The Basics Fashion Design series offers a lively and accessible introduction to the key concepts and techniques within the discipline. Each book is beautifully. Authors: John Hopkins, Simon Seivewright, Anette Fischer, Jenny Udale, Clare Buckley. The Basics Fashion Design book series by multiple authors includes books Basics Fashion Design: Research and Design, Basics Fashion Design: Textiles and Fashion, Basic Fashion Design. Basics Fashion Design Research and Design, Basics Fashion Design Book 4. Basics Fashion Design Developing a Collection. by Elinor Renfrew.
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Basics Fashion: Research and Design leads readers through the essential stages of fashion research--then explains Series: Basics Fashion Design (Book 1). Basics Fashion Design: Developing a Collection teaches the process from initial design This book is a great book to understand and enter into the market. Common KnowledgeSeriesBasics Fashion Design Basics Fashion Design: Research and Design by Simon Seivewright, Basics Fashion Design: Textiles .
Please note that this product is not available for download from Bloomsbury. Basics Fashion Design: Developing a Collection teaches the process from initial design ideas through development of product to the final outcome and its ultimate exhibition and sale.
The book is supported by illustrative examples and case studies, and includes an overview of fashion collections through the eyes of prominent fashion journalists. Developing a Collection contains everything the fashion student needs to know about developing a collection, including an overview of the development process; the common themes used by designers; different market levels, from haute couture to the high street; specialist collections; and approaches to designing a student collection.
Anette Fischer, Kiran Gobin. Elinor Renfrew, Colin Renfrew. Jennifer Prendergast. The textile sample s s s Fabric was rationed during the Second World War so the amount used within a garment was conserved, for example, skirts were slim, not flared or pleated, and were a shorter length.
Jackets were single breasted and trousers were a specific length. This was the era of make do and mend with people recycling their textiles. Dresses were made from curtains, clothes were altered and knitwear was unravelled and re-knitted.
Silk supplies from Japan were cut off during the war, so nylon became a popular substitute. As France was occupied, Paris as a fashion capital was under threat and American fashions rose in popularity. Denim and gingham labourers uniforms entered the ready-to-wear American market. After the war there was a reaction against ornate pattern. Textiles featured futuristic imagery, scientific diagrams and bright, abstract shapes that echoed this atomic era.
Textiles with linear drawings of newly designed domestic objects were also very fashionable. With the end of rationing skirts became fuller and fuller. These circle skirts were often hand painted and embellished. The influence of America on Europe also saw Hawaiian shirts and American prints becoming increasingly popular.
Some of the couturiers, such as Balenciaga, created silhouettes that worked away from the body. They were interested in the space between the body and the garment. Stiffer fabrics worked well for this. During the s new fabrics were developed. These included: Acrylic Polyester Spandex Calyx furnishing fabric. Screen-printed linen, designed by Lucienne Day for the Festival of Britain. Manufactured by Heals Paco Rabanne mini-dress in perspex pailletes and metal chain. Textiles were zany, in bright colours.
Space travel influenced bold prints and new synthetics with new dyes were being developed. Pierre Cardin and Paco Rabanne experimented with modern fabrications not seen in couture before. Trousers were normal daily dress for women. Jeans also became very popular particularly amongst teenagers as a result of American westerns and the influence of movie stars such as James Dean. Towards the end of the s there was a nostalgic look back to the art deco and art nouveau periods.
Imagery was enlarged and translated into bright psychedelic colours. Florals were depicted flatter and with bold colour, and the term flower power was coined. The work of Finnish designer Marimekko illustrates this very well. Anti-establishment looked to different non-Western cultures and religions for inspiration and enlightenment. Fashionable men wore bright colours, lace and frills. The oil crisis of the s contributed to the downturn of the synthetic fibre market in Britain.
Natural fabrics were increasingly adopted. The textile sample The UK was politically and economically more stable and fashion followed suit, adopting a more conservative approach.
In Margaret Thatcher became the first female prime minister of Great Britain. More women were working and they chose to wear tailored suits with large shoulders. The term power dressing was coined. There was also a body-conscious trend with underwear worn as outerwear. Gaultier famously designed Madonnas conical bra outfits for her world tour in Azzedine Alaa and Bodymap designed with the developed stretch fabric Lycra to contour the body.
There was also a different trend developing started by the Japanese designers Rei Kawakubo and Yohji Yamamoto. Garments were not body conscious, but played with interesting cut. Fabrics were monochrome, non-decorative and in some cases torn and raw.
Recycled cotton was also introduced.
