Fashion Design Essentials (Gnv64)

7/29/2019 Fashion Design Essentials (Gnv64)

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rDsign Essntals


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Text 2011 by Rockport ubl s hersDesgn 2011 by Rockport ubl shers

Fst pub shed the Un ted States of Amerca n 201 by

Rockport Pub shers, a membe of

Quaysde ubl s ng Group100 Cummgs Center

Sute 406L

Bevely, Massach usetts 0191 56101

Telephone (978) 2829590Fax (978) 2832742

www.ockpubcom

All rghts reseved. No pat of ths book may be repoduced n any form

wthout wrtte pem sson of te copyrght owners Al l mages n thsbook ave bee reproduced wth the kowledge and pror cosent of the

artsts cocerned, and no responsb ty s accepted by producer pu bl s er

or pr nte fo ay nfrgemet of copyght o othewse ars ng from thecontents of th s p bl caton Every effot as been made to ensu re tat

cedts accately compy wth nformato spp e d We apoogze for any

naccuraces that may have occurred and wl l resolve naccurate or mssn gnformaton n a su bseqet eprntng of the boo

1 0 9 8 7 6 5 4 3 2 1

ISBN13 9781592537013

IS BN0 592537014Dgta l edt on pub shed n 201

e IS BN13 9781610580434

Dgta l edt on 978160580434

Softcover edt on: 978159253701 3

Lb o Congss Cogng-n-ubcon D vb

Desgn athe Aexander

Photographs ad l ustatons by ay Calder un less otherwse noted

Prted Cna


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Jay alderin


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C EN S

trouion

T H O U G H T

Hior Reeree Reverene . . . . . . . . . . . . . 8

E u t o n I ov t on . . . . . . . . . . . . . . . . . . . .

Tren On O d Adje . . . . . . . . . . . . . . . . . 12

C or o or ti ng C ou t re . . . . . . . . . . . . . . . . . . . . . . 4

orging Ietity 16

Seng Style 18

Fho qto

Suit of Armor

Cl ent Co l y 4

C u t o io n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 6

Re nt I ue, d p 8

Md Mppng 3

Ne nd rrow 3

ipobe nveen 34

vronen Conext 36

N V T O

A q i i i on . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Col lbort o . . . . . . . . . . . . . . . . . . . . . . . . . . .

Ailion o Sye . . . .

u li g d reg ep le

. . . . . . . 42

. . . . . . 44

Ptern truen 46

Sithng ool 8

enerig Me 5

ig ex le 5

ee Soe 54

Wo: Gre 56

Seene: e be 58

Soe: Coletio 6

Pnto: etil 62

Clore 64

Seiy Requite 66

Miel eo Mrke 68

Cre d eedng o Get 7

Aie t Tool n ehiq e 72

Aeory Coe 74

V n ge P i . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

E C H N Q U

ho n io . . . . . . . . . . . . . . . . . . . . . . . . . 78

o u r S e o n A T e ne . . . . . . . . . . . . . . . . . . . 8

Ro e, R le n d Rog h . . . . . . . . . . . . . . . . . . . . 8 2

n t o Eye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Chek d ne 86

Mhine ntee 88

Cu re n Fod 9

nerpig d Aebly 9

Miting le 9

od y M p i g 96

U n o y 98

i t

Me n n d Al te r 2

e o tr d Reo tr t 1

Stuure d Sle 16

Anomill y C ore 8

o Le rvee 1

Colge Col eent 1 2

Clohe t Cry 1

e i g o O e . . . . . . . . . . . . . . . . . . . . . . . . . . 1 6

eh e n Reo ig e . . . . . . . . . . . . . . . . . 1 18 Reu rfe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

A Cu Aove . . . . . . . . . . . . . . . . . . . . . . . . . . .12 2

ri g e d Fy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Ad Sbt d Peerve 1 6

Cge Agen 1 8

wing he ye 3

ASymmety 3

Itr uzze d Miig in k

3 e evel 13 6


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RR

u ivt lu . . . . . . . . . . . . . . . . . . . 3 8

u r t d x r n . . . . . . . . . . . . . . . . . . . . . . . . 1

u r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 42

Mo r I s M or . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 4

ss s Mor 146

Mdito on ss 1 8

Budng on Bsics 5

sgn o ssnt 5

ttu jstmnt 15 4

Myhs rchtys 15 6

Wt 15 8

Blcots d Ful l Immsio 1 6

Rstion n stcon 1 62

ymos 16 4

ynmics 66

o 'Oi 6 8

c n cp 17

Mtrs o z: ssig vs 72

Drssing or Bowi 174

O j s o t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

NVI G ON

Dsgnr's rn . . . . . . . . . .

x ry W s h n g . . . . . . . . . . . . . . . . . . . . .

. . . 1 78

. . . 8

opis D g r d . . . . . . . . . . . . . . . . . . . . . . . 1 8 2

ltoms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

l Mk 8 6

Msr d pntc 8 8

sigig th Jo 9

xtn Inu cs 1 9

sty Rost ton 19

sh o orts 9 6

vsiicio n pclzon 98

owsocing y 2

ors o ov : D 2

Rpd ooypg:

wntyourour shion 22

Wt Is Goo sho? 2

ontibuo Inx 6

cowlgns

bot t thor 8


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ierre Cad coa h,

A um/Wine 1959/6

POTO B RDAAGPGETT IMAGES

INTRODUCTO

Creative ideas are elevated by experience and

expertise. Tis book sets forth a c hal lenge to

fasio designes: Contin e to expad yor hori

zons hone your ski l ls ad experim ent with strat-eges The idea behin d co lectig and cataogig

the essentia l pr incp les of fashon design is to

bi ld a framework for atfu exam nation that te

designer can revsit regula rly for in spration ad

nstructon. This bo ok is for anyoe devoted tofasiowethe you ae a professional design-

er, a desig student or a fashion D Y ethusiast

The world of fash io design is constantly

changigwhat was style last month may beold h at now but if you kow how to stay ah ead

of trends ad keep your des ign sk i l s sharp you l la lways be aead o f the curve ashion DsinEssnials offers princ ples, toos an d pocesses

for scceeding n a l fashon edeavorsEdit ing the l ist to one hun dred concepts is mean t

to elp orgaize and prorit ze ths i nfomatio

for max mum effic iecy. Te references in eachayout have been selected because they one n

o te essece of te topic wth precsion wi eal owing for diverse reinterpretation, ot simp ly

repoductio

F p f g provide thestucte for the book I n many ways, they can be

descbed as a set of best p ractices for cu t ivat-

ing creativty:

Thought

Inllcual xrciss that are inte ded to serve ascatalysts for c anne ing creatvity

Inventory

Dfiniions a nd applicaions for using or epurposng tools man power and raw matea l s forfashion design

Technique

undamna l skills for identfying ad executingfashion design ideas

Artistry

Craiv riuals that elp conjure and cu lt ivate te

imaginative i sticts of a fashion desgne

Navigation

Divs sais desgned to alow a fasho

designe to negotiate a c l ear path to sccess

Each essentia l cocept is u l t imatey a source of

stim l i that mst be decipered and the shaped

to f it the poject at han d. Dedcation a nd atten-t on to deta i l d ur g that examiat io w l l hep

leveage a designes vision

a n attempt to rod ot te whole experience

some ph losopi cal debates are wove nto theideas throughout the boo, such as the benefits

o farreachi ng im pact todays fashi on desi gners

wil ave on the foreseeable ftre

7


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HOUGH

Historical Reference and Reverence

It is sai d that tose who don't learn from istory

are doomed to epeat t With n the fame ofashion, tose who don't lea rn from istory are

doomed to waste a wealt of inspration Three

manstays in the fashon world that are restyledtime and agai n are corsets, aprons, and kimonos

The corset, oignal l y a foundaton gament,

st i l reigns sup reme on the fashon lan dscape

Commony associated with got, fetish, andmost recently, Steam punk fash ons, couturi es

such as Th iery Mugle and Jean au l Ga u lt er

have been esponsbl e fo ra sing the corset to

an iconic status

The apron at i ts most unctonal potects coth

ng from wea and tear Apr ons at tei most

gamo rous ave graced the runways of Al exande McQueen, Miu Miu , and Marc Jacobs as fash ion

accessoies. S hortwast aprons made in practi-

cal fabrcs as wel l as decoative ostess apronsspeak to a t me wen homem aking was a way

of lfe for most women Long versio ns such aste bi stro apron ae among man y that are used

n the service in dusty. The bi bstyle ap ron can

take shape in eath er, rubb er, or eavy canvas for

more ugged uses . he pn afore s a decorativestyle of apron tha t conures up i mages of ife on

te pair ea loo tat was very popular n t he

1970s. The cobbler apron s a p ul love style witha front, a back, and tes on te side. Whether it i s

ncopoated i nto a coll ection by way of nostalga

or ut l ty, te apron sti l l makes strdes in ashio n

The kimo no is a fu l l lengt, Tshaped robeWhen part o a tradit ional en semble, i t is sec

ured wth an ob sash The imo no is m ade foma tan, whic i s a f ixed bolt of fabric m easurin g

14 nches by 25 yards (35 cm x 12 m) he

ength s cut into ou panes of fabric that makeup te two sides of the body and both s eeves.

