2nd stop:
Sewing & Draping
Sewing & Draping
Embedded Files
                                                                                          Something out of nothing
SURFACE DESIGN: embroidery
SURFACE DESIGN: embroidery
Surface design is any type of artwork (pattern, illustration, hand lettering, etc.) made by a designer that is intended to be applied to a surface to enhance its visual appearance and/or functionality. Hand embroidery is a technique of surface design used in textile designs to produce beautiful and aesthetically pleasing visuals.
Embroidery is the craft of creating intricate decoration using a needle and a thread.
Floral Collar from Tutankhamun's embalming cache (CA. 1336-1327 BCE)Â
History of Embroidery
History of Embroidery
Embroidery has a rich history dating back to the dawn of textile production. Its origins can be traced to ancient China and the Near East, where evidence of embroidered clothing and artifacts has been found dating back to 30,000 BC.
Embroidery's popularity surged in Europe around the year 1000, driven by the growth of the Christian church and the rise of powerful royal families. Highly decorated items like wall hangings were commissioned to display wealth and status. These intricate works of art showcased the skill and artistry of embroiderers, who became highly valued craftspeople.
The Bayeux Tapestry, a renowned 11th-century masterpiece, is arguably the world's most famous embroidered artwork. This 230-foot-long linen textile, featuring colorful wool yarn, vividly depicts the Battle of Hastings in 1066 and the subsequent Norman conquest of England.
An embroidery from 4th Century BCE, Zhou Era Tomb in Hubei
ALL ABOUT
YI TAI GENG
YI TAI GENG
Designer, owns his own label "YITAI"
Yitai Specialises in creating unique pieces with fabric patterns he creates by himself. I first saw his works when he went viral on Tiktok for his floral GuiPure Embroidery Button Up.
Guipure Embroidery Button-Up
Guipure Embroidery Button-Up
Chinoiserie modular pants with removable front
Ink Painting Shirt
Ink Painting Shirt
Inspired by Chinese Ink Wash Painting, an often monochromatic watercolor art, depicting the organic sway of flowers in motion. The entire shirt is delicately embroidered with narrow strips of lightweight fabric to shape the flowers, with edges frilled to mimic the way petals naturally fold and flow.
This button-up shirt presents over 100 rosettes and each 3D rose is formed by carefully crumpling and creasing mesh lace for this distinctive texture.
3D Rosette Shirt
3D Rosette Shirt
Reflection
Yi Tai's meticulous attention to detail and ability to transform complex patterns into minimalist designs is truly inspiring. His unwavering passion and dedication, even during periods of obscurity, is a testament to his commitment to his craft. By studying his earlier works online, I can appreciate his journey and the growth he has achieved. His success serves as a reminder that perseverance and a unique vision can lead to remarkable achievements.
My initial enthusiasm for my clothing brand quickly waned as business slowed down. Discouraged, I shifted my focus to other pursuits. However, Yi Tai's unwavering dedication serves as a powerful reminder. His journey inspires me to reignite my passion and persevere through challenges, even when the going gets tough. I'm determined to rekindle my dream and bring my unique designs to life, especially now I've invested in this BA course that helps hones my skills and understanding of this industry.
MAEZEN
Art Based Streetwear Brand
Founded in 2021, Julian and Noah founded Maezen, collaborating with some of the most talented artists from all around the world to bring their artworks through intricate embroidery onto streetwear. The clothes become the canvas and the art is exhibited by you. With every purchase, the artist gets supported financially by receiving 10% of the profits.
Maezen embroiders each artist's work intricately, using thread to mimic their every brush stroke, with their style and idea being portrayed as close to the original artwork as possible.
Embroidery does wonders, this brand has been an eye opener for me. Although they are using machinery to make this possible, but it's the "bringing 2D to 3D" that awes me. I'm sure it's also doable by hand, just that it will take ages and a lot of concentration.
Reflection
This is a very meaningful project, helping artists gain exposure while selling art that one can wear. This is also what most of us in the course is working towards, may it be in different form, but the idea is the same. It's all to bring a message across, to create garment that not only catches attention, but also speaks to the wearer.Â
While I admire the intricate embroidery techniques employed by the artists, I believe there's room for improvement in the overall garment design. The integration of the artwork could be more unique, with a greater emphasis on the message of each piece. By exploring unconventional silhouettes and materials, they could create garments that are both visually striking and wearable, attracting a wider audience.
Types of embroidery stitches
Types of embroidery stitches
My attempts
Being my first time ever touching needle and threads, let alone embroidering, this was surprisingly fun. I've once ever told myself (around 15 years old) that I'll never be able to embroider as I have no patience for it, but I guess...
Out of these various attempts, my favourite was actually the French Knots, Woven wheel, Spider Web, as well as Satin Stitch. These really felt like surface design as it creates a 3D shape, comparing to running/back/stem/split etc. where they feel more for sewing two pieces of fabrics together. However, I do forsee how each stitch can be used for different kind of patterns and am excited to explore further into certain stitches.
FIRST ARTIFACT: the story
FIRST ARTIFACT: the story
Agenda: To create an artefact for someone that means a lot to me.
copy_3770838B-AC25-4EF5-AF9C-04CD10F098CE.MOVMy mum has been looking for a suitable key pouch since 10-15 years ago.
She is still waiting for a suitable key pouch to catch her attention as much as the one she is currently using. It's falling apart but she refuses to change it.
<< Reference video feat. my mum
Said key pouch:
Front with a key card holder
Back with an unused card holder
Side that once has a ziper holder that disintegrated and broke.
Insides with a few broken key holders.
Inside the key pouch there's a single coin holder that was never used.
How the holder looks like without the keycard.
Details of it being very worn out.
This worn-out key pouch, a faithful companion to my mother for over two decades, holds countless memories. Its tattered leather and broken zip handle are testaments to the years of service it has rendered. Despite its deteriorating condition, she has clung to it, perhaps out of sentimentality or simply the lack of a suitable replacement. As I embark on my first design project, I'm determined to create something meaningful that honors her unwavering support for me throughout the years.
INTENT
My mother appreciates the beauty of nature, particularly the warmth and energy of the sun and sea. While her previous key pouch was a classic, minimalist aesthetic, I wanted to create something a bit more unique and personal since it is a handmade accessory. I want to make something unconventional for her.
Theme:
Her original pouch(black) is quite dull, though minimalistic and classy as it was made to be. I'm sure she isn't the super vibrant and colourful kind either, so I was thinking a beachside colour scheme, where warm and cool tones are in harmony and will remind her to relax whenever she's getting stressed.
