Professional Documents
Culture Documents
Design Essentials
Text 2 0 1 1 by Rockpo rt P u b l is h e rs
Design 2 0 1 1 by Rockpo rt Pu b l i s h e rs
10 9 8 7 6 5 4 3 2 1
I S B N -1 3 : 978-1 -59253-701-3
I S B N -l0: 1-59253-701-4
Printed in C h i na
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Design Essentials
100 Principles of Fashion Design
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Jay Calderin
C O NTENT S
I ntroduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
THOUGHT I N V E N TO RY T EC H N I Q U E
1. H i storical Reference a n d Reverence . . . . . . . . . . . . . . 8 16. Acquisitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 8 36. Fashion Translations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
2. Emulation a n d I n novation . . . . . . . . . . . . . . . . . . . . . . . . . 10 17. C o l laboration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 37. Fou r Seasons: A Timeline . . . . . . . . . . . . . . . . . . . . . . . 80
3. Trends: On, Off, and Adjacent . . . . . . . . . . . . . . . . . . . 12 18. Articu lation of Style . . . . . . . . . . . . 42 38. Rote, Ru les, and Roughs . . . . . . . . . . . . . . . . . . . . . . . . . 82
4. Corro borating Couture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 4 19. B u i l d i ng a n d Breaking Tem p lates . . . . . . . 44 39. Hand to Eye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
5. Forging I d e ntity . . . . .. . . . . .. . . . . .. . . . . . . . . . . . . . . . . . . . . . . 16 20. Pattern I nstruments . . . . .. . . . . .. . . . . .. . . . . . . . . . . . . . 46 40. Checks a n d Balances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
6. Sensing Style . . . . . . .. . . . . .. . . . . .. . . . . . .. . . . . . . . . . . . . . . . . 18 21. Stitc h i ng Too l s . . . . . . . . . . . . .. . . . . .. . . . . .. . . . . . . . . . . . . . 48 41. Mac hine I nterfa ce . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . 88
7. Fashion Equations . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . 20 22. Rendering Media . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . 50 42. Cut, Drape, and Fo ld . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
8. Suits of Armor . . . . .. . . . . .. . . . . .. . . . . . . . . . . . . . . . . . . . . . . . 22 23. Ta ming Texti l es . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . 52 43. Underpi n n i ngs and Assem bly . . . . . . . . . . . . . . . . . . 92
9. C l ient Compatibi l ity . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . 24 24. Letters: Siopers . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . 54 44. Manip ulating Full ness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
10. C u stom ization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 25. Words: Garments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 45. Body Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
11. Restra i nt, I m pu lse, a n d I m pact . . .. . . . . .. . . . . . . . . . 28 26. Sentences: Ensemb les . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 46. U n iformity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
12. M i n d Ma pping . . . . . . . . . . . . .. . . . . .. . . . . .. . . . . . . . . . . . . . . . 30 27. Stories: Coll ections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 47. Fit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
13. Net a n d Narrow . . . . . . . . . . .. . . . . .. . . . .. . . . . . . . . . . . . . . . . 32 28. Punctuation: Deta i l s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 48. Mend and Alter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
14. Disposable as I nvestment . . .. . . . .. . . . . . . . . . . . . . . . . 34 29. Closures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 49. Deconstruct and Reconstruct . . . . . . . . . . . . . . . . 104
15. Environ menta l Context . . . . . . .. . . . . .. . . . . .. . . . . . . . . . 36 30. Specialty Requisites . . . . .. . . . . .. . . . . . . . . . . . . . . . . . . . . 66 50. Structure and Sca l e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
31. Misce l laneous Markers . . . . . . .. . . . . .. . . . . . . . . . . . . . 68 51. Anatomica l l y Correct . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
32. Care and Feeding of a Garment . . . . . . . . . . . . . . . . 70 52. Roads Less Traveled . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
33. Ancient Too l s a n d Tec hniques . . .. . . . . . . . . . . . . . . 72 53. Camo uflage and Complement . . . . . . . . . . . . . . . . 112
34. Accessory Closet . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . 74 54. C l ot h es That Carry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
35. Vintage Pat i na . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 55. Design u nto Others . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 6
56. Reshape a n d Reconfigure . . . . . . . . . . . . . . . . . . . . . . 1 1 8
57. Resu rface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
58. A Cut Above . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
59. Fringe a n d Fray . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2 4
60. A d d , Su btract, and Prese rve . . . . . . . . . . . . . . . . . . 126
61. Change Agents . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
62. D rawing t h e Eye . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 30
63. A-Symmetry . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . . .. . . . . 132
64. I ntarsia: Puzzles a n d Missing Li n ks . . . . .. . . . 134
65. The Revea l . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
ARTI STRY N AV I G AT I O N
66. C u ltivated I nflue nce . . . . . . . . . . . . . . . . . . . . . . . . 138 86. A Designe r's I n h eritance . . . . . . . . . . . . . . . . 1 78 Contributor I n dex . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
68. Culture Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 88. Copies Degrade . . . . . . . . . . . . . . ... . . . . . . . . . . . 182 About the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Creative ideas are elevated by experience and Five primary areas of investigation provide the
expertise. Th is book sets forth a c h a l l enge to structure for the book. In m a ny ways, they can be
fas h i o n design ers: C o n t i n u e to expand your h o r i described a s a set of best p ractices for c u l tivat
zons, hone yo u r s k i l l s, a nd experi m ent w i t h st rat i n g c reativity:
egies. The idea b e h i n d col lecting a n d cataloging
T hought
the esse n t i a l p r i n c i p les of fa s h i o n d e s ign i s to
Intellectual exercises t h a t a re intended to serve a s
b u i l d a framework for a rtfu l exa m i nation t h a t the
catalysts for c h a n n e l i n g c reativity
designer can rev i s it reg u l a rly for i n sp i ration and
i n structio n . T h i s book i s for a nyone devoted to Inventory
fas h i on-whether you a re a profe s s i o n a l design Definitions and applications for u s i n g o r repu r
e r, a d e s ign student, o r a fa s h i o n D I Y enthus iast. posing tools, m a n power, a n d raw m ateri a l s for
fas h ion design
The world of fas h ion des ign is constantly
c h a nging-what was i n sty l e last month may be Technique
old hat now, but if you know how to stay a h ead Fundamental skills for i d e ntify i ng and executing
of trends and keep yo u r des ign ski l l s s h a rp, you ' l l fas h ion design ideas
a lways b e ahead o f the c u rve. Fashion Design Artistry
Essentials offers p r i n c i p les, tools, a n d processes Creative rituals that h e l p co nj u re a n d c u lt ivate the
for succeed i n g in a l l fas h i o n endeavors. i m aginative i n sti ncts of a fas h ion designer
E d i t i ng the l ist to o n e h u n d red concepts is m e a n t Navigation
to h e l p o rgan i ze a n d prioritize t h i s i n formation Diverse strategies designed to a l low a fa s h i o n
for m a x i m u m efficiency. The refe ren ces in each d e s igner to negotiate a c l e a r path to success
l ayout h ave been selected beca use they hone i n
Each esse n t i a l concept i s u l t i mately a s o u rce of
o n the essence of the topic with p recis i o n , w h i l e
a l lowing f o r d iverse rei nterpretation, not s i m p l y sti m u l i that m ust be deciphered and then s ha ped
reproduction. to fit t h e project at h a n d . Dedication a n d att e n
tion to d et a i l d u ring that exa m i nation w i l l h e l p
l everage a des igner's v i s i o n .
7
THOUGHT
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a t a n , w h i c h i s a fixed bolt of fa bric m ea s u ri n g
1 4 i n ches by 1 2 . 5 yards ( 3 5 cm x 1 2 m ) . The
length is cut i nto fo u r pa nels of fa b r i c that m a ke
u p the two s i d es of the b ody a n d both sleeves.
A col l a r and l a pel-sty le panels a re added with
-
s m a l l strips of fa bric. K i m onos were orig i n a l ly
d i sassem b l ed for clea n i ng a n d reconstructed
by h a n d .
