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DESIGNING YOUR
FASHION PORTFOLIOFROM CONCEPT TO PRESENTATION
JOANNE CIRESI BARRETT
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Designing Your
Fashion PortFolio
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From ConCept to pr esentation
Designing Your
Fashion PortFolio
Fairchild Books
a division oF
BloomsBury
PuBlishing inc.
new york
Joanne Ciresi Barrett
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Fairhi Books
An imprint of Bloomsbury Publishing Inc
175 Fifth Avenue 50 Bedford Square
New York London
NY 10010 WC1B 3DP
USA UK
www.fairhibooks.om
Bloomsbury Publishing Inc, 2012
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means,
electronic or mechanical, including photocopying, recording, or any information storage or retrieval system,
without prior permission in writing from the publishers.
No responsibility for loss caused to any individual or organization acting on or refraining from action as a result
of the material in this publication can be accepted by Bloomsbury Publishing Inc or the author.
library of congress cataoging-in-Pubiation data
Barrett, JoanneDesigning Your Fashion Portfolio: From Concept to Presentation p.cm
Includes bibliographic references and index.
ISBN 978-60901-007-2 (paperback)
2012045678
ISBN: PB: 978-60901-007-2
Typeset by Jones Prepress, New York
Cover Design
Cover Art Credit
Printed and bound in the United States of America
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Preface
Chapter 1 Introduction to Portfolio Building for Fashion Designers
Chapter 2 The Idea Storage Bank
Chapter 3 Entering the Market with Professional Flair
Chapter 4 Focused Portfolios
Chapter 5 Specialized Portfolios: Diverse Market Segments
Chapter 6 Successful Line Building From A to Z: The Portfolio Project
Chapter 7 Building on the Portfolio Project
Chapter 8 The Digital and Web-Based Portfolio
Chapter 9 Interview Insights
Epilogue
Appendices
a. Trend Research for the Zeitgeist
B. Fashion Research Sources
C. Portfolio Websites
D. Art Supplies to Experiment With
e. Art Supply Sources
F. Trade Shows of Interest to Fashion Designers
G. Researching an Apparel Market
h. Fashion Forecast Services
i . Fashion Illustration References for Inspiration
Glossary
Index
table oF Contents
viii
1
46
76
96
158
200
264
290
314
350
356
356
357
359
360
365
366
367
368
370
372
376
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Designing your Portfoliovi
Pf
Chapter 1 IntroduCtIon
to portfolIo BuIldIng for
fashIon desIgners
Objectives
T u f F d Ptf
Different Expectations
Common Expectations
Typical Portfolio Contents
stb B: T stpp st f ctt
Sketchbook Contents
s y ct
y Tp Ptf
Setup
Explore and Commit to a Portfolio Style
The Portfolio Shopping Chart
Gather Historic References
Establish Key Ingredients
Ascertain Your Skill Level
Define Your Design Direction
Chapter 2 the Idea storage Bank
Objectives
w t t st
An Organized Approach to a Design Project
The Designer Filter
w ot t st
Retail Shopping
Color Forecast and Trend Service Presentations
Textile and Print Markets
Fashion and Trade Shows
Online Research
Other Resources
Chapter 3 enterIng the Market
wIth professIonal flaIr
Objectives
F rt v
Consumer Buying Habits, Retail Venues,
and Your Portfolio
c mt spzt
The Basic Sportswear Portfolio
The Specialized Evening Wear Portfolio
dp i v f y Bt Ptf i
cpt t d g f w
t F itt
extenDeD table oF Contents
Chapter 4 foCused portfolIos
Objectives
mt Ptf df
Gender- and Age-Focused Portfolios
Focus on Functional Categories
Key Category Portfolios
Specialized Portfolios
g-spf Ptf
Womens Wear
Womens Full-Figure or Plus Sizes
Maternity Collections
Menswear
Childrens Wear
mx-g Ptf: m w
k ct Ptf
cb k ct t spt
spz F ct
T s d l B
T l-b P
r f d Ptf
Chapter 5 speCIalIzed portfolIos:
dIverse Market segMents
Objectives
spz Ptf df
r f spz Ptf
Accessory Design Portfolios
Activewear Portfolios
Bridal Design
Costume/Theatre/Film Design
Eco/Green Apparel
Intimate Apparel, Lingerie, and Innerwear
Millinery
Swimwear and Beachwear
T-Shirts
Technical Design Portfolios
Urban Streetwear
Chapter 6 suCCessful lIne BuIldIng
froM a to z: the portfolIo projeCt
Objectives
ozt f t Ptf Pjt
Segments
Photos and Think-and-Do Exercises
Materials
gtt stt
Gather
v
1
1
2
3
4
8
18
21
26
27
27
34
35
38
38
38
48
46
46
48
48
51
55
55
59
61
64
67
67
76
76
78
81
84
84
85
85
92
96
96
98
98
99
100
101
102
102
124
127
130
138
141
142
143
144
144
145
158
158
160
163
163
167
170
174
176
176
180
184
186
188
192
200
200
203
203
203
205
205
205
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viiextenDeD table of Contents
