The
main focus of this design project is to create a look which is very functional,
comfortable and traditionally inspired. By mainly looking at the British
craftsmanship movement, I want to try and replicate the quality and expertise
they put into the products they manufacture. The colour scheme and seaming detail
was taken from the outdoor exhibition at the Natural History Museum “Wild
Planet” juxtaposed with 19th century riding wear. By
using these ideas it was obvious to my design aesthetic to focus on women’s
structured wear. In this case making an outerwear coat essentially derived from
the classic trench coat with a modern twist, accompanied by a pair of wool
trousers. Through using the fundamentally British fabric of wool, this garment
is aimed at wealthy fashion-conscious women due to its quality and desirability.
Using the
exhibition and combining it with 19th century riding wear, let me
gain a vision for a strong silhouette. Creating a timeless hourglass silhouette
derived from the Victorian era. I researched in depth the history of riding
wear, by mainly focusing on the 19th Century and women riding
side-saddle. It was only at the turn of the 20th century women
started wearing jodhpurs. Their riding coats were not boned but still followed
the fashions of that time, as many women would be corseted. However their lower
half would be hidden in metres of material to emulate the look of a bustle. My silhouette is inspired by the classic
riding costume, incorporating the tailoring,
panelling and clever pattern cutting they used.
Both concepts have a significant
history and have originated from the notion of nature and functionality. This
leads me on to the relevance of the British craftsmanship movement to my
concept. Many of the British brands and mills that are still afloat have been
passed down by generations of families for centuries and come with a great deal
of history. This is a crucial point to be made when buying into a British
brand, you don’t only get a quality made garment but you get a piece of that
history and the comfort in knowing where it has been produced. And what is Britain
best known for, textile manufacture in wools, tweeds and cashmere. These
fabrics were used for the 19th C riding habits, as they are all
natural fabrics that enable the body to breath. In particular tweeds would have
been very useful in riding habits as they are very light absorbent which help
the rider camouflage into the background while hunting.
British-made remains a
discipline and a very constricted one, as it is very difficult to find
manufactures and fabric stockists that completely make their product in
Britain. Therefore it is limiting in many ways- target market as well as the
fabric choice- both reflect in the price. It is a dying force of skilled
labourers with an average age of about 50 (Santi, 2011). If we are to Re-vamp
the whole made in Britain and bring manufacturing back to our own soil; as stated
by Mary Portas we have around a 10 year window in which this can be done, as
the skill of making clothes has missed a few generations (Nodder, 2012), we
need these very valuable women to teach a new generation.
Furthermore, Only 15% of Barbour
sales are made in Britain (Santi, 2011) and they market themselves as a British
Brand (see figure 4). This does not seem a lot, however realising just how hard
it is to create a “Made in Britain” product, sacrifices have to be made. Companies
such as Haeden & Quarmby have had to make a lot of compromises (Knowles,
2012), by moving all they’re manufacturing overseas, as it was just not
feasible to manufacture in the UK. We are however slowly seeing more clothing
being made in Britain, even Topshop now have a Made in Britain Range (Topshop,
2012).
Ashley J
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