Jade McCann’s graduate collection Lamella’s en fleur was influenced by the Ballet Russes company. Jade McCann explored two productions for the silhouette when designing. L’apres-midi d’un Faune (the afternoon of a faun) and Le Chant du rossingnol (The song of a nightingale) Jade investigated the complexities of the bone structure and micro-organisms which inspired her circular weaving technique. Jade wanted her colours to have a contrast between soft balletic tones, but also include the rich colours of nature.
Using Diaghilev’s refined his costumes based on the traditional Chinese ming court dress. Jade McCann was inspired by the oriental tailored silk costumes. The research above shows the flared sleeves and loose fitting of these costumes that Jade explored. She believes these costumes collectively have bold striking, patterns yet also possess an element of simplicity that keeps the narrative of the storytelling.
These final illustrations where drawn from the photos in the pagoda, Golders Green, London for the final photoshoot. The location was chosen as it relates to the picturesque sets that were used in the ballet russes creating a magical feeling connecting with nature. The tones from the stone complimented the rich nature and balletic tones of the pieces.
These are Jade McCann’s final six looks. Due to the Corona virus pandemic, fashion students where only asked to create two of the six looks. Jade has created looks three and five from her collection. She would have loved to have seen all her pieces come to life. The rest of the collection shows the development of texture and builds on the full colour palate. However, despite the restrictions of very limited equipment, particularly a laser cutter, Jade created look three using one thousand three hundred hand -cut circles for the ruffled technique on the front and the back of the dress . To get the slippery fabric to lay still she used sandpaper circular templates.