OBLIVION: The Design Process Behind a Micro-Collection
Words by Keyona Fazli, Writer
Smooth, rich, and ethereal: oblivion.
When attempting to come up with the right title for this micro-collection, ‘oblivion’ was the only word that I felt fit seamlessly with the sensation I wanted to create. I remember eagerly gushing to a friend about drawing silhouettes that would remind viewers of a sprite or a fairy, drawing mostly on the aspect of innocence, but also creating something the wearer would feel sexy in. Peaceful and silky, OBLIVION’s satin fabric and pastel colour palette work hand-in-hand to emanate a meditative state.
The design process was something that pushed me to think both practically and creatively about what designs would be most flattering without losing the comfort of loungewear. To be perfectly honest, when I started, I had no idea what I was doing. Unlike my current plans for future collections, which involve more thought put towards a cohesive theme throughout multiple pieces, with OBLIVION I was just making clothes that would fit the theme of night/lounge wear.
Haute magazine very kindly agreed to showcase my work and asked me to share my perspective as someone who is quite new to the design world.
The first piece I designed for this micro-collection was the blue dress (as seen on Greer). I wanted to create something that could be altered to fit more than just one size, which resulted in the rather cheeky nature of the dress being tied up from the back. In March, when I showed some of my work to a member of a fashion show committee, they said it was ‘too risqué’ to be displayed at the show. Certainly, after modelling the purple bodysuit myself, I must concede that they were right – I couldn’t even muster the courage to wear them outside the flat’s backwards-looking balcony!
The most challenging piece to sew was the purple bodysuit. It was, of course, not designed for someone with my measurements, but I ended up learning a lot more about upper body proportions through my mistakes. Sleepless nights overtook my life during the two months leading up to April; there were two separate occasions – potentially within the same month – in which I was awake for 32 and 36 hours respectively to meet deadlines for the pieces. Those deadlines pushed me creatively and physically, and I can assuredly say I have grown quite a lot as a designer. From someone who made a few thrifted outfits here and there, I feel this micro-collection has helped me step up into the wonderful, but intimidating world of fashion.
The blue shorts (as seen on Mistral) were initially intended to be menswear, but the versatility of the pieces meant that we could pair it with either the wrapped top as we see her in now, or even with the bodysuit. It was definitely the most frustrating piece I made because I could not wrap my head around how trunks work. I had to call my mum frantically and ask her to take apart one of my dad’s old swim trunks to send me the measurements. We can laugh at it now, but I had never been more stressed out than I was when making men’s trunks!
To me, the most important part of making clothes has always been about producing something that makes the wearer feel even more at home, a second skin if you will. It seems to go without saying, but there is a real divide between perceptions of fashion show designs (i.e. couture) and ‘made to wear’ collections. OBLIVION is most certainly miles away from couture, but there was another design that I made from black N95 masks and lateral flow tests (a crop top and matching skirt). I wanted the first fashion show after COVID-19 to depict what had become such as integral part of our lives. This, however, does not fit with the theme of my blue and purple designs, so I opted out of including the pieces in this article.
The photoshoot for OBLIVION was inspired by my obsession with nostalgia, my interest in the warm, sometimes blurred tones created by disposable cameras. Taking the girls to West Sands felt very natural; in lieu of the modifiable aspects of the pieces, I knew they would function just as well when we moved them from the boudoir to the beach. I couldn’t have asked for a better sunset.
As for what’s to come, all I can say is that I am looking forward to digging deeper into my roots and creating fusion in fashion while incorporating my passion for poetry. I also want to prioritise sustainability in any new projects I pursue and use as many thrifted items and deadstock fabric in my pieces as I can. After the last nine months of experience (and my good luck charm in the form of Grace Wang’s old mannequin), I am excited to bring new creations to life.