The term bedlam came about from a psychiatric hospital in London called Bethlem Royal Hospital. It means uproar and confusion.

Bethlem Hospital was notorious for its malicious treatment of patients, hence the derivative of the word, bedlam. The history of the hospital is spilled with horrific tales of violent madness, cruel neglect, and dreadful conditions. Even during the 18th century, outsiders could enter the ward costing a penny (free every first Tuesday) for a taste of the “freak show;” bringing sticks to provoke the patients.

Madhouse is probably the first thing to come to mind.

Bedlam came into play when Sara made a reference to it. And no, bedlam, is nothing close to describe the collection. But it does describe the insanity caused by a few garments in the collection. They are complex in construction and can drive one to the “madhouse” sewing them together.

Each garment consists of a couple dozen pattern pieces of varying sizes and shapes. Figuring out which pieces sew over and under and in a particular direction causes mass chaos. This reputation for confusion has earned these garments the bedlam nicknames.

The following is a painting by William Hogarth. This painting is the last in the series picturing a man who landed himself in Bethlem Royal Hospital as a result of his self-indulgence. It also demonstrates the disturbing scene of the grotesquely amused visitors interacting with patients.

Here is a draft of one of the bedlam pieces next to a scan of a wood carving from the Arts & Crafts Movement.

Here is a scan of a wood carving and a pattern draft for a collar. The result is a 3-D fabric swatch. It demonstrates the design process from the “arts and crafts” inspiration to patterns to a sample in fabric to the final product.

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We only made one half of a toile because we were concentrating on design details and seam lines instead of fit for this first toile. We moved around darts, changed the shape of the waistband, and added pockets.

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Alyssa talks about the ivory crinkle skirt and the process of crinkling it. She also touches on the inspiration of earthquakes and how it relates to its texture and
meaning.

Sara drafted and sewed together a pencil skirt with dart detailing in an ivory silk. Then, she washed the skirt under water, twisted the skirt (more tightly twisted at the bottom than top to give a cascading effect), tied the twisted skirt together…

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Before fittings we have to make sure we have enough garments to fit – it just can’t be one or two outfits because that’s just a waste of time. And of course, we have to book a model with similar measurements to our collection. We are going for the NY fit mostly because we are showing in NY.

Anyways, the model shows up for about a 2 hour fitting. We have the camera, fitting/corrections sheets, and many pins ready at hand. During the fitting we simply “fit” the garments to her body. They are not too tight – we are not going for the “skin tight” look. If clothes are too baggy, we pin out the excess. If the darts or seam lines are sewn in the wrong spot, we chalk a new seam line to move them. We also look to take out seams if there is an unnecessary or excess seam line.

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I get to Sara’s about 9am. She always has a fresh pot of coffee ready. We usually sit around in the studio for a couple of minutes, wake up, and talk about what we would like to accomplish. If I haven’t been there for a couple days, she shows me the most recent progress-finished garments, new ideas from draping on the dress form, patterns, etc.

I keep a notebook, more like a list in a notebook, of what’s going on. Both her and I are obsessed with lists. We would be lost, distraught, without them. So everyday that I am there, I make lists. Lists of things that need to be accomplished, garments to be finished, patterns to be altered, new development ideas, new nicknames, lists of anything that pops into our heads that I count as a bright idea. Well, we spend the time in the morning going over my past lists and decide from the list what we shall do for the day.

After coffee and discussions, we set to our tasks. One usually sewing while the other drafts or drapes. My tasks usually consist of pattern drafting, sewing, or a combination of both.

Lunch time usually comes quickly, and I am always hungry, and Sara lets me dig through the fridge for raw green beans or mac & cheese. I set back to my task and continue on my project. It’s always a learning experience and Sara encourages my endless list of questions. Some days we have fittings or visitors and my tasks change. During fittings I help pin out excess, chalk new seam lines, take photos, make notes on my fitting & corrections sheet, and contribute to ideas of the collection. Other days I help answer phone calls, answer emails, and make appointments. I am Sara’s right hand and help to take some of the load. My notebook kind of works like a file cabinet for her thoughts…haha.

