Design Process Portfolio 3

Lucy Turnbull

Stage 3: Evaluation and Resolution

Design Process Portfolio 3Lucy Turnbull

MDes Fashion and Textiles 2010- 2011

Contents

Introduction............................................................................................................................................................................................7

Part I: Sampling

Embroidery Placement....................................................................................................................................................................11

Sampling Like a Madman................................................................................................................................................................34

The Beginning of Stage Three.......................................................................................................................................................42

Line Up Time.......................................................................................................................................................................................56

New Textures.......................................................................................................................................................................................71

Part II: Manufacture

Drawing Conclusions........................................................................................................................................................................77

One Final Piece....................................................................................................................................................................................79

Embroidery Reduction.....................................................................................................................................................................83

Conclusion.............................................................................................................................................................................................88

Image List..............................................................................................................................................................................................93

Bibliography.........................................................................................................................................................................................98

9

Introduction

I am now past the half way mark of my MDes Fashion and Textiles course and will soon be nearing the third and final chapter of my journey. I think stage two of the course has seen me grow greatly as a designer, where I have managed to tackle obstacles such as pattern cutting and colour. I have really enjoyed focusing on sampling, where I feel my technical skills are greatly improving with practice. I feel like my workload has become a lot more difficult to manage as the year has progressed, and so am anticipating to be really pushed during stage three. I am extremely excited about working on my final exit portfolio and look book, as I cannot wait to have something concrete as professional as my DPP that reflects my studio work! I feel I am making progress with my toiles, and am excited about the prospect of putting my embroidery into context on actual garments and getting my collection under way!

I am excited about finishing but also sad about it- I am looking forward to finally seeing my collection completed but sad about the prospect of leaving. I realise that I will need to start seriously thinking about my plan of attack for September- I need to consider my options and see what there actually is out there. However for now, I am excited to gather all my ideas together and begin working on my final line up!

Only one final third to go

Part I: Sampling

13

Embroidery Placement

Week beginning 13th April 2011

This week I have finally begun recording my embroidery placement ideas through fashion drawings indicating textile content. I have been concentrating the trousers idea, and decided to focus my illustrations solely on the lower half of the body as I am still unsure of what is going with what on top.

Figure 1: Embroidery placement on trousers illustration

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Figure 2: Jean embroidery placement on trousers illustration (21cm x 29cm)

15Embroidery Placement

I am really enjoying these illustrations and think they clearly convey what I am thinking. I realize I will need to do a lot more drawing before I see Beca, so that she has an idea of the style I want to use for my 100 working drawings which I will need to produce for assessment.

On Thursday we had our first pattern cutting class with Juliet since returning from Easter. I had lots to do and made sure I was well prepared as I am very nervous about running out of time to perfect my toiles! I needed to work on two trousers; an organza pair that is going to be worn underneath a linen dress, and a lightweight woven pair that are going to be paired with my keyhole top. At the model fitting before the holidays, both pairs I had made were far too small round the waist and the pattern desperately needed to be re cut! I began working on the organza ones first, which have an elasticised waistband that resembles a pull on legging. However, when they were made up there was no one to try them on to see if they fit or not! I am annoyed at myself for not making a back up pair for the fitting so we could have seen what look best on an actual model- I am nervous they will still be too big! I need to get them finished so I can start on my linen trousers and a skirt toile next week- I want to introduce a skirt to go with a keyhole top in order to establish some variety in my silhouettes. I have a lot of skirt images in my initial research which I have been looking at- straight, simple shapes I think would look great teamed with my tops.

Figure 3: Burberry Prorsum SS/11 Figure 4: Mary Katrantzou SS/11 Figure 5: Clements Ribeiro SS/11 Figure 6: Emilio de la Morena SS/11 Figure 7: Sass and Bide SS/11

16 Embroidery Placement

I also had a tutorial with Beca, where we mostly talked about my rough drawings. I had previously thought these were to be fashion drawings- illustrations on a body, but Beca explained they were more like a technical spec ‘working drawing’ you would see at the back of a garment pattern. Beca said I need to start really thinking about my embroidery placement and be clever about where I am applying my embellishments; they need to look modern and sophisticated. She also said I need to start thinking about full looks- what bottom half embroidery is going with what top half embroidery? Do I want it matchy matchy or not? I really need to think about this as currently I have been regarding the bottom half and top half of the body as completely separate entities and have not thinking about how they will work together. I also need to develop my samples- including the raffia sample which I have been ignoring because of my growing hatred for it! I will have to get over this barrier and just get experimenting! I need to get my head down and get to work!

On Saturday I made up my Celine dress and keyhole top in a fine wool fabric from Mandor’s which resembles the Hainsworth doeskin wool from I want to use in my final collection.

Figure 8: Loose wool dress toile on stand


I am toiling the same shape in different fabrics in order to ensure they drape well before I confirm what fabrics I want to use in my final garments. I think the wool looks great- because the wool is heavier than the calico the silhouette is more weighed down and the shape sits very well! I really want to mix my fabrics up so there is a real contrast in texture throughout my collection, which I think is really important as I want the pieces to be desirable as separates and not just as full looks. I am excited to show Juliet and Beca my wool toiles!

Figure 9: Loose wool top toile on stand



This week I have begun my working drawing ideas for my five looks, experimenting with different patterns and textile placements on flat drawings of my four garments- keyhole top, dress, organza trousers and woven trousers. I have definitely found that drawing my ideas out has helped me a lot, as more and more ideas are flowing naturally from one to another.

Figure 10: Flat collection working drawings


I am enjoying it but have initially struggled to get my head round ‘clever’ placements. I don’t want my embroidery to look overworked, but at the same time I don’t want it to look barely there- I want it to feature heavily with at least one piece full on heavily embellished! I do not want my collection to appear as though a textile student has happened to make garments out of her samples, but I do not want to look like a fashion student who has embroidered a slither of detail onto her garments. I want my textiles to feature very strongly, but not cross past that line of overworking.

Textiles


= both types of student Fashion

Textiles

I intend to continue drawing until I find 5 looks I really like, and then I can concentrate on further sampling and get going with my final toile shapes- I have a lot a lot of work to do! I still need to draft patterns for two sets of trousers, a jacket, and finish my wool keyhole top and dress and organza top- I have a busy couple of weeks ahead!

22

After talking to Beca about placements, I have began working on a chenille on organza sample in the shape of an actual leg, which I think will really help the viewer identify exactly where I want my embroidery to go on the body.

