The following projects were pieces I was responsiblefor and work on at my time both Interning and as a Freelance Designer at Marchesa Couture.
As part of my Internship I was able to work with the surface design and embroidery department wear I helped develope embroidery techniques and design embroidery artworks.
One of my major projects for the Fall 2014 show was look #17 I started by reciveing an image of smocked chiffon, from there I presented different smocking techniques and pieces. As the project evolved the smocked top shifted to a skirt and the embroidery design I did was paired with the skirt resulting in the cocktail dress above.
Another project I had for the collection was working on a "deconstructed kilt". It started with a vintage lace kilt and an openess to interpretation. After a few samples the drape was then cut in black Chantilly lace lengthened and attached to another bodice to create the black lace collumn gown.
For the Spring 2015 collection I primarily took charge of all 3-D fabric manipulations. This resulted in a series of drapes and blooms scattered throughout the collection. Using beautiful quality fabrics I sculpted and twisted the textiles to achieve a perfect rose bloom. Here it was set onto an oversized bishop sleeve. The pattern above indicates the intricate lines each unique petal follow to achieve the desired look.
This is an example of how I was to present options to the Creative Director. I had to produce the blouse in multiple fabrics so that the drape, color, opacity and techniques could be assesed side by side. This extreme attention to detail is one of the many things that I learned at Marchesa.
Again the blooms were applied but this time using a variety of textures, qualities and types of silk. The plastron went through a few design changes before ultimately resulting in the ivory tuxedo plastron.
The drape for this look was originally planned for a sales look (Gown featured mid right) but was ultimately incorporated into the top half of the jumpsuit featured far right. The twisted and folding again was meant to invoke that of a rose and was achieved using soft draping techniques relying on the fabric to dictate its shaping.
In this skirt the roses were meant to swirl and bloom into each other resulting in a cacophony of painterly blossoms. The petals originally in black moved into a triad of oranges. Each petal painstakingly painted by hand to achieve the subtle ombre was then draped
separately and then applied to the skirt using large petals and flounces to marry them together.
This look was a result of the marrying of two garments. The first a heightened and romanticized bolero and tuxedo shirt and a skirt dipped in manipulations and microelements. The top being a project I over saw found its match through the creative and experimental fittings at Marchesa