Fashion & Textiles 2 015 Front, back and inside cover image photography by Niall McInerney. Fashion & Textiles 2015

Contents Bloomsbury Fashion Central 2 Introduction to Fashion and Fashion Careers 4 Fashion Merchandising and Promotion 8 Fashion Law 17 Product Development 18 Fashion Design and Illustration 21 Technical Design and CAD for Fashion 26 Construction 27 Patternmaking and Draping 31 Sustainable Fashion 35 Introduction to Textiles 36 Textile Design and Technology 39 Textile History and Culture 42 Fashion and Costume History 44 Dress and Fashion Research Series 51 Fashion Journalism 52 Fashion, Culture and Society 53 World Dress and Anthropology 62 Reference 63 Journals 66 Index 69 Representatives and Agents 71

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3 Introduction to Fashion and Fashion Careers

Textbook Accessibly written and logically UK August 2014 Key Concepts structured, this study provides a US October 2014 for the Fashion concise introduction to fashion theories for all foundation level 152 pages Industry students, covering cultural, 40 bw illus social and individual influences 244 x 169mm / 9.6 x 6.7 inches Andrew Reilly on fashion and how the fashion PB 9780857853653 system works. Key Concepts £17.99 / $29.95 for the Fashion Industry offers HB 9780857853646 clear, practical examples and £55.00 / $99.95 international case studies, Series: Understanding Fashion making complex theory easy to Bloomsbury Academic digest. Andrew Reilly is Associate Professor of Apparel Product Design and Merchandising at the University of Hawaii, Manoa, USA.

Students Contains discussion questions, activities and further reading

Contents 1. Overview 2. The Fashion System Key Terms BOXEDBOXED CASECASE 33.2:.2: ETHIETHICSCS FFOCUS:OCUS: 3. Cultural Influence on THE DIAMDIAMONDOND MMONOPOLYONOPOLY • Bandwagon effect • Invidious consumption • Chase and fl ight • Snob effect Popular thought is that diamonds are rare. Their seemingly limited supply is one reason why • Commodity fetishism • Status consumption Fashion they fetch high fees per carat. However, in actuality, diamonds are not scarce—they are • Conspicuous consumption • Taste made of carbon, one of the most plentifulplentiful elements on earth—and the mythmyth of their rarityrarity • Fetish • Trickle down was created bbyy diamond conglomerate DeBeers. • Habitus • Trickle up In the 1870s business man Cecil Rhodes began buying tracts of lands in present-day • Imitation/differentiation • Sumptuary Laws 4. Social Influence on Fashion Kimberly, South Africa, on which diamonds had been discovered. Under Rhodes and later • Inconspicuous consumption • Veblen effect Ernst Oppenheimer, DeBeers (named after the owners of one of the land tracts) became the largest diamond company in the world and established a network that controlled price 5. Individual Influence on aandnd fl ow of diamonds onto the markets. Their practices included quashing competition, buying competitive diamond mines to shut them down, stockpiling diamonds, and refusing Discussion questions to sell diamonds to people outside their network (Kanfer, 1993). Then, through a clever “diamonds are forever” advertising campaign, consumers began to view diamonds as Fashion 1. If people like to possess exclusive or rare items why do not more brands offer limited edition heirlooms and rare, thus keeping them forever and not reselling them (Kanfer, 1993). The products? What qualities make “limited edition” valuable? monopoly ended in the early 21st century when confl ict diamonds (diamonds mined to 2. Identify a product you bought where your motivation was to display (perceived) wealth, ssupportupport wars) became a moral issue and consumers started buying other gemstones. incite envy, or to fi t in with a group of people. 6. Conclusion Nonetheless, DeBeers remains one of the largest and most profi table diamond suppliers in 3. List 5–10 items of the lower/working class that have become fashionable. List 5–10 that the world. have not. Why do you think some became fashionable while others did not? DeBeers’ practices, by restricting what diamond suppliers and designers and cutters can 4. Simmel conceived the social system having upper class and lower class. Kaiser added purchase diamonds, created an artifi cial scarcity. Because they marketed diamonds as Bibliography gender, race, age and attractiveness as other strata of social organization. It was also valuable, keepsakes, and symbols of love and marriage, they created a desire among suggested that fame, notoriety, sexual orientation, ethnicity, skin color/tone, and power are people for them. As a result, diamonds were used as conspicuous consumption. Their status possible alternatives to social strata. Are there any forms of social organization that you aass “rare” and expensive makes them a luxury item where size and quality were indicators would add? Index ooff wealth and class. Consequently, consumers were (and still are) willing to pay enormous aamountsmounts for shiny bits of hardened carbon.

Learning activities

SummarySummary 1. Examine ads in fashion magazines and categorize them according to one of the three consumption theories discussed. 2. Show people an A-shirt and conduct a brief interview. Ask them to comment on it. Who At the social level, fashion is infl uenced by habitus and taste that includes and excludes wears it? Where do they wear it? Why do they wear it? Is it considered low class? Is it people based on their manner of dress. One of the fi rst theories to explain fashion change, fashion? Organize their responses by theme. Do the themes tell you anything about taste? If the Trickle Down theory was based on social structure; a number of theories since then have the people you interviewed differ by age, is there a difference between older people and looked at fashionfashion through the lens ofof society. When there was a paradigm shiftshift in the mid- younger people? 20th century, the direction ooff ffashionashion ininflfl uence reversed with styles originating in the street 3. Find a location where you can observe people, like a coffee shop or a bench in a park. As aandnd working their way up through higher echelons ofof society. While other theories have people walk by, analyze their mode of dress. How many scarce or rare items do you see? aalsolso explained how trends move through social strata, the need to display one’s class (or How many of these items are truly rare and how many are rare by human infl uence? Interpret aassumessume the aesthetics ofof another’s class) is common among them all. your fi ndings to relate to social organization.

76 77 KEY CONCEPTS FOR THE FASHION INDUSTRY FASHION AND SOCIETY

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fashion it loses its cultural signifi cance, is viewed as costume, and offends the originating group. Some designers fi nd inspiration from controversial groups, such as the Hate Couture trend. Hate Couture incorporates elements of the Nazi regime or Ku Klux Klan into fashion, such as armbands with the Nazi swastika, Nazi uniforms, and shoes with the swastika on the sole (so that they leave the impression in the ground). The trend even reached celebrities and couture fashion; in 1995 the fashion house of Jean-Louis Scherrer (designed by Bernard Perris) showed couture pieces with Nazi insignia; 1 in 2005 Prince Harry of England wore a Nazi armband to a costume party and in 2006 Rocky Mazzilli offered a couture ensemble with a prominent swastika on the skirt. Elsewhere, Nazi fashion has become popular among Harajuku trendsetters. Elements of the United States Deep South can also be seen as offensive to some people. The Confederate fl ag is a source of controversy (some view it as racist whereas others view it as heritage) and is featured on t- shirts, shoes, bathing suits, and so forth. Meanwhile, in 2012 the Ku Klux Klan distinctive robes inspired Ivaek Archer of Chiz’l Menswear to reveal a men’s robe with hoodie in the shape of the Ku Klux Klan’s pointed hood, while in 2012 Rei Kawakubo showed a wedding ensemble with pointed hood at Paris fashion week. 2

BOXED CASE 6.2: CLASSICS CAN HAVE FASHIONABLE DETAILS TOO

At the beginning of this text you read that fashions were different from fads and classic, and while this is true, there is one caveat that you should understand. Classics can have Figure 6.3 Converse shoes, considered a classic, often have fashionable fashionable components to them. The little black dress is considered a classic of fashion, elements that change, like color and print. Natali Glado/Shutterstock.com. with its lineage dating back to Coco Chanel in the 1920s, but details such as ruffl es, neckline, hemline, and silhouette have changed depending on the Zeitgeist. Likewise, Converse shoes have a classic silhouette, but the choice of color, print (e.g., solid, stripe, camoufl age), and fabrication (e.g., canvas, leather) can vary with a trend (see Figure 6.3). The trench coat is also considered a classic, with Thomas Burberry claiming invention in 1901. The style has remained relatively unchanged for over a century, but details such as colors, fabrications, hem lengths, sleeve style, and buttons have changed to align with fashionable movements. The example in Figure 6.4 illustrates and demonstrates fashionable elements. In addition to their fabrication (cotton twill, wax- coated nylon, and fi ne merino wool) the cuffs vary with a curved, pointed, or nonexistent sleeve band. Thus, although there are some items of dress that are deemed “unchangeable,” in reality there are little changes that belie the infl uence of fashion.

Figure 6.4 Details from three trench coats show the infl uence of fashion on a classic item of dress. Trench coats courtesy of author.

126 127 KEY CONCEPTS FOR THE FASHION INDUSTRY CONCLUSION

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4 Introduction to Fashion and Fashion Careers

www/Textbook Ideal for students and UK July 2014 Guide to Fashion fashion professionals seeking US June 2014 Entrepreneurship information on how to develop, market, and sell their own 256 pages The Plan, the product lines as independent 130 colour illus labels or brands, readers will 216 x 279mm / 8.5 x 11 inches Product, the expand their knowledge of the Book + STUDIO Bundle ready-to-wear process in order 9781501395291 Process to successfully identify market £60.00 / $100.00 opportunities, execute product STUDIO Access Card Melissa G. Carr and differentiation and market a 9781501395055 Lisa Hopkins Newell new product/brand in the retail Fairchild Books environment. Melissa G. Carr is Assistant Professor and Apparel Merchandising Director in the Department of Apparel Design and Merchandising at Dominican University, USA. Lisa Hopkins Newell is an Adjunct Professor in the Fashion Studies Department at Columbia College Chicago, USA, and Membership Director of Merchandising and Design Dominican University, USA. Features

• Includes chapter outlines, objectives, scenarios, summaries, sidebars, key terms, end notes and bibliographies to enhance learning • Case studies provide real-world examples and step-by-step simulations show the process of creating products • Activities are application simulations that culminate in an entrepreneurial action plan • STUDIO: Guide to Fashion Entrepreneurship offers student self- quizzes, flashcards, plus templates of business forms including costing sheets, spec sheets and business document • Teaching Resources: Instructor’s Guide and PowerPoint presentations

Contents

Preface Part 1: The Plan Part 3: The Partner 1. Entrepreneur Endeavors 8. Direct Sales Distribution 2. A Moving Target 9. Indirect Sales Distribution 3. Brand Personification 10. The Buyer’s Mind 3 Brand Personification Part 2: The Product 11. Web Presence

To cut through the clutter of product saturation, entrepreneurs utilize branding 4. Inspiration and Ingenuity Part 4. The Process as an effective way to differentiate their products and to establish credibility with the consumer. One must carefully orchestrate interplay between inspired creativity and analytical rigor. Creating a brand perception requires intrusion—a Figure 3.1 Zac Posen ready-to-wear collection. Figure 3.2 Gucci ready-to-wear collection. Figure 3.3 Alexander Wang ready-to-wear 5. Strategic Sourcing 12. Marketing remapping of a consumer’s brand preference. The brand must be authentic and Model: Liya Kebede. Source: Fairchild Fashion Model: Eugenia Volodina. Source: AFP/Getty collection. Model: Shu Pei Qin. Source: Fairchild powerful enough to force consumers out of their routines and into newness. Media. Images. Fashion Media. Consumers must remember the brand experience and note it for long-standing 6. Pricing the Product 13. Getting Started preferences. Iconic fashion brands begin with a collective synergy to create a first, Brand Analysis lasting impression at a glance. When an entrepreneur enters into a branding arena that is laden with product saturation and heavy competition, it can be intimidating or over- whelming. Conducting brand analysis and setting strategy will eradicate 7. Commerce Checklist 14. Trade Tools uncertainty and ensure a firm start. Brand analysis involves sizing up the industry, evaluating the competition, and creating a strategic plan. Brand Power The entrepreneur should assess the market: 15. The Expansion and the Exit A strong brand has incredible power—not just in how it is perceived in the world, but also in how it redefines the competitive landscape, con- 1. Market size—the scope of competition nects with prospects and influencers, creates memorable experiences, 2. Growth rate of their particular industry sector builds lasting relationships, and helps entrepreneurs and corporate organi- 3. Current growth cycle of the industry sector Bibliography zations better manage people, resources, and profits. The following images 4. Number of competitors and their relative size evoke the power and presence of internationally recognized brands 5. Market saturation—price classifications KEY CONCEPTS (Figures 3.1, 3.2, 3.3, 3.4, and 3.5). 6. Number of customers and their relative size From a holistic perspective, a brand is a distinct entity with a name, 7. Type of distribution channels used to access existing/potential Index ✚✚ Identify assessment tools for brand sign, or set of perceptions intended to create an identity and differentia- customers analysis. tion among likeness. It represents a product, idea, or service. Branding ✚✚ Understand the components of a is a vital strategy laced within brand development. It is the process of If these crucial market assessments are not executed, an entrepre- brand statement. attaching a name, image, or reputation to a product, idea, or service. neur may find that the brand may not fit well with the intended sector Branding is a major force in the fashion industry. Effective entrepre- of the industry or may not be capable of establishing and maintaining ✚✚ Explore the fundamentals of brand development. neurs utilize branding as the solidifying precursor to a product. It is the a competitive advantage for the new product. Once the assessments fundamental voice that embodies the product. A relentless product differen- are determined as a prosperous opportunity, the long-term direction, ✚✚ Examine emotional drivers to make a tiation strategy is needed to build recognition. Emotional engagement has objectives, and strategies can be developed. Designer, Rebecca Minkoff brand connection. become a dominant tactic to build consumer loyalty. From the idiosyncrasy Figure 3.4 Burberry Prorsum collection. Source: explains her well-devised brand formula to enter into a competitive ✚✚ Establish tactics to building brand to the obvious, a product’s positioning is often conveyed through layers of Fairchild Fashion Media. market in Box 3.1. equity. reinforcement to establish and secure its identity in the marketplace.

Brand Power 39 40 Chapter 3 | Brand Personification

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5 Introduction to Fashion and Key Titles Fashion Careers

5th Edition www/Textbook The World of Fashion provides an in-depth 2013 The World of introduction to the design, manufacturing and Fashion merchandising segments of the fashion industry. 720 pages 325 colour illus • Chapter learning objectives, highlights, list of key Jay Diamond and Ellen Diamond 216 x 279mm / 8.5 x 11 inches terms, review questions, exercises and projects, PB 9781609015275 case studies, Point-of-View readings and a £75.00 / $120.00 glossary enhance learning Fairchild Books • New chapters on social responsibility and sustainable fashion • Profiles of leading individuals and firms in the fashion industry • Teaching Resources: Instructor’s Guide and PowerPoint presentations available Jay Diamond is Professor Emeritus at Nassau Community College, USA. Ellen Diamond is Professor Emerita at Nassau Community College, USA.

4th Edition www/Textbook Featuring the latest facts and figures, and the 2013 The Dynamics most current theories in fashion development, of Fashion production, and merchandising, this book provides 480 pages a broad foundation for students hoping to become 500 colour illus Elaine Stone a part of the industry. Apparel, accessories, 229 x 305mm / 9 x 12 inches cosmetics, home fashions, green design, and more Book + STUDIO Bundle are explored in detail. 9781501395543 £60.000 / $125.00 • More than 150 new full colour photographs STUDIO Access Card • Revised charts and illustrations with up-to-date 9781501395536 data Fairchild Books • Updated glossary with more than 500 industry terms • Teaching resources: Instructor’s Guide and PowerPoint presentations available • STUDIO: The Dynamics of Fashion features online self-quizzes with results and personalized study tips and flashcards with definitions and image identification to help students master concepts and improve grades. Elaine Stone was Professor Emerita at the Fashion Institute of Technology (FIT), USA.

2nd Edition www/Textbook The various career paths available are woven into 2011 In Fashion each chapter’s structure so that students can Elaine Stone learn how to accomplish their goals in today’s fast- 352 pages paced, ever-changing industry. 300 colour illus 216 x 279mm / 8.5 x 11 inches • Hundreds of photographs highlight the people, PB 9781609012229 principles, practices and techniques of the £60.00 / $110.00 business Fairchild Books • End of chapter elements including lists of key terms, review questions, projects/assignments, and additional readings • Teaching Resources: Instructor’s Guide and PowerPoint presentations available

6 Introduction to Fashion and Fashion Careers

3rd Edition www/Textbook The Fashion Industry and Its Careers explores UK June 2015 The Fashion all fashion careers, the education and training US April 2015 Industry and Its required for each position, and how it relates to the industry as a whole. 496 pages Careers 184 bw illus and 16pp colour • Covers a wide range of careers including new plate section An Introduction coverage of accessory design, styling, and 203 x 254mm / 8 x 10 inches digital media careers including fashion blogging, PB 9781628923414 Michele M. Granger website design and graphic design. £66.00 / $110.00 • Provides all the essential information on finding Fairchild Books a job in the competitive fashion industry, and progressing within it • Teaching Resources: Instructor’s Guide and PowerPoint presentations available Michele M. Granger is a Professor in the Fashion and Interior Design Department, College of Business Administration, at Missouri State University, USA.

