Meet the GFF 2020 Fashion Technical Drawing Award Nominees
Technical flat lay digital drawings play a huge part within design and manufacturing roles in the fashion industry. Graduate Fashion Foundation is proud to support the important skill and recognise the value it holds. Ensuring a Technical Drawing is correct, to scale and featuring all components is incredibly important to ensure another team member, or factory can manufacture the garment correctly. Meet the award nominees below!
Danielle Jupp, Leeds Arts University
Even Cowgirls Get the Blues pays homage to the early 1940’s American Western work wear that still has an enduring influence across the globe. The collection brings new life to the traditional Western cowgirl attire through the use of cut; contrast and silhouette, injecting a prairie-chic feel into the once masculine structures silhouettes of the past. Being names after the iconic Gus Van Sant film the collection screams Western vibes from the get-go! Using black and white Westerns of the 1940’s as a starting point, the collection portrays a unique take on what western fashion is known as today. Rodeo was a major interest and influence on the clothing industry. Fancy chaps, fringed shirts, exaggerated yokes, sparkling rhinestone hats and giant belt buckles...this flashy rodeo attire has very little distinction between men and women’s styles. For AW21, these traditional western silhouettes and details are used to inspire the collection's modern and feminine take on work-wear.
Emelia Johnson, De Montfort University
The concept behind my final collection is focussed on the ‘blank canvas’ and my interpretation of what it represents. Within this concept I have challenged the idea of what a ‘blank canvas’ is and the forms it could take. Through my designs I have sought to reflect the symbolic nature of what a blank canvas represents - commonly new beginnings and hopes in everyone’s personal journey, which can be created at any point in time.
I have considered the importance of colour, particularly white, which is often used to symbolise rebirth, and is a key colour in my colour scheme. To reflect my concept, I focused on exploring ways in which my garments could be altered and adjusted to suit the wearer’s own desires. I also wanted the garments to be seen as a ‘blank canvas’ and to build onto or customise, however they wished.
Lydia Claxton, Leeds Arts University
The ethos of this collection consists of practicality, innovative design, and a conscious mind. Her collection combines sportswear with fine tailoring, giving a futuristic enhancement on everyday tailoring to create high-performing business wear. Sustainable fabrics used in the collection include deadstock wools and recycled nylons. The collection has now taken a digital approach due to the covid-19 pandemic.
The Initial research that inspired the collection was presented as a dissertation answering the question: Is there a need for climate- disaster clothing and if so, what changes, advancements and ideas are being developed by professionals within the fashion industry to prepare for a post-climate change society? The dissertation explored the key components leading up to present day protective clothing, the need for different variations of protective clothing and the increased need for more wearable protective clothing.
Emily Hewitt, Liverpool John Moores University
“Manufactured Altered Landscapes” was originally inspired by the photography of Edward Burtynsky and how he captured damaged landscaped which have been created by human activity. From through research into his work, I chose to focus on quarries- their rock formations, structures and patterns, to create a casual menswear collection. I aim to replicate this research through my passion for pattern cutting. Garment research, combined with my research into quarries, inspired me to consider traditional tough, hard wearing denim garments that also change and erode over time, and how experimental use of denim and traditional denim manufacturing techniques such as lapped felled seams could be used to produce structural, £ dimensional shapes, reminiscent of the geometric shapes found in quarries.
Jessica Exley, Northumbria University
My final AW/21 collection “The Skate Over” is inspired by menswear within the themes of modern skate culture and Scottish Military uniforms from WW!. The collection is a juxtaposition of menswear clothing, colour and texture, which all comes together to create an original collection really considering the heritage of Scotland and skating. When creating my tech drawings, I start off with a basic outline shape where I consider the proportions and size of the overall garment. From here, I create individual shapes for each element of the garment which allows me to adjust and colour them easily once finished.
Mia Thompson, Manchester Metropolitan University
The ASIMOV collection was conceptualised as a thought provoking collection aimed at potential future lifestyle of the human race. As earth has become more polluted and over populated, mankind are setting out to inhabit Mars in a bid for a more ethical new beginning. Those leaving for the red planet are leaving behind all familiarity in order to start a new life.
Technology is a key element in the concept of my collection. Alongside some science fiction is a new reality where clothing can be simulated digitally or even worn in a virtual reality. As always technical flats can portray specific details that go into the construction of a garment, now with softwares like Clo-3D the fit, drape, proportions and style lines can all be simulated to fit specific body shapes.
Rebecca Middleton, Northumbria University
Recollection is a luxury womenswear brand that is part of the movement to encourage the new generation of eco-consumers who search for authenticity; thinking beyond the aesthetics and considering the impact, avoiding overconsumption. The way fashion is consumed has changed, millennials have stopped buying ‘stuff’ and started consuming lifestyles (Medium, 2019).
Recollection‘s first collection for SS21 is inspired by my own personal heritage and home town; based on the Isle of Man during the late 1800’s, a time whilst Manx holidaying was at its peak with middle class holiday makers, but also the resort of professional pickpockets; women often came over from the UK to specifically target holidaymakers during the heyday of Manx tourism.
Rosie Coggin-Levy, Sheffield Hallam University
During an overall wonderful and insightful trip to Japan I was jolted by the omnipresence of schoolgirl culture, or 'JK' from the Japanese Joshi Kosei (meaning high school girl). I was shocked and saddened to see teenagers in school uniform sell their time to passers-by. Men pay to hold hands, go for a walk, or have a cup of coffee with the girls. Some even pay to sleep on a girl's lap. This is all legitimate, above board and legal. This schoolgirl aesthetic signifies youth and innocence, it seems to be worshiped en masse. It is described best by its slang term: Lolicon, the hebephilic desire for young girls. I was inspired to question this sinister normalcy in an exploration into the humanistic ceremony of ritual and desire.
Salsabila Nurferyani, Coventry University
Romanticism has inspired many artworks over a period from the late 18th to mid-19th century that spread widely in Western civilisation. As it influenced the world of fashion it became a symbol of fighting for freedom and equality towards women. This idea fascinates me and it turns to be the inspiration for my collection. Beside Romanticism, both of my favourite designers Yohji Yamamoto and Rei Kawakubo are also my major inspiration. Their philosophy in making the most radical concept, ignoring standard clothing and instead creating extraordinary “weird” fashion are truly inspiring.
Stephanie Ransom, Arts University Bournemouth
Looking at the classic look of the biker wear and the tough, rebellious styles of the subculture has been brought together to create an innovative menswear collection. My family is rooted in the british biker culture, each generation connected to it in their own way. Keeping the past alive and bringing it into the now. Using my father’s old biker clothes to drape, deconstruct and reconstruct oversized new garments. Collaging the past and the present elements of the biker essence. Hard protective textures rule these garments and are juxtaposed with rough knits and soft cottons.