Texas 4-H Fashion and Fabric Design Curriculum

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The Texas A&M University System, U.S. Department of Agriculture, and the County Commissioners Courts of Texas Cooperating
A member of The Texas A&M University System and its statewide Agriculture Program
Fashion and Fabric Design
A Clothing and Textiles Leader Guide Supplement
Authors
Penny Patton Alexander, Adult Leader
Theresa Christine Alexander, 4-H Member
Mary Lalon Alexander, 4-H Member
Janie Van Zandt, Adult Leader
Tammy Fisher, 4-H Member
Ann V. Beard, Clothing & Textiles Specialist
Cover and selected illustrations
Theresa Christine Alexander
Mary Lalon Alexander
Formatting and Editing
Rebecca D. Zehetner, Extension Assistant-Clothing
September 1995
4-H Fashion and Fabric Design
A Clothing and Textiles Leader Guide Supplement
The purpose of this guide is to provide basic information for the preliminary study of the field
of design and to outline a design competition for the 4-H clothing and textiles curriculum.
Designing apparel, textiles, and accessories are exciting and demanding professions. These
professions require special skills and abilities. Designing is a career in which both men and
women excel. They have equal abilities to function in this field and build a career in all areas of
manufacturing, designing, and promoting fashion. Designing requires specific talents and skills
and it is hoped this information will help in developing them. A successful designer is usually
a skilled artist and sometimes a qualified patternmaker and sewer or textile engineer. This
curriculum is directed toward design only, and does not include information about the skills
needed to construct a textile, garment, or accessory. The 4-H Clothing Leader Guide contains
lessons on construction and patternmaking. It also has lessons and activities that may be used with
this guide as part of a project. Appropriate lessons from the 4-H Clothing Leader Guide will be
listed in each section of this guide.
Appreciation is expressed to the following people who reviewed and commented
leader guide:
Elvira Browning, Adult Leader
Katharine Durham, 4-H Member
Alma Fonseca, Clothing Specialist
Wanda Lee, Adult Leader
Marsha Stabel, former 4-H Specialist
Tedra Ulmer, County Extension Agent
on this 4-H
.
---~---~------------------------------------------
4-H Fashion and Fabric Design
A Clothing and Textiles Leader Guide Supplement
CONTENTS
Design Research
Design Research and Inspiration
1
Capturing Ideas
5
Design Definitions
Definitions
7
Principles
9
Proportion, Balance, Unity or Harmony, Rhythm, Emphasis
Elements
17
Shape and Form, Line, Color/Value, Texture
Design Divisions
Designing Textiles
23
Designing Accessories
29
Designing Garments
31
I
New Design Using Adapted Patterns
New Design Using Flat Pattern Method
Design Drawing
Basic Figure Drawing
"
35
Figure Illustrations
37
Design Competition
Portfolio
47
Completed Samples of Competition Forms
49
Design Competition Forms (not numbered)
57
Design Competition Questionnaire
65
(not numbered)
Design Competition Score Sheet (not numbered)
67
Glossary
69
References
71
I
Design Research and Inspiration
Objectives
4-H members will:
• become aware of sources of inspiration for apparel, accessory, and textile designs.
• learn how to conduct the research necessary for creating and developing designs.
BEGINNING
RESEARCH
The first step in creating a new design is to research fashion and
consumer
trends. Numerous
excellent sources of fashion
information, such as magazines, newspapers, pattern maker
publications, trade publications,
TV, specialty stores, and
department stores help with the exploration necessary for
fabricating design and being inspired. It is also advisable to visit
fabric stores or study mail order fabric catalogues to keep up with
the new fibers, processes, fabrics, and the latest fashion colors.
Many of the same sources can be studied for garments, textiles, and
accessories. The fashion information will show the latest garments,
but the garments will also show the current textiles. The model will
also be wearing accessories. It is possible to then tailor research to
a specific design area.
One can also study the top selling designs from last year to
"refabricate." This involves taking the basic design and redoing it
by adding or taking away, thus, producing a new design. Often,
studying historical publications will inspire a designer to
incorporate a detail or design into the current styles, thus, creating
a totally new and pleasing look.
Now, using the researched infonnation, a design can be formulated.
The garment should be attractive to the specific customer for whom
it was created. This means it should also be attractive and
fashionable in print and color. Since most customers immediately
feel of the garment or textile, the hand (feel) of the fabric is as
important as the appearance.
The designed article should be an obviously good value for its
price. This includes checking for availability of the fabric, trims,
and materials. The retail cost is double the wholesale cost
(designer's cost) and must be remembered when considering the
price of the design. Time is another factor to be considered.
Intricate details, many pieces, and abundant trims add to the look
and design, but also proportionately add to the cost.
1
--~----------------------------------------~----------------------------------------------------
Once a customer has selected a garment, the most crucial element
becomes fit and the way it looks on the figure. Most people
want to look taller and slimmer, not shorter and fatter. It should be
pleasingly proportional, and if possible, conceal figure flaws. If it
does this, the chance of the design becoming successful and selling
well greatly improves.
The last thing to consider is the care and durability of the garment.
Easy care, particularly wash-and-wear is an important part of
making a satisfactory design for the average customer. Dry cleaning
might be considered for special occasions or higher priced
garments.
All of these go into making a successful design and should become
an automatic thought process each time a design is started.
Remember the four Rs of design research: Remember, Record,
Respond to all you see, and Return to stores frequently to keep up
with new information.
DESIGN
INSPIRATION
SOURCES
Below are just a few of the sources available. These sources may
be found in newsstands, book stores, libraries, fabric or department
stores, school research libraries, or stored in relatives' attics and
closets.
