Exploring geometrical pattern-making in relation to trend based ready-to-wear garments, with a focus on no fabric waste.

BA IN FINE ARTS; FASHION DESIGN REPORT No 2020.3.03ANNA DALSTAMUNIVERSITY OF BORÅSTHE SWEDISH SCHOOL OF TEXTILES2020

’BETTER FASHION FOR A BETTER FUTURE’

1.3 ABSTRACTThis study examines how to make trend fashion based ready-to-wear apparels with no fabric waste in the cutting phase through geometric pattern-making. To work with sustainability through geometrical pattern-making in construction, within the context of commercial fashion.

The fashion industry is one of the world's top polluters. Several million tonnes of textileends up in landfills all over the world every year, landfills are overwhelmed andthat has a great impact on the environment.

The purpose of this study is to investigate how the method of geometric pattern making can have a commercial value in sustainability. How it can bring benefits within fashion design to become more sustainable, and thus help tackle issues in relation to fabric waste in garment production. Significantly, the project discusses if there can be a way of making commercial clothes more sustainable through geometric pattern-making so no fabric is wasted when it is being cut.

The work proposes potential solutions and expressions through this chosen methodology.

1.4 KEYWORDSSustainability, Geometric pattern-making, Zero-waste, Construction, Fashion Trend,Ready-to-Wear, Future fashion.

TABLE OF CONTENT

1.3 ABSTRACT 1.4 KEYWORDS1.5 DESIGN RESULT, IMAGES OF WORK 2.1 INTRODUCTION TO THE FIELD2.2 STATE OF THE ART 2.3 MOTIVE2.4 AIM3.1 METHOD 3.2 DEVELOPMENT 4.1 CONCLUSION, RESULT 4.2 TECHPACKS 4.3 DISCUSSION 5.1 REFERENCES 6.1 APPENDIX

1.5 DESIGN RESULT: LINE-UP

2.1 INTRODUCTION TO THE FIELD

That is wasted through uncreative approaches to pattern making methods, small changes can bring about a significant reduction in textile waste.

WHAT IS ZERO-WASTE IN FASHION DESIGN

Avoiding fabric waste through efficiency in pattern-making have played an important part in the production of early historical garments. Panel lines that enabled the garment to be cutfrom the cloth with little waste, was originally done for economic reasons (Gwilt, 2013).Zero-waste in fashion is a design technique, a method that eliminates waste in the cutting phase. The design of the garment is constructed so all of the fabric width and length is used. Zero-waste fashion design is a practice that embraces uncertainty and the instability of the environment. A new model for garment design, which aims to eliminate the production of waste from the production of clothing (Gwilt, Rissanen, 2011).

Zero-waste pattern cutting has been approached by various designers. For example, the works of Issey Miyake suggest an alternative approach in terms of the use of geometric shaped pattern cutting to achieve zero waste.

Another designer within the field is Holly McQuillian that differ in techniqual terms by using a pattern construction recembling a jigsaw puzzle. This method results in all pieces of the garment pattern being utilized in the finished design. To achieve this requires to design both two-dimensionally, to achieve a jigsaw piece effect on the cloth with zero waste, while also considering the impact this has on the three-dimensional outcome of the garment (Gwilt, Rissanen, 2011). This method requires numerical mathematics, you have to count everything in every detail and figure out how all the parts of the garment should go together.

CHALLENGES A FASHION DESIGNER FACES One of the biggest issues associated with the production phase is the creation of unnecessary textile waste (Gwilt, 2013). Amount of fabric wasted when garments are cut and made is approximately 15 percent (Rissanen, McQuillan, 2016).

WHY ZERO-WASTE The advantages of clothing production and consumption that are convenience and low cost, also carries enormous environmental and social impacts. In addition to the carbon generated through transportation, the huge volume of water and toxic chemicals used to grow and process textiles, and the use of poorly paid workers, it is standard to waste 15 percent of the cloth when producing a garment, only resulting in a loss of profit for the manufacturer and generating landfill waste (Gwilt, Rissanen, 2011).Textile waste that is ending up in landfill generates chemical release in soil and water. Textile material does not biodegrade easily, this has enormous environmental impact, which ultimately harms us humans and animals (Brown, 2010).

