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All Four


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All Four

  1. 1. Apparel Design Portfolio Part One : Collections Part Two : Collection Concepts and Sketches By Jennifer Robinson
  2. 2. Part One: Collections “ Travel in the Jet Age” April 2007 “ Mrs. Peel, We’re Needed” April 2008 By Jennifer Robinson
  3. 3. Travel in the Jet Age _________________ <ul><li>Basic Concept </li></ul><ul><li>A three-piece collection of garments that reflect the excitement and general sense of optimism evident at the height of the Jet Age </li></ul><ul><li>The use of curvilinear lines and bold geometric shapes evokes a sense of modernism and travel in both air and space </li></ul><ul><li>Angular and minimalistic silhouettes mirror the design aesthetics of the 1960s </li></ul>
  4. 4. Concept Board________________
  5. 5. <ul><li>Navy Minidress with Curvilinear Details </li></ul><ul><li>A navy foundational dress in polyester crepe is accented by separate orange curvilinear details in cotton </li></ul><ul><li>Color blocking emphasizes geometric forms present </li></ul><ul><li>Complementary colors mirror those used in famed Braniff International’s advertisement material </li></ul>
  6. 6. <ul><li>White Skirt Suit with Turquoise Shell and Applied Detail </li></ul><ul><li>Jacket made of white heavy twill is accented with topstitched horizontal curvilinear lines, which continue to back jacket </li></ul><ul><li>Fabric choice maintains garment’s angular shape and adds dimension </li></ul><ul><li>Colors inspired by those of Pan American Airlines; white and blue tones are commonly used to express modernity and futurism </li></ul>
  7. 7. <ul><li>Faux Double-Breasted Green Dress with Detachable Belt </li></ul><ul><li>Simple lines of dress reflect modernism </li></ul><ul><li>Stand-up collar provides geometric form at neckline </li></ul><ul><li>Gold buttons emphasize vertical lines of garment and fabric’s weave </li></ul><ul><li>Belt mirrors curvilinear shapes present in other garments </li></ul>
  8. 8. Mrs. Peel, We’re Needed <ul><li>Basic Concept </li></ul><ul><li>A three-piece collection inspired by the British 1960s spy programme, The Avengers (costuming by designers John Bates and Alun Hughes) </li></ul><ul><li>Collection garments are meant to reflect the spirit of ingenuity, self-reliance, and versatility of character Mrs. Emma Peel </li></ul><ul><li>“ Hidden” elements and functional layers suggest the influence of espionage </li></ul><ul><li>Angular shapes and color blocking references the positive ideas of modernism developed during the Space Age </li></ul>
  9. 9. Concept Board
  10. 10. <ul><li>Pleated Minidress with Jacket </li></ul><ul><li>Mustard yellow sleeveless dress in polyester crepe features a hand-pleated bodice </li></ul><ul><li>Bias-bound edges and interior seams are utilized throughout garment </li></ul><ul><li>Hidden pocket detail found at back jacket panel </li></ul>
  11. 11. Details
  12. 12. <ul><li>Cape and Shift </li></ul><ul><li>Wool/spandex cape with stand-up collar; inset turquoise bands conceal small pockets </li></ul><ul><li>A tailored, sleeveless shift dress with belt functions as second layer </li></ul><ul><li>Interior of cape reveals printed lining at collar and two concealed pockets </li></ul><ul><li>Drape and fluidity of cape adds dynamic to movement </li></ul>
  13. 14. Cape Details
  14. 15. Jacket with panels; Printed shell; Skirt with hidden pocket detail <ul><li>Gray cotton collarless jacket features two inset panels where interior layer can be viewed </li></ul><ul><li>Skirt with wool turquoise front panel hides pocket openings at base of detail </li></ul><ul><li>A sleeveless printed shell acts as a versatile second layer </li></ul>
  15. 16. Details ________
  16. 17. Part 2: Collection Sketches and Concepts Jennifer Robinson
  17. 18. 1. Cape Sketch
  18. 19. A. Cape Illustration
  19. 20. 2. Yellow Pocket Jacket Sketch
  20. 21. B.
