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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PRESS RELEASE

New York’s up and coming designer Rebecca Padgett is holding no secret about her latest cutting edge pieces that are taking The Big Apple by storm. The British designer’s conservative and contemporary collections have been featured worldwide. Since expanding her couture store to New York, the designer has captured the hearts of many modern women of the city. We were lucky enough to score an exclusive interview with Rebecca, and share with you some exciting news.

 The new collection will be innovative and exciting; demonstrating over 10 carefully designed pieces, drawing inspiration from the effortlessly chic working lady; celebrating the modern woman. Inspired by geometry and minimalism, the designer sticks to her roots. The collection is unobtrusive with a perpetual colour palette. Monochrome will always be a ground-breaking trend and makes fashion faux-pas a thing of the past. Minimalism is a thing of the future. Calling out to all women to be confident and conservative in your own skin. This eclectic collection combines muted tones with an innovative mix of fabrics, such as white neoprene, embossed leather, and crisp cottons. The range includes boxy shift dresses, structured skirts, and a variety of occasional wear that the 21st century woman can effortlessly dress up or down.

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ILLUSTRATION DEVELOPMENT

(From left to right) the illustration on the far left is the one I have chosen for my final board, I have developed it using different media. The illustration on the left has been done using white acrylic which has been worked into using black watercolour and fine liner, I think this has worked better than using the black acrylic paint, it shows movement within the creases and folds of the dress and the white acrylic has been using to highlight lighter areas. The next design is a black leather dress with white painted on, I have used two different media's and two different style of illustrating the leather. The one on the left has curved edges, this shows the flowing and movement of the dress which would happen when the model walked, whereas the other is sharp and doesn't demonstrate how my design would look in 3D. I have used pencil and rubber on both, but it appeared too flat, so I added black watercolour and white acrylic to shade and highlight the design, being careful to shade the correct areas, this appears more effective and shows my garment realistically.

This is my original portrait drawing of Rihanna, taken from multiple images of her from magazines, I think her having short hair suits my bold and strong designs better, I have used pencil and rubber, using different pressures to create darker and lighter effects. I have then photocopied the image and applied it to my designs, I will then work back into it using fine liner to create a darker skin colour. I experimented using blue hair, as my designs are only black and white, so the blue hair would be striking - however I don't think this fits my colour palette and designs. The design next to this, is a development of media. I began by using white acrylic and black watercolour, then working into it using black fine liner and running it with water and a paintbrush to create creases within the fabric. However, it was very flat and washed out, so I worked into it using white paint, highlighting areas to create a 3D effect. I chose the design on the left for my design boards, as it wasn't as washed out. I have used fine liner and water on a paintbrush to create a skin colour, this looks very effective and it compliments my designs colour palette well. The design on the far right was challenging to create using black acrylic, as it was very structured and strong lines needed to be created, and black paint didn't give this effect as it was difficult to keep a steady hand. So I tried again using black watercolour and pencil to shade, this created a subtle effect but was still effective. The pencil was used to shade the creases within the fabric.

The design on the far left was developed as I began using water colour for the jacket and the frame but I felt that the illustration felt too wide, the illustration looks better on a slimmer frame and a smaller waist, so when I began sketching the design on the left, which I used for my final boards, I slimmed down the shoulders, waist and legs. To illustrate, I used white and black acrylic for base colours, working back into it using watercolours and white paint. The design on the left, was illustrated using black watercolours, for the skirt, I used darker black colours for the edges, and the lighter for the middle, to show light and dark. The design on the right was illustrated using acrylic paints, I think this looks very effective, but I did not like the rest of the illustration, especially the use of acrylic on the top, so I went back into the illustration on the left and used acrylic on the skirt piece. By doing this, my illustration makes more of a bolder statement. I used a mixture of both to create a final illustration that I was happy with.

The design on the right hand page, to the left, was developed using two different media. The use of pencil was very effective on the right, and the shading shows movement, but it lacked effectiveness, even after using fine liner. So I started again, for the right design, I used white acrylic, but worked into it using different pressures of black watercolour, to show light and dark. To show the flowing folds and creases within the dress, I took a fine liner, and ran a wet paintbrush over it to show gentle creases. This method helps to show movement and makes my design more realistic. The design on the right, I started with my original design, which was a stand up shoulder white shirt, tucked into a structured shirt, I created a very effective illustration using white paint, watercolour and fine liner. However, I was still not happy with my design and I thought that the top looked too complex. I brainstormed sketches and began again, this time using a cropped white sleeveless shirt, inspired by current trends. I think that this looks much more of a bold design that my customer would wear, paired with the structured skirt.

The design on the left is a white cotton shift dress, illustrated using white paint, watercolour and fine liner, I did not develop this design as I think that it was not in need of development. The designs on the right is my final designs, the back design is illustrated in the same way as my final board design on the right. The trousers and skirt were designed in the same way, using the same media. However, I changed the top slightly, one was developed using pencil and white paint and the other using watercolour. The pencil looked most effective, especially using white paint to work back into it.

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DESIGN DEVELOPMENT AND TOILE

On these pages I have further a possible final design idea. I have chosen this one because it is very on trend, very wearable for my customer and her occasion, and when well made, can be a couture garment. To start with, I tweaked my design, to the best suited. I played with the length of the skirt, ruffles, culottes and neckline. I think that the first or the fourth design will work well, and I will consider this if this design becomes my final. To experiment with how I would go about making the skirt and what techniques needs to be used would be helpful when choosing my material and how difficult it would be to do. I started by drawing around a mini manikin skirt block, adding in the darts and sewing up the seams, then putting it on the manikin for sizing guidelines. I decided to take up the hem by 7.5 cm, and replace it with ruffles the same length. I added 5cm onto each panel, adding an extra 20cm, I cut this out and sewed as usual. I went about the best way of creating subtle ruffles, by turning the machine stitch to 4, not back tacking and pulling the thread to gather. I then sewed to my garment. I will experiment with this further, changing the lengths of the skirt and the ruffles, depending on how I decide to make my culottes.

My second design development is use of the ‘kakurenbo’ hide and seek technique taken from the first Pattern Magic book, referenced in my action plan. To begin, I drew out the pattern shape as shown in the book by free-hand. I did it to full size, as shown in my book, and halved it to fit my mini basic bodice block for the mini manikin. I had to adapt my basic bodice to include the ruffle technique, to do this, I did not cut my front piece on the fold – therefore having 2 pieces with a split up the centre. I then cut out my pieces in calico, sewed up the front seam and darts. I followed the instructions in the Pattern Magic Book and my pleat turned out to be a success. This method is a clean, understated look that is minimal with a geometric shape on the front, which fits my theme and concept very well. However, I would like to challenge myself a lot more with something that requires higher skills.

I have adapted this design of a shift dress with detailed side panels and a pocket, into a two-piece skirt and top, with matching prints and decorative techniques. I have developed the design to create more, and explore its possible outcomes better. I decided to test my new design by creating a part of it, I chose the skirt and used a basic skirt block. On my previous mood boards, specifically the Issy Miyake mood board, I experimented with recreating the effects on her designs by pink tucking Tyvek, I found this worked well and each side of the material was effective – making it double sided. I could possibly use this to create a reversible garment. I began by pin-tucking the Tyvek. I then used this material and a printed geometric fabric, to create the skirt. I found the contrast between the two prints worked well. However, Tyvek is a delicate material that would be prone to tears and would not suit my customer for her specific events due to weather and a possible stage performance. I would need to recreate this using a more suitable fabric.

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