breed
Fashion Design Project, 15 ECTS
The Swedish School of Textiles
University of Borås
Stina Randestad
Class of 2010
Report number: 2010.3.8
Fashion Design Project, 15 ECTS
The Swedish School of Textiles
University of Borås
Stina Randestad
851029-6004
[email protected]
ABSTRACT
Breed has a concept and a main goal, to be unpredictable and visually impressive. The
idea that it was built on was to try to create a collection with the method of breeding and the
rules of genetics. At first, twelve individuals were created. They were all given characteristics
– “genes”, handed out in a random way, decided by the toss of a dice. The individuals bred
and were blended into a second generation, who thereafter procreated into a third. This
third generation of eight characters, four females and four males, carry genes and features
from their ancestors. They have been twisted, mutated and mixed, just like in nature. It is
voluminous line-up with clashes between references, colours and styles.
The challenge has been to let chance take decisions and to do something that was
unexpected and was going to give an unpredictable result.
Breed has not been done for a commercial destination but would be suitable for styling
artists, editorials for fashion magazines, costumes in music videos or artistic films. The
method is supposed to make people interested, the result is supposed to give the onlooker
a smaller chock, a tingling sensation and the impression of a new subculture, a modern day
tribe or a new breed. Or simply “What crazy person made this?”
KEYWORDS
Breeding
Genetics
Surprising
Unpredictable
Unexpected
Tribe
Culture
National costumes
Remix
Subcultures
Chance
Blending
LIST OF CONTENTS
PageTitle
3Abstract
Keywords
4
List of contents
5Introduction
Requirements
Have fun
Courage
Intelligence
Impress
Pieces
6
My motor
The giants
7
Visual goal/The giants
8Concept
Idea
How did I find this idea?
Why is this interesting?
9
My method - Breeding
10-18
Design development
10-13
Collages first generation
14-15
Sketches first generation
16-17
Second generation sketches
18
Third generation, result
19
The rules
Interfering
20Silhouette
21Colours
Details and techniques
Composition
Expression
22
Making the garments
23
The future of the collection
The future of the method
24
Potential wearers
25-33Result
34Reflection
Discussion
35
Thanks to
Appendix: “The gene groups”
INTRODUCTION
Requirements
When first starting to think about what I wanted my graduation collection to be, I came up with a list of requirements.
These requirements would be the cornerstones and mottos throughout the project, something to come back to and
remember when choosing my theme, make decisions or having doubt. They were, and still are, as follows:
Have fun
If I don’t enjoy what I’m doing and get a kick out of seeing my own creations there is something wrong. If I feel it’s fun
and entertaining, then I believe that I can communicate this to the onlooker. It is important that people see joy, humour
and lust in my garments.
Courage
I want to create a collection where I challenge and force myself to do somthing I have never done before. I will not feel
limits in my choice of fabric, colour, combinations or shapes. I want to do things I don’t dare to do. This is my last year
in school and when is the time to go crazy but now?
Intelligence
People should be able to understand and relate to my work. They don’t have to like the result but they should find my
idea of creating interesting. I want a theme that is concrete, intelligent and interdisciplinary. I should be able to defend
and explain my work, that there is a reason why it looks like it does.
Impress
I want to impress; myself, persons that impress me and ordinary people that come and see our fashion shows. I want
to be remembered.
Pieces
Breed should be able to be downscaled and upscaled, containing both show pieces and wearable garments.
5
MY MOTOR
At the presentation of the result of the course Artistic Development on the 19:th of March 2010,
architect Torsten Hild asked us all to think about what our “motor” was - what keeps us going?
My answer is jealousy and envy, but in a positive way. If you want to wrap it in cotton it would
be called admiration. When I see friends, colleges, designers or classmates do something that I
think is fantastic, it gives me a kick and makes me work even harder. They inspire and trigger me
to do something better than they just did. This time I want to impress and surprise myself of what
I can do, imitate my idols if you wish. As Clemens Thornquist, chairman of Fashion Design at the
Swedish School of Textiles often puts it; “place yourself on giants shoulders”.
The giants
While doing this collection my giants have been designers such as Bernhard Wilhelm and Walter
van Bierendonck, Antwerp Academy Fashion design students and my classmates. What all these
have in common is that they impress me and make me jealous. Walter van Bierendonck has the
courage that I want to have; Bernhard Wilhelm has the credibility and his own look. My classmates
have talents like unexpected material combinations, knowing how to combine colour and patterns
with success.
6
CONCEPT
Visually impress myself and onlookers with something unexpected.
IDEA
Make a collection built on a breeding method and chance,
blending different references into something new and unexpected.
How did I find this idea?
