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EMPHASIZING THE UNWANTED Exploring the use of unwanted defects as desirable qualities of a collection.

JOSEFIN WIKLUND 51EM01 VT20-3 Fashion Design Bachelor Degree Project 15 hp DMODE17h v.9 2020.3.05 University of Borås The Swedish School of Textiles

ABSTRACT

This work focuses on exploring the early stage of garment production: where prototypes are regarded as ”incomplete” in relation to the desired result. Early prototypes carry unforeseen elements that are regarded as defects rather than desirable qualities, and are subsequently edited, adjusted and iterated into new prototypes until the desired result has been reached. This work wishes to emphasize the unforeseen elements present in the early prototypes, instead of merely disregarding them as undesirable qualities. By emphasizing common elements that are usually regarded as defects, this result of this project became a commercial yet experimental collection. I.e., the garments arguably kept their core commercial characteristics, making it easy for the observer to recognize and categorize the garments. However, upon a closer inspection, the defects arguably infused each respective garment with an appealing and interesting aesthetic. What this project has shown is that defects can be emphasized into desirable qualities, and that defects pose vast foundations for further exploration, ultimately challenging the industry’s current perception of defects.

Key words: Fashion Design, Garment Defects, Pattern-making, Art

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1. INTRODUCTION 4 1.0.1. LINE UP 4

1.0.2. FIRST LOOK 5

1.0.3.SECOND LOOK 6

1.0.4. THIRD LOOK 7

1.0.5. FOURTH LOOK 8

1.0.6 FIFTH LOOK 9

1.0.7 SIXTH LOOK 10

1.0.7 SEVENTH LOOK 11

2. INTRODUCTION TO THE FIELD 12 2.2 STATE OF THE ART 14

2.3 IN RELATION TO PROJECT 17

2.4 MOTIVE 18

2.5 AIM 19

3. METHOD 20 3.1. METHOD OF EXPLORATION AND DEVELOPMENT 20

3.2 DEVELOPMENT 22

3.4 METHOD FOR EVALUATION AND DESIGN DECISIONS 51

4. RESULT 52 4.0.1 LINEUP 53

4.0.2 LOOK 1 54

4.0.3 LOOK 2 56

4.0.4 LOOK 3 58

4.0.5 LOOK 4 60

4.0.6 LOOK 5 62

4.0.7 LOOK 6 64

4.0.8 LOOK 7 66

4.0.9 SKECTHED LINEUP 68

4.1 TECHNICAL SKECTHES 69

4.2 DISSCUCION 73

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1. INTRODUCTION

1.0.1. LINE UP

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1.0.2. FIRST LOOK

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1.0.3.SECOND LOOK

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1.0.4. THIRD LOOK

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1.0.5. FOURTH LOOK

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1.0.6 FIFTH LOOK

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1.0.7 SIXTH LOOK

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1.0.7 SEVENTH LOOK

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2. INTRODUCTION TO THE FIELD

The Oxford Dictionary describes a prototype as: ”prototype (for/of something) the first design of something from which other forms are copied or developed”.

This work focuses on exploring the early stage of garment production: where prototypes are regarded as ”incomplete” in relation to the desired result. Early prototypes carry unforeseen elements that are regarded as defects rather than desirable qualities, and are subsequently edited, adjusted and iterated into new prototypes until the desired result has been reached.

In the industrial creation of garments, a style travels between designers and suppliers numerous times before being deemed ready for the market and presented to the customer. In each iteration, undesirable elements are edited, developed and adjusted until the product matches the initial vision as close as possible. In other words, elements not present in the original sketch are regarded as faulty and in need of perfecting, and are thus altered until the desired result is reached. This leaves little room for exploring the potential of the early prototypes, since they are moulded with a finished vision in mind. Bacon (1902, p.12) touches upon this phenomenon by stating: “our present sciences are nothing more than peculiar arrangements of matter already discovered, and not methods for discovery or plans for new operations.”

This begs the question: is there another way of viewing the trial and error process of a garment? The contemporary industrial system is arranged with a tunnel-vision focus on the desired result, leaving little room for further exploration and discovery.

Defects can be identified and defined in a variety of different ways — ranging from small deviations from intended results to the damage of the material. By listing the most common defects found in garment production, Ray (2019) managed to categorize and visualize the different levels of defects via text and images. The list was made with the intention to aid the industrial creation of garments, i.e. to inform and educate stakeholders on what constitutes- and how to identify production defects. E.g. figure 1 showing a broken button, and in figure 2 visualizing the mismatching of seams. The list was thus intended to ensure proper production quality.

Fig. 1 Fig. 2

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These features — regarded as defects — can be found throughout the stages of material sourcing (fabrics and trims) to the finished garment. They are also found in stitching, as well as in the construction of fit. Following a method approach to alterations of fit, Liechty, E. G. et al. (2010) displayed a variety of miss-fitted patterns, and provided suggestions of how to detect- and alter them correctly. E.g., figure 3 visualizes an ‘inward rotated elbow’ and figure 4 provides the fitting problem of creased and twisted sleeves of a garment. As a solution, the authors provides suggestions of alterations that counteract the ’fitting problems’.

Fig. 3 Fig. 4

Closely related to unintended, unforeseen and incorrect is the definition of a ‘mistake’. The defect can resemble a mistake, which is created from an action or judgment that produces unwanted or unintentional results. By practicing mistakes in art form, Hofer’s (2014) art installation spoke of unintentional results and the combination of fixated draped pleats on a painting canvas effected by a broomstick. A canvas is associated with a flat surface, fitted to the frame with no creases or folds, ready to be made into a painting. Consequently, the intentional feeling the piece is communicating is the appearance of something meant to be flat, but which alters its appearance as it is creased by the broom. I.e., a creased canvas would typically be considered faulty or useless, however, the piece by Hofer (2014) visualizes that the defect is what actually makes the piece unique in this case.

Fig. 5

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2.2 STATE OF THE ART

DISTORTION OF A WARDROBE

Fig. 6 Fig.7 Fig. 8

In his master’s degree collection from Central Saint Martins in 2017, Stefan Cooke subverted an everyday wardrobe through printing distorted traditional plaids onto elastics. The collection presented checks, jeans, and argyle patterns digitally distorted, later printed and presented in garments such as trousers and jumpers. His collection displayed a subversion of an everyday wardrobe, where the distortion of each piece was executed through distortion and perception of associations between visual and material.