Key Titles

4th Edition www/Textbook This authoritative text examines how fashion 2011 The Business apparel and accessories are designed, of Fashion manufactured, marketed and distributed. It focuses 640 pages on the organization and operation of the US 8pp colour plate section Designing, textiles and fashion industry and the role of these 190 x 233mm / 7.5 x 9.2 inches industries within a global context. PB 9781609011109 Manufacturing £60.00 / $105.00 • Includes updated information on the global textile, Fairchild Books and Marketing apparel, and retailing industries • Discussion of sustainable practices and Leslie Davis Burns, globalization Kathy K. Mullet and Nancy O. Bryant • Includes learning activities, case studies, career profiles and glossary of terms • Teaching Resources: Instructor’s Guide and Powerpoint presentation available Leslie Davis Burns, Kathy K. Mullet and Nancy O. Bryant are professors at Oregon State University, USA.

Textbook Textbook Visual Research Doing Research in Methods in Fashion Fashion and Dress

Julia Gaimster An Introduction to Qualitative Methods

Yuniya Kawamura

2011 2011

352 pages 160 pages 120 bw and 32 colour illus 234 x 156mm / 9.2 x 6.1 inches 244 x 189mm / 9.6 x 7.4 inches PB 9781847885821 PB 9781847883810 £17.99 / $29.95 £25.99 / $42.95 HB 9781847885838 Berg Publishers £55.00 / $89.95 Berg Publishers

7 Fashion Merchandising and Promotion

3rd Edition www/Textbook In this fully updated overview UK March 2015 Fashion Retailing of fashion retailing, the authors US January 2015 A Multi-Channel focus on the globalization of the retail industry with an emphasis 384 pages Approach on US retail expansion into 100 bw illus foreign markets as well as global 216 x 279mm / 8.5 x 11 inches Jay Diamond, Ellen Diamond and brands proposed expansion to PB 9781609019006 Sheri Diamond Litt the US market. £66.00 / $110.00 Fairchild Books • Includes chapter objectives, bolded key terms, summaries, important terms, review questions, cases with questions and exercises • Teaching Resources: Instructor’s Guide with Test Bank and PowerPoint presentations available

New to this edition

• New Chapter 10 “Communicating to Customers through Electronic Media” • New “Happening Now” boxes offer a look at current practices of retailers such as J. Crew, Mango, Gap and Massimo Dutti • Coverage of sustainable fashion, the growth of multicultural markets, and the impact of technology and e-commerce • Addresses retailing trends such as flash sales and pop-up stores

Contents

Preface 4 chapter one  the nature of the fashion retailing industry Section One: Introduction Section Four: chapter one roof. It was the birth of the department store. Like the specialty store, the department store was a huge success and expansion to Fashion Retailing Merchandising Fashion would take place with branch stores that were opened to make shopping easier for those who found it too difficult to patronize the main or flagship store, a term used today to signify the first Products store in the organization. Macy’s was an early entry in the 1. The Nature of the Fashion THE NATURE OF THE department store and still commands tremendous recognition by fashion consumers. Figure 1.1 features Macy’s flagship store in New York City. Retailing Industry 12. Planning and Executing the Some department stores also expanded their customer base FASHION RETAILING with the development of catalog divisions. Early on it was Sears Purchase who offered catalogs to shoppers who couldn’t come to their 2. The Global Impact of premises. Among the many products featured was fashion INDUSTRY merchandise. It was an easy approach that quickly caught the attention of a new market segment and helped to make the Fashion Retailing 13. Purchasing in the Global company more profitable. It was the forerunner of what today is known as multi-channel retailing that will be fully discussed later in the text. Marketplace Other brick and mortar fashion retailing enterprises in 3. Organizational Structures operation today, in addition to the department stores and specialty chains include discounters, off-pricers, manufacturer’s 14. Private Label Importance to outlets, boutiques, warehouse clubs, pop-up stores, and a 4. The Fashion Consumer After reading this chapter, you should be Fashion merchants all over the world have made dramatic moves by extending their multitude of off-site classifications that include e-tailers, and able to: consumer reach far beyond their borders. When one looks at today’s fashion retailing numerous social media formats such as facebook and pintrest, email, television shopping networks, and mobile devices. • Explain the differences between specialty news it very often speaks to the changes, namely conducting business globally. Their the Merchandise Mix The trend in retailing is for the merchants to reach their retailers and department stores. quest for international expansion has motivated many of these businesses, in most parts customers and to increase their consumer base through a 5. Retail Research Directions of the world, to plan their growth into markets that was once considered poor company figure 1.1 • Discuss why some merchants are opting combination of many of the enterprises already noted. The concept is known as strategy. Now that many fashion arenas have proven themselves as destinations for off- Macy’s is the largest department for expansion through the spin-off store multichannel retailing in which the vast majority of retailers reach their markets with 15. Inventory Pricing shore fashion retailers, merchandise assortments and emerging markets have started to store in the world. It carries hard concept. in Today’s Retail join these lists of countries, the scene promises to become an exciting one and an goods and soft goods and both the use of many different means. It is typical of the giants in the field to use a combination • Describe the differences between off- opportunity for merchants to reach new markets. national products and private of bricks and mortar locations, catalogs, e-tailing, social networking and mobile devices price retailing and discounting. An analysis and historical overview of the retailers who sold fashion goods to labels and brands. to broaden their reach. Environment Section Five: Each of those entities that have been introduced thus far will be fully discussed in • Explain how some fashion organizations consumers actually began with the introduction of the limited line store also known the next section of the chapter, culminating with a section on strengths of the have expanded their companies without later on as the specialty store. It was the late 1880s when manufactured merchandise multichannel retailing concept. making their own investments. became available to the average citizen, only the wealthy could afford to have fashion Communicating With and items produced for them by designers and dress-makers. For those who had the skills of 6. Ethical Practices and Social • Assess the state of globalization for sewing, fabrics were sometimes purchased and turned into wearable clothing. The era fashion retailers. An AnAlySiS AnD HiStoricAl ovErviEw of Servicing The Fashion of the specialty store made way for affordable fashion items that were within the means Responsibility by Retailers • Examine multichannel retailing and of the consumer. Its popularity quickly was embraced with the growth of manufactured fASHion orgAnizAtionS identify its components. goods. With so many people to serve in the global marketplace, the majority of the major • Describe the status of e-tailing as a tool The popularity of the specialty store grew. Some merchants were quick to spread Clientele fashion merchants engage in a number of the different enterprises. Each serves a unique to attract consumers. their business to include more than one location, leading to the beginning of the chain Section Two: Fashion store organization. Retailers began to open more and more units that primarily featured purpose to the organization. Some, although few, today concentrate on just one • Explain why some consumers are one item such as apparel, shoes, jewelry, and so forth. Today, the specialty chains are classification, brick and mortar, while others might just be online ventures. For flocking to catalog usage instead of 16. The Importance of considered to be the most popular places for shopping. Companies like the Gap, with its example, one major retailer of fashion footwear, and now apparel, whose exclusive bricks and mortar visitation for their Retailing Environments global presence are among the more profitable enterprises in fashion retailing. With the selling method is online is the American-based Zappos. purchases. success of the limited lines operations, some merchants decided if they could satisfy the Advertising and Promotion • Determine the impact of the home needs of their consumers in this manner, it might be feasible and profitable to expand 7. On-Site and Off-Site shopping channels. their merchandise offering to more than one classification. Some of the more successful • Summarize some of the trends in fashion of these retailers broadened their inventories to include a variety of products under one 17. Communicating to retailing. Locations 3 Customers through 8. Designing and Fixturing Electronic Media Fashion Retailing.indb 3 30/05/2014 13:41 Fashion Retailing.indb 4 30/05/2014 13:41 Bricks and Mortar Premises 18. Servicing the Fashion 9. The Importance of Visual Shopper Merchandising Appendix Section Three: Management and Control Bibliography 10. The Human Resources Glossary Division Index 11. Merchandise Distribution and Loss Prevention

8 Fashion Merchandising and Promotion

5th Edition www/Textbook “Probably one of the best UK May 2015 Retail Buying textbooks I have ever used.” US March 2015 From Basics to Carol Lazich, George Brown College, Canada 576 pages 95 bw illus Fashion An introductory text that 187 x 235mm / balances retail theory, 7.375 x 9.25 inches Richard Clodfelter application and math concepts Book + STUDIO Bundle within the context of buying, 9781501395260 this comprehensive book STUDIO Access Card provides students with the skills 9781501395024 and savvy needed to become £64.00 / $95.00 successful in any area of retail. Fairchild Books • Teaching Resources: Instructor’s Guide, Test Bank and PowerPoint presentations available Students • Summary Points, Discussion Questions and Vocabulary Terms reinforce chapter concepts • Ample activities drawn from real-world merchandising give students the opportunity to apply critical skills as they would in a professional environment.

New to this edition • STUDIO: Retail Buying features online self-quizzes, flashcards, math practice problems and Excel spreadsheet activities that align with chapter “Spreadsheet Skills” activities • Updated and new contemporary retailing examples in end-of- chapter “Snapshot” and “Trendwatch” case studies • 20% new photographs throughout the book and 30% new end of chapter case studies and updated content in all cases • Expanded coverage of buying in foreign markets and integrated content on product development throughout

Contents Preface Acknowledgments Part I: Understanding the Part IV: Purchasing Retail Environment Where Merchandise Buying Occurs 10. Selecting Vendors and 1. Today’s Buying Environment Building Partnerships 2. The Buying Function in 11. Making Market Visits and Retailing Negotiating with Vendors 3. Buying for Different Types 12. Locating Sources in Foreign of Stores Markets Part II: Getting Ready to 13. Making the Purchase Make Buying Decisions Part V: Motivating 4. Obtaining Assistance for Customers to Buy Making Buying Decisions 14. Pricing the Merchandise 5. Understanding Your 15. Promoting the Merchandise Customers Appendix A: Basic Retail Math 6. Understanding Product Formulas Trends: What Customers Appendix B: Decision Making Buy Glossary Part III: Planning and Controlling Merchandise Index Purchases Credits 7. Forecasting 8. Preparing Buying Plans 9. Developing Assortment Plans

9 Fashion Merchandising and Promotion

Textbook Fashion Retailing looks at UK September 2014 Fashion Retailing fashion retailers from the store US November 2014 From Managing to level — exploring and explaining how they are conceived, 192 pages Merchandising managed and provide consumer- 120 colour illus centric spaces. Readers will 230 x 160mm / 9.1 x 6.3 inches Dimitri Koumbis gain a thorough understanding PB 9782940496235 of how the retail model operates £23.99 / $41.95 in an effort to continually capture Series: Basics Fashion the ever-changing market, as Management well as insights into corporate Fairchild Books social responsibility (CSR) and brand sustainability. Dimitri Koumbis is Adjunct Faculty for Fashion Merchandising and Marketing courses at The Art Institute of New York, USA.

Features • Explores multi-channel approaches that have been used in retail test markets as a means to cost-effective growth within the industry • Features case studies with Harvey Nichols, Target, American Apparel, AllSaints, Gap and Asos; and interviews with key industry professionals, including store managers, buyers and merchandisers • Crucially explores how technology has revitalized fashion retailing through case studies, interviews and “day in the life” job overviews, which feature in each chapter • Covers back-of-house functions (human resources, loss prevention) and front-of-house functions (merchandising, visual merchandising, circulation patterns) across different retailers

Contents

Introduction Chapter 1: What Is Retailing? Chapter 3: Retail Corporate Chapter 5: Store Merchandising Conclusion The History of Retail Offices Merchandising and the Front of Glossary Understanding the Difference Corporate Offices and Their Role House Industry Resources Between Retailing and the Retailer Strategic Planning Merchandising vs. Visual Index Merchandising Classification of Retailers Supporting Store Teams Acknowledgments and Picture On-Site vs. off-Site Retailing Ethics and Corporate Merchandising The Store Credits Environment Multichannel Retail Approaches Social Responsibility Interview: Alfonso Paradinas— Interview: Kyle Muller—Shop Owner Interview: Jackie Mallon—Corporate Merchandiser Case Study: Harvey Nichols Fashion Designer Case Study: Gap Chapter 1 Summary Case Study: American Apparel Chapter 5 Summary Chapter 3 Summary Chapter 2: Retail Consumer Chapter 6: Trends in Retailing Markets Chapter 4: Store Management E-Commerce and the Online Consumer Behavior Store Management and the Back of Shopper Consumer Demographics House Mobile Retail, Pop-Up, and Concept Employee Management Site Selection and Store Location Shops Store Logistics Emerging Domestic and International Retailer and Designer Collaborations Markets Merchandise Controls and Loss Technology in the Retail Sector Interview: Tate Ragland—Retail Prevention Interview: International Playground— Interview: Shana Tabor—Vertically Market Researcher Wholesaler and Retailer Integrated Retailer Case Study: Target Case Study: ASOS Case Study: All Saints Chapter 2 Summary Chapter 6 Summary Chapter 4 Summary

10  Interview: Tate Ragland — Retail market researcher Chapter 2 summary 

60 61 CHAPTER 2: RETAIL CONSUMER MARKETS Case study: Target

Designer collaborations Rethinking expansion One of the most talked about retailing strategies that Target Target has been known for its large “white-box” style is known for is its continual introduction of designer–retailer stores, with large square footages and minimal design. collaborations, which have brand loyalists (for both parties) Over the past couple of years, the company has really rushing to purchase. Focusing on brand identity, marketing invested in the visual design of its stores, making them strategy, and design, Target has brought some well-known feel less like a discount operation and more like an names into the playing field. Designers such as Michael affordable department store. They tested various models Graves, Sonia Kashuk, Missoni, and Prabal Gurung, to in various shopping districts but have recently moved name but a few, have collaborated on collection pieces that into a new phase of expansion—exploring downtown are Target exclusives. This strategy not only introduces the and inner-city shopping districts. A recent opening in designer but also allows the consumer to have a taste of New York City’s Harlem district has revitalized the designer labels at a fraction of the cost. area and created a more diverse community. Recently, Target opened three stores in downtown areas, Recently, Target opened The Shops at Target, a appropriately titled City Target, in Seattle, Chicago, collaboration between Target and shop owners of specialty and San Francisco, with more stores scheduled to open stores and boutiques (retailer–retailer collaboration). over the next couple of years. These stores are geared Together, limited-edition collections will be delivered to the more for the urban shopper and, thanks to extensive public via Target stores, which will allow the small businesses market research by the Target team, have catered their to gain exposure in a large, often intimidating industry. The retailing strategies appropriately. The stores are built up collections are only for a limited time but allow shop owners (not out) to accommodate the small, dense areas. There to give their unique perspective to the masses, with Target is more streamlined product that fits the needs of this providing the forum to do so. Earlier, we discussed the start particular consumer. of Target’s corporate social responsibility initiatives, and this is a prime example of how this company is working with the With over 1,800 stores in North America, Target community to enable it to flourish while remaining profitable recently expanded its tech department to India, which and socially conscious. may be the first step to moving this successful retailer into Europe and Asia. Not only is Target a successful retailer with strong CSR initiatives built into its core; it has also been recognized as one of the top US companies to work (and watch out!) for.