A col lar and la pelstyle panels are added with

sma ll strips of fabric Ki monos were oigin al ly

dsassemb led for c eaning and reconstructed

by hand

8 Fashion Design Essentals

4

5

6 "0

rfr-

1 Crse y Je l2 Vnage aprn-Pr LleRich G

3"Old Japan Bidal Kmn

(ra 19805)4 Crse Aprn Kn


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enc od e A ey

Maray a weed coretut by hey Mgle, aecouture colecto, Aumn/

Wnter 1998/99


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HOUGH

2 Emulation and Innovation

Emul atig styles from the past often wil l go a

ong way in fashio n desig as everythig evetual ly ma kes a comeback The gace of Gecian

gowns foreve immota ized i n stone is a pme

example of the power of a fashion idea that does

not simply su rvive but thrives n the maginatios of fashio n designers throughout h istoy I n

the 1920s Madeei ne Vonnet was if encedby the daces of Isadora Dcan who n t urn

was ispi red by Greek scul ptures Whi le Vionnet

commanded the bias Haston sum moned thespir it of these edui g drapes ad folds with the

kit ersey in the 1 970s he Hose of Ha stoncontinues to pay homage to that aesthetic today.

At evey level of the ma ketplace an d from every

corer of the globe th e goddess gown coti nues to spring from the col ections of designerswho can app recate its bea uty and who wish to

ntepret it for themselves Designers can take ace from this exampl e and expore the degrees of

separation that l in k them and a ny of thei ideasto kindred hi storca couterparts

0 ashion esign ssentias

Bo Gree-pre tae

Rght ooregt

Madele e Voet dre,

etember 935


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ton fhion how

A um/Wine 8/9New or City


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HOUGH

Trends: On, Off, and Adjacent

Although tends are no loger dctated design

houses spend a geat deal of t me ad moneytying to predict trends an d/or set them i ntomoton Designers l ooing to f nd thei r pace i

te ma et must ow wether they intend to

be ontrend trendadjacent o r offtrend a ltogether They must conscously decide wether

tey wil l lead fol ow or ignore a tred Although

tendcoscious designes de the wave of themedia and the p ub i c s c lamo ring for examples of

te latest asios designers wo intetion al ymiss the bandwagon sometimes f id that thei

ndepende nt perspectives inadvertently t iggertends or countertrends of teir ow Otrend

col l ections w l l be boi ig ove with te concept.

A a lternative approach to the l atest craze maybe to f ind s mal l er ad s ubtler ways to emb race

t without maing it te focus e consumer

breas down the same way and a designe who

has a cea und erstading of where she standson tend wi l connect with te rght audence forher product

Leopard and other an ima l pri nts get pul ed out of

relative obscurity and are preseted as fresh and

new evey few seasons n fairn ess desig nerswi ll be moved by a trend in d fferent ways from

seaso to season esult g in new and interest-

ng iterpetations of t I a desger decides tooffe the tend du j our as a statement garment

accent piece ad a ccessory she ma es it easy

o c l ents to adopt at least one intepretation o

t on thei r own terms. Then of course there aetose who wil l wat to have nothing to do with

t The fasion f i l m c lass c unny ac depictste cha acter of fasho n edit or Maggie Pescott

painti ng the tow pn. S omeoe on he r staff

ass havet seen a woman in two wees inanythng but p in . What about you? Prescottreplies Me? I wouldt be caught dead." Tuth

is many t reds are not merely forecasted butoften made b y an i dusty.

2 Fashon Design Essentias


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HOUGH

Corroborating Couture

Fasio istory is the ext best thig to a time

machin e for te fashi o desger. Contact witauthetic a rt ifacts bngs the tre essence ofa t ime i to shaper focus, wheter tose art i

acts are the act al gaments and accessories,

or i l ustratios, photos, and f i l m c i ps. Eras aecomposed of complexites that invove every-

ti g om sce nce to cele brity The 950s, fornstace, coud be a source fo fashi ons i omed

by the Cold Wa, teeage clture, foun datio

garments, rockadrol l , or pop ular televisioprogams such as I ov ucy

Paco Raban es fashons in te 1960s were

cons dered out of th s wold." At a tme whe

te race to the moon was heating up, vi s ions of a

future n space fueled the magnati ons of many

designers Rabann es foay into f i l m led him toteam wth de signe r acque s Foteray. Togete r

tey created the costumes fo the clt c lasscf m Babarlla Athough many of the cothes in

tis genre ow seem dated, elemets of their

fasio pedictons for the future ve o

Ha l l marks of the 1970s inc lude the exploat ion

of and rogyny and a growng im portance for the

elatioshp betwee ashio and celebrity Uni -

sex fashon b red the l i nes between te sexes,and even thog genderless jm psuits never

became a ma in stay, pats played a bigger patn women's fashio than eve before Fasio

became about la bes, so much so that they wereno longer on te insi de of gaments but bodly

dspl ayed o the back pocket of designer jeans.

Everythng was big n the 980shair, ewely,belts, and most of a l , shou lder pads, which

were seved u p in dramatic poportons. Fashio n

designer and te lev is ion costumer Nol an M l ler i s

best known for ceatng the fashon s for te cast

of the poplar 1980 s televison series Dynay

Careful study of bygone eras (or te crent one)

can l ead desgers to coside how they may beable to best def ine the t imes they ae l iv ig in .

4 Fashio Desig Essentias

Rght Maree MCorik

a Bary Will ia s rehearse

o the se of Th Bady BuncHou 19

Bo inda Evans on

orsyte and Joan Col inswho sared n Dynasty


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HOUGH


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HOUGH

5 Forging dentity

Age can not wither e " ese words from

Shakespeae best describe Betsey Jonson'sstaying powe in the fashion industry. A BetseyJohnson runway sow is not compete unti l te

brand's namesake takes her bow in th e form oa cartwheel Gymnastics aside te spi r it of the

gestue is what is im portant e band's the

tig n fash ion and i tis case cosistencyyothful spi it f irty femin in ity and a widch i ld

payfl nessis esposibl e fo makig Betsey

Johnson suc a recogniabe lab e Geat brands ave one thing i common ey

del ver messages products and services thatevolve but never deviate too far from te fun

damental s that generated them. Designers can

cat a id entity wth evey choi ce they make

6 Fashion Desin Essentials

esgner esey Jonson

oes a sgae awheel

ae he srig 009

oleion sow at Meees

Ben asho Wee, 2008

n New or Cty


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HOUGH


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6 Sensing Style

Each of the five senses plays a sgnificant ole

n how we intepret fashio n and each sho uld beconsdered n the design process.

Sight

This is eas i ly the fastest way to assess whethe

something s pleasing o not. ow do shape andscae relate to each other? H ow vibrant is the

colo? H ow dramatc s the contrast?

och

This i s the second most i mportant factor owdoes the materia l feel against your skin? Does

the garmen t conform to your body and fee com

fortable? Is the matea soft and p l iabe o r st iff?

Sond

Im agne the c l cks of loose beads knocking ntoeach othe crisp papey fabrics that rustle as

they sway on th e body the synthetc squeak an d

cunch of pastic as it stra ins to move

Smell

Scents have been desgned and are chosen to

tansform env ironments camouflage or seduce Fo example the Thomas Pink labe l which

prim ari l y se ls dress shirts fo men and women

ppes a fresh l aunde red scent i nto ts stoes aspart of its etai strategy Although subtle detai ls

suc h as t h is seve as a psychoogical tr igger

heighteni ng the fashion exper ience thougharomatherapy

aste

Edble garments might seem i ke the excusivedomai n of naughty novelt ies but ood an d

fashion have aways had a mutual l y nspirationa l

relat ionsh p Jean Paul Ga ut iers dess scul ptures

made of bread might ma e the mo uth watenasm uch as they could inspi e the color textue

and form of an actual gament The Salon d uChocoat is a chocolate expo that ecognizes thebond between the foodi e and the fashion ista . A

ancifu l fashon r unway show is a h ig hl ight of the

event and featues models c ad in every knd ofcocoa confectio n.

8 Fashon Design Essentas

Fao deger ean

Pa Gau le poe with

a cture of one o

ree mae o bread

y rech bae or an

exibiio at the Carte

oao in ai, 2004.