Decide on Your Collection Focus
Unite the Segments
stp 1: cpt B
Mood/Concept Building
Color Concept Building
Textile Concept Building
Silhouette Concept Building
Concept Summary
stp 2: et
General Materials Checklist for Step 2: Editing
Edit the Mood Pages
Edit the Color Story
Edit the Textile Selections
Edit Silhouettes and Flats
Link the Segments
Layout Checklist
Implement Think and Do
stp 3: Fz ct
Implement, Think, and Do
Chapter 7 BuIldIng on
the portfolIo projeCt
Objectives
r f iz Ptf g t rt
rpt
exp B l t Ptf P
Branding Your Portfolio
Logo-Branded Merchandise on Portfolio Pages
Logos on Hardware
Other Garment Details That Can Feature Logos
sq t P t t ct
Storytelling Styles
Introductory Pages
Additional Pages
Fashion Show Photographs
Press Coverage: Internet, Newspaper, Periodical
Publications, and Fashion Awards
kp t c F: n lft T
Chapter 8 the dIgItal and
weB-Based portfolIo
Objectives
The Tactile Old School Portfolio Presentation
T n s Ptf ext
dp P f t et Ptt
Color
Fonts
Layout
Navigation
Chapter 9 IntervIew InsIghts
Objectives
mt y Qft t t Jb
Pp f t it
wt t expt it stt
it F-p
it Pf Ptf r
epIlogue
Objectives
ut Pp t Ptf:
cpt 1 2
Chapter 1 Illuminates the Designer
Chapter 2 Manifests the Illuminated: Creating an Idea
Storage Bank
d t mt dt f t Ptf:
cpt 3, 4, 5
Chapter 3 Launches the Design Process and Apparel
Line Building
Chapter 4 Markets the Design Collections with a Focus
Chapter 5 Branches the Direction for the Choices
Portfolio Collection
d t Ptf Pjt: cpt 6, 7, 8
Chapter 6 Creates the Portfolio
Chapter 7 Adapts the Final Portfolio to Different
Purposes
Chapter 8 Gives Guidelines for an Electronic Portfolio
cpt 9 w y t it t
t cpt Ptf
c
appendICes
a. T r f t Ztt
B. F r s
c. Ptf wbt
d at spp t T
e. at spp s
F. T s f itt t F d
g. r app mt
h. F Ft s
i. F itt rf f ipt
Glossary
Index
209
209
210
212
220
226
232
239
241
242
243
245
249
253
253
257
257
261
262
264
264
266
272
273
276
279
281
282
282
282
285
288
288
289
290
290
292
294
303
303
307
308
309
314
314
318
320
328
330
330
350
350
351
351
352
352
352
353
353
353
353
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355
356
356
357
359
360
365
366
367
368
370
372
376
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Designing your Portfolioviii
The goal ofDesigning Your Fashion Portfolio: FromConcept to Presentation is to free your mind of the
question, what makes a portfolio stand out as
exceptional, and how can I create one?
The ultimate goal of the text is to give you,
the designer, a tangible set of skills and a visual
imprint of the process and completion of a job
placement portfolio. The skills and techniques
can be put into practice throughout your student
and professional career. The fashion design
portfolio (FDP) method is motivational. The teach-ings encourage you to increase your inner drive,
enabling your creative level to reach high stan-
dards. The approach is to demonstrate how to
become systematic while being creative. The text
walks the you through exercises, self-evaluation
critiques, goal-setting lists, commercial refinement
research, and applied techniques, and shows
you how to do these tasks while simultaneously
maintaining the creative design process.
Unlike a typical refinement application being
the very end of the process, FDP teaches you to
visualize your finest portfolio contents at the
outset of the project and then guides you through
the exercises that lead to the realization of your
ideal portfolio.
FDP presents you with direction and choices
that best match your skill level. The exercises
teach you to understand how your skill level
affects your goal planning to produce your best
image package. Proven techniques help you deter-
mine how far to go out of your comfort zone with
your current skills set, as well as how to acquire
and hone stronger skills. The system enables you
to fuel your individual creative engine throughout
the design process. It intends to maintain the flow
of your creative thoughts balanced by extreme
reality checks for portfolio betterment.
Based upon my years of teaching on the col-
lege level, the book presents real-life questions
by current-day students, which are answered by
example and brought into the process of portfoliodevelopment. Professional designers experiences
are presented for reference and motivation. The
sequence of the chapters is based on in-class
development of portfolios in the senior-level exit
portfolio courses. The chapters can be referenced
throughout your professional career in fashion
design, as well as during college.
