beauty in 1.618

D o s s i e r .Emma Parke Wolfe

Final Collection

BA (Hons) Fashion Atelier

final collection.

final collection.

C o l l e c t i o n A b s t r a c t .This col lect ion looks to use aesthet ic beauty as i t s main concept , wi th part icular reference to faces ; the re lat ionship between beauty and mathematics. Each feature plays a di f ferent ro le in the s tructure of a face. Proport ion i s a running theme. Umberto Eco discussed the re lat ionship between proport ion and beauty in his book ‘On Beauty’ . He descr ibed how Grecian ideal s tatues were bui ld with har moni-ous proport ions as i t was seen as a s ign of beauty. I f something was cons idered aesthet ica l ly har-monious, i t was a l so in har mony with the earth, p lanets and nature, and therefore beaut i fu l .The rat io Phi (1 .618) i s used in many mediums of art for ms to create beauty. Phi i s a measurement of aes thet ic beauty, a l so known as the div ine proport ion. Leonardo Da Vinci used this proport ion throughout his work, inc luding paint ings and anatomical drawings. I t i s a l so present in the faces he painted, for example the Mona Lisa ’s portra i t uses the proport ions of phi , and she i s cons id-ered beaut i fu l . Da Vinci i l lus trated the platonic so l ids In Luca Paci lo i ’s De Divinia Proport ione: publ i shed in 1509, the book i s the f i r s t to look in depth at the div ine proport ion in re lat ion to so l ids and archi-tecture. The intr icate sketches of so l id and skeletonic shapes are beaut i fu l and have g reat ly inf lu-enced the shape and ang le of the frames used in this col lect ion.In the las t decade Dr Stephen Marquardt has a l so used Phi to, somewhat controvers ia l ly, create a perfect ly proport ional fac ia l mask. To create his mask he has used the same golden tr iang le, pen-tagon and decagon shapes as used by Da Vinci in De Divinia Proport ione. Marquardt i s searching for a way to create perfect fac ia l proport ions every t ime with the resul t o f beauty, in a id of h i s research into plas t ic surgery.The problem when us ing mathematica l s tructures to create fac ia l beauty, i s phys ica l re f lect ion of the face down the middle i s never actual ly symmetr ica l . No two s ides are the same however the features are mirrored across the face. This concept of re f lect ion and a-symmetry i s present throughout the col lect ion in some of the col lar des igns. In portra i ture, the per son i s not usual ly painted face-on. I t i s because that a-symmetr ica l aspect of the portra i t i s what makes i t interes t -ing or beaut i fu l to look at . Portra i t s are general ly presented as pol i shed master pieces in a f rame. Throughout this col lect ion I have used frames as a running des ign s trategy. Frames are used to preserve beaut i fu l th ings ; beaut i fu l th ings are f ramed and displayed. Marquardt has bui l t a f ramework of fac ia l beauty us ing Phi wi th which he can re ly on. As has Leonardo Da Vinci when he explores the ske letonic f ramework of Divine so l ids. Both are p laying with dimensions, as does this col lect ion.

Look OneFrame jacket

Look TwoFrame dress

Look ThreeBox hem coat

Look FourFrame hood jacket

Look FiveMirror collar jacket

Look SixSquare top

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final collection.

final collection.

Look one is a framed jacket with a mirror collar. This jacket is in-

spired by beauty and picture framing. This piece can sit on display as well as being a wearable

piece. The collar is inspired by the symmetry of faces. Faces are symmetrical, however they never look

the same when perfectly mirrored across the middle. The jacket is worn over a simple long sleeve cotton shirt

with and emboss collar. This outfit is paired with a smart tapered trouser with cut out

detail behind the knee.

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The dimension of the frame in this toile are

crucial to the size of the body.

- The width of the frame is determined by the

width of the body between the shoulders. 39cm.

- The depth of the frame must is deter-

mined by the depth of the body between

the shoulder blades and chest. 23cm

- The length of the frame is less critical.

For this garment it is measured at 35cm.

- For the toiling process, the garments with frames will use standard 1x2cm

wood and staple gunned together. Using staples will allow the wood to stay

together strong enough to toile, but is also easy to pull apart if needed.

For this garment it is measured at

39cm

35cm

23cm

Toile Frame.

