SENIOR Project

Research

As I embarked on my Senior year project, I had a couple ideas as how I would execute it. I first started off with sketches of dresses. But, as I moved forward I was encouraged to design a wedding line. I felt skeptical about it because this would challenge my limited skills dramatically, but I agreed. As I formulated ideas, I came across the concept of bringing color back to the wedding scene. I wanted to deconstruct society’s ideals about white wedding gowns. The researched I came across clarified many erroneous concepts I had. For instance, the color white did not represent purity as many (me included) have believed, but is rather a symbol of wealth. Per “The Evolution of the Wedding Dress” article, “in the days when washing was done painstakingly by hand with a washboard, a white dress was almost impossible to clean thoroughly [therefore] you just wore [it] once, so it was only for the very wealthy.” Also, this point is reinforced by influencers such as Queen Victoria. For her wedding to Prince Albert in 1840 she wore a white (or ivory) wedding dress (BBC.com). Therefore, many sought after her example. Even today people are connected to the past by that idea. Yet, that doesn’t mean that everyone has such beliefs. Take into consideration Western cultures. “Red is the typical bridal gown colour in China” (BBC.com). Designers such as Vivienne Westwood, John Galliano, Oscar de la Renta and Vera Wang have all implemented this approach as well. No matter the times, people will always want to do something different, some for the sake of rebellion; however, one can’t deny that white will always be the traditional choice. Not because it will keep people from talking or making speculations about the bride, but because of its sentimental significance. I was guided by that feeling too. Therefore, I choose to design and construct a white wedding dress. Maybe next time, I will toy with the idea again.

http://www.bbc.com/culture/story/20140503-how-wedding-dresses-evolved

Simone Rocha debuted in September 2010 at London Fashion week. Even though, she literally grew up around the runway, she never imagined herself in the fashion world. “Rocha attended her first fashion show at the ripe age of zero, and followed up the experience no less often than every six months ever since” (nytimes.com). As the daughter of a very successful designer, John Rocha, the standards were set even higher. Having to live up to that name pushed her to discover new elements to her design process.

Rocha was born in Dublin, Ireland in 1986. “In 2008 she graduated with a BA in Fashion from The National College of Art and Design in Dublin continuing in 2010 to graduate from the acclaimed Fashion MA at Central Saint Martin’s College, London” (simonerocha.com). After all that schooling, and having a name already made for her, one might think she was ready to take on the fashion world, but things weren’t that easy. “Following her graduation from the master’s program at Central Saint Martins, Ms. Rocha spent two seasons showing with Fashion East, the young-designer incubator, creating collections that sold to no one” (nytimes.com). Her initial designs were too focused on a certain period that she was inspired by, and they didn’t quite catch attention. From that point on she was suggested by one of her mentors to find inspiration elsewhere. That resulted in huge success.  

After her London debuted she gained immense attention. Retailers worldwide such as Dover Street Market, Browns, Colette in Paris, Ikram in Chicago, Bergdorf Goodman and 10 Corso Como in Milan, Seoul and Shanghai were very excited to have her collection in their stores. Another great success was being featured in Vogue US, Interview, Purple, Dazed and Confused and CR Fashion Book. Rocha has continued to move forward by collaborating with different labels. For example, “in November 2014 Simone launched her collaboration with US based denim label J Brand” (simonerocha.com). As her success elevated, she opened her first store “in August 2015 in London on Mount Street” (simonerocha.com). Her store interiors feature her signature Perspex, solid transparent plastic, furniture and hand-made sculptures (simonerocha.com). She is now in the works to open a “new store in Soho, New York, it is expected to be opened in Spring of 2017” (simonerocha.com). Rocha has also gained many well recognized awards.  In 2013, she won the “British Fashion Awards for ‘Emerging Talent, Ready-to-Wear’ and in 2014, ‘The New Establishment Award.’ Most recently at the 2016 Fashion Awards Simone received the “British Womenswear Designer Award” as well as the 2016 Harper’s Bazaar Designer of Year Award” (simonerocha.com).

