The Cutting Class

Experiments in the 2nd Dimension at Comme des Garcons

Tue, 22 May 2012 14:02:00 +0100

Comme des Garçons, AW12.

For her Autumn-Winter 2012 collection for Comme des Garçons, Rei Kawakubo presented a very flat collection that called into question the very nature of the way we view fashion. As a comment on the way that we generally view collections as endless catwalk thumbnail images the garments were made out of very thick felt, giving the appearance of paperdolls playing dress-up, and making the garments perfectly suited to only being viewed front on. The collection also appeared in fashions most clichéd prints - the floral, the polka dot, the camouflage, the leopard print.

The garments presented in this way provide a perfect example of seam allowance - a section of fabric that is usually unseen in garment images. Seam allowance is effectively like a border of free space on the fabric. If you imagine the finished edge of a garment when it is on the body, following the stitching line that joins the pieces of fabric together, then the seam allowance is the extra margin that runs parallel to this finished edge.

Basically because you can’t join fabric edge to edge as it will fray away, there must always be some sort of margin of spare fabric on either side of the stitching line so that the stitches have something to grip into.

In the case of the Comme des Garçons collection, the seam allowance has been left visible along the top shoulder edges of the first garments to allow us to see this element that would normally be hidden inside the garment.

The below explains the basic process of sewing a seam in a garment. As you can see in some of the garments above, the seam allowance on the shoulders is not turned to the inside so it is as though the machinist has only sewn the first 3 steps, but with the wrong sides of the fabric together:

The amount of seam allowance that is added to the pattern of a garment, and therefore the margin for when you sew the garment, will depend on the type of fabric you are sewing and how you intend on finishing the seam. For example, some garments may take just 6mm (essentially the width of a sewing machine foot), 1.2cm or 1.5cm or as wide as your require.

Understanding seam allowance is extremely important in pattern making and sewing, as sewing along the stitching line must be exact. If you leave the wrong seam allowance when you are pattern making then your machinist may not be able to sew the pieces together correctly. If you are sewing and take more or less seam allowance than you should then you will effectively be shrinking or growing the size of the entire garment.

If you are pattern making a garment and are unsure how much seam allowance to add to your finished outline then the best practice is to do a small test of the seam finish that you want for that seam, in the correct or similar weight fabric wherever possible. Then you will be able to ensure that you have left enough space.

Read more about seams and seam allowance in Fundamentals of Sewing: Seams» and Fundamentals of Patternmaking: Seam Allowance»

Images from Vogue.co.uk»

The Silhouette behind the Embellishment at Chanel

Thu, 17 May 2012 09:59:52 +0100

Chanel, AW12.

With so many looks, garments, different fabrics and embellishments involved in a Chanel show, it often takes a second look to fully digest the entire collection. As a fashion behemoth, a Chanel collection is normally made up of many mini collections and stories under the one umbrella concept, catering to many different versions of the “Chanel” customer.

With the oversized crystal background as a hint of the theme, there were many references in the embellishments to crystals whether in the use of actual crystals (clustered on buttons, bags, belts, neckpieces) or in the multi faceted cuts made to some garments.

With so much going on in the Chanel repertoire it is sometimes most interesting to go back to what would have occurred at the cutting table, right back at a pure pattern stage and imagine the garments cut purely out of calico. Thought the theme of a Chanel collection may change from season to season, there is usually an interesting blend of silhouettes between very traditional western tailoring (with a base of jackets, trousers, shirts and skirts) to perhaps more deconstructed shapes such as ideas we would usually expect to see at a Comme des Garcons or Junya Watanabe show. It is these unusual silhouettes, from a blend of reference points, that are played with at Chanel and that are the substance behind all of the glittering embellishment.

Images from Vogue.co.uk.»

Futuristic Workwear at Balenciaga

Thu, 10 May 2012 12:02:55 +0100

Balenciaga, AW12.

