FASHION dESIgN

Transcription

FASHION dESIgN

013
ASHION&TEXTILE
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Front Cover: Alexander McQueen Spring/Summer 99/00, photograph by Niall Mcinerney, Bloomsbury Fashion Photography Archive.
contents
Introduction to Fashion and Fashion Careers
4
Fashion Merchandising and Promotion
8
UK, Europe and Rest of World
Bloomsbury Publishing
50 Bedford Square, London, WC1B 3DP, UK
Fashion Law15
Tel: +44 (0)207 631 5600
Product Development16
Fax: +44 (0)207 631 5800
Fashion Design18
[email protected]
Technical Design24
UK Trade Orders
CAD for Fashion25
Macmillan Distribution (MDL)
Fashion Presentation26
Brunel Road, Houndmills, Basingstoke, RG21 6XT, UK
Fashion Styling27
Tel: +44 (0)1256 302692
Construction28
Fax: +44 (0)1256 812521 / 812558
Patternmaking31
[email protected]
Draping34
US, Canada, Central and South America
Sustainable Fashion36
Bloomsbury Academic
Introduction to Textiles37
1385 Broadway, 5th Floor, New York, NY 10018, USA
Textile Design and Technology40
Tel: +1 212 418 5300
Textile History and Culture
43
[email protected]
Fashion and Costume History
45
US Trade Orders
Berg Fashion Library51
Bloomsbury USA
Bloomsbury Fashion Photography Archive
52
Fashion, Culture and Society
53
World Dress and Anthropology
59
Tel: +1 888 330 8477
Reference62
Fax: +1 800 672 2054
Journals67
[email protected]
MPS/BUSA Orders
16365 James Madison Highway, Gordonsville, VA 22942, USA
[email protected]
Index70
Representatives and Agents72
Bloomsbury Head Offices and Distributors
Bloomsbury Visual Arts2
EBooks
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TEXTBOOK
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particularly suitable for course use.
UK and Rest of World: You can request textbooks directly from our website,
see www.bloomsbury.com/academic/inspection-copies. If you would
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www/TEXTBOOK
FAIRCHILD BOOKS
Titles marked with the Fairchild Books logo can be found on
www.fairchildbooks.com or www.bloomsbury.com.
In addition to the above, books with this symbol also have a companion
website or online resources.
Bloomsbury Academic is a division of Bloomsbury Publishing Plc. Registered in England No. 01984336.
1
Discover
the largest
ACADEMIC Visual
Arts publisher
in the world
and
are now published under the Bloomsbury and Fairchild Books names
One destination for all your teaching and research needs
Following the acquisitions of Fairchild Books, AVA Publishing and Berg Publishers, Bloomsbury is now the largest publisher of academic materials for
visual arts in the world. We are committed to providing visual arts students, instructors, researchers, librarians and practitioners with:
• Resources tailored to meet the needs of students, academics and libraries
• Integrated books, journals and digital content
• A one-stop shop for all levels: from practical introductory textbooks to scholarly monographs
• An understanding of the unique demands of visual arts students
• Brands you can trust:
Fairchild Books, offering practical, visually stimulating textbooks
Bloomsbury, offering quality scholarly publishing
A complete range of products in core areas
To serve you better we will focus on the following subject areas:
• Fashion & Textiles
• Design
• Architecture & Interior Design
• Film & Moving Image
• Photography
• Ceramics
This focus allows us to offer real depth of content to all our global customers. It positions Bloomsbury as the only visual arts publisher able to provide
a complete range of products to meet the full spectrum of educational needs in these core areas.
2
IPG Independendent Publisher of the Year and
FBF Academic and Professional Publisher of the Year 2013
Digital innovation and online resources
Building on the global success of the Berg Fashion Library, we have a number of other exciting digital products
in development that will serve research and teaching needs across our larger visual arts programme. These
include the forthcoming Bloomsbury Fashion Photography Archive (see page 52) as well as a range of new
online resources for instructors and students to accompany our textbooks.
Fairchild Books: for textbooks and student resources
Fairchild Books has a long history of excellence in textbook publishing for the Higher Education market. Their titles are comprehensive,
authoritative and adopted as core reading on many fashion, merchandising, retailing and interior design courses worldwide. Also acquired by
Bloomsbury in 2012, AVA Academia publishes textbooks in fashion, design and across a range of other visual arts disciplines. Their striking
presentation and student-friendly content sets them apart from other academic publications.
From April 2013, AVA will publish under Fairchild Books, a Bloomsbury imprint. Readers will find new publications build upon the features that have
made these titles so successful, bringing them to a larger audience of students, instructors and practitioners than ever before.
fourth edition
the dynamics
of fashion
elaine stone
Bloomsbury: for quality scholarly publishing
Bloomsbury acquired Berg Publishers in 2008. Berg has an international reputation in fashion and design and a rapidly growing journals
programme with a focus on the visual arts. Its flagship journal, Fashion Theory established the serious study of fashion in the academy.
In 2010 Berg launched the Berg Fashion Library, winner of the Dartmouth medal.
From January 2013, Berg books and journals will publish under the Bloomsbury brand. Researchers, scholars, lecturers and upper level students will
find quality, peer-reviewed coursebooks, monographs, readers, reference works and journals within core areas of the visual arts.
Fashion Theory Volume 17 Issue 1 2013
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Volume 17 Issue 1 February 2013
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www.ingentaconnect.com
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1698-5
90100
Cover images: Hedi Slimane for Dior Homme Spring/Summer 2002.
Courtesy Maria Chandoha Valentino/MCV Photo.
ISBN 978 1 4725 1698 5
ISSN 1362-704X Fashion Theory
The Journal of Dress, Body & Culture
985
3
Introduction to Fashion
and Fashion Careers
The World of Fashion
www/TEXTBOOK
5th edition
Jay Diamond and Ellen Diamond
The World of Fashion is an essential resource for students who want to understand the
fashion industry. Starting with an introduction to the history of fashion and its evolving role
within the global marketplace, each chapter focuses on an aspect of the industry, from
consumer behaviour and fashion trends to textiles, product development, manufacturing, and
merchandising.
Each chapter has been fully updated to include new information and updated artwork. Fashion
history has been updated to include current events and an added discussion of portfolio
preparation provides complete coverage of careers in fashion. Unique chapters on the
multicultural consumer and outsourcing fashion design, production, and management plus
coverage of important industry trends such as social responsibility, eco-consciousness, social
networking reflect the current state of the fashion industry.
• Includes chapter learning objectives, highlights, list of key terms, review questions,
exercises and projects and case studies
• Point-of-View readings and a glossary enhance learning
• Teaching Resources: Instructor’s Guide and PowerPoint® presentations
New to this Edition
UK March 2013 ∙ US January 2013
• Two new chapters on social responsibility and sustainable fashion
• Profiles of leading individuals and firms in the fashion industry
720 pages ∙ 216 x 228mm ∙ 8.5 x 11 inches ∙ 450 colour illus
PB 9781609015275 ∙ £75.00 / $105.00
JAY DIAMOND is Professor Emeritus at Nassau Community College, USA, where he served as
the Chair of the Fashion, Marketing, and Retailing Department as well as the Dean of Business.
Available on CourseSmart (9781609017224)
Pricing Available Upon Request
Fairchild Books
ELLEN DIAMOND is Professor Emerita at Nassau Community College in the Fashion, Marketing,
and Retailing Department.
Part Four: The Fashion Merchandise Industries
1. The Evolution of Fashion
12. Apparel: Women’s, Men’s, And Children’s
2. Fashions: 1900 to the Present
13. Intimate Apparel
3. The Powerful Consumer
14. Fashion Accessories
4. The Multicultural Consumer and Fashion
15. Details and Trimming
5. Ever-Changing Fashion and its Acceptance
16. Cosmetics and Fragrances
6. Fashion in the Global Marketplace
17. Home Fashions
7. Careers in Fashion
Part Two: Social Responsibility and Sustainable Fashion
Part Five Designing and Manufacturing Fashion Apparel and
Accessories
8. Social Responsibility in the Retailing and Fashion Industry
18. Fashion Forecasting for Designers and Manufacturers
9. Sustainable Fashion: An Eco-friendly Movement
19. Elements and Principles of Design for Developing a Fashion Collection
Part Three: The Producers of Raw Materials
10. The Textile Industry
11. Furs and Leather
20. Apparel and Accessories Manufacturing
21. Outsourcing Fashion Design, Production, and Management
Part Six Merchandising Fashion
22. Resident Buying Offices and Other Fashion Information Sources for
Retailers
23. The Fashion Retailer
24. Advertising, Special Events, Publicity, and Visual Merchandising
4
contents
Part One: Introduction to Fashion
www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • [email protected]
and Fashion Careers
www/TEXTBOOK
The Dynamics of Fashion
4th edition
Elaine Stone
fourth edition
the dynamics
of fashion
Fashion today is fast-paced, technologically savvy, and global. This fourth edition of the bestselling The Dynamics of Fashion has been updated to be on the cutting edge.
Featuring the latest facts and figures, and the most current theories in fashion development,
production, and merchandising, this book provides a broad foundation for students hoping to
become a part of the industry. Apparel, accessories, cosmetics, home fashions, green design,
and more are all explored in detail. Hundreds of examples make the business aspect fun.
Fresh, forward, challenging, and comprehensive, Elaine Stone’s classic text is for those in
fashion who want to be both in the now and in the know.
• Includes glossary of over 500 industry terms
New to this Edition
• Updated “Fashion Focus” and “Then and Now” features
• Many new colour photographs and illustrations
elaine stone
ELAINE STONE is Professor Emerita at the Fashion Institute of Technology (FIT), USA,
and founder of The Enterprise Center, a business training resource for fashion industry
professionals, designers, and artists.
UK August 2013 ∙ US June 2013
624 pages ∙ 500 colour illus
228 x 305mm / 9 x 12 inches
HB 9781609015008 ∙ £60.00 / $110.00
Unit Four: The Secondary Level:
The Other Producers
12. Innerwear, Bodywear and Legwear
13. Accessories
14. Cosmetics and Fragrances
15. Home Fashions
Unit Two: The Primary Level:
The Materials of Fashion
6. Textiles: Fibers and Fabrics
7. Leather and Fur
Unit Five: The Retail Level:
The Markets for Fashion
16. Global Fashion Markets
17. Global Sourcing and Merchandising
18. Fashion Retailing
19. Policies and Strategies in Fashion
Retailing
Unit Three: The Secondary Level:
The Producers of Apparel
8. Product Development
9. Women’s Apparel
10. Men’s Apparel
11. Children’s and Teens’ Apparel
contents
Unit One: The Changing World of Fashion
1. A Century of Fashion
2. The Nature of Fashion
3. The Environment of Fashion
4. The Movement of Fashion
5. The Business of Fashion
Individual eBook 9781609018191 ∙ UK £59.00 / $109.99
Fairchild Books
Unit Six: The Auxiliary Level:
Supporting Services
20. Fashion Auxiliary Services
www.bloomsbury.com • US, Canada, South America • 888-330-8477 • [email protected]
5
and Fashion Careers
Fashion
www/TEXTBOOK
2nd edition
The Industry and Its Careers
Michele M. Granger
Fashion: The Industry and Its Careers offers a thorough and informative exploration of fashion
careers across the board, including designer, textile manufacturer, retailer, wholesaler,
illustrator, model, product developer, journalist, publicist, trend forecaster, and more. This
second edition has been completely updated to reflect recent developments in technology,
world economics, and globalization.
For each career covered, readers will learn about what to expect on the job, required education
and training, how to advance to a management role, relationship to the industry as a whole,
and future outlook.
• Features illustrations and examples from around the world
• Includes interviews with industry professionals (including Vera Wang and Rachel Zoe)
representing each of the careers discussed and advice on resume writing, interviewing,
and job hunting
• End of chapter questions encourage critical thinking and further career research
UK May 2012 ∙ US March 2012
496 pages ∙ colour illus
New to this Edition:
203 x 254mm / 8 x 10 inches
• A comprehensive salary and career position chart
• “Tech Talk” boxes in each chapter that detail relevant technological advances and
resources
PB 9781609012250 ∙ £60.00 / $95.00
Fairchild Books
MICHELE M. GRANGER is Professor in the Fashion and Interior Design Department, College of
Business Administration, at Missouri State University, USA.
In Fashion
Elaine Stone
The new edition of this best-selling text is
completely updated to cover the latest industry
trends.
2011 ∙ 352 pages ∙ colour illus
PB 9781609012229 ∙ £60.00 / $98.50
Fairchild Books
Available on CourseSmart
6
The Ancillary Businesses
12. Management for the Retailer
8. Fashion Design
13. Fashion Styling and Visuals as Ancillary
Businesses
Careers in Product Development and Sales for
the Fashion Retailer
9. Product Development and Design by the
Retailer
10. Promotion in Retailing
11. Merchandising for the Retailer
WWW/TEXTBOOK
4th edition
The Business
of Fashion
Designing, Manufacturing
and Marketing
Leslie Davis Burns, Kathy K. Mullet
and Nancy O. Bryant
2011 ∙ 640 pages ∙ 8pp colour plate section
PB 9781609011109 ∙ £60.00/$95.00
Fairchild Books
14. Fashion Scholarship
15. Environments: Websites, Exteriors, and
Interiors
16. Beauty, Spa, and Wellness
TEXTBOOK
Fashion
The Key Concepts
Jennifer Craik
“Craik’s refreshing approach and lucid
analysis of the complexities of dress and
fashion theory provides essential reading...
A panoramic and ambitious study of dress, in
all its wider meanings and manifestations.”
Claire Wilcox, Senior Curator, Victoria & Albert
Museum, London, UK
2009 ∙ 396 pages ∙ 135 bw illus
244 x 189mm / 9.6 x 7.4 inches
PB 9781845204525 ∙ £17.99 / $34.95
HB 9781845204518 ∙ £55.00 / $109.95
Series: The Key Concepts ∙ Berg Publishers
key titles
WWW/TEXTBOOK 2nd edition
7. Resource Management: Finance, Accounting,
and Human Resources
contents
Careers in Raw Materials, Merchandising,
Manufacturing, and Design in the Fashion
Industry
1.Trend Forecasting
2. Textile Design and Product Development
3. Sourcing
4. Production
5. Promotion
6. Sales
.
and Fashion Careers
TEXTBOOK
Key Concepts for the Fashion Industry
Andrew Reilly
Key
ConCepts
For the
Fashion
industry
Key Concepts for the Fashion Industry is the first concise and accessible overview of fashion theories for
students on any fashion course. This textbook provides an easy understanding of core concepts, from
scarcity to conformity. Clear, practical examples and accessible case studies make complex theory easy to
digest. Containing student-friendly features such as discussion questions, activities and further reading, this
book is essential reading for all students studying across all areas of fashion.
• Concise and accessible introduction to key fashion theories for introductory level students, suitable for
any fashion course
• Packed with international case studies and pedagogical material
• Includes western and non-western illustrative examples of fashion
Andrew Reilly
ANDREW REILLY is Associate Professor of Apparel Product Design and Merchandising at the University of
Hawaii, Manoa, USA.
contents
1. Overview
2. The Fashion System
3. Cultural Influence on Fashion
4. Social Influence on Fashion
5. Individual Influence on Fashion
6. Conclusion
Bibliography
Index
UK March 2014 ∙ US May 2014
160 pages ∙ 244 x 172 mm / 7.6 x 6.8 inches
PB 9780857853653 ∙ £17.99 / $29.95
HB 9780857853646 ∙ £55.00 / $99.95
Individual eBook 9780857853677 ∙ £17.99 / $23.40
Library eBook 9780857853660 ∙ £55.00 / $99.95
Bloomsbury Academic
Series: Understanding Fashion
TEXTBOOK
Fashion Designer’s Resource Book
Samata Angel
The Fashion Designer’s Resource Book is a fashion resource and lifestyle book that provides a comprehensive
overview of the fashion industry as a business, combined with an insider’s understanding of the creative
process and the lifestyle of a fashion entrepreneur.
The author, award-winning designer Samata Angel, explains how to take steps towards a fulfilling career –
achieving creative, business and emotional balance – in this competitive and complex industry. The range of
pertinent topics covered include working in the industry as a fashion designer, business planning, selling your
brand, networking and using social media, emotional wellbeing and environmentally and socially responsible
fashion. The book also contains insights from a range of key industry influencers: Harold Tillman CBE,
Chairman of the British Fashion Council; Sarah Curran, Founder of my-wardrobe.com; Nigel Barker from TV
show America’s Next Top Model; Helen Jennings, Editor of ARISE magazine and Suzy Amis Cameron, Founder
of Red Carpet Green Dress.
SAMATA ANGEL is an award-winning womenswear designer, public speaker and author who has her own
fashion label. Angel is now the Global Campaign Director of Red Carpet Green Dress, working between Los
Angeles, New York and London. She is also a guest lecturer at the London College of Fashion, London, U.K.
UK February 2013 ∙ US April 2013
246 x 189mm / 9.7 x 7.4 inches
PB 9781408170892 ∙ £19.99 / $34.95
A&C Black Visual Arts
2nd edition
TEXTBOOK
The Fashion Reader
The Great Fashion Designers
Edited by Linda Welters and Abby Lillethun
Brenda Polan and Roger Tredre
PRAISE FOR THE FIRST EDITION:
“This is a comprehensive introduction into the world of fashion and the
designers you need to know about who inhabit it ... If it’s not already, put
it on your Christmas list now!” Vogue.com
“A panoramic collection of current and classic texts and an excellent
introduction to fashion . . . from history, cultural identity, gender, through
to the business, economics, manufacturing and marketing of fashion.”
Pammi Sinha, University of Manchester, UK
2011 ∙ 736 pages ∙ 100 bw illus ∙ 244 x 189mm / 9.6 x 7.4 inches
PB 9781847885890 ∙ £24.99 / $44.95
HB 9781847885906 ∙ £75.00 / $129.95
Berg Publishers
PB 9781847882271 ∙ £16.99 / $29.95
HB 9781847882288 ∙ £55.00 /$99.95
Individual eBook ∙ 9780857851758 £16.99 / $27.99
Library eBook ∙ 9780857851741 £54.99 / $89.99
Berg Publishers
key titles
TEXTBOOK
7
Fashion Merchandising
and Promotion
Retailing Principles
www/TEXTBOOK
2nd edition
Global, Multichannel, and
Managerial Viewpoints
SECOND EDITION
RETAILING
Lynda Rose Poloian
“This book keeps you abreast of the latest retailing trends, while also giving students
the foundations they need to be successful in the retailing marketplace.” Joseph Hancock,
Drexel University, USA
What is retailing today? Who are the players and how do they operate? And what will happen
tomorrow? These are just some of the questions addressed by Retailing Principles which has
been thoroughly updated to reflect current trends and conditions in the global retail market.
PRINCIPLES
global, multichannel,
and managerial viewpoints
lynda rose poloian
An essential companion for any student seeking a career in the world of retail, the text focuses
on the strategies that retailers both large and small are employing to thrive in this challenging
economic climate, and in a marketplace where globalization, multi-channel retailing, and
issues of sustainability are dominant factors.
• Introduces definitions of retailing vocabulary in the margins, as well as a comprehensive
glossary
• Includes ‘From the Field’ articles from leading trade and consumer publications featuring
industry incidents and trends
• Global retail profiles for each unit highlight international companies and their practices
• Includes an appendix presenting careers in retailing
• “Did You Know?” and “Cyberscoop” marginal notations providing retail trivia designed to
illuminate a point or example
Figure 5.5
Gourmet food retailer
Fauchon has a flagship
store in Paris and
extends its reach through
branded concept shops
in department stores,
including Selfridges in
London.
HB 9781563677427 ∙ £55.00 / $100.00
Fairchild Books
The State of the Industry
Roots and Rudiments
The Retail Environment: Dynamics of Change
Strategic Planning: Adapting to Change
Customer Behavior
Global Retail Profile—Walmart, USA
Store Location and Planning
Site Selection
Shopping Centers and Malls
Store Design and Visual Merchandising
Global Retail Profile—Carrefour, France
Retail Management
Principles of Management
Human Resources Management
Financial Analysis and Management
Merchandising Management
Global Retail Profile—H&M, Sweden
International Customer Focus Many stores have added multilingual signs in addition to bilingual
associates; department stores around the globe attract a cross-section of foreign tourists and some
experience greater ethnic diversity within their domestic markets. Stores in major cities already
employ associates that collectively speak 50 different languages. Sales from international customers are significant. New York City hosted 9.7 million international visitors in 2010;20 overseas shoppers spent approximately $7.5 billion while visiting the city.
Department stores will continue to face intense competition in a volatile economy. They will
also contend with price adjustments, overdependence on promotion, and further consolidation
within the industry. Despite the special problems they face, many will rise to the challenge admirably and continue to be recognized as truly exciting places to shop. Writer David Moin sums up the
ideal department store: “What’s the ultimate vision? Department stores as huge upscale carnivals
with demonstrations, technology, interactive displays, parades, fashion shows, music, celebrities,
and great restaurants. A little bit of what they have now, what they used to have, and more.”21
Specialty Stores
Specialty stores may be as small as a single-unit sole proprietorship or as large as a several-thousand-unit corporate chain. In general, to be considered a chain, a company must operate more
than ten stores. Specialists are known for being on top of trends, delivering excellent customer
service, turning merchandise faster, and adapting to change more quickly than department stores.
Single-unit boutiques and gift shops and other sole proprietorships also belong in this category.
Exclusivity and originality pervade merchandise assortments of small and large specialty retailers,
although operationally, they are run differently.
Unit 2 | Retail Structures and Multichannel Strategies
Poloian_ch05_125-160.indd 136
216 x 228mm / 8.5 x 11 inches
Retail Structures and Multichannel Strategies
Brick-and-Mortar Retailing
Direct Marketing and Selling
Electronic Retailing
Global Retailing
Global Retail Profile—Retailing in China
Personalized Service Limited-line department stores are renowned for their service, a benefit to
which many customers can attest. A customer buying a St. John knit suit at Nordstrom can expect
service that lasts for the life of the garment. She can bring the garment back for free alterations if
her size changes—within reason, of course!—and if the customer does not live in the immediate
area or does not wish to pick up her altered suit at the store, the goods are shipped to her home
free of charge. Follow-up telephone calls by Nordstrom staff are personalized and welcome when
impeccable services have been rendered. After learning more about the customer’s tastes, the
sales associate will contact the customer when a new season starts or when there is a special sale.
This is the essence of personalized service that never goes out of style. More department stores
are considering the impact of high-level personal service as they plot future strategies.
136
1/31/13 9:07 AM
Marketing the Merchandise
Pricing for Profit
Planning Retail Promotion
Monitoring the Supply Chain
Global Retail Profile—Uniqlo, Fast Retailing, Japan
Appendix: Retail Career Directions
8
contents
LYNDA ROSE POLOIAN taught retailing, marketing, and fashion courses at Southern New
Hampshire University, USA, and was Director of the Fashion Merchandising Program for more
than 25 years. She is past president of ACRA, thecollegiate affiliate of the National Retail
Federation.
and Promotion
www/TEXTBOOK
Mathematics for Retail Buying
Bette K. Tepper
7th edition
This best-selling textbook meets the needs of students who will be directly or indirectly involved in the
activities of merchandising and buying at the retail level. Mathematics for Retail Buying explains the essential
concepts, practices, procedures, calculations, and interpretations of figures that relate to producing profitable
retail buying and selling operations. Now in its seventh edition, the text has been reorganized and expanded
to provide real world examples that reflect current industry practices and trends.
• Practice problems and case studies apply industry concepts and terminology in realistic merchandising
situations
NEW TO THIS EDITION:
• New edition incorporates metrics used to analyze in-store and e-commerce business
• Reorganized units reflect the order of importance of profit factors in the buying/selling process
UK September 2013 ∙ US July 2013
384 pages ∙ 50 bw illus
216 x 228mm / 8.5 x 11 inches
BETTE K. TEPPER is a founding faculty member of the Fashion Management Department at the Fashion
Institute of Technology (FIT), USA, where she taught for more than 30 years, and served as Assistant
Chairperson of Marketing Fashion and Related Industries Department.
PB 9781609015244 ∙ £64.99 / $105.00
Individual eBook 9781609018283 ∙ £64.99/ $104.99
Fairchild Books
Merchandise Buying
and Management 4th edition
John Donnellan
The fourth edition of Merchandise Buying and Management has been updated to cover the most current
information on merchandising and retailing. Written for college-level courses dealing with retail buying and
the management for retail inventories, the text covers topics relevant to future buyers and store management
personnel.
The material is presented within the context of a contemporary retail environment – with examples from
both fashion and non-fashion retailers – in which buyers often act as fiscal managers as well as product
developers, and store managers play important roles in sales productivity and assortment planning.
Retail technology is a theme that runs throughout the book, tied to topics such as space management,
electronic data exchange, point-of-sale systems, and floor ready merchandise.
• Increased coverage of social responsibility, sustainability, fast fashion, new media and social networking
• More detail added to chapters covering retail math, specifically inventory valuation and terms of
purchase
• Expanded coverage of brands and private labels
• Teaching Resources: Instructor’s Guide and Powerpoint® Presentations
MERCHANDISE
BUYING AND MANAGEMENT
4TH EDITION
www/TEXTBOOK
JOHN DONNELLAN
UK October 2013 ∙ US August 2013
512 pages ∙ 205 illus
185 x 235mm / 7.375 x 9.25 inches
PB 9781609014902 ∙ £64.99 / $105.00
Individual eBook 9781609019679 ∙ $104.99
Fairchild Books
JOHN DONNELLAN was Dean of Business and Computer Information Systems at Holyoke Community
College, USA. For 20 years, he held management, merchandising, and sales promotions positions in various
department and specialty stores.
1. Retail Merchandising
2. Retailing Formats
3. Retail Locations
4. Retail Growth and Expansion
5. Communicating with Consumers
The Development and Distribution of
Consumer Products
Pricing, Planning, And Purchasing Retail
Inventories
6. Fashion Merchandising
7. Brands and Private Labels
8. Merchandise Resources
12. Retail Pricing
13. Planning Sales and Inventory
14. Purchase Terms
The Financial Aspects of Merchandising
Merchandise Control and Presentation
9. Measures of Productivity
10. Merchandising Accounting
11. Inventory Valuation
15. Merchandising Controls and Report Analysis
16. Store Layout and Merchandise Presentation
contents
The Structure Of The Retail Industry
9
and Promotion
TEXTBOOK
Fashion Buying
From Trend Forecasting to Shop Floor
David Shaw and Dimitri Koumbis
Fashion Buying: From Trend Forecasting to Shop Floor looks at what fashion buying entails in terms of the
activities, processes and people involved from the perspective of the fashion buyer. It breaks down the five key
areas of buying activity for those wishing to pursue a career in the industry: the role of the fashion buyer, sources
of buying inspiration, sourcing and communication, merchandise planning, and trends in fashion buying.
• Features insightful interviews with successful fashion creatives alongside business case studies,
putting the contents of each chapter into professional context and perspective
• Exercises and activities also enable you to apply your knowledge of the subject as you work through the book
Fashion Buying is an invaluable go-to handbook for fashion design, marketing, buying and merchandising
students.
DAVID SHAW is an academic, consultant trainer and writer. DIMITRI KOUMBIS teaches courses in Fashion
Merchandising and Marketing at the Art Institute, New York, USA.
CHAPTER 2: SOURCES OF BUYING INSPIRATION
Buyers, Designers and Markets
Market Research
Trend Forecasting
Case Study: Promostyl
Interview: Matthew Jeatt for Promostyl
Chapter 2 Summary and Review Questions/Exercise
CHAPTER 3: SOURCING AND COMMUNICATION
What is a Supply Chain?
Product Development and Selecting Lines
Buying Offices
Making the Product Purchase
Case Study: Lambert and Associates
Retail Buying
Interview: Buyer for Lambert and Associates
Chapter 3 Summary and Review Questions/
Exercise
CHAPTER 4: MERCHANDISE PLANNING
What is Merchandise Planning?
Developing a Season Buying Plan
Product Sampling and Preparation
Retail Pricing Strategies
Case Study: SAP
Interview: Stephen Henley for SAP
Exercises
contents
CHAPTER 1: THE FASHION BUYER
What is a Fashion Buyer?
Retail Environments and the Buyer
Fashion Buying Approaches
Case Study: Anthropologie
Interview: Women’s Buyer at Anthropologie
Chapter 1 Summary and Review Questions/Exercise
CHAPTER 5: TRENDS IN FASHION BUYING
Promotional Activities
Technology
Corporate Social Responsibility
Case Study: Banana Republic
Interview: Buyer for Banana Republic
Exercises
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Fairchild Books
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4th edition
From Basics to Fashion
Richard Clodfelter
This comprehensive book provides students with the skills and savvy needed to become successful buyers
in any area of retail. Its simple and straightforward approach presents step-by-step instructions for typical
buying tasks, such as identifying and understanding potential customers, creating a six-month merchandising
plan, and developing sales forecasts.
This new edition contains up-to-date coverage of important retailing trends and technological advances,
including social responsibility, sustainability, fast fashion, and the use of new media and social networking.
Ample activities – drawn from real-world merchandising and incorporating current trends – give students the
opportunity to apply critical skills as they would in a professional environment.
• New additions to this edition include a fresh, contemporary retailing examples in end-of-chapter
‘Snapshot’ and ‘Trendwatch’ case studies
• A companion CD-ROM, referenced throughout book, provides additional opportunity for the practical
application of concepts using computerized spreadsheets
• Includes step-by-step instructions for typical buying tasks, such as identifying and understanding
potential customers, creating a six-month merchandising plan, and developing sales forecasts
• Teaching Resources: Instructor’s Guide and Powerpoint® Presentations
RICHARD CLODFELTER is a Professor in the College of Hospitality, Retail, and Sport Management at the
University of South Carolina, Columbia, USA.
10
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and Promotion
TEXTBOOK
Visual Merchandising
for Fashion
Sarah Bailey and Jonathan Baker
This book will help visual merchandisers develop new ways of working within the fashion
retail business and will define a theoretical underpinning of visual merchandising principles.
Examples are used to highlight and amplify the theoretical narratives existing in consumer
spaces and their representations. Interviews provide invaluable advice from all levels of
industry.
• Includes activities to encourage an interactive approach
• Includes interviews with visual merchandisers from a range of fashion environments
including Liberty London, Beyond Retro and Anthropologie
SARAH BAILEY is Course Director for the BA Hons Fashion Retail Branding and Visual
Merchandising degree course at the London College of Fashion, UK. JONATHAN BAKER is
the Course Director of the BA (Hons) Fashion Retail Branding and Visual Merchandising
course at the London College of Fashion, UK.
 Product handling techniques
Colour in visual merchandising 
26
27
CHAPTER2:VISUALDISPLAYPRODUCTION
Applyingthetheory
4
One thing that it particular key in product
handling are the methods used by old
masters. We can analyse the paintings of
historical artists and identify a considerable
amount of ‘dynamics’ which are very much
relevant in the way we work today.
Vertical lines
Within visually merchandised spaces,
vertical lines play an essentially part in
drawing the customer’s eye around a space.
Vertical lines are essentially straight lines
which represent the shortest possible route
between two points. Visual merchandising
therefore should encourage the viewer to
inspect the merchandise rhythmically up
and down forcing them to open their eyes
further and view more of the installation.
Vertical lines can be interpreted as
stabilising, however when vertical lines are
positioned diagonal they become more
active and energising. V shapes draw ones
attention faster than other shapes and are
commonly used to that effect.
2
3
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1
5
Horizontal lines
1HermesParis2011
vertical
2JohnGalliano–circular
shapes
3NikeTownLiveforthe
Game-horizontalfixtures
4TopshopOxfordStreet-
verticallines
5Letterpressblocks
6DieselRollercoaster-
horizontallines
Horizontal lines used within a commercial
space can be identified through the use of
tables, shelves or fixtures. These add a sense
of intrigue to the shopping experience as it
relies on restricting the view of the product
to the customer while enticing them to take
a closer look. Equally, if we apply a more
lateral approach to visual merchandising
horizontal lines can be identified in such
instances as reclining mannequins on a
chaise-longue for example or stripes in
vinyl placed on the fenestration. We can
use both vertical and horizontal lines to
frame a window or create a focus; horizontal
lines can give a relaxing effect, drawing on
nature’s horizon.
PB 9782940496129 ∙ £23.99 / $41.95
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6
7
Fairchild Books
7TopmanOxfordStreet
–squares,rectanglesand
trianglesmasculine
What is Visual Merchandising?
Designing The Customer Experience
Where do Visual Merchandisers Work?
Activity
Journey to Sale
5. The Future Of Visual Merchandising
Activity
Shopping Trends - Innovation
4. Displaying Merchandise
Retail Windows
Landscaping
Selection of Fashion Merchandise
New Retail Concepts
Technology and Digital Visual Merchandising
Sustainability
Internationalisation
Activity
2. Display Basics
Fixtures
Line
Activity
Appendix:
Composition
Visual Concept Research and Design
Working in the Visual Merchandising Industry
Texture
Approaches to Visual Design Research
Becoming Part of the Industry
Colour
Sources of Visual Inspiration
Finding Your First Job
Lighting
Visual Design Development
Work Experience
Activity
Model Concepts
Going it Alone
Concept Development
Visual Presentation Standards
Assessing Physical Space
Working With Suppliers
25 Themes to Get You Started
Glossary
3. Space Planning Principles
Store Architecture and Retail Formats
Space Hierarchy
Space Planning Layouts
Index
Customer Navigation
Acknowledgements
contents
1. Visual Merchandising and Designing
the Customer Experience
11
and Promotion
WWW/TEXTBOOK
Marketing Fashion
A Global Perspective
Patricia Mink Rath, Richard Petrizzi and Penny Gill
This new edition of the bestselling text is for anyone in merchandising, from store planners and
manufacturers to visual merchandisers, and includes a new section on sustainability.
Marketing Fashion: A Global Perspective is the first text to engagingly present marketing theories
and practices as they specifically relate to apparel, home goods, and other design-driven
products. Using a variety of contemporary examples, the text details how fashion marketers
develop and apply marketing strategies that meet consumer needs at a profit.
Topics covered include: consumer and organizational buying behaviour, market research,
market segmentation, product planning and positioning, pricing, retailer relationships, and
additional classic marketing theories and practices as they relate to design. In addition,
Marketing Fashion explores in-depth contemporary issues such as technology, social
responsibility and ethics, sustainability, and globalization, and considers effective strategies
for various economic climates.
• Features a wealth of colour illustrations, case studies, and other current examples of
fashion marketing practices that provide visual, real-world instruction
• Includes engaging special features for class discussion, research, and individual and
group projects, including case studies, “Fashion Marketing in Focus” boxes, “What Do You
Think?” and “What’s Your Point of View?”
• Assignments can form the basis of a marketing plan for a business the student has
selected to study throughout the term. The appendix includes an example of a successful
marketing plan
UK July 2012 ∙ US May 2012
203 x 254mm / 8 x 10 inches
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Fairchild Books
PATRICIA MINK RATH is a consultant in marketing education in Winnetka, Illinois, USA.
She teaches courses in consumer behaviour, fashion merchandising, and retail buying.