Key Features to be included:
A cardholder
Keyring(s)
Embroidery Methods:
French Knots
Satin Stitch
Back Stitch (name)
Inspirations
Inspirations
I wanted to do a really 3D embroidery design and coming across to the embroidery method above, I was mesmerised. I knew my mum would b too, if I were able to replicate this workmanship quality.
A product design should focus not only on the aesthetics, but especially on the functionality of it. Compared to her previous keypouch where she has to unzip everytime she's going to open the door, I would think keys that falls out using gravity would make it much more convenient.
EMBROIDERY ATTEMPT
EMBROIDERY ATTEMPT
First embroidery attempt.MOVEmbroidering for the first time, the idea was to try out the size of needle and thread, the composition and tension to pull for each part of the pattern.
Taking about 3 hours, the end product actually looked quite successful to me, but I did have some pointers to note from this:
the template to sew on must be wider to fit the card because once removed from the embroidery hoop, the entire pattern shrinks quite a lot. (becomes out of shape)
I shouldn't use soft denim fabric, it was loosely woven, so it was quite difficult to sew it with the right amount of tension.
The back of the embroidery was very messy here and the thread got knotted quite often, a detail to note when doing the actual one.
For the sea portion I should have doubled up my thread so it was thicker and will look more 3D.
At this point the next step wasn't planned yet, and thinking of how to turn this into a pocket right at the edge of the embroidery was an issue to solve. It would be too thick to use denim, especially if there was another layer of interface which I was planning to input in the actual piece. I folded the denim from the top of this embroidery and sewed it together, seeing how the pocket could happen.
Fabric Selection
Fabric Selection
100% Cotton Herringbone
Denim and this herringbone was my first option when I went shopping at chinatown. I thought the textures were great to depict the sea and sand, but it was the wrong choice. The herringbone was weaved too loosely apart, fraying like crazy and it even difficult to sew it while retaining the shape I needed it to be in. It was a similar situation with denim, as it was soft and light denim, the gaps bbetween the clothes were huge for a woven cloth. With embroidery, it quickly went out of shape when there was tension.Â
 After attempting to sew the *brown cloth* into a pouch, I knew it doesn't work, so I had look for a new cloth and that led to the perfect fabric.
After struggling with the herringbone, I had a rough idea of what I had to look for, then I came across this.
Polycotton blend Tricot Knit
This cloth not only is very closely woven with a tricot knit, the texture of it is literally like glistening sand. It was perfect for this project.
CONSTRUCTION OF ARTEFACT
TEST
First, I tried out on the 1st embroidery attempt of the pattern to make sure everything will be in the right place.
The 3 pieces of fabric to be put together
Putting the 3 main pieces together, it actually came out exactly like how I had envisioned. The seaside came alive and the pocket worked perfectly. Although denim was used, I just has to sew it carefully so that the sewing machine needle wouldn't break.
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Pocket for keycard
With a keycard (surprisingly it fits, could be due to the stretchability of the soft denim)
This was very rough work, just to test out the concept of where and how to sew.
Reflection
Through this practice, I learned the correct way to position the fabric pieces and sew the side seams neatly. I made a note to complete the top and bottom edges before sewing the side seams. This would ensure a cleaner finish and prevent any issues with the fabric alignment.Â
ACTUAL CONSTRUCTION
MAIN BODY
This time I embroidered on a thin light blue cotton fabric. There was also an ironed-on layer of interface behind to ensure its durability.
The one on the left is the final embroidered work while the one on the right is when I forgot to iron-on the interface and had to redo.
Improvements made in this round:Â
The fabric used is tightly woven and supported by interface, making it much easier to work with.
I tried to make sure the back of the embroidery was not TOO messy, as compared to the first and second attempt, this was very much an improvement.
The proportion of the pattern is more like a wave, as there is more light blue than blue and dark blue, unlike the first try where I did not plan how wide each portion should be.
The shape of the embroidery is much more rectangular and the lines at the sides straighter. Though at the dark blue area, tension and a bit of conture can be seen.
It was much more tightly woven and neat, each thread was intentional and considered.Â
How it looks like after being cut out>
Cutting the fabric was a nerve-wracking process, as I was worried about accidentally ruining the design.
How it looks like after being sewn together>
Aligning the edges and avoiding the French knots proved challenging. The curved seam line made it difficult to maintain accuracy, forcing me to rely on touch and feel.
< To conceal the holes created by stretching the fabric, I added a few more French knots to the top seam.
< To personalize the piece, I added a unique touch by back-stitching my mother's name.
I also sewed in the opening ends of each fabric before putting both pieces together.
Putting the pieces together
The embroidery fabric had to be folded to create a pocket for the keycard.
Sewing the embroidered piece onto the bag was a heart-pounding moment. Every stitch felt crucial, as one wrong move could ruin the delicate embroidery. I navigated the needle carefully, ensuring it wouldn't damage the intricate details. It was a tense and exhilarating experience as I wouldn't know the result until I filpped it inside out.
The sewing had to be slightly uneven to accommodate the 3D texture of the French knots, which protruded from the fabric's surface.
To maintain a clean finish, I used bonding paper to join the bottom seam without visible stitching.>>
Final Pouch
The construction process went well, but the details were lacking. I was particularly disappointed with the pocket seams, which were visible and not as neat as I'd hoped. The light blue fabric was still visible, detracting from the overall look. I dare not redo the sewing as turning the pockets right side in again would risk the delicate embroidery design.
Despite increasing the pocket size, the rigid fabric limited its capacity. I had anticipated more flexibility, but the fabric's stiffness restricted the pocket's ability to accommodate larger items. Luckily it could still fit one keycard, which was all my mum needed.
THE ACCESSORIES
Digging the holes through the leather proved to be more challenging than anticipated. I used a thread picker to initially puncture the holes and then widened them with a thread cutter. While this method worked, it was less efficient than using specialized leather tools.
After attaching the ring and the clip, I realised I made a huge mistake.
I overlooked a crucial step and forgot to thread the leather strap through the key pouch before sewing it closed. This oversight required me to disassemble part of the pouch to insert the strap. Fortunately, the existing holes made this task less time-consuming than anticipated.
FINISHED ARTEFACT
While the final product wasn't perfect, it exceeded my initial expectations. As a teenager, I never imagined myself enjoying the meticulous work of embroidery and sewing. However, this project has challenged and rewarded me, pushing my skills and patience. Overcoming each obstacle has been a fulfilling experience.Â
One important lesson I learned from this project is the importance of considering the end-user's needs and preferences. As designers, we often get excited about adding unique and creative elements, but it's crucial to prioritize the consumer's perspective.
I originally planned to add coconut tree leaves as a decorative element near the clip. However, considering my mom's taste, I realized that the simplicity of the current design was more appealing. Adding extra (non-functional) elements could potentially detract from the minimalist aesthetic and she would be less likely to truly appreciate it as a whole.
