jfoleydrip-blog

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(Opening scene to film)This video came out much better than I had previously expected. my title “Clockwork Stalker” referring to the antagonist in the look book, but also referring to the CCTV of today as the CCTV right now works like clockwork it never stops and stalker because your every movement could be being tracked this is why I went for that title. also clockwork is in reference to the film “A clockwork Orange” and I am paying homage to Kubrick’s use of brutalist architecture in the film, and also the crime which the film is centered around.. I loved the location I used to shoot in, as it was so accessible and easy to shoot in. the styling from me on the antagonist was perfect as he had a big jacket which I thought was perfect which I paired with a black sweatshirt with a white collar black jeans and white air force ones, this was perfect especially as the look book was in black and white which made the subtle details of white in his outfit pop. The part of the video I was really amazed by was the intro after with the slow panning shots of the buildings in London. I was able to do this as my friend drove us to the barbican so I thought it would be a good idea to get shots of the journey there. I thought the use of black and white was good to make the viewer focus more on the garments, which works in a lot of the shots however in some of the shots it’s a little too dark and it is hard to make out the garments, so for next time I am doing something like this I should remember to bring lighting. I really enjoyed the editing process as it really didn’t take that long to cut down all the footage cause I already knew what I wanted in the video so it was relatively easy to put together, and furthermore the video effects I used were very subtle as I didn’t want that to be the main focus of the video, I wanted the story and garments to take center stage. Furthermore another aspect of this look book which I could appreciate was the variations in lenses and camera filters, for instance the CCTV style footage I used to create the sense that this protagonist is being followed and tracked down which opens up the idea of this being a dystopian society which tracks your every movement, which is exactly what is going on I china right now so this is my way of bringing light to the situation. The use of the different camera movements, angles and the different shots I got made the video a lot less boring and gave it a good flow which went really well with the story which solely added to this flow. However despite everything going so well, there are a lot of shots where I look back on like the scene in the lift instead of having the protagonist rushing in he should’ve been as he was for the most of the look book calm and relaxed, but at the time I didn’t realize so for next time I need to remember to shoot with the original idea in mind instead of switching it up. So if I were to do this film again I would have to make sure to bring lighting and also to keep the original idea in mind but be open to switching it up just make sure you capture both of the ideas so you can choose when editing. 

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i am very pleased with how these garments came out. i liked the process of putting them together and seeing how these garments have been infleunced through the research i have done and it’s good to see specific features of the garments which were infleunced by a designer, artist or brand. one of the pieces i am most proud of is the removable mask as, this was probably the most difficult to do as i had no pattern for it and had to create my own, furthermore it was probably the most important part of the garments as that is what would actually protect you from CCTV in reality. also another feature of the garments which stood out to me was the functional straps so then the garments in essence can fit a bigger variety no matter the shape or size. an additional feature i am proud of is the drawstring on the hood as it just adds way more depth to my garments and adds to the technical and utilitarian aesthetic i was going for. despite all of that there were also a lot of issues i encountered for instance as the material is a waterproof technical material it was a very hard material to work with as on one side it had some sort of plastic which made it waterproof, however that proved very difficult to sew as the material essentially wouldn’t move when using the sewing machine and the material would usually catch and it ended up being a bit shorter than anticipated in areas, so it’s lucky i decided to keep the pattern pieces big so i could taper them afterwards, but as the material would just on the bottom would barely move in the sewing machine there was no need to taper. also despite i am very happy with the pockets i am annoyed as i wanted to have a variety of pockets however i ran out of material so i could only have those cargo style pockets. if i were to make this garment again i would have to focus a bit more on the pockets, potentially make a little side back, but most importantly use a sewing machine which wont hold the fabric down due to the plastic underlayer. however all in all i am really happy with how these pieces came out and also i learnt a lot which should help me out a lot on my next clothing project.

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Installation sketch up Analysis

1: This potential installation will have to stay as a potential I believe as there are just far to many CCTV camera’s and would be next to impossible to get all of those. It is a good concept and would link well with my theme the CCTV camera’s create a very claustrophobic and crammed space, which was influenced by la casa telematica by ugo la pietra which I looked into earlier on in y research.