RICHARD PETRIZZI is an Associate Professor in the Marketing and Management
Department at the Illinois Institute of Art, Chicago, USA. PENNY GILL is President of PWG
Communications Inc., White Plains, NY, USA.
Martin M. Pegler
2011 ∙ 432 pages ∙ 280 full colour
216 x 288mm / 8.5 x 11 inches
PB 9781609010843 ∙ £60.00 / $98.00
Fairchild Books
Silent Selling
WWW/TEXTBOOK
4th edition
Best Practices and Effective
Strategies in Visual
Merchandising
Judith Bell and Kate Ternus
The new edition of Silent Selling teaches the best
practices in visual merchandising as currently
applied by professionals in the retail industry,
providing readers with the knowledge and skills to
create retail environments that sell.
2011 ∙ 448 pages ∙ colour
216 x 228mm / 8.5 x 11 inches
PB 9781609011536 ∙ £55.00 / $88.50
Fairchild Books
12
key titles
Visual Merchandising
and Display 6th edition
WWW/TEXTBOOK
and Promotion
TEXTBOOK
Basics Fashion Management 02:
Fashion Promotion
Building a Brand Through Marketing and
Communication
Gwyneth Moore
Fashion Promotion is an inspiring and practical guide to promoting a brand. It addresses the new ways in
which brands engage with customers, through the latest digital channels as well as traditional methods.
Topics covered include developing a brand from an original idea, the impact of blogging and street style
sites, digital fashion, online and offline marketing techniques, creating the vision behind a brand, and public
relations.
• Examines traditional and digital methods of communicating with the customer, and looks at the impact
digital technology has had on fashion PR and marketing
• Interviews with key professionals, including Jose Neves, Julia Kasper, Rebecca Gray, Jayne Pierson,
Harriet Williams and Emma Griffiths provide inspiring insights into the fashion promotion industry
GWYNETH MOORE has worked in marketing, branding and public relations for more than 20 years, promoting
and publicizing products and services ranging from fashion and lifestyle brands to telecommunications
and education services. She currently works in the UK as a freelance brand and PR consultant, edits two
consumer blogs and is involved in the careers of a number of young fashion designers.
Guide to Producing a
Fashion Show 3rd edition
UK October 2012 ∙ US November 2012
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AVA Publishing
www/TEXTBOOK
Judith C. Everett and Kristen K. Swanson
“I love the writing style. Not only does it interest and excite the students, this is the one book they keep
and refer back to!” Diane Ellis, Meredith College, USA
Guide to Producing a Fashion Show is the definitive source of information for anyone interested in fashion
show production. All aspects of fashion show production are covered, including: reasons to produce a show,
planning, model selection, merchandise selection, staging and music, budgeting, show preparation, execution,
and evaluation.
The third edition has been updated with behind-the-scenes examples and expanded coverage of technology,
the internet and social media, training amateur models and how to set up and run a dressing room.
Whether the reader is experienced or a novice this text provides a step-by-step process for how to plan,
organize, promote and execute an exciting fashion show.
• Chapter features include objectives, key fashion show terms, summary recaps, discussion questions,
activities, and capstone projects
• Notes from the Runway feature includes insider interviews in each chapter
• A 16-page colour insert features real world fashion show and behind the scenes examples
• Accompanying CD-ROM includes all blank sheets, forms, and templates needed to plan and execute a
fashion show
320 pages ∙ 133 bw illus, 16 pp colour plate section
216 x 228mm / 8.5 x 11 inches
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Fairchild Books
JUDITH C. EVERETT is Professor Emerita of Merchandising in the School of Communication at Northern
Arizona University, USA. KRISTEN K. SWANSON is Professor of Merchandising in the School of Communication
at Northern Arizona University, USA.
13
and Promotion
www/TEXTBOOK
Fashion Forward
A Guide to Fashion Forecasting
Chelsea Rousso
Fashion Forward demystifies the exciting career of the fashion forecaster and fosters skills and
instincts that will benefit any design professional.
The book begins with an overview of fashion forecasting theory and concepts and then leads
readers through a step-by-step guide to creating and presenting a forecast. The author’s
expertise, honed over decades of industry and academic experience, is supplemented by real
world examples and interviews with both influential forecasters and the designers who rely
on them.
• Each chapter includes a chapter overview and interview with a forecasting professional
• Activities and discussion topics encourage experimentation with conceptual ideas and
refine skills to continue forecasting
• End-of-chapter elements include summary and review, list of terms used in chapter,
discussion ideas for group learning, in-class activities and assignment ideas for outside
the classroom
CHELSEA ROUSSO teaches fashion merchandising and design at the Art Institute of Fort
Lauderdale, Florida, USA, focusing on fashion forecasting, design and textiles.
Evelyn L. Brannon
WWW/TEXTBOOK
3rd edition
This best-selling text demystifies fashion forecasting-making techniques accessible to students, explaining
information gathering and how to organize and
analyze the lastest information in order to present a
fashion forecast.
Susan Dillon
The Fundamentals of Fashion Management provides
a guide to how the fashion industry works, examining
the processes, roles and objectives that make up this
multifaceted industry.
2011 · 184 pages · 200 colour illus ·
230 x 200mm / 9.1 x 7.9 inches
PB 9782940411580 · £26.50 / $38.50
Series: Fundamentals
AVA Publishing
14
PB 9781563679247 ∙ £50.00 / $80.00
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Fashion 2nd edition
Entrepreneurship
WWW/TEXTBOOK
Retail Business Planning
Michele M. Granger and Tina Sterling
Fashion Entrepreneurship helps students develop
the business concept, provides them with
knowledge of basic business principles and guides
them to write a retail business plan.
185 x 235mm / 7.375 x 9.25 inches
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The Fundamentals of
Fashion Management
352 pages ∙ colour illus · 203 x 203 mm / 8 x 8 inches
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TEXTBOOK
WWW/TEXTBOOK
Going Global
2nd edition
The Textile and
Apparel Industry
Grace I. Kunz and Myrna B. Garner
Going Global provides a coherent framework for
understanding globalisation in the field of textile
and apparel, from the perspective of not only
business, but all major constituencies affected by
world trade.
2011 ∙ 464 pages ∙ 8 pp colour plate section
187 x 234 mm / 7.4 x 9.2 inches
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key titles
Fashion Forecasting
UK April 2012 ∙ US February 2012
Fashion Law
Fashion Law
www/TEXTBOOK
2nd edition
A Guide for Designers, Fashion
Executives, and Attorneys
Edited by Guillermo C. Jimenez and Barbara Kolsun
The revised second edition of Fashion Law provides authoritative information on all legal aspects of the
fashion business–from the start-up phase all the way through international expansion. The book covers the
principal legal disciplines that play a role in the life of a fashion company: intellectual property protection
and litigation, licensing, anti-counterfeiting, start-up and finance, commercial transactions, employment
regulations, advertising and marketing, celebrity endorsements, and custom and international trade. With
contributions by attorneys specializing in various aspects of fashion law and business issues, editors Jimenez
and Kolsun provide a foundation for law students as well as fashion student, fashion professionals and their
legal advisors.
• Practical, tips and templates for legal agreements that apply to the unique needs of the fashion industry
• Key legal issues, summaries of court cases and real-life examples presented in straightforward and
accessible language
• Teaching Resources: Instructor’s Guide
GUILLERMO C. JIMENEZ, ESQ., is Professor of International Trade and Marketing at Fashion Institute of
Technology, USA. Jimenez is an academic advisor to the Fashion Law Committee of the New York County
Law Association and is a technical expert on international trade for the International Chamber of Commerce.
UK May 2014 ∙ US March 2014 ∙ 368 pages ∙
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BARBARA KOLSUN, ESQ., is Executive Vice President and General Counsel of Stuart Weitzman, LLC, a luxury
shoe design, manufacturing and retail company based in New York, USA, and adjunct Professor of Fashion
Law, at Benjamin Cardozo School of Law and New York University School of Law.
Dress, Law and Naked Truth
A Cultural Study of Fashion and Form
Gary Watt
Why are civil authorities in so-called liberal democracies affronted by public nudity and the Islamic
full-face ‘veil’? Why is law and civil order so closely associated with robes, gowns, suits, wigs and
uniforms? Why is law so concerned with the ‘evident’ and the need for justice to be ‘seen’ to be
done? Why do we dress and obey dress codes at all? In this, the first ever study devoted to the many
deep cultural connections between dress and law, the author addresses these questions and more.
Engaging with sources from The Epic of Gilgamesh to Shakespeare, Carlyle, Dickens and Damien Hirst, Watt
draws a revealing history of dress and civil order and offers challenging conclusions about the nature of truth
and the potential for individuals to fit within the forms of civil life.
GARY WATT is Professor of Law at the University of Warwick, UK. He is a National Teaching Fellow and a
Fellow of the Higher Education Academy, UK.
4. The Face the Law Makes
Author’s Preface
5. Addressing the Naked and Unfolding
The Veil
1. Dress Is Law
2. Foundations of the State of Dress
3. Shakespeare on Proof and Fabricated Truth
6. Something More Comfortable: A Fitting
Conclusion
contents
Series Editor’s Foreword
UK August 2013 ∙ US October 2013
160 pages ∙ 234 x 156mm / 9.2 x 6.1 inches
HB 9781472500427 ∙ £50.00 / $90.00
Library eBook 9781472500458 ∙ £150 / $241
Series: The WISH List
Bloomsbury Academic
15
Product
Development
www/TEXTBOOK
Apparel Quality
A Guide to Evaluating Sewn Products
Janace E. Bubonia
Apparel Quality is a user-friendly guide to evaluating apparel quality that presents the roles of product
designers, manufacturers, merchandisers, testing laboratories, and retailers from product inception through
the sale of goods. The contents provide an overview of quality characteristics and cues, consumer influences
and motivations impacting purchasing decisions, perceptions of quality in relation to apparel manufacturing
and production processes, and assembly techniques in regard to price point and desired quality level of a
product.
• Focuses on both US and International standards and regulations required for apparel quality,
performance, and safety
• Supplementary lab manual includes instructions for the lab activities and templates
• Includes chapter objectives, end of chapter summary and activities, key terms, reference pages, tables
and boxes
JANACE E. BUBONIA, is an Associate Professor and Chair of the Department of Design, Merchandising and
Textiles at Texas Christian University, USA.
3. Raw Materials Selection and Performance
4. Apparel Sizing and Fit Strategies
5. ASTM and ISO Stitch Classifications
6. ASTM and ISO Seam Classifications
7. Sourcing and Mass Production of Sewn Products
8. Labeling Regulations and Guidelines for
Manufactured Apparel
9. Safety Regulations and Guidelines for Wearing
Apparel
10.Measuring Product Quality
11.Quality Assurance Along the Supply Chain
12. Performance Test Selection and Quality
Evaluation
Apparel Merchandising
contents
1. Overview of Apparel Quality and the Consumer
2. Integrating Quality into the Development of
Apparel Products
UK May 2014 ∙ US May 2014
480 pages ∙ 365 colour illus ∙
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3rd edition
The Line Starts Here
Jeremy A. Rosenau and David L. Wilson
Apparel Merchandising: The Line Starts Here is a comprehensive review of apparel merchandising. It describes
today’s challenges for both apparel manufacturers and retailers in meeting the consumer’s demands for the
right products at the right prices at the right times. Approached from the perspective of the apparel product
manager, Rosenau and Wilson cover men’s and women’s sportswear and activewear and children’s wear in
both domestic and international markets. The text follows the evolution of the merchandising function with
an emphasis on product development and production efficiency, highlighting the philosophies of industry
executives and the effective integration of the merchandising, marketing, and manufacturing functions.
• “Executive Perspectives” feature profiles merchandising professionals from companies including
Theory, Lilly Pulitzer and Eileen Fisher
• Includes chapter objectives summaries, key terms, discussion questions, learning activities, references
and resources to enhance learning, as well as case studies
• Addresses the impact of technology and social media on all facets of product development
• Emphasis on the increased importance of retailer’s private brands
JEREMY A. ROSENAU is Professor Emeritus and Program Director of the graduate program in Fashion Apparel
Studies at Philadelphia University, USA, and Program Director of Master of Science in Fashion Apparel
Studies. DAVID L. WILSON is a former Assistant Professor and Director of Fashion and Apparel Programs at
Philadelphia University, USA.
16
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Product
Development
Beyond Design
www/TEXTBOOK
3rd edition
The Synergy of Apparel Product
Development
Sandra J. Keiser and Myrna B. Garner
This practical text takes students step-by-step through the pre-production processes of
apparel product development: planning, forecasting, fabricating, line development, technical
design, pricing, and sourcing. It demonstrates how these processes must be coordinated to
get the right product to market, when consumers want it, and at a price they are willing to
pay. Now in full color, this Third Edition includes a greater focus on sustainability and business
ethics, fast fashion calendars and their impact on product development, and the effect of social
media on design and distribution. The text also includes a discussion of how technologies–
such as color matching, body scanning, and the use of avatars for fitting and patternmaking–
have advanced in their accuracy and commercial applications. Chapters have been updated
to incorporate current practices in sourcing, pricing, and costing with a more focused point of
view on how increasingly sophisticated distribution channels impact the product development
process.
• Includes explanations of various careers in apparel product development and the skill
sets required for each
• Includes references to contemporary developments with examples relevant to today’s
generation
• Includes international examples and case studies that address the effects of
globalization.
SANDRA J. KEISER is Associate Professor and chairperson of the Fashion Department
of Mount Mary College, Wisconsin, USA. MYRNA B. GARNER is Associate Professor in the
Department of Family and Consumer Sciences at Illinois State University, Illinois, USA, and
a member of the Graduate Faculty.
figure 8.8a–b
When a square is filled
with vertical stripes it
appears to be wider
than it is long; when
a square is filled with
horizontal stripes it
appears to be taller
than it is wide. The
same effect occurs
when stripes are
used as a pattern on
a silhouette. Note
that the dress with
the vertical stripes
appears to be wider,
particularly through
the hips.
figure 8.9
Karl Lagerfeld utilizes
texture to add interest
in this monochromatic
ensemble for the
spring 2011 Chanel
couture collection.
A
B
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figure 8.10a
Marc Jacobs was one
of many designers who
used dots and discs for
fall 2011.
C
figure 8.10b
Etro is known for its
use of strong prints.
This dress from the
fall 2011 collection
shows how important
it is to maintain the
integrity of large prints
by not cutting them
up with unnecessary
seamlines.
colors (addition of gray) absorb light and tend to be more slimming, so wearing a
darker shade of a warm color or a less-saturated version of a bright color that is in
fashion may be more flattering on some figures. On the other hand, lighter colors are
often more flattering to the face, hence collars are often white or a lighter color than
the body of the garment.
Color harmonies also affect how we perceive the figure. Monochromatic ensembles
that are made up of a single color or shades of that color tend to be slimming because
they create an illusion of height. When an ensemble consists of a top
and bottom of different colors, that long line is broken up into two
shorter shapes. Some customer groups are more sensitive to these
nuances than others. Understanding how color affects the figure can
help to provide options when selecting a color range for a particular
silhouette or when determining how to best use color harmonies
that are in fashion.
organza, stand away from the body; as a result, the garment silhouette may need some
reference to the body to communicate its shape. Drapey fabrics, such as matte jersey,
and fabrics cut on the bias tend to cling to the body, identifying its natural curves. By
using a dress form, a designer can explore the natural attributes of a fabric. Fabrics and
their textures are used to best advantage when allowed to do what they do naturally.
Pattern
Some fabrics also have pattern. Patterns can be created by the texture of the fabric; they
can be constructed into the fabric through weaving, knitting, or felting; or they can be
applied to the fabric through printing, embossing, and other specialty techniques such
as dévoré or laser cutting. The popularity of specific patterns is subject to fashion cycles
(Figure 8.10a). In a manner similar to line, color, and texture, patterns can help to create figure illusions. In general, the pattern should be scaled to the wearer. As noted in
Chapter 6, the placement of large motifs may need to be engineered on the body to
avoid calling attention to certain body parts. This can be more easily accomplished with
today’s digital printing technology. Large patterns are generally best used in garment
silhouettes where there is extra fabric, and the pattern can drape in folds over the body
or in slim silhouettes where there are a minimum of darts and seams (Figure 8.10b).
Texture
Texture is the term used to describe the surface or hand of a fabric
and can be attributed to a combination of the fabric’s characteristics—fiber, yarn, construction, weight, and finish (Figure 8.9). A fabric’s hand affects how it drapes. The texture of a fabric affects how we
perceive color. Shiny surfaces, such as satin or metallics, reflect light,
emphasizing the color and making the figure look larger. Pile surfaces, such as velvet, chenille, and corduroy, absorb light, giving the
color more variation. Pile surfaces also have more loft or thickness,
thus making the figure look larger. Stiff fabrics, including taffeta and
ChaptEr 8: GarmENt StyLING
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251
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Janace Bubonia
Updates the industry terms first listed in Fashion Production Terms (1979) to reflect advances
in machinery and technology and the impact of globalization.
2011 ∙ 416 pages
432 colour illus ∙ 216 x 228 mm / 8.5 x 11 inches
PB 9781563677625 ∙ £55.00 / $86.50
Fairchild Books
key titles
Apparel Production Terms and Processes
TEXTBOOK
17
Fashion Design
TEXTBOOK
Fashion Thinking
Creative Approaches to the
Design Process
Fiona Dieffenbacher
By following nine award-winning student designers through their thought processes in
response to a brief, Fashion Thinking establishes key approaches to design and encourages
this process of discovery. Each student project represents a diverse range of strategies at each
stage of the design cycle. These examples offer a unique and inspiring insight into the thinking
behind a final collection by following students throughout their various stages of development,
Supported by beautiful imagery and illuminating perspectives from professionals throughout
the fashion industry, Fashion Thinking is a book that no aspiring fashion designer should be
without!
• Richly illustrated to show each part of the process in an easy-to-follow step-by-step way
• Includes case studies and interviews from designers working in the industry, in
academia and across retail, design and media
FIONA DIEFFENBACHER is Program Director of the BFA Fashion Design course at Parsons The
New School for Design, New York, USA.
98
99
‘Neurovision’ by Jovana Mirabile
Concept / Practice
UK January 2013 ∙ US February 2013
1
Don’t discard anything!
4/5/6/7
4
3D drape, photograph and sketch
It is crucial to exhaust every option and push ideas
as far as possible. In this particular process, Jovana
employed a variety of approaches: 3D draping with
paper on the dress form, zero-waste pattern-making,
photography, 2D sketching and back to 3D draping.
Moving back and forth between these methods enabled
Jovana to see the design process from new perspectives,
and an idea gains momentum when seen from a variety
of vantage points.
Jovana moved between 2D and 3D
to play with flat pattern, photography
and draping. This enabled her to
embroidery and zero-waste
techniques.
Library eBook 9782940447602 ∙ £37.99 / $64.99
A threefold linear framework was evident in the 3D
draping process: the draping on the dress form itself,
photographing the drapes, and then tracing over the
photographs to create new ideas. Silhouettes were
then developed with more detail in the sketchbook.
At this point in the process, each new design formed
a modified version of the previous iteration and key
elements were carried forward. Zero-waste patterncutting techniques informed 3D development by
starting with one yard (90cm) of fabric and exploring
shapes on the dress form without cutting. Seeking to
highlight the wholeness of the body, Jovana chose to
completely eliminate side seams. This was achieved
by draping on the bias and creating bias tubes, which
where then draped on the form automatically.
After the 3D phase, Jovana started to develop key
design details in 2D and began pairing individual
items together in head-to-toe looks. At this point in the
2D sketch phase, attention was paid to the mixing of
prints, colours, knits, and embroideries, along with a
consideration of how the inside of the garments could
reflect the concept of the body beneath the skin. This
led to the idea of reversibility.
300 x 220mm / 11.8 x 8.7 inches
PB 9782940411719∙ £37.99 / $59.95
play with ideas of print, colour, knit,
Series: Required Reading Range
AVA Publishing
7
2
5
1/2/3
Exploring mood, colour and
a muse
Jovana used the concept of a muse to
move her ideas forward. By examining
who this might be, a more clearly
defined ideal emerged.
6
3
Bradley Quinn
“Cerebral fashion gets the scholarly treatment by a writer intent on deconstructing the work of such artists and designers
as Issey Miyake, Hussein Chalayan, Mandarina Duck, and Lucy Orta ... Armed with thorough research and surprisingly
personal interviews, Quinn makes fashion look smarter than the clothes could ever make the man.” Black Book
2002 ∙ 240 pages ∙ 50 bw & 16 colour illus ∙ 234 x 156mm / 9.2 x 6.1 inches
PB 9781859736203 ∙ £17.99 / $32.95
HB 9781859735992 ∙ £53.00 / $104.95
Library eBook 9781845209360∙ £52.99 / $84.99
Berg Publishers
18
key titles
Techno Fashion
Fashion Design
TEXTBOOK
Fashion Design: The Complete Guide
John Hopkins
“For a reader who is considering this career path or beginning their coursework, the text gives a very clear
and comprehensive understanding of fashion design. It’s excellent at covering the primary areas of the fashion
design industry.” Steven Faerm, Parsons, The New School for Design, USA
“A useful addition for technical/vocational programs or extremely comprehensive fashion collections. Summing
Up: Recommended.” Choice
This behind-the-scenes guide to the study of fashion is for current and aspiring designers, fashion lovers and students.
It provides an all-inclusive overview of the entire design process, covering the history of fashion, fashion illustration,
colour and fabrics, the journey from concept to finished garment, research processes, presenting a collection and
professional practice.
• Contributions from industry professionals span centres of fashion across London, Paris and New York
• Includes suggestions for further resources, illustrated with beautiful examples of work from both established
and up-and-coming designers
JOHN HOPKINS is Head of Fashion and Textiles at Winchester School of Art, UK.
The Fundamentals of Fashion Design
300 x 220mm / 11.8 x 8.7 inches
PB 9782940411528 ∙ £37.50 / $52.50
Library eBook 9782940447220 ∙ £37.99 / $64.99
AVA Publishing
TEXTBOOK
2nd edition
Richard Sorger and Jenny Udale
“I like the compact layout of this book as well as the current inspiring images and modern appeal - very
student friendly.” Amanda Lovell, Art Institute of New York City, USA
“A good introductory text with informative visuals mapping the important aspects to Fashion Design.” Alison
Gault, University of Ulster, UK
The Fundamentals of Fashion Design, offers a fully illustrated introduction to the key elements of fashion design, from
the initial concept of a fashion idea to realising it in 3D form.
• New case studies featuring contemporary designers contextualise the ideas explored within the book and offer
key insights into working – and succeeding – in the fashion industry
• A range of design exercises also helps readers to discover new techniques
• Features interviews with: Alan Humphrey Bennett, Bally; Boudicca; Kristin Forss, Marni; Louise Grey; Richard
Grey; John-Gabriel Harrison; Virginia James, Poetry and Wrap; Peter Jensen; Winni Lok, Calvin Klein; and more
RICHARD SORGER is the fashion design tutor at Middlesex University, UK. JENNY UDALE is a Lecturer at Middlesex
University and Ravensbourne College, UK and a freelance textile and womenswear designer.
UK July 2012 ∙ US August 2012
208 pages ∙ 200 illus ∙ 230 x 200mm / 9.1 x 7.9 inches
PB 9782940411788 ∙ £26.50 / $38.50
Library eBook 9782940447404 ∙ £26.99 / $42.99
Series: Fundamentals
AVA Publishing
Color and Design
Edited by Marilyn DeLong and Barbara Martinson
Color and Design addresses how we understand and experience colour, and through specific examples explores how
colour is used in a spectrum of design-based disciplines including apparel design, graphic design, interior design, and
product design.
Through highly engaging contributions from a wide range of international scholars and practitioners, the book explores
colour as an individual and cultural phenomenon, as a pragmatic device for communication, and as a valuable
marketing tool.
MARILYN DELONG is Professor of Apparel Studies, College of Design, University of Minnesota, USA. BARBARA
MARTINSON is Professor of Graphic Design, College of Design, University of Minnesota, USA.
UK November 2012 ∙ US January 2013
256 pages ∙ 36 bw & 47 colour illus
244 x 172mm / 9.6 x 6.8 inches
PB 9781847889515 ∙ £19.99 / $34.95
HB 9781847889522 ∙ £55.00 / $99.95
Library eBook 9781472520159 ∙ £60.00 / $96.00
Berg Publishers
19
Fashion Design
www/TEXTBOOK
Creativity in Fashion Design
An Inspiration Workbook
Tracy Jennings
Creativity in Fashion Design: An Inspiration Workbook aims to inspire and empower designers by
helping them to develop their personal creativity and use it as a tool to achieve design goals.
Activities throughout the book demonstrate that creativity is a tool available to anyone who
understands its components and teach students to identify and then seek out or avoid the
personal and environmental factors that promote or inhibit their own creativity.
• Workbook format balances creativity theory with immediate application
• Student resources include journal templates, chapter-opening vignettes and interactive
illustrated activities
TRACY JENNINGS is based at Dominican University, Illinois, USA.
textiles
A fashion designer’s domain-specific knowledge should include:
Figure
1.4
Women of the late
1800s increasingly
worked outside
the home and
participated in
recreational athletic
activities. This
tendency contributed
to the pared down
fashion silhouette of
the time. Although
the expansive
crinoline had fallen
out of style, women
were loathe to discard
the dresses that
covered them, so they
pulled excess fabric to
the back for a bustled
silhouette. The
Charles Worth gown
below features the
generously draped
bustle and elaborate
embellishment of
gowns worn at
French and English
courts during the
period. © The
Metropolitan
Museum of Art/Art
Resource, NY
Fibers have inherent properties that determine their end uses. For example, hydrophilic fibers, such as cotton and wool, absorb moisture so, most often, they are
comfortable to wear. Hydrophobic fibers, such as polyester and acrylic, do not readily
absorb moisture, so they are prone to static and can feel clammy against the skin. Fiber
and fabric properties suggest how garments will drape, feel, and be worn, and also how
they can be cleaned. Designers wanting to avoid returns at retail will familiarize themselves with fiber and fabric characteristics, so they can choose fabrics that are compatible with the ultimate end use of the product. In addition, new textile innovations are
continually being introduced that can increase a fabric’s comfort, performance, and/or
aesthetics. Designers need to keep abreast of these developments.
• The historical aspects of dress and the underlying conditions that lead to develop-
ments in fashion.
• An appreciation of the cultural aspects of dress and their inherent meanings.
• An understanding of the origins of, uses for, and care of fabrics and textiles.
• An awareness of legendary designers and the impact they made on the field.
• Familiarity with silhouettes, style terminology, and sources of information.
• Knowledge of the skills of the discipline, such as patternmaking, dressmaking,
and tailoring.
2011 ∙ 280 pages ∙ 288 colour illus
216 x 228mm / 8.5 x 11 inches
legendary designers
• An aptitude for the technology used and developed in the field.
When you think of iconic designers, Christian Dior, Miuccia Prada, Narciso Rodriguez, Tracy Reese, or Carolina Herrera may come to mind. Or it could be American
designers Calvin Klein and Ralph Lauren. Regardless, a league of fashion designers has
paved the way for designers today. For example, Coco Chanel is often credited with
ridding women’s fashion of constricting corsets and introducing menswear fabrics into
women’s apparel (Figure 1.6). Each designer that has come before or is in the limelight
today has made a contribution to what we know as contemporary fashion.
• An extensive understanding of one’s customer base or audience.
• An understanding of anatomy and the proportion and movement of the
human body.
• The guiding principles that underpin all design.
This knowledge is not gained quickly. It takes patience and devotion to develop a
deep and broad base. Most disciplines are never really mastered, but continual learning always keeps the material fresh and exciting. Acquiring an ever-increasing body
of knowledge gives the learner confidence, even as it stimulates inspiration. University courses within fashion design programs address many of the aspects listed here,
and industry experience expands on the knowledge gained from coursework.
PB 9781563678950 ∙ £30.00/ $50.00
Figure
1.5 (above)
Traditional Japanese
kimonos are made from
Fairchild Books
a single, narrow length
of cloth. The meticulously
screened silk fabric was
considered a precious
resource, so the entire
length was used. No
fabric was cut away as
waste. This Christian Dior
creation is an amalgam
of Japanese influences,
historical aspects of dress
but the drape of a single
Designers look to history for several reasons. First, there is no reason to reinvent the
wheel, as the saying goes, each time a garment is made. Past eras reveal much in the
way of clothing construction, sewing techniques, textiles used, and skills developed,
and many of these tactics still have relevance in the apparel field today (Figure 1.4).
The aesthetic aspects of dress are also explored. Dress is often considered as an art
form that can reveal much about the cultural sensibilities of an age. When approaching the study of historical costume, designers rarely look at the dress of a period
in isolation. They also consider the circumstances of when it was worn. Economic
conditions, political climate, social structure, religion, technology, and other aspects
are investigated, and these components can inform how certain items can be viewed
and utilized today.
length of uncut silk fabric
acknowledges the kimono
as its inspiration. Courtesy
of WWD/Giovanni
Giannoni
Figure
styling into the twentieth
century. She advocated
simplicity and comfort
over the structured
silhouettes that came
cultural aspects of dress
before. Her soft tailoring
As with the study of historical dress, cultural aspects of dress are considered within
the broad context of how a garment is developed and worn (Figure 1.5). Many
cultural traditions evolve out of necessity, and skills in fabric construction, dyeing,
and printing often originate from the indigenous natural resources available to the
people. Designers want to ascertain, and be respectful of, the meanings behind the
cultural aspects of dress. In this way, when they reference cultural facets in their
designing, they honor the embodied traditions of the work.
complemented, rather
than restricted the female
form, and it epitomized
the independent modern
woman. Courtesy of
Condé Nast Archive
22 creativity in fashion design
01_pp. 12-49.indd 22
1.6 (left)
Coco Chanel ushered new
23
chapter 1: creativity and fashion design
11/21/10 5:36 PM
01_pp. 12-49.indd 23
11/21/10 5:36 PM
Janice G. Ellinwood
Fashion by Design covers the elements and principles of design as they relate to fashion. Students
will develop the eye of the fashion designer, able to identify and understand how to manipulate the
elements and principles of design.
2011 ∙ 336 pages ∙ 278 colour illus ∙ 216 x 228mm / 8.5 x 11 inches
PB 9781563678486 ∙ £60.00 / $93.50
Fairchild Books
20
key titles
Fashion by Design
www/TEXTBOOK
Fashion Design
Basics Fashion Design 01: Research and Design
TEXTBOOK
2nd edition
Simon Seivewright
“A very useful sourcebook for both students and professionals. Breaks down the research and design process
clearly, helping to understand the importance of relevant research for design.” Pasqualina Iarrobino, De Montfort
University, UK
Basics Fashion Design 01: Research and Design investigates fashion design research and how to use it to develop inspired
designs and concepts. It includes new case studies and eleven interviews with key personnel, plus reflective exercises
designed to instruct readers on how to excel in carrying out professional fashion research and design.
• Revised and updated with a new design scheme and many new visuals from the catwalk, the studio and designers’
portfolios
• Filled with new, full-length interviews with contemporary designers and creatives including Jenny Packham, Omar
Kashoura, Alice Palmer, Julien Macdonald, Richard Sorger and Dr. Noki
• Features helpful, practical exercises to support readers with their own understanding and creative development
SIMON SEIVEWRIGHT runs the successful undergraduate Fashion degree at Northbrook College, UK. He has also recently
completed a series of lectures on research and design methodologies in Shanghai, China, as well as at various UK
universities.
230 x 160mm / 9.1 x 6.3 inches
PB 9782940411702 ∙ £23.50 / $34.50
Library eBook 9782940447305 ∙ £23.99 / $41.95
Series: Basics Fashion Design
AVA Publishing
TEXTBOOK
Textiles and Fashion
2nd edition
Exploring Printed Textiles, Knitwear, Embroidery, Menswear and Womenswear
BASICS
FASHION DESIGN
TEXTILES
AND FASHION
Jenny Udale
Exploring printed textiles, knitwear, embroidery,
menswear and womenswear
Textiles and Fashion explores the integration of textile design with fashion. It begins with a brief history of textiles, showing
the links with technical innovation and social developments. It then focuses on the processes of textile design, including
the ethical and sustainable issues around textiles today. The book also provides practical information on fibre production,
dyeing and finishing techniques. Various surface treatments are explored, as well as the way in which colour and trend
influences fashion and textiles.
Jenny Udale
2nd
edition
Through case studies and interviews, fashion and textile designers discuss their production processes and how they use
textiles in their work. New to the second edition are exercises to help students to explore and further their knowledge of
textiles and fashion.
• Exercises aimed at helping students to explore further the world of textiles and fashion
• Updated images bring an exciting and fresh look
• Case studies and new interviews ensure readers will gain a clear and practical understanding of the world of
textile design
JENNY UDALE is a lecturer at the University of Middlesex and Ravensbourne College, UK.
TEXTBOOK
Basics Fashion Design 06:
Knitwear
TEXTBOOK
Elinor Renfrew and Colin Renfrew
Juliana Sissons
“Good book, very visual and great case study insights into designers. The
student collection is particularly useful in terms of how to develop a student
portfolio for employability.” Rachel Studd, University of Manchester, UK
“A fascinating study of knitwear design, from the initial approach to creative
development, construction through both texture and shape, and details ...
There are some incredible photographs, from swatches and sketches to full
blown catwalk images showing the most innovative techniques you can do
with knitting.” Knitting Magazine
2009 ∙ 176 pages ∙ 200 colour illus ∙ 230 x 160mm / 9.1 x 6.3 inches
PB 9782940373956 ∙ £23.50 / $34.50
Library eBook 9782940439256 ∙ £23.99 / $41.95
Series: Basics Fashion Design ∙ AVA Publishing
Fashion Drawing
PB 9782940411160 ∙ £21.95 / $32.95
Library eBook 9782940439478 ∙ £23.99 / $41.95
key titles
Developing a Collection
UK December 2013 ·US January 2014
192 pages · 200 colour illus
230 x 160mm / 9.1 x 6.3 inches
PB 9782940496006 ∙ £23.99 / $41.95
Library eBook 9782940447688 · £23.99 / $41.95
Fairchild Books
TEXTBOOK
John Hopkins
“A fantastic introduction to fashion drawing – simple and easy to follow
layout with excellent descriptions.” Troy Sizer, CATC Gold Coast, Australia
PB 9782940411153 ∙ £21.95 / $32.95
Library eBook 9782940439379 ∙ £23.99 / $41.95
Menswear
TEXTBOOK
John Hopkins
“This little book ... is packed with information on all aspects of the menswear
industry.” CHOICE
PB 9782940411436 ∙ £23.50 / $34.50
Library eBook 9782940447145 ∙ £23.99 / $41.95
21
Fashion Design
New Fashion Designers’ Sketchbooks
Zarida Zaman
An invaluable resource for fashion students, teachers and designers, New Fashion Designers’ Sketchbooks
looks at research sketchbooks and the role they play in the research and design process. Demonstrating how
ideas are constructed, for single garments as well as entire collections, the book looks at how pages and
whole sketchbooks are put together. This book includes work and sketchbook pages from over 30 fashion
designers, and examines a range of work from foundation fashion students through to professional designers.
ZARIDA ZAMAN teaches at Central St Martin’s and the London College of Fashion, UK, and is also currently
involved in producing a sportswear range for a London-based fitness company.
gloria lin
UK April 2012 ∙ US June 2012
Gloria
beGins every project
by collectinG imaGery
relevant to her project
210 x 210mm / 8.3 x 8.3 inches
and editinG the best of
what she has. she Guides
PB 9781408140628 ∙ £19.99 / $29.95
the viewer on a very
personal journey throuGh
and conclusions, creatinG
GLORIA LIN
GLORIA LIN
her own investiGations
collaGes of imaGery. she
uses her research to
inspire ideas for fashion
64
65
shapes, prints and
knitwear.
Fashion Sketchbook
www/TEXTBOOK
6th edition
Bina Abling
Fashion Sketchbook demystifies the fashion drawing process with simple, step-by-step directions. Now in
full color and completely revised, with updated instructions and images throughout, this introductory text
explains how to draw women, men, and children, pose the figure, develop the fashion head and face, sketch
accessories, add garment details, and prepare flats and specs.
Abling’s detailed, easy-to-follow lessons are accompanied by Women’s Wear Daily photographs from the
showroom and the runway that accelerate comprehension and lead to the diversification of drawing skills.
• Contains companion DVD with video of author demonstrating mixed media rendering techniques
• Includes guest artist spreads that serve as guides and provide goals for students
BINA ABLING has taught courses on design concepts, fashion illustration, model drawing, and fashion portfolio
in the fashion design departments at the Fashion Institute of Technology and Parsons School of Design, USA.
She is the author of numerous books on fashion illustration, model drawing, and rendering.
UK June 2012 ∙ US April 2012
228 x 305mm / 9 x 12 inches
HB 9781609012281 ∙ £60.00 / $98.50
Fairchild Books
22
Fashion Design
www/TEXTBOOK
Accessory Design
Aneta Genova
This comprehensive introduction to accessory design gives the aspiring designer an overview of the history of fashion
accessories, including a look at important contributions by brands both classic and contemporary.
Accessory Design presents a model for accessory design, from inspiration through manufacturing, and relates that process
to the design of handbags and small leather goods, footwear, hats, gloves, belts, neckwear, and pocket squares. For each
accessory, the text explains how the designer’s creativity can be channelled into the development of styles that enhance a
brand’s appeal to its target market.
• Includes many case studies including Louis Vuitton and Hermès, helping students understand the importance of
developing, building, and maintaining a brand identity for accessories
• Interviews with current accessory designers and other key players in the industry provide real-world information
about the industry
• Chapter Projects designed for a design studio course allows students to practice a complete set of accessory design
skills
ANETA GENOVA is Assistant Professor of Accessory Design at the BFA Fashion Design Department at Parsons School of
Design, New York, USA and has created online accessory design and history of costume classes respectively for The Academy
of Art University Online and Drexel University in Philadelphia, USA.
Basics Fashion Design 09: Designing Accessories
216 x 228mm / 8.5 x 11 inches
PB 9781563679261 ∙ £55.00 / $90.00
Fairchild Books
TEXTBOOK
Exploring the design and construction of bags, shoes, hats and jewellery
John Lau
“This is an impressive book - informative, inspiring and imaginative. It provides a solid foundation for starting design
students interested in working within this growing market. An essential for any fashion, textiles or product design
student.” Jane Stanton, Head of Design, University of Derby, UK
Basics Fashion Design 09: Designing Accessories is filled with important information that any designer will need to know,
examining four key items from concept to production: the bag, footwear, jewellery and millinery. The design process is explored
by looking at creative product development, from gathering research to generating ideas into key products, construction
techniques and the essential tools of the trade used in modern accessories design.
• Key accessories are dissected to clearly display the core components, giving a clear view of how each connects
• Explores specialist finishing techniques and includes a detailed explanation of small accessories
• 2D pattern and 3D modelling techniques are described in detail with explanations of traditional and rapid prototyping
tools in use today
• Bespoke and commercial production is examined and creative solutions to technical challenges are presented
JOHN LAU is Senior Lecturer in International Fashion Business at Manchester Metropolitan University, UK.
230 x 160mm / 9.1 x 6.3 inches
PB 9782940411313 ∙ £23.50 / $34.50
Library eBook 9782940439720 ∙ £23.99 / $39.99
AVA Publishing
TEXTBOOK
Basics Fashion Design 10: Jewellery Design
From Fashion to Fine Jewellery
Elizabeth Galton
“This book is a great resource for all recent jewellery design graduates and those wishing to break into the business
and start a collection. Beautifully produced and with insightful, professional commentary, this book offers both
encouragement and direction. I wish such a book existed when I was starting out!” Karen Bachmann, Adjunct Assistant
Professor, Fashion Institute of Technology, New York, USA
Basics Fashion Design 10: Jewellery Design is an introduction to the world of jewellery. It provides a brief overview of how the
design process evolves, and demonstrates that even on a limited budget it is possible to carve out a niche in this exciting
genre. With inspiring case studies and illustrated with beautiful imagery, Jewellery Design explores the origins of jewellery and
provides an overview of the design process.
• Includes interviews with some of the world’s most famous jewellery designers, giving an insight into the creative
process and exploring their brands
• Projects and case studies ensure that students are given a practical and inspirational introduction to the world of
jewellery design
ELIZABETH GALTON visiting lecturer at the University of the Arts, the London College of Fashion and Central Saint Martins, UK.
She was an official ambassador for London Jewellery Week in 2011.
230 x 160mm / 9.1 x 6.3 inches
PB 9782940411948 ∙ £23.99 / $37.95
Library eBook 9782940447213 ∙ £23.99 / $39.99
AVA Publishing
23
Technical Design
www/TEXTBOOK
Technical Sourcebook
for Designers 2nd edition
Jaeil Lee and Camille Steen
“This is a highly effective book. It is so straightforward and useful to students in
understanding how technical design fits into the product development pipeline. It would
be a great resource on the job.” Carol Salusso, Washington State University, USA
Technical Sourcebook for Designers prepares aspiring and professional apparel designers for
the growing demand for technical design skills in the apparel industry. Lee and Steen provide
a holistic perspective of the role of technical design in apparel production, including such
considerations as selection of fabrics, finding seasonal fashion trends, garment construction,
and fit evaluation, all in the context of meeting the needs of the target consumer with costeffective decisions.
With versatile coverage of a variety of product categories including women’s wear, menswear
and knitwear, this text gives students essential tools to develop specification sheets and
technical packages for specific markets.
• This edition includes a new section on real-life fit problems and solutions
• More information on essential math for designers
• Coverage of product lifecycle management (PLM) and sustainability
UK July 2014 ∙ US May 2014
228 x 305mm / 9 x 12 inches
PB 9781609018566 ∙ £59.99 / $90.00
JAEIL LEE is a Professor and Director of Clothing and Textiles Program in the Department of
Family and Consumer Science at Seattle Pacific University, USA. CAMILLE STEEN is Technical
Design Manager at Ex Officio, LLC, USA.
Individual eBook 9781609019495 · £59.99 / $89.99
Fairchild Books
Preface
Acknowledgments
1. Overview of the Industry
2. The Apparel Product Development Process
and Technical Design
3. All about the Technical Package
4. Developing Technical Sketches
5. Technical Design Terms for Silhouettes and
Design Details
6. Styles, Lines, and Details for Shape and Fit
7. Fabrics and Cutting
8. Sweaters
9. Stitches and SPI
10.Seams, Seam Finishes and Edge
Treatments
11.Construction-Related Design Details
12.Shape and Support
13.Fasteners
14.Labels and Packaging
15.How to Measure, Size, and Grade
16.Fit and Fitting
Appendix A: Seams and Stitches
Appendix B: XYZ Product Development, Inc.
Selected Technical Packages
Glossary
Index
24
contents
• Features hundreds of detailed illustrations of design flats and sample spec sheets from
technical packages for a variety of garments including menswear, women’s wear and
knitwear
• Includes lists of key terms and a comprehensive glossary to familiarize readers with
industry terminology
• Covers industry standards for seams and stitches plus tech packs for 12 different
apparel products
• Includes templates of blank tech packs, clip art of flats for various product, and Excel
charts of tech packs with embedded grade rule formulas
• Instructor’s guide, PowerPoint presentations and image bank available
CAD for Fashion
www/TEXTBOOK
CAD for Fashion Design and
Merchandising
Stacy Stewart Smith
CAD for Fashion Design and Merchandising allows students to immediately begin creating digital
fashion presentations using Adobe Illustrator® and Photoshop®. This book takes an integrated
approach, allowing students to master the three-dimensional benefits of combining the two
software programs.
Colourful illustrations accompany easy, step-by-step tutorials that are geared toward students
at the beginner and intermediate levels. Because the book uses fashion photography rather
than hand-drawn illustrations as a basis for demonstrating the proportion of fashion croquis,
instructors will be able to evaluate students’ mastery of digital illustration regardless of
their hand-drawing skills, and students will benefit from a seamless transition from creative
thought to digital rendering.
• Tutorials are customized to the needs and interests of fashion students
• Instruction is cross-platform (Mac and PC) and compatible with all versions through CS6
upgrade
• “Digital Duo” shows users how to combine techniques in Photoshop® and Illustrator® to
achieve optimal results
• DVDs feature video demonstrations, additional practice and supplementary techniques,
plus CS6 applications files needed to complete tutorials in the text
• Digital Duo Modeling Agency containing more than 150 live model photographs
• A library of fabric swatches and trim, technical flats and images for trend and mood
boards
UK April 2013 · US February 2013
592 pages · 1,250 colour illus
228 x 305mm / 9 x 12 inches
PB 9781609010638 £60.00 / $90.00
Fairchild Books
STACY STEWART SMITH is an Adjunct Assistant Professor of Fashion Design Art at the Fashion
Institute of Technology (FIT), USA.
1. Cross-Platform Desktop Publishing
2. Basic Vector Design Skills with Illustrator®
3. Digital Fashion Illustration Foundation with
Illustrator®
4. Mastering Vector Tools for Apparel Design
and Presentation
5. Basic Raster Skills with Photoshop®
contents
Preface
6. Tracing Figurative Fashion Art and
Photography
7. Fashion Design, Presentation, and
Exhibition with Photoshop®
8. Defining Prints and Patterns
9. Digital Color Theory
10.Fashion Color Correction and Photo
Retouching with Photoshop®
11.Creating the Fashion Croquis with
Illustrator®
12.Fashion Design Art with Illustrator® and
Photoshop®
13.“Digital Duo” Fashion Face and Hair
14.Technical Design with Illustrator®
15.“Digital Duo” Color Flats, Floats, Design,
and Presentation
Appendix
Glossary
Index
25
FASHION PRESENTATION
Designing Your Fashion Portfolio
www/TEXTBOOK
From Concept to Presentation
Joanne Ciresi Barrett
Designing Your Fashion Portfolio: From Concept to Presentation uses the design process to guide students
through the conceptualization and assembly of a fashion design portfolio. The richly illustrated text helps
students assemble their work and organize it into a compelling story of their artistic talents and market
savvy. In the process, students learn to evaluate their skills and identify their interests so that they can focus
on building collections for their chosen target markets. The author’s fashion design portfolio system enables
designers to tailor their portfolios for each client throughout their careers.
•
•
•
•
•
Skill-building exercises throughout the text enable students to apply learning immediately
Includes inspiring artwork from the portfolios of both students and professionals that serve as models
Provides advice and insights from professional designers interviewed by the author
Coverage of digital and Web-based portfolios as well as CAD design and hand-rendering
Teaching Resources: Instructor’s Guide and PowerPoint® presentations
JOANNE CIRESI BARRETT is a freelance designer specializing in active sportswear and owner of Joanne Ciresi
Barrett Designs. She was an instructor at Massachusetts College of Art and Design in Boston, Massachusetts,
USA for seven years, teaching fashion illustration, portfolio presentation, and accessory design courses.
UK December 2012 · US October 2012
228 x 279mm / 8.5 x 11 inches
PB 9781609010072 · £65.00 / $98.00
Fairchild Books
Design Your Fashion Portfolio
Steven Faerm
Design Your Fashion Portfolio provides clear advice and instruction on how to present your work based around
key fashion genres including lingerie, athletic wear, designer and evening wear and discover how layouts,
art direction, and merchandising for each can vary. From developing your graduate thesis, to building your
first collection, perfecting your portfolio to interview techniques and career options to establish yourself as a
professional, this book is the key to launching your career in fashion.
STEVEN FAERM is the BFA Director of Fashion Design at Parsons: The New School for Design in New York,
USA.
UK February 2012
PB 9781408146491 · £14.99
Australia / Europe / New Zealand /
South Africa Only
Linda Tain
3rd edition
This comprehensive portfolio reference prepares students as they begin their fashion design careers.
Each chapter highlights essential skills and techniques to help designers become competitive with in their
chosen markets
2010 · 384 pages · colour illus · 228 x 305mm / 9 x 12 inches
PB 9781563678172 · £55.00 / $94.50
Fairchild Books
26
TEXTBOOK
key titles
Portfolio Presentation for Fashion Designers
FASHION STYLING
www/TEXTBOOK
Style Wise
A Practical Guide to
Becoming a Fashion Stylist
Shannon Burns-Tran
Style Wise: A Practical Guide to Becoming a Fashion Stylist is an essential step-by-step guide
and reference tool for anyone interested or involved in professional styling. The book paints
a realistic picture of the day-to-day activities of professional stylists and provides aspiring
stylists with the tools and information needed to begin building a portfolio. Topics covered
include photo shoots, film shoots, fashion shows, special events, and other areas such as
image management and food, prop, and set styling.
Burns includes charts of fashion icons, history, terms, and other sources of inspiration from
classic films to street culture, the book also provides references to helpful apps, websites, and
other resources for portfolio building, branding, networking, and maintaining a freelance or
salaried career.
• More than 150 color photos that show stylists at work and tools of the trade
• Sample documents used by professionals and an illustrated list of essential items for the
stylist’s kit
• Step-by-step preparation, walk-through, and follow-up of an actual shoot
• Charts and tables that summarize key information and resources and hands-on learning
activities for every type of styling
185 x 235mm / 7.375 x 9.25 inches
PB 9781609011604 · £37.00 / $65.00
Fairchild Books
contents
SHANNON BURNS-TRAN is an Adjunct Instructor at the International Academy of Design and
Technology, Tampa, USA.
Preface
Acknowledgments
Part I The Fashion Styling Profession
1. Introduction to Fashion Styling
2. Styling for Print
3. Styling for the Entertainment Industry
4. Image Management
5. Career Diversity
Part II Getting Established As a Fashion
Stylist
6. Fashion Lexicon: Terms, Icons, History, and
Inspiration
7. Portfolio Building, Branding, and Networking
8. Preparing for a Test Shoot
9. Putting It to the Test: Performing a Test Shoot
10. Business 101 for Freelance Stylists
Glossary
Credits
Index
Jacqueline McAssey and Clare Buckley
2011 · 200 pages · 200 colour illus
230 x 160mm / 9.1 x 6.3 inches
PB 9782940411399 · £23.50 / $34.50
Library eBook 9782940447138 · £23.99 / $39.99
Series: Basics Fashion Design · AVA Publishing
TEXTBOOK
“…this book is comprehensive and clear,
packed with lots of practical advice - it
is a great guide to a career in fashion
styling.” Joyce Thornton, Arts Thread
key titleS
Basics Fashion Design 08: Styling
27
CONSTRUCTION
www/TEXTBOOK
The Art of Couture Sewing
Zoya Nudelman
2nd edition
The Art of Couture Sewing is a practical guide to custom techniques in the construction of
couture garments. Beginning with a brief history of haute couture, the book covers tools and
supplies then discusses matching fabrics with the appropriate needle, thread, pressing, and
construction techniques. The types of closures, hems and finishes used in couture as well as
basic draping techniques are discussed.
This edition features expanded coverage of corset history, design, and construction plus a new
chapter on constructing large skirts including trains, hoop skirts and petticoats.
Nudelman covers many embellishment techniques, including beading, embroidering, and
fine stitching with added sections on shisha, couching, eyelet overcasting and ribbon rosette
stitches. Highly illustrated with photographs of couture designs as well as close-ups of finishes
and details, The Art of Couture Sewing will inspire the design of high-quality garments using
couture techniques.
• Objectives, summaries, projects and key terms in each chapter help readers fine-tune
their skills
• End-of-chapter biographies discuss notable designers and their couture techniques, such
as Paul Poiret, Coco Chanel, Yves Saint Laurent, Valentino, Jean-Paul Gaultier, and Vera
Wang
• Including step-by-step techniques with clear instructions and illustrations
• Student resources include page templates to guide the compilation of a sample book of
all the seams, hems, embellishments, and closures covered in text
ZOYA NUDELMAN is an Assistant Professor in the Fashion Design Department at Illinois
Institute of Art- Chicago, Illinois, USA.
UK May 2014 · US March 2014
216 x 228mm / 8.5 x 11 inches
PB 9781609018313 · £59.99 / $90.00
Individual eBook 9781609019686 · £59.99/ $89.99
Fairchild Books
1. Introduction to Couture
2. The Art of Textiles
3. Uses of Sewing Tools and Supplies
4. The Skill of Hand and Machine Stitching
5. The Skill of Couture Draping
6. The Art of Skirts
7. The Secret of the Corset
8. The Skill of Fabric Manipulation
9. The Skill of Garment Embellishment
10.The Secret of Closures
11.The Skill of Hems and Other Edge Finishes
12.The Skill of Basic Tailoring
Glossary
Bibliography
Illustration
Credits
Index
28
contents
Preface
Acknowledgements
CONSTRUCTION
TEXTBOOK
Sewing Techniques
BASICS
FASHION DESIGN
Jennifer Prendergast
Sewing Techniques simplifies the often complex processes required to turn a two-dimensional design into its
three-dimensional realization by arming readers with the basic sewing skills they need.
SEWING
TECHNIQUES
JenniferPrendergast
• Clear diagrams demonstrate essential techniques in a step-by-step way
• Encourages students to develop their own sample folio and emphasizes the importance of developing
these for individual projects
• Explores the work of contemporary fashion practices, including Barbour, Nike and Sarah Burton
JENNIFER PRENDERGAST is a Senior Lecturer in Design and Product Development at Manchester Metropolitan
University, UK, and teaches both design and garment technology.
contents
Introduction
1. Planning
2. Preparation
3. Closures
4. Professional finishing
5. Toile/muslin/prototype development
6. Innovation within industry
Conclusion
PB 9782940411917 ∙ £23.99 / $41.95
HB 9781472535948 ∙ £75.00 / $115.00
Library eBook 9782940447718 ∙ £23.99 / $41.95
Fairchild Books
Folds in Fashion
Rosa Garcia and Adriana Muñoz
This practical and inspiring book of folding techniques provides a detailed examination of the world of fashion
folding, from paper to fabric. Clear explanations of how to implement different types of folds, following
well-known techniques like draping or Japanese origami, are accessibly laid out and supported by visuals.
Alongside advice on the materials required and helpful fabric recommendations, the 23 varied types of fold
included in the book are developed step-by-step and described in-depth, with drawings and photographs
illustrating the different stages of the development process.
• The first book to focus specifically on folding techniques such as origami for fashion
• Technique-driven and image-led, the book will be perfect for students and practitioners
• Includes step-by-step tutorials, illustrated with drawings and photos showing how to create 23 folds
ROSA GARCIA is in charge of Atelier de Costura y Novias (sewing and bridal wear) by designer Alma Aguilar.
ADRIANA MUÑOZ works as a textile designer in the design department of a fashion company, combining her
position with freelance work as an illustrator.
13. Ruffle Strips
14. Tulle Godet Flounce
15. 3D Stars
16. Fantasy Face on Kapok
17. Combined Pleat/Ruffle for Necklines
18. Fantasy Overlapped Triangles
19. Flowers Pleats of ½ cm
20. Ruff Necks of XVIth Century
21. Slashed Fabric Roses
22. Windmills
23. Snake scales
contents
1. Origami Rectangle Stripes
2. Flowers Gathering on a Circular Base
3. 5 cm Horizontal Flutted Pleats for Yokes
4. Microdraped by Hand on Mannequin
5. Irregular Pleated Waist
6. 3D Heart
7. Fortuny Plissage
8. Wired Ringlet
9. V-Pockets
10. Ribbon Pleats
11. Triangle Shoulder Pads
12. Quilting on Kapok
UK September 2013 · US November 2013
120 pages
PB 9780857858498 · £19.99 / $29.95
World English excluding China, Hong Kong, Indonesia,
North Korea, South Korea, Japan, Malaysia,
Philippines, Singapore, Taiwan
29
CONSTRUCTION
www/TEXTBOOK
Professional Sewing
Techniques for
Designers 2nd edition
Julie Cole and Sharon Czachor
It is impossible to have good designs without having accurate quality construction skills.
Professional Sewing Techniques for Designers is an up-to-date sewing guide that teaches fashion
design students the skills they will need to execute their original designs in a professional
environment. Each chapter cover a particular theme, such as collars, and reflects the order
of assembly of any garment. Detailed and annotated sketches provide visual support to the
techniques covered.
• Style Key to indicate the various materials used for each project
• Organization reflects the stitching order of any garment with insights into varying levels
of proficiency
216 x 228 mm / 8.5 x 11 inches
HB 9781609019259 ∙ £50.00 / $85.00
Fairchild Books
• New Chapters on Sewing with Knits and Fitting: Developing an “Eye” for Good Fit
• A companion Sample Workbook to Accompany Professional Sewing Techniques for
Designers available
JULIE COLE is an instructor at William Rainey Harper College, USA. Cole also had her own
business designing and stitching couture bridal gowns. SHARON CZACHOR is an adjunct
instructor in the fashion department of Harper College in Illinois, USA.
Connie Amaden-Crawford
A basic text for beginner sewers, this book
features step-by-step instructions that take the
reader start-to-finish through over 100 sewing
applications.
2010 · 400 pages · 12pp colour plate section
216 x 228mm / 8.5 x 11 inches
PB 9781609010010 · £65.00 / $100.50
Fairchild Books
30
TEXTBOOK
Basics Fashion
Design 03:
Construction
Anette Fischer
“I was extremely impressed with this book. It
is well written and extremely well illustrated,
with current illustrations provided throughout.”
Barbara A. Diack, Robert Gordon University, UK
230 x 160mm / 9.1 x 6.3 inches
PB 9782940373758 · £23.50 / $34.50
Library eBook 9782940439072 · £23.99 / $39.99
AVA Publishing
TEXTBOOK
key titles
A Guide to Fashion
5th edition
Sewing
PATTERNMAKING
TEXTBOOK
Patternmaking for Menswear
Classic to Contemporary
Injoo Kim & Myoungok Kim
This comprehensive patternmaking text covers many different garment types and design
elements, including patternmaking techniques for both woven and knit fabrics. Noting the
subtle difference between patternmaking for men versus women, the authors provide readers
with a complete understanding of the male anatomy, how to take measurements and fitting
techniques.
Patternmaking for Menswear has a unique modular organization, moving from basic sloper
development to detailing slim-fit versus classic-fit garments with design details grouped
together to allow readers to combine them to create unlimited design variations.
• Step-by-step format with accompanying detailed illustrations is appropriate for
beginning to advanced students, as well as the industry professionals looking to sharpen
their patternmaking skills
• Reflects the contemporary menswear market with emphasis on patternmaking for both
slim-fit and classic-fit style
• Details patternmaking techniques for knit designs using jersey fabrics
• Photos show completed garments and how to accurately measure the male body, and
clear illustrations are highlighted with colour to show precisely what to do at each step of
the patternmaking process
INJOO KIM is an Associate Professor in the Fashion Design program at the University of
Cincinnati, Ohio, USA. MYOUNG KIM is a lecturer in the Department of Clothing and Textiles at
Hanyang University, Seoul, South Korea.
UK June 2014 · US March 2014
PB 9781609019440 · £50.00 / $75.00
Fairchild Books
3. Necklines
4. Collars
5. Sleeves and Cuffs
6. Plackets and Pockets
7. Details
contents
Preface
SECTION I : PRINCIPLES
1. Introduction to Patternmaking
2. Basic Sloper for Wovens: Slim-Fit
Style vs Classic-fit
SECTION II: DESIGN VARIATIONS FOR WOVEN
8. Shirts
9. Pants
10. Jumpers
11. Jackets
12. Coats
13. Vest
SECTION III: DESIGN VARIATIONS FOR JERSEY
14. Jersey Sloper and Jersey Design Variations
15. Jersey Pants
APPENDIX
1. Measurement Chart
2. Decimal Conversion Chart
3. Half Scale Slopers
5. Technical Spec Sheet
31
PATTERNMAKING
TEXTBOOK
Pattern Cutting:
The Architecture of Fashion
Pat Parish
“A fresh and innovative resource, which provides an exciting selection of contemporary
patterns and a solid foundation for pattern drafting/cutting.” Debbie Allsop, University of
Huddersfield, UK
“An important bookshelf addition... particularly for students in self-directed study wishing
to advance their pattern cutting knowledge.” Janet Robinson, K College, UK
The pattern cutter’s aesthetic judgement of proportion, balance, line and form has always
underpinned success in fashion design. In Pattern Cutting: The Architecture of Fashion, Pat Parish
approaches the subject from this perspective, identifying key shapes and structures from the
catwalk and translating them into 3D through a number of cutting, draping and construction
processes. These methods are explored here through a series of practical scenarios, richly
illustrated and annotated with step-by-step instructions.
This exciting new approach provides you with the inspiration, tools and confidence to interpret
and adapt basic patterns and take your designs even further.
• A clear guide aimed at fashion students with some basic knowledge of pattern cutting,
ready to experiment with new shapes and structures
• Uses a fresh and contemporary approach, taking shapes directly from the catwalk and
translating them to the cutting table
• Encourages readers to adapt the scenarios provided to produce their own unique designs
UK February 2013 · US March 2013
• Includes real-life case studies from students studying fashion design and pattern cutting
PB 9782940411900 · £37.99 / $59.95
PAT PARISH is a professor at Croydon University College, UK.
Library eBook 9782940447435 · £37.99 / $64.95
300 x 220mm / 11.8 x 8.7 inches
Shape
Two-piece Collars
Circles and Ruffles
5: Trousers
Trouser Fundamentals
Standard and Narrow Fit
Adding Pleats
Above Waist Fitting
Below Waist Fitting
Pockets, Zips and Finishes
6: Sustainability and Fashion
Deconstructing Hierarchies
and Traditions
Cutting Down on Waste
Pattern-Led Design
New Horizons
Hourglass
Dome
Lantern
Cocoon
Balloon
Shape in design
Linear
Inverted triangle
Square
Trapeze
91
136
Sleeves, Collars
and Circles
CREATING THE DOME SHAPE
NP
NP (1cm lower)
3
D
C
B
4
A
A
B
Prep pattern front
W–E = 7cm
G (5cm wider)
CB grain
W
CF grain
E
Sleeve prep pattern
E
W
F
F
Sleeve fundamentals
Set-in sleeves
Grown-on sleeves
Sleeve cuffs
CIRCLES AND
RUFFLES
Circle patterns are effective in
creating full ruffles at the neck
and cuff and cascading ruffles.
The weight and thickness of
cloth and depth of ruffles will
determine the size and shape of
these patterns. The more circles
you add, the more ruffles will
be created. The case study on
the opposite page would need
several circles to achieve such
fullness. It is helpful to test the
fabric and circle ratios in cloth
so that you can establish how
many circles you may need
and how deep. The grain of the
circles varies from straight to
bias, and where you position the
grain will influence the way it
falls and the look.
C
D
G
AVA Publishing
Prep pattern back
W–E = 7cm
A–B = 1cm
C–D = 3cm
Collar fundamentals
One-piece collars
Two-piece collars
Circles and ruffles
CIRCLES AND RUFFLES
[Case study]
Nadine Mukhtar
Seam
B
Full ruffles
A–B = length of seam to be inserted
or section of seam.
Inside circle is seam line, outside
circle is hem.
D
1.
Trace off front bodice with
dart in armhole position to
hem length (hip). Draw a new
shoulder line 1cm lower – this
moves the line forward to
the front.
Seam
2.
Trace off sleeve block, draw a
line 4cm down the centre line
and square out to either side.
Cut out sleeve and separate
along centre line. Slash across
construction line.
3.
Place the sleeve crown 1cm
away from the SP. Open slash
line approx 2cm so that the
elbow line drops and touches
the side seam of the body (see
dotted lines).
5.
Draw sleeve hemline square
to the new top sleeve curve to
meet point E.
6.
Complete pattern by
connecting E–F in a straight
line and squaring a hem across
to CF.
BACK
1.
Trace off back bodice to hem
length (hip). Move shoulder
line forward 1cm.
2.
Trace off sleeve block, draw a
line 4cm down the centre line
and square out to either side.
Cut out sleeve and separate
along centre line. Slash across
construction line.
3.
Place the sleeve crown 1cm
away from the SP. Open slash
line approx 2cm so that the
elbow line drops and touches
the side seam of the body (see
dotted lines).
Less full ruffles or gathered/
pleated finish
C–D = length of seam to be
inserted for less full ruffles.
Inside circle is seam line, outside
circle is hem.
Sketchbook pages
Step-by-step
4.
Raise SP 1cm (to the original
SP). Mark point E 7cm above
the waist for sleeve hem.
Draw in a new shoulder and
top sleeve line curving from
NP position upwards through
the SP, maintaining a good
rounded curve and continuing
down slightly wider than the
original sleeve.
Technical flat drawings of Nadine’s collection
C
Step-by-step
FRONT
Nadine’s work has been inspired by radial spirals
and geometric forms. The fan shapes radiate
around the body in 3D. Circles are used to create a
full ruffled effect at the neckline in the jacket.
A
Final pattern front and back
Step-by-step
137
Cut open
90
3: Shape
Trapeze
Square
Dome
Inverted Triangle
Cocoon
Hourglass
Linear
Lantern
Balloon
4: Sleeves, Collars and Circles
Sleeve Fundamentals
Set-in Sleeves
Grown-on Sleeves
Collar Fundamentals
One-piece Collars
Cut open
CONTENTS
1: Context:
What is a Pattern?
The Role of the Pattern Cutter
Body shape and size
Measuring and Mapping the
Body
Getting Started
2: Pattern Fundamentals:
from 3D to 2D - Basic Blocks
Darts in Design
Panel Lines for Fit and Flare
Control
Complex Style Lines
Adding Flare
Adding Volume
Radius = circumference
divided by 6.28.
4.
Raise SP 1cm. Mark point
E 7cm above the waist for
sleeve hem. Draw in a new
shoulder and top sleeve line
curving from the dart position
upwards through the new
SP, maintaining a good
rounded curve and continuing
down slightly wider than the
original sleeve.
5.
Draw sleeve hemline square
to the new top sleeve curve
to meet point E.
6.
Complete pattern by
connecting E–F in a straight
line and squaring a hem across
to CB.
1.
Measure the length of the seam
the ruffles will be inserted into
(C–D = seam length or part of).
TROUBLESHOOTING
To create more movement add extra width
by slashing a line from the point at which
the sleeve meets the side seam up to
the NP. Add width (3cm) and redraw the
side seam and sleeve hem. Do this back
and front.
If more circles are required,
divide the length of the seam
line equally so that the circles
will fit comfortably. You can
allow a little extra length if
there are a few circles as the
seams may be tight and may
pull when sewn.
If gathers or pleats are
required, do a test in fabric
first to establish how much
extra to add. Then create
your circles according to the
extra length needed for the
gathering.
Nadine’s final garments
32
PATTERNMAKING
Pattern Cutting Primer
Jo Barnfield and Andrew Richards
The Pattern Cutting Primer is the ultimate resource for keen sewers and aspiring fashion
designers looking to get to grips with every aspect of pattern design and customisation. This
practical and accessible book covers all the basics of pattern design and cutting and gives
readers the confidence to take matters into their own hands and produce perfect patterns for
all garments and styles.
Featuring clear step-by-step instructions, the Pattern Cutting Primer covers all the basics of
tools and equipment, pattern symbols and fabrics, drafting techniques, pattern developments,
finishing and even gives guidelines on how to sell and market your own patterns. It’s the
perfect resource for all amateur and professional pattern-makers, designers and students.
JO BARNFIELD is a Part-time Lecturer and Industry Practitioner at Bath Spa University and City
of Bath College, UK, teaching design, pattern cutting and construction. ANDREW RICHARDS is
Senior Technical Demonstrator in Pattern Cutting at Bath Spa University, UK, teaching garment
construction, drafting and modelling for its undergraduate Fashion Design course.
94–95
CHAPTER 6:
RUB-OFF PATTERN DRAFTING
UK August 2012 · 300 colour illus · 192 pages
FLAT METHOD: RUB-OFF SKIRT
2
1
2
1
3
4
1
5
2
6
CF
3
Flexiback 9781408156674 · £25.00 / $39.95
7
8
around 12in (30cm)
4
5
9
6
7
10
11
8
12
9
10
13
11
14
13
14
1
2
3
4
the fashion industry. This can be fueled by a desire to recreate a vintage find—
5
15
hip line
is traced or “lifted” from an existing item of clothing, is not uncommon within
6
1
2
3
4
5
Available in Europe/South Africa Only
12
15
Although it is not widely publicized, rub-off pattern drafting, in which a pattern
6
the like of which is a staple of many design ranges.
There are two main methods of taking a pattern from an existing garment:
the flat method, for predominantly flat garments, and the drape method,
for more three-dimensional garments. For both methods, when all sections
are traced, double-check seam lengths with the measurements of the original
garment. A vintage piece is likely to have distorted with wear, so patterns
2
3
4
5
6
7
8
9
THE FLAT METHOD
Find the CF of the skirt by measuring across and halving the
amount, marking it with pins. Do this at spaced intervals down
the top. If the skirt is symmetrical, you can measure from the
seams rather than the edge.
1
Cut a piece of pattern paper the length of the skirt plus
an amount extra. In the center, mark a line straight down (CF);
at about 12in (30cm) from the top, square across the hip line.
should be trued up and then tested by producing a muslin.
10
4
11
12
13
14
3
15
For mainly flat garments, such as a skirt, the simplest approach is to trace
1
through the item directly onto pattern paper using a spiked tracing wheel.
2
1
3
There are likely to be areas of suppression (darts, gathering, ease) within
2
3
4
5
6
CF
4
5
6
the garment that are slightly harder to transfer as they do not lay completely
7
8
flat when pinned to paper. These may need to be estimated. If the piece can
9
10
11
be unpicked to its component parts, the process becomes much simpler.
12
13
For symmetrical garments, it is wise to trace just one half of the front and back;
14
hip line
15
the piece can then be mirrored when cut. For demonstration purposes, the
1
2
3
illustrations in this chapter show the pieces being traced on both sides.
2
3
4
5
4
1
6
5
6
7
8
9
1
10
11
2
12
3
13
4
14
5
15
6
7
8
9
10
11
12
13
14
15
1
2
3
4
5
6
To find the hip line, put
the skirt on the stand
(or yourself) and pin a
horizontal line at the
widest part of the hip.
This measurement should
be around 8¼in (21cm)
down from the waist.
1
2
3
4
5
6
Place skirt on paper, matching CF and hip lines. Pin as flat
as possible; areas that do not lie flat will have some form of
shaping suppression. Trace around edge (side seams, hem,
and waistline) with a pencil.
DRAFTING TECHNIQUES
Rub-off pattern drafting
A Multi-Method Approach to the Art of Style Selection, Fitting, and Alteration
Elizabeth Liechty, Judith Rasband and Della Pottberg-Steineckert
This comprehensive guide presents proven methods of style selection, fitting, and alteration that are rooted in the
elements and principles of design. Revised illustrations with a second color added show directional measuring
needed to facilitate the alteration process.
2009 · 2 colour illus · 480 pages
PB 9781563677830 ·£65.00 / $101.50
Fairchild Books
key titleS
Fitting and Pattern
Alteration 2nd edition
TEXTBOOK
33
DRAPING
www/TEXTBOOK
Draping for Apparel
Design 3rd edition
Helen Joseph-Armstrong
“Clarity is a strength. Students can see the design lines and make an analysis before
moving into a drape.” Debra Otte, Michigan State University, USA
The third edition of Draping for Apparel Design combines Joseph-Armstrong’s classic step-bystep instructions with a user-friendly layout. To show how to turn two-dimensional drawings
into three-dimensional garments, the author presents the following three draping principles
and techniques: manipulating dart excess, adding fullness, and contour draping. Design
analyses identify the creative elements of each design and help determine draping techniques
required to develop patterns.
This text emphasizes the importance of draping foundation garments for building more
complex designs. Designers will gain essential skills to creatively apply draping techniques
to their own designs.
HELEN JOSEPH-ARMSTRONG is a Professor of Fashion Design at the Fashion Center of
the Los Angeles Trade-Technical College, USA.
640 pages · 1,450 colour illus
228 x 305mm / 9 x 12 inches
PB 9781609012403 · £60.00 / $90.00
Fairchild Books
1. Tools and Supplies for Draping
2. Fabric Characteristics and Terms
3. Draping Essentials
4. Dress Form: Personal/Client Preparation
and Measurements
5. Basic Dress Foundation
6. Manipulating Dart Excess and Adding
Fullness
7. Bodice Styles
8. Skirts
9. Collars
10. Built-up Necklines
11. Cowls
12. Dress Foundations and Designs
13. Strapless Dress Foundations and
Designs: The Principle of Contour Draping
14. Bias Cut Dresses and Twist
15. Kimono, Raglan, and Drop Shoulder
16. Shirts and Blouses
17. Jackets and Coats
18. Pants
19. Knit Characteristics
20. Bodysuits, Leotards, and Swimsuit
Foundations
34
contents
• Twist designs based on Madeleine Vionnet’s bias-cut techniques and a bias slip dress
design variation
• New and updated design projects illustrate how to prepare a draping plan
• More than 150 new fashion illustrations show completed design projects
• Design Variations and Thought Problem sections provide directions and helpful hints
• New step-by-step instructions for padding a dress form, an expanded guide for
measuring the dress form and model and updated instructions for developing
attachable arms
DRAPING
TEXTBOOK
Creative Draping
Gareth Kershaw
Creative Draping examines the historical relevance of the haute couture houses of central Europe and their
legacy on modern-day apparel and explores the techniques developed by the great masters. Creative
modelling and self-exploration through design are encouraged in this visually stimulating book, which also
features revealing case studies with key practitioners of contemporary draping.
• An indispensable guide to exploring the creative use of drape within fashion design
• Step-by-step instructions lead readers through the basic draping exercises, processes and approaches
that they will need to understand in order to successfully practice the craft
• Contemporary in approach, the book outlines the limitations of two-dimensional design and explores the
theory and practice behind designing for three-dimensional silhouettes
GARETH KERSHAW is a Senior Lecturer in the department of Clothing Design and Technology at Manchester
Metropolitan University, UK.
UK January 2014 · US March 2014
270 x 210mm / 10.6 x 8.3 inches
PB 9782940496020 · £37.99 / $65.95
Library eBook 9782940447633 · £37.99 / $65.95
Fairchild Books
The Art of Fashion Draping
www/TEXTBOOK
4th edition
Connie Amaden-Crawford
An invaluable teaching tool for fashion design, apparel, and patternmaking students and professionals, this
user-friendly bestseller teaches the different methods of – and principles involved in – draping fabric on a
dress form.
• A wealth of two-colour, how-to illustrations illustrate each step, making the draping and pinning process
easy to follow
• Illustrations are fully updated for the fourth edition to reflect current fashion
• Organised from basic to advanced topics, enabling students to progress systematically through the book
CONNIE AMADEN-CRAWFORD is a licensed designer for The McCall Pattern Company under the Butterick
label and is President and CEO of Fashion Patterns by Coni, USA.
Dartless Designs
Draping Principles and Skills
Kimono and Raglan Designs
The Dress Form, Tools, and Terminology
Skirt Designs
2. Basic Foundation Patterns
4. Advanced Techniques
The Basic Bodice
Pants
3. The Basic Fitted Skirt
Knit Designs
Sleeves
Collar and Neckline Designs
Torso/Blouse Block and Basic Shift Silhouettes
Jacket Silhouettes and Collar/Lapel Designs
4. Intermediate Techniques
Bodice and Blouse Designs
Designing with Circular Flounces and Ruffles
Princess Designs
contents
1. Introduction to Draping
UK April 2012 · US March 2012
228 x 305mm / 9 x 12 inches
PB 9781609012274 · £65.00 / $101.50
Fairchild Books
Cowl Designs
Casual Dress Designs
Formal Dress Designs
Fitting Methods
35
SUSTAINABLE
FASHION
TEXTBOOK
A Practical Guide to
Sustainable Fashion
Basics Fashion Design 12
Alison Gwilt
Packed with full-colour images from contributors such as Stella McCartney, Vivienne Westwood,
Edun and People Tree, A Practical Guide to Sustainable Fashion will inspire and motivate both
students and professionals in the fashion and textile industries to consider sustainability as an
integral part of the design and production process.
Promoting life cycle thinking as an approach to fashion design, this book covers a wide range
of sustainable design approaches, such as using mono materials and low-impact textile
techniques, design for empathy, zero waste pattern cutting, design for durability, engaging
with local producers, design for need, reducing laundering, design for repair, upcycling and
design for closed-loop systems.
• Includes step-by-step guidance on how to identify the potential environmental and social
impacts of a garment during the design process
• Studio-based exercises will encourage you to experiment with a number of approaches
explored in the book
• Features innovative and inspiring examples of best practice sourced from contemporary
fashion brands and designers working across different market levels
• Features interviews with designers and professionals who give invaluable insight into
how sustainability can be integrated into the fashion design and production process
ALISON GWILT is a Reader in Fashion Design at the Art and Design Research Centre, Sheffield
Hallam University, UK.
230 x 160mm / 9.1 x 6.3 inches
PB 9782940496143 ∙ £23.99 / $41.95
Library eBook 9782940447640 ∙ £23.99 / $41.95
Part 1: Rethinking fashion design
1. Fashion and sustainability
The supply chain
The key issues
Developments in sustainable fashion
The future of fashion?
Exercise 1: Reflecting on sustainable fashion
2. The life cycle of a garment
Life cycle thinking
Activities and impacts
Assessing the impacts
Exercise 2: Comparing two garments
Sustainable design strategies
Garment Design
6. Use
Spotlight On: Design for Empathy
Patterns of Use
Interview: Annika Matilda Wendelboe
Spotlight On: Reduce Laundering
Exercise
Repair and Maintenance
4. Production
Spotlight On: Design for Repair
Pattern Making and Toiling
Interview: Lizzie Harrison, Remade in Leeds
Spotlight On: Zero Waste Techniques
Exercise
Construction Techniques
7. End-of-Life
Spotlight On: Design for Durability
Reuse And Re-Manufacture
Interview: Susan Dimasi, Materialbyproduct
Spotlight On: Up-cycling
Exercise
Material Recycling
5. Distribution
Spotlight On: Closed-loop Systems
Suppliers, Makers And Producers
Interview: Wayne Hemingway, Hemingwaydesign
Spotlight On: Engaging With Local Communities
Exercise
Retail Opportunities
Conclusion
Part 2: Designing Sustainable Fashion
Spotlight On: Design for Need
3. Design
Interview: Isabelle De Hillerin
Selecting Fabrics
Exercise
Materials and Techniques
Spotlight On: Using Mono Materials
36
contents
Introduction
INTRODUCTION TO
TEXTILES
www/TEXTBOOK
Swatch Reference Guide to
Fashion Fabrics 2nd edition
Deborah E. Young
Using simple, direct language, the second edition of Swatch Reference Guide to Fashion
Fabrics, is an all-in-one text and swatch book intended for both students of textile science
and for anyone in the fashion industry. One of the essential components of the swatch book
is the presentation of both fabric samples and all the pertinent information regarding fabric
identification on the same page. Preprinted mounting boards for each fabric sample include:
Fabric Name, Fiber Content, Yarn Construction, Count, Coloration, Finishes, Weight, and List of
Characteristics. Through the text and swatches, readers will learn the inherent performance
properties and construction of fibers and yarns. This invaluable reference brings together
a wide variety of information into one volume, enabling users to spend less time trying to
connect the dots and more time applying the concepts.
• 206 (2” x 3”) swatches, including sea island cotton, bamboo cotton, soy or organic cotton,
printed denim, “denim” jersey, crushed knit velvet, brushed sweater jersey chiffon,
muslin, tweed, canvas, taffeta, and satin
• Expanded coverage of knit fabrics reflecting the growth of the knit industry
• End of chapter activities help readers organize and classify information
• Includes a pick glass to let users examine and magnify fabrics
• Quick Reference Guides for Basic Weaves, Complex Weaves, Knits, and Warp Knits Table
for Fabric Selections for Garments
• Extra blank swatch board, more space on swatch boards and additional assignments for
advanced projects and learning opportunities.
UK January 2013 · US November 2012
200 pages · 50 bw illus
216 x 228mm / 8.5 x 11 inches
Three-Ring Binder
9781609015503 · £100.00 / $145.00
Fairchild Books
DEBORAH E. YOUNG is an Assistant Chair of the Textile Science Department at Fashion Institute
of Design and Merchandising (FIDM), Los Angeles, California, USA.
Researching Colour, Surface, Structure, Texture and Pattern
Josephine Steed and Frances Stevenson
“The concepts, sentences and ideas were very clear and written in a student friendly way
... very good illustrations which are very appropriate and quite exciting.” Tom Embleton,
Northbrook College, UK
UK March 2012 · US April 2012
PB 9782940411634 · £23.50 / $34.50
Library eBook 9782940447336 · £23.99 / $41.95
Series: Basics Textile Design
AVA Publishing
TEXTBOOK
key titles
Basics Textile Design 01: Sourcing Ideas
37
INTRODUCTION TO
TEXTILES
JJ Pizzuto’s Fabric Science
www/TEXTBOOK
10th edition
Allen C. Cohen, Ingrid Johnson and Joseph J. Pizzuto
With an increased emphasis on textiles as a major global industry, the tenth edition of this best-selling book
continues to meet the needs of both students and professionals in the textile, fashion, and related industries.
Based on their combined experience in both education and the industry, Cohen and Johnson provide readers
with a comprehensive text about the design, structure, and application of textiles. The range of information
is exceptionally broad, and includes basic fibre makeup, fibre innovation, the formation of fabrics, quality
issues, and laws that regulate textiles; updated topics include environmental responsibility, nanotechnology
and innovations in industrial textiles. The authors also provide readers with information regarding textilerelated trade and professional associations and career opportunities in design, production, marketing,
merchandising, apparel and home products.
• New edition includes expanded coverage of sustainability issues
• New Textile Connection feature that calls out and explains key terms in each chapter
• End-of-chapter assignments, including questions related to Fabric Science’s swatches, facilitate an
understanding of the relationship between chapter content and textiles
• New full-colour illustrations and photographs throughout the text
2011 · 400 pages · colour illus
216 x 228mm / 8.5 x 11 inches
Three-Ring Binder
9781609013806 · £65.00 / $97.50
CourseSmart (9781609014537)
Fairchild Books
ALLEN C. COHEN is Professor Emeritus at the Fashion Institute of Technology, New York, USA.
INGRID JOHNSON is Professor at the Fashion Institute of Technology, New York, USA.
J.J. Pizzuto’s Fabric Science
Swatch Kit 10th edition
www/TEXTBOOK
Allen C. Cohen, Ingrid Johnson and Joseph J. Pizzuto
Designed to accompany the tenth edition of Fabric Science, this Swatch Kit supplements the study of textiles
for students in fashion design, merchandising, product development and home furnishings. Swatches
represent the types of fabrics currently available to apparel, interior, and industrial designers.
• 114 fabric swatches included in the Swatch Set represent examples of every major type of fibre, yarn,
weave, and knit as well as examples of dye, print, and finishing applications
• Examples are also provided for more recent materials such as microdenier fibre, lyocell fibre, and
special purpose high tech fabric such as Staybright™ bleach-resistant fabric. Eco-friendly fibres include
organic cotton and reprocessed wool
• Teaching Resources: Instructor’s Swatch Set with 8 additional instructor swatches, Instructor’s Guide,
PowerPoint® Presentations
2011 · 124 pages
216 x 228mm / 8.5 x 11 inches
Three-Ring Binder
9781609013585 · £55.00 / $82.50
Fairchild Books
38
INTRODUCTION TO
TEXTILES
TEXTBOOK
The Story of Colour in Textiles
Susan Kay-Williams
From pre-history to the current day, the story of dyed textiles brings together the worlds of politics, money,
the church, law, taxation, international trade and exploration, fashion, serendipity and science. This book is
an introduction to a broad, diverse and fascinating subject of how and why people coloured textiles. A fresh
review of this topic, this book brings previous scholars’ work to light again, alongside new discoveries and
research.
SUSAN KAY-WILLIAMS is the Chief Executive of the Royal School of Needlework at Hampton Court, UK.
78
t h e
s t o r y
o f
c o l o u r
i n
t e x t i l e s
b r o a d e n i n g
h o r i z o n s
:
t h e
16t h
c e n t u r y
79
UK January 2013 · US March 2013
246 x 189mm / 9.7 x 7.4 inches
The Healing of the Lame Man cartoon designed by Raphael and painted by his studio team. It is hard to believe that
these were ‘just’ designs – later designers often do not complete the entire work, leaving notes instead to indicate
colour or similar patterning, but these are painted in full and as such have been much admired in their own right, not
just as an inspiration for the tapestries. The Royal Collection © 2011 Her Majesty Queen Elizabeth II
The Healing of the Lame Man tapestry, one of a series woven by Peter van Aelst and company based on the cartoons
of Raphael at the behest of Poe Leo X, to hang on the lower walls of the Sistine Chapel. © Vatican Museums
This does not mean, however, that only the
strongest colours were used. Yellow is in evidence,
though often edged with red, as in the jacket of the
lame man, and underpinned at the sides and in the
sleeve with blue hatching to help give definition to
the garment even after it has faded.11 What is more
surprising is the choice of orchil, a lichen dye, for the
purple-red colour. It was already known to be fugitive
yet they chose to use it. One can only conjecture why,
but perhaps because of the very limited range of purplegiving dyestuffs at this time, as well as an inability to
imagine they would still be seen 500 years later. At
any rate, the purple has long since faded to brownish
colours.12 The green that can be seen so clearly in the
original cartoon was painted in malachite, but no
green-dyed wool, requiring blue and yellow overdyeing,
possessed the longevity of malachite paint.
tarnished by 500 years of dirt. It would be impossible
to try to lift the dirt from the metal threads without
doing irreparable harm to the surrounding threads so
the piece now looks flatter in colour and shine than it
would have originally; nevertheless, thanks to being
kept in the rarefied confines of the Vatican, these
tapestries are in remarkable condition considering
their age.
One further difference between the painting and
the tapestry is the use of metal thread. While gold
was used in paintings, Raphael did not use it here
because these were cartoon designs, never meant to be
displayed in their own right. The weavers, however,
incorporated gilt-wrapped threads in the weaving
of the columns, giving added sparkle and lustre that
was much in evidence to the Pope and his guests in
the candlelight when the first seven tapestries were
displayed on 26 December 1519. Vasari commented
that ‘the completed work was of such wonderful beauty
that it astonishes anyone who sees it to think that it
could have been possible to weave the hair and the
beards so finely and to have given such softness to the
flesh merely by the use of threads. The tapestries seem
to have been created by a miracle rather than by human
skill.’13 Inevitably, the metal threads have become
NEW WORLD, NEW
DYESTUFFS
When he first discovered it, Pedro Alvarez Cabral
thought Brazil was only an island and named it Vera
Cruz. In 1501 it was renamed Santa Cruz, but when
PB 9781408134504 · £19.99 / $29.95
the Portuguese laid claim to the whole territory they
named it Brazil due to the large number of Caesalpina
trees, making it the only country to be named after a
dye source.14
Notwithstanding this new source of the dye,
brazilwood continued to be controversial throughout
this century. In 1524, Henry VIII of England banned
it from being used to make scarlet, while in Venice
it was only permissible for use on cotton, where the
dyers did not expect to get a good colour and refused
to use the more expensive madder and kermes.15
Brazilwood was not the only heartwood dye
discovered in the Americas, the other being logwood.
At first, it was thought logwood might be a substitute
for woad or indigo, with a much easier dyeing process
than the vat method those materials required.
However, it was quickly found to be quite fugitive
Library eBook 9781472517050 · £19.99 / $31.99
TEXTBOOK
The Textile Reader
Edited by Jessica Hemmings
“This is a book that will undoubtedly become a key resource for all those interested in considering the
location of textile practice, but also for those who seek to understand and challenge textile practice’s
perceived inferiority as a mode of practice.” Embroidery Magazine
The Textile Reader is the first anthology to address textiles as a distinctive area of cultural practice and a
developing field of scholarly research. Revealing the full diversity of approaches to the study of textiles, The
Textile Reader introduces students to the theoretical frameworks essential to the exploration of the textile
from both a critical and a creative perspective.
• Selected authors include Anni Albers; Gilles Deleuze; Félix Guattari; Sarat Maharaj; Rozsika Parker;
Sadie Plant; Peter Stallybrass; Alice Walker; and Catherine de Zegher
• Divided into six key themed sections to aid study, covering every dimension of textiles: touch, memory,
structure, politics, production and use
• Includes a wealth of diverse material, drawn from the nineteenth century to the present day, including
authors’ statements, blogs and short stories, as well as critical writings
2012 · 40 bw illus · 488 pages ·
JESSICA HEMMINGS is Professor of Visual Culture and Head of the Faculty of Visual Culture, National College
of Art and Design, Dublin, Ireland.
Berg Publishers
TEXTBOOK
Fashion and Textiles
The Textile Book
An Overview
Colin Gale and Jasbir Kaur
Colin Gale and Jasbir Kaur
“I recommend reading every page ... a valuable
authority that provides an historical and
global view of the past, present, and future of
textiles.’” Handwoven
2004 · 256 pages · 30 bw illus, 8pp colour plate
section · 244 x 172mm / 9.6 x 6.8 inches
PB 9781859738184 · £17.99 / $32.95
HB 9781859738139 · £53.00 /$109.95
Library eBook 9781845206420 · £52.99 / $84.99
Berg Publishers
2002 · 232 pages · 30 bw & 8 colour illus
234 x 156mm / 9.2 x 6.1 inches
PB 9781859735121 · £17.99 / $32.95
HB 9781859735077 · £53.00 / $89.95
Library eBook 9781845209100 · £52.99 / $84.99
Berg Publishers
PB 9781847886347 · £24.99 / $39.95
HB 9781847886354 · £70.00 / $115.00
TEXTBOOK
The Fundamentals
of Printed Textile
Design
Alex Russell
“An excellent overview of the role of a printed
textile designer.” Nick Rodgers, Norwich
University College of the Arts, UK
230 x 200mm / 9.1 x 7.9 inches
PB 9782940411474 · £26.50 /$38.50
Library eBook 9782940447176 · £26.99 / $TK
Series: Fundamentals · AVA Publishing
key titles
TEXTBOOK
244 x 189mm / 9.6 x 7.4 inches
39
TEXTILE DESIGN
AND TECHNOLOGY
TEXTBOOK
Sourcing and Selecting
Textiles for Fashion
Erin Cadigan
Written with the innovative fashion student in mind, Sourcing and Selecting Textiles for Fashion
gives a full overview of the current textile market and shows how to apply this knowledge
when creating a fashion collection.
Following a brief look at the historical growth of fashion textiles in industry and culture, the
book explores the manufacturing, design, sourcing and end-use of fashion textiles. Natural
and man-made fibres are discussed along with current woven, knit and non-woven production
methods. A variety of industrial and custom surface design techniques including dye, print,
embellishment and fabric manipulation are covered. Trend, inspiration, colour, creating the
collection and how to enhance design through textile choice and surface design are included.
A perspective of current innovation and sustainability is offered in each area.
• Illustrated with 200 colour photographs, showing the sourcing and selecting process
from fibre to final fashion product
• Includes unique insight from practitioners across the spectrum, from student to retail
store supplier
• Includes the cultural and historic development of fashion textiles as well as current
trends
ERIN CADIGAN is a fashion design instructor at Pratt Institute in New York, USA.
UK October 2013 · US December 2013
300 x 220mm / 11.8 x 8.7 inches
fashion and textile:
sourcing and selection
chapter one: the role of textile in fashion
Chapter two: Materials
Chapter three: surfaCe Design
Chapter four: ConCeptualizing the ColleCtion
Chapter five: sourCing Your fabriC
Chapter six: textile anD the ColleCtion
sourCing interviews
appenDiCes
38
39
PB 9782940496105 · £37.99 / $65.95
textile Culture
evolution of textile deSign
glObal textile prOduCtiOn
a Call fOr sustainability
CertifiCatiOns and labelling
Library eBook 9782940447671 · £39.99 / $64.99
europe: central and eastern
like all traditional peoples, costume varied from region to region. in this
Fairchild Books
colder climate woven wool, heavier fabrics, velvets and fur were used.
textiles generally had a white or black base. decoration was embroidered or
woven floral or animal motifs in red, white, blue, gold, or black. fine pleating,
gathered lace collars and bell shaped skirts were common in women’s
clothing. men wore tunics and decorative vests inspired by turkish invaders.
North America
always respecting the whole animal, the basic hide silhouettes were sewn
together with bone needles and gut thread. pieces were highly decorative
with fringe, tassels, feathers, braiding and intricate porcupine quill or seashell
Introduction
1. The Role of Textile in Fashion
2. Materials Fibres and Yarns
beading. motifs were symbolic of their connection to the natural world and
portrayed celestial or animal images. many designers today reference imagery
from woven or quilted navajo rugs and blankets or northwest Coast Chilkat
hand woven ceremonial capes and hand carved totem poles.
south and central America
the native peoples of south and Central americas believed clothing could
transform a person. they are known for their brightly colored, highly
patterned and decorated cloth. ikat weaving, found in many areas of the
3. Conceptualizing the Collection
4. Sourcing Your Fabric
globe, was particularly advanced, both in multi -color application and
patterning. the patterns were precisely controlled on a back strap loom
by wrapping the warp threads around a stick. Other methods of textile
decoration included brocade weaving, tapestry, embroidery and tiedye. much
of these lands are covered in lush rainforest. the proliferation of mineral,
animal and plant has given these peoples a spectrum of natural dies including
lime greens, bright pinks, indigo and the entire rainbow. imagery denoted
5. Textile and the Collection
status, religion and village through both design and color. motifs were often
people, plants or animals.
6. Sourcing Interviews
contents
the native tribes of north america relied heavily on animal skins for clothing.
Glossary
Bibliography
Index
fashion and textile:
sourcing and selection
In more recent years Miyake has added
deSign
Spotlight
issey miyaKe
58
59
disCussiOn
questiOns
1. what do you think about miyake’s
three more lines, each based on textile
decision to retire from head design
concepts. One is a line of easy care
position? is fashion and textile
tshirts utilizing multi-directional
stretch pleats, innovative materials
and advanced techniques. The second,
Haat, brings Miyake back to his roots
in a way. This line combines Japanese
simplicity of form, cutting edge textile
technology and the beauty of traditional
Indian handicraft; the simple silhouettes
conception the same as fashion
design?
2. how do you work a collection? do
you design to textiles or find textiles
for your design concepts? would
you be comfortable designing in
opposite?
almost just a vehicle to showcase the
3. miyake design studio’s head
textile on the body. Haat is a collaborative
designer, dia fujiwara has said “i
effort between Issey Miyake and textile
do not believe that any discussion
designer, Mikiko Minagawa.
of art is possible without bringing
The most recent innovation, 132 5. ISSEY
MIYAKE was introduced in 2010. A
sub-group of the Miyake Design Studio,
Reality Lab, has created a line of clothing
technology onboard.’ do you find
this to be true? do you think this
statement will be more relevant as we
move into the future?
to address future thinking. Employing
4. it has been said that issey miyake
folded paper, three-dimensional
focuses on his craft for arts sake
computer modeling, a revolutionary
while many of his fashion peers focus
recycled polyester fabric and high-end
on the bottom line. do you think
design concept, the resulting fashions
it’s possible to focus on both, high
address comfort, minimal use of
concept design and profitability,
materials, production concerns and
at once? is there room for many
beauty. They look at once both straight
designers like issey miyake in the
out of a sci-fi film and hauntingly
market place or do you feel he is an
reminiscent of the ancient art of origami.
outlier?
5. what inspires you to push the
boundaries of design concept?
>> See also page 21
40
TEXTILE DESIGN
AND TECHNOLOGY
TEXTBOOK
Digital Jacquard Design
Julie Holyoke
Digital Jacquard Design presents a comprehensive introduction to the creation of weave
patterning in the era of digitally piloted looms. It offers both aesthetic and technical training
for students of figured weaving, covering the Jacquard medium in fantastic breadth and
depth. The book is an essential guide for all who create figured textiles with modern materials
and tools, and provides the reader with a ‘digital’ key to access and employ the great textile
traditions of the past.
• Lavishly illustrated with photographs and diagrams in full colour, balancing the artistic
and technical dimensions of the subject
• Covering all aspects of figured weaving, this book equips students with a complete guide
to the design process and the analytical tools essential to the understanding of weavepatterned textiles
• Concludes with a rich set of case studies to demonstrate ingenious and effective weave
and design solutions
JULIE HOLYOKE is affiliated with the Lisio Foundation, Florence, Italy.
297 x 210mm / 11.7 x 8.3 inches
HB 9780857853455 · £35.00 / $60.00
Bloomsbury Academic
Part One: The Designer’s Skill Set
Visual Analysis: Identifying Contrasts
Sample Analysis and Documentation:
Structure and Design
Weave Drafting Methods: Recording,
Designing and Reading Weaves
contents
Acknowledgments and Abbreviations
Introduction
Part Two: Technology, Process, Technique
Weave-patterning Technology
Design Process and Terminology, from
Sketch to Card
Figuring Techniques
Part Three: Woven Structure, Design and
the Jacquard Medium
Weave Glossary, Choosing and Building
Weaves, Evaluating Weaves
Which Comes First: Figuring Technique or
Design
Case Studies
Notes
Bibliography
Contributors
Photography and Illustrations Credits
Index
41
TEXTILE DESIGN
AND TECHNOLOGY
Dyeing and Screen-Printing
on Textiles 2nd edition
Joanna Kinnersly-Taylor
This new edition of Dyeing and Screen-Printing on Textiles has been fully updated, with revised
recipes and methods, and brand new images. This essential text is a clear, easy-to-follow
guide for students as well as accomplished artists and designers who wish to expand their
knowledge of a range of fascinating techniques. Joanna Kinnersly-Taylor covers all the key
processes used in creating dyed and screen-printed fabrics using a range of synthetic dyes.
• Suitable for students and textile artists as well as hobby textile-dabblers
• Includes recipes for cloth preparation, dyeing and printing, fixation, designing a repeat,
and preparing imagery and screens for exposure
• Features a selection of work from international artists
• Advises students on equipment needed for setting up a studio and safe working practice
JOANNA KINNERSLY-TAYLOR is a visiting lecturer at a number of colleges and universities and
has exhibited widely, both in the UK and abroad.
dyeing and screen-printing on textiles
thickeners
producing a stable thickener that gives sharp prints and is also capable
of withstanding acidic conditions, making it suitable for use in acid and
pigment resist pastes. there are various brands of thickeners on the
market, including ‘tylose c’, ‘Diaprint 1060’, and ‘printex’ range, but
unfortunately these are not easily available in the uK. However, it is
possible to purchase tylose in small quantities from cake-decorating
suppliers, as it is used for icing (see www.cake-stuff.com).
syntHetics
emulsion thickeners
these are now mostly used with pigment print pastes, where white
spirit has mainly been replaced by solvent-free ingredients. in the past,
white spirit emulsion was combined with an alginate thickener such
as Manutex to make a thickener for use with reactive and disperse
dyes. in industry their use has declined, due to environmental concern
and the development of synthetic alternatives. thickeners or binders
for pigment pastes can be bought ready-mixed.
Joanna Kinnersly-taylor (uK), the
shape of things (detail), 2009. screenprinted irish linen using reactive dyes
and discharge, 133 x 260cm (52 x
102in.). photo: electric egg ltd
UK March 2012 · US June 2012
192 pages · 150 bw & 60 colour
Joanna Kinnersly-taylor (uK), shawl
currents, balcony ‘aprons’ at the
Fishermen’s Mission, north shields,
tyne & Wear; part of Wavelengths, a
temporary externally-sited project
commissioned by northern print
studio, 2005. Dyed and screen-printed
with reactive dyes, pigment and
discharge on wool, each: 150 x 300cm
(59 x 118in.). photo: Joe ingleby
246 x 189mm / 9.7 x 7.4 inches
PB 9781408124758 · £19.99 / $29.95
solvitose / Monagum
starch ethers can withstand strong alkaline conditions without
breaking down and are used for white discharge printing on reactive
and direct grounds, colour discharge printing with basic dyes and
colour discharge printing with pigments. it is also the thickener used
for devoré printing onto protein fibres and in crimping pastes.
the most well-known brand of starch ether thickener is ‘solvitose’,
and there are two types: ‘c5’ (maize starch) and ‘oFa’ (guar gum
based). in the uK, solvitose c5 is most easily available and is the
recommended starch ether thickener for recipes in this book; in the
us, Monagum would be an equivalent product. these are best mixed
well in advance to ensure there are no lumps remaining in the paste.
solvitose c5
1 Measure 1 litre cold water, and slowly sprinkle 120g solvitose c5
powder or flakes onto the surface, mixing thoroughly with an electric
whisk. leave to stand for a few hours or, if possible, overnight.
Monagum
Measure 1 litre lukewarm water, and slowly sprinkle 36g Monagum
flakes onto the surface, mixing thoroughly with an electric whisk.
leave to stand for a few hours or, if possible, overnight.
1
cellulose ethers (carboxymethyl cellulose or cMc)
cellulose ethers are made from purified cellulose of cotton or wood
origin. the grainy white powder dissolves easily in hot and cold water,
68
69
Fashion, Design and Technology
Bradley Quinn
This highly illustrated book takes a cutting edge look at the latest textiles and textile
technologies. Covering all applications, including fashion, architecture, interior decoration,
medicine, and industry, it includes a wide range of international artists, designers and
industry names.
2010 · 320 pages · 150 bw & 60 colour illus
244 x 172mm / 9.6 x 6.8 inches
PB 9781845208080 · £19.99 / $34.95
HB 9781845208073 · £60.00 /$99.95
Berg Publishers
42
key titles
Textile Futures
TEXTILE HISTORY
AND CULTURE
Global Denim
Daniel Miller and Sophie Woodward
“An interesting and commendable first foray into an anthropology of blue jeans.” Anthropology Review
Database
On any given day nearly half of the world’s population is wearing blue jeans. This is the first serious attempt
to understand the causes, nature and consequences of the rise of ‘global’ denim. While discussing the
consequences of denim at the global level, the book consists of some exemplary studies by anthropologists
of what blue jeans mean in a variety of local situations. These range from the discussion of hip-hop jeans in
Germany, denim and sex in Milan through to the connection between denim and recycling in the US.
DANIEL MILLER is Professor of Material Culture at University College, London, UK. SOPHIE WOODWARD is
Lecturer in Sociology at the University of Manchester, UK.
2. The Making of an American Icon: The Transformation of Blue Jeans during the Great Depression
3. Diverting Denim: The Ecology of Jeans in Popular Hindi Film
4. How Blue Jeans went Green: The Materiality of an American Icon
5. The Limits of Jeans in Kannur
6. ‘Brazilian Jeans’: Materiality, Body and Seduction at a Rio de Janeiro Funk Ball
7. Indigo Bodies: Fashion, Mirror Work and Sexual Identity in Milan
contents
1. The Global Denim Project
2010 ∙ 224 pages ∙ 12 bw illus ∙ 234 x 156 mm
PB 9781847886316 ∙ £19.95 / $29.95
HB 9780857851420 ∙ £55.00 / $99.95
Library eBook 9780857851420 ∙ £55.00 / $89.99
Berg Publishers
8. Jeanealogies: The (Im)permanence of Relationships
9. Picaldi Jeans and the Figuration of Working-Class Male Youth Identities in Berlin: An Ethnographic Account
>> See also pages 54, 64, 66
10. The Jeans That Don’t Fit: Marketing Cheap Jeans in Brazil
Warp and Weft
Woven Textiles in Fashion, Art and Interiors
Jessica Hemmings
“Readable, with enough technical insight to satisfy an academic or professional audience and enough
explanation to reach a more casual reader. Carefully chosen photographs (and especially the detail
shots) help clear up any ambiguities and pique the reader’s curiosity.” Selvedge
This beautiful weaving book explores the world of woven textiles created for fashion, interiors and art. It
focuses on the many different weaving structures used in modern textiles, from the childishly simple to the
incredibly complex, and the effects these are used to create.
An excellent resource for everyone with an interest in modern, woven textiles, this book features work by
contemporary makers including Salt, Nuno, Maggie Orth, Dashing Tweeds, Ismini Samanidou, Liz Williamson,
Dries van Noten, Lia Cook and Mark Pollack.
Jessica Hemmings is Professor of Visual Culture and Head of the Faculty of Visual Culture at the National
College of Art and Design in Dublin, Ireland.
246 x 189mm / 9.7 x 7.4 inches
PB 9781408134443 · £19.99 / $29.95
43
TEXTILE HISTORY
AND CULTURE
Hand Stitch
Perspectives
Alice Kettle and Jane McKeating
The companion volume to Machine Stitch, Hand Stitch is an essential read and reference for any textiles student,
practicing embroiderer, designer and artist. Together these two titles form the significant and substantial
references on current stitch practice. Each chapter is written by an established maker, embroiderer, artist
or academic and discusses hand stitch from a different perspective. Wonderful illustrations of artistic hand
stitch, both contemporary and historical, demonstrate this diverse and intimate craft in detail. The contributors
draw upon important collections including the Victoria and Albert Museum, London, the Whitworth Art
Gallery, Manchester, and the rich archive held by Manchester School of Art in this extensively researched and
beautifully presented volume.
Contributors Include: Lesley Millar, David Owen, Tom Lundberg, Kate Egan, Heather Belcher, Anne Morrell,
June Hill, Melanie Miller, James Hunting, Ian Wilson, Nigel Hurlstone, Lesley Mitchison, Ann French, Tracy Gill,
Sue Prestbury.
ALICE KETTLE is Senior Research Fellow at Manchester School of Art, UK, Visiting Professor at the University
of Winchester, UK and is one of the UK’s finest textile artists. JANE MCKEATING is Director of Studies in the
design Department at the Manchester School of Art, UK.
oR imagined: conveRsations
about stitching on to and into
Real
j a n e m c k e at i n g
Ground in Cloth and Thread
Asif Shaikh
Kutchchi Ari, 2009. Chain stitch with ari
needle and twisted silken floss. Detail
of Kutchchi ari border, embroidered with
twill weave pure silk, embellished with
badla (flat metal strip) and sequins. The
collections are stitched in Ahmedabad
for international clients. The designs
are inspired by and adapted from
traditional Kutchchi designs held in the
V&A collection. 10 x 18 cm (4 x 7 in.).
Collection revival of Kutchchi ari. Photo:
Asif Shaikh.
g r o u nd
i n
c l o th
a n d
t h r e a d
The cloTh and The Thread
as i sew, a conveRsation with embRoideReR asif shaikh
earlier this year
in Ahmedabad keeps playing in my mind. Initially, I thought it was due to his
intense use of miniature stitching, the way he had reduced the scale of his designs
by half, challenging himself to make work where the minute stitches are hardly
visible. However, on reflection, I now feel certain that it was his obsession with the
straight grain that stayed with me. He stressed repeatedly, ‘For me, geometry is very
important, the grain lines keeping it very straight when you remove it from the
frame.’1 Asif ’s designs and stitches are neither geometric nor rigid, but beautifully
placed, intricate motifs adorning immaculate garments. His determination is to
perfect, to produce something of absolute quality, which for him required complete
precision, order and control.
Reflecting on the conversation, analysing in turn the role of order in my own
and others’ practice, I understand that I stitch against the grain, marks going a little
askew, the weave of the cloth distorting the image. The cloth’s structure inflicts a
grid to accept or ignore, a rule asking to be obeyed or broken. Sometimes a stitched
line is moving happily along the warp and then shoots off, finding its own pattern.
Stitching layers of overlaid cloth creates an intriguing, jarring mix.
I have observed artists select, absorb, reject and experiment with threads and
grounds and have become interested in embroiderers’ choice of, and sensitivity
to, their materials. That a stitch can and does exist independently from a ground
and is made from materials other than fibre is discussed elsewhere. Here I present
responses to the relationship between thread and cloth and illustrate that the
ground, its surface, structure and handle, is central to encapsulating the spirit of the
work. A selection of apparently random examples illustrates a commonality that
transcends the professional and amateur, the historic and the contemporary, the
novice and the experienced. The commonality here being the stitches’ connection
to a base, as Gavin Fry describes it, the ‘in and out, not the on’.2
Whether artists paint or stitch, I have recently begun to understand that the
attraction of stitch for me is the connection of thread to cloth. Cloth dictates
a history; it has tactile qualities and its structure, usually constructed of thread,
suggests somewhere to start. Nigel Cheney expresses this well:
I went through a few years of thinking I had to be a painter and tried oils (allergic),
canvas (too bouncy) MDF (better), acrylic (just can’t get enough layers before it becomes
fugitive), watercolours (too disciplined and can’t leave the white of the paper ) … paint
just isn’t enough. I look at them and they are flat and dead and without the bounce,
edge and depth that stitch has.3
He goes on to describe hand stitch as ‘like a highlighter pen’. Applied to
the cloth, the stitch punctures and punctuates, heightens and distorts, even has a
right and a wrong. It eventually obliterates the cloth in various proportions, the
embroiderer judging how much of the cloth needs to remain visible. Stitch is
physical colour in a multiplicity of guises, a means to imbue the cloth with ideas,
28
29
the
james hunting
The Professional Embroiderer?
James Hunting
Sample, 2000. Stranded cotton
embroidery on silk tulle. Photo: James
Hunting. I produced a range of wedding
veils for a client. I used soft-coloured
cottons rather than the traditional
cream. They are stitched with two
strands of cream cotton and one other
colour, which runs through. This is an
aspect of stranded cotton: you can
blend colours through mixing strands.
132
44
this chapter is a reflection on the identity of a professional embroiderer,
his role, his knowledge and his current and future working patterns. It is written
as my own opinion and not as the definitive and sole function/persona of the
professional embroiderer. The particular emphasis of the chapter will be on the
use of embroidery within the fashion arena; as a skill, it needs to be far more
comprehensive than simply an ability to technically make work to a high standard.
Within this chapter, the term ‘hand’ is used to describe any work not produced
on a machine, free-arm or otherwise. I use the term ‘professional embroiderer’ to refer
to an artisan who is able to use his or her skill and knowledge of hand-embroidery
techniques in order to produce work for a third party or commissioning client.
Within this second definition, there is a distinction to be made, since there remain a
few embroiderers who are wedded to technical skill. They are experts in their field
but they do not involve themselves in any of the design process. They may be from
the older generation of embroiderer and have worked as employees of embroidery or
couture houses. For such artisans, the work may not be to their taste, but this is not
a question that they pose, since their job is to execute the work professionally within
any given time constraints and to any budget.
The embroiderers of today are more often artisans who can apply their
knowledge to resolve ideas and design concepts, innovate with materials and
techniques in order to remain economically viable, and display an individual
approach to their skills that can integrate and complement the aesthetic
considerations of their clients.
The term ‘embroidery’ is generally synonymous with the act of using needle
and thread on a cloth base. The term, however, is now open to a multitude of
activities that include beading, the addition of sequins, and all embellishments to
an article of clothing which lie outside other specific disciplines such as knit, weave
or print. Economically, within the reality of the current fashion world, it is rare to
produce any hand-stitched work other than samples (which will be translated into
mechanical outcomes, and the wedding market, which I will discuss later).
I am not including here designer-makers who sell their own products or
artworks. They may be professional but do not fall within the focus of this chapter,
which is the application of skill in the artisan world.
My own professional identity lies where skill is mixed with a strong design
element and an awareness and knowledge of the wider context, history and
potential of embroidery, together with an ability to look beyond the technical
precedents and constraints of tradition.
p r o f e s s i o n a l
e m b r o i d e r e r
?
The profession of embroiderer is under threat in the UK. We have to
recognise that we cannot compete with the market leaders in the making of hand
embroidery. Freelance embroiderers in the UK have a set of fixed charges and
expenses that specify a higher hourly rate of pay, and given the time-intensive
manner of hand embroidery, we cannot be as cheap as the current market leaders,
China and India.
The haute couture tradition of hand embroidery in France could be said to be
superior. The French have a proactive approach to the retention of traditional craft,
of artisanship and of regional knowledge, which means that embroidery continues
to maintain its status as a serious profession. In France, training is financially
supported by both the Ministry of Culture and the Ministry of Education, since
embroidery is identified as a national skill. They train people to work with the
couture world to a very high level of technical speed and finish; however, I have
observed that the one thing that appears to be absent in their training is the
achievement of a personal, individual, artistic approach.The cultural rules in France
are so well established that although lip service is paid to the idea of the individual
the individualists seem to be frowned upon.
My own particular area, whilst working in the couture houses in Paris,
was finished or nearly finished dresses, so I would often be contacted late in the
collection to produce work. This would mean working in the main studio of the
couture house, unlike the French embroiderers, who stitched on framed-up work
in the studios of the embroidery companies, the dresses being delivered for fitting.
The work was focused and time was of an essence: there is no way you can be late
for a catwalk. Often, dresses were finished just before the show, and by the word
‘just’, I mean five minutes beforehand.
Work was often interrupted by fittings and design developments, which could
alter the work and outcome. These changes had to be absorbed and reacted to –
this too is the reason that an embroiderer has to be able to apply knowledge and
skills in order to achieve; designers are not interested in ‘how’, just ‘when’. The
greatest advantage was to work in the proximity of the ‘petites mains’, the artisans
of the ateliers who have an incredible skill base, can fit a garment by eye, and can
produce exquisitely made and resolved pieces quietly and efficiently, the storm of
the creative team passing over their heads. Fabric and couture techniques demand
their own respect. I was more interested in gaining the respect of the petites mains
than the designer himself or herself: for me, the ultimate in a good job is the respect
of other artisans and experts in their field.
One of our skills in the UK is our ability to innovate, to take ownership of
techniques and skills, to rework and approach them in a different way. This is a
vital and essential part of our economic viability that should be celebrated (look at
the ‘Cool Britannia’ label and how much cultural and creative activities bring into
the UK). The embroidery world needs innovation, it needs to constantly build on
tradition, rather than simply reworking seventeenth-, eighteenth- or nineteenthcentury models in order to preserve the skills. I believe that we need to continue
to acquire technical knowledge and to understand the mechanics and gesture of
James Hunting
Samples, 2010. Silk thread, handstitched on to silk duchesse satin.
Photo: James Hunting. The brief these
samples were made for was to change
the texture of the silk duchesse and
lose the join between the fabrics. The
client had a very strong image of her
look and needed the fabric to look less
wedding-like and pristine. I had been
looking at self-coloured embroidery and
was interested in the geometric look, an
extension of seeding stitch worked on
the surface.
133
276 x 219mm / 10.9 x 8.6 inches
HB 9781408123416 · £35.00 / $55.00
FASHION AND
COSTUME HISTORY
The History of Sportswear
Fashion From Chanel to Wang
Christian Blanken
The History of Sportswear is the definitive guide to sportswear and leisurewear fashion over
the past century.
Chronologically mapping the rise of sportswear over the past century through the designers
that made the style mainstream, author and luxury fashion designer Christian Blanken gives
fascinating insights into the development of sporting style. Featuring interviews with some of
the biggest names in fashion today, this beautifully illustrated book brings a unique insider’s
perspective focussed as much on the nuances of the design developments as the wider
historical context.
•
•
•
•
eaturing interviews with top designers and industry insiders from across the globe
F
Written by a practising high-end fashion designer for a unique insight
Beautifully illustrated
Presented chronologically for an in-depth overview of the topic
CHRISTIAN BLANKEN is a UK-based fashion designer.
UK February 2014 ∙ US February 2014
144 pages ∙ 80 colour 40 bw illus
219 x 276mm / 10.9 x 8.6 inches
PB 9780857856463 ∙ £19.99 / $29.95
key titles
Japanese Fashion Designers
The Work and Influence of Issey Miyake,
Yohji Yamamoto and Rei Kawakubo
Bonnie English
“A comprehensive synthesis of the works and careers of the three Japanese designers who
revolutionized the Western fashion world... This is a must read for anyone interested in Japanese
fashion.” Yuniya Kawamura, Fashion Institute of Technology/State University of New York, USA
Based on twelve years of research, this book provides a richly detailed and uniquely comprehensive
view of the work of these three key designers. It outlines their major contributions and the
subsequent impact that their work has had upon the next generation of fashion and textile
designers around the world.
Designers discussed include: Issey Miyake, Yohji Yamamoto, Rei Kawakubo, Naoki Takizawa,
Dai Fujiwara, Junya Watanabe, Tao Kurihara, Jun Takahashi, Yoshiki Hishinuma, Junichi Arai,
Reiko Sudo & the Nuno Corporation, Makiko Minagawa, Hiroshi Matsushita, Martin Margiela, Ann
Demeulemeester, Dries Van Noten, Walter Beirendonck, Dirk Bikkembergs, Alexander McQueen,
Hussein Chalayan and Helmut Lang.
2011 ∙ 192 Pages ∙ 24 colour & 40 bw illus
244 x 172mm / 9.6 x 6.8 inches
PB 9781847883100 ∙ £17.99 / $29.95
HB 9781847883117 ∙ £55.00 / $99.95
Library eBook 9780857853134 ∙ £54.99 / $89.99
Berg Publishers
BONNIE ENGLISH is Associate Professor in Art and Design Theory at the Queensland College of Art,
Griffith University, Brisbane, Australia.
45
FASHION AND
COSTUME HISTORY
A History of the Paper
Pattern Industry
Joy Emery
A History of the Paper Pattern Industry explores this history, outlining innovations in
patternmaking by the companies who produced patterns and how these reflected the fashions
and demands of the market.
Showcasing beautiful illustrations from original pattern pamphlets, packets and ads, the book
provides a unique visual guide to homemade fashions as well as essential exploration of the
industry that produced them.
• Provides a concise overview of the paper dress pattern industry across the centuries
• Highly illustrated with 200 images from packets and advertising, the book also includes
12 original patterns from different decades which readers can use to make vintage
garments
• An essential read for fashion students, researchers, sewers and fashion enthusiasts
Joy Emery
A History of the Paper Pattern Industry
JOY EMERY is Professor Emerita of Theatre and the Curator of The Commercial Pattern Archive
at the University of Rhode Island, USA.
UK January 2014 ∙ US March 2014
256 pages ∙ 75 bw & 125 colour
244 x 189mm / 9.6 x 7.4 inches
PB 9780857858313 ∙ £19.99 / $29.95
HB 9780857858306 ∙ £55.00 / $99.95
Bloomsbury Academic
2. Development of Dressmaking Patterns
3. Nineteenth Century Technology
4. Early History of Pattern Companies
1860s-1880s
5. New Markets and expansion 1880s-1900
6. Shifts and Balances 1900-1920s
7. Blossoming Economy 1920-1929
8. Surviving the Great Depression 1930s
9. The War Years 1940s
10. Shifting Trends 1960s
11. New Challenges 1960s-1980s
12. Reinvention and Renaissance
1980s-2010
46
contents
1. Birth of Published Garment Patterns to
the 20th Century
FASHION AND
COSTUME HISTORY
Luxury Fashion
A Global History of Heritage Brands
Caroline Cox
Luxury Fashion is a unique tribute to the world’s most hallowed fashion brands. Glossy and highly informative,
it provides in-depth feature portraits of fifty of the finest luxury fashion brands (renowned heritage labels and
hidden gems) as well as an essential directory of a further 150 brands, which includes details of key items
and where to find them.
Each featured brand is beautifully illustrated, with historical and contemporary images, evoking the story of
how artisans from all over the world have created objects of desire that have endured because of their superb
quality, superior craftsmanship and timeless design appeal. Lively, insightful text explores manufacturing
processes and materials, revealing how the most revered fashion brands have maintained astonishingly long
lineages. A luxurious and sophisticated volume, Luxury Fashion will captivate and inform even the most avid
fashion devotee.
CAROLINE COX is an International Consultant at Vidal Sassoon’s Advanced Academy in London, UK.
UK November 2013
HB 9780857857552 ∙ £30.00
Available in the UK only
Decades
A Century of Fashion
Cameron Silver
“Stunning ... it’s an education not only about the people who create fashion but also the people who bring
the looks to life.” Los Angeles Times
“A brilliant showcase of the past century of fashion.” Elle Decoration
Cameron Silver runs the most glamorous boutique in LA, where Hollywood royalty go to find vintage couture
that is totally unique and utterly timeless. Decades is a showcase of the past hundred years of fashion,
accompanied by Silver’s witty commentary. Each chapter opens with a pair of women who epitomise rival
hot trends, like the luminous Cheryl Tiegs with her sunshine sexiness versus Bianca Jagger, the dark disco
goddess of Studio 54. The chapters close with a designer of the decade: think Chanel, YSL and Dior at their
most fabulous. Every one of the more than 150 photographs in the book is completely contemporary and
modern-looking, even as far back as the 1900s. There are rare and previously unpublished images, as well as
work by legendary fashion photographers.
Decades is a bubbling, sassy, fabulous book that will make you think about vintage fashion in a totally new
way.
HB 9781408806364 ∙ £40.00 / $60.00
Bloomsbury Publishing
CAMERON SILVER has been named one of Time magazine’s “25 most influential names and faces in fashion.”
He is currently filming his television series as well as developing new projects for Decades and elsewhere.
A History from Sandals to Sneakers
Edited by Giorgio Riello and Peter McNeil
“At last a work that deals not only with the history of footwear, but also with its cultural significance.
This volume helps transform the shoe from a mundane object of everyday use into something of great
social and psychological power.” Manolo Blahnik
PB 9780857850386 ∙ £19.99 / $29.95
HB 9781845204433 ∙ £29.99 / $49.95
Berg Publishers
key titles
Shoes
47
FASHION AND
COSTUME HISTORY
TEXTBOOK
A Cultural History of
Fashion in the 20th and
21st Centuries 2nd edition
From Catwalk to Sidewalk
Bonnie English
“This new edition of Bonnie English’s invaluable introduction to the cultural perspectives
on fashion in the twentieth century expands upon her original text, covering and updating
her investigation of both the commercial and cultural aspects of fashion. Situating fashion
as both intercontextual and interdisciplinary, English provides a solid grounding of issues,
concerns and debates that are essential to understand for any scholar of fashion.” Shaun
Cole, London College of Fashion, UK
“This edition has encompassed all the intricacies of the fashion world and refreshingly
included insight into the ‘business’ of the industry. A valuable tool for opening up the
fashion world to students, and a one-stop read that will be entertaining for fashionistas
who are keen to learn more about the mysteries of fashion.” Kay McMahon, Queensland
University of Technology, Australia
This new edition of a best-selling textbook is designed for students, scholars, and anyone
interested in 20th century fashion history. Accessibly written and well illustrated, the book
outlines the social and cultural history of fashion thematically, and contains a wide range of
global case studies on key designers, styles, movements and events.
UK March 2013 ∙ US May 2013
244 x 169mm / 9.6 x 6.6 inches
PB 9780857851352 ∙ £16.99 / $29.95
HB 9780857851345 ∙ £55.00 / $100.00
• A longer, more attractive new edition of this successful overview text, completely
revised throughout
• Twice as many images as the first edition and two colour plate sections
• Contains new content on eco-fashion, fashion and the museum, major changes in the
fashion market in the 21st century (including the impact of new media and retailing
networks), new technologies, fashion weeks, the rise of Asian fashion centers and more
Bloomsbury Academic
BONNIE ENGLISH is Associate Professor in Art History and Theory at the Queensland College
of Art, Griffith University, Brisbane, Australia.
TEXTBOOK
5th edition
Phyllis G. Tortora and Keith Eubank
Survey of Historic Costume, 5th Edition, which now includes a free student Study Guide,
presents a thorough overview of Western dress from the ancient world to the trends of
today. Each chapter presents social, cross-cultural, environmental, geographic, and artistic
influences on clothing. With visuals, illustrated tables, and in-depth discussions, readers
come to recognize recurring themes and concepts and understand the role of dress from a
diverse, global perspective.
2009 ∙ 640 Pages ∙ 500 colour illus ∙ 216 x 279 mm / 8.5 x 11 inches
HB 9781563678066 ∙ £80.00 / $119.50
Value Pack with Free Student Guide Available (978160902304) Pricing Available Upon Request
Fairchild Books
48
key titles
Survey of Historic Costume
FASHION AND
COSTUME HISTORY
Poiret, Dior and Schiaparelli
Fashion, Femininity and Modernity
Ilya Parkins
Through a highly original and detailed analysis of the memoirs, interviews and other life writings of Poiret, Dior
and Schiaparelli, this book explores changing notions of femininity in the early decades of the twentieth century,
when the democratization of fashion began.
Examining the idea of modernity, eternity and the ephemeral in the writings of these haute couturiers, the book
reflects on fashion’s ambivalent approach to women, which both celebrated and vilified them, presenting them as
both ultra modern style leaders and irrational creatures stuck in the past.
ILYA PARKINS is Assistant Professor of Gender and Women’s Studies at the University of British Columbia,
Okanagan, Canada.
UK September 2012 ∙ US November 2012
234 x 156mm / 9.2 x 6.1 inches
PB 9780857853271 ∙ £19.99 / $29.95
HB 9780857853264 ∙ £55.00 / $99.95
Library eBook 9780857853288 ∙ £19.99 / $30.99
Berg Publishers
Fashion and Orientalism
Dress, Textiles and Culture from
the 17th to the 21st Century
Adam Geczy
“Geczy opens our eyes to an understanding of fashion as an exchange of values between Asia and the West
for the past 500 years. This timely, patiently researched, brilliantly written book will become the standard
reference for the field and a must-read for anyone interested in the intersections of cultural studies, art
history and philosophy.” Melissa Chiu, Director, Asia Society Museum, New York, USA
In this groundbreaking book, the author shows the extent of the influence that the Orient had, and continues
to have, on fashion. Exploring topics including Chinoiserie, masquerade, bohemianism, Japonisme, the “deOrientalization” of the Orient, perfume and the birth of couture, Fashion and Orientalism is an essential read for
students and scholars of fashion, cultural studies and history.
ADAM GECZY is a Senior Lecturer at Sydney College of the Arts, a faculty of the University of Sydney, Australia.
272 pages ∙ 44 bw illustrations
234 x 156mm / 9.2 x 6.1 inches
PB 9781847885999 ∙ £19.99 / $29.95
HB 9781847886002 ∙ £55.00 / $100.00
Library eBook 9780857854261 ∙ £60.00 / $50.00
Bloomsbury Academic
A Cultural History of Jewish Dress
Eric Silverman
A Cultural History of Jewish Dress is the first comprehensive account of how Jews have been distinguished by
their appearance from Ancient Israel to the present. This lively work explores the rich history of Jewish dress,
examining how Jews and non-Jews alike debated and legislated Jewish attire in different places, as well as
outlining the big debates on dress within the Jewish community today.
Focusing on tensions over gender, ethnic identity and assimilation, each chapter discusses the meaning and
symbolism of a specific era or type of Jewish dress. The book also offers the first analysis of how young Jewish
adults today announce on caps, shirts, and even undergarments their striving to transform Jewishness from a
religious and historical heritage into an ethnic identity that is hip, racy, and irreverent. Fascinating and accessibly
written, A Cultural History of Jewish Dress will appeal to anybody interested in the central role of clothing in
defining Jewish identity.
ERIC SILVERMAN is Associate Professor of Anthropology in the American Studies and Human Development
department, Wheelock College, Boston, USA and a Scholar at the Women’s Studies Research Center, Brandeis
University, USA.
244 x 172mm / 9.6 x 6.8 inches
PB 9781847882868 ∙ £19.99 / $34.95
HB 9781845205133 ∙ £55.00 / $99.95
Library eBook 9780857852090 ∙ £60.00 / $50.00
Series: Dress, Body, Culture
Bloomsbury Academic
49
FASHION AND
COSTUME HISTORY
The Swimsuit
Fashion from Poolside to Catwalk
Christine Schmidt
The Swimsuit documents the modern swimsuit’s trajectory from men’s underwear and circus/performance wear to its unique
niche in world fashion. This exciting book explores the history and significance of the swimsuit, revealing how fashion, sport,
entertainment, publicity and national identity have been played out in this unique and at times scandalous garment. In addition,
the book offers new perspectives on national histories of the swimsuit and investigates how traditional European fashion
centers have opened up to new markets and modes of living, bringing together influences from around the globe.
CHRISTINE SCHMIDT is a fashion researcher and independent fashion and concept consultant.
UK October 2012 ∙ US December 2012 ∙ 163 pages ∙ 46 bw illus ∙ 244 x 172mm / 9.6 x 6.8 inches
PB 9780857851239 ∙ £19.99 / $29.95 ∙ HB 9780857851222 ∙ £55.00 / $99.95
Individual eBook 9780857851253 ∙ £19.99 / $30.99 ∙ Library eBook 9780857851246 ∙ £60.00 / $50.00
Berg Publishers
Wartime Fashion
From Haute Couture to Homemade, 1939-1945
Geraldine Howell
“A rigorous, meticulously researched - and fantastically well referenced - text which will make a significant contribution
to existing studies on women’s dress during wartime Britain.” Professor Amy de la Haye, London College of Fashion, UK
Wartime Fashion explores the impact of war on the dress and appearance of civilian women of all classes in the context of
changing social and economic infrastructures created by the national emergency. Using new archival and primary source
evidence, this book clarifies how and why clothing was rationed, and repositions style and design during the war in relation to
past expectations and ideas about clothes and fabrics.
GERALDINE HOWELL taught Theoretical Studies for over twenty years on the Fashion Design course at the University of
Westminster, UK and recently became a freelance writer on dress history.
UK December 2012 ∙ US January 2013 ∙ 272 pages ∙ 30 bw illus ∙ 234 x 156mm / 9.2 x 6.1 inches
PB 9780857850713 ∙ £19.99 / $34.95 ∙ HB 9780857850706 ∙ £55.00 / $99.95
Berg Publishers
Victorian Fashion Accessories
Ariel Beaujot
Victorian Fashion Accessories explores how women’s use of gloves, parasols, fans and vanity sets revealed their class, gender
and colonial aspirations.
Beaujot’s engaging prose illuminates the complex identities of the women who used accessories in the Victorian culture that
created and consumed them. Victorian Fashion Accessories is essential reading for students and scholars of, history, gender
studies, cultural studies, material culture and fashion studies, as well as anyone interested in the history of dress.
2012 ∙ 192 pages ∙ 53 bw illus ∙ 234 x 156 mm / 9.2 x 6.1 inches
PB 9781847886828 ∙ £19.99 / $34.95 ∙ HB 9781847886835 ∙ £54.99 / $99.95
Berg Publishers
Oral History in the Visual Arts
Edited by Linda Sandino and Matthew Partington
Oral History in the Visual Arts is the first book to explore the theory and practice of oral history as a methodology across a wide
range fields including art, design, fashion, textiles, museum studies, history and craft. This groundbreaking text demonstrates
how artists, writers and historians deploy interviews as creative practice, as ‘history’, and as a means to insights into the
micro-practices of arts production and identity. Through a wide range of case studies from international scholars and
practitioners across a variety of fields, the volume maps how oral history interviews contribute to a practice that is creative,
rigorous and ethically grounded.
LINDA SANDINO is the CCW/VA Senior Research Fellow at Victoria and Albert Museum, London, UK. MATTHEW PARTINGTON is
the Victoria and Albert Museum Senior Research Fellow (Applied Arts) at the University of West England and a Research Fellow
at the Victoria and Albert Museum, London, UK.
UK February 2013 ∙ US April 2013 ∙ 224 pages ∙ 32 bw & 24 colour illus ∙ 246 x 189mm / 9.7 x 7.4 inches
PB 9780857851987 ∙ £19.99 / $29.95 ∙ HB 9780857851970 ∙£55.00 / $99.95
Bloomsbury Academic
50
BERG FASHION
LIBRARY
Berg Fashion Library
WINNER OF:
2012 PCAACA Electronic Reference Award • 2011 Dartmouth Medal for Outstanding
Reference • ALA Outstanding Reference Source • Bookseller FutureBook Award for
Best Website • Independent Publishers Guild Frankfurt Book Fair Digital Award • Highly
Commended ALPSP Certificate for Publishing Innovation 2011 • Booklist Editor’s Choice 2011
Incorporating the Berg Encyclopedia of World Dress and Fashion,* this unique online portal is the
leading source of information for anyone working on dress or fashion.
The Berg Fashion Library offers users cross-searchable access to an expanding range of
essential resources, and it is updated at least three times a year to keep students, scholars,
and professionals at the cutting edge of their subject.
Key Content:
•
•
•
•
•
The Berg Encyclopedia of World Dress and Fashion online – updated twice a year
Lesson plans with links through to online content
Online exclusive articles available only to subscribers
E-book collection: full text of c. 70 Berg fashion e-books with regular updates
An extensive colour image bank with thumbnails that link through to enhanced content.
This includes:
•
•
•
•
•
•
•
NEW! 500 images (of a total of 2,500 to come) from the Philadelphia Museum of Art
2,000 images from the Metropolitan Museum of Art’s Costume Institute Collection
1,600 images from the V&A Museum’s internationally renowned fashion collection
2,000 images from the Commercial Pattern Archive database (CoPA)
2,000 images from the print Encyclopedia
600 images from MoMu Fashion Museum, Belgium
230 sample images from collections including the London College of Fashion and
The Museum at FIT
• Links to e-journals: cross-searchable functionality with Berg fashion e-journals Fashion
Theory, Fashion Practice and Textile for mutual subscribers
• Links at article level with Oxford Art Online
• Classic and Modern Writings on Fashion: 67 seminal pieces on fashion, including classic
and contemporary essays and primary sources
• Extra reference sources, such as the A-Z of Fashion** and The Dictionary of Fashion
History by Valerie Cumming, C.W. Cunnington and P.E. Cunnington
• Museum Directory
• Specially-created taxonomy guides users to the information they need, and allows them
to refine by place, period, themes, textiles and much more
Key content coming in 2013:
• New online exclusive articles and e-books
• More lesson plans and other teaching resources
• More Images from the Philadelphia Museum of Art
• Content from the Bath Fashion Museum
REGISTER NOW FOR A FREE TRIAL!
Free 30-day trials are available to institutions and
organizations wishing to preview the Berg Fashion
Library.
Customers in North and South America contact us at
[email protected].
Customers outside North and South America contact us
at [email protected].
Berg Fashion Library is distributed by Oxford University
Press.
• Bibliographic articles
* The Berg Encyclopedia of World Dress and Fashion is also available in print as a set or now also as
individual volumes. Please contact [email protected] to find out more.
** All material from The A-Z of Fashion is © The Gale Group; updates supplied by Berg where indicated.
• worldwide
contact:• [email protected]
[email protected]
www.bloomsbury.com www.bergfashionlibrary.com
• US, Canada, South America
• 888-330-8477
51
BLOOMSBURY FASHION
PHOTOGRAPHY ARCHIVE
Bloomsbury Fashion
Photography Archive
A Unique Online Resource for Students and Scholars
Bloomsbury Publishing is pleased to announce plans for an online fashion photography archive
designed specifically for students and researchers.
The Bloomsbury Fashion Photography Archive will be fully searchable and meticulously indexed,
containing over 600,000 high quality images, hundreds of articles and audio and video resources to
provide context and analysis from expert scholars and commentators.
“Bloomsbury is thrilled to have acquired this amazing window into fashion history. The archive
traces the rise of the supermodel and the groundbreaking designs of innovators such as
Vivienne Westwood, John Galliano, Jean-Paul Gaultier and Alexander McQueen. Providing
literally hundreds of thousands of images from the catwalk as well as rare backstage shots at
the shows in London, Paris, New York and Milan, the archive is a treasure trove for students,
designers, and fashion historians.” Kathryn Earle, Head of Visual Arts Pubilshing at Bloomsbury
International Range of Runway, Backstage and Street Style Images
At its centre is the is the Niall McInerney Fashion Photography Archive, the life’s work of a
photographer who has captured many seminal fashion moments covering international runway
shows and street style from the 1970s until 2000.
Featuring a wealth of images from rare backstage shots to inventive ready-to-wear to spectacular
couture shows, this international archive documents key changes in design trends and the cultures
of fashion over a vibrant period in fashion history.
Editor-in-Chief Valerie Steele and The Core Image Collection
The Bloomsbury Fashion Photography Archive will launch with a core image collection curated by
Valerie Steele, internationally renowned scholar and Director of the Museum at FIT in New York. As
Chief Curator and Editor-in-Chief of the Archive, she will commission expert original commentary
on the Archive’s treasures to provide important background and an unrivalled insight into the
fascinating world of fashion they represent.
Additional Resources for Teaching and Learning
Perfect for teaching as well as research, the archive will also contain a range of exciting learning
resources including lesson plans for instructors and students of fashion, design, history,
photography, media, visual culture and related fields.
More information about this resource will be released later in 2013. To register your interest, please
e-mail [email protected].
Images: Niall McInerney Fashion Photography Archive, © Bloomsbury Publishing Plc.
52
UK, Europe, ROW • +44 (0)1256 302699 • [email protected]
www.bloomsbury.com • [email protected]
FASHION, CULTURE,
AND SOCIETY
Slogan T-Shirts
Cult and Culture
Edited by Stephanie Talbot
Slogan T-Shirts explores the vast spectrum of slogan use on T-shirts: its function as a message
delivery system; and its role as an emblem of political, social, recreational and sartorial trends.
The book unfurls as a cultural library of perspectives, nuanced positions and eclectic sources
and each interview offers a cultural snapshot within the versatile framework of slogan T-shirt
culture. The book also glances into the inner worlds, inside stories and mechanisms of those
involved in fashion, design and the production of media.
Beautifully designed, visually seductive and packed with influential innovators from the last
three decades, every page of this book is a source of inspiration.
• Packed with interivews and commentary from designers and industry insiders including:
Antoni and Alison, Karen Savage, Katherine Hamnett, Topshop, Barnzley Armitage, Vexed
Generation, 6876, YMC, Scott King, Gerard Saint at Big Active, Experimental Jetset, 2k By
Gingham, Iain R Webb, I Love Boxie, Cassette Playa, Karen Savage, Dr Noki, Jeremy Deller,
Ian Warner and Oliver Miller At Slab Magazine, Delay No More, and Toby Mott
• Showcases hundreds of photographs including pictures of T-shirts from rarely seen
collections
• Features many rarely seen and collectable vintage T-shirts including McLaren and
Westwood’s designs, original artwork by English artist and anarchist Jamie Reid, political
slogan T-shirts from the private collection of Howard Besser and many more
STEPHANIE TALBOT is a freelance writer, stylist and creative consultant.
116
116
UK January 2013 ∙ US March 2013
176 pages ∙ 400+ colour illus
276 x 219mm / 10.9 x 8.6 inches
PB 9781408157541 ∙ £19.99 / $34.95
S L O G A N T - S H I R T S | Part two: Designers
Barnzley
Armitage
www.achildofthejago.com
‘Choose Life’ (1983)
‘Save The Rainforest’ (1983)
‘Worldwide Nuclear Ban Now’ (1983)
‘I always see people
T-shirts kindly supplied by Katharine Hamnett from the studio’s archive • Models: Amy Thompson and Karlie Shelley
wearing my T-shirts, probably
because there have been
you see one you can’t help but read it.’
According to Hamnett the slogan T-shirt’s
appeal is also its aesthetic: ‘They have to be
something that you would want to wear ...
The use of slogans on a T-shirt gives you a
voice. You speak to anybody who sees you.
They can be quite sexy. Wearing a T shirt
that’s says ‘KNOWLEDGE IS POWER’, for
instance, makes you look like someone who
has a brain, [someone who is] interesting, you
would like to know more about them. You
look as if you are part of a thinking elite. By
wearing the slogan T-shirt, you use your body
to put over a clear message. For instance, the
‘STOP THE WAR COLLECTION’ (2003) started
as a follow up to some T-shirts we did as a
reaction to Bush’s call for a ‘war on terror’.
The ‘NOT IN MY NAME’ T-shirt was hugely
visible in the enormous demonstrations held
in London.’ Always au courant with current
affairs Hamnett continues: ‘Article 13 of
the British “Prevention of Terrorism Act”
142
says that it is illegal to wear a T-shirt with
a politically contentious message. In theory
you can be jailed for wearing a T-shirt that
says ‘FREE TIBET’.’
Hamnett’s assertive and universally
recognisable proclamations have been used as
a blueprint for slogan T-shirts on a scale that
is unparalleled, but as she remarks: ‘Someone
once said you should get worried when they
stop copying you. High street copies are an
endorsement; stupid slogans go nowhere. You
can never really devalue a slogan that’s says
‘WORLDWIDE NUCLEAR BAN NOW’ or ‘SAVE
THE RAINFOREST’. A contribution from sales of
our T-shirts has been made to various charities
over the years. We also donate slogan designs
to charities to help raise awareness and funding.
Sometimes people ask me to do some relating
to a particular issue like AIDS awareness for
H&M where I came up with ‘STOP AND THINK,
USE ONE’ and ‘PROTECT AND SURVIVE = use
a condom’. We try to keep them pure,’ adding;
‘the ‘FRANKIE SAYS RELAX’ wasn’t ours, they
did it themselves.’
During the entire process of producing this
book, one name has repeatedly been cited
as a source of inspiration, regardless of the
industry the contributors come from, and that
is Katharine Hamnett. Moreover, in 2011 the
Queen finally recognised Hamnett by awarding
her a CBE (Commander of the Order of the
British Empire: an official accolade given for
services to the country or community) for
‘services to the fashion industry’.
Hamnett continues to innovate with clothing
designs that make her patrons’ hearts palpitate,
and erudite slogan T-shirts that likewise make
government hearts palpitate: ‘I think they have
turned into a new medium; they don’t seem
to go away. The most popular ones are some
of the first ones we ever did such as ‘CHOOSE
LIFE’, ‘SAVE THE SEA’ and ‘LOVE’. People carry
on asking for them and I keep on making up
new ones. They work.’
so many of them.’
Cultural agitator and co-founder of the
inimitable fashion label A Child of the Jago,
Simon ‘Barnzley’ Armitage’s creative trajectory
has nearly always involved the presence
of T-shirts: ‘Even as a kid I was making
homemade T-shirts, everyone used to do that,
it was standard punk rock practice.’ Yet, what
is palpable about any one of the independent
T-shirt ventures that Barnzley has established
since the 1980s is his ability to demote elitism
through his transgressive tactics and irreverent
vision that capsizes the cultural status quo.
During the latter part of the ’80s a trend
erupted that saw the appropriation of statusled logos such as Chanel and Gucci engaged
with as street fashion, bringing an urban
glamour to what was formerly regarded as
bourgeois fashion. Inadvertently, this guerrilla
gesture changed the fabric of designer labels
as we knew them. By negating the exclusivity
and fiscal inaccessibility of haute couture,
these luxury brands no longer belonged merely
to members of the affluent and privileged,
deluxe fashion had crossed the threshold
into pop fashion’s colourful playground. The
man responsible for this revolutionary T-shirt
spectacle was Barnzley Armitage.
142
It was in the mid ’80s whilst working at
the headquarters of the iconic King’s Road
boutique BOY that Barnzley’s entrepreneurial
spirit was inaugurated: ‘In the studio was a
screenprinting table, and at night, once the
manager had locked up, the guys who had the
keys used to let us in and we’d mess around
with ideas.’ Inspired by the sartorial prowess
of Japanese youths that used to frequent
the King’s Road, Barnzley recalls how they’d
imported a trend that saw buttons removed
from Chanel clothing and sewn onto the front
of jeans. ‘I remember seeing all these Japanese
kids hanging around Worlds End [Vivienne
Westwood’s landmark boutique] with their
video cameras, which at the time you sensed
were going to be the next big thing after
Walkmans. Anyway they seemed so futuristic
with their gadgets and their customised
clothes and quite suddenly there was this
whole thing about bootleg designer clothes.’
This movement towards recontextualising
designer motifs led Barnzley to cut out adverts
from magazines and screenprint them onto
muslin T-shirts: ‘Chanel made this T-shirt just for
their show and I saw it in a magazine and it was
either not for sale or for sale at £300 or something
S L O G A N T - S H I R T S | Part two: Designers
‘Eternal’, designed by Nat Russell (2010)
‘Juste un Garçon’, designed by Curse of the Multiples (2011)
‘Sincere Sin’, designed Margaret Kilgallen (2000)
‘Fly’, designed by Yoko Ono (2003)
‘Watch This Space’, designed by Andy Smith (2008)
‘Art’, designed by Davide Meucci (2008)
‘Juste Une Fille’, designed by Curse of the Multiples (2011)
‘L/S Revolution’ T-shirt with gun/lipstick,
designed by Nick Egan (2011)
‘End’, designed by Andy Smith (2008)
‘New Ouch 41% Yeah 59%’, designed by Geneviève Gauckler (2009)
Although 2K’s covetable merchandise had
been limited to Japan, demand from around
the world generated global expansion. It was in
the latter part of 2000 that 2K set up another
headquarters in Los Angeles fulfilling a palpable
void in the market in the United States.
Several years later 2K changed ownership and
suffixed its original name with ‘by Gingham’.
‘Tatanka’, designed by Frohawk Two-Feathers (2009)
‘Wedding Album’, designed by Yoko Ono (2003)
Interestingly, the name 2K was assigned by
fellow independently-minded enclave, the
Amsterdam-based graphic design studio
Experimental Jetset, who also contributed many
T-shirt designs in the early years. Quite simply,
both founders’ surnames began with a ‘K’.
Nowadays 2K by Gingham continue to
carefully select artists and designers whose
artwork and imagery it considers to be
imaginative. Livingston sums up 2K by Gingham’s
own attraction to text-based T-shirts: ‘I think
slogan T-shirts have weight if you are referencing
the societal changing power in the message of
the work of someone like Katharine Hamnett.
Nonetheless, silly humour is always welcome in
our world as well.’
‘Call Me’, designed by Deanne Cheuk (2011)
‘The Brooklyn Manhattan Queens Brooklyn
Statten Island’, designed by Stereotype
Design (2011)
‘Fame’, designed by Nick Egan (2011)
T-shirts kindly supplied by Indigofera; www.indigoferashowroom.co.uk • Still life images kindly supplied by 2K by
Gingham • Model: E-Sinn Soong
53
FASHION, CULTURE,
AND SOCIETY
The Language of Fashion
Roland Barthes
Roland Barthes was one of the most widely influential thinkers of the 20th Century, and the semiotic power
of fashion and clothing were of perennial interest to him. The Language of Fashion – now available in the
Bloomsbury Revelations series – collects some of his most important writings on these subjects. Barthes’
essays here range from the history of clothing to the cultural importance of Coco Chanel, from Hippie style in
Morocco to the figure of the dandy, from colour in fashion to the power of jewellery. Barthes’ acute analysis
and constant questioning make this book an essential read for anyone seeking to understand the cultural
power of fashion.
ROLAND BARTHES (1915-1980) was a major French writer, literary theorist and critic of French culture and
society.
I. Clothing History
1. History and Sociology of Clothing: Some
Methodological Observations
2. Language and Clothing
3. Towards a Sociology of Dress
II. Systems and Structures
4. ‘Blue is in Fashion this Year’: A Note on Research
into Signifying Units in Fashion Clothing
5. From Gemstones to Jewellery
6. Dandyism and Fashion
7. [An Early Preface to] The Fashion System
8. Fashion, a Strategy of Desire: Round-table
Discussion with Roland Barthes, Jean Duvignaud
and Henri Lefebvre
9. Fashion and the Social Sciences (interview)
10. On the Fashion System
III.Fashion Debates and Interpretations
11. The Contest Between Chanel and Courreges,
Refereed by a Philosopher
12. A Case of Cultural Criticism
13. Showing How Rhetoric Works
Afterword: Clothes, Fashion and System in the
Writings
of Roland Barthes: ‘Something out of Nothing’,
Andy Stafford
Editor’s Note and Acknowledgements
Bibliography
Glossary of Names
Index
contents
Preface
UK October 2013 ∙ US December 2013
PB 9781472505422 ∙ £12.99 / $19.95
World English (excluding Australia/New Zealand)
Series: Bloomsbury Revelations
Bloomsbury Academic
Vampire Culture
Maria Mellins
The London vampire subculture is an alternative lifestyle community of people from all walks of life and all
ages, from train drivers to university lecturers, who organise events such as fang fittings, gothic belly dancing,
late night graveyard walks, and ‘carve your own tombstone’. Mellins presents an extraordinary account of this
fascinating subculture, which is largely unknown to most people.
Through case study analysis of the female participants, Vampire Culture investigates women’s longstanding
love affair with the undead, and asks how this fascination impacts on their lives, from fiction to fashion.
Vampire Culture includes photography from community member and professional photographer SoulStealer,
and is an essential read for students and scholars of gender, film, television, media, fashion, culture, sociology
and research methods, as well as anyone with an interest in vampires, style subcultures, and the gothic.
MARIA MELLINS is a Senior Lecturer in Screen Media at St Mary’s University, UK.
2. Interviewing Vampires
3. Vampire Femininity and Status
4. Vampire Community Profile
5. Feminine Discourses
6. Alternative Celebrity
7. Conclusions
contents
1. Twenty-first Century Vamp
Appendix
Bibliography
Index
54
UK August 2013 ∙ US September 2013
PB 9780857850751 ∙ £19.99 / $29.95
HB 9780857850744 ∙ £65.00 / $120.00
Library eBook 9780857850898 ∙ £60.00 / $50.00
Bloomsbury Academic
FASHION, CULTURE,
AND SOCIETY
Fashion As Performance
Elizabeth Patterson
Fashion As Performance represents the first critical examination of fashion as dramatic performance. Going
beyond analyses of fashion as a means of social performance, relating to communication and consumption of
community, cultural and personal identity, this highly original and engaging book explores the ways in which
clothing operates by applying key performance theory approaches.
From Aristotle and Brecht to Auslander and Boal, elements of classical and current dramatic theory are used
in case study style to unpack specific collections, designers and moments in contemporary fashion at which
dramatic theory finds its way to the runway, the hanger and the street corner.
ELIZABETH PATTERSON is Assistant Professor of Performance Studies at Elon University, North Carolina, USA.
1. Fashion as Performance: A Theoretical Foundation
2. “Body Becomes Dress Becomes Body”/Rei Kawakubo and Cindy Sherman: The Mobius Strip of the
Dressing Body
3. Under Wear/Joseph Corre’s Male Gaze: Jill Dolan and the Feminist Spectator
4. Thierry Mugler and 2003’s Zumanity: Between Fashion and Costume
5. Dirk Bikkembergs/A Matter of Performance: Materiality, Technological and Dramatic Performance
6. Martin Margiela’s Brechtian Stitch: Exposure of Craft, Exposure of Performance
contents
Introduction
234 x 156mm / 9.2 x 6.1 inches
PB 9781847888068 ∙ £19.99 / $29.95
HB 9781847888075 ∙ £55.00 / $99.95
7. “Vicious is the Look”/Gareth Pugh’s Presentation of Self: Considering Persona and Character
Library eBook 9781847889010 ∙ £60.00 / $80.00
8. McQ/Alexander McQueen and Target: Theatrical Phenomenology and Plasticity in Clothing
Bloomsbury Academic
9. Fashion is Performance: Conclusion and Beyond
Bibliography
Index
Porn Chic
Exploring the Contours of Raunch Eroticism
Annette Lynch
This engaging book draws from a diverse range of examples including film, popular tabloids, campus culture,
mass media marketing campaigns, facebook profiles, and art exhibits to explore expressions and meanings
of porn chic. Bringing a cultural and feminist lens to the material, this book challenges the reader to question
the sexual agency of the 12-year-old girl dressed to seduce in fashions inspired by Katie Price, the college coed flashing her breasts for a film maker during Spring break, and the waitress making her customer happy
with chicken wings and a nice set of Hooters. It also explores the raunchy bad boys being paid handsomely to
tell the world about their sexual exploits, online, on film, and in popular press bestsellers.
Porn Chic also features thought-provoking artwork by Nicola Bockelmann, which focuses on the permeable
border between pornography and mainstream culture and urges viewers to question everyday explicitness.
ANNETTE LYNCH is a Professor of Textiles and Apparel and the Director of the Center for Violence Prevention
at the University of Northern Iowa, USA.
2. Katie Price: From Topless Tabloid to Queen of Marketing
3. Girls Gone Wild: College Coeds Flash Their Goods
4. “Oh I wish I’d looked after me boobs”: Red Hatters (still) Covet Male Gaze
5. Midriff Marketing: Teaching Girls the Power of Sexy
6. Construction of Cyber Raunch Identity: The Private becomes Public
7. Hooters: Centerfolds for the Mainstream
8. Plastic Surgery: Molding Soft Porn Identity
contents
1. Porn Chic: The Raunch Erotic Ideal
234 x 156mm / 9.2 x 6.1 inches
PB 9781847886286 ∙ £19.99 / $39.95
HB 9781847886293 ∙ £55.00 / $99.95
Library eBook 9781472520135 ∙ £60.00 / 80.00
Berg Publishers
9. The Unapologetic Bad Boy: Masculinity in the Millennium
10. Deconstructing the Icon: Feminist Responses to Porn Chic
Bibliography
Index
55
FASHION, CULTURE,
AND SOCIETY
TEXTBOOK
Queer Style
Adam Geczy and Vicki Karaminas
“A well researched and eloquently written book that fills a massive gap in the current writing on this important area
of fashion, dress and identity. I thoroughly recommend this book.” Shaun Cole, London College of Fashion, UK
“Undoubtedly destined to become a classic.” Joseph H. Hancock, II Drexel University, USA
Queer Style offers an insight into queer fashionability by addressing the role that clothing has played in historical and
contemporary lifestyles. From a fashion studies perspective, it examines the function of subcultural dress within queer
communities and the mannerisms and messages that are used as signifiers of identity.
ADAM GECZY is Senior Lecturer at Sydney College of the Arts, Australia. VICKI KARAMINAS is Associate Professor of
Fashion Studies and Associate Head of the School of Design at the University of Technology, Sydney, Australia.
UK August 2013 ∙ US October 2013 ∙ 192 pages ∙ 19 bw illus ∙ 234 x 156mm / 9.2 x 6.1 inches
PB 9781847881960 ∙ £17.99 / $29.95 ∙ HB 9781847881953 ∙ £55.00 / $100.00
Individual eBook 9781847887368 ∙ £17.99 / $27.99 ∙ Library eBook 9781472535344 ∙ £55.00 / $TK
Series: Subcultural Style ∙ Bloomsbury Academic
Punk Style
TEXTBOOK
Monica Sklar
Punk is frequently positioned as a forerunner of trends that later become commonplace, as demonstrated in the
proliferation and acceptance of body modification, the repeated use of deconstruction as a design aesthetic, and the
recent boom in fashion that reflects DIY style through handmade crafts. The book explores how this dominant subcultural
style continues to expand via the internet, youth buying-power, and the constant re-appropriation of its distinctive styles.
MONICA SKLAR has taught several college-level courses in dress and retailing, and has published widely on the subject
of subcultural style.
UK November 2013 ∙ US January 2014 ∙ 192 pages ∙ 35 bw illus ∙ 234 x 156mm / 9.2 x 6.1 inches
PB 9781847884220 ∙ £17.99 / $29.95 ∙ HB 9781847884237 ∙ £55.00 / $99.95
Fetish Style
TEXTBOOK
Frenchy Lunning
Fetish Style traces the history, forms and tendencies of sub-cultural fashions that are popular in both mainstream and
alternative fashion cultures. Presenting the world of subcultural fetish clothing design in all of its richness and beauty,
this book explores the idea of fetish as subversive and repressive as reflected in clothing choices in people of all ages
and cultures. Linking the fetishistic aspects of contemporary culture with everyday clothing as dictated by fashion and
merchandizing, Fetish Style presents a fascinating study of historical as well as 21st century subcultures.
FRENCHY LUNNING is Professor of Liberal Arts at the Minneapolis College of Art and Design, USA.
UK February 2013 ∙ US April 2013 ∙ 176 pages ∙ 29 bw illus ∙ 234 x 156mm / 9.2 x 6.1 inches
PB 9781847885708 ∙ $29.95 / £17.99 ∙ HB 9781847885715 ∙ £49.50 / $100.00
Body Style
Therèsa M. Winge
Body Style reveals the subcultural body as a site for understanding subcultural identity, resistance, agency, and fashion.
Drawing on specific subcultural examples and interviews with members, this book explores the subcultural body and its
style within global culture. Body Style is the result of over twelve years of research examining these intersections within
specific urban subcultures, including Urban Tribals, Modern Primitives, Punks, Cybers, Industrials, Skaters, and others.
THERÈSA M. WINGE is Assistant Professor of Fashion Design and Theory in the Department of Art and Art History,
Michigan State University, USA.
2012 ∙160 pages ∙ 30 bw illus ∙ 234 x 156mm / 9.2 x 6.1 inches
PB 9781847880239 ∙ £17.99 / $29.95 ∙ HB 9781847880017 ∙ £55.00 / $99.95
Series: Subcultural Style ∙ Berg Publishers
56
TEXTBOOK
FASHION, CULTURE,
AND SOCIETY
The Meanings of Dress
www/TEXTBOOK
3rd edition
Kimberley A. Miller-Spillman, Andrew Reilly and Patricia Hunt-Hurst
This collection of articles and essays from magazines, newspapers, books, and academic journals is designed to
expand the reader’s awareness and understanding of the role dress plays in cultures and subcultures across the globe.
•
•
•
•
Includes visuals from popular magazines, newspapers, and scholarly journals
Packed with examples, references, and learning activities
New edition includes more theory and an increased emphasis on the male perspective
Teaching Resources: Instructor’s Guide
KIMBERLY A. MILLER-SPILLMAN is Director of Graduate Studies and Associate Professor in the Merchandising, Apparel,
and Textiles Department of the University of Kentucky, USA. ANDREW REILLY is Associate Professor of Apparel Product
Design and Merchandising at the University of Hawai`i, Manoa, USA. PATRICIA HUNT-HURST is Associate Professor and
head of the Textiles, Merchandising, and Interiors Department at The University of Georgia, USA.
• Dressing for Life and Death
• Fashion as a Dynamic Process
• Fashion, Status, and Inequality in Dress
• Dress as Nonverbal Communication
• Dress in the Workplace
• The Body
• Dress and Media
• Appearance for Gender and Sexual Identity
• Fashion and Fantasy
• Race and Ethnicity
• Dress and Technology
• Dress and Religion
• Ethics in Fashion
contents
• Introduction to Dress, Culture, and Theory
UK December 2012 ∙ US October 2012
216 x 228mm / 8.5 x 11 inches
PB 9781609012786 ∙ £55.00 / $85.00
Fairchild Books
Fashion and Age
Dress, the Body and Later Life
Julia Twigg
Fashion and Age is the first study to systematically explore the links between clothing and age, drawing on
fashion theory and cultural gerontology to examine the changing ways in which age is imagined, experienced
and understood in modern culture through the medium of dress. Clothes lie between the body and its social
expression, and the book explores the significance of embodiment in dress and in the cultural constitution of age.
Drawing on the views of older women, journalists and fashion editors, and clothing designers and retailers, it aims
to widen the agenda of fashion studies to encompass the everyday dress of the majority, shifting the debate about
age away from its current preoccupation with dependency, towards a fuller account of the lived experience of age.
JULIA TWIGG is Professor in the School of Social Policy, Sociology and Social Research at the University of Kent,
UK.
UK July 2013 ∙ US August 2013
234 x 156mm / 9.2 x 6.1 inches
PB 9781847886958 ∙ £19.99 / $29.95
HB 9781847886965 ∙ £65.00 / $120.00
Library eBook 9781472520128 ∙ £62.00 / $96.00
Bloomsbury Academic
Ageing and Youth Cultures
Music, Style and Identity
Edited by Andy Bennett & Paul Hodkinson
Through a wide range of accessible ethnographic case studies, this highly original volume examines the ways in
which members of subcultures adapt and see their identities evolve as they grow older. Aging and Youth Cultures
explores responses to and perceptions of ageing in a wide variety of key subcultures including: goth, punk, dance,
riot grrrl, queer, northern soul and be-bop. Showcasing a range of original research case studies from across
the globe, the chapters explore how participants reconcile their continuing involvement with ageing bodies, older
identities and adult responsibilities.
ANDY BENNETT is Director of the Centre for Public Culture and Ideas at Griffith University, Australia. PAUL
HODKINSON is Senior Lecturer in Sociology at the University of Surrey, UK.
2012 ∙ 208 pages
234 x 156mm / 9.2 x 6.1 inches
PB 9781847888358 ∙ £19.99 / $34.95
HB 9781847888365 ∙ £55.00 / $99.95
Library eBook 9780857852953 ∙ £62.00 / $96.00
Berg Publishers
57
FASHION, CULTURE,
AND SOCIETY
Fashion and Art
Edited by Adam Geczy and Vicki Karaminas
“In its reach and sophistication, this book is a stand-alone in its field. Fashion and Art is a landmark book for
whose appearance couldn’t be more timely.” Joseph H. Hancock II. Drexel University, Philadelphia, USA.
Bringing together original, cutting-edge contributions from leading international scholars across a range of disciplines,
this book is essential reading for anyone interested in exploring the intersections and changing relationship between
fashion and art, past and present. Some of the world’s foremost scholars in the field are assembled here to explore the
art-fashion nexus in numerous ways: from aesthetics and performance to masquerade and media.
ADAM GECZY is Senior Lecturer at Sydney College of the Arts, Australia. VICKI KARAMINAS is Associate Professor of
Fashion Studies and Associate Head of the School of Design at the University of Technology, Sydney, Australia.
2012 ∙ 224 pages ∙ 32 colour & 5 bw illus ∙ 244 x 172mm / 9.6 x 6.8 inches
PB 9781847887832 ∙ £19.99 / $29.95 ∙ HB 9781847887849 ∙ £55.00 / $99.95
Berg Publishers
Fashion and Cultural Studies
Susan B. Kaiser
Bridging theory and practice, this accessible text provides an introduction to fashion from both cultural studies and
fashion studies perspectives, and addresses the growing interaction between the two fields. Organised thematically,
the book uses a wide range of cross-cultural case studies to explore ethnicity, class, gender and nation through fashion,
and explains the ways in which these notions interact and overlap.
SUSAN B. KAISER is Professor of Textiles and Clothing, as well as Women and Gender Studies and Cultural Studies at
the University of California, Davis, USA.
UK November 2012 ∙ US January 2013 ∙ 240 pages ∙ 29 bw illus ∙ 234 x 156mm / 9.2 x 6.1 inches
PB 9781847885647 ∙ £17.99 / $29.95 ∙ HB 9781847885654 ∙ £55.00 / $99.95
Berg Publishers
Identities Through Fashion
A Multidisciplinary Approach
Edited by Ana Marta González and Laura Bovone
This volume brings together academics from various disciplines - philosophy, sociology, medicine, anthropology,
psychology and psychiatry - to examine fashion’s complex relationship with post-industrial societies. The authors
address what crucial functions fashion fulfils in the modern world, especially as it relates to the construction and
deconstruction of the self.
ANA MARTA GONZÁLEZ is Associate Professor of Moral Philosophy at the University of Navarra in Pamplona, Spain.
LAURA BOVONE is a professor in Sociology of Communication, Director of the ‘Centro per lo studio della moda e della
produzione culturale’ and the Master’s program ‘Comunicazione per le industrie culturali’ at the Università Cattolica
del Sacro Cuore in Milan, Italy.
UK February 2012 ∙ US April 2012 ∙ 240 pages ∙ 2 bw illus ∙ 234 x 156mm / 9.2 x 6.1 inches
PB 9780857850584 ∙ £19.99 / $39.95 ∙ HB 9780857850577 ∙ £55.00 / $99.95
Berg Publishers
Fashioning Models
Image, Text and Industry
Edited by Joanne Entwistle and Elizabeth Wissinger
This volume brings together cutting-edge articles on fashion models, examining modelling through race, class and
gender, as well as its structure as an aesthetic marketplace within the global fashion economy. Essays include
treatments of the history of fashion modelling, exploring how concerns about racial purity and the idealization of light
skinned black women shaped the practice of modelling in its early years. Other essays examine how models have
come to define femininity through consumer culture.
JOANNE ENTWISTLE is Senior Lecturer at King’s College, London, UK. ELIZABETH WISSINGER is Associate Professor
at the BMCC campus of the City University of New York, USA.
PB 9781847881540 ∙ £19.99 / $34.95 ∙ HB 9781847881557 ∙ £55.00 / $99.95
Library eBook 9780857853103 ∙ £19.99 / $30.00 ∙ Individual eBook 9780857853110 ∙ £54.00 / $87.00
Berg Publishers
58
TEXTBOOK
WORLD DRESS AND
ANTHROPOLOGY
African Dress
Fashion, Agency, Performance
Edited by D. Soyini Madisonand Karen Tranberg Hansen
Focusing on the dressed body as a performance site, African Dress explores how ideas and practices of dress
contest or legitimize existing power structures through expressions of individual identity and the cultural and
political order.
Drawing on innovative, interdisciplinary research by established and up-and-coming scholars, the book
examines real life projects and social transformations that are deeply political, revolving around individual
and public goals of dignity, respect, status, and morality.
D. SOYINI MADISON is Professor of Performance Studies with affiliate appointments in the Department of
Anthropology and African American Studies at Northwestern University, USA. KAREN TRANBERG HANSEN is
Professor of Anthropology at Northwestern University, USA.
Part 2: Material Culture, Visual
Recognition, and Display
4. Bazin Riche in Dakar, Senegal: Altered Inception,
Use, and Wear
5. Fashioning People, Crafting Networks: Multiple
Meanings in the Mauritanian Veil
6. The Hijab as Moral Space in Northern Nigeria
PART 3: Connecting Worlds through Dress
7. Dressing the Colonial Body: Senegalese
Rifleman in Uniform
8. Ghana Boys in Mali: Fashion, Youth, and Travel
9. Forging Connections, Performing Distinctions:
Youth, Dress, and Consumption in Niger
10. Fashion, Transnationality, and Swahili Men
PART 4: Transculturated Bodies
11. Photography, Poetry, and the Dressed Bodies of
Léopold Sédar Senghor
12. Transculturated Displays: International Fashion
and West African Portraiture
13. Spectacular Dress: Africanisms in the
Fashions and Performances of Josephine
Baker, 1925-1975
14. Dressing Out-of-Place: From Ghana to Obama
Commemorative Cloth on the American Red
Carpet
contents
Part 1: Dressed Bodies and Power
1. Dressing for Success: The Politically
Performative Quality of an Igbo Woman’s Attire
2. Fashionability in Colonial and Postcolonial Togo
3. Branding Festive Bodies: Corporate Logos and
Chiefly Image T-shirts in Ghana
272 pages ∙ 12 colour and 34 bw illus
234 x 156 mm / 9.2 x 6.1 inches
PB 9780857853813 ∙ £19.99 / $29.95
HB 9780857853806 ∙ £55.00 / $100.00
Library eBook 9780857854186 ∙ $60.00 / £96.00
Bloomsbury Academic
Islamic Fashion and Anti-Fashion
New Perspectives from Europe and America
Edited by Emma Tarlo and Annelies Moors
Introducing innovative new research from international scholars working on Islamic fashion and its critics,
Islamic Fashion and Anti-Fashion provides a global perspective on muslim dress practices. The book takes a
broad geographic sweep, bringing together the sartorial experiences of Muslims in locations as diverse as
Paris, the Canadian Prairie, Swedish and Italian bath houses and former socialist countries of Eastern Europe.
• First comparative study of Islamic fashion in a wide variety of Muslim minority contexts
• Includes a very wide range of case studies from: France, Britain, The Netherlands, Sweden, Denmark,
Germany, Romania, Bulgaria, Italy, Poland, Canada and the United States
EMMA TARLO is Professor of Anthropology, Goldsmiths, University of London, UK. ANNELIES MOORS is
Professor of Social Scientific Study of Contemporary Muslim Societies, University of Amsterdam, The
Netherlands.
2. Histories, Heritage and Narrations of Islamic Fashion
3. Markets for Islamic Fashion
4. Islamic Fashion in The Media
5. Dynamics of Fashion and Anti-Fashion
contents
1. Location and The Dynamics of Encounter
UK July 2013 ∙ US September 2013
234 x 156mm / 9.2 x 6.1 inches
PB 9780857853356 ∙ £19.99 / $29.95
HB 9780857853349 ∙ £55.00 / $100.00
Library eBook 9780857853363 ∙ £60.00 / $96.00
Bloomsbury Academic
59
WORLD DRESS AND
ANTHROPOLOGY
The Chinese Fashion Industry
An Ethnographic Approach
Jianhua Zhao
As the first ethnographic account of the Chinese fashion industry in the post-Mao era, The Chinese Fashion
Industry combines first-hand accounts with sophisticated cultural analysis to offer new insights.
This book offers a historically informed, and interpretive analysis of contemporary Chinese fashion and the
fashion industry. It examines the interplay of state politics, market forces, local social and cultural factors,
and the global political economy, both in the rise of the Chinese fashion industry and in the life and work
of Chinese fashion professionals.
JIANHUA ZHAO is Assistant Professor in the Department of Anthropology, University of Louisville, USA.
234 x 156mm / 9.2 x 6.1 inches
PB 9781847889355 ∙ £19.99 / $29.95
HB 9781847889362 ∙ £55.00 / $99.95
Library eBook 9780857853028 ∙ £60.00 / $96.00
Bloomsbury Academic
Fashioning Bollywood
The Making and Meaning of Hindi Film Costume
Clare Wilkinson-Weber
Fashioning Bollywood, the first in-depth exploration of Hindi film costume, contends that it is a unique
source of knowledge about issues ranging from Indian taste and fashion to identity, gender and work.
Anthropological and film studies approaches combine to analyze costume as the outcome of production
processes and as a cinematic device for conveying meaning. Chapters lead from the places where
costume is planned and executed to detailed analyses of men and women’s costumes, to the imagining
of historical or fantasy worlds through clothes, to the power of stardom to launch clothing styles into the
public domain. As well as charting the course of film costume as it parallels important trends in cultural
history, the book considers the future of Hindi film costume, in the context of new strains of filmmaking
that stress unvarnished realism.
CLARE WILKINSON-WEBER is Assistant Professor of Anthropology, Washington State University, Vancouver,
Canada.
234 x 156mm / 9.2 x 6.1 inches
PB 9781847886972 ∙ £19.99 / $29.95
HB 9781847886989 ∙ £55.00 / $99.95
Library eBook 9780857852960 ∙ £54.99 / $87.00
Bloomsbury Academic
Fashioning Japanese Subcultures
Yuniya Kawamura
Since the mid-1990s Japanese youth have been playing a crucial role in forming their own unique fashion
communities and producing creative styles which have had a major impact on fashion globally. Based on
insightful ethnographic fieldwork in Tokyo, Fashioning Japanese Subcultures is the first theoretical and
analytical study on Japan’s contemporary youth subcultures and their stylistic expressions. It is essential
reading for students, scholars and anyone interested in fashion, sociology and subcultures.
YUNIYA KAWAMURA is Associate Professor of Sociology at the Fashion Institute of Technology, State
University of New York, USA.
2012 ∙ 192 pages ∙ 30 colour illus ∙
234 x 156mm / 9.2 x 6.1 inches
PB 9781847889478 ∙ £19.99 / $29.95
HB 9781847889485 ∙ £55.00 / $99.95
Individual eBook ∙ 9780857852168 ∙ £19.99 / $28.99
Library eBook 9780857852151 ∙ £54.99 / $89.99
Berg Publishers
60
WORLD DRESS AND
ANTHROPOLOGY
The Religious Life of Dress
Lynne Hume
From clothing to the painted and scarified nude body, through overt, public display or esoteric
symbols known only to the initiated, dress can convey information about beliefs, faith, identity,
power, agency, resistance, and fashion. Taking a ‘senses’ approach, Hume’s engaging account
takes into consideration the look, smell, feel, touch and sound of religious apparel, the ‘smells
and bells’ of dress and its accoutrements, as well as the emotions evoked by donning religious
garb.
The book’s global perspective provides wide-ranging, yet detailed, coverage of religious dress,
from the history and meaning of the simple ‘no-frills’ attire of the Anabaptists to the power
structure displayed in the elaborate fabrics and colours of the Roman Catholic Church; Hume
examines the 2,500 year-old tradition of Buddhist robes, the nudity of India’s holy men, and
much more. With chapters on Sufism, Vodou, modern Pagans, as well as painted and tattooed
indigenous and modern Western bodies, the reader is swept along on a sensual journey of the
sight, sound, smell and feel of wearing religion.
LYNNE HUME is Associate Professor in the School of History, Philosophy, Religion and Classics
at the University of Queensland, Brisbane, Australia.
1. Hierarchies and Power: Christianity and the Roman Catholic Church
2. Simplicity and Humility: Anabaptist Orders of Amish, Hutterites and Mennonites
3. Fashioning Faith: Judaism and Islam
PART II: Eastern Religions
4. India: Hindus, Holy Sadhus, Sikhs and Jains
5. The Buddha, the Dharma, the Sangha ... and the Robe
contents
PART I: Western Monotheist Religions
234 x 156mm / 9.2 x 6.1 inches
PB 9780857853615 ∙ £19.99 / $29.95
HB 9780857853608 ∙ £55.00 / $99.95
Bloomsbury Academic
PART III: The Mystical and the Magical
6. Sufis, Indigenous Shamans, and Modern Pagans
7. Possession and the African Diaspora: Vodou, Candomblé and Santería
Visibly Muslim
Daniel Miller and Mukulika Banerjee
Fashion, Politics, Faith
“Intellectually compelling and theoretically
sophisticated, The Sari will be of great
interest to scholars in many disciplines - from
anthropology to women’s studies. It is also an
absolutely fascinating read, which will appeal
to anyone with an interest in India.” Valerie
Steele, Museum at the Fashion Institute of
Technology, USA
Emma Tarlo
“A fascinating and original insight into one of
the most enigmatic garments in the world”
South Asian Studies Journal
2008 ∙ 288 pages ∙ 215 bw illus
235 x 210mm / 9.3 x 8.3 inches
PB 9781847883148 ∙ £19.99 / $29.95
HB 9781859737323 ∙ £55.00 / $99.95
Berg Publishers
“Tarlo’s work shows the changing
contemporary styles of first-generation
British Islamic fashion design companies and
opens dialogue for mutual understanding
between Muslims and non-Muslims interested
in clothing subleties. Highly Recommended.”
CHOICE
key titles
The Sari
“This beautifully written and illustrated book
by Emma Tarlo is remarkable for showing
just how much of profound significance has
been left out of sight in earlier scholarly
discussions.” Sociological Review
2010 ∙ 256 pages ∙ 50 bw & 32 colour illus
244 x 172mm / 9.6 x 6.8 inches
PB 9781845204334 ∙ £19.99 / $34.95
HB 9781845204327 ∙ £60.00 / $109.95
Berg Publishers
61
Reference
The Fairchild Books
Dictionary of Fashion
4th edition
The Fairchild Books
Phyllis G. Tortora and Sandra J. Keiser
The Fairchild Books Dictionary of Fashion, fourth edition builds on the success of previous
editions with over 15,000 entries, including apparel, accessories, and their components,
historical and textiles terms that relate to contemporary fashion and the language of the
fashion industry. Tortora and Keiser organize terms over fifty broad categories that are fully
cross-referenced to the alphabetical listing to promote understanding of related terminology.
