Year 3 - Graduate Collection Dossier

Graduate Collection
Melanie Bryant

1 | Concept Research
this easier to do in three-
dimensional form as
opposed to drawn out, as
the flipping and turning
is much more easily done
on the mannequin then
conceived on a page.
I wanted to reflect his
material choices in my
own. With regards to this
I wanted to find a tough
industrial outer fabric
with which to surround
a lighter more feminine
fabric. For the outer I
sourced a roofing rubber,
which buckles and
twists well. I intended
to integrate textiles
processes into my
materials, imprinting or
bonding the rubber and
using textured relief or
The main source of
inspiration for this
collection has been the
sculptural works and
spacial theories of the
Russian Constructivist
artist Naum Gabo.
The recurring themes
through out his work
are space time and
mass. His work mixes
heavy exterior layers
with lighter interior
layers in an attempt to
display space without
having to depict mass.
This concept interested
me greatly and during
my research I have
attempted to find a way
in which these ideas
could be presented on
the human form.
The definition of
constructivism speaks
of approaching art in
two ways; tectonics -
illustrating the spatial
presence through form
and facture - visually
demonstrating properties
of the materials.
With this in mind I first
decided to establish the
key sculptural aspects of
his work, then investigate
materials. The most
appealing features of his
structures were; layering
and twisting around a
curve, folding over itself
and exposing the under
layer through the outer,
these would create the
basis for my structural
design work. I have found
Collection Abstract
Inspiration from the sculptural work of Naum Gabo, Claes Oldenburg and
Richard Serra

burn outs on the lighter
fabrics.
I also looked at the
work of Richard Serra
who takes soft objects
or movements and
represents them in highly
structured sculptures, as
well as Claes Oldenburg
who subverts this idea.
I aim to use both these
principles in each outfit,
with a juxtaposition
of a rigid and soft
interpretation of my
concept.
I have also experimented
with repeating certain
design features in the
opposing materials to
further explore this.

Most of Gabo’s work
features a strong outer
shell. These include:
-plastics
-bronze
-sheets of Perspex
-boulders
-wire mesh
-Rhodoid =acetate
-steel
-silver
-celluloid plastic
They are essential in
order to support the
shapes that he uses.
I would like to include
some of these larger
shapes in my designs
and will to find a hard
but malleable material to
facilitate this.
I decided to photoshop
my favourite of these
images around a fashion
figure to reflect how the
theme of Solidity could
be used to wrap around
the body. I think a harder
fabric used in a larger
curved way is the only
way to translate this into
something that would be
wearable.
Naum Gabo
Theme One - Solidity

Naum Gabo Sculptures
Construction in Space with Crystalline Centre 1938-4
Bronze Spheric Theme c.1960

Juxtaposing the solid
outer structure of many
of Gabo’s sculptures is an
inner softer material. The
inside of the structure
is occupied but never
enclosed.
Some of the softer
materials he uses include:
-nylon monofilament
-fishing line
They are used to partially
join up the spaces
between the planes.
I would like to use this
idea of unfolding in
the pattern to reveal
different weighted layers
of the garment.
Once again I
photoshopped one
sculpture around a
fashion figure to see how
the solid could unfold
to reveal and interior. I
think using contrasting
material weights and
colours could work well
in this case.
Naum Gabo
Theme Two - Solid Unfolding to Reveal Interior

Torsion, Variation 1974-1975
Linear Construction No. 3 1952
Arch no 2 Date- 1958-63
Construction in Space 1937-9

The most obvious theme
of Gabo’s work is space.
He tried to demonstrate
how an objects mass
can be measured
-sterometry. By using
different length planes
and boundaries to depict
the area the object
stretched to he was able
to keep it looking solid
but weightless.
I would like to investigate
this use of multiple
planes on different layers
spaced throughout the
pattern. I would also like
to look at lighter fabrics
to further emphasise
weightlessness.
Again I photoshopped my
favourite image on to a
fashion figure in order
to see how the theme of
space between layers
could be translated into
designs for clothing. I
think this will work well
by twisting and folding
lighter fabric around its
self.
Naum Gabo
Theme Three - Space, between layers and the materials

Linear Construction No. 2 1970
Linear Construction No. 1 1942-3

For my industrial
material I decided to
look at roofing felt. I
attempted to make a
waist coat out of it to
test if it would hold
seams, darts and shape.
However I encountered
many problems:
-cutting was extremely
difficult
-sewing was made
impossible as even on
a leather machine the
needle gets tarred and
the thread gets stuck in
the tar and snaps
-when trying to solder
the seam allowances
down the fabric melts
but doesn’t melt
effectively to the other
surface.
From doing this I have
realised I need to look
into rubber based
roofing materials as
opposed to tar based.
Hard Fabric Research
Tar Based Roofing Felt Fabric

Old Rubber
Experiments with sewing different types of rubber
Experiment waistcoat from tar based roofing rubber