TRADE PUBLICATIONS:
American Fabrics and Fashion
Apparel Industry Magazine
Fabric News to the Trade
Stores
Women's Wear Daily
Apparel Executive
Apparel Manufacturer
Men's Wear Daily
W
DAILY OR WEEKLY CONSUMER NEWSPAPERS:
Local newspapers
Monthly newspapers
New York Sunday Times
CONSUMER MAGAZINES
Elle
Glamour
Harper's Bazaar
Mademoiselle
Seventeen
Teen
2
(GLOSSIES):
Gentleman's, Quarterly
Handwoven
Ladies Home Journal
Modern Bride
Taxi
Town & Country
Vogue
--~---------------------------------------~-_._--~---.------------------------------------
PATTERN MAKER PUBLICATIONS-PATTERN
Butterick
Simplicity
BOOKS:
McCall
Vogue
HOME PATTERN BOOKS AND PUBLICATIONS:
Butterick
McCall's
Simplicity
Sew News
Vogue·
Simplicity
Threads
Singer
DESIGN OR RETAILING
REPORTS:
The Color Projections
The Color Box
Tobe'
Video Fashion, Inc.
FOREIGN TRADE AND FASHION PUBLICATIONS:
. Belezze - Italy
Chic - Germany
Elegance - Switzerland
Elle - France
Flair - England
Harper's Bazaar - Italy
Style - Canada
Vogue - France, England, Italy and Australia
HISTORICAL PUBLICATIONS:
Bazaar (late 1860's to present)
Godey's Lady's Book (1830 to late 1890's)
Ladies' Home Journal (1883 to present)
Le Bon Ton (1912 to 1920)
Sears Catalogs (old reprints)
Vogue (1893 to present)
3
SUPPLEMENTAL
LESSONS
The following lessons from the 4-H Clothing Leader
supplement this lesson:
Guide
Fashion Fanfare
Quality Check Up
ACTIVITIES
• Collect magazines, publications, etc. and discuss the "new look"
in a group meeting.
• Visit a museum and discuss the historical clothing. See if any of
the designs have been repeated in current styles .
• Have a lesson on Consumer Decision Making concerning the
quality of clothing, material, and accessories.
• Bring "old clothing" to discuss the time periods and what could
be used in current fashions.
• Pick a time in history and talk about clothing worn during that
time.
4
Capturing Ideas
Objectives
4-H members will:
• learn how to record design ideas.
• begin collecting and organizing design ideas.
COLLECTING AND
RECORDING IDEAS
Stores, malls, displays in windows, television programs, movies,
videos, and historical costumes in museums are all additional ways
to study fashion and get ideas. Studying nature, leaf patterns, water
movement, birds, sky, architecture of buildings, etc. can inspire
patterns, designs, and colors. Almost everything one comes into
contact with can be a source of inspiration.
Cut out any picture that has appeal, stirs the imagination, or has a
pleasing detail. Keep these clippings in a folder and refer to the
folder often. Add clippings constantly.
For textile design, a rag or swatch bag or a fabric card file will
hold a collection of fabric swatches. These should be labeled with
fiber content, source, price, and date. Feel the swatches and learn
to develop your tactile sense. Try to imagine what garments the
fabric could be made into. Work with one swatch and try to
imagine it in other colors or patterns.
Keeping a small sketch book handy at all times helps preserve
ideas. Fill in with quick, informative sketches, impressions, and
color or fabric swatches. These may be rough and incomplete
drawings, notes, descriptions, or details, as they are for reference
only. This also develops the habit of sketching. Try sketching
details one day, silhouettes another, and fabric patterns the next
day. This can be done in the car, on the bus, or in free time. It is
best not to copy a design while in the store, as they may ask you
to leave. Keep these impressions (sketches) in a reference file.
A clipping folder combined with a sketch book is a source of
inspiration, not a substitution for it. Copying has little merit in the
world of design - learn to change, modify, adapt, and create.
5
SUPPLEMENTAL
LESSONS
The following lessons from the 4-H Clothing Leader Guide
supplement this lesson:
Fashion Fanfare
Accessories Add Up
ACTIVITIES
• Cut out pictures and start your clipping folders.
• Designate each session for specific clothing, such as evening
only or sportswear.
• Bring swatches of fabrics and share them with other members.
Label swatches before adding them to your swatch bag.
• Start a sketch book.
6
Definitions
Objectives
4-H members will:
• Learn definitions of terms used in designing.
DESIGN
TERMS
DESIGN PORTFOLIO
Before we go into the individual fundamentals of construction for
all design, it would help to think of designing as baking a cake.
The principles are the directions for the recipe and the elements
are the ingredients. The directions (principles) are flexible and
should be interpreted within the current fashion or problem the
designer is trying to solve. For example, the directions (principles)
would apply differently for a design of a costume than for a design
of a current fashion garment. The ingredients (elements) are the
raw materials that must be combined. These elements can change
the taste of the garment, just as the ingredients can change the taste
of a cake. A dress is more eye-catching in a bright color than a dull
neutral, even though the design is the same.
A portfolio is a representative collection of a designer's best work.
The material should represent the kind of work the designer wants
to do, such as children's clothing, but it should include enough
variety so the designer will not be eliminated due to a narrow field.
A portfolio generally contains from 12 to 15 pieces of work. Make
sure the illustrations are clean and neatly mounted or matted. It
could include school projects as well as personal projects. These
sketches may be done in pencil, charcoal, pastels, water colors, pen,
and ink, crayons, or almost any medium available:
7
Principles
Objectives
4-H members will:
• Understand the principles of design, which are proportion and scale, balance, unity or harmony,
rhythm, and emphasis.
• Practice using design principles to achieve variety in design.
The criteria for good design are found in the principles and
elements of design. The principles are the guides for evaluating the
use of the elements of design. The five principles are proportion
and scale, balance, rhythm, emphasis, and unity or harmony.
PROPORTION
AND SCALE
Proportion is the relationship of various parts in the whole design.
