AT 1812, EVERY DESIGN BEGINS WITH A SKETCH ROOTED IN INSPIRATION AND EXPLORATION. BEFORE THE FIRST SAMPLE, BEFORE THE PATTERN MAKER'S HAND, THE VISION TAKES SHAPE ON PAPER — IN THE JOURNAL AND IN THE IMAGINATION. SILHOUETTES ARE DRAWN OUT, PROPORTIONS EXPLORED, DETAIL CONSIDERED.
EACH COLLECTION BEGINS WITH A WARM-UP — THE SKETCH OF A LAST SHAPE. FROM THIS BASE, OVER MANY SHEETS, EMERGES A FORM THAT IS EXAGGERATED, ATTITUDE-LADEN AND EXPRESSIVE OF THE SPIRIT OF THE SEASON. EARLY SKETCHES REMAIN SIMPLE. THEY INDICATE TONE OF VOICE AND THE EXPRESSION OF LINES AND PROPORTIONS. SWATCHES ACCOMPANY THEM — FABRIC WEIGHT, TEXTURE, SURFACE, LINING — HELPING PATTERN MAKERS UNDERSTAND HOW TO TRANSLATE THE FLAT DRAWING INTO THREE-DIMENSIONAL FORM.
BETWEEN MANY SKETCHES, EDITS ARE ESSENTIAL. TEN BECOME FIVE. FIVE BECOME TWO. TIME AND REFLECTION ALLOW THE DESIGN TEAM TO REFINE, DEBATE AND CHOOSE. AT ITS HEART, DESIGN AT 1812 IS A DIALOGUE BETWEEN IMAGINED FORM AND REALISED — FROM SKETCH TO PROTOTYPE, EVERY LINE, EVERY MARK, EVERY SWATCH IS FOCUSED, INTENTIONAL AND DELIBERATE.
