to choose or to be chosen

portfolio
Vivien Jacqueline Adrian

To choose or to be chosen
Bachelor Collection

Advisors: Prof. Jana Patz and Stephanie Biedermann

Bachelor of the Arts
ESMOD Berlin
International Academy of Fashion, 2017 3
 Concept

Experiments

Design Concept

Collection Overview

Technical Drawings

4 5
 Determinism = Dehumanisation?
Are we dehumanised if we do not have free will?
Living in a society that makes us feel like we have an
influence on our own lives or on the choices we make.
Not only is society influencing us on a day to day
basis but we also live with the effect of our biology
and environment. The delusion of free will. How can
we say we are free of bias to make our choice when
we have been subject to judgment from the day we
were born? We are delusional to think that we have a
free will knowing that our influences and desires are
created by cause and effect. There are constant events
that are occurring around us which control our desires
and/or habits.
The desires and thoughts allow us to think that we
have a choice in the decisions we are making, when in
reality our subconscious has already decided. There-
fore, your conscious is only there to justify this choice
which you did not truly make yourself.
Is it ever possible for a human to rid himself from all
influences; past, present, or future to make an unbiased
free choice?
One could say that this is highly unlikely as we will
always have our nature and nurture. Our biology and
environment that shape us to become who we
are. Empowering our subconscious to make the choic-
es for us that guide our future. But is it dehumanising
to think that we do not control our fate because we
are not free to make our own choices? Am I really in
charge of the choice I make if my subconscious makes
the decision without my consciousness? That our life
has been determined before we were born and we are
only entitled to play along. However, if my life was
determined, I would still have to make the choices
that appear in my path because I was bound to do
so. Making you a puppet of your subconscious as you
are not the author of your thoughts, they just appear
simply like your desires and interests.
6 7
Do we need the illusion of free will to live our lives? To
be happy? To maintain a social order? But what about
our moral responsibility?
How can we be held accountable for events or our
actions if we do not willingly choose what we chose?
If one denies the process of free will, does one simul-
taneously deny the existence of moral responsibility?
Even though our subconscious has predetermined our
choices, it can be argued that your subconscious is just
as much you as your conscious mind is. It is shaped
through influencing agents such as biology and
environment. Not only do these influencing agents
limit our free will but so does society. In the end, you
can only choose what your subconscious mind has
already chosen for you. If we are blindly following our
predetermined life, can we be blamed for our wrong
doing? How do we then justify moral responsibility,
can it still be justified?
If we are not free to make our own choices and are
influenced on a daily basis (without knowing), what
individualises us? When we are all blindly walking
down the path that has been determined for us, can
we still separate ourselves in society? Is our identity
and individuality cancelled out by not being able to
make our own choices or having free will?
This questions if we are confined to rules, without
knowing there are rules. Are we restricted to a uni-
form without the realisation that if may have become
our uniform? We think we are deciding on what we
wear and how to dress without consciously recogniz-
ing that this as well as been influenced. With this in
mind, do we really make a choice with what we wear?
Because in the end we are constricted, through the
rules that are given to us by the result of our biology
and environment.
Do we have a choice in what we choose to
choose in life?
8 9
 Fashion, at its heart, has and remains to this
day one of the most demonstrable examples of
either free will or conformity.
The book is frequently judged by the cover and as hu-
mans cloth ourselves to be in the presence of others,
it can be argued that the choices we make in what we
wear are either a result of free will or conformity. Is
our free will actually a fight against conformity or is
our willingness to conform a conscious free will choice
and decision. Is fashion personable and individual or is
it pre-determined through a belief that we are slotted
a specific lot in life?
requires them to be uniform. However, it can be said
that a surgeon in a hospital that clothes themselves
in standard green or blue scrubs does so not because
they want to look the same as other surgeons, but
because rather because they believe, of their own
free will, that the practicality of wearing green or
blue scrubs because they themselves have decided of
their own accord that scrubs are the most appropriate
form of attire for the task at hand. Similarly, a person
who, like other colleagues, wears a tie in the office to
conform to the accepted level of conformity can still
have free will in choosing a polka dot tie rather than a
striped tie.

