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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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rDsign Essntals00 cps of Fsho sg
< c 0 Ir n ;I 0 0 m
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
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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
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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
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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
2 Fashon Design Essentas
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 .
6 Fashio Desig Essetias
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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
8 Fashion Design Essentas
Rght esig stuo:
ton n s
Far Rght: esg suo
fb nd tten soge
OO: JO BJAMN
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VENO RY
7 Collaboration
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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
;-
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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
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4
VENO RY
9 Building and Breaking Templates
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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
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45
VENO RY
2 0 Pattern Instruments
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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
46 Fashio Desig Essetias
Abov n g wee
noe, d wl
Rgh Pe k
1I
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VENO RY
2 Stitching Tools
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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
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VENO RY
2 2 Rendering Media
d l l d l
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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
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VENO RY
2 3 Taming Textiles
exti les are a very tagible source of insp iraion
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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
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Lg body so satn
aese ouse
VENO RY
2 4 Letters: Sopers
A slope i s a tempate for any pattern piece that
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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
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os
VENO RY
2 5 Words: Gaments
Every garment m aes a valable contribtion to A spe whe bose
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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
56 Fashion Design Essentas
by Vo ol a de
dsnve wh buode 200
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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.
58 asion esign Essentias
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
60 asion esign Essentias
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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
62 Fashion Design Essentas
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
68 Fashion Design Essentas
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
72 Fashon Design Essentas
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
7 Fashio Desig Essetias
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
78 Fashio Desig Essetias
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
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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
88 asion esign ssentias
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.
90 asion esign Essentias
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 .
92 Fashio Desig Essetias
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
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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
94 asion esign ssentias
Abve: Gatrs crat
vlu a Christan aCx
ss
Rgh mi ss
pat at bus by Victria
minguzagu
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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
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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