Ss SBT Fashion . d oh) ] i ee le Mee Mole tue ice ie a am ur metra [oe Ma os tame trailer eure trl tele ar ed a1 needed t6becsme a fashion designer, examines the varied career opportuni- WCE) 1) | Reale eek reece RUT (Roam CR CR TT ee Cll pT) [fas Sco late (Marea COMn ch fe lia Medco) [orem oD cara oT eat ee- Rae) ote tion; choosing fabric; fit and cutting methods; and portfolio presentation. USSR Teams ee Estem aa Re auld oll) nena ae changing the fashion industry, and includes expanded chapters on drawing CUTRUE aoa Re PRCA ane Cie M elec T iy ICRU lla Ce Roach Th (Meret cea [eel ale=d (eke [alte ested olele) @ eae ROR LC emer coerce (a COR Roce (eey (oleh N Bet)Published in 2005 by Laurence King Publishing ‘Great Rural treet London WCW IEP "3420 14308850 Fr¥4g 20 1430 8980 Eeenguiles@laurencebing 2oUk ‘wes laurenceking co.uk Copyright © 2005 Certral Saint Martins College of AN and Design, Unversity ofthe Arts, London. First published in Great Britain in 2002, Second ‘ecitton publiched 2005 by Laurence King Publishing in asseciation with Ceatral Sait Martins College of rt ard Design. This book has been produced by Central Saint ‘Martins Boot Creatian, Southampton Row, london, W618 4AP, UK AB aghts served. No part ofthis publication may be reproduced or transmitted in any for ‘or by any means electronic oF mechanical, including photocopy, recording ot ary Information storage or retvieval system without permission in waiting from the pushes ‘Acatalogue record ft this book is avaiable fom the autish bray IsBNe%: 978--85669-136-0 ISANA0: 16695-43644 Design: Chestapher Wilson Printed in China Coce de Mer project Mark Fast Moly Albight, leila Heinel Delia Covezt iad Mahameud, ‘Myung Cha. Bettina MeCabe, Latta MeCialg ‘Mode :bettina McCabe Photography sther Johnson Frontispiece: garment design by team: Jenifer Carol Mischa Noteutt. base Raine, Fanry Kost. Ceongla Beavis angele Lam Laura Bahay, Teresa Buck Model:Jeneter Carol Photography: stber Jonason{qualify 2 student to work in the apparel industry. The majority of fashion books are biographies of individual designers, technical manuals or cultural histories; they do. little to explain the training, the modern industry or the process of turning the creative limpulse into a marketable product. This book shows how the designer and merchandiser can beceme skilled at reading the prevailing sestheticateringit and applying the imaginative result to the human body ina desirable and marketable way. Since the 1980, much of the manufacturing of European and American clothing has moved offshore to the East. n the West, fashion is now 3 service industry where creativity takes place against a backdrop of diferent tastes, ifestyles and market sectors, global trading and growing technological complexity. This book explores the differences between markets and manufacturing styles traditional methodology and newfangled computer-aided processes and systems. There may be only 2 handful of apprenticeships in tailoring and design jobs in haute couture but new technology and a thriving market indicate that unprecedented job opportunities are becoming available, ‘tls predicted! that there will be more small companies within the industry and that they will need innovators, expert management and products of high quality to satisty the growing demand for distinguished and individualized products \While Fashion Design touches on many aspects of its subject. it can only provide an overview; the more technical and advanced facets of pattern-érafting, dressmaking and talloring or marketing practice are not included. Many of these techniques require ‘hands-on practice and cannet be learnt from a book. There are no projects for the reader | Menswear but many suggestions for consideration, further reading and investigation. This book does not give advice on howe to dress well or forecast the future of fashion, but for anyone who is committed to a career inthe fashion industry it will give an insight into how others have achieved their goals. It aims toinform, inspire and guide, often by sing the testimonies of those who have already travelled the route, walked the walk and talked the talk, How to use this book Fashion Design is both a manual and a career guide. Although some of the information may be stated as fact, there is no right or wrong way to become a fashion professional or reach an effective fashion solution, Fashion people are often rebels who know that ‘the rules are made to be broken. It is my experience that every student and student group is unique, both in terms of personality and response to the world they encounter, “The same project can yield entirely cifferent results in different hands at diffrent times (One ofthe great pleasures of beinga student, and indeed a teacher is the experience of sharing ard tearing from the surprises tiumphs and mistakes The examples of project works, teaching ad learning styles, and pathway information or syllabus are not offered preseriptively am grateful forthe suggestions obserations and cantbutions to this ‘work from students, colleagues and professionals. In this second edition of Fashion Design Lhave attempted to incorporate previous omissions and address the rapily widening gu between time-honoured fashion practices as they ae conventionally taught and the fast-moving ground of twenty-first century manufacturing. marketing and promotion Fashion doesnot sandstiland —WTeTotesandClnngsvoteey cove, graduates must ht the ground running. Oagrams and practical ané technical data have wcishanpena eterno onto been improved upon, and there are comprehensive iss of esources, texts and industry Orpatment of We and aust, 2003) Irteduction 7Fashion design Design by Alexander McQueen nominated British Designer ofthe Year 9996,1997.2001, 2603. |nte/mational Designer af the Year 2003 anid awarded the COE by Her Majesty the Queen imz003 bodies for consultation. Fresh examples of sketches, artwork and photography have been inciuded to capture the atmosphere and excitement of college and professional ‘environments. In acknowledgement of a wide readership ang the increasingly global trade, the historical, geographical and cultural perspective has been extended in this edition. Expanded descriptions of job opportunities, working conditions and equirements for careers in the fashion industry ean be found in the final chapter and will be useful as a guide to selecting the right path fora foundation study er degree course. The fashion degree syitabus typically sets out to familiarine students with Increasingly complex practical and intellectual demands, and simulates mary of the tasks and sequences that the real-life designer or creative nzeds to master In this book, the range of information and concepts that a student is lily te encounteris set out across seven chapters. which can be dipped into and consulted in any oider.\ike any other industry, fashion and education have their own jargon, and a mastery of it will go some way to opening up apparent mysteries. Throughout this book the use of bold type indicates that an explanation of the wards and terms can be found in the glossary (pages 216-8) or the list of pattern-drafting and sewing terms (pages 227-31). Pages ‘edged in brown indicate tables, diagrams or Ilustrations that can be photocopied as study aids. Lists, detailed information and taxonomies are shown in boxed subsections to the text. At the end of each chapter there is alist of useful resources relevant to the subject, And at the end of the book you willfind sources and address lists for suppliers, fashion and educatlona | orgamizations, and places of research for further inspiration, Have you got what it takes? Before launching yourself on what may be» long and arduous path to carer inthe fashion industiy it pays to try and Bnd out whether you have the right qualities and havea realistic idea of your own strengths and weaknesses. Opposite isan alphabetical checklist ofthe desirable personal qualities and skills you will need to demonstrate in ‘order to enter the field. Evaluating yourself ona scale of one to five will help you to {gauge your aptitudes. Discuss your score with fiend or teacher tosee where your talents and shortcomings ie Above ail, you need talent.A talent for fashion design i not necessarily the same a8 talent for drawing, nor sit the ability to sew, although it does Include beth ofthese Fastin design goes far beyond this and what willbe expected of yous the ability to research, absorb and synthesize ideas and sil Fashion creativity fs the ability to produce new variants and soltion to the age-old problem ef clething the body and developing a refreshing and exciting awareness of it in a contemporary context. "The trick isto give people what they never knew they wonted” Diana Vreeland, eciter of American Vogue from 1963 to 1971CCheeklist of personal qualities and skills Ambition Strong will to achieve practically, conceptually and financially Artistic 2D sills Ability to visualize, drow and pai jmensions Artiste 0 shills Ability to visualize and create articles using a variety of materials Assertiveness: States point of view clearly. stands by beliefs Business acumen Numerate, able to spot opportunities, aware of costs/benefits. Logical Charm Gets on well with others and communicates. Co-operation, - Coloursense Important for range-building, print, chilGrenswear and knitwear Commitment Works hard, open to learning, prepared to go the extra mile Communication skills Delegates, explains listens and negotiates. Speaks to groups Competitiveness Uses abilities to give the edge without malice Confidence Inown ideas and sills, and in others. Poise, balance of ego and humility, Conscientiousness Thorough, diligent, ethical, takes the rough with the sm Creathaty Naturally original; generates new ideas and enjoys making things Curiosity ‘About society. people, design function and form, te. Weil nfocmed Decisiveness Quick to make decisions and take responsibility or command others Efficiency Time planning ané organization of information and materials. Thrifty Physical stamina and health, sticks to the job. Wotks long hours ‘Makes hard work seem effortless. Good grooming, chic ‘Adaptable and sees others’ criticisms as useful. Accepts charge Stamina, reliable, no drug, weight or alcohol problems ‘The ability to ask for help, admit weakness, know limitations Sees the funny side, nat bitchy. creates a good atmosphere Imagination ‘Abstract ideas and inspiration welltuned te what a task requires Independence Of thou - Initiative Getu Languages Fluent inother languages, Leadership ‘Authority or status as spokesperson or adviser Uteracy Articulate, both written and spoken word. Good phone manner Organizational skills Flanning,timetabling, co-ordinating, meeting deadlines. Finishes jobs Passion for fashion Involvement. inspiring others with clothing and ideas Sees things through, tolerant of repetitive tasks. Suffers fools ‘Aguick eye, graphic skills, troubleshooting and intellectual skills Wide ranging. can be learnt, bats Good timekeeping is valued - Ingenuity. lateral thinking, problem solving. fo sight. ferecasting and entreprene: iy especially sketching or styling, Salesmanshi Shares, enjoys group activities recognizes role in the bigger picture Friendly even-tempered.calm lity to turn hand to different tasks, unfazed by challenges Ability to write letters reports. reviews. Analytical skills introduction 9Fashion design Fabeic design The first steps Wf thistist has nat let you daunted, and you stil believe that career in fashion Is for you~ go for it! Start by collecting college prospectuses and brochures to help you choose where you would like to study and what academic qualifications are needed. Colleges put on exhibitions of their graduating students" work at the end ofthe final term. For tathion courses theres usually a catwalk show and also.an exhibition of portfolio work, sometimes held independently of eath other. Contact the college office to enquire. Don't be daunted by the standard of final-year work; this is what you should aspire to,not what would be expected of you in your first year. By visiting the degree shows you will get some idea of the range of pathways open to you, and the qualty of the course ands cange of resources. R's worth asking the students, too, about their own experiences of the course. Which college? ‘The aim of al fahion courses is to make the training as relevant as possible to finding