Christie Grimstad |
1st Place- HBAC member category |
The True beauty and potential of a butterfly begins in its cocoon. Meant to protect and hibernate, the 'Before the Butterfly' Cocoon Cloak captures both the functionality and simple yet captivating design of a cocoon all while using second hand and repurposed fabrics to be sustainable the way nature intended it.
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Patchwork is my preferred way to be sustainable. Using the old swatches or garments and creating some different creative things protects our resources, saves our environment, and at the same time could give us a different look. I made my garment with patchwork technique using Muslin fabric left from my draping class combined with a men's pant and cotton printed fabric.
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PATRICIA mckenna |
2nd PLACE- HBAC MEMBER CATEGORY |
This Challenge was difficult, because the directions were minimal, but also because of the materials I chose to use. In the past I have made garments using recycled cut up sweaters. This one seemed harder because there were so many pieces.
The color scheme came from the patterned sweater. I had most of the sweaters in my stash, only had to purchase a couple. I wanted to have as many different colors and textures as possible from my pallet of resale and thrift shop sweaters. I decided to use 2 different colored threads for the surging, so depending on which way the pieces laid you could get some of both colors. I was fairly happy with the outcome, it would certainly be warm to wear. |
My design is zero-waste (selvage to selvage) using upholstery yardage I purchased to make a jacket. I picked it out of my stash because it went well with a cotton-rayon woven print from Pakistan, from which I had made drapes, that I never got a chance to hang.
I wanted the comfortable feel of a rayon lining. I also liked using material that came off rolls, so I would not have to contend with the medial longitudinal crease that comes from being stored on a bolt. For style, I built a belt to cinch in front, and pockets for added warmth and storage. I also carried the lining up into the 2-inch seam allowance to soften the severity of the upholstery fabric and add interest. |
janet Johnson |
3rd PLACE- HBAC MEMBER CATEGORY |
Collecting crocheted doilies has been sort of a hobby for me, with some saved from my grandmother and some from estate sales. I imagine the hours put into making these lacy patterns from cotton threads and honor the longevity of the finished product...which I would never throw away!
In my mind, I see a small circle of women, crocheting as they gather for afternoon tea and share patterns and techniques. Two newer recycled samples show the changes from complex but soothing hand-crocheting to machine-made lace and embroidered designs from a more recent but less distinctive era. I have also taken a fancy to almost anything bright red. While I have a large red tablecloth, which I frequently use, I do not use the matching napkins. Too much trouble to wash and iron them! In our closet, I found a red silk tie, which easily became a fine belt... although I needed help in knot-tying. I enjoyed working on this project, especially since I did not need to purchase a single thing to make it! |
This sustainable design competition allows me to open new ideas for my garment. I selected my garment name as Modern Style Toga. The example of a Cocoon Cloak reminds me of the Ancient Roman Toga which inspired my garment.
I had these old curtains and old bedsheets, which have some damages on the fabrics and color-fade, that were sitting in my closet for a while. So, I decided to reuse these damaged fabrics for my garment. I cut old bedsheets to create front and back centerpieces and cut second old bedsheets to build the sleeves. After I reassembled both body and sleeve pieces together, I realized that the fabric was very light and thin, which did not give me a feeling of Ancient Roman Toga. Hence, I decided to reuse another bed sheet to construct a lining for my garment. Once I have completed the body parts of the garment, I cut old curtains to attach to the skirt and sleeve hems. Also, I reused leftover fabrics from the same curtains to create a fabric belt. My garment can be worn two ways, as a reversible Cocoon Cloak. The long fabric belt can be utilized as a garment accessory, a double wrap in front, and create a ribbon in the back on the waistline. I believe that my garment delivers an impression of Ancient Roman Toga. The softest fabric gives you a smooth and comfortable feeling all day. Whenever you move around your arms, you feel a sense of natural drapery. A wide fabric belt on your waistline feels like you are wearing a beautiful gown. |
The cloak is made of a satin red dress, blue fabric and sequin red fabric. The sequin fabric was a leftover that I used for a skirt a long time ago. Also, I used a leftover of a sky-blue fabric that I used to design a blouse. I layered the red sequin fabric between the two pieces of blue fabric to add delicateness to the gown.