I plan to revisit this project in my free time to refine the details. Despite its imperfections, I'm proud of my hard work and excited to gift this handmade piece to my mom.
Comparing my practice piece to the final product, I was amazed by my own growth and improvement.
The intricate details of the embroidery have significantly improved, with tighter stitches and smaller, more refined French knots.
While the shape of the final piece isn't a perfect match to the original design, it's a significant improvement and much closer to my initial vision.
Initially, I considered using a softer material like rope or fabric for the strap. However, I ultimately chose leather to elevate the overall aesthetic and add a touch of elegance that would suit my mum.
IN COMPARISON
As a closure:
Since the whole point of this assignment is to make a meaningful item for a loved one, it has to be more than just sharing the process of creating it. Since I've chosen to make something for my mum, I'm sure she'd love to receive it.
While making this key pouch, I've thought about her reaction countless times, but nothing beats seeing it for real!
surprise.mp4Reflection
As a designer, it is indeed very fulfilling to create something out of nothing, but what I learnt from this is that in whatever I create, I should have an end goal in mind, a reason to do it. That's what will make the product better and bring the idea further. It never just stops at the creation, but when the consumer is using the product, what do they think or feel? How it can be improved and how it makes their life better? This is just a penny of my thoughts, but I really do feel that creating with a cause is much more meaningful than the creation itself.
My mum and her new keypouch.
SMOCKING,
SMOCKING,
a form of embroidery on pleated fabric, originated in the United Kingdom over 300 years ago and is now known as English Smocking. While its roots can be traced back to Europe in the 1400s, where pleating and gathering were used to shape garments and control fabric fullness, English Smocking has evolved into a distinct art form. The embroidery stitches in Smocking not only hold the pleats but also serve as decorative elements, creating a unique and intricate appearance. The resulting pleating can be either elastic or non-elastic, depending on the specific construction method employed.
BRIEF HISTORY
BRIEF HISTORY
painting from the 1400sÂ
(smocking seen on the woman's hips)
From The United Kingdom and is specifically known as English Smocking, it has been practiced in its current form for over 300 years. The actual term "smocking" comes from the name of an English garment, the smock, worn by both women and men.
The technique of embroidering on the pleats was referred to as "biassing", "gauging" "plaiting" and by 1880, "smocking'.
man from 1800s
"Snowballing"by John Morgan (boys in the centre wearing smocks rolled up)
By the end of the 1800s the popularity of the smock as a practical garment for country men was declining.
Smocking became a fashion statement from late 1800s for ladies and children's clothes. Smocking remained popular in the 1940s and 1950s. During the 1950s, children's clothing factories outsourced smocking work to be done by hand. In 1956, Read introduced a smocking gathering machine that could gather 16 rows at once, automating this labor-intensive task.
TYPES OF SMOCKING
TYPES OF SMOCKING
Basic Smocking: Characterized by evenly spaced parallel pleats secured with zigzag stitches on the back of the fabric. Those gathered areas are elastic.
Cable Smocking: Diagonal pleats are created in a crisscross pattern, resulting in a textured cable design. That produces a three-dimensional effect.
Picture Smocking: Patterns and images are created using smocking pleats. It requires more precision and experience as specific pleats need to be placed in certain positions to achieve the desired image.
Counterchange Smocking: Changing the color of stitches is crucial in creating a contrasting pattern. Different designs such as crosses, dots, or other geometric shapes can be formed.
English Smocking: This technique differs from others with small, even pleats held together with stitches at regular intervals. It creates a structured grid pattern that is often embellished with beads, embroidery, or other decorations.
North American Smocking / Canadian Smocking: Pleats are sewn in a diagonal or diamond arrangement. The pleats are secured with stitches on the back of the fabric, creating a structured pattern.
Honeycomb Smocking: This technique creates a hexagonal grid pattern resembling the cells of a beehive. Pleats are placed at regular intervals and secured with stitches.
Italian Smocking: It is highlighted by large, loose pleats arranged in specific patterns. This results in a textured effect reminiscent of seashells or fish scales.
Hiromi Kim
Creative Director at ZAMA
ZAMA is a specialized brand in acoustic wall art, employing sustainable materials, designs, and visual arts to meticulously create comfortable, high-quality spaces that address the subtle acoustic challenges of
ZAMA is a specialized brand in acoustic wall art, employing sustainable materials, designs, and visual arts to meticulously create comfortable, high-quality spaces that address the subtle acoustic challenges of
daily life, often overlooked. Their range includes Acoustic Wall Coverings designed to absorb sound and reinstate a sense of serenity, seamlessly merging utility with artistic expression and coming closer to the concept of the flawless soundproof wall.
daily life, often overlooked. Their range includes Acoustic Wall Coverings designed to absorb sound and reinstate a sense of serenity, seamlessly merging utility with artistic expression and coming closer to the concept of the flawless soundproof wall.
I was truly attracted to the olive green smocking design above when I came across Zama's marketing videos online. As a musician, I/ve always found the design of soundproofing wall boards/foam boring and singular, with the only changes being colours and shapes. These designs are really a breathe of fresh air, and is very much in sync with my theme.Â
Kim's techniques are intricate and every piece is hand-sewn. Her works gives off zen and tranquil feelings, and the colours she chose would bring peace to one's mind. It's replicable products, with practise, experience and the right materials, but it's the design and vision that made her stand out from the other products in this industry.
REFLECTION
I'm impressed by ZAMA's innovative approach to soundproofing. By transforming a necessity into a decorative element, they've created a practical and aesthetically pleasing solution for interior design.Â
I do see a business opportunity whereby ZAMA could tap into a broader market and offer innovative solutions for various interior design needs, like integrating soundproofing technology into different furniture pieces and expanding their product options.
Having explored the various applications of smocking beyond garments, I'm intrigued by the potential of using this technique on furniture and accessories. While I prefer a minimalist aesthetic for my clothing designs, I'm open to incorporating smocking into other projects.
ATTEMPT
I chose these 3 types of smocking because they can best resonate with me.I could foresee using them inÂ
Canadian Leaf Smocking
Canadian Square Smocking
Beehive Smocking
The technique of balancing tight and loose stitches in smocking took some practice. Once I mastered this skill, the process became more intuitive and efficient.
I found this method to be the most efficient and visually appealing. The symmetrical pattern and straightforward technique made it a pleasure to execute.
The stiffness of the fabric hindered my ability to achieve the desired effect with the beehive technique. While the pattern is visible, it doesn't have the same fluidity as the other methods.
The beehive technique was challenging, but I was able to master it with practice. Unfortunately, a minor stitching error towards the end altered the final pattern.