The parts may be objects, shapes, or spaces. The way a jacket
length is related to a skirt length, or pants length is sometimes
determined by the current fashion, can often be formulated by a
rule called the "golden mean", or the Greek rectangle with a
proportion of about 2 to 3. This was determined centuries ago and
applies to the human figure as well as other designs. The
proportion for a skirt and top is a ratio of 3 to 5, which is about
the same as the 2 to 3 ratio of the Greek rectangle. However, still
using the "golden mean", a top and pants has a ratio of 5 to 8.
5
~3
.
"'
'"
5
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•••
Fashion may use exaggerated proportions for variety. In the 1960's
the miniskili exaggerated the long legs for a more youthful fashion.
The longer skirt gives the illusion of height and slenderness.
Scale refers to the overall size of an object or its parts compared
with other objects, shapes, or spaces. It is a relative quality that
9
is often affected by other principles a.nd elements. Objects that are
identical in size may appear different sizes because of differences
in color, texture, pattern, or size of surroundings.
In the illustration above, the center circles are identical in size in
each design, but they appear to be different.
The scale of the details of the garment or accessory must be
consistent. For example, a large collar with a tiny belt would be out
of proportion. Dainty buttons and a small collar are more
proportional. This also applies to accessories and textiles.
When features are in the same scale, there is a consistent
relationship of the size of each element to the other elements and
to the whole. For example, small motifs accent large size by
contrast (see a below), while large motifs overwhelm a tiny figure
because of contrast (c). Large motifs may increase large size by
repetition (d), while small motifs accent smallness through
repetition (b).
BALANCE
10
Balance is the sense of equilibrium and repose. It equalizes the
visual weight or space of different parts of a design. There are two
kin d s of balance, formal (symmetrical)
and informal
(asymmetrical). Symmetrical vertical balance divides the design
down the center and the left side mirrors the right side. This is a
more conservative style. Asymmetrical vertical balance is achieved
when one side is different from the other side. This is especially
popular in evening garments as it is dramatic and eye-catching.
The examples below are of vertical balance.
SYMMETRIC
ASYMMETRlC
Designing a vertically asymmetrical garment can be difficult and
yet goes a long way towards slimming. It can also visually correct
figure flaws such as one shoulder being higher than the other one.
Balance also may be horizontal or radial. Horizontal balance is also
used to visually correct figure problems. Most people's bodies
appear symmetrical. The heavy hipped person may be balanced
visually by wearing colors or styles to draw attention to the top
half with asymmetrical horizontal balance. The full busted person
uses the reverse balance. Balance should compliment the design of
the garment or accessories as well as the person wearing it. Radial
balance combines horizontal and vertical balance.
UNITY OR
HARMONY
For full
For small
bust and
bust and
small hips
full hips
Harmony is created when all the elements in the design come
together in a pleasing, harmonious visual effect. Each part of the
design is important in itself but all must work together with other
parts to achieve harmony. Style lines should be consistent on every
area of a garment or accessory. There need to be enough
differences to keep from being monotonous, but there also need to
be enough likenesses to keep a feeling of unity. All areas should
reflect the same features.
11
In garments, avoid small
length. Stripes and plaids
should align. Harmony
colors, and textures. A
color, texture, and other
differences -such as the sleeve
should match. Seam lines and
and unity should also exist
textile design needs similarity
features to achieve unity.
and jacket
trim detail
in fabrics,
of shape,
Sleeves
Sleeves
RHYTHM
even
for jacket
jacket
Rhythm is the repeated use of lines, shapes, colors, trims, or details
to create a pattern the eye can follow throughout the design. This
creates continuity or a feeling of organized movement. Rhythm can
be equal, unequal, or progressive. Equal rhythm occurs with line,
color, or detail spaced evenly. Unequal rhythm is random and can
add interest to the garment. Progressive rhythm refers to the
decreasing or increasing of a portion of a design through repetition.
Often rhythm can be seen very clearly in textiles. Rhythm may be
flowing or staccato, clearly stated or subtly suggested, repeated or
only vaguely similar. Rhythm is created through repetition,
gradation or progression, radiation, transition, and continuous
related movement such as alternation and parallelism.
Progressive
Repetition is the use of the same thing more than once or the
thing in a different location. It is the simplest and
fundamental of all principles and is the building block for
others. The eye moves from one use of a figure or line
repeat.
Equal
12
-------
with
too long
Unequal
same
most
many
to its
-----------------------------------------------------
Parallelism uses lines on the same plane, equidistant at all points,
and never meeting. It also is directional, or linear, for it leads the
eye from one parallel line to the next.
IIIIIIIIII~
Sequence is the following of differing things, one after another, in
a particular order. It forms a regular succession.
1111111111
Alternation is a repeated sequence of two, and only two, things that
change back and forth in the same order.
000000
Gradation is a sequence of adjacent units, usually alike in all
respects except one, which changes in consistent and distinct steps
from one unit to the next. Gradation provides rhythm through the
changes.
DODD
~Oooo
Concentricity is the progressive increase in size of layers of the
same shape, all having the same center.
13
Transition is the smooth, flowing passage from one condition to
another. It is continuous and there is no break point, stop, or
distinct place to pinpoint change.
)
EMPHASIS
Emphasis or focal point creates the center of interest by focusing
the viewer's attention on a specific area of the design. It adds to
the interest of the design and may be created by color, line, texture,
details, or accessories. It may be used to camouflage a figure flaw
by drawing attention away from the flaw.
Carefully plan garment designs for patterned fabrics because the
pattern could emphasize the wrong area of the body. Many
designers emphasize the face. This is a safe strategy since it lessens
the chance of accenting a figure flaw. Emphasis may be created by
sudden contrast, leading lines to a point, unusual detail, or grouping
features or objects. Emphasis is usually not placed in the exact
center of a design, although it may be near the center.
Radiation gives the appearance of moving steadily outward in all
directions from a visible or suggested central point, like the
emission of rays from a central source.
Contrast is the opposition of things for the purpose of showing
unlikeness. It provides a feeling of distinct difference.
