EDITORIAL INSPIRATION & PHOTOSHOOT STORYBOARD

This page is my inspiration for my editorial. I hope to make a magazine with my marketing report, press release and look book, in the form of an interview. This will prove difficult as I will need to ensure that I will include all of my marketing material within the interview. However, I am confident that the end result will be professional and will help me to further my skills. I will be using adobe indesign, teaching myself ways of making a magazine. I will use online videos and tutorials to help me do this. I will take inspiration from this page. I want a minimalistic approach with geometric aspects and designs in the magazine. Words such as 'Geometric', 'Minimal' and 'Shape' will be used in the magazine, to separate my images up as they have done on this page.

This is my Photoshoot storyboard. This moodboard represents the shapes, poses and styling that will take place in my Photoshoot. The makeup will be minimal, but to represent the geometric aspect, strong winged eyeliner will accommodate the eyelids. The hair will pulled back from a centre parting, to a low ponytail, with hair wrapped around to cover the bobble. The shoot will take place in a studio with a white background to make the garment stand out.

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BELT CONSTRUCTION

I wanted to finish off my garment with a belt. It would tie the outfit together, aswell as covering the edges of the trousers, skirt and bodice. I wanted the belt to be made of leather, and be simple yet effective. Inspired by the image on a previous experimentation page, the belt will have ribbon weaved through. To create the belt, I took a piece of white PVC leather, and created a method of construction as I went along. I made slits throughout the leather for my ribbon and used PVA glue on the edges to prevent fraying. I did this because I did not want the belt to be bulky, it needed to sit flat. The leather would have proven difficult to sew. This solution looks effective and professional. I experimented with using black tape, instead of ribbon, but I came to the conclusion that black ribbon would tie better at the back. I left the back open, and it would come together by being tied, this looks original and still suits my market level.

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BODICE CONSTUCTION

Originally I hoped to make a bodysuit as the top needed to sit under my trousers and my skirt with no bulk. I discussed the possible outcomes with my peers and we came to an agreement that a bodice would sit better under my trousers than a bodysuit. The bodice would need to be long enough to tuck into my trousers with no possibility of it lifting out, as my customer will be on the red carpet and this cannot be seen. I measured the length of the existing bodice block and added the appropriate length. I then developed the pattern to create a v neck and v back bodice. Using the pattern pieces, I created my facings. I began to sew up my bodice and I encountered a problem. I wanted a hidden fastening as I didn't want it to be seen for my customer to wear. I experimented using a concealed zip in the side, but it would not fit over the manikin, and hook and eye was not a modern and futuristic fastening. I researched into fastenings and I came to a conclusion of using a large topstitched zip, that would work effectively with my garment up the back. I began again and created a new bodice out of calico, using a topstitched zip that sit well with my fabric. I will be using drill cotton in black, as it worked very well in my trousers and gave a well finished look. Here I have experimented with different seams in my drill cotton fabric, to make sure it works well. I have created a top stitched hem, which I will be using to finish the hem of my garment. A retaining stitch, which will be used on my facings to maintain a good finish. An overlocked seam for the side and shoulder seams. An open seam and medium weight interfacing. I have also included my best patterns.

Making my bodice. I followed my adapted method of construction and used my patterns to cut out my black drill cotton. This fabric works very well as it is structured and I know that it will hold all of my embellishments on, aswell as being a good quality fabric and finish. Here is a step by step guide of how I made my final bodice using imagery of the final process. Once finished, I put my bodice on the manikin along with my trousers and skirt, to double check that it sits well, will not fall out and tucks in. The bodice fit perfectly, especially underneath the trousers, and no bulk was shown. The bodysuit would have definitely shown bulk, I made the right decision in making a bodice. The next step was to attach all of my embellished leather. I bought some PVC leather, as it was stronger and cracked better than the soft leather, which would make the process easier further along. I began by taking emulsion paint and painting the black PVC leather. I left to dry and used a hairdryer to speed the process along. Once dry, I cut out the fabric into different sized pieces that would create an effect of smaller pieces fading into larger ones on my bodice. I then sewed into the fabric and dried emulsion, using geometric lines and shapes in black thread on the sewing machine. This looked very effective, especially once cracked. I then pleated the leather with a fold in the middle, this enabled the leather to stand upright. I then sewed the leather to my garment, ensuring that no gaps were left and that the pieces stood upright. This task proved fiddly, but the final result looked very effective.

