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Design Development for Menswear

John Hopkins

Source: Menswear, 2nd Edition, 2017, Fairchild Books Library

Book chapter

A man should look as if he’s bought his clothes with intelligence, put them on with care and forgotten all about them.

Merchandise Planning

David Shaw and Dimitri Koumbis

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

Book chapter

Merchandise planners have to gauge daily, weekly, and seasonal demand for what is probably one of the most difficult consumer products to predict. This difficulty arises from a number of factors, of which the need to successfully monitor and control stock is perhaps the most significant. If a fashion business has too little stock, it will potentially lose sales to competitors; on the other hand, if it has too much stock, it will have invested buying money that is effectively “dead.”

Developing a collection

Richard Sorger and Jenny Udale

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

Book chapter

As a fashion designer, you can work at various “levels” within the fashion industry. The choice of direction you make will depend on your training, ability, and interests—as well as, of course, how much you would like to be paid for your work. Finding your niche in fashion design may be something that you’ve been working toward from the beginning—or it may evolve more organically as you continue on your career path.

The Nature of Fashion

Elaine Stone and Sheryl A. Farnan

Source: In Fashion, 3rd Edition, 2017, Fairchild Books Library

Book chapter + STUDIO

Behold the many faces of fashion—fun, fantastic, frivolous, frantic, fabulous, futuristic, flirtatious, fresh, and financial. Fashion is all of this, and much more. Fashion is the most dynamic of American businesses. It thrives on change—and change is the engine that fuels it. Life might be easier if we never had to change. However, if the fashion business did not change, it would not survive. Refer to Figure 1.1 for an example of fashion’s constant evolution.

Bill Blass, Spring/Summer 1995

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Bill Blass’s 1995 spring/summer collection focused on color and short hemlines, clothes that he thought were “just pretty.” The dominant color was pink—a marker of femininity. That season, fashion looked to the golden age of Hollywood, the 1930s, for inspiration and Blass was no exception. However, while other designers created clothes with tight, long satin pencil skirts that hobbled movement, he ignored that trend and instead made fun and flattering clothes with a twist. His evening clothes wer

Dyeing and Staining Fabric

Kimberly A. Irwin

Source: Surface Design for Fabric, 2015, Fairchild Books Library

Book chapter + STUDIO

To dye fabric means to create a chemical bath of a colorant dissolved into water. Fabric is submersed and agitated until the color is sufficiently absorbed—this is known as the immersion technique, or tub dyeing method, a reliable method for even distribution of dye. Often a mordant, or dye carrier, is needed to help the dye adhere to the fabric and to provide colorfastness. The dye binds with the fabric molecularly to create long-lasting, vibrant colors.

Azzedine Alaïa, Spring/Summer 1986

Veronica Maldonado

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Azzedine Alaïa’s spring/summer 1986 collection presents the designer’s work during the height of its initial popularity. Alaïa’s work rose to prominence during the 1980s with his body-conscious silhouettes and revealing cuts, garments that spoke directly to fashion’s transitional period of the 1980s, when trends began leaning towards a more masculine yet simultaneously sexualized feminine look. Shortly after this presentation, Alaïa was given a fashion Oscar, cementing his place in the era’s fash

Betsey Johnson, Spring/Summer 1986

Veronica Maldonado

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Presented at the Palladium nightclub in New York City, Betsey Johnson’s spring/summer 1986 collection depended on many of her signature tropes—her usual use of romantic stylings such as petticoats, crinolines, bustiers, and lace combine with kitschy accessories like kitchen utensils, baggie boxes as hats, baby bottle earrings, and feather dusters, creating a look that teases ideas of the feminine—the romantic femininity of the materials and silhouettes mixes with the traditionally female role of

Jean-Charles de Castelbajac, Spring/Summer 1984

Veronica Maldonado

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

While most of de Castelbajac’s 1984 spring/summer contained serious and sensible clothes, the finale included a number of rectangular silk dresses screen-printed with images of household items such as US dollar bills, calculators, cigarette packs, and Warholian cans of Campbell’s soup. This was not the first time that de Castelbajac had shown these unconventionally shaped dresses—his previous collection had contained dresses emblazoned with internationally famous faces such as that of Charles de

Vivienne Westwood, Spring/Summer 1997

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Coquettish glances, provocative poses, and flashes of nudity: Vivienne Westwood’s “Vive la Bagatelle” collection for spring/summer 1997 mixed signature styles from the brand’s heritage with her trademark sense of fun and humor, and presented them with a renewed emphasis on flirtatious sexuality.