The sky-blue fabric is a bit heavy. To add fluidity I put the transparent fabric in the shoulder of the dress. To add brightness to the dress I cut out pieces from the red sequin fabric to create small flowers and branches. To create the belt of the dress I use strips of the fabric from the red satin dress. The bias strips that I use on the neck of the dress came from the red satin dress. |
I choose to name my garment Restoring Bloom as it resonates well with the creative state I am in. Therefore, I decided to choose spring as a recurring theme to express my thought process. Spring symbolizes the act of restoring what was once there, hence the bloom of beautiful flowers in exchange of withered leaves. It embodies the idea of second chances in this case to pieces of scraps and to our true selves.
Like these scraps, it takes courage to pick yourself up and rekindle one’s inspiration. For some time now, these remnants were stored away just like my creativity. But, just like Spring will always bloom, so will my drive. As I deconstructed a previous sewing project, made from polyester organza, I realized that I hadn't given justice to its sheer effect. That is when I decided to embrace it and pair it up with chiffon and tulle. Inspired by their translucency, I decided to cut out flower silhouettes and have them hung from the shoulder flap with a cascade like flow. I wanted them to mimic a beautiful bloom impersonating the arrival of early spring. Three different fabrics were utilized: leftover lining from a jacket project, crinkled satin also left over from another sewing job, and an off-white printed-textured knit fabric meant to be made into a circle skirt. As I looked over my possible fabric options, I knew from the beginning that I wanted these fabrics to become one. Therefore, I opted for quilting and asymmetrical methods. First, I drew out rectangles with specific dimensions and from there started creating lines that eventually lead to triangular figures. Instead of utilizing the right side of the fabrics I felt it more convenient to shape my garment out of the wrong side. I wanted to mute the self in order to make the flowers the focal point. In addition, to preserve the motif of zero waste, I found it more convenient to use different fabric grains such as the bias, crosscut and every so often follow the grain line. As I was working on finishes, I first intended to make clean edges but as I saw how all the seams were coming together, I opted to direct me. There was something about the raw exposed seams that gave it character. However, due to the nature of the crinkled satin, I used pinking shears to diminish the unraveling. For the sake of consistency, I picked up some of the leftover fabric and built the belt. It was only then that I realized the effects of utilizing as many scraps as possible. Overall, my creative process was both healing and experimental. When one first starts off with an initial sketch one is not sure if the intended design will be translated clearly. Nevertheless, I have learned to accept the beauty of creating and understanding that some ideas have a better chance of existing if given the opportunity to sprout. |
Loren BLACKWOOD |
2nd PLACE- COMMUNITY COLLEGE STUDENT CATEGORY |
Our OCC Fashion student friend comes from Myanmar. We ask her to share the truth about the coup and how her family, friends, and people are suffering. We have seen the traditional silk clothing she wears at local protest rallies. The rich deep red linen of this garment is a similar shade.
MYANMAR ROSE was created to bring awareness to the plight of this country. The military and government repeatedly violate the fundamental civil and political rights of the people who continue to protest peacefully. It makes me pause and think about a democratic country, overthrown by the military with support from a corrupt government. |
25 years and my life is still
Tryin' to get up that great big hill of hope For a destination I realized quickly when I knew I should That the world was made up of this brotherhood of man For whatever that means And so I cry sometimes when I'm lying in bed Just to get it all out what's in my head And I, I am feeling a little peculiar And so I wake in the morning and I step outside And I take a deep breath and I get real high And I scream from the top of my lungs "What's going on?" And I say, hey-ey-ey Hey-ey-ey I said "Hey, a-what's going on?" And I say, hey-ey-ey Hey-ey-ey I said "Hey, a-what's going on?" And I try Oh my God, do I try I try all the time In this institution And I pray Oh my God, do I pray I pray every single day For revolution |
And so I cry sometimes when I'm lying in bed
Just to get it all out, what's in my head And I, I am feeling a little peculiar And so I wake in the morning and I step outside And I take a deep breath and I get real high And I scream from the top of my lungs "What's going on?" And I say, hey-ey-ey Hey-ey-ey I said "Hey, what's going on?" And I say, hey-ey-ey Hey-ey-ey I said "Hey, a-what's going on?" And I say, hey-ey-ey (Wake in the morning and step outside) Hey-ey-ey (Take a deep breath and I get real high) (And I scream) I said "Hey, a-what's going on?" And I say, hey-ey-ey (Wake in the morning and step outside) Hey-ey, yeah yeah yeah (Take a deep breath and I get real high) (And I scream) I said "Hey, a-what's going on?" 25 years and my life is still Tryin' to get up that great big hill of hope For a destination, mmm |
My first step when designing garments is to browse fabrics. I don’t want to get my heart set on something that I won’t be able to locate so it just feels right and allows me to feel out the fabric’s personality. For this project, I started by looking through my stash of secondhand fabrics for something that was wide enough and long enough to create the two rectangles this piece requires.