1212

CB

Collar edge

Roll line Collar edge

Neck

CB

CF

Back Front

AB

This garment does not have much shaping to the body, therefore the only drap-

ing necessary is the collar. This collar appears symmetrical, however one side

(A) has a collar roll and the other side (B) is seamed into the bodice. Side A is

draped fi rst, and from this, B is fl at patterned. As can be seen in the draft drawing:

A = blueB = red

Constructing The jacket bodice.

13

BA

This line of pictures shows a 360 degree view of the mirror collar.

15

Once the collar is fi nished, the jack-

et can be stapled into the frame.

Lining the CF and CB points to

the same points on the frame.

At the shoulder point, the excess

fabric is manipulated into a pleat

to create room for the shoulder.

17

F i n a lG a r m

e n t .e n t .e n t .

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Final frame construction.

The bespoke picture frames are made

in the picture framing workshop. Firstly,

each measurement is made accurate-

ly, if one length of wood is too long, the

frame will be off balance and unstable.

The wood is cut using a miter cutter.

As can be seen above, the miter cutter

has a large right angular blade. The

blade cuts two angles at the same time.

Once the angles of wood are cut, they

are pinned together using the under pin-

ning machine. The wood is laid into

the machine at right angles. It is se-

cured using hydraulic pressure clasps.

The machine shoots a right angular sta-

ple into the wood from underneath.

19

final collection.

final collection.

21

The Oak is then treated with oil.

This darkens the wood slightly,

brings out the grain and makes the

wood look richer fi nish.

Before oil treatment After oile treatment

Treating the Oak with oil

22

Making the Jacket. To ensure the jacket pattern fi ts

the picture frame exactly, the pa-

per pattern is pinned and taped

together into the real frame.

The fabric used for this

jacket is fragile and frays

easily. The metallic threads

spring out of seams and

will pull apart leaving the

jacket looking shabby.

To avoid fraying and pull-

ing at the seams, all cut

pieces are fused at the

edges with 1cm fuse tape.

23

After all of the pieces are cut and fused at the edes,

the front panels are then basted onto canvas. The

fabric is lightly stretched over the canvas to, giv-

ing the self fabric strengh, stucture and a clean front.

24

Canvasing Front Panels.

The canvas is cut away over

the shoulder for the self fabric

falls over the natural shoulder.

It cut down by 1cm and

taped at the jacket edge to

make for a clean line when

the facing is bagged out.

The canvas is also cut down

along the hem and the

sides. This is so the self fab-

ric can fold over the canvas

and sit nicely into the frame.

25

A Strip of lining on the straight is placed at

the roll line to reinforce the pad stitching. The

pad stitching starts at the roll line and con-

tinues round the revere to the jacket edge. As

the revere is being pad stitched, it is rolled to

give it memory and stay rolled back by itself.

26

Assembling Garment + FacingAssembling Garment + Facing

The back lining

and facing is assem-

bled, followed by the

front facing pieces

that are stitched to

the back facing at

the shoulder seams.

The same process is fol-

lowed with the outer

jacket. The back is as-

sembled at CB, followed

by the front and back

panels stitched togeth-

er at shoulder seams.

Once the front and

back panels of both

outer jacket and facing

pieces, the collars are

stitched to the necklines.

The pad stitched col-

lar attaches to the outer

jacket as an under collar.The facing and outer jack-

et are stitched together

along the jacket and collar

edge and bagged out. The

left hand side of the jacket

where there is no roll line is

not pressed fl at. This is to

mimic the roll of the real

revere on the opposite side.

1.

2.

3.

4.

27

The collar is pad stitched from

the roll line down the collar

fall only. This is because the

collar stand shows from the

front on side B, and therefore,

so would the pad stitching.

29

Final Jacket.Final Jacket.The fi nal Garment is both

super glued and stapled

into the frame. bias bind-

ing is attached around

the outside of the jacket.

Once the jacket is in the

frame the bias binding

folds over the staples to

hide and conceal them.

30

Paired with Grey trousers.

The frame jacket is paired with

grey wool straight leg trousers.

The trousers have a diamond

cut out behind the knee. Firstly,

all pieces are bound. The back

cut out panels are constructed

separately and a small facing

bags out the cut out edge. The

diamond edges overlap at the

sides to stable the structure.