Le on hman onc

Rytm De by Ayce

antoro onc ar c 003

oic aic woven from

50 percen recore aocaee ape and 50 percen

olyete thread We gove eq pped wit ape

ea ae re agait te

fabric e dre mae ond

Beo: g Gao' Wakig

Cy ne matc fahiowc ae ggeed y

moveme, wnd, ad toc.

z


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uma eings ave moe

tan js ve senses Con

side the sense o balace,

acceleaion, eerate,nesec, ain, a te

sense o di ectio Roya

il s lectoics of te

Netherands s wokg on

ojects tat po se a ew

leve o ieacon etweenaparel a the wearer

Textles fse wh sensorsta rea and eso to

oveme, bioogica vaia

tions, ad extera acors

i a the utre o fashion

Oe examle is te

dess, whic uses paer

and coor chages o saya persons emoiona state

HOUGH


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7 Fashion Equations

The basi c arhmeic of dessng can be a useful

way o bui d a co ecio . op pl us boom s easyenoug h, bu wich op? Whic h boom? Oncee designer gures ou wich basi cs w l f i no

a colecio as wel as i no a cli en's wardrobe, e

can begin o calcul ae he variabl es

Design deai ls aside, cu somers have oher

demands, such a s pracical y and comfo, when comes o mixi ng and machng The desiger

mus ana lyze hose needs, desg compoens

a wi l fi i no he aciecure o he col ecion,and engin eer he gamens hemseves B roaden

ng a c usomer's wardrobe of basics o a designer's core e i s easy o do. Having moe han

one vara on of each fundam enal garmen is anefoess way o nc rease he nu mbe of opions

Once a sucue is i pl ace, i s easy o pu l inaccessoies o keep hi ngs neresing

In 1 985, e fis Doa Kaan col l ec ion wasauced and i eaued her Seven Easy Pieces

The orgin a Easy Pie ces were e bodysu i, a

wrap ski r, a chiffon bouse, a bl azer, a longeracke, leggings, ad a d ress hey al emai n

relevan oday. This sysem of dressig was a n

m poan ool fo women i e workfoce whohad a desie o replace heir power suis" wih

more fashion able c hoices, and o sreamli ne e

decisi onmaking process so ha hey coud puogehe oufis for he office, ravel , or a soci al

occasio a a momens oice. In 2009 DonnaKaran enroduced er verson of e Easy Pieces

wih an u pdaed is of mu shaves a u reneck,

a ski, he pa, a jacke, a coa, ad eas

20 Fashio Desig Essetias

TENICA DRAWNGS B MAE-E TRMBLA


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2

HOUGH


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8 Suits of Armor

The n stnc to cover o bod ies fo protecio n

came befoe the des re to decorate ourselves,n t i a l y fom the eleme nts and eventual y fomeach ote Combat necessitated te sh eldi ng of

vl neabe parts of e body d uring wafare he

maor sectons of armor broke down i nto hel met(head) gau ntets (forearm s) gorget (nec k)

breastplate (torso) greaves (legs), and chain

ma l (for areas that did not a l low for r ig id pl ates)It is inteestng to note that some o the eary

vesions of b ul letproof fabric were made of manyayers of sil k de to he strengt of the fiber s.

Although Kevla rs bal l st ic fabrc is c ely thestandard experiments wit spder si lk are f dng

tat it has not onl y compaable strength, but a lso

elasic ity

Moderday fashio design ca povide protec

tio i n new innovative, ad relevant ways I n a

sociey that vaes m ob l ity te developmet

of l gtweight wearable architecture speaks tofashio designers concerned wth socia issues

sch as svival and hom elessness Conemporary vsual art ist Lucy Ora created the H abitent

as part of her exhbit on cal led Refuge Wea and

Body Acitectu re (19921998)" These worsexamin e the common factors that both arcitec

te and fashion desgn share They aso addressa sh ift in global conscousness regardig what

we poduce and why

22 Fashon Design ssentas

Rght A ode wea a lveeembe rom eaCae

e Catebaac reaytowea how, 2010

Bo efuge Wear

Haen: Aiumcoae

poyamie wo elecopc

alumu poe, wht e acopa; copyrg 2011 by

ucy + orge Ota


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A mode we or

ied, ilver etl e

by deige JeCre deCtelbc, 2010,

HOUGH


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9 Client Compatibility

Designes, l ie artists, are often couting their

muses for ispratio They mu st a lso cult i vatea ch ad meaningfl relat ioship with theirpatons and tose wo wl l parter i n pomot-

ng ther wor, suc as sty ists and cel ebrit ies

History provides exampes of many successfulpair ings of art iste ad m use Yves St. Lau rent

had several p rominent sou rces of ceative i lum i

nation former model an d fashion icon BettyCatoux, designer Louou de la ala ise, and ac

tess Cathr ine De neuve, whom he aso dressedfor f i ms fom Bll d Jou r to Th Hunr A

lfetime fredsh ip was the bass of the relat ionsip between designe bet de Gi vency ad

actress Audrey Hepb ur Over the years, many

lovey wome h ave nf luenced te ouse ofCha ne, but ecenty, ead desi gner and creative

drector Ka Lagerfeld anointed actress Keira

Kight ey as te Chanel muse. And on the othe

side of te camera, f i m diector Sofia Coppolais recognzed as o ne of Mac Jacobs stongest

inf uences .

avig a h ighy vsble nd ivida l incorpoate

yor designs into he wadrobe can have a

profound effect on a desger U S Frst LadyMicel e Obama is responsib le for sh n ing a

l gt on many ta leted designers, such as I sabel

oledo and Jason Wu. oledo h as bee n desgn-

ing snce 1985, but it was the ina uguration su ittat she designed for Ms Obama that put her

name on everyones l ips. ater that day, JasonWu, a relative newcome, having debuted his

f irst col l ection in 20 06 experieced the sametansformation whe M chel l e Obama wore tenowfamous white gown he designed for he r to

te many inagation ba ls .

Whethe it s the mse, the benefacto, or thema nstay of every b usnessthe cstomerthebest eatonsips are symbiotic ones were both

sides l earn a nd benefit from each other

24 Fashion Design Essentas

Dreor ofa Copoa

wh deger Mar ao

aktage or o he Mar

ao rg 200 aonow


27/210

PHOTO B MARK WLONGETTY MAGEus r Lay Mihel leObama ta with na gua

re eger ao Wu i

fon of the gown e wore

o the inaga al l hegow now o dipay athe itoan Mueu

of Aerican Hoy

Waigto

25

HOUGH


28/210

Customization

Even tho ugh the desi re to ft in is strong, the idea

of indvid al ty a lows a person to feel specia Faster, more facile manufacturng now allows

cstomers to benefit fom lower prices, wile

sti l a l owing te m to enjoy owni ng somethi ng

tat is truy niqe, becau se tey contrbuted tote design process Designes of many different

types of poducts ae takin g advantage of both

te toos and cons mers inteest n f inding thsbalance between te two.

Compatmental ized design a l lows te cstomerto select how the elements of a product are

fabrcated, creating oneofaknd c ombin ations9ta los poduces qual i ty shts. M xing abrics

and coosng specif ic design detai s, such as

coll ar, placket, pocke pocket posi tion , cuff, and

cff button, al lows a customer to transorm a

9tai los si t into an orginal Converse produceste iconic Chuck aylor Al l Star h top sneaker,

a style that is offered in t he tradt iona canvas,sede, or leatherbut tat is just the foundation

Customers have many choices when t comesto the desgn and customization of the soe, as

wel as a wde assortment of coors, result ing in

nfn te design vaatons

Based n the Netherla nds, fashio n designer

Berbe Soepboer and graph ic des igner Mi ch e l

Schuurman desgned the Colour I n D ress, as imple s leeveless dess wth an A l ne sk rt The

thid p artner in the design process s the weareShe can use the texti l e marers provided wit

te dess to make it he own. The grapic pattern

on te texti le ends i tself to being ntepretedn ma ny different ways he dess aso ha s tepotentia to be a wor in progress, sho uld th e

wearer decide to add moe color each t ime t

IS wonThe whoe customizaton pocess is particu la rysuccessfl when the garment itsef is fami l a r and

t e modcations ae easy to imagine Desgners

might be wary of giving up compl ete contol, butn a l l o tese examples, the p roduct desgners

have the uniqu e opportnity to see the r design

tough the eyes of ther customes The exercseprovides val uable i nsgt into what their adi-

ence wants

26 Fashion Design Essetas

Te 3 Zipr De by art

ege eata Errzuriz

Made of 20 zier,

re al low he weae

o cutomze nec e,

openg, an eng my

y zping o u zpngegment


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Abov: Coo-I Dre y

erer oeoer a Mihie

chrma, 008

Rght Cutoed Conveeneaer

27


30/210


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A mode werg Huein

Cy creto, 200

HOUGH

d


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2 Mind Mapping

A tru ly creatve mi nd s on e tat bi ld s a foda-

t io wit te left bra in so tat the r igt bra in can

make gant eaps of fancy I t 's easy to identfyand focs on wat our b rai as a natr al ten-

den cy to be good at ad to ds regard weaknes s

Strengtenig tose shortcomings is a key tosccess. Leftes are aalytica l techncal crit ca l

and logic a ey eed to stretch to tap into the

part of thei r brain tat a l l ows them to be morentit ve imaginative and nnovative The same

evel of eort soul d be put ito p la ig orga-

ni i ng and b i l ding structure for a rghtbrain

nd iv idua l

Sim utaneously entertain ing opposing needs and

desires can be a tough thi ng to contan n your

bra i In order to overcome atura l tendenc estat lean to one si de or the oter a desiger

needs to move the process outside of er hea d.

There are several ways to map out a successfu

creative strategy that al ows the desi gner tosee sort and shufle everythng ivoved

0 asion esign ssentias

ft-bran aho thiking

a e ond a eigne'

abi y o aalye e

eed of e maret

make eaoay oga

eiion ra angage

that wil l e repree ther

vion; ave a awareeand bac compeeo

o nnovao i iee

and enology a eweveed in te vae o

umer atternakng

a well a n b e


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Rght-bran fao

kg ca e fou

a egner ab ty to

conier e poce of

degn thogul ly rut

e io whe aking

deco; away e oeno creatve iight and

exerce appecate the arof ahio a nd e c

at create an a porateetg for er wok

Talk it out. Every designer can use a sond ig

board Hea ring ideas out loud s a great real tyceck ma de even better whe ohers provide

you wth feedback

Wit it out Commi tting it to paper a l l ows onethought to lead to another o the page witout

the risk of ettng any idea sl ip through yor

fngers

Lay it out. The wde open s pace of a tabl e a

bul let i board or a wal l a lows the desgner

o spread out a l l aspects of a idea Wen adesigner can see the whoe pictre she wi l begin

to recognze reationshi ps between the many d i

ferent ele ments

Mappi ng thgs out is a way to f inete teprocess and e nhace the potetia l for orginal

th ink ing .

