Sketching SS20:
from concept to collection

How collaboration works at Kepler

“Textile material always comes first, before the actual shape of the piece. Once we have the knitted swatches and we’ve seen and discussed the feel of the collection, we then treat our drawings like ideas that need to be jotted down on paper, so we can both understand what we are thinking at the time. As we are two people designing pieces together, our drawings become a form of discussion.”

The technique that inspired the sketch

“The inspiration behind these pieces is the embroidery technique that assembles the knit together. We are very much inspired by finishings and detailing at Kepler. So, for these pieces, the main focus is the historical hand-joining of the panels of knit.”

Alexandra’s advice for getting creative

“Practice makes perfect. Look at everything – really study every reference you pull. Look at every detail within a garment: how it falls, drapes, behaves; how’s it’s finished; how it’s fastened together. Sketching is about not being precious with your drawings; it’s there to help you get your ideas down on paper.”

The techy inspiration behind the sketches

“The inspiration for the Swipe bag is the airplane-mode button on an iPhone. We always find inspiration in our everyday life and especially in technology. We like to play with digital symbols, such as for the WiFi (another Coperni bag) or the Bluetooth [bag]. Sébastien liked the design of the airplane-mode button, then we started making some mock-ups, trying different sizes, changing the shape and playing with materials and colours.”

The work that goes into a Coperni sketch

“Coperni has a very sharp, techy, precise DNA. We don’t like [overly] extravagant or glamorous sketches. That’s just not our [thing]. We love when sketches are very clear and recognisable – very graphic, pure and geometrical – almost like an object-design sketch, rather than a fashion-design sketch. We now only work on an iPad, which is fascinating. It’s faster, more sustainable and more practical. You don’t need papers, pens, erasers, etc. You can choose between hundreds of different pencil leads, colours, textures and layers. [Also,] the Apple Pencil is insane.”

How the designers know a sketch has potential

“We know we have hit upon an idea when the sketch is recognisable. When it’s not complicated to read. When it’s not messy. When we feel that the shape is obvious for everyone: the designer, the buyer, the journalist, the consumer, the wearer. When you feel that the product will live its life by itself from the beginning till the end of the fashion process.”

The muse behind The Attico

“Our creative process always starts with a woman in mind who represents The Attico values. There is always a strong desire to give her a voice. When the story behind her seems to be real, thanks to the sketches and the environment we create, we understand that the collection has a soul. [For this design,] we wanted to reinterpret tailoring, exploring that charming line between masculine and feminine.”
 

How (PRE-LOCKDOWN) nightS out turnED into A collection

“We take inspiration from our daily lives. We’d often work until late and sometimes we go out with our friends directly from the office. The Attico woman is mysterious, self-confident and determined. She is not afraid to dare; she is extremely aware and perfectly embodies the values of this era: an emancipated, strong, independent woman, divided between career and nightlife.”
 

on Trusting your instinct as a designer

“We follow our gut; creating is an emotional process. We feel a piece is strong when the shape, colour and material are balanced and well combined, but especially when it has an attitude.”
 

The skills that drive creativity

“Constancy, perseverance, determination...and a bit of madness: there are no rules behind creativity. It’s important to not restrain the artistic instinct. There is no right or wrong, but [simply] a different vision for each of us.”

It all starts with a scribble…

“The sketches are part of the communication between me and Faye. Often, they’re not as formal as this – usually scribbled on the edge of a piece of spot-and-cross pattern paper. Physical shape and form are integral to our work, so working in 3-D comes early in the design process while we simultaneously communicate through sketching.”
        

Toogood’s studio sister act

“Faye and I work collaboratively in our design process. Faye’s concepts imbue the collections with their character and life, informing the colour palettes and fabric choices with references to art, landscape and culture. Inspired by these concepts, I create the shapes through pattern-cutting and draping.”
 

on Finding inspiration in unlikely places

“The Conductor Coat is Toogood’s version of the classic trench coat. The sketch of The Editor Jacket and The Sailmaker Trouser illustrates the finish we developed for this limited-edition series we called ‘organza tapes’. This technique was inspired by model-making for furniture in the studio, where shapes are built up gradually using layers of masking tape. Strips of silk organza are hand-cut, overlaid and stitched in a linear pattern, creating a translucent texture.”
 

Erica’s advice for honing your design skilLS

“Keep practising and move between the 3-D work and sketches so they inform each other. Small details as much as shape and proportion are worthy of obsessive repetition and development.”

The ancient story behind the sketch

“The inspiration is from a trip to Pompeii. The prosperous life of ancient Rome, compared with the scenes of unexpected death in its later moments, gave me a great shock, so I decided to make a collection about it. I started [with] the silhouette and [Roman] wall-painting patterns. I wanted to do something simple like a Roman tunic, which features one-piece cutting and a loose-fitting shape.”
 

How the drawing became a design

“As always, fabric is the initial start of my design. When I was drawing the new collection, I was thinking about how to restore my memory of Pompeii. I thought if we [were to] wear a ‘Pompeii wall’ on the body, it could be a very interesting experience. Based on this idea, I created some new patterns that avoid cutting too much fabric and give a much cleaner shape to the final piece.”
 

What Uma’s designs mean to her

“What I want for my design is to present my feelings and experiences of my life’s journey through the fabric and cutting. In the end, each piece in my collection is part of me.”