Creases are pressed down the

front and back legs in keep-

ing with the boxy concept.

Cout out toursers.

31

And white cotton shirt.

31

To match the white cot-

ton, mother of pearl

buttons are used to

fasten the shirt front.

A long sleeve shirt goes under

the box Jacket. The shirt has

an emboss collar. As can be

seen in the picture below, the

collar is assemble and attached

to the neckline before the rest

of the shirt is constructed.

The shirt has a narrow cuff will

a small 1cm wide cuff plaques.

A small slit detail in

the hem at the sides.

Look two is an open back

framed dress. The frames are

placed around the arms and collapse into the body at the waist with

hinges. The top frame corners sit at the dropped shoulder with a round neckline. The skirt fullness is cre-

ated by slashing directly into the fabric at the front, inserting the frame and opening the slash to push the

fullness around from the hinge point into a flared skirt.

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Draping With the frame.

After roughly measuring the angle at which the frame will hang from the body, this de-termined the angle at which to cut into the fabric. The frame is stapled into ether

side of the cut, with one hinge end closest to CF. When the frame opens, the fabric also opens; this pushes the flare onto the other side of the cut. The the direction at which

the hinge opens is crucial, if it stapled into the cut the wrong way round, the hinge will not open the cor-rect way and will not sit against the body correctly.

37

Once the frame is sta-pled into the fabric, the frame is opened and placed on the side of the body, around the arm. The dress is draped around the po-sitioning of the frame. The dress must hold the frame fi rmly in place on the body, but also allow the frame to manipulate its shape.

The frame must be positioned just off the shoulder, but not so far down that the arm is restricted. When the frame falls open, full-ness is pushed to the front of the body, crat-ing nice folds of fl air.

The bottom frame beam falls open and sits against the hip. A dart is positioned from the top frame corner, into the shoul-der to create a smooth dropped shoulder.

The back is open. An under dress is worn underneath to cover some of the side body. It will also and at-tach to a circle skirt to resolve the back.

38

CBCB

CF

DartDar

t

Fram

e Inse

rt

Toile With the frame.

Firstly, the slit that the frame is stapled into has no seam al-lowance because it is simply a slit into the fabric. Therefore it must be bound. As can be seen in the pictures to the right:

The slit is cut into the fabric and stay stitched.

The slit is opened com-pletely opened out straight and the binding is stitched continuously along the edge.

The binding is turned over and finished. The sli-tis bound and no fabric is lost in seam allowance.

1

2

3

39

The pictures below show the dress front once its slashed into and edges are bound. The shape is nice, even be-fore the frame is stapled in.

These pictures to the right show the frame stapled into the dress bodice and back skirt attached. The edge of the fabric will rest inside the frame. The picture framing wood has a small ledge to hide the edge of the fabric.

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F i n a lG a r m


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Constructing The dress.

• This dress has very little sewing

and relies mainly on the frame in-

serted into the fabric at the waist.

• Firstly, the shoulder dart is closed, as

can be seen in the photo to the right.

• The back panel is bound fi nished

at the hem and shoulder seams.

• The neck facing is also fi nished with

binding. Black tape is stitched onto

the neckline to prevent stretching.

• Then the back is attached to the

front at shoulder seams and the

neckline is bagged out with facing.

Neck facing

Bagged out nackline

Back panel

45

final collection.

final collection.

46

CBCB

CF

Dart

Dart

Fram

e Inse

rt

• Making the waist cuts for

the frames it delicate as the

cut slit must be finished

with no seam allowance.

• The cut is marked out onto

to dress with chalk and a stay

stitch is sewn around it to

prevent fraying or stretching.

• The slit is finished with

bias binding as ex-

plained in the toile stage.

• Firstly a small piece of bind-

ing is attached at the point

of the slit to reinforce this

part as it is the most like-

ly to rip, fray or stretch.

• Lastly the final long strip of

binding is sewn along the

whole slit, across the back,

and also down the skirt

back. As can be seen in the

photograph on the right.

• This binding is only sewn on

one side because the dress

will be stapled to the frame

through the binding. The oth-

er half will then fold over, hid-

ing the raw edge and staples.

Constructing The dress.

