BASICS FASHION DESIGN 01 RESEARCH AND DESIGN PDF
The ability to generate inspired ideas is vital in all creative industries, fashion being no exception. Basics Fashion Design Research and Design. "Basics Fashion Design: Research and Design" will lead you through the essential stages of research and translation into design ideas. It explains the. *[Download]* For the Love of Physics: From the End of the Rainbow to the Edge of Time - A Journey Through the Wonders of Physics [(Full ePub)] By [(Walter.
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5B%5D Basics Fashion Design - Sourcing resourceone.info - Ebook download as BASICS Josephine Steed Frances Stevenson textile design sourcing ideas . The research techniques used in textiles are similar to those used in other. Get instant access to our step-by-step Basics Fashion Design 01 Research And Design solutions manual. Our solution manuals are written by Chegg experts so . the fashion design principles for creating aesthetic values. The design should also The research also stated the aesthetics of fashion design is 'fashion.
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. 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 buy 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. Moda In: avant-garde materials for the fashion market. Prato Expo: fabrics for womenswear with a high fashion content and casual menswear.
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Shirt Avenue: traditional and novelty shirting fabrics. Textile samples tend to be presented on hangers or simply mounted on light card fixed at the back. It is important that the textile is not stuck down as it needs to be handled, therefore usually only one edge is attached to the mount leaving the fabric sample hanging so the weight and drape can be experienced.
Keep the mounting plain and simple so it does not distract attention away from the textile design. It is not normally advisable to present your samples in portfolio plastic sleeves, as the fabrics cannot be easily handled. The textile sample Fabric fairs 12 Fabric swatches presented alongside fashion drawings clearly show how the textiles will be used within a collection. The fabrics are not fully stuck down, but hang so they can be handled easily.
The Premire Vision fabric trade fair. Fabric trade fairs are held biannually in line with the fashion calendar. The fairs showcase new developments in woven, knitted, printed and embellished fabrics. Premire Vision is the main fabric and colour fair held biannually in Paris. Fabric manufacturers from around the world display their new fabric samples and take orders from designers. Sample lengths of fabrics are made first by the manufacturer and sent out to the designer.
From this, garment samples are made and orders are taken. Based on this, the fabric is ordered and if not enough is ordered by designers, a fabric will not go into production.
Basics Fashion Design 01: Research and Design
Indigo, also held in Paris, is a platform for textile designers mainly print designers to show their textile samples. The samples are shown as collections and are bought by designers for inspiration or by fabric companies and fashion companies to be put into production.
Pitti Filati is a biannual yarn fair held in Florence. Here yarn companies display their latest collections of yarns for production and textile designers sell their knitted and woven samples.
The other main yarn fair is Expofil in Paris. If you choose to represent yourself at a fabric fair you must consider the cost of travel, hiring a stand at the exhibition, manning the stand and accommodation while you are there. If an agent takes your work to sell they will take a large cut of the sales of your samples to cover their expenses.
Always keep a good record of the samples that you give to an agent. Number each sample on the back and list the ones that are going, get the agent to confirm and sign the list. Make sure you know what percentage the agent is taking and how long they will take to pay you.
In other words, fabrics that use great design and can be sustainable, but can also be forward thinking. We should also consider how traditional crafts, such as block printing, hand crochet and crewel work can be maintained. These handcrafts give textiles character and individuality, and they can add value to a product as a result of the time and skill needed to create it. A garment that has been hand stitched and embroidered will never be exactly the same as another garment.
Certainly high-end designers are incorporating handcrafted fabrics and finishes into their collections, but these handcraft techniques are difficult for the high street to copy and therefore set them apart. Consumers, however, are demanding fabrics that can perform well and that can wash and wear well, so maybe combining craft with performance and modern technologies will ensure their survival.
Ethical One reaction to this mass consumption is the rise of sustainable collections. Companies are considering what the impact of their textiles and processes has on the environment. Many are choosing to use fabrics that are made from recycled material, either at fibre or fabric level.