Figure 11: Grey speckle chenille on silk organza


Figure 12: Calico twists on toile from stage one

I have also returned to my initial idea of twisted and tucked sections- taking imagery from the work I did on the mannequin during the first stage and translating it into embroidery.


Figure 13: Translation of twisted calico image into embroidery

I really need to start my embroidery samples properly and begin thinking about the exact fabric and colour choice I want for my garments in preparation for my interim review next Thursday!



I had a review on Tuesday of this week where I saw Beca to discuss how I was getting on with my working drawings and key samples. Beca advised me that I should continue further sampling with raffia and should try placements in different directions to make the pattern appear more random and less ‘pharaoh-like.’

Figure 14: Egyptian collar on traditional ancient costume


Figure 15: Working drawing of raffia in one directional placement

I had never thought this before, but I have to admit as soon as it was said I immediately though of the Egyptian collars I had been looking at in my initial research. I addressed this issue straight after my tutorial as I do not want my embroidery in any way to look like costume. I experimented with the raffia in different permutations so it looked less one directional and stiff- which looked a lot better!


I think this is a huge improvement and so will need to reconsider the placement on my wool top that I intend to propose to Beca and Juliet in my tutorial on Thursday!

Figure 16: Two directional raffia placement on maroon wool


I also began thinking about the jacket that I want to incorporate into my collection, and have been looking back to my original research images for inspiration.

Figure 17: Proenza Schouler Pre-fall/ 09 Figure 18: Proenza Schouler SS/11 Figure 19: Chanel Pre-fall/ 09

I decided that I want the pattern to be developed from the same shape as the dress, with a loose sleeve turned up at the cuff and no fastenings- the two sides will not meet. I think this will look casual but at the same time sophisticated. I am so excited to show Beca and Juliet at my tutorial!

Figure 20: Jacket working drawing


On Wednesday I looked over my drawings and picked out key pieces that I definitely want to take forward, forcing myself to cut a lot of my precious samples- it was very tough! I have painstakingly reduced the colour palette to bare minimum and finally chosen colours!

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Figure 21: Flat working drawings of proposed collection


I am really happy with my final five looks, however am so nervous for Thursday! I know all five will definitely be slightly altered if not completely changed by Beca and Juliet, which I am preparing myself for. As long as there are no baggy trousers involved I will survive!

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On Thursday I had my tutorial with Beca and Juliet- and Jimmy was there also! I was not expecting him to be there and so I felt slightly underprepared! There were some suggestions made about my embroidery- I need to rethink the scale and placement so it looks more special and dramatic. Jimmy suggested contrasting pieces that are very heavily embroidered with pieces with absolutely no embroidery, as opposed to what I am currently doing which is putting a little bit of embroidery on everything. I am a little disappointed as I really like the embroidery that I was doing! However, I understand I need to take his comments on board, and will try to be more spontaneous with my sampling.

More impulsive Less controlled

We went over fabric choices and changed some of the looks, where we decided to drop the sleeve slightly further on the dress and keyhole top, and a floor length ‘showpiece’ coat was mentioned! I DO NOT WANT A FLOOR LENGTH ‘MATRIX’ JACKET!I definitely see their point about a longer piece so it is a coat as opposed to a jacket, but not floor length! However I will toile it to show I have tried, where either I will surprise myself and love it, or I will hate it and cut it.

Jimmy asked me who was I designing for- what kind of woman do I see wearing my garment? This question made me think about ideally who my customer would be. I have in my mind the French actress Clémence Poésy- I think she opitimises the essence I want to portray in my collection- young, fun, but still sophisticated.

Figure 22: French actress Clémence Poésy

33

Figure 23: “French custom” collage

Embroidery Placement


I have also taken inspiration from the ‘Chloe’ by Chloe perfume advertisement campaign.

Delicious!

What I find so attractive about these images is the easy energy and natural beauty they have. This is exactly what I envisage my customer as- I want my collection to be practical, wearable, easy and comfortable. I want my dresses to look very versatile- they could be for work, for daytime or for night-time. I want a woman to be able to wake up and pull on my clothes in a rush without even thinking and still look BOOM! effortless and AMAZING!

Figure 24: “Chloe” by Chloe perfume ads


Easy to wear Comfortable Involve minimal garments effort to wear

Collection

Practical Comfortable Involves minimal garments effort to wear

LOOK AMAZING

36 Sampling Like a Madman

Sampling Like a Madman

Week beginning 2nd May

This week I have continued sampling, where I have been merging elements of different samples together to create more random and exciting patterns. I like what I am doing, but still have a lot of work to do especially with the raffia before we have our assessment in a couple of weeks. On Thursday at pattern cutting class I cut two new patterns for the loose top and dress with the changes Beca and Jimmy had suggestedlast week, where we dropped the sleeve and straightened the seam out so it looks a lot more loose.

I am getting really nervous about the amount of time we have left before the final toile line up, as I really need Juliet’s help for quite a lot of issues but as there are ten of us in the class it is difficult to get all the time with her I need. I will just have to keep going and hope that I do manage to get everything done by the deadline!

Figure 25: New loose straight sleeve on keyhole top toile

37Sampling Like a Madman

Friday was the most HORRIBLE day of my master’s life! I got a frightening shock when Beca told us that our assessment date had been moved forward a whole week to next week instead of a fortnights time! I really wish we had been given more warning! I am angry and upset as there is no way I am going to be able to do myself justice in that short space of time with regard to embroidery and toiles that I really need to do for assessment! I am very panicky about the short amount of time I have left to sample, and so have a long heavy week ahead of me if I want my hand in to be reasonable at best!

Figure 26: New loose straight sleeve on dress


Week beginning 9th May

This week I have been sampling like a madman trying to get as much as possible done before D- day on Friday! I am finding it very hard to develop my embroidery samples for my coat, and feel I am rushing myself to meet this deadline which is resulting in a sloppy mess! I need to remember quality not quantity, which I sometimes lose sight of.

I have also been focusing on my raffia top, and in particular thinking about where the embroidery is going to be applied. I managed to draft a placement that I love which was developed from a drawing on pattern paper created with big chunky pro-marker scribbles.


Figure 27: Promarker on pattern piece rough sketch

Figure 28: Random raffia placement on maroon wool


I no longer think the embroidery should be positioned solely around the neck resembling a collar, but instead all over the top. I will have to do further drawings to work out exactly where I want the embroidery to go. I also toiled the loose top in organza- which was horrific!

Figure 29: Loose organza top toile on stand

The organza is far too light and floaty for such a loose style top- it does not sit well at all. I think for the top I will have to stick with linen or perhaps try leather, which could produce an amazing contrast of textures!

