Pattern cutting gives form to fabric. Somewhere in the process of shaping fabric until it becomes clothes, an undefinable, ever-shifting boundary exists where garments are created. Here, fabric is imbued with new meaning by its relationship with the human form.
But fabric has form without pattern cutting, which is lost during its transformation. This collection draws on various concepts, but began by questioning the nature of pattern cutting, and the relationships between objects, fabric and form. Rather than a raw material waiting to be processed, this collection also strives to acknowledge fabric as complete in itself.
Process
I often find myself taking photos of scaffolding, without much thought other than an appreciation of its appearance. On reflection, however, tarpaulin-clad structures effectively showcase the interaction of fabric with objects and the environment, and are endlessly distracting.
Essential to these interactions is the ‘uncut’ nature of the fabric; despite often being gathered or fastened, the lengths of tarpaulin are rarely cut or sewn. To me, the simplicity and practicality of the uncut fabric lends the structures an effortless, honest beauty. Through deft, efficient interventions, fabric is shaped and transformed — whether still or in motion, translucent or solid, buildings possess a new presence, volume and dynamism. Yet, the fabric’s original characteristics are not only preserved, but integral to the outcome.
In considering this relationship between scaffolding and buildings, similarities with clothing’s ability to reshape and redefine become clear. As far as possible, I wanted to apply the same method of shaping to garments. By considering fabric as a whole, using its natural interactions with the body, and by functional, minimal intervention, I hoped to replicate the practical elegance I had observed, and to acknowledge the form and properties of fabric.
In tandem, developing sustainable practices had been at the forefront of my considerations. I soon realised that my efforts to conserve the form of fabric leant themselves to zero-waste pattern cutting, and applied the principles of this approach to my work.
Practically, my aim was therefore to create patterns for garments that produced no waste, and to preserve fabric by shaping it to the body using minimal cutting and sewing. These two aims have sometimes converged, and have at other times been at odds. As a result, the patterns I have developed are informed by each to varying degrees.
I began developing patterns without specific designs in mind. Instead, I was searching for methods of shaping fabric that could be applied to create different garments. As with any pattern cutting approach, certain design details were dictated by the methods I developed. However, the final garment designs were unformed.
When considering garment design, I was drawn to the idea of reimagining classic items of clothing. In addition to demonstrating the utility of the pattern cutting, creating recognisable garments using a new method would add subtle depth to familiar clothes. I hoped to achieve a quiet reinvention, in which unexpected details of garment design combined with pattern cutting and fabric properties to create beautiful, interesting items of clothing.
Suits, coats, jackets and jeans — the final selection of garments is unremarkable. However, closer inspection reveals details that elevate the clothes and that point to the ideas and innovation at the core of the collection. These details are tied to the garments’ patterns and construction, and have been refined for practicality, comfort and wearability.