2:This space is most probably the most realistic idea for an installation as it doesn’t involve too much but still creates a very scary idea of always being watched. On the mannequin where my clothes will be presented I want to have a CCTV camera instead of a head and have that playing on a livestream on to a small tablet while on the bigger screen have my look book playing. I was inspired by the graphic I made and the artist Zabou with the people who have CCTV camera’s for their heads but this is me bringing that concept into reality.

3:this installation would be great if I had my own cube to present my work in as it would create a whole experience with the mannequin in the middle with the camera’s surrounding the room, this would create a very eerie feeling especially with my film playing in the background on one of the walls. Furthermore by using 4 walls it would make the person who is in my installation feel trapped and there is no escape from the camera’s this puts emphasis on how people everyday ignore it and this would be a way to bring the issue of surveillance to light.

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For my shoot location I decided I wanted to find a location which was either inside or just outside a piece of brutalist architecture to pay homage to ”A clockwork Orange” as Kubrick found brutalist architecture to depict a dystopian feeling. I decided I wanted to use the barbican for my location as there is such easy access to the whole area and there are many good places to shoot from and in as there are so many different levels to the whole complex. After going there and looking for areas which I could shoot from and good locations within the barbican to shoot I decided on some specific places I needed to get shots. All in all I am very happy with the location I scouted out as it possesses everything I need to create a great look book.

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THIS DESIGN CONTAINS IDEAS FROM BOTH OF THE TWO DEVELOPED DESIGNS AND HAS BOTH THE DIFFERENT STYLES MIXED TOGETHER. I decided I wanted to emphasize the straps by adding two more on to each arm so then the wearer can fit the clothing in an extra way, just giving the wearer more options. Again from my 2nd developed I realized that if I wanted to stay true to my project I needed to have a mask and a hood to protect the use from CCTV and I have decided that I am going to have the mask attached by using poppers which will be visible on the outside of the hood. Again I have to make these garments very utilitarian as I want to create a dystopian aesthetic which is emphasized through the the other aspects of this design like the straps and the mask. Also I want to have the straps on the arms longer than how they are presented in this design as I want it to be exaggerated as it gives the garments a much more mysterious and dystopian affect which was influenced by Raf Simons SS03. Other influences for this design came from: KTZ FW15 with the excessive use of zippers, Heliot Emil FW19 through the use of the pockets, A Clockwork Orange with the dystopian and quirky look which was very prevalent in the costume design of that film, Final home with the idea that utility clothing needs to protect you from someone/something and lastly the Bosozoku biker gang with the older looking utility pockets put on to a modern style jacket.

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This design was heavily inspired by the Heliot Emil FW19 Collection and in turn the costume design of the Matrix which is emphasized by the use of black and utility accessories, such as the pockets, zippers and straps. It was also influenced by the anti- surveillance clothing Stealth wear which is obvious from the face mask which is on the inside of the hood. I am going to find a way to make this mask removable as I’d want to give the wearer the option on whether to evade Big brother or to embrace the all seeing state. Another influence on this design was the eyes in the transparent section of the pockets which was inspired by Kenzo's eye pattern so hopefully I can get a screen print ready in time to get this done as the eyes would be hidden in plain sight which is how CCTV camera’s work. A part of this design which I know is different is the use of the double zip on the front of the garment as that will be what would connect the removable mask to the hood, I like how this section possesses extra pockets and maybe I could make this removable so you could turn it into a pouch or a small bag. However I think that this design could be heavily improved on by just taking more influence from the other designers and brands which I looked into for this project.

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This design has a lot of influences from my project for instance the straps on the cuffs of the legs and arms was inspired by the RAF Simons Consumed ss03 collection, which is an idea which I took from their collection where they were just an aesthetic and made it a usable aspect of these garments as they would give the wearer the option to have the clothes fitting more tapered of baggy. Again the use of the utilitarian aesthetic is apparent here as there are many pockets including some PVC see through pockets which was inspired by KTZ FW15 garment had a whole jacket in see through PVC. Despite all of this I don’t think that this design relates as much as my first developed design and it is for many reasons. For instance the colour, as I am making anti surveillance clothing and I will not be making garments in green as they wouldn’t be very effective when combating CCTV. Also there is no hood or mask which I think is quintessential in my theme and the garments I am making because there would have to be a way to combat surveillance. So going into my final design I will be emphasizing the good parts from both of these two designs.