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VISIBLE CONSTRUCTIVE PROCESS OF A GARMENT

Fig. 9 Fig. 10 Fig. 11

In Martin Margiela’s fall collection from 2019, the process of a garment was highlighted through the visualization of deconstruction. In figure 9, the threads were visible alongside with pattern pieces marked but not cut into patterns — a clear reference of a garment in the middle of the process. By exposing the uncompleted and unfinished construction, the collection was based on recognizable garments such as coats, knits and tailoring while referencing to the garments original form. The expression of the unfinished features reference the process of garment construction, where the sewing, cutting and stitching has been initiated but not yet been finalized. Gill (1998) states that deconstruction carries motifs like darts and facings to be exposed as features, aspects heavily adopted by Margiela throughout the history of the brand.

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DELIBARATE ‘MISTAKE’ TO HIGHLIGHT DISTORTION

Fig. 12 Fig. 13 Fig. 14

In their Spring 2020 Collection, Y/project presented an accentuated distortion within construction, displayed through misplacement of buttons, creasing in draping and asymmetric shape. These features could be interpreted as something usually regarded as a defect within garment construction. E.g., if the information in a tech pack would be misleading, the button placement would become incorrect. Y/Project’s designs can be related to a draped suggestion of deliberately shaping distorted garments, and with strong references to a known garment (buttons, lapels, plackets, collars) the technique of distortion is clear.

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2.3 IN RELATION TO PROJECT

This project will focus on completed garments, where the technique will be applied through imperfect defects found in early prototypes. This project will practice imperfections as a result and not within the process of the actual construction. E.g., in contrast to Maison Margiela, this work will display the imperfections in completed garments, not within the process of construction or stitching. If stitching as a technique occurs it will be in the form of a finished garment — and not to illustrate the process of construction.

As Y/project use the deliberate distortions as intentions to create form, this work will only base such techniques on a given defect. Any given defect that would initiate form distortion, this project could practice as a technique. i.e., this project will practice form expressions through defects rather than deliberate form distortions as in the case of Y/project.

Additionally, in contrast to Stefan Cooke, the work of print and surface expressions will be explored to create aesthetics based only on the unintended and unwanted result found within printing techniques. As Stefan Cooke already explored the use of printing with mismatching repetitions and slouching as a flat expression, this project will seek to explore printing defects as form giving expressions.

In contrast to the printing of mismatched plaids by Cooks, deliberate distortions of garments by Y/project and the exposing of garment construction as Margiela, this project will fill the gap through exploring the combination of the three and how the use of defects can create another way of working with print, construction and details. Despite the usual efforts of preventing defects within garment production, the focus will be centred around emphasizing (instead of correcting) the defects.

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2.4 MOTIVE

The unforeseen features of early garment prototypes (regarded as defects) can be translated into desirable qualities.

These imperfections are what this project will use as the fundamental building blocks; they will be explored, accentuated and developed rather than fixed into the common industrial norm with its appurtenant aesthetic. Elements typically regarded as undesirable faults will be accentuated into a collection that will highlight and explore the incomplete and imperfect.

The conventional way of viewing perfection is through symmetry and equation, something that leads to completed, static results, described by Saint-Exupéry (1939) ”Perfection is achieved, not when there is nothing more to add, but then there’s nothing left to take away”. The static display of the desired result eliminates the process and work behind it. This was commented by Phoebe Philo after the fall 2015 Céline show: “I wanted them to feel touched by human hands”, suggesting the lack of tenderness and depth within produced fashion.

Could an exit from the tunnel-vision aim leave room for further explorations? Cher Potter (2010 page 98) stated ”deconstruction entails exposing the invisible, unbinding the establishment. Starting something does not have to lead to finishing it, and what is usually invisible does not have to remain unseen”. What is interesting to explore is how a collection would if the early prototypes were not iterated further? At the end of development, these garments are displayed as ‘perfect’ (having reached it desired result), but it is merely the journey of improvements in which the inspiration for this project is found. The unbinding of the exploration is to unveil unforeseen elements garments carry before alterations, edits and adjustment.

Through the combination of these methods, this project will fill in the gap through exploring the combination of working with the defects of early prototypes and how the accentuation of these will create an alternative way of viewing imperfections within garments. Despite the usual way of working with deconstruction as a tool of exploration, the focus will be on encapsulating the expression of the imperfections within early prototypes. By using the recognition of archetypical garments, expressions in the defects and possibilities in the imperfections, new expressions can be found. The unique features often regarded as defects offer possibilities for new expressions.

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2.5 AIM

AIM: To investigate the unforeseen elements in early prototypes, regarded as defects, to be translated into desirable qualities of a collection.

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3. METHOD

3.1. METHOD OF EXPLORATION AND DEVELOPMENT

Early prototypes are regarded as proposals to the final envisioned result, with their unique features being regarded as faulty, incomplete and in need of alteration. These imperfections are what this project will use as the fundamental building blocks; they will be explored, accentuated and developed rather than fixed into the common industrial norm with its appurtenant aesthetic. This projects will draw inspiration from the Japanese aesthetic wabi-sabi, explained by Fukai (2010 page 78) as ”the beauty of the imperfect, impermanent and incomplete. It is the beauty of things modest and simple”.

Sourcing information from the conventional industrial creation process, the exploration will involve a range of conventional commercial (archetypical) garments from each product group in a commercial collection. Coats, blazers, dresses, trousers, tops, t-shirts and sweaters — heavy woven, light woven, jersey and knits. These garments will constitute the starting point for further explorations, drawing motivation from Loschek (2009) states that through questioning the objects and its material or function in its origin, the object is made free. Since the exploration is broad, each garment will carry one imperfect feature, which is used as building block as tool of construction, where each factor will the explored, accentuated and developed.

A way to apply this is by breaking it down into two components — defects and garments. The components will be combined in this work, and the concept (defects) will be put into practice (garments). This could be practiced by applying Thornquist’s (2010) method of using two words that compose fundamental meaning to each other. The defects will be used as a technique to be applied to a garment form. I.e, the creation of each garment will begin by identifying a common defect, followed by identifying a garment, and subsequently combining the two.