On Thursday I went through my samples and got everything ready to hand in for assessment on Friday. After reviewing my textiles, I have decided that I want embroidery on more than one garment per look- I really want a plush chenille band down the side seam of my woven trousers. My embroidery is very quick- I work very fast, whereas the other embroidery students in my class specialize in hand embroidery and use very traditional techniques which obviously take a lot longer. Of course I love my own work, but I cannot help feeling it looks inadequate in comparison to the other embroiderers even though I know we are aiming for two completely different markets. I need to make a conscious effort to not compare myself to other people!

(Opposite) Figure 30: Black plush chenille down seam of blue Tinsmith linen


Over weekend I have been looking at images of embroidery placements trying to get some inspiration for my jacket which I have been really struggling with. I am playing with the idea of incorporating different techniques into a single sample, where I have been integrating organza ribbon and plush chenille alongside the boucle texture I want to use on my short jacket.

Figure 31: Boucle on maroon wool with organza ribbon detail


I will show Beca my new samples on Monday when I see her individually after the briefing for stage 3; I just wish I had had the time to get these ideas on paper before the assessment two days ago!

Figure 32: Boucle on maroon wool with plush chenille detail

44 The Beginning of Stage Three

The Beginning of Stage Three

Week beginning 16th May 2011

Today we were briefed for the third stage of the course where Beca went over all the key dates- the nearest of which is the model line up with 5 final toile’s and key samples on the 2nd of June- which is only two weeks away!

This means I will only have another two days working with Juliet before the line up which is not NEARLY enough time to get everything finished! I still have not resolved a pattern for my short jacket OR my long coat and I need to fix my organza trousers! At the same time I also really need to concentrate on my embroidery- I am really struggling to get any further with my jacket idea- I am in desperate need of direction and advice about where to go from here as I really do NOT like what I am working on currently!

45The Beginning of Stage Three

NOT GOOD!

Figure 33: Cream leather, organza and boucle embroidery on camel boucle Figure 34: Messy cream raffia and boucle embroidery on camel boucle


I asked other students in my class for their feedback -where we picked out one specific sample.

Figure 35: Tonal leather and raffia placement on camel boucle


Li said that although the idea was there, I need to be messier and not make my embroidery so perfect, giving it more of a rough edge. I like this suggestion and think it links exactly to what Jimmy had been describing to me before, and so am going to take Li’s advice and try to be messier and perhaps incorporate suede as well as leather into the embroidery.


I have also been working on my colour scheme, and have sampled small swatches of rice embroidery in different shades so I can easily identify exactly what yarns I will be using on my grey linen dress.

I am still working from home just now, but as of next week the 4th years will be finished so there should be space for me in the embroidery studios so I do not need to go home on order to get access to a machine! For now I intend to fully concentrate on my toiles and embroidery samples until the model line up.

Figure 36: Trial colour boucle samples on grey Tinsmith linen

On Thursday we had pattern cutting class with Juliet where I began to work on my long coat. At my last tutorial it had been suggested that I try out a floor length coat, which I am not convinced about. However I decided to make the coat full length to see what it looked like, perhaps I would actually like it! The pattern was developed from my original loose dress, where it has the same kimono-esque sleeve with a turn up at the cuff.

Figure 37: Long ‘matrix’ coat toile on stand


The shape of the sleeves and opening I loved, however I really did not like the long, long length of the coat- it was desperately screaming to be cut! I cut my long coat to a very nice length, just above the knee.

cut

Figure 38: Long coat toile needing cut illustration


Figure 39: Long coat toile with adjusted length

I was initially worried as the length of the jacket would be considerably longer than the dress underneath, but realised that I do not want my collection to appear too matchy matchy with the dress and coat the exact same length. I am really happy with it and so just need to get it sewn up ASAP! On Friday I continued developing my keyhole top idea with chenille embroidery growing up the body. I incorporated French knot detail into the sample which I absolutely love it! Such small details really do make such a difference! I really love this sample and think the reason it works so well is because of the contrasting textures between the organza ribbon and the chenille on top of the linen. I really need to be 100% happy with my samples before our toile line up, as I will have no more sample time afterwards and I want the textile content in my collection to be the best of my ability! I need to get going with sampling!

Figure 40: Blue tonal chenille on light grey Tinsmith linen with french knot detail

Week beginning 23rd May 2011

This week I have continued sampling and experimenting with my embroidery. I think I have managed to finally come up with a solution to my boucle coat! I really like the placement and I think it meets the criteria Jimmy and Beca set me of being spontaneous with raffia- I am surprised how much I really really love it! However I do think the colours need to be changed to softer, paler more feminine colours. I like the combination of textures with the leather and the suede on top of the already textured boucle, and intend to re- sample this in my desired colours in order to have a final sample to present next week at line up!

Figure 41: Tonal leather and raffia embroidery on camel boucle


I have also been working on the embroidery for my grey linen dress, which is going to have boucle casing stitched textures running from one side and dispersing onto the other.

I have narrowed my colour scheme down to either a single pale grey boucle or a mixture of different grey and blue tones.

Figure 42: Grey linen ‘rice scatter’ dress illustration

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vs.Figure 43: Light grey boucle on Tinsmith linen

Figure 44: Multi tonal grey boucle on Tinsmith linen


I think I will have to take both to the line up and let Juliet and Beca decide on what looks best. I really like both, and so will be happy with whatever decision is made!

I have also changed some of the colours throughout my collection- not the actual palette, but individual pieces so that all five looks harmonise well together without looking too similar. I think my line up drawing looks really good- I will have to wait and see what the tutors think!

Figure 45: Proposed collection line up

On Thursday we had pattern cutting where I managed to finally finish all my toiles for our line up next week! I made up the short coat with Juliet and we sewed my new organza trousers so there would be no outside leg side seam, which looks a lot better as there is no wiggly stitching down the outside of the leg!I am really happy with both of my jackets- I love the length of the long coat, but still need to finalise the exact length of my short coat! I still have not ordered any of my fabric yet which I am quite worried as I am nervous it will get to the point where I may have to wait a week before any fabric arrives and so will not be able to work on anything for a whole week!


I am really looking forward to seeing my toile’s on the model, however am unsure of how my final textiles samples will be received- the main thing is I really like them, I will have to wait and see if the tutors do to!

I have felt very un-motivated this week as I feel I am loosing the sense of working towards a goal, even though I actually have a toile line up next week. I think this is because I haven’t seen Beca for so long- she has not seen my work for over a month- looking back at what I presented for my assessment of stage 2- everything has changed! I am not worried about this as I do realise that everything will change, and will probably still change before my final collection is made, however I am angry that I really misrepresented my collection on one particular day which happens to be the day we were assessed. I am really frustrated also at the assessment date change, as if it had been later I would have had the time to show myself off properly, but I didn’t. I am nervous that my marks will be poor and lead me to become even more upset and de-motivated. However I do not even know when we get them back so I will just have to wait and see.