For her Ready to Wear line she was inspired by Jackie Nickerson’s exhibition about rural workers from Southern Africa. “Nickerson’s makes photographs that examine identity and the physical and psychological condition of working within a specific environment” (jackshainman.com). Rocha took on great inspiration from the worker’s clothing and the way they wrapped around their bodies for functionality usage. She then interpreted it in her designs which consisted of juxtaposition arrangements “in lace trapped within wet-looking plastic; another, peekaboo cutouts and cutaway panels revealing flashes of flesh” (nytimes.com). She has the ability to sort of merge two very distinct garments such as a trench coat and dress to create unique apparel. As the Vogue review states, “there are often religious, almost ceremonial undercurrents in Simone Rocha’s work—that, and a definitely detectible erotic kink, which prevents it from being outright pretty perfect.” Another great feature from her line was her use of “utilitarian theme to bring in wrapping and tying, often leaving one shoulder of raincoats and jackets hanging off, and adding soft cross-body sling bags on top. The knotting device continued, quite beautifully, in the balloon sleeves of white taffeta blouses” (vogue.com). This goes on to show that our source of inspiration can come from anywhere. The idea is to be open minded and willing to absorb into a creative process. Her biography taught me that no matter how educated one might be, we all must stumble a little or maybe a lot to reach a certain level of success. I liked the fact that even though she pretty much had her career set for her, she had to endure hardships before gaining it all. But, as a young designer this is just the beginning.

Sources:

http://www.jackshainman.com/artists/jackie-nickerson/

https://www.nytimes.com/2014/09/14/fashion/london-fashion-week-simone-rocha-born-to-fashion-makes-her-own-mark.html?_r=1

http://simonerocha.com/bio/

img-simone-rocha_144932695054

SPRING 2017 (Courtesy of Vogue)

Project Timeline

*Friday, Feb. 10th:

·       Meet with Professor Lung,

·       Get designs approved

·       Go fabric Shopping and/or start draping/flat patterning

Monday, Feb. 13th

·       Start or continue draping/ flat patterning (Garment #1)

Wednesday, Feb. 15th

·       Transfer pattern to paper

·       Start draping/ flat patterning (Garment #2)

*Friday Feb. 17th

·       Continue draping/ flat patterning (Garment #2)

·       Transfer pattern to paper

 Monday, Feb. 20th

·       Start draping/ flat patterning (Garment #3)

Wednesday, Feb. 22nd

·       Continue draping/ flat patterning (Garment #3)

·       Transfer pattern to paper

*Friday, Feb. 24th

·       Start draping/ flat patterning (Garment #4)

·       Transfer pattern to paper

 Monday, Feb. 27th

·       Transfer pattern to paper

·       Start draping/ flat patterning (Garment #5)

Wednesday, March 1st

·       Continue draping/ flat patterning (Garment #5)

·       Transfer pattern to paper

*Friday, March 3rd

·       Transfer pattern to paper

·       Start draping/ flat patterning (Garment #6)

Monday, March 6th

·       Continue draping/ flat patterning (Garment #6)

·       Transfer pattern to paper

Wednesday, March 8th

·       Start draping/ flat patterning (Garment #7)

*Friday, March 10th

·       Continue draping/ flat patterning (Garment #7)

·       Transfer pattern to paper

Monday, March 13th

  • Cut fabric
  • Sew garments

Wednesday, March 15th

·       Sew garments

*Friday, March 17th

  • Cut fabric
  • Sew garments

Monday, March 20th

·       Sew garments

Wednesday. March 22nd

  • Cut fabric
  • Sew garments

*Friday, March 24th

·       Sew garments

 Monday, March 27th -Friday, March 31st

  • Cut fabric
  • Sew garments

Monday, April 3rd

·       Sew garments

Wednesday, April 5th

  • Cut fabric
  • Sew garments

*Friday, April 7th

·       Sew garments

Monday, April 10th

·       Sew garments

Wednesday, April 12th

·       Sew garments and final touches

 ******Friday, April 14th

  • Garments should be complete

Saturday, April 15th:

  • Photoshoot!!!

April 21st:

  • Class presentation and work on Portfolio

RESOURCES NEEDED

  • pattern paper
  • muslin fabric
  • silk fabric ($30-$16/yd)
  • lining

Silk (4.5 yds)$90+ (3yds) $75+ (3yds) 51=216

Lining polyester 8.99/yd=$90

Documented: Portfolio

Mood Board

bridal moodboard

Sketches

sketches

Swatches

Untitled-1

Line Sheets

Screenshot (75)

Photographs

suzy 1suzy 2abby 1abby 2suzy and jayjay

Hello!