~ J~~600
14
~''\
I
Accessories are a very important factor in emphasis. They may
draw attention to the face as do earrings and necklaces. The design
of a fabric may create the focal point. A striking scarf design can
dominate a gam1ent. A good design will have only ONE focal point.
EMPHASIS
\\
BUST
0rh?
WAIST
HIPS
ACTIVITIES
• Cut shapes out of construction
demonstrate each principle.
paper. Use these shapes to
• Use paper to make clothes for paper dolls or magazine models
to demonstrate the principles.
• Take a field trip to a clothing store and try to find every
principle.
• Use the sketch book and cre'ate a design to illustrate principles
such as repetition, sequence, or alternation.
• Use accessories to demonstrate how the focal point can move.
• Use purses with different sizes and types of handles to illustrate
proportion and balance.
15
,-
Elements
Objectives
4-H members will:
• understand the elements of design, which are form, line, color, and texture .
• practice using design elements to achieve variety in designs.
The elements of design include shape and form, line, space, color,
and value and texture.
SHAPE AND FORM
Shape and form are extremely important in apparel and accessory
design. The silhouette, or shape, is the most dominant visual
element of a garment. The silhouette is the outline of the entire
costume and is often spoken of as its "form." The shape of the
silhouette usually complements the shape of the body, but
exaggeration is often used to create a special effect or balance and
emphasize a part of the body that is the current focus of fashion.
The natural body silhouette is best worn by an active physically fit
figure. Most people have some part of their body that is best
concealed or "de-emphasized" and the silhouette can be a prime
factor in achieving this.
A few of the basic silhouettes are:
Figure
Figure
Figure
Figure
Figure
Figure
A
B
C
D
E
F
- Natural body or sheath follows the natural outline
- Slim line or rectangle is the classic look
- Soft dressing or pear shape, adds fullness, offsets tops
- Wedge accents shoulders, offsets hips
- Hourglass accents slim waist, full hips and top
- Extreme fullness or tent hides all figure flaws
17
LINE
The simplest design element is the line. Line in a garment includes
the outline of the garment and the style lines that divide the space
within the outline. These lines can be vertical, horizontal, diagonal,
and curved. The line can create visual illusions, such as height
which can lengthen or shorten the figure, and width which can
make the figure appear heavier or thim1er. The eye follows the line,
therefore, the line can draw the eye away from a less desirable area
to another area.
A straight vertical line adds height and divides the body, making
it look thinner. A horizontal line generally adds width. A diagonal
line tends to slenderize the whole figure even more than an abrupt
vertical line. It also creates an asymmetrical design. A soft curved
line is feminine and passive. However, when the curve becomes
more exaggerated it can confuse the eye.
Vertical
Horizontal
Diagonal
Thick lines are bold, and thin ones are more delicate. Lines also
can be seen in the print of the fabric or in trim. Buttons up the
front of the dress add a vertical line. The braid on a jacket will
form a "y" line which uses the diagonal and vertical lines. Lines
should lead the eye through the garment, not end suddenly.
Knowledge of lines is very important in camouflaging figure flaws.
The line in textiles can lead the eye even more than the garment
line. Bold stripes or geometric shapes are seen before the garment
is noticed.
THICK
18
THIN
I
COLORIV ALUE
One of the first things a customer -notices is the color of the
garment or of the textile used to make the garment. Two factors
that should be considered when choosing a color are the current
color predictions and if the color is appropriate and flattering for
the person.
Color has a tremendous psychological impact. Everyone
in their favorite color. We speak of feeling blue, green
or red with anger. Personalities are expressed with
outgoing person may wear bright colors, while the
person may tend to wear neutral colors.
Warm
Colors
feels good
with envy,
colors. An
quiet, shy
Cool
Colors
A color wheel is helpful in understanding this element of design.
A few of the physical properties of color are:
the name of a color at its normal value and intensity on the
color wheel. These may be primary hues of red, yellow, and blue,
or secondary hues of orange, green, and violet. Complementary
colors are colors opposite each other on the color wheel; for
example, red and green. Analogous colors are next to each other
on the color wheel, such as green and blue green.
HUE -
VALUE - the lightness and darkness of a color. A tint is a color
lighter than normal and a shade is a color darker than normal.
Monochromatic means several values in the same hue; for
example, light blue, blue, dark blue.
19
I
INTENSITY- the brightness or dullness of a color. The brightness
is usually achieved by adding white to the original hue. The
dullness is usually achieved by adding black to the original hue.
A few of the psychological properties of color are:
TEMPERATURE - colors are perceived to be warm or cool. Red,
yellow, and orange are warm and blue, green, and violet are cool.
MOTION OR WEIGHT - warm colors advance, add weight, and
excitement. Cool colors recede, are restful, and express reserve.
Garments of one color add to the illusion of height. Dark colors
recede and "hide" while bright colors "pop" out and emphasize. A
light color will be flattering to the face.
Studying clothing on various figure types is helpful when deciding
how different colors and patterns flatter or detract from a figure.
Experiment with a textile design in different colors. Notice how the
design looks different due to the color change. Accessories are the
same. They can blend in with the total look or stand out depending
on color combinations. This will aid you in acquiring an eye for
color.
TEXTURE
Texture is best described first with your eyes closed. It is the hand
or feel of the fabric. Think how a piece of velvet feels compared
to a piece of burlap sack. However, the texture can also be seenas in the ribs on the corduroy and the pile of fur as well as how the
fabric drapes.
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Burlap
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Corduroy
Four components determine the texture of a fabric. Fibers are the
strands of raw material that are spun into yarns. Yarn is the twisted
or combined fibers. The fiber and method of combining them
determine the texture and appearance of the yarns. Construction of
the fabrics using the yarn is done by weaving, knitting, or felting.
This alters the hand of the yarn. A finish can be added with
chemicals used to treat the fabric to stabilize or change the texture
of the base goods (fabric).