As this project will take form through the conventional process of a garment, the method of trial-and-error is needed to practice the garment into a result. Odendorf (2009 page 243) explains the evaluation part of the process as the following: ”an important part of design is the convergence through reduction and refinement. Reduction requires criteria: A filter capable of capturing essential use activities is necessary, often the projected need for functionality is used as one”. This ‘filter' will be used as a method of selections and discards the early stage of trials of suggested form. Through the filter the decision will be made to decide which experiment speaks loudest and clearest of the selected feature of the defect.

As the experiments of described methods are executed, they will be documented to be analysed. Through the analysis of the experiments, they will be improved and developed further by changing and reforming the features. Factors will be improved to reassure a successful investigation between the elements, materials, details, colours, composition and garment. As Brandt and Binder (2007) states regarding design research that a great deal of attention is placed on applying the observations collected from the previous performed experience when creating the new experiments.

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PRACTICAL METHODThe process will begin by gathering information through researching defects in literature, workbooks and articles. The aim for this phase is to establish a foundation that draws information from several sources, which the project can build upon. By gathering information on different defects found within garment production, this project can subsequently better select which defects and garments that can be applied into a collection.

Moreover, this project will approach defects objectively, i.e., not from the perspective of a certain fashion brand or supplier. Rather, this project will chose from a variety of the most common defects listed in literature and aim to push the expression of defects.

SELECTIONThis project will heavily utilize Ray’s (2019) list of 148 defects in the selection process. The selection of the defect in question will largely depend on which defect that could initiate a form or surface expression when put into practice. The reason for this is to have a cohesive selection to build on. Through isolating one defect present in a garment, the process can start establishing the what (defect) and how (garment), as mentioned by Thornquist’s (2010).

EXPERIMENTS Sketch/drape/draw/stitch the feature to find a way of interpreting the selected defects into/onto its following garment. To present different defects, this project will aim to explore a variety of materials, since some defects occur only in one material based on its method of production. E.g., there is a difference in which defects that can occur in woven materials versus knitting. This project will evaluate and focus on the decided categories, what material is used and how can it be treated/manipulated to form the specific defect? What color and what density in the material is it strongest presented in?

FILTERWith the gathered information, this project will further develop the silhouette and shape of the defect. To practice form, the use of construction as a tool combined with help of deconstruction aims to emphasize the selected focus of the defect. By sketching/draping and constructing trials, decisions will be evaluated and based on which expression speaks the loudest of the given feature. Additionally, selections and developments will be based on these trials.

FINAL CONSTRUCTIONThrough following the above, the finalized form is selected, alongside with the material and the course of action for accentuating the defect in question.

STRENGTHSAs this work has its core in the concept, the idea and method is easily applied to a variety of different combinations (the defect, the garment, the technique), and the experiments can be applied to various garments with various defects, that could work in a collection.

LIMITATIONSIn this project the limitation of selected garments and selected defects as technique are only to be based out of the gathered information. Even if the result will differ from the intended starting point, the defect will not be altered, only emphasized through techniques.

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3.2 DEVELOPMENT

SELECTING THE DEFECTS

To begin the first exploration, the first step is to select defects from Roy’s 148 garment defects, and to further divide and categorize them into fabric/material defects, color/print defects, pattern making, stitching process and trims. By doing this, the defects can be detected and further researched within its category.

Fig. 15Picture from workbook with visual references of details

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SELECTING THE GARMENTS

As previously mentioned in the method chapter the use of sourcing information from the conventional industrial creation process, the exploration will involve a range of conventional commercial (archetypical) garments from each product group in a commercial collection. Coats, blazers, trousers, dresses, skirts, tops, t-shirts and sweaters — heavy woven, light woven, jersey and knits.

In table xx, the most common types of garments included in contemporary women’s fashion collections are listed. Its content stem from practical work-life observations, and is further strengthened by the garments offered by fashion retails such as Net-A-Porter (NET-A-POTER 2020).

Fig. 16

Through selecting garments covering many garment categories, the project allowed further exploration and experimentation with various material. For example the use of defects found in a t-shirt compared to the ones found in leather pants.

By exploring a commercial women’s collection, covering various ready-to-wear categories, the decisions of designing the ’original’ of each selected garments was chosen. This to decide the staring point of the experiment as well as to illustrate the garment before it had been altered by a defect. When stating the selection of garments it was fundamental to have clear references to both the archetype of the original form as well as to create a design language for the collection. To implement the exploration and effect between different materials and fabric, it required a method of focus on the act of making with the method at hand.

CATEGORY HEAVY WOVEN LIGHT WOVEN JERSEY KNITWEAR LEATHER DENIM

TOPSCoats Blouses T-shirt Cardigan Leather Jackets Jeans Jackets

Jackets Dresses Sweatshirts V-necks

Blazers Tanks Singlet Pull-over

Vests Shirts Dresses Turtlenecks

BOTTOMSTrousers Skirts Skirts Skirts Leather Pants Jeans

Shorts Shorts Leggings Leggings Leather Skirts Jeans Skirt

Skirts Shorts

Shorts

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STARTING THE EXPERIMENTS

The first and second experiment were executed through deconstruction of defined garments.

Visualized in the first experiment, the shape of the t-shirt was present and the defects were noticeable as they manipulated the shape. This experiment was not fully successful, the garment appeared to be manipulated to mimic the defect, not fully expressing it. In fig 18, the original t-shirt has the side seam twisting, but the shoulders and sleeves remain in its original form. The combination of two defect (twisting side seam alongside the narrow neckline) resulted in too many factors. To narrow the selection to one defect per experiment, the project will focus on the various expression of defects and what defines them, rather than combining them.

The second experiment aimed to investigate the use of stitching defect to initiate the method of assembling a garment. The experiment practiced the ’seam grin’ defect which appears when a thread is stitched with low tension, creating visible stitches in the seams as in figure 20. This experiment was unsuccessful as well, similar to the first experiment the use of the defect needs to be clearer. Instead of manipulating a few selected seams, it needs to be used in all the seams of the trouser. To focus the work the chosen defect remains centred and isolated as a fundamental method of construction/stitching/printing throughout the whole garment and the expression is followed by the effect created through the method.

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Fig. 17Puckering neckline+ twisted seam

Fig. 18Original look of garment

Fig. 19Added defects

Fig. 20Seam Grin defect

Fig. 21Original look of garment

Fig. 22Added defect

The refined design process consisting of the steps:

Step 1: Selecting a defect

Step 2: Selecting a garment

Step 3: Develop garment with defect as tool of construction/print/stitch, etc.

