# data[].attributes.body
Using an old pattern I'd made previously, I cut out the top half of the skirt, zig zag stitched the edges, and added some elastic on the top.

Next I finished it by sewing the ruffled layer onto the top layer

# data[].attributes.body
Making this slip skirt was really similar to how I did the layers of the dress. I cut out long strips 20cm deep. I had to do this quick while I was at home, because my overlocker broke a few days prior. I just used a zig zag stitch to finish the edges before gathering and adding a rolled hem

# data[].attributes.body
Here is my original inspiration for the dress, side by side you can see the key elements I incorporated, the white loin cloth was the inspo for the colour of the dress as well as the metal cuffs which got me thinking about adding metal to the design as well as the macrame back piece on my dress which I drew from the classic rider Waite Tarot deck iteration on the hanged man where the man is dangling from a rope

# data[].attributes.body
I began by trying to follow a macrame pattern, but it was very confusing. This resulted in me free styling it. The top piece connected to the necklace is made from three, three strand braids which I braided together once more. The bottom three coming from the hoop are just regular three strand braids

# data[].attributes.body
After a lot of hard work and 15 meters of fabric here is the finished dress. looking at this and my original design board I think I executed the construction quite well, it was nice looking back and seeing all the changes I made to the design along the way. in my design board for the hanged man there weren't layers in the skirt of the dress, but when doing the technical design flats where I really had to think about how I would physically execute this I decided that lots of ruffled layers might look best and would give the dress a nice flowy movement. I hadn't thought to use pin tucks when doing my original design either, which changed after I first began draping this dress with some scrap fabric, I even wanted to use a wire wrapping technique for the halter necklace that I found out making the toile would have been extremely uncomfortable to wear.

I'm glad I made all the changes that I did because I don't think the dress would be quite as nice without them

# data[].attributes.body
Tricia Newel is the artist that illustrated The Mythic Tarot card deck. These days Newel is a print maker/ wood worker who's work relates primarily to earth and nature. Newels work, sometimes has a folk art/ fairy-tale look and can be very finely detailed. Originally. when I began reading Tarot I didn't like the illustrations on The Mythic Tarot. I found the drawings rigid and stiff looking, but over time they grew on me because of how much detail and symbolism is packed into each card.

Newell, T. (n.d.). Wooden Block Print. [Online Website] tricianewell.com. Available at: https://www.tricianewell.com/ [Accessed 15 Mar. 2025].

# data[].attributes.body
Taffeta pros:

similar crinkled pattern to tarot card bag

nice shiny look

Taffeta cons:

too heavy

Cheese cloth pros:

has crinkled texture like tarot cards

is medium weight (lighter than the taffeta

Cheese cloth cons:

I don't think the feel of the fabric is right,

it wouldn't be flowy enough

Chiffon pros:

super light weight

flowy

Chiffon cons:

see through (could be fixed with lining

difficult to sew (very slippery)

uk, fabrics (n.d.). [Online Website] Fabrics Uk. Available at: https://www.fabricuk.com/fabrics/2341-crushed-cotton-gauze.html?gad_source=1&gclid=CjwKCAjw8IfABhBXEiwAxRHlsHVIW61XawQjo1BPa1HUnbK59867kachbGGXVMkDnMAOMxcGMedgWBoCZ4AQAvD_BwE [Accessed 25 Apr. 2025].

yarn, last (n.d.). white taffesta. [Online Website] Last Yarn. Available at: https://lastyarn.com/ [Accessed 22 Apr. 2025].

white chiffon. (n.d.). [Online Website] Amazon. Available at: https://www.amazon.co.uk/dp/B0CSJG5JPF?ref=nb_sb_ss_w_as-reorder_k4_1_12&amp=&crid=6IA69J5OR07M&amp=&sprefix=white+chiffo [Accessed 14 Apr. 2025].

# data[].attributes.body
I noticed that the bag my tarot cards has a similar crinkled texture as the taffeta so using this fabric would be on theme for me. however I'm still concerned that it might be too heavy and rigid

# data[].attributes.body
I tried adding a zig zag pattern to the tucks. It was the exact same process but at the end I sewed three lines, folding alternative tucks in different directions. This effect look quick complex but it was actually really simple to do, maybe doing this in a design could be interesting? If I chose it I would need to be really precise with my marking and sewing.