1. Corset by Joe Carl
4. Corset
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4 Corroborating Couture
Fa s h ion h istory i s t h e next best t h i ng to a t i m e Right: Maureen McCormick
and Barry Wil liams rehearse
m a c h i n e for the fa sh ion designer. Contact with
on the set of The Brady Bunch
a uthentic a rt ifacts brings the true essence of
Hour, 1977.
a t i m e into s h a rper foc us, whether those a rt i
facts a re t h e a c t u a l ga rments a n d accessories, Below: Linda Eva ns, John
or i l l u st rations, p hotos, and f i l m c l i ps. Eras a re Forsythe, and Joan Col l ins,
who starred in Dynasty
com posed of c o m p l exities that i nvolve every
t h i ng fro m science to celeb rity. The 1 950s, for
i n sta nce, could be a s o u rce for fa s h i o n s i nformed
by the Cold Wa r, teenage cultu re, fou n dation
ga rme nts, rock- a n d - ro l l , o r p o p u l a r television
p rogra m s such as I Love Lucy.
5 Forging Identity
"Age can not wither h e r . . . " These words from Designer Betsey Joh nson
does a signature cartwheel
S h a kespeare best describe B etsey J o h n son's
after her spring 2009
stay ing power in the fas h i o n i n d u st ry. A Betsey
collection show at Mercedes
J o h n son ru nway show i s not com plete u n t i l the Benz Fashion Week, 2008,
b ra n d's n a m esake takes her bow i n the form of in New York City.
a c a rtw h e e l . G y m n astics as ide, t h e spi rit of the
gest u re is what is i m po rta nt. The bra n d 's the
t h i ng in fa s h io n , a n d i n t h i s case, consistency
youthfu l s p i r it, fl i rty fe m i n i n ity, a n d a wild-ch i l d
playfu l ness-is respon s i b l e for ma king Betsey
J o h n son s u c h a recognizable l a b e l .
6 Sensing Style
Each of the five senses p l ays a significant ro l e Fashion designer Jean
Pa u l Gau ltier poses with
i n how w e interpret fa s h i o n , a n d e a c h s h o u l d be
a sculpture of one of his
considered in the design process.
dresses made of bread
Sight by French bakers for a n
exhibition a t t h e Cartier
T h i s i s e a s i l y the fastest way to assess whether
Foundation in Paris, 2004.
somet h i n g is pleasing or not. H ow d o shape a n d
scale relate t o e a c h other? H o w vi brant i s t h e
col or? H ow d ra m atic is t h e contrast?
Touch
T h i s i s the second most i m port a n t fa ctor. H ow
does the materi a l feel aga i n st your s k i n? Does
the ga rment conform to your body and feel com
forta b l e? Is the material soft a n d p l ia ble, o r stiff?
Sound
I m agine the c l icks of loose beads knocking i nto
each othe r; cri sp, papery fa brics that rustle a s
they sway o n t h e body; t h e synthetic s q u e a k a n d
c r u n c h of plastic as i t stra i n s t o move.
Smell
Scents h ave been designed a n d a re chosen to
transform e n v i ro n m e nts, camo ufl age, or se
duce. For exa m p l e, the T h o m a s P i n k l a b e l , w h i c h
p r i m a r i l y sel l s d ress s h i rts for men a nd women,
pi pes a fresh l a u n d e red scent i nto its stores as Left: Jon F ishman's Sonic
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7 Fashion Equations
The basic a rithmetic of dressing can be a useful
way to b u i l d a collection. Top p l u s bottom is easy
enough, but w h i c h top? W h i c h bottom? O n ce
the designer figu res out w h i c h basics w i l l fit i nto
a c o l l ection as well as i nto a c l i e nt's wa rd robe, he
can beg i n to c a l c u l ate t h e va r i a b l es.
8 Suits of Armor
The i n st i n ct to cover o u r bodies for p rotect i o n Right: A model wears a silver
c a m e before t h e d e s i re to d eco rate ou rse lves, ensemble from Jean-Cha rles
9 Client Compatibility
Design ers, l i ke a rtists, a re often court i ng thei r
m u ses for i n s p i ration. They m u st a l s o c u l t ivate
a rich and mea n i ngfu l re lations h i p with t h e i r
patrons a n d those w h o w i l l partner i n pro mot
i n g t h e i r work, s u c h as styl ists and celeb rities.
H i story p rovides exa m pl es of many su ccessf u l
pa i r i ngs o f a rt i ste and m u se. Yves S t . La u rent
had severa l p ro m i n e n t sou rces of creative i l l u m i
n a t i o n : for m e r model a n d fa s h i o n icon Betty
Catro u x, designer Loulou de la Fa l a ise, a n d ac
tress C a t h e r i n e Dene uve, whom h e a l so d ressed
for fi l m s from Belle de Jour to The Hunger. A
l ifet i m e frien d s h i p was t h e basis of the re lation
ship between designer H u be rt de G ivenchy and
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25
THOUGHT
10 Customization
Eve n though the d es i re to fit i n i s strong, the idea
of i n dividual ity a l lows a person to fee l spec i a l .
Fa ster, m o re fac i l e m a n ufacturing now a l l ows
custo m e rs to benefit fro m lower prices, w h i l e
sti l l a l lowing t h e m t o e njoy own i ng s o m et h i ng
that i s t r u ly u n ique, beca u se t h ey contrib uted to
the d e s ign p rocess. Des ign ers of m a ny d i fferent
types of pro d u cts a re taking a dvantage of both
the tools a n d consu mers' i nterest in f i n d i n g this
b a l a nce between t h e two.
to the design and c u stomization of the s hoe, a s dress a l lows the wearer
we l l a s a wide assortment o f colo rs, res u lt i n g i n to customize neckline,
openi ngs, and length simply
infi nite design variat i o n s .
by zipping or u nzipping
Based i n the N et h e rl a nds, fa s h i o n designer segments.
27
THOUGHT
12 Mind Mapping
A t r u l y c re ative m i n d is o n e that b u i l d s a founda
tion with t h e l eft b ra i n so that the right b ra i n can
m a ke giant leaps of fa n cy. I t's easy to i d e ntify Left-brain fashion thinking
can be found i n a designer's
a n d focus on what o u r b ra i n has a natural ten
ability to a na lyze the
d e n cy to be good at, and to d i s rega rd wea kness.
needs of the ma rket;
St rengthen ing those sh o rtc o m i ngs i s a key to make reasonably logical
success. Lefties a re ana lytical, tec h n ical, critical, decisions; craft language
a n d logical. They n eed to stretch to tap into the that w i l l best represent their
vision; have a n awareness
part of thei r b ra i n that a l l ows t h e m to be m o re
and basic comprehension
i n t u itive, i maginative, a n d i n novative. The s a m e
of i n novations i n science
level o f effort s h o u l d be put i n t o p l a n n ing, o rga and technology; and be
n i z i ng, a n d b u i l d i n g st r u c t u re for a right-b ra i n wel l-versed in the va lue of
i n d ivi d u a l . n u m bers in patte rnmaking
as well as i n busi ness.
S i m u ltaneously enterta i n ing oppos i ng needs a n d
d e s i res can b e a tough t h i ng t o contain i n yo u r
b ra i n . I n order t o overco m e natu ra l tendencies
that l e a n to one s i d e o r t h e other, a designer
needs to move the p rocess outside of h e r head.
T h e re a re seve ra l ways to map out a su ccessfu l
c reative strategy t h at a l l ows the designer to
see, sort, a n d s h u ffle everyt h i ng i nvolved.
31
THOUGHT
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14 Disposable as Investment
No ntext i l e p rojects a re c o m m o n l y used to
stretch a fa s h i o n designer's c reative m u scles.
Many fa s h ion progra m s offer at least o n e course
that req u i res a student designer to b u i ld a body
cove ring without fa b r i c and conve n t i o n a l sewing
methods. The exploration of this ty pe of wear
a b l e a rt i nvo lves a great d e a l of experi mentat i o n .
W h a t a re the objects o f c h o i ce? H o w w i l l t hey
be asse m b l ed o r wove n into a su rface? H ow w i l l
com pone nts s u c h as t h e bod ice, skirt, and s l eeve
be put togeth e r? W h at k i n d of method of c l o s u re
w i l l be devised? The f i n a l prod uct takes s h a p e
as a form s c u l pted to f i t t h e body and m i m i c
tra d i t i o n a l a p parel.
