Whilst ploughing through the technical report I became somewhat sidetracked and began playing with the shape of the collar and lapel.
By the time I snapped out of my procrastinating tangent I had created three patterns. I don’t mind them and could perhaps integrate them into my collection...possibly the only time my procrastination has lead to anything productive.
This experiment resulted in an interesting surface texture, which produced two vastly different aesthetics depending upon whether the peaks were arranged in a concave or convex manner.
I like the thought of using this technique to create a textured piece of cloth which can then be integrated into the traditionally structured nature of the tailored jacket.
Whilst constructing the jetted pocket earlier this week, it suddenly dawned upon me (I know this sounds daft) that the jet is merely a technique for creating a finished edge to a splice within a piece of fabric. A refined cavity. This led me to consider how a jet could be used if it were taken away from the context of a pocket and how would it be perceived if it were to be constructed in abnormal proportions. Would it still be considered a jet? Is the name referring to a technique or a recognizable finished product. I decided to create a very large jet within a substantial piece of calico to see how this could relate to the body.
The crisp finished edge of the jet provides visual contrast to the draping volumes of the calico, it draws the eye to consider the negative and positive shapes formed. Within this negative shape the organic form of the figure is emphasized.
I decided to place two smaller jets into the same piece of calico, allowing one to act as a neck hole and the other as an armhole. I think its quite nice to see the effect of gravity upon the fabric, the splice displaces the volume to drape from the peak of the cut. The lower edge of this jet naturally hangs into a cowl.
Allowing the fabric drape from the body, these jets have formed really beautiful, organic cavities which transform shape with movement.
A sharp, slightly extended shoulder provides the initial platform for Riccardo Tisci’s elongated silhouette, the sleeve falls smoothly from this shoulder, finishing at the hemline. The narrowed collar and high lapel also assist in achieving the desired rectangular shape. After constructing our calico toiles yesterday I am rapidly gaining a huge amount of respect for the highly refined technique of tailoring. Our lecture on fusing has also drawn my attention to the exceptionally crisp, smooth form within the body of the garment. The opening of the jacket rigidly sits precisely in place and lapel rolls beautifully in a heightened manner at the break point. Can this structural appearance be attributed to fusing alone, or would further internal measures need to be taken? The perfectly parallel hemline provides visual reference for the positioning of the jetted pockets (one, from what I can make out, has a flap), their wide placement upon the jacket is also significant in creating the overall desired look. Upon initial glance this may appear to be a rather mundane garment, however upon closer inspection the consideration within becomes apparent. How has such precision been created?
White on white prescribed the clinical influence highly apparent within the Spring 2011, Menswear collection by Ann Demeulemeester. I was fascinated by this collection, perhaps due to the notion that if I were not in fashion, medicine would be my next career option. The sterile atmosphere, achieved through the restraint of using a blank colour palette, allowed texture and garment details to speak for the collection. I am always drawn to a restrained design aesthetic, I wouldn’t go so far as to say that I am a minimalist, however I am constantly allured by design which shows constraint yet remains intriguing. Flicking through the following images on style.com, the jacket with shoulder fastening presented upon the screen, I found myself instantly envisaging the face of my dentist, Dr Tim Hall with torture tools in hand. For me this reminiscent element provided a comedic facet to the pristine range. The collection also provides an interesting slant on tailoring and how it is defined. Do these items meet the prescribed classifications of a tailored garment and if not, why? Personally, I think that their relevance lies within the overall structure and silhouette of the garments. Technically, it is the openings and their fastenings which really provokes my curiosity. The asymmetric jacket, when left unbuttoned, cascades down the torso in a really beautiful manner. I always struggle with the visual appearance of unbuttoned jackets which pass the centrefront, such as the double breasted jacket, I usually find them awkward and cumbersome, however, this piece works its unfastened stance just as well as buttoned.
For over 200 years Gieves & Hawkes have hand-crafted the finest bespoke garments and have become established as the paramount English tailor, of international renown. Drawing upon a heritage of design and craftsmanship, combined with modern styling and innovation in hand cutting and tailoring, a bespoke suit from Gieves & Hawkes remains the ultimate sartorial investment – hand made in the work rooms of No.1 Savile Row.
The house has a team of experienced cutters, tailors, finishers and a presser working on site. All suits are hand cut and hand tailored in house, ensuring that the highest quality is maintained throughout every stage. Suits take on average 85 hours to produce and usually require three fittings.
Distinctive elements are notable to the house style, including a sharp shoulder, a slightly longer cut, a nipped sculptured waist and emphasis upon a clean line with a single button fastening.
