1/23/12 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 means graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systems without written permission of the publisher. Beyond Design By Sandra J. Keiser and Myrna B. Garner ISBN: 978-1-56367-960-5 PowerPoint developed by Elizabeth Law GST R 133004424 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 Garment Styling Chapter 7 Beyond Design Chapter Objectives 4 Garment Styling 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 Fashion dynamic - perpetual change Product developers identify core themes to translate into items customer will buy Society more casual, fashion more itemdriven; more pressure on product developers Silhouettes tend to evolve 5 6 1
Methods of Developing Design Ideas Design process parallels research process Goal: meet needs of target customer Match customer s aesthetic preferences Produce within target price point Relate to consumer s lifestyle Methods of Developing Design Ideas Derivative approach samples purchased, interpreted in developer s own colorways and fabrications Innovative approach inspiration collected from primary sources, then interpreted in totally original ways Most development falls somewhere between 7 8 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 9 10 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 11 12 2
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 13 14 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 wearer s appearance, create appealing garments Design organization of design elements, using design principles, to create products that are considered aesthetically pleasing to the observer 15 16 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 17 18 3
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 19 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, onecolor ensemble Bright colors illusions of bulk, call attention to figure 20 Texture Texture surface or hand of fabric Attributed to fabric s characteristics - fiber, yarn, construction, weight, and finish Fabric s 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 body s natural curves (drapey, clingy, sheer) 21 22 Pattern Silhouette 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 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) 23 24 4
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 25 26 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 27 28 Proportion Proportion Relationship or scale of all garment s or ensemble s 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 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 29 30 5
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 viewer s attention, the garment may be overdesigned 31 32 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 33 34 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 35 36 6
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 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 37 38 Tops 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 Shirts and blouses Jackets and vests Outerwear jackets and coats Dresses 39 40 Bottoms Garment Details Surround the lower body Skirts Pants 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) 41 42 7
Garment Details Component Parts/Collars Decorative effects embellishment added to fabric (smocking, quilting, tucking, etc.) Trims details added to the garment (buttons, braids, lace) 43 44 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 45 46 Planning and Sourcing for Garment Details Options for planning detail Ready-made Studios that sell prototypes that may be copied or adapted to developer s 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 47 48 8