# data[].attributes.body
I love the way that these look finished. I think it would look good if I used them in a pleated skirt

# data[].attributes.body
This is the tucks all sewn after I had pinned them all in place. It would have been easier if I had marked lines going all the way down to where I wanted to sew instead of just at the top. As well as this, I found that using pins just got in the way of sewing and it made the process much quicker if I pinched the tucks in place while I sewed them down. Another option in a complicated project would be to hand baste them all before sewing.

# data[].attributes.body
kit list

-Ruler

-square of calico

-pencil

-pins

-scissors

-sewing machine

-thread

Health and Safety

I had to be careful with measuring accuracy and fabric movement. Once all pins were in place, handling the fabric was very tricky with lots of chances to be pricked.

With a ruler I made marks 1cm apart to give a guide for when I began sewing. I didn't want to leave lots of marks on the fabric, so went for the guides.

# data[].attributes.body
I tested out a few different wire wrapping techniques with some copper wire. I did the two on the right by twisting and putting a pencil in between the two pieces I was wrapping to create a gap. It was a cool idea in theory but I just wasn't able to get it looking clean and polished, because of this I preferred the look of the circular one on the left. I'm not 100% sure of using wire for the halter necks, I think it might look better if I use some old necklaces instead

# data[].attributes.body
I developed the prototype from the wire wrapping. I found a bracelet in a charity shop which had a similar twisting effect, so I took it apart with some pliers and put it together with other necklace pieces and jewellery findings.

# data[].attributes.body
I prototyped the wire wrapping with some silver tone wire. This would be for The Hanged Man dress. I like how the twisted wire is reminiscent of rope. Traditionally in the Rider-Waite deck the Hanged Man is illustrated with a rope attached to his ankle, so I thought it would be something interesting to incorporate into the design.

# data[].attributes.headline
Sewing all five layers of the dress together

# data[].attributes.subject
Sewing all five layers of the dress together

# data[].attributes.body
Once I got to sewing all the layers together I realised that I had gathered them much tighter then I did for the toile, because of this they just weren't long enough. I unpicked all the gathering on the ruffled layers again, except for the bottom 15 meter long layer which I kept tight. Once the layers were no longer gathered, I pinned them all together using the same gathering stich as before, but with a slightly lower tension of 0 to make it gather more smoothly. Gathering them while sewing them together meant that I could adjust them to the right length I wanted. When they were all sewn and gathered, I cut off the excess fabric either side, cut, overlocked, gathered it, and sewed it to the longest bottom ruffled layer so that it was long enough to go round the circumference of the skirt

# data[].attributes.body
when checking the fit, it felt and looked great, but I noticed that the bottom edge hung a bit uneven, this might be because of the slippery nature of the chiffon I used. As previously mentioned when I was marking the pin tucks I found it hard to get the tailors chalk to make straight lines because the fabric kept on moving, so when sewn the pin tucks instead of being horizontal slanted a bit to the side. Because of how difficult the chiffon is to work with I decided to lean into the accidental vertical look, however this resulted in the issue I'm facing now. After some brainstorming the solution I've come up with is when I'm doing the last step of sewing the top and bottom half of the dress together I'll sew the top pin tucked layer slightly slanted to make the bottom edge look even. although its not the most technical, or perfect solution its what I can do with the short time frame I have left to complete this dress

# data[].attributes.body
This is the second to last fitting, before I sew the skirt and top together. I wanted to make sure everything fit and looked good. One problem was that I had made the top double layered, but the skirt was still a bit translucent. To fix this, I decided to make a slip skirt to go underneath the dress

# data[].attributes.body
After overlocking both edges. with a low tension of 1, and stitch length of 4, I sewed two straight lines down the whole length of the stripe of chiffon without using the back pedal at the beginning or end of the stitch and making sure to leave a generous amount of thread. I used this excess thread to pull, bunching up the length of fabric. A big issue I faced when doing this was the thread snapping. I had sewn two parallel rows of thread to combat this, but I often found if one of them snapped the other was doomed and would snap soon after. This made the process quite long.

