Georgia Hardinge for River Island

Georgia Hardinge is a designer I have ben following the past few season, and I think her stuff is amazing and very innovative. Her work is often very 3 dimensional, created with folds, pleats and creative pattern cutting.

So what a coincidence she has a just launched a collection in collaboration with River Islands Fashion Forum. I had to rush down to River Island in Oxford Street to grab myself a piece or two…so I did. And I am over the moon… the print is incredible. Very striking in black and white, architectural print, which looks to be created by fabric manipulation, form Georgia’s signature folds. I got myself the chiffon maxi dress and a cute wee shirt, which buttons up the back, just can wait to wear them both now. 

Ashley J

Dior at Harrods

This past week I attended the Dior Exhibition at Harrods…It was AMAZING!!! As soon as I walked into the exhibit, it was so exciting a full wall of mini windows filled with dollhouse size furniture and Dior perfume…

J'adore Dress

The exhibit had everything to offer, couture dresses which took 900 man-hours to make, the famous J’adore dress from the advert and a phone box filled with the scent of Miss Dior.

I was only there for an hour so was running around like a maddie trying to take everything in, including getting a wee picture taken on the Dior Red Carpet! Which was set alongside the red carpet dress worn by recent celebrities along with ones worn by histories greats such as Princess Diana and the TINY dress worn by Audrey Hepburn.

Dress worn By Audrey Hepburn

Me on the Red Carpet 

But the Highlight of the Exhibition for me was the collection of the toiles from Dior. This was a little insight to the behind the scenes into Dior’s Sewing rooms, the Toiles were all made from a muslin, exquisitely made for a toile…showing where the atelier had made amendments, adding fabric here and there, taking darts out, tacking where the pleats are going to lie. And you don’t realise how much detail each garment has until you see it all stripped back with no pattern, embellishment etc. Truly amazing!!

Toile Exhibit

  

I came out of the exhibition feeling sincerely inspired…maybe one day I can be as good as that.

Here are some inspirational Quotes from the man him self to keep you wandering...

"Elegance is an ensemble where the invisible is as important as the visible"

"May Every heart slumbers a dream and the couturier knows it: every woman is a princess"

Ashley J

Moving away from Wool...

In this collaborative design project it has been decided to produce a more reasonably priced range of clothing based on the eveningwear of designer Ashley Isham. Isham is experimental in his use of colour and his fabric choice; he often uses a lot of embellishment and is best known for his signature draping and strong tailoring (Ashley Isham, n.d.). Ashley Isham was chosen in order to develop my skills by exploring different fabric types - in this case jersey.  I been fortunate enough to spend two seasons on a placement with him.  His work seems to dovetail with my work in that the garments are structured but also explore drapery in evening wear, and look into corsetry and specialist fabric finishes.

For the purposes of this assignment a selection of strapless evening gowns will be produced by studying Isham’s design ‘handwriting’ . His “classic” draped jersey dresses, which have many layers of interlinings including a padded corset for support, will be focused upon. An attempt will be made, by following Ashley Isham’s design ethos of stylishness, flamboyance with a core of elegance, all contained in the beautiful feminine silhouette, to create an ever-elegant evening gown with affordability that would sit in Isham’s Diffusion Line: “AI by Ashley Isham”.

In order to achieve the affordability of the garments the patterns will be created on Gerber, which will then be graded according to his size range. An order and a marker will then be made to get the optimum fabric usage. The dresses will still be made to a high standard, with the same finishes and inter-linings Isham would use, but a cheaper fabric might be used and a substitution for the embellishment such as an embroidered fabric may be made.

It will be appealing to his target ‘AI by Ashley Isham’ market to design two draped evening gowns because they are classic yet contemporary. Ashley Isham’s core clientele and loyal customers are mainly in South East Asia (Petrova, 2011) and in the Middle East (AI by Ashley Isham, n.d.). Many of his clientele attend lavish balls, appreciate design and want to stand out from the crowd. These gowns are targeted at modern women who are “all at once inappropriately enticing and yet unbearably unapproachable and Isham's designs evoke, rather, scream this unhindered sensuality” (London Fashion Week spring/summer 2013 live, 2012). Although it is intended that the garments will sit in Isham’s diffusion line, it will still be sitting in the upper mid market ranging in price from £200-£350, a market which has been less affected by the recession.