35
THOUGHT
15 Environmental Context
G eogra p h i c a l regions d evelop a sty l e of t h e i r
own . I n t h e U n ited States a lo n e, the N o rth a n d
t h e South h ave d istinctly d ivergen t tastes for
c l ot h i ng. The West Coast a n d t h e East Coast
h ave very d iffe rent takes o n the defi n it i o n of
fa s h i o n . The M i dwest has a nother sta n d a rd of
sty le a l together. I n stead of m a ki n g va l u e judg
m e n ts a bo u t the wort h i n ess of a certa i n s e n s i b i l
ity, a good designer w i l l d elve i n t o t h e roots these
assessme n ts stem fro m . These foundations a re
u s u a l ly based on t h e m a n y a s pects of a n envi
ron m e n t t h at would color o u r c h o i ces: h i stori-
cal events, cu ltural i nflue n ces, geogra phy, a n d
c l i m ate. W h e n t h i s concept is extended globa l ly
there a re even s u bt l e r d iffe re n ces to be studied.
16 Acquisitions
Setti n g u p a bus iness o r sta rt i n g a p roject re Right: Design stu dio:
button bins
q u i res t h at design e rs s h ift into h u nter-gat h e re r
m o d e . W h a t a re t h e m e a n s b y w h i c h they w i l l
Far Right: Design studio:
b e a b l e t o deve l o p wo rk? H ow w i l l t h ey a m ass fabric and pattern storage
resou rces? PHOTO: JOEL BENJAMIN
17 Collaboration
Some very s u ccessf u l fas h i o n design tea m s
p rove that two heads a re often better t h a n one.
A c reative c o l l a borati o n can res u l t i n designs
that a re m o re complex and i n n ovat ive than those
that origi n ate fro m a s i ng u l a r v i s i o n . Partners h i p s
with buyers, ed itors, c l i e nts, a n d oth e r designers
a l l h ave the pote n t i a l to foster s u ccessf u l ideas
and e n h a nce the creative process.
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18 Articulation of Style
Use your words. A designer ben efits great ly from Models in red, Va lentino's
signature color, wa l k on the
a m astery of la nguage- n ot m erely having a n
catwa l k for a grand fina le,
exte n s ive voca b u l a ry, b u t a lso posses s i ng the
2008.
a b i l ity to c raft words i nto ideas, messages, a n d
stories. W h ether complex o r u nc o m p l icated, t h e
intent b e h i n d t h e words t h a t a re used t o describe
and define t h ings helps to i n spire and deve l o p
design concepts. Th rough la nguage, a designer
can d iscover a d i rection for a project.
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20 Pattern Instruments
A s h a rp pencil, some paper, a n d a rul e r - it
seems s i m p l e enough, but pattern m a ki ng de
m a n d s that d e s igners filter t h e i r vision of a ga r
m e n t t h rough a strict m at h e m atical grid. There is
no gett ing away from the fact that we l l-executed
patterns rely heavi ly on geometry a n d a re the re
s u l t of t h i n ki n g l i ke a n engineer. Designers s h o u l d
be very fa m i l i a r with the purpose o f e a c h tool of
the t rade and flu ent in the l a nguage of whatever
u n its of measurement t h ey a re working i n , down
to the s m a l lest fraction.
21 Stitching Tools
Sewing i s a sen sory experience. Fo llowing
i n struct i o n s that a re provided i n a book, a video,
or a l ive d e m onst rat i o n is a start, b u t t h e re
is n o su bstitute for expe r i e n ce, a nd l ots of it,
w h e n it comes to stitc h i ng a ga rment together.
Eas i ng the cap of a s l e eve i nto a n a r m h o l e i s
defi n itely e a s i e r s a i d t h a n d o n e . O n l y repet ition
w i l l provide the experience needed to h a n d l e
t h e fa bric expertly, select the proper t h read, a nd
u n d e rstand how to co ntrol a n d m a x i m ize the
tools you a re work i n g wit h . N ot h i ng i s pe rfect,
but p ractice certa i n ly gets you close.
22 Rendering Media
Fa s h i o n ren d e r i ngs a re u s ua l ly c reated i n pencil,
m a r ke r, or pai nt. Today, the pixel is another
m ed i u m for d rawing fas h i o n with the a i d of
com puter softwa re. Whether it's a fash ion n ote
on a n a p k i n , style schematics in a notebook, or
fa s h ion shorthand i n c h a l k on a c h a l kboard, the
goa l i s t h e exc h a nge of ideas.
There i s a myst i q u e a ro u n d t h e a rt of fa s h i o n ,
as tho ugh o n l y a sel ect few a re entitled t o even
atte m pt to c reate it. Alth ough not everyo n e who
sits down to d raw w i l l prod uce a rt to riva l t h e
work o f Steven Stipe l m a n or Antonio Lopez, it's
i m porta nt to rem e m be r t h at these m a sters a re
i l l ustrators a n d not designers. H o n i ng the s k i l l s
req u i red t o com m it concepts t o paper is p ri m a r
ily a bout h a n d to eye coord i nation, w h i c h o n l y
comes with t i m e a n d p ractice.
6
I
23 Taming Textiles
Textiles a re a very tang i b l e s o u rce of i n s p i ration.
Much l i ke t h e marble that informs the s c u l p
t o r w h a t it wants to become, fa b ri c w i l l suggest
what sh apes a n d types of m a n i p u lation w i l l
transform it i nto a work o f a rt .
A designer can take ideas fo r a col l ection i nto Right: Medium body: Sara o
-;
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n ew territory by switc h i ng fa brics. S u bst ituting Campbell floral jacquard skirt o
m
fa brics l i ke d e n i m for taffeta, ch iffon for oxford
m
Z
Below: Fu l l body: Viktor & );
c l oth, leather for l i nen, and lace for tweed i s o n e ;:
Ro lf silver d i pped sati n skirt z
way t o trigger u n pred icta b l e i n n ovations. B l ock
i n g with color, pattern, and text u re is another
way to s h a ke t h i ngs u p. Combine these methods
with tec h n iques u s u a l ly reserved for d iffe rent
fa brics, a n d the design cho ices m u l tip ly. A p p l y
a top-stitched fl at-fe l led seam, c o m m o n l y found
on d e n i m , to s i l k orga ndy and it bri ngs together
two see m i ngly u n re l ated a reas of fa s h io n , c reat
i n g something fresh a n d u n expected.
24 Letters: Siopers
A s l oper is a tem plate for a n y pattern piece t h a t
does n o t i n c l u d e s e a m a l lowance. Starting from
scratch is not a lways n ecessa ry. It is used to
deve l o p va riations on patterns a n d is a great too l
for bra i n st o r m i ng a n d test i ng out design ideas
without having to go back to s q u a re one. S i nce
a good sloper a l ready i n c l udes a l l the m e a s u re
m e n ts that w i l l ens u re a proper fit, the designer
h a s the freedom to concent rate on aesthetics.
The designer can m a n i p u late the position of a
d a rt, add fu l l ness, l e ngt h e n or s horten, as well
as cut away or b u i l d a reas onto t h e origi n a l .
55
I NVENTORY
25 Words: Garments
Every ga rment m a kes a va l u a b l e contribution to A simple white blouse
an overa l l look. It might be cast i n the sta rring by Viktor & Rolf, made
role or as a su pporting piece. I n d iv i d u a l ite m s of distinctive with button
detail, 2006
clothing can be t reated l i ke the words that w i l l
b e expres s i n g t h e designer's v i s i o n . B ig word s
as well as l ittle o n e s s h o u l d b e ca refu l ly chosen,
beca use even the s l ightest va riation i n d efi n it i o n s
can m a ke a b ig d iffe rence.
I NVENTORY
26 Sentences: Ensembles
Asse mb l i ng a n ensemble i s l i ke stringing words
together to form a sentence. In the best of situ
ations, the res u ltant fas h i o n p h rase i s a we l l- c a l
ibra ted comb i n at i o n o f refe rences t h a t i n s p i red
the d e s ign p rocess i n the fi rst place.
59
I NVENTORY
27 Stories: Collections
A variety of looks can be brought togeth e r to C h ristian Lacroix Col lection,
i l l ustrate a bigger idea. The m i x itse lf is an exten 2006
28 Punctuation: Details
O n ce the structure of a ga rment h a s been clearly
defi ned and the materi a l s being used to fa b ricate
it have been chosen, it is t i m e to conte m p late
the deta i l s . These points w i l l fine-tune the d e s ign
a n d e n s u re t h at a design er's aesthet ic s e n s i
b i l ities a re con s i stent t h roughout. We l l - p l aced
e m b e l l i s h m e nts w i l l pu nctuate t h e design, b u t
n o t d i stract from i t .