Fashion is viewed in multiple dimensions that fall into Does conformity compromise free will or does
a number of theoretical camps. If a certain fashion free will compromise conformity?
style is evidenced by only one within a community
is this a sign of free will? Does this individual have
free will or is their difference due to a set of events,
pre-determined and outside of their control that their
difference is not a choice through an expression of free
will?

As we know, or think we know, fashion is individual-

istic. But analysis of the arguments for and against
free will and determinism can present two valid and
opposing positions that what we choose to do in a
conscious state such as clothes ourselves is a
matter of free will or determinism or a coexistent state
of both.

As individuals, our fashion choice as in what we wear

is arguably either pre-determined or a matter of free
will, and as such can be argued extensively on either
side. A person who dresses in a uniform as might be
required by a career choice could be described as a
conformist.

A contrarian position can easily be positioned that

they have made a conscious decision to conform in
agreeing to participate in a professional capacity that

10 11
12 13
14 15
 What is fashion and how are free will and determin- as fashion supports the individual in each of us and
ism incorporated within fashion? encourages the individual in each of us.

What is missing from the arguments surrounding free
will and determinism is simply, individualism. We are
all individuals in the pure biological sense. Our minds
and bodies are independent and physically unattached
to any other person from the day we are born. As we
grow we think on our own.
Whether subtle or bold, whether a determined state
or a pure demonstration of free will, fashion is the
ultimate expression of humanistic individualism and
cannot be allotted a tag of free will or determinism.

However, it is clearly evident in the history of mankind

that our thoughts as individuals are not as individual
as our physical presence. How we style ourselves is
one of the first impressions we make to fellow
mankind. Do we make an impression as a conformist
or do we make an impression as free spirit outside
the boundaries of conformity? Do we take what is
offered or do we take a different path and create for
ourselves? Do we have a choice of how we fashionably
exist?

There is no simple answer and each of us is different

in the approach we take. Some align with what is
considered socially acceptable and some of us take
an alternate path to our sense of fashion. What is
common within us all is that we make the personal
decision as to which path we take and this path is
expressed through fashion our individual fashion.

What makes fashion unique is its individualism and

flexibility. Whether that personal individualism is a
matter of free will or determinism is not something to
be answered simply.

What we drape our human forms in is a state-

ment of the individual and what cannot be
disputed is that as long as we are of the disposition to
care for ourselves, we make the choice as to whether
our style of fashion is of free will or determined. Is
to wear a tie or to not wear a tie the question? Or is
the question, what type of tie? The answer is neither