Step 4: Finished garment

FIRST SUGGESTION OF LINEUP

Fig. 23

In figure 23, the first suggested lineup is presented, sketched in photoshop. In this lineup the range of garments are not good enough, there are too many repetitions of garment and silhouettes (two coats, two knits e.t.c). The low of variety is obvious by the lack of e.g. a shirt and leather. For the continuation of the project, the selection of garments will vary both in material and in colours. The lack of variation of colors will be improved by adding more hues and tones of pastels.

Through the use of tonal colors and bright pastels, the contrast between the garments will be emphasized. As stated by Judd in his work ’Untitled’ (1963) where bright colours will allow contrast to emerge between the garments.

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RE-VISITATION OF CATEGORY TABLE

Fig 24 = Selected garments

SECOND SUGGESTION OF LINEUP

Fig. 25

Following the previous table, the selection of garments were concluded into a suggested lineup of 7 looks. The design of the garments had an overall tone of simplicity and minimalism. The potential of minimalistic design offer clarity on where and how the defect has been used and how it has effected the garment. This will also be strengthened by designing the garment from an archetypical base, which enables the recognition of the garment without the effect of the defect. In this lineup, the addition of curved seams, dropped shoulders, added volume and dolman sleeves create a design language for the collection. To create coherence in the different garments, the same trouser was presented in the three selected, also same length and rounded shape in the skirts.

CATEGORY HEAVY WOVEN LIGHT WOVEN JERSEY KNITWEAR LEATHER DENIM

TOPSCoats Blouses T-shirt Cardigans Leather Jackets

Jeans Jackets

Jackets Dresses Sweatshirts Dresses

Blazers Tanks Singlet Pull-overs

Vests Shirts Dresses Turtlenecks

BOTTOMS Trousers Skirts Skirts Skirts Leather Pants Jeans

Shorts Shorts Leggings Leggings Leather Skirts Jeans Skirt

Skirts Shorts

Shorts

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KNITWEAR

COLLECTION DEVELOPMENT

OUTFIT 1 - TWISTED T-SHIRT

DEEFCT GARMENT Twisted side seam T-shirt

Fig. 26 Fig. 27

The chosen defect to work from is the twisted side seam in a t-shirt. This defect appears when a jersey material is not cut parallel to the fabric edges, and thus the fabric might stretch after wash. To further develop the experiment from the previous trial, the decision was not to only twisting selected seams but the whole construction. The entire pattern itself was twisted towards the left side as usually detached in the defect as seen in figure 26.

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PROCESS OF DESIGN - T-shirt

In figure 28 where the new pattern pieces were drawn upon an existing t-shirt also illustrates where the pattern differs from the original garment. Figure 30 displays the first trials of form on the body, where the twisted side seam didn’t appear visible enough as well as the remaining seams. The material of figure 29 consisted of a slouchy jersey with 4% elastane, allowing the garment to stretch a little too much for the technique to be more apparent. This was altered and a 100% cotton single jersey was cut into new pattern pieces as displayed in figure 32. As well as the material, the construction was also improved further with a focus on the defect as form building and the original garment as a canvas.

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Fig. 28New pattern on original garment

Fig. 29Body too long, sleeve too long

Fig. 30Side+shoulder seam not apparent

Fig. 31Adjusted body

Fig. 32Pattern pieces of garment

Fig. 33Added details of neckline and hems

OUTFIT 1 - MISMATCHING NOTCHES TROUSER

DEEFCT GARMENT Mismatching of pattern notches Tailored trousers

Fig 34 Fig 35

Moving on, the following garment in the outfit bases on a pair of tailored trousers. The chosen defect to follow as a tool of construction is the misplacement of pattern notches. A pattern consists of notches in order to navigate pattern pieces to fit, and with use of notches facilitates the assembly and stitching to be correct.

Fig. 36

Displays pattern notches to be matches when stitching.

By using the tool of mismatching, the pattern pieces in themselves will maintain the ’correct form’ later to be assembled with the tool of the defect — i.e. not to be placed or navigated to fit but to create the expression of the selected defect.

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DESIGN PROCESS - Trousers

During the design process, the focus remained to use the defect as a technique of assembling the garment and not in the pattern pieces itself. The first step was to cut and construct the separated pieces and add details of a tailored trouser (slash pocket, welt pocket, dart etc.). This created non-centred darts and welt pocket placed into the side seam (figure 41). The decisions of placements of pattern pieces were executed through placing them unevenly in level with the waist to later stitch the trouser together. When stitched together, the trouser combined the form of different fits of the same trouser, as well as different length at bottom hem.

The trousers are designed from an archetypical suit trouser base with a high waisted fit and structured look. The slightly curved side seams are added in the side seams to create coherence of the design language of the collection.

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Fig. 37Waist - Placed pattern pieces

Fig. 38Added waistband

Fig. 39Backside - assembled garment

Fig. 40Front - waistband details

Fig. 41Backside - details

Fig. 42On body

OUTFIT 2 - DEVELOPMENT

DEEFCT GARMENT Pilling Knitwear Turtleneck knitwear

Fig 43 Fig 44 Moving on, the project also bespoke to explore surface expression. A rather common defect of knitwear is the pilling effect. Pilling occurs when fibers such as polyester, acrylic and polyamide is mixed and later on put under friction in order for the fibres to be released and creates formation, held onto the fibers by the acrylic.

In order to create knitwear with the intention to pill as much as possible, the trials of finding and combining components had to be executed. This was done by a variety of knitting trials, both of composition and of friction.

Fig. 45Trials of pilling formations

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By using 5x2 rib, the different levels of depth within the knit created a more apparent view of the pilling formation. In relation to keeping the knit as a flat single jersey, the effect could be interpret as a melange or a yarn effect rather than the unwanted pills.

Fig. 46Developed material tests

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DESIGN PROCESS - Knitted Sweater

While the process of the pilling had a strong focus on the surface expression, the form expression again acts as the canvas of the garment. The material was knitted and constructed into a voluminous sweater, later to be treated with friction to create pilling formation. When presented on the body, it became evident that the details of the ribbed hem and collar were absent for the expression to focus on the surface. For those reasons, the design was revised to further develop the missing part, as well as form more pilling throughout the process. Due to the volume the garment provides, the pilling is invasive and is apparent from a far distance.