13 DESIGNING FOR THE MASSES A retailer that once sold inexpensive, unbranded goods has become a market leader in the art of fashion–retailer collaborations— “Our innovative approach to store design bringing high-brow fashion to budget-conscious consumers. and development allows us to customize 13 the Target model for each location without sacrificing the key tenets that set a Target store apart.” Greg Nations, Senior Creative Manager—Marketing

107 CHAPTER 4: STORE MANAGEMENT 29 CHAPTER 1: WHAT IS RETAILING?

10 11

11 Fashion Merchandising and Promotion

2nd Edition www/Textbook The Why of the Buy addresses UK December 2014 The Why of how psychology, sociology, and US October 2014 the Buy culture all influence the how, what, when, where, and why 512 pages Consumer of the buy, and provides the 180 colour illus most contemporary resource 203 x 254mm / 8 x 10 inches Behavior and for understanding consumer PB 9781609018986 behavior theory and practice £64.99 / $115.00 Fashion Marketing in the context of the fashion Fairchild Books industry. Patricia Mink Rath, Stefani Bay, Richard Petrizzi and Penny Gill • Teaching Resources: Instructor’s Guide, Test Bank and PowerPoint presentations available

New to this edition

• New Chapter 11, “Social Media and the Fashion Consumer,” explores how the relationship between marketers, retailers, and consumers is aided by social media and the internet • Expanded and updated coverage of technology, ethics, and social responsibility related to consumer behavior • Chapter mini-projects offer an opportunity to apply chapter concepts to a realistic fashion setting • Newly updated “Case in Point” and “Point of View” sidebars spotlight current examples of consumer behavior or consumer- driven marketing concepts in real-life situations • More than 20% updated photographs

Contents Preface

Acknowledgments find meaning, a sense of belonging, and even pure pleasure. What has changed throughout differ- Introduction Chapter ent historical periods is the means for socializing. 11 Here’s the parallel: People used to gather in a com- mon location— whether the courtyard of a castle, Part I: We Are All Consumers 9. Demographics, the town square, or the neighborhood mall— to Social Media and the interact in person. Now they can get together using Psychographics, and the any computer, tablet, or smartphone with an Inter- 1. Why Is Consumer Behavior net connection. So, instead of having to physically Fashion Consumer go somewhere to meet, we can interact, share, and Fashion Consumer communicate with others in the digital world no Important to the Fields of matter where we are, and at any hour of the day or Fashion and Design? Part IV: How Fashion night (Figure 11.1). 2. Consumer Behavior, Marketers Communicate and Let’s Talk WHAT DO I NEED TO KNOW ABOUT SOCIAL MEDIA AND THE FASHION How do you use social media? To share news, Marketing, and Fashion: A Consumers Decide CONSUMER? display your fashion preferences, shop, communicate with friends? Have you used social ✔✔ The origin and different types of social media media to find a job, conduct research, or establish Working Relationship 10. How Marketers Obtain and ✔✔How the use of social media influences consumers’ buying behavior new personal or business relationships? Use Consumer Information ✔✔How marketers use social media to learn about and communicate with their customers ✔✔The ethical issues that can arise with use of social media Part II: Internal Factors Studies have found that people post on social media primarily to share interesting things, impor- Influence Fashion 11. Social Media and the tant things, or funny things— just as they would do if they were seeing friends or others face to Consumers Fashion Consumer hen you got up this morning, how long bought, or pinned your original design for an appli- face. Other key reasons include to share a personal was it before you checked in with your quéd tote bag on your Pinterest board, or watched belief or philosophy, to recommend a product or friends . . . not in person or by phone, a YouTube video in which someone demonstrated 3. How Fashion Consumers 12. Consumer Decision Making but on Facebook or Twitter? Perhaps you how to emulate the hairstyle of an actor you like. sat down to read the latest entry on your Every day, hundreds of millions of people log Perceive, Learn, and favorite fashion blog— or to write an observation in to social networking sites, making connections 13. How Fashion Consumers Wabout a new trend on your own blog. Maybe you with everyone from best friends to favorite celebri- FIGURE 11.1 Social media lets us communicate and interact with others without being in the same physical shared a photo on Instagram of the jacket you just ties, and sharing their thoughts and feelings about Remember Buy location. 4. Motivation and the Fashion 14. Global Consumers of 259 CHaPTer 11: SoCIal MedIa and THe FaSHIon ConSuMer 261 Consumer Fashion and Design 5. Attitude and the Fashion Part V: Fashion Consumers PartWOB2e_ch11_259-285.indd IV 259 7/3/14 8:42 AM WOB2e_ch11_259-285.indd 261 7/3/14 8:43 AM Consumer and Responsible Citizenship HOW FASHION MARKETERS COMMUNICATE AND CONSUMERS DECIDE 6. Personality and the Fashion 15. How Ethics and Social Consumer Responsibility Impact Part III: External Factors Consumer Behavior Influence Fashion 16. The Role of Government for Consumers Fashion Consumers 7. Age, Family, and Life Cycle Glossary Influences Credits 8. Social Influences on Fashion Index Consumers

12 Fashion Merchandising and Promotion

4th Edition www/Textbook Perry’s Department Store: A UK March 2015 Perry’s Buying Simulation bridges the US January 2015 Department gap between the principles of retail buying and mathematical 160 pages Store concepts using a unique 40 bw illus simulation approach that takes 216 x 279mm / 8.5 x 11 inches A Buying readers step-by-step through Book + STUDIO Bundle a real-life buying experience. 9781501395307 Simulation Videtic and Steele use the £56.00 / $95.00 fictitious Perry’s Department STUDIO Access Card Karen M. Videtic and Store to walk students through 9781501395062 Cynthia W. Steele the steps a new buyer would Fairchild Books take to complete a six-month buying plan and a merchandise assortment plan. • Teaching Resources: Instructor’s Guide available

New to this edition • STUDIO: Buying Simulation features online self-quizzes and flashcards, plus data and statistical information, worksheets, Excel® spreadsheets with embedded formulas and blank worksheets, industry catalogs and private label line sheets, and web links to additional resources to complete the buying simulation • New categories added for denim, accessories, and misses bridge/ contemporary markets • Updated information on additional markets, classifications and resources, information on customer profiles, census data, and statistics • Revised with statistical information to reflect a more contemporary structure and business model for a successful larger-scale department store

Contents

Preface Introduction: Perry’s Background 7. Step 7: Negotiating Information and How to Use this Profitability Simulation 8. Step 8: Examine Income 1. Step 1: Redefine Customer Statement 2. Step 2: Research Current 9. Buyer’s Role in Product Trends Development 3. Step 3: Develop Buying 10. Career Opportunities in Plan Retail Buying 4. Step 4: Develop Stock Appendix A: Website Resources Plans Appendix B: Retailing Formulas 5. Step 5: Shop the Market Glossary 6. Step 6: Plan Market Bibliography Purchases Index

13 Fashion Merchandising and Promotion

2nd Edition www/Textbook This “sales bible” for the apparel and retail UK July 2014 The Real World industries is now updated with successful sales US May 2014 Guide to Fashion and management principles and features current information on social media, content marketing and 352 pages Selling and retail in the digital world. 25 bw illus and photos 187 x 235mm / • Real-world terms, concepts, and principles plus Management 7.375 x 9.25 inches new role play exercises reinforce the text PB 9781609019334 Gerald J. Sherman and • Case studies feature high-caliber businesspeople £64.00 / $105.00 Sar S. Perlman and their successful methods Fairchild Books • Teaching Resources: Instructor’s Guide available

New to this edition • Expanded to cover professional selling in retail beyond fashion • New sections on Business-to-Consumer (B2C) retail sales management, and a new chapter on digital and social media • Covers top sales management strategies and software tools • Emphasizes how to find a job, networking, and building relationships

Contents Preface Acknowledgments 1. Selling Isn't a Dirty Word 10. Managing a B2B Sales Force 2. The Characteristics of Successful 11. Training and Tools Salespeople and Sales Managers 12. Measuring Productivity 3. Retail Sales and Management 13. Organizational Structure and 4. Business-to-Business Selling Interaction 5. Getting to the Sale 14. Adapting to Change in the 6. Selling Yourself 15. The Global Marketplace 7. The Sales Presentation 16. Resources for the Reader 8. Follow-Through and Relationship References Development Glossary 9. Digital and Social Media in Sales Bibliography (New Chapter) Index

Key Titles

Textbook “This is worth a thousand mediocre books 2013 Fashion Buying on theory with scant data or access to actual From Trend experience. The book is aimed at the student 176 pages and to researchers and others who wish to 120 colour illus Forecasting to learn how this field is structured. It succeeds 230 x 160mm / 9.1 x 6.3 inches completely in this endeavor.” Veronica PB 9782940411689 Shop Floor Manlow, Assistant Professor, Finance and £23.99 / $41.95 Business Management, CUNY, New York Institute Series: Basics Fashion David Shaw and Dimitri Koumbis of Technology, USA. Management Fairchild Books Fashion Buying explores what this key role entails in terms of the activities, process and people involved — from the unique perspective of the fashion buyer.

14 Fashion Merchandising and Key Titles Promotion

7th Edition www/Textbook Explains the essential concepts, practices, 2013 Mathematics for procedures, calculations, and interpretations of Retail Buying figures that relate to merchandising and buying at 392 pages the retail level. 50 bw illus 216 x 279mm / 8.5 x 11 inches Bette K. Tepper • Teaching Resources: Instructor’s Answer Book + STUDIO Bundle Manuals, and a new Test Bank available 9781501395314 Bette K. Tepper is a former faculty member of the £64.99 / $120.00 Fashion Management Department at the Fashion STUDIO Access Card Institute of Technology (FIT), USA. 9781501395079 Fairchild Books New to this edition

• Incorporates metrics used to analyze in-store and e-commerce business • Over 250 practice problems and 16 case studies apply industry concepts and terminology in realistic merchandising situations • Reorganized Units I and VI reflect the order of importance of profit factors in the buying/selling process • STUDIO: Mathematics for Retail Buying features online self-quizzes and flashcards to help students master concepts and improve grades

Textbook Examines the various approaches to visual 2014 Visual merchandising and retail display, from the initial Merchandising design process through to product handling and 192 pages experimentation. 200 colour illus 230 x 160mm / 9.1 x 6.3 inches for Fashion • Includes activities to encourage an interactive PB 9782940496129 approach Sarah Bailey and Jonathan Baker £23.99 / $44.95 • Includes interviews with visual merchandisers Series: Basics Fashion from a range of fashion environments including Management Liberty, Beyond Retro and Anthropologie Fairchild Books Sarah Bailey is Course Director for the BA (Hons) Fashion Retail Branding and Visual Merchandising 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.

6th Edition www/Textbook 4th Edition www/Textbook Visual Merchandising Silent Selling and Display Best Practices and

Martin M. Pegler Effective Strategies in Visual Merchandising

Judith Bell and Kate Ternus

2011 2011

432 pages 448 pages 280 full colour illus Full colour illus PB 9781609010843 216 x 279mm / 8.5 x 11 inches £60.00 / $110.00 PB 9781609011536 Fairchild Books £55.00 / $100.00 Fairchild Books

15 Fashion Merchandising and Key Titles Promotion

3rd Edition www/Textbook The definitive source of information for anyone 2013 Guide to interested in fashion show production — from an Producing a informal affair to a large, complex event. 320 pages 133 illus • Chapter features include objectives, key fashion 216 x 279mm / 8.5 x 11 inches Fashion Show show terms, summary recaps, discussion Book + STUDIO Bundle questions, activities, and capstone projects Judith C. Everett and 9781501395321 Kristen K. Swanson • Notes from the Runway feature includes insider £55.00 / $95.00 interviews in each chapter STUDIO Access Card 9781501395086 • A 16-page colour insert features real world Fairchild Books fashion show and behind the scenes examples • STUDIO: Guide to Producing a Fashion Show includes online self-quizzes, flashcards and all blank sheets, forms, and templates needed to plan and execute a fashion show • Teaching Resources: Instructor’s Guide and PowerPoint presentations available

www/Textbook A comprehensive manual on establishing a 2013 Style Wise successful career as a stylist. 304 pages A Practical Guide • Includes sample documents used by 160 colour illus professionals and an illustrated list of essential 187 x 235mm / to Becoming a items for the stylist’s kit 7.375 x 9.25 inches Fashion Stylist • Covers the step-by-step preparation, walk- PB 9781609011604 through, and follow-up of an actual shoot £37.00 / $75.00 Shannon Burns-Tran Fairchild Books • Includes charts and tables that summarize key information and resources and hands-on learning activities for every type of styling • Teaching Resources: Instructor’s Guide and PowerPoint presentations available

3rd Edition Textbook Textbook Fashion Forecasting Fashion Forward

Evelyn L. Brannon A Guide to Fashion Forecasting

Chelsea Rousso

2010 2012

480 pages 352 pages Full colour illus Full colour illus 187 x 235mm / 7.375 x 9.25 inches PB 9781563679247 PB 9781563678202 £50.00 / $90.00 £60.00 / $110.00 Fairchild Books Fairchild Books NEW EDITION COMING IN FALL 2015

16 Fashion Merchandising and Promotion / Fashion Law

2nd Edition www/Textbook A practical, basic guide for importing and UK October 2014 Essentials of exporting products, services, or technology, while US August 2014 Exporting and maintaining compliance with government policies. Calling upon the expertise of industry professionals 360 pages Importing and government officials the authors focus on the 126 bw illus policies, procedures, and practices essential for 152 x 229mm / 6 x 9 inches U.S. Trade success in international trade. PB 9781609018894 £64.00 / $105.00 • Teaching Resources: Instructor’s Guide and Policies, Fairchild Books Procedures, and PowerPoint presentations available Practices

Harvey R. Shoemack and Patricia Mink Rath

New to this edition • New concluding chapter of case studies relevant to exporting and importing • Updated International Fashion Focus features describe special aspects of certain fashion businesses and Spotlight on Global Trade boxes explain current practices in international trade Contents Introduction Preface Acknowledgments Part I: Globalization and World Trade 6. Basics of Importing into the United 1. An Overview of Global Business States Today 7. Entering the Import Business 2. Globalization and World Trade 8. Navigating the Maze of Import Liberalization Controls 3. The U.S. Role in Global Trade Part IV: Trade Finance Part II: U.S. Exporting Policies and 9. Getting Paid or Paying for Exports or Procedures Imports 4. Basics of Exporting 10. Case Studies 5. U.S. Export Controls and Procedures Glossary Part III: Importing into the United Credits States Index

2nd Edition www/Textbook The revised edition of Fashion Law provides UK May 2014 Fashion Law authoritative information on all legal aspects of US March 2014 A Guide for the fashion business, with new information on intellectual property law and cases. 416 pages 16 bw illus Designers, • Provides practical tips and templates for legal 152 x 229mm / 6 x 9 inches agreements Fashion PB 9781609018955 • Sample clauses familiarise readers with the £64.00 / $100.00 Executives, and legal language that covers the rights and Fairchild Books Attorneys responsibilities of the parties to agreements • Teaching Resources: Instructor’s Guide and Edited by Guillermo C. Jimenez PowerPoint presentations available and Barbara Kolsun Guillermo C. Jimenez is Professor of International Trade and Marketing at Fashion Institute of Technology, USA, and an adjunct at International School of Management in Paris (France), the New York University Stern School of Business and New York’s Iona College (USA). Barbara Kolsun is an adjunct professor at the New York University School of Law and Benjamin N. Cardozo Law School at Yeshiva University, USA.