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I NVENTORY
29 Closures
C l o s u re methods a re pri m a rily p ract ical consid
e rations, b u t they can also be used as prom i n e n t
design d eta i l s that com plete a l o o k . A l m ost a n y
fa stener c a n be stea l t h i l y h i dden w i t h i n a p la cket
or a seam, or camo ufl aged when covered i n fa b
ric, to a c h i eve a c l e a n a ppeara n ce. There a re a l s o
specia l considerations for e a c h type o f closu re
that w i l l affect the fit a n d f i n i s h of a garment.
30 Specialty Requisites
Spec i a l m ateria ls a re often req u i red to a c h i eve
d e s i red effects, p rovide specific functional ity,
a n d e n s u re q u a l ity workm a n s h i p . S o l v i ng u n i q u e
design c h a l l enges req u i res d iffe rent m ateria l s .
I f the right i ngred ients don't exist, a n i n n ovative
designer w i l l be i n s p i red to invent t h e m .
31 Miscellaneous Markers
I n fa s h io n , eve ryth ing revo lves a ro u n d the n ew Father Andrew O'Connor,
(right), created Goods
a n d the u nexpl ored. L i ke a nyth i ng e l se, even
of Conscience in answer
the fa s h i o n i n d u stry can fa l l i nto a rut, and o n l y
to the needs of several
ra ndom w i l d cards a re a b l e t o s h a ke t h i ngs u p co m m u n ities. The company
a n d sh ift the fa s h i o n l a ndscape j u st e n ough to employs both Mayan I ndian
infl u e n ce c h a nge. I n truth, they deserve t h e i r own weavers and underem ployed
Bronx sewers, supporting
custo m , sometimes com p l ex, l a b e l , but beca use
loca l production in both
it is d iffi c u l t to fit t h e m i nto a category, these
locales. The line uses a soft,
fa s h ion fl a res a re u s u a l l y f i l ed under "M isce l l a lightweight material made
neo us." Their ra n d o m n ess s h o u ld not b e l i e t h e i r of o rga nic cotton, called
i m porta n ce i n terms o f i n s p i ration a n d d i rection. Social Fabric, which is made
in the G uatemalan tradition
Now that v i rtu a l l y everyon e h a s a b l og of h i s of back-strap weaving. The
own, t h e b l ogos p h e re's i m pact see m s d i l uted a nd manufactu ring of the fabric
c o m m o n p l a ce. H owever, the b l oggi ng l a ndscape and garments ta kes into
I
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account i m portant issues of -;
is sti l l a p l a ce wh e re d i a m o n d s i n the ro ugh c a n
susta inability and fair trade n
0
b e fou n d . These u n d iscove red ge m s reflect facets that face the fashion ind ustry
c
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of fa s h i o n that may not h ave been on a nyone's as well as the consu mer. -<
ra dar u n t i l o n e of these writers chooses to foc u s co
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on i t a n d s p read t h e word . Some a re described
- -
as being on t h e front l i nes of fas h i o n , so tappi ng n
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into t h e right c o m b i nation of o n l i ne voices w i l l n
S2
p rovide i n s ight, resou rces, a n d i n s p i ration for the r;;
fa s h ion designer.
73
I NVENTORY
34 Accessory Closet
W h i c h comes first t h e s u i t o r the stil ettos?
W h a t about the c u r rent "it" bag or a s m a rt p a i r
o f g l asses? A great accesso ry can be t h e c e n
terpiece of a great o utfit . I f the sho pper can t a ke
that a p p roach, why c a n 't the design e r? G reat
a ccessories that stra d d l e the l i n e betwee n f u n c
tion a n d a rt a re worthy of a designer's atte ntion.
Studying t h e m i c rocos m s of sty l e may gene rate
ideas that a designer can expand u pon, a n d pos
s i b l y b u i l d a col lection a ro u n d .
35 Vintage Patina
You nger s i b l i n gs everywh e re co m p l a i n about Right: "IT'S M I N E ! " A Daily
News front-page head l i ne
h a nd-me-downs, but i n fas h i o n , a seco n d h a n d
from October 28, 1999.
ga rment h a s the potenti a l t o b e a t r u l y coveted
Col lector Bob Schagrin
item. Its degree of va l u e ste m s from m a n y t h i ngs: pays $1.1 m i l lion for Marilyn
Monroe's dress.
o I s the garment sti l l re levant? A great
PHOTO: N Y DAILY NEWS ARCHIVE/GETTY
m oto rcyc l e ja cket sends j u st as powe rfu l a IMAGES
m essage a s it ever d i d .
77
TECHN I Q U E
36 Fashion Translations
Fa s h i o n i n fl u ences come fro m many d i fferent
sou rces, i n c l u d i ng spo rts, c l u bs, social and eco
n o m i c c l ass, a n d d iffe rent c u l t u res. I t's up to the
designer to tra n s l ate and adopt these i n fl uences
to fit i nto the m a i nstre a m .
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83
TECHN I Q U E
39 Hand to Eye
The c o n n ection between the m i n d 's eye a n d the
hands of the designer is easily taken for granted.
T h i s l i n k m u st be re i n fo rced t h rough conscious
exercise and exploration. I f the co m m u n ication
between the two i s f l u id, a designer's d exterity
i n exec uting ideas beco mes effo rtless a nd, after
a t i m e, second n at u re. B u i l d i ng strong bonds re
q u i res e q u a l pa rts a rtist, a rc h i tect, and construc
tion worker. I t's easy to p l ay to your strengths,
but a good designer w i l l have a clear com pre h e n
sion o f cause and effect i n every a rea .
right i nfo rmation i n the pattern they ' re d rafti ng. of a design by Victoria
Dominguez-8agu
I n clud i ng we l l - p la ced notches, the a p propriate
seam a l l owa n ce, or e n o ugh ease is essenti a l if Right: Design by Victoria
the stitc h e r i s going to be a b l e to do his job we l l . Dominguez- 8agu
85
TECHN I Q U E
The custom o f worki n g on the h a l f i s a l ready Color i n a fabric u nder natural light appears
p racticed in pattern ma king and d ra p i ng because cool, with a blue cast.
87
TECHN I Q U E
41 Machine Interface
The owner's m a n u a l w i l l provide the funda I nside a n overlock machine
mentals for u s i ng a sewing m a c h i ne, but th e re
is m o re to t h e re lations h i p between sewer a n d
m a c h i n e t h a n basic i n structions. A s u ccessfu l
i nte ract ion req u i res a com m itment from t h e de
signer to "get to k n ow" the m a c h i n e . I t's easy to
att r i b ute h u m a n c h a racteristics, even perso n a l i
ti es, t o a m a c h i n e that is used o n a reg u l a r basis.
Some designers d evelop s u c h a strong bond that
they go as far a s n a m i ng their m a c h i n e s . T h i s can
be a good t h i ng beca u se it means the operator of
that e q u i p m e n t is res pons ive to feedback sh e's
gett ing. A u d i b l e, v i s u a l , a n d tact i l e cl u e s u n iq u e
t o every m a c h i n e h e l p t h e sewer m a ke decisions
d u ring the prod uction process.
44 Manipulating Fullness
The vo l u m e a nd b u l k of a ga rment can be con
t ro l led by various methods.