METHODS A FASHION DESIGNER CAN USE The idea that fashion designers have the opportunity to bring sustainability into the design and production process (Gwilt, 2013), is agreeable and there are many ways of doing so. It is possible to minimize or avoid textile waste by exploring zero-waste approaches to pattern-cutting (Gwilt, 2013). This can be achieved by a jigsaw puzzle technique where all the pieces of the garment is constructed in a pattern, so the whole width and length of the fabric is used. Another way is using a geometric shape, such as a square, rectangle or triangle, it is possible to use cloth efficiently with little or no waste (Gwilt, 2013). The reason is because that is how fabric is shaped: woven cloth is a grid of warp and weft yarns, it enables the fact that geometric shapes have considerable potential in a zero waste context (Rissanen, McQuillan, 2016).

Futhermore Julian Roberts a designer that deals with zero-waste practice, who invented another technique within the field to atchive sustainability through zero-waste by 'negative space' solution in the construction phase. A working method that generates pace do to, no considerations of the way conventional garments are made with patterns of front/back, darts and ancor points (Rissanen, McQuillan, 2016).

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2.2 STATE OF THE ART

WHAT THIS PROJECT WILL BE BASED UP ON

The elements that this work will continue to build on is zero-waste in the fabric cutting phase. It will be achieved through geometric pattern-making construction. The technical execution of the artistic work in this project will be based on re-designing trend based ready-to-wear apparels, seen on the runways, into 100 percent zero-waste. Where the whole fabric width and length are used in the making of the garment. Nothing will be wasted in the cutting phase. The high level of commerciality that the runway apparels have, will not be compromized in this work. The artifacts produced will seek for the same height of that level, investigate if it can be made, with main goal zero-waste to fulfill.

A contemporary fashion designer that is known for the use of zero-waste pattern contruction technique is Holly Mcquillan. Her research focuses on sustainable design practice within a contemporary material culture framework with a particular interest in production and consumption systems in the world of fashion (Gwilt, Rissanen, 2011).

The method she is using is proven to be sustainable since it eliminates fabric waste in the production phase. Otherwise approximately 15 percent of the material is wasted in the cuttingphase when producing an adult sized garment (Rissanen, McQuillan, 2016), only resulting ina loss of profits for the manufacturer and generating landfill waste. McQuillan’s design method can be described as a ’jigsaw puzzel’, the pattern of a garment is layed out to fit the entire fabric piece, as seen in figure 1. What is interesting with this method is, looking at the pattern, it doesn't look like a regular T-shirt pattern, but the end result, meaning the physical artifact resemblance one.

Another designer within the field is Julian Roberts, who has approached sustainable thinkingthrough another cutting technique, seen in figure 2. The way he differs from HollyMcQuillan, is the use of ’negative space’ as a method for constructing without waste. He isthe inventor of a pattern cutting technique called Subtraction Cutting, that entails the patternsare not cut to represent the outward shape, instead they represent the negative spaces within

Fig.1

Fig.2

Fig.3

the garment. What that means is the results are garments constructed from sheets of cloth, with no ordinary shaped holes that the body passes through. This approach differs fromMcQuillan because it gives the ability to cut fast and inaccuratley without using complexnumerical mathematics (Rissanen, Mcquillan, 2016). This approach offers many oppertunitiesfor those wishing to explore zero waste fashion design, particularly through the eliminationof the way conventional garments are made with patterns of front/back, darts and shoulder/sideseams (Rissanen, McQuillan, 2016).

What its similar to McQuillan is the fact that the apparel design technique is zero-waste. That is something this project are going to build on, a collection being entire zero-waste. More specificallyinterpret and redesign catwalk trends into zero-waste apparels. Similar to McQuillan the constructionwill be like jigsaw puzzle but differ in its simplicity of being geometrical shapes only. This work will differ from Roberts, and not use negative space as a method at all. This work will use numerical mathematics to solve the construction and will not eliminat the way conventional garments are made, rather mimic it.

Fashion designer Issey Miyake has also worked with sustainability, through approaching it by another technique, that of geometric shaped pattern cutting, as seen in figure 3. He differs from the others by using geometric shapes as a technique to achieve zero-waste in the cutting phase of the garments. It is interesting how the human body relates so well to precisely geometric shapes, both in length and width.

Similarities they all have is working with creating ways to develop a technique to cut fabric in,a way so zero waste of cloth is produced. The way Miyake have managed it, has a very high level of commerciality. That is something I would like to take into my project, designing apparelsthrough geometrical pattern making in order to achieve sustainability, but also keep a highcommercial level in the expression of the garments.

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2.3 MOTIVE

2.4 AIM

3.1 METHOD

By making geometric pattern constructions, the aim is to explore the technique in relation to trend based ready-to-wear garments, with a focus on no fabric waste.