Valentino, Spring/Summer 1985

Rosily Roberts

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Valentino’s spring/summer 1985 collection highlights the colors, patterns, and quintessential boxy silhouette that were to define his designs of the 1980s. Valentino was at the forefront of the trend for power dressing, one of the most important trends of the 1980s, and one that was to define the decade.

Valentino, Spring/Summer 1987

Rosily Roberts

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Valentino’s 1987 spring/summer collection is both feminine and elegant. He uses a number of different luxurious materials and precise tailoring to create clothes with a sense of timelessness. Looking at the critical reception of this collection in publications such as Vogue, this essay will examine the relevance of the collection as well as the extent to which it departed from his previous style.

Givenchy Couture, Spring/Summer 1997

Aimee Williams

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Alexander McQueen’s 1997 premiere at Givenchy following John Galliano’s departure resounded notably during the spring/summer couture showings, heralding the “revival of couture.” Showing at the École Nationale Supérieure des Beaux-Arts in Paris, the Grecian-inspired collection acknowledged the house’s defining conventions with double-breasted ivory suits and straightened silhouettes that hit above the knee. A generally neutral to white palette of silk, finely woven feathers, and gossamer textures

Chapter five: Ever-Changing Fashion and its Acceptance

Jay Diamond and Ellen Diamond

Source: The World of Fashion, 5th Edition, 2013, Fairchild Books Library

Book chapter

Every generation laughs at old fashions but religiously follows the new.

The fashion machine

Susan Dillon

Source: The Fundamentals of Fashion Management, 2012, Fairchild Books Library

Book chapter

The fashion calendar is a key component in the organization of the fashion industry. It is the tool that facilitates the smooth running of the global fashion network, ensuring that events do not overlap but are also close enough together to enable a buyer to make an extended trip each season to see what is on offer in the fashion capitals of the world. With the advent of the Internet there are many companies publishing this information online and providing their own versions of fashion calendars.

The Design Process and Specialty Apparel

Evelyn L. Brannon

Source: Designer’s Guide to Fashion Apparel, 2011, Fairchild Books Library

Book chapter

“The consumer wants to see value, a perceived need, and/or an emotional connection to the product. In response to this we have added value by incorporating fabric innovation and sharpening our design focus.”

Context & communication

Alex Russell

Source: The Fundamentals of Printed Textile Design, 2011, Fairchild Books Library

Book chapter

Seen as a whole, the industry works along broadly similar models. Although there may be variations with individual companies, particularly those in different sectors such as fashion or furnishing, certain key criteria are used by almost all employers or clients that printed textile designers are likely to find themselves working for. Factors such as season, the use of trend predictions or forecasts and the marketing of design products to specific target customers are standard practice. At the ver

Paris as a Fashion City

Martine Elzingre

Translated by Pierre Hodgson

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

Encyclopedia entry

Paris fashions—clothes, lingerie, accessories, and jewelry, together with other beauty products such as hairstyles, fragrances, and cosmetics—have come to dominate the world beyond the borders of France, as well as beyond Europe and indeed outside the West. In Paris itself, the two arts of dressing and seduction have thrived because innumerable ideas and techniques for applying those ideas have constantly been discovered—a continual process of experimentation.

The Product and Pricing

Michele M. Granger

Source: The Fashion Intern, 2nd Edition, 2010, Fairchild Books Library

Book chapter

A product is anything offered to a market for attention, acquisition, use, or consumption. It is capable of satisfying a consumer’s want or need and may be an object, service, activity, place, organization, or idea. A product can be a dress, a pair of shoes, an image makeover, a promotional plan, a trend forecast, a fashion show production, and more. The product may be intangible or tangible. Intangible products are t

Fashion Week

Lise Skov

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

Encyclopedia entry

In the late twentieth century, fashion week became the standard name for biannual or annual trade fairs and fashion shows. For high-end designers’ biannual presentations, the term collections has been widely used; for example, the Paris Collections or the Tokyo Collections, and the Moscow fairs that started in 2002 are identified by the abbreviation CPM (Collection Première Moscow, organized by Igedo). Trade fairs have been known by a number of different names; in the 1970s, Hong Kong Fashion Wee

Wardrobe Selection Factors

Nancy Plummer

Source: Your Personal Style, 2009, Fairchild Books Library

Book chapter

“But great style, and a great career, can come only from being true to one’s self, one’s taste, and one’s values.”

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