Furthermore, to keep faithful to Isham’s design ethos, I chose to create two evening gowns, based on Isham’s “classic” draped dress. The intention is to keep the finish of the garments to a very high standard, by still incorporating a cupped corset on the inner of the dress and by using quality fabrics as well as specialist fabric finishes such as the 4 thread over-locker and a pin hem. The corset is a fundamental design detail on this type of dress since if it didn’t have an inner corset the dress wouldn’t work. The corset is what gives this type of garment its structure as well as showing off the feminine body. I have done a lot of experimentation within the corset, creating my own pattern under the direction of Hagger (2004, p.74-79) looking at the fit, the type of fabric she will use and whether it be fused, canvassed or neither. 

Final Outcomes. 

  

The current designer has taken frequent inspiration from Isham including fabric choice, the silhouette of the garments and the interlinings; as well as looking at the quality and finish of these garments. The chosen fabrics for the main bodies of the dresses are a silk/viscose jersey and a polyester crepe-de-chine: two very different fabrics, however still in keeping with Isham’s original fabric choice: silk, jersey and satin, which would have been too expensive for the projected garments. Nonetheless, they both have beautiful drape to them and will create a very elegant appearance, while still feeling luxurious to the touch. In order for me to come up with my own twist on these evening gowns I have chosen a muted colour scheme made up of mossy greens and muddy creams. The intention is to create a more sophisticated London look, with the flair of Ashley Isham, by incorporating the suggested embellishment/embroidery contrast fabrics that are such a feature of his designs.

Colour Scheme

There has been much consideration regarding the process behind the pattern cutting to get the best fit possible.  This was achieved by creating the fundamental patterns on Gerber, while simultaneously having alongside the actual draping on the stand, so as to create the gathering featurette around the bust; then digitizing these patterns and smoothing off the lines on the program, thus creating an accurate sample pattern. Besides carrying out multiple fit sessions the designer has paid a lot of attention to detail, by re-toiling on multiple occasions to get the perfect fit that a strapless garment ought to have.

Ashley J

Shop Until you Drop!!

The time has come, I have just opened up a wee shop on Etsy.

So if you like what you have seen on this blog, of my collection and other pieces please click here. And knock your self out...treat yourself! 

Ashley J

Woollen Coat

The main focus of this design project is to create a look which is very functional, comfortable and traditionally inspired. By mainly looking at the British craftsmanship movement, I want to try and replicate the quality and expertise they put into the products they manufacture. The colour scheme and seaming detail was taken from the outdoor exhibition at the Natural History Museum “Wild Planet” juxtaposed with 19^th century riding wear. By using these ideas it was obvious to my design aesthetic to focus on women’s structured wear. In this case making an outerwear coat essentially derived from the classic trench coat with a modern twist, accompanied by a pair of wool trousers. Through using the fundamentally British fabric of wool, this garment is aimed at wealthy fashion-conscious women due to its quality and desirability.

Using the exhibition and combining it with 19^th century riding wear, let me gain a vision for a strong silhouette. Creating a timeless hourglass silhouette derived from the Victorian era. I researched in depth the history of riding wear, by mainly focusing on the 19^th Century and women riding side-saddle. It was only at the turn of the 20th century  women started wearing jodhpurs. Their riding coats were not boned but still followed the fashions of that time, as many women would be corseted. However their lower half would be hidden in metres of material to emulate the look of a bustle. My silhouette is inspired by the classic riding costume, incorporating the tailoring, panelling and clever pattern cutting they used.

Both concepts have a significant history and have originated from the notion of nature and functionality. This leads me on to the relevance of the British craftsmanship movement to my concept. Many of the British brands and mills that are still afloat have been passed down by generations of families for centuries and come with a great deal of history. This is a crucial point to be made when buying into a British brand, you don’t only get a quality made garment but you get a piece of that history and the comfort in knowing where it has been produced. And what is Britain best known for, textile manufacture in wools, tweeds and cashmere. These fabrics were used for the 19^th C riding habits, as they are all natural fabrics that enable the body to breath. In particular tweeds would have been very useful in riding habits as they are very light absorbent which help the rider camouflage into the background while hunting.

British-made remains a discipline and a very constricted one, as it is very difficult to find manufactures and fabric stockists that completely make their product in Britain. Therefore it is limiting in many ways- target market as well as the fabric choice- both reflect in the price. It is a dying force of skilled labourers with an average age of about 50 (Santi, 2011). If we are to Re-vamp the whole made in Britain and bring manufacturing back to our own soil; as stated by Mary Portas we have around a 10 year window in which this can be done, as the skill of making clothes has missed a few generations (Nodder, 2012), we need these very valuable women to teach a new generation.