After my first two
reviews I realised that I
needed to find a better
material to work with
that the tar based
roofing material.
I did some research on
the types available:
-Bitchumin = technical
name for the tar based
-TPO and TPE membrane
= most environmentally
friendly but also more
expensive
-PVC membrane =
polyvinyl chloride thicker
than normal PVC fabric
melts completely at
600’C but will start to
melt at around 200’C
I decided that the PVC
membrane was the best
for my toiling as it had
the same structure as the
Bitchumin but was easier
to sew and was cheaper.
I was able to get 2mx2m
in 1.2mm thickness
donated from:
Southern Membranes Ltd
Unit 4, Ballard Industrial
Centre Lordswood
Industrial Estate
Chatham Kent ME5 8UD
I will now start
experimentation with this
material.
Rubber Based Roofing Felt Fabric

New Rubber
Intended application of material
Picture of sample

I decided to do some
contextual research on
how more structured
fabrics can be utilised
effectively in garments.
I began to find many
interesting applications
of leather:
-Mixing it with other
fabrics in order to make
them more structured
-Draping it smoothly but
structurally around the
body
-Using it to extend
outwards from the body
I would like to use my
rubber roofing felt in a
similar way.
Interesting application of harder fabrics

Contemporary Inspiration
Rick Owens Menswear AW09
Acne AW12
Gareth Pugh AW10
Jil Sander AW08

poly satin.After discussing my
concept with Antonio
he decided that my
garments should fall into
one of two categories.
Either hard or soft, these
two categories could
never be sewn to each
other but had to be
combined in ever outfit.
The hard fabrics were
the rubbers, vinyl,
acetate, flocking paper,
bonded rubbers to
devoré or lace.
The middle ground was
pleathers, flocked crepe,
and an imprinted leather.
These could be mixed
with both.
The soft included my
devoré samples, the
flocked silk satin, and
the loose polysatin I was
draping in.
He also suggested
contrasting Gabo’s work
(very structured, hard)
with Claus Oldenburg’s.
He makes sculptures of
typically soft things in
hard materials. Antonio
suggested using this
concept to make some
of my harder pieces in
the soft fabric or the soft
pieces in the hard fabric
in order to really explore
the concept of hard VS.
soft.
I want to try and explore
this for the rubber top
pattern in the drapey
Material Tutorial
Antonio 01/12/12

Antonio Tutorial
Material Moodboard

On the recommendation
of Antonio I looked at
artists whose materials
choices impacted the
structural integrity of
their sculptures in a
similar way to Naum
Gabo’s work.
The first was Richard
Serra. He used very
stiff rubber like layers
to demonstrate fluid
movements. In this case
the material was making
the idea more rigid.
The second is Claes
Oldenburg who looks
at rigid objects but
demonstrates them as
soft sculptures. These
two pieces are of the
same drainpipe, which
through 2 different
materials is abstracted
out to look softer and
softer.
I will now subvert the
materials of my garments
to create new forms.
Impact of Materials on Structure
Richard Serra V Claes Oldenburg

Serra V Oldenburg
To Lift. 1967
Band 2006
Hard Drainpipe 1967
Soft Drainpipe 1967

After looking at the
softer forms used by
Richard Serra and Claus
Oldenburg I decided
to research some
contemporary examples
of these shapes in
fashion.
I started by identifying
types of draping that
particularly interested
me such as; folding,
twisting, wrapping, and
flipping fabric around
itself to create layers and
around in shapes envelop
the body.
Soft Fabric Research
Folding and twisting of softer fabrics

Contemporary Inspiration
Chloe SS13
Prabal Gurung SS11
Christopher Kane SS13
Donna Karan SS13

Research Summary
Structure

Research Summary
Material

As my concept mainly
concerned 3D aspects of
sculptures one of the first
ways I started designing
was directly on the
stand.
I found this was the
easiest way to generate
ideas about how the
folds, twists, wrapping
and layering of the
sculptures could be used
as design features for
garments.
It also gave me hints as
to the best placement
of these features on the
body and how the rest
of the garments fabric
would interact with the
manipulation.
3D Concept Ideas
Designing on the stand

29 | Toiling
the CF.Throughout the
development of my
final range plan many
garments were scrapped
and edited out. This was
one such toile, it was
never developed into a
final garment, however
I feel it is an incredibly
important piece when
you consider how the
defining aspects of this
pattern (the folding
over itself, with 1 piece
overlaying) came to be
modified and repeated
through out the rest of
the collection.
Whilst aesthetically it
looks a bit of a mess
it is integral to the
development of the
signature construction
method for the collection.
With this toile I aimed for
it to demonstrate folding
over itself and twisting
down over an under
layer.
The under layer starts
at the CB and then goes
passed the side and over
to the CF. It the folds
down on to itself with a
twisting manipulation
down to the side.
An overlay then starts
again from the CB to
meet the folded piece at
the side and is secured in
at a join hidden between
the pleats.
I really like this pattern,
in particular the fold at
Toile 1
Overlay Dress