HOGH

N t d N


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Net and Narrow

The wold of haute coute is so el ite and exclu-

sive that many desgners feel they need to a l lude

to it i tei wok f not aspre to t . Altough ithas a very narrow audience couture as a com-

pel i g a l e because that adiece is composed

of some of the r ichest mo st famo us ad mostpoweful fashio c l ents n the wold Ths n ice

cowd certain y as its pers if only by associa

t io Serving ths a ristocratic caste of couturewel wi l ofte come with crit ica l acc a im t

not a lways economi c sccess asion designers

who su ppot the vi s ionary p rojects wit m ore

man stream creations ae the ones wo avestaying powe

Readytowear eaches the people en masse. he

only l imi tatons when servng vast numers aremanfactring outlets ad developg p roducts

tat have mass appeal Casting suc a wde net

not only geerates greater sales but a so bu i ld s

name recogit on u st becase it is off te racdoesnt mean it cannot have great inf l ence I n

1994, appe r Snoop Dogg wore a Tommy H lfi gersi t o an epsode of Sauday Nih iv The

bac ban ap subcut ure responded alm ost

mmed iately H i lf igers work was adopted andadapted by iphop fol lowers everywhee. Hi l

f iger cult ivated eat ionshi ps with other leaders

n th i s commun ity ad a retai l sta was orn

This was enough to place Hi f iger on te mapbut e real zed he needed to serve this audi

ence by scal ng the c lothes up n s ize sty ing hiswo to reflect the cultue and t urig h s logo

nto a h ighly visl e status symbol the fasho n

commu nity His arge cstome base contn ues

to inform the d iecton of h s work Te rest isfashio bs iess hstory


Muician/ator Cool J

a eger omy iger,

00

oo


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HOUGH

Disposable as Investment


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Disposable as Investment

Nontext l e proects are commo nly used to

stretc a fashi on desi gner's creative muscles

Many fashon pograms offer at least o ne coursetat requires a student designe to bui ld a body

coverig without fabric ad conventona sewng

methods The expl oation of th is type of wearabl e art i nvolves a great deal of expeimetation

What are te objects of choice? ow wi l t hey

be assemb led or wove into a surface? How wi lcomponents such as th e bodice, srt, ad sleeve

be put together? What i nd of method of clo sure

wil l be devsed? The f ina poduct takes shape

as a form sculpted to it te body ad mim ictadit ioal appae

Depedi ng on the nature of te raw materia l s in

a garment of thi s category, it m gt not have aong life spana tissuepaper gown's days are

num beed So, why nvest such a d isposabe

pece of fashion? The novelty and atist ic vaue

of garmets mad e out of paper bags, pasticspoons, or duct tape are n herent, but thee is a

greate val ue to be foun d The resu lts of bringng fashon desgn sensibi t ies to ontradit onal

projects ic lu de un expected probemsolvng

methods and inspired teciques Composit ions,colo schemes, textues, ad constructon s ou

t ion s tat mght not have otherwse bee used to

ceate conventioal c loth ng become app arent.

A new set of s l s ad a fresh perspective cakickstart a colecton.

4 asio Desig Essentias


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Lft Notextle e

coced o of peie

by Ine Atga

Rght Nonexti Ie dre

coced o o tea bag

by ayn eeley

5

HOUGH

5 Environmental Context


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5 Environmental Context

Geographi ca egons deveop a style o ther

own. I n the Un ited States a lone the Not and

te S oth ave dist inctly d ivergent tastes forclothng. The West Coast and the East Coast

have very dierent takes on t e defin it ion o

fasi on e Mi dwest has another standad ofstyle a ltogethe. I nstead of makin g vau e jdg

ments about the worthin ess of a certain sens bi -

ty a good desgner wi l de lve int o the roots theseassessments stem from. hese foundatons a re

usua l ly based on the man y aspects of an env

ronment that wold coor o choices istoi

cal events cultura l inf e nces geogaphy andcl i mate When this concept s extended global ly

tere ae even su btle r differences to be stud ed

A good fashi on compass wi l help u ncover the

reasons for understandi ng wy a wardobe

of b lack has become synonymous with urban

settings such as N ew York s the nc l ination to

adopt such a dark paette ust a practical choice?Is the overa l look harder and more nt im idating,

somet in g that m igt gve you an edge whendeal i ng with the gritty rea it ies of the city?

What is te expanation for an in c l nation toward

brgt colors and bold pattens in t he South?Does the weather pay a pat in t? Do these

coices reflect the la ndscape? Ths examinat ionassists desgnes n del i vering their prodct to a

market that is a l ready prone to receive t wel l .



39/210

Lft Vtage ves ait

are ess i bgt

rul fal pit

Rght pscae dak

brw cascae clla sui by

ara Cambell

VENO RY

6 Acquisitions


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6 Acquisitions

Settng up a bus iess or start ing a proect e

qu res that designers sift to huntegatherer

mode. Wha are the means by which they wi lbe abl e to develop work? ow wl t hey amass

resources?

Good fashio n ters wil l fami iarze temselveswith a terrai n track thei r target and acq ui e it

Identifying the right machn ery ad the propertools is essentia l Not a l cttig nstrumets

are created equal Fo stace the dfferece

betwee scissors ad shears is length the lattermust mease more than 6 i nches (15 cm). De

sign rooms wi l l reserve seas for ctting fabricsvess scissors fo cutting paper. Pink ng sheas

app qu scissors and snips each make specf ic

obs a itt le easer.

Fasio gatheers are a lttle more subjective.

They wil forage through the many ch oices of

fabrcs and otons to proce the deal raw ma

tera ls based o aesthetic eeds and seasonaldemands

Once a workoom s outftted ad its shelvesare stoced with su ppl ies a worfoce must

be assembled I n doing so the desger mustdetermine how eac m ember o the sta f its ito

te commu nity being cafted. Next te desiger

must bui ld a cut ure an environment systems

and technoogy.In some cases it s a smart dea to accumu lae

reseves A surplus ca mea te diffeence be

twee endurin g and throwing the towel whefaced wit situations that chal lenge survival

However stockpi l ig isnt e lpfl u n less thegoods are relevant ad ae actal y pt to se

The value of a designe's i nventoycompris ing

machi ney raw matea ls mapower or in shed

productdepends on how coesive it a l l s


Rght esig stuo:

ton n s

Far Rght: esg suo

fb nd tten soge

OO: JO BJAMN


41/210

VENO RY

7 Collaboration


42/210

Some vey successful fashon desgn teams

prove that two heads are often better th an o e

A creative co laboation ca esult i n designsthat are moe complex and nnovative than thosethat orignate fom a singu ar vis ion. Partnershps

with buyes editos c l i ents and other designers

al l h ave the potentia to foster successful ideas

and enh ace the ceative pocess

Some examples of successfu fashon designteams ic lude

Viktor Hosting and Rolf Snoeen of Viktor Rof met whe studying fashion at the AnhemAcademy of At and Design The Nether-ands. Thei team approach to fashon cotin

ues to srpise and cha rm the fashi on el ite.

Parsos Scho ol of Desg i n New York Ctywas where azaro Hernandez an d JackMcCollough both stud ied before goi g on to

orm the label Poena Scholera name thatkeeps it a i n the family, origiatg fom the

maide names of both desgers mothers.

Domenico Dolce m et Steano Gabbanawhil e woking fo the same design f im n

Ml an, Ita ly ad ae now the orce beh ndIta l an luxury hose Dolce and Gabbana a

mult i m l l iondo ar fash io empie .

Sib l ig camaraderie not valry, is at theheart of the sister team o Kate and Laua

Mulleavy for Rodarte, a company aso n amedafter thei mothes mai den name hey havecolab orated with t he G ap as we l as Taget,

proving they ndersta nd how to iterface we

with others

Power couple Isabel an d Ruben Toledorepesent the hus band ad wife duo that

mpact cltue on mul t ipl e fronts She s afash ion des igner and he is a n art ist .

40 Fashion Design Essentals

Abov ben d sel

Toedo

Rght Duth designers Rof

noere (eft d VktorHorsing (righ), o Vikto ol, she hds t he

end of ter A /Wine00/ edytowe

oleto show Prs

;-


43/210

4

VENO RY

8 Articuation of Style


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se your words A designe benefits greatly from

a mastery of anguagenot merely having an

extensive vocabl ary, bu t a so possessing teab il ity to caft words into deas , messages, and

stories Whethe complex or uncompl icated, the

ntent ehind t he words that are used to describeand defne th ings helps to i nspe and develop

design concepts Throug language, a designe

can d iscove a di ecton for a project.

si ng coor as an example, the adjectives used

to narrow the defn tio n of a colo can affect thecontext in whi ch the fn a l product is perceived.ust ed? It shold neve be jst ed eraps it

is rby, a red as rch a nd uxurio us as the gem

stone. Or cher ry red, a color you can a l most

taste Wen you thi nk of Ferrari the associatonsare spot, speed, and Ita ly, which makes Ferari s

cobrandng of sneakers and athl etic sportswear

a natu ra I ft

Alth ough design es may wok from a broadpalette, they can aso become cosey associated

with a paticua r coor E lsa Schiap arel l i is forevel ned with shocking pn k, just as Vale ntino wil l

a lways be emembered for h is signat ure red.

