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Tracing Trends in Heian and Edo

Sheila Cliffe

Source: The Social Life of Kimono. Japanese Fashion Past and Present, 2018, Berg Fashion Library

Book chapter

It is probably impossible to pinpoint a moment or location at which fashion started. Chapter 1 outlined five defining aspects of fashion from a body of fashion fashiontheorytheory, and now we return to the story of kimono, in the light of those five aspects. References to clothing used in functional ways or to uphold custom(s)customs, traditions, or the status quo are to be expected, so here the search is for deviations from such norms. The search is for any shreds of evidence of clothing used in

Point-of-Purchase Display

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

plywoodimpulse shopping andbalancedefinedplywoodas displayersplywoodas displaysplywoodas fixturesPoint of purchase (POP) has been around since long before the cigar store Indian sculpted out of wood, clutching a handful of tobacco leaves, and garishly painted in green, red, and gold. It stood outside cigar stores and tobacco shops announcing to one and all on the street that tobacco products were sold just inside. Point-of-purchase signage probably goes back even further than the Middle Ages, whe

Dyed and Printed Fabrics

Deborah E. Young

Source: Swatch Reference Guide for Fashion Fabrics, 4th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Most of us have some understanding of the dye process, whether it is from dyeing our hair or staining a favorite dress. Powdered dyestuff is dissolved in a small amount of hot water. This creates a stock solution, which is highly concentrated liquid dye. The stock solution goes into a pot along with an activator—which makes the color brighter, permanent, and consistent—and the correct amount of water to suspend the dye solution. The more absorbent the fiber, the better it will absorb the water an

Footwear Design, Construction, and Production

Fiona Armstrong-Gibbs and Tamsin McLaren

Source: Marketing Fashion Footwear. The Business of Shoes, 2017, Fairchild Books Library

Book chapter

Footwear production is costly and time consuming. Historically, shoes would have been made in the country where they were destined to be sold to the end consumer, where footwear “brands” were signs of good quality and durability rather than style statements. However, in recent times the inevitable and unstoppable development of offshore production, speed of change in fashion, and consumer requirements have meant that the location of footwear production has changed dramatically.

Computer-Aided Design 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

Doug Ross at MIT coined the phrase “computer-aided design” in 1959.Douglas T. Ross,, by definition, is the use of computer technology as a tool to design products. The products that the programs design and create depend on the user. Specialized CAD programs are used by fashion designers, textile designers, industrial designers, architects, graphic designers, engineers, and a host of others. The list of creative u

Sportswear, Knit, and Print

John Hopkins

Source: Menswear, 2nd Edition, 2017, Fairchild Books Library

Book chapter

Men's fashions all start as sports clothes and progress to the great occasions of state. The tail coat, which started out as a hunting coat, is just finishing such a journey. The tracksuit is just beginning one.

Printed Fabrics (Swatches 81–88)

Ingrid Johnson, Ajoy K. Sarkar and Allen C. Cohen

Source: J. J.Pizzuto’s Fabric Science. Swatch Kit, 11th Edition, 2016, Fairchild Books Library

Book chapter + STUDIO

Thinking “Print”: Graphic Design and Elements in Two Dimensions

Karl Aspelund

Source: Designing. An Introduction, 2015, Fairchild Books Library

Book chapter

Designers Speak

Printing and Transfer

Kimberly A. Irwin

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

Book chapter + STUDIO

Printing is the act of applying an easily repeatable pattern to fabric. It can be done on any fabric or leather as long as the dye or paint is appropriate to the fiber content of that fabric (see Appendix A, Burn Test, page 252). A wide range of printing techniques have been in practice for much of human existence. Simple repeatable images can be created using blocks or stamps, while screen printing achieves clean crisp lines on a larger surface area.

Textile Printing

Ingrid Johnson, Allen C. Cohen and Ajoy K. Sarkar

Source: J.J. Pizzuto’s Fabric Science, 11th Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

Printing is defined as dyeing in a localized, patterned area. Early examples of applying color in the form of a print date back to 3000 BC. The development of blocks and stencils offered consistency to this early form of decoration. Printing with blocks requires the background to be cut away from a flat surface, originally made of wood. Color or dyes are applied to the remaining raised area, thus providing a design when stamped or pressed onto fabric. In stencil printing, the background is left i

Jean-Charles de Castelbajac, Spring/Summer 1984

Veronica Maldonado

Source: Fashion Photography Archive, 2015, Fashion Photography Archive


While most of de Castelbajac’s 1984 spring/summer contained serious and sensible clothes, the finale included a number of rectangular silk dresses screen-printed with images of household items such as US dollar bills, calculators, cigarette packs, and Warholian cans of Campbell’s soup. This was not the first time that de Castelbajac had shown these unconventionally shaped dresses—his previous collection had contained dresses emblazoned with internationally famous faces such as that of Charles de

