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Sportswear Chic: Tweed in Womenswear, 1919–1952

Fiona Anderson

Source: Tweed, 2018, Berg Fashion Library

Book chapter

Detailed statistics about the proportion of British tweeds, which were consumed by women, or made specifically for the female market between 1919 and 1952 are not available. However, estimates from key Scottish woolen industry bodies and a government study give a useful indication about the picture within Scotland up to 1946. The visit of the Scottish Woollen Trade Mark Association (SWTA)Scottish Woollen Trade Mark Association to the USA and Canada toward the end of 1921 prompted an article in Ga

Couture to Pop and Nostalgic Fashion, 1953–1980

Fiona Anderson

Source: Tweed, 2018, Berg Fashion Library

Book chapter

Between the early 1950s and the late 1970s, the production of woolen cloths in Britain was still primarily concentrated in Yorkshire wool textiles industryYorkshire, Scotland and the West of England woolen industryWest of England.G. F.Rainnie, The Woollen and Worsted Industry: An Economic Analysis (Oxford: Clarendon Press, 1965), pp. 29–31. Yorkshire continued to suitsfor menform by far the largest manufacturing region and Brearley, AlanBrearley and Iredale, John A.Iredale concluded in 1977 that

Punk Style and Society

Monica Sklar

Source: Punk Style, 2018, Berg Fashion Library

Book chapter

Dress products presenting punk imagery have become commercialized and widely distributed, although that does not necessarily strip them of all punk value. The design symbolism in punk style is affected by culture, consumptionfashionfashion consumption, and diffusionproduct diffusionproduct diffusion. Judy Attfield (2000) clarifies that the entirety of an object is more than its tactile and visible features, and also more than the social themes and ideas represented in the look of its design. The

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

Haute Couture and Tailoring

Anette Fischer and Kiran Gobin

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

Book chapter

Translated literally from French into English, the phrase “haute couture” means “sewing at a high level.” Couturiers use only the finest and most luxurious fabrics. Sometimes these have been custom made. A couture garment is meant to fit flawlessly as a result of many fittings and will include perfectly designed proportions for the individual client. Adjustments are made on garments to balance the body shape of the customer. These can include changes to the collar, the proportions of the pockets

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.

Capital of Luxury and Fashion

Valerie Steele

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

Book chapter

Je suis un grand artist, j’ai la couleur de Delacroix, et je compose. Une toilette vaut un tableau.

Chanel and Her Rivals

Valerie Steele

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

Book chapter

Sandwiched between two world wars, between Poiret’s harem and Dior’s New Look, two women dominated the field of haute couture—Schiaparelli and Chanel.

Fashion’s World Cities

Valerie Steele

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

Book chapter

Paris has changed, the system has changed, everything has been transformed. For the system to function, the participants have to be international, production has to be international. It’s clear that we no longer can or should be 100% French anymore.

Accessorizing the Figure

Steven Stipelman

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

Book chapter

The classic look is one that always passes the test of time. Classic accessories look good one season after the other and one decade after the other. The fashion figure might wear pearls, bangles, espadrilles, hair bows, lizard belts, pumps, shoulder bags, or gloves. These classic accessories are never really “in” or “out” of fashion. In the 1950s and 1960s, Mainbocher, in his couture collections, and Anne Klein, in her sportswear collections, often used classic accessories. At present, Ralph Lau

The Fashion Show: from Couturier to Catwalk

Jon Cope and Dennis Maloney

Source: Fashion Promotion in Practice, 2016, Fairchild Books Library

Book chapter

This chapter examines types of fashion shows and their essential components. We discuss the evolution of the show, and how online technologies and social media have accelerated promotion before, during, and after the event. Finally, we look to the future and ask whether a wider audience reach means the end of the front row.

Introduction to Couture

Zoya Nudelman

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

Book chapter

Today the center of couture is still in France, and each house spends millions each year to show its collections to the world twice a year. Each show is so grand it becomes almost a theatrical production. The shows attract important publicity on TV and in newspapers, magazines, and blogs on the Internet, helping the couture houses survive. The most popular designs from the shows are quickly copied into mass-produced clothing at all price levels.

