The title refers to the development of ergonomically informed pattern-cutting in combination with digitally printed dynamic graphics. The principal objective of my research for Stealth Attire was to develop a new approach to cutting and the process of garment visualisation. The pattern-cutting process was to be formed from an ergonomic standpoint, one that enables free movement, but with optimum fit, while never losing sight of the aesthetic 'flow' of the seam against the body.

By avoiding the traditional axes, the front and back 2D blocks used in the industry-preferred pattern-cutting process, and viewing the body from alternative perspectives, I explored whether I could redefine the garment form and further emphasise this form with digitally printed graphics.

This collection evaluated the potential offered by this approach. By moving away from the surface of the body, viewing it as if through an orbiting camera lens, I produced a series of 2D frames that bisected the figure through its centre of gravity from different angles. I then developed these images into expandable envelopes of cloth that fell against rather than with the body.

The product of my experimentation with these images was a set of geometric panels that were engineered as digitally printed panels of cloth. When exactly aligned, these panels served as a streamlined guide in the construction of the final garments. I showed the resulting collection during London Fashion Week and was Creative Director for ClothesShowLive Exhibition, Birmingham NEC, December 2006. I supplied a graphics concept for the show, using the Stealth Attire collection as a visual centre point for the marketing and promotional advertising. This provided an opportunity to take my work in its purest graphic sense and display it to the widest possible audience, ultimately taking personal work that might have remained closeted deep into the public psyche.