Friday, 26 February 2010

Erdem A/W 2010

I was drawn to the beautiful autumnal colour palette of brown, teal, rust and tan of the A/W Erdem collection. Erdem’s S/S 2010 collection has been of inspiration within my current project in relation to the development of my ditsy floral prints, so I felt that it was important to research the A/W collection for further inspiration.

Erdem’s use of appliqué detailing alongside digital print adds a beautifully textural effect that is romantic and feminine. It also gives the prints a different dimension. As I intend to combine beading with print, I feel that I could also explore the possibilities of embroidery and appliqué to further enhance my own print development.

Not only was I inspired by the print and appliqué detailing, I was drawn to Erdem’s silhouettes, which illustrate the designers signature aesthetic; a delicate romanticism. Erdem’s play on volume through bell shaped skirts and fitted dresses is an element I aim to explore through layering, gathers and pattern cutting.

The way in which Erdem builds up his prints throughout the catwalk line up (the finale dresses being saturated in print) is also an elemnt i will explore throughout designing my collection.

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Mary Katrantzou A/W09

I was drawn to the decorative nature of katrantzou's digital prints, which came in the form of geometric explosions of colour. The prints are derived from lace, jewels, medals and sashes. It is the way in which Katrantzou places her prints on her garment shapes that inspires me, as it is more sophisticated than a simple placement or repeat print. Viewing Katrantzou’s collection has really encouraged me to consider the relationship between construction and print.I also admire the vibrant use of colour within the collection.

On the neckline of this garment I was drawn to the the juxtaposition of heavy emblishemnt on the light weight silk chiffon. The innovative placemnt and contrast of weights creates dramatic visual impact.

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Thursday, 11 February 2010

I have been working on these beaded samples in response to my research into the ornate and decorative beading of the 1920s. I was inspired by the textural effects of combining different beads, sequins and fabrics.

Within my own samples I have explored juxtaposing net and light-weight silk chiffon against heavy armour-like beading. I have also experimented with amalgamating matt and shiny beads to create a textural effect, as well as experimenting with beading black on black.

Clements Ribeiro A/W 2010 (

Within this sample i have explored juxtaposing a range of beads and chains to create a tactile and decorative embelishment that could be used as a detail on a dress. I was inspired by the ornate appliqued crystal embroidery seen in the recent Clements Riberio A/W 2010 collection (image - which is combined with delicate repeat prints. The way in which the design duo have combined opulent emblishment with print is a technique i wish to explore within my own collection

I started to explore how the heavy beading would work when combined with my digital print. Personally i feel that the weight of the beading provides a beautiful contrast to the light weight silk satin fabric. This is a contrast i wish to further explore through sampling.

Beading onto net creates a textural effect, with the net working as a design feature and contrasting with the weight of the beads. I personally feel the colours within this sample are successful, as they create the illusion of the embelishment being a vintage find. The sacle and shape is reminicent of the beading seen within the Clements Ribeiro collection. The juxtaposition of beads, scale and texture adds to the tactile nature of the sample.

S/S 2010 Couture

Super femenine, decadent and pushing the limits of design.

John Galliano at Dior presented a collection that showed exactly what top couture ateliers should be technically capable of producing. Based on Edwardian riding habits, beautiful coats and skirts led onto a line up of glamorous cocktail dresses and magnificent ball gowns.

The garments, sculpted out of luxury fabrics, were in stunning colour combinations of olive, claret, sage, chocolate, aubergine and pistachio. Galliano was inspired by 1950s fashion designer/ technician Charles James.Side draped skirts, organza, jewel and lace transparency are set to become big trends this summer.

Personally I am drawn to the element of opulence, decadence, luxury and glamour that is generated through the use of fabrics, drape and styling. It is my intention to generate a feeling of glamour through my own use of luxury fabrics, embelishment and styling so that my collection has impact when exhibited and shown on the catwalk.
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Friday, 5 February 2010

Paco-Peregrin and Kattaca - Couture Porcelain Dolls

Gorgeously excessive, this fashion photography series by photographer Paco Peregrin and stylist Kattaca, is reminiscent of royalty portraits from the 17th century mixed with porcelain dolls. The dynamic makeup and flamboyant hair sets off the feminine floral prints, big hair bows and scarves. The rich amalgamation of colour and romantic mood are elements i will take from the photographs.

I am inspired by the floral prints that decorate the garments and hair bows, and the images have encouraged me to further manipulate scale and colour combinations within my own prints.

The Maharaja

The Maharaja exhibition at the V&A was rich in elaborate colour, decorative embelishments and luxurious fabrics. I was drawn to the heavily embellished garments and furnishings, and it is this elemnt that i wish to take from the exhinition and bring into my own work.

After viewing the heavily embellished silk robes I was inspired to explore beading as a decorative technique to create a feeling of luxury and decadence.

Above are images from my wall space, which i use as inspiration, and to chart my progress. The images illustrate how i have moved on from my reserch to developing print ideas. I was inspired by Erdem's S/S 2010 collection for the designers innovative use of digital print and rich amalgamation of feminine colour. It is my intention to consider negative space and print placemnt through my own exploration on Photoshop to generate visually stimulating print.

Through careful research and evaluation i feel that i have been able to improve and develop my prints further, learning new skills and techniques on Photoshop. I think that it could be argued that i stay within my comfort zone when i work, and this semester i aim to push myself further with my development of ideas so that my work is not so 'safe'.

I now aim to consider how my prints could work on garment shapes, using designers such as Erdem, Mary Katrantzou and Basso and Brooke as inspiration.