work in the industry. However, colleges vary quite considerably in their focus and approach and in thei faites. Sore are better equipped with machinery and technology: others have inspiring and skilled staf. A good balance of al these Factors is desitable but not inevitable, Nowadays, colleges often offer both full-time and part-time courses. Sandwich courses require students to spend a period in a work experience programme or industria placement. There ae aso internationally recognized creit schemes that allow students to pursue a peod of study at anther institute or university or in another country. Some courses are biased towards technology, while others emphasize practical skills. Some willbe combination degrees that include business or eultual studies. The time atte to studio practice and self directed learning or attendance wil vary enormously as wl the length of time require to take the ‘qualification itself. Colleges are keen to show prospective students thelr facilties and exhibit thelr strengths Open days for this purpose are usualy held well Before the aplication forms need tobe sentin.itisimportant not tore solely on the prospectus or word ‘of mouth when chooting a college. Location, atmosphere and infrastructure wil al become much clearer during a visit, and visitors are likely to be given access to parts ‘of the campus that are normally out of bounds at other times. Moreover. college tutors, ‘will not be impressed if @ candidate turns up for an interview without having visited previously ~uniess.of course, youve overseas. Which course? College prospectuses Ist abewldering range of courses, Unless you have grown 4 up with a burning desire to bea hosiery destgner or milliner,itis very hard to pick your way through the minefield of possibilities, Don't worry: colleges assume that {you may make a mistake and will want to change options iater although it does help if you can narrow the field beforehand, Before applying for any course, you should investigate the evel of qualification syllabus, curriculum, methods of study and the subject pathways or options available. Many colleges willexpeet you to define your chasen pathway on the application form. Others wil runa diagnostic programme that will help you to find your areas of aptitude during your fist.or freshman, year.‘The most pepular path for students is womenswear design. Many courses focus almost exclusively on this area, and currently this field attracts seven times more applications than any other. Womensivear, however.has lang had a reputation for being the most fickle sector of the lothing industry with the greatest and fastest turnover of Jobs.tt may be useful to visit large department store and work your way around from floer te floor, assessing the merchandise. Go from the'madame’ department tothe trendy concessions and ask yourself not what you like to buy or wear, but which sector of the market interests you from the designing, fabrication and customer points of view. ‘Perhaps itis streetwear, extreme sportswear or accessories All are valid arcas in the study of fashion, Broadly the subjects on offer are womenswear design: menswear design: fashion marketing: fashion textile design: knitwear design; an¢ fashion communication and promotion. Fashion with business studies or with merchandising are also commonly _wailable. A few colleges also have childrenswear, lingerie, sportswear r shoes and accessories as options. You may be able to choose enly one path or you may be able to imix and match a numberof disciplines, Call colleges or check their websites for brochures, and make sure you have the correct forms and dates for submission of applications. Carefully ceview the cost of fees ‘and any additional requirements. Application procedures: The procedures required when applying to a college vary considerably. In addition to listing academic qualifications and experience, the application form ntmaly requi you to write a brief essay about yourself, your interests and achievernents,and your reasons for wishing to jin the course. Try to write as succinctly as possible and avoid clichés: check spellings carefully ~ especially the names of designers who have inspired you~ and have someone tead over your effort and give an opinion before you commit ito the form Keep. copy and refer to it before your interview, as you will probably be asked questions based on what you have written. You may be asked to supply 3 confidentia reference from a teacher or employer Most art college courses will require you to show a portfolio for assessment, usually at an interview. Interviewing differs from college to college, especially in the time given to each candidate. Ina few cases you may not actually be seen, but your portfolio willbe reviewed by an expert team of statis therefore very important that {you have an idea of the amount and kinds of work you should submit (soe below). ‘Most college applicants build up a strong portfolioon a foundation or other pre-college programme. Some colleges offer short courses or summer school prograrwnes on portfolio presentation; tutars on these programmes.will help you define and refine your area of interest and shaw you how to edit your portfolio, The interview portfolio ‘Atan interview fora college place at foundation or Frst-degree level your examiners wil be looking for awide range of artistic abilities rather than a very narrowly focused interest In fashion alone. You will be expected to have made some life studies from actual ‘observation, showing an awareness of the body 2s a three-dimersional form. as well {rapid line drawings that suggest is fluidity and movement. Colour studies (but not college exercises} and paintings and drawings that show your confidence and control vera wide range of media will also be helpful. letieductionFashion design Sketchbooks showing your visual resea‘ch and ideas and experimentsin progress ~~ will stand you in good stead. Demonstrate a feeling for fabric by keeping clippings and ideas for their use in a sketchbook. Fashion drawings are expected but not essential [Never copy from published photographs. illustrations or other sources: use your own drawing skills even if they are undeveloped, and try to show a good sense of line and proportion if you have dene three-dimensioral work o sculptures, show phatographs (of them rather than bringing ther with you. Simitarly, if you nave mage garments there is untikely tobe time to show or model them. At this point teaching staf will not be interested primarily in your technical expertise but in your ideas. ‘Organize the work so that itis easy to go through, as. series of projects orin order cof impact rather than chronology. You don’t have to mount, frame or finish work: this an make it look too precious or heavy. Put charcoal and pastel drawings in plastic sleeves or paper to pievent smearing. Know your way around your portfolio; you will probably be asked to point out a favourite piece of work or expiain some aspect of a project. e prepared to talk about your own design processes and show how you arrived ata solution. College interviewers wil expect to se lely The interviewer will possibly challenge you to see how open you are to criticism or sketchboots or notebooks as wellan finished how you cope with some pressure. You ave likely to be asked which designers you admire MEE and why, and haw you envislon your future. Your own style and grooming will be noted ‘but do not ress to impress’ Aim to come across as relaxed, yet committed. In Chapter Vil there isa section on how to put together a professional portfolio which you might find helpful. However, be aware that at this early stage in your career the interviewers are looking for your raw potential and not a sick, ‘know-it-all’ presentation. The college syllabus The content of a syllabus will vary according te the programme of study and the particular needs and interests of the students. Time given to different subjects will vary, too, and tutors ill bring their individual expertise t bearon te couse. A comprehensive fashion-design syllabus aims te deliver the following: Awareness of contemporary fashion and visual culture. Basic pncpks of pattern-utting and draping fabric Computeralded design (0) Design development Drawing and illustration Fabric awareness: type, performance and sourcing Fashion bases: silhouette, proportion colour detailing and fable manipulation Garment construction and technology Independent study ‘Marketing and business awareness Presentation (portfolia) and communication techniques range building Research techniques and methods ‘Technical specification and costing Written work asin report writing and ultra studes‘Ask for an example ofthe timetable and how the course is structured. Typically. fashion degrees last three years (although courses of two, four and five years also exist), each year being divided into three terms or two semesters, The first year During the frst year. projects are often short and diverse soastto give students a broad, basic grounding in the various fashion-related areas. The greatest attention is given to stretching students’ ablities to assimilate information and tackle research = which ean Iater be turned into original design work. Some time is devoted to practical assignments. ‘to improve skils,confidence and speed. The results of the project work are put together ina portfolio, which over the years bullds intoa professional representation of a student’ ability and style The second year By the second year, students ae likely to have a greater sense of direction and will have gained confidence in their abilities. Usually they will have learned the basic skills and how to work co-operatively with staff and fellow students. This is a year for consol ating abilities, with the fecus on getting the balance right between teamwork and the evolution of an individual style. Projects will usualy be of four to six weeks’ duration and \willhelp refine students’ interests and talerts within thelr chosen course of study. Second-year students often make more ambitious garments and enter ‘competitions and sponsored projects. At this stage students often work in teams ‘or pairsin order to hone their co-operative and interpersonal skills. hey are less closely supervised in the hope that they wil reach the level of maturity and selfiscipline required to progress to the next stage of the course: ‘Wyou wonted to, you could do nothing - but why?” Second-year student Work experience: the internship ‘At some point ~ usually between the second and third years ~ some fashion courses offer an industrial placernent er work-experience period of varied or negotiable length. This isan oppertunity to workin the industry: in design studios, production or premotion, at home or possibly overseas. At this juncture the student should have enough practical skils and commitment to be useful as a junior employee, as well as enough maturity to use the opportunity to evaluate his or her own qualities and 2 real working environment. ee ambitions wit {a student works fora company long enough, he or she may experience the fll ‘cle ofa collection from initia idea to pubic reception. This can bean enjoyable and salutary lesson The student may be exposed to aspects of fashion and production that are new and inspiring or that uncover previously untapped talents. ‘The Internship isa period of study, not time out, and students are usually asked to produce written report on their placements, includinga critical analysis ofthe ‘organization for which they worked. The internship soften an assessable component ‘of your degree or may gain you a separate qualification avrard.itis worth remembering that the fashion industry very keen to take on graduates who have prior experience of the workplace, and that a placement can lead toa lasting associatin—orcan atleast be 2 source of useful contacts. Hh " : Cosualwear IntroductionFashion design “ Whatever your argin,in allege you will nd yourself among others who share tesame Interest infashion,and quickly make alliances, ‘Iwent to India. | met lols of craftsmen and wos oble to realize the potential ‘of working with embroidery” Designer Matthew Williamson Final year ‘When I wos at college Idd lt of designing on poper ond not much making. You don't get time to make things properly in the fist ond second yeor found it very frustrating just working with ilustration. lathe final year it all omes together ‘and you can see the esu'ts of