B i a n c a T H O Y E R - R O Z A T

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W O R K

Assistant designer, Studio manager. (London)Khyeli Ltd

Assistant manager/ Bag designer/ Pattern cutter. (London)Tomcat Leather Ltd 2011 (3 years)

Assistant Stylist and Pattern Cutter. (Paris) Robba Vecchia-Childrenswear 2009 (3 months)

Costume designer, dressmaker, dresser, Le theatre du Jour (Agen, France) 2008 (3 months)

Assistant design studio, Theatre National de Chaillot (Paris) 2007 (2 months)

01 Nov 2014- 31 Dec 2015

Collaboration with prints artist for Kiev Fashion week (march 2016) February 2016

Freelance teacher. Private lesson to first year fashion design students 01 Jan 2016- now

E D U C A T I O N

University of the Arts London, Language Centre, General English (London)International English Language Testing System; Band 7

Short course, Fashion Design And Marketing . Central Saint Martins. (London)

MA Fashion and the Environment. London College of Fashion. (London)Mixing design practices, innovative thinking and conceptual speculations, along with

technology and science, the course finds strategies for the future state of fashion in ecological, cultural and social contexts.

Degree, Artistic pattern making , International School of fashion (Toulouse)

2013 (2 months)

2011 (18 months)

2010 (7 months)

2007 (3 years)

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B i a n c a T H O Y E R - R O Z A T

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4 C O R E C O M P E T E N C I E S

-Office Microsoft- Illustrator- Photoshop

GRADING EDITING MODELING, DRAFTING LANGUAGES- French (native)- English

CAD, Lectra (Modaris)

5 I N T E R E S T S

Music : piano (17 years conservatoire)Travel: USA|Cuba|Vietnam|Cambodia|India|Sri Lanka|Turkey|Thaïland|Brazil

6 C O N T A C T I N F O R M A T I O N Nationlity: FrenchAge: 26Mobile 1 : +44 758 360 1341Mobile 2: +33 6 74 62 92 41Email: biancathoyerrozat@gmail.comPost code: SW1V 1RPWEB : http://biancathoyerrozat.wix.com/bianca-thoyer-rozat

S P E C I A L S K I L L S

Good eye for details | Creative flair | Good fashion understanding | Draping specialist | Soft Pattern making Good stamina and patience | Positive and enthusiastic attitude | Fast learner | Multi tasker | Excellent time management | Exceptional organisational skills | Professional and friendly | Strong written and spoken English

KHYELI is a relatively new fashion house speciali-sing in high end garments fashioned from exquisite fabrics to a very high standards.

The most recent collection consists of beautiful, ethereal, fluid garments with a couple of structured gowns made to measure for interntional private clients. All designs are created by draping supported by flat pattern cutting.

MANAGEMENT

Setting up fashion studio Market research for luxury showroom in Mayfair London.Sourcing: Manufacturers/ Factories and build work relationshiSource and train Freelancers and qualified human ressources. Build strong work relationship with various factories Follow up with sample production.

CREATIVE SKILLS

Creating/ Finalising patterns: flat and draping methodsTrend researchsDesign experimentationCreating toiles an first sampleCutting fabrics

ASSISTANT FASHION DESIGNER/ STUDIO MANAGERfor KHYELI Limited

London

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K H Y E L I

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K H Y E L I

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LOOK 7GREY PURE CASHMERE COAT WITH WIDE SLEEVES AND ASYMMETRIC FRONT DRAPE FROM LEFT SHOULDER.KAW15

LOOK 10NAVY BLUE WOOL-CREPE WIDE SLEEVE CROPPED TOP

WITH ONE SLEEVE DRAPED FROM SHOULDER ACROSS NECK.KAW1507NAVY WOOL-CREPE HIGH WAIST TAPERED TROUSERS.KAW15

LOOK 8WHITE PURE CASHMERE SHORT DRESS WITH ATTACHED SHAWL

DRAPED OVER LEFT SHOULDER.KAW15

LOOK 12 BLACK PURE CASHMERE STRAPLESS SHORT DRESS WITH ASYMMETRIC DRAPE OVER SLIT.KAW15

LOOK 11GREY PURE SILK-CHIFFON SLEEVELESS FLOOR LENGTH SHIFT DRESS WITH DRAPED CAPE BACK.KAW15

LOOK 9BLACK PURE CASHMERE FLOOR LENGTH COAT.KAW15

LOOK 5WHITE PURE CASHMERE SLEEVELESS SHORT DRESSWITH ATTACHED SCARF.KAW15

LOOK 3BLACK WOOL-CREPE SLEEVELESS SHORT DRESS WITH WRAPAROUND HIGH NECK.KAW15

LOOK 6WHITE PURE CASHMERE ONE SLEEVE CROPPED JACKET WITH SHAWL DRAPED OVER LEFT SHOULDER.KAW1504WHITE PURE CASHMERE HIGH WAIST TAPERED TROUSERS.KAW15