The purpose of this study is to investigate if the method of geometric pattern making can have another expression that might have a commercial value in fashion, than seen before and therefore showcase another sustainable way of making zero-waste apparels. How it can bring benefits within ready-to-wear fashion design to become more sustainable, and thus help to tackle environmental problems and climate change that we are facing. Notions that this study questions, are how can geometric pattern cutting be applied to current garment trends from the catwalk and how can there be a zero-waste construction method through geometrical pattern-making. Why these notions are questioned, the purpose and potential of this study is to find out if there can be a way of making ready-to-wear clothes more sustainable through geometric pattern making so no fabric is wasted when it is being cut. Will they look the same or how will the apparels differ. Moreover the project investigates if geometric pattern making is a potential solution to reducing fabric waste when making trend based apparels and whether it is possible to produce clothing with a commercial value in this way. Supporting arguments for this study is, that 15 percent amount of fabric is wasted when garments are cut and made (Rissanen, McQuillan, 2016), this is a climate and environmental problem. A solution to this problem is zero-waste pattern making. It is possible to minimize or avoid textile waste by exploring zero-waste approaches to pattern-cutting (Gwilt, 2013). By using a geometric shape, such as a square, rectangle or triangle, it is possible to use cloth efficiently with little or no waste (Gwilt, 2013). The reason is because that is how fabric is shaped: woven cloth is a grid of warp and weft yarns, it enables the fact that geometric shapes have considerable potential in a zero waste context (Rissanen, McQuillan, 2016).

This study is about finding out if it can be made, that is why this work is of great importance to the field. To contribute in a way that showcase another appearance of zero-waste garments that has more resemblance to trend based garments and there of has a higher commercial value to the fashion industry. Because zero-waste in construction has as stated been done before. But the reason why we all are not walking around in them, why they are not being sold at for example a H&M store, is becasue the look of zero-waste garments done by McQuillan, Miyake and Roberts to name a few, lack a high commercial value. The proportions, lines and fit of the garments does not look or fit the body the way we are used to the garments being fit. To contribute to the greater good, in how to make commercial fashion more sustainable.

1. How can geometric pattern cutting be applied to current garment trends from the catwalk?

2. How can there be a zero-waste construction method through geometrical pattern-making?

THEORETICAL APPROACH

A theory is necessary to frame the work, to structure the processed and the investigations in a systematic way.

The work will have a focus on geometric pattern making in construction as a method. This entailsthat all artifacts made will consist only of geometrical parts, and that no fabric is wasted in the construction phase. The project will consist of a mix with Sketch-photography and Basic design method 1[3]:re-interpret, according to Thornquist (2010). Meaning the work will go through a design processfrom thoughts, ideas, sketches to realisation. A practice-led research, which focus on research that evolves through the making of design, where the questions and challenges are identified, the process of answering these questions is by means of practice and through making, where the researcher is involved as the practitioner (Mäkelä, Routarinne 2006).

RESEARCH QUESTIONS

PRACTICAL APPROACH

In order to gestalt and process the visual ideas or artifacts, a research book will be made. This will be used to document trend analysis of ss 20 ready-to-wear, collaging, sketching, making of fabric choices, making of color choices, photograps of draping on a mannequin. Based on the research, x-number of artifacts or prototypes will be made and developed into a collection.

TOOLS OF EXPERIMENTATION

Geometric pattern making, meaning all material, thus the entire fabric width and length will be used in the construction. This will be the project’s approach in relation to zero-waste.

Draping, is based on the images represented in the trend analysis, that consist of current trends for SS2020 listed from Vogue and ELLE. The garments that are being draped should relate to the selected trends. It will be draped on the mannequin, tested on the body, and relate to the trend.

Furthermore, the project will use photography and movies for analysis and to make a selection of what has been processed, and then evaluate whether the trend is visible or not. As well as to see if the design of the garment works or if lines need to be adjusted to resemble the trend garment that this work is re-designing.

Other tools are sketches and line-ups for processing ideas and visualisation, also to build a dynamic collection. Make the work visible and be able to analyze and visibly see what works and does not work.

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3.2 DEVELOPMENT

CRITERIA

The criteria of the artifacts is variation of scale, material choice and color. All material must be used, no waste of material is allowed. By that is meant all the fabric should be used, it should be included in the design of the garment when cutting and sewing. The selected trends should be visible, in some form.What to look for when draping items, scale and proportions in relation to body and correspondence to selected trend image that is redesigned.

Nor will the garments have any zippers or buttons, the construction is designed without, in order to make the apparels more sustainable.

EVALUATION OF DESIGNS

How to evaluate the work and its artifacts, will be made by looking at its proportions, lines and fit in relation to the body, the size of body it is supposed to fit. Also look at the resemblance to the stated trend images selected, does it correspond to the way they look and fit their body as well.