16 17
18 19
20 21
22 23
24 25
26 27
 Living in a society that makes us feel like we have an
influence on our own lives or on the choices we make.
Stuck in the delusion of free will. Subject to judgment
since the day we were born, especially subject to our
biology and environment.
We as humans are made to believe that we are making
our own decisions, when in reality we are all blindly
walking down the same path: by getting a good ed-
ucation, a successful job and even a family for some.
The ultimate question is: if we are not free to make
our own choices and are influenced on a daily basis,
what individualises us? Are we confined to rules,
without realising their limitations? Are we restricted
to a uniform without knowing that it has become a
uniform?
Focusing on the last questions: Are we restricted to
a uniform without knowing that is has become a uni-
form? The idea that we have all become one through
the trends and rules that we following without second
guessing it. This uniform can be seen by many in the
business sector as they wake up and choose what to
wear in the morning being their individual self but are
reduce to wearing a uniform once amidst the sea of
people that had the exact same thought.
Are we forever constricted by this uniform or can
one be their individual self?
In this process I decided to highlight my standardised
norm:
Three-piece suit
Black to navy colour range
Clinching of the waist to accentuate the
ideal V
Break in the trousers, usually cuffed
Flat and single layer
28
Through the collage experiments, the aim was to start
to breaking this norm and to create the possibility to
become an individual. With the effects of breaking
the ideal slender shape, lines, colour, proportions
and layers. The garments started to interact with one
another through the numerous layers created by the
singular garments. How do the garments feed off of
one another to create a whole silhouette?
Continuing the experimentation process, I wanted
to analyse what would happen to certain garments
if pieces were missing or the garments had holes.
How would the outer layer interact with the garment
underneath? What kind of irritation comes from this
interaction between the layers? By linking these dif-
ferent design techniques and experiments, the silhou-
ette was built by keeping the focus on the movement
and irritation created with the combination of the
proportions of pockets, cut outs and layering.
The range of light colours in the collection are in
contrast to colours usually used in suiting, as those
colours are not meant to make you stand out in a
crowd or let you be an individual. With this horizon
of colours, a young, fresh and enticing atmosphere is
created.
While we may not have a free will, these cut outs could
also illustrate how someone is trying to free themselves
from the system that crowds us on a daily basis.
Using little details like such to individualise oneself.
29
30 31
32 33
34 35
36 37
38 39
40 41
42 43
 Concrete Blue Legion Blue
98% Cotton, 2% Elastane 30% Virgin Wool, 42% Viscose, 22%
Mohair

Navy Blue Concrete Grey

75% Wool, 25% Polyester 100% Polyester

Cobalt Blue Vermillion Orange

85% Virgin Wool, 15% Viscose 100% Cotton

Opal Grey
85% Wool, 15% Polyester

44 45
 Glass Blue Charcoal Black
100% Cotton 100% Acetate

Skylight Blue Midnight Blue

100% Cotton 100% Cotton

Maritime Blue Onyx Black

100% Polyester 70% Cotton, 28% Silk, 2% Elastane

Jet Black
100% Acetate

46 47
48 49
 outfit one

Half lined double breasted oversized trench coat with Main Fabric
single gun flap on left front. Large functional pockets Concrete Blue - 98% Cotton, 2% Elastane
with top stitching detail. With asymmetric overlap- Pocket Fabric
ping cut on the back. Concrete Grey - 100% Polyester
Lining Fabric
Midnight Blue - 100% Cotton
Sleeve Lining Fabric
Onyx Black - 70% Cotton, 28% Silk, 2% Elastane

50 51
 Loose fitted long sleeve shirt with visible button Main Fabric
placket. Classic cuffs with vent opening. Added layer- Skylight Blue - 100% Cotton
ing detail on left front. Detail Fabric
Glass Blue - 100% Cotton

Fully lined tailored boot cut trousers with contrasting Main Fabric
smoking stripe. Zip fly with button fastening. Side slant Legion Blue - 30% Virgin Wool, 42% Viscose, 22% Mohair
pockets with two back pipe pockets. Detail Fabric
Vermillion Orange - 100% Cotton
Lining Fabric
52 Jet Black - 100% Acetate 53
54 55
 outfit two

Fully lined tailored coat cut out front details and Main Fabric
shifted side seam, two button opening. Fake sleeve Navy Blue - 75% Wool, 25% Polyester
vents finished with three buttons. Vent detail in the Lining Fabric
back. Charcoal Black - 100% Acetate
Sleeve Lining Fabric
Onyx Black - 70% Cotton, 28% Silk, 2% Elastane
Fully lined tailored blazer, two button opening. Main Fabric
Fake sleeve vents finished with three buttons. Large Cobalt Blue - 85% Virgin Wool, 15% Viscose
functional pockets with top stitching detail. Vent Pocket Fabric
detail in the back. With asymmetric overlapping cut Concrete Grey - 100% Polyester
on the back. Lining Fabric
Charcoal Black - 100% Acetate
Sleeve Lining Fabric
Onyx Black - 70% Cotton, 28% Silk, 2% Elastane