I started with the longest ruffled layer which is a bit longer than 15 meters of fabric, and worked my way all the way to the top layer that sits under the pin tucks.

# data[].attributes.body
Originally I began gathering layers before overlocking them, I realised that I needed to do it the other way around, so I unpicked it

# data[].attributes.headline
The Hierophant dress process pictures introduction

# data[].attributes.subject
The Hierophant dress process pictures introduction

# data[].attributes.body
Now that I've finished the toile it was time to unpick the whole thing so I could use the pattern on my chosen fabric

# data[].attributes.headline
Introduction to the minor arcana in tarot

# data[].attributes.subject
Introduction to the minor arcana in tarot

# data[].attributes.body
After going to the fashion show on the previous slide I was inspired to look into the minor arcana as a potential form of inspiration.

Similar to a deck of playing cards the minor arcana sequence goes as follows

2-3-4-5-6-7-8-9-10-page-knight-queen-king-ace

Again like playing cards, the minor arcana is comprised of four suits, cups, swords, pentacles and wands. When I learnt Tarot I was also learning astrology and came to understand the influence of the 4 elements in both astrology and Tarot. Cups rule over the water signs representing, love, relationships and feelings. Swords rule over the air signs representing the intellect, thought process, decision-making, and the mental aspect of life. Pentacles rule over the earth signs representing money, career, and tangible life. Finally wands, rule over the fire signs representing, passion, creativity, power, and action. Like the major arcana each card in the minor arcana has its own symbolism, story and meaning behind it. Although there are a lot of cards to draw upon, I feel that the characters in them aren't as strong conceptually to base looks on as the major arcana is.

Sharman-Burke, J. and Greene, L. (1986). The Mythic Tarot. 20 Vauxhall Bridge Road, London SW1V2SA: imprint of random century group Ltd. , pp.84-187.

# data[].attributes.body
Referencing my initial tarot concept boards and The Mythic Tarot deck I created 6 design boards of the six cards that I pulled in my reading. The Lovers, The Star, The High Priestess, The Hanged Man, The Hierophant, and Death.

I developed colour schemes, and designed looks for each card

# data[].attributes.body
https://www.canva.com/design/DAGgzkZoQD4/vBrQZtA1ek78V5IpIdkVeQ/edit?utm_content=DAGgzkZoQD4&utm_campaign=designshare&utm_medium=link2&utm_source=sharebutton

# data[].attributes.body
We did presentations in front of the whole class. I presented: my final design, experimentation, research, design flats, and customer profile. The feedback I received was very positive.

My main strengths according to my feedback sheets were: the project concept, the designs, the illustrations, having lots of material tests, problem solving, and a consistent aesthetic.

Things missing were: written research about the context of the tarot cards that I used for my final designs. Because of this feedback, in addition to the symbolism and meaning I put on all the initial concept boards for each major arcana card, I will add information in the style of a mind map on the pages were I’ve done tarot readings to decide on designs. explaining their similarity's, symbolism, and meaning.

The next question on the feedback sheets was “Was the pitch clear, and easy to follow?” the feedback I received on this point was extremely positive, no one raised anything I could improve, I got comments about "loving the presentation."

“Do the designs fit the target audience?”

The overall consensus was yes, I was told I had "a very clear target audience", and designs that "catered well" towards them.

“How strong is the visual impact of the final designs?”

Responses said yes, very strong. They particularly liked the use of jump rings in all designs, which created cohesion throughout the collection.

“Does the final design seem functional, and wearable? What could be changed?”

The majority said yes, and that the technical drawings emphasized this. However, I was asked about the potential for wardrobe malfunctions on both The Hanged Man dress and the halter neck dress. This was something I noticed in my fittings, so to combat this, I’m thinking of making bralette tops to go under the dresses, ensuring no mishaps happen on stage at the fashion show.

"Any designers I should look into?"

I was recommended designers who have done similar themes. I have already done with the research on Christian Dior's collection, but didn't present it.