Nicholas Ghesquiere has a knack for making his job at Balenciaga look easier than it actually is. After all, it is one thing to moodboard up an innovative concept and sketch up exciting silhouettes every season, and something else all together to make sure that all the tiny details, combinations of fabric and ideas look resolved and polished by the time the garments hit the runway.

In the Autumn-Winter 2012 collection for Balenciaga, we were treated to a gentle blend of influences and references, from neoprene haute couture cocoons to sci-fi transfer black sweatshirts. Part of what helped to resolve all of the elements of the collection was the fact that the details were usually both decorative and highly functional. You get the feeling that no fabric or fastening decision is made in isolation, so all of the elements work to complement and support the overall concept.

There were intricate embroidery designs that were used to create 3D texture that also had a structural impact by stiffening the fabric and enabling the egg shaped sleeves. The subtle reinforced panels that were used in the sleeves of jackets and coats helped to add a sportswear reference without making the garment uncomfortable and unwearable, but still affecting the silhouette of the sleeves. Suspending hem bands from delicate georgette is also no easy feat, and yet with no distracting pulling or seam slippage, you can see that this has been somehow engineered to work.

Ultimately resolving all of these ideas so well allows the viewers to take the clever details and innovation for granted and focus on how they will pull these clothes out of the context of the high concept and make it wearable - without worrying about the clothes disintegrating.

Images from Vogue.co.uk»

Ornate Detailing at Balmain

Mon, 19 Mar 2012 10:00:05 +0000

Balmain, AW12, Paris.

To create an opulent collection in his second season at the head of Balmain, Olivier Rousteing drew on an array of techniques to create multi layered fabrics with an intense level of detailing. Leather was used as embossed and laser cut panels layered over velvet, or quilted with lines of stitching. Velvet was used as an under cloth, or heavily embossed for fitted trousers. Velvet was also used with a burnt out devoré effect, revealing sheer lines of fabric in the base cloth beneath the velvet pile.

There was also an incredible level of beading that was used in an impressive way to reinforce boxy silhouettes, or in elaborate panels to flatter the curves of the body. Rather than appearing as though the embellishments were a heavily applied decoration, they were cleverly engineered as part of the garments.

Also of note were the tapestry panels that proved a vibrant flash of colour in amongst the pearly pastel pinks and pistachios, and rich teal leather.

All in all the techniques chosen worked as complements of each other, creating 2D and 3D versions to reinforce similar linework details and to echo historical references. It was with interesting effect that Rousteing used one of the most simple and everyday pieces of the collection to ground the otherwise very regal techniques. The very opulent and detailed designs were nicely offset by the simple shape of a fully fashioned knit sweater.

Images from Vogue.co.uk»

Controlled Textures at Alexander Wang

Mon, 13 Feb 2012 10:00:05 +0000

Alexander Wang, AW12.

On first impression Alexanders Wang’s recent Autumn- Winter 2012 collection was all about textures - matt vs. shiny, coated vs. uncoated, bubbled vs. smooth. The subtext however was far more interesting and by reading further into the use of all these textures there was a sense that the collection was actually much more about control.

Whether it was in the fluid soft-handling chiffons trapped in the seams of leather bodices, or the bubbled wooly fabrics glossed under a slick coating, there was a layering effect that was all about using discipline - and the contrasts were in effect just a tool for showing the control. The glossy maroon textured fabric was more interesting when seamed directly next to it’s unglossed counterpart. The wet-look ridged fabrics were nicely offset by matt press studs. Even the way that the press studs in themselves were used to hold lapels back in place were a small token of control in themselves, and also served as a punctuation mark on the garments.

Images from Vogue.co.uk».

Pocket Detailing at Prada Menswear

Mon, 30 Jan 2012 10:00:05 +0000

Prada, Menswear, AW12.

