1. The Art of Fashion

2. What is clothing made up of?
The principles that make up appealing art apply to good fashion design as well.
Good fashion has a combination of the elements and principles of design.

3. Elements of Design
Line
Shape
Color
Texture
Pattern

4. Line in Fashion

5. What lines appear in this dress?

6. Line
Refers to an elongated mark that connects two or more points. Line encloses and divides space, creating shapes and forms. Seam lines divide and enclose space on a garment.

7. Effects of line Can create optical illusions. Can Give messages A B CD

8. Structural
Vs.
Structural – lines required to maintain the structure of the garment; for example, seams
Decorative – lines created by the designer purely for decoration; for example, a printed-on design
Decorative

9. Straight Lines Message Illusion Placements
Forceful, Rigid, Strong, Hard, Formal, Masculine, Crisp, Stiff, Severe
Illusion
Increases, emphasizes, reinforces body lines and angles, counters curved lines and rounded body areas
Placements
Closures, Necklines, Collars, Lapels, Seamlines, Darts, Tucks, Pleats, Folds, Stripes, Shapes, Silhouettes

11. Types of Lines
Curved- Gentle, Romantic, Fragile, Soft, Casual, Feminine, Graceful, Sensual
Placements
Fabric pattern, necklines, collars, yokelines, seamlines, bows, lapels, sleeves, ruffles, skirts, gathers, trims, buttons
Straight-bold stable
Jagged-zig-jag,jumpy,confused feeling

13. Line Direction
The direction that the line falls affects the design, message and illusion drastically.

14. Vertical Message Placement
Formal, strong, dignified, stiff, business-like, stately,
Increases, emphasizes, reinforces length, height, narrowness, thinness– slimming, counters horizontal lines
Placement
Deep v-necklines, pointed collars, lengthwise grainline, vertical stripes, darts, pleats, folds, crease, zippers, row of buttons, pockets, ties, neckties, long sleeves, high heels

16. Horizontal Message Placement
Restful, stable, calm, relaxed, casual, quiet, Illusion
Increases, emphasizes, reinforces width, bulk, shortness, counters vertical lines, when placed high appears taller, when placed low appears shorter
Placement
Necklines, flat collars, bow ties, horizontal stripes, belts, cuffs, waistline, sashes, wide-set double-breasted closure, strap shoes, platform shoes,

18. Diagonal
Message
Active, movement, instability, excitement, interesting, Placement
V-shaped neckline, open collar, French darts, closures, surplice closure, row of buttons, fabric inset, diagonal stripes, zigzag pattern, A-line skirt, flared skirt or pants, shoe laces crisscross straps

20. Texture in Fashion

21. Texture Where is texture found? What is it?
In the thickness and appearance of fabric.
What is it?
The one element that you can see and feel
What are the different textures we have here in class?

22. Texture What words describe texture? How is texture created?
Loopy, fuzzy, furry, soft, shiny, dull, bulky, rough, crisp, smooth, sheer…
How is texture created?
By the fiber type, weaving or knitting process, or by the fabric finishes

23. texture There are two types of texture: TACTILE VISUAL
Texture that can be felt by touch. (rough, prickly)
VISUAL
Texture that can be seen. (shiny, dull, matte)

24. Shape in Fashion

25. What is shape?
What are three types of shape?
How are shapes used in fashion?

26. Color in Fashion

27. Color
Primary colors?
Intermediate
colors?

28. Complementary
Combine two colors from the opposite side of the color wheel.
Possible colors: red & green, blue & orange
Feeling associated: stimulating due to opposite visual characteristics. By dulling the intensity or value, calming effect may be achieved.
Can be very flattering to personal coloring, and versatile

29. Color schemes: Monochromatic
Mono means “one”, refers to the tints tones and shades of one color
Possible color combinations are limitless!
Mint green and forest green
Generally calming, however it depends on the hue

30. Color Schemes: Analogous
Often referred to as adjacent. Two, three, or four hues that lie next to one another on the color wheel. All hues have one hue in common.
Possible colors (Can include tints, tones & shades)
Yellow-green, yellow, yellow-orange, orange
Feeling created: can be calming or exciting depending on whether they come from the cool or warm side of the color wheel.
This color scheme is most effective if one of the hues repeats some aspect of your personal coloring… eyes, hair…

32. Triad Three colors equally spaced on the color wheel
Possible colors: tints, tones and shades of primary or secondary colors
Very exciting and stimulating if used in full strength.