Print Development...

Here is a selection of the digital prints i have been working on for my final collection. I was inspired by Erdem's use of colour and placement. In order to push the prints foward i aim to consider negative space and scale.

This print utilises the majority of colours from my colour palate, and was inspired by the Katacca and Paco Peregin photo shoot for floral motifs, colour and feminine mood.

I have explored scale and combining different types of flowers. The amalgamation of colour works well, as does the placement of prints as it generates a romantic mood. However I feel that I could further explore scale between the large flowers and ditsy motifs to create more of a contrast and thus visual impact.

After analysing Erdem’s floral prints I decided to explore repeat (as opposed to the random placement of previous print designs I have worked on), and this has created a visually busy print that explores pattern, colour and scale. The soft amalgamation of colour is effective, and I would like to see the print on either a silk satin or chiffon fabric as I feel that the nature of these fabric could change the impact the print has.

This is one of my favourite prints as I feel that the juxtaposition of scale and the placement of the floral motifs are elegant and feminine. The lemon yellow and duck egg blue were a result of further experimentation into colour, as I wanted to start to explore using colour combinations that were out of my comfort zone.

I feel that this print demonstrates my response to my research, and shows development of skills on Photoshop as I have become more confident in experimenting with new techniques.

I wanted to step out of my comfort zone, and thus started to explore combining different floral motifs and colour combinations. This print was a result of continuous exploration of techniques on Photoshop that resulted in the print becoming an explosion of inky colour. I feel that this print would have impact when used on a silk/satin dress due to the rich use of colour, and play on scale.


Beading is a technique that i will use within my collection, taking inspiration from the decadence and luxury of 1920s vintage pieces, combined with the ornate tactile embelishment of the Maharaja, as seen at the Victoria and Albert museum. To gain an insight into vintage beading, and beading techniques i will gather research from Hand and Lock and the Warner Textile Archive in Braintree.

Recently i visited Danielle Sprecher, the costume curator for Essex Museums, and had a look at the collection of 1920s beaded garments. I was inspired by the tactile amalgamtion of beads, sequins and fabric. The weight of the beads on the chiffon dresses was a beautiful contrast, and is an elemnt i wish to explore.

I was inspired by the tactile amalgamation of beads (both matt and shiny), sequins and luxurious fabric within this dress. The weight of the beads and the contrast in texture, and colour is an element I wish to explore in my work as it provides a tactile element, and is visually striking.

After viewing the collection of garments i was inspired to start beading, and exploring combinations of colour, texture and heavy clusters of embelishment.
The weight of the mass of beading on this sample has a striking visual impact, and the flapper dress must have looked stunning in motion when worn during the 1920s. It is the contrast between heavy masses of beading that I want to explore within my work, as I am drawn to the impact of the technique.

Beautiful amalgamation of colour and careful placement of embellishment adds to the beauty of this detailing. I am drawn to the decadent clusters of beading, and the tactile nature the dress has as a result.

I was inspired by the tactile amalgamation of beads (both matt and shiny), sequins and luxurious fabric within this dress. The weight of the beads and the contrast in texture, and colour is an element I wish to explore in my work as it provides a tactile element, and is visually striking.

After viewing the collection of dresses i was inspired to further explore beading, juxtaposing colour, texture and scale.


(Erdem S/S 2010 -

Due to the success of my digital prints i felt that it was a technique i wished to take further within my final major project.

Print will take the form of floral motifs, inspired by contemporary fashion designer Erdem's signiture floral prints. I admire Erdem's romantic, feminine vision, and innovative placement of print.The way that Erdem utilises negative space within his prints is a particular inspiration. It is my intention to push my prints forward through considering how they would work/ be placed on a dress. I feel I will be able to achieve this through careful research and development of ideas.

Final Major Project

A capsule collection of darkly sophisticated, yet feminine garments takes inspiration form the timeless appeal of the little black dress, juxtaposed against heavy armour like beading, and bold digital print.

Designed for the cocktail hour, this luxury collection is roused by the female form, and the way it moves. Exploring body conscious, dynamic and voluminous silhouettes through line and repetition, the collection references the architectural lines of the 1980s and Balmain’s contemporary rock-chic aesthetic.
Heavy beading forms armour for the body, offering the illusion of strength, and exploring the interconnection between women and power. Beading takes inspiration from the decadence and luxury of 1920s vintage pieces, combined with the ornate, tactile embellishment of the Maharaja.

Fabrics include butter soft leather, contrasted against lustrous silks and transparent chiffon to provide a tactile edge.

Work Placement - Studio G

Following on from my previous project, i was selected by Studio G to do a work placement. The experience furthered my skills in Photoshop, and digital print design, as well as providing me with the opportunity to experience working as part of a design team.

During the placemnt i produced a capsule collection of ditsy floral print dress fronts for S/S 2010, which were taken to Indigo in Paris.

The prints were inspired by Erdem's feminine design aesthetic and elegant placement of print.

Based on my work experience i can see the potential of working as a freelance print designer.

Above are photographs of my final collection of beaded and printed fronts, which have been exhibited in New York, and Paris at Indigo. My fronts were selected by Studio G to go to New York, where two of my digitally printed dresses sold.

These dress fronts show the development of my print work throughout the project. I feel that i now have more confidence and exploring new techniques on Photoshop, and next semester i hope to develop this through pushing myself out of my comfort zone.

Unfortunatly i do not think that my final dress fronts have the same visual impact as my illustrations/ initial drawings. It is thus my intention to develop my pattern cutting/ construction skills to avoid this problem next semster.