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Pile Weaves

Deborah E. Young

Source: Swatch Reference Guide for Fashion Fabrics, 4th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Pile weaves are made with three sets of yarns: a vertical set (warp), horizontal threads (weft), and a set of yarns making perpendicular loops on the surface of the other two, creating a three-dimensional structure. The warp and weft interlace and form a tightly woven ground weave. With the exception of terry cloth, the perpendicular loops of these fabrics are later sheared and brushed in the finishing process.

Surface-Specific Techniques

Anette Fischer and Kiran Gobin

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

Book chapter

Felted woven fabrics are shrunk and compressed with heat, moisture and friction to produce a dense appearance. Some of the better-known felted fabrics are loden, melton or fleece. The edges of a felted fabric do not fray, so seams can be left unfinished. It is most common to use a plain stitched seam with top-stitching or a welt seam for light- to medium-weight felted fabric. But there are many more techniques to choose from, such as the following:

Rendering Concepts

Steven Stipelman

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

Book chapter + STUDIO

For the purposes of this book, we will group the fabrics into four categories, which include: (1) wool and other textured fabrics; (2) shiny fabrics; (3) sheers; and (4) prints. To help you understand these breakdowns and categories, let's take a look at each one.

Ensemble from the “Portrait” Collection, Vivienne Westwood Ready-to-Wear, Fall/Winter 1990–1991

Waleria Dorogova

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

With her characteristic historicist approach, Vivienne Westwood designed numerous garments inspired by French works of art from London’s Wallace Collection. For an ensemble in the fall/winter 1990 “Portrait” collection, she borrowed motifs from two masterpieces—a seductive pastoral canvas by François Boucher (1703–1770), printed onto an eighteenth-century-style corset, and a design from a vanity mirror by André-Charles Boulle (1642–1732) printed on a pair of black velvet leggings. Works by both a

Martine Sitbon

Shari Sims

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Anna Sui, Fall/Winter 1993

Nadya Wang

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

For the fall/winter 1993 season, Sui blended together fashionable elements from late eighteenth-century France to Edwardian Britain. Despite the disparate elements involved, the looks that Sui created were still in keeping with a romantic, whimsical, and feminine aesthetic. Luxurious fabrics such as velvet and satin in dark fall colors contrasted with pastel shades, and the collection contained the most colors Sui had used up to that time. She went to great lengths to dye and sometimes re-dye the

Givenchy Couture, Fall/Winter 1988

Aimee Williams

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

The year 1988 marked major events for Givenchy. In June, French conglomerate Louis Vuitton Moët Hennessey (LVMH) acquired Givenchy’s couture line. Hubert de Givenchy received his Lifetime Achievement award in October. The fall/winter collection’s focal points were texture and color. Rich greens, purples, and crimson saturated fluid fabrics like satin, velvet, and silk, with matching dyed mink, beaver, and fox coats and stoles. Large dyed feathers made an impact in evening wear, affixed to floor-l

Mastering Vector Tools for Apparel Design and Presentation

Stacy Stewart Smith

Source: CAD for Fashion Design and Merchandising, 2013, Fairchild Books Library

Book chapter + STUDIO

In Chapters 2 and 3 the basics of working with Illustrator® were emphasized. In this chapter, fashion apparel and accessory tutorials are used to teach digital apparel design and presentation techniques using Illustrator®. The tutorials in this chapter will also prepare you for rendering technical flats, jewelry, and accessories. Specific focus is given to:

Kuba Dress and Textiles

Elisabeth L. Cameron

Source: Berg Encyclopedia of World Dress and Fashion. Africa, 2010, Berg Fashion Library

Encyclopedia entry

Dress in the ter Kuba kingdom (Democratic Republic of Congo), whether daily wear or ceremonial, marks both rank and prosperity. Men’s and women’s festive dress is an ensemble of skirt, hat, and other beaded and decorated accessories. Rank is indicated through the use of specific items such as eagle or owl feathers, the wearing of certain skirt styles, and restriction of some metals. The density and rarity of added materials demonstrates the resources a family or clan can control and thus their af

Figure Skating Dress and Costume

Moira F. Harris

Source: Berg Encyclopedia of World Dress and Fashion. Global Perspectives, 2010, Berg Fashion Library

Encyclopedia entry

The earliest dress for an ice-skater was basic winter-weather gear. Coats or jackets, pants or skirts, mittens or gloves, and hats or scarves protected skaters from the cold and damp. Early paintings and prints give evidence of these choices. In the nineteenth century concerns for health and fitness led to an interest in outdoor recreation. In many cities clubs were formed, and outdoor rinks were planned and built in parks. Clothing intended for skaters’ use was increasingly available. Competitio

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