Jaehyeong's graduate collection 'Wearable Toy' contains research and development to create original concept wear which is assembly garment. It is inspired by robot toys. The toy does not have to be only practical, so he chooses a toy as the main theme. He wants to design a garment that has various potential, not only to concentrate on function.
In a time where gender neutrality takes precedence, how has the conventional notions of menswear changed? James Reeves poses this question and through his designs, tackles some of these complexities.
Historically speaking, men’s dress was simply put, very straightforward – military uniforms, suit variations and white-collar attire. These styles were often crafted in traditional prints such as herringbone and houndstooth. These stiff dress regulations formed the foundation of James' garments.
Jasmine Farmer’s collection explores the sensory elements of knitwear through creating intricate knit structures that reflect that of Braille. Jasmine’s collection is very textile driven and she brings life to the garments through powerful colours that stimulate the senses. Her collection focuses on organic fabrics that create interaction when worn through movement and tactility.
The word ‘Grotesque’ refers to the combination of highly contrasting objects or concepts together. In the case of these illustrations, it is composed of the deconstructed human body, organs and natural creatures and artificial objects. By deconstructing the complete garments, inner structures are revealed and they are connected with free-style draping to create new designs and suggest unconventional ways of wearing
Jeonghyeon was able to create a new combination of design with a feminine mood through the use of exquisite material and tailoring. Successfully incorporating delicate details and intriguing elements to the design.
Jennifer Moica designs are experimental, alternative and original. They come together to present a strong, contemporary look. Moica loves to be creative, everything is handmade, developed and manufactured by her. Each creation is all about uniqueness, from the designs, to the patterns, to the final production.
Moica’s inspiration comes from everything that surrounds her, from beauty, fashion, culture, art and music. Even the strangest and most preposterous thing can be an inspirational trigger for her.
Jessica’s collection explores the representation and impersonation of witchcraft throughout the ages. She began by looking at 16th-century woodcuts and etchings that depict witches with disfigured hunched backs and forward shoulders, and from this, she developed some of her key silhouettes. The haggard physique of the witches mixed with their essence of mystical spirituality engaged Jessica both visually and conceptually which lead to her utilising exaggerated silhouettes.
As she researched further she became fascinated with both the Knights Templar and Joan of Arc due to them both being falsely accused of witchcraft to ensure their execution. At this point, she became captivated by armour and its function, specifically the pivoting Poleyn and detachable elements.
As a starting point for her collection, Jessica Rose Braithwaite is using primary research such as, 35mm film photos as inspiration for knitted fabric qualities, silhouettes and embellishment. Using these snapshots of environments which she finds calming, Jessica is creating highly tactile pieces that give the wearer a sensory experience.
The feeling of the collection as a whole is fluid and expressive, showing the undulations of rockforms and clusters of mussels. Through the use of innovative technology, Jessica is creating both fully fashioned, zero waste garments and distorted blister jacquard fabrics.
I interviewed Tim Buckle, a retired Team GB cyclist and junior coach who told me about the world of elite cycling and what inspired him to take up the sport. He described watching Stephen Roche in the 1987 Tour De France dramatic finish as he reached La Plagne: “I flicked channel 4 on and it happened to be this epic stage race, Stephen Roche flaked out and needed oxygen.
The drama of it, how cool this guy looked, the colour, everything about it was fantastic. That’s what I wanted to do for a living.” The nostalgia and excitement of the competitive cycling world was another big inspiration to me as the project developed.
Ji Min Lee is a menswear designer from South Korea. She is interested in eroticism, sexuality and the naked human form. Hand drawing is where her work begins and how she expresses what she sees and how she feels, revealing her imagination.
The research process began with combining menswear with womenswear, starting with the mood board seen above. The inspiration started with looking at beautifully elegant 18th century menswear from the famous Fashion Museum, which as a Bath Spa student, Jill was lucky to have just outside her door step.
To contrast with the masculine theme, Jill also looked at women’s vintage lingerie from the 19th century, with focus on the camp corset with its winding cords. Much like fabrics used within these time periods, this collection consists of luxurious dusty pastel fabrics with rich lace and shimmering metallic textures.
Jimin’s thesis collection Modern Girl reflects the collision of American and Korean cultures and the place of women within it. Passionate about hip-hop and street culture, Jimin rejects misogyny and female stereotypes instead embraces the Modern Girl as being multi-cultural, highly educated and independent in her actions and how she looks – confident and proud. Utilising traditional Korean knotting methods in her collection transforms a technique that is traditionally woman-made into a garment of empowerment.
During the process of combining Korean traditional ornament with modern streetwear, Photographing garments in development and using photoshop to manipulate them further into original and dynamic prints.