58

Line Up Time

Week beginning Monday 30th May

On Monday I began final sampling with my raffia and leather on boucle, but I am still in two minds about the colours. I will just need to bring all samples with me to my tutorial and see what goes the best on the day!

59Line Up Time

Figure 46: More ‘feminine’ coloured leather and raffia on boucle embroidery for coat

60 Line Up Time

I also embroidered a maroon version of this technique to compare with the original embroidery for my raffia top.

I am unsure of which I like best, but am very aware of not wanting all the embroidery on my garments looking the same! This is another issue which will have to be resolved on Thursday!

On Tuesday I re- read my second DPP submission in preparation for our class review on Wednesday. Whilst reading it I realised just how much of a massive change in direction my collection has taken on- there is an enormous difference in my ideas now compared to three months ago! I have always

Figure 47: Leather and raffia embroidery placement on maroon wool

61Line Up Time

wanted my collection to be fun and to look like I have actually enjoyed creating it, where I previously held the belief that in order to convey this all my garments had to be bold coloured and busy all over, but I now realise that this is not the case. Even though my collection is not as bright as I had initially wanted, I think it still comes across as just as exciting- I really love my collection and really enjoy working on my embroidery. However, this might all change on Thursday with my review! I will have to wait and see!

Figure 48: Stiff 45 degree angle maroon raffia embroidery placement on wool

62 Line Up Time

On Wednesday we had the class DPP review and were briefed for the next stage. It was good to see everyone’s work and how much everyone style has changed since the first submission. I definitely want to work on mine for the third and final hand in, where I want mine to be XXX visual with more diagrams and illustrations! I want to start working on it quite soon!

On Thursday I had my model line up of final toiles with Juliet and Beca. It went okay- there were some unexpected changes, but there was also a few suggestions that I think would really benefit my collection! We looked at the line up I already had, and discussed that there needs to be more drama. At first I was very reluctant- which I think is because I have had my head set for three weeks that “This is EXACTLY what my collection final line up will look like.” Beca said that that will never be the case- that I will never know EXACTLY what I am doing. Although I do realize that this is true, there is still a small part of my brain that just keeps saying I NEED TO KNOW EXACTLY WHAT IS HAPPENING! I cannot help it! Beca says that I really need to stop thinking this way as it will hold me back as a designer, but I do not think it does. I will never again have the luxury of taking a whole year to create one single collection of only five looks- I understand this is meant for me to exhaust every possibility, but I think it is unrealistic. However, I need to remember that Beca does have the advantage of years of experience under her belt, and so I will try to be more open to following other people’s direction.

63Line Up Time

I NEED TO KNOW!

Able to adapt to change

Figure 49: Brain function diagram

64 Line Up Time

We looked at my final toiles on the model Karen, who suited everything she put on- she looked amazing in every garment! She thought that the toiles were very comfortable- which is exactly what I want! The dress looked amazing- especially with the coat, she just looked great!

Figure 50: Model in toiles at final line up

65Line Up Time

66 Line Up Time

I think the long coat looks really sophisticated, which I am quite surprised at but really like! We also tried the dress on with the organza trousers, which looked amazing! I really liked the fact that the light coloured organza revealed the shape of the leg underneath, so that even if the trousers were slightly big for the model, there would still be an overall slim and balanced silhou-ette. I want a light coloured organza for my final pair, but I also want a strong shade, and am thinking about perhaps a stone colour or a beige similar to the camel boucle I am using for my long coat.

Figure 51: Model in loose dress and organza trousers at final toile line up

67Line Up Time

When the model tried on the keyhole top and woven trousers, I thought the top looked great- however the trousers were far too baggy. They will definitely need to be taken in and the side seam needs to go- similar to the pattern for the organza trousers. Beca suggested that we just elasticize the waistband on the woven trousers to match the organza ones, which I am not very keen on. Again I will have to make them up and see- they might look great, they might look awful- I will toile them next week with Juliet.

Figure 52: Model in keyhole, short jacket and woven trouser toiles at final line up

68 Line Up Time

In the end, we discussed changing one look in order to create a showpiece in my collection- a look completely different to the others. The embroidered grey linen top and trouser idea has been eliminated, where it is going to be replaced with a textured jacket and dress. We looked through the doeskin wools in attempt to find a wildcard colour- which is a wave I am definitely going to ride! I really want to take this opportunity to introduce more colour!

Beca had also suggested for the last look introducing a completely different texture- such as a sheepskin jacket. At first I was very taken aback and really critical- the first thing that came into my mind was a very hairy, bulky disgusting garment!- however now I have actually realised what sheepskin could look like, I am getting really into the idea! I think the texture would complement the leather and suede embroidery I am already using on my long coat, and isexactly what I need to add more drama to my collection. I am thinking that the hair length would have to be quite short- I don’t want a fuzzy, shedding, long haired mad animal coat, even though I think that is what Beca might have in mind! I think a sheepskin coat would look great in the same style as my other two coats with a fantastic coloured dress underneath!

Figure 53: Bright blue Hainsworth Figure 54: Black and White herringbone Figure 55: Gold Melton Hainsworth wool Figure 56: Crimson Melton Hainsworth wool fabric sample Sherwood fabric sample fabric sample wool fabric sample

69Line Up Time

Figure 57: Louise Gray Fall 2010

No furry monsters

Next Thursday at pattern cutting class I will need to finalize all my patterns and calculate how much fabric I need to order to start manufacturing my garments. I am quite concerned about the timeframe as after next Thursday I will not be seeing Juliet for two weeks- which means no fabric can get cut for two weeks- which means I can only begin embroidering one garment over the decant holiday as I have physically have no access to tutors! I am finding this very difficult, as although I know this is my masters and that I need to self direct what I am doing, I really do need help! I feel as though my ideas change every time I have a tutorial, which although is not terrible, I feel really throws me back behind the rest of the class. That said, I do have two outfits completely finalised, so at least I can concentrate on them for the time being.

On Friday I reflected on the tutorial I had with Juliet and Beca on Thursday; I have been thinking more about my collection as a whole and am considering changing colour schemes in order to make the looks appear more different, and began drawing out different possibilities.