As I let my mind wander, I was drawn to an orange plaid which reminded me of my childhood obsession with Greek mythology and pottery. The shades reminded me of the vases I spent hours gazing at and sparked a desire to wear one. To do that, I needed to find a subject. Despite following fashion, I am still in love with history and wanted something that would be recognizable, but not an existing piece. I started searching through online records of Greek pottery to prepare for my interpretation of the style and noticed how gorgeous, but involved the plates were. While I would enjoy doing something like that, I knew it wouldn’t work well with the plaid so needed a more concrete subject. That is when I remembered a virtual lecture I had attended on Sumerian deities and how they evolved into different aspects as the dominant religions changed. My search of Sumerian art soon brought me to a depiction of the Goddesses Inanna and Ereshkigal. Inanna is the Sumerian Goddess who the Egyptians would eventually refer to as Ishtar. She represents fertility, good harvest, and love. Erishkigal rules over the land of the dead as the Queen of the Underworld. The image which inspired me is from when their aspects were becoming merged into a wilder and less welcoming form; which was due to them losing followers to the Greek and Egyptian pantheons. I soon found a recreation of what the high relief looked like in its heyday and knew what I was going to base my design on! Now that I knew what my design would be, I started searching for materials. The white fabric was the easiest to get since I am recycling bridal gowns into a new dress for one of my classes, and had a lot of train left over. The black pieces were trickiest, but my friends who work at Equipe Athletics, a local sublimation company, were happy to save any misprinted black fabric (pieces which would normally be thrown away) for me to use. Knowing where my material would be coming from, I started work on the pattern. The main body was easiest as I just cut the fabric directly, but the appliques required paper patterns. I created the shapes on a computer (to reduce waste) and then split them up to print. Some scissors and tape later made the garment ready to sew! |
Thank you to my Nanna who gave me the tablecloth and for this time to come to design a cocoon with what I have available in my home. Upcycling all of the things in my house is really a project I have been doing for years.
I am not sure if she made the table cloth. She made everything by hand and this could have been. It is so wonderful to use all of the things that you have at home and put them all together and make a new sustainable piece of fashion. This Cocoon is all hand stitched. It has a handmade belt from India that is attached at the back of the Cocoon. It can be worn in many ways. The garment is low cut in the back and can be switched around to have it low cut in the front with the pretty belt showing in the front. The entire piece is handmade. It is hand-stitched except for the piece around the neck. |
The Siofra Sun Cloak (Gaelic pronounced: shee uh fra meaning: an elf) was made in two days by Carmen Arguello, an Orange Coast College Garment Construction first year student.
The cloak protects its wearer from the sun while still remaining cool and airy. Its soft fairytale look and feel helps to keep things lighthearted and whimsical during these trying times. The Siofra Sun Cloak's versatility allows it to be worn on it's own, over a base layer or as a swimsuit cover up. The Fabric was found discarded at a local family run fabric store in the scrap bin and the elastic was pieced together from former projects. The Fabric appears to be a cotton lace, though this is not certain as it was unlabeled. This Cloak was made with smiles, determination and curiosity. It was challenging but still so fun to create. |
Kerala is named after its weaving producer from the India state capital of Trivandrum at the Kerala Handloom Palace. The sarees made from this district are one of the most historically important places for cotton sarees in all of India.