LOOK 4WHITE WOOL-CREPE WIDE SLEEVES DRAPED FROM NECK LINE MINI DRESS.KAW15

LOOK 1BLACK WOOL-CREPE ONE SLEEVE FLOOR LENGTH DRESS DRAPED FROM SHOULDER ACROSS NECK.KAW15

LOOK 2WHITE PURE CASHMERE FLOOR LENGTH SLEEVELESS COATWITH ATTACHED SCARF.KAW1501WHITE WOOL-CREPE HIGH WAIST TAPERED TROUSERS.KAW15

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SPECIAL SKILLS

CORSETS :

Suitable foundation corset design Create coreset pattern Foundation corset fittingCreate complete technical production documentationSourcing specialist fabrics and notions for small runsTraditional couture construction and finishingtechniques.

PETTICOATS : Overall, the most important considerations when deciding upon petticoat shape are :

- Fabric.- Gown design.- Whether the petticoat is to be worn under or over a foundation corset. - Whether the petticoat is visible.

Bespoke petticoats and bobbinet foundation corset

guided by Lisa Nelson (corseterie consultant) Made by : Bianca Thoyer-Rozat

MASTER FAHION AND THE ENVIRONEMENT London College of Fashion

When ethic meets aesthetics; The new language of fashion

This project was born from the wish to start my own business. I have always had in mind the image of a boutique presenting a small collection of dresses and allowing customer to adapt the designs according to their own tastes. This master project was the perfect opportunity to start the process and develop my professional ambition. I intended to create a new concept of a boutique gallery presen-ting a small collection inspired by my great grandmother’s paintings, Madeleine Luka. In my concept, I wanted the Cus-tomer to be involved in my adventure as a designer and to have the opportunity to be emerge in the designer’s inspirations.I decided to draw up a business plan to explain my ideas and to analyze whether the concept is viable.

What is examined is a new relationship between the designer, customers and the products to better understand consumer’s behavior. In our society technologies, communication, informa-tion, stress and advertising are examples of our aggressive every-day surroundings that conspire to affect the connection between individuals, and results in passive relationship between producer and consumer.

The way we shop and services offer to customer are more and more impersonal and focus on the sale. Customer’s expectations are no longer taken into account. As a designer, it is our responsi-bility to make sure that the products we make are correctly presented to people. The concept of shopping is changing and a new language of fashion emerged.

The most meaningful aspect of the research was the notion of relational aesthetic described as the experience of social relations between people. The area of interest concentrated on the kind of relationship people create within a space for an object. How personal reaction and the synergy between people gives sense and meaning to the product. The things we buy are probably the things we would like to make. Knowing that it is impossible actually add to the wonder, to the sort of admiration. How the product is presented has a lot to do with our inability to reproduce.

There is a gap between the over production of the high street fashion industry and the luxurious and private sector of haute couture.

Elegant

Arti

Passionate

Educated

Curious

activist

Fashion is alive and has its own language. It is the designer’s role to make this language comprehensible and offer opportunities to dialogue. It is a communication process, which doesn’t use word but spread messages. Designers interfere in the communication process by changing the product to make it the way people imagine it. In museums or art galleries, to touch is not allowed. The only way to interact with the objects is to look at them. In the co design process, people are not spectators; this is why the whole relationship between them and the product completely changes.

This project was a long-term project and new for me. It was hard to clearly identify the overall aims and so to establish where to start the investigation. Design research, process of creation, or theoretical research? The three dimensional experimentations helped in terms of defying my own aesthetics.

Interviews are one of the most relevant sources of information. This is why I selected people very carefully. The logic of the process is respected. Jennifer Ballie, as a researcher, is still experimenting the notion of co design.Shane Waltener well-known artist whos recent projects have become increasingly interactive and participatory. He invites the viewer to contribute to the making of the artwork, and in doing so, facilitates a collaborative process in which the cultural and social histories relating to these crafts can be freely exchanged. Finally, Joanna Kelly is a satisfied client at the end of the process.

The collection in this project has changed constantly and will keep changing. Indeed, the master does not represent the end of the project. I intend to continue the development and push the designs further.

Working on a very personal project was highly rewarding. Considering it as a future professional opportunity, I had to look at fashion from a marketing and business point of view. Overall, being surrounded by fantastic knowledgeable people was a real chance and wonderful experience. It allowed me to gain in maturity as a person and designer.