Figure 58: Colour variations of five piece collection

72 Line Up Time

I realised that I am happy with the changes to make my collection appear more dramatic, and so my nerves have been cooled now that I recognize there is nothing I am really unhappy with. I just need to keep going!

73

New Textures

Week beginning 6th June 2011

This week I have been thinking a lot about the last piece of my collection, and alongside sheepskin have been looking for other contrasting textures to bring in also. After looking over my initial samples, I pulled out a technique I really liked where I was repetitively stitching plush chenille in small chunks over and over.

Figure 59: Mink plush chenille embroidery

74 New Textures

Figure 60: Caramel plush chenille embroidery

75New Textures

When finished in large areas, the technique resembles hairy fur and also looks quite suede like. I think it would be gorgeous to have a jacket absolutely covered in this, as I do not think that it would looks like embroidery- I think the viewer would look at the garment and think “what fabric is that?” I will show Beca when we see her next- I am unsure if Beca will like this idea, but I really really hope she does! I think this would look amazing all over! I have seen another two colours of this yarn that look great, but am reluctant to further sample this technique incase Beca does not like the idea at all and I have four samples that are a waste of time. I will consider what to do for this week and then make a decision!

To sample, or not to sample? That is the question...

On Thursday at pattern cutting class I finalised all my patterns- with Juliet’s help I re- did the cuffs for my jackets so there are no raw seams visible on the turn ups. We also went over the trouser patterns, as at the model fitting the trousers were horrendously too big! We slimed the leg down quite considerably, however I am finding it really difficult to judge how much to take them in as the model last week had extremely slight proportions and I am unsure if the rest of the models for the show will actually be that thin. I also do not have anyone to try the trousers on in between model fittings as they are such a small size I cannot find anyone that fits into them! However, I am assuming (praying) they will fit the models and that the crotch will sit well. With Juliet’s help I calculated fabric quantities so all I need to do now is actually order my fabric and get started on embroidering my grey boucle linen dress! I am really nervous about taking two weeks off and not having any access to Juliet, as I really need her help when cutting out my patterns, so I am going to have to concentrate on working on one single piece over the next two weeks so that I won’t need to actually cut any fabric- I do not want there to be any drastic consequences to any of my final pieces!

Part II: Manufacture

79

Drawing Conclusions

Week beginning 13th June

This week I finally ordered linen fabric for my dresses! I am very excited but also very nervous as I do not know how long it will take to arrive- I do not want to be going back to the studio after the two week decant and have nothing to show- my aim is to have at least one dress done and dusted! I am getting nervous at the two week time window between starting at Skypark and having three final outfits complete for the model line up- I am not worried about the timescale of my embroidery, but I am worried about the fact that I need to cut the shapes with Juliet first, and having to wait two weeks to see her again is a nightmare! The fact that Beth has now left also is a worry as there will be no extra help throughout the week with pattern cutting! I am just planning to get everything ready for my dresses arriving and then I will embroider them to death!! I am aware I am currently experiencing the calm before the storm!

On Thursday my Tinsmiths linen arrived!! I am so excited I can finally start embroidering one of my final garments! I made sure to leave enough space round the fabric blocks to allow room for error, as I am not cutting the actual patterns until I see Juliet- I am just embroidering them. I have a lot of work to do before we start at Skypark!

80 Drawing Conclusions

I have been thinking more and more about the sheepskin jacket idea, and have looked online for companies which deal with animal hides. Leather Merchants are sending me samples however do not actually deal with making garments, merely supplying the fur. I also researched Aero, a Scottish company that deal in particular with leathers. After contacted them they expressed they would need to see design work before they could confirm whether they would manufacture a sample coat for my collection. However, I naively only began to consider pricing after I had contacted them- with costs starting at £400+ I realised that this direction is unrealistic for me. Although I hate the fact that money plays a part in what I can and cannot do in my collection, there is a point where ideas become unfeasible, and I now see this option as out of the question. When I see Beca I will tell her of my concern and show her my new embroidery samples- hopefully she will love the plush chenille option as much as I do and support my decision to work that on that instead of sheepskin.

On Friday my Leather Merchants sheepskin samples arrived and my mind was definitely made up. The samples are so disgusting I do not want to even touch them never mind wear them! I am very surprised at my own reaction- I do not know why I feel so strongly against the samples, but what I do know is that I am definitely not making a sheepskin coat!

81

One Final Piece!


This week I have been focusing on my embroidery- the rice boucle dress has taken a lot longer than I had anticipated, which I think has a lot to do with the size of the garment- as the dress is so long I am finding it very difficult to manoeuvre around my small sewing machine. I think this problem will be rectified when we return to the studio as there is much more space in the embroidery workshops than in my bedroom! Access to the studio will definitely be very beneficial for my other pieces!

I have also been working on another version of my maroon wool jacket embroidery. Until now, I have been satisfied with my current sample of tone on tone boucle, but the more I think about it the more I wanted to change the colour of the embroidery. I like this sample a lot more than the previous one, as I think it reflects me so much more. I am nervous that I may be getting carried away with the idea of making my collection so wearable that it is becoming boring! I do not want this to happen- I need to ensure that every single piece is good enough to reflect myself as a designer.

Figure 61: Wine boucle embroidery on wine wool

Figure 62: Multi tonal boucle embroidery on wine wool

84 One Final Piece

By the weekend I finally finished the front and back pieces of my dress! I am so excited to have finally finished the embroidery for one complete piece!

I am extremely concerned about the amount of time I have left before the model line up with three complete outfits- I should be able to have the embroidery done for three pieces before then, however whether or not I will have three complete outfits sewn up or not is a different question. I am finding it difficult to understand how Juliet is going to manage to help all ten of us not only cut but also sew our garments whilst also helping us with patterns we still need finishing! I am keeping my fingers crossed!

Figure 63: Grey boucle ‘rice scatter’ embroidery fabric for final garment

85

Embroidery Reduction


This week we started back after a two week break and arrived at our new home in Skypark! The site was a lot different to what I had expected, and there is still a lot of work needing done. There is much more space in the MDES room than in our previous studio, which is going to be really beneficial once everything is sorted! I saw Beca to go over what I had been working on over the holidays, discussing my final look that was still unresolved. I explained that I was really against the sheepskin, and was very disappointed when I unveiled the plush chenille samples I have completely fallen in love with when Beca did not feel as strongly about them as I did. She explained that the technique would cause ugly lumps and bumps at the seams when sewn and so would really not work. Although I really do love the chenille sample, I have to accept that technically it is not is good idea to continue with this technique- I do not want to produce an ugly looking garment. Beca expressed that the last look CANNOT have any form of embroidery on it in order for the embroidery on my other garments to be fully appreciated. I kind of understand this- but I want to embroider! I have become obsessed with the desire to attack every single piece of fabric I am using in my collection! I know I shouldn’t, I know the cloth might not 100% need it, but...