48

Hinges On the frame.

To attach the hinges onto the

frame corners a small pilot hole

must be drilled fi rst. Using a Pil-

lar drill the four small pilot holes

are drilled to prevent the wood

from splitting when the nails are

hammered in. A small bit of su-

per glue is also put underneath

the hinge to reinforce the joint.

To attach the hinges onto the

frame corners a small pilot hole

must be drilled fi rst. Using a Pil-

lar drill the four small pilot holes

are drilled to prevent the wood

from splitting when the nails are

hammered in. A small bit of su-

per glue is also put underneath

the hinge to reinforce the joint.

4949These pictures to the left show

the dress before the frame is sta-

pled in. Bias binding cut from

the self fabric is attached to the

dress before frame is attached.

Once the frame is attached

the binding folds over the sta-

ples, hiding the from view.

The Picture to the left shows

the frame attached to the dress.

Both super glue and staples

are used to secure the joint.

The picture below shows the

under skirt. As this dress only

attaches to he frames and is

not resolved at the back, there

must be an under skirt to cover

the back. The under skirt is

a semi circle with two extra

quarters of fullness to mir-

ror the front of the dress. the

skirt fastens at the side and the

dress is placed over the top.

51

Final Dress.Final Dress.

Look three is a large jacket with a box hem. The hem is shorter

than the knee at the front and drops sharply toward the back. The hem is not a wooden frame,

however it has been cut to mimic the shape and hang line a frame. The collar also has a mirror collar,

similar to look one, however this collar is mirrored in more detail. The box hem jacket has no sleeves and is

pared with small shorts that just show from under the

jacket at the front.

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Fold line

CB

CF

Draping Boxy jacket.

This garment is one large box.

It is tailored around the neck-

line and shoulders, and hangs

in a sharp stiff box-like bod-

ice. The front sits just above

the knee and graduates down

towards the back to a very low

dropped hem. A boxed hem

attaches to the hem (explained

on next page) this gives struc-

ture to the box, ensuring it

does not loose its shape and

the hems do not collapse

with the wight of the sides.

For the bodice to keep its shape,

the front, back and side bod-

ices are interfaced. In the fi nal

garment, this will be canvassed

on the whole front panel, and

side panel. However the back

panel will only be canvassed

below the armhole. The jack-

et would be too bulky if the

whole back panel were can-

vassed, and it is only the bot-

tom half that will benefi t for it.

57

Roll line

CB

Neck

Collar edge

Collar edge

The same mirror collar from

toile three is drafted onto this

jacket. The two jackets are very

similar in construction, how-

ever their shapes are two ex-

tremes. This will help the col-

lection fl ow. This garment is a

statement piece, however, Toile

three is a wearable version of

this toile. Therefore the two gar-

ments help each other in being

key elements to the collection.

58

Box hem Net.

Fold line

CB

CF

Fold line

CB

CF

To create the box hem

on this jacket, there must

be an extra layer on the

inside of the jacket to

hold the fl at hem in place.

The box diagram to the right

shows the inner structure of

the box hem within the jacket.

• Red indicates the fl at

hem suspended from the

hem of the jacket. Ap-

proximately 4cm wide.

• Blue indicates the inside

layer used to hold the

red box hem up. This

layer connects to the

inside of the red hem,

and widens to attach to

the inside of the jacket;

suspending the red hem.

Box hem Inside layer Outside jacket

This diagram to the right is the jacket draft with col-

our indications of the box hem net. The hem could

be grown on or the pieces can be cut separately.

• Yellow indicates the

main outside jacket.

61

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6262

Assembling The collar.

The front and back bod-

ice pieces are assembled

fi rst, along with the front

and back facing pieces.

The under collar is stitched

to the bodice, and the under

collar is stitched to the facing.

Sing

le L

ayer

Dou

ble

Lay

er

The coated cotton used for this coat

is too thin on its own. As can be seen

in the sample boxes to the right, one

layer of cotton is see through. Dou-

bling up the cotton prevents transpar-

ency and will add wight to the gar-

ment. All pieces are cut double layer,

including the facing and collar piece.

63

Although this fabric would

not usually be used to tai-

lor with, canvas is placed the

under collar to give it mem-

ory and keep a nice shape.

64

Box Hem.