45 Body Mapping
The leg bone's con nected to the knee bone, CD Designing a neckline close The height and shape of
to the base of the neck the rise in a pant must
the knee bone's c o n n ected to t h e th igh bone,
should take i nto consider a l low for any extension of
the th igh bone's c o n n ected to the h i pbone, and
ation that the neck natu the abdomen, the fu l l ness
so on and so fort h . These a re the roa d s to the rally leans forward so as and shape of the backside,
ca rtogra phy of cou t u re. A step further t h a n not to constrict the throat. and the fact that the body
a n atomy, body m a p p i ng is a bout und e rsta nd The height of a collar may bends at this point. When
interfere with the head's the figure bends or sits,
i n g t h e re l a t i o n s h i p s between d i fferent a reas of
range of motion. the seat spreads.
the body, t h e experi ence of the wea rer, a n d t h e
ga rment itse lf. The concept o f body m a p p i ng @ The shou lder is a pivot The knee is a primary
re l ies on se lf-observation and self- i n q u i ry. The point for the arm. When stress point for the pant
designer has to gather the same kind of i n s ight engineering a n arm- leg. The pant leg may be
hole, the designer must designed with a generous
by co m m u n icating with h i s c l ient.
consider how much ease a m ount of ease to main
S i m i l a r to u s i ng a road m a p, a body m a p antici w i l l a l low for fu l l or lim ited ta in a smooth sil houette
pates needs to build in the structure, function, rotation of the a rm. The or be intentionally lacking
depth a n d breadth of the ease in order to create a
and size. Does a stra p l ess d ress have e n ough
armhole will also be a shape that bunches u p
structural su pport to keep it from s l i pp i ng down contributing factor to fit. and grabs a t t h e knee.
the body as the wea re r moves? In the case of
ga rme nts b e i n g used i n a ct ive s ituations, do t h e The fit at the bust line A pleat, a s l it, o r a wrap
ga rme nts a l low for fu l l a rtic u l ations o f joi nts, must take into consid deta i l will a l low for a full
eration not only the stride i n a skirt with a
m u s c l e reflexes, a n d/or how the body expands
measurement and the c u p narrow sil houette. The
as it b reathes? Is there enough ease in the seat size, b u t a l s o t h e contrac designer may limit move
of a garment that is worn by someone who sits tion and expansion of the ment by design to bring
most of t h e day? If t h e a n swer to any of these lu ngs-wh ich also affects about a very specific way
q u estions is " no," the designer can m a ke co u rse the back. The back of the to move in the garment.
garment is subject to ad Some examples include
correcti o n s w h i l e d eve l o p i ng t h e ga rment that
ditional stress across the the t radition a l kimono or
a l low for effi ci ent, e l ega nt m ove ment a n d shoulder blades due to the Pa u l Poi ret's hobble skirt
comfort i n a n y situation. These a re a l l physical natural tendency of the of the 1910s.
rea l ities, but there a re also a b stract b o u n d a r i e s arms to reach forward.
infl u e n ced b y society a n d a designe r's s e n s i b i l i
@) The elbow is a primary
ti es, s u c h a s h ow Iow a n e c k l i n e o n a b l o u se c a n
stress point for a sleeve.
a n d s h o u l d go. A sma l l dart at the elbow
will allow the arm to bend
without putting undue
wear and tear on the
sleeve while sti l l reta i n ing
a snug fit. Adding volume
to the sleeve at this point
will also a l low for freedom
of movement, but alters
the sil houette.
46 Uniformity
H aving been raised i n I nd i a , where u n iforms were Right: Beyond the practical
there is the pageantry. Due
a fact of l i fe in p u b l i c school, Sheena M a t h e i ke n
to the historic and heroic
h a d no p rob l e m pledging to wea r t h e s a m e d ress
nature of many of those who
for 365 days (seven identical d resses, one for wear a uniform, there are
each day of the wee k). The c h a l l e nge lay in sty l often fo rmal ceremonies that
i n g and resty l i n g the d ress so t h a t n o two days req u i re a little more gra ndeur.
This might be done gently
were t h e s a m e . The whole p roj ect was deve l oped
with ribbons and/o r with a
as a fu n d ra iser fo r Akanksha Fou n dation. The
great deal more im pact, as
concept i s a test a m e n t to p utti ng a new face on i n the case of the Scottish
how m u c h we can do to express ourse lves, even mi litary tattoo where long
w i t h i n t h e constra i nts of a u n iform, s i m u ltane standing tradition dictates
the flourish of deta i l s.
ously speaking to i ssues s u c h a s susta i n a b i l ity,
w h i l e su pport i ng a great cause.
Below: Blauer police u niform
99
TECHN I Q U E
47 Fit
G a r m e nts can g ra b, skim, or bag a ro u n d the
wea re r's body depending o n the designer's
aesthetic of fit. A fl atte ring fit may be i n the eye
of t h e beholder, but as a r u l e, garments that
s q ueeze and cut into the body, or that ove r
w h e l m it with vo l u me, a re not u s u a l ly considered
attractive or p roperly s i zed. U l t i m ately, o p i n i o n s
regard i ng fit a re a lways su bjective, d u e t o a wide
variety of c u l t u ra l i n f l u en ces that c u l t ivate d i ffer
ent sta n d a rds of bea uty.
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101
TECHN I Q U E
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103
TECHN I Q U E
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1. Hoop skirt
2. Panniers
- 3. Bustle
107
TECHN I Q U E
From Beh i n d
M a king an e n t ra n ce is one t h i ng, b u t how some
o n e looks as she t u rns and w a l ks away has the
poten t i a l to have a s much i m pact, if not m o re
so. P l u nging ba cks, s k i rt tai ls, bows, fl owers, and
oth e r f l o u ri s h es a re j u st a few of the ways to
bring u p t h e rea r.
Side to Side
The satin t r i m down the s i d e seam of a t u xedo
pant i s not t h e extent of deta i l that can be p l a ced
i n this a rea. The very seam itse lf p rovides myriad
cho ices. Side sea ms can s p l i t to reve a l , pleat
to control fu l l n ess, i ncorporate a c l o s u re, or be
decorated .
Inside Look
C l ose and c a refu l atte n t i o n to t h e work m a n s h i p
a n d special deta i l s i n side a ga rment a re t h e m a r k
o f a f i n e pro d u ct .
T h e Apple
B road s h o u l ders and n a r row h i p s can benefit
from something that b reaks u p the width of the
s h o u l d e r, such as a ha lter neckl ine.
The Pear
E m p h a s i z i n g the torso, especi a l l y the s h o u l d e rs,
a n d downplaying the h i ps w i l l b a l a nce a fra m e
w i t h n a rrow s h o u l de rs and a f u l l e r h i p.
The Ru ler
The c o m b i n at i o n of n a r row s h o u ld e rs a n d h i ps
creates a lo ng, t h i n fra m e . That l e ngth c a n be
b ro ke n up with horizontal l i nes as well as cups o r
oth e r deta i l that e n h a nces t h e b u st l i ne .
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Pockets can d o d o u b l e d u ty d e p e n d i ng on h ow
they're m a d e and what t h ey're m a d e of. Some
pockets can be t u rned i n s id e out to envelop
a ga rment, l i ke a w i n d b rea ker o r ra i n poncho.
When made o u t of fleece, they can se rve as hand
wa r m e rs in outerwea r.
Accessories that act as uti l ity be lts, such a s the Patch pocket with button flap
fa n ny pack, poc ket belts, bum bags, or hip sack,
a re pop u l a r for t h e i r versat i l i ty. C loth i ng deve l
oped for t h e m i l it a ry or spec i a l a ctiviti es, s u c h
as safari jackets, fish i ng vests, a n d ph otogra phy
vests, provides tem pl ates for pocket- d riven
design. The ca rgo pant is sta n d a rd issue in the
a rm ed forces, a s well a s i n many fas h i o n a bl e
wardrobes.
115
TECHN I Q U E
57 Resurface
The i m a g i n ative a pp l i cation of d eco rative cou
ture d eta i l s a l lows for even t h e most m odest
of fa brics to become extra o rd i n a ry. The use of
t h read, beads, seq u i n s, fl owers, a p p l iq ue, feath
e rs, a n d ribbon i s l a rge ly a decorative p rocess
that i nvolves raw materials that a re not neces
s a r i l y generated by the original cloth. U s i ng o n l y
t h e fa bric itself, i t i s a l so poss i b l e t o transform
both the su rface and the s i l h ou ette with r u c h i ng,
b u st l es, q u i lt i ng, ruffl es, a nd pickups. The a b i l
ity t o a lter, e m phas ize, a n d accent a concept i s
restri cted o n l y by o n e's imagination.
Q u ilting
58 A Cut Above
Scissors a re a n essen t i a l part of a design er's tool
kit, for obvious reasons. When it comes to most
ga rme nts, a designer w i l l use shears to tri m away
excess fa bric a n d s h a pe the overa l l s i l h o uette,
w h i c h i n c l u d es c a rving out neckl i nes a n d a r m
h o l e s . T h e laser takes the a rt o f the cut to a n ew
level of precision a n d efficiency.