I WANT TO EMBROIDER!

Beca advised me to keep looking for another texture for the final coat that will involve no embroidery- which I will do. However I will also be on the lookout something suitable for the dress underneath, and the possibility of it being embroidered! I would really like to have at least one tiny small section of all five looks embroidered at the bare minimum.

After my tutorial I began to really think about what kind of texture I wanted to bring into my collection, and have been thinking about mohair. I managed to find a Scottish Tweed company located in the borders which deal with coloured mohair, and have found a gorgeous looking mohair coating on the McCulloch and Wallis online store. I am very excited for the samples to arrive!

86 Embroidery Reduction

On Tuesday we had an absolutely fantastic careers seminar with Lesley Black! I realised there is a LOT of things I had not considered for the run up to the show- for example marketing my collection to its full potential, press releases and actually designing a CV. I think I will really enjoy doing this once I have more of my embroidery finished- then I will have plenty of time to consider these aspects and get my CV into gear before I can dive head first into applying for jobs in September! The seminar surprisingly got me very excited for finishing, which is something I was really not expecting. However I realise I have a lot of embroidery to do before I can even think that far ahead!

On Thursday we had pattern cutting class with Juliet, where I managed to cut three patterns out of my final fabric in order to start my embroidery on them. As the steam iron is not going to be arriving until mid July, I was unable to cut my patterns out of the embroidered rice fabric I have already finished. I am very slow at cutting my patterns- it took me all day with Juliet to cut just three, and so will really need to have everything ready for the next time I see her and make a conscious effort to work more quickly. My Mohair from Samuel Tweeds also arrived today- which I really like! The colours are great- especially the blues, and I think they would blend in really well with the rest of my collection. The only thing bothering me is that the woven structure is very, very loose- so loose that you are able to see the basket like structure through the fuzzy texture of the fabric- which I am not too keen on. I will wait until my other samples arrive before I make any decisions.

(Opposite) Figure 64: Samuel Tweed mohair sample card

88 Embroidery Reduction

After considering my collection as a whole, I have began to put my work into perspective. I realised that there are a hundred and one practical, wearable brands out there - what makes my work stand out from other designers? This made me think that I want to style my collection for my final exit portfolio a little more ‘fantasy- like’ than practical. I am beginning to think that my ‘luxury basic wear’ silhouettes would benefit from bright accessories and make up to give them an extra edge. I have pulled inspiration from Lanvin campaign advertisements that I think portray a wow! factor and have been looking at the different approaches to styling and colour.

Figure 65: Lanvin SS/ 08 ad campaign imagery

89Embroidery Reduction

I intend to bear this in mind over the next month or so in order to paint a clear picture for myself of exactly how I want to portray my collection in my final look book, and will continue to look to magazines and website for more inspiration!

90

Conclusion

Looking back over the past year of my Fashion and Textiles course I feel that not only have grown as a designer, I have grown as a person. I have learnt as much about professionalism and talking about my work confidently and strongly as I have about fashion. I think that although I will never be able to be super confident in expressing my ideas, I have certainly improved a great deal from when I completed my undergraduate. I think the fact that I have been constantly challenged has enabled my confidence to grow and will continue to develop with time and experience.

When I began the course, I had the idea that I wanted to use my masters to explore different programs and technology, as in my head this was more pressing than actually understanding the relationship between fashion- textiles. I thought I already had a firm grasp on developing my textiles samples through to fashion (which I did not!) and wanted to expand my skills in photoshop, illustrator and coral draw. Although not all these goals have been accomplished yet, I have definitely become a lot more computer friendly- and can now competently work Indesign- a program which until last September I never even knew existed!

I have really enjoyed working on my Design Process Portfolio, as although I have found it difficult to keep up with logging my day to day activity and accurately recording my process, I have thoroughly enjoyed putting together my submissions with all MY own words and MY own images all about MY process! I have found it to be a very useful document and think that my studio work has really benefitted as a result of having it, as I have been able to go back through my initial ideas and have often picked up on things I would have otherwise forgotten. I am excited to begin my exit portfolio also, as even though there will be no words; I know I have definitely improved my image quality by miles since the beginning of the year. I am so glad that stage three has seen the elimination of the Core Research class- not because I hated it, but because I found I really struggled to find time to give it all the attention it needed, and instead of viewing it as a separate component, I sometimes just saw it as a distraction. It has been a lot easier focusing solely on my studio work!

91Conclusion

Although I feel I have learnt a great deal, I am also very aware of how frustrated and angry I have been at times when I have completely lost myself! I think my mindset prior to embarking on the masters has been very solid- my work needs to be this way, it needs to look this way, with no scope for changes. Whereas now I realise I cannot have ANY pre-conceptions about anything- they will only be challenged and changed! It has taken me a while to realise that a garment does not have to be covered head to toe in embroidery to look fabulous, and it does not have to be a rainbow to look fun- this realization has only come full circle during stage three. I think my collection has the potential to be developed even further, where I could place new embroideries on the garment shapes I am working with currently. There are several techniques I experimented with in the sampling phase of stage two that I would also like to go back and revisit in the future. I have absolutely no regrets about my collection and do not think I have compromised it through ‘modernizing it’ to such an extent that I have lost myself. I feel really confident with the aesthetic I have designed and am extremely excited to see all my garments properly manufactured and completely finished! I love the fact that my pieces are so wearable- I set out to create an easy to wear, effortless collection of embroidered pieces, which I have accomplished in my toiles and samples- and expect to carry through to my final garments. Hopefully the reality of my collection will live up to the expectations I have in my head!

Figure 66: Ups and downs of course as whole

Core research

DPP

Studio

Stage 1 Stage 2 Stage 3

92 Conclusion

Figure 67: Final outcome- current collection proposal

93Conclusion

94 Conclusion

The one thing I cannot wait for is the actual promenade itself- over the year events in the school such as the third year fashion show and more recently the degree show have got me absolutely buzzing for our own show! I cannot wait to have my collection complete and to have five models walking down the runway IN MY WORK!! However it is still a long way away yet, so for now I intend to concentrate on blasting out my embroidery! I know it will be worth it in the end!

