The key concept of my final idea surrounds the contrast of archetypal masculine material with subtle reference to the domestication of the female as part of an overall exploration of gender and class structure. This requires however the use of both grey and yellow. I have made the decision to work with both the colours, with my main garments remaining monotone but my accessories incorporating the second colour.
I am greatly pleased with the pages I created with this in mind. I feel there are three definite stages to my portfolio where I take a step up each time. The look seems professional, cleaner and more concisely focused on specific developments. Deciding on the two colours helps the general look to feel more focused and I believe the combination works really well. I am pleased with my use of part printed part hand-done pages and will develop this method as I enter the final stage of design for this project.
My exploration of numerous variations of the quilted jacket confirms in my head that I want to use the technique for my final design.
At this stage I feel ready to start looking at existing fashion and photography to support my work, having previously avoided any active research into designers for fear of subliminal copying.
Peter Lindbergh's exploration of androgyny in his photography fits well with the aesthetic I have created. The idea of the contrast between the feminine form and masculine suiting is explored and works as part of a over arching theme looking at gender normalities and established structured mentalities regarding sex and gender.
A particular shot by Alessio Bolzoni's sees a model of ambiguous gender in pin striped suiting. Again this look works towards my overall design idea.
It would be remiss not to acknowledge also the highly prominent trend for quilting this season; I hasten to add however that I had decided to develop the technique before the release of the a/w 17 collections which saw quilting from Demna Gvasalia for Balenciaga and Vetements, Marques Almeida, Stella McCartney, Raf Simons and many more.
I do not feel directly influenced by existing practitioners work but am keen to continually analyse and explore current contemporary designers and artists and well as legends of art and design.
As I begin to wrap up my project I am looking at refining my final outcome. I am pleased with my decision to elevate certain looks away from a more costume-like aesthetic towards one with a high-end, luxurious appeal. This decision included avoiding the use of actual rubber for my exploration of the domestic rubber glove and instead using high quality mohair and cotton yarns to create a glove like cuff piece. The result is also more commercial without, I hope, compromising on creativity.
I am greatly pleased with the pages I created with this in mind. I feel there are three definite stages to my portfolio where I take a step up each time. The look seems professional, cleaner and more concisely focused on specific developments. Deciding on the two colours helps the general look to feel more focused and I believe the combination works really well. I am pleased with my use of part printed part hand-done pages and will develop this method as I enter the final stage of design for this project.
My exploration of numerous variations of the quilted jacket confirms in my head that I want to use the technique for my final design.
At this stage I feel ready to start looking at existing fashion and photography to support my work, having previously avoided any active research into designers for fear of subliminal copying.
Peter Lindbergh's exploration of androgyny in his photography fits well with the aesthetic I have created. The idea of the contrast between the feminine form and masculine suiting is explored and works as part of a over arching theme looking at gender normalities and established structured mentalities regarding sex and gender.
A particular shot by Alessio Bolzoni's sees a model of ambiguous gender in pin striped suiting. Again this look works towards my overall design idea.
It would be remiss not to acknowledge also the highly prominent trend for quilting this season; I hasten to add however that I had decided to develop the technique before the release of the a/w 17 collections which saw quilting from Demna Gvasalia for Balenciaga and Vetements, Marques Almeida, Stella McCartney, Raf Simons and many more.
I do not feel directly influenced by existing practitioners work but am keen to continually analyse and explore current contemporary designers and artists and well as legends of art and design.
As I begin to wrap up my project I am looking at refining my final outcome. I am pleased with my decision to elevate certain looks away from a more costume-like aesthetic towards one with a high-end, luxurious appeal. This decision included avoiding the use of actual rubber for my exploration of the domestic rubber glove and instead using high quality mohair and cotton yarns to create a glove like cuff piece. The result is also more commercial without, I hope, compromising on creativity.
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| Cuff/glove development Sketchbook page author's own Using imagery from 'Youtube' and Attitude magazine. |
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