Fashion Feasibility Guide C-312

Revised by Nicole Lujan1

Cooperative Extension Service • College of Agricultural, Consumer and Environmental Sciences

Selecting fashions that present you at your best Or, perhaps both your height and body type are is not difficult if you apply a few basic principles average. Whatever your figure type, the fashions you of design. But in order to apply design principles wear will be flattering or unflattering depending on correctly, you must know your figure type. Which their designs. are you? To help you select the designs best suited for your figure type, consider the following design principles.

LINE The wise selection of line in fashion design can cre- ate optical illusions to flatter your appearance. Line in fashion is seen in garment details and in the garment silhouette. Details include seamlines and garment features such as pockets, collars, belts, and openings. Silhouette refers to the shape of the garment. A silhouette in fashion is dependant on the design of the garment and the fabric used. Both the detail lines and the silhouette influence the op- tical illusion created when a garment is worn. Look at these examples of optical illusion:

Would you believe the vertical lines are the same length? The horizontal lines are the same length also. The eye follows each line until it meets a line that turns downward or upward. The lines look shorter when lines turn downward and longer when lines continue upward.

1Extension Home Economist/4-H Agent, Sandoval County Extension Office, New Mexico State University.

To find more resources for your business, home, or family, visit the College of Agricultural, Consumer and Environmental Sciences on the World Wide Web at aces.nmsu.edu The longer your eye can travel up- ward without being interrupted by a horizontal line, the taller the fig- Now, look at the rectangles. The four rectangles ure will appear. are the same size, but the use of a vertical or hori- zontal line within each rectangle creates an illusion of varied size. When two or more vertical or hori- zontal lines are used, the spacing between the lines will affect the illusion created.

Two vertical lines spaced close to- gether form a narrow panel that moves the eye up the figure.

Generally, vertical lines that carry the eye up the figure without interruption will give a taller, more slender illusion. Lines that stop the eye from travel- ing upward by moving the eye from side to side or back down will create a shorter and heavier illusion. A vertical illusion becomes a hori- Consider these examples: zontal illusion when a vertical line is topped with a horizontal line, causing the eye to move from side The single vertical line moves the to side. eye upward, with nothing to inter- rupt its movement.

A vertical line suddenly appears shorter when the eye is forced downward.

The magic “Y” creates a feeling of height as the eye is guided upward, with nothing to impede its vertical motion.

Guide C-312 • Page 2 The brightness or dullness and the lightness or darkness of colors also affect the illusion created. Dull and dark colors seem to recede and make the The sooner the eye encounters a figure appear smaller. Bright and light colors have horizontal line, the shorter the the opposite effect. figure will appear. In addition to these general characteristics of colors, how they are used will also influence the illusion created. Contrasting colors in tops and bottoms create a horizontal line where they meet and tend to shorten the figure. A single-color out- fit gives a vertical feeling and creates an illusion of height and slimness. Two vertical lines spaced far apart When several colors are used in a single outfit, form three wide panels that move the amount, placement, and contrast between the the eye across the figure. colors used will determine the effect. If the color is printed in the fabric design, the size of the design, as well as the colors used, must be considered. Generally, the size of print should be selected in relation to your figure size: small figures look best COLOR in fabrics with small designs, while large figures look best in fabrics with large designs. These guide- Color is one of the first things people notice about lines are especially true if the colors are bright and clothing. The use of color can create illusions of the contrast strongly. figure size in the same way line does. Select colors based on your complexion—hair, skin, eyes—as well as your figure size. TEXTURE Colors should complement your complexion. A Because garments have combined design elements complexion that tends to be sallow (yellow tones) of texture, color, and line, each must be selected should wear colors that bring out the pink/red in relation to your figure and how they affect each tones of the skin. A complexion that is florid (red/ of the other elements. The effects of texture in blue tones) should avoid colors that emphasize the fashion influence how colors appear and how de- redness of the skin. sign lines function. Matching color to complexion is a very personal Texture describes the body and surface of fabric. matter. Old adages like “redheads should never Textures may be rough or smooth, coarse or fine, wear pink” are not always valid. Careful selection crisp or clingy, soft or stiff, thin or bulky, opaque or of the value and intensity of a color, its placement, sheer, shiny or dull, heavy or light, or any combina- and the complements used with the color can allow tion of these characteristics. Because textures have almost everyone to use it. many characteristics, they can enhance or detract Colors are classified as warm (reds, yellows, and from a garment’s design. They also affect the illu- oranges) or cool (blues and greens). Warm colors sions of size and shape of the figure. tend to create an illusion of greater size. Cool colors tend to create an illusion of reduced size.

