project – Jabberdust first samples

blog friends,designers,illustration,projects — Danielle on March 1, 2011 at 5:12 pm

This is a really cool project – I was asked by designer-entrepreneur Leah Barrett to submit some ideas for her accessories line, Jabberdust – and as an added benefit, she’s encouraged me to blog the process.

You can see my original rough pencil thumbnails here, the refined drawings here, and Leah’s early spec sheets here. The first samples have just arrived back from India for review, and here they are, with comments from Leah and me:

Reversible Tabard

Leah says:

Embroidery worked on both sides at the same time has turned out very interesting. You can see how the stitches have been picked up.. looks great. The new sequin made from wood laminate is eco-chic looking.. nice texture.

I say: I LOVE the look of the sequins on the reversible tabard, both sides! The fringe at the edge… not so much.

Tuck Scarf

Leah says:

Perfect! soft chiffon ruffles hand sewn down while beading.

I say: The tuck scarf is perfect!

Leah says:

I don’t like it as it is colour/beading, too Indian or too referenced?.. but will continue with construction and maybe the final will be better.

I say: not really loving the embellishment. Would love to see something more similar to the tabard. I’m really curious to see pictures of the tabard and the multi-hole scarf on a person!

Feathered Capelet

The panel with trim before sewing:

One possible fabric – wool acrylic lurex blend slubbed jersey

Placed to show the result.

Leah says:

No cutting sewing has happened yet, Tell me what you think. As for me, I was thrilled, couldn’t be more pleased I’m really looking forward to the finished piece.
I say: I’d really like to see more irregularity and variety in the trim. Longer feathers towards the front.
Spiked Shrug

Panel with embroidery done within lines to fit the pattern:

Front of shrug

Back close up.

Leah says:

Ice, spikes, crystal beads: The piece is stunning a real show stopper. It’s heavy, let’s see how the fitting goes.. have not met the sample maker yet. I hope she doesn’t bail. I had given up on this style, because I didn’t expect to find materials. This is where a visit to India can be helpful. After a 4 hours of walking through the worlds busiest embroidery findings market, we found this and I okayed it.

I say: I’d really like to see more variety in this one as well, and with lighter materials – long sequins, feathers, ribbon trim.

Overall, its quite incredible to see my ideas progress into reality! Looking forward to seeing further iterations. Thanks Leah!

 

 

my first London Fashion Week – day 3

designers,events,illustration,London — Danielle on February 25, 2011 at 4:02 pm

Sunday, February the 20th started off at Jayne Pierson (lower left), a welsh designer who showed lots of hard-edged, black leather stuff riffing on 18th century styling. Unfortunately for Pierson, at this stage in the week I felt like I was seeing the same shapes, fabrications and references over and over, piled on top of one another in different combinations. There was one piece that I truly liked – a simple asymmetrical black leather shift with a zipper over one arm, and that was the one I drew – everything else just seemed like too much stuff.

What is with this rush to the middle of the pack when it comes to references? The next presentation I attended, Designers Remix (above left), featured the same type of rococo beehive hairdo, though at least the clothes themselves were modern in flavour. This designer used another technique I kept seeing over and over in London – cartridge pleating. Its an extremely archaic effect, and difficult to update – its a lot of fabric, its heavy, and it adds weight wherever it is used. Although Designers Remix managed to use it more effectively than most – just a little cartridge pleating goes a long way – every time I see it, I wonder, why even try?

(Side note: I almost forgot to mention a fashion week highlight from day 2 – I got a haircut from the Toni&Guy salon in the tent! The stylist, David, cleaned up my ragged edges and made me feel cute. It was the only bit of “swag” I got all week, and without a doubt one of the best fashion week treats I’ve ever received.)

Jazz Katze was the next show (above left), and although the styling was interesting, when the most memorable part of a show is the hair, that’s a shame. I can see Katze’s designs having a market, its cute stuff, maybe that market isn’t a fashion show audience.