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Acronym is a brand renowned for its innovation and in its forward thinking approach to their projects. This look book is a completely different take on a look book. First of all it is a video and not photography which is the direction I want to take my look book, but also I want to mix the two mediums together. the use of quick cuts keep the video in a constant state of flow, and also keeps the video from becoming boring which is what I will be implementing into my video. I would also say that the music plays a very important role in the look book and keeps up the fast pace of this video, music is going to be a very essential part of my video as I will be having one of my friends making the songs for my look book which is perfect as it means I will be able to have the songs tailored to the video, this will give my video a much more unique look as it will possess a very original feel. Another part of this video I like is how the video has two parts, with two very different sets and scenery, however both parts of the video have a very similar editing style, and if I were to have two sections to a video I’d say they would need to have two different editing styles to separate them. So for my look book I will have a clear separation between the two different acts to the video. Also when they cut to the second part of the look book I could see that there was a story which was condensed down so much that the story wasn’t really fleshed out enough. However with my look book I want to have a story which is clear and is the main focus of the video alongside the garments I made. Another part of this video I was drawn to a lot was the glitch effect throughout which adds to the high pace of the video, which will be an effect I will be utilizing in my look book as it would add to the CCTV style of the video.  

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For this project the materials I am looking for will be materials which is used in tech wear and Utility wear. A big fabric used within utility wear is quick-drying synthetic or cotton-synthetic blends which is used to make cargo pants which are a staple within the utility wear aesthetic. This material is durable and strong, which that comes less comfortable clothing, and also is a much more denser fabric when compared to other materials used in utility wear and tech wear. For instance nylon which is a much more light weight and stretchable material which in essence is more comfortable when compared to cotton blends, also it isn’t as strong as the cotton synthetic blends but it is much more breathable. The good thing about nylon is the fact that it can be waterproofed and that Is an aspect I will be taking into consideration when buying my fabrics as it would give the garments an extra use, giving it a much heavier utility aesthetic. A potential lining I could use will be mesh as it is heavily used in tech wear as it is a very breathable fabric. Another heavy duty fabric is serge which is a fabric used within the military and utility wear. It is a fabric which is less breathable but is much stronger than most materials used within utility wear, however it is not so comfortable and isn’t used much within tech wear for that reason as comfort and mobility are more important.  

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Utility wear and tech wear is a very relevant and popular trend at the moment, however it is a style which has been around for years, and is iconic due to it’s influences from the past, present and future. The original Idea of utility wear came from WW2 in which clothing had to be rationed, so people needed clothing which would work all year round instead of having to wear different clothing per season you can simply wear the clothing all year round. Nowadays this is the case with utility\tech wear, as it’s main factor now is convenience and being able to wear the clothing whenever and wherever. The point of this clothing is in the name utility, which literally means the state of being useful, which is why with utility wear there is an emphasis on pockets, having benefits like being waterproof or wind proof, or even having straps, hoops, carabiners etc. which adds to the idea of being useful and having another use other than being just clothes, but instead transcending into a product which can be used for more than just style. There are many brands these days which have their brands sole focus on utility wear has really developed the style and aesthetic of utility wear, and has crossed over with tech wear as many utility wear brands utilize aspects from tech wear like their advanced and technical fabrics, and tech wear has taken influence from utility wear with the use of pockets and vice versa, which has made these two style trends almost become one. Another big influence for utility wear is it’s influence from military uniform and combat dress, as that is a form of utility wear however utility wear is a way in which civilians can take advantage  of these useful clothing as before they wouldn’t have been accessible for the public. A lot of tech wear’s influence derive likewise with utility wear from past and future as most tech wear brands, were formed in japan it’s influence from samurais and ninja’s of the time is uncanny when looking at tech wear of today, however the influence from the futuristic dystopia which is evident from the use of the shapes of the clothing. With my designs I am going to be taking influence from these two styles, and will be focusing heavily on the materials and looking for technical materials with a function. With my designs I will be focusing heavily on the actual use of the clothing and making my garments very utility inspired, and relating it back to the start of my project which was Surveillance, and creating garments which can hide you from CCTV, through using a hood or a mask which I will implement into the garments I’m making.