34. Clue in on color

35. Blue Cool Color Moves away from you
Suggests respect, responsibility, authority
Needs a relief color
Tranquilizing
Elongate time
Favorite color
Poor color around food

36. Red Hot, exciting, stimulating Highly emotional
Raises blood pressure, pulse and heart rate
Cellular reaction in heart and lungs
Stimulate appetite
Pay more
Lose track of time
Separate gender responses
High end Restaurants are usually decorated in red
Men prefer a red-orange red and women prefer a red-violet red

37. Yellow Requires the most visual processing Cheerful, warm, inviting
Stimulate memory
“Value for Money”
Loss of minor muscle control in elderly
Loose your temper quicker
Baby’s cry more
Yellow is a good color for tests to be taken on

38. Green Peaceful, relaxation, serenity Easiest for the eye to see
Fastest adjustment time
High socio-economic status
Natural
Cool color closest to warm
Green is a good color for guest rooms

39. Black Mysterious Positive and negative effects
Dignity, solemnity, formality
Mourning, sorrow, depression
Power, strong authority when combined with white
Limited positive response in décor
Reinforces the color it touches, powerful accent

40. White Delicate, refined Symbol of purity, chastity, cleanliness
All white feels empty or forced
Soften edges between colors
Encourages precision
Clarity, openness and brightness

41. Gray/Grey Work longer Creativity More artistic Chameleon
Needs accent colors
Strong prejudice against grey
Grey can take on the color of what is next to it.
People tend to be more creative when they are working on a grey surface
Students tend to remember more when they take notes on gray paper
People either love or hate gray

42. Brown Homelike, masculine Warmth, snug, secure Universal Solidity
Listener
Positive food associations
Less intensive behavioral response
Needs natural associations and less yellow for a positive response.

43. Violet Stronger versions are called purple Uncertainty
Royalty, dignity
Women generally accept universally
Tire of the fastest
Seen as artistic and expressive

44. Pink Sweet Can be calming Intensifies when applied Feminine
Good accent clothing color, not as well used overall in clothing

45. Orange Declassifying Informality Stimulating Inexpensive
Good around fast food
Shares some qualities of red, slightly reduced

46. The Principles of Design
Fashion Strategies

47. Outline Balance Proportion (Scale) Emphasis Rhythm Harmony
The basic principles of design include the following:

48. Formal Balance One side is a mirror image of the other side
Symmetrical or Formal Balance is the arrangement of forms on one side of an imaginary central dividing line, axis or plane is the mirror image of the other side.
Associated with the beauty of nature.
Repose and dignity.

49. Informal Balance
Objects on each side of the central dividing line are different.
More exciting and dramatic
Asymmetrical or Informal Balance brings elements that are not matching into equilibrium.
Asymmetrical balance can be achieved through placement, shapes, colors, sizes, and other aspects of objects.
Uneven hem or one shoulder shirt are examples

50. Proportion The ratio of one part to the whole.
Proportion is the ratio of one part to another part or to the whole. It involves shape, size, and visual weight of an object.
Things just look “right”.
Greek proportion. The golden section/mean/ratio, an ancient system of proportion. In this system when a line is divided into two unequal segments so the ratio of the short segment to the long segment is the same as the long segment to the total length of the line.
Palladian proportion. This method sought relationship between each part of a building. Palladio felt that the rooms of a building should share common ratios with the exterior of the building. (Based on geometric whole numbers, such as 2:3, 3:5, 5:8, 4:7).
Measured proportion. This system, developed by Le Corbusier, used ratios from the golden section for smaller dimensions, and measurements of parts of the human body for larger dimensions. (Each determined ratio then needed intuitive adjustment.)
Fibonacci series. He was a mathematician who found that (1,2,3,4,5,6,7,8,9) were the most satisfactory for his calculations. (They are not exact figures but they are close.) This system is similar to the Golden section in that, as each number is added to the next, the third number is a combination of the first two.
Unequal amounts are more pleasing to the eye than equal amounts.