Guide C-312 • Page 3 Here are some general guidelines for selecting • Crosswise design lines appropriate textures for garments: • Horizontally striped fabrics • Soft or clingy textures reveal the figure and em- • Short, broken vertical phasize figure irregularities. lines • Short diagonal lines • Stiff or crisp textures stand away from the body • Combinations of verti- and hide figure irregularities. Very stiff fabrics -ap cal and horizontal lines, pear to add weight and dwarf small figures. Mod- as in a plaid fabric erately stiff fabrics are good on most figures. • Full, horizontal drapery across the bustline • Bulky textures seem to add volume to the figure. or hipline Small figures are overpowered by these textures, • Soft fullness but they are good for tall, slender figures. They • Bloused waistline can be used to balance an irregular figure. Ex- • Flaring or contrasting cuffs and collars ample: Bulky sweater for figure with small bust • Wide, bulky collars and full hips. • Capes • Separates, two piece effects, overblouses • Dull finishes absorb light and generally make the • Flounces figure look smaller. They are suitable for all figures. • Yokes and insets • Patch pockets • Shiny fabrics make the figure appear larger and • Off-the-shoulder effects reveal figure irregularities. Shiny fabrics are best • Wide belts and cummerbunds for average to slim figures that have regular pro- • Dolman sleeves portions. • Long, full sleeves • Wide, flowing sleeves • Coarse or rough fabrics are good choices for aver- • Three-quarter sleeves age to slim figures. They add volume to large -fig • Gathered, pleated, and flared skirts ures and overpower small figures. • Short skirts • Short coats • Smooth (not shiny) fabrics hide figure irregulari- • Long jackets ties and are attractive on most figure types. • Long torso styles • Double-breasted styles Tips on Selecting Fashions For You • Peplums and tunics Most women have special figure problems that they want to de-emphasize. The following suggestions are To look taller or thinner select: designed to help you select fashions that will gener- • Details within the silhouette ally camouflage problems and flatter your figure. • Straight rather than curved lines • Long, vertical lines, especially near center To look shorter or heavier select: of figure • Details extending beyond the silhouette • Vertically striped fabrics • Bulky, bunchy silhouette lines • Simple, uncluttered lines • Curved rather than straight lines

Guide C-312 • Page 4 • Long diagonal lines To make your long waist seem shorter select: • Slim, smooth silhouette • Wide belts and lines cummerbunds • Narrow panels or gores • Vertical lines in skirts • Narrow, standing collars • Wide midriffs • High necklines • Skirts as long as pos- • Long, narrow, pointed sible to be fashionable collars • Shoulder yokes • Long, narrow V- or • Boleros and short jackets U-necklines • Raised waistlines • Narrow vest openings