This idea first took shape when my uncle, Peter Lawrence scientist in molecular biology at the MRC laboratory in
Cambridge, suggested that my graduation collection should be about the English naturalist Charles Darwin since it
was 150 years ago his book On the Origin of Species was published and 200 years ago he was born. Building a
collection on his Darwin theories about evolution was a good idea, until Alexander McQueen presented his view of
Darwins work in his S/S collection 2010. I was still keen on the general theme even though it had to be modified
and this is where the idea of breeding and using genetics was born.
Why is this interesting?
My idea and method is interesting because it comes down to that I, as a designer, have given away somewhat
power to decide how this collection should look like. Deciding is my job and I’m giving it away! The method is a
playful game, and I think we all like to play. Also, it opens up to many alternatives and can be applyed in other
contexts too, like in architecture or interior design. The breeding method gives an unpredictable and surprising
result. People like to be surprised, and they get surprised when they experience something they didn’t expect.
Perhaps that could be what fashion is built on?
8
MY METHOD - BREEDING
1
3
I started by creating twelve different groups of genes in my “gene
bank”. I filled these groups with as many gene alternatives as I
thought were suitable, ranging from total five up to 14 in the same
group.
2
The third step was to visualize the twelve characters. A spread in the research
book was created for each and one of them, where I made a collage of the
traditional clothes from each country but also sometimes mix in sub cultural
references. I added material and textile technique samples, pictures of the
related designer and subculture. After this a clear sketch was made, an
example of how the individual looked like, blending all it’s genes into one.
The decision of who should be female and who should be male (splitting the
twelve into half ) was also decided by the toss of a dice.
4
5
After creating my gene bank I started handing out the genes to my first
generation of totally twelve individuals by tossing two dices. I chose
the number twelve in the course Artistic Development and stuck to the
number since it worked well in the first try out and the research had
already been done.
After these preparations were done, the breeding process began.
The dices decided who should mate with whom. The mother and
the father’s characteristics were merged into its offsprings of two;
sometimes one gene took over the other completely, in some cases
they were blended into a combination. The offspring were decided
to be two, one female and one male. These decisions were taken
by me. I sketched up these new twelve charcters.
The final step in the process was to breed the final generation. I wanted a line up of totally eight, four
male and four female. An even number that I would have time to realize inside the timeframe given
to us. I decided that one couple should have two female offsprings so there would be sisters in my
collection, the other couples had only one offspring and I decided the sex of these.
9
BREEDING
1
2
1
3
4
5
1
1
1
2
2
3
3
4
18
THE RULES
-
The breeding method works like it generally works in nature, males can only procreates with females.
-
The genetics of an outfit is passed on to its offspring.
-
The characteristics, genes, are either blended or one takes over the other.
-
I decide what genes are to be shown.
-
I should be able to justify most of my design decision based on the genes in an outfit.
-
Characteristics can skip a generation, or be hidden in an outfit.
-
The ready garments are bound to its origin. Even though I find a t-shirt with South African genes suitable on an outfit with no ancestors from South Africa I can not place it there.
-
I am always allowed to make exceptions to these rules if I find it to be of benefit to the outfit or to the collections as a whole.
-
I chose when I want to follow these rules. Exceptions can be made when restyling the collection for fun or lending garments to fashion magazine editorials or artists - situations when showing my method of breeding isn’t important and the garments become clothes.
INTERFERING
From the beginning I took the decision that interfering with the rules and
the method is allowed if I find it that it is of benefit for the garment, outfit or
the collection as a whole considering composition and my personal taste.
An example of “cheating” is that I changed countries I discovered that I
couldn’t find enough information about its traditional costume or if I didn’t
find it interesting enough, or if two countries were too similar. I wanted a
range so you could see a variation in my final result. I completely chose on
my own that South Africa and Japan should be two of my countries, since I
had South African fabrics I wanted to use and that I find Japanese traditions
in clothing fascinating. I also wanted to reach a diversity in where these
countries was located, for example one from each continent.
My collection is not about only following rules. Yes, the genetic game has
rules but only until a certain point where they are no longer as essential.
The method started me up and after that point I can rearrange, adding,
subtracting if I feel a need for it to make the outfits and the line-up balanced
and well composed. I am aware of that I have to be the one to make these
decisions. To be able to step away from my method and sometime rationalize
has been important, because it gives me freedom. Why should I tie my
creativity down by rules that I made up myself? That would strive against one
of my requirements “Have fun”. It’s my collection, I’m responsible for it and
in the end I am God in this game.
