LESS IS MORE
intro...
This project's title comes from a quotation from Ludwig Mies van der Rohe, a German-American architect: “Less is More” is the aphorism by which he worked throughout his life. An examination of his work shows that his buildings are perfect syntheses of the minimalist ideology – of form and function, of aesthetic and pragmatism – where each element works in several ways. Nowadays, “Less is More” expresses that being straightforward and balanced is more fundamental than being complicated and superfluous. This concept underpins minimalism in fashion; these garments' timeless elegance is belied by the complexities of their conception and construction.
RESEARCH
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INITIAL SKETCHES
Gathering the right inspiration to build my aesthetic and identify the project narrative is crucial. Therefore, I am linking to my project concept, which is a gender-neutral plus «Less is More». The primary inspiration for the colour palette is monochromic vintage pictures. Using monochrome significantly benefits my project because it fits my minimalistic direction: the idea is that the designs can contain only three neutral colours (black, grey, and white). The purpose of colourlessness is to illustrate seriousness and simplicity (using no more than three colours) and release attachment to traditional gender beliefs. Moreover, because the world is already too colourful, being colourless is a unique.
Regarding shapes and silhouettes, my inspiration came from the traditional tailoring trends of the 1930s/40s and the influence of iconic Japanese brands. These two elements work fundamentally. The fashion of the 1930s was rich in beautiful features, elements, and details of clothing decoration.
MONOCHROME
Monochrome means one colour, so with art, a monochromatic artwork includes only one colour.
The monochrome often serves one of two purposes. The first is communicating spiritual purity; by choosing one colour, artists can explore the tranquillity of total abstraction.
For some artists, the second purpose of monochrome is to reduce the painting or sculpture to its simplest form so that the focus is on its pure physical elements: colour, shape, texture, or how it was made. Among the first was Kazimir Malevich, who created a series of white-on-white paintings (known as Suprematism) around 1917–18. Likewise, the German minimalist artist collective Zero used monochrome to unveil the artistic process, often slashing or creating raised shapes on white or black canvases.
MATERIAL BOARD
After a lengthy discussion about materials and fabrics, the decision fell on heavy, thick-felted, melton wool. For instance, I would like to work with a combination of synthetic materials with natural-based fabrics. Wool meltons have a perfect structure, and using an iron can add fullness to a garment. However, the problem was deciding on leather for one of the final outfits. On the one hand, I would have liked to use genuine leather because of its thickness and ability to hold any form. On the other hand, it’s not sustainable, which is a more crucial point in this case. Eventually, my choice fell on fake leather, which is also not wholly sustainable but still better than killing an animal.
Fabric choice by suppliers:
- Scabal: Wool flannel, “Super”, 100’ (100% Merino wool)
- Hainsworth: Heavyweight, tightly milled versatile wool (100% Merino wool), heavyweight duffle wool (80% Merino wool, 20% nylon), tightly woven Merino wool with a heavily bushed nap (100% Merino wool)
- Unknown: Felted wool (100% wool), rayon satin lining (100% viscose)
DIGITAL 3D MODELLING
Sustainability: One of the best advantages is that 3D visualisations of garments make for an innovative tool that introduces creativity and sustainability to the apparel industry. Fashion (especially Fast Fashion) is one of the world's most toxic and damaging industries as it generates great waste. 3D technology could be a great way to reduce the use of resources and make them more sustainable.
- Less physical samples
- Less material and resource waste
- Less air travel
- Less water pollution
In my practice, I use 3D modelling software for initial samples and pattern drafts. This practice reduces my material waste and saves time for researching and generating ideas. Moreover, the vast material library helps with draping and seeing how different materials work together in thickness and form.
PRE-COLLECTION
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