64

1.

2.

3.

To create the box hem,

the hem is fi rstly as-

sembled separately to

the jacket. A piece of

buckram is sandwiched

between two pieces of

coated cotton. A third

layer is placed over this

to prevent the buckram

from showing through.

The bottom box is

stitched together, The

buckram is cut down

at the seam allowance

as it is to thick to stitch

in the at the seams.

The inside support walls,

indicated in Blue, are

stitched onto the box

hem, indicated in Red.

The sides of the sup-

port walls are stitched

together at side seams

before the whole hem is

attached to the jacket.

Buc

kram

Fold line

CB

CF

66

Box Hem.

Once the box hem is sepa-

rately assembled, it is then

attached to the bottom of

the jacket. It is carefully

bagged out and pressed

into a box. The inside sup-

port walls are hand stitched

to the inside of the jacket.

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69

Final jacket.Final jacket.

70

Paired with Shorts.

The jacket is paired with a

standard pair of blue cot-

ton shorts. The bottom of

the shorts only just show

slightly below the jacket.

A hook and bar is used to fasten

the short above the zip. Using a

hook and bar is a nice fastening

to use for a fl y that does not have

anything showing from the front.

71


To match the white

cotton, mother

of pearl buttons

are used to fas-

ten the shirt front.


the hem at the sides .

A short sleeve raglan shirt goes un-

der the Jacket. The shirt has an em-

boss collar. As can be seen in the

picture below, the collar is assemble

and attached to the neckline before

the rest of the shirt is constructed.

72

Look four is a framed hood

jacket. The jacket has a relaxed

shape with a dropped shoulder and curved back. The frame in the

hood has small hinges at the corners which allow the frame to sit on top of the head, or back on the

shoulders. The concept for this collection is beauty and facial aesthetics, the jacket represents this by

framing the face.

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Drafting Framed hood jacket.

CF

Fold

line

CF

Fold

line Fo

ld li

ne

CF

Fold

line

CF

This jacket is drafted from the bodice of toile three. The three diagrams be-low indicate the adjustments made to from toile three, to create this toile five. The red lines indicate the adjustments.

The bodice is slashed into from the hem to the back of the arm hole, and pivoted out to add full-ness to the bodice. The new hem is drawn slightly lengthened at the back.

The shoulder is drafted into a dropped shoulder and the armhole is also dropped. A new neckline is drawn to accommodate for the hood. The jacket edge is trimmed down to the CF. This is because the jacket cannot overlap at CF with the frame at the neckline.

1 432Jacket bodice of toile three

New final jacket bod-ice for toile five.

77

Fold

line

CB

CFCF

This picture shows a dart at the shoulder. As a result of flat pat-terning the drop shoulder, once toiled, it seemed a little rounder than the original design. Add-ing this 2cm dart horizontally to the sleeve, gives the shoulders a smoother shape and a better fit.

This diagram shows the final bodice draft. The back panel is straight from the hem and curves into a dropped shoulder at the armhole. This is drafted to match the dropped shoulder on the front.

78

Sleeve draft Dropped shoulder.

The diagrams to the right show the dropped shoulder armhole. The shoulder points cross over at the top in different directions because the shoulder is dropped. To cre-ate the sleeve draft the points must be levelled out and squared off.

• Dropped shoulder armhole. • Keeping the lines at the same length, the shoul-der points are levelled out and squared off. The cap height is logically guessed.

• To draft the sleeve the silhouette lines are drawn first. They start from either side of the armhole at the widest point.

Red = Front over arm Blue = Back over armGreen = Under arm

• The pitch line is then drawn as a guide for the new silhouette lines to fol-low. Starting straight and bending at the elbow line to follow the pitch.

• The side seams are then displaced to hide underneath the arm.

• The overarm seam lines are drawn from the crossed over shoulder points. They meet at the sleeve hem and square off. These lines are exaggerated out to create volume.

79

As can be seen in the toiled bodice, the extra fabric added at the back when the pattern was slashed into, has taken the garment off balance. The back is now push-ing the front forward. This works well as it pushes the centre fronts over each other to create a nice line at the front.

The three piece sleeve sits well into the armhole and pitches nicely. The armhole is low to allow the frame hood to be pulled up onto the head.