RESULTS
The leaf smocking produced an unexpected, almost vertebral pattern. While the front looked promising, the back was quite messy due to the intricate stitching. This design, with its unique shape, could potentially be adapted for a blazer or other garments.
The beehive smocking was successful until the last row, which unintentionally created an interesting square-dot pattern. I'm intrigued by this accidental discovery and may explore it further in future projects.
Square smocking turned out well, with clear lines and shapes. I believe this technique could be applied to other projects, such as picture frames or wallets.
REFLECTION
The process of smocking is both time-consuming and meticulous. Every stitch contributes to the overall pattern, making it a rewarding but challenging technique. From a design perspective, smocking can add a unique touch and elevate a garment. However, to justify the time and effort required for hand-smocking, it's important to consider its aesthetic impact. For commercial purposes, small-batch production of high-end pieces could be a viable approach. From an artistic standpoint, exploring the potential of smocking to create entirely new designs would be a truly rewarding endeavor.
While I'm not personally a fan of smocking, I acknowledge its practical use and aesthetic appeal. I would consider using this method for more aesthetic design purposes than for functionality as a unique selling point of the product.
A side not: Â its clustered pattern might be unsettling for people with trypophobia, especially certain types like honeycomb more than others.Â
SEWING
Sewing is the art of joining materials together using stitches made with a needle and thread. It's one of the oldest textile crafts, with evidence dating back to the Stone Age. Before spinning and weaving became common, our ancestors in Asia and Europe sewed fur and skin clotxhing using bone, antler, or ivory needles and thread made from animal parts like sinew, catgut, and veins.
Brief History
20,000 year old needles
The sewing machine was invented by Massachusetts farmer Elias Howe, but during the late 1840s, several corporations went into business producing sewing machines using the concepts he patented. One of the most prominent of these businesses was the I.M. Singer and Company corporation, started by Isaac Singer.
Modern Singer sewing machine
The invention of the sewing machine has had a significant impact on society. It revolutionized the manufacture, production, and distribution of clothing and allowed women to enter the workforce and earn independence.
BASIC COMPONENTS
My first ever attempt at using the sewing machine and practising some basic techniques. Very rough work.
Closed Seam, Open Seam
Machine fell Seam, French Seam
These were pretty straightforward and instructional. It really helped me to practise sewing in a straight line.
Inverted Pleats
                              Box Pleats                              Knife Pleats
Creating these pleats was incredibly satisfying, as I could envision their potential applications. These are common pleating techniques, but the process of mastering them was rewarding.
Binding and Bias Facing
This step was quite challenging, as it required careful attention to detail. I struggled to control the fabric and prevent it from distorting. However, this experience provided valuable lessons in fabric manipulation and precision sewing.
The gathering technique was straightforward, but required precise execution. I initially forgot to change the stitch length to 4, which resulted in tight gathers that were difficult to manipulate. I then redid the entire process with the proper steps and was able to achieve the desired effect.
Creating the patch pocket was a fun and rewarding experience. It's a versatile design element that can add both style and function to a garment. However, I made the mistake of overlooking the importance of edge stitching, which left the pocket looking unfinished. I'll be sure to remember this detail in future projects.
Creating the rounded patch pocket proved to be more challenging than anticipated, particularly the edge stitching, which required precise control to maintain a clean and consistent line. I will have to continue practising this technique.
Creating the scoop pocket was a satisfying experience, as it's a fundamental technique that can be applied to various garments. I'm excited to incorporate this skill into future projects, such as pants or jackets.
Creating this tote bag from scratch was a fulfilling experience. It allowed me to apply various techniques and skills I've learned, from the initial design and pattern-making to the final assembly.Â
Reflections
The components are all necessary and key elements in my learning process. Even if they are badly made, this was my first attempt at every single one of it and I'm proud that they at least look like what they are supposed to be and is actually functional.Â
ARTEFACT 2:Â THE BAG
Bags have been used for centuries, and their origins can be traced back to ancient civilizations. Early bags were likely made from animal skins or woven materials and were used for carrying essential items like food, water, and tools. Over time, bags have evolved in terms of materials, design, and functionality.
Today, bags are an essential part of our daily lives, serving a variety of purposes and reflecting our personal style.
TYPES OF BAGS:
Totes: Large, open-top bags often made of canvas, cotton, or leather. They are versatile and can be used for shopping, carrying books, or everyday essentials.
Crossbody bags: Bags with a strap that can be worn across the body. They are hands-free and ideal for carrying essentials while on the go.
Briefcases: Professional bags designed to carry documents, laptops, and other work essentials.
Pouches: Small, drawstring bags that can be used to carry small items.
Shoulder bags: Bags with handles that can be carried over the shoulder. They come in various sizes and styles, from casual messenger bags to elegant satchels.
Backpacks: Bags with straps that are worn on the back. They are popular for carrying heavy loads or for outdoor activities.
Clutches: Small, handheld bags that are typically clutch-style, without handles or straps.
Duffel bags: Large, cylindrical bags often used for travel or sports.
INTENT
Fig 3.1
Fig 3.2
Fig 3.3
Some crossbody bag designs on Pinterest that I like. I'm interested in creating a similar bag with a rounded shape that hugs the body, but has a more structured look than the ones in Figure 3.1 and 3.2.Â
I'm looking for a material that holds its shape well, but is smoother than the canvas-like texture in Figure 3.3.
Generally, I would like to design a bag that comes across as comfortable, minimalistic, elegant, natural, functional and unique. I envision a bag with a similar shape to the ones shown above, but with a more refined and sophisticated aesthetic."
Original Design Illustration
My original concept was a reversible bag with a hidden strap pocket for earphones and a larger, rounded front pocket for miscellaneous items. To maintain a minimalist aesthetic, I aimed to minimize seams. This design is ideal for Gen Z, who often carry bags for daily use and seek accessories that complement their outfits and enhance their personal style.
INTENTÂ
FUNCTIONAL FEATURES
A rounded cross body bag, spacious enough to fit an ipad.
MUST HAVE an airpod/earpiece pocket because I know many people who really needs this feature.
Another larger pocket for miscellaneous like phone, wallet etc.
DESIGN
A minimalistic aesthetics with earthy neutral tones to match my theme.
The surface design has to be unique and eye-catching, but not loud and excessive. It should be a subtle aesthetic.
Material has to be one that does not wrinkle.
Main issues I faced
I successfully created a hidden pocket, first using my own logic and then refining the design with some advice (Fig 3.2). However, the second pocket's design would have required an additional seam on the strap, which I wanted to avoid. I also didn't want to add the pocket to the seam where the strap connects to the bag, as it might not be strong enough to support heavy items.
After careful consideration, I realized that a rounded front pocket was too common and could easily be found in stores. This was functional but boring.Â
While screen-printing was my initial choice for the surface design, I tested on some excess fabric and found the results less than ideal. (Fig 3.1) I wanted a more abstract and less structured look.