Jin Lee’s collection is themed around a combination of coexistence and conflict condition within feminism. Inspired by Colette, a New York feminist artist in the 70s, Jin’s designs would follow a similar aesthetic, in which both were affected by a maximalist environment and contrasts between soft materials and outdoor chaos.
Being a woman in the 21st century is very different from what it was like thirty years ago. Nowadays, women are told to be independent, strong creatures and not just soft and nurturing. Jin’s graduate collection combines the two emotions, both delicate and vigorous.
Japanese architecture has given him some inspiration. For the aspect of space partition and landscape creation, his design concept began to focus on user experience and sensory stimulation. Through the continuous exploration of the deep culture of the Japanese nation, from the dialogue between architecture and environment.
The grasp of spatial imagery and understanding of material properties look for the meeting point of tradition and modernity.
Jisu’s graduate collection was strongly inspired by the city she grew up in South Korea due to its many contrasting contradictions. Her hometown was both nature friendly and scientifically developed. Jisu picked up on these two juxtapositions and learnt how they coexist in one city. Combining both science and art from her hometown, Jisu used this to develop a flexible way of thinking when it came to her work.
Her influences continued to grow through how she began to express her thoughts and emotions through her surroundings and experiences in daily life. She turned her negative experience with depression into something positive by using it to inspire her graduate collection.
Jiyeon Lee’s graduate collection inspiration came from washing machines. One button is pressed and everything is spinning and all twisted together. She felt that her identity was also tangled up within that. Following the wash, the clothes are hung out to dry, which is where her thoughts also straighten out.
This influence came about when Lee was in Tokyo, she saw an old woman carrying a laundry basket whose floral print outfit she fell in love with. She watched as the woman stopped to put her garments onto her drying rack.
Joanna Prazmo's collection was inspired by 'rhizome' philosophy developed by french philosopher Gilles Deluze and french psychoanalyst Felix Guattari. It suggests that many things in the world are consistent and 'rhizomatically' interconnected.This analysis draws examples from molecular biology, botany, evolution, history, linguistics, psychoanalysis, politics, music and even more. In Deluze and Guattari analysis all things in the world are rhizomes. Following this concept Joanna expanded her research into fields such as art, nature, microbiology and genetics which evolved into looking closer into living organisms which gave rise to wide range of inspirations for developing collection.
Joohye Emma Park’s manifesto talks about emancipation of women’s bodies that is especially based on feminism. However, it led her to question herself, ‘Am I truly a feminist or just someone who is following the trend?’
Today, feminism is regarded as an important issue at every corner of society. ‘The third wave of feminism is now, and it is intersectional.’ (Land, 2013) It contributed on her thinking about the authenticity, generating a question: why have I become a feminist. She thought back of her old school days to question whether she was an angry rebellious teenager.
Over 40’s people are good at making their own style through basic items. Normally, their style is simple and neat with unique accessories or items, even their white hair can be used to represent by themselves naturally. They aren’t intend to be fashionable with fancy or gorgeous items because they already knew a specific point in minimalist fashion. I might feel ‘Mature Beauty’ through those fashion styles.
Josefine Almasanu’s work often starts with a mood. Her work often tends tells a story of escapism, with a mood inspired from fantasy and nature. She is also heavily influenced by costume design and historic dress such as the Victorian and Romanic eras. Furthermore, Almasanu tries to explore current issues in her work to give it modern relevance. As an artist she wants her designs to reflect some of the ideals and debates from our time, while also keeping a sense of the past.
Juliane used organic lines that part and come together, to represent celebrating the beauty of migration. This then led her towards a unique design approach which applies to both her fabric manipulations and creative cutting.
Despite the very topical and current nature of the concept, Juliane applied strict design rules to allow her to create timeless signature shapes and fabrics. The coherence between her fabric innovations and creative cuts creates a seamlessly recognisable signature style.
Shibori has been processed widely for tie-dye effects. However, JU-NNA processed Shibori on printed fabrics on original Shibori patterns, focusing on its 3D structure. This innovative approach gives it a completely different appearance and twists to the original. JU-NNA works with Japanese Shibori companies and the artisans bind fabric one by one by hand. JU-NNA believes that this time-consuming handiwork creates an original beauty and this practice contributes to the preservation of this traditional technique.
Jung Hsuan Lin is a jewellery designer from Taiwan who loves travelling and exploring different cultures. Whenever she goes, she took inspiration from the curves of the architectures for her design. Lin also has a painting background since her childhood, and now she uses enamel as a media to explore colour in her fine jewellery collection. Lin did two year research for enamel jewellery in Central Saint Martins. Enamel is a material which has a rich historical background in Russia, France, China and Japan.