It may ust seem ie semantics, but the same

is true of a l l te v ita l components invoved ndevelopng a garment or a centra l the me for a

collection A smooth texture can be descibedas having a glossy, pol shed, or satn f in is h,

wheeas a gain y texte can be descr bed asrough, porous, or earthy C ever wordplay i s at

te heart of how fashon is discssed in te me

da, so why not start that dia logue in ose on

te designers terms

42 Fashion Design Essetas

odels ed Venos

sgtre olo, wk on e

wk o gnd i le2008


45/210

4

VENO RY

9 Building and Breaking Templates


46/210

Establ ish ng standards provides a fashion d e

signer with reference points i ndi ng the midd le

s m portant. The average" shoul d not be con-sidered a death sentence to creativity when it s

posit oned as the start ing point . O nce specica

tions are in place understood and respected adesigner can bend f not break a l l the ru es.

The basic slope r is employed as a foundation

for f lat pattern making because it contains a l l

the vita l measu rements to bu ld a pattern that

wil l correspond to the body it is being designedfor With those mea surements in pace a lmost

any modf icaton is possib le whie st i l keepingthe functon an d t of the garment grounded

n real i ty A f itt ng mus l i n is a garment that can

be used in much the same way. his garment sconstructed so that a desgner can ma nipu latethe design and customize the f it .

Good croquis f igures are based on t he propor

t ions o the huma n body When the relat ion ship sbetween parts of the body are m aintai ned the

figure can be exaggerated to extremes wthoutrisking abstraction The transormaton may

reflect the designers style tendences bu t the

fn shed product wil l rema in recognzabe.

f)t tI \ ? -/\/\\cA 1 _\

44 asion esign Essentias

)\ V ,f \o \/1\

1_

ft Aveage lengt andelogated rous

Rght Vaious oquis

eaggeatos desged to

aeuae overall sl houette


47/210

45

VENO RY

2 0 Pattern Instruments


48/210

A sarp penci l , some paper, and a rle rit

seems simp le eogh, bt pattenmakng de

mands tha desigers f i te ther vson of a garment throgh a strict mathemaca gid There is

no gettin g away from te fact that wel execed

patters rey eavi ly on geomery and are te reslt of t inki ng l ike an engieer. Desgners shold

be very ami l ia r wth he prpose of eac ool of

te trade ad fl e in th e la gage of whaevernits o meas rement they are wokg in , dow

to the smal est facton

Precse measements and c lea r notatons are

key wen maki g pieces fit togethe Notches,or instance, povide he stitcher wit speci ic

paces whe re peces are to be o ned. T ey serve

as anco poins, whic el p to esre prope as-semby Seam a l l owance can be looked at as the

breadown l ane of st itchig i nes, becase they

gve s room to and le the fabric wi le we ae

sewg and provide room or a lterations after thefacttoo mch and yo ave nwanted blk too

le and seams begin to fa l a part Beyond takigeach f at piece and aacing to another, hese

twodimensional pieces may also be maniplat-

ed into more naced teedime nsona l shapesTai l orng a gament o e hm an fom m ig

reqie dats tat el im inate nwanted fl ness,

or gaters that add t whee des red

A commercia paten comes with a set ofnsrctons that ake te consmer trogh themost efice nt way of ptti ng a garment ogether

Pat of the design process for the des igne

sold i nc de creat ing a s imi lar a lgor ithm for apattern addessing whic methods o constrc

tio wil l be sed, and what the specif c seqence

of steps wil l be


Abov n g wee

noe, d wl

Rgh Pe k

1I


49/210

VENO RY

2 Stitching Tools


50/210

Sewing is a sensory experience Fol owig

ns tructo ns that are provded i n a book a vdeo

or a ive demonstration s a start but theres no s bstitute fo experience and lots of it

whe n it comes to stitchi ng a gament togetheEasing the cap of a s eeve into an armhol e is

defin te ly eas ier sa d than d one. Ony epet it io

wil l provde the experience needed to and le

te fabrc expetly select the proper th read andunderstad how to contro and maximize the

tools yo are wokng wth othi ng is perfect

but practice certainly gets you close

Thee are may coi ces wen it comes to wattype of st itch to use or any gven job and eac

can be exected by and or on a mach ne:

Loose si nglethread stitces for basting

Ban ket or overock stitches to f in i s an edge

Pad stitchi ng to secu re layes of fabc together

Back sttches or tacki ng to renforce areas

Zigzag or top stitchn g to decoate the surface

Cha in cross or sati st itches for embrodery

Buttonhole sttches to iis an d reiforce the

opening fo a button closure

B i d stitces for hemmng

In every case a igt seemingly efo less touch

s the mark of the professiona l

48 Fashion Desgn Essetias

Abov Lft ad sewig

Abov Rght ahinesewng

Rght Basing saes

ar Rght Hand asg


51/210

VENO RY

2 2 Rendering Media

d l l d l


52/210

Fasio enderings are usal ly ceated in penc l

mar ker o pant oday the pi xel i s anothe

medi um fo drawng fashon with the aid ofcompute software Wether its a fashion note

on a napkn, stye schematcs i a notebook, o

fasio sorthand i n cha l k on a ca l kboard thegoal is the exchange of deas.

Thee is a mystique around th e art of fashion

as though o nly a select few are eit led t o eveattempt to create it Ath og ot everyone who

sits dow o draw wil l poduce art to rival th e

work o Steven Stpelma o Antono Lopez it s

mpotant to remember th at hese masers are l ustatos and not desigers o ing the sk ls

requied to commit concepts to pape is prim ar

y about and to eye coodi nation which o nlycomes with t ime and practice

A carefl y conceived dawig in wh ic style

es design detai ls a nd proportons have been

tougtful ly pl aed out wi e lp make the extstepdraping and/or patternmakigmovetat m uch faser

SO Fashio Desig Essentias

Rght Freh desi ger Yves

Saint aure using a l to

se fashio desgs o

a halboad i the aeerof he ose o Cista

Dio, wee e as ustbeen naed as sesso

o outrie Chrisian or

as, oveer 95

o6


53/210

VENO RY

2 3 Taming Textiles

exti les are a very tagible source of insp iraion


54/210

exti les are a very tagible source of insp iraion

Much l ike the mable tat iforms te scu lp

to what t wants to become fabri c wi l suggestwha shapes and types of maipu laton w l

tansform i i nto a work of art

he same patter for a gament wil l assum e

uni quely di fferen characeris ics dependi ng on

wheher it is made o si k chiffon ibbed kiripstop ylon Lycra taffeta or wool felt. e de-

signer can design wit fabics based on h ow they

coordin ate and contrast wit each othe Weight

body and weave wl l provde furter d ecton.

Color patten, ad texture also delive a wholeset of addit ional c hoces.

A designer can take ideas for a col l ection nto

new terrtory by swchng fabics. Sbsituigfabrcs l ke den m for taffea chffon fo oxford

cloth leater for l i en ad lace for tweed is one

way to rigge un predctabe inn ovatons Block-

ng wit color patten ad texture s aotherway to shake thi ngs up Combne these methodswith techniq ues us ual ly reserved for different

fabrcs and the design choices mu lt ipy Appy

a topstitched f latfel ed seam c ommoly fodon den im to s i l k ogady and t bngs togetertwo seemi ngly un related areas of fashion creat

ng somethg fes an d u nexpected

52 ashion esign ssentias

Rgh Medi ody:

Ce ll fo jud ski

Below: Full ody Vikto

ol sier dped sn skirt

mZz

Lg body so satn


55/210

Lg body so satn

aese ouse

VENO RY

2 4 Letters: Sopers

A slope i s a tempate for any pattern piece that


56/210

p p y p p

does not ic lude se am al lowace Start ing from

scratc is not always necessary It is sed todevelop variat i ons o patters and is a great tool

fo branstormng and testing out desgn ideas

without hav ng to go back to sqare oe S icea good sope a lready inc udes a l l the meas re-

ments tat wi l esure a prope f it the designer

has the feedom to concentrate on aestheticsThe designer can man pulate the posit io of a

dart add fu less, l engthen or sorte, as wel l

as cut away or bu d aeas onto the orignal .