80

Fold

line

CB

CFCF

Hood Framed hood jacket.

The frame for the hood is the same size as the two frames in toile two. The frame is made fi rst and the hood drafted to the measurements of the frame. The frame is attached to the front edge of the hood, this edge be-ing the crucial length. As the frame is square, all lengths are the same. From the bodice CF to the side of the hood must be equal to the distance from the side of the hood to the CF of the hood (at the top). The rest of the hood size does not rely on strict measurements.

81

The hood is fi rstly stitched into the bodice neckline be-fore the frame is at-tached. The frame is staple gunned onto the hood edge at the front.

This frame has hinges on two cor-ners (the same as the frames in toile two). The corners with the hinges are placed at the sides of the head.

This allows the frame to hinge backwards, lifting the frame and hood off the head. When the frame is hinged open, it rests on the shoul-ders and is cush-ioned by the vol-ume of hood fabric.

When the frame is swung shut to its original shape, it lifts the hood back onto the head. The top of the frame can rest on the head to keep the hood up, or it can be pulled over the head and hang at the front.

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84

Bodice Bodice and sleeve.

Firstly the bodice is assem-

bled at side seams. The three

piece sleeve is made up and

stitched into the armhole. On

the jacket toile the sleeve was

collapsing slightly at the top

of the dropped shoulder. a

small amount was pinched off

of the sleeve cap height for

a nicer fi t into the armhole.

Using a three piece sleeve al-

lows the sleeve to bend with

the natural curve of the

arm. The outer edge seam is

curved to create a sleeve that

also bends out around the

arm. As can be seen below.

85

Hood.The hood is at-

tached to the jacket

neckline before the

frame is attached.

86

Lining Bodice and hood.

After the main bodice is con-

structed, another bodice is

made for the lining. The wrong

side of the fabric is used for the

bodice and a black satin lining

is used for the sleeves. This to

make the garment easier to slip

on and off because it must go

over the head. The two bodic-

es are bagged out to fi nish the

hood and front jacket edges.

Satin

lini

ngW

rong

sid

e

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final collection.

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88

Attaching frame Into hood.

The frame is both stapled

and super glued into the

hood. This garment, unlike

the other framed garments,

does not need bias binding to

hide the staples. The hood is

stapled onto the frame from

the inside. The hood edge is

then turned over the the sta-

ples, hiding them from view.

the inside. The hood edge is

then turned over the the sta-

ples, hiding them from view.

89

Attaching frame Into hood. Final jacket.

89

90

Paired with White trousers.

The hooded jacket is paired

with white silver trousers.

The trousers are creased

down the front and back leg.

This fabric has a paper like tex-

ture and has no drape. This works

well with the design of these trou-

sers because it keeps a sharp shape.

91

All Trouser edges are bound with white

cotton. The outside waistband is stitched

to a layer of collar canvas and held to-

gether between white cotton. This give

the waistband strength and structure.

Look five is a simple wear-

able jacket. The front is

very square and box-like, also mimick-

ing the frames in other garments. Where the front

is very straight, the back of this garment is curved and less rigid.

The collar is a mirror of its elf however, one side has a collar fall and the other is just

represented by seams.

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Draping Simple jacket.

CF

CB

Fold

line

The jacket bodice is very simple.

The front and side are one panel

with no suppression. At the back

side seam, the bodice curves into

the body towards the hem. The

back panel is straight and nar-

row to create a boxy shape at the

back. Although the jacket is very

simple, it is the most wearable.

The bodice is simple, however the

collar is very complex The collar

uses the same technique as toile

one. The right side has a collar

fall which tapers away toward the

left side. The left side mirrors the

right in seams only. This jacket

has a standard two piece sleeve.

A = blueB = red

97

At this stage, the main bod-

ice has been constructed and

the collar is fi nished with the

facing. The jacket curves

around and slightly under

at the back. This pushes to-

wards the front where there

is no fi t. The front creates

a boxy clean silhouette.

As can be seen in this pat-

tern and toile, the collar has

a fall on side A, but does not

on side B. This is the same

collar construction as in toile

one. However, this collar also

refl ects the revere, which

is grown onto the facing.