I am Jocelyn Ochoa. My dream is to start my own clothing line. I plan on making two types of lines one that is affordable, but good quality garments for everyday wear and the other one will be more elegant with intricate designs. My future hope is to work in the bridal industry. In this class, I want to accomplish working in a timely matter. My favorite designers are Elie Saab, Anna Sui, and Simone Rocha. One obstacle in specific would be balancing out senior project with my four other classes. Also, training myself to get back into a schedule is another obstacle.

Haute Couture Assignment #3

RESEARCH PAPER:

Haute Couture is high end fashion that is constructed by hand from start to finish. It is also meant for an exclusive audience. For a workshop to be considered haute couture they must meet certain rules and regulations. One haute couture designer that I found interesting is Elie Saab. He is a Lebanese fashion designer that also designs ready to wear fashion. At a very young age he showed interest in design. He went to Paris in 1981 to study fashion. But returned a year later to Lebanon and opened his own workshop (fashionmodeldirectory.com).  Saab couldn’t wait to start creating. He first started designing wedding and evening gowns. His style was reflective of a mixture of Oriental and Western styles (fashionmodeldirectory.com). His use of rich, delicate fabrics such as: “lace, detailed embroidery, pearls, crystals and silk threads put Saab in a league of his own” (fashionmodeldirectory.com). His detailed designs captured the attention of princesses and celebrities. “In 1997 Saab was the first non-Italian designer to become a member of the Italian Camera Nazionale della Moda, and so in 1997, Elie showed his first collection outside Lebanon, which was in Rome” (fashionmodeldirectory.com). Perhaps one of the moments that helped him get recognition was “in early 2002, when Halle Berry wore his red gown to receive her Oscar Award” (fashionmodeldirectory.com).  This was a very important moment indeed for both Saab and Berry. She was the first black woman to receive an Oscar and Saab was the first Lebanese designer to dress an Oscar winner (fashionmodeldirectory.com).

Image result for Elie Saab Haute Couture

 Work Cited: http://www.fashionmodeldirectory.com/designers/elie-saab/

Another designer that I enjoyed learning about is Azzedine Alaïa. He was born in 1939 in Tunis, Tunisia. He studied at the École de Beaux Arts in France. He worked for a short period for Christian Dior and Guy Laroche. He later on gained more experienced as he worked for private clients. His designs were well received by women because they were “neither fussy nor affected” (ft.com). His clientele ranges from actresses to singers and models such as: Greta Garbo, Tina Turner, Grace Jones, Naomi Campbell and Rihanna. “Many of his key signatures such as body-conscious dressing, godet inserts and his use of leopard print are now widely referenced motifs” (ft.com). He is also acclaimed for his structural and sculpture like designs. “The dresses he shapes and sculpts, with their strong relationship to the body, have in the opinion of many costume historians changed notions of femininity to such a point that Alaïa can be considered the source of some of the 1980s main fashion changes” (ft.com). His designs are driven by the idea of sculpting the body. Alaïa is the kind of designer that “marches to the sound of his own drum.” He is not “influenced by mere fashion: year after year, season after season, he brings his own ideas to maturity” (ft.com).  I like the fact that he sees fashion in a sculptural perspective. He inspired me to see design in that perspective as well. Therefore, for this project I want to work with spatial and some off the body silhouettes.

 Image result for azzedine alaïa

 Work Cited: https://www.ft.com/content/228fead6-1f83-11e3-aa36-00144feab7de

MOODBOARD:

haute couture moodboard.jpg

SCHEDULE:

11-3-16: Research paper, Moodboard, sketches

11-4-16: Check our swatches(linen), gold thread, embroidery/ beading supplies, Make embroidery design templet

11-7-16: Make the sample and drape top part of dress and transfer to paper

11-10-16: Practice Samples of Embroidery design

11-11-16 Make embroidery design on self fabric, sew bodice together, lining

11-17-16 Finishing touches for bodice

11-18-16  Drape bottom (skirt) pattern and transfer on to pattern paper

11-19-16: Start sewing skirt together, lining? and piecing it together with top bodice

11-24/11-25: Finish up sewing

11-26-16 : Finishing touches

12-1-16: Photoshoot

CLIENT PROFILE:

An individual who comes from a wealthy family either new money or old money.