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KTZ is a clothing brand has taken a heavy influence from the punk aesthetic of the costumes in “A Clockwork Orange” and revitalized the style through bringing the classic ’Droogie’ uniform into a much more modern aesthetic. Marjan Peloski the leading designer on this collection brought the ‘Droogie’ style into a modern aesthetic by using the same colour palette of all white outfits with black detailing and taking influence from utilitarian style which is evident through the consistent use of of big zippers, pockets and straps. This was done to emphasize the punk style which has obviously been a big influence on this collection. Furthermore another clear influence of the punk trend with this collection is presented through the use of leather which was a key aspect of the punk aesthetic in fashion with leather jackets and trousers. Another style influence is the trend bondage in fashion with bondage trousers being a massive trend in the 90s, with the excessive usage of zippers, straps and hoops. The bondage aesthetic was  in “A Clockwork Orange” with the ”Droogie” uniform through the use of the codpiece, so Peloski probably wanted to emphasize this aesthetic through his continuous use of zippers, straps and hoops. The use of colour within this collection is very prevalent with the “Clockwork Orange” inspired outfits, as he utilized white with black detailing to imitate the film, however Peloski utilized black a lot in this collection, which could be a nod to the original book which featured the “Droogies” in black uniforms, or he is referencing how the gangs of today utilize black, and he is reimagining the classic look into a more modern context. Also I can’t help but notice how Leather is also used a lot in post-apocalyptic mixed media like in film for instance with films like ‘Mad Max’ which heavily used leather in their costume design. PVC was used to give those individual pieces a more retro futuristic style which was done to bring this collection into a more modern context while still retaining it’s old fashioned look. From looking into this collection it has taught me that I shouldn’t only be looking into one style in fashion when it comes to designing or reimagining an older concept like the “Droogie” uniform, but I should be taking influence from other aspects of fashion, as Peloski mixes many different styles for instance utility wear, bondage and punk just to name a few. Moving forward I will start to design and start looking into fabrics, materials and accessories which I will be using for my final outcome.

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To me the styling and costume design in this film in particular played a very important role in the film itself and also in fashion after the film was released. Milena Canonera was the costume designer for “A Clockwork Orange” and was responsible the iconic white uniforms of the ”Droogies”. This look was heavily influenced from London street style of the 60’s, the black boots or “Bovver” boots were worn by gang members of the era, the bowler hats were a prominent look of the 50’s-60’s, and the suspenders were associated with skinheads. This style influenced the “Bovver boys” and punk aesthetic. The use of the colour white in the uniforms emphasizes the youthfulness of the ”Droogies” as they are only teenagers, however white also presents innocence which at first glance you’d think that is juxtaposed with how the “Droogies” act as they are clearly not innocent people. However it could be said that this really isn’t their fault. They act in this manner as they are just a product of their environment, and they know nothing better as the society which surrounds them is filled with chaos and destruction, the use of white emphasizes their innocence in a society which has done wrong by them. This classic look was put together from the mix of the old-fashioned: with the bowler hats and suspenders, the absurd: with false eye lashes and other extravagant details like the eye’s stuck on the sleeves of Alex’s uniform for instance, and the violent: with codpieces, batons and boots. Milena Canonera created this mix of the absurd, old-fashioned and the violent, to put emphasis on the weird and strange world that Kubrick has created, however also the designer did this to make this world seem not too far from our own as a lot of the clothing used in the film was similar and even influenced by London gangs and the street style of the time, furthermore the iconic look even inspired trends shortly after it was released like punk. Thus creating an eerie sense that we are not so far from this crime and chaos ridden dystopian world. From this I want to look into fashion designers who were inspired by the Film’s iconic look.