The Art of Textiles

Zoya Nudelman

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

Book chapter

Textiles are used by designers as their primary creative medium. For the designer, choosing the right fabrics for a particular design is one of the most important aspects of designing. Often the fabric itself can inspire the design; for example, soft, drapey fabric can inspire the designer to focus on gathers and ruffles. Most experienced designers can picture their designs completely finished and ready to go before the garments are done, and each and every one understands the importance of match

Uses of Tools and Supplies

Zoya Nudelman

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

Book chapter

There are many different kinds of needles made for all kinds of sewing purposes. Needles vary in size, shape, and eye. The best choice for a specific job is a needle that is fine enough to slip easily through the fabric and strong enough not to break or bend. Needles will help you succeed in your sewing. Remember to change needles regularly. It is suggested that every new garment should have a needle change, especially silk garments. Needle sizes in the United States are numbered from 8 to 19. Th

The Skill of Hand and Machine Stitching

Zoya Nudelman

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

Book chapter

Couture technicians use hand stitches to control the entire construction of the designed garment. Sewing by hand enables you to sew on the right side of the garment as well as areas that a sewing machine can never reach, such as small corners of designed pockets, fabric overlays, and much more. Hand stitching is sometimes best with thin, soft fabrics because it does not leave marks, and if there’s a mistake, it allows you to take out the seams without ruining the fabric.

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)

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.

The Secret of the Corset

Zoya Nudelman

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

Book chapter

As previously noted, a corset understructure (also called a boned bodice) serves as a foundation for strapless dresses, gowns, and tops. The boned bodice must be made out of tough and firm fabric and interfaced when additional support is necessary. The best way to make a great pattern for a boned bodice is to drape it.

The Skill of Garment Embellishment

Zoya Nudelman

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

Book chapter

Embroidery has been around for centuries in artwork and clothing and as a form of decoration. Embroidery was a popular way for women in the Victorian era to express their ideas and beliefs at embroidery circles, tea parties, or book readings or in the comfort of their own homes. Since hand embroidery was one of the simplest options, it was taught to younger girls in order to pass along the tradition, to grow their skills with age, and for mother/daughter bonding opportunities. The Victorian era

The Skill of Fabric Manipulation

Zoya Nudelman

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

Book chapter

Appliqués are cutout fabric, lace, or cutwork shapes applied to the garment. They are attached on by hand, machine, or with heat.

The Secret of Closures

Zoya Nudelman

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

Book chapter

Metal slide fasteners were first introduced in 1891 by a Chicago inventor, Whitcomb Judson. However, the narrow woven-fabric zipper was not developed until 1912 by Gideon Sundback. In 1960, nylon zippers were introduced. The nylon zipper could be dyed different colors to match the garment and was lightweight.

The Skill of Basic Tailoring

Zoya Nudelman

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

Book chapter

Tailoring has been around for hundreds of years, having begun during the Middle Ages. Tailoring has always been referred to as suit construction; however, when we refer to couture tailoring, we can also discuss tailoring techniques that are used in couture garments. These techniques include pockets, collars, sleeves, and cuffs. For example, a simple patch pocket can be designed to fit a couture gown, yet you can concentrate on careful tailoring of the pockets. Tailoring steps have also been used

Designing for different markets

Elinor Renfrew and Colin Renfrew

Source: Developing a Fashion Collection, 2nd Edition, 2016, Fairchild Books Library

Book chapter

Haute couture is the highest, most specialist market level. Couture is preindustrial fashion based around privately commissioned ateliers (workshops) producing handmade, bespoke garments fitted to clients who appreciate the highest quality and utmost privacy. Established houses, such as Chanel, Givenchy, Dior, and more recently Gaultier, are members of the Chambre Syndicale de la Haute Couture and show their couture collections in Paris over three days in January and July. Currently there are onl

Fashion Forecasting

Kristen K. Swanson and Judith C. Everett

Source: Promotion In The Merchandising Environment, 3rd Edition, 2016, Fairchild Books Library

Book chapter

“One of the things we’ve noticed at our shows is that we have all walks of life as far as attendees. We have everything from the emerging fashion designer to the large department store buyers.”

Christian Dior

Lauren Bowes

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

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