Many fibres come from natural sources and can be reused; some synthetic fibres can also be recycled, for example, polyester can be made from old plastic bottles. Dye companies There has definitely been a trend for organic and fair trade in industries such as food and cosmetics, but the fashion industry has been slower to pick up on the idea. Some may say that fashion is fundamentally about aesthetics, so is there room in fashion for ethics?
It is important that ethical companies integrate functionality, design and quality into their ethical story for their products to be fashionable and desirable. We are buying our clothing in supermarkets with our weekly food shop.
We are wearing a t-shirt a few times and throwing it away to buy the next desirable cheap garment. Fashion has a short shelf life with new collections appearing every six months. If the seasons collections do not sell in the season they go on sale, they are burnt or recycled. Synthetic dyeing is often seen as unethical. However, natural dyes need fixers that can be harmful to the environment as they build up; also some natural dyes need a large amount of natural material to produce a small amount of dye.
As a designer you can choose where you buy your textiles or where you have your textiles manufactured. It may be harder to source sustainable or ethical material and it may make your designs more expensive.
You may be competing with cheaper goods from non-certified factories, but ultimately it is your choice. Decide how much you want to be involved with the issues, but educate yourself.
The textile sample Fairtrade The term fairtrade is part of the Fairtrade Foundations logo and is used to refer to products that have actually been certified fairtrade. The Fairtrade Foundation gives this certification after it checks that the growers or workers have been given fair pay and treatment for their contribution to the making of the product. The working environment in which the products are made is taken into account. Manufacturers have to demonstrate that they provide good conditions for the people involved in the factory.
Researching Colour, Surface,
There are basic standards covering workers pay and conditions, as well as issues such as the absolute prohibition of the use of child labour, which must be met in order to qualify for the fairtrade kite mark.
Fairtrade is also used to describe products that try to encourage the use of natural and sustainable materials, together with contemporary design to maintain ancient skills and traditional crafts, where regular employment and the development of skills can bring dignity back to people and their communities. IFOAMs goal is the worldwide adoption of ecologically, socially and economically sound systems that are based on the Principles of Organic Agriculture. The principles aim to protect the land that is being farmed and also those working on it and the communities of which they are a part.
Strict regulations define what organic farmers can and cant do, placing strong emphasis on protecting the environment. They use crop rotation to make the soil more fertile. They cant grow genetically modified crops and can only use as a last resort seven of the hundreds of pesticides available to farmers see Chapter Two: Fibres, for more information on organic cotton production.
The campaign for animal rights gets stronger every year, yet designers continue to show catwalk collections that contain fur. There still seems to be a demand by a certain consumer group for fur in fashion. Designers are now using fur and leather substitutes in experimental ways. Stella McCartney does not use any animal products in her collections; instead she uses canvas and pleather fake leather in her accessories.
There is a lot of research to develop good leather-look fabrics. The Japanese company Kuraray produces Clarino and Sofrina and the company Kolon Fibers produces an ultra-microfibre textile called Rojel. The possibilities of futuristic textiles are positively endless.
Smart materials Interactive clothing incorporates smart materials that respond to changes in the environment or to the human body. Heat, light, pressure, magnetic forces, electricity or heart rate may cause changes to shape, colour, sound or size. It is especially appropriate to textiles, as during the construction process, fibres and yarns can form circuits and communication networks through which information is transferred.
Coating finishes, printing and embroidery can also all be used to conduct information. Clothes could quite possibly interact directly with the environment by opening doors or switching on lights or could communicate with images, light or noise. Fibres are being developed from natural sources to mimic nature, for example, the development of spider silk.
Fabrics are also being grown directly from fibres in the same way that skin or bones grow. Digital technology and computer-aided design is advancing and making the designers job easier. Designing a textile sample using CAD can produce a repeat in many colours far quicker than if done by hand.
