STRIKING A CREATIVE BALANCE IN FASHION DESIGN TECHNICALITY

Andreea Lonhardt

Heralding from Europe’s premier fashion capitals, Andreea Lonhardt, is a textile engineer, creative director and lecturer who began teaching in 2006 while working for international fashion design houses in Europe, Romania, Italy and Paris. Andreea who graduated from a dual degree study program, a Teaching Diploma in Art Education from the University of Art and Design (2006); and a BFA Decorative Arts, Textile Program, from the renew Faculty of Decorative Arts & Design, Romania (2006) has contributed in writing the curriculum  for the Advanced Diploma and BDes Programs in Fashion Design at International Universities in Singapore, Saudi Arabia (Riyadh) and Colombo. Her wealth of academic and professional experience thus invigorated us to understand what constitutes an iconic designer wear.

Lonhardt began delving into the topic by stating the importance of a fashion designer’s knowledge on pattern drafting, which is a system of patternmaking that records the measurements taken from a form or model to create a basic foundation or design patterns. In addition to being able to personally conceptualise and delve into the intricate details of an idea or concept, it is essential to slowly tread it out into a more comprehensive format. Lonhardt mentioned that the demanding states of design studios will require an unequivocal commitment to translating ideas through other collaborators, such as pattern makers and seamstresses, which requires the designer to critically evaluate their workmanship in order to determine the fruition of the envisioned design in the details. As the life cycle of a garment passes through different types of handling, an experienced and thorough knowledge will allow the process to unravel conclusively which ultimately reflects in the designerwear.

Lonhardt stressed upon the fact that there is a particular emphasis placed on the form of the human body when transferring the measurement of a model or mannequin onto paper. The transition from two-dimensional representation to the third, more physical and sculptural dimension houses the potential of teaching a differentiation of perspective. “Not every design or sketch will make it to the pattern drafting stage, and it can be just as fundamentally important that such hindrances occur. As natural seasons arise and pass, such will be the process of scrutinising new designs, trends and collections in tandem with personally inherent conceptual understandings of the meaning within change. Each designer possesses as a unique manner of drafting and stylistic innovation that should contribute and engage in dialogue with their immediate locality and environment. We are fundamentally sophisticated creatures of habit, constructed environments and cultural diversity therefore it is imperative that designerwear reflect on these aspect so as to express a unique interpretation”.

It was evident that Lonhardt considered personal expression of the fashion designer as an imperative in creating unique collections of designerwear. “Moodboards, research interests and colour palettes are all responsible for the pivotal vitality that will ultimately aid in the creation of a unique collection that one can truly claim as being one’s own, and of their time. A showcase speaks about the culmination of a series of experiences that will be undeniable for a designer to casually dismiss as unimportant enough to pursue above all else. The process of working through and understanding one’s own narrative in the wider field of contemporary society, fashion as well as their place with regards to any form of creative expression, can be a matter of unending creativity and motivation.

26th October, 2017 Fashion

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