It was against the background of the homogenous men’s suit, that Miuccia Prada worked touches of individualism in her recent show for Autumn-Winter 2012. The looks were comprised of carefully layered garments that were given personality by small arrangements of pocket detailing. These adornments included long brooch pins with sporting and hunting emblems, flowers, pens, pocket squares and pocket books.

They also allowed a clever play of colour through the vibrant red lensed glasses that were visible on some of the outfits as the hits of colour helped to offset the more muted and traditional tones of the suits and shirts that formed the looks.

There was a poetic sense of symbolism and tradition in the small emblems, and in the same way that an institutional or family crest will pull together simplified images to act as a representation of what the group of people stand for, these small tokens can be rearranged or switched on a daily basis depending on the mood of the wearer.

Catwalk images from Vogue.co.uk».

Wedding Cliches at Comme des Garcons

Thu, 12 Jan 2012 10:00:05 +0000

Comme des Garçons, SS12.

Rei Kawakubo and the team at Comme des Garçons were able to tread a careful line in the exploration of female wedding gowns for the Spring-Summer 2012 collection. They gave us all the right clues to know that this collection was all about bridal wear with silk satin in whites, off whites and creams layered with fine lacework, beading and even some faux floral embellishments in soft greys and lemons.

But as ever with Comme des Garçons, the rebellion is in the execution. Where you would normally find carefully hand bound edges and french seams on a wedding gown, there was instead roughly cut necklines leaving exposed slabs of wadding. When giant-sized, voluptuous silken bows were used, they were used in a strangely creepy way, binding the models hands together. When boning was used to give the gowns structure it was not hidden discreetly away beneath layers of fine silk, it was instead made into an exterior cage that seemed to be constructed out of plastic boning and wadding.

The wadding in itself played a very important part in the collection - rounding out silhouettes and leaving all of the gowns looking thick and puffy. Not so much puffy in an unflattering way but more in a way that gave a subconscious reminder about very comfortable quilts.

The elements that gave each of the outfits their individual character were the headpieces that at times seemed to be mottled as though they were covered in spray on concrete. Or sometimes the headwear appeared as rubberised alternatives with strangely sagging theme-park faces. The black of these headpieces was also brought out in the glossy black and white paint that formed angular lines across the front of a couple of garments These angular marks, especially used so sparingly, contributed to the dark undertones that seemed to be simmering through the whole collection.

Images from Vogue.co.uk».

Painterly Details at Rodarte

Tue, 03 Jan 2012 10:04:05 +0000

Rodarte, SS12.

The Spring-Summer 2012 collection from Rodarte centered around the colours and textures that Vincent van Gogh used to great effect in his oil paintings. The tones were at times as vibrant as van Gogh’s depiction of sunflowers, while in other garments the tones were muted and murky as in Starry Night Over the Rhone (1888).

Much of the surface texture of the collection focused on different ways to translate the artist’s brushstrokes into textile manipulations and embellishments. The circular movement of daubs of paint were translated into swirling embroideries or lines of sequins in jewel tones. The thick, glossy texture of oil paint bubbled into lines of thick organic pleating in pastel greens and mauves.

The most literal applications of the paintings, which came in the form of digitally printed silks, gave a nod to modern technology as the thick painterly marks were mixed and blurred with different sized sections of pixelation. The varying pixel sizes also echoed the metallics that were mixed in with the collection which acted as a reference to van Gogh’s use of shimmering light in his paintings.

Images from Vogue.co.uk».

Raglan Details at Proenza Schouler

Tue, 22 Nov 2011 10:00:00 +0000

Proenza Schouler, SS12.

Sleeve shapes and panelling are a subtle yet directional way that designers are controlling the feel of their collections. The raglan sleeve in particular has enjoyed a renaissance over the past few seasons as both a reference to the couture and the athletic. Raglan variations have been visible on broad kimono style sleeves as well as on raglan sleeve styles that cut in close over the curve of the shoulder, often using a seam up the outside of the arm to take in the shaping over the sleeve head, where a traditional set-in sleeve would look more square.

