The Collections Expanded Proposal

As I focused on the luxury lifestyle of the monarchs in the Elizabethan era this helped inform my decision on what I wanted to focus on for the 2nd part of this assignment which was the Luxury fashion market and how Brexit has and will affect the luxury market in the UK and also the fashion industry also for example cost of fabrics and exportation. I decided to look at this topic based on my research of the Elizabethan era and Henry the 8th I focused on the opulence of their lifestyles but also as my collection is an evening wear collection I want to market it to a high end clientele but I will need to understand the luxury market and how it will affect me as a British Fashion designer. The silhouettes for my garments in my collection are inspired by exuberant chandeliers, concepts influenced by lavish queen-like-capes and gold embellishment.  The fabrics I planned to use in assignment 1 also relate to the high end fashion market as I have used luxurious fabrics such as chiffon, velvet, taffeta and leather and not lower end fabrics such as cotton. Through the development of my collection, fabric and colours I also found a related trend on WGSN for A/W 17/18 which was called Nocturne which consisted of a similar colour palette dark emerald and golds, and fabrics like mine such as velvet; as I am using printed velvet. To relate my collection more too global issues I will also look at more trends on WGSN to find trends related to luxury fashion, austerity and Brexit and use them to inform elements of my collections so it fits into a global context.

To develop my design ideas I will drape 3D shapes using calico and starch to provide me with ideas for other garments in my collection as I want some 3D style elements to my garments like my chandelier inspired neckline in my first outfit. I think this will make my collection more consistent and dramatic relating more clearly to my luxury client and the high end market. This demonstrates my individual response to my theme and clearly links to the development of my designs from assignment 1 and this assignment. Illustration is expressive and you can produce ideas in various formats I have found illustrations influences me with new ideas and silhouettes and you can be more experimental in generating ideas and allowing the process to visualise my ideas and designs. I will create illustrations using collage, ink and digital as I feel these are all different mediums of creating fashion illustrations and will all equally inspire new concepts. Generating illustrations using the collage technique will force me to merge image I have not thought of before, ink will help me to express the mood and attitude of my collection and I enjoy digital illustrations using cad programs such as Illustrator and Photoshop as they will make my collection look 21st century and help me understand how colours and prints can work together.

As my collection is digital print I also would like to consider a traditional form of this as in manual print/screen making as this will inform my decision on which one would fit with my collection and target audience more appropriately. I would also like to create a few embellishment samples as it will also represent the opulent embellishment of garments in the 15th century but by using embellishment in small areas it will modernise my look and feel.

I will aim to ensure my collection and designs are coherent and consistent and is progressing by evaluating my ideas on my blog every week; as I did for assignment 1. I will also speak to my peers to have reviews on what they think about my collection, what works and what doesn’t and if they have suggestions for me to develop my work. I will also produce a final evaluation summing up my ideas, what I have done, what I have developed, what I’ve learnt and how I could improve my work in the future to better myself as a designer.

My collection is Decadent Drama, inspired by the opulent lifestyle of the Elizabethan monarch, using digital print and luxurious fabrics.


Book Research Evaluation


Luxury brands like to establish a unique relationship with their customer providing a special and rare shopping experience. The are strict with brands whom are not selling well and remove them only having successful retailers available.

picture21Wealthy Consumers who can afford luxury goods feel that fake products damage the Fashion Industry according to the luxury institute 75% of those surveyed said that they could tell the difference between the  the real and fake versions. They believe that countries should be sanctioned for prohibiting the selling on fake goods and 85% believe China is doing the least about it. Fake goods are a lot cheaper than the real versions and are more affordable to everyone especially the working class  as they can range from £25/€30 to about £500/€600 for a good quality/ leather good. Making these fakes so affordable and having a range of better quality fakes means that people are less likely to purchase the real thing as it will be more expensive meaning that the Fashion Industry are losing money because of it. Brexit has made importing fabrics and resources from other countries a lot more expensive meaning luxury brands will have to charge more meaning people will defiantly be more likely to buy fake goods.


An interesting theory I found in this book was also the Lipstick and Necktie theory which is about the economy. They presume that the sales of luxury lipstick/neckties will rise as people will want an affordable luxury as they are not as they are not as expensive as designer garments and bags.

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A lot of products that come to the UK are made in China and a lot of garments are made in China. China is one of the biggest exporting and importing regions which makes their earrings significantly higher than their expenditure.