The territory has a geographical identification in which they are known to still use the traditional techniques specific to the culture in this state. This style is known as the Kasavu saree. I watched them weave the cotton and silk outside in a precast building. I was taught it takes anywhere between 4-7 days to complete one garment. When I was traveling, I saw the lightweight material worn throughout the city in many ways by both men and women. Typically pleated at the waist and draped around the body; the daily outfit is worn with effortless elegance. The sarees include an extremely specific homage to their heritage with the gold border for a touch of divine merit. The gold border is silk that’s been coated in silver then plated with gold. The cost of a Kasavu set varies according to the width of the gold borders. To use the inherited ornateness of the saree and make a garment that unites communities, gender, and cultural backgrounds was a lot to consider. Over time in history the Kasavu saree has adapted to include personality in colors and prints. I was immediately drawn to the contrasting jewel tones and festive design from the pallu in this textile. The pallu is now a reversible, detachable, and expandable shawl. Which could be used on your lap sitting down in a [wheel]chair or on the shoulders with cold mornings. Most of my designs in the last two years surrounding fashion have been focused on universal, long-lasting, upcycled apparel. For my submission, I have used all seven yards of this saree in a zero-waste design as the foundation for my sustainable concept. I constructed my design through layering, fusing, patchwork, and creating versatile parts out of the fabric without affecting the silhouette. The equitable use of the garment, like intended, eliminates complexity for universal inclusivity. Looking back, did I have the education back then about sustainable social responsibility? No. Do I realize today the impact that I have had on this community regarding my purchase? Yes. Realizing this pushed me to complete the cloak in honor of the tradition and the true cost of what looks like a blood stain close to the left, backside hem. To even value being their last customers before the national Covid-19 lockdowns is incomparable. In addition, a complete sustainable life cycle analysis would require traceability, and through my design I can trace that the garment was Made in USA, and manufactured by handloom, from women, then sold by ready-made retailer at: Kerala Handloom Palace; NH Bypass Road, Vazhamuttam Junction, Thiruvallam Junction, Thiruvananthapuram – 695027. |
SOFIA CARRILLO |
3rd PLACE- COMMUNITY COLLEGE STUDENT CATEGORY |
My Cocoon Cloak design is called Shine Again. I used a pair of black 100% polyester curtains, which I have had for years. I created this garment because I was inspired by one of my dresses that reminds me of the gothic style dress.
I have a black blouse with long sleeves and some openings on the arms. When I wear this dress, it makes me feel comfortable, confident and, with style. So, I wanted to give this feeling and ideas into my Cocoon Cloak. I used the curtains rings from shoulder to wrist. The rest of the rings were used on the waist belt, front pockets, and on the side to give a unique style to my design. I believe I can share this feeling of comfort, confidence, and a trending style with other people. |
This piece is dedicated to Kirstie Hibbard, a very important person and mentor to me who tragically lost her life earlier this year. I named this piece after the joy and energy Kirstie brought to those around her each and every day and as a reminder to appreciate the beauty all around us.
The tree represents the organization we were both passionate about. This organization teaches individuals in rural areas how to sustainably farm, creating a food source for generations, while helping to reverse the damages of deforestation and using the earth’s gifts in a responsible way. I wanted to bring together the resources that the earth provides, with the ones man supplies in a creative and unique way. I used bottle caps to make the leaves because they are often not recyclable and it was important to me to repurpose them in a colorful and vibrant way. The belt is decorated with beads that I handmade out pieces of water bottles. I also used fabric remnants to make the tree and the base of the piece. This piece is meant to symbolize the beauty that this planet offers, while exemplifying the ways we can use all its resources, even the trash, to make something unique. |
The materials for this cloak were all found in my personal stash of decommissioned clothes, household linens, and notions. Although some might call it hoarding, I practice the habit of storing unused textiles for unknown, future transformation opportunities. When I encountered the Judith Hendler Design Competition, I knew just such a transformation opportunity had arrived.