Roll line

CB

Neck

Collar edge

Collar edge

AB

98

Mirror collar with collar fall

on one side and mirrored in

seam on the other. It can be

very easy for this detail un-

noticed from a far on the

cat walk. The seamed side

can fade into the fabric and

disappear. The collar will

be made in a different fab-

ric from the jacket, how-

ever the difference in fab-

rics will be subtle, but still

enough to notice the detail.

99

The front panel is pressed

along the press lines to give

the bodice a nice silhou-

ette. For the real garment,

this whole front panel will

be canvassed between press

lines. This will make the

lines sharp and prevent the

front hem from collapsing.

A standard two piece sleeve

is made for this jacket to

keep the garment wearable.

101

F i n a lG a r m


102

Canvassing Front panels.Front panels.

Fold

line

Fold line

Firstly, the front panels are

canvassed . Both sides are

trimmed down along the col-

lar edge, neckline and hem.

On side A, a bridal is at-

tached at the roll line and

pad stitched across the revere.

The canvas does not cover the

whole panel. It is folded and

cut down along the fold lines.

These fold lines create the boxy

shape of the front jacket. The

canvas will defi ne the folds

and hold the shape of the box.

AB

The collar is pad

stitched from the

roll line down the

collar fall only. This

is because the pad

stitched side of collar

side B will be on show.

104

104

The canvassed collar

is stitched to the jacket

neckline. The bridal is

then pad stitched to the

collar to prevent the col-

lar stretching on the bias

The over collar it stitched

to the neckline of the fac-

ing. The two sides will

then be bagged out. The

seamed in revere is at-

tached to the facing .

Canvas is added to the fac-

ing where the fake revere is

seamed in. This is because

the revere facing is on the

fold, and therefore is not

grown on from the body.

As the revere is not grown

on from the jacket bodice, it

has no canvas. The canvas is

cut slightly longer than the

roll line so when the revere

is folded, it gives a roll effect.

Facing side B

105

Mirror collar.Once the jacket and fac-

ing are bagged out, the

mirror collar can be seen.

The two piece sleeve in

fi t into the armhole and

the jacket is pressed along

the fold lines at the front.

106

Lining and Fastenings.Lining and Fastenings.

The jacket is fastened at two

points along the centre front.

The fastenings are magnetic.

They are attached by cutting two

slits into the fabric, pushing the

magnet tabs through, and se-

curing in place by bending the

two tabs around a back piece.

Once the fastenings are attached

to the jacket and facing, the lin-

ing is attached. The lining is hand

stitched around the armholes. A

2 cm pleat is left at the bottom

to ensure the lining is not to tight

and does not pull at the jacket.

107

Final jacket.

108

Paired with Red trousers.

Red Trousers

The jacket is paired with red wool trou-

sers. They are straight, cropped suit trou-

sers that slightly taper toward the an-

kle. A sharp press line down the front

and back of each leg gives the trouser

some structure to match the concept.

Each piece is fi rstly bound around side

and crotch seams. The legs are assem-

bled separately before the crotch seam.

Then the fl y is inserted into the centre

front with a small squared fl ap. The waist-

band sandwiches a piece of collar canvas

to give the trouser structure and stability.

109

A short sleeve raglan shirt goes un-

der the Jacket. The shirt has an em-

boss collar. As can be seen in the

picture below, the collar is assemble

and attached to the neckline before

the rest of the shirt is constructed.


To match the white

cotton, mother

of pearl buttons

are used to fas-

ten the shirt front.


the hem at the sides .

Look six is a box shirt.

Similar to look three the hem

of this shirt is drafted into a box net. This box

hem can be seen best from the front, and narrows down toward

nothing at the back. The whole garment is very square with no sleeves

and an emboss collar. Although this is a shirt, it has no button stand, the

two side meed exactly in the middle and fasten on the

edge.

111

Lo

ok

S

ix

.

ook six is a box shirt.

Similar to look three the hem

of this shirt is drafted into a box net. This box

hem can be seen best from the front, and narrows down toward

nothing at the back. The whole garment is very square with no sleeves

and an emboss collar. Although this is a shirt, it has no button stand, the

two side meed exactly in the middle and fasten on the

edge.

113

To

il

e.

114

Draping Box Shirt.