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Globalisation is about the way production for markets is global, that it involves places from all over the world to enable the process from fabrics to the manufacture then to store. ‘The “Silk Road” from East to west is an early example of a supply route transporting products from where they were made in China through to the markets of Europe where they were sold.’


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BRUCE, M and HINES,T ( 2007)Second Edition Fashion Marketing Contemporary Issues, 2nd ed.Routledge.


Muslim women can buy sporty hijabs at House of Fraser

Muslim women have been wearing their usual hijabs whilst exercising but House of Fraser released a range of modest sports wear back in 2015 which is designed by the company Shorso. This range features unitard bodysuits, light-weight hijabs/Islamic headscarves. These can be worn during aerobics, gymnastics and even swimming.


“We use the finest material in order to provide the best level of comfort and inspire you to be active, without compromise.The hijabs come in a range of colours and patterns – such as leopard-print – and are made of 80 per cent nylon and 20 per cent spandex to ensure they are light and durable.”

Hijabs that use Velcro instead of typical pins and clips are also available.

“The hijab in sport has previously been controversial – Qatar’s women’s basketball team withdrew from the Asian Games in South Korea back in 2014 after being told they could not wear the hijab during matches.In the same year, Fifa announced it would allow the use of head scarves in matches for religious reasons.”

“Previously, teams such as Iran’s girls’ football team had been banned from the Olympics for wearing hijabs.”



Sanghani, R.(2015)Muslim women can now buy ‘sporty hijabs’ at House of Fraser.

Available from:

[Accessed: 27th November 2016]


How the hijab went high fashion and divided Muslim women

Muslim women have been wearing their usual hijabs whilst exercising but House of Fraser released a range of modest sports wear back in 2015 which is designed by the company Shorso. This range features unitard bodysuits, light-weight hijabs/Islamic headscarves. These can be worn during aerobics, gymnastics and even swimming.


The Muslim fashion market is estimated to be worth £226 billion by 2020, according to the State of the Global Islamic Economy.

Fashion graduate Tabinda-Kauser Ishaq, 25, who designed a ‘poppy hijab’ for Remembrance Day, welcomes the arrival of mainstream Muslim fashion and calls it “a good move for the business of fashion”.

Mariah Idrissi, the 23-year-old Muslim model who whose H&M’s first hijab wearing model, agrees. She recently told The Telegraph:

“It’s hard being a Muslim and needing to dress conservatively but loving fashion. Nice ‘going out’ clothes are particularly hard. Everything’s either really dressy or really casual. Seeing Dolce & Gabbana launch in this market is definitely a positive thing.”

But not everyone feels the same way. Shelina Janmohamed, author of Love In A Headscarf, agrees that the rise in Muslim fashion is encouraging – but only to a point.

She stresses that hijabs are there to be worn for religious reasons and these should not be forgotten.

“If you’re discussing sparkles and spangles then I’m up for glitz to a point. But when I get dressed and look in the mirror, I stop and ask myself if I’m observing the letter [of religious doctrine] as well as the spirit of modest wear,” she says.

The issue, for her, isn’t just that designer headscarves and hijabs can feature loud patterns and Western influences, it’s the fact they can come with hefty price tags. Spending hundreds of pounds on religious head wear isn’t something she believes in:

“Today’s fashion industry is about consumerism and objectification – buy, buy, buy and be judged by what you wear. Muslim fashion is teetering between asserting a Muslim woman’s right to be beautiful and well-turned out, and buying more stuff than you need, and being judged by your clothes – both of which are the opposite of Islamic values.

“Modesty isn’t just how you look, it’s what you purchase and what you waste. Plus (and H&M was criticised for this when it featured a Muslim model), it might be liberating for the Muslim women purchasing these fashions on the high street, but how liberating is it for the Muslim women who made them in the sweatshops in Bangladesh and elsewhere?”

In 2016, the rise in Islamic fashion must be seen as a political matter.Why is the hijab ‘acceptable’ only when it’s appropriated and managed by major corporations?

“Why can’t Muslim women decide the parameters of their Islamic identity and sexual morality, without facing harsh scrutiny from within and outside the ‘imagined’ Muslim community?”


“Idrissi thinks the problem is that people just aren’t used to seeing Muslim women in fashion: “I’m trying to explain to people that fashion is such a big, influential part of life. If we were more used to seeing Muslim women, then for all the negative media we hear about Muslims, there would also be a positive side to it as well.”






Sanghani, R.(2016)How the hijab went high-fashion and divided Muslim women.

