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Torso/Blouse Sloper and Basic Shift Silhouettes

Connie Amaden-Crawford

Source: The Art of Fashion Draping, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Torso/blouse sloperThe torso/blouse sloper and basic shift silhouettes have a bust-fitting dart and no waistline seam. The waist area can be slightly fitted with one or two fisheye darts, belted, or drawn in with elastic. The side seams hang slightly away from the body and are parallel to center front. By using the torso/blouse sloper, it can be lengthened to make a shift design. Many styles of pockets, plackets, yokes, necklines, collars, and/or sleeves can be used to create the individual style

Princess Designs

Connie Amaden-Crawford

Source: The Art of Fashion Draping, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Bodice and blouse designsobjectivesPrincess designsvariations onPrincess designsA princess design has vertical seams that divide the bodice into separate panels. When these seams are sewn together, they take on the same shape as the bodice or blouse, but with vertical seams. Typically, a princess bodice has a close-fitting waist with an unbroken styleline that usually extends from the shoulder or armhole to the waistline. This style almost always crosses over the midpoint of the bustline (apex) a

Dartless Designs

Connie Amaden-Crawford

Source: The Art of Fashion Draping, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Dartless designsblouse and shirt silhouettesBodice and blouse designsdartless blouseThe silhouettes within this chapter offer timeless, simple silhouettes that are used in designing blouses, vests, or dresses that do not require the use of a bust-fitting dart. These silhouette shapes can be made short or extended to the length desired, depending upon the design. Various styles may use details such as numerous neckline shapes, collars, yokes, stylelines, tucks, added fullness, and different sleeve

Skirt Designs

Connie Amaden-Crawford

Source: The Art of Fashion Draping, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Bodice and blouse designsobjectivesSkirt designsA skirt is a separate item of clothing starting above, below, or at the natural waistline. Skirt designs vary from basic tailor-made to extreme. The designer may change a skirt style by draping the design close to the body, or by draping in various fullness, gathers, flares, pleats, gores, or godets. The shape, the sweep of the skirt (the amount of width at the hemline), and the appearance at the hem length will depend upon the design, the customer,

Knit Designs

Connie Amaden-Crawford

Source: The Art of Fashion Draping, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Bodice and blouse designsobjectivesKnit designsThere is a free-spirit attitude in knitwear, which exhibits an effortless fusion of relaxed casual sportswear with modern sophistication. Fashioning knits allows the designer to create looks that offer super-feminine, whimsical design, an element of nostalgia, or a buoyant sporty look.

Casual Dress Designs

Connie Amaden-Crawford

Source: The Art of Fashion Draping, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Bodice and blouse designsobjectivesCasual dress designsDresses come in many shapes and lengths with a variety of seams, necklines, sleeves, and collars. They are worn for work or play, for day or night, for any occasion, and all year round.

Formal Dress Designs

Connie Amaden-Crawford

Source: The Art of Fashion Draping, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Formal dress designsobjectives inFormal dress designsBustier designsEvening dresses are gorgeous in fluid dress-weight fabrics that are beautifully draped and seductive with their perpetual movement. Arrangements of flounces, sunray pleats, layered ruches, bias cuts, and gathers make dresses dance. Designers should be able to incorporate many draping techniques from this chapter for a special evening look for many clients.

Garment Support and Structure

Anette Fischer and Kiran Gobin

Source: Construction for Fashion Design, 2nd Edition, 2017, Fairchild Books Library

Book chapter

Throughout history, dressmakers and tailors have been working hard to achieve a certain body shape in fashion. Since humans first began to cover their bodies, supportive and structured garments have been used and modified. At first, these garments would have been purely for shelter and protection. As time went on, however, clothing began to be associated with social and/or economic status and the interest in structured garments that would accentuate certain parts of the body grew.

Garment Styling

Sandra Keiser, Deborah Vandermar and Myrna B. Garner

Source: Beyond Design. The Synergy of Apparel Product Development, 4th Edition, 2017, Fairchild Books Library

Book chapter + STUDIO

“I wish I had invented blue jeans. They have expression, modesty, sex appeal, simplicity—all I hope for in my clothes.”

The Birth of Paris Fashion

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Le travail des modes est un art: art chéri, triomphant, qui dans ce siècle, a reçu des honneurs, des distinctions. Cet art entre dans le palais des Rois, [et] y reçoit un accueil flatteur.

The Theater of Fashion

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Nous savons donc beaucoup de gré à mademoiselle Nathalie des sacrifices qu’elle fait pour ses costumes; de beaux habits sur de jolies femmes, rien n’est plus charmant.