There will be a translation of images in 2D format to a redesign of these in 3D real life format. Information regarding the fit will not be a greater insight into it to gain, more than whats shown in the pictures. Challenges here will be, limitations in interpretation, if it is interpreted right or wrong. The garments that are specially made by machine, there a direct translation will not work. For what is available in techniqual terms are just cut and sew. The project intends to manage this through, all apparels will be executed through cut and sew method. Where the pattern pieces are geometric shapes, so no material is wasted.

What determines that the garments work is proportions, lines and fit in relation to the body, in resemblance to the trend ss20 catwalk image in the trend analysis. To be able to make decisions about which silhouettes to make and which have potential in this project. Also to demonstrate, show how the artifacts are made and what decisions that have decided this.

TREND ANALYSIS

The choice is subjective, but to me this is a dynamic line up, with variety in colors, siluettes, proportions, materials and volume. But they also speak to each other in the sense of colors, materials, lines, shiny, matte, texture, transparency and thickness.A variety that still talk to one and other in a dynamic way, that showcases a wide variety from the Spring Summer 2020 ready-to-wear trends.But also to test the potential of the construction method when it comes to different types of garments, what will be more successful and what will be less successful.

THE REASON WHY, TO THE CHOSEN LOOKS

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LOOK 1- DEVELOPMENT

The look to redesign into zero-waste. Suit jacket without lapels, there is chest pocket, piping over regular pocket with lid on the right side, only regular pocket with lid on the left side. The suit jacket is shaped using incisions in the front. Two buttons in the centre front, which should not be included.Material, probably high-quality wool fabric in both the suit jacket and shorts.Do not know if the shorts have pockets on the side or back, the shorts are knee-length.

Layout sketch of pattern parts

SleeveSleeve

Shorts F

Suit jacket F

Suit jacket F

Suit jacket B

Suit jacket B

Shorts B

Shorts B

Pipi

ngPi

ping

Pipi

ngPi

ping

Pipi

ngPi

ping

Lini

ng

Lini

ng

Pocket

Pocket

Pocket

Pocket

Pocket lid

Pocket

Shorts F

Shorts Suit Story Givenchy SS 20 READY-TO-WEAR

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Dubble shoulderpads,to much, one is enought.

Add 13cm

Lower the incision?

Take in 1cmmore CB

Release 1cm in the incision, to make the lines more straighter and lower theincision.

Take in 1cm more inthe incision

Sewn with 1 cm in seam allowance, the fit looks oversized, not good.

Changed it, by sew of more on the sleeve so that the fit became like the original.

The leftover fabric is sewn on here both frontand back.

Made a toile where I sewed off the seam allowance and have it visible on the outside. Do not like this expression, it looks exaggerated and artificial. Will sew up the real one as similar to the original in fit and silhouette as possible.

Since there was no fabric left over for the pocket lid, tested if the pocket bags had worked instead, but they become too small, so the proportions do not match the original.

Just having piping looks better.

DESIGN PROCESS

Inside of the suit jacket,the pockets.

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Inside of the suit jacket, to show excess seam allowance.

PrintInstead of making the suit in a grey color like the original, a print was decided. The reason why, to make it more interesting and to make a statement with it. To send a message and let it speak for itself. The inspiration comes from fashion student from CSM, and the fashion brand Vetements, they have also taken significant band logos and re-written them to another meaning.

Placed print or all over? The all over print feels stronger, something more interesting happens with the garment then, it becomes like a movement in the garment. Reminiscent of a chanel scarf. You try harder to see what it really says. Decided for the black logo on a white background, because it is most similar to the fashion brand Chanel.

The challenge with the suit jacket is to cut all the parts out without creating waste fabric. The length of the fabric is determined by estimating how much is needed to recreate the original silhouette. The width is all of the fabric, which must be used.Another challenge is to sew all the rectangles together into a wearable suit jacket. This is done by carefully marking where the seams should be with basting stitch, then I have to sew with a machine very carefully.What happens here is that a lot of leftover seam allowance is created. Debatable whether it is successful or less successful from a commercial perspective.

DESIGN PROCESS

Shoulder part. Inside the sleeve.

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Pattern Report Color schemes Pattern Report Color schemes

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LOOK 2- DEVELOPMENT

The look to redesign into zero-waste. A transparent bralette top with straps, probably husky and hook in the back of metal, which will not be used. Straps also cover over the nipples.

