Outfit Five 

Creating the print

shibori through stitch on leather

Constructing the skirt 

working out the fit through pining and altering the toile 

Introducing a block colour to break up the prints 

The next outfit from the final collection was influenced by a clashing, bold colour palette. Focusing on Elizabeths grand, dramatic costumes and decorative interior. Developing images from Paris looking at buildings such as the Scare Coeur and the Notre Dam. Prints and surface texture have been developed through mark making techniques and collage workshops in order to capture a dilapidated, distressed texture over layered with geometric repeat patterns. Such as the check Vanners silk and lurex fabric, developed and carried on from a previous live brief.  

In order to emphasis surface texture a variation of textile screen processes have been used to create a distressed layered effect. The leather jacket itself was created using the method of shibori. Stitching a simple checked and stripped pattern on six skins  of luxurious suede goat leather. Dyed in black procion dye for 40 minutes. The process of unpicking was very time consuming, taking approx. 8 hours to unpick. As the suede itself was wet when unpicking, it became quite difficult and fragile often slipping and cutting the leather. The stitches themselves in order to block out the dye had to be very fine and tight, stitching on tension 3, causing further complications due to larger stitches been able to unpick and less likely to split. In order to avoid the fabric slipping waiting till the suede is dry may make it easier and less problematic. 

The zebra like slashed, stripped print is successful. I particularly like how the pattern changes direction and scale due to the width of the stitch and the placement of the leather. Creating a surface print that emphasizes the contrast in colour, highlighting the surface texture. Unlike my first outfit subtle mark making details are added throw the trace of the stitch mark, adding further texture to the large scale geometric print.

Taking a similar construction method to my first leather jacket the mannequin was used to work out the pattern of the jacket. Allowing focus on the placement and fall of the fabric. Creating a dramatic waterfall effect this time hanging one side longer then the other, creating an unsymmetrical effect. This continues the direction of the print in a spaced  multiple direction. 

In order to emphasis the busy textured jacket a block colour was introduced. Carrying on with the textured leather a silky suede yellow cowled top was used. The top centered and symmetrical juxtaposed with the jacket, draws focus to the centre of the figure and balances out the outfit. In particular the used of block colours against the geometric, slashed print draws emphasis on the jacket, highlighting texture, scale and surface texture. Helping to highlight my key strengths as a designer. Working in a visual way that suites my skills, the top was once again constructed and worked out on the mannequin. Cowling the leather and shaping the armholes, neck and side seams after successfully centering the cowl. 

Although the block colours and texture of the leather work successfully when layered and juxtaposed together. The method of moving away from samples such as semester 1 was challenging due to having to consider the placement and structure of the print. The construction of the leather also became quite difficult as when placed together the leather would often slip and mark easy. In order to avoid this a teflon foot and leather needle where used to secure the leather when stitching. Masking tape also worked to secure panels of leather together whilst stitching. 

Contrasted with the oversized draped jacket, a tight fitted pencil skirt was introduced to finish of the outfit. Constructed from a weaved silk and lurex fabric created and developed from a previous live brief. The print itself explored geometric small repeat patterns and mark making. developed from workshops. The detail and weaved texture of the fabric juxtaposed with the smooth, soft leather created an uneasy contrast between luxurious fabrics and distressed surfaces. Focusing on a sophisticated yet quirky consumer and representing the high end All saints my collection has been aimed at. 

Layering both geometric prints and various textures together is what makes this out fit so successful, using print instead of construction to display placement and portion of the garment. This of which will be the focus though out the collection.