METAMORPHOSIS

This collection started with my own experience with self-acceptance. Like a lot of people, l’ve struggled with insecurity and have had difficulty accepting who I am. But over time, I’ve been able to appreciate that change is natural, and that who we are, flaws and all, is always evolving.

I was able to connect this statement of transition to the metamorphosis of moths, my collection explores the ongoing cycles of transformation within the human body and mind. This collection follows a progression through four main looks transitioning from silkworm, cocoons, and moths.

Each fabric choice and construction method reflects the form and feeling of the phase it represents. I used only natural fiber fabrics and silk thread to reinforce the integrity of the concept and maintain a commitment to sustainability throughout the collection.

FABRIC STORY

  • SILK CHIFFON

  • SILK ORGANZA

  • SILK SATIN

  • BOILED WOOL

  • COTTON ORGANDY

  • COCOON SILK

  • COTTON CHEESECLOTH

  • COTTON VELVETEEN

  • SILK MOHAIR

Replicates the silk worm before the cocoon transformation

DETAIL AND PROCESS

LOOK ONE

EARLY DESIGN AND SKETCH PROCESS

LOOK TWO

Replicates the silk worm before the cocoon

transformation

EARLY RESEARCH AND DESIGN

Replicating the texture and shape of the silkworm to garment with 400 cut pieces consisting of 3 layers: cotton velveteen, hand distressed cheesecloth and silk organza.

Silk mohair is used to wrap and tie around garment as if a cocoon is beginning to form

TOILE PROCESS

3 types of coat lining tests and seam samples

MADE OF 4 LAYERS:

  • Satin Lining

  • Hand Distressed Cheese Cloth

  • Bombyx Mori Cocoon Silk

  • Silk Organza

COAT LINING

LOOK THREE

The cocoon just before metamorphosis ends, the moth is ready to emerge

DYE TESTS

Silk chiffon tests dyed with black tea over original dye. Used in lining of look three, slightly revealing color

EARLY SKETCHES

DETAIL AND TOILE PROCESS

LINING

Hints of color peeking out in the fabric lining to represent the moths emergence. Use of & zippers and synched ties along the sleeves and hem to represent that change is on the verge of happening.

Shell Made of 4 Layers:

Cotton Organdy, Distressed

Cheesecloth, Cocoon Fiber, Silk Organza

Lining made of 3 Layers:

Cotton Organdy, Tea Dyed Silk Chiffon,

and Distressed Cheesecloth

LOOK FOUR

The moth has emerged from the cocoon.

EARLY SKETCH AND DESIGN

FINAL TOILES

FINAL MUSLIN TOILE

BODICE SELF

Silk Charmeuse and Chiffon

BODICE LININING

Silk Charmeuse and Organza

The symmetry in the corset replicates the symmetry in the moth’s wing as well as the sheer chiffon pieces layered over the lining to capture the wing’s transparency and delicacy.

SILK CHIFFON SEAM SAMPLES

BODICE LINING

This bodice contains 280 cut pieces of silk chiffon and is completely symmetrical. The hand cut holes replicate how moths chew through fabric.

PROCESS ADDING HUNDREDS STRIPS OF GATHERED CHIFFON TO BASE OF CHIFFON SKIRT

HAND DISTRESSED CHIFFON, DYED WITH BLACK TEA

PHOTOGRAPHER: CHLOE O’NEILL.

PHOTOGRAPHER: THERESA LANDI.