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Creative Design and the Development Package

Lisa Donofrio-Ferrezza and Marilyn Hefferen

Source: Designing a Knitwear Collection. From Inspiration to Finished Garments, 2nd Edition, 2017, Fairchild Books Library

Book chapter + STUDIO

Inspiration for a seasonal knitwear collection comes from many sources—popular culture; the available yarns and equipment; and prevailing trends in silhouettes, stitches, patterns, and color palettes. Designers may travel to yarn and knit fairs to review the forecasted trends for seasonal yarns and stitch development and begin to purchase sample yarn for their next season. One of the largest knit fairs, Pitti Filati, takes place in Florence, Italy, twice yearly for about three days around the end

Getting Started

Anette Fischer and Kiran Gobin

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

Book chapter

Working with the right tools will make block and pattern construction easier. These are just some of the key pieces of equipment required.

Trend Forecasting

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

“Embrace the paradoxes. For every trend you can spot, there’s an equally valid countertrend at the other end of the spectrum. There is no longer one right way . . . to design a product, merchandise a line, or assort a department.”

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.”

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.

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.

Skirts

Steven Stipelman

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

Book chapter

We have come a long way since skirt hems swept the ground and women were not allowed to show an ankle. Until the 1960s, skirt lengths were dictated by a handful of major designers, and women followed their lead. Long, to the knees, or as short as the law would allow, until recently the length of a woman's skirt has always been a major fashion issue.

Pants

Steven Stipelman

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

Book chapter

The origin of women wearing pants is not known, but as far back as the first century c.e., women from the Middle East and Asia were wearing some form of pants. In a more modern time, Amelia Bloomer, attempting to banish the corset in the mid-1850s, helped to conceive an outfit consisting of a short skirt that was worn over full trousers that were gathered at the ankles. These trousers were called “bloomers” after her. The bloomer costume had a rather short life, but helped to introduce the concep

Skirts and Pants

Sharon Czachor

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

Book chapter + STUDIO

The following techniques are stitched in both skirts and pants and are organized for sample making and application to garments that follow these directions. Stitching directions for the knit skirt, pants, and stretch woven fabric are included under each category.

The Art of Skirts

Zoya Nudelman

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

Book chapter

In the past, during the large petticoat and long train years, a skirt was draped on a woman ordering a dress. The skirt was made to fit over her hips, and the maker checked the customer’s walking ability while wearing the toile sample. This helped save time and added perfection to the pattern as well as customer satisfaction and comfort.

Waistlines

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:

Christian Dior

Lauren Bowes

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Chanel Haute Couture, Karl Lagerfeld, Spring/Summer 1983

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

In 1983, twelve years after Gabrielle Chanel died, the Chanel brand was given new life by Karl Lagerfeld’s debut Chanel collection. His first couture collection was highly anticipated, but was met with mixed reviews. Some believed it was a good first effort that honored Chanel’s legacy, while others believed that the Chanel house should not have been revived because no one could replace her. Lagerfeld kept the silhouettes and classic styles that Chanel popularized in the 1920s and 1930s, but adde

Chanel Haute Couture, Karl Lagerfeld, Fall/Winter 1984

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Shown at the Palais Garnier in Paris, home of the national opera, this fashion show was the most lavish and over-the-top fashion event in Paris at the time and began Karl Lagerfeld’s tradition of showmanship and set design. As with Karl’s first Chanel collection, this collection was panned for its deviation from Chanel’s trademark of easy comfort, with the classic Chanel suit made in a fitted silhouette that outlined the derrière. But it was also praised by others for updating Chanel’s image from

Chanel Haute Couture, Karl Lagerfeld, Spring/Summer 1987

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Chanel’s spring/summer 1987 haute couture collection was shown in the École Nationale Supérieure des Beaux-Arts in Paris, where a student demonstration outside the venue required there to be tight security. On the stage, a fake statue of the Winged Victory was clothed in Chanel and holding a quilted bag. Critics derided the bustle-inspired “parabola” line and peplum hems that “obscured the real fashion originality” and “made the models look a bit like roosters.” Despite the criticism, the empire

