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Ups and Downs of Paris Fashion

Valerie Steele

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

Book chapter

Nous sortions d’une époque de guerre, d’uniformes, de femmessoldats aux carrures de boxeurs. Je dessinai des femmes-fleurs, épaules douces, bustes épanouis, tailles fines comme lianes et jupes larges comme corolles.ChristianDior, Christian Dior et moi (Paris: Amiot-Domont, 1956), p. 35. Translation in text by Valerie Steele.

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

Stitching Knits with an Overlock Machine and Coverstitch Machine

Sharon Czachor

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

Book chapter + STUDIO

Overlock machines have only been available to the home sewing market for the past 40 years. While it does not replace a sewing machine, it does make many construction techniques faster.

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.

Jackets

Sharon Czachor

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

Book chapter + STUDIO

A stabilizer is anything that can be used to add structure, shape, and reinforcement to the garment. Stabilizers such as underlining, interfacing, stabilizing tapes, and sometimes staystitching (as was used in the V-neckline) will effectively support the garment. Before stitching any seams, it’s important to choose the correct type, weight, color, and texture of stabilizer. The weight and type of stabilizer must work in conjunction with the weight of the fabric. A stabilizer can be applied to the

The Skill of Hems and Other Edge Finishes

Zoya Nudelman

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

Book chapter

Hems are finished edges of a garment. (Figure 11.1) Without hems, garments can look incomplete and unprofessional. However, hems are not always necessary. Some fabrics don’t ravel and can be used for designs that purposely have a raw edge as a design element.

Method To This Madness

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:

Hems

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:

Chanel Haute Couture, Karl Lagerfeld, Fall/Winter 1985

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

This collection continued the development of Lagerfeld’s Chanel. Beaded looks were made to look like intricate tapestries and the hems of skirts were either floor-length or well above the knee, a deviation from Chanel’s strict rule of creating skirts 2 in. (5 cm) below the knee, no matter the fashion. The final bridal look was a white satin miniskirt suit. Two-tone, matronly pumps were a Chanel signature; the black stilettos in the collection underscored the younger, sexier direction of the house

Bill Blass, Spring/Summer 1984

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

This collection was all about simplicity, which led Nina Hyde at the Washington Post to comment, “Blass’s clothes have never been more simple, less contrived.” The hems were short because Blass believed that his couture customers had the money to keep their body in great shape. There were bra-like tops under conservative suits for day, and evening gowns in silk charmeuse draped in silk chiffon. Because of the simplicity of the clothes, the models’ hair was more extreme. Critics commended Blass’s

Bill Blass, Spring/Summer 1988

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

This collection was inspired by Matisse paintings that Bill Blass saw while at the National Gallery in Washington. Shown at the Parsons School of Design in New York, the clothes were short and full of froufrou due to the influence of “the sugar daddy of bonbon chic” and designer of the moment Christian Lacroix, and his short, little-girl styles. Hems were well above the knees, which concerned retailers servicing working women needing office-appropriate clothes. Even though critics liked his use o

Design Worksheet

Julie Cole and Sharon Czachor

Source: Sample Workbook to Accompany Professional Sewing Techniques for Designers, 2nd Edition, 2014, Fairchild Books Library

Book chapter

Stitching Preparation Worksheet

Julie Cole and Sharon Czachor

Source: Sample Workbook to Accompany Professional Sewing Techniques for Designers, 2nd Edition, 2014, Fairchild Books Library

Book chapter

Edge Treatments

Jaeil Lee and Camille Steen

Source: Technical Sourcebook for Designers, 2014, Fairchild Books Library

Book chapter + STUDIO

After studying this chapter, you will be able to:

The Skirt

Milva Fiorella Di Lorenzo

Source: Tailoring Techniques for Fashion, 2010, Fairchild Books Library

Book chapter + STUDIO

After you have read this chapter, you should be able to discuss:

The Trousers

Milva Fiorella Di Lorenzo

Source: Tailoring Techniques for Fashion, 2010, Fairchild Books Library

Book chapter + STUDIO

After you have read this chapter, you should be able to discuss:

The Jacket

Milva Fiorella Di Lorenzo

Source: Tailoring Techniques for Fashion, 2010, Fairchild Books Library

Book chapter + STUDIO

After you have read this chapter, you should be able to discuss:

Details and trims

Juliana Sissons

Source: Basics Fashion Design 06: Knitwear, 2010, Fairchild Books Library

Book chapter

‘With all the stripes of pink and blue, Hold sweet thoughts to weave in, too; Over and under, through and through, Hold them fast and weave them true.’

Introduction to Patternmaking

Lori A. Knowles

Source: The Practical Guide to Patternmaking for Fashion Designers: Juniors, Misses, and Women, 2005, Fairchild Books Library

Book chapter

Patternmaking = pattern drafting, pattern draping, and flat patternmaking

Introduction to Patternmaking

Lori A. Knowles

Source: The Practical Guide to Patternmaking for Fashion Designers Menswear, 2005, Fairchild Books Library

Book chapter

This chapter will introduce students of fashion design and patternmaking to the industry’s terms, tools, and equipment. Basic information about the type of paper used for patternmaking, fabric grainlines, pattern labeling, seam allowance, hem allowance, pattern marking, grading a size range, and names of the body form parts will prepare students to proceed through the rest of the chapters. Students who have extensive knowledge of sewing using commercial patterns will find that the fashion manufac

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