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Probably the most controversial of Stanley Kubrick’s films, A Clockwork Orange is a masterpiece centering around the question of free will. Is it better to be bad of one’s own free will? Or to be good if we are forced to? Burges (author of the original Clockwork Orange) pointed out ”When something cold and mechanical like scientific conditioning or state oppression is forced upon a living thing the result is perverse and senseless.” This is what the story of A Clockwork Orange is centered around. The story focuses around a teenager Alexander DeLarge who is the leader of a gang called the “Droogies” causing anarchy, violence, murder, debauchery and rape of the innocents in this dystopian timeline. Eventually Alexander is betrayed by his “Droogies” for attacking them to assert his dominance and is betrayed by his “Droogies” and left for the authorities after murdering a woman. DeLarge goes to prison, and after 2 years he hears word about a experimental treatment which is supposed to cure his ‘illness’ so he takes it. The treatment consists of Alexander being exposed to his own reality, he is forced to watch violence, murder, rape, pure destruction and chaos. At the start he enjoys this treatment, but after some time he feels physically sick at the sight of any of these violent acts. When he is “cured” the police release him into the world and he is faced with the demons of his past and with him being ‘Cured’ he can do nothing in retaliation to his demons attacking him. Alexander has gone from being bad by one’s own free will and now is forced into being good, as he feels physically sick from the sight or acts of violence. Stanley Kubrick presents this story in a breathtaking fashion through the use of all the mediums of cinema, like architecture, camera shots, costume design and set design. Stanley Kubrick utilized locations around London as the budget for the film was especially low set at $2 million, so Kubrick turned to places like Thamesmead estate which depicted the brutalist architecture of the time which according to Kubrick was futuristic and worked well with the setting of the dystopian future. Alongside this Kubrick used Binsey walk which was where Alexander attacked his “Droogies” and in the background there was the same estate, which was done to add consistency to this world as a grey and dark future that is what Brutalist architecture depicts. Also the use of Brunel University for the experimental treatment location to continue this brutalist architecture and to give intertextuality to his story and to make this consistent. The camera shots used by Kubrick created some pretty interesting effects. For instance Kubrick’s use of the flat wide shots were used to show the surrounding of the sets being crammed and messy which conveys how the dystopian society Kubrick created is just a mess and there is no order and solely chaos which is a prevalent theme throughout. Also another use of the wide angle shot was to distort the sides of the shots, and in each wide angle shot which features Alex, he placed in the center of the shot so then he himself is never distorted which is Kubrick’s way of telling the audience that Alex is the only normal character and the other character’s are animated and don’t appear real. Kubrick’s use of extreme close up shots were used to depict and emphasize the character’s emotions which is prevalent in most of his films. Furthermore Kubrick shoots the ”Ultra-Violence” in a way that makes it seem distant and unreal. Kubrick executes this through setting violent scenes to classical music which makes all the violence seem like a performance, also the violence is also shot in slow motion. Both of these features break the illusion of reality and make it seem more animated and unworldly. Another aspect which emphasizes this point is the fact that Alex and his “Droogies” are all dressed in a white uniform, their movements are choreographed, their movements are exaggerated and Kubrick’s use of sound effects make these violent acts seem cartoonish. These aspects makes it look like performance on screen which is emphasized in the way in which Alex brutally beats up a man and a woman in their own home then rapes this woman, all the while singing ”Singing in the Rain” emphasizing how Alex doesn’t understand the severity of what he is doing, which all comes full circle by the end of the film with this man torturing Alex. These effects I analyzed are going to play an important role in the Film I want to make on surveillance and crime, as I now understand the purpose of utilizing different shots and angles to create an effect. Next I want to look into the styling and costume design of “A Clockwork Orange” looking into how this iconic costume has had an influence on fashion.