17 Product Development

www/Textbook This guide to evaluating apparel quality presents UK November 2014 Apparel Quality the roles of product designers, manufacturers, US September 2014 A Guide to merchandisers, testing laboratories, and retailers from product inception through the sale of goods, 480 pages Evaluating Sewn to ensure quality products that meet customer 365 colour illus expectations. 216 x 279mm / 8.5 x 11 inches Products Book + STUDIO Bundle • Covers both US and international standards and 9781501395338 regulations Janace E. Bubonia £74.00 / $120.00 • Case studies highlight real world situations such STUDIO Access Card as the Lululemon recall and the environmental 9781501395093 impact of apparel manufacturing Fairchild Books • Provides an illustrated guide to ASTM stitch and seam types plus photos of their uses in actual garments • STUDIO: Apparel Quality features online self- quizzes and flashcards to help students master concepts and improve grades • Teaching Resources: Instructor’s Guide with Test Bank and PowerPoint presentations available Janace E. Bubonia is an Associate Professor and Chair at Texas Christian University, USA. Contents Preface

Most commonly used ASTM & ISO 300 Class lock stitches for apparel 1. Overview of Apparel Quality and the 10. Safety Regulations and Guidelines 300 Class lockstitches The 300 lockstitches classification is the most widely used for assembly of apparel products. Lockstitches are selected for securing buttons, forming button- Consumer for Wearing Apparel holes and bar tacks, main seaming and hemming of garments, attaching elastic and trims, embroidery, and top stitching. It is important to note that this stitch class, while strong and secure, does not offer 2. Integrating Quality into the 11. Measuring Product Quality through stretch or extendibility. The 300 Class of lockstitches are formed with a bobbin thread and one or more (c) (d) needle threads that pass through the fabric and inter- lace together to secure each stitch. This stitch class figure 6.10 Hand stitch machine Development of Apparel Products Testing offers straight stitching and zigzag patterns, as well as © Juki juki.com blind hem stitch formations that offer greater secu- rity than 100 Class stitches.7,8 See Figure 6.11 for the commonly used ASTM and ISO 200 Class stitches in most commonly used ASTM and ISO 300 Class lock 3. Raw Materials Selection and 12. Raw Materials and Sewn Products apparel. This stitch classification utilizes hand-stitch stitches in apparel. This stitch classification utilizes machines (see Figure 6.10). lockstitch machines (see Figure 6.12) Performance Testing Most commonly used ASTM & ISO 300 Class lock stitches for apparel (e) Face View as Sewn 4. Garment Construction Details 13. Quality Assurance Along the Supply

5. Apparel Sizing and Fit Strategies Chain (f) Face View as Sewn Back View as Sewn

(a) 6. ASTM and ISO Stitch Classifications Appendices 304 Zigzag lock stitch Bibliography Back View as Sewn 7. ASTM and ISO Seam Classifications (b) Face View as Sewn Back View as Sewn 304 Zigzag lock stitch figure 6.11 a–b (a) ASTM 301 Lock stitch; (b) ASTM 301, ISO 301 Lock stitches Illustrations of stitch formations from ASTM D 6193. Illustrations of stitches showing face and back views courtesy of Glossary Fairchild Books. Photos courtesy of Janace Bubonia. 8. Sourcing and Mass Production of (g) (h) 301 Lock stitch continued figure 6.11 c–h (c) ASTM 301, ISO 301 Lock stitches face view; (d) ASTM 301, ISO 301 Lock stitches back view; (e) ASTM 304 Zigzag lock stitch; (f) ASTM 304, ISO 304 Zigzag lock stitches; (g) ASTM 304, ISO 304 Zigzag lock Sewn Products Index stitches face view; (h) ASTM 304, ISO 304 Zigzag lock stitches back view Illustrations of stitch formations from ASTM D 6193. Illustrations of stitches showing face and back views courtesy of ASTM A nd ISO STAndARd S f OR S TITCHES 123 124 Fairchild Books. Photos courtesy of Janace Bubonia. 9. Labeling Regulations and Guidelines

for Manufactured Apparel Bubonia_108-141_ch06_new.indd 123 7/1/14 11:59 AM Bubonia_108-141_ch06_new.indd 124 7/1/14 11:59 AM Textbook The student lab manual reinforces the chapter UK November 2014 Apparel Quality content and lecture material from Apparel Quality US September 2014 Lab Manual with more than 30 hands-on lab activities and projects. Designed for courses that emphasize 184 pages Janace E. Bubonia textile testing or offer a laboratory component, 10 bw illus the Apparel Quality Lab Manual includes supply 216 x 279mm / 8.5 x 11 inches lists, extensive reference tables, assignments PB 9781628924572 for analyzing products, testing and evaluating £40.00 / $65.00 materials and garments, project sheets for product Fairchild Books comparison testing, worksheets to record data, directions for mounting specimens after testing, and templates for cutting specimens.

Contents 1. Apparel Quality and Consumer 7. Labeling Regulations and Guidelines Perceptions Lab for Manufacturing Apparel Lab 2. Integrating Quality into the 8. Safety Regulations and Guidelines Development of Apparel Products for Wearing Apparel Lab Lab 9. Measuring Product Quality Through 3. Raw Materials and Sewn Product Raw Materials and Product Testing Testing Labs Lab 4. Garment Construction Details Lab 10. Inspection of Raw Materials and 5. Apparel Sizing and Fit Strategies Lab Sewn Products Lab 6. ASTM & ISO Stitch and Seam Classifications Lab

18 Body Scanning Technology

Apparel Sizing and Fit

Strategies CHAPTER FIVE (a) (b)

Objectives: ■ To identify methods for ■ To examine prototype gathering body measurement development and means for data that is used for determining evaluating fit sizing standards for apparel ■ To understand contents ■ To have an awareness of of technical packages and established domestic and specifications for apparel and international voluntary their importance in ensuring the standards for apparel sizing production of garments at the desired quality level

urchasing apparel is a challenge for many con- of measurements that relate to the size designations P sumers when it comes to finding garments that fit they offer. As fashion brands expand into new mar- properly. Some consumers have come to terms with kets, the issue of sizing is further compounded. There the fact that apparel purchases will be followed by a can be quite a variance in body measurements of con- visit to a tailor which ultimately drives up the cost of sumers worldwide—even within a continent such as the garment. Although international and domestic Asia or North America—that can ultimately affect standards for sizing apparel exist, brands do not have sizing and the way garments fit different body types to conform to these and often establish their own set and measurement configurations.

(c) (d) Figure 5.2 (a)–(c) Images courtesy of [TC] 2, NC US. www.tc2.com; (d) Courtesy of Human Solutions

89 94 CHAPTER 5 APPAREl SI z I ng A nd FIT S TRATEg IES

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Unbalanced thread tension in apparel items Top tension is too tight Lower thread Upper thread

Fabric

Lower thread (a)

(b) Top tension is too loose ASTM and ISO Upper thread Fabric

Lower thread Stitch Classifications CHAPTER SIX Upper thread

(c) (d)

figure: 6.5 (a) Top tension is too tight; (b) Face view: Top tension is too tight (needle thread is red, bobbin thread is blue); (c) Top tension is too loose; (d) Back view: Top tension Objectives: is too loose (needle thread is red, bobbin thread is blue); (e) Broken thread face view ■ To review thread construction ■ To examine ASTM and and (f) Broken thread back view resulting from methods for creating sewing ISO standards for stitch tension being too tight (needle thread is red, bobbin thread is blue) threads classifications and where they Illustration by Q2A Media Services Private (e) (f) ■ To understand thread sizing and are used in garments Limited; Photos courtesy of Janace Bubonia; how thread ticket numbers are ■ To show the types of sewing Samples prepared by Stephanie Bailey. determined equipment used to create the various types of stitch classes

ewing thread is used to add decorative details to of the responsibility of the seam.”1 Therefore, the type Sgarments and assemble most apparel items in the of thread, the stitch formation, and seam construc- marketplace today. The selection of sewing threads and tion play vital roles in the quality and durability of the stitch types for the assembly of apparel products is pri- finished product. Standards have been developed to marily driven by the fabric selected. Secondary factors ensure proper communication of stitch formations include product category, styling, function, seam con- required for manufacturing of apparel products to struction, price, and quality level. According to Amer- eliminate confusion between product developers and ican & Efird, “Thread only makes up a small percent factory production personnel. of the cost of the sewn product, but shares 50 percent

(a) (b)

figure 6.6 Unbalanced thread tension in apparel Items (a) © Ken Cavanagh Photo courtesy of KenCavanagh.com; (b) Photo courtesy of Janace Bubonia

109 118 CHAPTER 6 ASTM A nd ISO STITCH ClASSIf ICATIOn S

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19 Product Development Key Titles

3rd Edition www/Textbook This text on apparel product development reflects 2014 Apparel the current importance of manufacturers’ and Merchandising retailers’ private brands and exclusive designer 512 pages collections. This edition addresses the impact 138 bw and 12 colour illus The Line of technology and social media on all facets of 187 x 235mm / product development. 7.375 x 9.25 inches Starts Here PB 9781609015398 • Executive profiles and case studies provide £64.99 / $105.00 current real-world context and examples Jeremy A. Rosenau and Fairchild Books David L. Wilson • Teaching Resources: Instructor’s Guide and PowerPoint presentations available

Textbook Defines materials and terms relating to the mass 2011 Apparel production of raw materials, design and product Production Terms development, patternmaking, garment details 416 pages and component parts, assembly, production and 432 2-colour illus and Processes manufacturing, labeling regulations, packaging and PB 9781563677625 finishing, testing, and quality control. £55.00 / $95.00 Fairchild Books Janace E. Bubonia • Updates the industry terms first listed in Fashion Production Terms to reflect advances in machinery and technology and the impact of globalization • New organization focusing on manufacturing and mass production, with terms grouped according to subject

3rd Edition www/Textbook This practical text takes students step-by-step US June 2012 Beyond Design through the pre-production processes of apparel The Synergy of product development: planning, forecasting, 624 pages fabricating, line development, technical design, 525 colour illus Apparel Product pricing and sourcing. 216 x 279mm / 8.5 x 11 inches PB 9781609012267 • Focus on sustainability and business ethics, fast Development £74.00 / $115.00 fashion calendars and their impact, and the effect Fairchild Books Sandra J. Keiser and of social media on design and distribution Myrna B. Garner • Includes international examples and case studies that address the effects of globalization, and explanations of various careers • Teaching Resources: Instructor’s Guide and PowerPoint presentations available

20 Fashion Design and Illustration

www/Textbook Functional Clothing Design UK February 2015 Functional explores how wearable products US January 2015 Clothing Design are designed and created for a specific purpose using the latest 480 pages From Sportswear technological innovations. 365 bw illus 203 x 254mm / 8 x 10 inches • Highly visual with over 360 to Spacesuits HB 9780857854674 illustrations−a must for those £56.00 / $95.00 studying fashion design or Susan M. Watkins and Fairchild Books Lucy E. Dunne textiles • Includes new content on smart textiles and all the latest developments in wearable technology • A worthy successor to Clothing: The Portable Environment, with new chapters and case studies bringing the content to modern day • Teaching Resources: Instructor's Guide available Susan M. Watkins is Professor Emeritus in Apparel Design at Cornell University, USA. Lucy E. Dunne is Assistant Professor at the University of Minnesota, USA.

Contents Preface Introduction About the Illustrations 1. User-Centered Design 4. Smart Clothing And Wearable Technology Protecting Workers from Radiation Hazards What is Design? Electricity and Electrical Systems Protection from Solid Particles The Design Process Information in Wearable Technology Electricity Designing Technology for the Wearable Protection from Cuts and Punctures 2. Providing Mobility in Clothing Environment Clothing Design for Flame and Molten Metal Human Body Movement Smart Clothing Design Hazards Describing Body Movement Identifying User Needs for Movement 5. Thermal Protection 8. Enhancing And Augmenting Body Functions Movement Notation Thermal Balance and the Human Body Clothing for Sensory Perception Movement Analysis Materials for Thermal Protection Clothing for Diving and Water Safety Applying Data on Body Movement to Clothing Clothing Systems for Thermal Protection Design Case Study: Full-Cycle Research: the Cyberia Suit Enhancing Speed Increasing Mobility in Clothing Enhancing Physical Strength Fit and Movement Contributed by Susan P. 6. Impact Protection Clothing for Flight and Outer Space Ashdown Impact Designing for Special Populations Analyzing the Effects of Clothing on Movement Impact Protective Materials Case Study: Movement in Pressurized and Impact-Sensing Materials and Methods 9. Commercial Product Development Pressure-Positive Clothing And Production Designing Impact Protective Clothing Case Study: Movement After Injury Garment Production Methods Case Study: Protective Equipment for American Football Fastening Systems 3. Materials Case Study: Protection for Ordnance Disposal Textiles Glossary The Structure of Other Materials Used in Apparel 7. Living And Working In Hazardous Bibliography Responsive Fabrics Environments Index The Nature of Hazards in the Environment Protection from Chemical/Biological (CB) Hazards

21 Fashion Design and Illustration

Textbook The go-to resource for anyone wanting to develop UK September 2014 Creative Fashion their own unique style. Easy-to-follow exercises US November 2014 Illustration are designed to build confidence and encourage experimentation as readers develop essential skills 112 pages How to Develop and learn simple and effective tips and tricks. 295 colour illus 210 x 210mm / 8.3 x 8.3 inches • Step-by-step exercises are simple and effective, Your Own Style PB 9780857858290 encouraging readers to think creatively and £14.99 / $25.95 develop new approaches Stuart McKenzie HB 9780857858283 • Packed with tips and tricks £45.00 / $78.00 Bloomsbury Academic • Covers all the key elements of illustration, from line and silhouette to exaggeration and proportion Stuart McKenzie is a freelance illustrator based in the UK.

Contents Introduction 1. Line 9. Movement 2. Silhouette 10. Proportion 3. Light and Shade 11. Faces 4. Collage 12. Hands and Feet 5. Fabrics, Pattern, Texture/Use of 13. Style Sheet Media 14. Inspiration 6. Drawing Design Details 15. Showcase 7. Exaggeration 8. Drawing from Life

Key Titles

6th Edition www/Textbook www/Textbook Fashion Sketchbook Designing Your

Bina Abling Fashion Portfolio

STUDIO: Fashion Sketchbook From Concept to features online self-quizzes and Presentation flashcards, plus videos demonstrating mixed media rendering techniques. Joanne Ciresi Barrett

2012 2012 400 pages 496 pages 356 colour illus 680 colour illus 280 x 216mm / 11 x 8.5 inches 229 x 305mm / 9 x 12 inches PB 9781609010072 Book + STUDIO £65.00 / $110.00 9781501395352 Fairchild Books £60.00 / $110.00 STUDIO Access Card 9781501395116 Fairchild Books

22 Collage (and photomontage) can deliver dynamic and unpredictable results. The work of artists belonging to the Dada, Surrealist, and Pop Art movements, such as Kurt Schwitters, Hannah Höch, and Richard Hamilton, shows how the juxtaposition of images can be used to startling effect.

Materials for collage can be sourced inexpensively and imaginatively from all around you. It’s a great way to use up old magazines, newspapers, fabric swatches, theater, cinema, and travel tickets and a good opportunity to try unexpected materials like pressed leaves or flowers. You could even try using traditional methods like making your own glue by mixing flour and water.

In this chapter you will expand your repertoire through working with collage to Collagecreate lively and imaginative illustrations.

Exercise 1 Collage Silhouette Use 11 x 17 (A3) paper, glue, and a magazine – When you have finished, turn the paper for this exercise. over and tear out an imagined silhouette of a figure. – Tear out as many swatches of color, pattern, – When finished, notice how unpredictably and texture from the magazine as you can. areas of color, texture, and pattern can – Create a collage on the piece of paper randomly add to the silhouette giving the quickly, without too much thought, and cover impression of clothing. the whole surface of the paper, sticking the pieces down with glue. Collage 29

These illustrations have an understanding of movement at their core.

Exercise Using a For this exercise you will need some 17 x 22 – Find a person willing to pose for you Live Model (A2) drawing paper, a drawing board or easel in a variety of outfits and poses. (or lean a drawing board on the back of a chair – Vary the time and length of poses. for a makeshift easel), and a variety of media. Work with both quick and longer sessions. – Mix up your media and vary the starting points each time, drawing on all the techniques you have learned so far.

Assess Your Work Working from life can be exciting to do once you have found a willing model. From the exercises in this chapter you have learned:

– Not to be scared of using color or experimenting with media when drawing from life – Not to worry if your illustration from life is not proportionally correct—this might make it a more interesting illustration – To work quickly: When drawing from life, there is a temptation to work slowly in order to create an accurate picture. To work as a professional illustrator, it is essential to be able to identify the key aspects of your figure—be it the interesting angle of a model’s pose or a design detail such as an interesting collar—and work quickly before the model starts a new pose or changes clothes.

In order to progress as an illustrator and perfect your skills in drawing from life, answer the following questions and think carefully about which methods work best for you:

– How do your illustrations drawn from life differ from the illustrations you did from garments in a museum or gallery for the exercises in the Drawing Design Details chapter? Which do you prefer? Which did you find easier to undertake and why? – Which poses did you find harder and why? Are there certain angles or movements you find harder to capture? Work on these! – Which medium did you find the easiest to work quickly with and why?

62 Drawing from Life Drawing from Life 63

Experimenting with line

Exercise 3 Exploring You’ll need a range of different mediums and – Make a series of lines using your different Assess Your Work By practicing the exercises in this first chapter you have achieved: Different Styles an 11 x 17 (A3) piece of paper (or larger) for mediums. this exercise. A roll of lining paper (wallpaper – Draw while listening to different types – Improved hand-eye coordination liner) can be good—it is inexpensive and you of music. Does a change in background – An ability to sketch quickly to capture what is in front of you. This is an important skill can stick it to a wall to work in a slightly larger music inspire different types of line? for fashion professionals, when taking visual notes at fashion shows, for example. format if you wish. – An understanding of different ways to approach line drawing

Notice the different qualities of line in your work and reflect on the techniques and approaches you’ve used to create them.

– How does the “blind” drawing compare to the others? Does it look looser or more spontaneous? – What effect did using your other hand have on your drawing? – How did you work with less time? Did the time limitation produce better results since you had less time to think? – Which medium did you work better with? Why?

