Creative Process
“The poet is an artist in words, the musician in sounds, the painter in light and shade, or colour in relation to form, or a designer, modeller or artist on canvas; the sculptor deals with form, and is a designer, modeller, and artist in stone. The tailor besides having to deal with form and colour in their relationship to each other, and being a designer, modeller and artist in cloth, has also to deal with the mind, and the eternal fitness of things in relation to matter, the man himself, who is the fountain-head or foundation of all science and art”
“The poet is an artist in words, the musician in sounds, the painter in light and shade, or colour in relation to form, or a designer, modeller or artist on canvas; the sculptor deals with form, and is a designer, modeller, and artist in stone. The tailor besides having to deal with form and colour in their relationship to each other, and being a designer, modeller and artist in cloth, has also to deal with the mind, and the eternal fitness of things in relation to matter, the man himself, who is the fountain-head or foundation of all science and art”
The tailors classical and infallible textbook of cutting
all garments worn by men, women and children
I recently found this old English book, there is no date on it but for the garments that are illustrated it appears to be from the second part of the 19th century. The author provides a meticulous analysis of the fundamentals of tailoring and sustain that it is Art. I believe that fashion can be art!
Like any art, inspiration is the foundation of the creating process. You can find inspiration in anything. For me, I draw it from culture, art, architecture, feelings… but mostly nature and this always reflects in my creations. Nature provides infinitive textures, combinations of colours and shapes from where to get ideas.
After performing my research on a chosen theme, I identify specific elements that will truly capture the theme and will form the base of the collection. They will be developed through sketching, making samples of fabric manipulation and making sample garments. These elements will fuse into the garments and will make a connection between them.
Collections do not always finish with the season, they can evolve, new designs can be added to them or ideas that you had, then can develop and merge into something totally new.
To emphasise the importance of the creative process I have outlined below the stories behind each collection.
I recently found this old English book, there is no date on it but for the garments that are illustrated it appears to be from the second part of the 19th century. The author provides a meticulous analysis of the fundamentals of tailoring and sustain that it is Art. I believe that fashion can be art!
Like any art, inspiration is the foundation of the creating process. You can find inspiration in anything. For me, I draw it from culture, art, architecture, feelings… but mostly nature and this always reflects in my creations. Nature provides infinitive textures, combinations of colours and shapes from where to get ideas.
After performing my research on a chosen theme, I identify specific elements that will truly capture the theme and will form the base of the collection. They will be developed through sketching, making samples of fabric manipulation and making sample garments. These elements will fuse into the garments and will make a connection between them.
Collections do not always finish with the season, they can evolve, new designs can be added to them or ideas that you had, then can develop and merge into something totally new.
To emphasise the importance of the creative process I have outlined below the stories behind each collection.
Collections
Amalgama SS
Amalgama, amalgam in English, is a mixture or blend of things of different nature.
I wanted to incorporate this concept into my collection through blended elements of my origins in Granada and my current location in County Wicklow – from the motives of the tiles of the Alhambra Palace to the shape and beauty of the Sugar Loaf mountain, from the movement of the flounces of a flamenco dress to the fields of the Irish countryside.
The colourful geometric patchwork that meets in the seams resembles the boundaries of the fields and the motives of the tiles. Vibrant green, blue and yellow silk taffeta mix with white cotton and cream organza to enhance the colours. The green also predominates in comfortable organic jersey garments with a touch of silk.
Corrine Crennan Photography
Irina Cojocaru- model
Julie Cojocaru- model
Blue
I like to walk beside the sea. I am always amazed how many different colours it can reveal everyday – shades of different blues, greys, greens, silver… I started to play with shades that would go from the deepness of the water to the surface and the interaction that would have with the surroundings.
The idea grew into using anything blue or anything related to blue. I then included in my inspiration the eyes of my eldest daughter and the picture of a shark I had in one of my old sketching books.
Block shades of blues, patch work and asymmetric lines define the designs for this collection.