31 | Toiling
Once I realised I needed
a stiffer fabric to work
the folds with I decided
that this piece would
integrate the new rubber
I had found.
I started by modelling in
paper to figure out the
way I wanted the pieces
to fold on top of each
other. Once this was
done I began draping in
calico, but I draped quite
loosely as I realised that
the rubber wouldn’t give
as much as the calico
would.
Feedback
Amer:
The toile you have done
is really quite successful,
in that it’s a combination
of stiff and double sided
fabrics combined with
the softer calico works
well.
Aims:
I will now continue work-
ing with the rubber, by
mixing it with calico as
well as juxtaposing those
pieces with more deli-
cate handling of my con-
cept.
Toile 2
Rubber Top

33 | Toiling
piece however I think
the pattern is incredibly
interesting .
With regards to what
was said in my first re-
view, I planned to make
a coat mixing both rub-
ber and calico. I wanted
it to be quite voluminous
and foldy, so after some
initial sketches I started
modelling on the little
man to get an idea of
seam placement and fold
direction.
I think this method was
quite successful. After
doing this I started drap-
ing on the mannequin in
calico, taking into ac-
count extra allowances
for the rubber to fold and
buckle.
I think this garment
turned out incredibly
well, I love the effect
of the dart coming into
the revere of the collar.
However I would need to
alter this pattern signifi-
cantly in order to get an
actual sleeve in. I hand
sewed in the current one
just to see how it would
affect the overall look.
I would need to gut out
the rubber under the arm
hole and replace it with
a fabric panel and work
out a way of finishing the
rubber as it meets with
this panel.
Unfortunately due to the
vast amount of pattern
work required to make
this piece function I
wasn’t able to make the
final garment for this
Toile 3
Rubber Coat

35 | Toiling
For this top I wanted
it to be quite light and
bouncy to juxtapose the
heaviness of the previous
coat.
I did most of the
development for it
on the stand where I
tried out multiple ideas
whilst using the same
construction method.
This method entailed
sewing two pieces of
fabric together with a
curved line of stitching
then moulding this
around the body and
cutting in to release
certain twists and folds.
I had intended to use
devoré backed onto one
side of the fabric to show
the two sided effect that
worked so well in the
rubber top.
Toile 4
Twisty Top

37 | Toiling
Toile 5
V Tshirt
For this t-shirt I wanted
it to be quite basic and
clean, in comparison to
some of my previous
garments. I thought
that if it just has one
major fold which was
accentuated with the
use of print it would still
stand out but would be
a cleaner look for one
outfit.
I toiled in calico as I
assumed it would be a
medium weighted fabric
and just coloured in the
layers I saw as different
colours.
I then used illustrator to
mock up illustrations of
how i thought my print
could be integrated in.

39 | Toiling
I wanted these trousers
to parallel the fold on the
rubber top. By folding
back on itself from the
side seam out.
I made the rise up to the
waist and then slimmed
the trouser through out
the leg. Below the knee
I needed the seam to be
straight in order for the
folded section to create
a clean line.
I fully lined them so that
the lining and therefore
the folded section could
be in a contrast colour or
texture.
However for the real
garment I think just
facing the lower section
would work better, and
look cleaner.
I think these work well,
I would like to continue
this shape for the others.
However I think the fold
would look better with
more flare so it buckles
out a bit more.
Toile 6
Hem Fold Trouser

41 | Toiling
After looking at my
rubber top I wanted
a similar detail on a
trouser. I couldn’t extend
the rubber passed
the knee (to prevent
immobility) so I decided
to just have it around the
hip. I used 2 darts angled
out wards to provide
the shape. I then flared
the centre front fold so
that some of the green
underneath would be
revealed.
On the advice from
my last review I added
a pocket. I used the
same construction as
the rubber top arm
head. With the rubber
unattached at the curve
so you can get the
pocket bag in.
However I now know I
made the pocket far to
small in length.
Toile 7
Rubber Overlay Trouser

43 | Toiling
In the review it was
suggested I use the same
technique as I used in the
twisty top. By sewing two
pieces of fabric together
with a curved stitch line
then draping from that. I
twisted this one back and
further the body more,
had more suppression
through darts and tucks
and added a larger
drape to the inner
curved piece.
I think this is a nice toile,
it may be slightly too
similar to the top but I
like it and its cohesive.
I ran out of time to
pattern and re drape it
all so I sewed the drape
as the toile.
Toile 8
Twisty Dress

45 | Toiling
I wanted a simple top
to go with some of the
other more complicated
bottoms. I used the
same folding technique
from the rubber top but
changed the placement
to the neckline and under
the kimono sleeve.
I adapted the flat pattern
from the dropped toile
5 to make this. I think
that explains the bad
fit across the centre.
However I think if it
was slightly tucked into
something at the front
this excess could work
well.
Toile 9
Collar Fold Top

47 | Toiling
Toile 10
Rubber Fold Trouser
After looking at the
Richard Serra sculptures
I wanted to integrate
the same folding idea
from the calico hem of
the rubber coat in to an
overlay for trousers.
In keeping with the
Serra idea I switched the
materials over to make
the soft fold a rigid one.
So instead of calico I did
it in the new rubber.
I had some problems
with the waist band.
The rubber seems to
stretch the calico when
sewn to it. So the waist
band didn’t meet on one
side. Also it was torture
trying to sew the zip to
the rubber, I need to
re-evaluate this seam
construction if I want to
stay sane whilst sewing it
again.