what you have been earning. ally liked that" Designer Suzanne Clements During the final year the projects are more intensive, giving students time to explore the Ideas in depth and to perfect their techniques. The year ends with the most important ‘and exciting project brief of athe final collection (see page 183). This ls the students ‘opportunity to refine their interests and allow their self-expression, style and proficiency to blossom. Each student is asked to design a range of between sicand ten outfits appropriate ta their speciallst study. The fina collection should prove that hear she can ‘maintain a sustained involvement in the management and resolution of thelr work and sable to design independently and to a professional standard. [tthe end of this process, students have the opportunity to show their outfits to the examination board, to staff, fellow students and an invited audience (including, industry professionals) ata catwalk show. Their portfolias may also be exhibited to the public~ press. sponsors and many interested manufacturers attend degree shows in ‘order to find employees. A student should naw be ready toleave the nest asa fully ‘fledged fashion designer. Studying abroad ‘There are many initiatives for studying abroad, either as part of your university course tin the form of internships in the industry that are supported by educational establishments, government departments and nen profit-making organizations. Research the courses, universities and what opportunities are offered, and confirmed, before making further arrangements. You will need to find out what qualifications, documentation and visas are needed to satisy legal requirements. The processing of applications and deeumentatien can take between three weeks and sic months so the decision to go abroad is nat to be taken lightly. tts usually essential to have proficiency 10 a specified standard in both the written and spoken language of the country you'll bbe studying in. This level will vary with the course or job chosen. Universities will have international offices and staff who can help you find accommodation and settle in. However, this isnot necessarily the case with commercial companies You are usvally expected tobe able to finance your fare and accommodation. either through personal funds or through payment from an employer; universities and colleges may demand fees paid in advance, Many universities require that students do internships abroad to gain practical experience and training related to their course of study, and doing so.can play an important role in personal development when the experience is in an international setting. There are a number of regulations and safeguards to be observed, and your internship company will be expected not only to remunerate you. but also to wai a report reviewing your tenure with them.The larger fashion brands have formalized procedures for student placements and welcome enquiries weilin advance of the work period. t you apply directly toa fashion company you will eed a well-crafted curriculum vitae (C¥) or résumé that lists your qualifications, achievements and interests. You may be invited to an interviewcither at home or abroad, or asked to send examples of your work. f you attend in person always take a portfolio or prepare 8 CD of your werk. if you have friends cr relations in the country where you wish to study this can boost your application and also be a source cf personal support. The British Council has an extensive programme of opportunities for overseas applicants te study in the United Kingdom and vice versa. The Countil on International Educational Exchanges facilitates and administers internships in the United States that provide up to eighteen months’ practical training for full-time students or students who have completed their studies, Intrauction 9W6 Fashiondesign Further tending and additional resources [Noel Chapman and Carol Chester. Corers in Fashfon, London: Kogan Page, 1999) Elaine Stone. the DynamiesofFashien, New Vork: Fairchild, 1999) Peter Vogt. Career Oppertuaitesin the Fashion ncustey, New Yorks Checkmark, 2002 ‘Schools ond student information Eoucation UR wrweducationukorg “The Bien Counc st of unversities and clieges in the United Kingdom University and Colleges Admistion Services wwe ucas cose Databaie of undergraduate courses and foundation degrees. UCAS ls the UK’ ceatral organization ‘through whieh applications are plocessed fev entry to fulltime undergraduate courses weratts acubéstudyabroad ‘Studio-based study-abr0ad programmes for students of 2 cesign ‘1 comaurications inthe heart of Loedon ‘The National Union of Students www.nus.org uk “The NUS site ‘eatures 2 useful Stucert Help secton with imks to ecucationa! Decies, funding bodies. career servicesand more European Wok Experience Program muwewep.tom [EWEP provides the opportunity fer students from Europe to gain warkexperiencein London, and to explore the British way of Ie sworuinafial guldes comm ‘Run by students for students this ste offers wsefel information on soca life. facies ‘ccommmodation a $0 an at UX universities wwe fathion-schoolfinder com Directaryof fashion courses i the United States ‘worfashionschealscom ‘American fashlon-sthoo finder wowacaderiede ‘Advice for these who vant to study outuide Germany, ‘the Council on Internathonal Educational Exchanges -worecounsexchanges org tendon 3 Poland Street tendon wy 2b uK Teto20 7178 3000 {mall infollK@ciee org ‘New York 205 East 42nd Street Neve York, NY 100175706 Usa, Tele B32 2650 mali USACcice Og Patis ‘place de rosson 73006 Paris France Nelagrasarms me EmailiafoFrancesciee org18 Fashion design Context would hardly be possible to become an effective designer or stylist without contextual knowledge of the histories, geographical. economic and sal ealns within which you plan your creative career. Calleges and universities offer a wide range of libra cultural studies, and business modules anc electives to degree s* ‘seminars and writing essays may be a compulsory and assessable component of & fashion course and should not be regarded as time better spent in the studio, Lessons learned and insights gained ftom past analyses and theories, from the practice of group discussion, intelectual enquiry and academic writin. wil prove inspiring and invaluable throughout school, and essential later in your career Socio exonemic conditions and the marketplace arena constant state of flux ani the context and srathatlons for clothing purchases ean change mary ties in your profesional Fashion designers cannct rely itulion. Astute research and th nts. Attending bility to read the signs of change'is the starting point for all design and good business, and will put you ahead of the game, Above Fashion stucents in a7 investigate ‘thing engravings in the Bibliotheque Nationale, Pais Aight John Galliana playfully mixes historical sartorial an iterany references in his designs ‘Here, Marie Antoinette meats Anna KareninaHistorical context Not al fashion courses afer fashion history as a subject. is well worth the effort to acquaint yourself not only with garment names, silhouettes, materials and the roster of legendary designers but also with the undesying social environmental and technological conditions that le to changes n dress aking place. The fshlon world \s frequently inspired by the past; designers, display professionals and stylists need to. understand how to allude sublly tothe shovette or styling ofa particular era or mix the palette of ideas ina new.and soretines ironic way beyond the scope of tis book to coversuch a vat subject, but the time in onthe following pages highlights sleifcant costume changes and licks them with thei originators and contemporary évents.t wil help you to find research material and to reognite context and period when you observe clothes in paintings anc films and at the theatre. Some universities and colleges have costume and fabric archives. and many have image barks Fashion- school libraries often have bound copies of magazines covering many decades, as welll ascamrent journals “Te majority of museums offer reduced rates to students. free admission on certain days Costume galleries are happy fr them to come in and sketch quietly but ‘some have restrictions on photographing the garments on display, You can learn = reat deal from drawing garments: being forced to lok closely at proportion and ine, and hstncal manufactuting methods canbe inspling, Many museums and Collections suchas the Vitoria and Albert in London andthe Costume institute at the Metropolitan Museum of Art in New York, have excellent websites which show garments that are too fragile to be put on di fashion-research archives are available on the internet and images or background text can often be downloaded, A number of prestigious museums work closely with design colleges and wil show small gioups around archived collection the tour booked Inadvance. Uthalc and folk costumes ae lia rich soures of nsplration. Natlonal an lea sglleries have extensive calletion ofthese and itis stil possible te ind shops that sl both anginal and contemporary examples. Violage-...e one-third business. But | Bs. | : Peete a] eels yrward black Paes is sia maalS ylour — you can’t really imagine} it resonates on different fabrics} ) | have a huge library of colour, nly ribbons or scraps of material Tam eee COLO laremeCoal (Uwe lo)Fashion design 0 Previous pages The body Car be drawn in many itterent stances using the jolnts and pivot points suchas swinging hips and shoulders. The head onc the weight-bearing foot should be om the same vertical ais so thatthe model is well balanced. Perspective Foreshortens ens that are {na aiterent plana. Atte animation of te shoulders a tit ofthe head makes ashetch mote vey Observation and practice wil bring specdand style. Practise dtaing the body from many clfevent viewpoints, exagge’ating angies taimprove your sense of thier dimensional frm. person and thelt bone structure's often apparent: attention is therefore given to the points where the bones show These are called landmarks" and are emphasized to give oer to tashien illustrations Be aware of how a tited axis, such as the pelvis, affects the stance and position of ‘other parts of the body Limbs must Iook the same length through perspective ard foreshortening. Body proportions are distorted, with heads smaller and necks and legs anger than in traditional life drawings. The head, which stays almost the same size ‘from early chitdhood, can be used as 2 measure of age. indicated by its rata to the body. For example. in the average adult female the head wil fit seven-and-a-half times into the length of the body. tn fashion drawings this increases to between elght-and-a-half and ten times. The length of the legs is exaggerated more than the torso. Because the “emphasis it on the clothing the Figure ic elongated a itle, not only for elegance but alto ‘to allow more room for showing details such as packets and seam lines, Beware of ‘overdoing these proportions or the finished garment wil bear litle resemblance to the design. Men's leg length is not usually elongated to the same degree as women’s and the upper torso dominates. The male stance is usualy drawn with less‘attitude’ than the female’. The body is usually sketched standing and from the front, in a relaxed pose, ‘More dynamic poses ate used for casual and sportswear. Theee-quatter pares can beUseful for showing side seaming orback details. ifthe back detailing of s garment is Important or differs markedly from what might be imagined, a more lightly sketched back view isincluded. Arms are usually drawn away from the body rather than obscuring it: face, hands and feet are nat show in detail unless they are crucial to the design. Simplification isa key element in fashion sketches; shading isnot essential except to add depth to drapery ofa sense of weight or emphasis to a siihouette Buttons, rips and important details wil be shown, but fabric texture or colour is not ‘usually rendered all overa style, buts only marked here and there. Colour washes, tints ard marker pens are often used to differentiate flesh tones and fabric. There are a ‘numberof shorthand marks that can be used to indicate folds, pleats and fabric typessuch as fur knitwear and denim, Background and floor are often not indicated at all,and are merely suggested by 2 horizontal line to stop the Fgure looking asifit fs Rating While you are at college