• Narrow belts, preferably to match garment • Long, straight sleeves • Raglan sleeves To conceal a flat chest select: • Sleeveless garments • Soft front fullness • Decoration high on the shoulder or near the neck (gathers, pleats, frills) • Slim skirts • Large collars • Skirts as long as possible to be fashionable • Bows at the neck • Boleros or short jackets • Round, soft details, • Full-length coats such as in collars • Coat with button-down-the-front style • Cowl necklines • Princess lines and beltless onepiece dresses • Bolero jackets • Capes To make your short waist look longer select: • Pockets and pocket • V-necklines flaps at bustline • Center front closing • Full sleeves with collarless neckline • Cuffs on sleeves adjacent to the bust line • Narrow center panel in bodice To conceal a large bust select: • Long torso lines • Soft front fullness, either above or below • Overblouses the bustline • Short skirts (within • Jabot or soft full tie at the neck line fashion limits) • Softly draped bodices • Narrow or no belt • Lines to broaden shoulders • Boxy jackets • Full skirts • Soft flare in skirts • Details in skirts

Guide C-312 • Page 5 To make narrow hips seem wider select: To hide a prominent abdomen select: • Wide center panel in skirts • Details away from the center front • Hip yokes • Styles without belts • Pleated skirts, especially with wide pleats • Bodices with easy gathers at the waistline • Skirts with side drape, especially at hips • Cord belts that tie to the side of the tummy • Wide or contrasting sleeve cuffs at hipline • Details above waistline • Side-pleated skirts • Overblouses • Gathered skirts • Dresses with a side-wrap • Circular skirts • Narrow, self-fabric belts • Large patch pockets, especially toward side of skirt To conceal round shoulders select: • Slightly bloused backs To make wide hips or large thighs seem more • Blouse gathered at waistline narrow select: • Small collars • Soft fullness or gores in skirt • Semi-fitted jackets • Narrow center panels (attracts eye away from • Bolero jackets silhouette) • Set-in sleeves • Widening effect at the waistline • Shallow skirt yokes To make your broad shoulders seem more • Loose, short jackets narrow select: • Bodice emphasis at the shoulders • Oval or V-necklines • Narrow collars and To hide a swayback select: lapels • Straight-line jackets • Raglan sleeves • Short jackets ending • Kimono sleeves below the waistline • Flared peplums • Gathered skirts • Horizontal lines in • Belts buckled at skirts the back • Full skirts • Bloused bodices • Capes • Peplums • Crushed belts or cummerbunds • Lengthened, loose bodices

Guide C-312 • Page 6 To make your narrow shoulders seem wider select: If you have a square face select: • Horizontal lines at • V-necklines chest • Deep, oval necklines • Shoulder yokes • Sweetheart necklines • Wide, cape-like collars • Soft, rounded collars • High pockets • Wide lapels • Diagonal lines to tip of shoulders • Bateau necklines

To make a short, plump neck appear longer select: If you have a triangular face select: • Narrow, deep V-necklines • High, square, or round necklines • Narrow, flat, and pointed collars • High, draped necklines • Cardigan styles • Low necklines If you have a long face select: • High, round necklines To make a long, skinny neck appear shorter select: • Softly rounded collars • Curved, high necklines • High, rolled collars • Standup collars • Bows, scarves, and ascots • Square necklines • Soft, full, or deep If you have a round face select: collars • Narrow, deep V-necklines • Scarves and ascots • Narrow lapels • Ruffled jabots • Small, pointed collars • Low necklines • Long, narrow collars

Original author: Susan Wright, Extension Clothing and Textiles Specialist

Nicole Lujan is the Home Economist/ 4-H agent for Sandoval County. She earned her B.S. in family and consumer sciences, clothing, textiles, and fashion merchandising and her M.A. in agricul- tural and Extension education from New Mexico State University. Her Extension All photographs of models ©Andrey Atmyagov/ goals are to educate youth and adults Dreamstime.com. Used with permission. to make positive changes in their everyday lives.

Guide C-312 • Page 7 Contents of publications may be freely reproduced for educational purposes. All other rights reserved. For permission to use publications for other purposes, contact [email protected] or the authors listed on the publication. New Mexico State University is an equal opportunity/affirmative action employer and educator. NMSU and the U.S. Department of Agriculture cooperating. June 2013 Las Cruces, NM

Guide C-312 • Page 8