Chapter 7 - Weeblywaukeefcs.weebly.com/uploads/3/7/7/4/3774158/chapter_7_notes.pdf · •Runway...

1/23/12

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Beyond Design

By Sandra J. Keiser and Myrna B. Garner

PowerPoint developed by Elizabeth Law

Copyright 2009 Fairchild Books

All rights reserved. No part of this presentation covered by the copyright hereon may be reproduced or used in any form or by any meansgraphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systemswithout written permission of the publisher.

ISBN: 978-1-56367-960-5

GST R 133004424

Garment Styling

Chapter 7 Beyond Design

Chapter 7: Garment Styling 2009 Fairchild Books, a division of Cond Nast Publications, Inc. 4

Chapter Objectives

Explore various methods of recording design ideas and experimenting with styling options

Understand how to use design elements in combination with design principles to create an aesthetically pleasing garment

Chapter 7: Garment Styling 2009 Fairchild Books, a division of Cond Nast Publications, Inc.


Chapter Objectives

Recognize various classifications of garments for men, women, and children

Understand style variables for each silhouette classification

Understand how design details add interest to garment styling

Anticipate how design details affect garment cost and production scheduling

Chapter 7: Garment Styling 2009 Fairchild Books, a division of Cond Nast Publications, Inc. Chapter 7: Garment Styling 2009 Fairchild Books, a division of

Cond Nast Publications, Inc. 6

Garment Styling

Fashion dynamic - perpetual change Product developers identify core themes to

translate into items customer will buy Society more casual, fashion more item-

driven; more pressure on product developers

Silhouettes tend to evolve


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Methods of Developing Design Ideas

Design process parallels research process Goal: meet needs of target customer

Match customers aesthetic preferences Produce within target price point Relate to consumers lifestyle



Methods of Developing Design Ideas

Derivative approachsamples purchased, interpreted in developers own colorways and fabrications

Innovative approachinspiration collected from primary sources, then interpreted in totally original ways

Most development falls somewhere between



Methods for Developing Design Ideas

Techniques: Study primary resource such as historic or

cultural artifacts Buy actual garments for their silhouette, fit,

fabrication, or detailing Collect swipes, or tear sheets, from

magazines and Internet Sketch designs observed while doing market

research



Studying Primary Resources

Results in most original design ideas High-end designers travel to exotic locales Memberships to costume collections Costume exhibitions Cultural artifacts



Purchased Garments Derivative developers have largest budgets to

purchase samples from which their own line will be developed

Branded developers have smaller budgets used only for samples from which they want to interpret a fabric, fit, detail, or construction technique

Very small product developers have no budget for purchasing samples; must interpret trends from tear sheets and websites



Printed Sources and the Internet

Runway fashion conveyed almost instantly Sources once only in print, now in real

time, some free, others by subscription Developers use these sources to create

concept boards - collection of images, sketches, and swatches express design direction


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Sketches

Record and explore design ideas When shopping, carry small sketchbook,

making note of unique ideas, details, or proportions

Where possible, try on garments; can measure or study construction in dressing room



Sketches

Thumbnail sketches can be made after leaving a store to reference a silhouette change or simply an interesting detail

Flats two-dimensional drawings that represent how garment looks when spread out on flat surface



Sketches Silhouette ideas are generally developed as croquis

sketches Freehand May use an underlay figure slid under page as a template Floats include a garment sketch without the body

Ideas can also be developed as flats, 2-D representations of the garment spread out flat rather than on a body

Some designers prefer to work digitally; tablets enable designers to sketch on the computer or hand sketches can be scanned in order to add color and fabric on computer



Design Elements and Principles

When used together, create appealing garments that enhance wearers appearance, create appealing garments

Design organization of design elements, using design principles, to create products that are considered aesthetically pleasing to the observer



Design Elements and Principles

Designer work with design elements and principles in creative, original way

Stylists adapt the ideas of others



Design Elements

Building blocks of design; intrinsic to every product, including apparel Line Color Texture Pattern Silhouette Shape


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Line

Determines silhouette of garment and shapes formed within it

Internal lines seams and edges; fabric patterns and textures; tucks, pleats, darts, gathers, linear trim

Optical illusions Vertical lines elongate, slim figure Horizontal lines shorten, widen figure



Color

Initially attracts a customer to a garment Can create illusions

Warm colors draw in viewer and make area appear larger

Cool colors recede and make area appear smaller

Darker colors slimming, illusion of height, one-color ensemble

Bright colors illusions of bulk, call attention to figure



Texture

Texture surface or hand of fabric Attributed to fabrics characteristics - fiber,

yarn, construction, weight, and finish Fabrics hand affects how it drapes Texture affects how we see color