  21. 22. 3. Gray Cutout Sketch
  22. 23. C. Gray Cutout Illustration
  23. 24. Artwork and Craft Jennifer Robinson Completed 2005-2009
  24. 25. Drawings, Graphics, and Paintings
  25. 26. American Flag , Vine Charcoal on Vellum, 18X24
  26. 27. Renewed Earth , Acrylic on Vellum
  27. 28. Feathers Series
  28. 29. Skull Study , Chalk Pastel, 18X24
  29. 30. Lanterns , Paper Collage in Three Layers, 18X24
  30. 31. Selections from Fashion Illustration Sketchbook Created July 2008 at Central Saint Martin’s Summer Short Course Illustration Program, London
  31. 41. American Flag: An Historic Interpretation By Jennifer Robinson Research Conducted Spring 2008 Star design variations Boleslaw and Mastai , The Stars and Stripes (1973)
  32. 42. Artifact: Front View It was decided that the flag details were either block printed or painted on a plain weave ground fabric. Frayed edges in some areas suggested that although the object could be considered by itself, it may have been removed from part of a larger textile. The imperfect nature of the color details suggested a handmade quality or limited degree of mechanical application. Courtesy of the Newport Historical Society
  33. 43. Artifact: Back View The focal point of the reverse side was hand-written lettering on the eighth stripe. The writing read: “FRGLADDING 188.” Below this was written “1882” or “1822”; the numbers were difficult to decipher because they appeared to have been lightly sketched on top of one another. Courtesy of the Newport Historical Society
  34. 44. Star Design Boleslaw and Mastai , The Stars and Stripes (1973) The first “defined” American flag was decided by the Continental Congress in 1777 by stating: “Resolved: That the flag of the united states (sic) be 13 stripes alternate red and white, and that the union be 13 stars in a blue field , representing a new constellation.” The vague nature of this “new constellation” allowed for numerous design variations in star layout. In fact, it was not until 1912 that an “official” flag was decided upon. A number of factors, including recognition at sea and monetary concerns, would influence flag design from the Revolution onward. Many American-like flags were produced, especially in the early years of the country’s formation. Statehood flags, militia flags, and others show various “local” designs, either in star formation or general designs used. Rhode Island’s “ ‘United Company of the Train of Artillery’” flag, 1775. This flag, although local, is noted for its use of thirteen five-pointed stars. Star variations Boleslaw and Mastai , The Stars and Stripes (1973)
  35. 45. Stripes Markoe Flag. Quaife and Weig, The History of the United States Flag (1961) Nine or thirteen stripes were used in various ways in the earliest of flag designs. Subsequently, a star and a stripe were added to the flag design for each new state joining the Union (see Star-Spangled Banner, which used fifteen stripes). By 1818, however, an “overcrowding” effect resulted, and it was decided that stripes would remain at thirteen, while additional stars would be added for new states. Despite these efforts, no star layout was decided, and even stripe number and size was debatable. In the 1800s, nine to fourteen stripes could still be found. This was important to note in relation to the Newport Historical Society flag, which had either thirteen or fourteen stripes (if the final white stripe is not considered simply as ground fabric). Star-Spangled Banner reproduction. Druckman, American Flag: Designs for a Young Nation (2003)
  36. 46. Period Piece or Centennial Replica? It was also suggested that the NHS flag could have been produced for personal or mass use during the Centennial celebrations of 1886. A variety of memorabilia was produced at the time of the Centennial (1886) for various celebrations nationwide. Druckman, American Flag: Designs for a Young Nation (2003)
  37. 47. Druckman, American Flag: Designs for a Young Nation (2003) Many flags that were produced referenced the original thirteen colonies. In this Centennial flag, the thirteen stars are arranged in a unique way that utilizes one particular early star layout. Boleslaw and Mastai , The Stars and Stripes (1973) Flags could were also used for a variety of purposes, including advertisement . The printed quality of this flag is reminiscent of the Newport Historical Society’s flag.
  38. 48. Handcrafted Quality Boleslaw and Mastai, The Stripes and Stars: The Evolution of the American Flag (1973) Boleslaw and Mastai , The Stars and Stripes (1973) Flag production can also be viewed in a personal light. At left, the “imperfect” quality of the color application suggests a painting technique. At right, the hand-worked flag emphasizes the personal nature of flag creation. Flag from the War of 1812. “ Needlecase flag,”1865