The Private Life of Paris

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Dans ces sphères élevés le role de la femme est tout de charme et de seduction. Elle n’a d’autres devoirs à remplir que ceux qui lui sont imposés sous le nom des devoirs de société.

La Mode Retrouvée

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Chacune de ses robes m’apparaissait comme une ambiance naturelle, nécessaire, comme la projection d’un aspect particulier de son âme.

Tailored Clothing

Steven Stipelman

Source: Illustrating Fashion. Concept to Creation, 4th Edition, 2017, Fairchild Books Library

Book chapter

1 First, block off the structure on an underdrawing.

Volume

Steven Stipelman

Source: Illustrating Fashion. Concept to Creation, 4th Edition, 2017, Fairchild Books Library

Book chapter

Fashion Silhouettes

Steven Stipelman

Source: Illustrating Fashion. Concept to Creation, 4th Edition, 2017, Fairchild Books Library

Book chapter

This silhouette hangs straight from the shoulder. At the end of the 1950s, Balenciaga and Givenchy were greatly responsible for introducing this silhouette.

Dress Slopers and Patterns

Julie Cole

Source: Patternmaking with Stretch Knit Fabrics, 2016, Fairchild Books Library

Book chapter + STUDIO

A dress-piece is a partial pattern extending from the hipline to knee length in each stretch category. Table 2.2 on p. 17 indicates that dresses are drafted from the top slopers. You add the dress-piece to the hipline of the top slopers to create the dress slopers.

Dresses

Sharon Czachor

Source: Sewing with Knits and Stretch Fabrics, 2016, Fairchild Books Library

Book chapter + STUDIO

The decision to underline or line a knit dress should be made once the fabric has been chosen. Keep in mind that underlining or lining doubles the cost and time it takes to construct the garment. Both the garment fabric and the underlining or lining have to be purchased, cut out, and stitched. When under deadline, designers may prefer to choose another fabric that doesn’t need to be underlined or lined.

Knit Dresses

Paula J. Myers-McDevitt

Source: Complete Guide to Size Specification and Technical Design, 3rd Edition, 2016, Fairchild Books Library

Book chapter + STUDIO

Many knit dresses are simply designed as long versions of T-shirts or sweaters, combining the measurements of a knit top and a knit skirt. For example the tank top dress, which is better measured from the center front rather than the high point shoulder (see Figure 7.1). Remember, the rules you learned for the knit top and knit skirt will be used here as well. If needed, look back over chapters 4 and 5.

Woven Dresses

Paula J. Myers-McDevitt

Source: Complete Guide to Size Specification and Technical Design, 3rd Edition, 2016, Fairchild Books Library

Book chapter + STUDIO

Measuring a woven dress basically combines the measurements of a woven top and a woven skirt; therefore, the rules you learned for each of those styles will be used here as well. If needed, look back over Chapters 9 and 10. However, there will be measurement points unique to dresses that are not covered in those chapters; measurement point 91, Hip Width Circumference from High Point Shoulder is an example (see Figure 12.1). As the technician, be sure to decide which measurements are best suited t

The Skill of Couture Draping

Zoya Nudelman

Source: The Art of Couture Sewing, 2nd Edition, 2016, Fairchild Books Library

Book chapter

Grainline refers to the orientation of the yarns in a woven fabric. The lengthwise grains run along the length of the fabric and are called the warp yarns. The yarns that are woven in and out perpendicular to the warp yarns are called the weft yarns. These run side to side forming the cross grain of the fabric. The weft yarns are woven to form selvage on both sides of the fabric. The selvage is a finished edge that is formed by the weft yarns being woven, rotating side to side. (Figure 5.2)

Talitha Getty

Osman Ahmed

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Talitha Dina Pol (1940–1971) was born in Bali. After moving to London in 1945, following a traumatic period spent with her birth mother in a Japanese POW camp, Talitha studied at Royal Academy of Dramatic Arts with hopes of becoming an actress. Young, beautiful, and exotic, she was courted and celebrated by London society, becoming the second wife of John Paul Getty Jnr., the son of oil tycoon Paul Getty, in 1966. She wore an all-white, mink-trimmed, hooded minidress that echoed the height of Swi

Michael Kors

Paula Alaszkiewicz

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Neckline Plackets

Connie Amaden-Crawford

Source: A Guide to Fashion Sewing, 6th Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

By studying the information in this chapter, the designer will be able to:

Oscar De la Renta

Amber Jane Butchart

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

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