Skirt, that seems to be flowy with a firm waistband at the waist, probably a zipper opening at the back, which will not be used.The material seems to be of some kind of lace fabric.

Bralette ChicLoewe SS 20 READY-TO-WEAR

Layout sketch of pattern parts

Skirt

Bralette

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Quality: polyester jersey lace

-Split them to 4 or 2 lager ones only?

Not �attering, have to stick to the method and only use the fabriclenght that is needed to create the original look.

-What if the fabric is wider and longer,stu� the elastic band with that fabric?

Just make a bra withelastic band only?

Need to be a heavier fabric, so it falls better and looks softer, the fabric also needs to be longer in width and length.

Try out to stu� the elastic band bra withfabric, interesting expression. It's a voluminous look, for a bra.

Move the straps to the side, made it wider between the breasts by my own measure.

Too narrow in between the straps.

Move the straps to the side, made it wider in betweenby my own measure.

DESIGN PROCESS

Decided to proceed with this design, because it is most resemble to the original.

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LOOK 3- DEVELOPMENT

The look to redesign into zero-waste. Voluminous dress with puff sleeves, which is pulled at the waist. The puff sleeves seem to have a sewn channel for the puff to be created. A short dress with a square neckline. The material seems to be cotton poplin or silk taffeta fabric. It seems to be light and airy, favorable for puff effect and wrinkles.

Neon SignsValentino SS 20 READY-TO-WEAR

Layout sketch of pattern parts

SleeveSleeve

Skirt F

Bodice F

Skirt B

Bodice B

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Using elastic bands, pull in the fabric and shape the garment so that it becomes fluffy and more voluminous like the original lookthats redesigned.

Quality: Polyester

DESIGN PROCESS

The seam allowance on the inside of the dress, seems to be normal from a commercial perspective. Therefore it would be debatable whether it is a successful design method.

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Transparency

LOOK 4- DEVELOPMENT

The look to redesign into zero-waste. A transparent top with folds in the neckline and polo collar. Ruffle cuffs at the end of the sleeves.Cigarette pants with pockets on the sides, do not know if there are any at the back. The trousers are high waist and end below the ankles with a slim fit.

Layout sketch of pattern parts

Sleeve

Neckline detail

Trousers F

Trousers F

Trousers B

Trousers B

Sleeve

Bodice F

Bodice B

Ruffl

e cu

ffs

Ruffl

e cu

ffs

Saint Laurent SS 20 READY-TO-WEAR

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Take away incisions,add elastic bandin waist, no needfor zipper or buttonsthen.

Lines of a regular trousers.

Folding 3cm?

Sew off and press the remaining fabric at the shoulder, so that the fabric falls over the shoulder in the same way as in the original.

Wrinkled the fabric around the neck, to resemble the original.

Wrinkled ruffle cuffs to resemble the original.

Made pockets of the leftover fabric from the crotch, for the original clearly has pockets.

Tie at the neck with the remaining fabric.

If I were to make wide trousers, this method would have been beneficial. Since it is slim fitted trousers, the challenge is a lot of excessive fabric. Solution here was to sew of the fabric to make a slim fit, therefore all the wide seam allowance. The fit of the pants was marked with basting stitch, to mark where to sew.Another challenge was what to do with the fabric waste from the crotch area. Here a solution was to make narrow pockets, since the original look has pockets.

DESIGN PROCESS

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Layout sketch of pattern parts

An inner plastic bag as protection against the lining, is created from the remaining part.

The reason why an accessory bag, is to tie together the collection by having the print been repeated,shown off on another part of the collection to make it more cohesive.

The characteristics I have taken note of from the Chanel shopper bag are: Metal chain in gold color, quilting and the mirror-inverted CC.The bag I will create is a mix of this, with clear Chanel character traits. The challenge I face, is no fabric waste created. The use of all of the fabric width must be done, in order to not create any waste. Fabric length is decided upon how much is estimated to create this type of shopper bag.

ACCESSORY SHOPPER BAG- DEVELOPMENT

Outer shell Lining

Outer shell Lining

Fold

Fold

Plastic fabric

Printed fabric

Fold

Fold

DESIGN PROCESS

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Neon Signs

LOOK 5- DEVELOPMENT

The look to redesign into zero-waste. A very tight jersey dress, short dress with full length sleeves and polo collar. The dress is really tailored made, fits the female body like a second skin.The fabric is some form of lycra, because of the high elasticity.

OBS! The fabric is double folded.

Layout sketch of pattern parts

Sleeve Front Back

Vetement SS 20 READY-TO-WEAR

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Must hem the bottom edge, with a double coverstitch.

