My Venture Into Menswear

In the past few months  I have moved to Hamilton, ON. I am excited about new beginnings and fresh opportunities. Something I have begun to realize during my brief time in Hamilton, is that there is an fantastic emerging art scene. There is an art crawl every month on James St., where the street is filled with local creations and art, performing arts and visual.

Since my decision to stay here, I was asked by friends of mine, Brad Melle and Evan MacAlpine  (of the Hamilton Electronic band Allosaurus), to design their stage attire.

Their brand new, debut album “Old Solar” is incredible, and definitely worth a listen.

Now, as I am trained in woman’s wear, and have yet to venture out of that, I was intrigued, and maybe a little nervous about this proposal. So I started hardcore research mode! The only specifications that were given to me, was that they wanted 50s style fitted suits. The first thing that popped into my mind was to trim the lapels and hem of the suits in contrast white. And then I was thinking of Buddy Holly for inspiration. (But keeping in mind, I didn’t want the suits to be TOO Buddy Holly).

So I began researching pattern drafting for men’s suits. And after many hours of dead end searches, I came upon the book “Il Modellismo: Tecnica del Modello Sartoriale e Industriale” by Fernando Burgo. And it was in Italian, but of course!! So I had to find an English translation. Then, being European, the instructions are all in metric, and of course, I work in imperial. So the book was translated and converted. And then after great lengths I was ready to begin.

So, I invaded my new friend’s large kitchen table to begin the pattern drafting! (Thanks guys) I decided to draft a classic fitting suit, then as I made the muslins, and had the first fittings with the guys, I could pin out a more fitted look. As I constructed the muslins, I was shocked to find, they actually looked like SUITS!

The first fitting, went really well. besides the fit, there was no major alterations needed. So I went back to the patterns to make the alterations from the muslins. And then I began to draft the finishes like lining and seam allowance, etc.

I have begun cutting the fabric, next week I am going to begin sewing!!

to be continued…

Hanasakajijii Spring/Summer Collection

This is my portfolio from my grad collection:

The I designed portfolio exterior as an elongated, slender silhouette, to reflect trees in a forest. The collection logo I designed on Photoshop, I incorporated the Title of the collection on the lengths of the branches. After I had designed what I wanted, I went to the company Shrapnel Designs, in Vancouver. (http://www.shrapneldesign.com/) They make custom portfolios, menus, etc. They were amazing to work with. We chose bamboo for the exterior to keep with the earthy feel. And then they used a burnt etching technique, to incorporate my logo on the front. They had to custom make the medal binding, as they had never made anything with these proportions.

I created the logo for my design label ‘Amanda Montgomery’, beginning with the medium gouache on watercolor paper, I created the ‘M’. I then took a photo with my iPhone and uploaded it to Photoshop, where I adjusted the contrast and saturation. The font I chose to complete the logo is sans serif called ‘Champagne & Limousines’ by Lauren Thompson.

For my fabric swatch page I painted a black tree in india ink, on papyrus paper. I then cut out shapes of leaves with my Xact-o knife, and mounted the fabric from behind. For my color story I used moss greens, chartreuse, vibrant plums, and black. As I was creating a collection inspired my ethereal forests, I chose to use natural fibres, sticking mainly to silks (Duchess Satin and Dupioni) and crepe wools.

Looks 1 & 2 are from the Separates group. Look 1 (Left) is a chiffon ruffled halter top. Topped with a cropped silk capelet. This is paired with one-legged pants with asymmetrical draped skirt, and a, exposed zipper running down the front of the leg.   Look 2 (Right) is a silk romper, with a hand-painted ‘moss’ lace. This is topped with a silk cropped jacket with a magyar sleeve.

Look 3 is an asymmetrical neckline top. The texture of the top is achieved through crystal pleating. 2-tones of chiffon are used in the top, which is paired with a skinny satin pant.

Look 4 is a one-legged jumpsuit with a asymmetrical draped skirt. This garment features a heart neckline and is made of a chartreuse, silk dupioni. It has an industrial exposed zipper running from the neckline down the front leg.

Look 5 is a heart neckline bustier and tucked bermuda pants both in chartruese silk dupioni. Topped in an asymmetrical, plum-colored silk dupioni over sized shirt.

Look 6 has a 50’s inspired silhouette. In black Duchess Silk Satin, this cocktail dress features a boat neck, and a full skirt. The free hanging panels are also made of the Duchess Satin, atop hand-painted Vera Wang lace. (To give it a ‘moss-like’ texture).

Look 7 is a layered silk organza cocktail dress.

Look 8 is in chartreuse silk dupioni the dress is draped and tucked, with plum colored organza bondage. The juxtaposition of the soft and the harsh seen in the lines of a forest.

Look 9 is a boat necked, sheath dress in Black Duchess Satin, and features an oval open back. The free hanging panels form a peplum of silk dupioni.

Look 10 is constructed similarly to the top in Look 3. It has an asymmetrical neckline, and is 2 tones of chiffon, with the texture achieved through crystal pleating.

Look 11 is a heart neckline gown. The heart neck bustier is made of hand-painted Vera Wang lace. The skirt of the gown gets its texture through the Japanese art of pleating and manipulation known as Shibori.

Look 12 is a gown of layered chartreuse organza.

Look 13 is heart neck bustier with a plum colored dupioni, underskirt. The detail along the sides and back are free hanging panels in black Duchess silk satin, same as the bustier.

Look 14 is an asymmetrical gown. The bodice of the gown is a one-shoulder, draped and tucked silk dupioni, with plum organza bondage. The skirt is constructed in silk dupioni, as well. Using a layering technique, and creating a silhouette of the skirt to be asymmetrical as well, being knee length in the front, and floor length in the back.

Look 15 is a black Duchess silk satin with a heart neckline. The skirt of the gown gets its texture from the technique called Shibori (Similar to Look 11). The topper is created to look like a “Waves” over vest. I used a fabric called FOSSHAPE. (see previous post for details) It was heat set to form to the bodice, and to create the shape of the waves. Then I covered it in hand painted wool crepe.