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This collection to me presents utility wear with a much more regal and royal approach to design as what you should expect from Louis Vuitton. Under a new menswear designer in Virgil Abloh who has reshaped the classic aesthetic of LV while at the same time staying true to the high end style. I wanted to see how a  brand like Louis Vuitton with so much history with being a brand renowned for it’s luxurious designer wear and accessories can blend this aesthetic with a more grungy, post apocalyptic, utilitarian aesthetic. This collection encompasses this very well as according to the head designer Virgil Abloh he stated he was influence by urban style of the 90’s with baggy cargo’s, boxy suits, graffiti and vibrant colours, while also having a big influence from military dress of the past and that is what created the blend between elegance and utilitarian aesthetic. It’s evident that there were many more big influences on this collection however I am only going to focus on these two. This old military aesthetic is evident in many of his pieces, which is shown through the use of the chunky military badges and the epaulettes which gives the collection a Napoleonic look to the pieces as they resemble those uniforms of that time which were elegant and beautiful in style, I also believe that Abloh wanted to look into the history of Louis Vuitton as it was founded shortly after the Napoleonic era, so I believe Abloh did this in reference to the time period in which Louis Vuitton was founded (1854). It doesn’t surprise me that Abloh would use the influence of those uniforms as are the epitome of regality and elegance of the time, and for Abloh to utilize this style presents the almost dystopian aesthetic as he has mixed it with much more modern styles, which is seen in many dystopian film like ‘A Clockwork Orange’ for instance which took influence from many different styles from the past and present to create their costumes. Moreover the streetwear influence is evident here from the use of baggy cargo’s mixed with trainers and beautifully designed bright a colorful jackets which was done to reference the 90’s streetwear. Also another militant influence which you can see in this collection is the use of ammo pouches on a monogram jacket which also features the epaulettes that were used in many of the outfits in this collection, which again presents the mix between the elegant tone of the piece and the utilitarian style perfectly blended together. Another look which caught my attention was the grey trench coat which featured a bandanna like face mask which solely emphasizes this dystopian look created by Abloh, I’d like to experiment with face masks as it is also used to mask yourself from CCTV. Furthermore a part of this collection which is very effective is it’s rich colour palette which features blues, greys, browns, purples, pink, black and white which further emphasizes the range of styles which Abloh has been able to accumulate for this collection. From this collection I have realized that I don’t have to just solely focus on utility wear in my designs but I should be incorporating many more different styles and creating my own style instead of just following one way of designing. Next I want to look into crime in Film through the film “A Clockwork Orange” which is a dystopian crime flick, but I want to also investigate the importance of costume design within the film and it’s influence on the fashion world of today and of the past.

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This collection from the Copenhagen based brand Heliot Emil presents another different style of utility wear, with Raf Simons it was a mix between designer and high end clothing with utility, whereas this presents what happens when a brand sole focus is on utility wear. It also presents how much more advanced utility wear has become which is evident when compared to the Raf Simons SS03 Collection just from looking at the different approaches in design. The clear differences come from the complete sleekness in the design where Raf Simons was cut big and oversized, Heliot Emil despite still being oversized in places you can tell that that they have much better fitted clothing which presents a much more functional aesthetic. Its evident that this collection draws heavy influence the idea of a post apocalyptic world which is the case for many utility wear designers, which is demonstrated through the use of the utility aesthetic in the detailing with Heliot Emil. This detailing includes industrial style buckles, straps, and carabiners, even metal boxes and rolled up sleeping mats reinforcing the utilitarian and post apocalyptic inspired aesthetic, which is an aesthetic I want to be able to highlight with my clothing but utilizing it to protect yourself in an urban jungle from CCTV. The futuristic aesthetic is also very evident with this collection, which is emphasized through fabric and texture being a very important aspect of this collection. The creative director of Heliot Emil stated in an interview “very technical materials, some waterproof, breathable fabrics,” and when talking about one of those technical materials “Once it gets wet it shows up as like a full coat with the HELIOT EMIL branding, but when it’s not wet it’s just black.” This is an aspect I also want to investigate, which is looking to find technical and smart materials which have a function. All the garments in this collection have a muted colour palette of black and grey, which I believe was done so then the wearer or someone who looks at it focuses on the garment and its function not it’s colorway. The garments are all clearly militaristic concepts, but there is also a clear influence from techno, aviation, brutalism all of these aspects present advancement which presents how Heliot Emil as a brand is inspired by innovation, presenting their innovative approach to fashion in particular Utility wear. I can’t help but notice the clear inspiration taken from the wardrobe of the Matrix and the aesthetic of their clothing, like being draped in all black and the clothing looking very neo futuristic in it’s style. From looking into this collection I will be creating my own clothing designs based upon this utilitarian, brutalist and futuristic aesthetic. Next I want to investigate Louis Vuitton and the rebranding of the classic brand by Virgil Abloh by utilizing the utility aesthetic and bringing utility wear into a high end regal style.