The visual examples in the text are meant
to show diversity in skill level and segments of
the fashion market to encourage you to workat the level that best showcases your strengths
and understanding of not just who you are as a
designer, but what you can bring to the company
or design studio job. The exercises, boxes, and
visuals aid you in executing the portfolio project.
organiZaTion oF The TexT
The chapters ofDesigning Your Fashion Portfolio are
sequenced to take readers step by step through
the process of creating a portfolio to present as
a primary way to market themselves to potential
employers. The first five chapters discuss the
initial steps of collecting ones work and selecting
the contents of a portfolio focused on a particular
market segment. Chapter 6 is a pivotal chapter
that provides options for organizing a portfolio
geared to promoting the designers qualifications
for a job with a specific company. The remaining
three chapters discuss how to revise the contents
of the portfolio to market the designer to other
potential employers and how to present the
portfolio in an interview.
In Chapter 1, the contents of the portfolio
are defined and illustrated by examples of each
element. This chapter outlines collection size,
number of collections, and sequencing of the
portfolio pages. An explanation of the different
end uses of a portfolio and the importance of
PreFaCe
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ixPrefaCe
the sketchbook are emphasized. Students set upan initial portfolio of past and current work for
immediate interviews and to serve as a catalyst
for launching the final portfolio project. They
preview steps in portfolio building that will be
studied in more detail in later chapters.
Chapter 2 serves to organize the building
process of designing the portfolio collection.
The conceptual design of the portfolio layout
is planned at the same time the collection is
designed. Activities performed within and outsideof the studio are segmented for the purposes of
creating clarity, but designers can worked on these
tasks as they see fit. The basic steps of the design
process are used as a map for collection building.
The chapter includes the basic guides to organi-
zational techniques, retail shopping, forecast and
color trend services, fashion and trade shows,
and the textile and print markets. Icons of the
compile, edit, finalize, and designer filter formulas
serve as visual cues for steps in portfolio building.
Exercises ask the designer to outline the process
of a designer project, to research category special-
izations, and to apply a hit this mark method of
designing a market-right collection.
Chapter 3 sharpens the designers portfolio
marketing strategies by focusing on retail channels
of distribution and considering a market specializa-
tion. The exercises walk the designer through how
to identify the target consumer, the designers own
taste, price points, and designing for age groups
and size ranges. In addition, the exercises tap
the designers motivations for portfolio direction
and ask the designer to idealize the final port-
folio through visualization techniques. The final
exercise is the preparation of the designer grid to
position all the design aspects of mood, color, tex-
tiles, and silhouettes of the portfolio collections.
Chapter 4 defines the market-focused port-
folio through viewing, planning, and technique.
Portfolios focused on gender, childrens wear,
maternity, and large sizes are discussed. Attentionis also given to key category influences, general
sportswear portfolios, specialized portfolios, and
attitudinizing the fashion figure for a specific
market. The exercises ask the designer to compare
sizes in retail stores to better understand the
consumers fit and function requirements, and
to study influential fashion illustrators for
inspiration in portraying appropriate figure
attitudes in their own portfolio collections.
The specialized portfolio is defined in explicitdetail in Chapter 5. Categories of design are
described verbally and shown in illustrations. The
boxes itemize the types of specializations, inform
the readers about how the specialized designer
works to meet the clients needs, and give further
in-depth descriptions of the activewear, bridal,
and millinery categories. The exercises enforce
the need to get to know ones specialized client
and to evaluate ones own design and problem-
solving capabilities for a specialized category.
In Chapter 6, students undertake the Portfolio
Project. The portfolio pages are described and
illustrated in terms of the segments of mood,
color, textiles, and silhouettes/flats pages, and
each segment is designed through the steps of
concept development, editing, and finalization.
The building blocks of the previously completed
materials are utilized: The designer grid, the
idealized final portfolio exercise, the sketchbook,
retail market reports, illustrations, layout and
finalization evaluations, and art supplies and
CAD programs are all brought together as tools
for creating the final portfolio story.
Chapter 7 walks the designer through the
completion of all collections being shown in the
portfolio. The portfolio project is reviewed for
adherence to the idealized portfolio goals, the
layout goals, and the page sequencing to tell the
story of the designers collections. The designer
considers options for further refinement of the
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Designing your Portfoliox
layout details, page-turning dramatic effects,
branding/packaging, and possibilities of including
past collections in the portfolio. Keeping fluid in
portfolio building and refinement is presented as a
lifetime endeavor. Exercises help readers evaluate
whether their portfolio goals are actualized, trainthem to become more objective in their critiques
of their work, and guide them to make changes
in their portfolio projects to present themselves
effectively with a portfolio tailored to each new
interview throughout their careers. A sequencing
exercise tasks designers with evaluating the
drama created in the order of the portfolio pages.
Chapter 8 introduces the designer to the basic
language, formats, and visual presentations of
digital and Web-based portfolios. Old school pre-sentations are blended with new school portfolio
combinations for designers to decide how much
technology to apply to their books. This chapter
surveys programs and devices that can enhance
designers portfolios through modern technology.