Computerised looms can produce metres of fabric in minutes. Obviously manufacturing processes must evolve, but it is important to still understand the craft techniques on which these processes are based. Wildlifeworks produces organic and fairtrade clothing. Fabrics are made fundamentally from fibres. These fibres can be categorised simply as natural or synthetic and each fibre has its own characteristics and qualities. For example, cotton fibres produce a fabric that is breathable, while wool fibres create a warm cloth, but one that can be sensitive to heat.
The way the fibres are spun and the yarn constructed affects the performance and look of the final fabric. Finishes and treatments can be applied to a textile at fibre, yarn, cloth or final garment stages of production. These finishes can enhance and change the qualities of the textile for fashion. Colour, texture and performance qualities can all be added.
Obviously the way the fabric is constructed also gives the fabric a specific quality. This will be discussed in the next chapter. Companies who manufacture man-made and natural fabrics are considering their impact on the environment with their manufacturing processes. The production of natural fabric may have more impact on the environment than a man-made one if it uses harmful chemicals in its processes; also many man-made fabrics can now be completely recycled.
Fabric characteristics can be integrated into the make-up of man-made fibres reducing the need for chemical and mechanical finishing processes. Bottom row from left to right : foil-printed linen, linen; denim, cotton shirting; bamboo, jute hessian. Natural fibres are derived from organic sources. These can be divided into plant sources composed of cellulose , or animal sources, which are composed of protein.
Cellulose Cellulose is made of carbohydrate and forms the main part of plant cell walls. Styling Clare Buckley. Add to basket. Jewellery Design Elizabeth Galton. Designing Accessories John Lau. Sewing Techniques Jennifer Prendergast.
Construction for Fashion Design Anette Fischer. Knitwear Juliana Sissons. Fashion Drawing John Hopkins. Table of contents Introduction. What is a brief? Where do you find research?: Choosing a theme or concept; What are primary sources? How to compile your research: The sketchbook; Drawing; Collage; Juxtaposition; Deconstruction; Cross-referencing; Analysis of research; Focus on key elements; Mood-, story-, and concept-boards; Examples of layout and composition.
Three-dimensional approached to research: Model and drape; Fibre and fabric qualities; Recycled garment manipulation. Designing from your research: Bridging the gap; Design development elements; Ideas generating exercise; Development and refinement of individual garments; Selecting and editing your ideas to form a collection.
Alice Palmer Interview: Wendy Dagworthy Interview: Alexander Lamb Interview: Daniel Pollitt Choosing what to research Choosing a theme What are primary sources?
What are secondary sources? Sources of inspiration Exercise 2: Recycled garment manipulation Interview: Dr Noki Interview: Richard Sorger Compiling your research The sketchbook Techniques for drawing Collage Juxtaposition and deconstruction Cross-referencing Analysis of research Focus of key elements Exercise 3: Focus research pages Sketchbook examples Interview: Omar Kashoura Interview: Jenny Packham Designing from your research Bridging the gap Exercise 4: Collaged research on figures Model and drape Photomontage with drapery Design development elements Exercise 5: Working with the colour wheel Market levels in fashion Exercise 6: Design development 1 Refinement for individual garments Exercise 7: Design development 2 Selecting ideas to form a collection Interview: WGSN Interview: Creating a design development six-figure template Illustrating with collage Art materials Illustration Working drawings Layout and composition Beyond the drawing board Interview: David Downton Interview: Breaks down the research and design process clearly, helping to understand the importance of relevant research for design.Breaks down the research and design process clearly, helping to understand the importance of relevant research for design.
Textures and shapes can be registered in great detail immediately without the need for hours of drawing. This can be for an interview.
These colours will add life to the collection and will ideally entice the customer to buy each seasons new colours along with the trans-seasonal basics. Some inspiration comes from tapestry 44 weavers. Why buy extra books when you can get all the homework help you need in one place? Moda In: avant-garde materials for the fashion market.
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