Basics Fashion Design 01: Research and Design
Martin Margiela was one of them; he worked in a conceptual way and wanted his clothes to look man-made not mass-produced. He used deconstruction and recycling throughout his collections. Ripped denim and customisation became mainstream. Textiles have become more and more decorative as production is taken to the Far East and China. The factories here can add value to a textile through embellishment; the workers are skilled often using local crafts and the fabric can be produced cheaply.
Modern fabrics are developing so that they are light-sensitive and breathable. Computer-aided design and manufacture is common. The designer is now far more in control of the mechanisation process, however, as a result, craft skills are unfortunately declining in Europe.
A range of dress patterns from the s to the s. The textile sample Different cultures By looking at other cultures we can see the variety of uses for traditional textiles. In Japan the kimono is made from lengths of fine woven silks and there is little cutting in manufacture so that the pattern of the cloth can be clearly seen.
This is in contrast to the Western tailoring of the 16th and 17th centuries. A garment that had seaming, darting and panelling was very desirable, as it would have been expensive to produce and would indicate that the wearer was wealthy enough to afford such a garment. It is interesting to look to other countries and their traditional handcrafted textiles for inspiration and to note how these techniques can be applied to modern textiles.
Hand-crafting textiles in Cambodia. Examples of research boards. Examples of drawing techniques. The next step is to collate the research that you have gathered. This gathering of informative textiles from classic textiles, cultures or other sources of inspiration can be in the form of mood boards or sketchbooks that document the research and create links to form a story that will develop into design ideas.
It is important to then find a way to express your design ideas through drawing, collage, photography, or maybe CAD work. It is wise to also consider the surface you are going to design on: will you start to work on paper initially and then develop into cloth and knit, or will you start to work directly with material? As you design you must understand the basic textile design principles of scale, texture, colour, pattern, repeat, placement and weight. Consider how these principles work within a sample and how these samples work together as ranges, as well as how your designs will result in functional, inspirational or commercial textiles suitable for use within contemporary fashion design and garment construction.
Determining the most appropriate medium to render your designs in is very important, whether its paper, paint, pencils or a software package. Work out what is required and in what time frame. Bear in mind that you might need to learn new skills for the designs you are creating. Always remember to experiment and enjoy the process.
The textile sample Collage and 3D rendering Working with different types of papers and building up layers to create textures can be useful for knit and weave ideas.
Try finding unusual textures to play with, but remember to refer back to the function of your fabric. You might try to experiment and mock up a sample in a fabrication similar to the yarn you might eventually use. Example of collage work. The use of the computer can make the design process faster. Colour and scale can be changed more quickly than manually recolouring or rescaling a design.
Remember that colours on a computer screen are different from those eventually printed out, as the computer screen works with light and not pigment. Scanning in original drawings and combining them with other imagery can work well. Avoid using filters and treatments from design packages unless they are used originally otherwise they can look very obvious.
The use of photography can be great for capturing ideas quickly. Textures and shapes can be registered in great detail immediately without the need for hours of drawing. With the use of packages such as Photoshop, images can now be successfully translated into designs. Layers and collages can be built up on screen.
This knowledge will allow you to fully explore the design process. Obviously different samples will feature certain principles more than others. For example, you might produce a range of black samples that focus on the application of shiny surfaces to matt-base cloths. The juxtaposition of surfaces and placement of pattern might be the focal point of these designs rather than colour.
Look at the scale of your design within the fabric piece. Is it very small and repeated or is it enlarged and abstract? You may consider placing a large design with a smaller design for added contrast.
Think about how this design will work on the body and how it will work within the pattern pieces of a garment. An enlarged bold design may not have as much impact if the design has to be cut up to be used in a garment with many pattern pieces. Think how you can place a large design within a garment silhouette for the best effect. Example demonstrating how print scale can work on the body.
Liberty print designs by Duncan Cheetham showing an all-over floral pattern top and a chevron print bottom. The chevron design has a direction, a clear top and bottom to the design. Repeats can be very simple or very complicated working across a large area. The bigger the repeat the harder it is to see on a length of fabric; a small repeat is more obvious. It is important to observe how your design flows across a length.
When you repeat your design en masse you might find that you can see where you are clearly repeating the motif. This might work in a design or it might look rather crude.
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Also consider if there is a direction to your design. Is there a top and a bottom? This can look very interesting visually, but remember that this kind of design limits the lie of a fabric, as the pattern pieces will all have to be placed in one direction.
If you are working on a computer it is very easy to see how your design will work by cutting and pasting.
There are also computer packages that quickly put your design into repeat. To work out manually whether your designs flow, cut the design in half and place the top part below the bottom to see where you need to fill in gaps.