Zandra Rhodes, Spring/Summer 1984

Veronica Maldonado

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Rhodes’s spring/summer 1984 collection made its debut in London’s Ritz Carlton hotel. Having studied textiles before designing fashion, Rhodes’s garments utilize fabric with a high degree of detail and craftsmanship. This collection was no exception, with dresses made of embroidered chiffon, metallic sequined ensembles, and dresses encrusted with hanging pearls and crystals, all in pastel color schemes accented with blazes of magenta and deep cerulean. While a few typical 1980s body-conscious, sh

A Stylish History of Jazz: 1900–1960

Alphonso D. McClendon

Source: Fashion and Jazz. Dress, identity and subcultural improvisation, 2015, Berg Fashion Library

Book chapter

jazzorigins ofNew Orleansslave performancesBechet, Sidneyon slave performances/New Orleansartinfluence of AfricanAfrican ritualsAfrican art/dressDecades before the Civil War, a gathering of inspired people seeking self-determination initiated the birth of a musical genre that flourished throughout America. Congo SquareCongo Square in New Orleans, Louisiana is the highly renowned ground where slaves gathered for spiritual communion on free Sunday. By 1800, these assemblies swelled to six hundred i

Claude Montana

Lauren Downing Peters

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

John Rocha, Spring/Summer 1988

Nadya Wang

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

For the spring/summer 1988 season, the concept of power dressing still guided designers. Menswear continued to provide inspiration for both the silhouettes and the materials for women’s wear. Rocha offered work-appropriate looks with an overall softer feel, with added feminine details such as a crochet lace collar. The hourglass shape was key to the collection, with many of the dresses featuring a fitted bodice that opened up into a voluminous skirt. Rocha used different necklines to distinguish

John Rocha, Spring/Summer 1997

Nadya Wang

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

John Rocha’s spring/summer 1997 collection showed off his strengths to great advantage. Sleek silhouettes and natural materials created blank canvases on which he could unleash his creative imagination with handcrafted details: beading, appliqué, crochet, and hand-painted designs. These were used on bralettes, dresses, hooded cardigans, sleeveless tops, and trousers in his favored colors of beige, black, and white, together with shades of blue and gray. Underwear-as-outerwear was on trend for the

Conceptualizing the Collection

Erin Cadigan

Source: Sourcing and Selecting Textiles for Fashion, 2014, Fairchild Books Library

Book chapter

Quality is remembered long after the price is forgotten.

Details

Myoungok Kim and Injoo Kim

Source: Patternmaking for Menswear. Classic to Contemporary, 2014, Fairchild Books Library

Book chapter

Buttons, like snaps, hooks, and zippers, are mechanisms used to close garments. Buttons are often used as decorative elements, and their size and shape vary from round to rectangular, and lat to dimensional. Placement of buttons can vary according to design intent. They can also be a single button or double button.

Toile/muslin/prototype development

Jennifer Prendergast

Source: Sewing Techniques. An introduction to construction skills within the design process, 2014, Fairchild Books Library

Book chapter

Realizing your designs through the toile development process is very satisfying. There will be mistakes along the way but this is normal and should be expected; nobody ever produces perfect results first time. There will be amendments throughout the process, for example to the details, such as pockets and trims, as well as to the toile fitting itself.

Successful Line Building from A to Z The Portfolio Project

Joanne Ciresi Barrett

Source: Designing Your Fashion Portfolio. From Concept to Presentation, 2013, Fairchild Books Library

Book chapter

The Portfolio Project is the process of basic design line building of your portfolio collection. There are three steps of line building: concept building, editing, and finalization. The Portfolio Project walks you through each of these three steps in each of the four segments of the portfolio—mood, color, textiles, and silhouettes—with demonstration photographs and think-and-do work. The materials are exercises you have completed and developed in the preceding chapters. Systematically, you will l

Shape

Pat Parish

Source: Pattern Cutting: The Architecture of Fashion. Required Reading Range Module Reader, 2013, Fairchild Books Library

Book chapter

Fashion design is design for the body. The body will carry the design, and the garment will reveal the curves of the body, or use the body to support its structure.

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