The last show I saw was Fashion Mode – an organization that selects and incubates up and coming designers. The triptych of designers couldn’t have been more different from eachother. Florian Jayat (above center) showed quilted cocktail dresses, and the peaked shoulder detail that was definitely a trend throughout the week. Then there was a menswear designer who mostly showed variations on pagoda shoulders, I didn’t get a decent sketch. Carlotta Actis Barone (above right) created a suitable climax with dramatic, feminine gowns and fantastic hair and makeup to match.

That was it for me – after so many lineups I was all queued out. I didn’t have any push left in me, and I had work to do, so I hopped off the London Fashion Week bandwagon. It was a lot of fun, but ultimately I had the luxury of calling it off when I had enough – and considering that fashion week in London is such a too-much-is-never-enough affair, enough came sooner rather than later.

my first London Fashion Week – day 2

designers,events,fashion shows,illustration,live drawing,London — Danielle on February 22, 2011 at 6:51 pm

My Saturday, February the 19th morning started off at Georgia Hardinge (below left), an award winning designer with the designs to back it up. It was the emptiest show I went to all week, which was too bad because it was also one of the highlights. Getting the fashion crowd up after Friday night is a no-go… though on the other hand, those in attendance were attentive. Hardinge showed Geiger-esque digital prints, crisply aerodynamic shapes in jackets, body-conscious dresses with amazing cut details, and jackets with undulating cut edges and dimension suggesting topography, or dunes, or the patterns that waves make on sandy beaches. Truly incredible execution, confirmed when seen up close at the exhibition upstairs later.

It was a very dull, rainy, cold day in London. My next two shows were both from the PR company that scatters “e-vites” like confetti. I walked past insanely long lineups of people waiting in the rain with damp computer printouts and thought to myself: I don’t love fashion shows as much as these kids. Instead, I whiled away the afternoon in bookstores.

The last show of the day was Bryce Aime (above right), and the first time (out of three attempts) that I actually got to see the inside of the On|Off venue. Aime showed a series of sharply cut leathers and leggings, and over the course of the show the models got encased in acrylic crystals printed with satellite photos of snow-covered landscapes. It was the most successful gimmick I’ve seen in a long time, and not in a small way because the beauty was so subtly done – simple eyeliner and a softer version of the mohawk/quiff  created a lighter shade of punk. So many designers try and fail to do anything new with black leather and hard edges, it was great to see it done with a defter hand.

Two out of two shows that exemplified what I had hoped to find in London – designers that manage to be interesting and sophisticated, at the same time – not an easy thing to do by any means.

Skipped the after parties again!

my first London Fashion Week – day 1

designers,events,fashion shows,illustration,live drawing,London — Danielle on February 21, 2011 at 8:15 pm

After working Berlin fashion week, I dropped the ball a bit for London Fashion Week, with no freelance project obligations to encourage me. My application for accreditation was slow to go through and before I knew it, it was already February, and I hadn’t done any show requests or anything.

Then I kicked my own slack self in gear and made calls, dropped like a hundred cold emails. I’m only in London for a limited time, and I’m here to meet people – its not like I can let the first fashion week get away from me. Its true that fashion weeks can be a painfully vast amount of bureaucracy for a very limited amount of showtime. The truth of it is that the queuing, the emails, the invites, the rejections (silent or polite, rejections were the norm, I am nobody in London), is a sorting process, an extremely elaborate people-mixing machine. There really is no better way to meet a lot of fashion people than through the shared subhuman tedium punctuated with brief flashes of disappointment and awe that is a fashion week.

The week started off stillborn on February 18, with a long outdoor queue (where I met up with my euro-gig-buddy, Barb) for the Jena Theo show. I prophetically gave us a 50:50 chance of getting into what was rumoured to be a small venue at On|Off… and I was exactly right, as we got cut off by Health & Safety just as soon as we reached the door. Seemed like from then on, I should be putting pounds down on my bets.

The truth is, I had nothing to expect – I was familiar with none of the designers whose invitations I received. The first show I managed to actually attend was Prophetik. A sketch from the show is above. The show started with a really long powerpoint statement that I didn’t finish reading in time – this is obviously a brand that subscribes to Philosophy, as well as taking inspiration from historical costumes especially 18th century revolutionary styles. The effect was somewhat like a costumes for a cult. It was extremely well made, sturdily crafted stuff, but also heavily literal. The show succeeded, with live music and a total vision in styling, in transporting the audience to another time and place – however the clothes seemed to belong in that time and place, and not in fashion, here and now.

