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Project Thirteen—Illustrator: The Blob and Art Brushes

Robert Hume

Source: Fashion and Textile Design with Photoshop and Illustrator. Professional Creative Practice, 2016, Fairchild Books Library

Book chapter

In this project you will:

Etro

Sandra J. Ley

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Florals

Tessa Maffucci

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Floral designs are ubiquitous in fashion. They appear reliably with each new season, spring or fall, as designers attempt to find new ways to iterate this now traditional motif. The history of floral textiles is complex. Flower designs have been intimately tied up with colonialism and the convergence of cultures of dress; however, the patterns themselves are often seen in simplistic terms as signifying femininity or pastoral innocence. Florals can translate the beauty of the natural world onto th

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

Oscar de la Renta, Spring/Summer 1993

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

With wide-brimmed hats, sunglasses, and exposed midriffs, worn by grinning models, Oscar de la Renta’s spring/summer 1993 collection overflowed with a summer vacation spirit. Simultaneously taking inspiration from fine art and comic strips, de la Renta nevertheless kept in mind the women he was designing for, a consideration that had always been important to him. This entailed a fun yet wearable array of shapes, prints, and colors from easy black and whites to brights, with options for the day, e

Oscar de la Renta, Spring/Summer 1995

Lucy Moyse

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Oscar de la Renta’s spring/summer 1995 collection featured an array of sherbert candy shades and styles of dress, from halter, strapless, and bandeau minidresses to full, short-sleeve A-line versions, inspired by his mentor, Cristóbal Balenciaga. Shown at New York Fashion Week, the collection also included provocative, nightwear-inspired styles and even a wedding dress. While the mix of styles was eclectic, many of the designer’s praised signature traits were apparent, which converged to form an

Liberty

Emily M. Orr

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Fendi, Spring/Summer 1988

Alexis Romano

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Fendi was an important feature of the globally renowned, flourishing 1980s Italian fashion landscape, yet it retained its original status as one of the traditional accessories brands that helped shape Italy’s classification as a historic center of artisanal, high-quality craftsmanship. Fendi’s 1988 collection, with Karl Lagerfeld at the helm, was at once bold, whimsical, ironic, and rebellious in terms of color, motif, silhouette, and accessories. It was a celebration of postmodernism, which in t

Givenchy Couture, Fall/Winter 1990

Aimee Williams

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Two years after the acquisition of Givenchy by Louis Vuitton Moët Hennessey (LVMH), Givenchy’s fall/winter 1990 collection struggled to negotiate its legacy as a couture line and produce designs to appeal to a contemporary clientele. Elements that had worked in favor of the house in the 1980s drew criticism. While other designers unstructured their silhouettes, Givenchy presented square shoulders on wool suits and evening wear alike. Gold lamé and organza dresses with short, dipping hemlines were

Defining Prints and Patterns

Stacy Stewart Smith

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

Book chapter + STUDIO

The subject of defining patterns is discussed and demonstrated throughout this book and is the focus of this chapter. In later chapters, even more textiles, treatments, and finishes will be covered.

Style & content

Alex Russell

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

Book chapter

Designs for printed textiles are often categorized by their content. This category is likely to be the a key word used to describe a particular print or pattern. Despite the fact that the definitions can be quite fluid and that not all terms are in use by all practitioners, they provide a useful way of introducing much of the key content of printed textiles. This section will look at six main groups that can be used to define different types of print and pattern. Not every pattern can be describe

Flowers in the Art of Dress across the World

Peter McNeil

Source: Berg Encyclopedia of World Dress and Fashion. Global Perspectives, 2010, Berg Fashion Library

Encyclopedia entry

When an object or motif is universal, there is a tendency to trivialize it. This is undoubtedly the case with the theme of flowers in its relationship to fashion and textiles. The floral motif is cross-cultural and ubiquitous but is connected in highly specific ways to different systems of social organization, personal adornment, and religious practice. The ways in which flowers and their representations are used highlight attitudes toward covering the body and adorning the head, as well as compl

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