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Designing with Circular Flounces and Ruffles

Connie Amaden-Crawford

Source: The Art of Fashion Draping, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Bodice and blouse designsobjectivesFlounces, circulargathered ruffles andRufflesFlounces, circularFlounces, circulardesignsDesigns with a circular flounce are the stuff of romance. Flounces recall a mood of elegance with a rich, dramatic, graceful flare.

Skirt Designs

Connie Amaden-Crawford

Source: The Art of Fashion Draping, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Bodice and blouse designsobjectivesSkirt designsA skirt is a separate item of clothing starting above, below, or at the natural waistline. Skirt designs vary from basic tailor-made to extreme. The designer may change a skirt style by draping the design close to the body, or by draping in various fullness, gathers, flares, pleats, gores, or godets. The shape, the sweep of the skirt (the amount of width at the hemline), and the appearance at the hem length will depend upon the design, the customer,

Introduction

Tereza Kuldova

Source: Luxury Indian Fashion. A Social Critique, 2018, Berg Fashion Library

Book chapter

White Lotus, the theme of the funeral that has transported us into the world of fashion designers and the South Delhi business elite, is a fitting metaphor for the key motif of this book. It is also a fitting metaphor for the ethnographic journey in which this work is grounded and for its analytical angle. Like the lotus, the beauties ritualof Indian fashion and heritage luxuryheritage luxury cannot be conceived without their juxtaposition, without the mud from which they grow and that brings the

Producing Cosmopolitanism, Hierarchy and Social Cohesion

Tereza Kuldova

Source: Luxury Indian Fashion. A Social Critique, 2018, Berg Fashion Library

Book chapter

The second chapter develops the theme of imagined economy and India’s superpowerdom by focusing on the symptomatic commodification of past and heritage in fashion design. It does so by zooming onto the complex material and ideological production of traditional chikan embroidery from Lucknow, a city remembered for its past opulence, cosmopolitanism and luxurious lifestyle. It traces the movement of this embroidery, popular with India’s leading designers, from the local networks of its material pro

Design Genius and his Ghost Others

Tereza Kuldova

Source: Luxury Indian Fashion. A Social Critique, 2018, Berg Fashion Library

Book chapter

The third chapter turns to the tensed relations between design and craft. Developing further the case of chikan embroidery, as it moves from villages to fashion boutiques, the chapter analyses the ways in which material labour is artificially separated from immaterial labour. It shows how the designers’ narratives about creativity, innovation and artistic genius systematically push craftspeople into invisibility, inferiority and passivity, and deny their creativity, individuality and agency. The

Insubordinations of the Laughing Craftswoman

Tereza Kuldova

Source: Luxury Indian Fashion. A Social Critique, 2018, Berg Fashion Library

Book chapter

This chapter returns back to the villages surrounding Lucknow, where women embroider the luxurious fabrics for the elites while being patronized by the designers, their NGOs and discourses of ‘ethical business’. Recognizing the destructive power of such efforts and the potential violence inherent in benevolence, the craftswomen use often irony and laughter when confronted with patronizing discourses that position them as vulnerable, poor and in constant need of rescue. They mock the designers and

Surface-Specific Techniques

Anette Fischer and Kiran Gobin

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

Book chapter

Felted woven fabrics are shrunk and compressed with heat, moisture and friction to produce a dense appearance. Some of the better-known felted fabrics are loden, melton or fleece. The edges of a felted fabric do not fray, so seams can be left unfinished. It is most common to use a plain stitched seam with top-stitching or a welt seam for light- to medium-weight felted fabric. But there are many more techniques to choose from, such as the following:

Accessories

Steven Stipelman

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

Book chapter

A hat is the accessory worn on top of the head. A hat may fit the head, be pulled down over the eyes, or almost look as if it were just sitting on the top.

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.

Creating Texture with Pleats, Tucks, Gathers, Ruffles, and Trims

Sharon Czachor

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

Book chapter + STUDIO

A variety of knit and stretch woven fabrics used throughout the text have been cut into sample sizes to stitch these techniques. Purchase additional yardage as assigned by the instructor or spurred by curiosity of the designer, ¼ yard minimum. Elastic ⅛″ and ¼″, fusible interfacing, hand sewing thread and needles, and a loop turner are all supplies used in previous chapters. Other supplies will be listed with each technique.

Designing your own smart textile

Sarah Kettley

Source: Designing with Smart Textiles, 2016, Fairchild Books Library

Book chapter

When working with complex and technological compositions, it is easy to get entangled in time-consuming functional details and thereby lose touch with the overall expression.

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 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.

Markus Lupfer

Paula Alaszkiewicz

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Manolo Blahnik

Rio Ali

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Valentino

Lauren Bowes

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Anna Molinari

Giulia Bussinello

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Yves Saint Laurent, Spring/Summer 1988 Haute Couture

Lorynn Divita

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Throughout his career, Yves Saint Laurent famously drew inspiration from all of the fine arts, including painting, opera, the ballet, literature, poetry, and the works of Shakespeare. The influence of various painters on Saint Laurent’s creations dates back to his famous fall/winter 1965 “Mondrian Poliakoff” collection. His spring/summer 1988 collection, a tribute to cubism and impressionism and the work of Georges Braque and Vincent Van Gogh, was a natural fit into his oeuvre, with jackets embro

“Angie Dress,” Christian Dior by John Galliano, Haute Couture Fall/Winter 2000–2001

Waleria Dorogova

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

The omnipresent significance of the eighteenth century and the masked ball for the House of Dior found expression in the design of “Angie” for the “Masquerade and Bondage” collection, a short variation on 1760s court dress, paraphrasing the fashionable life and cruel fate of Marie Antoinette. Using the surface of the hip panels as a canvas for narrative and caricaturized embroideries, the dress becomes an epitome of storytelling through dressmaking, evoking crucial episodes of French history. Gal

Carven

Stephanie Edith Herold

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Kenzo Takada

Stephanie Edith Herold

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

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 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

Fabric Manipulation

Kimberly A. Irwin

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

Book chapter + STUDIO

Appliqué is the process of attaching another fabric, or patch, called patchwork, or ribbon or trim, called passementerie, to the surface of another fabric.

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