49 | Toiling
At the December hand in
I submitted 11 garments.
I scrapped 4 toiles:
-Toile 1 Overlay Dress
-Toile 5 V T-Shirt
-Toile 10 Rubber Fold
Trouser
-Toile of Big Skirt
I was left with seven
remaining.
Initial Range Plan
Scrapping Garments

51 | Toiling
I needed to design one
entire outfit, and for
the two now incomplete
outfits I needed to find
garments to accompany
them.
For the coat I considered
a full length column dress
with a top similar to the
back of Toile 8 Twisty
Dress, However I came
to the conclusion that
trouser with a top similar
to that back would be a
better option.
For the Twisty Top I
thought that I should
attempt another skirt.
I considered an A-line
skirt but I didn’t think
it looked very modern.
I then made a column
maxi skirt, that would
be made out of jersey
to make it look less
eveningy. However when
on the model it looked a
bit dowdy. So instead I
opted to make some new
trousers.
Replacing Scrapped Garments
1 New Outfit, 2 Modified Outfits

53 | Toiling
was the way to finish
the seams inside of the
garment as the colour
needed to be consistent
whatever side it was on.
I decided the best way
to do this because of the
deep curve in the collar
would be to not do a
denim seam but instead
do a French seam and
top stitch it so it looks
like a denim seam. I
quickly realised that I
would need to do this top
stitching with 2 different
coloured threads to get
the effect I wanted.
The idea for this top
came from a tutorial with
Antonio in which he said
that the top for this outfit
should mimic the backs
of the twisty top and
twisty dress.
I then went about
discovering how I could
get the collar of a
sleeved top to fold over
in a similar was to how
the sleeveless top and
dress does. This was
quite a challenge and
took me about 5 sleeve
drapes to really conquer.
I realised that it simply
wasn’t possible to get
the suppression and then
subsequent release from
just one seam, so I split
the centre back piece in
order to achieve this.
Another problem I
encountered was that
because the collar does
come from the sleeve
the finishing was more
difficult. I wanted each
side to be a different
colour but didn’t want
to line the centre front
draped piece.
I decided the way to
overcome this would be
to either Bondaweb the
two coloured fabrics
together and finish with
a raw edge, or to find a
fabric that was already
two tone.
The other problem I had
Toile 11
Raglan Fold Top

54 | Toiling
Drapes showing how collar folds out from sleeve
Sample of the French seam
Toiles

55 | Toiling
The pattern for these
trousers actually came
from a pair of trousers
that had a rubber
overlay. In theory this
seemed good but in
practise they didn’t look
effective. However the
actual trouser pattern
underneath was pretty
nice.
So during the fitting I
cut away the rubber and
instead just amended the
fit of the trouser.
These were incredibly
simple to make
(apart from the
rubber) as it was just
a standard trouser
construction however
I think the simplicity
will compliment the
silhouette of the rest
outfit very well as some
of the tops are more
complex.
Toile 12
Simple Trousers

56 | Toiling
Toile 13
Slit Trousers
These trousers used a
similar pattern at the
waist to the simple
trousers and then I
added a slit with a facing
to the hem.
I intended these to go
with the twisty top. This
meant from the front
and back the trousers
appeared really simple
which worked well with
the more complicated
design of the front and
back of the twisty top
but there is just a little
hint of something extra
at the side hem.
I conducted experiments
to test how the facing
would work and decided
to make it in self.

57 | Toiling
I began this drape by
darting in the silhouette
around the bust and then
overlaying a folded piece
on top coming from the
side seam. In theory this
seam much more easy
than it actually turned
out to be. I didn’t want
any suppression in the
upper overlay so it was
difficult to get it to sit
correctly. The only way I
could foresee to rectify
this was to cut the piece
down so that its edge
rested on the bust point
and allowed for a release
so it would drape off of it
not cling around it.
Once I completed the
toile I realised it still
wasn’t lying as flat as it
could, so I decided to cut
the final garment on the
bias so the upper overlay
would flow better.
Toile 14
Side Fold Dress

59 | Range Plan
Fabric:
rubber
felt
wool
pleather
Modifications:
Toile 2 - Rubber Top
-heavy fabric for upper
raglan, possibly rein-
forced with buckram? or
reinforce horizontal CF
seam with boning, or or-
ganza control piece cut
on straight to over chest
to stop gaping
-drop rubber 3cm under
arm and scoop out
-extend calico out at CB
and use zip as fastening
Toile 7 - Rubber Overlay
Trouser
-make pocket longer
-make rubber smaller
to prevent stretching at
waist
-consider sewing down
the back rubber piece so
it is a panel not overlay
Fitting
Outfit 1