I was supposed to attend Jean-Pierre Braganza next, however, I made a rookie mistake about the venue. So instead, I saw the Ones to Watch show, a collection of promising designers sponsored by Vauxhall, a car company.

Kirsty Ward (above left) was one of my favourites of the week so far. She took a very standard material favoured by young designers – sheer sparkle organza – and made it interesting, shaping it into freeform loops with wired, bound edges that suggested discarded, airily inflated clothing, and paired it with extreme hardware in the form of necklaces made literally from hardware. Anja Mlakar (above right) did colour and texture, playing with oversized woven effects, laser-cut windowpane patterns, plush velveteen contrasted with moire and sheer, and padded rings around the body.

Tze Goh (above left) did a post-modern version of Jackie Kennedy – wools and neoprene that stood away from the body, careful seams and rounded forms. A fitted capelet created the suggestion of shoulderblades underneath. In a week where there was so much muchness, Goh’s designs were refreshing. Sara Bro-Jorgenson (above left) did gauzy, gothic knits that still managed to be modern – including intarsia trompe-l’œil effects that fooled some editors into thinking they were merely printed.

After a bit of a break, I went to line up for the only proper tent show I was invited to, Bora Aksu. Well, I use the term invited loosely – this particular PR company simply told me to show up with a printout of my emailed invitation… and of course, I wasn’t the only one who received these peculiar instructions. It was a mob scene. There is a man who does the difficult detail of herding cats into their separate holding pens – priority, seated, and standing. I don’t envy him his job – it seems very stressful and somehow he manages to be somewhat good humoured about it. The hordes of standing people with their printed invitations crushed and carried me along into the runway room, or I guess maybe the catwalk cave? I ended up in a high corner where I had a distant view of Bora Aksu, which from far away seemed like so many tubular leather corselets, chunky cable knits, and green lace bridesmaid’s dresses, all smashed together.

After that, I went to Brick Lane to take in a couple presentations, including one by Christopher Beales, whose sharply pointed, glamourous gowns had a linear sensibility to them that made them a pleasure to draw. This was my favourite, emphasizing and echoing hipbones and shoulder blades.

There were after parties that I didn’t go to. I am more of a daytime girl, at this stage in the game I think its OK to admit that big beats and open bars don’t really draw me.

attending – launch of Amelia’s Compendium of Fashion Illustration

attending,books,illustration — Danielle on January 29, 2011 at 6:49 pm

Amelia’s Compendium of Fashion Illustration features artistic renderings of fashion and jewelry design, and interviews with designers united by ethical and environmental concerns. The beautiful illustration on the right is by Joana Faria and features earrings by Emmaware. There is a tremendous variety of up and coming fashion illustrators featured in the book.

Developing a social life in a new city is a gradual process. I’m just in the early stages of finding opportunities to attend events and I’m very grateful to all the new friends who have been so welcoming. Among them, Courtney Blackman of Forward PR, introduced via the lovely Kimberly Lyn, who encouraged me to come and check out the launch of this book.

The party itself was a total hoot. Everyone I spoke to was friendly, enthusiastic and smart. Amelia is clearly a powerhouse networker who draws talent together to create what really is – as it was put in almost every conversation – a labour of love.

The other thing that was quite remarkable to me – coming from Toronto, a city with just a handful of fashion illustrators – was being at a party where it seemed like the majority of attendees were fashion illustrators. There was too much festivity to talk shop though – fashion illustrators are fun, if I do say so myself.

drawing – illustrations for Jabberdust

blog friends,drawing,illustration — Danielle on January 11, 2011 at 12:04 pm

Last week I shared the rough thumbnail concepts I came up with for Jabberdust. Leah and I selected five designs we felt had promise, discussed some changes, and I developed more some more polished illustrations to help communicate the ideas to the factory. The next step is samples; at this stage Leah is in contact with India, negotiating what can and cannot be done. I expect there will be some design creep from these drawings – there always is – and I’m (patiently, of course) looking forward to seeing the developments as they are executed in fabric and embellishment.

drawing – Fresh Collective FW10 paper doll

drawing,illustration,paper dolls,toronto — Danielle on November 2, 2010 at 1:47 pm

Isn’t she gorgeous? I had the wonderful opportunity to work with a favourite client (and former sponsor), Fresh Collective, to create a paper doll for a press kit promoting the best fall merchandise by several designers. The best part? The doll is in magnet form and will be gracing the most fashionable fridge doors and file cabinets in the city.