12 Line Line 13

23 Fashion Design and Illustration

www/Textbook A current and comprehensive UK November 2014 Designing introduction to design US September 2014 An Introduction fundamentals including 2D and 3D design concepts. 296 pages 250 colour illus Karl Aspelund • Covers a wide range of fields: 216 x 279mm / 8.5 x 11 inches industrial, apparel, interior, PB 9781609014964 landscape, Web, graphic, fine £74.99 / $130.00 arts, artisanal, and more Fairchild Books • Applies basic design elements such as line, shape, volume, space, value, texture, color, scale, unity, contrast, repetition and rhythm to fashion • Sidebars and end-boxes place focus on topics, such as networking, ergonomics, timelines, and sustainability • Includes chapter summaries, lists of objectives and key terms, exercises, assignments, and questions for classroom discussion • Teaching Resources: Instructor’s Guide and PowerPoint presentation available Karl Aspelund is an Assistant Professor in the Department of Textiles Fashion Merchandising and Design at the University of Rhode Island, USA.

Contents Part I: The Nature, Elements and Principles of Design NeOclAssicism cA . 1760 t O 1860 t O . . . ? As the new society of urban commercial wealth gradually displaced the power struc- tures of royalty and church, a couple of vectors combined to bring back classicism in 1. What is Designing? a “pure” form, placing Greco-Roman architecture and references directly into the cur- rent designing of buildings and luxury fur- nishings. In part, neoclassicism, the turn toward classicism was a reaction to the 2. A Brief History of Designing perceived decadence of the Rococo style and its attendant culture of sensuality. In part, it was a way of turning away from the influence of the southern European culture 3. The Elements of Design of royalist Catholicism, stripping down to a “modern,” democratic Protestantism of Western capitalism (Fig. 2.13). Another influence was the discovery of the ruins of 4. The Principles of Design ancient Rome found at Herculaneum in 1738 and Pompeii ten years later. The vis- ible evidence of a previous grand civiliza- tion was picked up, romanticized, and used Part II: Informing Design ABOve as a claim to glory, not just by the descendants of Rome but by any culture that laid 2.13 left: portrait of Johann claim to political and philosophical ties back to Rome and Athens (Fig. 2.14). wilhelm von der pfalz and Anna Finally, and no less significant, was the establishment of art history itself as a dis- Maria luisa de’ Medici (before 1708), by Jan frans van douven. cipline. The German scholar Johann Joachim Winckelmann established the modern right: portrait of Antoine-laurent methods of art history in the late 1700s and grounded the idea of the ancient Greek 5. Researching and Planning for ROcOcO and Marie-Anne lavoisier, 1788 high culture as being “perfection.” This moment in history defined the visual language ABOve As secular wealth overtook the place of church riches and the authority of aristocracy by Jacques-louis david. The new 2.11 Baroque carried with it and monarch outstripped the clergy, design went toward a more worldly emphasis, democracies simplified the designs of their garments as well as their Designs a pervasive sensuality often and as would become a standard pendulum swing, the wealthy clientele pushed their disguised as mythological furnishings. This was meant to allegories. pursuit of luxury to the furthest possible point. Rococo style (essentially late-Baroque) convey a sense of seriousness and amplified all the characteristics of Baroque, adding layers upon layers of decoration purpose after a time of decadence source: fresco in rome, palazzo farnese. Triumph of Bacchus and (with the characteristic shell motif, or rocaille—a combined form of the French words and sensual excess. Ariadne. Artist: Annibale carracci for shell and for stone—probably giving the style its name). Rococo furniture, art, and source: l: Jan frans van douven [p ublic 6. Creating and Presenting [public domain], via wikimedia domain], via wikimedia commons. r: commons apparel all indicate a heightened sensuality. It is here that the physical and emotional Jacques-louis david [p ublic domain], distance from country life and direct contact with nature allowed the urbanized upper via wikimedia commons righT classes, inspired by the philosopher Rousseau, to Designs 2.12 portrait of Marie Antoinette righT in “country garb.” Attributed to romanticize the wild outdoors. Idealizing and over- 2.14 The ruins of pompeii. louise Élisabeth vigée le Brun, dramatizing nature became a design feature, with echoing the romanticizing of 1783. This outfit scandalized the the high formalizing of gardens and landscaping nature: The romanticizing of ladies of france who felt it was far history after the rediscovery of the Baroque giving way to the introduction of Part III: Thinking Design too “relaxed” for the Queen to be of herculaneum (1738) and seen in it. And who could blame “random” elements and “wild” growth. This is also pompeii (1748) further cemented them? compared with previous reflected in a studied “dishabille” in dress along with classicism into the culture but also styles at european courts, this one a romanticizing of peasant and country garb (again led to an examination of antiquity was practically a state of undress. Rousseau inspired), which appeared in the studied as a source for art and design. 7. Thinking “Print”: Graphic source: louise Élisabeth vigée le photograph copyright © edinburgh casualness of French ladies and country gentlemen Brun (p ublic domain), via wikimedia university library special collections Design and Elements in Two commons in the late 18th century (Fig. 2.12). division chaPter 2 | a Brief overview of moderN desigNiNg 37 38 Part 1 | the Nature, elemeN ts, aN d PriN ciPles of desigN Dimensions 8. Three-Dimensional Thinking

righT righT 9. Time and Experience: Design 4.24 There is a certain natural 4.26 A picture placed off-center order to the idea of balance in a layout will draw attention to and symmetry in the design and itself. The pattern recognition creation of human environments that humans are so adept at, and Culture/Design in Culture and equipment that derive from serves here in the opposite: the shape and scale of the human We very quickly spot the out- body—how things face, how they of-place—there is a sense of fit, where we fit into the negative unease—and are very alert to the space and around the positive danger of something falling off the 10. Thinking “On-Screen” space of the structure. established structure. source: © car culture/car culture/ source: illustration by Karl Aspelund corbis

BeloW Appendix 1: Notable Designers 4.27 The measure of balance in clothing perceived from the outside as well as from within is the planes of the human body, and our sense of balance comes Appendix 2: Resources for Design BeloW from a perceived relation to these. 4.25 The textured surface adds When designers work against a disproportionate weight in the This is perhaps so obvious a situation that it takes a step outside our being to grasp this, as rei Kawakubo did here in totality of this design, but position, it. It is by the three planes of our body that we interpret the world, splitting space, 1997, distorting shape and using contrast, and emphasis matter as motion, and objects into front and back, left and right, and up and down. Imagine unfamiliar textures, it produces a Glossary well. The positive/negative of the you were a being with 360-degree locomotion and vision. The sense of front and back sense of unease: The design is not fabric versus skin, the lines (actual recognizable to us. it is unfamiliar would not be relevant at all. If we flew like birds or floated like fish, our sense of up and implied), and the contrast of and uncanny. and down would be very different. In contrast to the other principles under discussion textures all have a say in the gestalt source: firstvieW.com of this gown. here, there is a certain natural order to the idea of balance and symmetry in the design Index source: giovanni giannoni/WWD and creation of human environments and equipment (Fig. 4.24). the out-of-place—there is a sense of unease—and are very alert to the elemeNts iN symmetRy AND bAlANce danger of something falling off the established structure (Fig. 4.26). A structure—a grounding horizon line of sorts—is always implied Designers can use each of the elements to create a balance either by refer- in a printed page by virtue of the format, and architecture brings with it ring to other elements of the same type or by working with others in a at least the flat floor if not a ceiling and orthogonal walls. With clothing, combination of position, contrast, and emphasis. Color, for example, has however, the measure of balance, perceived from the outside as well as a fairly complex number of ways in which it can balance within a design. from within, must always be the planes of the human body and our sense Different hues, intensities, and values have different visual weight and of balance comes from a perceived relation to these (Fig. 4.27). can therefore create balance in different-sized areas. Lines and shapes can balance in both two and three dimensions in an interplay of positive and bAlANce AND POWeR siGNAls negative, but also in play with color and/or texture, whether the texture Just as overemphasized unity is frequently used to overwhelm an audi- is actual or implied in graphic design or built in. Textures can work in ence or signal the presence of power, so are symmetries and the result- similar ways, where a more textured surface can have a disproportionate ing balance used in architecture. Classicism had a strong symmetrical weight in the totality of the design (Fig. 4.25). tendency with its facades and rotundas. And when the nations of the Imbalance and Implication of Motion Euro-American culture were forming identities, neoclassicism became Imbalance in design can be achieved by the same means and can be the prevailing style. Well into the 20th century, the strong symmetries of used to imply motion and change. The simple imbalance of a text can, power are evident in architectural structures, with the apparent stabil- for example, create emphasis on a headline and a picture placed off-cen- ity of the buildings signaling the enduring nature of the state. Imposing ter in a layout will draw attention to itself. The pattern recognition that order became a sign of modern culture. Societies also showed their mas- humans are so adept at serves here in the opposite: We very quickly spot tery of nature in well-ordered gardens, while the power of government

114 Part 1 | the Nature, elemeN ts, aN d PriN ciPles of desigN chaPter 4 | the PriN ciPles of desigN 115

24 Fashion Design and Key Titles Illustration

2nd Edition Textbook Textiles and Fashion examines the process of 2014 Textiles and creating and using fashion textiles and discusses Fashion the processes involved in fibre production, dyeing 200 pages and finishing, and explores weaving and knitting. 200 colour illus Exploring Printed 230 x 160mm / 9.1 x 6.3 inches Jenny Udale is a lecturer at the University of PB 9782940496006 Textiles, Knitwear, Middlesex and Ravensbourne College, UK. £23.99 / $44.95 Series: Basics Fashion Design Embroidery, Fairchild Books Menswear and Womenswear

Jenny Udale

New to this edition • Exercises help students to explore further the world of textiles and fashion • Updated images throughout • Case studies and new interviews ensure readers will gain a clear and practical understanding of the world of textile design

Textbook “A well-crafted collection of everything you 2011 Basics Fashion need to know about menswear.” Krystyna Design 07: Kolowska, Nottingham Trent University, UK 200 pages 200 colour illus An introduction to menswear fashion that 230 x 160mm / 9.1 x 6.3 inches Menswear considers a range of social and historical contexts PB 9782940411436 that have served to define and redefine menswear £23.50 / $34.50 John Hopkins through the ages. Series: Basics Fashion Design • Highly visual content with a mixture of Fairchild Books contemporary and historical photographs, artworks and scanned fabrics • Interviews with contemporary and upcoming menswear designers and photographers John Hopkins is head of Fashion and Textiles at Winchester School of Art, UK.

2nd Edition Textbook Investigates fashion design research and how to 2012 Basics Fashion use it to develop inspired designs and concepts. 192 pages Design 01: Simon Seivewright ran the undergraduate fashion 200 illus degree program at Northbrook College, UK. Research and 230 x 160mm / 9.1 x 6.3 inches PB 9782940411702 Design £24.99 / $34.50 Series: Basics Fashion Design Simon Seivewright Fairchild Books

New to this edition • 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 • Designed to inspire students in their own creative work, Research and Design also features helpful, practical exercises to support readers with their own understanding and creative development • Fully updated and revised, this new edition is full of useful advice about where to go to find inspiration when researching concepts for design work

25 Technical Design and CAD for Fashion

2nd Edition www/Textbook Presents a comprehensive and holistic perspective UK May 2014 Technical of technical design processes for aspiring and US March 2014 Sourcebook for professional apparel designers. 496 pages • Includes detailed illustrations of design flats and 695 2-colour illus Designers sample spec sheets from technical packages 229 x 305mm / 9 x 12 inches for a variety of garments including menswear, Book + STUDIO Bundle Jaeil Lee and Camille Steen women’s wear, and knitwear 9781501395376 • Lists key terms and provides a comprehensive £64.00 / $100.00 glossary STUDIO Access Card 9781501395130 • Features ASTM and ISO industry standards Fairchild Books for seams and stitches plus tech packs for 12 different apparel products • STUDIO: Technical Sourcebook for Designers features online self-study quizzes and flashcards, templates of blank tech packs, clip art of flats for various product, and Excel charts of tech packs with embedded grade rule formulas

+25,=217$/0($685(0(176 9(57,&$/0($685(0(176 Step 3 When the shoulder seam is in place, continue on Step 5 Draw a back neck line (see Steps 3 through 5 in • Teaching Resources: Instructor’s Guide, 5,*+7+36 to the armhole. Figure 4.33).  1(&.:,'7+ 6+28/'(5'523 Step 4 Step 6  Draw the side seam and the bottom edge, ending at Mirror the image. Remove the guide square, but  6+28/'(532,177232,17 the center line. Note that for this style, the bottom tapers in leave the center line, which will be used to position the  )52171(&.'523)520+36 PowerPoint presentations and image bank slightly (the chest measurement is bigger than the bottom sleeve (see Figure 4.34). opening), which is typical for a men’s knit style.  )52170,'$50+2/(  $50+2/('523)520+36 5,*+7+36 %1'  &+(67:,'7+ available 

  )5217 $50+2/( 0,'$50+2/( &+(67 Jaeil Lee is a Professor and Director of Clothing '523

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a b &(17(5/,1( &(17(5/,1( Figure 4.31 measurements, horizontal and vertical, men’s shirt Family and Consumer Science at Seattle Pacific  67(3$1' 67(3 Step 1 Set up the horizontal guidelines for front neck Step 2 Set up the guides for shoulder point to point,

drop and neck width. Identify the HPS position. Draw and shoulder drop. Draw the line segment, which is the ULJKWVLGH IURP University, USA. ULJKWVLGH IURP FHQWHU SRLQW the front neckline according to the spec (see Figure 4.32). shoulder seam (see Figure 4.32). 32,176 2) 0($685( 6SHF FHQWHU SRLQW 32,176 2) 0($685( 6SHF $UPKROH'URSIURP+36  )URQW0LG $UPKROH   

6+28/'(532,177232,17 %RWWRP2SHQLQJ    %DFN 1HFN 'URS   6+28/'(5 Figure 4.33 Drawing a men’s long-sleeved shirt: Steps 3 through 5 ULJKWVLGH IURP 1(&.:,'7+ '523  Camille Steen is Technical Designer Manager at 32,176 2) 0($685( 6SHF FHQWHU SRLQW  6KRXOGHU 3RLQWWR3RLQW    6KRXOGHU 'URS  )1'  )URQW0LG $UPKROH  Ex Officio LLC, USA. %DFN 0LG$UPKROH   $UPKROH'URSIURP+36  /(1*7+ &KHVW:LGWK      :DLVW &+(67:,'7+ ò :DLVWSRVLWLRQIP+36  %RWWRP 2SHQLQJ )URQW/HQJWKIP+36  %DFN /HQJWK IP +36 &HQWHU %DFN 6OHHYH/HQJWK %LFHS# IP 6HDP  Contents 6OHHYH2SHQLQJ  )URQW1HFN'URS WR VHDP  %DFN 1HFN 'URSWRVHDP 1HFN :LGWK VHDP WR VHDP   Preface · Acknowledgments · Overview of the Industry · The Apparel Product 67(36$1' Figure 4.32 Drawing a men’s long-sleeved shirt: Steps 1 and 2 Figure 4.34 mirror the drawing: Step 6

Development Process and Technical Design · All about the Technical Package · 78 cHAPTEr 4: DE v E loP ing TE c H nicA l SkETc HES DrAwing gArmE n TS To Sc A l E , S TEP B y S TEP 79 Developing Technical Sketches · Technical Design Terms for Silhouettes and Design Details · Styles, Lines, and Details for Shape and Fit · Fabrics and Cutting · Sweaters · Stitches and SPI · Seams, Seam Finishes and Edge Treatments · Construction-Related Design Details · Shape and Support · Fasteners · Labels and Packaging · How to Measure, Size, and Grade · Fit and Fitting · Appendix A: Seams and Stitches · Appendix B: XYZ Product Development, Inc.: Selected Technical Packages · Glossary · Index

Key Titles www/Textbook An all-in-one resource for creating digital fashion 2013 CAD for Fashion presentations using Adobe Illustrator® and Adobe Design and Photoshop®. Colourful illustrations accompany 592 pages easy, step-by-step tutorials and DVD videos 1250 colour illus Merchandising geared toward students at the beginner and 229 x 305mm / 9 x 12 inches intermediate levels. Book + STUDIO Stacy Stewart Smith 9781501395345 • “Digital Duo” feature shows users how to £60.00 / $100.00 combine techniques in Photoshop® and STUDIO Access Card Illustrator® to achieve optimal results 9781501395109 • STUDIO: CAD for Fashion Design and Fairchild Books Merchandising features video demonstrations providing additional practice and supplementary techniques, plus CS6 applications files needed to complete tutorials in the text, Digital Duo Modeling • Teaching Resources: Instructor’s Guide available Stacy Stewart Smith is an Adjunct Assistant Professor of Fashion Design Art at the Fashion Institute of Technology (FIT), USA.

