DESIGN STATEMENT:
With two generations before me in the fashion industry, I have always felt a deep connection with designing and creating. Some of my earliest memories are of my brother and I, playing dress-up in oversized clothes at our grandparents’ factory, mesmerised by the textures and colours of their designs. My grandparents legacy of textile design, entrepreneurial spirit, and storytelling through fashion has always inspired my works, shaping my design identity.
My collection focuses on the repurposing of silk scarves, aiming to demonstrate as much drape and movement in each look as is possible. These scarves were designed and manufactured in the 60’s by my grandfather David Stiassny as a branch of his brand ‘Accessory Street’, facilitating a combination of heritage, nostalgia and craftsmanship. Whether through draping, colour matching or pattern making, I have designed this collection by letting the scarves guide the form of each garment. My project explores the tension between structure and softness, using architectural lines alongside organic movement. Overarchingly, the culmination of such fabric and technique has evolved into the ‘Annette’ Collection, a tribute to my late grandmother and her beauty and talent.
Professionally, I aim to work in costume (theatre or film/TV) and this project has given me a space to develop my own visual language. I have found that this is a chance to honour my roots and transform inherited materials into something new, meaningful, and continue my legacy.
LOOK ONE
Sketches
Technical Drawings
Final Garments
Look one features two garments, a fitted corset and a free flowing skirt. The corset is made from sandwash silk in rust, lined with woven interfacing and beige sandwash silk. I have inserted boning in each of the seam allowances to provide a clean look, as well as underwire and large gold hook and eyes as closures. Using traditional technique, I have hemmed each of the scarves by hand. These silk scarves are inserted into the seams underneath the bust, around the shoulders and down the back as well as diagonally across the front. To complement the movement of the top, I have designed a skirt using three larger scarves. These scarves have been hand sewn together with invisible thread, have a 2cm silk waistband and an invisible zipper inserted into the left side.
LOOK TWO
Sketches
Technical Drawings
Final Garments
Look two is a floor length dress focussing on the contrast between structure and drape. The top consists of a strapless corset made from a floral scarf, sandwash silk in chocolate, woven interfacing and beige sandwash silk lining. Using boning tape, I have inserted boning into all seam allowances and used the same gold hook and eyes as closures. The top is constructed using a molas technique that I have modified to show no raw edges and provide a clean look. For the bottom of the dress, I have hand sewn 16 scarves along the a-symmetrical seam. These scarves are arranged in order of length to completement the top. I have sewn these onto a underlayer of silk chiffon which has been French seamed and double roll hemmed. By working with the square, I have draped a transparent scarf over the head and hand pleated it into an organic shape. This accessory provides movement and a softness to the corset structure.
LOOK THREE
Sketches
Technical Drawings
Final Garments
Look three is a slip dress made from two large scarves. I began by working with the square, draping and pinning these scarves on a bias. Once I achieved this shape, I created a pattern & cut it out alternating scarves. For the bottom of the dress, I have gathered both rust and chocolate silk and double roll hemmed both sides. The dress is also constructed with French seams & has a facing. For the jacket, I have taken inspiration from balenciaga’s one seam coat. I have altered the pattern to suit a more modern and free, flowing shape. I have constructed this with French seams, double rolled hem and bias tape made from the sandwash silk. I have also handsewn the labels from all scarves along the edges of the jacket. In addition to this, I have also placed a ‘Monsoon’ label on each of the looks. I feel that is honours my ancestry and ties in the use of the scarves as an overarching theme.
The Process:
