Fashion drawing 9781780678344

Citation preview

Illustration techniques for fashion designers

Michele Wesen Bryant

Second Edition

ashion rawin

Second Edition

Fashion rawing Illustration techniques jor fashion designers

Michele Wesen Bryant

P¢ ;

OUTWEA

R COLLECTION ff

Laurence King Publishing

First published in 2011 by

Laurence King Publishing 361-373 City Road, London

EC1V 1LR, United Kingdom

T +44 20 7841 6900 F +44 20 7841 6910 [email protected] www.laurenceking.com

This edition published in 2016 by Laurence King Publishing

Text © 2011 & 2016 Michele Wesen Bryant This book was designed and produced by Laurence King Publishing Ltd, London. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher.

A catalogue record for this book is available from the British Library.

ISBN: 978 1 78067 834 4 Development Editor: Anne Townley

Senior Editor: Gaynor Sermon Original Design Concept: Paul Tilby

Design: Mark Holt Picture Research: Emma Brown and Louise Thomas

Copy Editor: Angela Koo Proofreader: Nicola Hodgson Indexer: Sue Farr Printed in China

Front cover illustration © Tina Berning Back cover illustration © Helen Raynus Prelims illustrations by: p. 1 Laurie Marman; pp. 2-3 Sylvia Kwan; p. 4 Richard Rosenfeld; p. 5 top center Eric Wakiyama;

p. 5 bottom left Steven Broadway; p. 6 bottom left Abzal Issa Bekov; p. 6 bottom right Lydia Palmiotti; p. 7 Laura Laine

Contents

Introduction

7

PART II

DRAWING GARMENTS PART |

DRAWING FASHION FIGURES Looking Back

8 10

CHAPTER 1

DRAWING WOMEN

28

Planning

29

Traditional Fashion Figure Proportion

33

Balancing

40

Turning

49

Posing

58

Adjusting

62

194

The Sketchbook

198

Finished Presentations

205

Production Sketches

212

CHAPTER 6

BASIC GARMENT DETAILS AND SILHOUETTES

214

Flat Sketching Basic Garment Details and Silhouettes

218

Sketching Basic Garments on the Figure

225

The Combined Effect of Body Movement and Gravity

228

lllustrated Glossary of Garment Details

238

CHAPTER 4 ZOOMING IN

130

68

Drawing Heads

132

Planning

70

Drawing Women’s Heads

134

DRAPE

248

Traditional Fashion Figure Proportion for Men

74

Drawing Men’s Heads

150

Basic Principles of Drape

22

Drawing Children’s Heads

155

Flat Sketching Basic Draped Garments

254

Balancing

82

Drawing Hats

159

Drawing Drape on the Figure

255

Drawing Hands

164

Gathers and Ruffles

256

Drawing Legs and Feet

168

Designing with Gathers

259

Drawing Shoes

171

Flat Sketching Garments with Gathers

260

Drawing Gathers on the Figure

262

Flares and Bias Cut

266

CHAPTER 2

DRAWING MEN

Posing

Turning

86

88

CHAPTER 3

DRAWING CHILDREN AND YOUNG ADULTS

94

Babies

o7,

Children

102

Tweens

aks)

Juniors

120

CHAPTER

7

CHAPTER 5 WORKING FROM LIFE

174

Getting Started

175

Basic Principles

179

CHAPTER 8 TAILORED CLOTHING

278

Bringing it all Together

193

Drawing Tailored Jackets and Coats

280

Designing Tailored Clothing

289

Pleats

294

Designing with Pleats

299

PART Ill

RENDERING TECHNIQUES

304

Getting Started

306

Materials

310

Working with Color

319

CHAPTER 9 RENDERING SHINE

324

The Physical Nature of Shine

327

Drape and Shine

328

Rendering Garments with Shine

330

Specialization: Accessories

340

lllustrated Glossary of Fabrics with Shine

349

CHAPTER 10

CHAPTER 11 RENDERING PATTERNS

Glossary

Motifs

Further Reading

Rendering Printed Patterns

Resources

Rendering Yarn-dyed Patterns

Index

Rendering Knit Patterns

Picture Credits

Specialization: Swimwear

Author’s Acknowledgments

RENDERING TEXTURE

350

Woven Textures

353

Rendering Flat Weave Textures

354

Knitted Textures

364

CHAPTER 12 RENDERING SHEERS

Rendering Felt

369

Basic Principles for Rendering Sheers

Specialization: Outerwear

370

Specialization: Intimate Apparel

Illustrated Glossary of Textured Fabrics

374

Illustrated Glossary of Lace

Illustrated Glossary of Patterns

436 440 441 444 447 448

Introduction A fashion drawing is a bit like a fairytale—an imaginative invention that incorporates just enough reality to tell a convincing story. While

tradition calls for elongating the limbs and the rigorous editing of visual information, the key message of this book is that there is no

right or wrong way to draw fashion.

In Part I,the exploration of figure proportion avoids establishing set rules. Firsthand observations from live fashion model drawing are used to discover the foreshortening and balancing of figures. Part Il focuses on drawing as a function of the garment design process with instruction for drawing construction details and silhouettes—how they are combined is up to you. In Part Ill, demonstrations for rendering different types of

fabric use a wide variety of media and techniques; examples are presented with varying degrees of completion relative to different job descriptions. Throughout this book, instruction is supported with a broad

array of illustration styles by many different artists. A more inclusive aesthetic is intended to encourage truly creative expression. The content is set out across 12 chapters that, depending on previous

experience and focus, can be read in any order. There are proportion templates for drawing women, men, and children that can be

adapted according to your intuition, market category, and for various customers. Supplemental assignments provide for further exploration and development of skills. An illustrated glossary of details and silhouettes will help to build a broad vocabulary for garment design.

Although there is no real substitute for working with actual swatches, the photographic galleries at the end of each chapter in Part Ill can be used for rendering practice. Finally, a discussion of different specializations (also in Part Ill) can be used to guide decisions about a more focused course of study or the development of a portfolio for

a specific career path.

A /n this illustration by Laura Laine, the

In this second edition my goal was to fill in the gaps and address

combination of abundant hair offset by tiny

recent developments in industry and education. New examples are

feet creates an extreme overhead point of view, disrupting the traditional elongated

representative of the seamless combination of manual and digital

fashion figure proportion.

processes used today. The introduction to Part | features new iconic

historical artwork. The chapters on drawing figures have been revised to correspond to the subtler posing currently preferred in fashion. Androgyny and the upending of gender norms—hot topics in society first emerging on the runway—are also addressed in these chapters.

Part Il has been expanded to include more examples and information about technical flat sketching. Because many fashion

Chapter 11, newly titled Rendering Patterns, covers printed, woven

schools encourage students to integrate 2D and 3D processes

and knitted fabrics as well as a new swimwear specialization.

for their designs, many of the new drawings in Part Il incorporate

| am grateful to include the work of talented students who have

photographic images of experimental drapes and dimensional

crossed my path in the years following the publication of the first

collage elements.

edition. As ever, their fashion drawing is informed by an increasingly

In Part Ill the chapters have been reordered and expanded to include knitted fabrics. Chapter 10, newly titled Rendering Texture, features renderings of fabrics such as denim, faux fur, and felt.

international and varied point of view. It is my sincere hope that by

working with this book, you too will develop a unique visual language of your own.

BH ¢ )

P

: i \\ :

|

a

1 al

\

.q

10

PART!

DRAWING FASHION FIGURES

art | of this book provides examples and instruction for drawing stylized

requires new apparel, but also new figures and poses for the illustration of design

versions of women, men, and children. The development of customized

concepts. The gestures of figures reflect the social conventions of a particular

templates will help you to determine and maintain consistent proportions

era (for example, the sexual revolution of the 1960s caused fashion drawing to

for these figures. The basic rules for balancing and foreshortening the figure are

become more risqué). Demographics that shape evolving standards of beauty also

then introduced to guide the creation of poses. Both the figure proportions and the

determine the ethnicity and age of the figures used in fashion sketches. The same

poses can be adjusted to convey different ideals and concepts. Decisions about

aesthetic applied to the cut of the clothes affects the way that the garments and

emphasizing certain shapes, colors, and patterns are important because they

figures are drawn. Technology is also in the mix, evident in alternately precise or

affect the way that a fashion design is perceived—both before the garments

expressive line quality, and providing new means for graphic reproduction.

are created (in the designer's sketch) and after (in fashion journalism).

Given the number of choices available in fashion today, it may surprise you to discover that a single trend once held sway for an extended period of time,

Looking Back

further influencing the way that fashion was represented on the page. A brief review of the twentieth century will explain how and why fashion drawing

A quick look back in time reveals that figures, layout, and media change in

evolves so that you can develop a personal style that is evocative of your

response to the same considerations that affect garment design. For instance,

own times ... and the future.

the popularity of new activities (such as rollerblading in the 1980s) not only

44

(Previous spread) An artistic

interpretation of garments can be used to

position fashion in a specific and unique context. Illustration by Alfredo Cabrera.

4 Coles Phillips’s exquisite attention to garment detail made fashion central to compositions for his “Fadeaway Girls” (so-called because they “faded” into their painted background). Illustrations

were used to tell complex stories in a way that anticipated twenty-first-century graphic novels.

INTRODUCTION

11

La Belle Epoque (1890-1914) At the turn of the century, daily and weekly editions of illustrated journals were the sole source of news. As a result, fashion icons of the period were brought to life by illustrators such as Charles Dana Gibson, J.C. Leyendecker,

and Coles Phillips. Illustrations not only documented but

also dictated fashion. The all-American “Gibson Girl” inspired fashion trends for suffragettes—long gored skirts and high-collared embroidered blouses with necktie, cravat, or jabot completing the look.

Paris was established as the international fashion capital, and French fashion dictated a mature hourglass shape in the West. As intercontinental travel by new superliners afforded increased exposure to the East, styles

began to change. Orientalism became a parallel force in fashion, prompting Paul Poiret’s introduction of a less

constricting cylindrical form—his Directoire line.

A Fashion illustration during the Belle Epoque featured a great deal of shading to emphasize the dimensions of the hourglass form. The “pouter pigeon”

& When Orientalism hit fashion, it

look, achieved with heavy corsetry in

also had a major impact on illustration.

real life, was easily and more fully realized in drawings. Inert figure poses and a stiff drawing technique mirrored the mannered and rigid social structure of the Edwardian era.

Figures took on the new cylindrical form. Poses became less static, and a more sensual drawing style was used to prioritize the decorative pattern, color, and drape of exotic textiles.

tAWING FASHION FIGURES

World War | (1914-18) jes and

lifestyles changed dramatically after the onset

i

World War |. Privilege associated with the Belle Epoque

:

| i:

of the past. Women and children dressed

i

vork clothes and uniforms as they assumed men's jobs

ii

ne front. The austerity of wartime was soon >xoressed

t

in the elimination of social dress codes and the

‘

yopearance of trench coats and other military and utilitarian fashions. As a consequence, wartime fashion drawing was

cope. What little there was reflected influences ) the East and the new silent screen.

Vv Public service and fashion comingle in a recruitment poster circa 1916

= Supe de C

A Granted new prestige, fashion was repositioned and reviewed as art in the

very first luxury fashion magazines.

La Gazette du Bon Ton and Le Journal des Dames et des Modes included the

illustrations of artists such as Georges Barbier, Eduardo Garcia Benito, Bernard Boutet de Monvel, Georges Lepape, and

Gerda Wegener (above). Compositions featured the bright colors and decorative motifs inspired by Orientalism.

grodse ne

tatle

INTRODUCTIO

The Roaring Twenties Fashion in the 1920s evolved in tandem with Art Deco. jazz, and the emancipated flapper. Madeleine Vionnet's innovation of the bias cut (1922) allowed new freedom of movement and would become wildly popular in the 1930s. (For more about the bias cut see pp. 266—73). Coco Chanel’s “little black dress” was both a symbol and an extension of the

new modernity. Tight-fitting “jazz suits” for men passed

quickly in and out of fashion, replaced by roomier clothing required for dancing the Charleston and the Lindy Hop.

After years of women’s suffrage and a shift in gender roles during the war, the 1920s’ ideal woman was an androgynous garcon. New elastic foundation garments minimized the same parts of her body that corsets had previously emphasized. Waisilines dropped and then disappeared altogether, making a sudden reappearance at

the end of the decade. Abbreviated hemlines for day and evening revealed turned-down hose and powdered knees. Fashion drawing during this period reflected an increasingly mechanized lifestyle that now included mass-produced clothing. The frenetic joie de vivre of the first youth cult, living in the modern city, was conveyed

with youthful active figures. Orientalism prevailed and the proportions of fashion figures changed to present a more cylindrical form. The size of the head was reduced as per the bobbed hair and cloche hats then in fashion.

Compositions featured the bright colors and flat geometric forms associated with Art Deco. The Surrealisis’ exploration of the subconscious mind was also extremely influential and prompted the creation of dreamlike compositions.


The revealing bias drape sculpted

a more naturalistic figure, with large

shoulders, lowered bust, and narrow s—an ideal difficult, if not impossible, to attain naturally. Illustration by René Bouet-Willaumez

15

INTRODUCTION

World War Il (1939-45) During and after World War Il, fashion design was affected

Riveter were used to recruit women for factory work as

by the rationing of raw materials and natural fibers reserved

part of the war effort. Beginning with the publication of

for the war effort. Civilians were asked to “make do and

Esquire in 1933, centerfold pinups of the airbrushed “Petty

mend.” Rationing prompted women to wear short, tight

Girl” (named after her creator, artist George Petty) raised

skirts, and men to favor shorter jackets, narrow pants

soldiers’ morale and were often reinterpreted as nose art

(trousers), and the total elimination of vests (waistcoats),

decoration for airplanes.

vents, pleats, and cuffs. Style for women and men was

The inverted “V” silhouette, intended to emphasize

largely demonstrated through imaginative accessories.

physical prowess, continued to be reflected in the stylized

Wartime fashion, though limited in scope, continued

to be monitored by illustration. Iconic images of Rosie the

figure proportions that were used for drawing women, men, and children.

)

=) fd

et

|

Spunteen

THE

FOUNDATION

IVER,

OF

NATURAL

A The 1940s saw a marked rebound

from 1930s’ naturalism, with padding, corsets, and girdles used to achieve broad shoulders, conical breasts, small waists, and suppressed hiplines.

fashion intensified in the 1970s. Here, in

recalls the airbrushed pinup art of

for 1976,

for the New York Times Barbara Pearlman's inclusion nce to rt

George Stavrinos’s illustration

the 1930s and '40s. At the end of the 1970s, the more realistic figure proportions that began to emerge for “power dressing” had a defined waist, accentuated by a higher-rise seam.

4

Lae

© oo

——_—

=

>

P

¥, ey

INTRODUCTION

mB =g ra o 9

21

“INES

riuune

expression in MIV graphics and, soon n fashion

drawing.

Illustration

by

INTRODUCTION

23

The 1980s The arrival of the 1980s brought extravagant materialism, a new cyberaesthetic, and street culture into fashion.

“Ghetto fabulous” looks decorated with counterfeit status logos were wry commentary on the proliferation of designer

label chic. Everyone affected the appearance of luxe, wearing designer clothing from new secondary bridge collections (diffusion lines). Television and rock music

continued to be the genesis of mainstream and anti-fashion trends, with over-the-top, retro, and new wave looks seen on MTV and nighttime soaps such as Dallas and Dynasty. The use of personal computers in everyday lives put an end to linear thinking, and this triggered an overlapping and contradiction of trends. Performance artist Leigh Bowery’s

fetishist designs straddled the line between fine art and fashion. Deconstructed looks by new Japanese and Belgian designers featured voluminous garments literally turned inside out, upside down, and torn apart. The postfeminist

agenda was responsible for the return of corsets and crinolines. Ruffled pirate looks for New Romantics were a reflection of the illegal “sampling” of music off the

radio. Christian Lacroix entered haute couture with a wild postmodern mix of patterns and signature pouf skirts.

The ad hoc use of materials in high-tech interior design was reflected in high-fashion garments made of ripstop parachute cloth and sweatshirt fleece. The one connection between the disparate trends was volume. In menswear, tailoring was softened by new microfiber polyester and then deconstructed for pastel cclored Miami

Vice jackets. Hip hop culture called for velvet tracksuits, the sagging of oversized pants, and luxury car hood ornaments

worn as jewelry. Fashion illustration in this era gave visible form to changes in technology, society, and politics. Branding strategies for corporate fashion were now aimed at a larger and more diverse consumer base and, as a result, the facial detail in fashion sketches was abstracted so as to appeal

to the broadest possible audience. There was also a new mandate to sell lifestyle (such as street culture) with social setting implied or drawn in detail. The cold anonymity of slick digital graphics eventually prompted a new appreciation for Outsider and graffiti art, reflected as naive tendencies in fashion illustration.

.

.

—

-

s 4

Se

a

a

=

-

;

‘4

—

a

ae

a

—

-

a

~

—_

‘:

: pse-

yA

;

A,

-

_

&

4»

—

:

~

~—

5

s~

a

.

~ ~

.

~

R

\ Bie

x

.

_

— —

—

a

\

s

~~,

.

~~

ent

\ —AN

aS,

~

a

j

| /

i

—~

: _—_ —_—

= —_—

|

.

I>

‘

‘

i]

a

=

“

os

|8 1

A

_

“

:

=

.

.

a Sy

Pa

ie

es... an

™~.

—

a:

NN ~

—

ay

:

eh ey ey

Ae

.

—_

ee

a

—

\

1a

~~

ote

AS

A

A

4

Pe f

~~ :

— ~

a

om

Oe

:

me -—

--

~~

fe

ee

=

ee

— Sa

©

on ee.

..

S Am it,

7

—

) em

Pa Pn ~ OD

~~,
illustrator Andrea Marshall uses an artful composition, props, accessories, and a dynamic pose to showcase a simpie garment silhouette

DRAWING WOMEN

may not be believable in a drawing. On the other hand, a figure that is slightly off-balance can be used to dramatic effect—you do not know until you try. It is important to consider how a person might move in a particular garment (e.g., does the textile and/or silhouette

restrict full range of motion) and under what circumstances the garment might be worn. There is also the impact of the inspiration for ”

the collection (e.g., a collection inspired by the deep sea might call for floating poses). Not every pose need be overly complicated. Figures that are extremely contorted can actually obscure and distract attention from the garment. The use of static figures with small gestures has come

into vogue. Compositions can also feature a parade of models in the exact same walking pose. But it is up to you to determine which pose best showcases your garment design.

4 /f the figure is leaning on a table or against

A Kelly DeNooyer’s garment designs and

a doorway, you must be sure to include it or a

illustrations are inspired by Scott Radke’s

substitute prop in your drawing or she will look as though she is falling over.

marionettes. The poses—also in keeping with her inspiration—could not be freestanding

without the support of the marionette strings.

CHAPTER | 59

N FIGURES

portion >

poses. matic

,

jures

with

well

shared

as

the

gesture

>_>

i et

and

develop

Experiment

foreshortening,

aS

template

references,

with

props,

pairing

and

and

of

balance.

DRAWING WOMEN

44 Once developed, you can flip the walking

ASSIGNMENT 5

pose for a second figure, as with this illustration by Eri Wakiyama.

There on

are

the

the

shoulders that

And

Static figures. Illustration by John Bauernfeind.

a

Vv Jiwon Kang’s use of static figures creates a formal context for her tailored collection,

pose

hips

the

a

and

same

tracing

overlay,

garment(s)

on

and

figure.

turned

a

drawings

to

for

concept.

your

may

see

crush

than for

So

draw

Then

53

other

lines

describe it

is

best

automatically every

proportion

static,

p.

form.

fully

behavior.

which

on the

opposing

cause

not

deciding

figure

sculptural

figure

your

On

with

may

rather

with

when

body-conscious

active

this).

more

pose

weight

experiment

using

a

relaxed and

A

illustration of

static

Working

a more

example

interrupt

fabric to

require

pose.

Cabrera’s

a good

hand,

considerations

possible

may

(Alfredo. is

many

best

design

On this template, the number of heads remains consistent with traditional fashion drawing, but the widths of the shoulders, waist, and hips have been adjusted to achieve a fuller figure. When modifying the relaxed pose you will also need to make corresponding changes

to the flats figure so that you maintain a visual

connection between the two. An adjusted flats figure follows on the next page.

BALANCE LINE

CHAPTER | 63

OQRAWING FASHION FIGURES

ODUM AT AN

y

& The flats figure must be customized so that its proportion corresponds to the adjusted fashion figure. Here, examples of garments

drawn on the flats figure with a more robust proportion (left).

DRAWING WOMEN

The Bump In recent years, the pregnancies of highprofile celebrities have pushed maternity apparel into the fashion forefront. Part of this new sense of prenatal chic is

an entirely different sensibility when it comes to expectant mothers’ bodies. As

compared to the past, when pregnant women cloaked their bodies in voluminous drapery, women today often dress in bodyhugging silhouettes that accentuate their growing form. Designer Liz Lange pioneered trend-driven maternity, and these days a pregnant woman can easily flaunt her bump in clothing that mirrors the latest runway looks. Even Agent Provocateur, makers of

scandalous intimate apparel, now offer preand postnatal collections.

The glamorization of maternity begins with concepts visualized on an appropriate

figure. The maternity figure must be just

as stylized and fashionable as your regular fashion figure—just with a bump! Subtlety is not a good idea here since you do not want this figure to be confused with the plus size.

The turned and profile views are ideal for emphasizing the fashionable bump.

> The relaxed pose for the maternity figure will have less opposition between upper and lower torso and a slightly wider stance.

>

Model Jourdan Dunn on the catwalk,

wearing a signature look by Jean Paul Gaultier adapted for her bump.

CHAPTER | 65

RAWING FASHION FIGURES

Translating Inspiration Sometimes,

in order to provide a fuller translation of the inspiration behind a collection, you will want to

adjust the proportion of your figure. For example, if your collection is inspired for or by an icon, capturing a resemblance may be essential to providing the right context. If a cultural movement or a particular artist is

your inspiration, it would make sense for this to be reflected not only in the styling of the figure, but also in the proportion and media used.

V With the work of Diane Arbus as the inspiration for her collection, Mary-Ellen

> ¥ Kelley Carollo puts a fashion spin on the work of surreal fantasist Nick Sheehy, aka

Rankeillor’s unconventionally proportioned

“Showchicken”

fashion figure mirrors that photographer's

her girls as a mythical race of gnomelike

fascination with perceived abnormality.

(right). In addition to depicting

creatures, Carollo replicates Sheehy’s method of intricate crosshatching and layering color.

ntl PS de

DRAWING WOMEN

> In this resort collection, Lydia Palmiotti seamlessly blends digital and hand rendering to capture a likeness of her muse, Lana Del Rey.

A Zirui Huang uses calligraphic brush work

ASSIGNMENT 7

for her text and also for the drawing of her Design where

not

a the

only

styling also

small

collection

inspiration

reflected of

the

fully

the

figure’s

and

the

is

the

figure,

integrated

but into

proportion,

media

Phiastrate

in

fashion figures.

Lt.

used

to

> /n a nod to Cubism, and Pablo Picasso's Weeping Woman series in particular, Dahae Lee presents her garments and figures in a flattened plane with multiple points of view.

CHAPTER | 67

peeve

siewtie

DRAWING MEN CHAPTER 2 69

DRAWING MEN As in the case of the women’s figure, design philosophy, prevailing fashion trends, and customer profile will all be determining factors in the representation of your men’s figure. For instance, if the garment designs tend to be more experimental, presentations are also

likely to be unconventional, both in terms of figure proportion and media. On the other hand, a Classic design philosophy will dictate a more traditional approach. Garment specialization will also influence visual presentation. For instance, performance apparel geared to a specific sport will be best illustrated on more athletic figures in active poses.

A more muscular physique is preferred for

modeling swimwear. In reality, the men’s figure measures about eight heads tall.

FASHION FIGURES

lanning Any

stylized proportion that you choose is acceptable—in fact, there

is typically a broader allowance for the male ideal. Designers such as

Nina Donis often establish a relative proportion between their men’s and women’s figures. It would make sense that if you prefer to draw

a large head for the women’s figure, you will be inclined to follow through with a similar proportion for the men’s. The overall height of the men’s figure is often scaled to be somewhat larger than the

women’s. If your women’s figure has a proportion of nine heads, your men’s will too—but the heads used as a unit of measurement will be slightly larger.

» Every designer establishes a unique, stylized figure proportion to convey their vision

of fashion. Richard Haines (right) elongates his figure according to a traditional fashion proportion of nine heads. Kazue Shima (center right) uses seven heads for the height of her figure. Jiakuann also uses seven heads for

the height of her figure, but the landmarks for the body parts are quite different and used to achieve a more dramatic foreshortening,

DRAWING MEN CHAPTER 2 71

NG

FASHION

FIGURES

A Photography no longer trumps illustration in the blogosphere, where content is distinguished by evidence of the hand. Here, artful runway

reportage by Alex Mein for Slashstroke.com.

The purpose of your sketch will also be an influencing factor. Fashion designers face the unique challenge of visualizing garments that do not yet exist beyond their imaginations, and

the sketching of initial concepts can be quite abstract. An extremely stylized figure proportion used for this purpose may ultimately cause a disparity between roughs, finished figures, and

“ /n this editorial illustration, jiiakuann imagines

flats. Occurring later in the design process, more formal presentations must be both creative

the designer Riccardo Tisci wearing garments of his own creation for Givenchy.

and comprehensive in order to predict the realization of the garment. Fashion drawings created for advertising, magazines, and blogs have an entirely different set of parameters. It

is the job of the fashion illustrator to provide context for a collection, and they may exercise greater creative license in doing so. The illustrator is also more likely to have seen the actual

garment and their task is to convey an impression. Artwork can therefore be less specific and more experimental in terms of proportion and media choices.

DRAWING MEN CHAPTER 2 73

A Peter Do's preliminary design sketches are quite abstract and serve as the jumping-off point for more dimensional experimentation

(e.g., draping and patternmaking).

A A formal design presentation by Seksarit Thanaprasittikul features more comprehensive information about garment construction as well as color, fabric, and texture.

74

PANT

| DRAWING FASHION FIGURES

GEOMETRIC FORMS

GEOMETRIC FORMS

Traditional Fashion

Figure Proportion for Men Obviously, there are many gender-based

differences and these become immediately apparent with the geometric forms (right). Relative to women’s figures, men have more

developed and consequently prominent

skeletal and muscular structures. Facial features are chiseled, and the jaw square. (For more about drawing men’s faces see Chapter 4.) The men’s figure will also be wider through the shoulders and chest. Men have longer torsos with lower waists and

narrower hips. However, the appearance of masculinity for fashion does not necessarily

translate as bulk. If you prefer to use the nine-heads

template for your women’s fashion figure

it would make sense to use a similar formula for the men’s. You can use the nine-heads template for the men’s fashion figure provided. Recreate this guide in

another size that works better for you by measuring off or folding your drawing paper into nine equal spaces. If you prefer

to use a customized proportion for the women’s figure, you will want to adapt these for the men’s by scaling up the head size, modifying the width of the shoulders, extending the length of the torso, and emphasizing the expression of muscles and bones.

.

DRAWING MEN CHAPTER 2 75

MEN’S PROPORTION TEMPLATE: NINE HEADS

Blocking in the Geometric Forms for the Men’s Rounded Figure

Shoulders 2 heads wide

@ 114 heads

Refer to the diagram of the geometric forms Bottom of pectoral muscles

for men much as you would an articulated,

@ 2% heads

poseable artist's mannequin. Using the

men’s template as a guide, draw the forms for the male fashion figure, noting their

Bottom of ribcage @ 3 heads

order and location in space (for example, Waist 14 heads wide @ 3% heads

above or below eye level). (For more about

High hip @ 4% heads

spatial relationships and foreshortening see

p. 49-51.) Low hip 14 heads wide @ 4% heads

Knees @ 674 heads

Heels @ 9 heads

BALANCE LINE

ORAWING FASHION FIGURES

El Place a sheet of tracing paper over your template and drop a red vertical line through the center of the measured spaces to establish

a “plumb” or Balance Line. Working with a #2 or HB pencil, draw an oval for the head and then work your way down the body, indicating the geometric forms for the men’s fashion figure. BW Once you have established the forms, roughly block in

the shoulders, chest, and abdomen on a second tracing overlay. Remember that a masculine fashion physique is not necessarily bulky.

El Loosely sketch the rest of the figure. E¥ Refine your drawing to include details for the face, hands, and feet.

BALANCE LINE

DRAWING MEN CHAPTER 2 77

DAAWING FASHION FIGURES

The Flats Figure for Men Fiat sketches, which visualize how a garment looks off of the body, are integral to the design and production of menswear. While the stylized fashion figure is used to idealize and predict how a garment will drape, flats are more effective for communicating technical information

about construction. Flats used for garment specification in tech packs must be quite literal since they serve as a blueprint for the creation of first samples. A greater degree of imagination comes into play when flats are used for initial concept development—in fact, many menswear designers often design on the flat. Presentation flats, used for merchandising

and sales, can also be more inventive, and an illustrator may be hired to reinterpret the fashion designer's concept for a promotional presentation. Details are sometimes intentionally

obscured in such presentations to protect designs from being copied. A flats figure can help to maintain a uniform proportion between the different garments in

a collection. By adapting the stylized front view men’s figure for this purpose, you can establish a relationship between the fashion and flats figures. Because clothing is fitted to accommodate a three-dimensional form, garments will appear wider when laid out flat, off the body. As such,

the flats figure will also be a bit wider. The position of the legs should be hip-width apart, and the arms parallel to the Center Front. That way, if you have occasion to fill your flats with pattern, the body and sleeves of the garment will then feature the same pattern direction.

DRAWING MEN CHAPTER 2 79

THE MEN’S FLATS FIGURE

High shoulder point

sts ——

You can manipulate parts of the front view static figure according to the rules

of contrapposto to create a relaxed pose.

BACK VIEW OF THE RELAXED POSE

:

Inventing Bones and Muscles for the Men’s Figure Once you have determined overall proportion, you can then invent the bones

and muscles for your men’s fashion figure. Place your figure under a tracing overlay. Referring to an anatomical chart (as mentioned earlier, there are many good diagrams available on the Web), reinterpret the skeletal structure according to your

stylized figure proportion. Then draw the muscles on a second tracing overlay.

Studying the bones and muscles—which find greater expression in men—uwill be

invaluable to the development of your figure. The placement of shadows and highlights on the skin (or body-hugging clothing) will be informed by your knowledge of key skeletal forms and muscle groups.

> Reinterpreting the skeleton and musculature for a stylized men’s fashion figure.

DRAWING MEN CHAPTER 2 83

ING FASHION FIGURES

ASSIGNMENT 1 Adapt for

the

your

variety

proportion men’s

of

customer

specializations streamlined this

page

figure

that

conservative

(for

athletic

and

you

figure

be

tailored

established

accommodate

profiles

and

a

garment

example,

a young,

form

activewear,

opposite,

would

have

to

for

or

a more

appropriate

mature for

clothing).

& Working from life, illustrator Richard Rosenfeld’s observations of diverse figure proportions relate to a wide variety of customer profiles.

DRAWING MEN CHAPTER 2 85

»d in Chapter 1, the relaxed pose can be infinitely adapted so long as you respect f contrapposto. The weight-bearing leg must be straight, with the foot positioned directly under the head; the action of the non-supporting leg, however, is completely arbitrary. You might want to capture the action of the runway with a walking pose (right). However, it

is the garment design that will ultimately determine the pose. For instance, the sleeves of a tailored blazer, set in high at the armhole and close to the body, would restrict the full range of

motion for the arms. There are also certain behaviors and demeanors associated with different garment specializations. Again, using the tailored blazer as an example, you would probably choose a more dignified and reserved pose for this garment.

The Walking Pose Fashion runway photos provide excellent references for walking poses. Swimwear collections are particularly good to use, with the proviso that these models tend to have more muscular physiques. Take care to develop a figure that is fashionable and not a bodybuilder! Do not copy or trace the photo, either. Your objective is to reinterpret the pose via the stylized fashion proportion you have established for your men’s figure. (For more about working with photo

references see p. 46.) Working with a photo reference of a walking pose, and your men’s proportion template slipped under a sheet of tracing paper: Hl Analyze the photo; determine the Balance Line, Center Front line, and the angle of the shoulders and hips. Then plot the location of the knees and feet.

Bi Reinterpret this analysis by indicating the same landmarks on your proportion template. Then establish the forms for the upper

and lower torso, knees, and feet.

Ell Roughly sketch the body as a whole. E¥ Refine your sketch to include details for the face, hands, and

feet. Take care to establish spatial relationships, foreshortening the parts of the body that advance or recede into the picture plane. Articulate the muscles using an economy of line to create an appropriate physique for fashion. Evaluate the figure as it relates

to your design philosophy, customer profile, garment specialization, and relevant fashion trends.

oART | DRAWING FASHION FIGURES

ey, Turning Before attempting to turn the men’s figure, be sure to read about spatial relationships and foreshortening in Chapter 1 (see pp. 49-51).

Turned figures are used to emphasize construction details featured on the side of a garment. For instance, a concept sketch might feature a turned pose to draw attention to the eccentric placement of a contrast stripe on a pant outseam. A good place to begin turning the men’s figure is with a three-

quarter pose. Working with your proportion template slipped under a sheet of tracing paper, plot the analysis of the pose, taking care to foreshorten the parts of the body that are turning away from view. Then refine your drawing, using a second and third tracing overlay

as necessary. Experiment with different degrees of rotation so that you will have just the right figure to emphasize a wide assortment of garment details. A profile view is handy for providing information such as racing stripes and satin piping on outseams.

DRAWING MEN CHAPTER 2 89

ASSIGNMENT 2 Design

and

collection at and

deast

men’s

three

below).

information

garment

illustrate

of

a

small

sportswear

ditierent

(See about

Chapter drawing

poses 6

for

using (lett more

basic

details.)

4 Jailored sporty clothing illustrated by Kazue Shima.

DRAWING FASHION FIGURES

ASSIGNMENT 3

A A successful combination of hand drawing and digital rendering by jiiakuann.

Working photo

with

a model

references,

figures.

a variety

develop

Experiment

foreshortening

imply

or

with

and

the

five more

use

of

new

men’s

dramatic

of

props

to

a narrative.

ASSIGNMENT 4 Never

hesitate

digital

according you

can

to

scan

manipulate

and

and

converted

with

warp

drape. refer

If to

When leaving by hand, are

skills.

line

art

selections,

media

art

to

these the

be

menu

working

in your

on

combination

for

if your

that

you

and

be

plan

of can

tweaked

real

world

to

you,

guidance.

consider to

be

digital

sure

can

Paste

fills

unfamiliar

artwork

However, paper

the

rendering

Photoshop,

especially

and

and

simulate

are

layer

pattern

objects

to

part

for

The

terms

by

filters

masks

used

smart

Help

of

changing

Layer

commands

limited.

line

can

and

Photoshop

various

patterns.

two

example,

sketch

in

and

the

For

a hand-drawn

applying

command

textures

manual

balancing

adjustments.

Into

be

integrate

your

the

transforming

modes, image

to

techniques,

skills

print

out

accommodate

the

to

to

rendered

work

with.

Y Bil Donovan's use of selective focus and extreme foreshortening make for a pleasing composition and visual hierarchy.

DRAWING MEN CHAPTER 2 91

an

23

G00 @0000 =

< A A sportswear collection for young men and women features engineered graphics. The illustration by anti-pizza combines manual drawing with digital rendering.

ASSIGNMENT 5 Working

with

any

of

the

assignments,

scan

and

document

open

drawing

the

and

completed

go

the

a pencil

to

in

Image

texture,

tools.

If

are

Paint,

use

you

can

paper

and

markers

the

also

not

Help

print

render

sketch

Trace,

color,

by

beforehand!

you

and

to

the

hand

can

expand

using

with

guide

Image

you.

Trace

markers.

As

is

applied)

select

Once the

the

an

the

you

have

object

Live

Trace

line Be

previous

color

Then,

Trace>Make.

Image

with

in

(before

pattern

familiar

menu

out

developed

Illustrator.

Object>Image

render

you

figures

and

Paint

and

Live

alternative,

art

sure

on to

marker test

your

Various transformations and filters (for example, the Cutout filter is used opposite, bottom right) can be used to refine and/or abstract the drawing.

ING FASHION FIGURES

Drawing Men’s Heads Drawing men’s heads can be quite freeing; the ideal is far less prescribed and there is

less editing required than for women. Character lines and shadows will help to define the expression of the men's more highly developed skeletal structure. The overall shape will be much more angular with the squaring of the jaw, and straighter lines will be used to define the features and suggest bone structure. Otherwise, many of the basics for drawing the women’s head will apply to the men’s.

A As for women, imaginative styling of the men's head is required for the fullest translation

of inspiration and design concept. Here, an Illustration by Moises Quesada.

Because the lower jaw develops over time, the features appear to rise up on the face.

URAYV

NING FASHION FIGURES

“

A Dana De Kuyper 5 Damned Dollies” subvert conventional notions about girls.

> A drawing style inspired by Herakut's graffiti art would be well suited to the tween and

junior categories.

ZOOMING IN CHAPTER 4 157

ta

INFANTS’ HEADS

A With scant hair, infants often wear

hats to keep their heads warm.

SSHION

FIGURES

ASSIGNMENT 8 As

mentioned

children

in

and

young

sweet.

Licensed

Blythe

and

successful with

a

anime and

the

(left),

and

your

and

Strange

depiction

not

of

be

dolls

are

graffiti

drawing

young

drawings

should

inspiration,

imaginative

children

adults

edgier

your

3,

characters

Emily

doll as

Chapter

children.

develop for

a

or more

the

adults.

ies 5 us|

|

ae

boy

mitte¢

A Handmade dolls can be a wonderful source

Ee,

of inspiration. Marina Bychkova's handcrafted

‘that be wash

porcelain “Enchanted Dolls” feature a lifelike

.

ot

articulation and Bacio detail that has inspired many

equally beautiful illustrations by her ardent

fan base

> Look to graffiti art to help you develop an

Be:

alternative approach to the portrayal of children Graffiti art by Herakut.

can \ A

Fake tee

as

examples

& Ton k bes Fiteb ends A5 PA

overly

such

good

(below),

style

of

of

Working Japanese extreme

faces

of

ZOOMING IN CHAPTER 4 159

Drawing Hats Once you have some command over drawing the head, you can move on

be determined by the specific design. Depending on size and location, brims

to hats. There are many varieties: hard/soft, knit/woven, and so on. No matter

and visors may obscure the eyes and cast big shadows on the face.

what the style, placement of the hat on the head is key to the design. Placement

Observation will be key to your success in drawing hats. Make sure that you

is determined by the size of the circumference of the hat. The amount of space

collect a deep swipe file of different styles and fabrications for ongoing reference.

between the top of the head and the crown of the hat will also vary according to

Remember, too, to exaggerate your drawing of a hat, just as you would any other

design. Hats come with and without brims, the shape and scale of which will also

part of a fashion drawing.

; §

E

;

Richard Haines sketches hispersonal observations of street style for his blog. Here, men’s hairstyles, hats, and glasses are drawn

from life.

Add the remaining details to the frames. To complete the drawing, add diagonal hard shadows and highlights to indicate a reflective surface.

JRAWING FASHION FIGURES

Drawing Hands Drawing hands for the fashion figure will be significantly different than for classic life studies. The complex network of bones and

knuckles must be stylized with consideration given to movement

and position. Ask yourself, what would this fashionable hand look like if placed on the hip? How would the hand look holding a cell phone or waving goodbye? Various hand gestures can be used to communicate emotion, attitude, and even gender. The position of the hands can also be used to draw attention to a specific detail.

You should have some understanding of the bones and knuckles of the hand in order to portray natural movement. The bones of the hand radiate out from the wrist, with the fingers then fanning out from the knuckles. The hand and wrist move as one part, with the

muscles of the wrist controlling all movement except for twisting, which is controlled by the forearm. When seen from the knuckle side of the hand, the thumbs point to the body. When seen from

the palm side, the pinky fingers are closest to the body. Because of the hand’s wide range of motion, you will seldom see all

five fingers at once, and the fingers you do see will often be foreshortened. As in all fashion drawing, it will be necessary to eliminate some anatomical detail in order to create an idealized form.

But take care not to eliminate too much structural detail as this will

create the appearance of a rubber glove!

YV Beginners reliably draw the hands (and feet)

A Just as for other parts of the body, the size of

too small in relation to the rest of the body. The

the head and the hand are in relative proportion

hand is actually equal to the height of the face excluding the hairline.

to each other. Illustration by Glenn Tunstull.

7 oe

|

=

re

,

ZOOMING IN CHAPTER 4 165

Drawing Women’s Hands In order to understand the three-dimensional volume, first analyze the hand in terms of simple

geometric forms.

Each finger has three joints,

jicate the wrist as a ball socket | ched to the forearm.

with the length of each segment conforming to an arc. Block in the overall shape of the hand, fusing the two middle fingers, and aligning

the thumb with the first joint of the other fingers.

¥ When drav ing gloves, show the seams as ae e$0

ds created by the movement

Refine the drawing by articulating

_

each finger. Be sure to indicate a delicate bone structure and graceful gesture.

:

;

| DRAWING FASHION FIGURES

Drawing Hand on Hip Drawing the hands in position on the hip prior to drawing the arms eliminates guesswork. Find a suitable photograph that you can use as a guide. Then block in the negative space between the arm and body in the

photograph with a colored marker. Working with your proportion template and a tracing overlay:

2) f

Hl Draw the upper torso and then

Bi Referring to the photo reference,

the hand in position on the hip.

block in the negative space between the arm and the body with a marker. Then draw the inside of the arm.

Drawing Children’s Hands Infants’ and children’s hands must also be highly stylized for fashion drawing. As children mature, the size, proportion, and

structure of their hands changes. Babies and younger kids have short, round fingers and chubby knuckles that slim and elongate with maturity. By the time a child reaches seven, the shape of the hand is quite

similar to that of an adult, only smaller. The

younger the child, the shorter and rounder the fingers. A child’s hand gestures reflect a specific level of dexterity, depending on their age. (For more information about drawing hands from life, see p. 184.)

~~

>

Draw the outside of the arm from

the bottom up.

ZOOMING IN CHAPTER 4 167

Drawing Men’s Hands Men’s hands are more square in appearance, with knuckles and bony structures having greater

prominence. Following the same steps as for women, draw various views of men’s hands.

ASSIGNMENT 10 A Artaksiniya’s fashion portraits feature

Working gestures and

the

from for

photos, women,

order

approximating more

ambitious

holding Rete tes

in the

life, men,

which size

and you of

challenge,

something,

draw

or

even

mannequin

children.

see the

them. hands

in

illustrate the

object

Take The

parts, the

draw

time

studies

a head-to-toe

the

first,

to

should

a series analyze not

figure

be

of the

too

hand forms

enrich narrative.

large,

drawing.

hands

wearing

gloves.

If

then

observe

how

hand

the

expressive hand gestures, which are used to

For

the

a

hand

conforms

is

168

PART! DRAWING FASHION FIGURES

Drawing Legs and Feet As with other parts of the body, it is helpful to imagine a geometric shape—a

same point of view. For example, the right foot may be seen head-on (front view),

wedge—as the starting point for drawing the foot. The relative proportion of this

while the left is partially or fully turned. The leg and feet positions in your fashion

wedge to total body height will be key. Take care when you start, as there is a

drawings should seem natural, corresponding to the rotation of the rest of the

tendency for beginners to draw very small feet.

body. The way that you stylize the foot should also have a relationship with the

An investigation of the movement of the foot and leg will also inform your

rest of your drawing.

drawings. The right and left foot are seldom seen in the same position or from the

Oea

A The length of the foot is actually equal to the height of the head.

‘

bs

~~ .

y

The position of the foot is critical to the profile view. Standing on tiptoes with the weight borne by the ball of the foot shifts the upper body forward.

A The Achilles tendon and heel are seen first, head-on, in the reordering and foreshortening of the forms for the back view.

EXTERIOR AND INTERIOR VIEWS OF THE LEFT FOOT

170

PART | DRAWING FASHION FIGURES

Drawing Men’s and Children’s Feet Advice for drawing men’s and children’s

eC

MEN’S FEET

hands will carry over to the feet. The men’s foot will be less delicate and more square. For infants and children, the relationship

between the feet and the body as a whole

will change as the child matures. Babies and little kids have relatively large and chubby feet. Since very young infants are unable to walk, they are usually drawn in sitting or crawling positions, and the bottoms of their feet are often in view. For bigger kids, the foot begins to thin and is smaller in relation to the body as a whole. Shoe styles (see p. 173) also

become more sophisticated as the child

moves toward adulthood.

Sy

ZOOMING IN CHAPTER 4 171

Drawing Shoes Although the foot must fit inside a shoe, modern designs can bear little or no resemblance to the natural shape of the foot. Shoes come in all shapes and sizes. There are “flats,” such

as delicate ballet slippers and heavy-soled construction boots. “Heels,” such as 4in. (10cm) stilettos, raise the heel to give a woman additional height. Thick-soled “platforms” also provide additional height. The toe of the shoe may be round, pointy, square, or even split with divisions for groups of toes. The shoe Is a significant consideration when determining overall silhouette and is an important extension of a fashion design concept. For example, the design house Maison Martin Margiela is as famous for its iconic split-toe tabi boots as for its garment designs.

Just as hats can be used to change the apparent size of the head, shoes can also make the foot appear small or large in comparison to the body. The way the foot is positioned in the shoe will radically affect its overall appearance. For instance, the elevation of the heel brings a greater portion of the instep (both shoe and foot) into view. Try to imagine the shoe in a box to

approximate believable perspective. In the past, the laws of physics governed placement of the heel in both the design and drawing of shoes. State-of-the-art technology now allows for shoe designs that are limited only by your imagination. Just as with the most experimental architecture, some shoe designs

actually appear to defy gravity. So when you design or draw a shoe, the only requirements are to make sure that there is a way for the foot to fit into the shoe, and that your drawing

conforms to a stylized proportion and foreshortening.

A Technology affords nearly unlimited options for shoe design, as demonstrated by these imaginative shoes by Bryan Oknyansky (Shoes by Bryan), made in part using 3D printing.

A When drawing a shoe from your imagination,

> Whether drawing from a photo reference

first draw the foot in the position it would assume

or a model, try to see the foot and shoe as a

in the shoe, and then draw the shoe around it.

composite of abstract shapes.

JRAWING FASHION FIGURES

ASSIGNMENT 12 Practice

drawing

gestures

and

(this to

page

and

stylize

aspect

of

just a

different

shoes

from

previous). as

fashion

for

foot

photos

Take

any

drawing.

A double-edged ruffle has gathers at both top and bottom.

Paula Sanz Caballero considers herself

system provides a standardized method

may not match Pantone-identified

of, Pantone LLC. Portions © Pantone

to be a fabric artist and, as such, is in

for matching colors in the industry and is

standards. Consult current Pantone

LLC, 2070.

available in files of cotton swatches, as

Color Publications for accurate color.

the habit of including textiles and hand stitching in many of her compositions.

unbacked loose fabric swatches, and

Pantone®, myPANTONE™, and other

as a color-on-paper fan deck.

Pantone trademarks are the property of,

‘
Intimate apparel features very specific stitching details and trims. Design and illustration

‘hannah’ mesh hipsters ‘sophie’ lace panty

by Zehra Asma Naqvi.

x agittarius

ASSIGNMENT 3

5

Design can

a

small

double

(this

as,

collection or

be

page).

You

may

inspiration,

but

be

lifestyle. such

as

intimate

incorporated

want

sure

Incorporate

sliders,

of

to

to

design

elastics,

into,

utilize

design

and

apparel

ee

that

outerwear

a historical

for

details

a modern and

‘tara’ mesh sportabra

trims

zigzag. ‘heami’

‘tara’

mesh

bikini

panties

‘maddie’

lace kimono

low-rise

brief

RENDERING SHEERS

CHAPTER 12 435

Illustrated Glossary of Lace

ALLOVER PATTERN

secs Sees

| else rane

ee

BttD

Be’

spbeceecec Bee b

BORDER

GALLOON

Uy

GALLOON

D' ony

ae

=

rex

4

‘i

aD

3 3

at

MESH

4

x

%

I

,

:

4 i

re

‘

7

rans DRL GUIPURE

GUIPURE

EMBROIDERED TULLE GALLOON

EMBROIDERED GAUZE

BRODERIE ANGLAISE

BRODERIE ANGLAISE BORDER WITH BEADING

ssary 3D Printing

dropped down through the center of

vertically to a garment so that it

Contrapposto

hangs down like a waterfall.

A pose in which a model rests most

Center Back

weight shifts, the angles of the

Manufacturing technique for

a figure. Used as a point of reference

producing three-dimensional

to determine the center of gravity and

garments and accessories from a

balance of the figure.

pre-programmed output machine.

Besom pocket

of their weight on one leg. As the The vertical center down the back of

head, shoulders, and hips adjust to

a garment.

compensate, working in opposition.

Allover print

A pocket cut into a garment, finished

A printed fabric with a pattern of

with piping along each edge of the

Center Front

Conversational

motifs repeated from selvage to

length of the opening. Also known as

The vertical center down the front of

A printed fabric featuring unusual

selvage, and therefore across the

a “double welt” pocket.

a garment. A reference point for the

themes and motifs.

position of buttons, zippers, etc.

whole surface of a garment.

See also ENGINEERED PRINT.

Bias cut

Cool hunting

Fabric which is cut at 45 degrees to

Charmeuse

Analogous color scheme

the warp threads to create draped

A lightweight fabric with a

street trends and styles. See also

Uses combinations of colors that

garments that have greater stretch

satin finish.

TREND RESEARCH.

are next to each other on the

and hug the body.

Gathering information on emerging

Chemise

Cowl neckline

Blog (in fashion)

A short, loose-fitting dress, cut

A “draped” neckline, of varying

Anime

Regularly updated website or web

straight at the sides. Based on the

depths, created by using two-point

Refers to Japanese animation. In

page that comments on different

undergarment of the same name. See

suspension. A cowl bodice is usually

Japanese the word denotes any

aspects of fashion, from high-street

also SACK DRESS, TRAPEZE DRESS.

BIAS CUT.

style of animation. See also MANGA,

and celebrity trends to street style. Chiton

Croquis

Bottom weights

A tunic worn in ancient Greece by

A sketch of a figure.

Apex

Fabrics that are used to make skirts

both men and women, consisting of

The highest point of the bust. On a

and pants. See also TOP WEIGHTS.

a single rectangle of fabric, draped

Crowdfunding

around the body and secured with

Funding a project by raising monetary

Boucle

fastenings at one or both shoulders

contributions from a number of

A textured fabric made from bouclé

and a belt.

people or organizations, usually via

COLOR WHEEL.

OTAKU.

pattern this can also refer to the point

at which any dart terminates.

Appliqué

yarn. The yarn is made of several

A decorative effect created by sewing

plies—usually three—one of these

Color wheel

or fusing small patches of fabric onto

being looser than the others, so that it

A visual tool with the 12 spectrum

Customer profile

a garment.

creates loops that are then visible in

colors arranged in a circle.

A description of the (intended) buyer

internet-mediated registries.

the finished fabric.

of an item in terms of demographics Colorways

Art Deco

and taste.

A decorative arts movement that

Bridge collection

originated in Paris and became

An affordable clothing collection

colors for a garment or a collection.

Devoré burnout

popular in the 1920s and 1930s.

released by a designer in order to

Also applies to the range of colors

A chemical process used to destroy

It was based on strong colors, new

“bridge” the price gap between

available for a printed textile.

some fibers in a fabric to create relief

materials, geometric shapes, and

designer and mass-market fashion.

organic motifs.

Also called “diffusion line.”

Complementary color scheme Uses combinations of colors that

Brocade

to leave just the backing. From the

Avatar

are opposite one another on the

French divorer, meaning “to devour.”

A computer user’s online alter ego or

A heavy woven fabric featuring raised

COLOR WHEEL.

representation of themselves: their

designs. Often made from lustrous

chosen name, image, or 3D model.

yarns. See also JACQUARD.

Balance Line

Cascade drape

pattern, and effects such as different

Or “plumb” line; a vertical line

A bias-cut ruffle that is attached

media or texture to an illustration.

The chosen range of available

patterns. Most commonly used on

velvet, removing the pile in places

Dhoti pants

Computer rendering Using digital tools to add color,

Loose pants with a dropped crotch

which taper toward the ankle; named after the traditional loose loincloth worn by Indian men.

GLOSSARY

437

Diffusion line See BRIDGE

Fit dart

Genderless clothing

Hue (of a color)

COLLECTION.

A stitched-down, tapering fold used to

Rejection of the traditional notions of

The intrinsic property of a color that

allow fabric to follow the contours of

separate male and female fashion,

defines its name and place in the

the body more closely.

deliberately creating a single

spectrum; e.g. its redness, blueness,

Digital manipulation

ambiguous collection that either sex

or purpleness, as opposed to the

might wear.

VALUE or INTENSITY of that color.

or clothing manufacturer to test the

Georgette

Interfacing

Digital techniques

fit and look of sample garments. The

A sheer, plain-weave lightweight

A fabric sewn in between the layers™

Computer tools found in programs

model’s proportions will adhere to the

crepe fabric made of silk, wool,

of a garment to provide extra strength

like Adobe Photoshop and Illustrator,

target customer’s measurements.

viscose, or synthetic fibers.

or shaping. Interfacing is either sewn

pattern fills, that allow you to produce

Flat

GIF (graphics interchange format)

a wide range of effects and finishes.

Or flat sketch. Also known as a

Repetitive animation loop, useful for

Intensity (of a color) The brightness or dullness of a color;

Scanning a drawing into a software

program in order to adjust proportions

Fit model

or add effects.

A person who is used by a designer

in place or ironed on (fusible).

such as filters, layer masks, and

“technical drawing.” A sketch

producing eyecatching presentations,

Directoire

used to communicate designs for

showing different patterns and

ranging from pure color, to gray.

Paul Poiret’s (1879-1944) clothing

presentation andproduction.

colorways on a single item, or

Achieved with paint by adding the

line, inspired by the fashions of the

The garment is shown off the body,

showcasing how a garment moves.

complement. See also HUE, VALUE.

Directoire period in France (1795-99),

including any construction details

featuring dresses with high waists

and technical information.

Godet

Iridescent

A triangular-shaped piece of fabric,

Fabrics with different-colored

Float

inserted into a garment to create

warp and weft threads. They

A sketch of a garment as it would

added fullness.

and loosely flowing skirts.

See also EMPIRE WAISTLINE. Dolman sleeve

appear on the body, but with the

A sleeve cut as an extension of the

body not shown in the sketch.

bodice without an armhole,

See also FLAT.

Gorge

different angles.

The seam which joins a collar to a lapel.

as opposed to a set-in sleeve.

display changing colors when seen in different lights or from

Forecasting services

Jacquard A fabric with an intricate woven

Empire waistline

Research that aims to predict future

Handkerchief hemline

A waistline seam located above the

trends, often a season or more ahead.

A garment with soft folds of fabric

after the mechanical loom invented

natural waist on the body. See also

See also COOL HUNTING.

ending in points, like the corners of a

by Joseph-Marie Jacquard (1752—

handkerchief, at the hemline.

DIRECTOIRE. Foreshortening

pattern, such as BROCADE. Named

1834), which used a series of hole-

punched cards to control the weaving

Engineered print

Creating the illusion of depth in a

Haute couture

A print that has motifs intended for a

drawing. An object, or part of an

French for “high dressmaking.”

specific area of a garment. Also called

object, that is receding from the

Custom-made (as opposed to

Jewel neckline

a “placed print.” A border print is a

viewer's perspective will look smaller,

ready-to-wear) clothing of original

A simple round neckline.

type of engineered print. See also

while an advancing object will look

design. Only those meeting the

ALLOVER PRINT. Extension

larger. As a figure turns away, that

strict requirements of the Chambre

Lab dip

side of the body farthest from view

Syndicale of the Fédération Francaise

Used to test-dye a swatch of fabric

will seem to shrink, and vice versa.

de la Couture in Paris are permitted to

in order to match an exact color

use the term.

specified by a designer before

The horizontal distance between the center of a button and the opening

Funnel collar

edge of the garment.

A jacket collar, creating a funnel neck

High hip figure see CONTRAPPOSTO.

flaps at the front when unfastened.

Hollywood waist A waist treatment for bottom

An approach to fashion employed

production begins. Lamé

if fastened, and two large triangular Fast fashion

of complex patterns.

A shiny fabric, made from

metallic yarns.

by mass-market (high-street)

Gabardine

garments without a separate

stores whereby trends are quickly

A stiff, durable, twill-weave fabric

waistband. High-waisted styles

Layette

and cheaply imitated/designed,

with a tightly woven diagonal pattern.

feature belt loops secured at the

A collection of clothing and bedding

manufactured, and then placed in

Made of cotton, wool, silk, viscose,

natural waist.

for newborns.

stores in large quantities.

and synthetic fibers.

Jawaharlal Nehru (1889-1964), first

a pre-cut piece of material onto

Princess line

Granting another manufacturer the

Prime Minister of independent India.

a garment.

A fitted bodice or dress, created

rights to use a trademark or image

Also called a MANDARIN COLLAR.

Peacock Revolution

vertical seams—rather than darts to

New Look

The movement in men’s fashion,

create fullness and fit over the bust

A silhouette introduced by Christian

beginning in Britain in the early

and a long, slim outline; the seam

Mandarin collar

Dior (1905-1957) at his first couture

1960s, toward a less conservative,

lines used to create this silhouette.

A standing collar on a shirt or jacket

show in 1947. The look featured a

more colorful and flamboyant look.

based on traditional Asian designs;

fitted jacket with a nipped-in waist

open at the front and rising 1—2in.

and a full, calf-length skirt billowing

Peplum

An armhole that extends all the

(2.5—5cm) vertically. Also called a

out below.

A short extension of a bodice

way up to the neckline. The seam

attached to the waist of a jacket,

for this kind of sleeve starts at the

iC ansing

on a specific product category in exchange for royalties.

NEHRU COLLAR.

by using princess seams—curved

Raglan armhole

Notched collar/lapel

blouse, or dress. Can include gathers,

neckline and extends diagonally

Manga

Typical in blazers and coats, with a

pleats, or flares.

down to the underarm.

Japanese comic strip and print

triangular notch cut or formed where

cartoons, with a distinctive visual

the lapel joins the collar.

Picture plane

Raster image

The flat surface on which an image

A computer image formed using a

Organza

is captured; in an imaginary plane

grid of small dots (pixels); used for

A sheer, crisp plain-weave fabric

perpendicular to the viewer’s line

photographs and image editing. The

Masstige

often used in bridalwear and

of sight.

resolution of the image is determined

“Prestige for the masses.” Products

eveningwear. Pitch sheet

by the number of dots per inch. See also VECTOR IMAGE.

style, shared by ANIME. See also

OTAKU.

that can be considered premium but are available at more

Orientalism

affordable prices.

The influence of Eastern cultures, or

REPEAT of the pattern and including

Relaxed pose

the “Orient,” on the arts. Orientalism

samples of the colors to be used for

See CONTRAPPOSTO.

Moiré

in fashion was introduced in the first

the print.

(Fabric with) a wavelike pattern.

decade of the twentieth century,

A reference sheet, showing a full

Repeat

with designers such as Paul Poiret

Placket

Monochromatic color scheme

designing exotic clothes with

A piece of fabric used to bind an

Uses colors comprised of tints and

cylindrical silhouettes and intricate

Opening, e.g. at the neckline or cuffs,

shades of a single HUE.

prints and embellishments.

usually with buttons.

Muslin

Otaku

Plate

crotch to the waist on a pair of

A test version of a garment, often

A derogatory term used in Japan,

An ultra smooth-finished paper,

pants, or trousers. See also

made of muslin (hence the name)

reclaimed from its negative

made by pressing the paper between

HOLLYWOOD WAIST.

and used to test pattern and fit.

connotation by a fan base having

metal plates.

Also called a “toile.”

an obsessive interest in ANIME

A motif or pattern which is duplicated along the length of a piece of fabric. Rise

The center front length from the

Ruching see SHIRRING.

and MANGA.

Pleather

“Plastic leather”; an affordable

Sack dress

synthetic leather substitute.

A style created by Cristobal

Nap Fabric with a nap has a raised pile

Paillette

that lies flat in one direction and so

A small round metal or foil object

affects the way it reflects light. A

larger than a sequin and used as

Point d’esprit

garment made from napped fabric

embellishment, generally in

A mesh fabric covered with small

must have all its pattern pieces laid

clusters; spangles.

dots, usually regularly spaced. Most commonly available in black or white.

out facing the same direction on the fabric to avoid variations in color.

Panne velvet

Fabrics with a nap include velvet

A soft, stretchy, high-luster velvet

and corduroy.

with its pile flattened to one side.

Red, yellow, or blue. These colors

Also called “crushed velvet.”

cannot be created by mixing other

Nehru collar

The small standing collar featured on a Nehru jacket, as famously worn by

Primary color

Patch pocket A flat pocket created by sewing

Balenciaga (1895-1972). A simple, loose-fitting dress that hangs straight

from the shoulder to the hem. Secondary color Orange, green, or violet. Colors that

are created by mixing together two PRIMARY COLORs.

colors; they are themselves mixed to

Seersucker

create all other colors.

A cotton fabric that is woven using a process of alternating tight and

GLOSSARY

439

slack weaves so that the fabric has

correct execution of a first sample

Tech pack

ranging from light, to dark, to black.

a puckered, wrinkled appearance

garment; including technical

A document given to a manufacturer

See also HUE, INTENSITY.

in certain places. Usually striped

diagrams, measurements, grading

by a designer, stipulating all the

or checked.

formulas, and fabric yields.

relevant measurements and

Vector image

instructions for making a particular

A computer image formed using

Self belt

Spread collar

A belt made from the same fabric as

A variation on a standard men’s shirt

the garment it is worn with.

collar, with a wide spread between

specifications for hang tags, labels,

resolution-independent and smaller in

the points.

and packaging.

file size. See also RASTER IMAGE.

An armhole that is attached to the

Split complementary color scheme

Tertiary color

Vellum

body of a garment, at or near the

A color scheme that uses the

Red-orange, yellow-orange, yellow-

A heavy, high-quality translucent

natural edge of the shoulder, and

combination of a hue and the two

green, blue-green, blue-violet, or

paper resembling parchment.

eased to fit the armhole.

colors adjacent to its complement.

red-violet. Colors created by mixing

Shawl collar

Suitings

A wide, turned-over collar on

Fabrics used to make suits, therefore

a sweater, jacket, or robe that

appropriate for both top and bottom

incorporates the lapels and so

garments. See also BOTTOM

extends in one unbroken line down

WEIGHTS, TOP WEIGHTS.

garment. Can also include distribution

anchor points and connecting paths

of colors and sizes for first samples;

to form shapes rather than pixels;

Set-in armhole

z

the chest, forming a “V.”

Surplice neckline

together a PRIMARY COLOR and a

Vintage chic

SECONDARY COLOR.

An approach to fashion that involves

sourcing secondhand or antique

Toile see MUSLIN.

items, which are often worn mixed

with modern garments. Toile de Jouy A fabric that was first manufactured

Warp

in Jouy-en-Josas, France. A pastoral,

The lengthwise yarns of a woven

Shirring

A neckline created from the two

Oriental, or floral themed pattern is

fabric. The warp yarns are stretched

A kind of machine gathering usually

front sides of a bodice overlapping

printed in a single color on a white or

on the loom first, then the WEFT yarns

stitched in rows across the fabric

diagonally, forming a deep “V.”

off-white background.

are woven through them.

Sweep

Top weights

Weft

The circumference of a hem.

Fabrics that are appropriate for top

The widthwise yarns of a woven

and using an elastic bobbin thread to provide stretch. Also called “ruching.”

Silk dupioni

garments—coats, jackets, and vests

fabric. Weft yarns are woven through

A stiff silk fabric made from two

Sweetheart neckline

(waistcoats). See also BOTTOM

the WARP threads at right angles to

WEIGHTS.

them, from selvage to selvage.

Trapeze dress

Welt pocket

A style created by Yves Saint Laurent

A set-in pocket with one lip (or

(1936-2008) for Dior. A loose-fitting

finished edge), 3/e—1in. (1-2.5cm) in width, at the opening. Commonly

intertwined yarns woven together,

A low-cut, plunging neckline,

to create a shimmering effect. The

featuring two curves over the bust

threads used are uneven, which

line, suggesting a heart shape.

results in a “slubbed” decorative texture. Also called “shantung” and

Swing skirt

“raw silk.” See also SLUB.

A retro-style circle skirt popular in the

dress that is narrow at the bust and

1950s, fitted at the waist and hips

flares out toward the bottom hem.

Slub

used for handkerchief pockets on blazers.

with a wide flare at the hem. Trend research

A soft lump or irregular thickening

in yarn that is either considered

Swipe file

The forecasting of themes, styles, and

Yarn-dyed

an imperfection or is retained for

A collection of images used as a

colors; published or commissioned to

Fabrics that are made of yarns that

decorative effect.

ready reference for drawing figures

support designers and retailers. See

have been colored before they are

also COOL HUNTING, FORECASTING SERVICES.

woven or knitted into fabric.

and garment details. See also

Smile pocket

TEAR SHEET.

Yoke

An upward curving, set-in pocket,

seen on Western-style shirts; often

Tear sheet

Triadic color scheme

piped or embroidered with arrows at

A page cut or torn from a magazine

Uses a combination of colors that are

of a skirt or on the shoulder of a shirt

the corners.

or other publication, to be used as

equidistant from one another on the

or jacket onto which other fabric

reference and included in a SWIPE

COLOR WHEEL.

is attached.

Spec sheet

FILE. Also called a “swipe.” Value (of a color)

“Specification sheet.” A document given to a pattern cutter to ensure

Technical drawing see FLAT.

The lightness or darkness of a color;

A shaped piece of fabric at the top

-urther Reading General Books Cally Blackman. 100 Years of Fashion Illustration. London: Laurence King, 2007 Laird Borrelli. Fashion Illustration by Fashion Designers. San Francisco, CA: Chronicle Books, 2008 Sass Brown. Eco Fashion. London:

www.firstviewkorea.com www.hintmag.com

www.j|creport.com www.peclersparis.com www.refinery29.com www.trendunion.com www.WGSN.com www.wwd.com

www.fantasticman.com www.gq.com www.nylonguysmag.com

Chapter 3 Drawing Children and Young Adults

historical dress

Books

www.fashion-era.com www.kci.or.jp/archives/index_e.html www.marquise.de

Henry Darger, ed. Michael Bonesteel. Henry Darger: Art and Selected Writings. New York, NY: Rizzoli International Publications, 2001

Wwww.museumofcostume.co.uk

Garan, Gina. Blythe Style. San Francisco, CA: Chronicle Books, 2004

Laurence King, 2010

resources

Hywel Davies. Fashion Designers’ Sketchbooks. London: Laurence King, 2010

www. biodigital.com www.human-anatomy-for-artist.com

Clive Hallett and Amanda Johnston. Fabric for Fashion: The Swatch Book. London: Laurence King, 2010

retail

In Motion. New York: Dover, 1955

www.colette.fr www.doverstreetmarket.com www.kirnazabete.com www.newpeopleworld.com www.openingceremony.us www.projectno8.com www.10corsocomo.com

Magazines

Sue Jenkyn Jones. Fashion Design (2nd edition). London: Laurence King, 2005

Editors of Phaidon Press. Sample: 100 Fashion Designers—010 Curators— Cuttings from Contemporary Fashion. London: Phaidon, 2006 Charlotte Seeling. Fashion: The Century of The Designer 1900-1999. Cologne: Konemann, 2000 Bradley Quinn. Textile Designers at the Cutting Edge. London: Laurence King, 2009

Magazines A Magazine, Bloom, Dansk, Dazed & Confused, Elle, Flair, Flare, i-D magazine, L’Officiel, Numéro, Oyster, Pop, Purple Fashion, Rendezvous, Selvedge, 10 Women, V, Velvet, View on Colour, Viewpoint, Visionaire, Vogue, VS

Websites

Chapter 1 Drawing Women Books Michele Wesen Bryant. WWD Illustrated. New York, NY: Fairchild Publications, 2004

Juan Eugene Ramos. Antonio: 60, 70, 80 — Three Decades of Fashion Illustration. London: Thames and Hudson, 1995 Jeno Barcsay. Anatomy for the Artist. London: Little, Brown, 2008 Robert Beverly Hale and Terence Coyle.

Albinus on Anatomy. New York, NY: Dover Publications; Reprint edition 1989

Cally Blackman. 100 Years of Menswear. London: Laurence King, 2009

www.agent002.com www.art-dept.com www.dutchuncle.co.uk www. fashionillustration.or.kr fashion.parsons.edu www.trafficnyc.com

Farid Chenoune. A History of Men’s Fashion. Paris: Flammarion, 1996

news and trendwatching www.catwalking.com www.coolhunting.com www.dazeddigital.com www.drapersonline.com www. firstview.com

Teen Vogue, Vogue Bambini, Yellow Rat Bastard

Websites Fimi Feria, Valencia: www.fimi.es Pitti Bimbo, Florence: www.pittimmagine.com www.playtimetokyo.com www.playtimenewyork.com infants and toddlers www.babesta.com www.bonnieyoung.com

www.gap.com (babyGap) www.zutano.com children

www.americangirl.com www.florahenri.com www.|crew.com (crewcuts range) www.oililyshop.com

tweens and juniors

agencies and associations

blogs and individual designers

FADER, FRUITS, Girl's Life, Seventeen,

trade shows

www.anothermag.com www.businessoffashion.com www.fitnyc.edu/museum.asp www.modeconnect.com www.morefashiondrawing.com www.vogue.com

www.ashadedviewonfashion.com www.costumes.org designerman-whatisawtoday.blogspot.com www.ecofashiontalk.com www.julieverhoeven.com www.showstudio.com www.sparked.biz www.stylewillsaveus.com/blog.php www.thesartorialist.blogspot.com

Eadweard Muybridge. The Human Figure

Chapter 2 Drawing Men Books

www.55dsl.com www.abercrombiekids.com www.bape.com store.delias.com www.drjays.com

general reference www.dccomics.com www.enchanteddoll.com

Websites www.allaboutshoes.ca/eng www.albertusswanepoel.com www.stephenjonesmillinery.com

Chapter 5 Working from Life Books Gerald M. Ackerman, Charles Bargue, Jean-Léon Géroéme. Drawing Course. Courbevoie, Paris: ACR, 2003 Betty Edwards. The New Drawing on the Right Side of the Brain. New York, NY: Jeremy P. Tarcher/Putnam, 1999 Kimon Nicolaides. The Natural Way to Draw. New York, NY: Mariner Books, 1990

Websites www.springstudiosoho.com www.lifedrawingsociety.co.uk

Chapter 6 Basic Garment Details and Silhouettes Books David Coffin, The Shirtmaking Workbook: Pattern, Design, and Construction Resources. Minneapolis, MN: Creative Publishing International, 2015 Bill Dunn. Uniforms. London: Laurence

King, 2009 Mary Brooks Picken. A Dictionary of Costume and Fashion: Historic and Modern. Mineola, NY: Dover Publications, 1999 Michele Wesen Bryant and Diane DeMers. The Spec Manual, 2nd Edition, New York, NY: Fairchild Publications, 2004

Websites Wwww.polyvore.com

Chapter 7 Drape Books

Hywel Davies. Modern Menswear. London: Laurence King, 2008

Wwww.gaiaonline.com gorillaz.com

Andrew Bolton and Sglve Sundsbo. Alexander McQueen: Savage Beauty. New York, NY: Metropolitan Museum of Art 2011

D. Hastings-Nield. Basic Human Anatomy. introductory CD-ROM from The Anatomy Project series. New York, NY: Parthenon Group, 1998

www.herakut.de www.kidrobot.com

Marie-André Jouve. Balenciaga. New York, NY: Assouline, 2004

David K. Rubins. The Human Figure. New York, NY: Viking Press, 1976 Fritz Schider and Bernard Wolf. An Atlas of

www.lost.art.br/osgemeos.htm www.manhattantoy.com www.nick.com www.secondlife.com www.whyville.net www.yoyashop.com

Anatomy for Artists. New York, NY: Dover Publications, 1957

Harold Koda and Jan Glier Reeder. Charles James: Beyond Fashion. New York, NY: Metropolitan Museum of Art 2014 Richard Martin. American Ingenuity: Sportswear 1930s—1970s. New York, NY: Metropolitan Museum of Art, 1998

Chapter 4 Zooming In

Richard Martin. Charles James. New York, NY: Assouline, 2006

AnOtherMan, Arena Hommes, Esquire, Fantastic Man, GQ, Vogue Hommes, L’Officiel Hommes, Numéro Homme

Books

Richard Martin and Harold Koda. Haute Couture. New York, NY: Metropolitan Museum of Art, distr. Abrams, 1995

Websites

Hans Silvester. Natural Fashion: Tribal Decoration From Africa. London: Thames and Hudson, 2008

Magazines

www.aitorthroup.com www.brooksbrothers.com

Fly. Peops: Portraits and Stories of People. Brooklyn, New York: Soft Skull Press, 2003

Tomoko Nakamichi. Pattern Magic. London: Laurence King, 2010

Tomoko Nakamichi. Pattern Magic: Stretch Fabrics. London: Laurence King, 2012

FURTHER READING

Hisako Sato. Drape, Drape. London: Laurence King, 2012 Shingo Sato; Transformational Reconstruction Volumes 1 and 2 Judith Watt. Ossie Clark: 1965-74. London: V & A Publications, 2006

Norah Waugh. The Cut of Women’s Clothes, London: Routledge, 2007 Colette Wolff. The Art of Manipulating Fabric. \ola, WI: Krause Publications, 1996 Kohle Yohannan and Nancy Nolf. Claire McCardell: Redefining Modernism, New York, NY: Harry N. Abrams 1998

Websites www.centerforpatterndesign.com www.julianand.com

SGMA. Sport Apparel Dictionary of Performance Fibers, Fabrics and Finishes. North Palm Beach, FL: Sporting Goods Manufacturers Association, 1997

Websites www.invista.com www.ispo.com www. pittimmagine.com/en/fiere/filati

Www.sagafurs.com www.schoeller-tech.com/en.html www.snowsports.org www.wool.com

Chapter 11 Rendering Patterns

www.metmuseum.org/exhibitions/

Books

listings/201 4/charles-james-beyondfashion/images www.trpattern.com

Jeffrey Banks and Doria de La Chapelle. Tartan Romancing the Plaid. New York: Rizzoli International Publications, Inc., 2007

Chapter 8 Tailored Clothing

Melanie Bowles and Ceri Isaac. Digital Textile Design. London: Laurence King

Books Cally Blackman. 700 Years of Menswear. London: Laurence King, 2009

Amy Spindler. “Critic's Notebook. The Power Suit and Other Fictions.” NY Times March 25, 1997 Colette Wolff. The Art of Manipulating Fabric. Radnor, PA: Chiltern Book Co., 1996

Websites www.21stcenturykilts.com Wwww.cesarani.com www.chesterbarrie.co.uk www.craigrobinsonnyc.com www.dege-skinner.co.uk www.gievesandhawkes.com www.henrypoole.com — www.historyinthemaking.com www.krisvanassche.com www.nortonandsons.co.uk sites.fitnyc.edu/depts/museum/TailorsArt www.tombrowntailors.co.uk

2009 Stephen Calloway. Liberty of London: Masters of Style & Decoration. London: Little, Brown, 1992 Shirley Kennedy. Pucci: A Renaissance in Fashion. New York, NY: Abbeville Press, 1991 Melissa Leapman. Mastering Color Knitting: Simple Instructions for Stranded, Intarsia, and Double Knitting. London: Potter Craft, 2010 David McFadden (ed). Pricked, Extreme Embroidery. New York, NY: Museum of Arts & Design, 2008 Mary Schoeser. World Textiles: AConcise History (World of Art). London: Thames and Hudson, 2003 Jonathan M. Woodham. 7wentieth-century Ornament. New York, NY: Rizzoli, 1990

Websites

Chapter 9 Rendering Shine

www.design-library.com www.eleykishimoto.com www.house-of-tartan.scotland.net

Books

www.ivanahelsinki.com www.liberty.co.uk www.maxhosa.co.za

Francesca Sterlacci. Leather Fashion Design. London: Laurence King, 2010

Websites

www.research.amnh.org/anthropology/ database/collections www.strathmorewoollen.co.uk

www.lineapelle-fair.it www.lostartnyc.com www.rainbowleather.com

Chapter 12 Rendering Sheers

Chapter 10 Rendering Texture

Books

Books Susan Bates. The Harmony Guide to Knitting Stitches. 1989 Matilda McQuaid. Extreme Textiles: Designing for High Performance. New York, NY: Princeton Architectural Press, 2005

Katie Dominy. Contemporary Lingerie Design. London: Laurence King, 2010

Robert Doyle. Waisted Efforts: An Illustrated Guide to Corset Making. Halifax, Nova Scotia: Sartorial Press Publications, 1997 Malu Halasa and Rana Salam. The Secret Life of Syrian Lingerie: Intimacy and Design. San Francisco, CA: Chronicle Books, 2008

David Revere McFadden. Radical Lace & Subversive Knitting. New York, NY:

Museum of Arts & Design, 2007 Harriet Worsley. The White Dress: Fashion Inspiration for Brides. London: Laurence

Musée des Arts de la Mode et du Textile Palais du Louvre 107 rue de Rivoli 75001 Paris

King, 2009

Tel. +33 (0)1 44 55 57 50

Websites

Musée de la Mode et du Costume Palais Galliéra

www.agentprovocateur.com

www.fleurdumal.com www.foundationsrevealed.com www.kikidm.com www.laperla.com www.lingerie-uncovered.com www.mode-city.com www.princessetamtam.com www.solstiss.com www.the-lingerie-post.com www.triumph.com www.underfashionclub.org www.venacavadesign.co.uk

www.ucad.fr

10 avenue Pierre ter de Serbie 75116 Paris

Tel +33 (0)1 56 52 86 00 www.palaisgalliera.paris.fr/en

Musée de la Toile de Jouy 54 rue Charles de Gaulle 78350 Jouy-en-Josas

Tel. +33 (0)1 39 56 48 64 www.museedelatoiledejouy.fr Le Musée des Tissus et des Arts Décoratifs 34 rue de la Charité

F-69002 Lyon Tel. +33 (0)4 78 38 42 00

Resources

[email protected] www.musee-des-tissus.com

Germany

Museums, galleries, and libraries Museums Australia

Powerhouse Museum 500 Harris Street Ultimo NSW 1238 Tel. +61 (0)2 9217 0111 [email protected] www.powerhousemuseum.com

Deutsches Historisches Museum Unter den Linden 2

10117 Berlin Tel: +49 (0)30 20304 0 www.dhm.de

Lipperheidesche Kostumbibliothek Kunstbibliothek Staatliche Museen zu Berlin Matthaikirchplatz 6 10785 Berlin Tel. +49 (0)30 266 42 4242 [email protected] www.smb.museum Italy

Belgium MoMu Antwerp Fashion Mode Museum Nationalestraat 28 B-2000 Antwerpen Tel. +32 (0)3 470 27 70 [email protected] www.momu.be Canada

The Bata Shoe Museum 327 Bloor Street West Toronto ON M5S 1W7 Tel. +1 (0)416 979 7799 www.batashoemuseum.ca France

Fondation Pierre Bergé Yves Saint Laurent 5 avenue Marceau 75116 Paris Tel. +33 (0)1 44 31 64 00 www.fondation-pb-ysl.net Institut Francais de la Mode (IFM) 36 quai d’Austerlitz 75013 Paris

Tel. +33 (0)1 70 38 89 89 [email protected] www.ifm-paris.com

Fondazione Antonio Ratti Villa Sucota Via per Cernobbio 19 22100 Como Tel. +39 (0)31 233111 [email protected] www. fondazioneratti.org Fondazione Cerratelli (theatrical costume collection) Via G. di Vittorio 2 San Giuliano Terme, 56017 Tel. +39 (0)50 817900 [email protected] www.fondazionecerratelli.it/home.html Galeria del Costume Palazzo Pitti Piazza de’ Pitti 1 50125 Florence Tel. +39 (0)55 238 8611 www.polomuseale.firenze.it/en/ musei/?m=costume

Museo Fortuny Palazzo Fortuny San Marco 3958 Venice 30124

Tel. +39 (0)41 520 09 95 fortuny.visitmuve.it

441

ilvatore Ferragamo reroni

Vabuoni 2 }

Florence

|. +39 (0)55 3360 456 [email protected] www.museoferragamo.it Triennale Design Museum Viale Alemagna 6, 20121 Milan Tel. +39 (0)2 724 341 www.triennaledesignmuseum.it Japan Kobe Fashion Museum 9, 2-chome Koyocho-naka

Higashinada, Kobe 658-0032 Tel. +81 (0)78 858 0050 www.fashionmuseum.or.jp/english/ index.html

Kyoto Costume Institute 103, Shichi-jo Goshonouchi Minamimachi Shimogyo-ku, Kyoto 600-8864 Japan Tel. +81 (75)-321-8011 www.kci.or.jp [email protected]

U.S. Cora Ginsburg LLC 19 East 74th Street New York, NY 10021 Tel: +1 212 744 1352 [email protected] www.coraginsburg.com

Costume Gallery Los Angeles County Museum of Art 5905 Wilshire Boulevard Los Angeles CA 90036 Tel. +1 323 857 6000 [email protected] www.lacma.org Costume Institute Metropolitan Museum of Art 1000 5th Avenue at 82nd Street New York, NY 10028-0198 Tel. +1 212 535 7710 www.metmuseum.org

Spain

Drexel Historical Costume Collection Antoinette Westphal College of Media Arts & Design 603, Nesbitt Hall 33rd and Market Streets Philadelphia, PA 19104 Tel. +1 215571 3504 www.drexel.edu

Museu d’Art Contemporani de Barcelona (MACBA) Placa des Angels, 1 08001 Barcelona Tel. +34 (0)93 412 08 10 (ext 366) [email protected] www.macha.es

Museum at the Fashion Institute of Technology 7th Avenue at 27th Street New York, NY 10001-5992 Tel. +1 212 217 7999 [email protected] www. fitnyc.edu

The Netherlands

Museum of the City of New York Costume and Textile Collection 1220 5th Avenue at 103rd Street New York, NY 10029 Tel. +1 212 534 1672 (ext 3399) [email protected] www.meny.org/

Centraal Museum Utrecht Nicolaaskerkhof 10, Utrecht

Tel. +31 (0)30 2362362 www.centraalmuseum.n| [email protected]

Gemeentemuseum Den Haag Stadhouderslaan 41 Postbus 72, 2501 Den haag

Tel. +31 (0)70 3381111 www.gemeentemuseum.nl [email protected]

U.K. Museum of Costume Assembly Rooms Bennett Street Bath BA1 20H Tel. +44 (0)1225 477173 [email protected] www.museumofcostume.co.uk

Somerset House Trust Strand London WC2R 1LA

Tel. +44 (0) 20 7845 4600 www.somersethouse.org.uk

[email protected] Victoria and Albert Museum (V&A) Cromwell Road

South Kensington London SW7 2RL Tel. +44 (0)20 7942 2000 [email protected] WWW. Vain. 20.

Smithsonian Cooper-Hewitt, National Design Museum 2 East 91st Street New York, NY 10128-0669 Tel. +1 212 849 8400 (General)/849 8452 (The Textile Collection) [email protected] www.cooperhewitt.org

Fabric libraries U.K. The Design Library 11 Sandringham Court Dufours Place London, W1F 7SL Tel. +44 (0)20 7287 7336 [email protected]

American Museum of Natural History www.amnh.org/our-research/ anthropology/collections/database The Design Library 400 Market Industrial Park, Suite 1 Wappingers Falls, NY 12590 Tel. +1 845 297 1035 [email protected] www.design-library.com Material ConneXion® 1271 Avenue of the Americas 17th Floor New York, NY 10020 Tel. +1 917 934 2899 [email protected] materialconnexion.com

Source4Style www.lesouk.co/[email protected]

Galleries and archives specializing in fashion illustration Galerie Bartsch & Chariau GmbH Galeriestrasse 6 D-80539 Munich Germany Tel. +49 (0)89 295557

[email protected] www.bartsch-chariau.de Fashion Illustration Gallery FIG at The Mayor Gallery 1st Floor, 21 Cork Street London W1S 3LZ Tel. +44 (0)20 7112 1979 [email protected] www.fashionillustrationgallery.com

The Frances Neady Collection/ Special Collections The Gladys Marcus Library at FIT

7th Avenue at 27th Street, E-Building New York, NY 10001-5992 [email protected] www.fitnyc.edu/12506.asp www. flickr.com/photos/ fitspecialcollections/ Kellen Design Archives Parsons The New School for Design 66 Fifth Avenue, lobby level New York, NY 10011

Tel. 212-229-5942 dev.library.newschool.edu/speccoll/

Lacemaking Le Musée des Beaux-Arts et de la dentelle, Calais (history of lacemaking in Calais) 25 rue Richelieu 62100 Calais, France Tel. +33 (0)3 21 46 43 14 www.musee.calais.fr

Competitions All Japan Fashion Teachers Contest 295 Madison Ave. New York, NY 10017-6304 Tel. +1 212 685 4971 Arts of Fashion Foundation competition 555 California Street Suite 4925

San Francisco CA 94104 Tel. +1 415 734 7126 [email protected] www.arts-of-fashion.org Concept Korea fashion collective www.conceptkorea.org

Council of Fashion Designers of America 65 Bleecker, Floor 11 New York, NY 10012 [email protected]

cfda.com/programs/scholarships/cfdascholarship-program cfda.com/programs/scholarships/the-lizclaiborne-design-scholarship-award www.cfda.com/geoffrey-beene-designscholar-award Femmy Awards Underfashion Club Inc. 326 Field Road, Clinton Corners New York, NY 12514 Tel. +1 845 758 6405 www.underfashionclub.org/femmy.htm|

H&M Design Award designaward.hm.com/faq

collections/kellen

ITS Award www.itsweb.org/jsp/en/fashion/index.jsp

Museums for children

Mittelmoda/The Fashion Award Mittelmoda International Lab

U.K. V&A Museum of Childhood Cambridge Heath Road London E2 9PA, UK Tel: +44 (0)20 8983 5200 [email protected] www.vam.ac.uk/moc

U.S.

U.S.

American Textile History Museum 491 Dutton Street

American Visionary Art Museum 800 Key Highway Baltimore, MD 21230 Tel. +1 410 244 1900 [email protected] www.avam.org

Lowell, MA 01854-4221 Tel. +1 978 441 0400 www.athm.org

Mercer Museum 84 South Pine Street Doylestown, PA 18901-4999 Tel. +1 215 345 0210 [email protected] www.mercermuseum.org

Via Cotonificio, 96

33030 Torreano di Martignacco (Udine) Italy Tel. +35 (0)3 862478170 www.mittelmoda.com

Villa Noailles festival

Villa Noailles Montée Noailles, 83400 Hyéres Tel. +33 (0)4 98 08 01 98 [email protected] www. villanoailles-hyeres.com The Woolmark Prize www.woolmarkprize.com/ [email protected]

RESOURCES

Stores and suppliers (art supplies unless otherwise indicated) Australia

NSW Leather www.leatherco.com.au

Textile & Lace Imports

Tel. +61 (02)9662 4566 France

Bazar de |’H6tel-de-Ville (BHV) (art supplies, trim, hardware, yarn) Tel. +33 (0) 977 401 400 www. bhv.fr Bouchara (fabrics) www.bouchara.com

Homi Art Co. www.homi.co.kr The Netherlands Harolds Grafik B.V. www.harolds.nl

De Vlieger Amsterdam B.V. www.vliegerpapier.nl

Rai Trimmings (tailoring supplies) Tel. +44 (0)20 7437 2696 Rose Fittings (James & Alden)

Tel. +44 (0)20 8830 8008

Van der Linde

William Gee (linings, haberdashery, trims) www.williamgee.co.uk

www.vanderlinde.com Van Beek www.vanbeekonline.com New Zealand

The French Art Shop www.thefrenchartshop.co.nz

La Droguerie a Paris (fabrics & trims)

Spain

[email protected] www.ladroguerie.com

Pongees (fabrics) Wwww.pongees.co.uk

Peter van Ginkel www.petervanginkel.n|

Dominique Kieffer (fabrics) www.dkieffer.com

Tel. +33 (0)1 45 08 93 27

Morplan (stationers and cutting-room equipment) www.morplan.com

Tot en Art www.totenart.com

Adel Rootstein USA Inc. (display mannequins) www.rootstein.com

Tel. +1 212 279 9310 epacifctrimming @gmail.com

Marché Carreau du temple (fabric and

Interproducts AG Tel. +41 (0)44 422 70 23

Blissett Textile (d/gital textile printing) [email protected]

clothing market) rue Perrée, 75003 Paris

artwaremail www.artwaremail.ch

Marché St Pierre (fabrics) www.marchesaintpierre.com

U.K.

Moline Tissus (fabrics for interiors)

Tel. +33 (0)1 46 06 14 66 www.frou-frou-mercerie-contemporaine. com

~ Pierre Frey (fabrics and furnishings) www.pierrefrey.com

Rougier & Plé Tel. +33 (0)1 56 81 18 35 [email protected] www.rougier-ple.fr Tissus Reine (end-of-line fabrics) www.tissus-reine.com

Tombées du Camion (bric a brac) www.tombeesducamion.com

Barnet Lawson (ribbons, lace, feathers, elastics)

Tel: +44 (0)20 7636 8591 [email protected]

www.blissetttextile.com

Brewer-Cantelmo (custom portfolios) www.brewer-cantelmo.com Britex Fabrics www.britexfabrics.com

La Button Boutique Ltd. 250 West 39th Street New York, NY 10018-4414

www.bltrimmings.com

Button Works www.buttonworks.com

Borovick Fabrics borovickfabrics.com

Buttonwood Corporation www.woodbuttons.com

Broadwick Silks Tel: +44 (0)20 7734 3320 [email protected]

Tel. +1 415 456 1211

www.broadwicksilks.com

Cass Art

Tel. +44 (0)207 619 2601 www.cassart.co.uk Cloth House

+44 (0)20 7437 5155 [email protected] www.clothhouse.com

Dharma Trading Co. (textile craft supplier) www.dharmatrading.com Fermin’s Fashion Inc. (/eather)

Tel. +1 212 575 2088 Global Leathers globalleathers.com Hemp Traders Tel. +1 562 630 3334 [email protected]

Librairie 7L (bookstore owned by Karl Lagerfeld) Tel. +33 (0)1 42 92 03 58 www.librairie7|.com

The Cloth Shop

Kinokuniya Bookstore

Tel. +44 (0)208 968 6001 [email protected]

Tel. +1 212 869 1700

Italy

www.theclothshop.net

Arte 3 www.arte3.it

Creative Beadcraft www.creativebeadcraft.co.uk

Vertecchi www.vertecchi.com

The Handweavers Studio (yarns, fibers,

Korea Atom Trading Co. Namdaemun4-ga 20-1 Jung-gu, Seoul, 100-094

London Graphic Centre www.londongraphics.co.uk

Dongdaemun Complex Market (fabrics) www.ddm-mall.com

dyes, books) www.handweavers.co.uk

MacCulloch & Wallis Ltd. (haberdashery) www.macculloch-wallis.co.uk

[email protected] www.nyelegant.com

Tel. +1 212 921 7114

Blick Art Materials www.dickblick.com

Alma Leather alma1938.com

NY Elegant Fabrics Tel. +1 212 302 4980

Pacific Coast Fabrics

Boesner GmbH www.boesner.ch

Mokuba (ribbons) Tel. +33 (0)1 40 13 81 41 [email protected] www.mokuba.fr

Mood Fabrics www.moodfabrics.com

Tel: +1 310 327 3792 www.pacificcoastfabrics.com

B&dJ Fabrics bandjfabrics.com

magasin.paris1 [email protected] www.geant-beaux-arts.fr

Metalliferous (metal trim, tools and Supplies) Tel. +1 212 944 090 www.metalliferous.com

U.S.

Switzerland

Le Géant des Beaux Arts Tel. +33 (0)1 40 78 00 80

[email protected] www.mendels.com

Active Trimming (shoulder pads and trims)

Alpha Trims Inc. www.alphatrims.com

www.hemptraders.com

www.kinokuniya.com La Lame Inc. (stretch and party fabrics) Tel. +1 212 921 9770 www.lalameinc.com Libra Leather, Inc. [email protected] libraleather.com

M&J Trimming

Tel. +1 212 391 6200 www.mjtrim.com Mendels and Far Out Fabrics

Tel. +1 415 621 1287

443

Pacific Trimming

Paron Fabrics Tel. +1 212 768 3266 www.paronfabrics.com

The Pellon Company (interfacings and appliqués) www.pellonideas.com Quick Fuse & Cut Inc Tel. +1 212 967 0311

Rainbow Leather http://rainbowleather.com Robert Kaufman Fabrics Tel. +1 310 538 3482 [email protected] www.robertkaufman.com

Service Notions

Tel +1 212 921 1680 Snap Source

Tel. +1 800 725 4600 or 248 280 1411 www.snapsource.com Spandex House Tel. +1 212 354 6711 www.spandexhouse.com

Stanley Pleating & Stitching Company Tel: +1 718 392 2417 www.stanleypleatingandstitching.com The Strand Bookstore

Tel. +1 212 473 1452 www.strandbooks.com

Superior Model Form Co.

Tel. +1 212 947 3633 Wwww.superiormodel.com Swarovski Crystal Company Tel. +1 212 332 4300 www.swarovski.com Tender Buttons Tel. +1 212 924 4136 www.tenderbuttons-nyc.com

Utrecht Art Supplies Tel. +1 212 924 4136 www.utrechtart.com Zipperstop (zippers and threads) Tel. +1 212 226 3964 www.zipperstop.com

ee

5/4

hee

22584Gs

Page numbers in bold refer to

picture captions

A Abstract Expressionism 16 accessories 15, 114, 150, 338, 340-8, 362 see also gloves; shoes acetate 313 Ackermann, Haider 250, 260

adhesives 318 Adrian, Gilbert 14

Agent Provocateur 65, 430 Ahn, |ke 107 airbrushing 15, 20, 316 Albaz, Alber 250 Alfaro, Victor 379 American Apparel 93 Anderson, J.W. 93, 275 androgyny 13, 18, 20, 27, 62,

147, 293 anime 25, 135 anti-pizza 91

Appleman, Annie 393 Arbus, Diane 66 Arias, Fabiola 133 Armani, Giorgio 20 armholes 37, 79, 86, 229, 239,

241 art and fashion 13, 16, 18, 20, 22, 23, 66, 67, 209, 307 Art Deco 13, 20, 307 Artaksiniya 137, 167, 279, 327

Assefa, Benyam 343 Azria, Max (for Hervé Léger) 267

B| Backlund, Sandra 365

Baird, Olga 188 Balenciaga, Cristobal 16 Bartlett, Victoria 430 Bastian, Elizabeth 365 Batekhin, Leonid 208, 209 Bauernfeind, John 61, 279, 292 “Beauty by Design” (Burkinshaw) 426 Beetson, Sarah 97, 103 Bekov, Abzal Issa 249, 353 La Belle Epoque 11, 12 Berlei 430 Berning, Tina 95, 143 bias cut 13, 14, 249, 266-7,

269-73, 290, 330 biomimicry 274, 291 Birtwell, Celia 269 blazers 86, 242, 280-2, 284-5, 363, 406 blenders 316, 317 blogs/blogging 26, 72, 202 blouses 11, 238, 254, 421 Blum, Julia 414, 433 bouclé 354, 355, 374

Bouét-Willaumez, René 14, 15 Bowery, Leigh 23 Bray, David 142 Breakey, Annabelle 321

bridal wear 321, 340, 429 Broadway, Steven 114 brocade 249, 325, 349 Brown, Imogine 95, 345 Browne, Thom 291 brushes 67, 315, 386 Burger, Janette 187 Burkinshaw, Mal 426

Burrows, Stephen 250 Burton, Jesse Lee 185, 187 buttons and buttonholes 215, 243, 280, 282, 284, 286 Bychkova, Marina 124, 158, 429

G Caballero, Paula Sanz 322 Cabrera, Alfredo 10, 24, 52, 115, 121, 267 camel hair 354, 355, 374 caps 14, 160, 161 Cardin, Pierre 18 Carollo, Kelley 66 Carrozza, Jillian 181 Casey, Joey 103 Chabluk Smith, Felix 301 chambray 374 Chanel, Coco 13, 14, 279, 414 charcoal 133, 176, 181, 307, 314 Chen, Ivy 419 Chen, Wendy 210 chiffon 419, 420, 421, 430 children and young adults 95-6 babies 95, 96, 98-100, 155, 166, 170 back view 105, 111, 118, 123, 127 boys 103, 106-7, 109, 113, 116-18, 126-7, 155 flats figure 95, 112 girls 102, 104-5, 108, 110-12, 116-18, 122-5, 155, 156, 276 hands 166 heads and faces 155-8 infants 96, 97, 98-100, 155, 157 juniors 96, 120-7, 155, 352 legs and feet 170 older children 102-3, 110-13, 157, 166 poses 95, 99-101, 104-5, Wiis a iea2e, 27, proportion 95-6, 98, 104-5, 106, 110-11, 116-17, 121, 122-3, 126, 177 toddlers 96, 97, 101, 101 tweens 96, 103, 114-19, 156 childrenswear 13, 95, 97, 103, 276

Choi, Jenny Yewon 131 Choi, July 394, 395 Cid de Diego, Carla 187 Clark, Ossie 18, 250, 269 Clark, Peter 79, 318 Closures 245, 275, 370 see also buttons; drawcords;

zippers coats 242, 280, 283, 286-7,

228, 229, 230, 231, 232, 255, 283, 406

300, 356-7, 370, 402-3, 409 collage 79, 95, 176, 193, 202,

on the figure 255, 262-5,

313, 318, 339, 357, 385 collars 11, 18, 143, 216, 239, 240, 242, 284, 289

272-3 flares 249, 250, 266-7, 268, 269-73, 330 flat sketching 254, 260-1, 270-1 flounces 14, 225, 250, 266, 267, 268

color blocking 187, 234 color on color 428-9 color theory 319-20 and fashion 322 meanings of 321 colored pencils 310, 314, 316,

395, 407, 409 contrapposto see relaxed pose

Conway, Bryan 383 corduroy 356-7, 360, 375 cork 375 corsets 11, 15, 23, 430 see

also foundation garments cotton, dyed 358, 374

Courreges, André 18 Covington, Cleveland 269 crayons, water-soluble 176,

314 crepe (wool) 354, 355, 374 Cubism 67 Cumming, Victoria 369 customer profiles 29, 62, 63,

69, 84, 132, 140, 150

|D| Dagworthy, Devon 109, 112

darts 14, 215, 239, 240, 290 Davis, Amy 25 Davis, Katie 107 De Kuyper, Dana 156 De Laurentis, Janae 175 De Villeneuve, Daisy 378, 399 deconstructed fashion 23, 203,

291, 302, 351, 372 Dee, Amy 309

Del Rey, Lana 67 Dempsey, Elisabeth 177 denim 280, 300, 358-9, 363, 374 DeNooyer, Kelly 59, 357 digital techniques drawing 25, 27, 90, 141,

148, 149, 307, 412 rendering 193, 306-7, 309,

372, 382, 389 see also \llustrator; Photoshop; scanning

digital technology 20, 23, 25, 27, 33, 58, 62 see also digital techniques Dior 16, 17, 430 Do, Peter 73, 291

dolls 95, 124, 156, 311, 429 Dominguez, Jasmine 201, 340 Donis, Nina 68, 70, 285, 289,

294, 307, 381, 394, 419 Donovan, Bil 90

Doré, Garance 26 Dougans, Tara 139, 193, 377 drape and drapery

basic principles 252-3 body shape affects 185, 226, 228, 229, 330 compression affects 185,

gathers 14, 216, 249-50,

256-63, 290, 330 gravity affects 185, 215, 228, 229, 231, 250, 255 movement affects 215, 225, 226, 228-37, 255, 406, 420 poses affect 185, 226, 227, 228, 232-3, 264-5, 272-3, 283, 284-8, 297-8, 330 ruffles 249, 250, 251, 256-8, 264-5, 269 and shiny fabrics 325, 328-9, 330 see also bias cut drawcords 215, 245, 257, 257, 259 drawing tools 220 dresses 13, 16, 230-1, 234, 235, 240-1, 254 Duan, Siyu 199, 251 Dunn, Jourdan 65 dyes 176, 315, 322, 374

E| Eighties, the 10, 22-3, 291 Elia, Albert 22, 307 embossed fabrics 325, 339,

349 Erickson, Carl 17 eyeglasses 163, 340 eyelet fabrics 340, 374, 419, 422, 435

FI fabric

grain 216, 266, 269, 330, 383, 386 selection 73, 201, 207, 208

swatches 198, 202, 322, 382-3, 394, 404, 408, 412 weights 228, 249, 290, 322, 330, 353, 419 see also knits; prints; sheer fabrics; shiny fabrics; “smart” fabrics; woven fabrics faces see heads and faces faille 349 Farmer, Jonathan Kyle 27, 103,

196, 217, 256, 289, 340 fashion icons 11, 14, 15, 20, 24 fashion magazines 12, 26, 415 Fast, Mark 365 feet, drawing see legs and feet felt/felting 351, 357, 360, 369 female figure

adjusting proportion 62-7 back view 56-7, 138

balancing 40-8 flats figure 37, 63, 64 maternity figures 65 planning 29-30, 33 poses 29, 30, 40-7, 48, 58-61, 65 pregnancy 65 profiles 54-5 proportion 29-30, 32-9, 70, 74, 82 rounded figure 34-6 skeletal structure 48, 55 turning pose 30, 49-57, 65 Ferdinand 153, 420 Ferragamo, Salvatore 16 film and fashion 12, 14, 16, 20, 24 fixatives 314 flannel 16, 374 flat sketching drapery 254, 260-1, 270-1 flats 37, 78-9, 95, 112, 192, 207, 211, 220, 307, 317, 354, 365 garment details 207, 209, 215, 218-24, 236 rendering techniques 354, 365 tailored clothing 280-2, 283, 295-6 float sketching garment details 192, 215, 229 presentations 207, 210, 229 Ford, Tom 25 foreshortening figure drawing 49, 54, 58, 80, 90, 96, 99, 100, 132, 137, 183 and garment details 218, 225, 226, 264, 288 hands 164 heads and faces 132, 135, 137, 142, 145 legs and feet 168, 169, 171 Fortuny pleats 298 foundation garments 13, 15, 430 Frederick’s of Hollywood 430 furs 217, 351, 360, 361, 362, 375

Galliano, John 25

Gama, Carmen 203, 302 garment details 215-17 fabric selection 201, 217 on the figure 225-7 flat sketching 207, 209, 215, 218-24, 236 float sketching 192, 215, 229 foreshortening 218, 225, 226, 264, 288 glossary 238-47 production sketches 196, 212-13 Gaultier, Jean Paul 65 gauze 419, 435 Gibson, Charles Dana 11

INDEX

girdles see foundation garments Givenchy 419

LH|

jackets 14, 15, 16, 23, 242, 270, 280, 283, 288, 290-1, 354-5, 404-5 see also blazers Jacquemus, Simon Porte 302 James, Charles 16, 250 James, Rachel 371, 372, 391 jeans 16, 18, 215, 246, 363 jersey 325, 332, 338, 364, 366, 419 Jiiakuann 70, 72, 90, 93, 147, 154, 379, 396 Johansson, Anna 252 Johnson, Julie 132 Jones, Anne-Marie 150, 410 Jones, Leslie 224 journals see sketchbooks Ju, Tiffany 351

Haines, Richard 26, 70, 125,

jumpsuits 20, 255

gloves 165, 167, 184, 340 godets 216, 244, 267 gores 11, 273 “Gothic Lolita” fashions 25,

119, 277 gouache 315, 336, 395 Grady, Mark 119 graffiti art 23, 124, 156, 158 Greenlaw, Fiongal 129, 397 Grés, Alix (“Madame”) 250, 275 Grimaldi, Mia 293 Grimm, Issa 32, 139 Gruau, René 415 guipure 426, 435

141, 163

Lester, Rebecca 30, 306 Leyendecker, J.C. 11 Li, Jiayu 412 licensed imagery 95, 158, 377, 393 life drawing amending drawings 193 balancing 182 basic principles 179-93 with both hands 191 foreshortening 45, 54, 80,

90, 96, 99, 100, 132, 137, 183 and imagination 179, 180, 189 interpreting visual information 186-93 media 176, 180, 181, 187, 189, 191, 192 model drawing 80-1, 174-93, 367 negative space 187, 190

Jung, Daphne Hansol 311

hairstyles 13, 125, 138-41,

150 Han, Yoyo (Lin) (for Saga Furs) 360 handbags 340, 346 hands, drawing 164-7, 184 Harper, Sara 179, 185 Hatori, Yuki 97 hats 13, 139, 159-62, 163 see also caps heads and faces 132-4, 135 children 155-8 drawing from life 184 facial features 135, 136, 139, 142, 145, 146, 151 foreshortening 132, 135, 137, 142, 145 male 74, 150-4 profiles 146-7, 153 templates 134, 136, 144-6, 151-3 three-quarter views 144-5, 152 tilting 137 turning 142-9, 152-4 hems/hemlines 13, 215, 216, 228, 239, 241, 269 Herakut 124, 156, 158 high hip pose see relaxed pose history of fashion and fashion drawing 10-27, 247, 250, 279, 289, 348 Hood by Air 93 hosiery 18, 131, 183, 184, 424, 430, 432 Hough, Wyatt 152 Houtkamp, Angelique 134 Huang, Zirui 67 Hughes, Flo 259, 346, 383

oO lbraham, Ruann 317

LK|

proportion 176, 179, 180,

Kang, Jiwon 61

181 turning poses 183

Karman, Bijou 32 Kawakubo, Rei 402 Kichler, Emily 199 Kiki de Montparnasse 430 Kikuchi, Noriko 176 Kim, Daphne Hansol 276 Kim, HyunWoo Shawn 309 Kim, Jeun 352 King, Gabrielle 274, 348 Kiper, Anna 401 knits/knitted fabrics 18, 20, 332, 333, 351, 364-9, 375, 410-13, 431 Kobayashi, Erika 177 Kova, Alona 186 Kuhl, Kelly 236 Kusama, Yayoi 311 Kwan, Sylvia 201

La Perla 430

lace 293, 340, 419, 426-9, 430, 435 Lacroix, Christian 23 Lagerfeld, Karl 291 Laine, Laura 266, 351

lamé 322, 325, 333, 349 Lang, Helmut.28, 291

Lange, Liz 65 Lantomo 367 Lanvin, Jeanne 276 lapels 242, 283, 284, 289, 290 lasercutting 26 Lau, Anna 213 leather 325, 327, 328, 338-9, 340 Lee, Angela 371 Lee, Anna Hae Won 37, 199, 312, 359, 362

lllustrator (Adobe) 141, 151,

Lee, Chris 79, 361, 362, 411

220, 221, 306-7, 335, 336, 389, 420 Im, Siki 290 ink 133, 309, 316 inspiration, translating 59, 66-7, 131, 138

Lee, Christy 249 Lee, Dahae 67, 200 Lee, Jennifer 431° Lee, Ximon 280 legs and feet, drawing 62, 168-70, 184

with two models 186, 190 see also sketches/sketching

lighting 178, 310, 321, 330 Lim, Jenny 431 Ling, Tanya 131 Lopez, Antonio 19, 159

Louboutin, Christian 340

O Mabille, Alexis 224

Magritte, René 15 Maison Martin Margiela 173 makeup 142-3, 144 male figure balancing 88 faces 78 flats figure 84—5 planning 77-8 poses 88, 92-5 proportion 75, 77-8, 80-7

rounded figure 81-3 skeletal structure 78, 89 turning pose 94 manga 29, 139, 143 markers 59, 213, 300, 301, 303, 314, 343, 372, 387 Marman, Laurie 144, 147 Marshall, Andrea 36, 63 Mascia, Pierre-Louis 328 maternity wear 72-3 Mayer, Gene 275 McCardell, Claire 21 McCartney, Stella 241 McClaren, Malcolm 24 McQueen, Alexander 29, 173, 348 Memphis movement 26 mesh 385, 386, 389, 403 Milan and fashion 26 model drawing 86-7, 96, 177-80 mohair 337, 338, 360 Molinari, Anna 34 Mota, Juan 190 motifs 301, 342, 344, 345, 363, 364-5, 368-9, 394

motorcycle jackets 21, 85, 234, 327, 356 Mouret, Roland 283 Mozafari, Niloufar 34 music and fashion 22, 24, 27, 29 Muybridge series 100

LN] Nakamuchi, Tomoko 250 Naqvi, Zehra Asma 234, 372,

434 Ndiritu, Grace 391 necks and necklines 135, 137,

138, 143, 216, 225, 238, 239, 240, 241, 254 negative space 186, 187, 190 Negron, Paul 280, 299, 326

net 419, 420, 426 “New Look” 16, 17 Newman, Whitney 182 Nieuwenhuyse, Stefanie 32, 134, 149 the Nineties 24—5

0| Oglesby, Elena 211 Oh, Ji 325 Oknyansky, Bryan (Shoes by Bryan) 171, 172 organza 217, 293, 419 Orientalism 11, 12, 13 Ormond, Taylor 207, 359, 366,

367, 431 outerwear 370-3 see also coats overdyed fabrics 357, 360

P| Pages, Jean 13

paints 310, 315, 317 palmer//harding 219, 235 Palmiotti, Lydia 67, 420 Pantone color systems 202,

316, 322 pants 15, 20, 23, 28, 185,

222-3, 232-3, 246, 261, 356-7, 406-7 see also jeans; jumpsuits

paper accordion format 181 colored 187, 188, 313, 352 embossed 313, 339, 398,

421 graph 389, 396

marker paper 52, 313, 339, 398 newsprint 176, 180, 181 selection 59, 176, 189, 198, 200, 310, 312-13 sizes 33, 198, 312 surface 312-13, 316, 352 weight 312, 313 parachute cloth, ripstop 23, 349 Paris and fashion 11 Park, Jun Hyung 325 pastels 176, 181, 187, 310, 314, 352 patent leather 327, 328

445

patterns abstract 312, 377, 379, 416 animal 377, 416 argyle 377, 417 bandana 416

batik 377, 416 border 378, 379 brushed-wool 408-9 camouflage 390-1, 416 conversational 377, 416 florals 18, 377, 388, 416 foulard 417 geometric 377, 416 herringbone 396, 409, 417 houndstooth 396, 417 ikat and faux ikat 416, 417 knitted 410-13

motifs 313, 377, 378, 381, 382-3, 394, 410 Native American 417 paisley 389, 416 pinstripe 275, 398, 417 placement 97, 129, 378-9, 383 quilted 400 rendering 129, 306, 307, 309, 331, 346, 376-413 repeats 381 status 417 toile de jouy 377, 416 yarn-dyed 377, 394-9 see also plaids; prints; stripes; tartans Pearlman, Barbara 20, 431 Peeraer, Niels 348 Peng, Shuyang 293 pens 18, 220, 310, 316, 395 peplums 14, 238, 240, 241, 244, 290 perspective 49, 138, 171, 340 petite figures 177

Petty, George 15, 415 Phillips, Coles 10, 11, 415 photo references 58-9, 80, 86, 128-9, 132, 171, 175, 202, 207 photocopying 38, 52, 307, 332, 333, 383, 384, 385 Photoshop (Adobe) 27, 36, 90, 148, 193, 202, 220, 306-7, 330, 335, 407, 420 Picasso, Pablo 67 Pimsler, Al 16 plaids 25, 271, 287, 377, 386, 394, 395, 396, 399, 402-7, 417 see also tartans pleather 328 plus-size figures 63, 64, 131, 177 pockets 215, 240, 242, 243, 286, 289

point d’esprit 424-5 point of view 49, 58, 96, 225-7, 250, 266, 268

Poiret, Paul 11 Pop Art 18, 307 poses analyzing 41, 42, 46, 48, 86, 182 children 95, 99-101, 104-5, 111, 113, 118, 123, 127

227,

iffected 185, 226, 228, 232-3, 264-5,

relaxed pose drapery affected 226, 227,

72-3, 283, 284-8,

228, 232-3, 264-5, 272-3, 286-7, 297-8 female figure 30, 40-7, 48, 61, 63, 65, 65 hand position 166 male figure 82, 86 in model drawing 182, 183

297-8, 330

female figure 29, 30, 40-7, 48, 58-61, 65 male figure 82, 86-91 S-curve 44, 48, 56, 82 seated (infants) 100

turning 30, 49-57, 61, 65, 88, 183, 233, 288, 330 walking 45, 46-7, 58, 61, 86, 227, 284-5, 330 see also relaxed pose postwar era (1945-59) 16-17, 370 Prada 28 presentations fabric selection 73, 207, 208 flats 37, 78, 95, 207, 210, 211, 220 floats 207, 210, 229 and sketchbooks 198, 202, 203, 205-11 press studs see snaps princess line 36, 215, 240 prints allover 97, 129, 378, 391, 393, 396 engineered 378, 381, 385, 396 yarn-dyed patterns compared 377, 394 see also patterns proportion adjusting 62-7, 74, 79 analyzing 38-9, 80 children 95-6, 98, 104—5, 106, 110-11, 116-17, 121, 122-3, 126, 177 customizing 38, 41, 63, 64, 74 facial features 135

female figure 29-30, 32-9, 70, 74, 82 hands 164 in historical drawing 14, 15, 25

legs and feet 168 male figure 69, 70-3, 74-81,177 stylized 29, 30, 70, 72, 78, 96, 176 templates 30, 33, 34-5, 38, 67, 74, 81, 96, 121 Pugh, Gareth 225 pulls (zippers) 215, 247, 288 punk fashion 20, 139 puppets 95, 124

o Quant, Mary 18 Quesada, Moises 150 Quillamor, Myrtle 249, 306, 314

LR Radke, Scott 59 raffia 375 Rankeillor, Mary-Ellen 66 Raw Color research project 321 Raynus, Helen 183

rendering techniques 139, 205,

306-9 accessories 340-8, 362 black and white fabrics

329, 331 color 306, 307, 309, 310, 319-23, 421, 428-9 digital techniques 193, 306-7, 309, 372, 382, 389 fabric types 249 flat sketching 354, 365 iridescence 334 media selection 66, 67,

133, 176, 200, 306-7, 310-18, 336, 382, 395 patterns 129, 306, 307,

309, 331, 346, 376-413 sheer fabrics 419, 420-34 shiny fabrics 325, 328-38 texture 188, 193, 307, 313, 331, 338-9, 350-69, 372, 373, 420 woven fabrics 351, 353-63 see also under digital techniques Reppe, Shona 124 research 198, 201, 202, 322 Rhew, Yong Chu JLyn 311 ripstop cloth 23, 349 Rittenberry, Rosie 392 Roberts, Julian 250, 277 Rodarte 266 Rodgers, Kathryn Elyse 26, 103 Romer, Dan 313, 316 Rosenfeld, Richard 18, 80, 84, 178 rubbing techniques 193, 313, 398, 422, 423 ruching see shirring

S| Saint Laurent, Yves 16, 18,

279, 419 Sand, George (Amantine Dupin, Baroness Dudevant) 293 Sander, Jil 291 satin 325, 328-9, 330, 349 Sato, Shingo 250 scanning 38, 90, 200, 220, 221, 307, 312, 382, 383, 384, 385 Schiaparelli, Elsa 247 seams 86, 216, 220, 222, 226, 239, 241, 290, 419 The Sectional System of Gentlemen's Garment Cutting (Thornton) 301 sequins 325, 335

the Seventies 20-1, 139 Sheehy, Nick (“Showchicken”) 66

sheer fabrics 419 rendering 419, 420-34

underwear 419, 424, 427, 430-4 see also lace Shima, Kazue 26, 70, 89, 426 Shin, Boaz 302 shiny fabrics 325, 327 accessories 338, 340-8 and drapery 325, 328-9, 330 glossary 349 and pattern 325, 331 rendering 325, 328-38 and texture 331, 338-9 shirring (ruching) 215, 257, 259 shirts 218-19, 221, 239 Shoemaker, Kristin 189 shoes 16, 170, 171-3, 184, 339, 340, 342 shoulders 14, 15, 16, 20, 238, 240, 259 silhouettes 15, 20, 216, 266

silk and silk dupioni 325, 336, 349, 375 the Sixties 10, 16, 18-19, 20, 139, 250, 279, 307, 414, 415, 430 sketchbooks 198-204 content 198, 201, 202-4 fabric swatches 198, 202 formats 198, 200, 201

media 198 mood pages 202, 207 paper selection 198, 205 and presentations 198, 202,

203, 205-11 for research 198, 202 sketches/sketching 10, 23, 36, 73, 140, 141 concept 29, 199 on the figure 225-7, 255,

262-5, 272-3, 282-8, 297-8, 404-7 from life 80, 176, 179, 180, 207 production sketches 196,

212-13 see also flat sketching; float

sketching skirts 11, 15, 17, 18, 23, 25, 244, 254, 262-3, 271-3, 295-7, 299 sleepwear 430 sleeves 79, 86, 217, 229, 231,

238, 239, 240, 241, 242, 269 Slimane, Hedi (for Saint Laurent Paris) 290 “smart” fabrics 202, 372, 430 Smirnova, Zoya 151

Smith, Paul 291 snaps (press studs) 215, 284, 348 specification sheets 79, 212, 340 Spielman, Meghan 200, 215, 234, 277 sportswear 13, 69, 89, 91, 129, 211, 234, 279, 289, 320, 370-1 see also swimwear

Stavrinos, George 21

|

Stays, Sabia 204, 205, 310 Strathmore 400 Series pads

underwear 419, 424, 427, 430-4 see also foundation garments uniforms 12, 16, 279, 290, 303, 320 Uniglo 93 unisex clothing 93, 190, 275, 293

200 Strimbu, Jessica 38 stripes 49, 86, 185, 271, 287, 381, 384, 386-7, 394, 395, 414, 419 studs 336 suits 13, 16, 18, 20, 279, 279, 289 see also jackets; pants

Surrealism 13, 20 sweep 228, 250

swimwear 58, 69, 86, 414-15 swipe files 58, 159

T-shirts 16, 229, 378, 385, 422, 423 taffeta 325, 329, 331, 334, 349 tailored clothing 278-303

designing 279, 289-93, 299-303 double-breasted garments 242, 280, 282, 286-7, 409 on the figure 282-8, 297-8 flat sketching 280-2, 283,

295-6 historical trends 23, 250,

279, 289 pleats 294-9 sportswear 89, 289 see also suits

Tang, Kadence YingYing 197, 251 Tangye, Howard 175, 178, 180, 183, 184, 188 tartans 299, 404, 405, 417 see also plaids Taverner, Dylan 69 templates heads and faces 134, 136, 144-6, 151-3 proportion 30, 33, 34-5, 38, 67, 74, 81, 96, 121 Thanaprasittikul, Seksarit 73 the Thirties 13, 14, 15, 20, 247, 289 This is The Uniform 299, 419 Thornton, J.P. 301 threeASFOUR 250 3D design 197, 202, 203, 250, 277, 368 3D printing 27, 171, 172, 202, 250 Tisci, Riccardo 72, 290 topstitching 220, 290 Traylor, Cheryl 190 trend forecasting 202, 322 Trend Union 202, 322 trims 238, 242, 245, 348, 372, 395, 434 trousers see pants tulle 420, 422, 435 Tunstull, Glen 164 tweed 354, 356-7, 374 the Twenties 13, 139, 279, 432 twenty-first century fashion 26-7

v| Van Assche, Kris 291 vellum 133, 313 velvet 325, 327, 349, 360, 363 vests (waistcoats) 15 Vibskov, Henrik 410 Victoria’s Secret 430 vinyl 325, 339, 349, 419 Vionnet, Madeleine 13, 250 Viramontes, Tony 23 Vladov, Lubo 125

Vogue magazine 15 VPL (Bartlett) 430

WJ waistcoats see vests waists/waistlines 13, 14, 15,

232, 241 empire waist 238, 240, 260 Wakiyama, Eri 29, 61, 148, 352 Watanabe, Junya 300, 402 watercolors 315, 336, 359, 395 Wegener, Gerda 12 Westmark, John 318 Westwood, Vivienne 20, 250, 377, 402 WGSN 58, 202 What My Daughter Wore blog (Williams) 26, 129 Willcox, Anita Parkhurst 415 Williams, Briana 432 Williams, Jenny 26, 129, 378 Wolford 430 wools 249, 354-7, 375, 396-8, 408-9 see also crepe World War I (1914-18) 12, 279 World War Il (1939-45) 15 woven fabrics flat weave 353, 354-9 outerwear 370-3 pile weaves 353, 360-3 solids, rendering 351, 353-63

Yamamoto, Yohji 291 Yousefzada, Osman 216 youth cults and fashion 13, 16,

18, 20

Z| zippers 215, 223, 242, 243,

247, 247, 288

PICTURE CREDITS

Picture Credits The author and publisher would like to thank the following institutions and individuals for providing photographic images for use in this book. In all cases, every effort has been made to credit the copyright holders, but should there be any omissions or errors the publisher would be pleased to insert the appropriate acknowledgment in any subsequent edition of this book.

| = left, r = right, c = centre, t = top, b = bottom, br = bottom right Front Cover: © Tina Berning Back Cover: © Helen Raynus 1: © Laurie Marman 2-3: © Sylvia Kwan 4: © Richard Rosenfeld 5tc: © Eri Wakiyama 5bl: Drawing by Steven Broadway 6bl: Sketches by Abzal Issa Bekov 6br: © Lydia Palmiotti 7: © Laura Laine 8-9: © Alfredo Cabrera 11br: Colgate-Palmolive 13tr, 14, 15bl: © Condé Nast Collection 16: © Alvin J. Pimsler 17: Carl Erickson (Eric) fashion illustrations, New School Archives and Special Collection. The New

School, New York, NY. © Conde Nast Collection 18: © Richard Rosenfeld 19: Courtesy Estate of Antonio Lopez and Juan Ramos and Galerie Bartsch & Chariau 20: © Barbara Pearlman 21: © George Stavrinos

22: © Albert Elia 23: © Estate of Tony Viramontes. Image courtesy Dean Rhys Morgan 24: © Alfredo Cabrera 25: Illustrated and styled by Amy Davis 26: © Kazue Shima. Watercolour, pencil, photoshop, illustrator (kazueshima.com) 27: © Jonathan Kyle Farmer

MA\(RCA) 28: © Eri Wakiyama 29: firstVIEW 30: © Pippa McManus ~ 31: © Rebecca Cory Lester 321: Drawing by Fashion & Textile Designer Stefanie Nieuwenhuyse. Fine-Liner fashion drawing from 21 Century Bodies Project. (behance.net/stefanienieuw) 32c: Sixties inspired Lookbook Pre-Fall 2014 © 2013 by Issa Grimm 32r: © Bijou Karman 37b: © Anna (Hae Won) Lee 38: © Jessica Strimbu 46: Frazer Harrison/Getty Images for Caffe Swimwear 52-53: © Alfredo Cabrera 58: Girl with Fan from the series Psychedelica © 2006 Andrea Marshall 59tr: Image by Kelly de Nooyer using pieces of clip art 601: © Eri Wakiyama 60r: © John Bauernfeind 61: © Jiwon Kang 62: Photo: FashionStock.com 65r: Pierre Verdy/AFP/Getty Images 66tr: © Nicky Sheehy (nickysheehy.com) 66bI: © Mary-Ellen Rankeillor 66br: © Kelley Carollo 67tl: © Zirui Huang 67tr: © Lydia Palmiotti 67br: © Dahae Lee 68: © Nina Donis (ninadonis. com)

691: Dylan Paul Moran Taverner 69r: firstVIEW 70: © Richard Haines 71I: © Kazue Shima. Watercolour, pencil, photoshop, illustrator (kazueshima.com) 71r: © jiiakuann. Image reference: Editorial image of

model A.J. Abualrub from Varén

#2011

magazine. Model wears items from Thom Browne Menswear S/S 2011 collection 721: Alex Mein for Slashstroke magazine 72r: © jiiakuann. Editorial illustrations for FHM China S/S 2014 magazine. Stylist Michael Xufu Huang. Riccardo Tisci wears items from Givenchy Menswear S/S 2014 collection 73i: Peter Do 73r: Seksarit Thanaprasittikul 78: © Christy Jeehyun Lee 79bI: Photo: Peter Clark. Design by Peter Clark 80, 84-85: © Richard Rosenfeld 86: firstVIEW 89: © Kazue Shima. Watercolour, pencil, photoshop, illustrator (kazueshima.com) 90t: © jiiakuann. 1. Editorial image of model Rogier Bosschaart from i-D Fall 2011 magazine; 2. Editorial image of model Victor Nylander from Hero #5 S/F 2011; 3. & 4. street style fashion; 4. Model after Topman magazine design S/S 2013 show 90b: © Bil Donovan 91: © Daria Lipatova 92I: Illustrations based on the Unisex Rad Hourani Haute Couture collections from #0 to #12. Garment designs by Rad Hourani. Original artwork made by Roberto Sanchez on a voluntary basis as a non-profit illustration project 92r, 931: © John Bauernfeind 93r: © jiiakuann. Image is inspired by Gareth Pugh Menswear F/W 2009 collection 94: Tina Berning, represented by 2agenten.com (Germany and Europe), CWC-i.com (North America), synergy art.co.uk (UK) and CWC-tokyo.com (Asia) 95: © Imogine Brown. Illustration is inspired by a theoretical collaboration between Puma & Die Antwoord with Rodger Ballen 971: Yuki Hatori c/o CWC International, Inc. CWC-i.com..~ 97r: Heat Boyswear Collection S/S 09, 2007. Mixed media on paper. Client: Stylesight (Fashion Forecasting) illustrationweb. com/sarahbeetson © Sarah Beetson/Stylesight 102: Kathryn Elyse Rodgers 103tI: Scratch my Record, 2005. Mixed media on paper.

illustrationweb.com/ sarahbeetson © Sarah Beetson 103tr: © Jonathan Kyle Farmer MA(RCA) 103b: Designer/artist: Joey Casey 107t: Illustrated and rendered by Katie Davis using Adobe Photoshop 107b: © Ick Jeong Ahn (Ike Ahn) 108-109, 112: © Devon Dagworthy 114: Drawings by Steven Broadway 115: © Alfredo Cabrera Doll Concepts 2013 119: Mark Grady (Grady Echegaray strangepixels.net) 1201: © Richard Haines 120r, 1211: © Alfredo Cabrera 121r: © Richard Haines 124I: © Marina Bychkova. Image editing by Chad Isley 124r: Cinderella designed and made by Shona Reppe Puppets. Photo: Ester Sundberg 125: © Herakut 1281: © Jenny Williams 128-129b: © @fiongal (fiongal. C0.uk) 130: © Tanya Ling 2009. Chanel RTW F/W 2009. Image courtesy fashionillustrationgallery.com 131: © Yewon Jenny Choi 132: © Julie Johnson (juliejohnsonart.com) 133t: © Fabiola Arias 134tl: Drawing by Fashion & Textile Designer Stefanie Nieuwenhuyse. This drawing is part of a series of Prints. Full project can be viewed on behance.net/ stefanienieuw 134tr: Drawing by Fashion & Textile Designer Stefanie Nieuwenhuyse. Initial line-up for the sustainable 2011 Biomimicry Collection. Full project can be

viewed on behance.net/ stefanienieuw 134b: © Angelique Houtkamp 137r: © Artaksiniya. Draft drawing for the menu wraps theme commission by the V&A Museum, 2013 for their Rules of Adornment exhibition 138tr: Chanel Haute Couture S/S 2013, In Like a Lion series. © Tara Dougans for SHOWstudio.com 139: Yohji Yamamoto Look Fall 2010 © 2014 by Issa Grimm 140: © Laura Marman 141r: © Richard Haines 142: David Bray represented by Private View (pvuk.com) 143tl: © Pippa McManus 143tr: Tina Berning, represented by 2agenten.com (Germany and Europe), CWC-i.com (North America), synergy art.co.uk (UK) and CWC-tokyo.com (Asia) 145r: © Pippa McManus 147r: © jitakuann. Image reference: Editorial image of model Kim Noorda from Muse #16 magazine 148: Eri Wakiyama 149t: Drawing by Fashion & Textile Designer Stefanie Nieuwenhuyse. Luctor et Emergo fashion project for MA Fashion Graduation, Kingston University, 2012. Full project can be viewed on behance.net/stefanienieuw

1501, 150¢: © Anne-Marie Jones 150r: Thibault Kuhn, handmade illustration on “canson” paper, scanned and finished mixing

PSD and Illustrator © Moises Quesada, Fashion Designer/ Illustrator - @moises_quesada 151tr: Fashion illustration by Zoya Smirnov 152tr: © Wyatt Hough 153tl: Ferdinand (ferdinand. nowhasa.com) 154: © jiiakuann. Image reference and inspiration: editorial image of model Joschka Netz from 10 Men A/W 2007 magazine; Jil Sander Menswear S/S 2010 collection 155tr: © Bijou Karman 156I: Dana De Kuyper (damneddollies.com) 156r: © Herakut 158tl: © Marina Bychkova. Image editing by Chad Isley 158br: © Herakut 159: Courtesy Estate of Antonio Lopez and Juan Ramos and Galerie Bartsch & Chariau 163b: © Richard Haines

164t: © Glen Tunstull original in the private collection of Renaldo Barnette 167r: © Artaksiniya. Drawing of Alexander McQueen’s collection for SHOWstudio project during London Men’s Fashion Week,

2014 171tr, 172t!: Design, making and photography © Bryan Oknyansky 2011 (bryanoknyansky.com)

174: © Janae DeLaurentis 175: Mike H. Sleeping © Howard Tangye

176: © Noriko Kituchi 177tr: © Elizabeth Dempsey 177bI: © Erika Kobayashi 178tr: George in Jean Paul Gaultier and Levis © Howard Tangye 178bl: © Richard Rosenfeld 179r: Sara Harper 180tr: Nathan © Howard Tangye 181b: © Jillian Carrozza 182: © Whitney Newman 183r: © Helen Raynus 183bI: Desire © Howard Tangye 184: Emma G. © Howard Tangye

185!: © Sara Harper 185r: © Jesse Lee Burton 186: Alona Koval 187tI: © Jesse Lee Burton 187bl: © 2005 Carla Cid de Diego (carlaciddediego. blogspot.com) 187br: Illustration by Janelle Burger 188tr: Michele © Howard Tangye 188bI: © Olga Baird 188br: © Juan Mota 1891: © Kristin ShoemakerSchmidt 189r: Alex Mein for Slashstroke magazine 190tr: © Kerianne E. Meehan 190bI: © Cheryl Traylor 192, 1931: © Kerianne E. Meehan 193br: Prada F/W 2012, Thou Supersensual Libertine Series © Tara Dougans for commons&sense man magazine, Issue no. 13 (Japan) 194-195, 196: © Jonathan Kyle Farmer MA(RCA)

197: © Kadence Tang, Ei8ht

198: © Si Yu Duan 199t: © Anna (Hae Won) Lee 199b: Fashion Fruit by Emily Kichler; sustainable clothing, jewellery and accessories designer 200tI: © Meghan Spielman 200tr: © Dahae Lee 201tr: © Jasmine Dominguez 201b: © Sylvia Kwan 202-203: © Carmen Gama 204-205: © Sabla Stays 206-207: © Taylor Ormond 208-209: © Leonid Batekhin, We all come from our childhood collection, 2015. Mixed media 210: © Wendy Yen Hua Chen 211: © Elena Oglesby 212-213: © Anne Lau 214: © Meghan Spielman 215: © Bradley Mounce 216: Osman S/S 2009. Photo: Sam Mitchel 217: © Jonathan Kyle Farmer MA(RCA) 219r: palmer//harding SS15 collection image. Photo: Christopher Dadey 2251: catwalking.com 2331: © Maiyet Resort 2015 Look 10 234—235t: © Zehra Naqvi 234br: © Meghan Spielman 235r: palmer//harding SS15 collection image. Photo: Christopher Dadey 236-237: © Kelly Kuhl 238-247: © Sylvia Kwan 248: © Myrtle Quillamor 249|: Design by Abzal Issa Bekov. Photo: Ryan Teeramate 249r: © Christy Jeehyun Lee 250: Subtraction Cutting observations by. Julian Roberts, 2014. Photo: Julian Roberts 251t: © Kadence Tang, Ei8ht, Si Yu Duan 251b: © Kadence Tang, Ei8ht 252I: Designer: Anna Johansson. Photo: Jan Berg 256: © Jonathan Kyle Farmer MA\(RCA) 259r: © Flo Hughes - University of Westminster Fashion Design graduate. Graduate collection Wilder 266tc, 266tr: Pixelformula/SIPA/ Rex 266bI: © Laura Laine 267tr: © Alfredo Cabrera 267r: Frazer Harrison/Getty Images for Mercedes-Benz Fashion Week 2691: Photo © Christie's Images/Bridgeman Images 269r: © Cleveland Covington 274: © Gabrielle King 275: Pixelformula/SIPA/Rex 276: © Hansol Jung 277tl: © Meghan Spielman 277r: Subtraction Cutting observations by Julian Roberts, 2014. Photo: Julian Roberts 278: © John Bauernfeind 279: © Artaksiniya. Illustration inspired by the Marc Jacobs last collection for Louis Vuitton 280tl: © Ximon Lee. Photo: Shirley Yu 280br: © Paul Negron 285r: © Nina Donis (ninadonis. com) 2891: © Jonathan Kyle Farmer MA\(RCA) 289r: © Nina Donis (ninadonis. com) 2901: Slaven Viasic/Getty Images 290c: Victor Virgile/Gamma-

Rapho via Getty Images 290r: Pixelformula/SIPA/Rex 291: © Peter Do 292t|: © Bradley Mounce

292r: 293tl: 293b: 294r:

© © © ©

447

John Bauernfeind Shuyang Peng Mia Grimaldi Nina Donis (ninadonis.

com) 2991: © Paul Negron 299r: © This is the Uniform. Photo: Beth Alderson

300tc: Tristan Fewings/Getty Images 300tr: Fairchild Photo Service/ Condé Nast/Corbis 300b, 301: © Felix Chabluk Smith 302t: © Carmen Gama 302bI: Francois Durand/Getty Images 303: © Boaz Shin 304-305: © Rebecca Cory Lester 306bI: © Myrtle Quillamor

306r: © Albert Elia 307: © Nina Donis (ninadonis. com) 308: © Shawn Kim

309: © Amy Dee, illustrations inspired by a theoretical collection for Proenza Schouler 310: © Sabla Stays 311t: © Hansol Jung 311b: © J-Lyn Yongchu Rhew 312: © Anna (Hae Won) Lee 313t: © Dan Romer 313b: © Dan Romer (In the collection of Leon Zinder) 314: © Myrtle Quillamor 315: © Allison Mora 316: © Dan Romer 317: © Ruann Ibrahim 318tr: Photo: Peter Clark. Design by Peter Clark 318bI: Fortress, John Westmark. 48 x 48 inches, paper sewing patterns and acrylic on canvas 321tr: Annabelle Breakey/Getty Images 321b: Photo: Raw Color (rawcolor.nl) 322: PANTONE Colors displayed

here may not match PANTONEidentified standards. Consult current PANTONE Color Publications for accurate Color. PANTONE®, myPANTONE™ and other Pantone trademarks are the property of, and are used with the written permission of, Pantone LLC. Portions © Pantone LLC, 2010 323: Gus Van Sant, Paula Sanz Caballero, pencil and fabric

collage made for NYLON GUYS, 2011 324: Hannah Hae In Lee 325: Fairchild Photo Service/ Condé Nast/Corbis 326: © Paul Negron 327tr: © Artaksiniya. Draft drawing for the menu wraps theme commission by the V&A Museum, 2013 for their Rules of Adornment exhibition

339tr: © Pierre-Louis Mascia 340: © Jonathan Kyle Farmer MA\(RCA) 341: © Jasmine Dominguez, 2015 342-343: © 2010 Benyam Assefa 344-345: © Imogine Brown. Illustration is inspired by a theoretical collaboration between Puma & Die Antwoord with Rodger Ballen 346-347: © Flo Hughes University of Westminster

Fashion Design graduate. Illustration inspired by Fendi’s Core Collection and Kon Bags, SS14

ey C. Bryant

Gabrielle King Tiffany Ju

351:

© Laura Laine

35 © Eri Wakiyama 352r: © Jisun Kim 353t: Design by Abzal Issa Bekov 353b: Sketches by Abzal Issa Bekov 357tr: © Kelly DeNooyer

358: © Taylor Ormond 359: © Anna (Hae Won) Lee 360!; © Yoyo (Lin) Han 360cr, 360br: © Saga Furs 361, 362bI: Christy Jeehyun Lee 362tr: © Anna (Hae Won) Lee 364-365: © Elizabeth Bastian 3661: © Taylor Ormond 366r: © Niloufar Mozafari 3671: © lantomo (lantomo.com) 367r: © Taylor Ormond 368: © Jisun Kim 369: Designer and Illustrator Victoria Cumming 370-371t: © Rachel James 370-37 1b: © Angela Lee 372: © Rachel James 373: © Zehra Naqvi 376: Dior Haute Couture S/S 2013, In Like a Lion series. © Tara Dougans for SHOWstudio. com 377: Fairchild Photo Service/

Condé Nast/Corbis 3781: © Jenny Williams 378r: Daisy de Villeneuve commissioned artwork. Fashion drawing of a girl dressed in Jean Muir. Published in Selvedge magazine, January 2008 379: © jiiakuann. Editorial illustration for L’Officiel Hommes China, August 2013 magazine. Stylist Michael Xufu Huang, Editor Lawrence Lau. Model wears coat and shoes from Dolce & Gabbana F/W 13, Pants from NADZ Studio F/W 13 and shirt from Bottega Veneta S/S 13 380: © Nina Donis (ninadonis. com)

382: © Flo Hughes - University ofWestminster Fashion Design graduate. Graduate collection Wilder

383: © Bryan Conway 391tl: Photo: Grace Ndiritu, taken from the video titled Still Life: Lying Down Textiles by Grace Ndiritu 391r: © Rachel James 392: © Rosie Rittenberry 393t: © Annie Appleman 393br: Little Nemo comic by Winsor McCay 394: © Nina Donis (ninadonis. com) )

395: MinAe (July) Choi int Lae Editorial

Selvedge magazine, January 2008 400-401: © Giacomo Meriggi 4101: © Anne-Marie Jones 410r: Julian Parker/UK Press via Getty Images 411: © Christy Jeehyun Lee 412-413: © Jiayu Li 414-415: © Julia Faye Blum 418: © Nina Donis (ninadonis. com) 41 9cl: Victor Virgile/GammaRapho via Getty Images 419c: © This is the Uniform. Photo: Beth Alderson 419br: Drawn by Ivy Yen-Chu Chen at Parsons New School for Design. Teacher Mr. Richard Rosenfeld, 2009 4201: Ferdinand (ferdinand. nowhasa.com) 420tr: © Lydia Palmiotti 426tl: © Kazue Shima. Watercolour, pencil, photoshop, illustrator (kazueshima.com) 426b: Jackets produced by Mal Burkinshaw in collaboration with Sophie Hallette Lace - from Beauty by Design: Fashioning the Renaissance at the Scottish National Portrait Gallery. Photo: Stuart Munro 429tr: Enchanted Doll © Marina Bychkova 430: © Barbara Pearlman 431tl: © Taylor Ormond 431tr: © Jung Eun Jennifer Lee 431br: © Jenny Lim 432: © Briana Williams 433: © Julia Faye Blum

434: © Zehra Naqvi The following images are © Michele Wesen Bryant: 6tr, 33, 34-35, 36, 37c, 39, 40-41, 42-43, 44-45, 47, 48-49, 50-51, 54-55, 56-57, 59bl, 63, 64, 651, 74-75, 76-77, 79r, 81, 82-83, 87, 88, 96, 98-99, 100-101, 104-105, 106, 110-111, 113, 116-117, 118, 122-123, 126-127, 133be,

Author’s Acknowledgments | am grateful to many, many people for their unwavering support during the time—longer than anyone could have imagined— it took to birth this book. Thanks to the team at Laurence King for their collective vision of what a fashion drawing textbook might be: Jo Lightfoot, Angus Hyland, Anne Townley, Gaynor Sermon, Mark Holt, Davina Cheung, Angela Koo, Nicola Hodgson, and Sue Farr. | was extremely fortunate to have had constructive input from thoughtful reviewers. This is a better book thanks to Kristy Buchanan, Stephens College, Missouri; Gywnneth Carville, The Manchester College, UK; Cynthia Golembuski, Drexel University, Philadelphia; Gael Henry, Northumbria University; Louise Pickles, Bath Spa University; Andrea Reynders, The School of the Art Institute of Chicago. Thank you to all of the artists who have contributed their work so generously.

It would not have been possible to demonstrate the personal and diverse nature of fashion drawing—the thesis of this book—without their participation. Special thanks to Lee Ripley for getting behind the project early on. Personal thanks to my parents Elayne and Phillip Wesen for the DNA, love, and encouragement to pursue a creative path from the very beginning; to Yayoi Tsuchitani and Piet Halberstadt for the exquisite meals and especially for listening; — to my colleagues Alfredo Cabrera, Karen Dietshe, and Lisa Feuerherm for the conversations that led to the significant revision of various drafts. Neverending thanks to my husband Stan Bryant for sacrificing almost all of his downtime for the duration of this project. | could not have completed this book

without his loving support, good humor, and infinite patience.

133br, 135, 136, 1371, 138, 1411, 143b, 144, 145tl, 146, 147bl, 149b, 151b, 152b, 153tr, 153b, 155b, 157,160-161, 162, 163t, 164b, 165, 166, 1671,

168-169, 170, 171b, 172tr, 172b, 173, 177be, 177br, 1791,

180bl, 181t, 191, 200b, 218, 2191, 220-221, 222-223, 224, 225r, 226-227, 228-229, 230-231, 232, 233r, 252r, 253, 254-255, 257, 349, 374-375, 381, 416-417, 435 Drawings by Michele Wesen Bryant based on research by Colette Wolffein The Art of Manipulating Fabric: 258, 2591, 260-261, 262-263, 264-265, 267c, 268, 270-271,

272-273, 281, 282-283, 284, © 2851, 286-287, 288, 2941, 295,

een 298, 327bl, 328-329, 334-32

LP.

wil (i e Libra

30014940

* 2g

9g

x Caen’ sr

3.4

This second edition features hundreds

drawings reflecting developments Ci in pose, presentation, and digital design, plus guidance on creating technical flats. Ol

C

PUwar

licw

® Step-by-step tutorials show how to draw women, men, and children, and adapt them for different markets

@ Over 1000 images depict work from leading designers and illustrators @ Discover how to render different fabrics, textures, and effects

@ Includes an illustrated glossary of garment and fabric details

ee

i

Michele Wesen Bryant teaches fashion drawing and concept development at Parsons School of Fashion and FIT in New York. She was also visiting professor at Istanbul Technical University, Parsons Parts, FIT at Polumoda in Florence,

and Zhejiang Sci Tech Unwersity in Hangzhou.

Wu ih

ISBN

| |

978-1-78067-834-4

781780"678344

90000

ae ————