20
••
A tactile sense of fabric is developed by experience. It is soon
learned that a shiny, smooth fabric reflects light, looks cool, is
dressy, and appears larger. A matte fabric is dull, absorbs light,
looks warm, is more casual, and appears smaller. A bulky fabric
adds weight and warmth. Texture can be very seasonal. Thin
fabrics are cool and worn in the summer, while bulky sweater
material is warm and worn in the winter. Feel, look, and
experiment to develop skills in using texture as a designing tool.
All of these principles and elements are present in every design.
Each separate rule can add or subtract from a good design. It may
seem confusing now, but take the time to look at one garment and
try to find all nine rules (principles and elements) in that garment.
Then study how they affect the garment as a whole. Soon, use of
the rules will become automatic and natural.
SUPPLEMENTAL
LESSONS
The following lessons from the 4-H Clothing Leader Guide
supplement this lesson:
Making Color Work for You
Designs That Work for You
Design a Master Plan
ACTIVITIES
• To study silhouette, use a marker to darken the garment around
the model's body in publications.
• Use a color wheel to study color and value. Use paints or
crayons to mix colors.
• Look at fabric with a magnifier to study texture. Discuss how
the yarns affect the feel and appearance of the cloth.
• Select a garment from your closet. Try to find all nine rules
(principles and elements) in that garment.
• Sit in front of a mirror, drape different colored fabrics across the
shoulders and then describe how you "feel" in that color.
21
Designing Textiles
Objectives
4-H member will:
• learn the steps for designing a fabric
• use a variety of resources to develop an understanding of textile design
• practice designing fabrics
INTRODUCTION
At first thought, designing textiles may seem simpler than
designing a garment, but in reality, it can be more difficult. There
are many factors that combine to make the actual fabric. An
understanding of fibers, yarns, fabric construction, and dyeing and
finishing processes is needed to achieve the desired finished textile
design.
Textile science is the identification
of fiber and textile
constructions, dyestuffs, and printing techniques. However, the first
step is to study actual fabrics. This involves visiting fabric and
apparel stores and fabric manufacturers. Studying the types of
fabrics used for certain garments, seasonal fabrics, care required,
colors, dyes, and methods of dyeing will increase one's knowledge.
Some of the information needed is available in school textbooks,
libraries, and county Extension offices. Textile kits are sometimes
available from the county Extension office and may be checked
out. Also, there are several lessons from the current 4-H Clothing
Leader Guide that pertain to textile design and can be easily
incorporated into a design project. This will provide a good
understanding of various aspects of textile design.
Textile designers must remember that an apparel designer selects
fabrics on the basis of price, aesthetics, fashion, and the fabric's
suitability for the line. A lovely fabric may be rejected if it is too
similar to another fabric in their line. Apparel designers look for
different weights and textures. Textile designers can create unique
prints or fabric colors to give their line an edge on the competition.
Apparel designers constantly consider who their customers will be.
FIBERS AND FABRIC
STRUCTURES
Fabrics are made from either natural or synthetic fibers. Wool,
cotton, mohair, ramie, silk, and flax (linen) are natural fibers and
come from vegetable, animal, and mineral sources. Nylon, rayon,
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---~----------~----------
1--
polyester, and acetate are just some of the synthetic (man-made)
fibers derived from various sources. These man-made fibers can be
created from minerals, metals, rubber, or polymers (chemicals).
Throughout history, each culture has made its own unique
contributions in fabric structures, designs, and types. Fabrics may
be woven, knitted, knotted, or felted from yarns and/or fibers. This
is called fabrication and refers to the type of fabric produced. The
method of construction of the textile determines the character of the
fabric and involves the following three elements:
SURFACEINTEREST- color, aesthetics, pattern, and texture
WEIGHT - how much a given amount of the fabric weighs; for
example 6 ounce denim is much lighter and drapes better than 12
ounce denim; necessary for seasonal uses and for different garment
construction details
HAND - touch, drape, weight of fall, or "handle" of a fabric (how
it feels and drapes)
DYEING
The complex science of dye chemistry has developed due to a
demand for fast, vivid color which will withstand wear, sunlight,
and the rigors of modern laundering. The appearance of a fabric is
often determined by the stage in manufacturing at which the dye is
applied. Fabrics may be dyed by the following methods:
FIBERDYEING- is used to produce color in a mat of fibers before
they are spun into yam. Colors penetrate the fibers thoroughly and
are likely to be fast. Commonly used on wool.
SOLUTIONDYEING- is a procedure that introduces pigment into the
liquid state (chemical spinning solution) before it is formed into
fibers. Color is extremely permanent.
YARN DYEING- is a process in which spun yarn is dyed before it
is made into fabric. This is the oldest method of dyeing.
PIECEDYEING- is a process of dying fabric after it is woven. This
is the most common and economical means of coloring fabric.
ApPLIED DESIGN
The surface of a fabric provides an enticing stimulus for an artist's
creative imagination. Surface patterns can be reproduced in many
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ways. Some of the methods are listed be10w:
SCREENPRINTINGis a sophisticated version of the stencil process.
A screen, which has parts blocked out, is laid on top of fabric
stretched out on a table, and allows one color to be printed at a
time. Although it may be a slower process, exclusive, high-quality
dress goods are often printed in this manner.
ROLLER PRINTINGis a simple procedure used to produce large
quantities of a design inexpensively. A large roller is inked and
rolls the colors onto the fabric.
HEAT TRANSFERis a method similar to the iron-on transfers used
with T-shirt art today.
TIE-DYEINGis an ancient craft that produces interesting and varied
designs by wrapping or gathering puffs of fabric in waxed thread
and then dipping in dye to create an unevenly dyed effect.
BATIKis a method of resist dyeing in which wax is applied to the
cloth in areas which are not to receive color. After dyeing, the wax
is boiled off and the process repeated for several colors.
