DESIGN ORIGINS | NATASHA WILSON

The early 20 th century saw a change in the fashion industry. Fashion was becoming more diverse and reformed, hems became shorter and a sense of androgyny was explored in cuts and designs. This ermine collar (pictured below) is from this period, dated between 1900-1930. The collar was manufactured by Brooke Tyrell in Ireland. Made of silk and ermine fur and measuring at 820 mm in length by 115 mm in width, the collar is a delicate and glamorous item. On the exterior, the cream fur has four dark brown tail tips and is soft to touch. The interior is lined with cream silk and has a hook and eye fastening as well as a decorative chain. The garment is in good condition on the outside, but on the inverse there are noticeable signs of wear, such pulled threads and small orange stains. Furs and collars have “always been a sign of opulence in dress” (Bond, 1981, p12) for women. In the 1900s, this garment would have been worn by the rich, especially so as it is made of ermine

Cotton is one of the biggest global commodities, and has been for many centuries. Originating from India and arriving in England in the mid-1600s, it revolutionised the fashion industry as well as changing the economy as it became globalised, connecting the whole of the Western World through exchange of cotton. Chintz, a textile made from cotton, has an importance throughout the history of fashion. Many of us will recall a floral and somewhat outdated fabric when thinking of Chintz. However, it is in fact the term for “a textile tradition of hand block printing with natural dyes” (Lal, 2015) and it is a complex technique. Seemingly British, Chintz also originated from India and is equally popular in other European countries as it is in England. By the mid-1800s, it was produced on a large scale in England and became vastly popular. This is due to the utilitarian qualities of Chintz, according to Crosby Stevens, curator of the exhibition Chintz Yatra (Chintz Journey) at Brodswor

“The fashion illustrator’s role is to ‘make(s) commercial visuals to sell the finished product” (Barnes, 1998). A fashion illustrator needs to be just as passionate in the business as any other fashion field job, they need to live and breathe fashion. They need to understand fashion, new-trends, styles, fits, and techniques. Harrison does this through the technique of drapery, thus avoiding gender exposure of his models. Samuel Harrison is a London based Artist and Fashion Illustrator. A recent Fine Art graduate from the Chelsea College of Art, his fashion illustrations focus on “an-other worldly sense of beauty” (Harrison, 2017). He translates his inspiration from the fashion world into his work to create fantastical drawings. Harrison has experienced success, having his art exhibited at SHOWstudio and collaborating with reputable practitioners like Nick Knight.  Harrisons work is also concerned with identity and self-expression. Men look like men and women look like women, t