Fig 3.1. It was not a bad print, it's just that I realised this sharp and clean finish was not what I had envisioned.
PROTOTYPING with paper
Fig 3.4, trying out what the masterplan would be like with cut paper.
Fig 3.5, Paper cut and stapled to create the shape of the bag
As shown in Figure 3.4, I experimented with various paper folding and cutting techniques to create a prototype of the bag's shape. Figure 3.5 illustrates how the different parts would fit together to form the final bag. While the initial design was promising, I felt that the edges could be rounded for a more aesthetically pleasing look.
Hidden Pocket
In my first design illustration, I thought of adding a hidden pocket as the minimalistic seams would further convey the minimalism I'm going for. This is my first try of recreating the pocketÂ
Fig 3.2, messy threads but ideal outcome
How the hidden pocket looks like from the front
PROTOTYPING with Calico
Fig 3.6, Cutting the wrong curves
Fig 3.7, the curve drawn near the bottom of the fabric is the correct cut line.
Fig 3.8 cutting the right shape.
Figure 3.9 shows the final prototype without additional details like pockets or an adjustable strap. Although the bag body is shorter than initially planned, I believe it's a good starting point for creating the actual bag, incorporating the lessons learned from the previous prototypes.
As shown in Figure 3.6, I cut out the pattern pieces to the correct size. However, due to haste, I neglected to refer to my blueprint, resulting in a significant error.Â
Figure 3.7 shows the incorrect shape of the bag body caused by cutting the curves in the wrong places, with a pencil mark indicating where I planned to cut to salvage the prototype.Â
Figure 3.8 depicts the final, corrected version of the pattern pieces laid out.
Fig 3.9
REFLECTION
Prototyping is a critical step in the design process. It allows me to visualize my ideas, identify potential issues, and gather user feedback early on. I asked my friends and family what they thought about the shape and received many feedback that helped me decide how I wanted to improve on it. The satisfaction of seeing my ideas take shape has also motivated me to bring the final product to life.
Second Design Illustration
EDIT
Instead of a hidden pocket, I decided to add an external pocket for convenience.
I gave the miscellaneous pocket an unusual shape that, along with the earphone pocket, resembles stones. This design aligns with the Zen aesthetic I was aiming for.
While researching alternative printing methods, I discovered bleach leaf printing as a promising option to achieve the abstract and unstructured look I desired. (process below)
Instead of a reversible bag, I decided to create a couple bag with similar designs but contrasting colors to address the issue of the pockets being too thick and making the bag bulky.
Reflection
While conceptualizing the bag, I encountered challenges that forced me to think creatively. Despite initial setbacks and design changes, the final product is quite different from my original vision. Choosing colors that complemented each other was crucial in determining the overall aesthetic of the bag. Although I initially envisioned a simple design, I realized that the bag needed more visual interest. Exploring different printing methods was essential to achieving the desired aesthetic.
AKRAAM AHAMMED
Artist
Akraam Ahammed Aka AKRAAMAHAM Is a British/Bangladeshi multi-media artist based in London who’s practice is rooted in self-reflection utilising any form of visual art to express his concepts.Â
He often explores his own identity/environment growing up, from the mundane to very specific experiences, and translates them to art works using various experimental mediums and methods.
He's now experimenting with printing on ready-to-wear garments, and I discovered his work on Instagram. His process videos showcase his unique approach to conceptualizing and creating these pieces.
By hand-printing organic leaves onto clothing, he creates unique pieces that take anywhere from 6 to 15 hours to complete, depending on the complexity. As he explains in one of his videos, each print is intentional, aiming to capture the essence of nature.
Him exploring the technique on hats.
His conceptualiation and annotations (from his Instagram @akraamaham)
His latest venture creating the pattern on loose fabric and sewing them into a teddy bear.
Reflections
Reflections
His work and demonstrations inspired me to try leaf printing on my artefact. This technique perfectly captures a subtle yet unique natural element, which aligns with my mood board's theme. While I initially considered screen printing, I found it too overpowering for my desired aesthetic.Â
Akraam's innovative approach to leaf print, incorporating color and experimenting with different applications, is truly inspiring. His dedication to exploring the depths of this technique and pushing its boundaries is commendable. This is what I should be expecting from myself, exploring various techniques and once I've picked one I truly find inspiring, dive deep into it and find a perspective others could not see. Creativity sometimes lies in reconstruction and slight adjustments to what already exists.
FABRIC SELECTION
copy_ECED1F5F-0240-4EE3-A6D0-E6661E4D195C.MOV...it was mainly too THICK.
I was advised that the school's sewing machine(even the portable one I had at home) was not suitable for this project. It would have required extensive adjustments, making it impractical for my design.Â
Then I found them.
Why they are perfect for my bag design:
NON-WRINKLE
It's soft and thin (sewing machine friendly)
Colours were matched perfectly to my moodboard, as seen in the photo>
Soft and comfortable to the touch, and it had a substantial drape.
Unlike the stretchy brown velvet fabric above, these fabrics have less elasticity. However, both fabrics are made from similar knit material, ensuring a consistent drape and complementing each other.
INTERFACE SELECTION
Shopped for interfacing about 4 times throughout this project because I bought the wrong thickness teice and not enough to re-iron onto the new brown fabric the third time.
Choosing the right fabric interfacing was more challenging than I anticipated. The subtle differences in thickness made it difficult to select the perfect option.Â
The interfacing I purchased was too thick. While it might have been manageable for the body, it would have made it difficult to turn the straps inside out after sewing them together.
Fig 4.1. The brown fabric is visibly much bigger and out of shape.
As shown in Figure 4.1, the fabric(brown) stretched out of shape after ironing the incorrectly chosen interfacing. This caused the two colored fabrics to no longer match perfectly, even though they were originally the same size and shape. To fix the issue, I removed the interfacing from the off-white fabric and cut a new piece of brown fabric. I then reassembled the bag with the correctly sized interfacing.
THE ACTUAL MAKING OF
While I initially began by drawing the masterplan and cutting the fabric to shape, I made a mistake by skipping the step of drawing the curves. I was hesitant to draw them freehand, fearing they wouldn't be symmetrical, so I planned to fold and cut the fabric together, but later realised it was difficult to make it fully symmetrical due . This was how the fabric looked like after ironing the interface on a newly cut brown cloth that was not stretched.
Fabric cut out from masterplan
Aligning the seams of the bag.
When matching the seams, I realized that the fabric might be too short when it's just a 1cm seam allowance. The fabric's elasticity could cause it to stretch and distort the rounded corners, making it difficult to sew the pieces together perfectly.
There was very limited allowance.