EMBROIDERYis a process in which hundreds of needles embellish
a pre-woven base fabric with a variety of lace and eyelet designs.
FINISHES
FABRIC DESIGN
Fabrics as they come off the loom, bear little resemblance to those
that reach a dressmaker's sewing machine. Before they are sold,
fabrics may have been washed in chemical solutions, brushed,
pressed, beaten, and polished. Substances and treatments may alter
their texture and appearance and improve their resistance to moths,
static electricity, spotting, staining, shrinking, sagging, wrinkling,
and burning. These processes are called fabric finishes.
After researching textiles, the designer is ready to start on his/her
own fabric design. This involves drawing the design on paper and
then using an art form to color it.
The rendering of a design in paint (or any color medium) on paper
is called a croquis (pronounced CROW-key). It shows the pattern
or print and color combinations and can reflect the surface texture
and its construction (woven, knitted, etc.). Using the same weave
and pattern and changing the color combinations, the possibilities
25
are endless. It is amazing to see how different the same pattern
appears using different colorations. Start by deciding on a garment
or other product made of fabric. Think about the type of fabric
construction which would work best (woven, knitted, felted, etc.),
the weight and stiffness the material should be (drapability), and
what pattern or print would work best in the product. Then draw
a design and paint it. Remember, no one is looking over your
shoulder when you are working. If you do not like the design,
throw it away and start again. Do not hesitate to try your creativity!
With today's modern technology, there are also computer-aided
design (CAD) programs that allow fabric designs to be created and
colorized on the computer screen. Computer stores will know what
is available. Also, visit textile departments at nearby universities.
They can be helpful in showing types of software needed and will
probably allow use of their equipment (with guidance) on campus.
This could aid in developing an in-depth design project.
Another valuable resource is any nearby fabric manufacturer. Visit
with the dye chemist, fabric designer, or anyone who actually
determines the fabric patterns, colors, and weaves. See how it is
done commercially, and investigate possible career opportunities.
SUMMARY
As seen, there are many steps involved in the manufacture of
fabrics. The methods used in producing a certain fabric will
determine the final cost of that fabric.
An experienced designer can look at a piece of fabric and feel it to
envision the type of garment for which,it is suited. This ability is
developed by experimenting with many different fabrics along with
a good knowledge of basic textile construction, dyeing, printing,
and finishing.
Designers are very familiar with both natural and synthetic fibers
and stay updated by listening to textile sales people, reading trade
publications, keeping up with new developments, and learning what
the consumer of today wants in a garment. They must evaluate the
performance of a fabric as well as its aesthetic aspects before
starting the manufacturing process. Factors to consider are potential
problems associated with shrinkage, fading, ability to hold shape
and body, and many more.
Fabric manufacturers of today have rigid quality controls. When
designers use a fabric, they must also follow labeling restrictions
III
26
their garments to instruct the consumer of the fiber content and
proper care of the garment.
SUPPLEMENTAL
LESSONS
The following lessons from the 4-H Clothing Leader
supplement this lesson:
Guide
Designs That Work For You
Design a Master Plan
Handle With Care
What's in a Name?
From Fiber to Fabric
Now It's Finished
Fiber Families
About Fabrics
Fibers from Nature
Designing Textiles
Fibers People Make
Labels: Cues and Clues
Special Fabrics for Special People
ACTIVITIES
• See activities listed in the lessons from the Clothing Leader
Guide.
• Start clipping bits of fabrics when available, and start your own
fabric board, book, or file. Attach the sample and list the fiber
content, weave or knit type, cost, care, type of dye, country of
origin if known, and common uses for that fabric type. List any
finishes that are labeled on the fabric (from the bolt end). You
may refer to this board or book often to help you become
familiar with textiles.
• Try one of the applied design techniques on a plain T-shirt to
created a new look.
• Use kool-aid or tie-dyeing on cotton socks or a T-shirt.
• Take old panty hose to use for screen printing a piece of fabric.
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Designing Accessories
Objectives
4- H members will:
• learn the steps in designing one or more accessories
• use a variety of resources to develop an understanding of accessory design
• practice designing an accessory
FASHION
ACCESSORIES
Most fashion accessories started their life by serving utilitarian
purposes. Shoes protected feet, belts held up pants, gloves
prevented frozen fingers, umbrellas kept everything under them dry,
and bags carried all of the daily necessities. But if protection from
the elements and holding clothes together were the only reasons to
have accessories, then there would be no fashion accessories
industries. Although jewelry and cosmetics have always been used
to enhance or decorate, function is still important with most
accessories. The fashion aspect is the lure!
Accessories involve a wide variety of articles. They include purses,
shoes, scarves, jewelry, hats, gloves, socks, hose, and more. These
are items that accent the gmment. The type of item being designed
will affect the material used. For example, scarves may be silk,
cotton, linen, polyester, and other fabrics. Hats may be of felt,
straw, feathers, and trims. Jewelry may consist of precious metals,
stones, plastic, and natural articles such as shells, ceramics, and
base metals. Accessory designing offers the chance to use a wide
variety of materials.
Designers often start by visualizing the garment they are to
accessorize. They will first picture the season, colors, textures,
styles, and uses. Then start sketching the piece. Different variations
of their ideas are tried. If the purse has a shoulder strap, it may be
changed to a hand strap. Cutting out magazine models and placing
accessories on them to get a better idea of the way they would look
on a person is a good exercise for beginning designers. Accessories
can be fun and challenging to design. One nice thing is so much of
the material used today in accessories is available in craft and
fabric stores. A design can be made and worn at a reasonable cost.
29
I~
SUPPLEMENTAL
LESSONS
The following lessons from the 4-H Clothing Leader
supplement this lesson:
GUide
Accessories Add Up
Accessories and You
About Fabrics
ACTIVITIES
• Draw accessories on models in magazines.
• Use modeling clay or plastic, fabric, beads, etc. to make
earrings, pins, or button covers.