61 | Range Plan
Fabric:
rubber
felt
wool
Modifications:
Toile 3 - Rubber Coat
-drop rubber 3 cm under
arm and scoop
-make bottom calico
stand away from body
more by reinforcing the
seam or with interfacing
-calico section must ex-
tend all the way under
the front revere so sleeve
can be put in
-redraft sleeve and make
arm hole wider
Toile 10 - Rubber Fold
Trouser
-rubber removed
-add 1.5cm at side seam
at waist and blend down
10cm
-make into Toile 12 - new
trouser
Toile 11 - New Top
-make V neckline top
with flowy section
Fitting
Outfit 2

63 | Range Plan
Fabric:
felt
wool
organza
(double layer bonded
with bondaweb)
Modifications:
Toile 9 - Collar Fold Top
-make wider at bottom?
Toile 6 - Hem Fold
Trouser
-just have fold on hem
at the either the front or
the back not both
Fitting
Outfit 3

65 | Range Plan
Modifications:
Toile 14 - Side Fold Dress
-add extra in the centre
back
-add extra in the under-
arm and scoop out the
arm hole so the move-
ment is better
-cut on bias so the over-
lay drapes better
-re-examine the side
seam at the bottom as
the balance is off
Fabric:
habotai
with bondaweb)
Fitting
Outfit 4

67 | Range Plan
Fabric:
silk georgette
with bondaweb)
lamé
Modifications:
Toile 4 - Twisty Top
-move side seam diag-
onally across the back,
hidden under fold over
-make hook and eye at
CB higher to secure the
shoulders
-consider organza?
Toile 13 - New Trouser
-skinny simple trouser
instead of skirt
-detail at hem not waist
Fitting
Outfit 5

69 | Range Plan
Modifications:
Toile 8 - Twisty Dress
-figure out sewing at
shoulder
-sort out lower hip side
seam displacement
-make it cooler through
fabric choices
Fabric:
chiffon
with bondaweb)
Fitting
Outfit 6

71 | Range Plan
Colour:
It was decided that I
would keep the green
and grey rubber and had
to find colours that went
with it.
This proved incredibly
difficult, I searched in
fabric shops and utilised
online colour scheme
designers and still had
difficulty.
So I decided that the
entire collection should
emulate the roofing
rubber with a green
front and grey back, with
metallic highlights as well
as small touches in pink
in some garments and
the fastenings.
Fabric:
After my fitting I decided
the hard fabrics would
be placed on the left and
the soft on the right.
Outfit 1:
rubber, felt, pleather
Outfit 2:
rubber, felt, wool
Outfit 3:
felt, wool, organza
Outfit 4:
habotai
Outfit 5:
silk georgette, lamé
Outfit 6:
chiffon
This supported my initial
fabric ideas in December,
where there would be
a clear divide in the
density of the fabric for
each outfit.
This would also relate
back to the Oldenburg
and Serra pieces as
there are similar aspects
of construction through
out the collection which
now in two weights of
fabric fall completely
differently.
Final Range Plan
Considering Fabric and Colour

72 | Range Plan
rubber+felt+pleather
rubber+felt+wool
felt+wool+organza
silkgeorgette+lamé
habotai
chiffon
Look 1 Look 2 Look 3 Look 4 Look 5 Look 6

73 | Range Plan
rubber+felt+pleather
rubber+felt+wool
felt+wool+organza
Look 1 Look 2 Look 3

74 | Range Plan
silkgeorgette+lamé
Look 5
habotai
chiffon
Look 4 Look 6

75 | Garment Development
Outfit 1
Rubber Top and Rubber Overlay Trouser

rubber wouldn’t allow the
machine to get in to bind
the CB. I decided the
best way to overcome
this was to hand sew the
binding on so the seam
allowance and zip were
properly finished. I then
continued hand sewing
to close up the neck
band to the lining.
The last step was closing
up the shoulder seam in
the rubber, which I did
in a pink metallic thread
to tie the colour scheme
together.
Sewing the rubber
top was incredibly
challenging because of
the layers of rubber.
First I prepared the
rubber by doing the
darts and sewing
together the upper 2
tiers. Then after sewing
the side seams of the
main body, I edged stitch
the rubber to the felts
seam allowance.
Then I prepared the
sleeve, sewing up the
under arm seam in both
the self and the lining,
but leaving the raglan
dart at the top open to
allow easy access to the
main seam across the
chest. Then I had worked
out the order of layers
for the main seam, I edge
stitched the sleeve lining
to the main body fabric.
Then I went ahead and
sewed the main seam.
With the main body
altogether I then sewed
up the raglan darts in
the self and lining and
pressed them open. Then
I put the garment on the
mannequin to check the
lining and the self would
meet, then I edge stitch
this.
I then put on the first
half of the neck band
and sewed in the zip and
sewed up the remaining
CB. I then encountered
a problem in that the
Rubber Top
Construction

Rubber sample with pink thread
Sewing together the raglan dart
Diagram of the layers of material being sewn into
the main seam

