Preamble
For you convenience I have listed below other posts in this series which were sourced from the book - The Pattern Base[1]:
The Pattern Base by Kristi O'Meara - Book Review
The Art of Lorenzo Nanni
The Geometric Abstract Designs of Kristi O'Meara
Representational Designs of Kristi O'Meara
Geometric Patterns Designed by Patrick Morissey and Jasmin Elisa Guerrero
Fabric Swatches - Part I
Hannah Truran
Fabric Swatches - Part II
Fabric Swatches - Part III
Fabric Swatches - Part IV
Abby Thomas [1]
Abby Thomas began her studies at the School of Art Insitute of Chicago in 2007. She first focussed on fiber and material studies and then moved onto fashion design and construction. She graduated in 2012.
Abby Thomas.
Her early collection entitled 'June' (after her late maternal grandmother) was about savouring a heritage. Born and raised in a small town in North Carolina, Thomas rooted her concept centered on southern history. Unusually within the fashion industry, she chose to work with both menswear and womensware. She created a synthesis between the two genres.
'They play upon each other,' she observed, 'and feed off one another in a certain way. I want people to notice that, embrace it, and use it to their advantage.'
Abby Thomas, Men's and Women's Fashion.
The collection began to take form as Thomas collapsed the boundaries between her own, her mother's, and her grandparents' histories. She blended the comforts, traditions and manners into silhouettes that both defy and embrace Southern gentility and tradition.'It's a pride that is engrained in your being. It's who you want to be. I come from a place often misunderstood, but when I leave it, it's all I can do not to pine away for it.'
Abby Thomas, Men's and Women's Fashion.
Although her early collection alludes to the South's troubled past of decadence and decay, it is balanced by a highly personal foundation. Looking through old family photographs sparked sun-bleached, tobacco-stained memories. The color theme was inspired in part by 1960s dye-transfer prints of Southern photographer William Eggleston.
Detailed view of female fashion accessories.
Detailed view of male fashion accessories.
Thomas' collection is classic in silhouette, but contemporary in its mix of color, cut and materials. Sheer vintage flocked silk connects the present with the past in the form of wide-leg pants and baby-doll tops. Chambray jumpsuits for both genders remind us of the hard-working middle class. Clusters of vintage and constume jewels accompanying a debutante gown that is corseted to show a young woman's figure. With an attached silk chiffon coverlet and ankle-length brocade, there is a suggestion of a guaudy old-moneyed world of plantations, excess and an innocence of 'Sunday best'. Tobacco brown and peach linen cotton-blend suits are cut from Thomas' own cotton blossom print design and produced by North Carolina based company - Spoonflower.
Thomas' classic female and male silhouettes.
Thomas' classic female and male silhouettes
Reference:
[1] The Pattern Base, Kristi O'Meara (Ed. A. Keiffer) Thames & Hudson (2015).
For you convenience I have listed below other posts in this series which were sourced from the book - The Pattern Base[1]:
The Pattern Base by Kristi O'Meara - Book Review
The Art of Lorenzo Nanni
The Geometric Abstract Designs of Kristi O'Meara
Representational Designs of Kristi O'Meara
Geometric Patterns Designed by Patrick Morissey and Jasmin Elisa Guerrero
Fabric Swatches - Part I
Hannah Truran
Fabric Swatches - Part II
Fabric Swatches - Part III
Fabric Swatches - Part IV
Abby Thomas [1]
Abby Thomas began her studies at the School of Art Insitute of Chicago in 2007. She first focussed on fiber and material studies and then moved onto fashion design and construction. She graduated in 2012.
Her early collection entitled 'June' (after her late maternal grandmother) was about savouring a heritage. Born and raised in a small town in North Carolina, Thomas rooted her concept centered on southern history. Unusually within the fashion industry, she chose to work with both menswear and womensware. She created a synthesis between the two genres.
'They play upon each other,' she observed, 'and feed off one another in a certain way. I want people to notice that, embrace it, and use it to their advantage.'
The collection began to take form as Thomas collapsed the boundaries between her own, her mother's, and her grandparents' histories. She blended the comforts, traditions and manners into silhouettes that both defy and embrace Southern gentility and tradition.'It's a pride that is engrained in your being. It's who you want to be. I come from a place often misunderstood, but when I leave it, it's all I can do not to pine away for it.'
Although her early collection alludes to the South's troubled past of decadence and decay, it is balanced by a highly personal foundation. Looking through old family photographs sparked sun-bleached, tobacco-stained memories. The color theme was inspired in part by 1960s dye-transfer prints of Southern photographer William Eggleston.
Thomas' collection is classic in silhouette, but contemporary in its mix of color, cut and materials. Sheer vintage flocked silk connects the present with the past in the form of wide-leg pants and baby-doll tops. Chambray jumpsuits for both genders remind us of the hard-working middle class. Clusters of vintage and constume jewels accompanying a debutante gown that is corseted to show a young woman's figure. With an attached silk chiffon coverlet and ankle-length brocade, there is a suggestion of a guaudy old-moneyed world of plantations, excess and an innocence of 'Sunday best'. Tobacco brown and peach linen cotton-blend suits are cut from Thomas' own cotton blossom print design and produced by North Carolina based company - Spoonflower.
Reference:
[1] The Pattern Base, Kristi O'Meara (Ed. A. Keiffer) Thames & Hudson (2015).
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