There are also a limited number of paper doll kits available for purchase from Fresh Collective – and I’m told there will be some available to win in upcoming promotions.

Thanks Fresh Collective for a fun, colourful paper doll project!

Love, Loss and What I Wore + my own stories

books,illustration,meme,reviews,what I wear — Danielle on September 13, 2010 at 8:43 pm

On the weekend I was treated to a Canadian stage adaptation of the book Love, Loss, and What I Wore
by Ilene Beckerman. The original book was a collection of memories and drawings by Beckerman, who was a grandmother, not a novelist, who just wanted to record something for her children and grandchildren, to give them a sense of who she was when she was young. Chick-lit novelists and screenwriters Nora Ephron and Delia Ephron expanded on the simple premise to create a stage play which is more like a reading, not only using Beckerman’s stories but a variety of stories from various characters.

The cast of accomplished actresses includes Canada’s formidable fairy godmother of fashion media, Jeanne Beker. Beker’s at the top of her game right now – writing books, designing clothes, and celebrating a 25 year run as the face and force of Fashion Television. I can only hope that at Beker’s age, I’ll have a fraction of the hotness she’s got – her career is on fire. As an actress, she’s amazing when she tones it down (as she tells a story of being a breast cancer survivor), though when she tones it up (as when she mimics a teenager) she gets very brassy. The stand-out story of the night was actress Sheila McCarthy’s rant against the burden of handbags, which I found relatable and hilarious. Sometimes it seemed like the humour was a bit old-fashioned, designed to appeal to moms and grandmas, but overall it was an entertaining evening and probably just the thing to bring your mom or your grandma to, if she doesn’t mind a bit of swearing.

In the play, the character who corresponds with Beckerman, played by Barbara Budd, even shows the audience how to draw a simple figure, encouraging them to record drawings of their own sartorial memories.  In the spirit of the play, I was inspired to sketch and remember a few things from my own brief history, though I had to stop at the point where love and loss really started to come into play. I’ll save that for when I’m much older. Its funny how so many of my early memories involve clothes, and often some kind of distress. Maybe its because distress is such a strong emotion, it sticks.

My Nana used to knit all of her grandchildren matching sweaters and hats.  I had a white sweater and a maroon coloured hat with a white pompom.  One of my very earliest memories is chewing the pompom off of this hat, and then feeling, with great intensity, regret. I didn’t know why I had done such a thing, and I couldn’t put the pompom back on.

One Christmas, my cousins came to visit, and we were all dressed up in our best clothes for pictures. My cousin Sarah, who is the same age as me, had a new white dress and white stockings and white shoes, and she looked so exquisite. I had a hand-me-down dress which was all different colours, I think the skirt was striped and the top was white with plaid trim, and I wore with it itchy, fuzzy red wool stockings which fell down with the crotch around my knees, and black shoes. I remember being photographed next to Sarah and feeling deep envy.

When I was around four years old, I remember dressing myself for the first time, by myself. Alone in my room, I tugged every item of clothing I owned out of the dresser, and put things on and took things off for what seemed like hours until I had successfully assembled an outfit, a pink top and a maroon-red pair of corduroy overalls. Feeling very proud, I ran downstairs to show my mom, and the first thing she said to me was that pink and red clashed. I had no idea what clashing meant and didn’t understand what I had done wrong. The funny thing about this story is that my Mom is anything but a fashion expert, quite the opposite, and what she said was just something she remembered her mom saying, and she remembers this story with a similar sort of bemusement for totally different reasons.

When I first went to school in the cold winter, my mom would put hat and mittens on me every morning. She put a little white hat on my head that tied under the chin. At school, a redheaded boy in the grade ahead of me told me it was a baby hat. I don’t think I had ever been insulted before in my life. It was massively distressing and affected me all year – not just with a total revulsion towards anything babyish or hats, but I remember actively avoiding this little boy, literally hiding from him, for the remainder of the school year, not that he would have noticed.