26 Construction

6th Edition www/Textbook Features step-by-step UK May 2015 A Guide to instructions and illustrations US March 2015 Fashion Sewing that take the reader start to finish through over 100 sewing 400 pages Connie Amaden-Crawford applications. 1200 bw illus 229 x 305mm / 9 x 12 inches • Studio Tips highlight important Book + STUDIO Bundle construction techniques used 9781501395284 in the fashion industry £70.00 / $115.00 • STUDIO: A Guide to Fashion STUDIO Access Card Sewing includes video 9781501395048 demonstrations to accompany Fairchild Books chapter lessons, plus self- quizzes and flashcards • Teaching Resources: Instructor’s Guide available Connie Amaden-Crawford is President and CEO of Fashion Patterns by Coni, USA.

New to this edition • New industrial sewing machine information and photographs • Expanded information on tailoring • Now includes metric measurement equivalents within text instruction • Appendices include new project checklists and 1/2 pattern blocks

Contents Preface Chapter 6: Stitches Key Terms and Concepts Acknowledgements

1 KEY TERMS Stay stitching is plain machine stitching ⁄8 inch (0.32 cm) 1. The Sewing Machine and Glossary of Sewing Terms Chapter 6 Objectives and CONCEPTS inside the stitchline before the garment is assembled. By studying the information in this chapter, the designer It is used to maintain the original shape of the garment will be able to: pieces and prevent stretching, which is especially Zigzag stitches are machine stitches Sewing Equipment Stitches are created in a complete sewing action, using a necessary in necklines. that have a saw-toothed shape. Zigzag Appendix A: Project Checklists » Learn hand stitching methods. threaded needle. They can be produced either by hand or stitches are used to join two pieces of » Learn sewing machine stitching guidelines. machine. Stitches may be functional or decorative, and fabric together to create a decorative » Learn basic stitch length. they may be concealed within or show on the face of a design. The stitch length and width can 2. Identifying Fashion Fabrics » Identify basic stitches. garment. be varied, depending upon the desired Appendix B: Pattern Blocks » Identify the zigzag stitch. effect. Using a zigzag stitch on the seam » Identify topstitching. Permanent stitches are used for seams, darts, and tucks. edge will prevent raveling. Equipment » Learn the uses and methods of topstitching. The length and tension of the stitch varies, depending on Appendix C: Yardage » Learn to sew a crimped seam. the fabric used. On most medium-weight fabrics, there Zigzag stitches can also be used when » Learn to sew a gathered seam and distribute are about 10 to 12 stitches per inch (25.4 cm to 30.48 cm); sewing knits. (Refer to “Sewing with fullness. sheers require a finer stitch length, about 14 stitches per Knits,” Chapter 11.) 3. Body Types and Size Charts » Conversion Table Learn to sew an overlock / serged seam and a inch (35.56 cm); heavyweight fabric is usually sewn at 8 merrow edge. to 10 stitches per inch (20.32 cm to 25.4 cm). » Learn to sew various hem stitches. STUDIO TIP 4. Planning a Design and Regular stitch is a straight, consistent, even-length stitch Place your index finger behind the foot as you sew to prevent Directional stitching prevents seam stretching. In general, Appendix D: Fabric Resources used as a permanent stitch. the seam from stretching out the original shape of the fabric. shoulder seams are stitched from the neckline to the armhole; side seams from the underarm to the waistline; Selecting Fabric sleeve seams from the underarm to the wrist; and skirt / Index PRACTICE PATTERNS pant seams from the hem to the waistline. Stitching Guides are located in Appendix A. By using these Stitching Guides, one begins to learn to control the pace of the 5. Method to This Madness machine, how to guide the fabric, and how to stop and start a Pin basting is used when pins hold fabric pieces together, seam with backstitching. so that they can be easily removed as stitched. Use as many pins as necessary to keep the layers of fabric from 6. Stitches slipping. Video Contents: 7. Seams STUDIO TIPS pin Lesson One: The Sewing basting » To make the sewing process easier on sheer or slippery Basting stitches are long temporary stitches made by fabrics, place a piece of tissue paper under fabric to hand or machine, approximately 6 stitches per inch (2.4 8. Darts prevent slipping. After stitching, tear the tissue away. Machine and Sewing per cm). Ends are not fastened or backstitched. Before basting stitches are removed, threads are snipped every » When sewing velvet or pile fabrics, hand baste along the few inches to facilitate removal. 9. Pleats and Tucks Equipment seam line to prevent the fabric from slipping. Stitch the seam in the direction of the pile.

» Areas where there is strain or a need for reinforcement, 10. Bias and Bias Treatments Lesson Two: Seams such as points of collars, cuffs, and pointed faced openings of necklines, need a finer, tighter stitch, usually 16 to 18 11. Sewing with Knits Lesson Three: Darts stitches per inch (6.3 to 7.1 per cm). 12. Zippers Lesson Four: Bias and Bias 13. Pockets Treatment 96 97 14. Sleeves Lesson Five: Zippers 15. Collars Lesson Six: Planning a Design and Selecting Fabric 16. Necklines Lesson Seven: Garment Sewing 17. Facings Process 18. Linings 19. Tailoring 20. Waistlines 21. Hems 22. Closures

27 Construction

2nd Edition www/Textbook Since its first publication, UK May 2015 Classic Tailoring Classic Tailoring Techniques: US March 2015 Techniques A Construction Guide for Menswear has been the 304 pages A Construction authoritative resource for custom 420 bw photos and 300 bw illus hand tailoring production. This 216 x 279mm / 8.5 x 11 inches Guide for new edition focuses on updating Book + STUDIO Bundle these timeless construction 9781501395390 Menswear techniques. £50.00 / $95.00 STUDIO Access Card Roberto Cabrera was an Roberto Cabrera and 9781501395154 instructor at the Fashion Institute Denis Antoine Fairchild Books of Technology in New York City, USA. Denis Antoine teaches in the fashion program at Savannah College of Art and Design, USA.

New to this edition • Includes a brief overview of contemporary tailoring and the identifying key components of luxury tailoring from Britain, Italy and the Unites States • More than 700 new photographs and illustrations with colour line overlays improve the clarity and detail of instructions and examples • New boxed features adjacent to construction processes discuss how the traditional methods presented can also be used for the production of “hybrid” luxury ready-to-wear • Expanded key terminology within text, a new glossary and updated list of supply sources at the end of the book • Presents clarified measuring instructions supported by a new series of annotated photographs • STUDIO: Classic Tailoring Techniques includes quizzes, flashcards, and a digital library of quarter-scale pattern blocks • Teaching Resources: Instructor's Guide available

Contents Preface 1. Tailoring Slant Yoke

2. The Pattern Side & Slant Pocket Facing ⅜"(1cm) 3. The Fit Back Pocket Facing 4. Fabric French Tab

⅜"(1cm) 5. Layout/Cutting French Fly Front 6. The Jacket Shoulder Pad 7. The Pants Appendix B: Tailoring Supply 8. The Vest Sources ¾"(1.9cm) 9. Alterations Glossary ⅜"(1cm) Appendix A: Pattern Blocks Bibliography Back Pocket Piping Index

2"(5cm)

28 Construction

2nd Edition www/Textbook A fully illustrated and detailed construction guide UK July 2014 Professional designed to help students and professionals US June 2014 Sewing develop accurate and quality sewing skills to create original fashion designs. 608 pages 1,015 colour illus Techniques for • Style Key features indicate the various materials 280 x 216mm / 11 x 8.5 inches used for each project Designers Book + STUDIO Bundle • New chapter order reflects the stitching order of 9781501395529 Julie Cole and Sharon Czachor garments £70.00 / $115.00 STUDIO Access Card • New Chapter 5 "Sticking Knits: Working with 9781501395512 Stretch" and Chapter 7 "Fitting: Developing an Fairchild Books 'Eye' for Good Fit" • STUDIO: Professional Sewing Techniques for Designers features self-study quizzes, flashcards and downloadable half-scale patterns to wrong side of fabric

accompany each chapter correct side of interfacing correct side of interfacing correct side of interfacing

wrong side of nonfusible interfacing wrong side of nonfusible interfacing • Teaching Resources: Instructor’s Guide includes wrong side of nonfusible interfacing STYLE KEY

wrong side of fusible interfacing wrong side of fusible interfacing correct side of fabric wrong side of fusible interfacing correct side of fabric Wrongwrong side ofSide fusible ofinterfacing Fusible Interfacing source outlines, suggestions for additional Correctcorrect side of Side fabric of Fabric

CHAPTER correct side of underlining wrong side of fabric correct side of underlining wrong side of fabric projects, how to use the sample workbook and Wrongwrong side ofSide fabric of Fabric Correctcorrect side of Side underlinin ofg Underlining wrong side of fabric correct side of underlining

correct side of lining correct side of interfacing correct side of lining patterns, tips and problem-solving techniques Correctcorrect side of Side interfacing of Interfacing correct side of interfacing Correctcorrect side of Side lining of Lining

wrong side of lining and evaluation guidelines for student projects Wrongwrong side ofSide nonfusible of in terfacingNonfusible wrong side of lining wrong side of nonfusible interfacing Wrongwrong side ofSide lining of Lining wrong side of nonfusible interfacing wrong side of lining Stitching5 Knits: Interfacing wrong side of fusible interfacing Stitchingwrong side of fusible Order interfacing Julie Cole owns a business designing couture Working with Stretch wrong side of fusible interfacing

correct side of underlining correct side of underlining bridal gowns based in the USA. nits are comfortable, easy to wear, wrinkle free, “forgiving” in fit, and easy to carecorrect for, side of and underlinin areg KEY TERMS Kgreat travel clothes for all these reasons. Knits can be elegant, funky, sporty, innovative, and 2-Thread Serger Felted Wool correct side of lining classic. The very thing that makes knits wonderful is also what makes them tricky—stretch.correct side of Too lining much Stitch Invisible Casing correct side of lining stretch, and the garment fit could be a disaster; not enough stretch, and it could be a disaster. The 3-Thread Serger Joined Elastic Sharon Czachor is an adjunct instructor in the amount of stretch in a knit replaces many fitting details such as style lines, princess seams, and Stitch Casing wrong side of lining wrong side of lining darts, so it’s important to have the right amount of stretch in the fabric. Some knits stretchwrong side of lininonlyg in the 4-Thread Safety Mesh Knit fashion department of Harper College, USA. width and/or the length. The huge variety of weights, blends, and textures of knits requires careful Stitch Open Serged Seam consideration of the use of the knit for the style of the garment. Knit and woven fabrics need very 4-Thread Serger Rotary Cutter and different designs, because knit fabric stretches and woven fabrics don’t (the exception being woven Stitch Mat Contents fabrics with a small percentage of Lycra added for comfort). The percentage of stretch (referred to as 5-Thread Serger Seam Finish stretch factor or stretch capacity) in the fabric replaces the ease of the garment, and how this stretch Stitch Serged Hem is utilized in the design is what determines the fit of the garment. Typically, knits have fewer design Activewear Serger lines, making them faster and easier to fit and construct. Although speedy sewing may be part of the Casings Single Knit Jersey Preface attraction to stitching with knits, it does not mean sacrificing quality stitching or design. Chainstitch Sweater Knit This chapter will direct you on how to stitch successfully with knits, which are very versatile Closed Serged Seam Three-Stitch Zigzag fabrics. Acquiring this skill requires you to become knowledgeable about the different stretch Courses or Loops Twin Needle capacities of each knit and how those differences must be applied to the garment being designed. Crooked Straight Twin Needle Hem Acknowledgments Utilizing the stretch in each knit impacts the fit of the knit garment, and without good fit, there isn’t Stitch Wales or Ribs good design. Mastering the stretch is mastering the knit, and this may require time and patience as Double Knit Zigzag Stitch Style Key 154 1. The Design Process: Why 11. Waistbands: Finishing the Waist Construction Should Matter to the Edge Fashion Designer 12. Ruffles and Flounces: Feminine and 164 Chapter 5 | Stitching Knits: Working with Stretch 2. Getting Prepared: Sewing Flirty FIGURE 5.6 SEWING MACHINE STRETCH STITCHES FIGURE 5.7 SERGER STITCHES Equipment, Fabric, Patterns and 13. Collars: Silhouetting the Neck upper looper thread looper Pressing FIGURE 5.6A CROOKED STRAIGHT STITCH thread 14. Facings: Encasing Unfinished Edges needle thread needle thread 3. Introduction to Stabilizers: lower looper thread 15. Cuffs and Other Finishes: Encircling Fabricating a Stable Foundation FIGURE 5.6B THREE-STITCH ZIGZAG STITCH the Wrist FIGURE 5.7A 2-THREAD FIGURE 5.7B 3-THREAD 4. Seams: Joining It All Together SERGER STITCH SERGER STITCH left needle right needle left needle right needle 16. Sleeves: Setting the Sleeves FIGURE 5.6C ZIGZAG STITCH

5. Stitching Knits: Working with Stretch upper upper 17. Hems: Defining the Length looper looper 6. Darts: Tapering to Fit the Garment FIGURE 5.6D TRIPLE STRAIGHT STITCH lower right looper 18. Linings: Covering the Inner Surface lower looper lower left looper 7. Fitting: Developing an "Eye" for correct side wrong side Glossary FIGURE 5.6E TWIN NEEDLE STITCHING Good Fit FIGURE 5.7C 4-THREAD FIGURE 5.7D 5-THREAD Where to Buy SERGER STITCH SERGER STITCH 8. Pockets: Building a Handy Notes You should take time to consider whether to finish you want it to look. So to finish the seams first Types of Serger Stitches Compartment the seams first, before the seams are stitched, or may be problematic. The decision is up to you Sergers can produce stitches using a variety of after. While the garment is being developed, the and guided by the individual style being stitched. thread combinations depending on the number Index fit is being perfected. Recutting, restitching, and Consultation with your instructor will also help of threads they can utilize. Sergers set up in pro- 9. Tucks and Pleats: Tailoring a Texture more fitting continue until the style is exactly how in making the best decision. duction usually produce just one type of stitch: 10. Zippers: Fastening Your Way into the Garment

2nd Edition www/Textbook This companion workbook consists of project UK August 2014 Sample instructions and card stock worksheets in a US June 2014 Workbook to 3-hole binder for convenient storage. Using these resources, students can sew sample garment 160 pages Accompany details and record design information for ongoing 216 x 279mm / 8.5 x 11 inches and additional projects. The instructions for each Flexiback 9781609018801 Professional project list the supplies and tasks needed to £50.00 / $80.00 prepare the samples, plus clear cross references Fairchild Books Sewing to sewing techniques in the textbook, Professional Sewing Techniques for Designers, 2nd Edition, Techniques and the downloadable half-scales patterns for Designers available to complete projects.

Julie Cole and Sharon Czachor

29 Construction

Textbook Packed with step-by-step sewing instructions and UK September 2014 Fashion Sewing: illustrations, Introductory Techniques is a guide Introductory for all those with an interest in dressmaking, from 184 pages complete beginners to more seasoned sewers. 1,000 colour illus Techniques The book includes an introduction to fabrics, 270 x 210mm / a fitting guide and a wide range of basic and 10.6 x 8.3 inches Connie Amaden-Crawford intermediate techniques on stitches, seams, hems PB 9781472529459 and fastenings. £23.99 Fairchild Books • Includes guidance on setting up sewing Not available in USA and machines, overlockers/sergers and other sewing Canada equipment • Tables provide one-stop information for selecting fabrics by garment category with tips on performance qualities, care, pressing and sewing • Appendices include a glossary and extensive sewing and fabric resources Connie Amaden-Crawford is President and CEO of Fashion Patterns by Coni, USA.

Textbook Fashion Sewing: Advanced Techniques guides UK December 2014 Fashion Sewing: the reader through a range of intermediate and Advanced advanced skills, such as tailoring, sewing with 208 pages knits, inserting linings and facings and how to 1000 colour illus Techniques sew a wide range of design variations for collars, 270 x 210mm / pockets and sleeves. The detailed step-by- 10.6 x 8.3 inches Connie Amaden-Crawford step instructions are easy to follow, with clear PB 9781472532664 accompanying illustrations. £23.99 Fairchild Books • Includes studio tips and tricks of the trade that Not available in USA and will help produce a professional, industry finish Canada • Includes guidance on how to select linings and interfacings for typical fabrics with performance qualities and care tips • A companion to Fashion Sewing: Introductory Techniques

Key Titles Textbook Sewing Techniques simplifies the often complex 2014 Sewing processes required to turn a two-dimensional Techniques design into its three-dimensional realisation by 184 pages arming readers with the basic sewing skills they 200 colour illus An Introduction need; clear diagrams demonstrate essential 230 x 160mm / 9.1 x 6.3 inches techniques in a step-by-step way. The book PB 9782940411917 to Construction encourages students to develop their own sample £23.99 / $39.95 folio and emphasises the importance of developing Series: Basics Fashion Design Skills Within the these for individual projects. It explores the work Fairchild Books Design Process of contemporary fashion practices, including Elie Saab, Fumilayo Deri and Ada Zanditon. Jennifer Prendergast Jennifer Prendergast is a Senior Lecturer in Design and Product Development at Manchester Metropolitan University, UK.