19
SILHOUETTE
Ulrik Martin Larsen, my tutor, gave me the advice to push the size of the
shape/silhouette until it get’s ridiculous. This lets me know where the line is
drawn and where in that spectrum I want to put it. Also, Clemens Thornquist,
told me that a volume can be perceived as larger than it really is if it’s
combined with something downscaled and fitted. To find strong volumnious
silhouettes in the national costumes or in the subcultures was difficult since
these clothes are often worn by people in every day life and needs to be
functional. The silhouettes that did exist “naturally” in the genes has therefore
been exaggerated, or invented by me along the way.
20
COLOURS
The colours are both in the genes and brought in by fabrics from traditional
clothing or subculture. The gene group of colour contained six options; blue,
red, green, yellow, white, black. These colours have been inherit unblended
or mixed into a new one, for example white + red = pink. I have decided
how the colours should be inherit due to my own personal taste, what is
suitable and to general composition.
COMPOSITION
When composing an outfit I have given them a clear silhouette, an eyecatching material, a clash in style, minimum one pattern and a strong colour.
Sometimes I have ignored the gentics by filling in gaps fo shape, material
or colour after my own mind to be able to reach the result I want, something
visually impressive. Each outfit has a main focus, but each garment should
work on its own.
DETAILS AND TECHNIQUES
Tailoring details hasn’t been in focus. Even though Details it was a gene
group it fell away due to lack of interest from my side. There are a lot of
things happening in one outfit and garment and adding details would in
my opinion only give a messy impression. Pockets or stitches aren’t that
important; it is the unexpected meetings between colours and style that has
been the main focus. Techniques that I have developed are transfer printing
on sequin covered fabric, and creating a denim fur by stitching on slized up
denim tapes onto fabric that was later washed.
EXPRESSION
I want my collection to express an urban and young feeling - a crazy,
colourful, joyful and somewhat mismatched blend of strong garments worn
by strong-minded individuals. Maybe they are a modern day tribe, a part
of a subculture from the future where everyone is a mix and you are eager
express your heritage through your clothes. If someone would compare me
to a well known designer I hope it would be Bernhard Willhelm. People with
no interest in fashion will probably call my collection “ugly”, “mismatched”
or “wierd”.
21
MAKING THE GARMENTS
All of my garments that take physically large space and is often the key
item in each outfit has been draped from the beginning. Too be able to
find the right proportions, quantity, scale etc. I find building and draping
directly on the dummie the most efficient way to see if the volume works or
not. Garments such as pants and t-shirts has been constructed. Clemens
Thornquist gave me the advice to do one garment at a time to get a patch
work collage feeling. I took this advice and it worked well. It also helped my
to keep my motivation.
22
THE FUTURE OF THE COLLECTION
The collection doesn’t always have to be presented together even though it is
preferable. When taking it apart the result would loosing the clash between
the outfits. Since the garments all have their own style they can be put in
different contexts. The black and white striped jacket could be in a fashion
magazine editorial with a strict classy feeling, while the tartan skirt could be
the clothes of a female punk band singer and the white fur the costume of
an Ice Queen in a fantasy movie.
Breed can be divided into groups of commercial and unique garments.
An example of a commercial garment that could be massproduced are the
sequin pants, while the unique garments like the denim fur can be downscaled
but sold in smaller amounts in chosen stores. The unique garments can be
left as they are and be used as costume for artists or in performances, in
exhibitions, fashion shows and editorials. At this moment I have no interest
in producing and selling my collection, it’s principally made for a catwalk.
THE FUTURE OF THE METHOD
There are many ways of developing the breeding method. There are a lot
if experimenting that can be done, but that didn’t fit into the time frames
of this project. Alternatives to the way I chose to do it have been under
consideration, but not realized since I found it problematic or not in tune
with the result I was looking for. Topics of these sidetracks have been “To
breed single garments and not a whole outfit”, “Make Body shape of the
wearer as a gene – fat, short, tall or slim?”, “Randomly hand out errors
and abnormalities, like too long sleeves, one shoe missing or something
completely destroyed”, “Art as a gene”, “Architecture as a gene”, “Historical
era as a gene”, “Everyday object as a gene”, “The garments/outfits mutate
by it’s environment, like small space, water, wind”.
23
POTENTIAL WEARERS
If Breed were to be sold in commercial sense it has to be divided in different levels. The potential
wearers of these different levels are divided into four groups, represented by people I know.
