OUR THOUGHTS AND EXPERIENCES ARE SHARED HERE IN A Q&A FORMAT.
2018/3/16
Q1. What inspired you to start THE MODELISTE STUDIO?
A. We wanted to emphasize the critical relationship between design and pattern cutting. Garments are three-dimensional objects, and pattern cutting is the method used to construct these forms. Therefore, learning pattern cutting is inseparable from designing garments, as both involve creating a three-dimensional model. We believe that garment design and pattern cutting are fundamentally integrated processes.
Q2. When did THE MODELISTE STUDIO project begin?
A. We began experimenting with variations of collars, sleeves, and body shapes, and started documenting our work through photography in 2015.
Q3. Who are the founders of THE MODELISTE STUDIO?
A. This project is primarily led by two people: Genta Mori and Britt Mori.
Q4. What does pattern cutting mean to you?
A. Pattern cutting is a method of transforming flat fabric into a form that covers a three-dimensional shape. In the era of the couturier, designers led the way in exploring unique approaches to shaping the body, always considering the characteristics of the fabric. For us, pattern cutting is more than just a technical process—it’s a story about the relationship between the body and the fabric that wraps around it.
Q5. What is your idea of garment design?
A. Garment design is the optimal solution derived from pattern cutting, a method of constructing fabric three-dimensionally to cover the body. What we are discussing here is specifically garment design, not fashion design. We see these as two distinct concepts.
Q6. What does "couturier" mean to you?
A. A couturier was someone who integrated both pattern cutting and design into a single role. They understood how to assemble the body, structure the sleeves, and design the garment's construction themselves. Couturiers such as Cristóbal Balenciaga and Christian Dior embodied this approach. However, with changes in the industrial structure, the role of the couturier has largely disappeared. Today, the responsibilities once held by couturiers are often divided between pattern cutters and designers. Through this project, we aim to reintegrate these two roles to preserve this holistic approach to garment creation.
Q7. What does it mean to think of garments as three-dimensional objects?
A. Let’s take a jacket as an example. If we break down the jacket into its core components, we can divide it into three main parts: the collar, which shapes the neck; the sleeves, which shape the arms; and the body, which shapes the torso. Each of these parts can be further divided into sub-elements. For instance, the collar consists of the collar stand and top collar, the sleeves include the sleeve head and sleeve cuff, and the body comprises bust darts and waist darts.
Thinking of garments as three-dimensional objects involves analyzing these components, understanding their roles, and recognizing that a single garment is made up of countless elements working together to form a cohesive structure. By deconstructing garments in this way, we can better comprehend how they are constructed and designed.
Q8. How did THE MODELISTE STUDIO begin?
A. We both worked for several companies in the fashion industry and noticed a common pattern in the design process. For example, many companies create new designs by modifying garments from previous seasons, changing certain parts to produce something different. In other words, garment design often involves combining existing elements to form new pieces.
In this type of production environment, we realized that a platform to classify, reference, and search garment components could be valuable. This idea became the foundation and starting point for THE MODELISTE STUDIO.
Q9. What are your thoughts on changes in the current information environment, such as the Internet and social media?
A. The changes in the information environment are one of the key reasons we decided to start this project. We believe it is our role to archive the creative knowledge of cutting techniques accumulated throughout the history of fashion. By doing so, we aim to make this information accessible to everyone, regardless of their background or location.
Q10. What are your future goals?
A. We are committed to working on this project for the rest of our careers. Our goal is to build a platform that becomes a valuable resource for those involved in the fashion industry and for anyone studying fashion. We hope it will contribute to preserving and expanding knowledge in garment design and pattern cutting for future generations.