The design of the sweater was based on the archetypical turtleneck but has been reworked with the addition of dolman sleeves with volume. It has a ribbed turtleneck with long sleeves and an oversized fit. The sleeves are slightly curved in shape to match the collections design aesthetic. The colour of the garment was decided to enable the pilling formation. The mint green pastel as a base thread of colour create a contrast tone toward the piles which was created from the white acrylic and polyamide threads. The colours also gave an additional pastel hue to the collection.

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Fig. 47Knitted pieces

Fig. 48Process of shape

Fig. 49Pilling formed through friction

Fig. 50Fitting on body

Fig. 51Additional details of neck and hem

Fig. 52Additional pilling


DEEFCT GARMENT Ironing marks Skirt

Fig 53 Fig 54

From the trials of experiment with material, the investigation further developed a skirt using the material of royal micro satin. While this material has a composition of 100% polyester combined with the heat of the iron, this allowed the marks to become permanent in the fabric.

Fig. 55Trials of iron marks on different material

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Throughout the process of the skirt, all seams were ironed with a high heat to assure an effect in the result. The first experiment of this were unsuccessful, the intention of ironing the front of the skirt to create creasing was not as apparent when viewed from a far. This also failed to associate with the ironing marks and it was decided the method should be revised in order to push the effect more as well as its association.

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Fig. 56 Fig. 57 Fig. 58

DESIGN PROCESS - Skirt

After evaluating the previous experiment, it was uncovered that the ironing marks could be with stronger reference and visibility in the garment. Followed by this, the method of ’stamping’ the fabric with the iron combining both heat and pressure was used, which created a permanent footprint traced form the iron itself onto the fabric. By adding wadding underneath the fabric, the shape and signature of the ironing and details became even more prominent. In order to utilize this in an effective and apparent way, a front slit was added as well as the back slit. The slit was ’stamped’ when overlapped, creating a disruption in the mark when in motion.

The skirt has two slits in centre front and center back with a mid calf length to compare to the archetypical skirt base of which the design was build on. It has a waistband and slightly curved side seams inline with the basis of the collection.

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Fig. 59Experiment of ’stamping’ iron on fabric

Fig. 60Adding wadding underneath for depth

Fig. 61Pressing on top of slit opening

Fig. 62Stamp on slit opening in motion

Fig. 63Iron marks visible from a far

Fig. 64Back view


DEEFCT GARMENT Seam grin Suit

Fig 65 Fig 66

The following experiment investigated the use of a stitching technique based on the defect called seam grin. Seam grin occurs due to the low tension of the stitching threads and through using this as a technique, the following experiments of trials of thread tension and color needed to be executed.

The example illustrated in figure 65 consists of the thread tensity set below minimum and the thread illustrating a contrast of color between the shell fabric and the defect. The example conveys a clear perception of the thread as a centred component, while figure 68 displays a white thread that is more related to tack stitching. Tack stitching is more common in the process of construction rather than the finished result, which creates a relation to an unfinished garment. To prevent this choice, the choice of color seen in figure 69 was chosen.

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Fig. 67Black Thread - not visible

Fig. 68White thread - similar to tack stitch

Fig. 69Blue thread - both visible and tonal

DESIGN PROCESS - Trouser

To start the process of this experiment, the starting point was to follow up on the early trials of seam grin. This was incorporated as the process behind this defect, the decision of using the defect throughout the whole garment and not selected seams. This enabled the possibility to discover the use of details as a reaction to the technique.

Using the same trouser pattern as previous mismatching notches, the experiment contained assembling and stitching the trouser using only the low tension thread. As displayed in figure 71 where the stitches pleat is absent, the trouser did not appear to carry the defect to the fullest. This initiated the adding of stitched pleats vertically and topstitch on back pocket as displayed in figure 74. When handling the garment, the stitches were able to be ’pulled apart’ even more which created a gap between the pattern parts. As a result, the stitching was apparent through the design.

The shape of the trousers is based on the same pattern and material as mismatching trousers from look 1. They both share a tailored and structured look with a high-waisted fit as well as a slight curve of the side seam.

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Fig. 70Toile of trouser leg

Fig. 71Stitched garment

Fig. 72Additional stitched press creases

Fig. 73Detail view decorative stitching

Fig. 74Fitting on body detail view

Fig. 75Full body

DESIGN PROCESS - Suit Jacket

By using the same technique of defect, the following experiment consisted of assembling and stitching a suit jacket, all in the low tension thread. To show cohesiveness of the collection, the same material was used as in the matching trousers.

As the stitches came more apparent when dropped and pulled carefully apart, this method was applied to in order for the stitches to become more visible. This is displayed in the difference between figure 80 and figure 81, where the thread is more apparent in figure 81.

The suit jacket has most of its design in the fit and lapels. The lapels were draped and measured for a balanced relationship between a curved and structured look.

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Fig. 76Inside view of stitches

Fig. 77Detail view before topstitched

Fig. 78Additional topstitch on pocket

Fig. 79Full view of experiment

Fig. 80Stitches on lapel before pulled

Fig. 81Stitches on lapel after pulled


DEEFCT GARMENT Lining too small Blouse + Skirt

Fig 82 Fig 83

Moving on, the next experiment focused on creating form expression by using the defect of a lining being narrower than the shell fabric. If this defect occurs, it would affect the appearance of the shape of the garment as it is pulling from the inside.

As the defect is divided into two components being lining and shell fabric, the use of affecting the shell fabric not only by form but through colour shading was excised in order to emphasize the defect further.

To illustrate cohesiveness in the collection, the material chosen for the experiment is the same as previous ironing marks skirt. With this is staring point, the use of lining is decided from impact of shading toward the shell fabric. In figure 85, the yellow shade shows little impact while figure 85 the stripes does not communicate the use of a lining. Figure 86 with apricot gave the shell fabric a slight tone of pink towards the vanilla shade of the shell fabric.

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Fig. 84Red lining underneath

Fig. 85Yellow lining underneath

Fig. 86Apricot lining underneath

Fig. 87Striped fabric underneath

DESIGN PROCESS - Skirt

Moving on, the construction was practiced through having a fitted layer of lining to later attach the shell fabric which is approx.15 cm larger in all measurements in order to create form expression.

The addition of details such as waistband and pocket was proven to provide more definition of the technique as displayed in the difference between figure 88 and figure 90. The solution of fastening of excess fabric in waistband was done trough gathering in waist seam as seen in figure 89. This created creasing and folds where the details disappeared rather than appeared. This was followed up with figure 90 where the waistband has a full length but is fastened in the lining underneath at selected places.