Each slope piece s l i ke a letter the D NA of a

garment Each of these base patterns s designed

to conform to a diffeent part of the body as well

as i nterfacig with oter peces Every tempatehas eemets that are un qu e to that p ece I n a

sle eve, the seam ta t closes it does not relate to

any part of another pattern piece Bt te cap ofte sleeve mst f it into a armho le that is cre

ated wen the front bodice is con nected to theback bodice at the shoul der and side seams Temost essenta aspect of designng somethig

tat goes from two di menson s to three s f ithow the pieces fit together ad how they fit

te prpose

Getting wrapped up i the mn utia of th is bl e

prit fo a garment may se em i ke the excls ive

domai n of pattern makers bt designers can usetei ow sesbi l it es to solve desig chal lenges

with th is as wel l

54 Fashion Design Essetias


57/210

os

VENO RY

2 5 Words: Gaments

Every garment m aes a valable contribtion to A spe whe bose


58/210

an overal loo t might be cast in the star ing

role or as a supporting pece I ndivi dual items ofclothng can be treated l i ke the words tat wi l

be expressing te designer's vison Big words

as wel l as l i t t le ones sold be caefu ly chosenbecause even the sl igtest variat ion in defin it ions

can mae a big difference

The orgina st im u us for a designers insp ationcan be dist i l led nto subtle but powerfl detai ls

n eve the simplest of gamets In addt ion to

being appreciated by te tre conoisseur tesetoches add a comp exty that makes tese

garments dist inct Altough some items ae

nteded to emphasize a more domina nt piecetey shold neve be treated lke a aftertogt

If they are desgned as idepende nt etit ies they

wi l l stad a lone n terms of des ig and qua l i ty


by Vo ol a de

dsnve wh buode 200


59/210

o

VENO RY

2 6 Sentences: Ensembles

Assemling an enseme i s l i ke stringing words

togethe to form a sentence n the est of stu


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togethe to form a sentence n the est of stu

ations, the resultant fashon phrase is a wel carated cominatio n of eferences that i nsp red

te design process in the f rst pace

Mix ing drastical ly different colors can pnc up

a look Blendi ng moe harmon ious sades wi l

resut in a gentle r touch At either end of the

spectrm or anywhere n etween colo shoul da lways a l lude to the impact the des igne wishes

to ave on hs aude nce.

he nteplay of textures and patterns can a lso

e sed to stmulate o reax the person wearngtose specif ic garments. in ding the gt al

ance etween different sha pes s an im portant

factor weth er the designe wants te comp leteook to have a reserved sl o uette o one wit

dramatic f a ir . Ornament can e scaled to differ

ent poportions so tat it has the desred effect

The ack of it can e ju st as old in its aster ity.Designes need to consider that these sets ofgarments w l l not exst in a vacuum and they

need to make thei r mark on the oseverte

cl ients c irc le te media and the general pu ic

Every designer as the ai l ity to make c le arstatements of style wth every composit io n.


PHOTO: JESSICA WESER

ir Vrgs eseles

fetung o ere nd


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gpten 20 0

59

VENO RY

2 7 Stories: Collections

A vaiety of looks can be ought together to

l ustate a igger idea Te mx itself is an exte-Csn Lroix Colleion,

2006


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l ustate a igger idea Te mx itself is an exte

sio of the concept that ns pired eac ele mentof the col ection to egi wth Ma y coices are

nvolved in desi gning a single garmet creating

corespondi ng peces to put together a n outfitand then doi ng tat nume rous t mes t i l you

have a l te i ngredie nts necessary to tel l your

fashio story a col ecton.

The designer must th i nk l i ke a sty ist and con-

sider ow these pieces wi go together to caft a

bgge more compl ex pcture. As te quest onstat wold help yo c raft a good story Have you

a made cons cous ch oce to juxtapose contast-

ng elements to create confl ict ad drama? I shumo r woven i nto the col lection that connects

with your aud iece tough witty choices? Istere a sense of armony n ow your cho ices

come togeter? Does each ens emble feel l i ket repesents a characte i y our stoy? Do yo

have a stong start ad an exct ing fin sh?

The specif ic decsons a desgne maesputting

emphas is o what se sees as importantwl l

u lt i matey set er apat from othe desgers

and their col ections This p rocess is just as

mpotant as te garmets themse lves ecauset places the desgers vis io i n a context of er

ow creatio



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6

VENO RY

2 8 Punctuation Details

Once te structure of a garment has been cealy

defned ad the matera ls beng used to fabrcate


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t have been chosen, t s t m e to contemp latete deta ls ese pots w l l f netune te des gn

and en sure that a desgnes aestetc sens

b t es ae cosstent throughout. Well placedembe l sh ments w l punctuate the desg but

not d stact from t

Decoratve b uttons o snaps el p to mx form

and functon One bg, bold b utton on an oter

wse undestated coat serves as an exclamaton

pont. Most fans of the cass c Westernstyes t woul d agee that pearl s naps ae a essenta l f n s hng touc Bg bassy zppers stess

ut l ty and when used de l berately they can mae

a statement Exposng that nd of heavy hardware ad avng t s las through a de cate dress

defn tely makes a declaraton .

Str ctly oamenta l deta ls suc as emb rodery

or bead ng are straghtfoward enough exceptwhen they are strategcaly paced n unexpected

ocatons A sma l l godet serted at te end of aseam can provde ease but aso nteest. op

sttchng wt thread n an accent color s one

way to unde rl ne the style l nes of a gament

The edge of a gament m ay be dotted anddashed wth a decoratve blanket sttch

or ma ny fashon desgners, the dev l s n te

deta ls" because that s where they mght f ndte pocess the most dff clt or cal lengng.It s a l so a way that desgnes ca subtly sgn

te masterpeces


Abov Beded ry

dden gown

Rght eote zppe

detl by Aey Horwisy

Beaded bowed and gldeddess by Csa ao

2006


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2006

/f -/

VENO RY

2 9 Closures

Cosu re methods are primari y practical consid

erations, but they can aso be used as promnent


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design detai s that compete a ook. Al most anyfastene ca be stealth l y h idden wit hin a placket

or a seam, or camoufl aged whe covered n fabric , to achieve a c lean appearance Thee are a lso

specia l consideratons for each type of c losu re

that wi l affect the f it and f i ish of a garment

F lat buttons are common in most n staces, butshan ked buttons are often used when the th ick

ness of the fabric requires geater space to a low

fo that bul k to be buttoned A standard zi ppecan be cetered, lapped, or in seted without anyextens ions of fabr ic to tent iona l y reman v is-

b e . he inv is ib le z i pper is des gned to pu l the

abrc on both sdes together to mim ic a seam

Hooks and eyes as wel l as saps a re avai la be

n d ifferent szes, colors, and types. I n some

n staces, they are covered to ble nd i nto the gar

ment. Both aso are ava lab le on a tape that cabe sewn in Vecro s commol y not visble and

can be appl ied in segmets or contu ous stripsEem ents such as ties , belts, frogs, and toggles

are usu al y chose for their decoratve contribu-t io as wel l as their u sefu lness .

6 Fashion Desgn Essetas

Top n is bo lig

Above: Ble abovered

btos


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VENO RY

3 Miscellaneous Markers

In fashion, everything revolves aound the new

and the u nexplored Li ke aythng else, even

h f hi i d f l d l

Fahe Arew O'Cr

rgh ceae Gs

f Cnscence aswe

h d f l


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the fashion indstry can fal nto a rt, and onlyrandom wil d cads are abe to shake thi ngs up

and sh ift the fashion ladscape just enough to

nf uence ch age I n truth , they deserve the r owncstom, sometimes compl ex, label but because

t is d iff icut to f it them i nto a category, these

fashio f lares ae sual ly f led de Miscel la -neous" The randomness shoud ot bel i e thei

mpotance i tems of inspi ration and direction

Now that virtal y everyone has a blog of h sow, he blogosphees impact seems d luted andcommonp lace However, the bloggig l andscape

s st l l a p lace where di amonds i the ough can

be found. Thes e und iscovered gems reflect facets

of fashi o hat may not have been o a nyonesrada nti l one of these writes chooses to focus

on it and spread the word. S ome are descrbedas beg o the frot ies of fashon, so tappi ng

nto the ight combinati on of onl ine voices wi lprovide insight, resources, ad n spiation fo thefashio d esigner

Bl ogs are just one examp le Movem ents towad

sstainab l i ty and fair trade have bee bi l dng momentum i n the fashion n dusry, but

they rarely gain traction n the h ghend fashio n

wold H owever, i n the Ju ne 2009 is sue of Vogue,

Came ro Da was featued wearg a pair ofecofendy/highed fashion shorts by Goods

of Conscence, a fashion labe created by atherAdew OConor, a Cathol ic piest based in

the B ronx, New York. The expected sourcecertaily geerates interest, but the busi nessmodel and the message lay the groundwok for

the evoltion of an i dstry

Design es need to be looki ng for sgns of the

future on a l l frontswho is shin ng a l ght on adfferent perspective and h ow that wil l fuel t heir

ceative process


the needs f severalcmmunes. e cmany

emys t Mayan I a

weaves and ndeemyedBrx sewers srtg

cal uctn n

cales e e uses a s

ghweght materal mae

f gac cn cale

Scal Fac whch s maen te Gatemaa trad

f bacsa weavg Themanfacturng he abc

a gaments aes t

accn mtant sses

ssaabl y a fa trae

ha ace he fasn sy

as well as the cnsme

;nc

nr

Tav Gvns n s an

Aa asn blggg

m S start

S l k 2008


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Syl k n 2008 at ag lv and rws c Mcca

ada Jh Ga an

awab, a th M lavy

sss hs dsgn stassay s "gts t a ty

a takng nt


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Rght t sgr

wg w xtc rssc s f r fhs, t s

gd d t dsg h

grm s h hs scs

r v clg

urpss Gwn y dsgnr


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Rw s ks ns c b dy cd gtly hnd wsh. y my b

ssd lw fm th vssd f t c stm

Frcs wh ml c r plsc hrssh b y cn A pss c

sh sd wn rng n w

rtr rm th rvrs sd.

l bcs (vlv ty c

cdry c b c ccdngt fb cnt ny fr t

rvrs sd r n ndl prss brd

urpss Gwn y dsgnr

Nr z

VENO RY

3 3 Ancient Tools and Techniques

For te f irst t me on record the woman who has

been c harged wth creating braid work used to

decorate Chane l s uts snce 1 947 was itroducedto the pbl ic i the docmentary Sign Chane/


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to the pbl ic i the docmentary Sign Chane/.