you will be expected todo illustrations and presentations in the form of roughs, design developments and finished illustrations (also known as ‘croquis), Drawings are not laboured over; the objective is to communicate a particular Ine, feature or mood quickly and stylishly Speed in drawing adds acertain spontaneity, and confidence to the line. For this reason you willbe encouraged to draw quick poses and capture the key elements and lines ofa design. Fashion photographs and magazines are good sources of poses and are useful for analysing the way folds and fastenings can be captured. Students often arrange to pose for each other for sketches. When you have created 3 few useful poses you can use them as templates for your rough designs and esign developments Roughs Use your sketchbook or a loase-leaf binder to jot down your ideas.Some people like to draw all vera large sheet of paper others prefera methodical one sheet at.a-time approach. Donot worry about perfection, complete figures or colour at this stage. ‘Aim to get the sithouette and design elements dawn as with thumbnail sketches. ade found images, fabric and ephemera and play around with possibilities. Very often a telaxed appcach to drawing roughs helps to create a fluid line that inspires the shape of the sithovette, the fabric used and the proportions ofthe designed garment, Design developments (Once you have some strong directional ideas, make a selection of the best and group them into stories: Then methodically work your way through the ideas, drawing ané ‘amplifying them, trying out itferent proportions, necklines, sleeve shapes, fastenings, etc. and considering the front, back and side views. A pad of semi-transparent layeut papers helpful for this process and the most promising designs can be selected for more careful lustration. Oesign developments should be clear,correctly proportioned ‘working illustrations that others wil find easy to read Theres little need to indicate body details such as facial features, accessories or haltstyls. Ifyou are designing a seties of items you will probably need to keep an aesthetic design theme running through the itastrations in order to create 2'story. This is achieved by focusing on the elements and Principles of design, colour ane fabric that apply to the body and will create the look you ‘are after At this point you should also consider the technica issues and skills the garments may demand of you,and ask the opinions of staff Fabric choices and sampling The successful rendering of feet and shoes is dependent cn the angie of the foot and the ‘viewpoint. The higher the heel. the longer and mare slender the foot should appear from the front, and the shorter it should seem when seen) from the side Fashion illustrations often stykstialy oversize footwear These drawings have a naive charm that reflects the gldish >I O) fe) DVENOKOS SOD OAOHO@®@OO Kee The iteurationat Teale Care Labeling Code isa globally recogeited tandara fer consumer Information regarding the laurcering ad handling of clothing, Misteeatment of fabrics leads to waste and returns which costs the Industry dearly WOOLMARK ©. ©. Woot BLEND WOOLMARK BLEND The Wookmar loge Wa mark of quaity nd guarantees authentic. Fabrics fabncis to the fashion designer what paints tothe artist the medium of creative expression. Some designers work directly withthe fabric, others might draw ideas on paper and then search for an appropriate material. Choosing suitable fabrics fs the key to successful designing. It isa matter nat only of what one likes visually, but alsoof weight and handle. price, availability, performance, quality and timing. The suitability of a fabric for a fashion design comes trem a combination of yarn, construction, weight, texture, colour nancling anc pattem or pint as wel as additional performance factor: such as wormth.stain-esstance andease of cave. The designer must havea resonable expectations to hew a fabric wil behave; a materia cannot be forcedintoa style or ‘shape that is not compatible with its characteristics, both practically and visually. ‘ou need to bulld upa good working knowledge ofthe eiferent categories of {brie their sources, price stuuctures and their suitability fer various uses. Keep a notebook specifically for this purpose. Some organizations that can help students to source Fabris are liste atthe en ofthis chapter The International Textile Care Labelling Code Allcornmercal garments mast carry a fibre content abel by w.tn the UK is an offence to supply oroffer to supply textile products that do not comply: the penalties for nnon-compllance range fiom fies tolmprisonment. the highest fibre content fs sted fist as apercentage of the total Any decorative matter that makes up seven percent or lessof the product can be excluded from the fibre content sting The information on the content tabel is accompanied by a recommendation for care (sometimes on 3 separate label.Global manuiacturing has led to standardized 0S0} labelling agreements between countries. The European GINETEX labeling scheme consists of 9 _toup of symbols called the International Textile Care Labeling Code and is used by all ‘major manufacturing counties, Dorsestic washing machines and dryers are now being marked with the same Kons. Knowing a fabre's re content wil help you with future identifcation, ands ‘essential to learning 3 material’s handling and care characteristics, and whether itis fit foc the purpose yeu have in mind.tt you plan to add other finishes such a printing or pleating the fabric must be stable ‘An increasing aumber of fibres and modern fabrics are being branded or trademarked by their makers or growers with easily recognizable symbols to denote quality and assure users that they are genuine. The practice of cqunterteltngfobess 2 major problem forthe fashlon Industry. you ae buying from source, the manufacturers wil giveyoua header or swatch ofthe fabric, which wl detail the fibre content and weight. This information may be harder to get Ifyou buy from market stalls Always ask or the name and entert of the cloth as wells the price and width ‘Many fashion schools have fabric libraries, or classes to help you identify materials, but the best option is to start your owen collection. John Galliano is said to keep scraps of all the Fabris fe has ever sampled na series of pls Jr. Fibre Flore or yam isthe raw material out of which the fabric is made. There are three main categories of fibres: animal (hairs), vegetable (cellulosic fibre) and mineral (synthetics). An experienced designer can offen identify basic fibres by hand and sight. Today there.In the lingerie business thermoplastic knitted fabric that has'memory’= that st returns to its desired shape after washing ~is used for bra cups and the feet and calves of hasieny. Supporting fabrics such as interfacings and intetinings that add body. shape retention and reinforcement at stress points are often made of bonded fabrics. These are commonly known by ther trade names, for example. Staflex and Vilene. fusible intertinings are coated witha glue to allow them tostick to the garment fabric with heat pressing, Wadding isa igh-foft fabric of putfed up, matted fibres used in quilting and padding to give bulk or warmth toa garment Net and lace ae fabrics made.on complex machinery that allows threads to twist ‘and travel diagonally. Lace fabric usually comes with a scalloped hem edge, and lengths are restricted to the width ofthe machine. Net and lace da not usualy fray but the epen ‘and rough surface qualty of some ace demands that it stined. Rubber and plastics are ‘often used in the more esoteric designs. Rubber, derived rom the latex (sap) of the rubber tree, can be used in liquid form and painted onto.a mould, or even directly onto the body. Rubber sheet can be cut and sewn or glued, and is available in translucent, solid colours, metallic finishes and prints. Plastics, polytheres and cellophanes have all been put to use'in the fashion industry. Fabric development and finishes ‘The textile industry is continually inventing new fabrics and processes. Tencel,Tactel, Sympatex, Supplex,Polartec,Aquates, Vilo and Coolmax ae ll recently developed synthetic materials. Many ofthe processes are applied after the fabrichas been mace anid dyed, and are known as finishes Finishing can be for practical and performance Above. left to rig The craft of handmade knitwear isan important facet of the lunury market, gies designers scope for expression with colour, forrm and texture in creating unique yet long-asting fashions Knitwear can be constructed in three dimensions directly on the machine without the need for seanrs. Here the technique s used to add érape to a heayy.soft woo! Very fine ersey drapes beautifully Mere the tranuparent layers create a changing more effect vith every step the mocel takes, us va faby W.celourFashlon design 6 Above Yarn qualities and new colour palettes are developed and offered te fashion wholesalers twice a yet. Below Prototype garments and manufactuting. techniques are often developed by fabric and yain companies in collaboration with fashion ‘elles to show at trade fas improvement such as stabilizing, fireproofing and crease-esistance,or For ‘embellishment and handle such as brushing, beading or embroidery Finishes at first devised for the use of military, industrial or household texttles are often used by Inventive designers for various sports or fashion garments. Companies patent these ‘new processes and the proprietary trade names are used in the publicity and marketing of the fabrics, Fabric printing has long been one of the most popular ways of finishing and decorating plain cloth, and there are many methods such as batik, heat-transfer (sublistatic) and screen printing that have their own distinctive looks. Add to this the numerous generic prints, such as florals, geametrics, abstracts, picture prints (known ‘as conversationals) and other motifs, and the scope for design is infinite, “Print think, you realy have to fall ove with, it really isthe mest diffiult decision to mate. It can define the whole colectcr, but also you can see nothing eke f tis too obvious.” Designer Sonja Nuttall ‘The fabric-development cycle ‘Modern fabrics and thei marketing differ considerably from the past when only fatal fibres were available and counties could protect thele products and trade Giant chemical companies have entered the textile business and spend a great deal of money on creating fibres with ‘performance’ qualities, which they vigorously promote. Natural-fibee growers’ have fought back by forrning associations to strengthen their product innovation and promotional strategies. The process is market led, and fashion design ranges are now the end result of an intensive process of research and ovelepment, within the chemical, dye, engineering, textiles and trimmings industry, that Isip advance of fashion by as much as five years Experts gather information, Above After whit to.2 ade fag the esigner puts together fabric and colours tarange-build and co-ordinate the sampled fabrics Some materials wil hen be eliminated,Fashion design “ Standardsie chats The chartson the right show the landmark points and measurernents tht ae te averages forthe fourmostcernmonly sold mers and women sizes in te UK Equivalent sizes ae sven forthe United States continental and Japanese martes. Conversions to metic and imperial systesare rat ranted exactly bt rounded upto the nearest whcke eit. Larger or smaler garment sites are graded by diferent inetemerts per bed landrark Basie blocks and patterns are now grade accurately by computer Bearin rind that women with the same bust, waist and hip measuremerts canbe completely diferent shapes with atiations in posture back curate hip poston, bust shape, eget. Mage-to-measuieand mass customizes garments ave made ith mitor adjustments ta these basic size blocks, whereas bespoke tallering snd haute couture requite that allthe Individual customer's measurements ae taken, and theirown personal Ft Bloc, rom wich patterns and garment are developed, is drates, Women’s slae char (metre) ‘Men's lee chart (metre) Se miu ius 8 4 @ eit 1572 1596 162 v6a.4 height m4 1% 178 to bust Bo 8 88 93 chest 2 96 we 107 walt 6 63 68 7 waist woh Ho tip #1 905 95 995 Np 34 93 109 109 upper in 795 8 89 94 napetowais usa 465 7 neck us 6 OT jacket length 79 Bo & Be Leder bust @ 6% om 6 Xbak ays sas 455 rapetowaist «388 doa a 416 shoukier 8 6 M65 Xba 3B 3 142 shouldertowiht «6262-638 Xehest 3h 298 31322 shitsleevelength 8848787 sroulder M5 7 tg at shit peck 3 xt 39 40 Spouidertownst $62 579 $8 $89 wast 6s 7 MS vederaim 428 31 5 439 insideleg mh ® 8 armhole (seye) 386 46 425 44.6 bodyrse 2 26 7 OE wices 29 247 265 183 ist 5 52 6 166 cause keg 99 1005 102 1035 inside leg om MS M5 body ese 268 279 33 301 walttoknceCB Gt GAS 61S waist ioanblech 94 9} 95.95 Mapetofoor 3638 uo Uk 6 80 By 16 8 20 1 Shoes us 46 FO 24 I UK FHF GS HEH TNS Spainifrance 34.36 38 40 42 44 46 48 50 USCan.si 6 Oy 7 Ty 8 8x9 91 101% Waly 5B goa ag 45 48 50.52 54 Europe 35. 