Chapter 9 prepares the designer for inter-
views for entry-level, design-related jobs in the
apparel industry. Preparation for the interview,
expectation of the designer and interviewer, andinterview follow-up methods are outlined in the
text and practiced in an in-class role-play exercise.
In a series of interviews, design professionals
share their insights and inform and inspire student
designers as they take their portfolios on the road
for their first job interviews.
An epilogue reviews what was accomplished in
each chapter; it can be used as a reference during
portfolio building throughout a designers career.
Finally, this book is about learning to be opento new challenges in designing a portfolio that
best suits the client and the designers specific
career goals.
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xiaCknowleDgements
aCknowleDgements
This book is dedicated to all of my former and
future students. I am sincerely grateful to all of
the students I have had the privilege to teach in
my classroom at Massachusetts College of Art
and Design. Ive learned so much from each
of you. My experiences working with you have
shown me where there was need for a textbook
to help you learn the process of creating a design
portfolio; and thanks to you, I learned how to
teach my craft.
I am eternally grateful to the incredible
designers who contributed to this book with
their work and their insights, including Joseph
Abboud, Amsale Aberra, Doranne Westerhouse
Awad, David Bermingham, Katie Choquette,
Christos, Bissie Clover, Cat Craig, Mary-Frances
Cusick, Carole DArconte, Jerry Dellova,Virginia
Fretto, Annie Kee Gaia, Pavlina Gilson, Kerrin
Marie Griffin, Jane Henry, Ithwa Huq-Jones, Maya
Luz, Margee Minier, Kelly Moore, Alexandra
Palmisano, Peter Morrone, Plugg Jeans, Shawn
Reddy, Miri Rooney, Jeury Rosario, Lindsey RogueRussell, Jamie Sadock, Rebecca Sheehan, Nooree
Suh, Katherine Waddell, Jenn Webb, and Cheryl
Zarcone. These talented designers contributed
their work to this book without hesitation. It is
because of them that the book can show you a
range of work styles to use as a benchmark for
your designs. This is the principle premise of the
book: each designer works differently and needs
to find his or her voice in a final portfolio form.
Their design visuals drive this textbook. Thankyou for your generous supportyour work will
inspire students for years to come!
Thanks to my friends and former colleagues
at Massachusetts College of Art and Design,
Boston Massachusetts, without whom this book
would not be possible. Ive learned so much from
each of you, especially Sondra Grace, chair of
the Fashion Design department, and Elizabeth
Resnick, chair of the Graphic Design department.
A special thank you to the wonderful professors
and instructors that I had the honor to work with
at MassArt: Jayne Avery, Anne Bernays-Trevenen,
John DiStefano, Renee Harding, Yelena Piliavsky,
Jennifer Varekamp, and Meg Young. Thank you
to Velma Johnson for her administrative support,
smile, and genuine friendship while I was at
MassArt.
Thank you to all of the professors and
instructors at the Fashion Institute of Technology,
New York, New York, who taught me how to
be a fashion designer. The college was and is
my professional backbone. The quality of high-
level mentoring and hands-on instruction that I
received at FIT make me the designer I am today.
Thank you all of the great fashion professionals
Ive had the pleasure to work with in the industry
since 1980; youve taught me so much. Your
support and belief in me throughout my career
have been incredible and are greatly appreciated.
The following reviewers, selected by the pub-
lisher, provided many helpful recommendations:Abra Berman, Art Institute of San Francisco;
Catherine Darlington, IADT, Chicago; Kelly De
Melo, Art Institute of Dallas; Barbara Gutenberg,
FIDM; Monica Klos, formerly of IADT, Pittsburgh;
Van Dyk Lewis, Cornell University; Jeanie Lisenby,
Miami International University of Art and Design;
Tania Pazelsky, Wood Tob Coburn School; Nancy
L. Strickler, Purdue University; and Theresa M.
Winge, Indiana University.
To the staff of Fairchild Books I extend mythanks for educating me in the textbook pub-
lishing process and helping me translate my
strategies for portfolio design from my class-
room presentation into a printed format that
other instructors can share with their students.
Specifically, I thank my editors: Jaclyn Bergeron
for supporting this project from the outset, Sylvia
Weber for helping me organize and revise the
text, Jessica Katz for shepherding the manuscript
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Designing your Portfolioxii
through copyediting and production, and Amy
Butler for her assistance with the preparation of
ancillary materials for the instructor. I appreciate
the guidance of Sarah Silberg in communicating
my vision for the layout and design and the help
of Avital Aronowitz with photo research.
Finally, I owe my family and friends a big thank
you for their support, especially my wonderful
husband of 26 years, Kevin; and my loving children
Dylan and Alana. You made this book possible
each time you encouraged me to keep on writing!
Thanks for the go Joey and the go Mommy love.