For the Proenza Schouler Spring-Summer 2012 collection, the raglan sleeve panel was made more jagged and angular, and this was then carried through into the panels in the torsos of the tailored garments. This angular use of panels was then also reflected in geometric prints, and picked up in angled seams, folds and pocket angles on other garments.

More examples of raglan sleeves can be seen here: Raglan Sleeves at Richard Nicholl».

Below is an overly simplified version of a set-in sleeve pattern being turned into a raglan pattern. This is purely to show how the sections of the front and back patterns become joined onto the top of the sleeve head. The dart section that appears at the top of the raglan is to shape the sleeve over the shoulder - but this line can also be split all the way down to the sleeve hem to split the sleeve into two pieces. This will allow for closer fitting across the curve of the shoulder.

Visualising patterns in a basic way like this can often help you to understand the fundamentals of a pattern change, before following more detailed instructions in a pattern reference book. If you can understand and picture what the end pattern pieces will roughly look like, it will help you to make all the steps in between.

Catwalk Images from Vogue.co.uk». Technical images by The Cutting Class.

Disciplined Monochrome at Gareth Pugh

Wed, 09 Nov 2011 10:01:05 +0000

Gareth Pugh, SS12.

The Spring-Summer 2012 collection by Gareth Pugh built in an interesting way, especially through the disciplined black and white pieces. While there are basic forms and silhouettes that are being continually remoulded by Pugh season after season, the treatment of the shapes is always very different on a structural level. So much of what creates the interest as the collection unfolds is in the comparisons - Pugh will give you both extremes of the one idea, so you can compare the effect of the rich black and the stark white, or watch as the most rigid structure is turned into flowing self stripe chiffon.

In this particular collection the pieces came out as opposites of each other at times, identical pieces presented in both black and white, with the two opposite tones merging towards the end of the collection into stripes and grid patterns. The use of black and white striped fabric seemed newer in this context - more representative of the positive and negative spaces in the cage structures, rather than just a simple stripe. By comparing the black and white versions side by side it is interesting to see what your eye is drawn to first in each version, how it effects the shape of the body and what becomes more or less flattering in each of these extremes.

The cages themselves appear as though they could have been made of carefully constructed channels of fabric made rigid with boning - though a closer look would definitely be needed to examine this as boning typically has all sorts of issues with curling and bending, not generally characteristics conducive to hard line stripes and grids.

Images from Vogue.co.uk».

Incredible Feathered Headpieces at Junya Watanabe

Wed, 02 Nov 2011 10:00:06 +0000

Junya Watanabe, SS12.

The Japanese designers seem to have a way of conjuring up new fantasy headwear each season and pairing it with delicate models and deadpan facial expressions. This season was no exception with Junya Watanabe displaying feather hair sculptures with flashes of unusual tones and hues to offset the floral repeats that embellished the garments. The use of the colours within the feathers echoed the off-kilter colour palettes that have been the norm for the last few seasons. These colours added a contemporary edge to simply draped floral dresses and trademark double breasted tailoring by throwing unexpected highlight colours into the mix.

Grown-up Subcultures at Danielle Scutt

Mon, 31 Oct 2011 10:00:06 +0000

Danielle Scutt, SS12.

There was an interesting mix of high end / lo-fi street references in the recent Danielle Scutt collection for Spring-Summer 2012. On the one hand there was a certain youthful quality to the vibrant polka dots and disjointed checks and on the other hand this was balanced out by the more conservative monochrome tailoring. It felt very wearable and very street, from the hipster denim to the t-shirts and bleached out jerseys, but at no point did it feel scungy like an unwashed teenager. At the points where the subculture references could have crossed into a naive, coming of age territory, the crisp shirting and considered drape of the folds and tucks helped to reign the collection in.

