How to use this book
Assessing your work
FINDING INSPIRATION ILLUSTRATING FASHION
lnspiration file: Where to start
Unit 1 : Visiting a museum The human body in proportion 50
Unit 2: Investigating architecture
Inspiration file: Inspiration file: Experiments with med~a5 6
A fresh look at the fam~liar
Unit 3: Mood boards
Unit 4: The traditions of India
Unit 5: Fine art and graphics
lnspiration file: Small details, big ideas 38 j lnspiration file: Laying out your page 74
Unit 6: Designing fabric ideas 40 Unit 13: Illustrating bold print 76
Unit 7: Starting with embroidery 44
Creating a cohesrve collectron
Unit 14: Learn to love your roughs
Unit 15: Planning a range
E lnspiration file: Designing to a brief
‘ Unit 16: Customer focus
Unit 17: Occasions, seasons, budgets
lnspiration file: Color and fabric
Unit 18: Color palettes
Unit 19: Structuring fabric
Clarity and communication
Unit 20: Working drawings
Unit 21: Real garments for your portfolic
Presenting your work
Unit 22: Practicalities of presentation
Unit 23: Choosing a presentation style
Unit 24: Presenting with flair
Fashion is. by its very nature. an ever-changini.& dscar ~ildreem arked that “Fashion is a form of ugliness so intolerable that we have to alter it every six months,” but it is this continual evolutioni,$e -c-o-n.s-ta nt reinvention of old trends and the creak~-nofjew ones, cat lends the fashionindustry its excitement Fashion Design Drawing Course is aimed3 aspiring fashion-%Signers an-elllru~~t=and anyone w~tha n interest In the fascinating world of style.
The book is modeled around the fashion courses offered by colleges and universities, with twenty-four units each containing a project to lead you step by step through the process of illustrating terrific designs. You don’t need to know all about the big fashion names to take this course, nor do you need-to be a genius with a paintbrush or sewing machine. The aim of this book is to unravel the mystique surrounding fashion, and to show how designs can be created through a systematic process of research and development, and the use of a range of illustration techniques.
In the first chapter, “Finding inspiration,” you will V A stream of ideas learn that creating a design is not a mystical affair but Use your sketchbook to simply about researching, developing, and reinventing explore your first ideas about an inspiring theme. If you look at your surroundings 1 a design. Don’t be too critical of your roughs-just let the through the eyes of a designer, you will see that ideas flow and you will be inspiration is everywhere-museums, art galleries, the surprised at the vitalitoyf the i seashore, the city streets, even your familiar home and work you produce. garden can provide you with raw material. This chapter will show you how to identify and research a source of inspiration, and how to use this inspiration to guide your < =I-3I designs, through the use of mood boards for example.
It will also give some suggestions about how to put your own special I spin on an idea. perhaps by enlarging scale to explore he unseen details of an ordinary object, or by bringing the patterns and shapes of a painting or a building into a new context, or by using your source to inspire a fabric design that will be the focus of the garment. Once you have developed some great design ideas you need to be able to represent them on the page. The second chapter, “Illustrating fashion,” will give you the confidence to expand your drawing technique to include methods such as collage and mixed media.
A mistake students often make is to believe they must jevelop a personal drawing style early on, and then stick to it. This book encourages plenty of experimentation-if you keep pushing the boundaries, your ideas will always be fresh. Experiments don’t always work, of course, but you must have the courage to fail-this is part of the learning process.
One important point to keep in mind while working through this course is that the final aim of any fashion design is to produce a real garment that can be worn on a real human body. An article of clothing drawn on a figure that is wildly out of proportion will – lack authority because no one ‘ will be able to imagine actually wearing it. The second chapter therefore explains an easy paper-folding method that an inexperienced designer can use as a guide for creating fashion figures. During this part of the course you will learn to observe carefully and to hone your representational skills, as you practice drawing people and garments from life. You will also learn how to be bold I will teach you how to work to a brief, to take into in your designs, filling each page with drawings that account considerations such as budget and seasonal show conviction. requirements, and to build a collection aimed at V Going wild The third chapter, “Planning and designing,” takes a target customer whose tastes you might well not Designers need to be vour desi-a n work into the wider context of the fashion share yourself. practical in focusing their industry. Being a successful designer is not about producing flamboyant one-off pieces but about developing your inspiration into a cohesive range of I The final chapter, “Communicating your vision,” work on a target customer, looks at how all these wonderful ideas can be best but sometimes it’s good to let yourself go wild-this shown off to colleagues, tutors, employers, and clients. Hussein Chala,,an skirt designs that share a strong look while offering as much choice to the customer as possible. This chapter When it comes to presenting your concepts, remember that clarity is key-there is no point in.