36 37 7+ 38361 3939-4040 Ccermany 42 34 36 $8 40 a2 4 46 4B Sapun ava 22 22529 252 28 24% 2525226 2) lapan 3 $79 15 17 9G China 96 $7 3738 Bp 9H 4O4OW 41 gO lines of the design developed from it may change dramatically. but the ft will conform to that of the basic block used. The standard blocks are usually accompanied by the sgaiment toll that they represent, you can see what the fit or'ease' is lke and adjust accordingly. Couture and bespoke talloring customers will have blocks drafted from their personal measure ments, from which all their clothes can be made, Fashion samples are usually made up In the average model size 10 oF 12 (US size Bor 10}, sometimes with 35 centimetres (about 1/ inches) extra length in the back and legs toallow forthe height ofa fashion model, The toile ‘The pattern needs to be tested in calico or a fabric similar in weight and behaviour to the final garment material. The fst fabric sample is called a tole (pronounced"twah, from the French for a lightweight cotton fabric ~in the United States it is called a muslin. White or ecru material is easier to work with than dark or patterned cloth. ‘Without the distractions of colour or design It Is possible to see the cut and fit of the pattem more clea. The centr font and back should be marked cealy with ong, straight nes, using pencil on wevens and fe-tippen on knits. The wast and hip ines also need to be marked as reference points for fitting and altering,ye Fashion design (Draping ls about working with fabric and boxy together itis difficult to master andistherelore «aightyregatded sk The artistry ies in achieving a flattering shape with the least amount of cutting und contevance. a. Draped garments are copied into paper or card and marked with instructions. return te the most successful You will also have a record for your sketchbook that proves you have heen working, \When the design looks right and has been loosely stitched into place, try it on 2 real model. Then the fun begins. Drapes have a habit of falling out of place and spoiling everything as soon a5 aperson moves. Alternatively they can do strange and wonderful things and set you offon a whole new path. When you think you have the style tamed, take the tolle off the mode! or form and smooth it out flat. Everything ‘must be meticulously marked. You may need to piece extea fabric together if youare ‘ulting on the bias and run out of material. Use broad sticky tape and felt-tip pens to indicate the ditection of folds. Mark the centre front, shoulder ine, seams and armholes and snip off any extra bits, Straighten up the grain line and smoath out sketched lines with a French curve or rulers. Then redraw or trace though with a ‘racing wheel to mark the pieces on pattern paper. Draped styles are often very ocd shapes, and you will need to mark in the top and bottom hemlines and probably lots ‘of notches and arrows to show the directions in which to fold them. Try to sew the tolle togethes a5 soon as possible tis very easy to forget everything overnight. The most useful tip in pattern-drafting isto be neat and methodical about smarking up your final pattern. however messy the process of arriving at It has been Fold itcarefuly and put tina large envelope with an illustration on the front. ‘Weeks later you will not want to cone back to a crumpled piece of paper with bits ‘of old tape stuck all over it ‘Most pattern development is a mixture of flat pattern-cutting and draping Even if you prefer to use blocks, yeu wil find that the form is very helpful for determining the roll of a collar and lapel, or the flare and fal ofa skirt. There sno tight or wrong way to translate your drawings into fabric. Some styles are very difficult to get tight and may tae three-or four patterns oF tolles to-be just so!196 Fashion design Neate Fabie 60/8 Chiffon, georgette. sil habotal 7o!e Cotton musi lining ryan satin Bonz Cotton poplin, calico ight erépes _and woos, nen 90/4 Gaberdine, woo! bottom-veeight tabrich se0/N6 Denim, canvas. coatings twoeds aut sank \ [pease | cio (ree ba \ \/, Vip Aight Sarmples and toiles are hand-cut with ‘shears us the fll length ofthe bade Hoi ‘te pattern pleces down with the Mat of your hhard as you cutand always cut the notches af you come to them, ‘must be cut with al the pattern pieces going in the same direction (napped fabrics look best in styles with few seams). you cut napped fabrics such as velvets or corduroys in mined directions you get an etfoct called ‘shading’ Hairy fabrics look and feel better with the nap running towards the hem. Velvets look richer and darker with the pile running towards the top of a garment: velvet curtains are usually cut with the nap in this direction, but garments, especally trousers and skirts have a tendency to ‘creep’ up the body Pile fabrics can be hard to press without damaging the nap. Boards made up of fine needles ate available, or you can cover an ironing board with velvet. Always allow for extra fabric if you are using a napped material Cutting the sample When youare saad tha the tlle iscorect and that you have made the aerations to the paper patter, you can cut the sample out in the intended fabic, iakdsand print designs may require careful laying ofthe pattern pieces so tha the inal effects pleasing. Some fabrics, suchas cordurey, have a direction or nap that causes the material to shade. The pattern willhave tobe put dow in» single ection Stretch fabrics may stretch in one or mote direction and ths needs tobe allowed for cut them in thei “elaned sate Roll ot spied the fabric onthe cutting table, an ay the pattern pieces Nat onthe fabric; they may be weighed down with heavy metal bars. There is no time for pins, “which in any case may make the fabric wrinkle and cause inaccuracies. You should check the lay of the pattern to see how much fabric it takes and if theft can be improved While you have the pattern pleceson the cloth, make 2 sketch ofthe ay. ifyou have to make another sample it will save time as you won't have to fit the lay again. Sometimes: a pattern,or even the design ise, needs tobe revised to make a difference tothe wastageif the fal-outis significant. Where pais of items are called for (sleeves, pockets, etc), make sure two pieces of each are laid in. Cutline the pattern pleces with a soft pencilor chalk, ad matk the darts and pocket positions through holes in the pieces. Samples and toiles are hand-cut with shears, using the full length of the blades on straight edges and without Iifting the fabri. Depending onthe garment type, there may also be facings, fuse intrfacings and trimmings to Inconporate into the Finished garment. Cut these and match them uptothe pieces with which they are tobe fused. Roll all the fabric pieces together and tie ‘them up with a strip of wastage, along with any tips r trimmings and a sketch ofthe design, ready foe assembly. Thisis called a bundle Rolling is better than folding 35 creases are less likely to farm. you give the bundle to a sample machinist, discuss your design and any aspects you need ta work aut. —L Sewing straight overdocted seam, prested open seam ‘A crucial aspect of your fashion training willbe learning sewing skills. Some students _tepstltched seam: at felled seam. arrive at college having already made a number of garments en their own sewing 1 machines and feeling fairly confident; others will never have threaded a ! needle. You may imagine that designing can be done at the drawing board, b 5 testing design ideas by sewing a tole, and discovering technical problems such as seam > bulk or stretch, that you learn how to design appropriately. Sh _ Industral sewing machines are much faster,smoother and more specialized than french seam:lean finshed seam: bis binding. their domestic equivalents, and practices uequired tose them effectively Sewing takes patience and dexterity. Net everyone enjoys it, but the greatest motivation is seeing the 4 a garment you have designed turn out well,Learning how to sew to a professional NN Y standard will also give you credibility with your future colleagues, help you to give ) specifications toa fectory and comes in handy when you ae struck by genius ater hours | | ‘oF when something needs rectifying for a photographic shoot. Centred nipped 2p ty srort wrth np guard ‘am amazed at how fast Fean sew now. didnt use to believe those stories about vans ns John Galfono running up dresses for people in the lanch break so that he could afford to go out clubbing. But ve run up a few things for myself nawand it really ‘makes you feel good when pecple ask you where you got it and yeu can say, "Well, actually..”’ Second-year fashion student Certain sewing techniques are associated with cifferent levels of the manufacturing market, Haute couture, because ofits use of expensive and delicate fabrics, merits expert. Conceaied or invsibie rin oper-erced ip sewing, mote handvinishing, bindings and linings. Lower down the market, hand-work ©xpesed2ip. ‘5 rarely used as Its costly and time consuming, Unusual materials such as plasties and leather may requite you to use tssue paper ct silicone spray; for others you may have to invent your own way of making them up. ‘You may need to send garments toa specialist finishing house, for example for pleating or clasticating, Some machines can turn and apply bindings and flat felled seams or apply elastic around the neckline and armholes. TWir-needle machines strengthen seams on Jeans and workwear. Bilnd-stiteh machines turn up hems with invisible stitches. Fashion Lenitwear students will arn how to put knitwear together with industial linkers. Needles and threads ‘Needles and threads are the simplest and cheapest, yet most important, tools ofthe seamstress, Using the right ones for specific materials will make all the cifference to the uslity of your work. Using toc lage a necdle, ora blunt one, can cause puckered seams, Needles cone as either sharps or ballpoints,Sharys are used! for woven fabrics ball- points for knitted ones. Universal needles are versatile, modified ballpoint needles, meant to be used on both wowen and knit fabrics. ll these needies come ina range of sizes fiom very fine, size 60/8, to lange, site 109716. The finer the fabric, the Finer the needle size you should use. Vin the studio 357Fashion detign 8 Supporting fables o.Facing Facings are the faric pieces that follow the custing line ang smooth of the fren button wraps, hem, neck armhole and cut edgesof 3 arent by turning the searved edge tothe Inside. Facings an alo be et in decorative fabrics. interocng Interacings are technical fabrics either sewn or heat Bonded tothe facings or fabric toe it greater stabity at rtcal points, suchas button Dandscollars and cts 2.Undening Underining is used to strengthen a fimsy fabric or reduce transparency it iscut fom the saree patency asthe feshenfiicanattched Some specialist neces arava for eiffel fbr, Mob’ and Mioten fore consructon begins. Then. 2 the gat See Ten a ne ETE. needles are Teflon-coated to prevent static electricity. which builds up.on polyester and are handled st. gfe unt. nylon fabrics, Static causes the thread to stick to the needle and results in skipped tinings stitches.Embroidery needles have larger eyes and reduce the fiction on metallic and LUnings ae used togivea finshed ook tothe fragile sik threads. Metafil needles are specifically for metallic threads and help to inside of atalored garmento prevent seams 4.8 eh fiaaieaia ine Eapeieeeee eee luce the breakage common to these. Leather needles have a sharp flange’ ssally cet from asi fabric to makea garment punctures the leather without making too large a hole, Use longer stitches for leather e2tier to sip on arc of. They ate attached erly than for cottons or wools. Use leather needies or fine Microtex (Bo/12) needles on atthe garment swastbanc, neck andfacings. waterproof fabrics such as Gore-tex and jacket-weight