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Introduction to fashion forecasting

Chelsea Rousso and Nancy Kaplan Ostroff

Source: Fashion Forward. A Guide to Fashion Forecasting, 2nd Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Morrison, RoseanneRoseanne Morrison, discordant fashionFashion Director of Womenswear and Ready-to-Wear, Doneger Creative Services

Brief history of contemporary fashion

Chelsea Rousso and Nancy Kaplan Ostroff

Source: Fashion Forward. A Guide to Fashion Forecasting, 2nd Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

The “spirit of the times,” or zeitgeistzeitgeist, refers to the current state of culture: the expression of the present. The mode of an era is determined by a complex mixture of historical, social, psychological, and aesthetic factors. During each era, creative artists and designers are inspired by current influences that they interpret into innovative ideas and products. It is not surprising that there are commonalities that influence an era. New aesthetics, newaesthetics can often be found in v

Fashion movement

Chelsea Rousso and Nancy Kaplan Ostroff

Source: Fashion Forward. A Guide to Fashion Forecasting, 2nd Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Berelovich, LillyLilly Berelovich, Owner, President, and Chief Creative Officer of Fashion Snoops

The Business of Fashion

Elaine Stone and Sheryl A. Farnan

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

Book chapter + STUDIO

The business of fashion contributes significantly to the economy of the United States through the materials and services it purchases, the wages and taxes it pays, and the goods and services it produces. The fashion business is one of the largest employers in the country. Even though employment has declined by almost half since the industry boom in the early 1970s, the fashion business remains one of the largest employers in the country. According to the Department of Commerce, the United States

A Century of Fashion

Elaine Stone and Sheryl A. Farnan

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

Book chapter + STUDIO

As Coco Chanel, Coco,Chanel once observed, “Fashion is not something that exists in dresses only. Fashion is in the sky, the street, fashion has to do with ideas, the way we live, what is happening.” Every part of life, including economic conditions, political events, health issues, cultural happenings, and more, affects what people wear, how it is produced, how people buy it, and how much they are able or willing to pay for it.

Defining the Customer

Linda Tain

Source: Portfolio Presentation for Fashion Designers. Fourth Edition, 4th Edition, 2018, Fairchild Books Library

Book chapter

The importance of focusing on a specific market and customer is directly linked to the job search process. Each clothing company has a reputation for a particular kind of clothing. This is not to say a company cannot make more than one product. Those that have divisions or licensees offer a variety of merchandise. Some companies have diffusion or secondary lines that capture “the look” the designer is known for while serving a different price point and category. For example, Ralph LaurenRalph Lau

Organization and Contents

Linda Tain

Source: Portfolio Presentation for Fashion Designers. Fourth Edition, 4th Edition, 2018, Fairchild Books Library

Book chapter

Portfolio casesentry-levelEntry-level portfolioThe entry-level portfolio for applying to a fashion design program usually consists of a prescribed format (designed by the college) to demonstrate design, rendering, and presentation skills. Whether you prepared the portfolio on your own or during a pre-college program, your interviewer will be looking for drawing ability, creativity and imagination, individuality/style/ personal vision, and an awareness of fashion. These are the criteria you will b

The Design Journal: Exploration and Process

Linda Tain

Source: Portfolio Presentation for Fashion Designers. Fourth Edition, 4th Edition, 2018, Fairchild Books Library

Book chapter

Design journalstyle and sizeStyle and Size

Presentation Concepts

Linda Tain

Source: Portfolio Presentation for Fashion Designers. Fourth Edition, 4th Edition, 2018, Fairchild Books Library

Book chapter

Because Chapter 4 discusses organization and content, this chapter will primarily deal with the characteristic elements of a Fabric/color portfolio contentspresentation conceptspresentation, namely Mood/theme, presentation conceptsPresentation conceptsmood/thememood/theme, fabric/color story, design groups on figures, and flat presentations.

Flats and Specs

Linda Tain

Source: Portfolio Presentation for Fashion Designers. Fourth Edition, 4th Edition, 2018, Fairchild Books Library

Book chapter

Creating good-looking, well-proportioned flats by hand takes practice. Designers who constantly draw flats claim that, with time, they acquire consistency in technique and speed in execution. The following exercises, techniques, and supply list are designed to assist the beginner, intermediate, and advanced student in drawing flats by hand. Later in the chapter, creating flats using Illustrator will be discussed and compared.

Presentations and Beyond

Linda Tain

Source: Portfolio Presentation for Fashion Designers. Fourth Edition, 4th Edition, 2018, Fairchild Books Library

Book chapter

Presentation collection/product development designplanningNo matter how complex or simple the project, careful planning is the key to creating professional presentation boards. Many designers make a “working” list that they adjust to suit each project. The following list is generally sufficient and applicable to most projects, in that each stage of development enables you to gain momentum and move ahead with minimum backtracking. Each of the following stages will be discussed in sequence:

Menswear Presentations

Linda Tain

Source: Portfolio Presentation for Fashion Designers. Fourth Edition, 4th Edition, 2018, Fairchild Books Library

Book chapter

Children's wear presentationsportfolioPutting together the menswear portfolio requires very much the same approach as any other fashion design specialty, yet these portfolios do feature specific qualities related to industry needs and requirements. A professional portfolio generally focuses on a specialty area and look, including but not limited to the following: traditional/tailored classics, casual separates, contemporary sportswear, and formal wear. The design sketches in Figure 9.4a-d, all ha

