2. WHO
WHEN
WHERE
WHY
HOW
Graduated in Fashion De-
sign in BAU on 2018 and cu-
rrently working in the first
collection of a new brand
by Georgina José as main
patternmaker and technical
designer.
During my student years I
developed skills in design,
art direction, stylism, patter-
nmaking and photography
both in the school sphere
and as collaborations with
other independent creators.
From 2014 I’ve been for-
ming myself both in Spain
and internationally, combi-
ning my university studies
with small courses in BAU,
Central Saint Martins and
UAL - London College of
Fashion.
I’ve also worked as an intern
for a year both while stud-
ying and after graduating.
My jobs in the past:
-Patternmaker and technical
designer in Vagary Kalon.
-Main patternmaker, de-
sign assistant and technical
designer in Mar Rodriguez
Atelier.
-Intern in D+D (Inditex su-
pplier), design field.
-Intern in Barcelona Virtual,
graphic design and website
content managing.
Growing up in a tai-
loring studio, the
interest and familia-
rity for fashion was
always there. Once
the studio closed I sti-
ll kept it in mind.
I believe in hard work and
passion.
I consider myself a very res-
ponsible person, hard wor-
ker, very constant and moti-
vated to keep improving my
skills and learn constantly.
I’m highly motivated to ex-
plore new fields and work
with experienced professio-
nals in all fields of fashion.
1
2 4
3
5
From february
I’ve been deve-
loping a new
project together
with the desig-
ner Georgina
José, as main pa-
tternmaker and
thecnical desig-
ner.
I had a hunch while
checking an old al-
bum and as soon as I
had the opportunity, I
came back to the fas-
hion world.
Here I am still 6 years
after seeing again that
tailoring studio. And
I think i’ll always be.
5ABOUT
ME
3. Lolita
2015
This project treats the gura
of Lolita, a character in
Vladimir Nabakov’s no-
vel with the same name. It
raises its character as the
basis of an urban tribe of
rebellious and shameless
teenagers who care nothing
more than themselves.
Sensuality, selfishness, in-
nocence and abuse for a co-
llection about this reading
myth, Lolita.
“She was Lo, plain Lo, in
the morning, stan- ding
four feet ten in one sock.
She was Lola in slacks. She
was Dolly at school. She
was Dolores on the dotted
line. But in my arms she
was always Lolita.”
Vladimir Nabokov
Design, pattern, sewing, art direction and photography by Laura Carbonell
4. 424 The industrialization process shifts the production craft to
turn into something cold and impersonal. Relationships
between people cool and isolate. The productions are gene-
ralized and each object ceases to be unique and personal.
The customer producer relationship becomes non-existent
since a custom demand is not required, the customer is sa-
tisfied with mass productions.
By the time the machine takes power, empiricism or ra-
tionalism characteristic of the human mind, the ability to
leave schemes is nil. Thus progress is impossible. Machines
alone are unable to innovate, leaving those schemes pro-
perly established. The error and the possibility of working
without parameters is what allows discovering new things.
Humanity accommodates itself by leaving the processes to
machines that also replace labor.
What is the future of humanity if we stop moving forward?
LINK TO VIDEO
https://vimeo.com/201534127
Design, pattern, sewing and art direction by Laura Carbonell - Photography by Billy Thin - Film making by Arnau Coll
5. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20n
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20n
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20n
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20n
four thousand and one hundred and eighty-one
four thousand and one hundred and eighty-one
four thousand and one hundred and eighty-one
four thousand and one hundred and eighty-one
nine hundred and eighty-seven
nine hundred and eighty-seven
nine hundred and eighty-seven
nine hundred and eighty-seven
six hundred and ten
six hundred and ten
six hundred and ten
six hundred and ten
three hundred and seventy-seven
three hundred and seventy-seven
three hundred and seventy-seven
three hundred and seventy-seven
two hundred ans thirty-three
two hundred ans thirty-three
two hundred ans thirty-three
two hundred ans thirty-three
one hundred and fourty-four
one hundred and fourty-four
one hundred and fourty-four
one hundred and fourty-four
eighty-nine
eighty-nine
eighty-nine
eighty-nine
thirty-four
thirty-four
thirty-four
thirty-four
twenty-one
twenty-one
twenty-one
twenty-one
thirteen
thirteen
thirteen
thirteen
eight
eight
eight
eight
THREE
THREE
THREE
THREE
two
two
two
two
one
one
one
one
ONE
ONE
ONE
ONE
20
20In this project, the objective was to apply
the golden ratio in their measurements
and relationships. In each garment a part
of the arithmetic succession of bonacci is
represented.