In a quote on Vogue.co.uk, Scutt described the collection as being very personal and perhaps this was best reflected in the varying levels of complexity that were seen in the pieces. We can only assume that while a younger teenage Scutt may have been satisfied with a slogan tee, the older Scutt would get a kick out of the more complex pattern cutting. Which is probably why the low/high references tied together - the basic idea of rebellion was the same whether executed in oversized metallic cocoons, mid grey suiting or rope dress overlays.

Images from Vogue.co.uk».

Effortless Lace and Embroidery at Valentino

Wed, 19 Oct 2011 11:45:05 +0100

Valentino, SS12.

There are some designers who can take an idea or a technique that has been used time and time again, and can bring their own freshness to them to use the techniques in new and beautiful ways. Grazia Chiuri and Pier Paolo Piccioli, as the creative directors at Valentino, are finding ever more intricate ways to work with lace, and lace-like effects to build ethereal collections.

The garments manage to balance prettiness with substance, largely due to the obvious care, thought and attention to detail that goes into crafting these garments. Additional edge is given to the collections through the intelligent colour combinations that contrast the most subtle of neutral pinks, lemons and mints with pops of cornflower blue, vibrant red or even layers of stark black.

Half of the beauty in these collections is hidden in the details - the careful finish given to a near invisible fastening, or the way that the leather is molded and tucked to form a perfect and yet understated sleeve head shape. Sometimes embellishment can be used as evidence of labour and effort but in the Valentino collection it is all about subtle and deft handiwork.

Images from Vogue.co.uk».

Smocking Techniques at Miu Miu

Tue, 11 Oct 2011 10:01:06 +0100

Miu Miu, SS12.

In the past few seasons there have been some great examples of designers taking fairly old-fashioned and dated techniques and using them in the context of more contemporary collections. In the recent Spring-Summer 2012 collection for Miu Miu Miuccia Prada has reworked the smocking technique on cotton and satin dresses and capes and even extended the technique into the embellishment on hand bags.

The basic aesthetic of smocking may look familiar for its application on babies garments or on the traditional workers smocks that were the original application of the technique. Smocking would have been most important at a time before elastic, to allow fabric to be gathered and fitted around necklines and cuffs.

The process for smocking is based on a grid formation that is usually marked first on the fabric with small dots. These are then joined together with a loose running stitch and pulled to create tubes of regular gathers in the fabric. From there the true design takes place as the shape of the smocking design is sewn using small back stitches to create horizontal lines, or diamond shapes. Once the original running stitches are removed fabric in the gaps between the stitching will open out, whilst the stitched fabric will retain the shape of the design.

The accessories below show the use of smocking in velvets and satins, and in general smocking will work best in sturdy fabrics that will pleat easily into regular gathers. It is best to try small swatches of fabric first o see if your chosen fabric is suitable for smocking as some fabrics may be too slippery to easily hold the technique.

The image below shows a diagram from ChestofBooks.com» that shows the different stitches for smocking more clearly:

Below is a list of the basic stitches used to create smocking designs to match the letters on the photograph below. You can find this list and more information on the Wikipedia» page for smocking:

A. Cable stitch: a tight stitch of double rows that joins alternating columns of gathers.

B. Stem stitch: a tight stitch with minimum flexibility that joins two columns of gathers at a time in single overlapping rows with a downward slope.

C. Outline stitch: similar to the stem stitch but with an upward slope.

D. Cable flowerette: a set of gathers worked in three rows of stitches across four columns of gathers. Often organized in diagonally arranged sets of flowerettes for loose smocking.

E. Wave stitch: a medium density pattern that alternately employs tight horizontal stitches and loose diagonal stitches.

F. Honeycomb stitch: a medium density variant on the cable stitch that double stitches each set of gathers and provides more spacing between them, with an intervening diagonal stitch concealed on the reverse side of the fabric.

G. Surface honeycomb stitch: a tight variant on the honeycomb stitch and the wave stitch with the diagonal stitch visible, but spanning only one gather instead of a gather and a space.