Furthermore, Only 15% of Barbour sales are made in Britain (Santi, 2011) and they market themselves as a British Brand (see figure 4). This does not seem a lot, however realising just how hard it is to create a “Made in Britain” product, sacrifices have to be made. Companies such as Haeden & Quarmby have had to make a lot of compromises (Knowles, 2012), by moving all they’re manufacturing overseas, as it was just not feasible to manufacture in the UK. We are however slowly seeing more clothing being made in Britain, even Topshop now have a Made in Britain Range (Topshop, 2012).  

In conclusion, trying to channel these ideas into one look has been challenging and there have been a lot of compromises to be had. As stated by the telegraph “Britain can be quite limiting”(Luu, 2012). However, by following the discipline of the British craftsmanship I have created a successful functional coat and a pair of comfortable trousers. And by not using British fabric this time, there has been a lot of attention to detail on the finish of the garment and the quality of which it has been made. 

Ashley J

Dream Job

Well, i have always lobe Bora Aksu, i have just been looking back on some of his collections and trailing through his website, and this man is a genius! i LOVE his designs, the music, the atmosphere he creates in his shows. 

Here is an extract from his website on his inspirations from his latest collection S/S 13 beautifully written just like his exquisite designs. 

click here to explore yourself

Maybe someday i will get a job working for him....maybe just need to change from working with wool and tweed to working with some jersey and chiffon. I think this is maybe a must in order to expand the good old portfolio. 

But please have a read and Watch this fantastic fashion show. 

"Modern Queen

        “I was barely seventeen when I came to you. I was young and I was ignorant.” 

To take you forward we must first take you back. With her enchanting 19th century beauty, exquisite jewels and decadent fashions, Marie is to be our guide. Born an English princess, but becoming a Romanian Queen - her heart; full of romanticism, art and culture beats through spring summer 2013. 

The granddaughter of Queen Victoria, Marie went on to become Queen of Romania. Known around the world as the ‘modern Queen’, she was adored by her countrymen for her grace and humanity. But for Marie, Romania would become her joy and her grief. 

With a marriage that turned from respect to revulsion, Marie retreated to her love of art and her precious botanical gardens. It’s here the new collection was born. Bora Aksu has used Marie’s love of Art Deco and her gardens to create a print that forms the heart of almost every garment. With three variations of the same print in escalating sizes, it tells its own tale of Marie’s growing fondness for her new land and in turn her popularity. 

The silhouettes maintain a regal status and fine opulence. Floor length gowns in waves of sheer silk organzas, printed dresses with puff sleeves and lace shift dresses add notes of prosperity while fine printed silk box jackets, brocade skirts and cropped jackets with knitted lapels represent the formality and structure of her position. 

With beauty and power come admirers. Many admirers. And Marie was not one to resist temptation. Baby doll dresses and fine knitted tops created using different weigh yarns and sewing threads to create a sheer, but textured look, offering hints of flirtation and romanticism.  Refreshing blues, dove greys and delicate whites dominate the collection and give an instantly romantic, yet somber feel. As Marie’s story unfolds; vibrant mustards, golds and corals give a racy injection, reminiscent not only of her love life, but also of the gardens she loved so well. Flashes of purples throughout give the collection its royal bloodline. 

Accessorising the collection is Bora Aksu’s second collection of bags in collaboration with Bracher Emden. Laser etched baguette bags and laser cut clutches come in an array of vibrant colours and designs. 

Through every piece, Marie has been a source of inspiration for a collection that is elegant but playful, as she was herself. There was a duplicity to her character that can be seen in the contrasts of colour and texture. However, the dominant motif is one of tasteful sumptuousness, reflecting the regal, well loved Marie. 

For every woman born a princess, destined to become a Queen."

Business in Fashion

Last week I attended a debate titled "Business in Fashion" which was held at London college of Fashion. 

The panel included: 

Adam Atkinson: CEO of Cherchbi

Doug Atkinson: Innovation research fellow- Designer Manufacturer Innovation Support Centre (DISC)

Zahra Ash-Harper: MA Fashion Entrepreneurship Alumni

The debate was based on a recent British Fashion Council (BFC) report, the Future of Fashion. the report estimates that the value of UK fashion manufacturing has fallen by two-thirds since 1995. Overseas sourcing has become the default strategy from high end to High Street, resulting in a massive loss of infrastructure and technical skills across the UK fashion manufacturing sector. BUT the pendulum is swinging back. Marks and Spencer, John Lewis, George at Asda and the legendary Mary Portas have kick started demand for ‘Made in Britain’ fashion.