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SKIRT CONSTRUCTION

Toile development of skirt. When drafting out my patterns I used my specification drawings as a guide. Originally, I preferred a longer skirt to sit over my trousers with a strong ruffled hem. I used a very stretchy jersey fabric, as my chosen material, scuba, would be very similar to sew. Due to the fabric being so stretchy, a lock stitch would not accommodate the fabric, as when the fabric is stretched, the thread would snap. Therefore, I overlocked the skirt, as this would hold the stitch much stronger. I made the ruffles 20cm wide, as I wanted them to be a statement in my skirt. I began by making my original idea of a longer skirt, however, once putting on the manikin with my trousers, I knew that it was not the right choice. My customer wears daring outfits, and the long skirt was the opposite and I didn't feel it fit current trends and influences. I immediately began again, this time reducing the amount of length, and this time the outcome was much more successful. Instead of using an interfaced waistband, which would not work with my fabric - which is heavy and difficult to manipulate. I used an elastic waistband, this helped to hold my garment up well on the manikin, aswell as making my material sit flat. 

This is my adapted method of construction for my skirt. Measurements have been adjusted as I have changed the length of the skirt. My material is white neoprene, also known as scuba. It is a futuristic and modern material that is very on trend. It sits well, it sculpts the figure, and is definitely one of SS16's biggest trends. Here I have experimented with the overlooking machine, to make sure it works well with my fabric before beginning my final garment. I originally wanted my hem to be topstitched, as shown on my specification drawing, as I thought that this would add to the way I wanted the ruffles to fall. However, instead of lock-stitching the hem, I have used a cover seam. The machine was much easier to use for my material and gives a neater finish with two rows of stitching - as shown on the left hand page in blue thread. However, I also wanted to experiment with using no hem. At first I was sceptical, however, after experimenting in my sketchbook and on my garment, I know that having no hem was the much better option as the fabric falls much better. This is the making process of my garment, the sewing of my fabric using the overlocker was very easy and I came across no obstacles. I found that stretching my elastic to my fabric was very difficult, and needed a lot of patience when sewing as it was very easy to make a mistake and my fabric would show this. I am very pleased with the outcome of my final skirt and it definitely defines my theme, market level and customer.

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TROUSER CONSTRUCTION

Toile development of trousers - I began by drafting the patterns for my trousers by analysing my specification drawings. I wanted well fitting trousers, with slightly flared bottoms like culottes, and in the front would be a black godet up the front. I drafted out my pattern pieces, using the length of my trouser piece to measure the length of my godet. I then used my pattern pieces to create my facings. I then cut my pieces out in two different fabrics. Going along, I used my method of construction to create my trousers. Using the manikin as a guide to how well my trousers would fit. At first, I wanted to use a normal topstitch zip, however I later changed my mind as I knew that a concealed zip would fit my market level better as it would sit better under my skirt and within the fabric. I found that making the godet points level and even was difficult and required a lot of manipulation of the fabric to reach those points, however they create a clean and aesthetic finish. I have also included my best patterns on this page. 