nylons. Keep spare needles in and sometimesits hem = otherwise. it hangs fee . a srhccomenttoaton theatres tomers 25mallbox, wrapped in fol. needle threader and a pair of tweezers can be useful for Independent. awkward machines. uincertning The rule of thamb for using thread is to use the same fibre as the garment. An nterleingis an aditional Abricthat dds Where this fs not possible poly/cotton will do. Spun polyester thread is cheap but often warmth without bulkand whichis apoicdt© rctthes on the f Taine taoatteccrthcumeg urease stetches on the bobbin and pucers seams tis sensitive toahot ton andcan melt, ‘cools often eve aqailted or remcvabie ‘undoing all your work. Polyester bulk thread is good for overlocking (serging) as it interning. covers the cut edges wellporte ites pockets, wel pockets anataps areamang the hardest elements tomate well 2 they must matehin postion ands. fumtonholesarethe ast detals tobe fished enatained sk ‘Top ight and above vight The many linings and imettnings that go intaa structured jacket have tobe cut and tsimmed anay caefullyin order to avoid bulky seams. ight Much ofthe workin 2 tailored jacket 1s Iniddenon the inside: a Jacket requires facings, interfacing, ining, shoulder pads and year bineings Viinthe studio 139Fashion design eo Tailoring Tallring techniques include and are an extention of, sewing, Tailoring iz used matt ‘commonlyin outerwear for men’s and womens clothing.It is a method of combining and moulding fabrics together to create the desired shape on the body. It is in effect _a combination of padding, tape stitching and pressing, Supporting fabrics and Bnings are added for strength and comfort. There is more hand-work and attention to detail, making tallared garments more costly. Worsted and wool fabrics respond well to taloring techniques as they have inherently pliable stretch anc mould properties, although tailoring is nt restricted to woo), and diverse fabrics suchas linen and brocades canbe tailored, Tailoring werk is most commonly seen in mer‘s and womens business sits coats and outerwear. A jacket can have as many as forty to fifty pieces to assemble. Suits can vary enormously in price depending on the approach taken. A bespoke (made-to- measure and handmade) Savile Row man's talfored suit can cast as much as £4,000 (approx. $7200). However most suits ae sold through department stores and chains in the mide ange, at 4500-1800 (approx. $900-£1500),or in ower ofthe: peg price brackets at {200-1560 (approx. $350-$900) respectively Mid-range sults can be made- to-measure by machine also called dernbmeasure). This is achieved by hand-smeasuting the een or taking a thvee-dimenstonal body acon, and altering basic Blocks to ft (imass-customization). A single suit is eut and then ‘engineered; a semi-automated ‘method developed by tallan manufactures, and pressed to ft personal mensions. Lower priced suits are usually made la mulipes tostandatd sizes, CAD/CAM equipment and automated sewing and fusible (heat bonded} intertinings ae used to eliinate 35 _mary manual operations 3s possible. During the last two decades, the rapily growing men’s casualwear and sportswear smarkets have pressured the tailored sult market, as casualweat Is increavingly accepted in the workplace. in order to compete, the price of tailored clothing has been forced down and the manufacture of sults has speeded up considerably A bespoke suit may ‘quire a oumber af fittings, doxens of efferent sewing operations and take fout months ‘to deliver. A bespeke tailor will baste loosely tack together) a suit ready forthe fist fitting. When adjustments have been made it will be sewn with a combination of hand and machine stitching, Hand-stitched buttonholes, the last sewing procedure, used to be the visible sign ofa top-quality suit. Assembly line plecewotk is nw common in the ‘menswear industry and the skls of the tall are quickly becoming extinct. Fast talloring also know as Japanese talloring. is a feature of Far Eastern manufacturing, In Hong Kong or Bangkok a businessman can be measured anda suit made up typlly ‘vith two pairs of trousers. twenty-four hours. Fashionable adjustments fr example. to the width of apes, number ef trouser pleats an the positioning of the waistine, contribute to the lack of demand for longevity or robustness of manufacture. In the last decade the relaxation of formalwear in the workplace and the influence: of tailors such as Armani, through exposure in films such as American Gigolo (1980) and The Untouchabies (1987) and Sandy Powel’ costumes for Gangs of New York (2002),has Jed toa softening inthe syle and construction of the traditional suit. Increasingly, ‘Nexibleand washable fabris are being used synthetic and stretch finishes ae acding comfort and less padding is needed. Fabric choices and detailing ate emerging from an cera of sobityFashion design 1a Tworhole Rimmed oP Fourhole Oe [> cs rae feterouton <> Fisheye shank andring — fourpart rivet snap Duttons are sired in a curious measurement derives from a French word igre ~the inside diameter of «wound wick folded Mat’ that became the standaed eference used by German button manufacturers in the eany eighteenth century, and hich I now an internationally accepted standard.A ligne {t) measurement Is Inches dnaded by 08RB, or contimetes divided by 2.2558, €uttons ave availabe in sites as small, 235 4 millenetres and as large as dinner plates Common button ses Ugne mm inches wou » 4 nou Me wos MS Boo MM pos po» % eon &% 6 on Te os of ™% Right These oversized buttons and com Inpited a stsking visual joke that makes the ‘mode! look like 2 doll For right Finging has been used in abundance, even on the shoes to create ancutft that shivers senswously with every step taken, Haberdashery “Wimmings and garment fittings are dashed as haberdashery or notions. Elastics, braids, bons and fringes are also called passementerie. Trends in trimmings and fitings change with the fshions and are crucial to the appearance and theft of garments Tmmings can make or ruin a garment and choosing them requires ca there are technical, aesthetic and economic considerations. Buttons are the most commonly used trimmings; the size, number and quality canbe citical tothe eect of design Foncy ones can significantly increase the retail cost ofa garment. in the ert twentieth century the price of buttons dropped with the invention of casein, a milk protein derivative, celluloid and plastics, Two- and four-hole buttons and standardized sizes allowed the sewing of buttons and buttonholes onto clothing to be automated, lowering the cost and speeding garment production. They were able tocompete withthe popular, newfangled zipper axa garment fastening, and replaced time-consuming ties and acing on women's and cilrens clothing, Buttons that ate too heavy fora fabric can pul the garment. For feof meclum weight fabrics its best to use light, lt buttons. When making a tight-fitting garment test the button positions on 3 teal person, Shirt, blouse and dress buttons must be eflectively secure at strategic points and placed so that the fabric does not gape. Lingerie requires small delicate buttons 25 comforts important Heavy tabris require larger buttons with shanks to penetrate thicker layers and withstand moe fore For clase-itting gatments and trousers the zippers the closure of maximum efficiency. tt was the patented invention of Whitcomb dion in the United States in 190, but didnot tate of unt agz3Zippets became more popula inthe 19605 when nylon ones could be dyed to match garments. Thousands of miles of nppers are Produced daily. Methods of applying zippers (see page 157). nd styles of slider, can ‘enhance their effect. Zippers are usually put intoa seam or hidden behind a placket; sometimes fashion demands that they are visible. Jeans need metal studs and rivets to complete the utlity look‘Velero™, the name for the (1942) trademarked closure of Swiss inventor George de [Mestral,comes from the French words velours (velvet) and crochet (hoot) This practical product was first used in skimear. tis now available in large number of tape widths and shape forms, and is particulary useful forgiving a modem and utility look to children's clothing. sportswear and shoes Timings such as elastics, braids and ribbons are sometimes called narrow fabrics'and can be usee integrally fo utilitarian and decorative purposes. Many require special machinery and stilled application. For mast garments the trimmings and fittings ‘must be able to withstand the high temperatures and abrasion of repeated washing and pressing, or dry cleaning, Deficate trimmings such as sequins, diamante, beads, feathers and fringes are suitable for eveningwear and may have te be removed from {garments before laundering. Decorative trimmings can attract high tax tariffs and Conttibute tothe expense of importing and selling luxury clothing. Fit and garment presentation The successful presentation ofa garment depends on the inal touches of iting it to 2 real body and pressing ot easing tito shape, Many seams, facings and darts need ta be properly pressed with a jet of steam as the garment Is put together. This I called underpeessing. Some colleges have Industral fatbed finishing equipment. Tells hams and sleeve boards are used to add curvature and stretch by steaming fullness into woo! and suiting fabrics. Suits can be stearned over lightly while onthe dress form. Bound buttonnoles,jerted pockets, hems and seams need tobe Mst-pressed to give actisp, straight edge. Colla points, cuffs mitred corners, patch pockets and walstbands need to be turned out witha pointed tool while they are Being pressed. Take extra cate ironing around buttons and trimmings. Knitwear can be ltfed up with steam. Casual anc sports clothing should ook natural. is nota good idea ta iron knife ceases onto shits and knitwear. Be careful with trouser creases; check where you want them to fall on the body as it is difficult to remove them ance they are pressed in. Knowing the content ofa fabric and understanding its care requirements isa good ‘guide to making a finished garment lock good (eee appendix for fabric types and the imtermational cate code) Easily ceased fabrics suchas cotton and linen wl not lack finished until they have been flat-pressed, Nylons and sore synthetic mixes have a low imelt threshold and some surface treatments can cause a particular fabric to scorch easily Leather and suede can be gently ironed. You might need to spray starch slcore ‘or waterproofing onto some fabrics to finish them. Always test the heat ofthe ron en a ‘scrap of material first, and press sensitive fabrics on the reverse side to minimize shine. ‘anion thats not suficiently hot to produce steam wil leak water onto a garment. You may need to devise your own techniques for unusual materials and complex tyes, but im most cases pressing through 3 thin,damp muslin cloth isthe safest approach, Co not pile up warm ironing as it wil set In folds; hang It tocoo ‘When you have pressed the garment check what it looks lke on real bie, and ask your models to walk about, st and stretch, and give you a verdict as tocomfort and ft. Some people ikea generous cut and others prefer a closer fit. ative daywear is usually cut with ease of movement In ming, Evening dresses and straps may need tobe checked on more than one model for décolletage and slippage. Draped styles need to be seenin movement and often require some adjustment or stay stitching to keep the ‘Simple and fat pattern pieces slotted together ‘and wrapped atound the toy form the hase of ‘his collection, which was developeden a ‘wooden doll. Ususual materials must be checked {or flenbiity and comfort. ‘Some styles should be tried en the body to check forfitand atten 16 VinthestadoFashion design 164 Top Once you havermastered the bases of pattern-cutting and sewing, you wil be ready to mix unusual combinations of cut and material. Here shattered mi ate being attached to acrinoline Above The finished drs. inspited by spariling diamenesand worn to celebrate the eclipse at the millennium, fabric in place, Any style that is avant-garde or unpredictable certainly needs to be fitted to see what surprises may be revealed, But classics too, need checkingon a body: there are clear benchmarks a5 tofhow these styles should hang and fit ‘When you are satisfied, make any alterations, hang the garment an a suitable hanger and cover it with a garment bag. Adding your own labels and a swing.tag will {81 a professional look to the outfit and prevent it being lst, or confused with the work cof others. Further reading and additional vesources Cutting and mcking ‘Martin M Shoben and Janet P Ward. Pattern Cutting and Making Up ~The Professional Approach Burlington: Elseviet, 199% Injoo Kim ane Mykyung Ut. Apeare! Making in Fashion Design, New Yori: Fairchild, 3002 Edmund Roberts and Gory Onisherbe Fundamentals of Men Fashion Design: ‘A Guide to Cosval Clothes, New Yor: Flechild, 1985 Debbie Ann Gioeto and Beverly Berke Fairchild. Feshion Production Terms, New Yor Connie Amaden Crawford. Guide to Fashion Sening, New York Fairch ld, 2000 aren Mes. Sewing Lingerie That Fas, Newton: Taunton Press, 2001 Gerry Cookin. Bas Cuting for Women’ Outerwear, Oxford: Blackwell, 1994 Cate Shaefter Sewing for she Appavet Indust, Upper Sadie River: Prentice Mall 2001 Francoise Tellier Laumagne. Mailies les mouvement df, Pars: Minerva, 2003 ‘Harold Carr and Barbaza Latharn The Technology of Clething Marufacture, Oxford lackwell,200% Hannelore Von Eberle. Clothing Technology: From Fibre ta Fashion ‘Haan-Gruiten: Verlag Europa-Lehrmitte, 2009 Robert Boyt, Woisted Efforts: An ileatzated Guide to Conetry Making, Stratford Sartorial Press. 