CF

CB

CF

CB

CF

CB

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

This box top is a very simple con-

struction, the front is square, with

no suppression. It is draped to hang

very straight and sharply away from

the body at the waist area. The sides

graduate lower towards the back

and the pack panel is also square.

The square shape of the bodice is

held by press lines, as can be seen

on the draft diagram to the right.

These lines hold the boxy shape.

To the left shows the toiled top.

The picture show how the press

lines hold a nice shape in the

bodice, and create a sharp line at

the front. However the top is too

short and will look nicer longer.

The cut out collar also looks un-

resolved. In this toile there is no

button stand, it simply meets at

the CF. I think it would look nicer

with a button stand. At the hem

the facing is slightly falling down

and creating a small ledge. I think

if this ledge was made into a per-

manent box hem (similar to toile

four) it would look interesting and

work well with the boxy theme.

115

CF

CB

CF

CB

CF

CB

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

CF

CB

CFCB

CF

CB

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

CF

CB

CF

CB

CF

CB

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

CF

CB

CF

CB

CF

CB

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

The cut out collar will become a 3D collar

but stay the same shape. The hem will be

lengthened and a box hem will be added. The

same hem method will be used as in toile four.

The armhole will change to a square shape.

As can be sen in this diagram, the red lines in-

dicate the adjustments made. The collar is no

longer cut out, but it will be a separate piece

seamed in with a slight edge so it is raised off

the bodice. The armhole is now square, to keep

with the box like theme. The hem is longer and

a box net had been added to the front and sides

only. This is the same method used in toile four.

This is the final pattern with all adjust-

ments, the bodice and collar shapes are

traced off separately, and seam allow-

ance will be added. This is the same for

the box hem, it will not be grown on.

Adjustments from first toile.

1

2

3

116

Second Toile.

The second toile looks much

better than the fi rst, especially

the increased hem length. The

box hem also adds more sup-

port to the square silhouette and

prevents the hems from collaps-

ing. The square armhole could

be lower, and once it has been

bound fi nished, the top part at

the shoulder will tuck under

itself and create a nice roll.

117

The emboss collar is created with a

1cm wide panel, joining the collar to

the bodice and lifting it away from

the body. The collar is lifted 1cm at

the collar point and graduates down

to nothing towards the shoulder and

CF. The collar and joining panel are

interfaced well to avoid the collar col-

lapsing. This collar can be pressed out-

wards to raise above the bodice. Or

as can be seen in the pictures, it can

be pressed inwards to look opposite.

Emboss collar.

119

F i n a lG a r m


120

Box Shirt.

CF

CB

CF

CB

CF

CB

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

Pres

s lin

e

The box shirt must keep a rigid structure, therefore, the

cotton has been fused with a soft but crisp interfacing.

Firstly the emboss collar is made

up and stitched into the neckline.

The bodice front and back are then at-

tached at the shoulder and side seams. As

can be seen to the right, welt seams are

used for the side seams however a french

seam is used for at the CB because a welt

seam would cause too much wrinkling.

After the back and front are attached, the

box hem can be assembled. The box hem is

very similar to the hem of outfi t three. How-

ever the front part of this hem is grown on ,

as can be seen on the pattern pieces (top left)

1

2

3

122

Finishing..

Due to the box hem on this

shirt, the two sides at CF can-

not overlap. Therefore the sides

meet exactly at the CF, and are

fastened together with large

hooks and eyes. The hooks

and eyes are secured and fi n-

ished by a small stitch neatly

looped around the metal .

Centre front fastening

123

The square armhole is

finished with a facing.

The facing is stitched

on, bagged out and

hand stitched down.

Arm hole

124

Final shirt.

125

final collection.

final collection.

126

Paired with Shorts.

Back FrontSide

outfi t six is paired with a

pair of blue box shorts.

The shorts are high waisted

and fl ared. The fl y on the

shorts is narrow and square.

As can bee seen in the dia-

gram below, the shorts have

three panels. The shorts are

pressed together along the

seem lines to create creases.

The creases give the shorts the

box line structure. Contrast

binding is stitched along the

waistband to match other gar-

ments within the collection.

final collection.

final collection.

beauty in 1.618

Documents

middle i s

publ i

f i r s t

i t s main concept

symmetry i s present

d o s s i e r

s tructures

s ides