Laser cutting

GLOBAL VERSUS LOCAL. FROM AWARENESS TO ACTIONMASTER FASHION AND THE ENVIRONEMENT

London College of Fashion

Amanda MONTAGUECoco NoordervlietHannah VAN GRIMBERGENNina WALSHThalia WARRENBianca THOYER-ROZAT

Through a social, interactive and educational experience we want to reach out to people who have an interest in Sustainable Fashion or who just want to learn more about the subject. We hope that we can provide an evening that takes some of the doom and gloom out of the facts and figures, offering simple and effective solutions that we can all carry out to contribute to a cleaner and greener future for the fashion industry.The program included a panel discus-sion, some visual tantalizers and topical films and opportunity for networking and further viewing of the exhibition.Tamsin Ormond from Climate Rush chaired the discussion.

Global Vs. Local is the brainchild of five MA fashion and the environment students from the London College of Fashion. As avid supporters and sustainable enthusiasts we want to dissemi-nate our passion and share it with the local community. Through the event we aim to create awareness that will empower people to make positive changes. The event took place at SPACE Gallery, Mare Street, on the 20th April 2012. We ran the event in association with Climate Rush, a group of young and dynamic female activists inspired by the Suffragette movement who

SPEAKERS:Amisha Ghadiali (12 Rules to Dress By) : http://elegancerebellion.com/rulestodressby/Rebecca Attwood (Environmental Justice Fundation): http://www.ejfoundation.org/ Julia Crew, Katelyn Toth-Fejel, Anna-Maria Hesse (Here today Here tomorrow): http://www.heretoday-heretomorrow.com/Jen Ballie (Textile Futures Research Group): http://jenballie.com/ Tamsin Omond (Climate Rush): http://www.climaterush.co.uk/

Belongings (past)

Our vantage point on the world relates understand the present and imagine the future. The triggers to memory come through smell, touch, sight and sound and when reinforced, they create a sense of belonging. A gift is often treasured and act as a reminder to go back to the past as we move from present to future, we realise value beyond price.

A bad design or a plain design makes the perfumefeel cheap. A good design makes you feel like you're stepping into a bright day or an elegant night each time you apply your perfume. More than this, many perfume bottles are of such an elegant design that people collect them as art.

I want the perfume to be more personal, beautiful, a piece of art. The liquid inside is like gold. The scent is precious and delicate like the flowers that com pose it. It is the art of the perfume bottle. I want to create a concept where the bottle is inspired by the olfactory character of the consumer.In fact, perfume is an olfactory signature.

Fragrances tell us who we are. So I started to imagine a new concept. Could the bottle do all the work? Of course not! But it could do more. Perhaps the bottle contains not a spray but a blush, a ball, or a wick. Seeing the scent as a signature it seems moreappropriate to use perfume with a stamp. As Chanel said, “ Use perfume everywhere youwant to be kissed”.

My idea is to re-use old perfume bottle and to give them another life, a greater value. Using old bottle or powder compacts give the perfume a soul, a story. The customers have to continue the story. Heis integrated in the creating process and owns the object. We live in an age of fragrance; we have to bring back the human into everything. This concept gives more importance to the scent and transformed the bottle into a decorative stamp handle. Bottles are no longer a container but they have the beauty, the elegance and the stylishness of a masterpie-ce.

MASTER FAHION AND THE ENVIRONEMENT London College of Fashion

That obscure object of desire For Proctor & Gamble

Fragrances tell us who we are. So I started to imagine a new concept. Could the bottle do all the work? Of course not! But it could do more. Perhaps the bottle contains not a spray but a blush, a ball, or a wick. Seeing the scent as a signature it seems moreappropriate to use perfume with a stamp. As Chanel said, “ Use perfume everywhere youwant to be kissed”.

My idea is to re-use old perfume bottle and to give them another life, a greater value. Using old bottle or powder compacts give the perfume a soul, a story. The customers have to continue the story. Heis integrated in the creating process and owns the object. We live in an age of fragrance; we have to bring back the human into everything. This concept gives more importance to the scent and transformed the bottle into a decorative stamp handle. Bottles are no longer a container but they have the beauty, the elegance and the stylishness of a masterpie-ce.

Margaux THOYER-ROZAT- MADE TO MEASURE BRIDAL 2015

Fashion show, Tououse (France) Casino Barriere. Oversized Wool crepe jacket and trouser Made to measure Bridal, August 2015

DEGREE ARTISTIC PATTERN CUTTING 2008 International school of Fashion

Fashion theatre

Fashion expresses time and reflects the transformations in society. How theatre inspires fashion designers.

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