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Designing Your
Fashion PortFolio
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IntroductIon
to PortfolIo
BuIldIng
for fashIon
desIgners
Ob j ect ives
Describe the contents
of a fashion portfolio.
Maintain a sketchbook
that reflects your creative
process.
Complete a temporary
portfolio of student work
to be ready for self-critique
and on-the-spot job
interviews.
Purchase a portfolio case
based upon your ideals for
a final portfolio.
Chapter 1
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Chapter 1: IntroduCtIon to portfolIo BuIldIng for fashIon desIgners 1
Regardless of your strengths in 2D (illustration) or 3D (making your
garments work on the runway) design, what lands you a job is a
dynamic portfolio. Your portfolio is your selling tool, your visual
communication device. It is your designer message presented in
a strong illustrated package.
The portfolio is always presented by the designer in the first
interview for an assistant, associate, or designer position. You will
edit your portfolio throughout your career to represent yourself
in your best light for each interview. This textbook will help you
prepare the portfolio for your exit interview from school and adapt
the portfolio you prepare for that purpose for later use.
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desIgnIng your portfolIo2
the uses of a
fashIon desIgn
PortfolIo
Fashion design portfolios have different end uses
depending on the market for particular talents
and skills. Different end uses lead to different
expectations on the part of the person or people
reviewing a portfolio.
Your student portfolio, where you assemble
your work for different courses, will be different
from your exit portfolio from college. As you
enter each stage of advancement in your career,
you will update your portfolio. It will become anongoing process.
Different end uses for portfolios include the
following:
Placement into college or graduate school.
National or international design competitions.
Exit interview from college.
Interview with a job placement counselor.
Interview with a head hunter.
Assistant design internship (paying or non-
paying) while in college or after graduation.
Entry-level position in the industry:
assistant designer or assistant tech designer. Entry-level position in the industry as a first
patternmaker or an assistant draper:
sometimes a designer will interview for
a position as a first pattern maker or assistant
draper as an option to building a career
in patternmaking or draping instead of
design or as a foot in the door to become
an assistant designer.
Presentation for the next levels of design
after your first job: associate designer,associate tech designer, tech designer,
designer, head designer, design director,
creative director.
Interview with a specific companydesigning
a collection just for the interview.
Follow-up interview with presentation board.
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Chapter 1: IntroduCtIon to portfolIo BuIldIng for fashIon desIgners 3
Different expectations
During your college years, keep all of your final
fashion plates in acetate portfolio sleeves. Keep
a temporary portfolio with the pages inserted in
the portfolio case. Review your work periodically,and have the case ready to go for an internship
or related opportunity. Itoya-brand cases are fine
for very temporary or short-term use.
Also keep your design competition collections
in your portfolio, along with any credentials or
awards and press releases regarding the nature
of the competition.
The exit portfolio and the entry-level portfolio
you will be developing using this textbook will
be the same and will follow the contents listedin Table 1.1. Your design portfolio is your foot in
the door to an entry-level design job. The portfolio
needed for the job interview is inherently more
refined than a basic student portfolio, which
is traditionally a compilation of your student
assignments in college. More advanced levels and
specialized versions of portfolio development are
presented in Chapters 4 through 7, and interviews
are detailed at length in Chapter 9.
When you are on a first interview, whether
for your first full-time position or later in your
career, you may be asked to come back for a
second or third interview with a completed board
presentation of a collection that the interviewer
asks you to design for the company or design firm.
I i b m ixiv i c i wic
iz i wk b ci c
i b i. I i cmm
i, i i. I i c w i
i i i i c ck , wic ci
pVC . t bk i m iwi , wicc wk m mi vim m. t bk
i i i cm w . t i ck
i b. siz, i ic, ib i i
wk : 8 x 11, 9 x 12, 11 x 14, 14 x 17. (IA Image courtesy of
ITOYA of America, Ltd.)
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desIgnIng your portfolIo4
common expectations
As you review this evolution, try to understand
the complexities within the industry that put
increasing demand on the designers portfolio to
be more than a library of fashion plates. A storyneeds to be told, and you are charged with cre-
ating the narrative, illustrations, plot, character
development, beginning, and endall the while
luring the viewer into your design statement and
your design world.