51. Proportion
Proportion is the relationship between objects, or parts, of a whole.

52. Proportion
Elements seem to be an appropriate size for the space they fill.

53. Proportion The ratio of one part to the whole. Things just look right.
Proportion is the ratio of one part to another part or to the whole. It involves shape, size, and visual weight of an object.
Things just look “right”.
Greek proportion. The golden section/mean/ratio, an ancient system of proportion. In this system when a line is divided into two unequal segments so the ratio of the short segment to the long segment is the same as the long segment to the total length of the line.
Palladian proportion. This method sought relationship between each part of a building. Palladio felt that the rooms of a building should share common ratios with the exterior of the building. (Based on geometric whole numbers, such as 2:3, 3:5, 5:8, 4:7).
Measured proportion. This system, developed by Le Corbusier, used ratios from the golden section for smaller dimensions, and measurements of parts of the human body for larger dimensions. (Each determined ratio then needed intuitive adjustment.)
Fibonacci series. He was a mathematician who found that (1,2,3,4,5,6,7,8,9) were the most satisfactory for his calculations. (They are not exact figures but they are close.) This system is similar to the Golden section in that, as each number is added to the next, the third number is a combination of the first two.
Unequal amounts are more pleasing to the eye than equal amounts.

54. Proportion The ratio of one part to the whole. Things just look right.
Proportion is the ratio of one part to another part or to the whole. It involves shape, size, and visual weight of an object.
Things just look “right”.
Greek proportion. The golden section/mean/ratio, an ancient system of proportion. In this system when a line is divided into two unequal segments so the ratio of the short segment to the long segment is the same as the long segment to the total length of the line.
Palladian proportion. This method sought relationship between each part of a building. Palladio felt that the rooms of a building should share common ratios with the exterior of the building. (Based on geometric whole numbers, such as 2:3, 3:5, 5:8, 4:7).
Measured proportion. This system, developed by Le Corbusier, used ratios from the golden section for smaller dimensions, and measurements of parts of the human body for larger dimensions. (Each determined ratio then needed intuitive adjustment.)
Fibonacci series. He was a mathematician who found that (1,2,3,4,5,6,7,8,9) were the most satisfactory for his calculations. (They are not exact figures but they are close.) This system is similar to the Golden section in that, as each number is added to the next, the third number is a combination of the first two.
Unequal amounts are more pleasing to the eye than equal amounts.

55. Emphasis Emphasis creates a center of interest
Also referred to as a Focal Point
Emphasis is the feature that is seen first and that repeatedly draws attention.
On her dress you immediately notice the red top. It is where your eye is drawn first. This is the focal point.

56. Rhythm- Repetition When a design element is repeated
Repetition is created when a design element is repeated.
Can be achieved through color, line, form, or texture.
Can sometimes lead to monotony, so it must be balanced against the need for variety.

57. Rhythm-Gradation Light to Dark Thin to Thick Small to Large
Gradation: a gradual change in color value from dark to light or by a regular change from smaller to large parts that all have the same shape.
Blue dress: gradation in color-dark to light.
Lilac dress: Her dress does from thin sections at the top to thick sections at the bottom.

58. Lines flow out from a single point.
Rhythm- Radiation
Lines flow out from a single point.
Radiation: lines flow out from a central point.

59. Rhythm- Transition Curved lines carry the eye.
Transition is achieved when curved lines carry the eye over an architectural feature or piece of furniture.

60. Harmony
Harmony is achieved when Unity and Variety are effectively combined.
This room demonstrates Unity with enough Variety to keep it from being monotonous.

61. Harmony Is it harmony? What do you think?
Unity allows the viewer to see a design as a whole rather than seeing it as a collection of different elements. Ideally, everything relates so well that nothing can be added, taken away, or altered without changing the totality.
Unity can be achieved through matching and coordinated fabrics, closely related colors, stylistic consistency, etc.
Can carry a threat of monotony.