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Fig. 88Shell skirt added on top of fitted liningNo details

Fig. 89Slouching waistband solution of excess shell fabric fasteningsRectangular pocket added

Fig. 93Shape of garment with pocket and creasing of details

Fig. 90Improved waistband solution of excess shell fabric fasteningsSlanted pocket added

Fig. 91Backside - slit opening before

Fig. 92Backside - slit opening with added fastening

DESIGN PROCESS - Blouse

Same technique used in the above was practiced in the top part of the outfit. Figure 91 displays the expression of the shape before being fastened in the inner fitted lining. The inner lining acts as a base on where the shell fabric is attached into in order to create expression of the technique. Through the use of excess fabric, the shading of the underlining became clear in the folds and creases (figure 93).

The blouse has an minimalistic design where no details are used unless necessary for the construction. This is motivated by allowing the effect of the defect speak as the fundamental form shaping of the garment. The use of dolman sleeves are initiated through combining silhouettes with the sweater in look 2, but also not to disturb the shape created in armhole when fastened in lining.

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Fig. 94Increased pattern pieces, 10 cm larger compared to lining underneath

Fig. 95Fastened points in armhole seams

Fig. 96Fastened points in armhole, side and shoulder seam


DEEFCT GARMENT Excess glue Leather pants

Fig. 97 Fig. 98

A defect often portrayed in the manufacturing of leather is excess glue. When assembling a leather product, the edges and hems are often glued together to prevent the tear of seams and improve the strength of the garment when putting into use. If glue would be visible in the finished product, it would be regarded as a defected garment.

By using the technique of excess visible glue, the experiment conducted into trials of which glue would be most effective both in the use of function and visual communication

Figure 103 and 105 is not as visible and apparent in the expression of figure 106 where the visual association is the most apparent to visible glue.

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Fig. 99Wooden glue

Fig. 100Contact glue

Fig. 101Superglue

Fig. 102Melted glue

DESIGN PROCESS - Leather Pants

After the selection of which glue to use within the technique, the established form of the experiment was made through a pair or leather pants. Again, to show cohesiveness within the collection, the pattern was used from the previous trousers, adding details of leather making such as cutlines.

Throughout the process of assembling the pattern parts, the chosen defect did not preform as replacements for stitches, but for securing seam allowance. As displayed in figure 103, the glue is placed on the leg cutline before sewing the trousers together as a whole. In figure 106, the glue of the side seam was not as apparent as the glue placed on the cutlines. The addition of more glue on the seams and details as back (figure 107) helped to illustrate the glue as the stronger impact of the experiment compared to the garment it was practice onto.

The design of the leather trousers has a high waisted fit with tailored details of waistband, darts and welt pocket as well as the slightly curved side seams as consequently added within the collection.

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Fig. 103Glued cutlines at legs

Fig. 104Close up glue lines before assembling

Fig. 106Close up glue

Fig. 107Details of glue at side seam

Fig. 108Back welt pocket + dart with glue

Fig. 109Full view experiment


DEEFCT GARMENT Misplaced stitch Buttoned Shirt

Fig 110 Fig 111

Similar to the defect of mismatching notches is the defect of misplacing seams, i.e not alining the stitching to the suggested line of pattern. A stitch that is not aline can in order create asymmetrical shape and effect the form expression in the garment.

Through using this defect, a similar approach to constructing and cutting the pieces to fit with the original garment (white shirt) and allowing the technique of the defect take place through the stitching process.

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DESIGN PROCESS - Shirt

Through using the technique, decisions of pattern pieces placements was decided and motivated through not to corresponding with the defined line of original form. Throughout the process, each step and detail of the experiment was misplaced and stitched using the defect. As displayed in figure 112 of original pattern where the pocket is visible compared to figure 116 where the pocket appears to be abrupt by the misplacement of the side seam. Also comparison to figure 113 and figure 114 where the shoulder seam is placed correctly alined with original form, later to be misplaced in figure 114.

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Fig. 112Experiment original form

Fig. 113Sleeve placed ’correctly’

Fig. 114Sleeve misplaced, shoulder seam moved 10 cm from pattern line

Fig. 115Collar incorrect placement towards centre front

Fig. 116Side seam misplaced, interfering with front-piece and chest pocket

Fig. 117Back yoke asymmetrically placed with excess fabric above sleeve head


DEEFCT GARMENT Accidental Linking Dress

Fig 118 Fig 119

Continuing with knitted material, the defect of accidental linking was selected to be investigated on a dress. Accidental linking occurs when knitting on two needle-beds — mostly common in ribbed bindings — where the knit is moved from one bed to the other, leaving some threads of the yarn mix still in the remaining bed. This created linking points connecting front and backside of the garment. To investigate the defect, the use of a 10x4 rib was used (x2 of pilling knitwear rib) as main material. Selected points were later connected through the pattern parts, as technique visible in figure 118. This would both enables form manipulation compared to the initial shape of the garment (fig 120) as well as surface expression.

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Fig. 120Close up collar with linking threads

Fig. 121Manipulated shape of collar

Fig. 122Asymmetrical shape initiated from symmetrical garment pattern

DESIGN PROCESS - Dress

Using a v-neck dress in 10x4 ribs, the original shape of the garment was manipulated by using the technique of the defect. The method matching the front and back through points of linking created shape and creases in the garment and changed the original shape of the dress. The use of the ribs did not only offer stretch but also created ’stripes’ of contrast, used as visual tracing lines of where the linking points is pulling the dress in different directions. While the defect is subtle and clear in figure 124, Figure 217 was selected as final result since the addition of the waist and hip links resulted in a louder result of the technique.

The length of the dress is motivated through using the same at the other skirt bottoms in the collection. As pilling knitwear, one thread of colour was used to create a soft yellow pastel, similar to the minty colour in look number two connecting the ribbed knitwear in the collection.

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Fig. 123Original shape

Fig. 124Linking point at shoulder

Fig. 125Linking at point shoulder and waist

Fig. 126Linking point at shoulder, waist and hip

Fig. 127Close up


DEEFCT GARMENT Lining exposed Wool coat

Fig 128 Fig 129

As the previous outfit displayed the effect of having the lining smaller than the main fabric, the following experiment focused on the expression of having the lining exposed on a garment. As a lining is serving more as a function and is hidden within the construction, having it exposed is regarded as a defect.By investigating this, a wool coat was designed in order to provide volume as well as details for the technique to explore further.