H. Trellis stitch: a medium density pattern that uses stem stitches and outine stitches to form diamond-shaped patterns.

I. Vandyke stitch: a tight variant on the surface honeycomb stitch that wraps diagonal stitches in the opposite direction.

J. Bullion stitch: a complex knotted stitch that joins several gathers in a single stitch. Organized similarly to cable flowerettes.

Smocker’s knot: (not depicted) a simple knotted stitch used to finish work with a thread or for decorative purposes.

Images from Vogue.co.uk».

Retro Modernism at Jil Sander

Mon, 03 Oct 2011 10:31:00 +0100

Jil Sander, SS12.

There is a discipline that has crept into the most influential womenswear collections over the last couple of seasons that breathes of minimal, understated elegance and is built on a foundation of retro silhouettes.

Raf Simons, in his collections at Jil Sander, has been instrumental in experimenting with what will work for intellectual women today, in mining the old dress codes and finding out what can still be relevant and cool when given just the right sense of proportion, texture and colour.

In terms of construction, dress making staples such as darts have been used to great effect to help narrow the line of waists or create subtle shaping in rigid cottons. In general for this Spring-Summer 2012 collection, the sheerness of white fabric has been embraced and used as a subtle tool for detailing. This can bee seen through the classic collar shapes that are echoed in specially cut facings or in the double layers of white used to add a different dynamic to shirtdresses by blocking out more opaque areas.

The idea of transparency continued later on in the collection through the use of coloured checks on organza, that were used both with and without a white backing fabric often in modest, midi-length skirts and dresses.

The mood of modesty is a key marker that has carried through the recent collections of Jil Sander, Prada and Celine especially in terms of the staying power of the midi-length silhouette. It is the context that these designers have created for these collections that keeps them sensual and relevant - the colour combinations and textures used for these silhouettes are always slightly unexpected and off kilter and the accessories always fuse in unexpected references such as car interiors or woven cane furniture.

It really feels as though there is a definite effort to give a different slant to classic shapes that would otherwise be considered very elegant but perhaps overly conservative. It often seems as though designers such as Miuccia Prada, Raf Simons and Phoebe Philo are setting themselves challenges to work out what will give even the most austere collection or unlikely reference a new subversive, intellectual or playful element to create something new and unexpected. The challenge, it seems, is resulting in some of their strongest and most desirable work.

Images from Vogue.co.uk». Cane images from DecoratorSupplyInc».

Laser Cut Silver Leather at Giles

Thu, 29 Sep 2011 10:31:00 +0100

Giles, SS12.

Lasercutting fabrics and leather is a clever technique that can be used to create lace-like effects out of more solid base cloths. The effect of laser cutting fabric completely changes the drape of the fabric, in the same way that a fabric with a wider looser weave is more fluid, so too is lasercut fabric effected in a similar way.

In the images above and below from the Giles show, the cutouts are used to great effect in combination with the highly metallic surface of what appears to be a silver coated leather. There also appears to be small studs, or beads that puncture the designs which helps to break up the flatness of the surface and make the fabric look more like a piece of metal with small rivets.

The jagged cut out designs are also echoed in woven fabrics, while the mirrored effect is also used in simpler garments with accents of red provided through small amounts of contrast binds from the digital print of a swan.

When working with lasercutting, you should always do tests on small pieces of your chosen base cloth before going ahead with the full design, as different fabrics will leave different amounts of burned outlines around the edges of the cut holes. Some fabrics will be effected more than others, and like with any experimental technique it is worth ensuring that you get the effect that you want before you invest a large amount of time and money into the wrong material. Some fabrics will end up with better sealed edges than others as well, while others may end up becoming more tattered and frayed - which can be useful depending on the effect that you want.

Images from Vogue.co.uk».

Clever Kitsch at Prada

Mon, 26 Sep 2011 10:01:06 +0100

Prada, SS12.