Dictionaryof
fourth edition
Lavishly illustrated with over 900 illustrations capturing the styles and details of fashion, this
reference work is a must have for students, designers, fashion merchandisers, historians, and
fashion enthusiasts.
•
•
•
•
Includes Appendix of historic and contemporary designers
Updated anatomical drawings show how the parts of fashion items fit together
With more than 100 new illustrations
Icons identify historic terms and textile terminology defined in depth in The Fairchild
Books Dictionary of Textiles, 8th edition
PHYLLIS G. TORTORA
SANDRA J. KEISER
illustrated by bina abling
PHYLLIS G. TORTORA is Professor Emerita at Queens College, USA. SANDRA J. KEISER is
Associate Professor in the Fashion Department at Mount Mary College, USA.
UK December 2013 ∙ US October 2013
203 x 254mm / 8 x 10 inches
PB 9781609014896 ∙ £45.00 / $75.00
Fairchild Books
A / academic costume: doctor's gown
with the colors to be used on the hood. Academic costume
originated at the Universities of Oxford and Cambridge
more than 600 years ago. Also called academic regalia
(ak-ah-dem′-ik ree-gale′-ee-yah).
academic hood Decorative drape that comes close to
the neck in front and hangs down the back of academic
gowns. Made in various lengths and shapes according to
the degree held, hoods are usually black with a colored
facing indicating the degree granted, while lining colors
represent the school colors of the institution conferring
the degree, and the outer band of velvet shows the field
of study. Der. From the cowl cape attached to gowns
of undergraduates since end of 15th c. Also see under
ACADEMIC COSTUME: BACHELOR’S, MASTER’S, and
DOCTOR’S HOODS, and ACADEMIC HOOD COLORS.
A 1. Shoe width: Letter indicating a width that can range
from AAAA to EEEEE with AAAAs being the narrowest
and EEEEEs the widest. 2. Bra cup size. Standard sizes
run AAA, AA, A, B, C, D, E, F, G, H, HH with the A sizes
being the smallest and HH the largest. There is no
industry agreement on cup sizes larger than D. Different
manufacturers use different designations.
abalone See CLOSURES: ABALONE BUTTON.
abilements/abillements See HEADWEAR: BILLIMENT.
abstract See PRINTS, STRIPES, AND CHECKS: AB¬STRACT
PRINT.
ACADEMIC COSTUME
Outfits consisting of caps, called mortarboards (see
ACADEMIC COSTUME: MORTARBOARD); gowns; and
hoods traditionally worn at Commencement exercises
or other ceremonial occasions by
students and faculty. Although simple
gowns and mortarboards may be
worn by secondary-school students,
those in higher education wear more
elaborate regalia consisting of caps,
gowns, and hoods that are most
often black with color trim on hoods.
American academic costume was
designed by Gardner Cotrell Leonard
of Albany, NY, in 1887 and adopted by
the American Intercollegiate Code of
1894, revised in 1932. The code states
the style of cap, gown, and hood to
be worn by persons with bachelor’s,
master’s, and doctor’s degrees along
academic costume
academic hood colors The lining colors at the back of the
academic hood represent the school colors of the college
or institution conferring the degree. The outer band of
velvet that extends around the front of the neck indicates
the different faculties, or fields of study, as follows:
Agriculture, maize; Arts and Letters, white; Chiropody,
nile green; Commerce and Accounting, drab; Dentistry,
lilac; Economics, copper; Engineering, orange; Fine Arts,
brown; Forestry, russet; Human¬ ities, crimson; Law,
purple; Library Science, lemon; Medicine, green; Music,
pink; Nursing, apricot; Optometry, seafoam; Oratory,
silver gray; Pedagogy, light blue; Pharmacy, olive green;
Philanthropy, rose; Philosophy, blue; Physical Education,
sage green; Public Administration, drab; Public Health,
salmon pink; Science, golden yellow; Social Science,
citron; Theology, scarlet; and Veterinary science, gray.
bachelor’s gown Academic gown, formerly of black
worsted or similar fabric, opening in front with two
wide box pleats extending to the hem; large flowing
sleeves ending in points; back and sleeves set into square
yoke with cartridge pleats. Worn with the bachelor’s
hood and mortarboard at graduation by candidates,
or former recipients, of a bachelor’s degree. Since the
1970s colored gowns are sometimes worn instead of
black. Also see under ACADEMIC COSTUME: BACHELOR’S
HOOD, ACADEMIC HOOD COLORS, and MORTARBOARD.
bachelor’s hood Black decorative drape, 3′ long in back
with a 2″ colored velveteen band around the neck in
front and a pendant tail in the back that is turned over
to reveal colors of the institution granting the degree.
Worn with the bachelor’s gown and mortar board
at graduation by candidates, or former recipients,
of bachelor’s degree. Also see ACADEMIC COSTUME:
ACADEMIC HOOD COLORS.
doctor’s gown Black unclosed academic gown with wide
bands of velvet down the front. The full sleeves are set
in with cartridge pleats and have three bands of velvet
at the upper arm. Worn as part of academic costume by
candidates for, and holders of, doctoral degrees.
1
62
academic costume:
doctor's hood / activewear: cycling suit/cycling costume
doctor’s hood Black academic hood with colored velvet
band at neck to indicate type of degree. This velvet band
extends down the back and is rolled over to show the
school colors of the wearer. Square cut at hem and larger
than bachelor’s and master’s hoods. See ACADEMIC
COSTUME: ACADEMIC HOOD COLORS.
master’s gown Black open-front gown with a square
yoke and long closed hanging sleeves. The arms emerge
through slits above elbows of the sleeves, which have
crescents cut out near the sleeve hems. In the back
cartridge pleats join a full back and sleeves to the
yoke. Worn with master’s hood and mortarboard by
candidates for, and holders of, master’s degrees.
master’s hood Black cowl-drape 31⁄2-feet long in back
with band of colored velveteen around the edge that
is turned over in back to show a lining denoting the
institution granting the degree. Worn with master’s
gown. Also see ACADEMIC COSTUME: ACADEMIC HOOD
and ACADEMIC HOOD COLORS.
mortarboard Academic headgear consisting of large, square
black brim attached horizontally to a cap. A large tassel in
center of the flat top hangs to right side before graduation,
to the left after. Worn all over United States today and since
14th c. at such universities as Oxford and Cambridge in
England. Formerly called by various names including cater
cap, corner-cap, cornet, Oxford cap, and trencher cap.
accordion pleats
See CLOTHING CONSTRUCTION
DETAILS: ACCORDION, PANTS: PARTY PANTS, and
SKIRTS: ACCORDION-PLEATED SKIRTS.
† acetate (as′-uh tayt) Generic fiber category established
by the FTC for manufactured fibers that are chemical
variants of cellulose called cellulose acetate and that are
manufactured from cellulose materials, such as wood
chips. The term also refers to fabrics or yarns made from
acetate fibers. Used in a wide variety of apparel, acetate
fabrics have a crisp hand and a high luster.
achilles tendon protector See FOOTWEAR: A.T.P.
acrobatic slipper See FOOTWEAR.
† acrylic (uh krihl′ ihk) Generic fiber category established
by the FTC for a manufactured fiber primarily composed
of a polymer material called acrylonitrile. Also refers to
fabrics or yarns made from acrylic fibers. Acrylic fabrics
have a soft, wool-like hand, good wrinkle resistance,
wash and dry quickly, and therefore are often used in
easy-care apparel products such as sweaters and socks.
action back Term used to describe the extra fullness
incorporated into the back of a jacket, coat, or dress that
extends from the shoulder blades to the waist in form of
pleats or the insertion of a stretch fabric, to permit freedom
of movement. See COATS AND JACKETS: BI-SWING.
action gloves See GLOVES AND GLOVE CONSTRUCTIONS.
activewear:
ACTIVEWEAR
Any of a wide variety of apparel items designed to be
worn for active sports. Not to be confused with official
athletic uniforms worn by professional athletes, although
such uniforms may serve as the inspiration for the design
of some activewear. Many consumers wear activewear
apparel not only for sports but also as casual dress.
aerobic wear (uh-roh′-bik) Headband, leotards, tights,
and leg warmers worn for aerobic dancing. In this
costume the headband is usually a brow band of terry
cloth; leotards are a tight-fitting, torso-length garment
with high or low neck and long or short sleeves; tights
are made with or without feet and/or stirrups and are
usually made of stretch nylon; leg warmers are knitted
leg coverings without feet. Also called workout suit or
exercise suit.
bathing dress See SWIMWEAR: category heading.
bathing suit See SWIM¬WEAR: category heading.
bike suit Tightly fitted, one-piece
garment, often worn for bicycling,
that extends from the top of the
torso to the hem, which is located
above the knee. Worn for bicycling,
the garment fit is achieved by using
SPANDEX. Synonym: bike tards.
Also see ACTIVEWEAR: TRI-SUIT
and SHORTS.
bike suit
See PANTS:
camouflage suit
suit/cycling costume Any costume worn for
bicycling in the late 19th c. Boys: jacket, similar to PATROL
JACKET, worn with tight knee pants. Women: RATIONALS
(see ACTIVEWEAR) or a divided skirt with tailored or
NORFOLK JACKET, leggings, and a straw sailor hat. Men:
∞ cycling
fencing suit Two-piece white suit with close-fitting pants
and waist-length jacket made with a standing collar,
diagonal closing, and small red heart on left breast. Top is
quilted or padded to prevent injury from the fencing foil.
gaiter See FOOTWEAR.
gym suit Suits worn by students for physical education
classes; the acceptable style being determined by
individual schools. When gym was first introduced,
women wore blue serge or sateen pleated BLOOMERS
(see under PANTS), white MIDDY BLOUSES (see under
BLOUSES AND TOPS), and long black stockings. During
the 1930s, ROMPER suits were worn. Since mid-1970s
any type pull-on shorts and T-shirts are acceptable.
gymnastic suit Suit worn for gymnastic competitions.
Women wear leotards. Men wear athletic shirts and long
slim tapered pants with a stirrup strap under the instep.
informal habit Suit worn by adults and
children for horse shows consisting
of a riding coat and jodhpurs,
sometimes matched as to fabric,
sometimes contrasting. Colors worn
are usually black, tan, blue, and gray.
DERBY hat (see HEADWEAR) may be
worn to complete costume. Also see
ACTIVEWEAR: RIDING HABIT.
jockey pants Below the knee breeches
with drop front and jodhpur-type
legs worn tucked into boots by
jockeys in horse races.
cat suit One-piece, skintight, longsleeved suit with feet; variation of the
UNITARD (see under ACTIVEWEAR.
cross-country skiing
KNICKERS #1.
exercise suit See under ACTIVEWEAR: AEROBIC ENSEMBLE
and SAUNA SUIT.
hunt breeches Riding breeches with drop front, legs cut
wide from thighs to hips and tight at knees. Usually
made in canary or tan cavalry twill with buckskin
patches at inside of knees.
bike-tards See BIKE SUIT.
camouflage suit Two-piece suit
consisting of a hip-length jacket,
tapered pants, and sometimes
a matching cap with ear flaps.
Made of soft waterproofed duck
fabric printed in abstract pattern
of greens and browns to blend
with surrounding terrain. Used
by combat soldiers in World
War II. Accepted for sportswear,
particularly for duck hunting, in
mid-1960s. After the early 1980s
accepted for general wear.
KNICKERBOCKERS and NORFOLK JACKET. See COATS AND
JACKETS: NORFOLK JACKET and PATROL JACKET.
jodhpurs (jod′ poors) Riding pants,
with drop front or zipper closing,
that flare at thighs and have narrow
straight-cut legs below knee with
cuffs at ankles. Similar to men’s
breeches worn in India and popular
for men and women horseback
riders since 1920s. Der. Jodhpur, city
in India. Also see RIDING BREECHES.
jogging suit Suit worn for a slow, steady
type of running called “jogging,”
popular since the 1960s. Various types
of suits are worn: (a) sweatsuits (b)
suit consisting of a zippered jacket,
crew-necked sweater, and pants,
2
jodhpurs 1930s
jogging suit
exercise suit / activewear: playsuit
and (b) warmup suits. Often made
of fleece, terrycloth, or velour. See
ACTIVEWEAR: SWEATSUITS and
WARMUP SUITS.
judo suit Suit, similar in style to
karate suit, which is worn for judo,
a form of Japanese martial arts. See
ACTIVEWEAR: KARATE SUIT.
jumpsuit 1. Shirt and ankle-length
pants in a one-piece suit with zip-front
and long or short sleeves. Originally
worn by flyers in World War I, also
by parachute jumpers and flyers in
World War II. In the late 1960s adopted
for sports- and leisurewear by men
and women. 2. Sleeveless one-piece
swimsuit with tank or V-top combined
with shorts. Introduced in 1985.
karate suit Two-piece suit made of
white cotton or cotton and polyester,
called a gi or ghi (ghee), that is worn
for practicing the martial art of
karate. The garment consists of a pair
of drawstring pants and a wrap top
that ties shut with a belt. As practiced
in Asia, the uniform closed with
either a white belt, for beginners, or a
black belt, for advanced practitioners.
For teaching non-Asians, a belt
ranking system was invented. Each
different karate system has different
colors with one fairly common
system being white for beginners,
then progressing through yellow,
green, and brown, to black.
leotard (lee′-ah-tard′)
Originally
a two-piece, knit, body-hugging
garment worn by the French
acrobat Jules Leotard in the 19th c.
Now a formfitting one-piece knitted
garment with high or low neck,
long or short sleeves, and ending in
brief panties that is worn alone or
over ankle-length tights as practice
garment. Adopted by dancers,
acrobats, and for exercising. Claire
McCardell first introduced it in
fashionable dress in 1943, although
it did not catch on until the 1960s.
playsuit Shorts and shirt combined to
make a suit with a waistline seam,
worn with a coordinating skirt.
Introduced in 1930s and fashionable
at intervals since.
jumpsuit 1981
karate suit
leotard
playsuit and
skirt 1930s
3
Reference
The Fairchild Books
Dictionary of Textiles
Anniversary
Edition
8th edition
Phyllis G. Tortora and Ingrid Johnson
The eighth edition of this industry standard for textile terminology is fully revised and
expanded, featuring approximately 100 new entries. This comprehensive dictionary includes
14,000 definitions of fibers, fabrics, business and trade terms, inventors of textile technology,
and laws and regulations affecting textile materials and processing.
The Fairchild Books
Dictionaryof
eighth edition
The newly revised edition includes updated trademark information to reflect the U.S. Patent
and Trademark Office’s Trademark Electronic Search System (TESS) as well as current
definitions from industry associations like the American Association of Textile Chemists and
Colorists and the American Society for Testing and Materials.
Fully illustrated with over 500 photographs and line drawings, entries include pronunciation,
derivation, definition, and uses. An extensive appendix provides a list of national and
international industry associations and organizations.
• Since last publication in 1996, content is updated to include geographic information,
entries for governmental entities relevant to the textile field, and current trademarks
• Extensive cross-referencing, listings of synonyms and acronyms, and icons to distinguish
historic terms
• Entries include relevant information on a textile product end use
PHYLLIS G. TORTORA is Professor Emerita at Queens College, USA. INGRID JOHNSON is
Professor at the Fashion Institute of Technology (FIT), USA.
PHYLLIS G. TORTORA
InGRId jOHnSOn
UK October 2013 ∙ US August 2013
203 x 254mm / 8 x 10 inches
HB 9781609015350 ∙ £120.00 / $195.00
Fairchild Books
aal / abenaki rug
abacaxi fiber (Brazilian Portuguese) pineapple fiber.
abaka See abaca.
abassi cotton A variety of pure white, Egyptian cotton,
about 1¼ in. (3.1 cm) brilliant staple of good quality. Not
as strong as mit afifi cotton but longer and finer. No
longer widely grown. Originally selected from either mit
afifi or zafiri cotton in 1893, and first produced in 1895
by a Greek named Parahimona, who named it for the
contemporary khedive (viceroy) of Egypt, Abbas Hilmi.
abat-chauvée (French) pulled wool of low quality. It is
generally detached from a slaughtered animal’s skin by
a lime treatment.
abattre (French) Types of quilted or depressed effects in
fabrics.
abb (British English) Low-grade wools as the skirting from
aal (al) A reddish dyestuff obtained from the roots of the
East Indian shrubs Morinda tinctoria and Morinda citrifolia.
Synonyms: aal root, suranji. See morindone.
aal root See aal.
AATCC Blue Wool Lightfastness Standard One of a
group of dyed wool fabrics distributed by AATCC for use
in determining the amount of light exposure of specimens during lightfastness testing.
AATCC fading unit (AFU) A specific amount of exposure
made under the conditions specified in various test
methods where one AFU is one-twentieth (1/20) of the
light-on exposure required to produce a color change
equal to Step 4 on the Gray Scale for Color Change or
1.7 ± 0.3 CIELAB units of color difference on AATCC Blue
Wool Lightfastness Standard L4.
aba 1. A coarse, thick, felted fabric of natural-colored
the breech and tail of the sheep. At one time, these
wools were used principally for warp yarns, although
they were used occasionally for filling. In some districts,
the term also has been applied to both warp and filling
yarns of these wools.
abba mantle cloth A traditional Arab cloth, made of silk
or camel’s hair, generally plain or striped. Worn as an
outer covering over other clothing. See aba 2.
abbot cloth See monk’s cloth 1.
abbotsford A lightweight, dress-faced twilled woolen
dress fabric with a faint, woven-in check pattern.
abbreviated system A system of worsted yarn manufac-
ture. See american system.
ABC See abc silk.
ABC silk A sheer, plain weave fabric with cotton warp and
spun silk filling, made in white and solid colors. Uses:
underwear, linings.
wool, made in Hungary and worn there by peasants. 2.
A coarse fabric made of wool and camel’s hair or goat’s
hair; sometimes made in stripes. Common to Bulgaria,
Turkey, the Arabian Peninsula, and North Africa.
abdig wool (abudig wool) A Moroccan wool of medium
abaca (abaka) [ah-bah-cah′] A hard fiber from the leaf
abee A plain weave, dress fabric made in Turkey with a
stems that form the trunk of the abaca plant, Musa textilis. Of the same family as the banana and native to the
Philippines and Central America. The fibers are coarse,
creamy-white to brown in color, and 5 to 11½ ft. (1.5
to 3.5 m) long, strong, and durable. The inner fibers
are used in the making of hats, including manila hats;
hammocks; matting; cordage; rope; and types of canvas.
Called manila hemp in the market, although it is unlike
true hemp. Synonyms: cebu hemp, davao hemp. See hemp.
fineness.
abdullah-kani A plain weave, striped, silk dress fabric
made in Lyon, France for export to Africa.
cotton warp and a wool filling.
abelmoschus See okra1.
abenaki rug [ab-nah́-kee] An American hooked rug with
bold patterns made on a coarse, open jut burlap ground.
Unbleached, all-wool, twilled flannel is dyed and cut
lengthwise into ¼-in. wide strips, and hooked through
the burlap to form the pile. The Abenaki are a Native
American tribe of northern New England.
1
/ absorbency
anilineabercrombie
dye / antibacterial
finish
obtained from Anondendron paniculatum in southern
abercrombie
A Scottish
oxidation
of nigraniline
undertartan
propercharacterized
conditions, isbya a blue
black mass,
the color
of which
not affected
by acids.
and black
ground
and anisovercheck
of green
and white.India and Sri Lanka. It is used locally for nets and bowIt combines with such metallic oxides as chromic oxide.
strings and also is employed for rope. Synonym: dul.
aberdeen [ab-uhr-deeń] 1. Men’s half hose made in Scotaniline dye
dyestuff
from
tar products.
landA of
coarse,prepared
gray wool.
2. Acoal
direct
yarn numbering
anonang A white, lace-like, inner bark obtained from
See aniline.
system for such heavy yarns as wool and jute, occasionCodia myxa, a tall shrub in the Philippines. Used locally
ally used
in some
sections
of the British
for cordage.
anilo A fiber
obtained
from
the shrub
Grewia Commonwealth.
columnaonPhilippines
the weight for
in pounds
of one
spindleSee
of 14,400
ris. UsedBased
in the
twine and
cordage.
anonas A fiber obtained from the inner bark of the
3s means
grewia,yds.;
kaffer
hemp.that one spindle weighs 3 lbs. (1.4 kg). See
branches of a small tree. Reticulata, in the Philippines.
yarn number.
Used for cordage and twine.
animal fibers and filaments Fibers and filaments (gener∞ abeston
A fabricmaterials)
describedtaken
by the
ancient
Egyptians
ally hair,
fur, and cocoon
from
animals
anoncilio A bark fiber, used in Venezuela,
abrasion which is obtained
as
“noncombustible
flax”
that
is
thought
to
have
been
for the purposes of weaving, knitting, or felting into a
from various species of Annona, which are small trees or
made
of
asbestos
or
similar
noncombustible
fiber.
abrasion
mark
Damage caused by friction to a localized
fabric. Typical animal fibers include wool, mohair, llama,
shrubs.
Synonym:
manirito.
area of a fabric. See bruise, chafe mark.
alpaca,
cashmere,
camel
hair,
cow
hair,
fur,
horsehair,
∞ abestrine cloth A fabric made of asbestos.
Acronym for analysis of variance.
vicuña. The cocoon material is silk. All are essentially ANOVAabrasion
resistance The ability of a fabric to withstand
ablaque (ablack) (French) A fine, raw silk from Iran. Synproteinaceous substances. Wool and the hair fibers ANSI Acronym
for american
national
standards
loss of appearance,
utility,
pile, or surface
through the
onyms: adassin, ardassin, pearl silk.
come in staple lengths, while the original form of silk is
institute.
destructive action of surface wear and rubbing.
parallel
filamentscrimp
several In
thousand
yards long.
abnormal
manufactured
fibers, crimp that
∞ anteloon As used in early American account books,
shows one or more of the following abnormalities: (1) abrasion tester A mechanical instrument that tests a fab∞ animalized
cotton A cotton yarn coated or treated with
probably
a woolen
clothing
material.
ric’s
resistance
to
the
destructive
actions
of surface wear
spaced
toogelatin,
close together
too far apart;
(2) too high or
albumen,
casein,
or otherorsubstances
to enable
and
rubbing.
The
best
abrasion
tests
simulate
∞
antelope
cloth
A
fabric
formerly
used
in
England
for surface
too
low;used
or (3)
an incorrect
it to take
dyes
foratanimal
fibers. angle.
When mixed with
wear and
rubbingand
of the
fabrics
in actual fabrics.
use. Depending
embroidered
waistcoats
other
embroidered
untreated
cotton, it lends
itself to cross-dye
effects; French
abouchouchon
(abouchouchous)
A low-grade,
on the end use, fabrics may be tested for flat abrasion,
∞ anterineflex(anterne,
As abrasion.
used in England durwhen mixed
with
silkmade
or wool,
said to and
dye more
woolen
cloth
for it
thewas
Egyptian
Middle Eastabrasion,antherine)
and/or edge
ing the 18th century, a fabric that was made of worsted
evenly. It
hasmarkets.
fallen into
disuse with
thewith
advent
of ends
betterin 56-in.
ern
Originally
made
1600
abrasive
fabric
cotton fabric that is used as backing for
and silk,
or mohair
andA cotton.
cotton dyes
and the
use
of rayon,
acetate, and synthetic
(140-cm)
wide
cloth
with black-and-white
stripes in the
various abrasive and polishing agents. Sheetings and
fibers toselvages.
produce cross-dye effects.
∞ anternedrills
See anterine.
are employed extensively, and other twills are
animalized
viscose
rayon
rayon that
been
aboudia
Short,
whiteViscose
wool crimped
like has
a fine
crossbred,
in smaller
quantities
forof
special
purposes.
Antherea used
A genus
of large,
wild moths
the family
Satur-The fabgiven the
property
of
accepting
wool-type
dyes
by
from northern Morocco. See beldia, urdiga wool. niidae (the
ric silkworm
is coated moth).
on one Found
side with
emeryChina,
carborundum
or
in Japan,
and
either impregnating the fibers after formation with synother
abrasive
grit. Largely
used onmezankoorie,
industrial machinIndia. The
leading
varieties
are: Antherea
abougedid (abougidid) Unbleached cotton goods that are
thetic resins having substantivity for wool-type dyes or
for (assamo),
polishingAntherea
metal and
otherAntherea
material.paphia
Anthereaery
muga
mylitta,
imported into Ethiopia.
incorporating such proteins as resins or casein in the
(tussah),
Antherea
pernyi,
Antherea
roylei,and
Antherea
abrawan (Hindi) A fine grade of plain dacca muslin. The
above
grade from
In thewhich
floor the
covering
descriptive
spinning
solutions
fibersindustry,
are formed.
yamamai.
name means “running water” and indicates the fineness
of areas
that
are above
ground
level.
choice of an
Synonyms:
basified
viscose,
modified
cellulose
fiber,The
modified
of the
∞ antherine
Seefabric.
anterine.
rayon . appropriate type of wall-to-wall carpet or carpet backing for a particular area is influenced by whether the abridged spinning system A set of machines for yarn
animalizing A chemical treatment that enables fibers anthistiria A stem fiber obtained from Anthistiria arundimanufacture that shortens the spinning process by
surface
carpeted
is above
or below
grade.
nacea, a grass found in northwestern India and Pakistan.
other than
wooltotobe
take
dyes used
for animal
fibers.
combining some of the traditional steps, e.g., sliver-toUses: cordage.
yarn A continuous
yarn thation
has been
anionicabraded
[an-eye′-ah-nihk]
Forming afilament
large negative
yarn ring spinning.
cut or abraded
at intervals
given added
(anion) deliberately
in water solution.
In textiles,
this termand
is used
anthraquinone dye A dye based on the chromophore
abrohany A sheer cotton muslin made in India.
twistintoreference
bring about
certain degree
of hairiness
most often
toacertain
dyestuffs
and syn- or spun
anthraquinone, which comprises three fused benzene
yarn character. Most abraded yarns have been either visstrong,
lustrous,
clean,numwhite fiber
thetic detergents.
ringsabroma
with two(abrome)
carbonyl A(>C=O)
groups.
A large
cose rayon or acetate. They are usually plied or twisted
obtained
the bast
of the twigs
augustus in
ber of vat
dyes from
and many
individual
dyesofinAbroma
other dye
anionic dye
A other
dye that
dissociates in aqueous solution to
with
yarn.
India.
Resembles
Chiefly used locally for cordage.
classes
are
derivatives
of sunn.
anthraquinone.
produce negatively charged colored ions.
Synonyms: devil’s cotton, perennial Indian hemp.
abrang A plain weave, cotton fabric made in India with
antibacterial agent Any chemical material which kills
anjengo yarn
coarse,
handspun,
two-ply,
fiber
fine, aviolet
stripes
generally
½ tocoir
1 in.
(1.3yarn
to 2.5 cm)
absolute
humidity
See
humidity.
bacteria (bactericide) or interferes with the multiplimade inapart
the Anjengo
India. Uses: mats and
and givendistrict
a glazedoffinish.
cation,
growth, orThe
activity
(bactgeriostat)
absorbance
abilityofof bacteria
a material
to transform radiant
carpets.
(AATCC).
See bactericide,
abrash Color change along the filling of a rug. Often found
energy
to a differentbacteriostat.
form, usually heat.
annatto See achiote.
in nomadic rugs.
antibacterial
finish A
treatment
of aoffabric
or fiber
absorbency
The
propensity
a material
to that
take in and
annotto See achiote.
makes itretain
resistant
to, or
inhibits
theingrowth
of, and
microabrasion The wearing away of any part of a material by
a liquid,
usually
water,
the pores
interstices
of the material (AATCC).
rubbing
against another
surface (ASTM).
anondendron
(anadendron)
A strong,
fine, bast fiber
organisms.
20
2
/ acetate
antichlorabsorbent
/ apishamore
India; A
a stiff-finished
dyestuff is obtained
bark,
pods, and
absorbent
A substance
notedtofor
its ability
to takeantique
up
antichlor
Any chemical
agent used
remove
residual
taffeta
fabric infrom
plainthe
weave
made
leaves.
See calico
chalk, corn
chlorineother
or itssubstances.
compoundsSuch
from absorbents
goods after as
bleaching
to meal,
to resemble
taffeta
fabrics1.,of3.the 18th century. It may
are used inSee
stain
removal because they
preventor
thefuller’s
fabric earth
from tendering.
tender.
be made
of douppioni silk or synthetic fibers. Iridescent
acala cotton [uh-kal′-uh] A group of cotton varieties with
will absorb the liquid staining ingredient when spread
effects may
belength
achieved
byin.
dyeing
lengthwise
and
cross- into
(2.7 cm)
or greater.
Introduced
staple
13/32
Anti-Crease One of the first trademarks, no longer
upon the stain. These materials are most effective when
wise yarns
different
colors.
the in
U.S.
from Mexico.
used, for a crease-resistant, resin finish. Term formerly
used on light or freshly made stains. See adsorbent.
used more broadly in Great Britain than the U.S., where antiquing
Manufacturing
process
that
imparts
a worn
∞ acca
A rich medieval
fabric,
now
obsolete,
made of silk
absorbent
cotton
cotton
from which
trademark
Tebilized
hadAbeen
employed.
See natural
crease-wax and
look to apparel.
Such
processes
includeoriginally
garment made
wash-in Acre,
decorated
with
gold threads;
fats are removed by chemical treatment to make ing,
it stone
resistance.
th
washing.
Syria. Used during the 14 century for church vestments
absorbent. Used as loose fiber or in various other forms
and regalagent
applications.
antidumping duty Tariff imposed by an importing coun- antiredeposition
Substance added to synthetic
for surgical dressings.
try on goods exported to that country at a price below
detergents
to keep
soil, which
hasspeeds
been released
by fabaccelerant
A chemical
that
up a reaction
or dyeing
finish
The treatment
of fabrics
with
chemical
“fair absorbent
value.” These
tariffs
are imposed
because
this
rics during
washing, suspended in the wash water. The
process.
compounds
that may
increase
ability
toimporttake up liquids
below “fair
value” price
causetheir
injury
to the
most common chemical used is sodium carboxymethyl
accelerated spinning test A method for evaluating spinor moisture.
Also see hydrophilic.
ing country’s
economy.
cellulose.
ning performance using small amounts of fiber.
absorption
A processmaterial
in whichadded
one material
(the absorantifoam
agent A chemical
to dye soluantirot finishes See antiseptic, mildew-resistant finaccelorotor An abrasion tester developed by the Ameribent)
takesorinfinishing
or incorporates
another
material (the
tions, print
pastes,
formulations
to reduce
ish.
can Association of Textile Chemists and Colorists. To
absorbate)
withinduring
itself; such
as the absorption of moisor prevent
foam buildup
processing.
anti-runback
course
horizontal
row of specimen
knitted tuck
conduct
the A
test,
an unfettered
is whirled
ture by fibers (AATCC).
antifume finish A finish, especially applied to acetate
stitchesaround
intended
to prevent
runs below
the knee
of
a cylindrical
chamber
lined with
abrasive.
absorption
coarse,their
plainresistance
weave fabric
that may
fabrics
and yarns,fabric
whichA raises
to or
stockings. These stitches, or courses, generally are
acceptance testing Testing performed to decide whether
impregnated
increase gas and
preventsbethe
destructionwith
of thechemicals
colors bytoatmospheric
placed below the garter welt.
a material meets acceptance criteria (ASTM).
vapor absorption.
Used by
forcombustion
screens andor
filters
fumes, especially
those caused
thosein many
antisag Applicable to a fabric that, under normal condiaccessory stitch Thread or yarn that is not part of the
industries.
Synonym:See
brattice
cloth.
that have
an acid character.
gas fading.
tions, will
not stretch
out that
of shape.
textile
structure
passes through a textile. Such
absorption
gauge
An instrument
for kills
measuring
the rate at
antimicrobial
agent
A chemical
agent that
or intermaysubstance
be functional,
of a textile
antisepticstitches
Chemical
used tosecuring
prevent part
bacterial
which
fabric will
absorb liquid
in both warp and filling.
feres with
the agrowth
of bacteria
or molds.
product
several
textile
together; or,
or fungal
growthor
onholding
cellulosic
fabrics.
Somepieces
of the more
absorption
A laboratory mildew-resistant
method for measuring the
may be decorative,
incopper,
which case
usually are
antimildew
finish test
See antiseptic,
commonthey
antiseptics
include zinc,
and they
mercury
called embroidery.
finish. ability of fibers or textile fabrics to absorb water or
salts; salicylanilide;
and pentachlorophenol.
other liquids.
fabric
A patterned
fabric
antipolo A fiber obtained from the bark of the Philippine antislipaccordion
finish A finish
usually
made with
resinproduced
(durable)on
orcircular
A cleaningincise,
agent.
needle)
knitting machines.
The pattern
breadabstergent
fruit tree, Artocarpus
of See
the detergent.
Moraceae family.
a silica (single
compound
(temporary)
which prevents
smoothincorpoandand
welt
stitches.
Although
lighter in
Uses:Abutilon
rope and cordage.
filamentrates
yarnknit,
fromtuck,
sliding
creating
distorted
areas
[uh-boot′-l-on′] A genus of annual plants of the
weight, it closely resembles fabric produced by means of
in fabrics.
mallow family,
whichfabrics
are indigenous
to tropical
antique Descriptive
of certain
made in imitation
of counneedle selection on jacquard machines.
tries. Many
species
yield strong,
lustrous
See
silk produced
in previous
centuries
and also
appliedfibers.
to antistatic
agent Chemical compound applied to fabric to
chingma,
giant abutilon.
accordion
pleats
A series of of
narrow
(⅛ to ½ in. [.3
fabrics that
have developed
a vintage character through
reduce
or eliminate
accumulation
staticfolds
electricity.
to 1.3
cm] wide) 1.in a fabric; arranged close together to
service,
storage, or
wear. The Musa ensete plant, which yields
See static
eliminator
abyssinian
banana
resemble folds in an accordion. Frequently found in
stem fibers
used for cordage.
antique cutwork
Seeprincipally
cutwork 1.
Antwerp skirts
lace and
1. A dresses.
Belgian These
bobbinpleats
lace may
with be
bold
pat-durable.
made
terns made
of sprigs connected
bars, or made in one
ticking.
See durable
press, heatbysetting.
antiqueACA
lace See
Anaca
open,
coarse form of darned lace. The
piece, generally with cordonnet outlining the patterns.
medieval
for Athis
was ticking
opus araneum;
sometimes
ACA name
ticking
twill
that has
blue-and-white accuracy (of a test method) The degree of agreement
A heavy, fancy ground is employed. The potten kant
it was called
d’art, ouvrages,
masches,
stripes.guipure
Originally
trademarked
and and
laterlater,
used as a
between
the
true
value
of
the
characteristic
design is characteristic; original patterns pictured the being
when reproduced
in France, cluny guipure. Synonym: spigeneric term.
tested, or an accepted standard value, and the average
Annunciation. Formerly used extensively by the women
der work.
of many observations made according to the method.