During the first experiment, the lining was enlarged compared to the typical fitted suggestion of the coat. The experiment used a light beige coat with a lining in a brown tone, which resulted in low contrast between the two components. In order to emphasize the lining and its exposed technique, the following process involved adding more details and changing the lining to fulfil a stronger contrast.

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Fig. 130Coat without lining

Fig. 131Lining before assembled into coat

Fig. 132First trial of expression

DESIGN PROCESS - Coat

In order to maintain the method and aim of the project, which is to using the chosen defect as a technique, it was important to use the coat as a base garment in which later is affected by the defect. Through the use of the lining as a new neckline, the remaining coat lapels opened up and slanted off the shoulder. This allowed the lining to perform as a functional part of the coat and not only as an excessive fabric at the bottom hem. By adding details of pockets and lining welt pocket as displayed in figure 136 and figure 137, the relation and navigation of the defect became clearer to identify in the experiment. The use of lighter colour of lining also enhanced the contrast of the two components as a result of the previous experiment.

The coat has an oversized fit with dropped shoulders. The squared pockets are motivated through combining the pockets added on look 4. The sleeves and side seam has a slight curve to them, creating a softer silhouette inline with the design language of the collection.

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Fig. 133Shape of cat without lining - front

Fig. 134Shape of cat without lining - side

Fig. 135Shape of cat without lining - back

Fig. 136Added lining with welt pocket detail

Fig. 137Pocket and sleeve detail

Fig. 138Backside - length of lining

3.4 METHOD FOR EVALUATION AND DESIGN DECISIONS

Through the method by Jones (1992) Adaptive strategy page 77. “Only the first design actions are decided from the start. The choice of each thereafter is a strategy to teach and guide the process forward.”

Fig 139 Image from page 77 of Jones

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4. RESULT

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4.0.1 LINEUP

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4.0.2 LOOK 1

MISMATCHING NOTCHES Material: 70% Cotton 30 % Polyester Sateen

TWISTED T-SHIRT Material: 100% Cotton Single Jersey

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LOOK 1

This outfit consist of the defect of a twisting side seam in a single jersey t-shirt, followed by the defect of mismatching pattern notches in a pair of tailored trousers.

In this outfit, the defects are used as technique to create shape, i.e. form expression. Through using the effect throughout constructing and assembling the garment, the result ended up manipulating the shape of the garments. For example in the trousers, the pattern pieces in itself is not manipulated but the assembly and stitching process create another expression.

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4.0.3 LOOK 2

PILLING SWEATER Material: 60% Spun Polyester 30% Polyamid 10% Acrylic, 5x2 rib

IRON MARKS SKIRT Material: 100% Polyester Micro Sate

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LOOK 2

In relation to previous garments, this outfit practices the defects as surface expression, where the shape of the garments are not effected by the defect but the surface is. The choice of colour on the piled knitwear was so create depth and shading between the white polyester and acrylic thread (pilling formations) and the base knit (one thread of mint green color). The defect of piled knitwear creates a strong association towards neglected sweaters one can relate to own personal experience.

The iron marks skirt is one of the best garments to display a clear ’mistake’ as the shape of the iron is very distinct. The use of the mark on top of a slit also gives the technique depth as the mark was cerated when flat but kept visible in motion.

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4.0.4 LOOK 3

SEAM GRIN SUIT Material: 70% Cotton 30 % Polyester Sateen Polyester Thread

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LOOK 3

This suit is completely stitches the technique of low tensity thread. As the pattern pieces are pulled apart, they expose a ’gap’ between, showing what’s underneath. As this method is regarded as a defect, it is not first hand related to one. The defect often occurs within early prototypes and is not often seen by customers. Through the usage of the light blue thread, the stitches worked more as a visual guide to stop where the defect is mostly visible. By using the many details performed both in a tailored blazer and trousers, the threading became crucial to both be functional and demonstrate the defect. By using topstitching at press creases and around pockets strengthen this need. This also create a united expression of the garment and the defect, where the garment acts like a canvas for the defect to be displayed upon.

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4.0.5 LOOK 4

LINING TOO NARROW BLOUSE AND SKIRT Shell fabric: Micro Satin 100 % PLY Lining: Viscose 100% WS

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LOOK 4

The two-pieces dress is made with a fitted lining underneath, followed by an added shell fabric on top, approx 10 cm bigger in scale. This created a lot of excess shell fabric, where the technique of the defects was practice through. Through using the lining as a base to fastened the shell fabric, the more abstract use of the defect was put in use. The added details of pockets and waistband offers orientation of the original garment as well as possibility for the defect to create form of the excess shell fabric — in shape of creases and folds.

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4.0.6 LOOK 5

MISPLACED SEAMS SHIRT 100% Cotton

EXCESS GLUE PANTS Faux Leather 100% PLY

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LOOK 5

This is an example that practice seams in two different approaches. Through using the excess glue in the seams of the trousers, the garment is kept in its original form whereas in the shirt, the seams offers a silhouette changing technique of the defect. The shirt has strong associations to its original form, but through the use of details such as cuffs, collars, bottom hem, yoke and pockets all misplaced in stitching created shape with the defect as technique. As a lot of the result is most apparent through details, the garment needs to be view closely for them all to be apparent.

Similar is also relevant for the trousers, the use of white leather together with the yellow toned glue created an expression not as apparent at first glance but creates more depth to the garment when view up-close.

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4.0.7 LOOK 6

ACCIDENTAL LINKING DRESS Material: 70% Cotton 30% Viscose Knit: 10x4 ribb

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LOOK 6

This is an example where the defect affects the shape of the garment. In relation to previous knitted garment (pilling sweater in look number 2) this look practices both surface and form manipulation. The linking points offers a silhouette changing technique of the defect. The ribs creating contrast stripes which entails of where the technique of the defect is placed and disorientates the otherwise straight lines. This effect is also visible of where the dress is more fitted compared to where its slightly looser with excess fabric. This is apparent in the shoulders and neckline, since the dress originally has a deep v-neck, the defect has manipulated it into an asymmetrical, rounder neckline.

The small formation of a fold on the shoulder related back to look number 4 and the fitted asymmetrical fit relates back to the twisted t-shirt in outfit number 1.