56 57
 Loose fitted long sleeve shirt with visible button Main Fabric
placket. Classic cuffs with vent opening. Added Maritime Blue - 100% Polyester
contrasting panels on left front and sleeves. Detail Fabric
Glass Blue - 100% Cotton

Fully lined tailored boot cut trousers with layered Main Fabric
contrasting panels breaking up the side seams. Zip fly Legion Blue - 30% Virgin Wool, 42% Viscose, 22% Mohair
with button fastening. Side slant pockets with two back Detail Fabric
pipe pockets. Vermillion Orange - 100% Cotton
Lining Fabric
58 Jet Black - 100% Acetate 59
60 61
 outfit three

Loose fitted long sleeve shirt with visible button Main Fabric
placket. Classic cuffs with ve Fully lined tailored Opal Grey - 85% Wool, 15% Polyester
blazer with cut out detail on the front, two button Lining Fabric
opening. Fake sleeve vents finished with three Charcoal Black - 100% Acetate
buttons. Vent detail in the back. nt opening. Added
contrasting panels on right front.

62 63
 Loose fitted long sleeve shirt with visible button Main Fabric
placket. Classic cuffs with vent opening. Added Maritime Blue - 100% Polyester
contrasting panels on right front. Detail Fabric
Glass Blue - 100% Cotton

Fully lined tailored boot cut trousers with panels break- Main Fabric
ing both the side seams and inside seams. Zip fly with Opal Grey - 85% Wool, 15% Polyester
button fastening. Side slant pockets with two back pipe Lining Fabric
pockets. Jet Black - 100% Acetate

64 65
66 67
 outfit four

Fully lined tailed coat with added layering detail on Main Fabric
front, two button opening. Fake sleeve vents finished Navy Blue - 75% Wool, 25% Polyester
with three buttons. Vent detail in the back. With Lining Fabric
asymmetric overlapping cut on the back. Charcoal Black - 100% Acetate
Sleeve Lining Fabric
Onyx Black - 70% Cotton, 28% Silk, 2% Elastane

68 69
 Loose fitted long sleeve shirt with visible button Main Fabric
placket. Classic cuffs with vent opening. Added layer- Skylight Blue - 100% Cotton
ing detail on right front. Detail Fabric
Glass Blue - 100% Cotton

Fully lined tailored wide cut trousers with layered Main Fabric
smoking stripe. Zip fly with button fastening. Side slant Cobalt Blue - 85% Virgin Wool, 15% Viscose
pockets with two back pipe pockets. Lining Fabric
Jet Black - 100% Acetate

70 71
72 73
 outfit five

Half lined double breasted oversized trench coat with Main Fabric
two gun flaps. Large functional pockets with top Concrete Blue - 98% Cotton, 2% Elastane
stitching detail on layered backdrop. Vent detail in Pocket Fabric
the back. Concrete Grey - 100% Polyester
Detail Fabric
Vermillion Orange - 100% Cotton
Lining Fabric
Midnight Blue - 100% Cotton
Sleeve Lining Fabric
Onyx Black - 70% Cotton, 28% Silk, 2% Elastane
74
Fully lined tailored blazer with cut out detail on the Main Fabric
front hem, two button opening. Fake sleeve vents Cobalt Blue - 85% Virgin Wool, 15% Viscose
finished with three buttons. Vent detail in the back. Lining Fabric
With asymmetric overlapping cut on the back. Charcoal Black - 100% Acetate
Sleeve Lining Fabric
Onyx Black - 70% Cotton, 28% Silk, 2% Elastane
75
 Loose fitted long sleeve shirt with visible button Main Fabric
placket. Classic cuffs with vent opening. Added Skylight Blue - 100% Cotton
contrasting panels on sleeves. Detail Fabric
Glass Blue - 100% Cotton