1997 Sian.Kate Mooney Atating Later Cctet, London: Rateord, 3004 AU Shep and Gal Gari, shits and Men's Haberdashery (igos~ 9209), Fort Bragg: Rt Shep 1968 Emestine Kopp. New Foshion Arees for Design, New York Falrhil.1973 David! Spencec Kritting Technology. Cambridge: Woodhead, 2001, Falrehie. 1979 ‘ttens and sewing information ‘Sewingpatternscom Sewing pattems worm freepatiernscom Free patterat home earthiinknet/-brinac/Patterns htm New York City Costuming Resources ~ Pattern wevmmecallco Vogue, Buiter McCall patterns eovu costumes org MISTORV/IGOpages/Bthpatterns.ntm The Costumer's Mantesto Hatovical patterns wormesterkalts.com Yesterkits Vintage kniting patterns \weew shapelyshadowcom/htmUVscanhtm Shapely Shadow ‘Dies form production using body seansersV4Fashlon design Top A contrat between c ictaloning anc an extravagenty feminine skirt wins Miguel Feta he Tata Above ‘Doing Smimolf was alawgh. twas out enjoy myselt rally thought I never had € of winning ve never won anything in my Ife, so geting the award was one biggest honours. especialy n front of su famous eat of judges’ Nick Oatnieuiat. winning, What is a project? The most popular and succesful way of teaching fashion iby rheans of the project A projet i sustained plece of work usualy lasting two to sk weeks and incarporating both esearch and practical sk iste tasks. alms and objectives are set out ina project assignment. You wil probably be asked to carryout your ist one before you start your couse. This assignment san irttodutton tothe process of designing Inter during te assessment critique or ert the presentation of workin fron of staf? and fellow students Te scope of project vaies accovcing tthe spect you ae studying and also the tage ofthe course you have reached, The teaching staff wil hold briefing to present the project and dscuss what is required of you The brief wil set cut the Lash, tll you what work sto be submitted and who will each and mark it give the citi for assessment. nd say when and how the cit wl tke place, The purpose ofa project brie sto develop your ably to respond creatively ta apanticiae set of cequicements tts often a simulation of what may be required ofa fashion designer within diferent market sectors. The projet ves you a chance to practise skis tat you will need when you leave ealege and enter work There wll, however be some signfcant diferences Types of project The Individual project The individu! project can beset either by peimanent staf or by visiting lecturers tt maybe a problem that all those in your year group are sat ora task you are given personally inorder toimprove particular skill. You wil be expected to respond to the ‘requirements the project in your own individual way. Your response wil be assessed and ary marks given willbe an indication ofthe progress you are making. The sponsored project ‘The sponsored project sel by a company = usually (but nt slays} a fobric or fashion company. It wil discuss what is required with the teaching staf and the results wil be Judged by a mixture cf staff and company members, with marks ard pits awarded accordingly Sometimes marks gven by college staff dont accord withthe choices made by the sponsors because they ae lacking fora different outcome from the project ~ acedemni eras comnmetca considerations ‘The competition project ‘The competition projects set bya company or external organization Fashion competitions area popular promotional ploy and are usally offered to colleges nationally rites ean include travel bursaries and placement awards The results wil be judged by the compary team, and, unless you ae a winner itis uniely that you ‘wil nowhow your wouk has been appraised. Submitted work inet always returned 40 itis vital to make photocopies for your potfolia. The team project ‘team project equires youto interact witha group of students, some of whom you ‘may nat even know. Team projects ave large in scope and frequently require you to consider marketing, labeling and costing iswes 2s wll as designing Your role may be defined by the group, and you willbe expected to have brainstorming discussions and to ‘co-operate with others within simulated work envionment, The pressure is intense,eft vides tried out in acrowing, then made nminiature and finaly made up full-size ‘camera can be very helpful at this stage for capturing variations. ome ideas develop bry accident.Do not throw away work you ate dissatisfied with; a week later you, or your tutor may find it more compelling than you expected. Design tutors and technicians will help you tomake choices that clarify and justify your ideas. Remember that the ‘opportunities ta talk to them informally inthe studio are alsa moments when you can team a great deal: and staff willbe observing your working methodology and application to the tasks in hand before the presentation ofthe project. Storyboards A project will usually requice yeu to make a presentation of your ideas through artwork 25 wellas a prototype or garment. Storyboards area series of finished presentation sheets or polyooards, which represent the whole’stery’of your soltion tothe brief ‘They will usually include a mood boaid,finalilustrations and co-ordinated fabricsand —_OppasiteInvigung photogtaphy can help to trimmings, witha small amount of text to explain thetheme, colours and market. _firsh off the presentation of an outfit or fashion courseshave diferent appraachestothssat of presentation and mayve_ Slsten sng cin daca an students quite alot of freedom when it comes to putting together artwork fora cit. aug between taes.n charged wth ‘This work often forms the cove of a portfolio. atrosohere veTheproject mp2 : 2 2 ‘Opposite Preparation and dcussion of ‘modeled designs and artwork ata eritique. ‘Right lineup of tolls shown before te _germents are cut andmade inthe correct fabrics helps the decision-making process. also allows ‘the designer to spotters missing from the collection and to mate alterations that improve ‘the everll presentation and balance of the line. Farvght Photographing workin progres s useful as a record for your pottola, especially ‘the design mutates significant during the process The cri ‘The ert (or ertique) is the oecasion when staff evaluate your response to. project. tis both an objective and a subjective assessment af how you have fulfilled the requirements. its alsoan exchange of ideas. The crit can be managed in a number of different ways, according ta the type of brief. Sometimes it sa private assessment with a pane! of teaching staff. At others it Isa mini fashion show to which you bring your dressed model. On these occasions the ent can be attended by the entire student group or a selection of students and stat, technical staf or invited visiting tutors. The ‘members of the panel will be looking for a design that has not anly solved the problem set bythe project. but which also has balance, harmony. originality and a good cholce of fabric and trimmings. Additionally, they will want te sce that you have developed your design and practical sills. Now and again only selected designs will be discussed in full, in order to speed up what can bea very protracted process. The main points of success and failure that have come out of the project will be discussed and clarified. You willbe given marks on the presentation of your werk, both inits practical form and in the way that you explain and: support your answer to the preject brief, ‘Dunng a ent students need ta listen hard and feamn to extract the useful information and facts from personol opinion... eit situation has al the dynamics of group therapy; its usually very postive but often there are also confessions and tears, Weall om fram i.” Second-ycar fashion tutor Sally Calendar ‘Most students and staff find that the crit is an enjoyable finale to a project. Its very satisfying to see your design finished and being worn, and also to see how others have tackled the same themes and yet come te very different conclusions. There will often be conflicting or varied points of view as to how successfully you have arrived at and achieved your objectives. fyou are weil prepared and have rehearsed your presentation, this should not be a worry The purpose of the ert isto help you to appreciate your progress and resolve potential problems in your future work, “Y[you know what you want to do becouse you have thought it through, It should have am inner fogic and conceptual rightness~ where all elements fit, dictate form ‘and colour. Then you are away and it is straightforward production. Sweating over It for days can polit! Final-year student <==" ay |: Assessment The grading scheme used fra marked projects vaies between colleges and courses Some cllegs use an‘slpha-bets system anc thelr equivalent percentage marks. The ‘course handbook wil explain what level of achievement the marking bands represen. Some courses award credits, maths which you accumulate to allow you to progress to another or advanced module (unit) ofthe cours You can chart your progress by keeping 2 note ofthese marks and defining the strengths and weaknesses that can be addressed ‘nyour portfolio. Most coteges wil assign you a personal tutor who wil guide you and tive you written anc verbal feedback in a variety of progress tutorials. f you are tushapay with your marks at ary point during your education you should make arrangements to see your tutor and discuss the problem, There usally also. format assessment of your progress critical unctures of your course. You will be informed when and where these wil take place 3 that you can prepare yourself You may be asked to put up a display of your work ar show a portfolio tothe staff team. Assessment {3 matter of judgement, ot simply of computation. Projects are commonly marked by 4 numberof efferent people o efferent occasions, mt wil we the'r own objective siscetion moderated by discussion The mederation process is an important aspect of the assessment and eicumstances that ray have affected your attendance ot performance in projects or during the yearcan be taten into account providing you have eported therm AL the final stage of degree course you ate marked by a pane of tutor, rast of whom have been familar with your wodk over an extended period. in most colleges the pane consist of ot least one ertermal examiner. who hasbeen ined rom the industry or academia toensure that there isa fle assessment ofall tudents and that the required standard are observed, Usualy marks for written work such asa thesis, business reper or disertation, are computed inte your final grade. The balance ‘and percentage given to contextual studies varies in different institutions. Some courses. offer a variety of ratios of practical work to written work from which you can choose to te assessed. Facully members ate ahvays keen to see their students do wel Further eeading and adtionat resources Carolyn Genders Sources of hspinatge, London ALE Black, 2008 ‘Gettaan and Cecile de Kegel The Elements of Desi, tondoe: Thames & HUdseN, 2908 Penmy Sparke,As tong os ts Pik ~The Sexucl Pvc of Test, London: HarperCollins, 1995 Fetrula Wont inpiation = Mea Crativky Sourcebook, RPO, MAA ROCKO, 2002 Gaveries ana porto wes wynartshole-o.ublorts/fashion htes ww arts acubyatouck