Hand sewing binding down the centre back

Finished top on mannequin

more that the fabric,
this combined with the
trouble from the rubber
meant the crotch seam
is a bit messier than the
other trousers.
I finished this by hand
sewing parts of the waist
band down to the pocket
bag, seams and darts.
I then continued hand
sewing to finish off the
binded edge of the leg
hem.
To begin these trousers
I sewed the darts on
the rubber and pleather
pieces. Then I sewed
in the pocket. This
was incredibly difficult
because of the thickness
of the rubber in the
seam. Then I closed up
the leg.
The main problem I
had with this piece
was because in the
toile the rubber was in
two separate panels
at the front, to then
manoeuvre around to
sew the second pocket
was incredibly difficult.
The way I overcame
this was by sewing a
few centimetres of the
centre front seam and
edge stitching the rubber
across it so that it would
hold it in place to sew
the second pocket. I
finished both the pockets
by edge stitching along
the inside to hold some
of the bulk of the pocket
seam in place.
I then sewed up the legs
and went on to the waist
band. It was a floating
waist band with a facing
in self. I then put in the
zip and joined up the 2
sides of the crotch seam
with much trouble due
to the stiffness of the
rubber. Binding was also
tricky as the binding
I had picked went
perfectly with the fabric
however it also frayed
Rubber Overlay Trouser
Construction

Edge stitch on trouser pocket
Diagram of how to finish zip and crotch seam

Outfit 1
Costing and Technical Drawing
Place Material Supplier £ Amount/
m Total
Top - Rubber
Overlay Rubber CPR LTD £42.69 0.75 £32.02
Top - Raglan
Sleeve
Grey Melton
Wool A-One w=1.4m £5.00 0.90 £4.50
Top - Body Grey Felt Classic w=1.5m £10.00 0.50 £5.00
Top - Raglan
Lining Grey Cotton Cloth House
w=1.5m £8.75 0.90 £7.88
Top - Zip Pink Cloth House £4.62 0.55 £2.54
Top - Thread Grey Coats Moon
M0250 £0.75 1.00 £0.75
Trouser - Rubber
Overlay Rubber CPR LTD £42.69 0.75 £32.02
Trouser - Main Pink New
Trimmings £12.00 1.50 £17.10
Trouser - Zip Grey Cloth House £3.12 0.23 £3.12
Trouser -
Waistband
canvas
Dark canvas Mac Coulough
and Wallis £9.74 0.30 £3.25
Trouser -
Waistband
selicia
Black Kenton
Trimmings £4.46 0.30 £1.34
Trouser - Binding Pink Metallic Cloth House £1.20 3.00 £3.60
Trouser - Thread Pink Coats Moon
M0021 £0.75 1.00 £0.75
£113.86
m Total
Top - All Green/Grey
Wool Misan w=1.4m £55.00 1.40 £69.30
Top - Thread Green Coats Moon
M0105 £0.75 1.00 £0.75
M0014 £0.75 1.00 £0.75
Trouser - All Dark Grey Fabric World £18.00 1.50 £27.00
Look1

Outfit 1
Final Pattern and Garment

Outfit 2
Raglan Fold Top and Simple Trousers

As I did a toile to test
which way each seam
would lie and which
colour thread I would
need at every point, the
construction of this top
was relatively simple.
After cutting out I sewed
the main body first and
then top stitched all the
raw edges to prevent
fraying. From there I
went on to sew the drape
down the centre front.
Then after some pressing
I edge stitched the
folded section back on to
it self.
Then I sewed the sleeves
and back collar piece
together, being careful
about the colour of
thread used on each side
as both sides would be
exposed.
Then I joined the main
body and raglan section
and sewed the zip and
centre back seam. I then
decided to bind it in
a similar way to how I
was binding the crotch
seam of the trousers in
order to make the insides
cohesive.
Raglan Fold Top
Construction

Sample of French seam in felt
Front pose showing the collar fold

Shows how collar folds out from raglan and the
French seams used to finish the inside

The zip and centre back seam bound in a similar
way to a crotch seam in trousers

Once I had removed the
rubber I decided the
trousers whilst the shape
and fit of the trouser was
really good, it needed
something else, so I
added pockets.
Once I had learned to
put in the pocket the
rest was relatively easy. I
finished the legs and put
in the floating waistband
and finished the zip.
I then attached some
selecia to the hem so
the net edge would fold
correctly and I hand
finished it.
Simple Trouser
Construction

