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2016 | 'Veiled' | BFash (Design) (Hons)

“The thing that moves us to pride or shame is not the mere mechanical reflection of ourselves, but an imputed sentiment, the imagined effect of this reflection upon another’s mind.” (Horn 1981)

‘Veiled’ taps into the vulnerability of identity, in its susceptibility to the perception and judgement of others. The idea of concealment associated with clothing in relation to the body can be aligned with the social facade we construct to veil our authentic selves. This project performs on a metaphorical basis, using ‘undress’ and the distinction between the external and internal profile of a garment to expose and uncover what lies behind the masquerade of shape-shifting personality. As we stand before another individual we often find ourselves exaggerating, subduing or altering certain facets of our own personality, an integrated pooling of several selves residing in a singular being. Crumbling the line that divides the ‘external’ and ‘internal’ self, the reversible pinafore interchanges the roles of the outer garment and its lining. One side of the pinafore, blank in colour, hints at an internal surprise, through the construction of wadded shapes which create subtle silhouetted shadows. The reverse side, however, is unapologetic and celebratory in its loud and distasteful assortment of colours, filling the same shapes on the bulked alternate side. Appliqued satin shapes were used to adorn this surface of the garment.

Paramount to all design aspects of the prototype, these characteristic and stylised shapes were also used to inform the silhouette of the looped ‘lapel-to-sleeve’ jacket. Deriving from a design exercise involving the documentation of the movements generated by undressing, the shapes were able to abstractly conceptualise and voice the theme of revealment. Every silhouette and contour of the prototype was directly translated from the outlines of bodily positions recorded during this exercise. I had instructed a participating model to remove her limbs from her clothes in an unconventional and expressive manner so that I could photograph and then illustrate her figure interacting and battling against the garments. The resulting two-dimensional outlines formed the creative palette for my project, I was able to hover them over fashion templates to stimulate designs, and also cut them out in fabric before draping them on the mannequin. A capsule collection was born out of such techniques and one was chosen for construction as a final prototyped outfit. The jacket was adapted from one of the 2D shapes and interpreted as a curved, wavy lapel that flowed into the left sleeve. The inclusion of an invisible zip located at the wrist prevents loss of practicality without breaking the cycle between the conjoined elements.

Design Exercise: shapes created from the act of undressing.

Draping the shapes on the mannequin:

Reapplying the silhouette to the body

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Photoshoot Team:

Designer: Phoebe Pendergast-Jones ☆ IG: @phoebes_angels

Stylist: Katherine Rose ☆ IG: @rosepure

Photographer: Magdalene Shapter ☆ IG: @magdaleneshapter
Model: Millie Ng ☆ IG: @videodoll

MUA: Chloe Rose ☆ IG: @xs.rose

Hair Stylist: Helen Demos ☆ IG: @helendemoshair


Horn, M 1981, ‘The Second Skin: An Interdisciplinary Study of Clothing’, Houghton Mifflin, Boston.

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