1. Mia – my casual sister
Mia is 26 years old and recently graduated from her psychology studies. She has a boyfriend
and likes to stay at home on evenings watching TV and snuggle up in the sofa with boyfriend,
dog and crisps. Sometimes she goes out with her girlfriends dressed in not too high heels and
a black top with something sparkly on. She buys clothes from big commercial chains like H&M,
Sisters, MQ and Topshop. She is modest in her everyday clothing and has a romantic, feminine
look with a base in jeans, cotton tops and cardigans. Her colour scheme varies from black,
white, grey, dark blue, beighe and soft pink. She is a wearer that could appreciate the sharp
shoulder leather jacket, the dotted top or the kimono.
2. Palmer – the semi fashionisto
Palmer is 24 years old, lives in Stockholm and is soon to be a cultural scientist. On his spare
time he plays the guitar makes music, paint, take photographs with a homosexual and political
agenda and have coffee with friends which he has a lot of. Palmer also works halftime in a
shoe store. He buys a lot of clothes second hand which he combines with H&M and Weekday
garments into a laid back but yet chic style. From Breed he would pick such garments as my
sandal sneakers, the draped t-shirt if it wasn’t coloured pink, the red printed t-shirt, kimono,
blue pants and afro bomber jacket. The rest of garments he would admire greatly but not dare
to wear.
3. Kazutoshi – the crazy Japanese
Kazu is 30 years old, originally from Japan but currently lives in Los Angeles due to his work
as the print designer at Jeremy Scott. He visits enormous flee markets every weekend and buys
everything crazy that he can find. Lampshades turns into hats and children’s clothes are just like
any other clothes; they just have a tight fit. Kazu loves clubbing and he is often mistaken as gay.
He never repeats an outfit, and he competes with his other Japanese friends of the coolest outfit.
Kazu is the only person I know that would dare to wear a complete outfits.
4. Lady Gaga – the I-can-wear-anything-artist
Lady Gaga wears everything and could therefore wear everything in my collection. Other
examples of artist that would like to wear Breed are M.I.A, Robyn, Karin Dreijer, Björk, Cocorosie
or Florence in Florence and the Machine. I have looked for a male representative, but with no
success.
24
THE RESULT
25
Photo: Klara Andreasson
Make-up: Regina Thörnwall
Models: Moa M & Annmari (Modellink), Nils Nathorst Windahl (Nisch management), David Njie
Sunglasses with blond synthetic hair attached along the upper edge of the frame, creating a
ponytail on the top of the head.
Classic shirt in pink and white striped cotton poplin.
Jacket with oversized sleeves in black and white striped cotton twill.
Loose fitted printed polyester pants from South Africa
Synthetic hair hat with painted sunglasses worn on top
Blue slipover with high collar in cotton and wool. The knitting technique is intarsia, and the argyle
motiv is complete with fringes in black and yellow.
26
Photo: Klara Andreasson
Make-up: Regina Thörnwall
Models: Moa M & Annmari (Modellink), Nils Nathorst Windahl (Nisch management), David Njie
Cap decorated with purple synthetic hair.
Printed oversized t-shirt in cotton jersey
Kimono jacket in printed viscose.
Pants in light blue velvet with flowerprint in gold and silver, assymetrical high waist.
Red painted wooden beads on strings attached to a jacquard headband
Cropped cotton jersey t-shirt with zigzag print
Voluminous draped skirt in washed black denim.
27
Photo: Klara Andreasson
Make-up: Regina Thörnwall
Models: Moa M & Annmari (Modellink), Nils Nathorst Windahl (Nisch management), David Njie
Voluminous flounce skirt made of pieces of red plaid wool. The skirt hangs in front and is attached to
a belt.
Yellow leather short sleeved shirt with plaid tie.
Blue cotton twill trousers.
Sunglasses with blond synthetic hair attached along the upper edge of the frame.
White fake fur jacket with voluminous shoulders.
Blue mesh tank with dotted pattern.
Uneven hem skorts in black shiny structured fabric.
28
Photo: Klara Andreasson
Make-up: Regina Thörnwall
Models: Moa M & Annmari (Modellink), Nils Nathorst Windahl (Nisch management), David Njie
White cotton t-shirt with frontal drapings with dipdyed edges in pink.
Jacket covered in torn pieces of denim, creating a fury structure.
Tight fitted trousers in black sequin fabric with white print.
Felt hat decorated with large bow.
Classic shirt in pink and white pinstripe.
Padded bomber jacket with exaggerated rounded silhouette.
29
DISCUSSION
If someone was to look at Breed from a political or social point of view
they would probably see that the collection is a big mash up between
nationalities and subcultures that would probably not have been mixed
in the first place. When will a mod from Bulgaria ever reproduce with a
cybergoth girl with native north American genes? Or a Vietnamese preppy
boy with a Amazonian rockabilly girl? If my garments were to be produced
and sold I would like the wearer to be aware the he or she is wearing a big
melting pot and what’s in it.