Since it is a tight dress, I want to show how much is wasted, by having the seam outside. The sleeves become elongated because the fabric is as long as the front and back of the dress.

Try draping directly on the body, but then the fabric was not enough.The idea here was to directly drape and pin the fabric against the body to get the garment as a second skin. But also then to see all the leftover fabric, which in a normal case would then have been cut off and wasted.

DESIGN PROCESS

Had to make pattern pieces and cut out the fabric and mark where to sew in order to get a tight slim fit. The challenges here will be how much of excessive fabric will be created with this method and what to do with it. The idea here is to show it off on the outside, just to make visible how much fabric is thrown away when creating a dress like this. To raise awareness but also to find and interesting aesthetic.

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Leather

LOOK 6- DEVELOPMENT

The look to redesign into zero-waste. Leather top with high neckline and pocket over the left chest. Straight cut over the sleeves.Skirt with folds at the waist, probably an elastic and knot to hold it together. The skirt length is down to below the ankles. A-line silhouette.

Givenchy SS 20 READY-TO-WEAR

Layout sketch of pattern parts

Skirt

Bodice

PocketLoop to beltLoop to belt

Loop to beltLoop to belt

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Quality: PU leather Chose PU leather because it is more sustainable and more environmentally friendly to produce in comparison with real leather. Detail

Release the tension by open up side seam and make a larger armhole.

Sew off as incisions.

Too bubbly, make it as a flat square instead.

Good size in relation to the proportions.

Maybe tighten the armhole a couple centimeters.

Redo the hem.

DESIGN PROCESS

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70s Re-Run

LOOK 7- DEVELOPMENT

The look to redesign into zero-waste. A flowy voluminous long dress that is divided into four parts, with wrinkles on the upper edge where they meet. Puff sleeves, the material is some light fabric such as poplin or silk taffeta.

Valentino SS 20 READY-TO-WEAR

Layout sketch of pattern parts

SleeveSleeve

Skirt 1 x2

Skirt 2 x4

Skirt 3 x8

Bodice F

Bodice B

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The challenge with the making of this dress, was to calculate the shrinkage with the folds and how much the skirt width needs to be in each part to fit together. The same with the sleeves, shrinkage inrelation to fit the body and recemble to the original dress. This dress looks simple, but it took the most time of all the artifacts to make.

Must lower so that the fabric and construction do not pull upwards. The elastic band does not look good, remove and sew with wrinkles instead and line the entire dress to generate more volume in the garment.

Must make a larger sleeve so that it becomes much more voluminous.

Elastic band, to pull the parts together so that they fit the body. The elastic band also becomes a carrier for the weight of the fabric, they carry the construction.

Quality: PolyesterOutershell Lining

DESIGN PROCESS

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4.1 CONCLUSION, RESULTREFLECTION OF THE RESULTS The implications of the resulting artifacts finds some more successful than others when it comes to designing and corresponding to the original look. The apparels that have standard seam allowance on the inside are more successful, for they do appeare like the original look. The apparels that has a bigger amout of seam allowance hidden on the inside or showcased on the outside of the garment are less successful when it comes to corresponding to the original look thats being redesigned into zero-waste. Analysed and reflected up on, from a commercial point of view being, conclusion therefore is that it also has a less commercial value, those apparels that have a greater amount of seam allowance on the inside or showcased on the outside of the garment. Those clothes had not worked to manufacture in a clothing production,either.

Furthermore the resulting artifacts do correspond to the given aim and motive in the sense that it is executed in the given method, geometrical pattern-making, trend based ready-to-wear apparels are being redesigned by a zero-waste technique and there are no waste in the cutting phase.

LINE-UP FRONT AND BACK

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LOOK 1

Shorts Suit Story Out�t

49 50

LOOK 2

Bralette Chic Out�t

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LOOK 3

Neon Signs Out�t

54

LOOK 4

Transparency Out�t

55 56

LOOK 5

Neon Signs Out�t

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LOOK 6

Leather Out�t

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LOOK 7

70s Re-Run Out�t

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STYLE: Dress QUALITY: Polyester COLOR: PANTONE 16-1459TCX

Sketch and technical info

Singel stitch, 1 cm from edgeto stitch.

Sewn reinforcement on the inside in the seam allowanceboth front and back.