Diagram showing how the pocket it constructed
Bound zip and crotch seam

Hand sewing selecia at hem
Bound hand finished hem edge

Inside showing waistband

Outfit 2
Trouser - Thread Pink Coats Moon
M0021 £0.75 1.00 £0.75
£113.86
m Total
Top - All Green/Grey
Wool Misan w=1.4m £55.00 1.40 £69.30
Top - Thread Green Coats Moon
M0105 £0.75 1.00 £0.75
M0014 £0.75 1.00 £0.75
Trouser - All Dark Grey
Wool
Fabric World
w=1.5 £18.00 1.50 £27.00
Trouser - Zip Pink Cloth House £4.62 0.23 £1.06
Trouser - Binding Black Already Own £0.00 2.00 £0.00
Trouser -
Waistband
selicia
Black Kenton
Trimmings £4.46 0.30 £1.34
Trouser -
Waistband
canvas
and Wallis £9.74 0.30 £3.25
Trouser - Thread Grey Coats Moon
M0250 £0.75 1.00 £0.75
Coat - Rubber Rubber CPR LTD £42.69 1.50 £64.04
Coat - Sleeve Grey Melton
Wool A-One w=1.4m £5.00 0.70 £3.50
Coat - Body Grey Felt Classic w=1.5m £10.00 2.25 £23.00
Coat - Body Green / Silver
Metallic Wool
B St Cloth
Shop w=1.5 £55.00 2.25 £110.00
Coat - Bonding Vilene A-One w=1.5m £2.95 2.25 £6.64
Coat - Thread Grey Coats Moon
M0250 £0.75 1.00 £0.75
Coat - Thread Light Green Coats Moon
M0034 £0.75 1.00 £0.75
£315.88
m Total
Look2

Outfit 2

Outfit 3
Collar Fold Top and Hem Fold Trouser

This piece was the
first of four that
were meant to utilise
bondaweb. However
whilst attempting to
execute this it was barely
possible in this metallic
and gazaar fabric so
I think it will be too
difficult to achieve on the
lighter fabric.
After bondawebing this
was incredibly simple to
sew. I edge stitched all
the raw edges, then just
sewed up the few seams
it has and pressed it.
Collar Fold Top
Construction

Sample of edge stitching on raw edge
Final garment sleeve

Side seam

Collar fold

The challenge with this
garment was figuring out
the extra overlay layer
on the front hem and
how this would connect
with the outer leg seam
now that there wasn’t a
corresponding piece on
the back of the leg.
I realised that I could
actually use this to my
advantage by folding it
out from the outer leg
seam so that some of the
seam allowance on the
inside was actually more
concealed.
Once this was complete
I constructed the rest of
the trouser in the same
way to the rest of my
trousers with a floating
waistband but this time
with a contrast binding.
Hem Fold Trouser
Construction

Diagram of floating waistband construction
Diagram of sewing waistband corner

Trouser hem showing the green overlay and the
grey fabric folding to meet it

Waistband and crotch seam of trouser

Outfit 3
M0034
£315.88
m Total
Top - Backing Pink Metallic Cloth House
w=1.5m £16.20 1.00 £16.20
Top- Upper Grey Organza Fabric World
w=1.5 £16.00 1.00 £16.00
Top - Bonding Vilene A-One w=1.5m £2.95 1.00 £2.95
M0013 £0.75 1.00 £0.75
Top - Thread Grey top stitch
Guttermen
Skala U151
150(1)
£0.75 1.00 £0.75
Trouser - Main Light Grey Missan w=1.5 £13.33 1.50 £20.00
Trouser -
Backing Green Dalston Mill
w=1.5m £17.50 0.75 £13.13
Trouser - Binding Light Grey Kenton
Trimmings £0.23 4.00 £0.92
Trouser - Zip Pink Cloth House £4.62 0.23 £1.06
Trouser -
Waistband
selicia
Black Kenton
Trimmings £4.46 0.30 £1.34
Trouser -
Waistband
canvas
and Wallis £9.74 0.30 £3.25
Trouser Thread Grey Coats Moon
M0113 £0.75 1.00 £0.75
£77.10
m Total
Dress - Upper Green Habotai,
Urchin Biddle w=1.4m £20.35 2.15 £33.52
Dress - Backing Grey Habotai,
Fir Biddle w=1.4m £18.75 3.35 £53.77
Dress- Backing Green Crepe
Morocain Biddle w=1.4m £42.00 2.00 £75.60
Dress - Bonding Vilene A-One w=1.5m £2.95 2.50 £7.38
Dress - Zip Pink Cloth House £4.62 0.84 £3.88
Look3Look4

Outfit 3

Outfit 4
Side Fold Dress

Then I was able to get
the front shoulder piece
on and bind the under
layer of the back arm
hole. Then I got the
neck band on and hand
finished it.
This dress was the most
hassle out of any piece
in the collection. It took
me a week to make. The
problems started when
the bondaweb failed and
made the fabric gluey
and lumpy, so I had to
buy a replacement for
the back piece but the
original habotai green
had sold out so instead
I got a crepe morocain.
It wasn’t until I started
cutting it that I realised
that this new fabric
had a slight stretch to
it. This combined with
the decision to cut this
piece on the bias made
the whole garment
almost impossible. I had
to reinforce the edges
with interfacing strips to
prevent stretching, but
found that when sewing
these the strips become
almost redundant.
After the main curves
were bagged out I was
able to thread mark
the darts and folds and
baste it altogether. I
then had to repeatedly
check the balance on the
mannequin checking if
either the top or bottom
layer had shifted, which
they did regularly.
Then once I had sewn
the darts I had to sew
the side seam which
appeared to be shifting
forwards so I had to
tweak the join of the
overlay on the top.
Side Fold Dress
Construction