Just in the past three years really Britain has had a re-surgance of manufacturing again. This is a subject I am very passionate about, hence why I attended the debate. And also this is the sector of the industry I want to go into, if there is no manufacturing left in the UK I have no job. When you think of a typical design studio the average age is probably about 40-50 years old. And no young faces are being drawn to the glamourous job or a machinist, pattern cutter or sample cutter, everyone wants to be there own designer. But what people are not realising is if the pattern cutters and machinist did not exist these hundreds of designers would have no one to make there collections. So I am just going to run through briefly what was all discussed at the debate. 

Adam Atkinson started off the panel discussing the leather goods industry. He previously worked at Nike and Puma, where a lot of the leather was manufactured in Asian countries and imported to Britian. However he wanted to try and change that by creating a leather good company - Cherchbi, which is completely MADE IN BRITAIN and is a HERITAGE Brand. Britain and the made in Britain branding is surrounded by the idea of Heritage and the innovation is a key factor. 

Adam has created his own British tweed made from the Herdwyck Sheep fleece. It is a brand new Tweed called the Herdwyck No.10 Tweed. The fleeces come from the lake district so they are locally sourced. However the fleece is very very difficult to spin and weave as it is a low value fleece and creates a very rough and ready feel. Adam has took 3 years developing this tweed and it is named the Herdwyck No.10 as it was the 10th try until he finally cracked it.

Herdwyck No.10 tweed printed Holdall

British manufacturing does have a lot of unique elements to it, When you are out there looking for a manufacturer, you have the power to discuss the use of the fabric, it is very important to get what you want across to whomever is making your garment. The biggest value of having a british manufacturer is  you can ask for a sample, you can check up on the progress of your order and can order small amounts. Where as abroad you normally have a minimum order of say 10,000 garments, in which you may not notice any mistakes that may have been made until it reached the shops. where as if you have a small order made in Britain you can resolve the problem before hand.  

However it is very difficult to try and commercialise a company when using british manufacturing, as straight away if you choose Britain you are placing your company in the high end market because it is just not feasible to create a high street garment for example at an affordable price because the labour/fabric, etc is too high. 

Many fabrics are also very difficult to get in Britain as well, in Nottingham you have lace and Scotland you have tweed but generally most fabric would come from over seas. In order for designers to say it is completely Made in Britain. Many have chosen the route of digital print as it can be related to that specific collection, in a sense the digital print is the new heritage age of Britain. 

As a new designer as well many people will have the problem of intellectual property (IP) as designs have to have a distinction in 3 separate ways: silhouette, print and shape. As you cant copyright an idea many designer will send the pattern to themselves and don't open it so it is postage dated and proof that they had the idea first. 

Is it feasible to revive British clothing manufacturing and will demand for ‘Made in Britain’ last? 

In answer to this question, I hope so. I certainly think it is on the rise, many designers are trying to push for the made in Britain stamp, Mulberry for example is moving 30% of there manufacturing back to the UK and creating an apprenticeship scheme. Mary Portas of course is trying to use that branding stamp on the high street. And you of course have the favourites like the Barbour wax jackets which is still also made the UK in South Shields. 

I myself want to enter the world of british manufacturing and when i asked the Questions to the panel:

Do you think there is room for people like me a new graduate trained in pattern-cutting to get a job in the industry, As when a employer is looking to fill a position they will want experience. How can I compete with someone for example who has 30 years experience?

Zahra replied: Yes I do think there is room in the industry for new faces, my business partner for example is a pattern cutter and on an individual bases she has been very successful fo far, with lot of different kinds of pattern cutting jobs but she is very good. She has had some wierd request for dog clothes and weird and wonderful clothing but she manages to do it all the time. And when you are good word spreads and you find you will have many jobs coming your way, sometimes she has too much on your plate. But i do think there is room for new faces in the industry as soon we will need them anyway. As many women in that job will be retiring etc. 

I could go on and on about this topic of conversation. However I will end it there for now, I hope this has made you think about the brand "Made in Britain", and where you are going to buy your next item of clothing.

Ashley J