For the main body of the garment, I repurposed an entire curtain which I have had on hand for years, but had no use for, since it came to me second hand with no corresponding matching curtain. Since the textile was white, my design process was inspired by ancient Egyptian apparel. I envisioned a heat-reflecting, desert-suitable garment whose color could provide coolness under the sun and whose coverage could provide a warmth layer at night. To ensure that this textile was incorporated into the design with zero waste, I cut it only to create the shoulder seam. I ripped open the original seam allowances and refinished the edges with a smaller seam allowance, bias tape, and a decorative machine stitch, sourcing the thread from what I had on hand rather than purchasing matching thread. In considering details of color, seam finishing, and the belt, I wanted to keep the look of the garment modern, mobile, athletic, and clean. Using a stretchy neon mesh jumper from my (now finished) clubbing days and a pair of jeans which would never fit me, I sketched a look that suggested long-lasting performance and versatility for multiple occasions. I created bias tape from the jumper, transforming what used to be limited fabric square footage into multiple feet of seam finish; I also preserved the existing hood of the jumper and affixed it to the garment flap for an additional layer of style and protection from the elements. Finally, the belt; I knew I wanted the belt to function as a strong anchor point for an otherwise lightweight garment. I also wanted to make sure it remained adjustable. The resulting belt is multi-piece. There is a band which hooks in the front and conceals two button adjustment options close to where it is attached to the cloak in back. Attached to the band itself are two denim braids, finished with stretchy neon on one end and pinking on the other, which tie off in the front for an additional element of design and possibility of extension. The finished garment looks like something I and my generation could easily wear as a current fashion, because it comes straight from materials which were already incorporated into my household. These on-hand materials just needed the right transformation opportunity to go from being three separate items in storage to becoming The Athleisure Cocoon. |
Eleyna Gomez |
1ST PLACE- Community College Student category |
Creating this garment ignited a series of full-circle moments bringing me back to the reason why I first started sewing 10+ years ago. With a cousin in the hip-hop/DJing industry, I was often gifted with free promotional tee-shirts. When I first learned how to sew, I used these tees to make myself urban clubwear -- dresses, skirts, and crop tops.
I have always loved the mix of bold colors, street-inspired designs, as well as, designing with sustainability in mind. This cloak is a compilation of 28 gifted/thrifted tees. Some are promotional tees from events long passed and some are pre-/well-loved tees donated to me for my sustainable creations. The simple design of the cloak lent itself to having a bold textile. It inspired me to recreate a houndstooth print (or quilt) out of the cut tees. The remaining scraps will be kept for future projects and used as pillow stuffing. Each tee piece (including the border made from black tees) is fully interfaced to create structure, as well as, to equalize the varying knits (weight and stretch ratios). The pieces are sewn into squares, which are later sewn into the larger textile. For a professional finish, both the front and back pieces are fully-lined in a grey-tone plaid, accented with a black border with the edges finished in gold bias tape. The final garment is a bold and chic caftan that displays a colorful, oversized houndstooth print which is a nod to 80s/90s hip-hop fashion (an era that I love). It can be dressed up to be worn out (the front pockets are large enough to hold a wallet and phone) or opened up and worn indoors (to use as a throw blanket on a cold night). Versatile, sustainable and FLY – designing and constructing this cloak was a joyful reminder of where I’ve been and how far I’ve come. |
I was inspired to design something with a stack of towels that had been sitting in our garage for years.
By piecing together a total of six of these towels, I was able to create a version of the Cocoon Cloak that is warm, soft, and absorbent - a kind of bathrobe that I call a Terry Cloth Towel Tunic. It's perfect for getting dry after a shower or a swim, and also great for staying comfy and cozy while lounging around the house or outside on the deck. |
They call her honeycomb. is a versatile play-on-the-LBD that combines the timeless elegance of black with the future of fashion; sustainability and adaptability. This instant classic not only utilizes recycled fabrics to eliminate waste, but also features a Velcro bow belt so people of all abilities can enjoy this design.
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The Butterfly dress was inspired by the Melanargia Galathea, the marbled white butterfly. In order to create this unique dress, I have used a secondhand fabric that was donated to the Orange Coast College fashion department. Furthermore, I have used leftover yarn to crochet the dress collar.