Vivienne Westwood, Red Label, Fall/Winter 1999

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive


Quirky, colorful, and colliding: with its juxtaposed styles, influences, and prints, Westwood created a discordant harmony in her fall/winter Red Label collection of 1999. It was the sixth collection that Westwood had produced for her Red Label line, and it was a rapid departure from those of other designers that season. Among Westwood’s peers, the key trends were plain fabrics and creamy, muted colors; Westwood clashed brights, checks, and prints. In contrast to the clean, understated, minimalis

‘At Once Classical and Modern’: Raymond Duncan Dress and Textiles in the Royal Ontario Museum

Alexandra Palmer

Source: Dress History. New Directions in Theory and Practice, 2015, Berg Fashion Library

Book chapter

I first learned about Raymond Duncan from a lecture on men in togas given by Lou Taylor in the mid-1980s. She showed an astonishing image from the turn of the century of a man walking along the banks of the Seine wearing a draped toga, sandals and pushing an enormous black perambulator. I was flabbergasted, not only by his appearance, but also by the fact that I had not heard nor read about such a colourful character during my years studying art, fashion and textile history. Since seeing his text

Antoni & Alison

Vanessa Semmens

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Wrap Dress, Diane von Furstenberg, 1974

Linda Welters

Source: Fashion Photography Archive, 2015, Fashion Photography Archive


The name of Diane von Furstenberg (originally von Fürstenberg) is inextricably linked to the wrap dress that she introduced to American women in 1974. Within two years, she had sold over two million units, a feat that landed her on the cover of the 22 March 1976 issue of Newsweek. The popularity of her sexy, printed, jersey wrap dress waned in the late 1970s. When renewed interest in 1970s styles surfaced in the late 1990s, Diane von Furstenberg reintroduced the wrap dress. Other leading designer

Coloring Agents

Edith Anderson Feisner and Ronald Reed

Source: Color Studies, 3rd Edition, 2014, Fairchild Books Library

Book chapter

After reading this chapter, you will be able to:


Jovana Mirabile

Source: Fashion Thinking. Creative Approaches to the Design Process, 2013, Fairchild Books Library

Book chapter

Here, Jovana interpreted these questions within the context of customer and environment. While the initial idea was clear, how to translate and then execute this into a collection was not. In order to help define a direction, the concept of a muse was explored by collecting a variety of images that would identify the customer’s lifestyle (interiors, lighting, colour and editorial images). By exploring who ‘she’ might be, what ‘she’ would wear, and where ‘she’ would wear it, a more clearly defined

Tracing Figurative Fashion Art and Photography

Stacy Stewart Smith

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

Book chapter + STUDIO

Chapter 6 explores the attributes of Illustrator® Live Trace and the Live Paint Bucket Tool (K) through various multifaceted presentation exercises. To help you create compelling digital fashion art and merchandising resources, the tutorials are image-based and make use of fashion photography, freehand drawings, and/or computer-generated renderings. You will learn to use Live Trace with a combination of filters to mimic freehand drawing effects. You will also develop sensitivity to drawing male a


John Lau

Source: Basics Fashion Design 09: Designing Accessories. Exploring the design and construction of bags, shoes, hats and jewellery, 2012, Fairchild Books Library

Book chapter

Hand finishing is labour-intensive and costly, but produces results that are difficult to replicate. One person, or a team of people, might spend hundreds of hours completing just one accessory. Techniques traditionally used to embellish quality pieces continue to be employed today because of the ongoing demand for special and unique accessories. Intricate and detailed surface finishes, in both flat and three-dimensional forms, are frequently found in high-end accessories, as we shall explore fur

What is Textile Design?

Josephine Steed and Frances Stevenson

Source: Sourcing Ideas, 2012, Fairchild Books Library

Book chapter

‘I like to challenge ways of looking at things.’

Designing With Fabric

Evelyn L. Brannon

Source: Designer’s Guide to Fashion Apparel, 2011, Fairchild Books Library

Book chapter

“Many a dress of mine is born of fabric alone.”

The Design Process: Decorative Features

Evelyn L. Brannon

Source: Designer’s Guide to Fashion Apparel, 2011, Fairchild Books Library

Book chapter

“Much seriousness is required to achieve the frivolous.”

Non—Focal Point Design

Chris Dorosz and J.R. Watson

Source: Designing with Color. Concepts and Applications, 2011, Fairchild Books Library

Book chapter

There are four basic ways to create a design without a focal point:

Color in Designed Products, Installations, and Printing

James Thomas Long

Source: The New Munsell Student Color Set, 4th Edition, 2011, Fairchild Books Library

Book chapter + STUDIO

Today’s designer and artist works in a world where many decisions are based on science and current technology. The objective of this chapter is to provide an introduction to the science of measuring color and the effect of contemporary printing and lighting techniques on color.

The framework

Alex Russell

Source: The Fundamentals of Printed Textile Design, 2011, Fairchild Books Library

Book chapter

Printed textile design has a long history. Images over 4000 years old in Egyptian tombs show patterned clothing and there is evidence that similar fabrics existed in the same period in Eurasia. Whilst it is likely that these would have been hand painted, the use of blocks to stamp pattern onto cloth is believed to date back at least 2000 years in India; similar technology existed in China at the same time, although it is unclear if this was specifically used for printing textiles.

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