This is how the body of the bag looks like after correcting the curves multiple times to make sure there's enough allowance at the seams.
POCKETS
I experimented with different shapes and sizes, but ultimately decided to stick with my original design concept.
I accidentally overheated the iron while applying the interfacing, causing it to burn through the fabric.
I had to hand-stitch the opening closed after turning the pocket right-side out by using ladder stitch.Â
After successfully ironing the interfacing onto both fabrics, I sewed them together with the right sides facing each other, leaving an opening to turn the bag right side out.
While brown looked good on the off-white fabric, I decided to keep the same pocket color for both bags to maintain consistency. The off-white fabric felt too cute and cartoonish with the brown, which didn't align with my desired minimalist and understated aesthetic as shown in my intent.
<< After repeating this process for each coloured pockets, this is how it looks like.
The double layer of fabric created a 3D effect, adding visual interest to the otherwise simple silhouette of the bag.Â
To experiment with different looks, I tried switching the pocket colors on the two bags.
The pockets weren't sewn together neatly, resulting in visible seams that detracted from the desired rounded silhouette. Impatience led me to skip the round pocket sewing method, which would have created a smoother finish. This mistake taught me the importance of patience and attention to detail in achieving high-quality results. Rushing through the process can lead to errors and compromises in the final product.
STRAPS
While working on the bag, I also sewed the straps together for both colors. The most challenging part was turning the bag inside out. After completing this step, I realized that I had forgotten to sew the top edge closed.
The shorter strap will attach to the adjustable buckle, while the longer strap can be adjusted to fit the wearer's height.
LEAF PRINTING
After several trial and errors, I finally managed to get the texture as close to Ahammed's as shown above. There was a lot I learn in this process and I've journalled it all in Textiles Manipulation.Â
I went through a process of experimentation to perfect the design and execution.
The back of the leaf provided the best detail for the print.
I stamped a full leaf design on the small pocket to highlight the leaf's actual details.
On the larger pocket, I repeated the leaf stamp multiple times to create a falling leaves pattern, aiming to evoke an autumnal atmosphere. Placing the leaf stamps was more complex than anticipated. The placement of each stamp will significantly impact the overall appearance.
The final pockets, as shown on the left, may appear a bit messy at first glance. However, they add a unique and eye-catching element to the minimalist design of the bag.
BODY
I attached the brown fabric to the off-white fabric, creating a lining for the bag. The pieces were sewn together inside out and then turned right-side out through the opening left by the unattached straps
Forgetting to add the magnets before sewing the bag together was a setback. This required a more time-consuming process of hand-stitching the magnets into the bag's inner lining to avoid visible stitches on the outer surface.
A further challenge was ensuring the magnets aligned perfectly on both sides of the bag. Any misalignment could cause the bag to appear warped when closed.
Despite careful stitching, a small thread became caught in the excess fabric, which I only noticed after turning the bag right side out. I had to cut the thread and redo the stitch after this.
Back-stitching around the circumference of the round magnet.Â
Both sides of the magnets sewn in.Â
For the brown bag, I switched to a different type of magnet, as I realized that a hidden magnet wasn't necessary if the stitches would still be visible. I opted for a protruding magnet for a more straightforward approach. This result was neater than I expected.
STRAP TO BAG
After attaching one end of the strap to the bag, I realized that machine-sewing the other end would result in a visible seam. To maintain a clean finish, I opted to hand-stitch (ladder stitch) both ends of the straps onto both bags.
How the bag looks like with only one side of each strap sewn together.
The hand-stitching process proved to be more difficult than expected. My first attempt wasn't ideal, so I had to unpick the stitches and try again.
FINAL PRODUCT
I decided to name this set "Yin Yang" because of the similar elements and how it's the reverse of each other. I think it would make a very good couple bag as it's subtle and easy to pair with different outfits.
LOOKBOOK
THE YING YANG CROSS BODY BAGS
REFLECTION
Both bags are very similar, but very different at the same time. As I made the off-white bag first, it was like a trial to understand every part, making quite a few mistakes along the way. As seen from the comparison above, the edges are more protruded and uneven, while the brown bag has smoother and neater edges. I learnt a lot even while making the brown bag, like how to make it faster and more efficiently. Every step really takes patience and it's a learning curve whereby once I get the hang of it, it's just an intricate step by step process.
In future projects, I'll prioritize creating a detailed layout for the leaf prints to visualize the overall design. This will help me plan the placement and arrangement of the prints more effectively.
Despite its imperfections, I'm quite pleased with the final outcome. The bag successfully conveys a minimalist and subtle aesthetic, while still being visually interesting. The rounded shape and unique pocket designs contribute to its calming and comfortable appeal. The leaf print adds a touch of autumnal charm, symbolizing freedom and movement.
ntrigued by the emotional impact of my bag design, I turned to AI for insights.
This was quite extra, but it also served as a great encouragement and validation to my design. Receiving positive feedback from my peers, who expressed interest in purchasing the bag if it was in store, also acknowledged the cause I made this bag for.Â
CLOSING REFLECTION
When we first received the memo for this bag, we were told it doesn't have to be made for someone, unlike our first artefact. While we had the freedom to create a bag for ourselves, I felt a stronger sense of purpose was needed. Rather than simply designing something I liked, I wanted to create a meaningful piece with a specific intent. My goal was to make a unique bag with specific purposes (phone/earpiece pocket) and to align with this generation's sense of aesthetic.Â
To a certain extend, this design has met its purpose.
DRAPING
Draping is the technique of arranging and pinning fabric on a dress form or model to create the structure and silhouette of a garment. This process allows designers to visualize how the fabric interacts with the body, experiment with shapes and styles, and develop patterns directly from the draped material.
Brief History
Draping dates back to 3500 BCE, originating with the Mesopotamians and Ancient Egyptians. The Greeks later developed iconic draped silhouettes such as the chiton, peplos, chlamys, and himation, while the Etruscans and Ancient Romans created the toga, a garment that wraps and drapes around the body.
Togas: a very long length of woolen fabric that Romans wrapped around themselves, draping it over the left shoulder and arm and leaving the right arm free.
Peplos: long draped garments worn by women of Ancient Greece, often open on one side, with a deep fold at the top, and fastened on both shoulders.
Draping Various Fabrics
Silk: With its luxurious texture, silk is a designer favourite for its elegant drape, perfect for flowing evening gowns, lingerie, and soft blouses.
Cotton: A breathable and versatile fabric, cotton is ideal for casual wear, creating relaxed fits for summer dresses, shirts, and loose trousers.
Wool: Sturdy and warm, wool drapes beautifully for structured garments like coats, blazers, and skirts, requiring precision for the right silhouette.