This page shows my method of construction that I have created specific to my trousers. I have also included some samples of construction using a similar fabric to mine, to make sure that the seams work well with the fabric. On the bottom left is some medium weight interfacing for my facings. I have used medium weight interfacing because it is very effective, the heavy weight would have been too bulky and would not suit my material, drill cotton. Next is a dart, I have used darts in my trousers because they keep it well fitted in the back and makes the fabric sit well. Next is my hem, I have used an overlocked and topstitch hem in my trousers because it does not pull too heavy on my garment, maintaining flow and movement in the flared bottoms. In my trousers I needed to change over the thread colour when sewing the hem, as my godet sits on the hemline. On the right page is my concealed zip, I have used the concealed zip as it sits very well within my fabric and works well. I will have a skirt on top of my trousers, and this zip reduced bulkiness. I have used an open seam in my godet and trousers, I first overlocked the edges to give a neat finish, before sewing the seam, it sits well and flat under the trouser leg, I have also used an overlocked seam in the side seams of my trousers, to keep any raw edges neat, suitable for my market level. When doing the facings, a retaining stitch was needed to make sure that it folded in well and gave a clean finish. This was very effective.

Here is my final garment, during the making process, I did not encounter any problems. I used my method of construction and my toile to guide me through the process and work independently. I have used drill cotton as a fabric, as it is more hardwearing, structured and fitted than a material such as calico. It also gives an expensive and clean look to my garment. The material was easy to sew, interface and overlock.

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FINAL GARMENT OF CHOICE

SPECIFICATION DRAWINGS-
These drawings represent what I aim to make. I have chosen my final design. I have not yet decided on a final fabric choice, but the skirt may be produced out of a stretchy fabric, so an alternate fastening to a zip may be needed. The trousers will be made out a heavy weight black and white cotton. I will need to calculate how much will be needed. I hope to make a bodysuit but this may be reconsidered due to how bulky it may become, Lycra is not an option as I need to embellish the fabric with stitching and the thread would snap when stretched. I will reconsider my decision after creating my trousers and how they will sit. The belt will be made of leather and ribbon, perhaps with a Velcro fastening or just tied at the back.

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MARKETING REPORT - INTERVIEW FORMAT

Marketing Report

We were fortunate enough to score an exclusive interview with one of New York’s newest up and coming designers. Her contemporary couture designs are effortlessly captivating, and truly holds the essence of the new era of the modern working woman. Rebecca only recently moved her designer store to New York a matter of months ago, but something is telling us, this is just the beginning.

Q: So Rebecca, we’ve heard recent rumours about your new collection, but we’d love for you to set the record straight, are you really designing for Rihanna?

RP: Yes! Rihanna and her team approached me a while back and asked if I would design an exclusive collection, specifically for her award shows for 2016. The CFDA awards, the Met Gala, the MTV awards and definitely the after parties are some of the biggest events for celebrity fashion. I was more than happy to design for her. Rihanna never holds back when it comes to her personal style, her ‘dare to bare’ reputation still holds strong, but she always remains classy and feminine. She’s also the perfect fit for my brand and image. I am obsessed with the way women are constantly evolving to becoming stronger and more powerful than ever, and their wardrobe should show that too.

Q: So why Rihanna?

RP: Most importantly, she’s going to look incredible in my collection. She’s such a strong and independent woman, which is what my brand is all about. Rihanna has over 37 million followers on social media, including Twitter and Instagram, so publicity will be huge. Since rumours circulated about our collection, my social media following has boosted massively, in the past week my Instagram following has increased by 3,000! Business is booming. It’s perfect for my brand promotion, especially now that social media plays one of the biggest roles in the industry. Rihanna is an icon, she has collaborated with high street stores and sports brands, and her personal style is always setting trends.

Q: Describe the process with Rihanna, what was it like working with such a big star?

RP: Despite her constantly being under the spotlight and holding the stress that brings over her head, she is incredibly down to earth, humble and overall a really lovely and genuine person. The process was tricky, as we both had to incorporate our own ideas into our designs, and balance the level of both influences. We stumbled across a few technical weaknesses, for example, she thought that a few designs were too formal and she wanted to push more out of each design, to define her more. As she has a lot of awards coming up this year, she wanted to incorporate more futuristic fabrics into the designs. Eventually we would both meet a compromise and produce the best collection possible. Rihanna is always invited to all of the exclusive award shows, which are all about the celebrity’s and who they are wearing, and my collection will be featured in all the media coverage, from weekly magazines, to the Vogue website’s red carpet celebrity coverage. Images circulate the image platform Instagram instantly, fans reposting their favourite outfits of the night.