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Maya Horikawa grew up in Southern California and spent most of her earlier life as a violinist traveling through a creative kaleidoscope of colors, cultures, and art. From 2006 - 2012, she lived in Europe where she received her music degrees from conservatories in Germany and Belgium and found her love of fashion art. Her blog, Talk Fashion, which was a jumbled mess of ideas, explored her intrapersonal relationship with fashion and art. From the blog, a YouTube channel was born, TALKFASHION TV. Her final videos were a 10-part YouTube series called, TRASHION. The series challenged her to create 10 gowns in 10 weeks, all made from discarded materials found in people’s trash.
She is currently studying fashion design at Saddleback College . |
My name is Imane Gehring, 37 years old. I speak multiple languages: French, Arabic, German, and English. I was born and grew up in Morocco.
After I graduated from high school in Morocco, I moved to Germany in 2002 to attend the law school program at the university in the city of Monchengladbach. After my graduation, I worked in a law office for five years. In 2013, I got married and moved to the United States to join my husband. After my immigration to the United States, I wanted to realize a dream that I've always carried with me, which is merging my passion for fashion into my life career. This passion is about design and apparel construction. For this reason, I've joined the Fashion program at Orange Coast College, where I am currently enrolled. |
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I am Isabel Neeley and I am in the fashion program at Orange Coast College. I believe sustainability is very important and is the future of fashion so always try to reuse, recycle, and upcycle when it comes to creating and designing. I love vintage and cutting-edge fashion that always keeps you guessing, so I hope to one day merge sustainable fashion with high end, Avant-Garde fashion.
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Pink in French
Ramses Osorio Saddleback College Recycled Pants Tulle Paint |
Ramses Osorio I am Ramses Osorio and I have been designing for four years now. I come from a small Mexican family, and I love having the opportunity to be able to design and compete. For me, it was a self-challenge to design from a single object. I often find inspiration from a lot of things, and I take inspiration from different places, but I was really intrigued to have a main focus in a single object like a necklace. I choose the Vintage Deep Pink Necklace because of its color and form. Fashion is one of the most important things in my life because I get to construct a wearable art, a unique piece of clothing.
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Simon Yuan Simon Yuan is a serial explorer who is currently attending Saddleback for advanced fashion design. He has won multiple awards including 1st and 2nd in streetwear at Saddleback's 2019 fashion show. He is multi-disciplined and curious in nature. While attending college, he worked for several fast-paced tech startups. Upon graduation, he hopes to blend his skills in unique ways to create new works in fashion and beyond. Ultimately, he wants to put Saddleback on the map for fashion.
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Nike AF1 Bondage
Simon Yuan Saddleback College Trashed Nike Air Force I Shoes Floppy computer disks Plastic file folders Reusable grocery bags Samsonite hardware CD wallet Vitamin bottle |
Iron Orchid Qipao Dress
Thomas Truong Fullerton College Undesired bleached bedsheet Damaged Leather Jacket Soda cans Compostable Parchment Paper Non-recyclable plastic waste from Ikea Waste paper and recycled tape |
Thomas Truong Nature has given me so much. Seeing the environment in its current state made me realize that inaction is not an option especially when everything provided to me was from our beloved planet. I want for nature to help future generations just like how it helped me. I’m extremely thankful for my friends, family, and a psychic mentor/friend of mine for supporting me throughout this journey of mine. My name is Thomas and I aspire to fulfill my environmental mission through my sustainable creations. I will also make my family, friends, and supporters proud.
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Loren Blackwood As a full-time student at Orange Coast College studying Fashion Design and Sustainability in the Apparel Industry, I find continual inspiration through the study of architecture, art, and fashion. I received my bachelor’s in Art History from U.C.I. in 2018. The balance of my time goes to exploring local museums, art galleries, nature, and photographing all that I encounter along the way.
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We Made Our Clothes
Loren Blackwood Orange Coast College Denim pants, skirt, & vest. Animals print hood created for another garment. Thread Snaps Buttons Plastic, and metal “o” rings and metal washers. |