Over the last few years, dramatic industry
changes have stretched the role of the designer,
requiring a multitude of demanding skills. In
addition to telling your design story, your
portfolio must show your instructorsand,later, potential employersyour capabilities
as a designer, including the following:
Forecasting and displaying mood, texture, and
color statements to buyers
Ability to design for multiple seasons and
quick-turn merchandise
Understanding of retail distribution
Hand-rendering as well as computer-aidedskills (CAD systems, Adobe Photoshop and
Illustrator programs)
Ability to execute flat drawings with exacting
spec calculations
Production and factory communication
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Chapter 1: IntroduCtIon to portfolIo BuIldIng for fashIon desIgners 5
I , i i w mc im i vc i b i i. si-
i fashion plates ( i ii i i c) w jci im
i. h-, z i im, i i s-b; wii x i. sm i
i vi croquis ( m i i c v i ii i) im i
i x mb cci. t flat kc i w ciici m w miim i
mbi kc. t wc bic w i , i ii w b c ic
cc wi mk, , m ( m w), i ci m. (Authors collection)
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desIgnIng your portfolIo6
t i ic iic mii ki b wi -i cm wi. t 2d c b i
mi m, ci imi, , x x b m cci. I bcm ic ,
bck, mki m i m i ki wi mi jci. hi i i
jb m m i bc bk c i k iviw. t i i i
bii cmmic wi i i ici c mci i m, i b, v
cm. (Courtesy of Nooree Suh)
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Chapter 1: IntroduCtIon to portfolIo BuIldIng for fashIon desIgners 7
Cv, m m i v b i bc i i i imici i. p i
wi mic bii c i im wi k b c ci i , v v
mk i w . (Courtesy of Jeury Rosario)
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desIgnIng your portfolIo8
typical portfolio contents
The typical fashion design portfolio case consists
of the items described in Table 1.1. As a designer,
you will not just present your apparel collection
story, but you will design your portfolio presentationin a story format to project a marketing or style
image with a forward-thinking message. This is
an opportunity to showcase your unique talents.
To protect the pages of your portfolio,
use only polypropylene or acetate sleeves. This
material is an archival-quality plastic that can
preserve all artwork for a lifetime and prevent
damage, with the exception of a flood or fire.
Clear plastic sleeves that are not designated as
archival will allow permanent damage to yourartwork by fading, yellowing, and/or lifting your
illustrations off of the page.
Follow the checklist in Exercise 1.1 as you
go through the book to check off your portfolio
contents.
aciv c i i mi-i
i c m civ-
c cmic bii. t bi w vib wi i. t i i i m
, bm, bi i. ti i cmm,
i m m i iiv viw. ec
cm wi ci- bck i, i b
mk mi qim civ . (Courtesy of
Portfolios-and-Art-Cases.com)
Bic i c wi mi-i bi m. (Courtesy of
Portfolios-and-art-cases.com)
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Chapter 1: IntroduCtIon to portfolIo BuIldIng for fashIon desIgners 9
di iiici b wi m, , mb, -mi ii cv. ti b i im i c
i. (Courtesy of Portfolios-and-art-cases.com)
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desIgnIng your portfolIo10
table 1.1. | tyal prfl cnens
iem Desrn presenan ons and purse
Portfolio case A formal book or carrying case (not aninformal Itoya case with plastic sleeves),
typically ring bound, or a box containingindividual pages. Can be leather or vinylbound or a metal box covered in leatheror vinyl. Construction can include a zipperclosure, open edges, or a lid. May have ashoulder strap or handle. Standard industrysizes : 9" x 12", 11" x 14", or 14" x 17"
Attractive container to show designs duringan interview.
Identificationlabel
Plain white paper or specialty paper,approximately 3 " x 2" (size of a busi-ness card) printed with designers name,address, phone number(s) (land line and/
or cell), and e-mail address.
Affixed to the inside front cover of theportfolio to identify the owner so thatit can be returned if it is left with aninterviewer or accidentally lost.
Rsum One-page chronological description of ones work, educational experience, andother qualifications. Printed on business-quality paper.
10 copies in a folder inserted in the frontsleeve or pocket of the portfolio case tobe available to present during interviews.
Polypropylenesleeves
Sleeves of thermoplastic substance. Maybe punched with holes to insert into a ring-bound portfolio. Sometimes called acetateor plastic pages, but must be of archivalquality.
Protects pages of the portfolio collectionfrom moisture, fading from sunlight,tearing, and other causes of damage.
Title page orintro page Optional first page of a portfolio. Either afull-page or business-card size. May includea designers statement.
An introduction to the collection(s) pre-sented, creating a brand image or a settingfor viewing the contents of the portfolio.
Mood orconcept pages
1 to 2 pages per collection of images cutand pasted from various sources and/orcomputer-generated images that set themood for the collection or suggest sourcesof inspiration.
Establish a concept or mood for thecollection, giving it a unifying theme oridentity. May be combined with otherpages or shown separately. Pages shouldbe all portrait or all landscape orientation,with few exceptions if needed, to allow foreasy viewing by interviewers.
Color
presentationpages
1 to 2 pages per collection of colors,
presented as 1"3" skeins of yarn, swatchesof fabric, paint chips, hand-rendered orcomputer-generated squares of color,typically 2" or 5" or other shapes.
Presentation of the colorways for the
collection(s) shown in the portfolio.May be combined with other pages orshown separately. Pages should be allportrait or all landscape orientation, withfew exceptions if needed, to allow for easyviewing by interviewers.