wren resslabcors ‘wewargsn-edu cok “wien showatudloxsen wwe seweancor ‘ww rst Weom wrrwinMede comThe final collection ‘Your last project ften called the ral colection should build on the individual successes you have achieved aver your years a cllege This the range that willaunch you into the professional world Essentially it you who write your project for your final collection. You may be expected to write a rationale, or explanation, of ‘your intentions to help you to resolve your ideas. This, together with your drawings, Fabric selections and any other relevant data, will be presented tothe teaching staff and passitly also to extemal examiners or others invited to discuss your presentation and help you imate your Fra garment selection I can alsa function as 2"press release’ tosent out to the media, potential employers or buyers. fy thc stage ofthe fashion courte you will have identified the market and the typeof person for whom you would Ike to design, Over the years you wil have established a design identity. You will have an appreciation ofthe complex and competitive industry into which you are stepping, and the supporting werk, photographs and illustrations in your portfolio will indicate that you are ready for your first professional project. Fabrics, colours and your decisions about silhouette and design details will all be handled with a confidence that has grown and blossomed. Youwilhave gained variety of sills and technical knowledge, to produce thing appropriate to your specialism. Your final collection designs should look strong and include both important directional ideas and less dramatic pieces. When your designs have been approved in the presentation crit, you are ready to go to the pattern-making stage. A numberof adjustments and changes to your plan ll probably be needed before the collection takes form and the toiles meet with approval at the line-up, or review, of your Collection before the sys are made up. For some, the practical making of their callection the mort enjoyable aspect oF a. ‘Acollection can end up loaking quite different from what you had ln mind, te quite hard to control it has a life ofits own; it jumps out of your hands. You look ‘at it on the day of the show, when everything is put together, and it has changed, You think:“How did that hoppen?™ Designer Suzanne Clements The college fashion show ‘he fasion show ofan established designer fers markedly from that ofa student collection. The professional shaw gives retall buyers and the press a first view of anew: commercially available collection. tis also a public relations exercise that fuels the supply of pictures and stores to magazines and, increasingly. is an entertainment in its own right. The chief members ofthe college fashion-show audience, by contrast, will be staff, along with students, parents and a sprinkling of sponsors. and manufacturers on the lookout for fresh employees and ideas. Some colleges feel that it is educationally decisive for fashion students to have the simulated experience of the: catwalk show since many will meet with It later in their careers. The critical pacing of your wortioad, andthe ability to focus ad present a cohesive range tats both Creatively excng and relevant to your future aspirations. are assessable outcomes of the fnal- uy 2u0A,198 Fashion design you Fish your collection In goa time. ‘you.can improve en your presentation with a photo shoot, Work placement and internships For a graduate, sudden exposure to the worid of work can be daunting, It need not be, however. and the key here is preparation. Start networking early in your college career, ‘ind work experience or take 3 placement At the very least youcan try finding holiday |Jobs with a compary that interests you, Some colleges offer sandwich courses, which include 2 sustained petlod of wotk experience within the industry as part of oF In addition to, the curriculum. Thisis called a placemeat.o interaship. tis a useful way to test out and view at frst hand the different career paths and roles available. Although placement work i often nat well remunerated, the experience should prove a valuable investment. Usually you wil be taken on inthe position ofa studs union. Typical tasks may include everything from modelling tolles and sewing on labels and buttons to answering the phone, making the coffee and running out for sandwiches. You are unlikely ta be asked to design ee contribute to the collection while ‘on a placement, but i you are alert you willbe given more complex jobsand responsibility as you prove your campetence. Your personality and se presentation willbe under serutinyin these circumstances, you can be easily replaced. Timekeeping and orderliness, hard wark and {good manners are valued. Contacts and friends can be made who wil form part of your future network and who may be willing to give you references or sponsorship in Funds or in kind. Many students are asked back to work after they graduate, in the much more rewarding role of junior designer “Thad the most wonderful time an my placement. | was really nervous whee I first storted ond didn't dare speak tothe designers, but everyone was so friendly that 15000 got into it. The best part was helping cut at the collections and seeing italtcome together and knowing which Bits 1d hod « handin, Now tkniow my way around Paris too. feel realy sophisticated.’ Third-year student Your college will usually ask you to write an evaluative epo't on the structure ef the ‘company, the nature ofits products andthe tasks that you were given. ti good idea to keep a work diary and toask your colleagues fr information and material you can tse in your report. The document s confidential but you may be expected ta show it to your employer so take kare i yout phrasing, Your employer may also be asked to fill na form give a verbal account of your candluct inthe workplace. You may be awarded an academic certificate or academic redit 09 completion ofthe job, which can be added to your Cv. Future employers ate more confident about taking on employees who have some experience im the industry. and you increase your chances of finding work with this endorsement. The internship sa wonderful low+isk opportunity to find cut what you are (or are not) best suited for within the industry You may discover that you need Additional qualifications and training for the job you aspire to. and might consider doing a postgraduate course. 60 chiitztes Materee Fashion design if you vii stands during Graduate Fashion Week, you can see what colleges have ta offer. Post-graduate study and research After you have completed a first fashion degree you may wish to continue your studies In another country or examine your subject mare deeply. Or you may want to specialize in an area such 3s marketing, sportswear or computer-aided design, orn another aspect of fashion design that is not commonly offered in depth at Bachelor of Arts level. Awe range of options is available. Before making an application, contact the university or college to discover what the benchmarks are, Ataf expected to take a more pro-active approach to your learning programme. t willbe assumed that you have basic Fashion skills to an established level and Ft time wall be allowed for catching up with other students, You may be expected to write a plan for your studies before you apply fora place. If possible. po to the degree shows af courses that interest you and visit institutions on their open days to 2:k questions, esearch degrees in the arts, and especially the fashion field, are less common than in schencas and humanities, but many universities offer social and cultural studies, and have business and textile technology departments that may consider fashion-research ‘proposals. Many colleges and universities offer part-time study modes. her-degree level you will be Careers in fashion After graduation Every June an enormous number of fashion degree graduates are avilable for work. The fist few weeks ater graduation can seem lke 3 holiday andi ciclo ress the temptation torelax.4 large number of potential employers vis the degree shows and advertise and iterviewat ths time.tf you have received some upany leads. If not. don't become despondent and, most importantly, stay focused. The Creative design world thives on networking and contacts, and many of the top Jobs are reve advertised. Word may go.eut tosome select agencies. but many appointments are made by recommendations sometimes from college tutors. or through previous contacts or by poaching or heaghunting staff from competiiors. The fashion industiy notorious for BS While you are actively seeking werk, organize your time and activites and consider enhancing your sls and experience with parttime work or stuty For merchandisers crest, promptly follow lack of secure positions and many people enjoy the variety this brand for production and premotional jobs fluency in Microsoft Word, Excel and PowerPoint are considered essential. These transferable skill can be learnt in mary ‘elds besides fashion. &xperience gained on placement (intemship) orin sales assistance will be an advantage when you are looking for employment and should be mentioned at interviews. Keep abreast of industry news, stay in touch with events and visit trade exhibitions. t is often worthwhile accepting a first“foot in the door job that may lead to a better pesition. You are more likely ta hear about, or be offered, other work you are already employed. Employment prospects ovement statistics in the United Kingdom, Europe and the United States show that the fashion and textile industries are shrinking and forecasts ae that the situation will continue. Wage work and salaried employment in the apparel Industry s expected to decline by sixty-nine per cent through to 2012. The loss of fois is concentrated mainly at the lesser skilled, full-time employment end of the manufacturing market because of offshore production, However, it is predicted that there will be a continuing demand for higher technical skifls centved on pre-production in design, information technology {IT} and advanced computer-aided design and manufacturing technologies and traditional handcraft skils associated with high- quality clothing. Growth areas include product development (design and technology), cutting and planning, computer-aided production, hand-tailoring, management and logistics. The need for textile and fashion Cesigners shovid remain strong, and possibly increase, because the demand for fashionable clothing is substantial and expanding in the casual menswear, sportswear and childrenswear sectors, in plus sizes and in «lothing for the over-ferty age group. Nevertheless, competition for design jobs is keen. Although a large numberof jobs within the fashion industry do nat require a degree, a minimum of two years certificated higher education is stancard. And although some of the most famous designers and entrepreneuis, including Vivienne Westwood, Ralph Lauren, Helmut Lang and Michael Kors, did not have formal trsining, today a degree is an authoritative indicator of ability and commitment. Real working conditions Employment practices are shifting and recent graduates should expect difficulty iv finding a postion or are kely to be offered short-term entry-level contracts oF asked ‘ta work on a part-time or freelance basi for little remuneration. Skills Training in Information technology an¢ production machinery processes is often available through local education or careers centres in the form of part-time or weekly classes, or can be gained while on the job. Empirical studies in both the United Kingdom and the United States show that four out of ten designers are self-employed. Surveys show that mature graduates face an even greater challenge in establishing themselves, znd are more likely to be self-employed. It takes time to network and build up contacts and a reputation tis important to maintain relationships with friends and colleagues as many jobs are obtained by word of mouth. Self-employment is fragmented and carries the ongoing burden of finding assignments, and the responsibilty for record keeping and tax returns, The Princeton Review of Careers states that the chances of becoming an Internationally famous fashion designer are 160,000 to one. Only about one per cent of design graduates actually work a5 designers; seventy per cent take up satisfying work in the number of vacancies ive final colection and beyond 261