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61 Change Agents
C lever couture that i s m u ltifunct i o n a l by design
is not o n l y a great i nvest m ent, but a l so a c reati ve
exercise for both t h e designer a n d the user. O n e
exa m p l e i s a gown designed b y N o r m a K a m a l i , If
exc l u sively f o r e Bay. I t can be worn i n seve ra l
d iffe rent ways: boatneck, o n e - s h o u l d e r, strap
less, ha lter, a n d c ross - h a lter eve n i ng gown , a l l i n
one. Be lted a n d b l o u sed, t h e gown transfo r m s
i n t o a d ress f o r everyday. S o m e designers, s u c h
as Karo l i n a Z m a rlak, a re m a k i n g the concept of
convert i b l e clothing a part of t h e i r brand D N A .
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63 A-Symmetry
Sym m et ry a n d b a l a nce a re not n ecess a r i l y the Right: Pavlina G i lson layers
65 T he Reveal
D i recto r Al fred H itchcock i n tegrated a pers o n a l
c a m eo a ppeara n ce i nto h i s fi l m s . C a r i caturist
AI H i rschfeld i n corporated Nina, his da ughter's
n a me, i nto most of h i s d rawi ngs. Both became
a l m ost as fa m o u s for t h ese ve i led gifts as for
the f i n e work t h ey p roduced. Software, m u sic,
books, a rt, a n d t e l evisi o n s h ows a re just a few of
the media wh ere " Easter eggs" can be h id d e n .
Right: Jeff Lahens for ECC
This l ong-sta n d i ng t radition o f weavi ng i n special
Life & Style; und ercollar
h i dden su rprises can a l so be fou n d i n fas h i o n , deta i l
w i t h d iscovery beco m i n g as m u c h a part o f t h e
exper i e n ce as the actua l c l ot h i ng. Middle: Arnold Scaasi d ress
with matching coat lining
There a re some tra d i t i o n a l target a reas for the
placement of a h id d e n treat. C l assic s h i rts m ight Below: Sara Marhamo cuff
h i de them on the u nderside of the c o l l a r, the col lining detail
lar sta nd, or the i n side cuff. Some sort of d ecora
tive deta i l m ight a l so be p la ced on the sh i rtta i l .
Addressing t h e part of t h e tradition that req u i res
"someth i n g b l u e," a brida l gown can be designed
to i n c l u d e t i ny b l u e bows sewn i nto the l i n i n g.
A s i m p l e s u m m e r d ress c a n m a ke good use of a
contrasting fa bric to face the neckline, a r m h o le,
or hem of t h e garment, h i nt i n g at somet h i ng
m o re p l ayfu l . The a m biguously p l ayfu l m essage
" L u cky Yo u " can be fo u n d on a l a b e l placed o n
t h e i n s i d e z i pper o f Lucky B ra n d jea n s .
66 Cultivated Influence
Fa s h i o n m avericks a re c o m m o n ly defi ned Right: Actress Marlene
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67 Curated Experience
I t's a b i rd ! I t's a p l a n e ! I t's a supermod e l ! The I n "Superheroes: Fas hion
and Fantasy," the Costume
power of a fas h i o n concept can be traced
I nstitute at the Metropolitan
back to the most u n expected of sou rces. Who
Museum of Art in New
would have ever thought that a n e n t i re e x h i b i York explores fashionable
t i o n e x p l o r i n g the i n f l u e n ces of s u pe r h e roes on supe rheroes. Outfits by
fa s h ion would be t h e basis for an e x h i b ition at designer Bernhard Willhelm
and Ho use of Moschino.
the M etropolitan M u s e u m of Art in N ew York?
The " S u pe r he roes: Fa s h ion a n d Fa nta sy" e x h i b i t
filtered fas h i o n t h rough t h e colorful fiction of
comic books a nd gra p h i c novels. Beyo n d secret
identities, the e x h i b i t i o n esta b l i s h ed specific
strategi es for c reati ng s u p e r h e ro pe rso n a s t h a t
had a d i rect correlation t o fa s h i o n .
68 Culture Filter
Anyone who h e a rs t h e word poncho h a s a n I nuit poncho from I ris Apfel
i m m ed iate i m age i n h e r m i n d o f what i t is. The private col lection
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69 More Is More
I f a designer i s a b l e to synthesize a wide variety Sara Marhamo design
of e l e m e nts into o n e garme nt, it h a s the poten
t i a l t o b e a m u st-have, goes-with -eve ryt h i n g
ga rment. This type of core ward robe item c a n
be used a s a founta i n head t h a t bra n c h es out
into a b road col lection. But the designer m u st
a p p roach the d e s ign of each item with a greater
u n d e rsta n d i ng of how it works w i t h i n the w h o l e .
T h i s a d d i t ive process s h o u l d a l ways e n h a n c e a n d
n ever overwh e l m , beca u se t h e overa l l s i l h ouette
can easily be com prom i sed by b u l k .
70 Less Is More
Ockham's razor i s a p r i n c iple t h at m e a n s "A l l Minima list white d ress
t h i ngs being e q u a l , the s i m p lest sol ution is by Donna Karan
u s u a l ly the right one." As it relates to fas h i on,
this r u l e of t h u m b sets the tone for designers
w h o don't wish to e m b e l l i s h or c o m p l icate t h e i r
work. Knowing when to stop i s n o t a lways easy.
A we l l -ed ited col lection need not be a ustere
a n d i s stre ngthened by t h e power of m i n i m a l
i s m . D e s igners m u st resist t h e tem ptat ion to
add e l em e nts i n o rder to d i sg u i se m i stakes-a
pitfa l l not unco m m o n a mong n ew d e s ig n e rs. Be
w i l l ing to sta rt over. A designer s h o u l d be a b l e to
create somet h i n g s i m p l e a n d restra i ned t h a t is as
compell ing as a m o re complex design.
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72 Building on Basics
Tried-an d-true basics may feel l i ke fa l l back items
i n fas h io n , but ga rments i n this category exist
beca use everyon e u n d ersta n d s and a p p reciates
t h e i r va l u e . Staple ga rme nts a re not an easy o ut,
beca use t hey actua l ly pose greate r c h a l l enges for
the designer. C o m i n g up with s o m et h i n g com
pletely d i fferent i s often easier than putting y o u r
sta m p on a c l a s s i c .
73 Design of Dissent
Rebels h ave a lways infl uenced fas h i o n . By
today's stand a rds, the flapper look of t h e 1920s
is c h a rm i ng a n d c h i c . Nostalgia now c l o u d s
h o w wo men who epitom ized t h a t l o o k were
perceived, s u c h as Louise B rooks a n d C l a ra Bow,
w h o were t h e bad girls of t h e i r day. Re b e l l ious
a n d rec kless, these girls bobbed their hair a n d
wore fl i m sy d resses that exposed t h e i r knees a n d
ba red thei r arms.
74 Attitude Adjustment
C l othes do m a ke t h e m a n , or the wo m a n , when
they a re part of the sto ryte l l i ng process on stage
or on -scre e n . Ward robing s u ccessfu l l y for f i l m
or the theater req u i res t h a t each c h a racter i s
p rofi led accurately. Fo r a costu m e r, und ersta n d
i n g the c h a racter's h isto ry, psychology, c i rc u m
stan ces, a n d enviro n m e n t i s as i m porta nt as a
fa s h i o n designer's grasp of a c l i ent's l i festyle.
Both rely on exce l l e n t powers of o bserva t i o n .
Fa s h ion tel l s a story a s w e l l . T h a t t a l e is a hybrid
of the designer's vision a n d the wea rer's interests
a n d ecce ntricities.
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76 Wit
C a n f u n ny be fa s h i o n a b l e? I t i s safe to a s s u m e
t h a t J e a n - C h a rles d e C a stel bajac h a s a s e n se
of h u m or. M a king c l o t h i n g comical i s at the
h e a rt of much of his work. Elsa S c h i a p a re l l i and
Fra nco M os c h i n o certa i n l y had an a p p reciation
for w h i msy and the ridicu lous. These i m pish
designers end eavored to a m use a n d d i d not take
fa s h i o n too serious ly. W h e re i s it said that a fa s h
ion designer c a n n ot p ro d u ce beautiful work t h at
is a l s o w itty?