30 Patternmaking and Draping Key Titles

www/Textbook A current, comprehensive and user-friendly guide 2014 Patternmaking for to men’s patternmaking. 488 pages Menswear • Reflects the contemporary menswear market with 600 bw illus emphasis on patternmaking for both slim-fit and 229 x 305mm / 9 x 12 inches Classic to classic-fit style Book + STUDIO Bundle Contemporary • Details patternmaking techniques for knit designs 9781501395505 using jersey fabrics £54.00 / $85.00 Myoungok Kim and Injoo Kim STUDIO Access Card • Includes 2-colour flat sketches showing details 9781501395499 and finished pattern drafts and photos showing Fairchild Books completed garments and how to accurately measure the male body • STUDIO: Patternmaking for Menswear features self-quizzes, flashcards, and downloadable half- scale pattern slopers • Teaching Resources: Instructor's Guides including course syllabi, project descriptions, student samples, and evaluation sheets for each project available Myoungok Kim is a lecturer in the Department of Clothing and Textiles at Hanyang University, South Korea, as well as a visiting scholar at the University of Cincinnati, USA. Injoo Kim is an Associate Professor in the Fashion Design program at the University of Cincinnati, USA.

Contents

Preface Moto Jacket Back Draft (Figure 10.29)

• Trace the back classic-fit casual jacket foundation Design Style Points (Figure 10.5 or 10.6, pages 292–293). A E Section I : Principles 10. Casual Jackets This style borrows design elements from the • A–B = Jacket length on the back; make the desired 5″ protective jackets commonly worn by motorcycle length from the sloper hip line (ex: 1½″). I ¼″G F riders. Such details featured in this design • C = The side seam at bottom. H include the shoulder epaulettes with belt loops, 1. Introduction to Patternmaking 11. Suit Jackets • D = The side chest point. the standing collar with concealed hood, and the C.L. • E = The L.P.S. D center front zipper closure and placket. Back C

• A–F = A yoke depth; measure down (ex: 5″). .B. String tunnel 2. Basic Sloper for Wovens: Slim-Fit 12. Coats classic-Fit Style • F–G = Draw a line perpendicular to the center (ex:¾″) back. W.L. 1. Zipper and placket • H = The midpoint of line F–G. style vs Classic-Fit 2. Inner drawstring 13. Vests • G–I = Measure up ¼″. 3. Standing collar and zipper with concealed • I–H = Draw a straight line. hood H.L. 3. Necklines • Mark the string tunnel (casing) placement by 1½″ 4. Shoulder epaulettes Section III: Design Variations For drawing a ¾″ line parallel to the waist line, as C B shown. 5. Front and back yokes Figure 10.29 • Mark the notch positions on the armhole line. 4. Collars Knit Fabrics 6. Welt pocket • Mark the fold symbol on the yoke section. 7. Patch pockets • Separate the yoke section from the body section. 8. One-pleat sleeves with cuffs 5. Sleeves and Cuffs 14. Jersey Knit Torso Sloper and Tops 3 4

5 epaulette Draft (Figure 10.30) 6. Plackets and Pockets 15. Knit Pants • E–J = Measure down half of the epaulette width (ex: ¾″). 1″ 6 L • J–K and K–L = Draw an epaulette shape ¾″ M according to the design. E K A 2 7. Details Appendices • L–M = Epaulette belt placement; measure in ⅝″ C

J . (ex: 1″). =Back-neck B. length • Lengthwise draw the half of the epaulette belt: 7 I Section II: Design Variations For A. Reference Size Charts for Men the length, half of epaulette width + ¼″ – ½″, and F Figure 10.30 the band width, 5⁄8″. Woven Fabrics B. Basic Metric Conversion 8. Shirts 1 8 C. Quarter-Scale Slopers Flat 10.4

9. Pants D. Glossary of Terms Moto Jacket 309 310 Chapter 10: Casual Jackets

Each title in the Pattern-drafting for Fashion series 2011 Pattern-drafting is a practical guide to pattern-making for fashion for Fashion students and serious home dressmakers. Pattern- 224 pages drafting for Fashion: The Basics shows how to 600 colour illus The Basics construct the block for the bodice and skirt, and PB 9781408129906 then modify it for different styles. £35.00 / $55.00 Teresa Gilewska World English • Covers all the basics of pattern designs for a Bloomsbury Visual Arts complete range of garments • Features clear, step-by-step instructions • Packed with handy tips and practical illustrations

31 Patternmaking and Draping

Fashion Pattern Cutting UK June 2014 Fashion Pattern pushes the boundaries of US August 2014 Cutting 3D experimentation on the mannequin stand. Designed to 144 pages Line, Shape boost confidence and design 200 colour illus creativity, it provides a step-by- 276 x 219mm / 10.9 x 8.6 and Volume step guide to the pattern cutting inches process, from finding the initial PB 9781408156698 Zarida Zaman inspiration for a design through £19.99 / $29.95 to creating the finished product. Bloomsbury Visual Arts Included in the book are hand-drawn pattern pieces, complete with measurements and recommended fabrics to help readers achieve the best effects, whether beginners or experienced pattern cutters. Zarida Zaman teaches at Institute Marangoni and the London College of Fashion, UK.

BOx-FRONT SKIRT 15

a 2.6” (7 cm)

b

2.6” (7 cm) Box-Front Skirt

c

This striking design, with the 17” (43 cm) angled lines depicting the side of a building, is directly inspired by the architecture theme. The skirt is sculptural in its design and has a three-dimensional effect.

The design is created by a series of simple step-by-step tasks. d 9” (23 cm) This method of creating relies on working directly with a 3D form To begin this design, we need We will then need to add our box When you cut the box shape, ensure 1 to create a basic skirt shape with 2 shape. This is how I created mine. you have seam allowance as we will or mannequin stand. If you do the darts kept in. A simple fitted The measurements are a guide, but use this to place the box on the simple not have one, use yourself as a skirt will work the best. Decide you can decide on the length and skirt shape. model to check for size and fit. on the length you want. I have width of your own design. Using a used a length just over the knees. structured fabric with stability will a. 2.6 inches (7 cm) work the best for this design. I always b. 2.6 inches (7 cm) use a cheap and plain fabric such as c. 17 inches (43 cm) calico when making the toile or muslin. d. 9 inches (23 cm)

ACCORDION-PLEATED SLEEVE 107 108 ORIgAMI

The finished sleeve was made from 7 silk material. This type of silk has little movement and works well for the design. The finished effect is eye catching and strongly reflects the origami inspiration.

A close-up of the pleats shows 6 the simplicity of the design. When the garment is not being worn, the sleeves lie flat.

32 PLEAT-SECTION SKIRT 117

4 6

The pleats are For additional flair, multiplied around insert the pleats the hem of a into the lower part dress, creating a of a dress. ruffled effect.

5

The pleats can inserted into the back of a jacket. This design looks problematic to wear, but in reality it is not, as the pleats move and lay flat when needed.

33 Patternmaking and Draping Key Titles

3rd Edition www/Textbook “Clarity is a strength. Students can see the 2013 Draping for design lines and make an analysis before Apparel Design moving into a drape.” Debra Otte, Montclair 640 pages State University, USA 1,450 illus 229 x 305mm / 9 x 12 inches Helen Joseph-Armstrong A complete book of draping techniques updated PB 9781609012403 with an easy-to-follow format, 150 new beautifully- £60.00 / $105.00 rendered fashion illustrations and more than 10 Fairchild Books new design projects. • 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 • New twist designs based on Madeleine Vionnet’s bias-cut techniques and a bias slip dress design variation • Teaching Resources: Instructor’s Guide available

4th Edition www/Textbook This user-friendly bestseller teaches the different 2012 The Art of Fashion methods of — and principles involved in — Draping draping fabric on a dress form with step-by-step 512 pages draping instructions accompanied by two-colour 1,450 colour illus Connie Amaden-Crawford illustrations. 229 x 305mm / 9 x 12 inches PB 9781609012274 • New chapter on fitting methods that explains £65.00 / $115.00 how to evaluate garments and correct common Fairchild Books problems • Updated and expanded chapters on trousers and knits • Intermediate and advanced design variations that integrate contemporary designs with time-tested classics • Teaching Resources: Instructor’s Guide available

Textbook With step-by-step written instructions, Draping 2009 Draping Basics Basics provides the fundamentals of designing foundation garments by draping fabric on a dress 432 pages Sally DiMarco form. Photographs clearly demonstrate the details 462 full colour illus of the process, and CAD drawings show how the PB 9781563677366 draping is transferred to paper patterns. The text £55.00 / $105.00 covers the foundation skirt, bodice, and set-in Fairchild Books sleeve, as well as foundation bodice variations; dart equivalent bodice styles; bodice designs; and skirt, dress, and collar styles.

34 Sustainable Fashion

Sustainable Fashion provides a unique and UK November 2014 Sustainable accessible overview of fashion ethics and US January 2015 Fashion sustainability issues of the past, present and future. This book is the first to situate today’s eco-fashion 224 pages Past, Present movement in its multifaceted historical context. 60 bw and 16 colour illus 244 x 169mm / 9.6 x 6.7 inches and Future • Explores each stage of the fashion production PB 9780857851857 cycle £19.99 / $34.95 Jennifer Farley and Colleen Hill • Discusses the future of sustainable fashion HB 9780857851840 practices based on a wide variety of interviews £55.00 / $99.95 with eco-fashion designers Bloomsbury Academic • Addresses key issues in sustainability, from recycling and repurposing to labour practices and the treatment of animals Jennifer Farley is Assistant Curator of Costume at The Museum at FIT, New York City, USA. Colleen Hill is Assistant Curator of Accessories at The Museum at FIT, New York City, USA.

Contents Overview Introduction 1. Repurposed and Recycled Clothing and Textiles 2. Quality of Craftsmanship 3. Textile Dyeing 4. Labor Practices 5. Treatment of Animals

Key Titles

www/Textbook “A well structured resource for teaching 2014 A Practical Guide which demonstrates a breadth of approaches to Sustainable to sustainability.” Jade Whitson-Smith, 176 pages University of Huddersfield, UK 200 colour illus Fashion 230 x 160mm / 9.1 x 6.3 inches Packed with full-colour images from contributors PB 9782940496143 Alison Gwilt such as Vivienne Westwood, Stella McCartney, £23.99 / $44.95 Edun and People Tree, this is a much-needed Series: Basics Fashion Design handbook for students and professionals in Fairchild Books the fashion and textile industries. It includes guidance on how to map and assess the life cycle of a garment, case studies of best practice and interviews with a selection of industry professionals, including Annika Matilda Wendelboe, Susan Dimasi (Materialbyproduct) and Isabell de Hillerin. • Online resources include a list of organisations and designers featured in the kit • Teaching Resources: PowerPoint available

35 Introduction to Textiles

3rd Edition www/Textbook Swatch Reference Guide to UK April 2015 Swatch Fashion Fabrics is an all-in- US February 2015 Reference one text and swatch book that focuses on the unique needs 200 pages Guide to Fashion of students in fashion design, 52 bw illus apparel manufacturing and 216 x 279mm / 8.5 x 11 inches Fabrics merchandising, and product Three-Ring Binder development. The package HB 9781628926569 Deborah E. Young includes a 3-ring binder, 144 £106.00 / $170.00 page textbook, 56 swatch Fairchild Books mounting boards, 206 fabric swatches, and a metal pick glass. Deborah E. Young is a Textile Science Instructor at Fashion Institute of Design and Merchandising (FIDM), Los Angeles, USA.

Features • Includes all pertinent information about each fabric sample pre- printed on the mounting pages: fabric name, fiber content, yarn construction, count, coloration, weight, uses, characteristics, and similarities/differences between fabrics • Teaching Resources: Instructor's Guide with new Fabric Key PDF includes swatch pages with mounted fabrics. PowerPoint presentations include lecture framework and images of front and back of swatches.

New to this edition • High quality, fashion-forward samples that reflects trends in the fashion industry • Expanded fiber chapters with relevant tips for performance expectations and care • Additional microscopic view photographs in Chapter 2 and 3 • STUDIO: Swatch Reference Guide to Fashion Fabrics includes self-quizzes, flashcards, and a “How to Use the Swatch Reference Guide” video tutorial

Contents Preface

How to Use the Swatch Performance Expectations of Twill Weaves

Reference Guide As float length increases, the following properties improve or change: Acknowledgements Durability • Strongest overall weave • Average abrasion resistance (reduced by float length) Left-handed twill • Improved elasticity 1. The Textile Cycle: From 9. Satin Weaves • Improved flexibility • Higher, unbalanced count Fiber to Fashion 10. Complex Weaves Comfort • Improved air and water resistance due to floats 2. Fiber Classification: Natural 11. Pile Weaves Care Fibers • Improved resilience 12. Knit Fabrics Appearance Right-handed twill • Hides soil 3. Fiber Classification: Figure 8.2 Left-hand and right-hand twill patterns • Improved drape 13. Specialty Weft Knits • Improved luster Manufactured Fibers Uneven Twills 63° 14. Warp Knits 45 Uneven twills have a minimum ratio of 1 to 2 or 2 to 1, ° which means the woven structure is over one thread, 4. Fiber Classification: under two, or a 3-to-1 ratio. Because the ratios are un- balanced, the front and back of these fabrics are always 15. Minor Fabrications different (more so with 3-to-1 than 2-to-1). Denim is an Synthetic Fibers example of this type of twill; this fabric always has an ob- 27° vious technical face (front) and back. The technical face has the most pronounced wales and is more attractive 5. Yarn Classification 16. Dyed and Printed Fabrics and durable (Figure 8.4). 6. Plain Weaves 17. Fabrics Defined by Finishes [Reference Swatches 70–75, 77, 78] 7. Plain-Weave Variations: Quick Reference Guide Tables Figure 8.3 Twill degrees of diagonal Basket and Rib Weaves Swatch Boards

8. Twill Weaves SWATCH REFERENCE GUIDE FOR FASHION FABRICS 50

36 Introduction to Textiles Key Titles

10th Edition www/Textbook Fabric Science includes information on basic fibre 2011 J.J. Pizzuto’s makeup, fibre innovation, the formation of fabrics, Fabric Science quality issues and laws that regulate textiles. 400 pages Full colour illus • Updated topics include environmental 216 x 279mm / 8.5 x 11 inches Allen C. Cohen and Ingrid responsibility, and technology and innovations in Johnson Three-Ring Binder industrial textiles Book + STUDIO Bundle • STUDIO: Fabric Science features online self- 9781501395369 quizzes, assignments and flashcards to help £65.00 / $110.00 students master concepts and improve grades STUDIO Access Card 9781501395123 New edition forthcoming • Teaching Resources: Instructor’s Guide and Fairchild Books in Fall 2015 PowerPoint presentation available

10th Edition www/Textbook Designed to accompany Fabric Science, this 2011 J.J. Pizzuto’s Swatch Kit supplements the study of textiles Fabric Science for students in fashion design, merchandising, 124 pages product development and home furnishings. This 216 x 279mm / 8.5 x 11 inches Swatch Kit kit contains a three-ring binder, 3-hole punched Three-Ring Binder text and mounting boards, 114 bundled fabric 9781609013585 Allen C. Cohen and Ingrid swatches and a pick glass. Swatches represent £55.00 / $90.00 Johnson the types of fabrics currently available to apparel, Fairchild Books interior, and industrial designers. • New examples eco-friendly fibers, microdenier fiber, lyocell fiber, and “high tech” fabric such as Staybright™ bleach-resistant fabric • Teaching Resources: Instructor’s Swatch Set New edition forthcoming with 8 additional samples, Instructor’s Guide, and in Fall 2015 PowerPoint presentation

Textbook “Although the authors planned this book 2002 The Textile Book as a text/reference book, I recommend reading every page ... a valuable authority 232 pages Colin Gale and Jasbir Kaur that provides an historical and global view 30 bw and 8 colour illus of the past, present, and future of textiles.” 234 x 156mm / 9.2 x 6.1 inches Handwoven PB 9781859735121 £18.99 / $32.95 “Essential reading for anyone considering a HB 9781859735077 career in textiles.” Embroidery Magazine £53.00 / $89.95 Berg Publishers The Textile Book explores a range of textile careers, from the creative, social and industrial, to the commercial and associated practices, taking us behind the scenes to reveal what various jobs involve, what influences decision makers, and how their decisions affect what we buy next season.