Use conchos, leather, and beads to make key rings or boot
decorations.
• Weave or braid a belt.
• Take an old hat, redesign it and make it over, or make your own
hat using one of the currently popular patterns.
• Use ribbons, flowers, and decorations on old hair bands or clips
to refabricate and coordinate with an outfit.
• Create your own look in a fashion tie.
• Tie dye a scarf or handkerchief.
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·Designing Garments
Objectives
4-H members will:
• learn the steps in designing a garment
• use a variety of resources to develop an understanding of apparel design
• practice designing a garment
NEW DESIGN
USING ADAPTED
PATTERNS
NOTE: An understanding of patterns and sewing skills will be
required for this activity. Drawing skills will be useful.
Making a new garment from two patterns is a good way to learn
design. This involves using the rules discussed under design
definitions. The designer will look at a pattern that he/she likes but
wants to change. For instance, a blouse pattern may have long
sleeves and the designer would like short sleeves in order for the
it to be worn in the summer. Perhaps the designer would prefer a
different collar to change the look. Sleeves or collars must be
chosen that will fit, or can be altered to fit, the pattern pieces the
designer has on-hand. Many times this is trial and error. The new
pattern pieces could be cut of inexpensive material first to be sure
they will work. Then the designer would not waste a nice piece of
fabric if it did not fit. The designer must be sure to draw the design
first to decide if the adapted part will be becoming to the garment
as a whole. As in all design, it is important for the designer to try
whatever comes to mind. Designing becomes easier each time.
SUPPLEMENTAL
LESSONS
The following lessons
supplement this lesson:
A Select Group
Creative Styling
ACTIVITIES
in the
4-II Clothing Leader
Guide
Pattern Know-How
What's· Up Your Sleeve
• Using the "popover" skirt pattern, change one part of the design.
Add pockets or a ruffle around the skirt bottom. Make a test
garment to be sure your design can be sewn.
• Take a Tee shirt pattern and add a shoulder button opening.
31
• Take a long sleeve blouse or dress -pattern and make it a design
with short sleeves. Test your changes. Sketch the new design.
• Take pattern envelopes and redraw the garment using a new
design.
• Take two patterns and discuss how to combine different parts of
them to form a new pattern.
NEW DESIGN
USING FLAT
PATTERN METHOD
NOTE: A knowledge of patterns and sewing skills will be needed
for this activity. Drawing skills will be useful.
There are many text books, pamphlets, brochures, and information
sheets available on flat pattern design. This is an art many
designers of today do not know. They hire excellent flat pattern
drafters to make their designs. This is best attempted after a
designer has sewn for sometime and has a working knowledge of
construction and pattern pieces.
Investing in a text that shows examples of flat pattern pieces is a
good start to learning this process. These books will show examples
of the different pattern pieces. Each example will have a verbal
description of what that piece will do. For example, one piece may
state it produces a full sleeve. These illustrations will help you to
produce the pattern pieces you need for your design. Two of these
books are listed in the reference section.
Start with simple designs using few pattern pieces. Pattern pieces
can be made out of pattern paper, freezer paper, brown paper sacks,
or any paper available. It is best to use an inexpensive cloth or
muslin when attempting a first try at constructing this garment.
Then redrawing or altering as needed can be done without any
great expense. It is important to try designs out to be sure they can
be sewn as they have been designed. Designs can be drawn that
cannot be made.
Trying a new design aimed at a particular figure problem is another
way to begin. Possibly design a pleated skirt that does not accent
wide hips. Have a specific purpose in mind. This will help
eliminate many options and allow work with a specific area.
Sometimes it is hard to start because of the unlimited choices.
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After the pattern pieces have been drawn, the muslin can be cut
and a "dummy" garment made. Then it is time to make the real
thing. The designer should now be very pr.oud of the creation!
ACTIVITIES
• Draw a design for a sleeveless crop top with no facings. It
should have a rounded neck. Layout the pattern pieces and cut
out a "dummy" garment. Construct it to test for sewing skills
needed and for fit on a real figure.
• Sketch a design for a simple dress. By changing only one feature
at a time, change the original so you have three versions. Sketch
these as they might appear on the front of a pattern envelope.
• Design a garment you would like to make for yourself. Using
flat pattern design methods, make the pattern pieces needed to
sew the design. Test it in a, "dummy" garment.
• Demonstrate how a design is made using flat pattern methods.
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Design Drawing
Objectives
4-H members will:
• learn human figure proportions
• practice drawing fashion figures
• practice drawing fashion garments and accessories on figures
• practice drawing a textile design as it would appear in a garment
BASIC FIGURE
DRA WING
It is easy to draw the basic figure. One of the simplest methods to
understanding anatomical proportions involves using the human
head for a measuring device. The average woman stands 7Yz heads
high and the average man stands 8 heads high.
Refer to the female figure on page 37 to follow the measurements
by head height. From the top of the head to her chin is one head
height. To the shoulder line is 11;4 heads and on to the bust line is
2 heads. Her waist line is at 3 heads and the widest part of her hips
is at 4 heads. The knee is at 5Y2heads. The outside ankle bone is
at 7 heads and to the floor is 7Y2heads.
Now refer to the male figure (p.37). To go from the top of his head
to his chin is one head height. His shoulder is at 11;4 heads and the
chest is 2 heads. The waist is at 3 heads and the full hip at 4. The
knee is at 6, the ankle is at 7Y2,and to the floor is 8 heads.
The female fashion figure is 8Y2 or 9 heads; much taller than
average. The width of the figure does not change, so the effect is
one of elongation. An 8Y2head female fashion figure is illustrated
on page 38. When designing garments, the average figure may be
used to show how the garment will look on most people, but the
fashion figure is used for illustrating the design in a portfolio.
Figure shapes and proportions change with the age of the person.