Madame ozieux creates the amous fashon

braids o a oneofaknd anc ient loom. Workngte loom is second nature to her but many ap

prentices ave been coounded by its i trca

cies The House of Chane l i s a loya patron ofher work because ti s type of braid tr im can be

foud nowhere ese

This story i l l ustrates one exampl e of how valu-able and un iue o ldword tecn ies can be notto menton atiue tools and machn ery. New

sewng mach nes with bui t in computers can

be programmed to do may woderful thingsbut or power and stabil ity othing comparesto o lder idustr ia macines Whi e the ma-

cies can st l l b e found te knowedge and sk i lreui red to maintai n tem is becomin g hard to

fnd Ma y ta lents are a lso fadig into obscurity because these vintage crafts are not bei ngpassed on. Al though atomation afords the

designer the abi l ity to produce faster the processof researchi ng learn ing and mple mentigoldfashioned methods may prove to be a useful

creative exercise


Lft Abv: Vge sewg

ne

Lft Blw: m


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Rght: Assrte ras y 8

7

VENO RY

3 4 Accessoy Coset

Whic h comes frs the suit or the st i lettos?

What about the crrent it" bag or a smart par

of glasses? A great accessory ca be the cen terpece of a great outfit . I f te shopper ca n take


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p g pp

tat approach, why cant the designer? G reat

accessories that straddle te l n e between functio and art are worthy of a designers attentio

Studyig the microcosms of style may geerate

deas tat a designer can expand upon, and poss ib ly bu l d a co l lect on around

Hats are not a m ust for todays fashonabl e

woman the way they were n the 950s a nd1960s, b t tey have ot gone away Mi l nersare regula rly requ ired to rise to the cal l enge of

empowering their customers with the confidenceto do these artfu l expessions of fashio n. Ap-

parel de signe rs can take a cue from the craft andartstry behnd the r work.

Shoes have become oe of the most im portant

fashio accessories, because ul ess the optio

of gong barefoot is o the tabe, a pair of shoes

s techn ical y a necessty According to Answerscom, o average, women between te ages of

twentyfive and fifty own from forty to sixty pa rs

of shoes. As a fash on category, shoes u le


Clockwse Fasinae

eyewea; Saunt Saria

ag Zack L shes

PT MPLYATE PTGAPY

Mr Glv hat


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- N E W S B U S N E S S F E A T U R E S S P O R T SGORE GOES

ON OENSIV

IN DEBATEPAGES 4 6 5

17 MWONHOT DOGS

PAG 2

OPS GOHOME ITH

SCHOOL KIDSSPECAL REPORTPA S 32 6 33


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PAGES 4 6 5 RECAlEDPAG 2 PAGS 32 6 33

77

ECH Q E

3 6 Fashion Translations

Fasi on i nf lu ences come fom many diffeent

sources, inc lu dng sorts, c ubs, soca l and eco

nomic c l ass, and diffeent cult ures It 's to tedesigner to tansate and adot tese inf l ences

to it into te ma instream


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to it into te ma instream

Te rugby s it, fo examle, a l ows teams todentify temseves wt teamsecif ic colors

ncoroated nto te f ive o six orizonta stries

ca l led hoops Te re" t ie is sed by scools,c lu bs, and mi l itary regiments to dislay teir af

iat ions. e term ep refers to te r bb ing of te

fabrc s weave, not te coo r and configuraton ofstries (a common misconcetion How migt

te idea o wearing your colos" igure in te

design rocess?

Inteestng distnctions develo among di ffeent soc ia and economc c lasses I n te n ited

Kingdom, costermonges, wo sold fr u it and veg

etables from maket sta l l s, wold set temselvesaart from ot er vendors by sewin g a row of

earl buttons a long te seams of tei r garments

Te resut was cal ed a las Boy outfit . A agecargo o ea buttons from Jaan n te 860s is

said to ave contbuted to te develoment oftis trend among te tradesmen.

Hen ry Croft was a art of tat commu nity, and

e is cedited wit creating te ni ue earlyKings and Quee ns ook in 1 875 Coft, a teen

age oan wo ad a desire to el tose inneed, undestood tat e needed to set mse faart to be noti ced, so e covered an ent ire suit

wit earl buttons. e f irst early" was born

Te woking c lass adoted te early Ki ngs and

Queens tad it on to cont ine te w aound,"wc is wat tey ca ed ma kng col lections for

tose in need

Deni m garments ave been ntereted and

reintereted ove te years. I ntoduced as workclotes and ten adoted as fason by teenag

ers, deni m went on to serve as a canvas for sucembe l isments as metal studs, and ainting,

and r inestones Someti mes te fsion of two

dfferent asi on l anguages can reslt in a fres

new ideadenm and eay buttons


Mry nd re Tinsley

ely ueen ing of

Sohwk ond o 199

Decoraive uto eail o

deni o At by


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ECH Q E

3 7 Four Seasons: A Timeline

Te seasons elp compartmental ze fasion Te

practica demands of weate a lone caus e usto focs on te e lements of design tat sie d a

person from te ra in sun, wi nd, or snow How-ever, te nat ural aestetics of eac period a lso

Below Srg spaton

Right Coof ensee

f b


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, p

nf uence de signe rs wit egad to te colo rs,patterns, and textures tey coose Eac season

s potent wit reference ponts even for peope

ving n a c l imate tat doesn't cange dramat-cal ly from season to season, tere ae degrees

of difference tat ave an im pact on tei fasion

coices, weter tey are te designers or te

consumers

Wat seasonal associations migt someone

make? Spr ing cold bring sowers and gadensto mind Summer may evoke sunsne and

snflowers a l l m igt conure up a cavalcade ofcolo as te leaves cange. And winter as tepotentia to stir up frosty mages of snow and ice.Altoug tese a re accurate eflectons of spring,

smmer, fall, and winter, eac designer as auni que set of variabes tat se b rings to te

table based on er persona experiences

Tese fasion t im e ines are not s imp ly l near

Tey are a set of paral el i nes tat begin at dif-ferent points on t e caenda t 's a balanci ng act

for designes, becase wic ever season yoreactual l y experencing, as a fasi on pofessonal

yo a re designing fo at east two seasons aead,

produc ing for one season aead, and del ive ing

n te present day

80 Fashio Desig Essentias

eag fora ebroery

y desge aa Paz

Below Smer nsiaion

Right Vage an d-atecoto dress fo o or te

c Gi

Below Fal sp iation

Right Coper eater sr

and san stripe si yesiger Eena Sandes


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Below Wnte ns aton

Rht Bac-an-wt woo

oa y esgne avlnaGson


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/

r

, , "

(w '

t>

/

Mide stgesce

f setch

g

, Jft

"-r

t

:

'f

!

j

i stge f sketch 1'c r nd detil 8

ECH Q E

39 Hand to Eye

Te connection between te mind s eye and te

ands of te designe s eas ly taken fo grated

Tis l in k must be reinforced toug coscios

exercise and exloraton If te comm un icatonbetwee te two is flui d, a designe s dexteityn execting ide as becomes effortess and after


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n execting ide as becomes effortess and, after

a t ime, second nature Bu ldg strong bonds re

qu res equal a rts art ist, arcitect, and construc

tio worker I t's easy to l ay to your stregts,but a good designer w l l ave a cea comree

sio o f cause ad effect i every aea

A stitcer wo understands ow a atter sdesigned to come togeter rodces better workTe sequence of construction ad deta l lace

ment wi m ake a big difference in te f in is ofte f ial rodct

Te qual ty of a sketc is ige wen it benefits

from kowledge of construction tecnques

and ex erience wit a wide varety of dfferetabrcs. Render g te ol l of abric ct on te

bas as a dist inctl y dfferet feel ta dawigsometing cut on te legtwse grain

Pattermakers wo can vs ua ie ow a gar-

ment wi be sewn wi l be se to inc lde terigt information n t e atten teyre draftingIn cdi ng wel l laced notces, te aroriate

seam al l owance, or enoug ease is essentia l ifte st itcer is going to be ab l e to do is job wel l .

A designer sou d b e abl e to navigate betweenvisua l mode were te imagnati o and aestet

cs ae aramout, te bl ueint ase tatdocuments and comm un cates ow eac desig

wil l be exected, and bui dig someting tat re-sects ad reflects te oignal vis i on ad i ntet

Te more diect te at between te designer'smagination a d te real t ies of roducing it , te

better te work

8 Fashion Desgn Essetias

Above: Fashi skc

a sign y VictiaDngagu

Rgh Dsgn y VcaDngagu


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Righ aso skc

o a dsg by Vctoraomg-agu

ar Rgh sg by Vcora

oguzag

AmZo

85


88/210


89/210

ECH Q E

4 Machine nterface

Te owers mnu w l rovide te fud-

mentls for usi ng sewig mc ne, but te re

s moe to te reltiosi betwee sewe nd

mci ne tn bsc instructions A successfulntecton reui res comm tment from te de-

signer to get to know" te mc ine It 's esy to

Is n vrlk mn


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ttribute um n crcteristcs, even erson -

t ies, to mcie tt s used on regul bsi s

Some designers deveo suc strog bond tttey go s f s n mng teir mc ines . Tis cn

be good tig becu se it men s te oertor of

tt eu ment is resonsive to feedbck se's

gett g Audib le , v isu l , nd tct i le c lues u n iueto every mci ne e te sewer mke decisions

dur g te oductio ocess.