161
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79 Symbols
The most co m m o n use of symbols i n fas h i o n to
day is the gra p h i c T-s h i rt. B eyond those that a re
a bo u t blatant m a rketi ng, t h e re is a t re m e n d o u s
m a rket for garments i n t h i s category, w h i c h a l low
the wea re r to express h e rself. N i ke's "J ust do
it." was at the forefro nt of big name b ra n d s that
created a lternat ives to the conve n t i o n a l wisdom
of t h e day- s l a p your logo on every conceivable
s u rface. Tag l i n es, m e a n i ngfu l m essages, c l ever
qu otes, provocative i m ages, and e ndearing mas
cots can speak to the m essage b e h i n d the brand
better than just a l ogo ever c o u l d .
Band T: Rol l i ng Stones C harity T: Marc Jacobs' for skin cancer awareness Memorial T: Dropkick M u rphys' tribute
to Greg "Chicken man" Riley
Concert T: Pearl Jam To u r Nostalgia T: Woodstock Cause T: Yoko Ono for Fashion
Aga inst A I DS at H&M
165
ARTI STRY
80 Dynamics
W h e n it comes to d a n ce, the spa ce t h at co nta i n s
it can be considered a bla n k ca nvas, w h i l e the
da ncer who moves t h rough it i s l i ke a brush. Each
move m e n t is s i m i l a r to a brush stroke of e n e rgy
a cross it. Kee p i ng that in m i n d , a designer can
v i rt u a l ly p a i n t move m e nt if h e consid ers h ow
h i s garments w i l l become a n exte n s i o n of each
gest u re the wea rer w i l l m a ke.
167
ARTI STRY
81 Trompe L'Oei l
I n some ways, fas h i o n has a lways been sm oke Ouchi Illusion
a n d m i rrors. Every d et a i l of fa s h i o n can be A c i rcle with a pattern on the c ross-gra i n, w i t h i n
m a n i p u l ated to fa bricate a bel ieva b l e fa <;:ade. a s q u a re t h a t p l a ces t h e s a m e pattern on t h e
With a h i story of m i s d i rection, it's not s u rp ri s i n g lengthwise gra i n , creates the i l l us i o n that each
t h a t fas h i o n designers a l so play w i t h perception i s float i n g independently of the ot h e r. I t i s n a med
and rea l ity to create optical tricks for c o m p l etely after the J a p a n ese op a rt ist H aj i me O u c h i .
aesthetic rea sons. Many of those i l l usions can be
Penrose Triangle
a p pl ied to the s u rface or woven i n to a text i l e .
The i m pos s i b l e tri angle, or the t r i b a r, is a s h a pe
Atmosphere that co u l d not exist i n t h e rea l world a n d was
Aerial o r atmospheric perspective i s the place i n s p i red by the work of a rtist Escher.
ment and size of objects, the va l u e of color, or
Pointillism
the use of h ig h l ights a n d shadows to p roduce the
Use of points of d ifferent col ors that a re set side
i l l us i o n of t h ree d i m e n s i o n s on a flat s u rface.
by s i d e to gene rate the i l l usion of a nother color
Convergence was a tec h n ique used by a rt ist G eorges S e u rat.
Co nverging l i nes create the i l l u s i o n of a s h a p e
Stroop
t h a t i s d i m i n i s h i ng i nto the d i st a n ce.
The Stroop effect i s a cognitive v i s u a l i l l u si o n
Distortion t h at c reates a conflict i n t h e bra i n w h e n the
Someti m es c a l led the "Cafe Wa l l " i l l usion, paral words used to i d e ntify pigments a re re n d e red in
lei l i nes can be d i sto rted by out l i n ing offset rows d i ffe rent colors.
of b lack and wh ite s q u a res in gray.
Face
H u m a n b e i ngs a re h a rd - w i red for fa ce recogn i
t i o n , so a ny configu ration t h a t closely resembles
the p lacement of facial featu res seems to be
sta ring back at u s .
Illusory Contour
O bjects that a re configured i n s u c h a way that
their bord ers create the i l l u s i o n of a n oth e r s h a pe
trick the b ra i n i nto i m posing the perception of a n
object onto what i s a ct u a l l y negative space.
169
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85 Objects of Art
Very few a rtists w h o work with fa bric compare The Gates by C h risto and
Jeanne-Claude (1979-2005)
with C h ri sto a n d J e a n n e - C l aude. The G ates
a n d other p rojects l i ke it set the sta n d a rd w h e n
i t co mes to a rt for a rt's sake. I n a d d i t i o n t o t h e
ratio n a l e b e h i n d these a cts o f a rt the d a u nt i n g
scale a n d the f i n ite period o f t i m e i n w h i c h t hey
exist m a ke t h e m both o n e of a k i n d a n d o n ce i n
a l ifet i m e . W h at c a n t h e fas h i o n d e s ig n e r take
from t h i s?
86 A Designer's Inheritance
I t's n ever too early to be t h i n k i ng a bout the
fut u re, specifi ca l ly the passing o n of a c reative
m a n tle-a fa s h i o n designer's last w i l l and testa
ment. The motivation b e h i n d such an exercise
m ight be based in the desire to q u a ntify the va l u e
o f t h e b ra n d beyond d o l l a rs a n d cents. I t a lso
h e l p s to e n s u re that the vision w i l l cont i n u e i n
the eve nt of a t ra n sfer of powe r. M a n y compa
n i es rea ch a point when it becomes m o re l u cra
tive to the designer to m a ke a sale a n d move o n ,
rat h e r t h a n re m a i n ing i n c h a rge.
87 Luxury Washing
The concept of l u x u ry p rovides t h ree rewa rds,
however fl eet i n g t h ey may be:
A s e n se o f p l e a s u re : goods a n d experiences
that sti m u l ate, i n d u lge, a n d comfort
88 Copies Degrade
The M u see de l a Contrefac;:on i n Paris i s replete Genuine and cou nterfeit
with d i sp l ays of counterfeit coutu re a n d every bags are disp layed at the
erably lower price tag may be entic i n g, b u t these consumers and the wider
econo my, and on general
crude facs i m i l es d o n 't l ive u p to expectations.
health and safety issues.
There a re a few t h i ngs that c o n s u m e rs s h o u l d
consider w h e n buying a l u x u ry item:
Point of s a l e : Is the p u rchase t h rough a re pu
table department store or o n a street corner?
Packagi ng: Is it consistent w it h the pro m i s e of
the b ra n d ?
Price: Are you gett ing what you pay for?
89 Platforms
To be prepared when opportun ity knocks, a de
signer s h o u l d a l ways be b u i l d i n g a pl atform with
and a ro u n d his work. Authentic experiences a n d
va l u a b l e excha nges a re a b i g part of cu ltivating a
loyal fa n base. H ig h - ca l i b e r co n n ections put the
designer i n a position to e n e rgize a n d activate
that a ud ie n ce when needed.
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90 Label Maker
Pa rt of the fas h i o n design process i nvolves how C a re l a be l s for a pparel s h o u ld p rovide comp lete
information about t h e ga rments you c reate w i l l i n st r u ctions rega r d i ng c a re a n d a n y warning spe
b e s h a red with you r c u stomer. T h e re a re laws cific to that ga rment to e n s u re t h at the q u a l ity
regard i ng how clothing m u st be l a b e l e d . In the is not com p rom ised. Wa r n i ngs s h o u l d use c l e a r
U n ited States, the Federal Trad e C o m m ission ter m i n o logy, s u c h as " D o n o t i ron," " N o bleac h,"
req u i res that most text i l e a n d wool p roducts a n d " D ry c l e a n o n l y." A system of u n iversa l
c l ea rly identify fiber content, co u n t ry of ori- symbols for v i rtu a l l y every conti ngency is a l so
gin, a n d brand o r m a n ufact u re r, a n d that those ava i l a b l e .
labels be securely fastened. They can be sewn
Designer n a m e l a b e l s, h a n g tags, a n d price
i n or i roned on. A label pri n ted d i rectly onto the
t i c kets a re u s u a l l y designed to be exte n s i o n s of
ga rment ca n end u p as part of the design. The
t h e brand.
perce ntages of fiber co ntent for each component
of the garme nt- body, l i n i n g, i nterl i n i ng, a n d/or
decoration-m ust a lso be i nc l uded. Kee p i ng tabs
on i n formation is the designe r's respo n s i b i l ity.
