.67 a* 58.05 b* 50.97HTML D14124
LINING DOUBLE WOOL JERSEY WOOL LEATHER
CREPE
LINING DOUBLE WOOL JERSEY WOOL LEATHER
CREPE
Initial response.
a use of fur, feathers and luxury fabrics shines through in this initial
response to the research. silhouette is a little basic, however can find its
basis in the style of seneca crane, slightly avant garde, a little garish, in
need of much developing.
from the initial
stage of re-
sponce, the
collection
began mov-
ing into a much
more
exciting and
dynamic
direction.
shapes became
far more
dramatic,
exaggerated
and blown out
of all
proportion.
silhouette
became much
more relaxed,
taking on an
anti-tailored
feel, echoing
the research of
michel berandi.
the way the
clothes wor
almost against
the natural
silhouette, yet
enhancing the
form.
throwing
themselves
first back, then
forward, then
back,to
create a
concaved
rounded feel to
the garments.
sleeve heads
are dropped,
rounded, and
relaxed,
extending from
the body of the
garment,
creating bat
wing effects.
gathering plays
a part in the
collection,
channels built
into the
garment
constrain
certain aspects
of the
garments,
whilst others
are remaining
free, this sense
of constraint
versus freedom,
echoes the
story of the
hunger games.
not all
elements are
successful
however,
trouser rises
are much too
low, greatly
diminishing
ability to walk.
as well as
simply not
looking
aesthetically
pleasing.
colourwise,
too dark, too
earthy, it needs
uplifting
somehow, and
placement of
colour needs
greater
consideration.
placement of
fur detailing
needs greater
consideration,
fur
reveres aren’t
going to work,
and a fur
trimmed hem on
a coat is much
too feminine for
this collection.
length wise the
coat in look
six may be too
long, consider
shortening.
trouser pockets
on look three
and patch
pockets on tops
look one and
two need
erradicating.
consideration
of construction
detail, darts,
panels,
pockets and
placement etc
all need
considering
further and
developing.
a selection of proposed colourways, identifying key
colours for use in the collection, note the inclusion
of gold tones in each colourway. one and two were
discarded early in the process, three and four were
used in the early development stages, and the final
colourway can be seen earlier in the book.
one two three four
from the initial responses and
developed ideas, the collection went
through a metamorphisis into something
much more cohesive and aesthetically
pleasing.
gathering becomes much more
imperitive to the collection, sleeve heads
drop futher down, and different colour
shapes are investigated, forming more
rounded shawl collars on jackets, and
rounded colour wings on shirts.
some of the shapes are a little too
similar in the outerwear garments, could
stand to be varied somewhat.
development
the jacket in look four needs work,
consideration on the placement of the
gathered waistband/hem, make it one or
the other perhaps? perhaps around the
waist is too feminine in shape?
unify pocket shapes throughout the
collection, consider universal details
through each look, to make a more
cohesive aesthetic.
Banana leg trousers.
in this , a digital
print has been
introdced to limited
effect, garments
seem suddenly too
long, particularly
looks one and two.
added skirting
details to
garments, which do
not work too
brilliantly.
shape of the coat
in look six has
become too
exaggerated and
out of proportion
with the concept.
colourwise
however it is
starting to come
together well, the
earthy tones have
been eradicated
however the
metallic gold
remains, creating
a luxurious colour
spectrum.
darts and panel
placement need
much more
consideration.
rather than
simple panels,
consider breaking up
the garments into
more panels, to
create different
silhouettes and
shapes of patterns.
pockets, and pocket
shapes must be
unified.
remove print from
garments, shorten
tshirts and shirts,
rethink silhouette
of coat to a
degree,
something is
missing?
in this revised line
up, several things
have changed,
darts in coats and
jackets have been
replaced by
seperate curved
panels, and
pockets have been
inserted into these
seam lines.
shirts and tshirts
form rounded
scalloped shapes.
the jacket in look
four has had its
waist gather
removed and now
only has one, on
the hem, which has
been dropped to
lengthen the
jacket.
trouser shapes
have taken
inspiration from
the idea of
gathering and
have been banana
legged to create
rusching effects.
develop trousers
further and create
more features with
the banana and
gathering.
consider the coat,
should be more
‘designed’ work with
the fur, grown on
hood perhaps?
the idea of grown
on is something
that is already so
prominent in the
collection with the
grown on shawl
collars in many of
the outerwear
garments,
still needs more
variety.
think about
accessories? i.e.
bags, hats etc.
AT THIS POINT THE
COLLECTION HAS
TAKEN SHAPE, AND
HAS BECOME
LARGELY WHAT IT IS
INTENDED TO BE, A
FEW MINOR TWEEKS
HERE AND THERE,
AND IT WILL BE
COMPLETE.
EVALUATION.
This collection, on a whole, has been relatively
successful, with a few issues along the way. The
garments eventually worked out, after toiling
and re-toiling, they became garments that worked
out well. Some looks are stronger than others,
however there is a continuity to each look, and
every garment works well within the collection,
and indeed they work alone as individual
garments.
Some aspects of the project have been more
difficult than others, due to financial restraints
and spending perhaps too much money on fabrics,
I wasn’t able to afford any manufacture, and
therefore had to make everything myself.
Making is not my strongest skill, and therefore
there was a constant battle with machines in
order to make garments work and look
presentable, which, I believe, did work out well in
the end.
If I were to redo this project, I would have most
of the collection manufactured, as I feel the
quality and luxury aspect of the manufacture side
of the collection has been completely lost.
daniel hunter 2013