The most obvious placement is a print placed on the front of a t-shirt. It is interesting to consider how a design can be engineered to work around a garment. Can a seam be moved to allow a design to travel from the front to the back of a garment? Could a placement work around the neck or around an armhole? Can a design fit into a specific pattern piece? If you are working in this way you may have to consider how the engineered design scales up or down according to the size of the garment.
A size 10 garment will have a smaller neck hole than a size You will have to produce a different size design for each dress size for this to really work.
If you are working on the computer this is much easier as designs can be scaled quickly and placed within pattern pieces. Clever use of placements might affect the construction of the final garment. For example, a coloured block could be knitted directly into a garment, which would mean a coloured panel would not need to be cut and sewn in.
A weave could incorporate an area of elastic running across it, thereby avoiding darting in the final garment to fit it to the body. Smocking applied to a fabric can work in a similar way. The textile sample Colour and colourways Weight, texture and surface It is often a good idea to start finding a colour palette that you like and that suits your theme before you begin designing. Finding an image, a photograph or painting where the colours already work together can be a good start or you may just start selecting colours and working them together by eye.
You can work with chips of paper colour, fabric swatches or on the computer. A palette of colours can be any size, but do not over complicate it by using too many colours. Check your balance of colour and tone within the palette. Consider what the colour is going to be used for and in what proportion. Remember a small area of colour looks very different to an expanse of the same colour over a couple of metres of fabric.
When you design consider the various tones and saturations that can be found within one colour. Also experiment with the different textures of a hue. For example, the colour black can be blue-black, warm black, washed-out black, matt black, shiny black, or transparent black.
Your palette will change under different lighting conditions natural light at certain times of the day and different forms of electric lighting will all have an effect.
When you start to transfer your designs on to or into fabric, think about what weight your textile will be in relation to the design and also in relation to its use in the final garment. Understanding fabrics and yarns is paramount to this process this will be explored more later on in the book.
Consider whether your design would benefit from texture. Surface interest is very important within textile design, especially in knit, embroidery and embellishment. In knit and weave design the weight of the yarn and size and type of stitch or weave will affect the texture. For printed textiles, surface interest is achieved through printing. Some printing media will sit on top of the fabric and produce a relief effect, while others might eat away at the surface of the textile through a chemical reaction.
The type of embellishment and the yarn or stitch used will produce various textures on embroidered fabrics. Mechanical and chemical finishing processes can change the texture of a fabric after it has been created.
Interesting textiles can be created by experimenting with a mixture of processes, for example, pleating a fabric before you print on to it, or knitting a fabric then boiling it to give a matted texture. This design contains a striking use of placement. The circles on the jacket are placed so they correspond to the circles found on the blouse and shorts beneath. The circles on the front of the jacket also align with those on the sleeves and cuffs.
Prints by Jenny Udale showing a matt print on a shiny fabric.
Puff adds surface interest and colours work together. You will probably only have to produce a small length of fabric or a small range of garments that feature your fabrics. However, when you become a designer in the fashion industry you will have to consider how you sell your work.
If you choose to manufacture your textiles you will also have to consider the skills and technology you will need for production and the ethical choices you might make.
You must consider how your textiles now work together and form a collection; then to whom you will present the samples and where you will sell them. Collections of fabric Collections fabrics s When you create a collection of fabrics you must consider how the designs work together and what their common theme is. Are you creating a collection of similar designs, for example, a range of striped textiles or a variety of designs a stripe, spot and floral that are maybe all rendered by a similar drawing technique?
Consider how your range of designs works within a fashion collection: do you have all the different weights and qualities needed for all the garments? The colour palette is usually common to a range of fabrics, but you can vary the proportion of colour used in each sample within the range.
Try hard not to repeat a motif in a collection of designs. For example, you might think each design is very different, that in one design your motif of, say, a leaf is small and lime green and in the next design it is larger and black, but one company may download the first design and another the second, and their designers could then resize and recolour your designs and end up with similar textile designs.
The organic fabrics are digitally printed and include a variety of textures, weights, embroidery and embellishment.
Expofil: yarns and fibres. Indigo: textile design including print, knit, embroidery and vintage fabrics. Le cuir Paris: leather, fur and textiles for accessories. Ideacomo: fabrics for womenswear.Textiles and Fashion. Like many concepts in the book world, "series" is a somewhat fluid and contested notion. This will be discussed in the next chapter. Misha Kaura rated it it was amazing Aug 06, It is important to observe how your design flows across a length.
Research and Design by Simon Seivewright. Helpers omargosh 8. Rich in visuals, diagrams and examples of sustain… More.