“Does the project effectively communicate a clear concept or narrative?”

Majority said yes.

I got three questions from peers on one of the sheets

“What materials will you use?”

“have any designers worked with tarot cards?”

“Where would they be worn?”

I think these might have been written before my presentation was over because I had already answered all of them by the end.

# data[].attributes.attachment_link.description
Check out this Presentation designed by Ira Garside - 706674.

# data[].attributes.headline
Primary research at the Royal Welsh College of Music and Drama fashion show 

# data[].attributes.subject
Primary research at the Royal Welsh College of Music and Drama fashion show 

# data[].attributes.body
I went to a fashion show at the Royal Welsh College of Music and Drama. The theme was "Outer Space". There was a variety of looks on display during the performance. The two on the left of the page featured spines; one looked like it had been 3D printed, and had a lot of movement. I highlighted this because, at the time of the show, I was working on ideas to include a spine in a design for the Death Tarot card. I've highlighted the look to the right as I find it similar to my understanding of the Two of Swords in the minor arcana. Although so far my project research and designs have been based on the major arcana, the minor arcana could be interesting to look into.

# data[].attributes.headline
The Tarot gowns of Christian Dior spring/ summer 2021 haute couture

# data[].attributes.subject
The Tarot gowns of Christian Dior spring/ summer 2021 haute couture

# data[].attributes.body
The Christian Dior Spring/Summer 2021 Haute Couture collection, directed by Matayo Garoni, was a really fun presentation that had a theme of Tarot. They fused historical and modern design elements. There were ornate pleated sleeves from the 15th century, and tapestry fabrics draped around the body instead of being an castle walls. Continuity was made with empire-line silhouettes included through many garments. Because of COVID-19, Dior presented a short film rather than a traditional runway show. This led to the creation of "a compelling and immersive cinematic experience" with rich storytelling.

Inspired from a 15th-century pack of tarot cards, the collection focused on the major arcana. Cards like The Fool and Temperance were presented in a way that made their meanings/ symbols accessible to all, even those without a knowledge of the tarot.

The colour palette of the collection was muted tones—such as soft greys, deep browns, and golds giving a vintage, faded feel, but silhouettes were very new and playful.

Madsen, A.C. (2021). 5 Things To Know About Christian Dior’s Mystical SS21 Haute Couture Show. [online] British Vogue. Available at: https://www.vogue.co.uk/fashion/gallery/dior-couture-spring-summer-2021 [Accessed 3 Feb. 2025].

Teather, C. (2021). Dior Haute Couture SS21 Explores Tarot Cards As A Vehicle For Escapism. [online] Glamour UK. Available at: https://www.glamourmagazine.co.uk/gallery/dior-couture-spring-summer-2021 [Accessed 3 Feb. 2025].

# data[].attributes.body
Wun, R. (2016). AW24 COUTURE | ROBERT WUN. [online] ROBERT WUN. Available at: https://www.robertwun.com/copy-of-aw24-couture [Accessed 24 Feb. 2025].

# data[].attributes.body
Nast, C. (2024). John Galliano Fall 2009 Ready-to-Wear Fashion Show. [online] Vogue. Available at: https://www.vogue.com/fashion-shows/fall-2009-ready-to-wear/john-galliano/slideshow/collection#1 [Accessed 17 Feb. 2025].

# data[].attributes.body
I took part in a few workshops styling, draping, and modelling clothes. My team and I were given access to the university's supply of fabric. For this draping the top half was using interesting textile that had a silicon feel to it, I chose to drape it in a cowl neck style shape with hood and mini skirt.

These are two designs I did based off of the draping, I really liked the way this turned out

# data[].attributes.body
materials:

- calico

– thread

– needle

– tailors chalk

– fabric scissors

steps:

-I cut out an even square of calico

-referencing the smocking sheet I mapped out the pattern using tailors chalk on to the calico

-then using needle and thread began hand sewing along where I had mapped out

Health and safety:

Some things to consider were to be careful of the sharp end of the needle when poking through fabric, as well as the sharp blades on the fabric scissors, leaving scissors closed and away from my elbows (so as not to knock them onto the floor.