Martin O’Neill Photography
Raiane Borges - model Morgan de agency
Anne O’Shea Stylist Morgan de agency
Niall Durack Makeup artist
Barrs and blue
“We are all in the gutter but, some of us are looking at the stars”
Walking along the pier, I saw a bench that I had seen hundreds of times before. But this time I just saw the bars that formed it besides the freedom of the sea. I related that to the experiences with the pandemic. It reminded me of the beautiful gate on the stony wall, bars and the freedom of the forest behind. Is it a paradox? Dichotomy? Contradiction? Irony? We are prohibited to do things but now we learn to appreciate them.
Focussing on the dichotomy concept, I named this collection bars and soul, meaning to me, although we have limitations, we also have our inner freedom to develop the best from the worst.
At first, I thought of using just black and white as a contradiction but then I introduced colours to reflect the different reactions we all can have to the same situation.
The wide knife and inverted pleats emulate the bars while the loose shape on the garments symbolise the soul.
Martin O’Neill Photography
Raiane Borges - model Morgan de agency
Anne O’Shea Stylist Morgan de agency
Niall Durack Makeup artist
Eternal Nefer
This collection was my last project in College. “Nefer” means “beauty” in Egyptian. While on a trip to Berlin I visited the Neues Museum and was inspired by the iconic bust of Nefertiti.
Fascinated by both the beauty and history of the sculpture, I decided to research certain elements Egyptian culture in more detail. Their concept of afterlife, which is represented by the process of mummifying and by the luxurious surroundings of the tombs, made me decide to use leather as it is biodegradable but durable material. Furthermore, it can be part of a trans seasonal wardrobe. To learn more about leather I travelled to a town called Ubrique in the Southern Spanish province of Cadiz. This town is well known for the leather business.
In this collection, the colour palette is influenced by the colour of the hieroglyphics and the luxurious tombs. I emphasized techniques such as weaving and smocking inspired by the texture of the pyramids. Slanted hems reflect the pyramidal shape. Finally, I introduced wavy patterns, to reflect sand in the desert, made from different materials.
Martin O’Neill Photography
Raiane Borges - model from Morgan de Agency
Anne O’Shea Stylist from Morgan de Agency
Niall Durack Makeup artist
Amalgama AW
This collection is the continuation of Amalgama summer, same inspiration, same places but different elements and materials.
In contrast to the summer collection’s colourful geometric tiles of the Alhambra Palace in Granada, I decided to focus on the wood and chalk ceilings. Instead of the shape and colour of the fields in the Irish countryside I chose the tangled roots and branches of the trees in Kilmacurragh gardens. Still geometric shapes and flounces are involved. The garments are made with different weights of wool fabric in shades of browns and cream colour. To achieve structure influenced by the solid wood I introduced quilting techniques, playing with the lineal pattern of the fabric. Crochet diamond stitch is used to resemble the texture of chalk ceilings featuring neck, sleeves and cuff pieces. Hair pin crochet waves and row strips of silk adorn some designs in order to capture the curvy, tangled branches of the trees.
In contrast to the summer collection’s colourful geometric tiles of the Alhambra Palace in Granada, I decided to focus on the wood and chalk ceilings. Instead of the shape and colour of the fields in the Irish countryside I chose the tangled roots and branches of the trees in Kilmacurragh gardens. Still geometric shapes and flounces are involved. The garments are made with different weights of wool fabric in shades of browns and cream colour. To achieve structure influenced by the solid wood I introduced quilting techniques, playing with the lineal pattern of the fabric. Crochet diamond stitch is used to resemble the texture of chalk ceilings featuring neck, sleeves and cuff pieces. Hair pin crochet waves and row strips of silk adorn some designs in order to capture the curvy, tangled branches of the trees.
Martin O’Neill Photography
Raiane Borges - model Morgan de agency
Anne O’Shea Stylist Morgan de agency
Niall Durack Makeup artist