Miuccia Prada has a knack for combining disparate elements to create collections that are filled with a playful variety of textures, techniques and colours. While the overall mood of a Prada collection can come across as naive and whimsical, the approach to the design of the collection is obviously anything but flippant.

With references to 1950s car culture, the collection could have easily strayed into a novelty kitsch territory, but sheer attention to detail is what makes the Prada collections so desirable. The flames that are thrown up the borders of skirts, or embedded into pleated dresses, for example, are in sophisticated colour combinations, offset with unexpected highlight colours through piping and embroidery. And the accessories including tiny chrome tail lights on the heels of shoes, or tonal appliques on handbags were always perfectly executed, down to the “Prada” number plates.

There was an interesting transition of some of the details from the Menswear collection as well with piping and retro prints making a reappearance. There was also the reuse of brightly coloured gemstones, this time appearing to take the place of studs on bomber jacket styles.

It’s also interesting to note how the hint of tummy has been done in the most modest way possible, keeping the skirts long and high waisted, with only a strip of toned skin beginning to be exposed. As designers tend to focus attention on different areas of the body in a fairly cyclical way, this is obviously a more chic way of unveiling a bit more flesh rather than going for the full length stomach exposure.

Images from Vogue.co.uk».

Lanvin for Kids

Mon, 05 Sep 2011 10:04:05 +0100

Lanvin, Kidswear, Pre SS12.

Hidden at the back of the images of the Lanvin Pre-Collection for Spring-Summer 2012, are a bunch of gorgeous kids playing dress-up in Lanvin finery. The fun thing about these images is how natural the kids look, a little wild eyed and scruffy as though they’ve been rummaging in a dress-up box, and not coiffed to within an inch of their lives. It’s ironic that these young stars can capture the cheekiness and movement of the Lanvin clothes just as well as the adult professionals. Perhaps there’ll be room for a reunion photoshoot in 10 years time.

Contrasting Silhouettes at Pam Hogg

Fri, 02 Sep 2011 10:00:05 +0100

Pam Hogg, AW11.

The Autumn-Winter 2011 collection by Pam Hogg had a darkly whimsical quality to it, combining disparate elements to create catwalk characters. On the one hand there were dresses, coats and panelled bodysuits out of black leather with buckles and belts fastening the garments closed across the body. Then the bodysuits appeared again but this time in multicoloured woodgrain prints that were shown in many variations, almost as though it was an experiment in how the woodgrain texture and panel shapes could be used to create movement and effect proprotions across the curves of the body.

From these two stories the garments seemed to combine to create barely there jumpsuits made out of leather strapping, whilst Hogg also took the silhouette to the other extreme, with dresses that ballooned out in the skirt shapes that appeared to be supported by a type of hoop skirt.

The result was an interesting mix of colours and proportions that played off each other with surreal styling elements such as raven shoulder pieces and oversize head pieces.

Images from Vogue.co.uk».

Missoni Knitwear Techniques

Thu, 01 Sep 2011 10:00:05 +0100

Missoni, AW11.

There are some catwalk shows that are almost blinding in the designers use of colours, textures, patterns and layers of garments. Missoni is definitely one such show which can become almost overwhelming in the sheer magnitude of pieces and individual ideas that are on display.

The best way to truly understand the forethought and consideration that went into the Autumn-Winter 2011 collection by Missoni is by zooming right in and singling out individual weave variations, colour combinations and incredible details. Such as the oversized knits that are plaited out of giant gradients of knitted colour, or the individual feathers which have been carefully stitched to follow the knitwear patterns, turning the 2D designs into 3D texture.

The colour combinations at play in the Missoni collections are always incredibly complex and varied, almost like the effect of Pointillism in a painting. In the same way that the individual knitwear yarns can often be made up of many blends of colours to create one dynamic hue, so to are the collections made up of many tones which all build towards one colour theme. In this case, this colour theme was also beautifully offset by a dark red lip colour.

Images from Vogue.co.uk».