Evaluation:

I'm not super happy with how this turned out, I tried two separate times, shown above is my second attempt. The smocking was quite uneven, and the thread was very visible which I don't think is supposed to happen. Obviously I was using dark thread on pale fabric so I expected some visibility, in fact I made this choice so I could better see my work. From my tests I saw that if I had been more precise when mapping out the pattern onto the calico, the end result would have been better.

# data[].attributes.body
In my search for design ideas, I tried smocking, but before trying the technique I looked at and curated some images of smocking which I found inspiring.

# data[].attributes.headline
Vegetable printing repeating pattern outcome

# data[].attributes.subject
Vegetable printing repeating pattern outcome

# data[].attributes.body
I took the vegetable printing further by creating a repeating pattern. I was really pleased with the outcome of this, it reminds me of an eye, or a moon. At the same time, I like how abstract it is. Next I did some more digital collaging, this time using the repeating pattern. I used my Tarot concept boards for reference. I felt inspired by the "Hanged Man" and "Hierophant", so decided to merge them and go with a similar colour scheme from those two boards. This would be a slightly flowing hooded dress, and a Statement belt. I enjoyed this process but I wasn't feeling inspired to create a look based on this.

# data[].attributes.body
I made vegetable prints then scanned then onto my computer and removed the background using Canva. I used the results as collage over some ready drawn models. The one on the right I had a bell shape in mind, and the one on the left I was thinking, would have lots of ruffles. Personally not a big fan of bold prints in a look, I prefer more simple patterns, or just plane, so designing these was out of my comfort zone. I like the silhouettes that were produced, but I don't think I'll be basing any looks off of these.

# data[].attributes.body
Macormac, J. (2015). Mark Making John Macormac. [online] John Macormac. Available at: https://johnmacormac.art/tag/mark-making/ [Accessed 23 Mar. 2025].

# data[].attributes.body
Following on from the Cardiff Bay collage work, I decided I wanted to do some more, but more to my own design style. I printed out images of model figures, and used hot glue to draw over them. Once it was dry I overpainted with black paint and added beads. I found this process freeing and created some interesting silhouettes that I may not have achieved otherwise.

# data[].attributes.headline
Crystals at the Natural History Museum and Ganesha shop in Cardiff arcades

# data[].attributes.subject
Crystals at the Natural History Museum and Ganesha shop in Cardiff arcades

# data[].attributes.body
I’ve been collecting crystals since I was about seven years old. In addition to their aesthetic appeal, I enjoy exploring their spiritual properties and symbolism. To gather primary research for this project, I created a mood board and visited several sites, including the Genesha shop in the Cardiff Arcades. This shop specializes in handcrafted and sustainably sourced goods, such as crystals and unique clothing lines.

As soon as I entered, I was greeted by the calming aroma of incense, which, combined with items such as sound bowls, created a tranquil and relaxing shopping environment. One product that particularly caught my attention was their selection of Tarot cards. The idea formed that this could be an interesting theme to explore further in my project, as tarot offers a rich pool of symbolism and inspiration to draw upon.

After visiting the arcades, I went to the National Museum of Cardiff to explore their crystal display. The collection featured many unique gems with intricate geometric shapes. If I were to design garments inspired by crystals, I would draw inspiration from their striking shapes and vibrant colours

# data[].attributes.body
In London I visited the Warburg institution that had an Exhibition title “The Tarot” It featured art from an array of different Tarot cards over the ages. Some were blown up into big paintings. Like the ones shown on this page, many were quite abstract and featured bright bold colours.