Acacia [uh-kay′-sha] A genus of shrubs and trees found
of Antwerp as trimming for caps. 2. A needlepoint edgantique satin
reversible
in warmAclimates
that yields gums used in print pastes,
acetate
[as′-uh-tayt]
1. An
organic
chemicalstitches
containing one
ing made
with
one row of
open
buttonhole
fabric, some
the right
of and coarse fiber. Acacia sengal, in
naturalside
dyestuffs,
—CO—O—
groups.
2. A generic
or more
CH3in
caught with
a knot
each loop.
Synonym:
flandersfiber
lace.category
which the
resembles
eastern andshanwestern parts of tropical Africa, and acathat has been defined by the Federal Trade Commission
aoudad sheep 1. argali sheep. Synonym bearded argali.
tung slubbed
in the
filling
cia arabica
in India
yield the best gum arabic (Synonyms:
as “a manufactured fiber in which the fiber-forming sub2.
Such
wild
sheep
as
the
bighorn
of
North
America.
Also
direction;
the gum
wrong
sideAcacia catechu produces catechu of
acacia,
acacia).
stance is cellulose acetate. Where not less than 92% of the
known
as
barbary
sheep,
which
predominate
in
Tunisia,
resembles
some
satins
cutch,
andsilk
Acacia
leudophloea yields a coarse, tough bast
hydroxyl groups are acetylated, the term triacetate may
Libya, and Algeria.
of previous
Madeand nets. Acacia farnesiana, native to
fibercenturies.
used for rope
be used as a generic description of the fiber.” Term also
from various
manufactured
apishamore
(apishemean)
used yarns
in themade
American
the western
hemisphere and also found in the eastern
is applied
to fabricAs
and/or
fromWest,
acetate fiber.
or natural
fibers.
hemisphere,
yields a gum used
by calico
a saddleFibers
blanket.
most often are used in filament form. Aesthetic
antique
satin printers in
∞
21
3
63
Reference
Encyclopedia of Embroidery
from the Arab World
Gillian Vogelsang-Eastwood
The Encyclopedia of Embroidery from the Arab World is the first reference work to chart the
history of embroidery from Ancient Egypt to the present day and to offer an authoritative guide
to all the major embroidery traditions of the region. It maps the diversity of embroidery from the
Maghreb to the Gulf states and from Turkey to Sudan. It traces the impact of trade, commerce,
politics and religion on materials, colors, styles and fashions, introduces the embroiderers,
their materials, equipment and techniques, and highlights the artistic and design influences
of embroidery through to its use by modern fashion designers. Richly illustrated with images
of clothes, accessories, cushions, bed linen, curtains, floor coverings and wall hangings, the
Encyclopedia is an essential resource for students and scholars of the subject.
• T
he first comprehensive reference work on this subject in any language (including Arabic)
• Generously illustrated with 500 images, patterns and diagrams, many never previously
published or on public view
• Provides detailed coverage of the material and technical aspects of embroidery, as well
as its development over time, up to and including its use by modern fashion designers
from the region
GILLIAN VOGELSANG-EASTWOOD is Director of the Textile Research Centre, Leiden, The
Netherlands.
HB 9780857853974 ∙ £150.00 / $240.00
Bloomsbury Academic
Part 2. Archaeological And Historical
Embroideries
•Tutankhamun’s Embroidery
•Embroideries from Sites from Egypt, Nubia
and Sudan, Nettie Adams
•Embroideries from Judea, Syria and Iraq
•Coptic, Byzantine and Arab Sicilian
Embroideries
•Medieval Embroideries from Egypt, Nettie
Adams
•Medieval Embroideries from Lebanon
•The Main Medieval Styles of Embroidery
•Tiraz. The Kiswah. Street of the Tent Makers
•Turkish Embroidery, Sumru Krody
64
3. Regional Embroidery
•The Maghreb: Morocco
•The Jewish Kiswa El-Kabir
•Algeria
•Tunisia
•Libya
•Toureg Embroidery.
•Egypt: Egyptian Embroidery
•Abas and Bishts
•Ecclesiastical Embroidery from the Eastern
Mediterranean, Karel Innemee
•Sinai and Negeb Bedouin Embroidery
•Eastern Mediterranean, Syria and Iraq:
Jewish Ceremonial Embroidery
•Samaritan Embroidery
•Palestine, Widad Kawar
•Lebanon, Nour Majdalany
•Jordan, Widad Kawar
•Jordian Designer Using Embroidery
•Syrian Embroidery Widad Kawar and Heike
Weber
•Iraqi Embroidery, Layla Pio
•Arabian Peninsula: Saudi Arabian Embroidery
•Saudi Arabian Designer Using Hand
Embroidery
•Saudi Arabian Designer Using Machine
Embroidery
•Sudanese Embroidery
•Yemeni Embroidery, Margret Ramson
•Naeksha Harazi Embroidery
•Zari Work from India
•Oman
•Omani Designer Using Embroidery
•Gulf States
4. Resources
•Glossary of Stitches
•Glossary of Terms
•Bibliography
•Index
contents
Part 1. General Information
•Introduction
•The Embroiderers
•Foreign Influences
•Materials and Equipment
•Hand and Machine Embroidery Techniques
•Designs and Colors
Reference
key titles
The Visual Dictionary of
Fashion Design
Gavin Ambrose and Paul Harris
“A great little pocket reference book for fashion students. It provides instant answers on a
variety of topics.”
Kevin Almond, University of Huddersfield, UK
“This is the only dictionary-style book I use and recommend. A simple, easy to read and
visually interesting book.” Shelley Campton, Canberra Institute of Technology, Australia
The Visual Dictionary of Fashion Design is a guide to more than 250 common fashion terms, both
practical and conceptual, used in the fashion industry.
160 x 120mm / 6.3 x 4.7 inches
PB 9782940373611 ∙ £16.95 / $24.95
Library eBook 9782940439669 £16.99
Series: Visual Dictionaries
AVA Publishing
The Dictionary of Fashion History
Valerie Cumming, C. W. Cunnington and P. E. Cunnington
“Nearly forty years on and now hard to find save in reference libraries, the volume reappears
as The Dictionary of Fashion History, skilfully enlarged and re-edited by Valerie Cumming,
formerly Deputy Director of the Museum of London. Given fresh life and thorough coverage
from 1900 through the present day, the new dictionary is once again ready to prove itself a
trustworthy guide and companion to all those interested in the absorbing study of clothing.”
Ann Saunders, Costume
“A welcome, needed update of an early landmark dictionary on dress; a must-have for all who
care about the A to Z of fashion.” Joanne B. Eicher, Regents Professor Emerita at the University
of Minnesota, USA
“Concise yet detailed, academic, and fabulous, it is truly a dictionary. The Dictionary of Fashion
History is an essential purchase for any library serving patrons with an interest in fashion,
clothing, art, history, theater, anthropology, or nearly any area of the social sciences.” Library
Journal
2010 ∙ 304 pages ∙ 75 bw illus
244 x 189mm / 9.6 x 7.4 inches
PB 9781847885333 ∙ £17.99 / $29.95
HB 9781847885340 ∙ £55.00 / $99.95
Individual eBook 9781847887382 ∙ £17.99
(World English, excluding USA)
Library eBook 9780857851437 ∙ £54.99
(World English, excluding USA)
Berg Publishers
The Berg Companion to Fashion
Edited by Valerie Steele
“The Berg Companion to Fashion is the title to get.” Library Journal
“Recommended for reference collections” Booklist Online
An essential reference for students, curators and scholars of fashion, cultural studies, and the
expanding range of disciplines that see fashion as imbued with meaning far beyond the material.
2010 ∙ 800 pages ∙ 150 bw illus, 32pp
colour plate section
244 x 189mm / 9.6 x 7.4 inches
PB 9781847885630 ∙ £29.99 / $49.95
HB 9781847885920 ∙ £75.00 / $140.00
Berg Publishers
65
Reference
The Handbook of Fashion Studies
Edited by Sandy Black, Amy de la Haye, Joanne Entwistle, Agnès
Rocamora, Regina Root and Helen Thomas
The Handbook of Fashion Studies identifies an innovative spectrum of thematic approaches, key strands and
interdisciplinary concepts that continue to push forward the boundaries of fashion studies. Each section
contains four essays written by international subject specialists who each engage with their section’s theme
in the light of their own discipline and provide clear case studies to further knowledge on fashion. This
consistency provides clarity and permits comparative analysis. The Handbook presents a state-of-the-art
overview of the subject – its methodologies, current debates, history and future –and covers both historical
and contemporary fashion.
SANDY BLACK is Professor of Fashion and Textile Design and Technology at the London College of Fashion,
University of the Arts, London, UK. AMY DE LA HAYE is the Rootstein Hopkins Chair of Dress History and
Curatorship at the London College of Fashion, University of the Arts, London, UK. JOANNE ENTWISTLE is
Senior Lecturer, Culture, Media and Creative Industries at King’s College, London, UK. AGNÈS ROCAMORA is
Reader in Social and Cultural Studies at the London College of Fashion, University of the Arts, London, UK.
REGINA ROOT is Associate Professor of Hispanic Studies at the College of William and Mary, Williamsburg, VA,
USA. HELEN THOMAS is Director of Doctoral Programmes at the University of the Arts, London, UK.
HB 9780857851949 ∙ £90.00 / $140.00
Bloomsbury Academic
Textiles
Critical and Primary Sources
Edited by Catherine Harper
“Congratulations on this incredible publication, what an amazing resource for all of us in the textile
world!” Annet Couwenberg, Maryland Institute College of Art, USA
“A very fine achievement.” Professor Janis Jefferies, Goldsmiths College, London, UK
Textiles: Critical and Primary Sources is a major multi-volume reference work that draws together 93 seminal
texts on textiles. The contents are therefore gathered into four thematic collections dealing with history
and curation; production and sustainability; science and technology; and identity, each supported by an
introductory editorial essay that serves to critique and supplement each textual collection and theme.
Textiles: Critical and Primary Sources is a key scholarly resource for any researchers involved in the study
of textiles, as well as associated subjects, including studies in dress, costume and fashion; feminism and
gender; art, design and cultural history; and sociology and anthropology.
CATHERINE HARPER is Dean of the School of Arts and Digital Industries, University of East London, UK.
1,600 pages ∙ 244 x 172mm / 9.6 x 6.8 inches
HB 9780857850355 ∙ £550.00 / $995.00
Berg Publishers
Critical and Primary Sources
Edited by Peter McNeil
“This excellent, accessible introduction to many of the most important trends in modern fashion
studies will serve as an invaluable research tool for students just starting in the field.” CHOICE
2009 ∙ 1632 pages ∙ 244 x 172mm / 9.6 x 6.8 inches
HB 9781847882929 ∙ £550.00 / $1,095.00
Berg Publishers
66
key titles
Fashion
Journals
The Journal of Dress, Body and Culture
Edited by Valerie Steele
Institutions will
receive both Fashion
Theory and Fashion
Practice as a single
subscription.
Boys Keep Swinging:
The Fashion Iconography
of Hedi Slimane
Nick Rees-Roberts
Sonia Delaunay’s Robe Simultanée:
Modernity, Fashion, and
Transmediality
Tom Slevin
Indonesian Fashion Blogs:
On the Promotional Subject
of Personal Style
Brent Luvaas
Fashioning the Fantastical Self:
An Examination of the Cosplay
Dress-up Phenomenon in
Southeast Asia
Anne Peirson-Smith
Fashion Theory Volume 17 Issue 1 2013
Fashion Theory
Volume 17 Issue 1 February 2013
Online at
www.ingentaconnect.com
“A fine addition to academic institutions with cultural studies programs; essential for those with special
collections in fashion and costume.” Library Journal
Launched in 1997, Fashion Theory is well established as the leading peer-reviewed, international, and
interdisciplinary journal for the analysis of all aspects of the cultural significance of dress and fashion
worldwide – from Vogue to Versace, from kimonos to kilts, and from foot-binding to body piercing.
VALERIE STEELE is Director and Chief Curator of The Museum at the Fashion Institute of Technology (FIT),
USA.
www.bloomsbury.com
ISBN 978-1-4725-1698-5
90100
Cover images: Hedi Slimane for Dior Homme Spring/Summer 2002.
Courtesy Maria Chandoha Valentino/MCV Photo.
ISBN 978 1 4725 1698 5
ISSN 1362-704X Fashion Theory
The Journal of Dress, Body & Culture
9 781472 516985
Available to purchase as a subscription or as
individual issues
5 issues per year: February, April, June,
September, November
ISSN: 1362-704X e-ISSN: 1751-7419
www.bloomsbury.com/fashiontheory
Fashion Practice
The Journal of Design, Creative
Process and the Fashion Industry
Institutions will
receive both Fashion
Theory and Fashion
subscription.
Edited by Sandy Black and Marilyn DeLong
Fashion Practice is the first academic peer-reviewed journal to cover all aspects of contemporary design and
manufacture within the context of the fashion industry. Interdisciplinary in approach, it provides a muchneeded forum for topics ranging from design theory to the impact of technology, economics and industry on
fashion practice.
SANDY BLACK is Professor of Fashion and Textile Design and Technology at the London College of Fashion,
University of the Arts London, and Co-Director of the Centre for Fashion Science at LCF. MARILYN DELONG is
Professor of Apparel Studies at the University of Minnesota, USA.
Only available on subscription
2 issues per year, May, November
ISSN: 1756-9370 e-ISSN: 1756-9389
www.bloomsbury.com/fashionpractice
www.bloomsbury.com
• US, Canada, South
America+44(0)1767604951
• 888-330-8477 • [email protected]
www.bloomsbury.com/journals
• worldwide
• [email protected]
67
Journals
Textile
The Journal of Cloth and Culture
ZEN AND THE ABSTRACT
MACHINE OF KNITTING
OTTO VON BUSCH
CREATIVITY AND CORDED
SKIRTS FROM BRONZE AGE
SCANDINAVIA
SØLVI HELENE FOSSØY AND
SOPHIE BERGERBRANT
“Any university or college with an interest in textiles should subscribe to it
and make it easily available. For individual scholars and makers, the journal
provides a useful resource and will be a pleasure to collect and possess.” Times Higher Education
Volume 11 Issue 1 March 2013
THE CASE OF THE
DISAPPEARING MILL VILLAGE:
IMPLICATIONS OF INDUSTRY
CHANGE FOR BUILDING
AND SUSTAINING SMALL
COMMUNITIES
NANCY HODGES AND
PHILLIP FRANK
WILD SILK TEXTILES OF
THE DOGON OF MALI:
THE PRODUCTION, MATERIAL
EFFICACY, AND CULTURAL
SIGNIFICANCE OF SHEEN
LAURENCE DOUNY
TEXTILE VOLUME 11 ISSUE 1 MARCH 2013
Edited by Catherine Harper
Institutions will
receive both Textile
and Journal of Textile
Design Research and
subscription.
ONLINE AT
WWW.INGENTACONNECT.COM
Textile
The Journal of Cloth & Culture
Textile is an international and peer-reviewed journal that brings together research in textile studies in an
innovative and distinctive academic forum. It provides a platform for points of departure between art and
craft; gender and identity; cloth, body and architecture; labour and technology; techno-design and practice –
all situated within the broader context of material and visual culture.
FRONT COVER IMAGE
FABRICFORMWORK WALL 2, BY ALAN CHANDLER.
PHOTOGRAPH BY DIRK LELLAU.
COURTESY OF THE ARTIST.
www.bloomsbury.com
ISBN 978-1-4725-1807-1
90100
CATHERINE HARPER is Dean of the School of Arts and Digital Industries at the University of East London, UK.
9 781472 518071
ISSN 1475-9756
ISBN 978 1 47251 807 1
Available to purchase on subscription or as
individual issues
3 issues per year: March, July, November
ISSN: 1475-9756 e-ISSN: 1751-8350
www.bloomsbury.com/textilejournal
New in 2013
Journal of Textile Design
Research and Practice
Institutions will
receive both Textile
and Journal of Textile
Design Research and
subscription.
Edited by J.R. Campbell, Faith Kane, Janette
Matthews, Lauren Moriarty and Nancy Boiter Powell
The Journal of Textile Design Research and Practice aims to create a forum to facilitate, stimulate and
disseminate research in the domain of textile design and practice, and encompasses a range of approaches,
disciplines and outcomes.
The journal is interested in interdisciplinary and cross-disciplinary approaches and the role of collaboration;
relationships between traditional and contemporary practices; the application of new and traditional
technologies and materials from both technical and aesthetic perspectives; sustainable textile practices,
interfaces between research and industry, the textile design process including the role of drawing and the
significance of craft.
Institutions will receive both Textile and Journal of Textile Design Research and Practice as a single
subscription.
J.R. CAMPBELL is a Professor and Director at Kent State University, USA. FAITH KANE is a lecturer in Textiles
and leader of the Textiles Research Group at The School of the Arts, Loughborough University, UK. JANETTE
MATTHEWS is a Researcher at Loughborough University School of Art and Design, UK. LAUREN MORIARTY is
a Senior Lecturer for the BA (Hons) Textiles and Surface Design course at Buckinghamshire New University,
UK, and teaches on the Surface Design pathway. NANCY BOITER POWELL is an Associate Professor in the
Textile and Apparel, Technology and Management Department at North Carolina State University, USA
68
1 issue per year: November
ISSN: 2051-1787 e-ISSN: 2051-1795
www.bloomsbury.com/textiledesignjournal
www.bloomsbury.com
• UK, Europe,
ROW • +44
(0)1256 302699 •• [email protected]
• worldwide
+44(0)1767604951
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Journals
Edited by Kathy Kubicki, Thy Phu and Val Williams
Articles
Neither Pictorialism nor
Documentary Photography:
The Camera’s Uses and the
Struggle for Self-Expression in
Industrial Cities, ca.1857–1907
Nicole Hudgins
One Photograph
7 April 1953 by R. J. Blenkinsop
Andrew Cross
“Photography and Culture will create a new context for reflection on the nature of photography,
its practices, meanings, and private/public worlds. In doing so it will help to redefine the study of
photography as something broader than it is often taken to be.” Jennifer G. Tucker, Dept. of History,
Wesleyan University, USA
“The Brownies in Palestina”:
Politicizing Geographies
in Family Photographs
Gil Pasternak
Portfolio
Birds in Flight
Eva Stenram
Photography and Culture is an international, interdisciplinary, and peer-reviewed journal that focuses on the
historical, technological, cultural and social aspects of photography. It integrates art historical approaches
with newer work from visual culture, communication and anthropology, media, cultural and museum studies,
fashion and design, as well as history and sociology.
Photography
& Culture
VOLUME 6 ISSUE 1 MARCH 2012
“Thank You for Our Flat Daddy”:
Photography, Imagination, and
Citizenship as Child’s Play
Rebecca A. Adelman
The Archive
Albania before the Collapse
Stuart Griffiths
Online at www.ingentaconnect.com
Photography
& Culture
Photography & Culture
Photography and Culture
Cover image: From Vancouver Carts (2010).
Photograph by Kelly Wood.
KATHY KUBICKI is Senior Lecturer at the University for the Creative Arts, Farnham, UK. THY PHU is Associate
Professor in the English Department at Western University, Canada. VAL WILLIAMS is Professor of the History
and Wave of Photography and Director of the Photography and the Archive Research Centre at the University of
the Arts, London College of Communication, UK.
ISSN 1751-4517
ISBN TBC
TBC
Cover design by William Joseph
williamjoseph.co.uk
www.bloomsbury.com
3 issues per year, March, July, November
ISSN: 1751-4517 e-ISSN: 1751-4525
www.bloomsbury.com/photographyandculture
LAUNCHING IN 2014
Luxury
History, Culture, Consumption
Edited by Jonathan Faiers and Shannon Bell Price
Luxury: History, Culture, Consumption will be the first truly interdisciplinary, academic journal devoted to
luxury. It considers luxury in broad socio-cultural contexts, exploring and interrogating both our historical
and contemporary understanding of the term.
Within the context of the contemporary global economic recession, our consumption of luxury is being
questioned and transformed, with notions of ‘affordable luxury’, ‘sustainable luxury’ and even ‘luxury for
less’ suggesting a new discourse. At the same time, the demand for luxury goods and services on a global
scale is at an unprecedented level. Luxury examines all aspects of the subject: its historical formation and
understanding, its contemporary global political and economic function, alongside an exploration of how the
concept of luxury remains an impetus for design, popular culture, literature and fine art.
Jonathan Faiers is a Reader in Fashion and Textiles at the Winchester College of Art, University of
Southampton, UK. Shannon Bell Price is Assistant Chair of Fashion at the Pratt Institute, New York, USA.
Launching in 2014
ISSN: 2051-1817 • e-ISSN: 2051-1825
www.bloomsbury.com/luxury
www.bloomsbury.com
• US, Canada, South
America +44(0)1767604951
• 888-330-8477 • [email protected]
• worldwide
• [email protected]
69
index
70
Abling, Bina.......................................................................... 22
Color and Design.................................................................... 19
Fashion Practice..................................................................... 67
Accessory Design................................................................... 23
Cox, Caroline........................................................................... 47
Fashion Reader, The.................................................................7
African Dress........................................................................... 59
Craik, Jennifer...........................................................................6
Fashion Sketchbook.............................................................. 22
Ageing and Youth Cultures.................................................. 57
Creative Draping..................................................................... 35
Fashion Theory........................................................................ 67
Amaden-Crawford, Connie.........................................30, 35
Creativity in Fashion Design................................................ 20
Fashion Thinking.................................................................... 18
Ambrose, Gavin...................................................................... 65
Cultural History of Fashion in the 20th and 21st
Fashion: Critical and Primary Sources............................ 66
Angel, Samata...........................................................................7
Centuries, A.......................................................................... 48
Fashion: The Industry and its Careers................................6
Apparel Merchandising......................................................... 16
Cultural History of Jewish Dress, A.................................. 49
Fashion: The Key Concepts.....................................................6
Apparel Production Terms and Processes..................... 17
Cumming, Valerie.................................................................. 65
Fashioning Bollywood........................................................... 60
Apparel Quality........................................................................ 16
Cunnington, C.W..................................................................... 65
Fashioning Japanese Subcultures.................................... 60
Art of Couture Sewing, The.................................................. 28
Cunnington, P.E....................................................................... 65
Fashioning Models................................................................. 58
Art of Fashion Draping, The................................................. 35
Czachor, Sharon.................................................................... 30
Fetish Style............................................................................... 56
Bailey, Sarah........................................................................... 11
Davis, Leslie...............................................................................6
Fischer, Anette....................................................................... 30
Baker, Jonathan..................................................................... 11
de la Haye, Amy..................................................................... 66
Fitting and Pattern Alteration............................................. 33
Banerjee, Mukulika............................................................... 61
Decades..................................................................................... 47
Folds in Fashion...................................................................... 29
Barnfield, Jo............................................................................ 33
DeLong, Marilyn..............................................................19, 67
Fundamentals of Fashion Design, The............................. 19
Barrett, Joanne Ciresi.......................................................... 26
Design Your Fashion Portfolio............................................ 26
Fundamentals of Fashion Management, The................. 14
Barthes, Roland..................................................................... 54
Designing Your Fashion Portfolio...................................... 26
Fundamentals of Printed Textile Design, The................ 39
Basics Fashion Design 01: Research and Design........ 21
Diamond, Ellen..........................................................................4
Gale, Colin................................................................................ 39
Basics Fashion Design 02: Textiles and Fashion.......... 21
Diamond, Jay.............................................................................4
Galton, Elizabeth.................................................................... 23
Basics Fashion Design 03: Construction......................... 30
Dictionary of Fashion History, The.................................... 65
Garcia, Rosa............................................................................ 29
Basics Fashion Design 04: Developing a Collection.... 21
Dieffenbacher, Fiona............................................................ 18
Garner, Myrna B. ............................................................14, 17
Basics Fashion Design 05: Fashion Drawing................. 21
Digital Jacquard Design....................................................... 41
Geczy, Adam..............................................................49, 56, 58
Basics Fashion Design 06: Knitwear................................ 21
Dillon, Susan........................................................................... 14
Genova, Aneta......................................................................... 23
Basics Fashion Design 07: Menswear............................. 21
Donnellan, John........................................................................9
Gill, Penny................................................................................ 12
Basics Fashion Design 08: Styling.................................... 27
Draping for Apparel Design................................................. 34
Global Denim........................................................................... 43
Basics Fashion Design 09: Designing Accessories...... 23
Dress, Law and the Naked Truth....................................... 15
Going Global............................................................................. 14
Basics Fashion Design 10: Jewellery Design................ 23
Dyeing and Screen-Printing on Textiles.......................... 42
González, Ana Marta............................................................ 58
Basics Fashion Management 02: Fashion Promotion.13
Dynamics of Fashion, The.......................................................5
Granger, Michele M. ........................................................ 6, 14
Basics Textile Design 01: Sourcing Ideas........................ 37
Ellinwood, Janice G............................................................... 20
Great Fashion Designers, The................................................7
Beaujot, Ariel........................................................................... 50
Emery, Joy................................................................................ 46
Guide to Fashion Sewing, A................................................. 30
Bell, Judith............................................................................... 12
Encyclopedia of Embroidery from the Arab World...... 64
Guide to Producing a Fashion Show................................. 13
Bennett, Andy......................................................................... 57
English, Bonnie...............................................................45, 48
Gwilt, Alison............................................................................. 36
Berg Companion to Fashion, The....................................... 65
Entwistle, Joanne...........................................................58, 66
Hand Stitch............................................................................... 44
Berg Fashion Library............................................................. 51
Eubank, Keith.......................................................................... 48
Handbook of Fashion Studies, The.................................... 66
Beyond Design......................................................................... 17
Everett, Judith C..................................................................... 13
Hansen, Karen Tranberg.................................................... 59
Black, Sandy.....................................................................66, 67
Faerm, Steven........................................................................ 26
Harper, Catherine...........................................................66, 68
Blanken, Christian ............................................................... 45
Faiers, Jonathan.................................................................... 69
Harris, Paul.............................................................................. 65
Bloomsbury Fashion Photography Archive.................... 52
Fairchild Books Dictionary of Fashion, The.................... 62
Hemmings, Jessica.......................................................39, 43
Body Style................................................................................. 56
Fairchild Books Dictionary of Textiles, The..................... 63
History of Sportswear, The.................................................. 45
Bovone, Laura......................................................................... 58
Fashion and Age..................................................................... 57
History of the Paper Pattern Industry, A......................... 46
Brannon, Evelyn L................................................................. 14
Fashion and Art....................................................................... 58
Hodkinson, Paul..................................................................... 57
Bryant, Nancy O. ......................................................................6
Fashion and Cultural Studies.............................................. 58
Holyoke, Julie.......................................................................... 41
Bubonia, Janace E. .......................................................16, 17
Fashion and Orientalism...................................................... 49
Hopkins, John..................................................................19, 21
Buckley, Claire........................................................................ 27
Fashion and Textiles.............................................................. 39
Howell, Geraldine.................................................................. 50
Burns-Tran, Shannon........................................................... 27
Fashion as Performance...................................................... 54
Hume, Lynne........................................................................... 61
Business of Fashion, The........................................................6
Fashion Buying........................................................................ 10
Hunt-Hurst, Patricia............................................................. 57
CAD for Fashion Design and Merchandising.................. 25
Fashion by Design.................................................................. 20
Identities Through Fashion.................................................. 58
Cadigan, Erin........................................................................... 40
Fashion Design: The Complete Guide............................... 19
In Fashion....................................................................................6
Campbell, J.R.......................................................................... 68
Fashion Designer’s Resource Book.....................................7
Islamic Fashion and Anti-Fashion..................................... 59
Chinese Fashion Industry, The............................................ 60
Fashion Entrepreneurship................................................... 14
J.J. Pizzuto’s Fabric Science............................................... 38
Clodfelter, Richard................................................................ 10
Fashion Forecasting ............................................................. 14
J.J. Pizzuto’s Fabric Science Swatch Kit......................... 38
Cohen, Allen C......................................................................... 38
Fashion Forward..................................................................... 14
Japanese Fashion Designers.............................................. 45
Cole, Julie................................................................................. 30
Fashion Law............................................................................. 15
Jennings, Tracy...................................................................... 20
index
Jimenez, Guillermo C........................................................... 15
Partington, Matthew............................................................. 50
Sorger, Richard...................................................................... 19
Johnson, Ingrid...............................................................38, 63
Pattern Cutting Primer......................................................... 33
Sourcing and Selecting Textiles for Fashion.................. 40
Joseph-Armstrong, Helen................................................. 34
Pattern Cutting: The Architecture of Fashion................. 32
Steed, Josephine................................................................... 37
Journal of Textile Design Research and Practice, The.68
Patternmaking for Menswear............................................ 31
Steele, Valerie..................................................................65, 67
Kaiser, Susan B. .................................................................... 58
Patterson, Elizabeth............................................................. 54
Steen, Camille........................................................................ 24
Kane, Faith............................................................................... 68
Pegler, Martin M. .................................................................. 12
Sterling, Tina........................................................................... 14
Karaminas, Vicky............................................................56, 58
Petrizzi, Richard.................................................................... 12
Stevenson, Frances.............................................................. 37
Kaur, Jasbir............................................................................. 39
Photography and Culture..................................................... 69
Stone, Elaine.........................................................................5, 6
Kawamura, Yuniya................................................................ 60
Phu, Thy.................................................................................... 69
Story of Colour in Textiles, The........................................... 39
Kay-Williams, Susan............................................................ 39
Pizzuto, Joseph J................................................................... 38
Style Wise................................................................................. 27
Keiser, Sandra J..............................................................17, 62
Poiret, Dior and Schiaparelli............................................... 49
Survey of Historic Costume................................................. 48
Kershaw, Gareth.................................................................... 35
Polan, Brenda............................................................................7
Swanson, Kristen K.............................................................. 13
Kettle, Alice.............................................................................. 44
Poloian, Lynda Rose................................................................8
Swatch Reference Guide to Fashion Fabrics................. 37
Key Concepts for the Fashion Industry...............................7
Porn Chic................................................................................... 55
Swimsuit, The.......................................................................... 50
Kim, Injoo.................................................................................. 31
Portfolio Presentation for Fashion Designers .............. 26
Tain, Linda................................................................................ 26
Kim, Myoungok....................................................................... 31
Pottberg-Steineckert, Delia............................................... 33
Talbot, Stephanie ................................................................. 53
Kinnersly-Taylor, Joanna ................................................... 42
Powell, Nancy Boiter............................................................ 68
Tarlo, Emma.....................................................................59, 61
Kolson, Barbara..................................................................... 15
Practical Guide to Sustainable Fashion, A...................... 36
Technical Sourcebook for Designers................................ 24
Koumbis, Dimitri.................................................................... 10
Prendergast, Jennfier.......................................................... 29
Techno Fashion....................................................................... 18
Kubicki, Kathy......................................................................... 69
Price, Shannon Bell.............................................................. 69
Tepper, Bette K..........................................................................9
Kunz, Grace I........................................................................... 14
Professional Sewing Techniques for Designers........... 30
Ternus, Kate............................................................................ 12
Language of Fashion, The.................................................... 54
Punk Style................................................................................. 56
Textile......................................................................................... 68
Lau, John.................................................................................. 23
Queer Style............................................................................... 56
Textile Book, The..................................................................... 39
Lee, Jaeil................................................................................... 24
Quinn, Bradley.................................................................18, 42
Textile Futures......................................................................... 42
Liechty, Elizabeth.................................................................. 33
Rasband, Judith..................................................................... 33
Textile Reader, The................................................................. 39
Lillethun, Abby..........................................................................7
Rath, Patricia Mink............................................................... 12
Textiles: Critical and Primary Sources............................. 66
Lunning, Frenchy................................................................... 56
Reilly, Andrew.................................................................... 7, 57
Thomas, Helen....................................................................... 66
Luxury........................................................................................ 69
Religious Life of Dress, The................................................. 61
Tortora, Phyllis G.....................................................48, 62, 63
Luxury Fashion........................................................................ 47
Renfrew, Colin........................................................................ 21
Tredre, Roger.............................................................................7
Lynch, Annette....................................................................... 55
Renfrew, Ellen........................................................................ 21
Twigg, Julia.............................................................................. 57
Madison, D. Soyini................................................................. 59
Retail Buying............................................................................ 10
Udale, Jenny.....................................................................19, 21
Marketing Fashion.................................................................. 12
Retailing Principles...................................................................8
Vampire Culture...................................................................... 55
Martinson, Barbara.............................................................. 19
Richards, Andrew.................................................................. 33
Victorian Fashion Accessories........................................... 50
Mathematics for Retail Buying..............................................9
Riello, Giorgio.......................................................................... 47
Visibly Muslim......................................................................... 61
Matthews, Janette................................................................. 68
Rocamora, Agnès.................................................................. 66
Visual Dictionary of Fashion Design, The........................ 65
McAssey, Jacqueline............................................................ 27
Root, Regina............................................................................ 66
Visual Merchandising and Display.................................... 12
McKeating, Jane.................................................................... 44
Rosenau, Jeremy A............................................................... 16
Visual Merchandising for Fashion..................................... 11
McNeil, Peter....................................................................47, 66
Rousson, Chelsea.................................................................. 14
Vogelsang-Eastwood, Gillian............................................ 64
Meanings of Dress, The........................................................ 57
Russell, Alex............................................................................ 39
Warp and Weft......................................................................... 43
Mellins, Maria......................................................................... 55
Sandino, Linda........................................................................ 50
Wartime Fashion..................................................................... 50
Merchandise Buying and Management..............................9
Sari, The.................................................................................... 61
Watt, Gary................................................................................. 15
Miller, Daniel....................................................................43, 61
Schmidt, Christine ............................................................... 50
Welters, Linda............................................................................7
Miller-Spillman, Kimberly A.............................................. 57
Seivewright, Simon.............................................................. 21
Wilkinson-Weber, Clare....................................................... 60
Moore, Gwyneth..................................................................... 13
Sewing Techniques................................................................ 29
Williams, Val............................................................................ 69
Moors, Annelies..................................................................... 59
Shaw, David............................................................................. 10
Wilson, David L....................................................................... 16
Moriarty, Lauren.................................................................... 68
Shoes......................................................................................... 47
Winge, Therèsa M. ................................................................ 56
Mullet, Kathy K..........................................................................6
Silent Selling............................................................................ 12
Wissinger, Elizabeth............................................................. 58
Muño, Adriana ....................................................................... 29
Silver, Cameron...................................................................... 47
Woodward, Sophie................................................................ 43
New Fashion Designers’ Sketchbooks............................. 22
Silverman, Eric....................................................................... 49
World of Fashion, The...............................................................4
Nudelman, Zoya..................................................................... 28
Sissons, Juliana..................................................................... 21
Young, Deborah E. ................................................................ 27
Oral History in the Visual Arts............................................ 50
Sklar, Monica.......................................................................... 56
Zaman, Zarida........................................................................ 22
Parish, Pat................................................................................ 32
Slogan T-Shirts....................................................................... 53
Zhao, Jianhua......................................................................... 60
Parkins, Ilya............................................................................. 49
Smith, Stacy Stewart........................................................... 25
71
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