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Chapter 1: IntroduCtIon to portfolIo BuIldIng for fashIon desIgners 11
iem Desrn presenan ons and purse
Textilepresentationpages
1 to 2 pages per collection of fabricswatches, cleanly mounted on paper orneatly folded. Edges of swatches may becut straight or with pinking shears. Usually
1" x 2" or 4" x 5" rectangles or similarlysized squares. Swatches are usually ofuniform size for each collection.
Presentation of the fabrics selected fora collection. May be combined with otherpages or shown separately. Pages shouldbe all portrait or all landscape orientation,
with just a few exceptions if needed, toallow for easy viewing by interviewers.
Fashion plates 6 to 8 pages per collection of full orcropped figures, 18 figures on a page.May be hand-drawn and hand-rendered,computer generated, or a combination.
Presentation of the silhouettes of designswithin a collection. May be combined withother pages or shown separately. Pagesshould be all portrait or all landscape orien-tation, with only a few exceptions if needed,to allow for easy viewing by interviewers.
Flat drawings Technical drawing of garments as theywould appear if lying flat on a surface
rather than being worn. Show front andback views; back view may be 510%smaller than front view. Drawn to exactproportions of the cut and sewn garment.Outline may be thicker than lines showingstitching or details. Typically not shaded.May be hand-drawn or computer-generated,or a combination.
In production, used to communicate mea-surements to sample makers; in portfolios,
used to demonstrate ability to commu-nicate technical information visually forproduction. May be combined with otherpages, especially fashion plates, or shownseparately. Pages should be all portraitor all landscape orientation, with a fewexceptions if needed, to allow for easyviewing by interviewers.
CAD pages Computer-generated mood, color, textile,fashion plate, and flat drawing pages, asseparate pages or in combinations.
Demonstrate the designers skills with CADprograms. Pages should be all portrait orall landscape orientation, with a fewexceptions if needed, to allow for easyviewing by interviewers.
Sketchbook(journal)
A bound or spiral bound notebook, 3" x 5",8 " x 11", 11" x 14", or 14" x 17" with pagesshowing rough sketches, doodles, notes,colorings, cutouts, and other images inan unorganized format.
Carried with the designer at all times torecord ideas and inspirations. Taken tointerviews in the back-cover pocket ofthe portfolio or carried separately, ifnecessary, to demonstrate to interviewersthe designers thought processes andtrend-tracking skills.
Leave-behindpiece
Optional flash drive, CD-ROM, DVD, orpage printed in full color that serves as a
reminder of the designers style, brand, oridentity. Includes same information as onthe identification label in the portfoliocase; for electronic leave-behind pieces,identification information is on the coveringas well as within the electronic files.
A condensed presentation of the portfolioimages to leave an impression of the
designers work after the interview andserve as a reminder of the designers brandor image.
Computer-basedpresentation
An optional item; a flash drive carried inthe front or back sleeve of the portfoliocase. Can be a PowerPoint presentation.Shows entire portfolio.
Makes portfolio available for the interviewerto view on his or her computer or sharewith co-workers who may have a voice inthe hiring decision.
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desIgnIng your portfolIo12
tw- i m b. (Courtesy of Kelly Moore)
txi i iviw wi abcmbi & fic. (Courtesy of Katie Choquette)
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Chapter 1: IntroduCtIon to portfolIo BuIldIng for fashIon desIgners 13
C i wi ii i, m, xi i. (Courtesy of Lindsey Russell)
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desIgnIng your portfolIo14
di cci i i m. (Courtesy of Jeury Rosario)
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Chapter 1: IntroduCtIon to portfolIo BuIldIng for fashIon desIgners 15
f i . (Courtesy of Jeury Rosario)
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SucceSSful
line Building
from A to Zthe Portfolio
Project
Ob j ect ives
Develop the concept
for the portfolio.
Edit the contents.
Finalize the contents and
order of presentation.
Chapter 6
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Chapter 6: SuCCeSSful line Building from a to Z: the portfolio projeCt 201
The Portfolio Project is the process of basic design line building of your
portfolio collection. There are three steps of line building: concept
building, editing, and finalization. The Portfolio Project walks you
through each of these three steps in each of the four segments
of the portfoliomood, color, textiles, and silhouetteswith
demonstration photographs and think-and-do work. The materials
are exercises you have completed and developed in the preceding
chapters. Systematically, you will link the segments and steps
together to have a finished portfolio.
Before you begin to take the steps outlined in this chapter, review
the box The Portfolio Project: Approaches to the Design Process,
which summarizes five different approaches. There is no one right
way of working through the design process of portfolio building.
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deSigning your portfolio202
the Portfolio Project:APProAcheS to the DeSign ProceSS
Many people have the mistaken impression that
being creative and being systematic in solving adesign problem are mutually exclusive. However, a
conscious, systematic, and orderly approach does
not have to be linear. And even a basically linear
approach can allow for changes along the way to
the solution of a design problem.
