Mentor Statement: Three-In-One Gown was created in a senior-level studio course that focuses on creative and technical design. This course has a semester-long design project that has a specific theme, and the theme of the semester was "sustainability". The purpose of this mentorship relationship was to guide the student to create a collection of clothing that highlights all the knowledge and skills in design and technology mastered during the entire undergraduate design education experience.

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... student was asked to develop her collection by developing the concept, suggesting multiple design ideas with sketches, drawing illustrations, researching the market, drafting digital garment patterns, creating 3D avatar and garment prototypes, selecting materials, fitting models and constructing garments. This is one of the outfits of her collection which was the best collection among the class. She successfully demonstrated her knowledge and skills in design, drawing, and garment construction through creative approaches by using both traditional techniques and latest 3D technology. This design also features aesthetically high quality due to elaborate craftsmanship. ITAA Proceedings, #77https://itaaonline.org title describes. It can be worn at least three times in three different ways to events that demand a high fashion ensemble while fulfilling the purpose of sustainability. Aesthetic Properties and Visual Impact: Nature has always been an inspiration for me. This look, intended to walk in a spring fashion show, was designed to emphasize the beauty of this season. Spring brings with it the blossoming of new, soft, and delicate flowers. Not only was I inspired by the delicacy of flowers themselves but also the many subtle shades of pastel colors in bloom. I took these ideas and designed a look that showcased the beauty, soft colors, and delicacy of flowers, and incorporated them into a couture evening gown highlighted with beads and embroidery that mimic the winding and twisting stems in nature. Three-In-One Gown demands all eyes when entering a room by utilizing all five design elements: shape/form, proportion/scale, balance, unity, and emphasis. The garment can be worn as a pegged silhouette cocktail dress, a column evening gown, or a cadillac gown utilizing shape and form in the highest regards. The point at which the end of the bodice and the skirt section meet, emphasize the proportions of the garment by drawing flattering attention to the waist while giving the illusion that the waist is smaller and the bust and seat are larger than they really are. Although the gown can be split into three outfits and is covered in many different pastel colors, beads and embroidered flowers, the handsewn placement of the flowers balance the look by adding visual weight to only the parts of the body that the wearer wants onlookers to focus on. Finally, the look has an overall unity to it by the emphasis of the carefully placed beaded and embroidered sections of the garment as well as the cohesive color palette of lavender, blush pink, mint green, and cream. Process, Technique, and Execution: The preliminary stage of creating a look like this is to brainstorm ideas about color palette, fabric choices, garment style, target market, and execution. After the idea was concrete, I created sketches in Adobe Illustrator and Photoshop to visually communicate my idea ( Figure 1 ). I then created the patterns for the garment by utilizing new Browzwear Software known as V-Stitcher in which I was able to "virtually" draft my garment and adjust the fit (Figure 2 ). Once the fit was perfected, I exported my digital patterns into Lectra Modaris and printed my paper patterns to begin the construction process. The construction process is where the most skill and couture aspect of this garment is evident. The fabric was partially embroidered and beaded. However, after cutting the markers for the pattern pieces, each embroidered strand as seen on the garment needed to be re-tied and glued down to keep the beads from falling off. In addition to this step, the beads and embroidery had to be removed from the seam allowance to allow for the sewing machine to stitch it together properly. After all was cut, and sewn together, I retouched everything and hand-beaded and embroidered more areas over the bust and the seat to cover sensitive areas of the body when being worn (Figure 3 ).