The main characteristic of this sequence
is that each number, factor, divided by the
immediately preceding one, results in ano-
ther number that, as it progresses, approa-
ches the golden number. Thus, the factor
f (n20) / f (n19) = 6765/4181 results in
1.6180339, result identical to the number
phi (aureus) extepto by three millionths.
Likewise, the garments are a representation of the evolu-
tion of said succession in relation to the golden ratio.
In addition, each look is white, 1 being the blackest since
the ratio is 1/1, far from the golden number. Look 10 is
white, since the result of the calculation of values is prac-
tically identical to phi, thus being the purest.
INGENIERÍA KANSEI
“We must design products and services that go be-
yond satisfying our needs. We must seek to design
user experiences and produce through the products
we design, sensations and pleasant experiences’’
Mitsuo Nagamachi, 1972
Design, pattern, sewing, art direction and photography by Laura Carbonell
6. Design as medication - Obsessive
Compulsive Disorder.
One of the most common delusions
resorts to thinking that someone en-
ters them home while they sleep or
when they are not. To control that
no one has entered, they tend to sort
things by colors, measurements, sha-
pe, ... The garments of this collection
incorporate folding marks so that
the user doubles them from one of
the three options and so calm their
impulses with the assurance that if
someone touched it they would rea-
lize the error. In addition, the mea-
surements are multiple of 3, which is
the most common repetition order
in the impulses of those affected by
this disorder.
8. A C D B es un estudio de la geo-
logía terrestre que trata los estra-
tos de la tierra como elementos
en constante desarrollo. Un es-
trato no es un elemento estático,
más bien todo lo contrario: Con
forma, tamaño y posición respec-
to al subsuelo.
Esta colección los representa
mediante los diferentes tipos de
cambios que sufren, ya sea par-
ticiones, pliegues o intrusiones.
Los estratos de mezclan entre si
creando un conjunto pero aún así
conservan parte de su naturaleza
individual.
A C D B incorpora prendas des-
construidas, multifuncionales y
algunas incluso son la mezcla de
varias en coherencia con el con-
cepto de la colección. Tambien
consigue una tejiduría propia,
que trata los tejidos de forma úni-
ca.
Barcelona, 10 de junio de 2017
Design, pattern, sewing, art direction and photography by Laura Carbonell
A C D B is a study of terres-
trial geography that treats the
strata of the earth as elements
in constant development. A
stratum is not a static element,
rather the opposite: Over the
years its shape, size and po-
sition change with respect to
the subsoil.
This collection represents
them through the different
types of changes they suffer,
whether partitions, folds or
intrusions. The strata mix to-
gether creating a set but still
retain part of their individual
nature.
A C D B incorporates de-
constructed, multifunctional
garments and some are even
the mixture of several in cohe-
rence with the concept of the
collection. It also achieves its
own wisdom, which treats tis-
sues in a unique way.
14. editorial
2018
A STUDY OF PERSPECTIVE
THE
FORESHORTENING
SERIES
Foreshortening series is a project of re-
search and experimentation in pattern de-
sign and volumetry that aims to represent
the attitude of a 3D object in space from a
single vanishing point. Through a mathe-
matical study and a meticulous modeling
process, garments have been deformed to
create a series of looks that make up a spe-
ci c vanishing point.
Conceptually, this collection also deals
with the contrast between the structured
elements and the uidity of them, as the
elements interact with the body in rela-
tion to a parameter. A debate between
the form that follows the function and
the function that follows the form, a con-
versation also maintained between the
referents that support this project. The
garments are deconstructed instinctively
giving way to a relaxed vision of them that
allows to appreciate the deformation cau-
sed by the function guiding the shape.
Design, pattern, art direction by Laura Carbonell - Photography by Mar Armengol
15.
16.
17. Laura Carbonell i Torra
+34 690 155 713
lauracarbonellt@icloud.com
@_elektraking
Barcelona, October 2019
