I bought a lighter fabric for the ruffles as the calico was much too thick and would’ve been extremely heavy on top and wouldn’t have fit on the shoulders flat. Although, I did prefer the ruching under the bust when I used the calico as it gave a much more full appearance; making it more striking to look at.
CREATING THE PATTERN
For a large portion of my pattern I used the cardboard cut outs to get a basic shape. For example; the sleeve, jacket, hood and bodice lining. And I created the skirt using one piece of fabric. However, the bodice was a bit more tricky.

THE SLEEVE
- To achieve a fuller sleeve I split the sleeve up into 4 equal pieces and then stuck the pieces back down making sure the top part remained together (so it would still fit into the armhole perfectly) but the bottom was spread apart. I ensured the spaces between were exactly the same measurement – 6cm. I knew this worked well as I did a practice before making the real thing.
THE HOOD
- I used the basic card pattern pieces to create the hood but I had to alter it slightly. I preferred a center seem rather than a middle panel, so it would line up with the back of the jacket. This meant I had to halve the panel and add it to the hood, which I then cut out four times as two pieces were for the lining.

THE JACKET
- The jacket bodice was pretty simple to create as I just needed to give some volume to the bottom. This meant that when I added the ribbed edge it would give an interesting shape that puffed out and came in at the waist. So I carefully drew a line that came across from the sleeve and angled down to meet a straight line coming from the bottom. I cut along this line and moved it, just like I did with the sleeve, to allow for a longer hem that would be gathered.
- I then used the pattern to make a smaller section for the lining. I traced this onto a new piece of paper so I was able to cut it out and pin it onto the fabric.

THE SKIRT
- The skirt was made to be simple as it was just a really long piece of fabric that I gathered along the waistline in multiple strips to give a ruffled effect and a exaggerated silhouette. I made the mistake of not putting elasticated thread on top and in the bobbin which meant it didn’t stretch as much as I’d hoped it would. I would have done this again if I had the time but the gathering of each line was quite time consuming and I only realised after it was too late. It was supposed to be something you could easily slip on but ended up being much to small.
THE BODICE
- To create the part of the bodice under the bust I had to work from the mannequin as I wanted to achieve a perfect fitted shape inspired by corsets. I used a black and white tape that stuck to the mannequin perfectly but was easy to move around, I really enjoyed playing around with it as I’ve never used it before. From there I quite awkwardly pressed the paper flat onto the mannequin to try and trace each shape individually and then added a 1cm seam allowance around each. In keeping with the grain I used a small piece of scrap fabric to cut out these pieces to reduce the waste. This came together rather well but I did have to take a few of the seams in slightly as my garment didn’t turn out as fitted as I had hoped.

THE RUFFLES
- This part proved to be much more difficult than I had anticipated. It was a challenge gathering the part under the bust equally and trying to match it with the bodice underneath, especially when the fabric kept slipping everywhere because it was so silky. But then it came to matching the ruffles with the lining, it was simple when I was pinning it to the mannequin! I had to make sure the gathers remained straight and lined up with the top half of the gathers as well as not being too baggy. I tried tacking it to keep it all in place, but this didn’t work, so I covered it in pins and hoped for the best. I used lining on the bodice as I felt it would help keep the ruffles in a sort of order.
NATURAL FABRICS
I picked my fabrics carefully and aimed to stick to natural materials as much as I could. In order – 100% cotton (Twill Plain), 100% cotton (Ribbon Applique), and 100% silk (Silk Matka). I also chose fabrics that hadn’t been dyed, this gave more of a natural feel that is also so much better for the environment as not as many chemicals are involved and it fits in well with the brief of neutral tones.
SUSTAINABLE