Texture

Some textures make the figure look larger (shiny, pile, stiff); others identify the bodys natural curves (drapey, clingy, sheer)



Pattern Created by

Texture of fabric Constructed into fabric through weaving, knitting, or felting Applied to fabric through printing, embossing, or other

techniques

Popularity subject to fashion cycles Create figure illusions Large patterns not appropriate for close-fitting

garments or garments with lots of seams



Silhouette

Silhouette outer shape of garment Size and shape of silhouette is first thing

we see when garment on body; cannot be seen clearly on hanger

Sometimes described by letters A, H, T, V, or Y

Also described by shape (trapezoid, tent, hourglass, pear, or bell)


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Silhouette

May be identified as periods from history (Empire or flapper)

Need to be comfortable and functional Evolve slowly



Shape

The silhouette is frequently sectioned off into smaller shapes within garment using seam lines, details, and garment edges Adds styling and interest to silhouette Helps achieve fit Allows combination of two or more fabrics Allows designer to create optical illusions

through line Creates symmetrical or asymmetrical balance



Shape

Important tool for achieving harmony within garment

Coordinates should be evaluated so shapes are related



Design Principles

Describe the way design elements are combined into a pleasing whole Proportion Balance Emphasis or Focal Point Rhythm Harmony or Unity



Proportion

Relationship or scale of all garments or ensembles parts to each other and to the body as a whole

Horizontal lines divide garment or ensemble into sections - waistline seams or jacket and top edges



Proportion

Uneven proportions (2:3, 3:5, 5:8) are the most pleasing to the eye no matter what the era (Golden Mean)

Most garment proportions follow golden mean, but some equal proportions also exist


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Balance

Balance sense of stability or equilibrium Symmetrical garment same on both sides Asymmetrical garment different on both

sides of the middle



Emphasis or Focal Point

Emphasis or focal point first place on garment the eye is drawn

Created through a convergence of lines, combination of colors, or detail

If several elements of the design are competing for the viewers attention, the garment may be overdesigned



Rhythm

Rhythm organized movement of the eye through related elements of a garment

The eye should move naturally through the entire garment

Achieved by strong silhouette lines through use of color, line, or shape and through repetition, radiation, and gradation



Harmony or Unity

Successful placement of a focal point that suggests rhythm is key to achieving harmony or unity in design

All design elements work together in a garment to produce a pleasing aesthetic appearance and to give a feeling of unity



Harmony or Unity

Anti-fashion movements may purposely break rules of design in order to call attention to a certain look



Understanding the Dynamics of Fashion Change

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Garment Variations by Category

Western dress basic classifications of garments typically worn by men, women, and children

Within each classification, certain elements vary from season to season according to fashion trends and specific needs of target markets

Chapter 7: Garment Styling 2009 Fairchild Books, a division of Cond Nast Publications, Inc. 37 Chapter 7: Garment Styling 2009 Fairchild Books, a division of


Garment Variations by Category

Style variables garment characteristics that contribute to shape, fit, and identity; include length, degree of fit, how it hangs from the body, fullness or flare, cut of armscye, and neckline style

Shaping devices needed when garment fits close to body; seams, darts, gathers, and pleats



Tops

Tops and T-Shirts Cut and sew construction pieces cut from

fabric rather than knit into shape Sweaters

Full-fashion some part knit to shape Pullovers, cardigans, sweater sets, twin

sets



Tops

Shirts and blouses Jackets and vests Outerwear jackets and coats Dresses



Bottoms

Surround the lower body Skirts Pants



Garment Details

Provide means of changing silhouettes, embellish and provide visual link to fashion theme

Component parts elements not part of basic structure but add aesthetic interest or provide functionality (necklines and collars, cuffs, pockets, belts)


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Garment Details

Decorative effects embellishment added to fabric (smocking, quilting, tucking, etc.)

Trims details added to the garment (buttons, braids, lace)



Component Parts/Collars



Component Parts

Necklines and Collars Sleeves and Cuffs Pockets Belts



Closures

Get a garment on and off the body If sufficient stretch in garment, fabric may

make a closure unnecessary Various types of zippers, button closures,

tie closures, hooks and eyes, Velcro hook and loop fasteners, and snaps



Planning and Sourcing for Garment Details

Options for planning detail Ready-made Studios that sell prototypes that may be

copied or adapted to developers line In-house graphic artists



Planning and Sourcing for Garment Details

Costs vary greatly depending on where sourced Handwork too costly in U.S. but may be

affordable in low-wage country Use of trim houses with special machinery

may need more time for color matching, productions samples, and shipping


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