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This collection from Raf Simon’s is one of my favorite collections from Raf Simon’s it presents a completely different style of design from Raf Simon’s which is utility wear and it is clear that this is a completely different approach to utility wear when compared to Final Home’s. I like the way in which they changed their design style again like how they did in 2001 with ‘Riot Riot Riot’ and created garments which don’t really match the original style of Raf Simon’s. To me this collection was significant for utility wear as it presents what happens when a high end designer like Raf creates utility clothing, and it shows a good juxtaposition between high end and a post apocalyptic style which creates a very unique aesthetic. Having harness like vests with pouches attached, while trousers and jackets were cut big and oversized to create a utilitarian feel. A part of this collection I didn’t like is that all the pieces are top heavy and focus way to much on the jackets and tops, for me bottoms are an essential part of a collection as I believe that you need to be able to show a range in design. An aspect of this collection I find to be essential and one which I am drawn towards in the utility aesthetic is the use of ropes, rings, clips and straps paired with the constant use of black throughout the collection looks like it took inspiration from the 90s bondage trouser trend and the punk aesthetic, which shows that when a high end designer works on a style they take influence from other styles and fashion trends to further develop the style which they are working with, in this case Raf Simon’s mixed the punk aesthetic within utility wear which has created trends within utility wear like the use of straps and camping pouches which are both now a staple within utility wear. Raf Simon’s also made the punk/bondage aesthetic actually functional as well as being a fashion statement. This is an aspect from this collection which I will focus heavily on in my designing and making of my garments by creating a utilitarian aesthetic which also has other influences from other fashion trends and and different styles. I looked into this collection in particular to convey earlier iterations of utility wear in fashion and to see a high end designer’s take on the style. Next I will be looking into how it has progressed in present day, and to see how a newer and upcoming designer has been able to develop utility wear from seeing other designers like Raf Simon’s reimagine this aesthetic.

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Final home is one of the first Utility wear brands founded in 1992 by designer Kosuke Tsumara. He took utility wear to the extremes for instance creating a garment with 44 pockets now that’s a statement. Final Home is the apex of Survival fashion and functionality and would always strive for innovation with each of their pieces. Tsumara had anxiety of the dangers the future posed and he would create garments designed for confronting these issues which would be suited for the world ahead. This made his brand a quasi-post-apocalyptic label creating survival gear for the modern age which lead to the design for the Final Home survival suit which was made completely from nylon, which consisted of large pockets and storage sections so that the wearer would be able to carry essential items and could be stuffed with insulation like newspaper. Another aspect of Final Home which I like is how the brand marketed itself as a survival clothing brand, by having posters which came with the garments about how to use the clothing titled “How to use Final Home” making the garments seem more like an Ikea storage unit rather than fashion pieces. It’s aspects like this which make this brand stand out and it is an aspect I’d like to work on with my garments by having tutorials like this on how to use the garments as I want to design utility clothing. For my garments I’d like to take a similar approach with that being having a function and protecting the wearer from a big threat, but instead of defending against apocalyptic dangers I’d like to be able to protect the wearer from CCTV and surveillance, using the same ideology as Final Home by creating protective clothing. Tsumara latest project ’On Air’ created new ways in which garments can be assembled and put together. It explores how garments can be assembled from singular flat sections for ease and transport. This idea of not following a regular pattern is very progressive and innovative and is an aspect that sets final home apart from other brands. From Final Home’s designs I want to create garments with a purpose and function while at the same being fashionable. Also I want to take inspiration from final home through having a heavy emphasis on pockets in the designs as it’s a key aspect of utility wear which is evident with essentially all of Final Home’s clothing. Furthermore I want to take the idea of presenting pieces of clothing like functional pieces of equipment with a guide on how to use them.