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“We Also Should Walk in the Newness of Life”: Individualized Harlem Style of the 1930s

Carol Tulloch

Source: The Birth of Cool. Style Narratives of the African Diaspora, 2018, Berg Fashion Library

Book chapter

With the visual arts of the 1920s and 1930s anchored by black peoples, we can recollect and reimagine this twentieth-century moment when Harlem was not only “in vogue”, or “on the minds” of a complacent few, but also a geo-political metaphor for modernity and an icon for an increasingly complex black diasporal presence in the world.

Stitch Fundamentals

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

The loop is the basic structure of knitting. When a loop is formed and used in a sequence, a knit fabric is created. When a yarn is carried horizontally to create a series of loops, the method of knitting is known as weft knitting (see Chapter 1). Weft structures may be made by hand or by machine. This is the most common method of knitting used for fabric and clothing (Figure 3.1, left). Warp knitting is the method of carrying a yarn in a sequence that requires a vertical movement (Figure 3.1, ri

Sample Development

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

The experience of knitting a sample on a hand-flat knitting machine is an invaluable process for designers to come to understand the principles of sweater construction. The method of hand-knitting on a machine includes increasing and decreasing to shape a garment and partial knitting to shape the shoulder and neckline. Through this experience, designers gain insight and an understanding of how a sweater's structure, styling, and finishing can affect the design. After knitting and constructing a b

Presentation Trends 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

The purpose of your portfolio is to clearly represent your skills and highlight your best work. In an interview, your résumé states your qualifications, and your portfolio represents your mastery of skills you bring to the job. Be focused and concise in what you include in your portfolio. Do not show volumes of work. Show only your best work.

Jacket, Cardigan, Sweater, and Sweater-Jacket Slopers and Patterns

Julie Cole

Source: Patternmaking with Stretch Knit Fabrics, 2016, Fairchild Books Library

Book chapter + STUDIO

In this chapter, you develop slopers for jackets, cardigans, and sweater-jackets. They can be fitted, loose-fit, or oversized. You must use the appropriate slopers to suit the type of knit, style, and fit you envision for your design. Fitted and loose-fit cardigan muslins have been cut, stitched, and placed on the form in Figures 8.3 and 8.4. For the opening, a 1” extension is added to the center front.

T-shirts, Tops, and Sweaters

Sharon Czachor

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

Book chapter + STUDIO

T-shirts started out as undergarments, evolving from one-piece union suits into separate tops and bottoms. The tops were made long enough to tuck into the bottoms. Workers began wearing them as lightweight shirts in hot climates. They became popular in the United States when the U.S. Navy issued them to be worn under uniforms. It became common for sailors and marines to remove their uniform jackets while working on board submarines and tropical climates, wearing the T-shirt with uniform pants.

Dolce & Gabbana, Spring/Summer 1997

Tessa Maffucci

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Dolce & Gabbana’s spring/summer collection of 1997 capitalized on their strengths. Sensual chiffon hugged curvaceous (but trim) hips and bra straps peeked out from under delicate, negligee-inspired fishtail gowns. The palette of the runway was punctuated by animal prints and florals, often visible beneath the sheer material of the dresses or through open-weave crochet sweaters. Their look is sexy and upbeat, drawing influence from Domenico Dolce’s Sicilian heritage and the imagery of Italian film

Jean-Charles de Castelbajac

Elizabeth Tregenza

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Sweater Design and Manufacturing

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:

Technical Design with Illustrator®

Stacy Stewart Smith

Source: CAD for Fashion Design and Merchandising, 2013, Fairchild Books Library

Book chapter + STUDIO

In the apparel market, nearly all digital production flats are created with vector-based software programs like Illustrator®. The need to communicate with global resources and the fast pace of the garment center have nearly eclipsed the use of freehand technical flats for production.

“Digital Duo” Color Flats, Floats, Design, and Presentation

Stacy Stewart Smith

Source: CAD for Fashion Design and Merchandising, 2013, Fairchild Books Library

Book chapter + STUDIO

The primary objective of this chapter is to teach you how to create exceptional 3-D digital color flats and floats from technical drawings. Therefore, the tutorials in Chapters 12, 13, and 14 should be completed before attempting the ones here. In fact, some of the technical flats presented in Chapter 14 will be enhanced in this one. This chapter also culminates all the lessons in the book, and reinforces the skills you will need to create a totally digital fashion portfolio presentation. In this

Ireland

Síle de Cléir

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

Encyclopedia entry

The situation regarding the various types of dress in Ireland in the period between the beginning of the nineteenth and the end of the twentieth centuries is a complex one. It is useful, perhaps, in this context to see dress in Ireland at this time as a continuum: folk dress at one end, characterized by locally produced fabrics and traditional aesthetics and deeply embedded in a local social and cultural context; and fashionable dress at the other, with a wider choice of materials and styles conn

Norway

Tone Rasch

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

Encyclopedia entry

Is it possible to understand the way people dress by looking at their history and natural environment? A survey of Norwegians’ habits and attitudes related to clothing suggests that the answer is yes. The country is located on the periphery of the European continent. There are few inhabitants, and the combination of a long coastline and numerous mountain ranges has led to scattered settlements and great distances between them. Politically, Norway became independent in 1905 after being a part of t

Iceland

Æsa Sigurjónsdóttir

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

Encyclopedia entry

Iceland was part of the Danish kingdom from the fourteenth century until its independence in 1944. Despite geographical isolation, Icelanders have always kept up with European fashions. However, artist and antiquarian Sigurður Guðmundsson (1833–1874) encouraged women not to follow European styles, but to adopt a simple everyday dress. His article on the subject in 1857 had an enduring influence on women’s dress in Iceland, although his proposal in 1871 for a men’s national outfit failed. Men’s ev

Sweaters

Keith Richardson

Source: Designing and Patternmaking for Stretch Fabrics, 2008, Fairchild Books Library

Book chapter

Sweaters are not just for fall and winter collections, but have become an important part of every season. Lightweight sweaters are included in many collections for spring and summer. Note that some sweaters are worn directly on the skin, with only undergarments, whereas other sweaters are worn over other clothing. The designer must anticipate and design the fit of each sweater accordingly.

How to Measure a Sweater

Michele Wesen Bryant and Diane DeMers

Source: The Spec Manual, 2nd Edition, 2006, Fairchild Books Library

Book chapter

Patterns for Fabrics That Shrink

Lori A. Knowles

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

Book chapter

Some manufacturers produce garments that go through a shrinkage process after the garment is partially or completely sewn. Companies that use denim or other cotton fabrics for garments that shrink substantial amounts when washed, dyed, or texturized, design their patterns with the shrinkage process in mind. The patterns for garments that shrink after they are cut and sewn need to be enlarged, so the final dimensions of the shrunken garment match the clothing sizes offered. When the customer clean

Sustainability at Better Sweater

Sarah Portway , Susan P. Ashdown

Source: Bloomsbury Fashion Business Cases

Level: Intermediate

Business case

The outdoor-apparel brand Better Sweater offers customized sizing in machine-knitted and hand-finished sweaters, made on demand for men and women. The exclusively online brand uniquely combines high-tech knitting machine processes with hand-finishing techniques and demonstrates a strong commitment to sustainability by using zero-waste production methods, fairly-paid local labor, and on-demand supply-chain strategies. This case study traces Better Sweater’s unique proprietary supply chain from loc

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