Fully lined tailored wide cut trousers with layered Main Fabric
contrasting panels breaking up the inside seams. Zip fly Opal Grey - 85% Wool, 15% Polyester
with button fastening. Side slant pockets with two back Detail Fabric
pipe pockets. Vermillion Orange - 100% Cotton
Lining Fabric
76 Jet Black - 100% Acetate 77
78 79
 Focusing on a new perspective of the interplay be-
tween layering in the garments, details, and colours.
What does this do to the whole silhouette?
As the silhouettes are puzzled together through vari-
ous garments with this design aesthetic in mind, there
are elements that are emphasised such as the cut outs
interacting with the layers underneath. Increasing
the concept of free will through the movement and
interaction in both the silhouettes and garments.
This collection takes the flat single layered surface of
a suit and plays on the idea that the garments alone
can show free will through the communication of the
layers, cut outs and, panels. The overall silhouette
still has strong references to traditional and formal
tailoring, focused on through the finishing details
such as full lining, functional pockets (inside and out),
and shape. While the colour range is still amongst that
of traditional tailoring, the layers interplay with one
another are emphasised through a juxtaposing colour
or fabric.
seam manipulations have a drastic impact on the
overall garment. As the entire silhouette can be
influenced by a minimal change, the garments are
still impacted by classic tailoring details and are only
manipulated through fabric contrast or seam manip-
ulation. Therefore, continuing the strong reference to
high quality finishing. All the experiments through
the collection were explored and determined through
pattern construction to have a clear overview of the
contrast in proportions of the details.
While the collection is influenced by menswear tailor-
ing, there are new elements that are played with and
emphasised in the collection. The importance of the
contrast between structures, proportions, and colours
brings new components to menswear tailoring. As
classic tailoring focuses on the single layer and colour,
so that a person does not stand out in a crowd. This
collection aimed to achieve the opposite, to make one
an individual.

The collection has drawn a lot of influence from the

ideology of free will and if all the choices we make are
pre-determined.

Does this belief into determinism take away any

form of individualisation that we have?

Through the interaction between the various details

such as; cut outs, pockets, and colours, this idea of in-
dividualisation is thrown towards us. Do these details
allow a person to have free will or is the breaking up
of the suit just a metaphor of something that one is
unable to reach? As we are influenced on a daily basis
by our biology and environment.

Throughout the collection it became evident that

in menswear the most intricate design changes and

80 81
 vivien adrian

telephone (Hong Kong) +852 9260 4281

telephone (Germany) +49 176 8070 2713
Bibliography email vivienadrian95@gmail.com
website http://vivienadrian.wixsite.com/portfolio

Bolton, Robert. Foundations of free will. San Rafael, CA: Sophia Perennis, 2010.
Campbell, Joseph Keim, Michael ORourke, and David Shier. Freedom and determinism. Cambridge, MA: MIT Press,
2004.
Ekstrom, Laura Waddell. Free will: a philosophical study. Boulder, Colorado: Westview Press, 2000.
Fassbender, Troy Dwayne. Free Will and Responsibility: Indeterminism and its problems. Louisiana State University.
Accessed August 18, 2016. http://etd.lsu.edu/docs/available/etd-0418102-084838/unrestricted/Fassbender_the-
sis.pdf.
Griffith, Meghan. Free will: the basics. New York: Routledge, 2013.
Hodgson, David. Rationality + consciousness = free will. New York: Oxford University Press, 2012.
Honderich, Ted. How free are you?: the determinism problem. Oxford: Oxford University Press, 1993.
Mele, Alfred R. Surrounding free will: philosophy, psychology, neuroscience. New York: Oxford University Press,
2015.
Miles, James B. The Free Will Delusion: How We Settled for the Illusion of Morality. Leicestershire: Matador, 2015.

photographer julie montauk

photographer assisstant simon zarlang
hair and make up sabina pinsone
model kofi johnson

82