Patterns & Muslins

I have now made the patterns for my collection! To do this, I took basic pattern blocks and manipulated them to create flat patterns that will go on to create the garments.

After drafting a first pattern, I would then make a muslin. Muslins are rough copies of the garments that are made to the exact design and proportions, out of fabrics that hold a similar weight to the final product. With muslins made, I could then modify the original pattern, repeating this process until everything is perfect.

I have been making about an outfit a week lately. Each outfit requires two to three muslins, and that alone often needed more supportive muslins to get the final ones. Needless to say, things have been busy.

Finalizing the Collection

Today, I finalized my collection! I have gone through 25 sketches, edited them, and  selected a final five that I will produce my collection with.

I have drafted up technicals – the black and white flat drawings on Illustrator. These drawings show pattern drafters/sewers how the outfit’s pattern will be made and sewn. It includes all the details to the correct proportions.

I can really see it coming together!

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The Inspiration & The Sketches

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Having recently returned home from Sable Island, I’ve found myself inspired to begin sketching garments based on the movement, textures and colours of the island. I have been fusing those elements with imagery of Jane Eyre, and I am beginning to see a collection for Sable Island come into fruition.

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I have currently designed five garments that illustrate Jane’s transformation on the island. They show a constricted Victorian woman emerge into a free spirited individual as details are replaced my movement.

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The first garment is inspired by the tailored Victorian riding jacket. With a synched waist and lace grommets on the sleeves, this is the most structured piece in the collection. The second garment retains a tailored look, but incorporates looser material, pleats in the skirt and buckles with a few remaining Victorian influences.

In the third garment, the dress is markedly looser and has an irregular hem that mimics the irregularity of the waves, dunes, and manes. A few Victorian details are still visible. The fourth garment is freer still, with a long sand-coloured skirt and grass-printed blouse. The high low hem on the skirt allows for much movement, while the pleats and the tie on the blouse retain an element of the Victorian era.

By the fifth garment, the transformation is complete. The entire outfit is filled with movement. The t-shirt shares the spirit of the wild ponies with its horse print, and the high low hem continues to add movement. Of course Jane’s Victorian era is still noticeable with the lace trim on the hem of the shirt.

As the collection comes into focus, I have also ensured that my target market, competition and methods of selling the product are thoroughly researched. This has allowed me to decide on fabric and quality, techniques for finishing the garment, design details and pricing.

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