Q: We couldn’t agree more! So tell us more about your collection.

RP: The collection is inspired by geometry and minimalism. I have always been fascinated by the effect of simplicity in womenswear, how something refined can still make a statement. As Miuccia Prada pointed out a few seasons ago: "I think that minimalism is interesting right now, because there has probably been too much obvious glamour and nakedness in fashion." There is something intrinsically cool about minimalism. It suits all occasions, because it is uncluttered. The collection was designed specifically for Rihanna, therefore they have to be limited edition statement pieces.

Q: Is it true that Vogue are doing a special edition on Rihanna?

RP: Later this year, yet no dates are yet confirmed, Vogue will be doing a spread on Rihanna for their special edition magazine. In this editorial spread, they will be getting personal with Rihanna, including talking about this collection and getting a few pictures of her in a few pieces from the range. This will be incredible to get some professional studio shots of Rihanna in the collection to be shown to the world in Vogue. It will be amazing for me as a designer as I will no doubt be approached by some of the biggest designers in the industry, such as Versace and Gucci. Having your collection pieces in Vogue is an incredible honour and definitely develops your reputation in the industry.

Q: We know that the pieces are couture, but how much will they retail for?

RP: The garments will not be available for sale. They will be worth a lot, but I prefer to keep price points private.

Q: So when and where will the collection be available?

RP: The collection is exclusively for Rihanna. All the attention is about Rihanna and the designs, but I am fully aware that not everyone will idolise her, including some of my customers, and to me, they are of the most importance. Therefore, I have decided to stay true to myself as a designer and create a collection with my own twist, so I am currently finalising a diffusion range, which will be available in late 2016. The designs will be ready-to-wear and very similar to those of Rihanna’s. It will be limited edition to maintain my brand’s exclusivity. The diffusion collection will be available in my stores in New York, Paris, Milan and London.

Q: Your stores are synonymous for your special service, why is this?

RP: Service is the most important aspect to me, it’s important that my customers receive luxury service from the moment that they enter my stores. All of my staff are the best of the best, I have personal stylists and seamstresses in every store, to make sure the customer receives the most out of her visits.

Q: When are you launching your Ready-To-Wear collection?

RP: I am currently finalising my designs, and we have just signed contracts with the models. Rihanna is the perfect celebrity endorser, but in regards to my editorials in magazines, I will be using influential models such as Gigi Hadid and Jourdan Dunn to wear my collection, photographed by the remarkable Mario Testino. A collaboration that is going to be unforgettable. It is a very strong campaign, the models represent my brand’s ethos well and I am very excited, as it is one of the biggest collections that I have done as a designer. My collection is about empowering the modern woman, and my models, which are strong and independent women, capture this perfectly.

Q: You have mentioned social media a lot throughout this interview, is that a big factor for you?

RP: Of course! I believe that bloggers are the way to the future. The bloggers who will be covering my ready-to-wear collection will be; the clean cut and classy, Victoria Mcgrath who writes Inthefrow.com, and the diverse and edgy Suzie Lau who writes Stylebubble.com. They will be invited to the launch event and will be wearing my collection for the night, offering their opinions on the collection and the event, to share with their social media following of over 23k.

Q: Sounds like it is going to be amazing, definitely investing in history here. We can’t wait to see the final outcomes! Especially the diffusion range…

RP: It was a pleasure to talk to you today! It’s very exciting. Hopefully everything will go smoothly and the outcomes will be fantastic!

After speaking to Rebecca today, it’s clear that she’s going to have an amazing year breaking into the New York fashion industry. Her clean cut and empowering designs will no doubt be worn by the socially elite and independent women all across the globe. We can’t wait to see the forthcoming collections, and we can all agree that many items will make incredible investment pieces for the modern woman’s wardrobe.

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