95

Image List

Figure 1: Embroidery placement on trousers illustration, pen drawing, p11Turnbull, L. (April 2011) 21cm x 29cm

Figure 2: Jean embroidery placement on trousers illustration, pen drawing, p12 Turnbull, L. (April 2011) 21cm x 29cm

Figure 3: Burberry Prorsum SS/11, p13Burberry Prorsum Spring 2011 Ready-to-wear collection on style.com: complete collection [online]URL: http://www.style.com/fashionshows/complete/S2011RTW-BURBERRY(Accessed: 15/4/2011)

Figure 4: Mary Katrantzou SS/11, p13Mary Katrantzou Spring 2011 Ready-to-wear collection on style.com: complete collection [online]URL: http://www.style.com/fashionshows/complete/S2011RTW-MKATRANTZOU (Accessed: 5/4/2011)

Figure 5: Clements Ribeiro SS/11, p13Clements Ribeiro Spring 2011 Ready-to-wear collection on style.com: complete collection [online]URL: http://www.style.com/fashionshows/complete/S2011RTW-CRIBEIRO (Accessed: 15/4/2011)

Figure 6: Emilio de la Morena SS/11, p13Emilio de la Morena Spring 2011 Ready-to-wear collection on style.com: complete collection [online]URL: http://www.style.com/fashionshows/complete/S2011RTW-EDLMORENA (Accessed: 4/10/2010)

Figure 7: Sass and Bide SS/11, p13Sass and Bide Spring 2011 Ready-to-wear collection on style.com: complete collection [online]URL: http://www.style.com/fashionshows/complete/S2011RTW-SASSBIDE(Acessed: 15/4/2011)

Figure 8: Loose wool dress toile on stand, p14Turnbull, L. (April 2011) [photograph]

Figure 9: Loose wool top toile on stand, p14Turnbull, L. (April 2011) [photograph]

Figure 10: Flat collection working drawings, pen drawings, p16- 17Turnbull, L. (April 2011)

Figure 11: Grey speckle chenille on silk organza, p21Turnbull, L. (April 2011) 36cm x 46cm [photograph]

Figure 12: Calico twists on toile from stage one, p22Turnbull, L. (November 2010) [photograph]

96 Image List

Figure 13: Translation of twisted calico image into embroidery, sketchbook insert, p23Turnbull, L. (April 2011) [photograph]

Figure 14: Egyptian collar on traditional ancient costume, p24Watson, P.J. (1987) Costume of Egypt, London: Batsford

Figure 15: Working drawing of raffia in one directional placement, pen drawing, p25Turnbull, L. (April 2011)

Figure 16: Two directional raffia placement on maroon wool, p26Turnbull, L. (April 2011) 25cm x 30cm [photograph]

Figure 17: Proenza Schouler Pre-fall/ 09, p27Proenza Schouler Pre-fall 2009 Ready-to-wear collection on style.com: complete collection [online]URL: http://www.style.com/fashionshows/complete/2009PF-PSCHOULER(Accessed: 20/4/2011)

Figure 18: Proenza Schouler SS/11, p27Proenza Schouler Spring 2011 Ready-to-wear collection on style.com: complete collection [online]URL: http://www.style.com/fashionshows/complete/S2011RTW-PSCHOULER(Accessed: 20/4/2011)

Figure 19: Chanel Pre-fall/ 09, p27Chanel Pre-fall 2009 Ready-to-wear collection on style.com: complete collection [online]URL: http://www.style.com/fashionshows/complete/2009PF-CHANEL?page=2(Accessed: 20/4/2011)

Figure 20: Jacket working drawing, sketchbook insert, p27Turnbull, L. (April 2011) [photograph]

Figure 21: Flat working drawings of proposed collection, pen drawings, p28-29Turnbull, L. (April 2011)

Figure 22: French actress Clémence Poésy, p30Teen idols 4 you: Teen Entertainment News and Picture Galleries- Pictures of Clémence Poésy [online]URL:http://www.teenidols4you.com/picture.html?g=Actors&pe=clemence_poesy&foto=554&act=677&mv=4&pic=199050(Accessed: 1/5/2011)

Figure 23: “French custom,” collage on paper, p31Turnbull, L. (April 2011) 21 x 29cm

Figure 24: “Chloe” by Chloe perfume ads, p32One Tiny Spark [online] URL: http://onetinyspark.wordpress.com/2008/03/20/the-fresh-spring-faces-of-chloe/(Accessed: 1/5/2011)

Figure 25: New loose straight sleeve on keyhole top toile, p34Turnbull, L. (May 2011) [photograph]

Figure 26: New loose straight sleeve on dress, p35Turnbull, L. (May 2011) [photograph]

97Image List

Figure 27: Promarker on pattern piece rough sketch, p37Turnbull, L. (May 2011) [photograph]

Figure 28: Random raffia placement on maroon wool, p37Turnbull, L. (May 2011) 23cm x 28cm [photograph]

Figure 29: Loose organza top toile on stand, p38Turnbull, L. (May 2011) [photograph]

Figure 30: Black plush chenille down seam of blue Tinsmith linen, p39Turnbull, L. (May 2011) 14cm x 16cm [photograph]

Figure 31: Boucle on maroon wool with organza ribbon detail, p40Turnbull, L. (May 2011) 30cm x 36cm [photograph]

Figure 32: Boucle on maroon wool with plush chenille detail, p41Turnbull, L. (May 2011) 26cm x 32cm [photograph]

Figure 33: Cream leather, organza and boucle embroidery on camel boucle, p43Turnbull, L. (May 2011) 27cm x 34cm [photograph]

Figure 34: Messy cream raffia and boucle embroidery on camel boucle, p43Turnbull, L. (May 2011) 34cm x 36cm [photograph]

Figure 35: Tonal leather and raffia placement on camel boucle, p44-45Turnbull, L. (May 2011) 29cm x 32cm [photograph]

Figure 36: Trial colour boucle samples on grey Tinsmith linen, p46Turnbull, L. (May 2011) 12cm x 12cm [photograph]

Figure 37: Long ‘matrix’ coat toile on stand, p47Turnbull, L. (May 2011) [photograph]

Figure 38: Long coat toile needing cut illustration, digital collage, p48Turnbull, L. (May 2011)

Figure 39: Long coat toile with adjusted length, p49Turnbull, L. (May 2011) [photograph]

Figure 40: Blue tonal chenille on light grey Tinsmith linen with french knot detail, p50Turnbull, L. (May 2011) 31cm x 32cm [photograph]

Figure 41: Tonal leather and raffia embroidery on camel boucle, p51Turnbull, L. (May 2011) 19cm x 22cm [photograph]

Figure 42: Grey linen ‘rice scatter’ dress illustration, sketchbook insert, p52Turnbull, L. (May 2011) [photograph]