Water Temperature
WASHING
BLEACHING
Only Non-Chlorine
Bleach When N eeded
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Any Heat H igh Heat Medium Heat Low Heat No Heat/Ai r Do Not
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Low H igh Do Not I ron
(230F [11 0C]) (392F [200C])
IRO N I NG
B Q
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Medium
(302F [150C])
D RY CLEANING
187
N AV IGATION
,
190 Fashion Design Essentials
The top ten things to
consider when designing
you r u ltimate job: Ask
yourself how does this job
meet you r expectations with
regard to: 1 ) creativity; 2)
financial compensation; 3)
recognition; 4) commu nity
involvement; 5) productive
teamwork; 6) strong
leadership; 7) opportunity
for advancement; 8) ski l l
development a n d continu ing
education; 9) environmental
impact; 10) intel lectual
integrity.
10
191
N AV IGATION
93 External Influences
I nd iv i d u a l s a n d orga n i zations t h a t h ave the
a ut h o rity to m a ke their views known to a broad
a u d ience can h ave a profo u n d effect on p u b l ic
o p i n i o n , and ulti m ately t h e comm erc i a l success
of a designer. A nod of a p p rova l from a respected
i n d u st ry p rofessional can fuel the fire w h i l e a
n egative gesture may have the power to ext i n
g u i s h it.
195
N AV IGATION
95 Fashion Portals
There i s l ittle point to a l l t h e h a rd work i nvolved It's i m portant to com part m enta l i ze d i fferent
in fas h ion design if t h e fi n a l product doesn't go needs for the press a n d w h at t hey u lt i mately
a nyw here . Designers m u st a lso design syste m s need to d e l i ver to their a u d iences, as wel l : A
that d istribute t h e i r work t o m a ny d i fferent des b l ogger is looking to express h i s o p i n ion; the
ti nations, u ti l iz i n g lots of c h a n n e l s-with each j o u r n a l ist needs to present the facts; an editor
c h a n n e l having a d ist i n ct m essage. needs to place the designer's work within t h e
context o f the c u rre nt v i s i o n for t h e m a rket. How
I n -store, it is a l l a bo u t ha nger a p pea l . Reta i l ers
can you h e l p each of them reach t h e i r goa l s?
ex pect the prod uct to be pa ckaged in a way that
m a i n ta i n s the i ntegrity of the design. Last, a n d most i m port a n t, p u b l ic o p i n ion a n d
word o f m o u t h a re para m o u n t . P u b l i c o p i n io n , i n
Screen a ppeal ru l es o n l i n e, a n d that means
partic u l a r, i s a powe rfu l conveyor o f m essages.
beautiful, clear i m a ges. The e-co m m erce experi
It a l s o va l idates a n d perpetuates a design er's
e n ce falls sh ort in m a ny ways beca use t h ere is
reputatio n .
no way to touch t h e fa bric or try o n t h e garment.
A pict u re m u st provide a great deal of v i s u a l
i n formation a n d be stro ng e nough t o e n gage
the custom er.
197
N AV IGATION
97 Crowdsourcing Style
Too many cooks i n t h e kitc hen spoil t h e s o u p,
a n d too m a ny o p i n i o n s d u ri n g the design process
can t u rn out d i l uted or i n co h e rent work. H erd
behavior often strives to a ppeal to t h e l owest
c o m m o n d e n o m i nator. Bei ng well awa re of the
downs ide of design by co m m ittee i s a good
reason for c reating a filter for feed back a n d criti
cism, construct ive o r otherwise.
201
N AV IGATION
Some designers t h rive o n the stress of tight, Origi nal 1940s German female worker's u n iform
and sometimes u n re a l i stic, dead l i nes. Rapid-f i re
fa s h i o n design re l i es heavily on i n st i n ct a n d ex
perience . B eyond cross ing the f i n i s h l i ne, s u ccess
u n d e r these con d i t i o n s s h o u l d a l s o be m e a s u red
by how we l l executed the work is, a n d how
c l ea rly the designer's vision is perceived. S peed
as a cata lyst for good d e s ign is a d iffi c u l t t h i n g to
susta i n . The r u s h of these p ressu re-cooker p roj
ects may p rovide a n add ictive r u s h of a d re n a l i ne,
but that i s h a rd to rely o n .
203
N AVIG ATION
the o n l y criteria a re the sta n d a rds o f the day. I n last col lection during the
2010 CFDA Fashion Awards
addition to being j u dged for its aesthetic va l u e,
at Alice Tu l l y H a l l at Lincoln
fa s h ion is a lso c h a rged with being f u n ct i o n a l . I n Center, 2010
h i n d sight, it i s easy to a ssess why some h o uses
e n d u re, some m a ke a b r ief but sign ificant m a rk
at a s i n g u l a r point i n t i me, a n d some fade from
m e m o ry. The t h i rd gro u p, a lthough it d e m a n d s
greater effort, h a s t h e pote n t i a l to reward us
with exciting d iscove ries. For i n stance, not m a ny
peo p l e know that a rc h itect Fra n k L l oyd Wright
designed d resses for h i s wife a n d for a sel ect few
of t h e lad ies h e c reated h o m es for. So, what type
of designer produces good, if not great, fa sh ion?
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205
C O NT R I B UT O R I NDEX
2. Berber Soepboer & Michiel Schuurman 18. Massachusetts College of Art and Design
www. berbe rsoepboer. n l www. massart.edu
Special thanks to
Bob Packe rt, Victoria Dom iguez- Bagu, M a r i e - Eve Trem b lay, Lisa Baker,
M a ri e l M a c N a ughton, C h a rl e s H e ightchew,
Jay Calderin was born a n d raised i n N ew York I n h i s capacity as a fas h i o n designer h i s work
C ity. The Los A ngeles Times c a l l e d h i s fi rst book, has graced the pages of Vogue, lIe, the Boston
Form, Fit, and Fashion, "a new fas h ion b i b l e for Globe a n d t h e Boston Globe Sunday Magazine. H e
designers, a s p i re rs, a n d t h e j ust p l a i n c u r i o u s; h a s a u t h o red n u m e ro u s a rt i c l es a n d col u m ns for
t h i s tome co nta i n s a l l the secrets." After m ov- n ewspapers, magazines, a n d the I nternet. He h a s
i n g to Boston a n d d i scover i ng t h e great wea lth worked as a n a ccred ited fas h i o n editor, ph otog
of local fas h i o n t a l e n t, he adopted the city as h i s ra pher, a n d as a fas h i o n com mentator for televi
n ew h o m e, where h e fou n ded a n d became the s i o n . He c redits his s o l i d fo u n dation in fa s h i o n to
executive d i rector of Boston Fa s h i o n Week. h i s t ra i n i n g at the H igh School of Fas h i o n I nd u s
t r i e s i n N ew Yo rk C ity. The school c u ltivated a
He is an i n structor a nd the d i rector of creative
work eth ic a n d a l legiance to exce l le n ce that h a s
m a rket ing at the School of Fa s h i o n Design i n
served h i m we l l eve r si nce. Th roughout h i s career
Boston, a position that a l lows h i m to be i nvolved
he has m a i nt a i ned a passion ate d e d i cation to the
in p rogra m m i ng development a nd com m u n ity
i m porta nce of giving back to the com m u n ity. As
outreach, w h i l e also functi o n i n g as an i n d u st ry
an exte nsion of that c o m m itme nt, h e works with
l ia i s o n . I n addition to the wide va riety of fa s h -
local c h a rities a s we l l as grassroots e ndeavors to
ion a n d p rofes s i o n a l d eve lopment courses h e
n u rt u re a n d develop new tal ent-a d riving force
teaches a t S F D, h e h a s a lso served as a n i n struc
be h i n d h i s work with the Fa s h i o n G ro u p I nterna
tor at t h e Massach usetts Col lege of Art a n d
t i o n a l as a reg i o n a l d i rector in Bosto n .
Design, B u rd ett Col lege, a n d La se l l C o l l ege. H i s
p u rs u its a s a professio n a l coach a n d motiva t i o n a l See h i s website a t www.ca l d e r i n 3 .com.
speaker have afforded h i m opport u n ities t o s h a re
h i s ideas about t h e a rt a n d i n d u st ry of fa s h i o n at
i n stitutions i n c l u d i ng H a rva rd U n iversity, We l l es
ley Col lege, Tufts U n ivers ity, Les l ey U n iversity,
Babson C o l l ege, M u s e u m of F i n e A rts Bosto n ,
Pea body Essex M u s e u m , Boston P u b l i c L i b ra ry,
a n d the Hatch Festiva l i n Boze m a n , M o n t a n a .