I believe that fashion has such a great success I our society because it
entertains us, suprises us and opens up imaginary worlds that makes us
forget the every day grey life. We get entertained when we become amazed.
We become amazed when we see something impressive, what’s impressive
could be what we haven’t seen before or what’s outside of the drawn up
line, something that is new, unexpected and surprising. I hope to amaze my
onlooker in the same way my result amazed me.
Darwin tried to figure out how nature worked. I have been working against
my own nature. Now it seems I have mutated my tatse and style, creating
in the Breed style feels now very natural. I can now speak the language of
unexpected meetings. The sad thing is I that I now know what to expect, and
that I have to go and look for something else, something new to me.
REFLECTION
What is most important? That Breed feels new and impressive to me or to
the crowd? The answer is me. I don’t think I can invent the wheel again, in
the end I’m doing clothes and I’m building them one the body as we have
done since forever. I would never come up with the result with my own
imagination, therefor it’s new to me and I have succeeded. Making these
type of garments and combining them isn’t natural to me.
I have noticed that I easily adjust to “my new design” and the “crazyness”.
The crossbar is always getting higher. What I considered clowney yesterday
feels pretty dull today. What I thought was ugly is now beautiful or perhaps
only boring.
This project has been of valuable experience. I have gotten to know my
ability to adjust taste and learn a new design language. After working with
the style Breed has I also learnt speaking it. I could easily create a ninth
outfit without ever using the method. What was unknown before is now
natural.
30
REFERENCES
Links
http://3.bp.blogspot.com/_dp5qvLW1QVA/SlPmva98JTI/AAAAAAAAD3E/BJE1k6U86hw/s1600/bernhard-willhelm-ss10-spring-summer-2010.
jpg
http://4.bp.blogspot.com/_noFY0qjKHDM/SRxSI38GcoI/AAAAAAAAAEs/P3-6qYsW_l4/s400/beirendonck_maw06_251.jpg
http://www.jossip.com/wp/docs/2008/06/walter-van-beirendonck.jpg
http://www.style.com/fashionshows/review/F2008RTW-CMMEGRNS
https://www.idontlikemondays.us/Merchant2/4.24/modules/system/prodscrnshots_m4c.mvc?store_code=IDLM&ssaction=popup&id=641&offset=
1
http://www.schemamag.ca/images/Galliano00010f.jpg
http://dianepernet.typepad.com/photos/uncategorized/daria1011801.jpg
http://styleskilling.com/wp-content/uploads/2006/08/koji%207.jpg
Books
Skin + bones : parallel practices in fashion and architecture / organized by Brooke Hodge ; essays by Brooke Hodge and Patricia Mears
Japanese prints from 1700-1900 : 106 reproductions / selected & introduced by Richard Illing
Dräktfolket : möte med tradition / text och foto: Anja Notini
Folkdräkter ur Nordiska museets samlingar / Anna-Maja Nylén
Surfers, soulies, skinheads and skaters : subcultural style from the forties to the nineties / Amy de la Haye and Cathie Dingwall ; photography by
Daniel McGrath
Worldwide history of dress / Patricia Rieff Anawalt
Folk costumes of the world / written by Robert Harrold ; illustrated by Phyllida Legg
THANKS TO
Elmo Leather
Korallen AB
Thomas Trading AB
Rudholm & Haak
GENEGROUPS
Ethnicity
Japan
Yemen
Micronesian Federation
Bulgaria
South Africa
Namibia
Vietnam
India
Brazil
North America
Spain
Sweden
Subculture
Cybergoth
Hardrock
Hiphop
Teddy boy
Punk
Mods
Gothic Lolita
Rockabilly
Preppy
Glamrock
Skinhead
Clubkid
Designer
Balenciaga
Hussein Chalayan
Junya Watanabe
Yohji Yamamoto
Victor & Rolf
Martin Margiela
Alexander McQueen
Givenchy
Vivianne Westwood
Dior
Walter
Gareth Pugh
Colour
Blue
Red
Yellow
White
Black
Green
Silhouette
Circle
Square
Rectangle
Triangle
Oval
Garment
Shirt
Coat
Jacket
Cardigan
Skirt
T-shirt
Jeans
Dress
Material
Cotton
Silk
Wool
Synthetic
Hair/Fur
Leather/Suede
Plastic
Metal
Wood
Technique
Application
Heat treatment
Quilt
Embroidery
Knit
Wash
Dye
Braid
Weave
Print
Cut
Crochet
Accessories
Hat
Bag
Gloves
Watch
Scarf
Eyewear
Jewellery
Pattern
Dotted
Striped
Chequered
Plain
Organic/Flower/Other