I'm a graduate student. In the final project I collaborated with George.
I Lama Bawab is a very ambitious, passionate person about being a garment technology student.
I have development many skills and experienced many situations.
Skills that I have development are pattern cutting, Gerber, grading, design development and size charts and many more.
In the final at university closing my degree. The final module was required that I collaborate with a brand company.
So, the brand that caught my eye was George.
I decided to collaborate with George as I enjoyed doing my research
about the company and looking at their size charts but also,
I enjoyed the idea of creating a garment that needs to be to a specific size and style.
Prior to my final year at university, a year within industry had given me a range of knowledge and experiences with a smaller scale brand that has processes entirely different to companies that work on a more global scale. This enticed me to want to explore the alternate side of the industry to what I had previously experienced, thus gaining a more thorough understanding and developing a wider exposure to more varieties of the industry. In my FMP project I collaborated with British born retailer Superdry. The remit was to produce a capsule collection of two outfits from the brands designs, focusing on the creation of red seal samples with the view to a fit session with Superdry to progress with alterations to a gold seal. This as well as grading, fabric and component testing, product development the process developed skills key to a successful industry garment technologist. Using knowledge and experience to problem solve through the pattern cutting stage and research to ensure standards were kept at Superdry’s industry level. The garments developed in the project was, a trench coat and a shirt dress for the first outfit and a wool jacket, hoodie and jeans for the second. The key to a successful outcome was to ensure the brand (Superdry) was constantly being referred to with thoughts on consumer profiles and the decision of the fabrics, as well as technically identifying whether the process being used was suitable for Superdry as a conglomerate global industry. Overall this project explores all the skills required for a garment technologist, developing work with a brand that has become engrained into the work produced throughout.
The initial starting point began with artist Alexandra Levasseur and the significance behind her artwork. She’s inspired by the science of string theory, about the possibility of there being many alternate dimensions that are each unique, and overlap each other so complexly. This is so she can decipher the deep relationship induviduals can have with the universe, and the art of finding ones indentity and purpose through the natural sourroundings. She portrays this through eclectic lines, loops and layers, as well as through visuals of disorientated melting bodies that seem to be melting into the universe, to signify the connection between the universe and humankind.
I also looked at artist Paul Klee who uses cubism to articulate alternate realities. I took inspiration from his colour palette and the harsh lines amidst the softer ones in his shapes. This was part of the influence for my silhouettes in my collection by transforming a typical tailored coat/blazer silhouette by softening with it with drape and disorientating the body shape.
My final major project has conjoined all of my underpinned knowledge and skills attained within my three years at university. Throughout my time collaborating with George on a women's wear collection, I began to see and understand where my strengths and key areas of interest lie. I have a great passion for producing strong, accurate and detailed technical drawings I have found it astounding how many skills I have acquired and how transitional these skills kind of skills are knowledge of advanced pattern cutting to conducting Quality assurance and Quality Control checks and reports having the skills and understanding have allowed for the prompt turn around times in manufacturing and creating a range technical packs this project has highlighted key areas I would like to go into in the future as they are of great interest to me with Garment testing and labeling and creating clear and concise Technical packs consisting of all the vital requirements to achieve a high-quality garment fit for purpose are skills I look forward in developing and exploring further.
Dream with in a dream is a design project based on my own personal love for the hip-hop and street wear cultures. The concept looks to the birth of hip hop in 70's New York and follows the development of fashion through the growth of the culture up to the 90's. Merging and crossing over elements from 70's to the 90's the project aims to create an new unorthodox take on the silhouettes typically seen within hip hop. As well as a key focus point on the sneaker culture seen within b-boy imagery influencing shapes, trims and branding.
This project was started with the research about 3 feminist installation artists. Kris Lemsalu, Genesis Blannger, and Sarah Lucas. In the artworks of Lemsalu, she combines animals and humans, nature, and culture. Her works are made up of hand-made materials, including animal furs. Sarah Lucas's work is a common piece of furniture and reading that is common in everyday life. Genesis Belanger's work is simple, witty, grotesque, and surreal. The materials used by Lemsalu and Sarah inspired me that use fabrics and ropes as my common materials. Created different textures by splicing, splitting, and other methods and consider how to integrate them into a piece of clothing.
In addition, Sarah's series of portraits show a tough and rude gesture, masculine but feminine, which is suitable for the development of the face and the design sketch.
I extracted the colors I like from the work of Genesis Belanger as the main colors in my collection and combined with Lemsalu's work to create interesting fabric patterns.
During 2020 the entire world suffered from a global pandemic, Covid-19. This included a mass lockdown which disrupted the fashion industry. In January of 2020 it was recorded that the average market capitalisation of apparel had dropped almost 40%, which was a drastic regression compared to the stock market as a whole. It has been said that it could be the biggest economic hit since WW2, but NEO is here to be your very own Housewife and make do and mend. NEO was created with the vision to make a change and be creative with sustainable fashion. This meant we couldn’t see unsold stock go to waste. Being frugal and stylish in times of hardship can be tough but knowing that £140 millions of wearable fashion ends up on landfill each year already we cannot add anymore! NEO is already extremely conscious about landfill, the longevity of clothing, and working alongside charity stores to gather fabrics and reusable clothing. This is and will be a strong foundation to who NEO is. Global Fashion Agender is informing companies to rebuild a more responsible fashion industry after the global pandemic, and we are with them! Survival is key! Therefore, working together, we can lift the fashion industry back on top. Throughout NEO’s brand development many company’s such as ‘Adidas’ and the UK’s leading luxury retailer ‘Flannels’ explained how they are collaboration friendly, and ethically conscious. This then led us to pursue that these two prestigious brands could collaborate with NEO. The aim would be to be given access to all the unsold “pandemic stock” from these brands. All the stock would then be creatively turned into a positive collection framing the fashion movement and global pandemic in an artistic light. This would effectively cancel the overstock crisis and reduce any extreme markdowns as the season changes. To cope with the “new” fashion industry NEO will continue to reuse overstock and or charitable clothing. Creating contractual agreements with other companies and investing profits into charity shops for more clothing NEO will ideally never run out of stock. According to NEO the term reuse can be used numerous amounts of times, therefore even stock that we have created could even be repurposed. Having a circular fashion cycle in clothing is going to be the next step in fashion and NEO is always thinking of new innovative and creative ways to keep the environment safe. With that being said it is extremely hard to be 100% sustainable but with the help of other brands and, working as a team, the pandemic stock will be 100% reused.
This project started with my interest in the book Alice in wonderland, with so many adaptations of the book already, I wanted to create my own. With two collaborations one with BCU's Exhibition technician and another with an illustration student focusing on stop motion my project developed into more than just two garments but the opportunity to create an immersive exhibition space through my garments and a stop motion animation allowing me to tell my version of Alice's adventures.
I started my research with 18th-century french fashion which gradually developed into researching into modern high-end fashion designers that had designs influenced by historical silhouettes, doing this allowed me to have more freedom with my designs and not be held back by historical standards. I focused on making my garments bespoke and to a high standard, instead of focusing on textiles and other aspects, this allowed me to further my skills in pattern cutting/sewing a place i felt i had the weakest knowledge of.