Sample of bad bondaweb
Thread marking everything
Strip of interfacing on edge
Basting everything

Checking balance

Inside

Outfit 4
Trouser Thread Grey M0113 £0.75 1.00 £0.75
£77.10
m Total
Dress - Upper Green Habotai,
Urchin Biddle w=1.4m £20.35 2.15 £33.52
Dress - Backing Grey Habotai,
Fir Biddle w=1.4m £18.75 3.35 £53.77
Dress- Backing Green Crepe
Morocain Biddle w=1.4m £42.00 2.00 £75.60
Dress - Zip Pink Cloth House £4.62 0.84 £3.88
Dress - Thread Grey Coats Moon
M0250 £0.75 1.00 £0.75
Dress - Thread Grey Top
Thread
Guttermen
Skala U151
150(1)
£0.75 1.00 £0.75
£175.65
m Total
Top - Upper
Grey
Georgette,
Shadow
Biddle w=1.4m £25.55 1.25 £31.94
Top - Backing
Green
Georgette,
Qual 428,
Col 155
Laurent w=1.15 £42.20 1.25 £52.75
Top - Hook and
Eye Pink Metallic already have £0.00 1.00 £0.00
M0250 £0.75 1.00 £0.75
Guttermen
Skala U151
150(1)
£0.75 1.00 £0.75
Trouser - Main Green / Silver
Lame Missan w=1.5 £52.63 1.90 £100.00
Trouser - Binding Green Cloth House £0.54 4.00 £2.70
Trouser -
Look4Look5

Outfit 4

Outfit 5
Twisty Top and Split Trouser

The construction of this
top is very simple for the
most part. I bagged out
and pressed both panels
and French seamed in
the new diagonal side
seams. Then I used the
toile to determine the
hand stitched tucks,
pleats and folds. Once
the majority of the top
was in place I hand
stitched along the inner
side of the shoulders to
stop the top layer from
shifting to the front or
the back.
Twisty Top
Construction

Comparing to the toile whilst hand sewing the drape
Hand stitching the shoulder

These trousers were
easily constructed
apart from the slit at
the bottom of the outer
leg. I attempted a few
ways of finishing this
and selected using the
binding as a facing
for the facing was the
flattest method.
Unfortunately I hadn’t
anticipated that this
facing would then cause
the hem to swing out like
a flare so I criss-cross
stitched down the slit to
stop it from flaring open
completely.
I then finished off the
waist band and crotch
seam in the usual way.
Split Trouser
Construction

Diagram and sample showing the bound edge of the
hem facing

Waistband and crotch seam

Hem slit and facing

Outfit 5
Thread 150(1)
£175.65
m Total
Top - Upper
Grey
Georgette,
Shadow
Biddle w=1.4m £25.55 1.25 £31.94
Top - Backing
Green
Georgette,
Qual 428,
Col 155
Laurent w=1.15 £42.20 1.25 £52.75
Top - Hook and
Eye Pink Metallic already have £0.00 1.00 £0.00
M0250 £0.75 1.00 £0.75
Guttermen
Skala U151
150(1)
£0.75 1.00 £0.75
Trouser - Main Green / Silver
Lame Missan w=1.5 £52.63 1.90 £100.00
Trouser - Binding Green Cloth House £0.54 4.00 £2.70
Trouser -
Waistband
selicia
White Kenton
Trimmings £4.46 0.30 £1.34
Trouser -
Waistband
canvas
White Kenton
Trimmings £0.46 1.00 £0.46
Trouser - Thread Green Coats Moon
M0034 £0.75 1.00 £0.75
£198.25
m Total
Dress - Upper Grey Chiffon Fabric World
w=1.5 £9.50 2.50 £23.75
Dress - Backing Pink Satin Borovick
w=1.4m £28.35 2.50 £70.87
Dress - Zip Grey Cloth House £4.20 0.56 £4.20
Look6Look5

Outfit 5

Outfit 6
Twisty Dress

Whilst the toile for this
piece was great the
actual garment is awful.
I had originally intended
to use bondaweb for
this piece however after
seeing the damage it
did to the material in
look 4 I abandoned that
idea. I decided to bag it
out instead but because
of the weights of the
fabric it has ended up
looking a mess. I am
extremely unhappy with
how this piece turned out
and think that I should
consider fabric choices
more carefully in the
future especially when
there is a lot of bias
curved edges.
Twisty Dress
Construction

Outfit 6
Trouser - Thread Green M0034 £0.75 1.00 £0.75
£198.25
m Total
Dress - Upper Grey Chiffon Fabric World
w=1.5 £9.50 2.50 £23.75
Dress - Backing Pink Satin Borovick
w=1.4m £28.35 2.50 £70.87
Dress - Zip Grey Cloth House £4.20 0.56 £4.20
Dress - Thread Grey Coats Moon
M0113 £0.75 1.00 £0.75
£106.94
Look6

Outfit 6

Year 3 - Graduate Collection Dossier

Year 3 - Graduate Collection Dossier

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