Compare the illustrations of children, ages 2 to 3 years old (p.39),
with preteens (pAO) and young teenage boys and girls (pAl). As
the body matures, it becomes taller in proportion to head size.
Several illustrations are shown (pA2) of how the body's weight line
or balance is maintained when weight is not distributed equally on
both feet, and how the center line of the body moves as posture
35
changes. General rules make sketching easier. Many people prefer
to stali sketching by drawing a "stick figure" first, then adding the
body or figure. Steps for doing this are illustrated on page 43.
Tracing the illustrations of the average and fashion figures is
another way to begin to learn how to draw.
~
36
\
AVERAGE FIGURE
Female Figure
(7Yz
II..•.• 1I
I ~I,.III~II
I
Male Figure
Heads)
I II~ I
./
I~
'\.
I
(8 Heads)
'\.
,~
7t--, rf---
1
'1;::1
~I~
'!tl
,.
37
-----------------------------------------------------
FEMALE FASHION FIGURE
(8'li Heads)
~
~
71-flAds
38
hiI'
CHILD'S FIGURE
(4'l2 Heads)
2 - 3 Years Old
39
PRE-TEEN GIRL
(6~ Heads)
PRE- TEEN BOY
(5~ Heads)
40
I
YOUNG TEEN GIRL
(7% Heads)
YOUNG TEEN BOY
(7 Heads)
---'\
HI
I
7
41
I
STANDING
These general rules make sketching the body easier. Remember that
all figures must be balanced, just as we are balanced or we fall
down. The balance line is a straight line running down from the pit
of the neck through the body to the foot supporting the weight. If
the figure is standing on two feet, the balance line is between the
feet. This is illustrated using stick figures.
I•
·I
·
ACTION
When starting to work with fashion' poses, it is easier to begin with
stick figures. This will enable use of the "head" proportion and
balance rule effectively. Try to quickly sketch a few figures such
as the ones below.
----- = Balance Line
42
I
FILLING
FIGURES
OUT THE
Now take the stick figures and begin placing bodies and clothing
on them. Clothing is designed for the body in movement so check
the body parts that move (shoulder, elbow, wrist, waist, hip, and
knee). Illustrate movement points as the body is drawn in.
One method of adding a body to a stick figure is by using circles
and ovals. Each circle or oval represents a body part and the
joining represents movement points.
Q
Another method for drawing a figure is the double triangle method.
Q
2
3
.1
5
These steps should be practiced until they have been mastered.
Look at pictures in fashion magazines and models. They stand in
exaggerated poses to emphasize details on the garments.
The next step would be to take a clothed drawing and make the
drawing three dimensional. Have the clothing curve around the
body.
43
--
---~~------------------------------
If a beginning designer is unsure of how to begin, tracing over a
few fashion poses in magazines will allow him/her to get the
"feel". Next, the designer can try the stick figure, progress to the
oval clothing, and finally, to the curved clothing with details. This
can be a skill the designer will use a great deal in the future.
ACTIVITIES
• Use full length photos of models or fashion drawings in
newspaper and magazine advertisements to locate the parts of the
body using the "head" to measure. Mark the figure in "heads."
• Fill a page with quick stick figures. Begin with the standing
figure and then add figures with movement.
• Draw several stick figures and lightly pencil in ovals or triangles
to fill out the body parts.
• Draw a stick figure in the same pose as a model posed in a
magazine. Now "copy" the clothing.
• Use the double triangle method and copy the same clothing from
the previous activity.
45
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Glossary
Accessory - A nonessential addition to apparel.
Aesthetics - The study or theory of beauty.
Anatomical - The structure of the body.
Asymmetrical
- When divided in two parts, the halves are not equal or similar.
Durable - Lasting in spite of hard wear.
Fabricate - To construct or manufacture by assembling parts.
Fiber - The substance that can be spun into yarns for weaving and knitting.
Finish - To give cloth a desired surface effect.
Formulated - To express in a plan.
Hand - The "feel"
of the fabric.
Print - A cloth printed with a design.
Proportion - The desired relationship between the parts to the whole, well balanced.
Refabricate - To reconst~uct or make the article again.
Retail - The sale of goods to the consumer.
Symmetrical - When divided in two parts, the halves are mirror image or similar.
Tactile - Related to the sense of touch.
Textile - A fabric made by weaving, knitting or other methods.
Wholesale - The sale of goods to retailers who then sell them to consumers.
Yarn - Any strands of fiber that have been spun and can be used for weaving or knitting.
69
I
References
I~
4-H Clothing Leader Guide, by A. Beard, A. Fonseca, T. Criswell, D. Reber, M. Hunter, and
B. Saunders, Texas Agricultural Extension Service, 1990, College Station, Tx. (Revised)
Designing Apparel Through the Flat Pattern, by E. Kopp, V. Rolfo, B. Zelin, and L. Gross,
5th edition, 1982, Fairchild, N. Y.
Drawing the Head and Figure, by Jack Hamm, 1982, The Putnam Publishing Group, N.Y.
Drawing Fashions, by Dawn Stoutsenberger,
1987, Weekly Reader Books, Conn.
Fabric Almanac, by Marian Klapper, 1966, Fairchild Publications, N. Y.
Fashion Accessories, by Leslie Klein Peltz, 3rd edition, 1986, Glencoe Publishing Co., Calif.
Inside Fashion Design, by Sharon Lee Tate, 3rd edition, 1989, Harper & Row, N.Y.
Patternmaking for Fashion Design, by Helen Joseph Armstrong, 1987, Harper & Row, N.Y.
Textiles: Fiber to Fabric, by M. David Potter and Bernard P. Corbman, 4th edition, 1967,
McGraw
Hill Book Co.
The Complete Book of Fashion Illustration, by Sharon Lee Tate and Mona Shafer Edwards, 1982,
Harper & Row, N.Y.
The Vogue Sewing Book, revised Edition, 1975, Vogue Patterns, N.Y.
71