STYLE: Dress SIZE: EU 38

Measurements

FB

B

A

N

C

F

S

2

1

4 4a

3a

2a

1a

3

Neckline: Front 4cm, Back 8cm

1/2 Chest: 50cm 24cm

32cm

46cm 612cm

306cm

153cm

76,5cm30cm

Shoulder: 35cm

Dress Skirt part shell and lining

Centre Back: 132cm

Sleeve: 127cm

Centre Front: 132cm

C

1

3

4

4a

1a

2a

3a

2

N

N

A

S

4.2 TECHPACKS

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STYLE: Top and Skirt QUALITY: PU Leather COLOR: PANTONE Black 6 C

Sketch and technical info

Single stitch, 3 cm from edge

Elastic band 2cm in width, in a sewn channel.

Sew down the seam allowance on the back of the shoulder.

to first stitch.

2 cm in fold.

STYLE: Top and Skirt SIZE: EU 38

Measurements

B

P

N

C

F

B

H

F

N

F

F

P

P

C

S

S

Neckline: Front 26cm, Back 26cm

1/2 Chest: 48cm

Shoulder: 12,5cm

Top Skirt

Centre Back: 59,5cm

Pocket: Length 12,5cm, Width 10, 5cm

Centre Front: 59,5cm

Centre Back: 103cm

Hem: 6cm

Centre Front: 103cm

N

B

B

H

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4.3 DISCUSSION

SUMMARY OF THE INVESTIGATION This study examines how to make trend fashion based ready-to-wear apparels with no fabric waste in the cutting phase through geometric pattern-making. To work with sustainability through geometrical pattern-making in the construction, within the context of commercial fashion.The fashion industry is one of the world's top polluters. Several million tonnes of textileends up in landfills all over the world every year, landfills are overwhelmed andthat has a great impact on the environment.With that in mind the project sets out to investigate how geometric pattern-making could be a zero-waste technique with a commercial value by redesigning SS 2020 ready-to-wear catwalk apparels from well known fashion brands.

THE RESULT IN RELATION TO THE AIM AND MOTIVE

The aim of this project is by making geometric pattern constructions, the aim is to explore the technique in relation to trend based ready-to-wear garments, with a focus on no fabric waste.Firstly, what is reflected towards the aim in the project is the entire workflow and method is performed based on the aim. All parts of the garment consist only of geometric parts where all fabric is used, nothing is wasted.The technique is investigated in relation to ready-to-wear apparels from the catwalk, wherechosen looks are selected and redesigned with zero-waste in the cutting phase.

Secondly, regarding what is reflected towards the motive it is possible to make zero-waste apparels through geometric construction, if the appearance is then like the garments on the ready-to-wear catwalk. So the answer is not exactly the same. Some garments are more successful than others. If it is more sustainable to produce apparels with a geometric pattern construction, no waste of fabric is created, so it is better for the environment. The survey showcases another way of expression than done before.

THE POTENTIAL OF THE METHOD COMMERCIALLY

The method has in some cases commercial possibilities when looking at the final artifacts. For example, the voluminous orange dress, the black PU leather outfit, the neon dress and the black lace skirt and bra, here the method works very well. As a result, the garments have a high degree of commerciality. Why they work, is because they have a standard seam allowance and look like we are used to clothes looking and they can be manufactured in a production.

THE LIMITATION OF THE METHOD COMMERCIALLY

The commercial limitations are clearly found in the examples such as, the suit jacket and pink tight dress. The method does not work well in these artifacts because they are tight, tailored to fit the body very close. The problem here is that an abundance of seam allowance is created and can not be manufactured in a production, as a result, these garments lose their commercial value.

DEVELOP AND RESEARCHED FURTHER

What to take further and try to develop is how to make tight and tailor-made garments with this method without losing commercial value. It may not even be possible to do. Or to do further research on the 'jigsaw puzzle' technique and develop a combination of different methods and techniques to be able to solve that problem.

HOW THE IDEA COULD BE COMMERCIALISED AND APPLIED

Commercializing research results is a form of utilization and is about creating new or improved goods, services, methods or processes, which are needed in society. In cases where the resulting artifacts work well. There, an application in manufacturing production and sales can work. As a result, these resulting artifacts can contribute to increased quality of life and reduce poor environmental impact.

These garments do not look the way we expect and the way we want clothes to look either.When it comes to the pants and shorts, you have to make something of the fabric leftovers from the crotch. Either incorporate it into the design or make small pockets. Here it can also be a disturbing moment for the customer, that it does not look like we are used to or expectsthese garments should look like.

5.1 REFERENCESReferences list:

Rissanen, T, Mcquillan, H. (2016). Zero waste fashion design. New York: Fairchild Books.

Brown, S. (2010). Eco Fashion. London: Laurence King.

Thornquist, C. (2010). Artistic develompent in [fashion] design. Borås: Center for Textiles Research CTF.