# data[].attributes.body
This is the process of how I made the wings. I started with a wire armature which I wrapped in white ribbon to make it less visible. I then sandwiched this in between two layers of laminate underlay. I chose this material because it's cost effective, and is nice and flowy. I had three sizes of feathers I cut out 70 small, 150 medium, and 250 large. working from the bottom up I began with the largest feathers, hot gluing them all the way up until I had gotten through all my feathers

# data[].attributes.body
I considered making the wings in black instead of white but decided that white would look better. On this page are some collages I did with painted card hot glue and beads

# data[].attributes.body
Here are some of my favourites from the shoot unedited

# data[].attributes.body
To generate ideas of poses and locations for the shoot I did some quick sketches. Decided to shoot it in a car park because I liked the idea of the contrast between the white wings and grimy brutalist background

# data[].attributes.body
Last Yarn. (2024). Last Yarn - Surplus fabrics in the UK. [online] Available at: https://lastyarn.com/ [Accessed 5 Apr. 2025].

# data[].attributes.body
I cut the jersey using the pattern I made from the toile. Because the fabric wasn’t very thick, I added lining to the skirt. When I did the toile for this dress it felt a bit plain on my design board. I vision was silver and black, but so-far the silver on the neck piece was the only silver on a completely black dress, so before sewing it together I decided to use a bedazzling gun. I added detailing with diamante gems.

I experimented with different length/width on the sewing machine so that I could create a gathered effect around the halter neck. And using my knowledge from the previous project, I put drawstrings into the two side seams of the skirt. I overlocked the entirety of the inside of the dress, and it was done.

I like how the dress came out, I think I was able to get it really similar to my design, though I would have liked to see it made in non stretch fabric.

# data[].attributes.body
Last Yarn. (2024). Last Yarn - Surplus fabrics in the UK. [online] Available at: https://lastyarn.com/ [Accessed 5 Apr. 2025].

# data[].attributes.body
I didn’t have a pre-made pattern for this and built this on the model. Referencing my design, I cut out a triangle from some calico, after pinning this to the mannequin I realized that this made the top completely backless and wasn’t covering enough. To combat this I added two rectangle shapes to the left and right side of the triangle, making the top portion look the way I wanted it to. Before sewing it together I ironed a box pleat into the middle centre. I wasn’t completely happy with the way this hung. I created an armature of the necklace which will hold the halter neck around the model's neck, out of some malleable wire, so I could get a decent idea of what the real deal would look like.

The bottom skirt portion I cut the same width as the top. Obviously because, of this when I tried the toile on it didn’t fit because I didn’t account for the hips when I cut it.  I was a bit stumped as to what I could do to make it fit. Making the bottom strip of fabric wider would mean I wouldn't be able to sew it onto the top half and it lay flat. Along-side this I’d probably be left with excess fabric. After getting feedback from my teacher about the issue, I considered combating the problem by adding two pleats in the side. This could have looked nice in a different fabric like black satin. I began to regret that my design vison was to have it made from black stretch jersey. I decided to take a risk and go forward with making the dress from the toile, out of my chosen, stretchy fabric.

# data[].attributes.body
I began looking at fabrics to use, keeping in mind my colour scheme of black and silver. I wanted something stretchy because it would work better for the design I want to do. Although I liked the look of the shimmer jersey I felt like it might be really itchy and uncomfortable to wear, this made the plain jersey a more appealing option. Choosing the plain jersey I was worried that the dress might be too simple. I considered beading or sequins, but decided to go with diamantes.

Last Yarn. (2024). Last Yarn - Surplus fabrics in the UK. [online] Available at: https://lastyarn.com/ [Accessed 5 Apr. 2025].

# data[].attributes.body
I cut black organza into small squares and used a heat gun and my hand to scrunch it up. The design on the left was made by physically gluing the crinkled up organza onto my line drawing. The design on the right was done by digitally moving the images of the organza over the illustration. I definitely prefer the design on the right hand side because the silhouette is more unique. Next I did a quick design based off the collaging and my Death Tarot concept board.

# data[].attributes.body
I tried some draping to help generate design ideas for the Death Tarot card. I really liked the look of the slouchy neckline and hood especially because it sort of reminded me of a grim reaper in it's silhouette.

# data[].attributes.body
After making the toile I decided to go with the white chiffon for the actual dress. Wearing the toile it felt really heavy, and a bit hard to move in, so making it from a light fabric like chiffon will solve this issue.

One concern I have about using chiffon is how see-through it is. Adding a lining to the dress could make it look bulky, I'm considering using a slip under the dress to solve this.