Chiffon: Known for its sheer, delicate quality, chiffon adds romance and elegance to garments, but requires careful handling to prevent fraying or loss of shape.
Silk Drape Dress
Chiffon Drape
Wool Coat Drape
Jersey Knit Tencel Drape
Satin Drape
Heavy Linen Drape
Jersey Knit: This stretchy and forgiving fabric is ideal for comfortable, casual wear, allowing for flattering silhouettes in bodycon dresses and draped tops.
Satin: Known for its glossy finish and high luster, satin is perfect for draping luxurious evening wear, enhancing details and adding glamour to gowns and cocktail dresses.
Linen: Lightweight and breathable, linen drapes naturally to create relaxed and effortless styles, such as summer dresses, shirts, and wide-leg pants.
Tulle: Ethereal and lightweight, tulle creates voluminous, dreamy designs often featured in ball gowns and wedding dresses.
PREPARATION OF DRESS FORM
To begin, I pinned styling tape down the center front and back of my body, marking the key points: neckline, bust, waist, and hips. The faded tape lines from previous years served as helpful guides, making it easier to identify these points. Without these markings, I would have estimated roughly based on the mannequin's shape and measurements.
The most challenging part was accurately placing the tape around the armholes and creating the princess lines. These areas would significantly impact the final drape and cut of the bodice. This process requires patience and careful adjustments to ensure the desired shape and fit.
Front of mannequin
Back of mannequin
Shoulder tape
DRAPING A BASIC BODICE
Draping the Front:
To begin, measure the desired length and width of the bodice. Cut a piece of fabric, ensuring about 10cm allowance on each side and a 3cm allowance down the center front. Align and pin down the 35cm mark on the fabric with the bust line on the dress form.
First drape, just a huge piece of cloth.
After cutting the fabric at the neck and shoulder to lessen the tension.
How it looks like after sewing in the darts.
Create darts along the princess lines to shape the fabric and define the silhouette. Mark the darts, armholes, side seams, neckline, and waistline on the fabric.
I made a significant error with the back panel. I overlooked the importance of aligning the bustline, which became apparent only after creating and marking the darts. This oversight caused a noticeable discrepancy in the fit.
The blue line in the middle is supposed to match to the styling tape above it at the bust area.
The darts were more difficult to create as the fabric was harder to manipulate when it may not be fullyÂ
The mistake at the dart that was cancelled off.
 I redrew the lines
Darted it again
The lower horizontal line is the mistake.
Also I later realised that I drew 1.5cm at the centre front and back instead of 3cm.
^ After sewing the dart lines at the back.
The sleeves.
How the waistline looks after the bodice is darted.
After ensuring a perfect fit with the sewn darts, I carefully unpicked the bodice and created a paper pattern to serve as a blueprint for future alterations and replications.
REFLECTION
I understood the importance of creating an inner garment to support the draping process. This garment acts as a stable base, making it easier to remove the drape from the mannequin and sew the pieces together.
This process was a valuable learning experience, filled with both successes and setbacks. My impatience often led to errors, highlighting the importance of patience and attention to detail. I'll strive to incorporate these lessons into future projects, ensuring a more meticulous and focused approach.
ISSEY MIYAKI
Fahion Designer
Issey Miyake (born April 22, 1938, Hiroshima, Japan—died August 5, 2022, Tokyo) was a Japanese fashion designer who was known for combining Eastern and Western elements in his work. He also had a popular line of fragrances that included L'Eau d'Issey.
Issey Miyake's A-POC concept (below), introduced in 1976 by designer Noriaki Yokosuka, explores the relationship between the body and clothing. This philosophy emphasizes creating clothing from a single piece of fabric, emphasizing both the body's interaction with the garment and the space it occupies.
Autumn/Winter 2024/25
REFLECTION
I've been researching one-piece clothing designs, and Issey Miyake's 1976 collection continues to be a standout example. The A-POC concept, which emphasizes the creation of clothing from a single piece of fabric, aligns with my vision of comfortable, easy-to-wear, and stylish garments. The minimalist aesthetic of the collection emphasizes clean lines, simple shapes, and natural fabrics and the garments can be worn in various ways, allowing for personal interpretation and expression, which is a selling point to Gen Zs who hail self-expression. I admire the Autumn/Winter 2024/2025 collection's use of layered fabrics to create oversized silhouettes. The designers skillfully achieved a complex and detailed look while maintaining clean lines and minimal seams. I'm aiming to create a garment inspired by the style of his brand, with a flowing, draped silhouette and a minimalist aesthetic.
INTENT
Inspired by my chosen theme of Gen Z's unique workplace style and the tranquil, introspective moodboard, I used a double-jersey knit hoodie coat to create a new drape.
While the mannequin currently has a bare back as my coat is not enough to drape the entire body, I plan to drape it with a one-piece fabric that combines elements of Issey Miyake's A-POC concept and the latest Autumn/Winter collection.
At this stage, I need to consider a few things:
Armholes: I need to determine the placement of the armholes.
Back Design: I need to decide how to cover the bare back to create a complete garment.
Wearability: While the current design is not wearable, I need to explore ways to adapt it into a functional piece of clothing.
This is my initial visualization of the drape. While it should not be fully wearable as understood from Design Studio, I wanted to explore this concept and experiment with a fabric similar to the hoodie coat I used to drape above.
Draping+Materials
I initially experimented with lining fabric as it was a cost-effective option for testing the drape. This allowed me to freely cut and manipulate the fabric without worrying about wasting expensive materials. However, I took note that this material would be much stiffer than the double knit I purchased online, so the drape I achieve here may look different from the final look.
To achieve the one-piece fabric look, I folded the fabric into half horizontally and cut a small slit in the middle to create a neckline. (Fig. 6.1)
Fig. 6.1, neckhole cut, draped over in one piece.
Visualising the cut lines >>
How the drape looks like with both panels on the left and right cut>>
<< I cut out one side of the fabric to visualize the emerging shape. This initial step helped me refine the overall form of the garment.
<< Pinning the fabric to achieve the desired crop length.
1st Draft Drape
To achieve this look, I started by cutting out a rough outline for the sleeves and draping the left and right panels to the back. Next, I pinned the front panel to create the desired baggy, cropped effect and removed the excess fabric. Finally, I cut away the excess fabric from the sides of the front panel and pinned it to the inner side of the sleeves. I'm still deciding whether to sew these pieces directly to the sleeves or to the back panel.
Reflection
While the initial drape was successful, there are a few challenges to consider for the final garment.Â
The stiffness of the fabric I used for the prototype may not translate to the actual fabric, which is less rigid.Â
The current design might appear too masculine and tight-fitting, especially around the shoulders. To address these issues, I'll need to explore alternative draping techniques.