In the studio, there is a TV we usually keep on for filler noise. In the morning we watch VH1′s top 20. Later on we keep up with the best reality TV: NYC Prep, The Hills – it’s a guilty pleasure but all the none important.

No job is too small and every bit contributes. Unpicking and cutting out garments in final fabric are other projects I like to work on. Once a task is finished, I move on to the next or if the day is done,I finish it when I come back. Sometimes, I even get to stay for dinner when we work late!

The photos are from around the studio: patterns hanging on hooks that we are currently working on, garments on the stand, drafts and sketches pinned up on the wall, garments hanging on the rack, and so on…

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…this entry brings Sara’s British heritage into play, the differences between British and America.

Probably one of the first things I learned as a design assistant to a British designer living and working in America is how to translate British to American (who said we speak the same language?).

Plimsoles means Converse (as in the shoes), aeroplane is airplane, jelly is jam, and so on…

Patterns are drafted in a combination of centimeters and inches. And have you ever ridden in a car with someone who learned to drive in London? It’s like being in a race car. A trip to the fabric store, FedEx or anywhere else is always an excellent adventure. Is it something they put in the water over there? And is bread ever served without butter? Some days the studio is quiet, other times it’s a revolving door-coffee constantly, chilled wine and tea for guests, depending on the time of day…

The British influence doesn’t stop there…it influences the designs for the collection too. Spring/Summer collections need suits made in wools and raincoats too. Does it always rain London? But then I wonder, is that because Sara is from England or because we live in San Francisco?

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Alyssa shared some inspirational image scans from Sara’s sketchbook as well as some swatches are planning on being used in the collection…

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…a visual continuation from Alyssa’s last diary entry…

The first picture is of a globe made up of many pieces fitting together – kind of like a puzzle. This globe was inspired by Escher and his drawings. Even though this globe wasn’t literally translated into the collection, it helped us get to where we are now.

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Alumna Alyssa Prentice is currently working as a design assistant for designer (and another alumna) Sara Shepherd as she preps to show her collection at New York Fashion Week (a.k.a Mercedes Benz Fashion Week). Alyssa agreed to do a diary for us at Fashion School Daily; documenting her experiences leading up to the big day.

Her first entry is about Sara’s inspiration for the collection which comes from a “story of a girl” (hence the title of this post)

…thinking about the story of the girl – and how it all began.

The original inspiration started with the house Sara bought that was built in the 1905. During that time, there was a massive earthquake – the city was in ruins, fire burning all around and total devastation. Sara explored San Francisco and everything else that was going on in this era. It lead to the arts & crafts movement, women’s rights to vote, flight and exploration, literature, and Escher and intertwined objects. Walking down the street Sara saw a woven lampshade in a window which became the link between all parts.

The story of the girl is the idea of her being a person in control and put together and then waking up to the chaos (as if waking up to the earthquake)-the contrast of the composure versus the chaos.

…finding inspirational pictures

The first picture is of a globe made up of many pieces fitting together – kind of like a puzzle. This globe was inspired by Escher and his drawings. Even though this globe wasn’t literally translated into the collection, it helped us get to where we are now.

The next two pictures are cork boards Sara has hanging in the studio. They have design details, inspiration pictures, 3-D swatches, scraps of fabric, stitching samples – basically tons and tons of ideas pinned up on a board for us to look to everyday for inspiration and such.

The next couple photos are of posters we made of the story of the collection and the girl – this is our main goal and what we hope to achieve in this collection. They’re up there so we can look at them everyday, not to lose our aim and focus.

Alyssa Prentice, BFA Fashion Design student, has been selected to receive a scholarship from the Fashion Group Foundation. Only two are selected each year. At the next Fashion Group International meeting, Alyssa will be introduced to the members and presented with a check.

Alyssa is currently working on her collection to be shown next April in San Francisco.

Shannon Galati, 2007 BFA Fashion Design graduate, was selected last year.