Altoug most sewing mci nes work i rettymuc t e sm e wy, tere e l itt le dffereces

nd subtle unces regrdig ow tey work

Tedi g, bobb in tye, ower, d seed of temotor re few of te most obvi ous ti ngs tt

wil l vy mog mc nesIf te designe is ble to ecognize mc ine tsnd un derstnd tei function, se cn solve

robl ems m oe esily A foot edl , ower cord,

sool ol der, bobbn winder, tension d iscs, st itcengt, widt d eedle osit ion djustments,

tkeu lever, resser foot, ressure djustme nt,tot lte, feed dog, nd weel , moto, bet,

ted cutter, s ide l te, bobbin, nd bob bn

cse e te ts commo to most mci es.Become itimtely cuinted wt your m

cie Red te mnu l .

C eig, lub ict on , d mecn ic l dust-ments re t of bsc m intence tt en

sures consstent resuts. Sfe rctices re oftebsed on commo sense Don't rus, don't force,

kee te re n et, d kee figers wy from

te neede. If fbic is be ng fed into te mc neroely, tee is o eson wy nds so ud

ever be c lose enoug to cuse in ury

A nvestmet of t ime n d energy is reui red if

desi gners re goig to ve good exeri ence

nd osit ive esults


nsde a buttohoe acine


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ECH Q E

42 Cut, Drape, and Fold

Cse exmntn f w brc s m n uted

by cuttng, dr ng, nd fldng l lws te

desgner t bu ld subt le nd dynm c e ements

nt desgn Deveng ltentve cuttngstrteges, wrng te gure n sft fld s,

r desgn ng systems f lets, emts tedesgner t tnsfrm ny s lette


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desgner t tnsfrm ny s lette.

Te rle f te cutter n desgn m seems

sm le enugcut te ecesbut t s btt demnds gret recsn nd ttentn t

det l . H w te grment s cu esec l ly wen

usng tterned fbcs lke stes, cecks,nd ds cn reslt n d fferent ernces.Peces cn be cut n d fferent grns r te bs

fr effect

Tee s sensl ty nvlved n drng fbrcn nd rund te bdy. Te sr (r see s

n del exmle f grment tt uses rtfu l

drng It s engt f fbrc, rxmtely5 t 0 yrds (4.6 t 91 m n lengt, usu l y

feturng n nmentl brder t s nt ct sewn n ny wy Te cntem ry sr s wrnver cl (s bluse nd ettct. It cn

be dred n vrety f wys, but te v style

s te mst l r

Sctts trtns were rgn l y dred n

fsn s m l r t te s , c led te Gret K lgvng sft tgke ernce Te klt s

evlved ve tme t tke n m re t lredk, fetng recsey mesed nd erfectlyressed knfe r bx lets e mden k lt uses

6 t 8 yrds (5. 5 t 73 m f fbrc nd cn be

eted t set, wc lt ug leted, vsu ly

mnt ns te trtn reet A k lt cn s be

eted t stre, metd sscted wt k tsr te m lt ry A rer trtn s mde f wl

tw l nd m st be dentcl n bt drectns f

te wr nd weft f te fbc Met ds ttreue n de rence t te knd f r gd u les

nvlved n k ltmk ng cult vte beuty nly

mtemtcs cn vde.


Klt by Htr ussll

dnbug tlnd

tg-gn t ptrghg sw

s tp

is sw

Css-gr tp

Cssg swth

Vtag sari coursy

o Shlly Chhara


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ECH Q E

4 3 Underpinnings and Assembly

Ay grmet, rom l in to int icte, wi l l beneit

from sound infrstuctue. Wellco nstructedgrments ely on mny ele ments tt e not

rent t rst gnce Good workmnsi wil ldeend uon secif c tecn iues nd ddit io l

t t t b t t d i


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mte s tt best serve te de sig

Coosig te best se m fo roect is cotingent on t e effect te des igner is tryng to

cieve d te ture of te mteri ls bengused. S me grments my use l n sems tt

cn be f in ised wit i nkig sers or overlockstitcing to revet unrvel ing Bound se ms efn sed wt stri of biscut fbric nd e

commonl y found i n unl ied grments A Frenc

sem s sem wit i sem wic woks wel lwit ser fbrics Led or f ltfel led sems

cn be found o es nd e used for teir

stregt d du rb ity

Fcings e used to i n is off es suc s

eck ie or rmoe . us b le nd sewi

ntecings e found cigs cuffs, collrscets nd buttonoles to dd body ee

se, d suort nd reinfoce n re

Tey re vi lbl e s woven onwoven, ndkit mte ls

L ii ng is te idel wy to ofession ly f in is grment ter l in ig s used betwee te l in i ng

nd t e gmet to ovide wmt weresunde rl i ing s used to lte te nd (dre nd

feel o f te fbr ic , wi le lso stbi z ng ndstregten ing it t cn be s l igt s orgnz or

s rig id s buckrm

Bon ig s noter tye of stbi l ze d is otresticted to use in corsets bustiers d st

ess cresses It c be used ong sde sems to

revent sggg or s rt of ne cki ne to voidgig It cn be l ied to ny re to event it

rom col l sing nd tng wy from te desig

Deedi ng on te gment's design, tere s

lwys logicl order for its ssemby. H ow it

s ssembled nd fn ise d so ffects te f in

roduct Wic es re to be stitced? G lued?

Ted? Fu sed? Every coice tkes te grment i n differet di rection m king it tuy u iue to te

designer wo coceved of t .


Clockwise Boe oceOverlocke sea Pke

seam


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ECH Q E

44 Manipulating Fullness

Te vol me and b lk of a garment can be con

trol ed by varous metods.

Gater ing fabr ic s one way to add f u l lness Ruff les are made of gatered fabric tat is re

eased on one edge S rr ing involves gatering

on oosite edges n mut ile rows so tat terows are contained Bot f ounces wic a re cre


96/210

rows are contained Bot f ounces wic a re cre

ated usin g circl ar saes an d godetswedge

saed in sertsare used to add f ared fu lness.Smocking nvolves nc ing fabrc in atterns

sc as te oneycomb. e si l oette of a garment can a lso be med u wit i lt ng and

stuffng

Fabr c can a so be olded to create many dfferent

tyes of leats tat manage fu l l ness. F lat leats

sc as knife fan accordon box and invertedbox can be ressed or unressed can be artia l

or can ru n te fu l lengt of te area. Broomst ick

eatng is an irreguar crus ed tye of leatExames of rojecting leats i nc l de cartridge

nced an d t bl ar ucks can be sacedgraduated dobl ed and taered as wel as be ingcontored s lased and crossstitced Materi

a ls tat ave a min im m of 60 ercent man

made fber ave termolastic roerties wic

means tey wil l retain saes tat are baked inwit eat Tese eattreated fabrics are de alfor creating starburst leati ng and varatons on

Fortunystye leating.

Darts are one of te most effic ient ways to el m nate unwanted fu l ness and contor te sae

of a garment Tey are usa l ly tr iangu ar or

damond saed and se wn rigt sides togeterso tat excess fabric can be folded or trmmed

away.

Many of tese tecniqu es can be used n concert

and te combi nations are endless . Devsing

a lan for te alcaton of any of tese rocedures can contribute to bot si lo uette and

srface texture


Abve: Gatrs crat

vlu a Christan aCx

ss

Rgh mi ss

pat at bus by Victria

minguzagu


97/210

ECHQE

45 Body Mappng

Te eg bones coected to te kee bone,

te knee boe's connected to te tig bone,

te tg boe's connected to te ibone, ad

so on an d so fot Tese are te oads to tecartogray of coture A ste furter t an

anatomy, body mai g s about derstand-ng te relat ionsi s betwee different areas of

t b d t i f t d t

esigig a eckne coseto e ase o e eck

sould ae to cosie

aion ha he nec nat

ray eas fowad so asot to osr the toat

The eg of a oa ay

ierfere wh e head's

range of o o

he eg and shape othe se i a pa ust

alow fo any exeso of

the adoe he ul lness

and sae of the baseand he at ha he odyes a is pon. Whe

the figure bend s o sits,

the sea speas


98/210

te body, te exerie nce of te weare, and t e

garment tself . Te cocet of body maigrel es on selfobservaton ad self in qi ry e

designer as to gater te same kind of insigt

by communicat g wt is c l ient .

Sim i l a to usg a road ma, a body ma antic -ates needs to bui d in te structre, fctio,

and size. Does a staess dress ave enougstrctural su ot to kee t from sl i ig down

te body as te weaer moves? n t e case of

garments being used n active sitatios, do te

garments a l ow fo fu l l at icu l at ios of joints,mus cle reflexes, a nd/o ow te body exads

as it breates? I s tere enog ease in te seat

of a gamet tat is wor by someo e wo sitsmost of te day? f te aswe to any of tese

questons is no," te designe can ma ke course

corectons wi le deveoing te garmet tatal low for eff ic ient, elegant movemet and

comfort in an y situation Tese are a l l ysicalrea it ies, but tere ae a lso abstact boundar iesnf l uenced by socety and a desgner's sensib i l -

t ies, sc as ow Iow a necl ne o a bou se canand soul d go

96 Fashion Design Essetias

ge

@ he soulde is a vo

point or he ar Whe n

engneerg an ar

hole e esgne us

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Fashion Design Essentials (Gnv64)