I'm pretty happy with the layers, but my experiments are showing that adding a slighter shorter layer on the bottom would make the slit in the side blend and flow better.

# data[].attributes.body
Drawing the design flats helped give me a way better idea of what I should be doing for the toile.

One new thing I thought of doing was having each layer of the dress held up with jump rings, same as on the halter neck, sort of a play on words of "hanged" man. Later when making the toile I decided to scrap this idea because I realised in actuality it wouldn't look that good.

# data[].attributes.body
I knew that I wanted to go with something white for the dress. Out of these my favourite is definitely the crinkled taffeta. I think that the scrunched up pattern could look quite unique with the pin tucks and gathering I'll be doing. Although, I'm not sure if any of these will really lean into the Boho aesthetic I'm trying to achieve with this dress because of how heavy they are. The weight of the fabric is something I have to be conscious of when choosing my fabric, if its too heavy it might just be impossible to move in.

Last Yarn. (2024). Last Yarn - Surplus fabrics in the UK. [online] Available at: https://lastyarn.com/ [Accessed 5 Apr. 2025].

# data[].attributes.body
Last Yarn. (2024). Last Yarn - Surplus fabrics in the UK. [online] Available at: https://lastyarn.com/ [Accessed 5 Apr. 2025].

# data[].attributes.body
Last Yarn. (2024). Last Yarn - Surplus fabrics in the UK. [online] Available at: https://lastyarn.com/ [Accessed 5 Apr. 2025].

# data[].attributes.headline
Christian Dior spring summer 2017 inspired designs

# data[].attributes.subject
Christian Dior spring summer 2017 inspired designs

# data[].attributes.body
Dior, C. (2017). Dusty Pink Black Lace Dress. [Online Website] vogue. Available at: https://www.vogue.com/fashion-shows/spring-2017-couture/christian-dior [Accessed 2 Mar. 2025].

# data[].attributes.body
Ono, A. (2016). The Lovers. [Online Website] The Eternal Serpent. Available at: https://eternalserpent.blogspot.com/2016/05/my-collection-of-japanese-tarot-decks.html [Accessed 23 Mar. 2025].

# data[].attributes.body
For my second design iteration I still kept my initial idea of having lots of layers but changed the silhouette to a Mermaid Tail instead of Baby Doll. From my previous trend analysis I added a halter neck. I'd like this dress in white, maybe with some red highlights to reference Tricia Newel's pomegranate in her Mythic Tarot's rendition of The High Priestess

# data[].attributes.body
In my initial designs for the high priestess I was inspired by the dress the Greek deity Persephone is wearing in the Mythic card. I thought maybe having a bunch of layers could be interesting

# data[].attributes.body
I put all the cards concept boards onto one page so I could see which I liked best, as well as any similarity's

# data[].attributes.body
Before starting on my 6 design boards I needed to know which 6 cards I was going to take forward to the design process. I felt that for my theme it would be most appropriate to do a tarot reading to choose these cards. The cards I got were the "High Priestess", the "Hierophant", the "Hanged Man", the "Star", "Death", and "The Lovers". Thankfully, each of these cards is very different in meanings, and visual aesthetic

# data[].attributes.body
As I've already noted, I've used Tarot cards all through my teens, mainly using the mythic tarot by Juliet Sharman and Liz Greene that uses the stories of Greek mythology to overlap the role of each card. To fully grasp the concepts of design ideas for each card of the major arcana in Tarot, I created 22 concept boards. To keep my inspiration fluid I used my familiar "The Mythic Tarot" deck , but sourced information about the symbolism of the cards from Biddy Tarot. Going through this process really help me understand what I was working with, and what sort of direction I wanted to take this project in.

Sharman-Burke, J. and Greene, L. (1986). The Mythic Tarot. 20 Vauxhall Bridge Road, London SW1V2SA: imprint of random century group Ltd. , pp.14–81.

# data[].attributes.body
Macormac, J. (2015). Mark Making John Macormac. [online] John Macormac. Available at: https://johnmacormac.art/tag/mark-making/ [Accessed 23 Mar. 2025].