Children’s Wear Presentations

Linda Tain

Source: Portfolio Presentation for Fashion Designers. Fourth Edition, 4th Edition, 2018, Fairchild Books Library

Book chapter

Fashion Institute of Technology (FIT),Children's wear presentationsage and genderThe Children's wear presentationschildrenchildren’s wear designer must be aware of various age groups and their special requirements. From newborns to early teens, each group has specific needs determined by the developmental growth of the child and his or her physical abilities. For portfolio purposes, it is important to define these age groups visually by pose and attitude, which demonstrate the child’s capabilitie

Fashion Accessories Presentations

Linda Tain

Source: Portfolio Presentation for Fashion Designers. Fourth Edition, 4th Edition, 2018, Fairchild Books Library

Book chapter

category specificsThe major areas of Categoriesfashion accessoriesfashion accessories are the following:

Résumé and Cover Letter

Linda Tain

Source: Portfolio Presentation for Fashion Designers. Fourth Edition, 4th Edition, 2018, Fairchild Books Library

Book chapter

Résumé action verbs forpreparationYour résumé should reflect you—your experiences, interests, accomplishments, skills, and education. The following steps should be followed to create and maintain a professional résumé.

Internship or First Job: Building Your Career

Linda Tain

Source: Portfolio Presentation for Fashion Designers. Fourth Edition, 4th Edition, 2018, Fairchild Books Library

Book chapter

Interview, job after thepreparing forInternshipJob searchFirst, identify your skills, values, interests, and personal and professional strengths and weaknesses. Formulate your short-and long-term goals and be ready to discuss this important information with your interviewer. Then familiarize yourself with companies that make the kind of clothes you want to design. This will help you present yourself as more knowledgeable at an interview. Libraries, stores, industry professionals, teachers, and fr

Transition: Student to Professional Designer

Linda Tain

Source: Portfolio Presentation for Fashion Designers. Fourth Edition, 4th Edition, 2018, Fairchild Books Library

Book chapter

Intern, Calvin KleinCalvin Klein

Yarn Basics

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

Yarns are the basic materials of the knitting process. Yarns are made from fibers, which are either staple or filament. Staple fibers are naturally short or cut filament fibers that are spun together to create yarn. Filament fibers are continuous in length. Many types of yarns are available, from natural in raw or regenerated form to manufactured synthetics to blends, making the assortment tremendous. Further improvements in technology and in the manufacturing and processing of fibers have made y

Computer-Aided Design for Knitwear

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

Doug Ross at MIT coined the phrase “computer-aided design” in 1959.Douglas T. Ross, http://groups.csail.mit.edu/mac/projects/studentaut/ncworld/NCWorld_DR_photo.htm.CAD, by definition, is the use of computer technology as a tool to design products. The products that the programs design and create depend on the user. Specialized CAD programs are used by fashion designers, textile designers, industrial designers, architects, graphic designers, engineers, and a host of others. The list of creative u

Draping on the Mannequin

Anette Fischer and Kiran Gobin

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

Book chapter

There is a vast range of mannequins available. It is vital before starting with the drape to have a close look at the model stand you are working on. Take measurements and analyze the general shape of the stand to work out if it covers the look and size you are after. In addition, you should have the following tools and equipment to hand before starting to drape.

Finishes

Anette Fischer and Kiran Gobin

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

Book chapter

A lining can be added to a garment as an extra layer for several different purposes—to ensure that the shape of the garment is retained, for warmth or for design and comfort. It will also hide all the internal construction details. A lining can be worked in and can either cover the whole of the garment or act as a half lining. It can also be detachable as a zip-in or button-in version. Usually, jackets, coats, skirts and trousers are lined. The lining fabric can vary from silk and cotton to fur.

Sources of Buying Inspiration

David Shaw and Dimitri Koumbis

Source: Fashion Buying. From Trend Forecasting to Shop Floor, 2nd Edition, 2017, Fairchild Books Library

Book chapter

A buyer will be faced with many challenges, but the greatest one by far is trying to create a seasonal range for both domestic and international markets. Retailers who invest in overseas markets will typically create buying teams for both national and international home office locations, ensuring that the target market is accurately reached in those locations.

Suppliers, Sourcing, and Communication

David Shaw and Dimitri Koumbis

Source: Fashion Buying. From Trend Forecasting to Shop Floor, 2nd Edition, 2017, Fairchild Books Library

Book chapter

The fashion designer<>buyer relationship is very close—however, it is ultimately the buyer who makes the final decisions and takes responsibility for putting products into the range.

Research

Richard Sorger and Jenny Udale

Source: The Fundamentals of Fashion Design, 3rd Edition, 2017, Fairchild Books Library

Book chapter

There is no point in trying to be fashionable. This book cannot tell you how to design fashion; it can only tell you what the ingredients are, ways to put them together, and many of the important things that you will need to consider when designing clothes. Clothing is only “fashionable” when your peers or the industry deem a design to be of the zeitgeist. It either is or it isn’t.

Design

Richard Sorger and Jenny Udale

Source: The Fundamentals of Fashion Design, 3rd Edition, 2017, Fairchild Books Library

Book chapter

A garment design needs three basic ingredients:

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