From idea to work of art: the stages of my creative process

Creating a series of wearable works entirely from salvaged materials requires a very different approach from that of a traditional fashion collection. For this project, carried out with the Conseil des arts et des lettres du Québec, I couldn’t simply imagine a garment, choose a fabric, and move to production. Instead, the material became a starting point: its dimensions, texture, drape, or even its imperfections could open up a new creative path and alter the initial idea.

In total, the project spanned about eight months. Although I am presenting the different stages here in a specific order, the process was much more organic. The stages constantly overlapped: I returned to sketches, modified certain patterns, experimented with new techniques, and reoriented certain pieces based on materials discovered along the way. This way of working led me to create differently, leaving significant room for exploration and the unexpected.

1. Research and inspiration

The first stage was dedicated to research. I explored different approaches to upcycling, watched numerous fashion shows, and visited museums to fuel my reflection and define the aesthetic world of the project.

However, this research did not stop at the beginning of the process. It accompanied me throughout the eight months of creation, allowing me to review certain choices, explore new avenues, and continuously evolve the project.

2. Drawings and sketches

I then explored different silhouettes through a multitude of sketches: tops, pants, jackets, coats, skirts, and even accessories.

From among all these proposals, I selected the silhouettes that seemed the strongest and that best conveyed the elegance and the world I wished to create. It was then necessary to learn to imagine the final result despite the lack of specific materials. I eventually built a coherent assortment, thought of as a small collection where each work had to find its place.

3. Textile research

Searching for materials quickly took center stage in the project. I met with several Montreal designers to recover high-quality scraps and end-of-roll fabrics: wool, brocade, silk, cupro, tencel, lace, leather, and suede.

Some more specific materials were found in thrift stores, notably men's shirts in poor condition, upholstery textiles, and various decorative elements. I also launched a call for donations on Facebook, which allowed me to collect several bins of fabric as well as used shirts.

4. Testing and exploration

This phase allowed me to transform ideas into concrete possibilities. I carried out dozens of tests: fabric painting, embroidery, different patchwork techniques, assembling leather and suede scraps, and various ways of combining materials.

Some tests were abandoned, notably fabric painting, which did not match the luxurious finish sought. Other techniques, such as patchwork, became important elements of the final works.

It was also at this point that I began associating the different materials with the selected sketches, taking into account their color, texture, and above all, their drape.

5. Patterns and prototypes

Pattern development was done entirely by hand. For each work, I created several prototypes using salvaged materials that had a similar drape to the final textiles.

This stage required numerous adjustments and fittings. The challenge was all the greater because, unlike traditional production, I often had to start with the available materials before even finalizing the pattern. The pieces therefore had to adapt to the dimensions and characteristics of the salvaged textiles.

6. Cutting

Cutting may seem simple, but it was particularly meticulous for this project. It was necessary to unstitch certain garments, assemble small scraps to create larger surfaces, and cut into existing products to recover small components (charms, ribbons, and buttons, for example).

Once the textiles were prepared, the time came to position the pattern pieces with precision. Each piece had to be used judiciously, taking into account its dimensions, texture, pattern, and its role in the final composition.

7. Production

Production consisted of a long phase of assembly and refinement. The patchwork techniques added numerous challenges, particularly regarding the differences in texture, weight, and behavior of the materials. Several corrections were necessary to improve the drape and achieve the desired result.

8. Finishing touches

Finishing is undoubtedly one of my favorite stages. It is at this moment that the work truly takes its final form.

I integrated salvaged buttons, ribbons, ribbons, and charms, created matching belts, and designed certain bags and jewelry from the remaining scraps. I also adjusted the lengths of the garments, made final corrections, and carried out the final pressing.

It is at this stage that all the details are brought together, and I ensure that each work is coherent, well-constructed, and elegant.

Beyond a succession of steps, this project was therefore a constant process of adaptation. The salvaged materials were not just a constraint: they helped guide the creation and give each work its unique character.