My FMP Collection was inspired by a combination of art, bows, animation/cartoons and fashion icons. The first starting point was to look into an artist, I chose Yayoi Kusama and looked into her polka dot art, more so her infinity mirror art, where the idea of looking into space originated. Then going through my ideas I decided to link in The Care Bears, I focused the bears as the main idea of my print, along with the rainbow, bright colours, polka dots as inspiration from Yayoi Kusama and the idea of an animated baroque photo frame for the bears as inspiration from Princess Diana and royalty. David Bowie and Princess Diana were key fashion icons in history, until today their fashions haven't faded. My Collection is inspired by some of David Bowie's Garments along with princess Diana's. I picked out on the bows from Princess Diana's garments and collaged bows on David Bowie's to recreate a new look of bows and to over-exaggerate the size, to create a fun, bright collection.
‘Electric ladies’ explores groupies in the 70’s as represented by Baron Wolman, one of the photographers of the Rolling Stones magazine and the distinction between them and the rock bands they were admiring and following. The project focuses on the feminine and eclectic style of this group of ladies, the freedom they exude through their appearance, attitude and lifestyle. Contrary, the bands look was simple, tailored, structured, typical 70’s fashion, but still having that edgy, rock aspect.
Another main inspiration is the satirical documentary ‘200 motels’ that shows the life of performers on the road, the seemingly glamorous life of rock band members made by Frank Zappa. The movie shows everything into a dream like setting, incorporating psychedelic imagery to represent the craziness of their day by day life.
By combining these themes, the final collection displays lose fitting tailoring, strong shoulders, playing into the idea of menswear on a woman; combined with an elegant feminine shape, formfitting, draped. The main feature of the collection is the patchwork running through all the pieces. The applique has been treated and placed as it would have been draped fabric, constructed from different shades to depict a 3D shape on a flat surface.
Meera’s collection was inspired purely by her father and his youth culture in the 70’s/80’s. Being a boy who enjoyed the night life and party scene it was important for meera to portray this in her work.
In addition, being inspired by the iconic New York club Studio 54 she decided to merge the two concepts together creating a story about her fathers collection to New York City.
Through the use of textile development Meera focused on the effectiveness of Fringe and how, when layered can produce a strong statement.
I have just completed a BA (Hons) Fashion design course and am seeking opportunities to utilize my current skills while acquiring new ones in a professional and hands on environment. Motivated with a desire to experience new challenges. As part of the degree, I undertook a placement year at womenswear brand House of Sunny and bridal wear house Stephanie Allin Couture. Both placements offered unique and contrasting experiences, assisting in improving pattern cutting, tech packs, machine and hand sewing. As well as technical skills, I was able to build on personal skills such as working in a professional environment and having strong communication. During my final year of study, I have been able to transfer the skills gained throughout my placement year. Creating a collection of six cohesive looks in Graduate Fashion week, which reflected my simple aesthetic with a focus on silhouette, shape and colour.
The AW19 collection has a focus on fit and soft volumes inspired by my parents past and vintage female racers culture. The tailoring elements are elevated by a mix of handpainted printed fabrics and heavy embellished textiles with metallic hardware touches.
As a designer I am generally drawn to creating a character and building a project, and the designs that come thereafter, around that character. I have a keen interest in illustration and bring that into all the work I do. I stamp my particular style on a project through my illustration and design style. I am often influenced by subcultures or time periods that I can merge in different ways to create something new. Playing around with gender is another theme that runs through a lot of the work I have created.
‘Long To Reign Over Me’ is a project built around the fictional character of ‘Chip Windsor’. I envisioned him as distant relative of the royal family. Throughout the project I play with the idea that he’s looking back at the present day royals and in particular the Queen, as a style icon. I wanted to take aspects of her everyday and royal attire and mix them with a slightly punk/skater style. This characterisation of him as a rebellious royal lead me to look at royal etiquette, in particular not being able to wear denim, and break them. Overall, I wanted this to be loving, humorous, jab at the royal family, from one of their own.
Initially my inspiration came from stories I had been told by my grandparents of their childhood and growing up. One memorable story was about the first time my grandmother ate a banana. The excitement and happiness of her reliving the moment can only mark how such an inconsequential thing to us now was so significant to her then. These stories highlighted how so much has changed in such a short period of time.
My primary source was family photos albums, I wanted to understand more about their lifestyle and their significant childhood memories. This lead me to research leisure and entertainment during the 1950’s and 1960’s. Henry Grant was one of my main secondary resources for this project. Grant’s photographs document social and political changes at the time.
Increasing consumerism in the 1960’s fuelled mass production. In the work of contemporary artist Lisa Milroy who’s work is based mostly on everyday items which are repeated objects in the form of lines; creating patterns. In her work I see mass production. The objects are usually commonplace and unimportant and they made me think of our throwaway society.
My aim is to represent the change in our relationship with objects. I have tried to incorporate in my work elements of the inconsequential with more treasured memories.
The focal point of this project is my beautiful mum, my inspiration. This project focuses on fond childhood memories growing up in the 90’s captured through a series of photographs. Coming from an Indian background but being born and raised British has allowed me to combine the two worlds. This has been expressed through traditional clothing right down to food comparisons and a particular focus on a biscuit factory that my mum used to work in when I was younger. Print ideas and colours have been extracted from various family imagery. Being dressed in many layers to keep warm, put in hand me downs and boys clothes, was an everyday task for my mum which has informed the development of oversized silhouettes, shapes and details within my design work. Dealing with loss and all the emotions that come with have been emphasised as well as an element of religious views which allows me to believe that although environmental and genetic factors come into play, in the end whatever is destined for you will happen through the will of God. Being at peace with this idea has allowed this project to be a homage to her and her life.
It is important for me, to help work towards change in the fashion industry, creating ways to produce less textile waste and realising damaging effects fast fashion has to the world. My concept for FMP is called ‘WHAT HAPPENED TO VENUS?!’ looking at the effects of climate change comparing with the fate of planet Venus, the inspiration for this was over the year 2018 when high temperatures soared across the world, leaving me questioning the state of the earth. The embroidery designs are images of dried up flowers that have been developed using line drawings. For this collection I wanted to create new exciting fabrics by using unwanted materials, by receiving remnants from different sources. I used embroideries to connect squares of remnants to create larger pieces of fabrics, with all threads Oeko-tex standard certified with no threads being trimmed #NoThreadsWereHarmed.