When I was in middle school, I realized I needed glasses when I had to copy notes from the boy who sat behind me. My first pair of glasses, which I chose, were large and round and unstylish, and by grade 8 I totally regretted my choice. Unable to get new glasses due to the expense, and not being devious enough to break them by “accident”, my response was to wear my hair over my head and wear a very floppy, suede hat overtop that almost totally obscured my entire face. I looked like Cousin It. I wanted to be invisible. I didn’t even want to take my hat off for the school formal dance at the end of the year, to the objection of my mom, who once again remembers saying something her mother would say: “you can’t go to town in that hat”.  For grade 9, I decided to homeschool, thus achieving total invisibility.

When I was in my early teens, flared pants became fashionable. Unfortunately, all of my pants were tapered, and terribly uncool. Since I was wholly unable to find any flared pants in the church thrift store, I looked through my parent’s old clothes and found my dad‘s wedding suit, made of corduroy, naturally. The pants were massively flared, and even though I was a tiny 90 pound girl and my dad was a 6 foot tall man, I wore these pants, using his old ties as a belt to keep them from falling down.  I wore these pants so constantly, I wore holes through the knees, and patched them, and then wore holes through the patches, until they were literally rags and my parents finally relented and gave me $80 (a price they found ridiculous for a pair of pants) to go buy a pair of flares from Jean Machine at the Quinte Mall.

Raver pants became the thing as I entered my mid teens, and again I couldn’t figure out a way to get them.  I remember seeing a copy of Seventeen Magazine, either at a friend’s house or somehow acquired, which had a teeny tiny little quarter-page feature in it about a teenaged girl who made her own DIY raver pants. I obsessed over this article (much like I did over these ones, later). She would achieve this by laying another pair of pants on a piece of fabric and tracing over them, but bigger. I thought I could do this, and the first clothes I ever made were a series of these pants using old fabric my Oma got from the Levi’s factory. They were horribly cut and sewn. I didn’t finish the hem or the waist, and I couldn’t figure out how to insert a zipper so instead I just made them too big so I could tie them on with a strip of selvage. I wore these pants all the time.

I was telling the stories in this post to my mom on the phone and we both shed a few tears and laughed a bit. She said how all of these stories reveal just how clueless she is when it comes to style. I think what they all have in common is how strongly I always felt that I was wearing the wrong things, and how little resources I had to do anything about it, and how this struggle, these intense feelings of distress, so completely defined the path I would choose for my life and my career. Now, at the age of 27, I am often filled with a inordinate sense of wholeness as I wear clothes that I love and feel comfortable and attractive in. I can never take this feeling for granted.

The coolest thing about Love, Loss and What I Wore, is that it is a meme. What items do you remember that defined a moment of your life? There’s something about this simple idea which is so irresistible.

portfolio – Pippa paper doll for Bloomingdale’s

illustration,paper dolls,portfolio — Danielle on August 30, 2010 at 2:30 pm

This summer I had a dream come true – I got to work on a project that brought my paper dolls to life, thanks to a dream client, Bloomingdale’s!

Pippa is a line of chic, career-girl-friendly separates, and the paper doll is a fun way to show how easy it is to mix and match.  Visit the site and click on Mix & Match to play.

Thanks so much to the team at Bloomingdale’s, I think the site looks amazing and I am so proud to be a part of it.

portfolio – editorial illustration for Threads

illustration,portfolio — Danielle on August 11, 2010 at 11:38 am

My first ever glossy magazine editorial illustration was in the July issue of Threads Magazine, a magazine I used and enjoyed even before I became a fashion student. Threads had also introduced me to some of my favourite 20th century designers, Fortuny and Charles Kleibacker. The brief was to illustrate a delighted seamstress showing off her magically perfect darts, I also included my own favourite vintage domestic machine, the Necchi, as a little tribute to my Nana who gave me the machine.

Thanks so much to the editors and staff at Threads for this opportunity – I consider it a milestone in my brief career.

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