THE VANISHING SCARF

The inspiration is based on observations from a form of self-reflection and the personal experiences of the designer and relates this autobiographical narrative to a broader cultural, political and social context and awareness as well as many collective perspectives on the advancement of gender equality and women's empowerment in society. My aim is to promoting it so that women can have the right to dress in their own way without being criticized by society or the opposite sex or even their own race. This is a major problem, which is debated very widely in many countries, whether developed or in the process of developing and various theories have been published in this regard. This problem can be massively intensified in different races, while in others it’s not as salient. Growing up as a girl in Iran, fashion was always a form of “Protest”. In Iran, women who make fashion statements can break the law and risk their lives. They use fashion as a form of resistance. I was instantly drawn to the idea of “Restriction”, and how social inequality between men and women is reflected. The fact that they didn’t have a chance to voice their opinion. I want to emphasise how masculine women become in the sense of their lifestyle. During the process the idea was to create both masculinity and femininity throughout the collection to fight for women's right and to achieve gender equality, a debate that has not yet been spoken or mentioned in any way. I have always been interested in womenswear tailoring and I truly believe: ''What gives a woman more power and visibility than a suit''!

Wearing scarfs (Hijab) is something that is forced in Iran’s culture and for that I created my own printed fabrics to use as a symbol throughout my collection also explored a technique, I have called the ‘vanishing scarf'. Each design piece juxtaposes a different combination of silhouettes exploring both fluidity and structure. I wanted to create a piece ( collection ) that is inspired by what I have experience my whole life as a woman. I have struggled with the idea of always being under pressure and stress of not be able to become who I am today as a woman in my own culture. For someone not to be able to achieve their goal in life because of it and had to start from zero all over again in something that she always was passionate about.
Experimenting with the colour theme at the beginning of the collection that led to changes on the way through forever design developments.
Creating wider shoulders and trousers and the female shoulder line becoming wider and squarer supported by shoulder pads. Shoulder pads were an important feature in every type of clothing, varying from flexible blouse pads to wider and more structured form in over jacket or suit. Throughout the collection, retaining the masculine style but with softer fabrics for a more relaxed, comfortable, feminine look. Also, detailing bow-tie collar blouses and tailored suits to recreate a rugged yet smooth-textured feel for a more powerful look in women's wear range. Adding the trousers further specifics including extra flared, pleated and wide leg bottoms. The style is close fitting at the top and begins to flare from the hips with extra fullness all way down to the hem, placing on the bias to achieve the necessary smooth clinging lines and flowing hems. In addition, the design follows up on the idea as a tailored style that requires skilful manipulation of the fabric to add on more details for sleeves and then it also began to drop, creating a more rounded -although still extended- shoulder line. The development of structured silhouettes were crucial elements of the research for my final collection.
The collection leads its way to the modern tailored costume, which was a considerable liberation in fashion with the new, comfortable, loose-waist jacket and the straight off the ground pants to rapidly become the classic style.

The collection draws inspiration from cultural status, study and life, in this case (Iran) -where sexual identities and gender differences were not critically debated in- and the difference between a woman's position in the workplace as mentioned in previous chapters and the power to achieve equality especially for 21st century women in the corporate world. The aim was to explore the shifting meaning of ‘’Fashion’’, Particularly in relation to gender equality and empowering women in society, especially in the workplace. It concentrated on fashion not just as clothes, but as power, and particularly the ' equality ' in femininity and masculinity it helps to build. To achieve change in the codes of power in the workplace by creating tailored suits that are represented to be recognised as a trope of leadership, while the suit is still typically the last word when it comes to business, it is no longer restricted, for women.
Power dressing and fashion are two basic social-cultural factors that shape the gender.
Throughout the collection, retaining the masculine style but with softer fabrics for a more relaxed, comfortable, feminine look. For my final year collection, the fabrics that I have used is to create a contrast in their touch and look to give the idea of both fluidity and structure. Therefore, I have used taffeta with a touch of silk, organza, chiffon, silk, crepe and 100% wool tailored cloth Etc. Through this process I have challenged myself by using taffeta for a tailored sharp lapel half suit that was used for Alexander McQueen’s Winter/Autumn19 Rose dress. I was inspired by my cultures beautiful print and textile design, and wanted to create my own design for printing fabrics. So, I decided to design and print my work on different type of fabrics as I mentioned I am using.
Following the idea of the Islamic Revolution using the scarf as a complete cover of the '' veil '' - because of its versatility and ability to make the appearance more feminine and personal - remains in the collection, but it is used as another purpose during the practical aspect of the research. The project known as the ‘’Vanishing scarf’’ started with the creation of the first outfit with a scarf that is part of the garment and has started as a separate piece.
As the development idea progresses, the scarf is easily adjustable with the underside panels becoming part of the semi-lateral cover of the arm or body and the trail at the back. Part of my design work is inspired by the 1980-90s as they were characterized as being independent and powerful in their age; an age in which more women entered the world of work than ever before, seeking to usurp the position of men in business and clothing. To finalise the combination of different ideas and methods to create the right structure and volume, a lot of practice and repetition is being done throughout toiling.
Most of my prints are on Paris chiffon, taffeta, silk. 90% of my fabrics used in my collection have been donated by the amazing Alexander McQueen team members and for my prints I have outsourced them from the great print company in the UK as we all know '' CONTRADO''.
Using their (Alexander McQueen) fabrics has created kind of a more confident for me into making my collection because I believe my style of work connects with their touch of material and I think I wouldn't have chosen the best fabrics if it wasn’t for them. So, I am really thankful for having this opportunity and get to use their donation for my final year collection. Unfortunately, some of the cloth donated from McQueen wasn't enough meters on the role and some parts wear damaged and no good for use so I had to try and source a similar fabric online. So, one or two pieces of my collection’s fabrics are sourced online but mostly are donated for me.
The purpose of my collection and the message is to approach the equality of different masculine and feminine structures in choosing the type of clothing and its impact on the value and respect of the opposite sex or even the same sex. The battle for women's pants endorses the different behaviour of men and women, but this does not mean that women should only be seen in blouses, skirts and dresses. I believe clothes should make women feel strong, sexy and empowered.
It’s still worth remembering that
'' bespoke clothing not only make us look unique but what is more important, fits our body well and gives is the feeling of absolute comfort''
My design also speaks the language of how a strong piece of clothing could speak for its self, and by looking at it you can feel the power and freedom of a woman with no restrictions what so ever.

Project Tags

Companies

  • Hearst Magazines UK

    Hearst Magazines UK

    • Publishing
  • The Dots

    The Dots

    • Technology
  • British Fashion Council

    British Fashion Council

    • Fashion and Textiles
  • LOVE.

    LOVE.

    • Design
  • Intern

    Intern

    • Publishing
  • Dezeen

    Dezeen

    • Publishing
  • Graduate Fashion Foundation

    Graduate Fashion Foundation

    • Fashion and Textiles
  • Vogue

    Vogue

    • Publishing
  • Leeds Arts University

    Leeds Arts University

    • Education & Research
  • Alexander McQueen

    Alexander McQueen

    • Fashion and Textiles
  • Instagram

    Instagram

    • Design
  • Aesthetica Magazine

    Aesthetica Magazine

    • Arts and Culture

Skills

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Fashion Designer, Bespoke clothing brand ( Made to order )