The length of the back panels may be limited by the available fabric. I'll have to consider using additional fabric pieces to achieve the desired silhouette.
2nd Draft
To gain a better understanding of how the drape would look on a fabric similar to my intended choice, I experimented with a single-knit fabric. This allowed me to visualize the design without waiting for the actual fabric to arrive.
Length of the fabric here is about 3x1.4 meters. It's not long enough horizontally for my actual design but it can work for now as it's all there is left.
I began by laying out the initial drape flat and then used it as a template to cut out a similar shape from the single-knit fabric.
The images below is how the slit looked like (left) and the neckline shape on the mannequin (right).
This is how the fabric looks like as an entire piece with a neck hole.
The cut lines I drew for visualisation >>
Process Of Draping:
copy_0463CEE6-7CB6-4F8D-9FDC-7F6998EAEE99.MOVTo soften the rigid lines, I rounded the corners, but the soft, unstructured nature of the single-knit fabric proved challenging. The resulting shape, while visually appealing, lacked the desired structure. Additionally, the tight fit of the sleeves raised concerns about comfort and wearability, which deviated from my original vision.
Drawn visualisation of the rounded corner before cutting.
How it looks like after being cut.
Draped with lining.
Draped with single-knit
As seen in the images to the left, the stiffness of the lining fabric helps maintain the shoulder shape, whereas the softer single-knit fabric droops, exposing the sleeveless shoulder. This visual discrepancy prompted me to consider cow draping the panels to improve the overall structure.
To address the masculine look and exposed shoulder, I was advised to add an inner sleeve. This new drape creates a softer, more comfortable silhouette.
Cow draping one side.
A more laid-back and bohemian style.
REFLECTION
This project was incredibly engaging, motivating me to work consistently and see it through to completion. Unlike my usual habit of multitasking, I was focused on this project until I was happy with the result.Â
While having a clear end goal is important, it's equally crucial to embrace unexpected opportunities for creativity. In this project, I focused on achieving a specific outcome, which may have limited my exploration of alternative design possibilities. In future projects, I'll strive to maintain a balance between a clear vision and a willingness to experiment and deviate from the original plan from now on.
Double Knit Fabric bought from Taobao
The sturdiness and softness can be seen here.
This is the actual fabric I bought for this project, which has arrived but I'm waiting to use it for my collaboration project with Jane. It's a 500gsm double knit, slightly thicker and stiffer than the single knit I used previously. I'm curious to see how the combination of this fabric with denim will create a unique and functional garment that appeals to Gen Z's professional aesthetic.
SIDE QUEST: the pants
I was disappointed when I accidentally ruined one of the back pockets with the failed silkscreen attempt. However, I'm determined to salvage the project, as the cyanotype prints on the other side speaks to me and my theme.Â
The abstract print on the other panel of the pants that I'd like to showcase in my portfolio.
I chose to replace it with soft denim because the colour matches the cyanotype print on the other side. The texture and thickness of the fabric also perfectly matches with the pants.
With some verbal aid from Kathleen, I was able to roughly mark out the shape of each panel of the pants with enough seam allowance.
This is how the front and back panels of the pants look like after being cut out.
Unpicking the pants from centre front to back>>
Unpicking this was actually a surpringly tedious process. What looked like a simple seam line from the outside was way more complex on the inside.
What the pants look like after being cut.
Honestly this pant's original workmanship isn't good, with loose thread everywhere and even some tangled threads hidden on the inside. Though I doubt I'll do a much better job as it's my first attempt, I'd be careful to lookout for these points.
Matching them up to see where to cut the new fabric.
Sewing the front and back panels together on the outside seams. I'm actually pretty sure I'm doing this wrongly as I forgot to machine fell seam this part and it's left like a closed seam on the inside.
How it looks like closed up.
POCKETS
I took a part of the old pants and turned it into a pocket so that it looks like a cohesive and planned design.
While I was aware of the standard practice of adding an edge stitch, I opted for a raw edge to complement the organic and chaotic nature of the cyanotype print on the other side of the garment.
Towards the end of the sewing process, my sewing machine malfunctioned, causing the stitches to become uneven. I had to carefully unpick and restitch the entire thing to ensure a smooth and continuous seam.
I put them together to envision the end product.
Preparing to sew it by turning it inside out.
While sewing the crotch seam was relatively straightforward, connecting the panels to the top of the pants required more careful consideration as I did not to sew it to the waistband but the yolk instead.
This is how it looks like from the inside. Though not intricate, I think the idea still got across.
FINAL RESULT
When I first wore the pants, I realized that the denim panel, starting below the hips, had an unintended effect of shortening my legs. The unusual silhouette created a somewhat awkward look. However, as I experimented with different tops, I began to appreciate the unique aesthetic of the pants. The unusual silhouette, while initially unexpected, added a distinctive touch to my wardrobe. I'm proud of the final outcome, especially considering the initial challenges and unexpected design choices.
Trying to apply surface design as I had left over silkscreened fabrics.
Option1
Option 2
Option 3
After much consideration, I picked option 4, which was to not add it on. I felt the cyanotype was chaotic enough and more elements will overwhelm the look. Less could be more here.
Cropping a shirt with cyanotype print
Original shirt cutting.
I measured how much crop I wanted it to have and drew a line.
This was my first attempt at cropping a shirt, and I was initially hesitant due to the risk of ruining the garment. However, I believed that cropping the shirt would elevate its aesthetic appeal and make it a more compelling piece for my portfolio.
I was hoping for a a raw and rustic feeling, so I did not sew the hems again, leaving the fabric to fray.
It slowly started fraying and I loved the overall look it produced.
To match the theme and create a distinctive look, I carefully cut the sleeves at the layered hems.
FINAL RESULTS LOOK BOOK
The crop of the shirt helped to maintain an oversized look while fixing proportions of the wearer.
Minimalistic yet eye-catching colour contrasts
It may look separated, but based on blue tones, both panels seems somehow connected and as one.
FINAL THOUGHTS
I'm pleased with the final outcome of the pants. The stark contrast between the left and right panels creates a visually striking and somewhat bipolar aesthetic, reflecting the duality and complexity of human nature. Gen Z, in particular, may appreciate the abstract concept behind the design, as it aligns with their preference for meaningful and relatable fashion. While the striking color contrast is eye-catching, the overall design remains minimalist. The denim panel represents practicality and stability, while the cyanotype print evokes a sense of movement and rebellion. I think it perfectly sums up what I wanted to convey through my motifs.
For the shirt, though it was just a simple adjustment to the shirt's cutting, I felt it really upgraded the entire look. This project has taught me the importance of restraint in design. Sometimes, less is more. By focusing on a few key elements and avoiding clutter, I can create a more impactful and visually appealing design.
Journey to be continued...
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