Today I took some books out of the library to get more knowledge about sustainable fashion and textiles. It’s an extremely important part of fashion today because fashion is such a big industry our choices can have a massive impact. This is exactly why I have to take it into consideration before sourcing things like fabrics and embellishments.
HUMANISM & THE FRAGMENTED SELF
Today was the first constellation of my second year at university. I received the topic ‘Representing the (Dis)ordered body by Jennifer Whitney.
After a quick run-through of what to expect over the next 5 weeks and a reminder about the expectations of the essay we started out by drawing a self-portrait. But this was a bit different from a normal self-portrait as we had to draw ourselves from our point of view, looking down at ourselves and what we see from our own eyes. I could see the tip of my nose which looked very blurry and my legs which appeared a lot smaller than my arms because of the viewpoint. I was confused as why we were doing this at first and wondered how this related to the topic, but it was quite an interesting task as I had never thought to draw from that viewpoint before.
It soon made sense when we started to learn about fragmentation and how we view ourselves:
“The Mirror Stage” is a complex and detailed article by Jacques Lacan, in which he identifies something called the “ideal-I”. Lacan explains that when we are younger and developing who we are, from our own viewpoint we see our parents, carers and everyone around us as whole. Whereas we are incomplete; identifying ourselves in fragments (our legs, our arms). We see this ‘ideal’ as only outside of ourselves, people who are complete. From a young age we begin to process early fragmentation and learning about yourself. It seems that our ‘self’ is always out of reach and we’ll aim to achieve that cohesive self. We become alienated from ourselves because everyone around us is complete. Because of this we are probably affecting how we perceive ourselves and how we will never feel like we are whole and even though we may feel these thoughts cross our minds or that it even affects us, we have no idea what’s going on in our unconscious mind.
Humanism is the philosophical idea that defines what makes us human and it’s more than just biological. This self-centered theory is that humans are at the center of the world and universe and that everything revolves around us. Although we all live our lives in a different way and go through completely unique experiences, it’s those experiences that link us together. Common themes like anger, love and fear are what makes us human. “Each of us lives our human-ness as a uniquely individual experience; but that experience, we are asked to feel, is part of a larger, all embracing humanity, a “human condition”’. – Tony Davies, Humanism (1997)
‘The Age of Reason’ arose in the 1700s. it was the belief that humans were in control of nature, the understanding of equations needed to put together a house and other rational scientific approaches.
“I think, therefore I am.” The meaning behind this well-known quote by Rene Descartes is that we cannot doubt that we exist as we are the ones doing the thinking and to be able to think in the first place then we must exist. But this idea relies upon an ideal, in this old-fashioned belief you were expected to have these attributes:
- Male
- White
- Straight
- Able bodied
These were seen to make you top of the hierarchy of ‘the self’ but obviously most people couldn’t live up to these traits therefore, the people that didn’t fit into this small minority were viewed as less human. And because women were considered more emotional, they were supposedly less rational and therefore, less human. It is good to challenge the status of humanism as it is such a dated belief and there are several issues with it.
“(W)e lead our lives as stories, and our identity is constructed both by stories we tell ourselves and others by the master narratives that consciously or unconsciously serve as a model for ours.” – Shlomith Rimmon-Kenan, ‘The Story of “I”: Illness and Narrative Identity’ (2002)
We live our lives in stories to try and make sense of the things that happen; like if someone asks you what you got up to last night you will tell it like a story and maybe leave a few things out that may not fit in with the persona you’re trying to give, you may want to give people a certain impression of who you are. The rising pressure of social media and trying to act happy all the time- it’s very to easy to fake it in a quick snapshot of your life and it could just be a set up image to make your life appear better than it is. People like to make out that they’re happier than they are, but it makes more sense to post about the good things because it feels safer that way. We create a social media identity to create an ideal and we also consume the stories of other people’s ideals. It can become very extreme like social media influencers for example, they wear designer clothes, stay in amazing hotels, have a beautiful partner and a cute dog, leading a seemingly perfect life.
Reflection: I think we did the self portrait because it verifies Lacan’s point about only viewing a fragmented self and we will never see our full selves. This reveals that we will never truly experience ourselves like we experience others. This shows that everyone is the exact same because we are all at the center of our own world and that everyone is linked because they all view in the same way, from their own viewpoint and we are not able to view your whole self but can view everyone else around you. Another reason you may feel like your body is foreign to you is because of a disease or disability.