Figure 43: Light grey boucle on Tinsmith linen, p53Turnbull, L. (May 2011) 26cm x 31cm [photograph]

Figure 44: Multi tonal grey boucle on Tinsmith linen, p53Turnbull, L. (May 2011) 36cm x 39cm [photograph]

98 Image List

Figure 45: Proposed collection line up, sketchbook insert, p54Turnbull, L. (May 2011) [photograph]

Figure 46: More ‘feminine’ coloured leather and raffia on boucle embroidery for coat, p56-57Turnbull, L. (May 2011) 28cm x 31cm [photograph]

Figure 47: Leather and raffia embroidery placement on maroon wool, p58Turnbull, L. (May 2011) 22cm x 28cm [photograph]

Figure 48: Stiff 45 degree angle maroon raffia embroidery placement on wool, p59Turnbull, L. (May 2011) 22cm x 28cm [photograph]

Figure 49: Brain function diagram, digital collage, p61Turnbull, L. (June 2011)

Figure 50: Model in toiles at final line up, p62-63Turnbull, L. (June 2011) [photograph]

Figure 51: Model in loose dress and organza trousers at final toile line up, p64Turnbull, L. (June 2011) [photograph]

Figure 52: Model in keyhole, short jacket and woven trouser toiles at final line up, p65Turnbull, L. (June 2011) [photograph]

Figure 53: Bright blue Hainsworth wool fabric sample, p66Turnbull, L. (June 2011) [photograph]

Figure 54: Black and White herringbone wool Sherwood fabric sample, p66Turnbull, L. (June 2011) [photograph]

Figure 55: Gold Melton Hainsworth wool fabric sample, p66Turnbull, L. (June 2011) [photograph]

Figure 56: Crimson Melton Hainsworth wool fabric sample, p66Turnbull, L. (June 2011) [photograph]

Figure 57: Louise Gray Fall 2010, p67Louise Gray Fall 2010 Ready-to-wear collection on style.com: complete collection [online]URL: http://www.style.com/fashionshows/complete/F2010RTW-LGRAY(Accessed: 4/6/2011)

Figure 58: Colour variations of five piece collection, p68-69Turnbull, L. (June 2011)

Figure 59: Mink plush chenille embroidery, p71Turnbull, L. (June 2011) 16cm x 18cm [photograph]

Figure 60: Caramel plush chenille embroidery, p72Turnbull, L. (June 2011) 19cm x 22cm [photograph]

Figure 61: Wine boucle embroidery on wine wool, p80Turnbull, L. (June 2011) 24cm x 28cm [photograph]

99Image List

Figure 62: Multi tonal boucle embroidery on wine wool, p81 Turnbull, L. (June 2011) 31cm x 33cm [photograph]

Figure 63: Grey boucle ‘rice scatter’ embroidery fabric for final garment, p82Turnbull, L. (June 2011) [photograph]

Figure 64: Samuel Tweed mohair sample card, p85Turnbull, L. (July 2011) [photograph]

Figure 65: Lanvin SS/ 08 ad campaign imagery, p86-87Lanvin Spring Summer 2008 Campaign: Haute Fashion- Haute fashion- fashion ads and photography, col-lections and film [online]URL: http://www.hautfashion.com/fashion-ads/lanvin-spring-summer-2008-ad-campaign(Accessed: 4/7/2011)

Figure 66: Ups and downs of course as whole, pen drawing, p89Turnbull, L. (July 2011)

Figure 67: Final outcome- current collection proposal, collage on paper, p90-91Turnbull, L. (July 2011)

100

Bibliography

Aero leathers [online]Leather Clothing UK- Aero Leathers, Scotland, UKURL: http://www.aeroleatherclothing.com/(Accessed: 6/6/2011)

Emma Bell [online]Emma Bell- Creative Consultant and Fashion DesignerURL: http://emma-bell.com/collections/spring-summer-2010/ (Accessed: 10/01/2011)

Fabric UK [online]Fabric Material and Fabric OnlineURL: http://www.fabricuk.com/(Accessed: 20/2/2011)

Hainsworth Fabrics [online]Hainsworth TextilesURL: http://www.hainsworth.co.uk/(Accessed: 17/4/2011)

Haute fashion [online]Haute Fashion- Fashion ads, photography, collections, filmURL: http://www.hautfashion.com/(Accessed: 5/7/2011)

James Hare silk [online]James Hare- Specialist in silk curtain fabric and silk fashion designer fabricURL: http://www.james-hare.com/(Accessed: 15/6/2011)

Leather Merchants [online]GH leathersURL: http://www.leathermerchants.com/view.asp?id=464(Accessed: 30/5/2011)

Linton Tweeds Direct [online]Linton Tweeds Ltd- Fabrics onlineURL: http://www.lintondirect.co.uk/(Accessed: 17/4/2011)

Louise Gray [online]Louise Gray- LondonURL: http://www.louisegraylondon.com (Accessed: 4/2/2011)

101Bibliography

McCulloch and Wallis [online]McCulloch and Wallis Online StoreURL: http://www.macculloch-wallis.co.uk/(Accessed: 27/6/2011)

Monki [online]MonkiURL: http://www.monki.com/(Accessed: 5/7/2011)

One Tiny Spark [online]One Tiny SparkURL: http://onetinyspark.wordpress.com/(Accessed: 5/7/ 2011)

Samuel Tweed [online]Samuel Tweed Woven FabricsURL: http://www.samueltweed.com/(Accessed: 27/6/2011)

Style.com [online]Style.com- The Online Home of Fashion: News, Runway Shows, Trends, Fashion, Models, DesignersURL: http://www.style.com/(Accessed: 10/3/2011)

Teen idols 4 you [online]Teen idols 4 you: Teen Entertainment News and Picture GalleriesURL: http://www.teenidols4you.com/index.html(Accessed: 1/7/2011)

Texere Yarn [online]Textere Yarns- Double Knitting Wool- Create the Latest Trend- Knitting, Weaving, CrochetURL: http://www.texere-yarns.co.uk/(Accessed: 20/4/2011)

Tinsmiths Natural Fabrics [online]Natural Fabrics, Lighting, Accessories, and Artist Prints- Linen and Cotton FabricURL: http://shop.tinsmiths.co.uk/(Accessed: 17/4/2011)

Watson, P.J. (1987) Costume of Egypt, London: Batsford

William Bennett’s Silk [online]Fashion fabrics- Bennett silk fabrics UKURL: http://www.bennett-silks.co.uk/(Accessed: 15/6/2011)

Design Process Portfolio 3www.lucy-turnbull.co.uk

Design Process Portfolio 3

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