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4.0.8 LOOK 7

LINING EXPOSED COAT Shell fabric: 100% Wool Lining: 100% Viscose

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LOOK 7

This also an example where the defect affects the shape of the garment. The use of silky lining together with the thicker wool mix created a strong contrast between the two material. As the lining performs as an alternative neckline, the coat is ’slouching’ down, adding new features of creases and form to the coat. The opening of the back slit together with the ’V-shaped’ line a back is all created from the excessive lining. Through the patch pockets, the defect is very well communicated since the excess lining is visible both in scale and colour, which initiates the overall expression.

By making a coat with full finishes (except lining) the use of pressed lapels and hems created the impression of the original garment.

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4.0.9 SKECTHED LINEUP

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DRESS KNITWEAR

4.1 TECHNICAL SKECTHES

LIST OF MATERIAL FABRIC/TRIMS AMOUNT

Main Fabric 100% Cotton Single Jersey 1,5 meter

69

3 cm

OUTIN

Overlocked

NECK3 cm separate collar in self fabric

SLEEVE + BOTTOM HEM3 cm fold up, attatched with single needle elastic sticthEdge !nished with overlock on inside

BODY SEAMSOverlocked together from inside

Binding in self fabric at back of neck seam, covering seam allowance

GARMENT: TWISTING T-SHIRTOUTFIT 1

DETAIL SKETCH

Twisting side seamTwisting side seam


Main Fabric Cotton Sateen 70% CO 30% PLY 2,5 meter

Pocket Lining Cotton Twill 50% CO 50% WS 0,5 meter

Zipper YKK 5mm 20 cm 1 pcs

Hook & Bar Black Metal Hook+Bar 1 pcs

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Press creases

Darts

BOTTOM HEM4 cm fold up, !nsihed of with 0,5 cm piping, attatched with blindstitch

ZIP FLY

Twisted side seam

SIDEVIEW

1 cm welt pocket with edgestitch around

Sideseam

BACK FRONT

POCKETBAG

Pocketstand

Staystitch

Rolled edge

WAISTBAND

SIDESEAMStaystitch

Rolled edge

Folded edge, attacthed with staystitch

INSIDE VIEW - SLASH POCKET19 cm

3 cm

Twisted inseam

GARMENT: MISMATCHED NOTCHES TROUSERSOUTFIT 1

DETAIL SKETCH

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SLEEVE SEAMS0,5 cm single needle topstitch

BOTTOM HEM0,5 cm double folded hemattatch with single needle topstitch

Edgestitch

Slanted pleatOUT IN

2 cm

POCKETEdge stitch around sidesTop double folded 2 cm, attached with single needle stitch

COLLAR - INSIDE VIEW

Edge stitch around collar standCollar clean without stitches

FRONT PLACKETFolded 3 cm wideattact with buttonholes

Box pleat

BOTTOM HEM0,5 cm double folded hemattatch with single needle topstitch

CUFFPlease see detail sketch

CUFFPlease see detail sketch

GARMENT: MISPLACED SEAMS SHIRTOUTFIT 5

DETAIL SKETCH

Edgestitch around placket

3,5 cm

CUFF

Button & buttonhole

0,5 cm double folded hem attached with single needle topstitch

1x pleat

Edgestitch

Edgestitch

CUFF

0,5 cm

OUTIN

Edgestitch

Edgestitch

CUFF

0,5 cm

OUTIN

SLEEVE

Attatched in sleeve only here

CUFF DETAIL VIEW

Edgestitch around placket

3,5 cm

Button & buttonhole

CUFF DETAIL VIEW

GARMENT: MISPLACED SEAMS SHIRTOUTFIT 5

DETAIL VIEW


Main Fabric Cotton Poplin 100% CO 2 meter

Buttons Small Mother of Pearl 4 holes 9 L 2 pcs

Button Large Mother of Pearl 4 holes 16 L 8 pcs

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4.2 DISSCUCION

From the very inception of this project, the question of whether unwanted, unintentional, undesired and disregarded elements in early garment production could be emphasized into desirable qualities has been explored. Not only related to appearance and aesthetic, but also as a different approach to the typical design process within the fashion industry.

As this project had its core in the concept, the idea and method were easily applied to a variety of different combinations (the defect, the garment, the technique). Since each component of the manufacturing and design process generates its own rather unique defect (e.g. the down leaking out of a puffer jacket or shrinkage of a knitted wool sweater), this project had no shortage of materials and/or garments to experiment on. Rather, it was nearly the selection of defects that limited the project.

The important subject of sustainability was rather deprioritized during this project — arguably exposing an issue. If future projects should be done that share similarity with this one, sustainability should and could have a greater focus. E.g. by replacing the polyester materials and instead focusing on natural fabrics and natural dyes, resulting in a lower impact on the environment. Moreover, this would also impact the selection of defects. I.e. defects that stem from such materials would be selected, which might pose interesting results that differ from this project where less sustainable materials have been used. Another suggestion would be to use second-hand garments as an already manufactured base, allowing the experiment to be conducted through the preexisting material instead of cutting, knitting and printing new fabrics to work with. E.g., the technique of seam grin, carried out in outfit 3, could be performed by dissecting a second-hand blazer and assembling it with lower tensity thread.

By using a classic women’s collection or wardrobe, the project was able to explore a variety of different defects in different product groups as well as material. This selection was conscious in order to open up to a variety of different expressions but also to create a stronger accusation towards the ’faulty’ element within the garments. It is displayed as a collection one could picture without the effects of defects, but where the defects have indeed altered the expressions and impressions of the garments, much in line with the intended outcome of the project.

To summarize, the aim of this project was to explore and practice defects classified as undesirable and translate them into desirable qualities. It was indeed an interesting project to embark upon, since defected garments usually are treated in a certain way both emotionally and physically. This, in essence, boarders an aspect of sustainability, i.e. how we treat and regard defects in clothes, and how social status is infused into such garments. What this project has shown is that defects can be emphasized into desirable qualities, and that defects pose vast foundations for further exploration, ultimately challenging the industry’s current perception of defects.

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https://www.yatzer.com/The-Beauty-of-

Figure 15-16, 18, 21-25, 27-33, 35, 37-42, 44-52, 54-64, 66-96, 98-138 Author’s images

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emphasizing the unwanted1468143/...1 emphasizing the unwanted exploring the use of unwanted defects...

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