Available from:

[Accessed: 27th November 2016]

Instagram Friendly

I spoke to Instagram blogger and Youtuber Sumayyah Akhter to hear her opinion on modest fashion.


“I think that modest fashion is a growing thing in general and has become more popular over the years with all of the new Muslim bloggers and YouTube’s. People are more aware that you can have a good fashion sense, style and still cover up. I do believe that some stores have adapted to this concept and make Muslim friendly clothing. However I do think that a vast majority of big shops for example Topshop and Boohoo don’t. I love the idea of buying clothes from there but when I go in, everything is basically going to show my skin in one way or other. There will be a slit in the skirt of a hole for the cleavage to show. I think that if big companies and just in general the western world knew more about Muslim fashion and actually took time out of their day to understand that we would be willing to pay, If they catered to our needs. As right now we are adapting to what they’ve given us and that can get really frustrating sometimes.”- (Akhter,2016)

You can follow her here:

Youtube Channel


Illustrations- Layered Shapes and Collages


This one I was more hesitant to try as I felt it didn’t relate to my theme but after creating them I was deeply impressed with the outcome as they’re a great reflection of my theme . I began printing out images of my primary research; ones which I have used predominantly and are visually impactful, as it would link to my collection better. I also scanned in the model I used for my previous illustrations from Aecestica magazine. I decided to make her black and white as this would show the garment more successful thus making it stand out. Rather than cutting out squares I used the mosaic ceiling I found in Liverpool Town Hall as inspiration; which I also used in my designs. This made the relationship between my collection as illustration much stronger and made it more personal to me.The images are strategically placed to show where those certain prints and inspirations have been used in my design rather than showing the silhouette as a lot of my illustrations show that already. I wanted to try something different.I felt this worked successfully in my favour as it portrayed the kind of dramatic mood and style i want my illustration and collection to evoke.  I decided to try the square technique with my 2nd version of this illustration using the carpet, I photographed in Liverpool Town Hall I created an usually fitted dress which shows an exaggerated female figure as my collection is very feminine and dramatic I felt this give it that feel. The contrast between the bright, vibrant rounded shapes and darker squares was something I wanted to try as I have not before I feel this worked fantastically for me as it adds depth to the image. The primary images explains to the viewer my theme visually and makes it easier to understand.


Fashion Illustrations- Silhouettes




I picked this technique first as I had more ideas for this one but then after creating it I realised I didn’t find it as interesting as I thought I would. As my asetectic for my collection was not related in anyway to geometric shapes I was worried how I conveyed them. However I do think looking back at it its quite unique, abstract and still captures my style and personality. It fits with my theme in the way that I have used my fabrics and primary colours to recreate my designs. I also wanted to try it in black and white as I thought this would make it look more sophisticated, which would fit my target customer. Both versions of this illustration style are fun and communicate my collection to my audience and they will understand exactly what the collection is by means of colours, fabrics and movement. I feel I met the aim of the sophistication I wanted with the black and white as it toned down the look of my illustration and made it suitable for an older audience as the first ones looks too collage-y which could make it appeal to a younger target audience due to the bright colours. The overall outcome of each one is quirky and the geometric shapes I chose to extenuate the silhouettes of my garments really do make that impact.


Promotional Strategies

“A successful product or service means nothing unless the benefit of such a service can be communicated clearly to the target market. An organisation’s promotional mix strategy can consist of many things.”-  (learn marketing, 2016)

A promotional strategy is used in fashion to attract customers to the brand and create a buzz around the brand this will deliver a strong concept relevant to global issues. For example the brand United Colours of Benetton use current issues such as race, sexuality and more. “We did not create our advertisements in order to provoke, but to make people talk, to develop citizen consciousness”- (Luciano Benetton 2012)

A promotional strategy covers the four p’s product, place, price and promotion. Promotional strategies are used in traditional forms such as magazines, billboards and newspapers and contemporary methods such as TV adverts, social media and viral videos.

The ad campaign below shows roses that look like hearts to show to the consumer that no matter what colour they are they are all the same underneath. This tells the consumer that the brand is accepting of all whether no matter what they look on the outside, as they are the same on the inside. It is a global issue which affects all cultures.



The strategy will include the brands logo, a colour palette and powerful slogan. The message will then be advertised on its website and campaigns it also will be delivered through contemporary channels such as social media and traditional channels such as magazines and billboards.


Top 10 Controversial United Colors of Benetton Ads.

Available from 😦

[Accessed: 21st November 2016]


Promotional Strategies.

Available from:

[Accessed: 28th November 2016]