MATERIALS:

-Silk taffeta (fabric)

-sequins (embellishment)

-cotton thread

silj-and-sequins

CUSTOMER PATTERNS:

haute-couture-patterns

20161130_142857.jpg

PHOTOSHOOT:haute-couture-pose-1haute-couture-pose-2haute-couture-pose-3

 

 

 

 

 

 

 

 

 

Fast Fashion Assignment #2

RESEARCH PAPER

Times have changed. The way that we portray fashion now has been dictated by our fast, routine-like lifestyle. This has led to the growth of a new kind of fashion: fast fashion. “Fast fashion is revolutionizing the garment manufacturing industry” (blogs.windows.com). This industry is all about fast, hence the name. Trends are ever changing, therefore, retailers must meet the demands for those who want to stay up to date. It is also interesting to note how our consumption behavior has been affected by fast fashion. “Customers have become conditioned to expect a constant stream of trendy new styles from retailers” (npr.org). For those who want to always look stylish, fast fashion is their best friend. It’s quite amazing how fast their production is. “Chains like Zara are so fast, they can design, manufacture and get clothing onto store shelves in a month” (npr.org). Before the fast fashion industry existed, people had to wait months to get such designs. However, things have now changed. “It’s created a sort of year-round calendar for fashion as opposed to a biannual calendar for fashion” (npr.org).

Some fast fashion stores include Zara, Forever 21, and H&M.  Forever 21 is one of the top fast fashion stores. “It is the 5th largest retailer in the United States” (forever 21.com). They have about 600 stores total located in Asia, Middle East and the U.K. Another big retail store is H&M. They have 4,100 stores in places such as Hong Kong, Austria, and Croatia just to name a few. Their expansion is due to their attractive, trendy style and inexpensive clothes. The fact that one can get such things at a low price is the reason why many resort to stores such as Forever 21. However, these low prices have a cruel reality behind it. They are not originals, but copies. Their whole concept is about replicating other’s ideas on less expensive and lower quality fabrics and then pricing it at very low price point. Consequently, fast fashion chains have been sued for copying high end designs. For instance, Forever 21 has been accused by Trovata for “copying unique button placements, decorative stitching, and fabric patterns, among other details” from their designs (nymag.com). Also, they have had “over 50 lawsuits against Forever 21 over the last three years relating to copyright infringement” (nymag.com). Unfortunately, no laws exist that prevent this from happening. For this reason, fast fashion chains continue to take “inspiration” from high end designs.

Judging this situation at a different point, it is necessary to point out that if such laws existed the fast fashion chain would suffer greatly, as well, as their shoppers. In all truth most of us can’t afford to buy high end fashion due to our economic standing. But, being informed about such issues should entice us to search for other alternatives such as: shopping at thrift shops, supporting local seamstresses or small businesses. Even reducing the times that we shop at fast fashion chains, can help.

Sources:

http://about.hm.com/en/about-us/markets-and-expansion/market-overview.html

https://blogs.windows.com/business

http://www.forever21.com/Company/About.aspx?br=f21

http://www.npr.org/2013/03/11/174013774/in-trendy-world-of-fast-fashion-styles-arent-made-to-last

http://nymag.com/thecut/2009/04/forever_21s_ability_to_copy_de.html

FAST FASHION INSPIRATION

Olivier Rousteing’s Balmain spring/summer 2017 collection

balmain_spring_summer_2017_collection_paris_fashion_week4

MOODBOARD

Art 4050 ff Balmain.jpg

CUSTOMER STATEMENT

Koolture is designed for individuals who like to be ahead of the game when it comes to the latest trends. Our mission is to inject some Koolture to your life as well as your wardrobe.

My target customers are 18-25 year olds that work either part-time or full-time jobs. They take on big responsibilities such as balancing work with family, school, or simply just life. They are internally motivated and self-sufficient. They live at home, but pay their own bills. They are independent in their own way.

PRICE POINT: $10-$35

SUPPLY CHAIN ROUTE: My garments will be made in Bangladesh in a manufacturing garment factory in Dhaka.

FABRIC AND MATERIALS:

sw

1st Swatch: Crystalline (100% Cotton)

2nd Swatch: Crochet Lace (80% Cotton 20% Spandex)

3rd Swatch: Stretch Lace (80%Nylon 20% Elastane)

4th Swatch: Stretch Polyester Satin (97% Polyester 3% Spandex)

TECH PACKS:

screenshot-42screenshot-43

 

LINE SHEETS:

line-sheet-for-ffline-sheet-for-ff2

MUSLIN GARMENT SAMPLES:

skirtcrop-top

KOOLTURE STORE:

koolture-store

Koolture Store Bag (PACKAGING)

koolture packaging.jpg