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Ideology, Fashion and the Darlys’ “Macaroni” Prints

Peter Mcneil

Source: Dress and Ideology. Fashioning Identity from Antiquity to the Present, 2017, Berg Fashion Library

Book chapter

Painted caricatures began on the “Grand TourGrand Tour” as private jokes shared between young men and their tutors. Private Italian painters working in Florence inspired the English development of this field. Etchings were made by Pier Leone Ghezzi (1674–1755) and Pietro Longhi (1702–85), and painted in Rome by English artists including Sir Joshua Reynolds and Thomas Patch (1725–82). Horace Walpole wrote in his journal thus: “Patch was excellent in Caricatura, and was in much favour with the youn

Fashioning the Parisienne

Valerie Steele

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

Book chapter

J’ai sous les yeux une série de gravures de mode. Ces costumes presentent un charme d’une nature double, artistique et historique.

Drapery, Bias, and Cowls

Steven Stipelman

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

Book chapter

Draped garments usually involve the direction of fabric called the bias. Fabric is woven with a crosswise and lengthwise direction. The bias is the diagonal direction extending across the grain of the fabric. The bias has a round, very elastic quality. It also has the ability to cling and fall and follow the curves of the body in a very sensual way.

Tailored Clothing

Steven Stipelman

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

Book chapter

1 First, block off the structure on an underdrawing.

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

Knits

Steven Stipelman

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

Book chapter

Included in this category are:

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.

The Walking Figure

Steven Stipelman

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

Book chapter

The walking figure starts out the exact way a traditional standing figure does.

Menswear

Steven Stipelman

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

Book chapter + STUDIO

Women's clothes have been influenced by menswear as far back as the 1930s, when Marlene Dietrich was photographed wearing an adaptation of a man's suit. Additionally, Yves Saint Laurent has been designing tuxedo suits for women for the last 30 years.

Children

Steven Stipelman

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

Book chapter

First, let's look at infants. An infant is a baby from birth to the age when it begins to walk. Its head is one-quarter of the total body size. Everything about an infant is round, from the head and its features to the torso and the arms and legs. The legs turn inward and the knees have exaggerated dimples. Because infants don't walk or even crawl, the only poses available are lying down or propped up.

Volume

Steven Stipelman

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

Book chapter

Manipulating the Figure

Steven Stipelman

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

Book chapter

Sleeves

Steven Stipelman

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

Book chapter

1 A tailored sleeve hangs perfectly straight from the armhole and joins the armhole with a seam. When the arm is hanging straight in a relaxed position next to the body, generally the sleeve is free of excess fold. By studying the sleeve pattern of a one-piece, set-in sleeve and its relationship to the arm, you can see that the cap is cut high enough to accommodate the shoulder muscle.

Blouses, Shirts, and Tops

Steven Stipelman

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

Book chapter

When drawing shirts, some important details to observe are:

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

Proportion and the Fashion Figure

Steven Stipelman

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

Book chapter

Sometimes the body takes over. Sometimes the garment takes over. Sometimes it is more equal. When the body takes over, as in a slinky gown, the garment does not come to life until it is on the body. When the garment takes over, as in a voluminous coat, the body is merely a hanger for the clothing. But many times, it is a combination of both.

Drawing the Fashion Figure

Steven Stipelman

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

Book chapter

In the beginning, there are certain rules of proportion with which you must become familiar. The figure is measured in “heads,” with each head representing one inch. These heads will be used to indicate and place the different parts of the fashion figure. After some practice, all the “heads” will suddenly become a figure and after a while you will be drawing!

The Balance Line

Steven Stipelman

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

Book chapter

Simple Blocking of the Figure

Steven Stipelman

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

Book chapter + STUDIO

Now that we are familiar with the proportions of the croquis figure, we will want to give the figure some movement.

Center Front

Steven Stipelman

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

Book chapter

Center front is most evident on a dress with a “V” neck. The point of the “V” is exactly in the middle. As the figure starts to turn, the center— or “V” front—moves with it. The side that turns away from you becomes smaller. This side always shows the outline of the breast. The side that is near you becomes larger. It always has a straighter line, which is the side plane of the figure. It never shows the outline of the breast.

Arms, Legs, Hands, and Feet

Steven Stipelman

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

Book chapter

The arm does not hang straight. In a natural position, it has a slight curve to it. When establishing the arm, think of it as starting from the shoulder and having four divisions:

The Fashion Face

Steven Stipelman

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

Book chapter + STUDIO

The 1920s was the age of the flapper. Women were much more emancipated than they were at the turn of the century. Makeup had a painted-doll look to it with Clara Bow and Gloria Swanson setting the style. There was an equal balance between the eyes and the lips, which were often cupid-bow-shaped and red. The eyes were shadowed and the brows rather thin. The cheeks were rouged, and at times a beauty mark was placed near the chin. The hair was sleek and bobbed, giving the head a very small look.

The Turned and Profile Figures

Steven Stipelman

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

Book chapter + STUDIO

1 Begin by blocking off a front-view figure, with the shoulders and hips going in opposite directions.

Gesture and the “S” Curve

Steven Stipelman

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

Book chapter + STUDIO

This is one of the most classic and fashionable gestures or poses. It is also a very important movement— the crunch and stretch.

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