Take the time to evaluate the approaches
to the design process that follow. Based on the
book, The Universal Travelerby Don Koberg and
Jim Bagnall, these are choices you, as a designer,
can apply to the completion of your portfolio orany other design task. Koberg and Bagnall identify
five basic approaches to creative problem solving:
l. Linear Process Step-by-step logical sequence;
being cautious of not getting ahead of yourself.
Well-suited to large, complex, team projects.
2. Circular Process Starting at any stage and
advancing to the others in turn. Ideal for
lengthy projects (like college programs,
summer jobs, contracts, etc.).
3. Feedback Approach Moving forward while
looping back to reconsider previousdiscoveries. Important when caution is
imperative.
4. Branching Paths Allowing specific events and
the interrelation of separate stages to control
progress.
5. The Natural Pathway Awareness of all stages
concurrently, but emphasis on one or two
steps at a time; like viewing seven open boxes
in a row, each one ready to receive additional
data and thereby modifying your overallthinking accordingly.
These authors compare the Linear Process
to to a mule train, with each unit responsible
for pulling the one behind it,and the Natural
Way to a horse race, where all units progress
independently; where only one unit is out in
front (i.e., in focus) at any given moment.
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Chapter 6: SuCCeSSful line Building from a to Z: the portfolio projeCt 203
orgAniZAtion of
the Portfolio
Project
With the five approaches in mind, youre ready
to consider the organization of the Portfolio
Project in detail.
SegmentS
The Portfolio Project is divided into four working
segments, each with three steps. See the visual-
ization and a further explanation in the box TheFour Basic Phases of Line Building.
PhotoS AnDthink-AnD-Do exerciSeS
Each development step of the four segments is
explained in how-to photographs of a designer
performing the task at hand. And each of the foursegments steps challenges you to create your
portfolio images by undertaking the think-and-do
exercises as you read through the text.
rvw wk ss c s scb . ec wk ss w w
s ss s v.
1. md
a) Conceptualize: work with free association.
b) Edit: use critical thinking andthe Designer Filter.
c) Finalize: commit the images to the page.
2. c
a) Conceptualize: work with free association.
b) Edit: use critical thinking andthe Designer Filter.
c) Finalize: commit the images to the page.
4. Sus
a) Conceptualize: work with free association.
b) Edit: use critical thinking andthe Designer Filter.
c) Finalize: commit the images to the page.
3. ts
a) Conceptualize: work with free association.
b) Edit: use critical thinking andthe Designer Filter.
c) Finalize: commit the images to the page.
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deSigning your portfolio204
the four BASic PhASeS of line BuilDing
The four basic phases of line buildingthe mood,
color, textiles, and silhouettesare explored each
time a designer approaches a new season. Thephases are revisited many times during the design
implementation, refinement, completion, and
production of the line. The first ideas are hardly
ever just put onto paper or made into a garment
without refinement. During the revisiting, it is
important to reference ideas in your sketchbook to
see whether your initial concepts are going forward
the way that you would like toor the way that you
envisioned them. You may have a new vision that
does not match your designer sketchbook idea,but checking in on the idea stage before you finish
the line can only help your portfolio images. The
four phases are spelled out below in simple terms.
Mood/Concept The concept of a movement, orinspirational base.
Color The color story of the line, usually two to
eight basic colors for each line.
Textiles A collection of fabrics that work well
together for a line that meets manufacturing
needs of yardage consumption. Usually two to
eight basic fabrics per line.
Silhouette The shapes and actual garments for
each collection. Usually the portfolio will have 8 to
16 ensembles per collection (head-to-toe figuresor croquis displayed in silhouettes).
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mAteriAlS
The four segments and three steps are developed
using the following materials:
Previously completed materials The Idealized Final Portfolio (Exercise 4.3)
The Designer Grid (Exercise 4.4)
Previously developed, ongoing work-in-
progress materials
The Creative Chaos Sketchbook
Retail market focus reporting
Illustration, layout, and finalization
evaluations
As you work through the segments and steps,you will link the four segments together in a
portfolio page-flow story. Chapter 7 refines the
portfolio statement.
getting StArted
Chapter 6 is an exercise in building the final port-
folio presentation. You will get started by walking
through the steps of creative line planning
concurrently with building your presentation.
gAther
To start the portfolio project, gather the previously
completed materials as listed at left. Work on
Exercise 6.1 to prepare the workspace.
Study the different ways of preparing the
designer grid shown on page 206, demon-
strating four different scrambled approaches
to creating your line.
Keep your Idealized Final Portfolio (Exercise
3.2) transparency overlay on your desktop or
on your bulletin board for reference.
Bring these materials to your workspace:
The sketchbook or journal
Retail market reports
Illustration, layout, and finalization
evaluations
Art supplies previously purchased
CAD programs, such as Photoshop and
Illustrator
The materials list will grow to include color
and textile swatches and silhouette/flats materials
as you go through the portfolio project in this
chapter.
Recommended