Gwilt, A. (2013 ). A practical guide to sustainable fashion. London: Fairchild Books, an imprint of Bloomsbury Publishing Plc.Gwilt, A, Rissanen, T. (2011). Shaping sustainable fashion : changing the way we make and use clothes. London: Earthscan. Mäkelä, M, Routarinne, S. (2006). The art of research : research practices in art and design. Helsinki : University of Art and Design Helsinki.

Figure 1:Figure 2:Figure 3:

Look 1- Development Vouge, 2020. Givenchy. [image] Available at: https://www.vogue.com/fashion-shows/spring-2020-ready-to-wear/givenchy/slideshow/collection#3 Photo: Alessandro Lucioni / Gorunway.com (Accessed 03 March 2020).

Look 2- DevelopmentVouge, 2020. Loewe. [image] Available at: https://www.vogue.com/fashion-shows/spring-2020-ready-to-wear/loewe/slideshow/collection#4 Photo: Courtesy of Loewe (Accessed 03 March 2020).

Look 3- DevelopmentVouge, 2020. Valentino. [image] Available at: https://www.vogue.com/fashion-shows/spring-2020-ready-to-wear/valentino/slideshow/collection#19 Photo: Filippo Fior / Gorunway.com (Accessed 03 March 2020).

Look 4- Development Vouge, 2020. Saint-Laurent. [image] Available at: https://www.vogue.com/fashion-shows/spring-2020-ready-to-wear/saint-laurent/slideshow/collection#60 Photo: Filippo Fior / Gorunway.com (Accessed 03 March 2020).

Accessory shopper bag- DevelopmentChanel, 2020. Chanel. [image] Available at: https://www.chanel.com/us/fashion/p/AS2295B0485810601/small-shopping-bag-calfskin-gold-tone-metal/(Accessed 24 August 2020).

Look 5- DevelopmentInstagram, 2020. Vetements_official. [image] Available at: https://www.instagram.com/p/B6gxYgqBLOR/?igshid=1wtlwm4dn1wtq(Accessed 03 March 2020).

Look 6- DevelopmentVouge, 2020. Givenchy. [image] Available at: https://www.vogue.com/fashion-shows/spring-2020-ready-to-wear/givenchy/slideshow/collection#61 Photo: Alessandro Lucioni / Gorunway.com (Accessed 03 March 2020).

Look 7- DevelopmentVouge, 2020. Valentino. [image] Available at: https://www.vogue.com/fashion-shows/spring-2020-ready-to-wear/valentino/slideshow/collection#76 Photo: Filippo Fior / Gorunway.com (Accessed 03 March 2020).

Rissanen, T, Mcquillan, H. (2016). Zero waste fashion design. New York: Fairchild Books.Rissanen, T, Mcquillan, H. (2016). Zero waste fashion design. New York: Fairchild Books.Vouge, 2020. Issey-Miyake. [image] Available at: https://www.vogue.com/fashion-shows/spring-2020-ready-to-wear/issey-miyake/slideshow/collection#24 Photo: Alessandro Lucioni / Gorunway.com (Accessed 27 Februari 2020).Vouge, 2020. Issey-Miyake. [image] Available at: https://www.vogue.com/fashion-shows/spring-2020-ready-to-wear/issey-miyake/slideshow/collection#62 Photo: Alessandro Lucioni / Gorunway.com (Accessed 27 Februari 2020).

6.1 APPENDIX: CRITIQUE

This study is both well conceived and executed. The background, motive and aim gives the reader an clear inside in why this project is relevant and a depth to the work. The development is based on a practical research and the making of many different material experiments to find the right surfaceexpression. The experiment could be more focused and divided after whats investigated, for example, color, material or shape.

Criteria of what surface-expression that are sort after in the experiments. What they should achieve in terms of expression, when to stop. A more systematic division and framing in the method of the development of the material experiments and how to evaluate them.

Degree work by Dario KomljenovicCritique by Anna Dalstam

Original Line-up

Proposal of change in Line-up

As well as a color and material schedule to relate to in the work, had helped to frame the work more systematically and thus the collection had become more cohesive. In the beginning of the line-up, the shiny material is the focus of the whole outfit. In the second look,other materials and colors are brought into the experiment, you can clearly see that something change in the looks and line up. This is consistent throughout the collection, hence it is not cohesive.The last outfit differs remarkably from the others, the color does not repeat in the other outfits and in addition the color intersects in relation to the others. Therefore chose I had to give a suggestion for changes to that particular outfit, so it appears more cohesive in relation to the others, in terms ofcolor and surface expression.