37 Introduction to Textiles Key Titles

Textbook Written with the innovative fashion student in mind, 2014 Sourcing and Cadigan gives a full overview of the current textile Selecting Textiles market and shows how to apply this knowledge 208 pages when creating a fashion collection. Students will 200 colour illus for Fashion learn about the different textiles available, where 300 x 220mm / to source them, how their specific properties 11.8 x 8.3 inches Erin Cadigan affect design, how to manipulate or create custom PB 9782940496105 textiles and the steps to creating a well-rounded £37.99 / $70.00 fashion collection. Series: Required Reading Contents Range Fairchild Books Introduction 1. The Role of Textile In Fashion: Fabric; Designing Custom Textiles; Textile Culture; Evolution of Textile Tradeshows; Designer Spotlight - Design; Global Textile Production; A Melanie Bowles and Ceri Issac of Call For Sustainability; Certifications Makeitdigital Textiles. and Labeling. 5. Textile and the Collection: Textile 2. Materials Fibres and Yarns: Choice; Designing to Textiles;

fibres sourcing and selecting CHAPTEr ONE: THE rOLE OF TExTILES IN FASHION YArNS textiles for fashion chapter tWo: materials TExTILE CONSTrUCTION METHODS CHAPTEr THrEE: SUrFACE DESIgN COLOUrINg THE FABrIC CHAPTEr FOUr: CONCEPTUALIzINg THE COLLECTION Woven Fabrics; Knits Other Methods Surface Design; Signature Textile 45 FINISHINg METHODS CHAPTEr FIvE: SOUrCINg YOUr FABrIC 68 DESIgNEr SPOTLIgHT – PATAgONIA CHAPTEr SIx: TExTILES AND THE COLLECTION SOUrCINg INTErvIEWS of Production; Non-Fabric Textiles; In Design; Drawing Your Designs; APPENDIx 2 11 The Super Twirkle Mini 11 2 A selection of natural Dress by CuteCircuit is an fibre fabrics. interactive minidress utilizing d e smart technology. The fabric Future Fabrics; Colouring the Fabric; Draping Your Designs; Editing the c a Silk georgette is embedded with CuteCircuit b Silk georgette LED technology that sparkles c Dupion silk and glows. d Wool melton e Wool herringbone f Shearling Finishing Methods; Surface Design; Collection; Designer Spotlight - Issey g Leather h Jute hessian i Cotton lawn j Cotton shirting a k Denim l Linen Decorative Dye Effects; Printing Mikaye. b and Pattern; Embroidery; Fabric 6. Sourcing Interviews: Student h Manipulation; Three Dimensional f i Interview - theresa Deckner, Fashion g Embellishments; Designer Spotlight Student; Indie Designer Interview - - Astrid De Saint Anthost, Le Studio David J Krause, Fashion Designer, Anthost. the Twentyten Alder; Sustainable j

l 3. Conceptualizing the Collection: Interview - Rebecca Burgess, k Target Market; Mood Boards and Fashion Designer/Textile Designer, Inspiration; Trend; Silhouette; Colour; Fibershed Project; Lifestyle/ Surface; Designer Spotlight – Activewear Interview - Burton Rhodarte Snowboard Company; Ready to 4. Sourcing Your Fabric: Getting Wear Interview - Anna Suimass; Market Interview - Urban Outfitters the Fabric to Market; Industry 9782940496105_txt_print_black3.indd 45 22/8/13 3:32 PM 9782940496105_txt_print_black3.indd 68 22/8/13 3:32 PM Sources of Textiles; Retail Sources Inc. of Textiles; the Changing World of Glossary Sourcing; Fabric Properties and Bibliography Characteristics; Creating Your Own Index

“An excellent reference guide.” Craftsman 2009 How to Read Magazine Pattern 256 pages How to Read Pattern narrates the evolution of 575 colour illus A Crash Course textile pattern through the history of manmade PB 9781408109434 design. It studies the decorative art of pattern £9.99 in Textile Design across a range of cultural aesthetics embracing World English (excluding Egyptian, Greek and Roman motifs, Asian and Australia, Bangladesh, Canada, Clive Edwards Middle Eastern as well as Western designs from India, Malaysia, New Zealand, medieval times up to the present. The chapters Pakistan, Singapore, are thematic and include geometric, floral, natural Sri Lanka, USA) forms, and abstract patterns, each broken down Herbert Press into chronology and region.

Painterly Cotton, England, ABSTRACT c.1920s A roller-printed 20th Century furnishing fabric During the early 20th century a designed by Minnie McLeish number of well-known artists tried for William Foxton their hand at pattern-making for Ltd. McLeish was textiles. This development, often in known for bold, conjunction with the rise of abstraction bright patterns that owe something to in modern painting, was also reflected Linen, England, 1913 the influence of in commercial patterns of the time. ‘Amenophis’, a furnishing fabric, was Cubist painters, The similarity of a flat canvas and produced by Roger Fry for the Omega in this case visible Workshops. Their innovative textile designs particularly in the a flat textile ready for printing is set a fashion for abstract and geometric central column clear. The combination of abstract themes. The pattern here is based on Fry’s of heavily forms and geometry, often with a very painting Still Life with Eggs and Books. abstracted flowers. lively working of the shapes and colours within a design, represented a ‘modern’ approach to patterning that was revolutionary.

Cotton, France, early 20th century Silk, France, c. 1920s Cotton, England, 1923 Designed by the Art Deco artist Madame The influence of fine painters on decorative This roller-printed furnishing fabric Andrada, this furnishing fabric of printed art in France at this time was very strong, features a painterly palette of colours cotton exhibits an exuberant abstract but and many artists worked as designers as reflecting contemporary art, within an regular pattern featuring various geometric well. In this example, the influence of the abstract geometric pattern of rectangular shapes in assorted warm bright colours, Fauves and their bold colour schemes is planes. Each rectangle is decorated with and including a black and white combined with an exotic image of a stylised zigzag patterns comprising a multitude of chequerboard pattern. woman with a turban. different colours.

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38 Textile Design and Technology

www/Textbook A how-to guide to more than UK March 2015 Surface Design 60 surface design techniques US January 2015 for Fabric for various fabrics and leather — ranging from the traditional to 320 pages Kimberly Irwin the experimental. 850 colour illus 216 x 279mm / 8.5 x 11 inches Kimberly A. Irwin teaches Book + STUDIO Bundle fashion construction, apparel 9781501395277 development and experimental £50.00 / $85.00 design techniques at Savannah STUDIO Access Card College of Art and Design 9781501395031 (SCAD), USA. Fairchild Books

Features • “Designer Profiles” and “Collection Spotlights” show current examples of surface design end uses • Includes helpful hints, important facts, shortcuts and mistakes to avoid throughout chapters • Provides step-by-step instructions, fabric quick guide keys, application methods, tools and material needed, and safety tips for every technique • Spiral, stay-flat binding is easy to use in a studio environment • STUDIO: Surface Design for Fabric includes video tutorials of select techniques plus online self-quizzes and flashcards • Teaching Resources: Instructor’s Guide and Test Bank available

Contents Preface 1. Dyeing and Staining Fabric 2. Discharging Colour and Using Resists 3. Transfer and Printing 4. Fiber Manipulation 5. Fabric Manipulation 6. Embroidery 7. Embellishment 8. Combining Techniques Appendix A: Tips, Workspace, and Preparation Appendix B: Visual Library of Materials Bibliography Glossary Index

© Photography by David Otoddard, Designs by Particia Garcia

39 Textile Design and Technology Key Titles

“This is an exceedingly useful book that 2013 Textile Surface is well presented, with plenty of inspiring Manipulation images of results you can achieve.” Textile 144 pages Fibre Forum 300 colour illus Nigel Cheney & Helen McAllister 246 x 189mm / 9.7 x 7.4 inches Textile Surface Manipulation helps you to develop PB 9781408156704 a diverse variety of textile techniques from personal £16.99 / $27.95 visual inspiration sources, and apply these to ten Series: Textiles Handbooks projects, with applications ranging from fashion to Bloomsbury Visual Arts interiors to textile art.

Contents Introduction DECORATING SURFACES: EMBELLISHING AN ExISTING SURFACE 1. Visual Research Decorating surfaces: effect and appreciation, beading should not only create a new visual effect, but should also change the weight and handle of an object. The embellishment and encrusting effect not only adds texture to a surface 2. Repeat Structures embellishing an but makes an object glitter, shimmer and shine. 5 Sourcing materials 3. Building Surfaces From Scratch existing surface It is hard to create and design from poverty! Working from a meagre range doesn’t allow for the excitement of unexpected contrasts. For 82 best results, before embarking on any beading project it is worth 82 Variety of beads. amassing a good range of beads. Finding a rich range of suitable beads 4. Decorating Existing Surfaces can be a challenge, but if over time you have collected a stockpile of beads it is much easier to augment what you have with specific buys as Working with imagery opposed to starting from scratch. Augmenting cheap beads with more expensive types will certainly reduce overall costs. It is important to Beading 5. Manipulating Surfaces Through build up your stock with a range of very small beads that can be added Beading is an ancient technique that is widely used in many cultures to by specialist quality beads to be used as highlights, extra texture and historical periods. It is used to denote status or importance by its and detailing. It is hard to fight the magpie in us all that wants to buy Stitch association with labour-intensive and time-consuming craftsmanship. gorgeous beads, but for reasons of economy, these specialist purchases Beading techniques can be used to make forms and structures, and can should only be made when there is a project in mind! The stock range be used as decoration on a ground fabric. Beading has been used to of beads should build up a palette of specific colours with differences in transform the everyday, giving a rich couture finish to the overlooked 80 Example of beading worked over scale, finish and cut. Finishes can range from matt, iridescent, pearlised, 6. Deconstructing and Disrupting and indistinguishable. Can you over-bead? Never! If you do not folded/pleated fabric grounds. metallic and so forth, while cut can have a range of faceted, textured or immediately see the impact, there is no point in beading at all. Even in shaped beads. Conventional beads can range from glass to plastic. By 81 Example of encrusted beading where a small detail like a button or a motif, beads should never be eked out we see the stretch fabric base the beads are sourcing a wide variety you will have a rich palette of shades and tints or used so sparingly as not to be seen at first glance. For full dynamic attached to. to your colours. Subtle or dramatic variations of beads allow for a richer Surfaces depth of field and create a lot more movement as the images or effects become more trompe l’oeil and less flat. Ultimately, to achieve couture 7. Trims and Edges desirability a selection of beads is indispensable. Preparation 83

Beading does need time and adequate workspace to have everything 83 Treasure chest of beads. to hand. When beading is for a 2D ground, it is best to stretch it in a Suppliers hoop or frame then clamp this to a worktop, to allow for the use of two hands. This saves time and is especially applicable to big projects. For large images or expanses of beading, using a quilting frame will mean Gallery that you don’t need to re-hoop over an area you have already beaded. Binding a hoop Delicate fabrics or pile fabrics such as velvet can often be damaged or About the Authors 80 81 marked by an embroidery hoop. One way to reduce damage is to wrap

46 47 Acknowledgements Index textile surface manipulation with AU edits 21.5.13.indd 46 28/05/2013 11:54 textile surface manipulation with AU edits 21.5.13.indd 47 28/05/2013 11:54

In Rag Rug Creations, you will discover a huge 2014 Rag Rug range of applications for this basic technique, Creations such as wall hangings, bags, cushions and 128 pages accessories. This book reveals all the techniques 200 full colour illus An Exploration and possibilities open to you using a minimum 246 x 189mm / 9.7 x 7.4 inches of specialist tools and a wide range of materials, PB 9781408157565 of Colour and including recycled and found objects. £16.99 / $27.95 Series: Textiles Handbooks Surface Bloomsbury Visual Arts Lynne Stein

Contents Introduction RAG RUG CREATIoNS GALLERy History of Rag Rugging Projects Tools and Equipment Gallery of Rag Rug Makers Sources of Inspiration Rag Rugs in Museums and Galleries Designing for Rag Rugging Further Reading Preparation and Finishing Suppliers Techniques Glossary 72 Detail and Embellishment Index 72 Kaffe Fassett, Mosaic. 78 x 120 cm (31 x 47 in). Enjoying the vibrant colour and textural potential afforded by the medium, Kaffe’s mosaic design is worked with a latch hook, using thrift shop fabrics. Comparable to traditional ‘crazy paving’ rag-rug patterns, the grey outlines in Mosaic give unity to the whole design. Picture credit: The Kaffe Fassett Studio. Featured in Glorious Interiors (London: Ebury Press, 1995).

73 Linda Rae Coughlin, Walking on Eggs, 2007. 38 x 43 cm (15 x 17 in). Hooked, stitched, machine and hand embroidered. Recycled fabrics, linen foundation, threads, gold chain. Linda combines rag-rug techniques, embroidery and artefacts to make political and personal gender statements, which can sometimes be uncomfortable, but always powerful. 54 73

56 115

rag rug creations - corrected second proofs 2.9.13.indd 56 07/10/2013 10:56 rag rug creations - final file to print 17.10.13.indd 115 22/10/2013 12:37

40 Textile Design and Technology

Digital Textile Printing charts the meteoric growth UK August 2015 Digital Textile of digital textile printing since the 1990s and US October 2015 Printing explores its implications for current textile design practice. 192 pages Susan Carden 40 colour illus • The first study of digitally printed textiles as a 246 x 189mm / 9.7 x 7.4 inches cultural phenomenon PB 9781472535672 • Examines how new digital print technology £21.99 / $34.95 affects the role of the designer HB 9781472535689 £65.00 / $100.00 • Explores issues of sustainability and authenticity Series: Textiles that Changed in relation to new digital print technology the World Susan Carden is a research student based at the Bloomsbury Academic Centre for Advanced Textiles at Glasgow School of Art, UK.

Contents Introduction 1. History of Printed Textiles 2. Technologies, Substrates and Dyes 3. The Process of Digital Printing 4. Art and Design Practice 5. Essence of Digital Textile Printing 6. Crossing Disciplines 7. Sustainability and Ethics 8. Authenticity Bibliography Index

Key Titles

“Excellent resource for students as an 2011 The Complete updated reference book, reminder of Guide to techniques, inspirational and aspirational.” 208 pages Claire Baker, Cleveland College of Art & Design, 200 colour illus Designing and UK PB 9781408147009 £14.99 Printing Fabric The Complete Guide to Designing and Printing Australia/Europe/New Zealand Fabric is a comprehensive handbook covering Bloomsbury Visual Arts Laurie Wisbrun everything there is to know about designing and printing fabric. This book includes step-by-step tutorials, interviews with established professionals, and plenty of inspiration for the aspiring fabric designer.

41 Textile History and Culture

Cultural Threads is an exploration of contemporary UK November 2014 Cultural Threads textiles and their relationship with postcolonial US January 2015 Transnational culture. The postcolonial thinking examined here shares with craft an interest in the lived, rather than 256 pages Textiles Today the purely theoretical, and as such is a very human 210 colour illus account of these interactions between craft and 276 x 219mm / Edited by Jessica Hemmings culture. 10.9 x 8.6 inches PB 9781472530936 Jessica Hemmings is Professor of Visual Culture £29.99 / $49.95 and Head of the Faculty of Visual Culture at the HB 9781472524997 National College of Art & Design in Dublin, Ireland. £95.00 / $164.00 Bloomsbury Academic Contents

Introduction 1. Artists’ Statements 9. Can Pakeha Make Customary Maori Julie Ryder: Reflections on Charles Art? A Conversation in New Zealand Darwin’s South Pacific (Australia) with Weaver Margaret White and 2. Jorge Lizarazo and Hechizoo: Damian Skinner (New Zealand) Colombian Voyages and Explorations 10. Crafting Difference: Art, Cloth and (Colombia) the African Diaspora, Christine 3. Cecilia Vicuña: QUIPUing from Checinska (University of East Santiago, Chile to Sydney, Australia London, UK) (Chile) 11. From Brixton to Mostar: Social 4. Elaine Reichek: Revisiting a Practice Through Textiles, Françoise Postcolonial Kinderhood in America Dupré (Birmingham City University, (USA) UK) 5. Mr. Somebody & Mr. Nobody: African 12. A Post-Slavery Reading of Cotton: Design Exported (South Africa) Lubaina Himid (University of Central Lancashire, UK) in conversation with 6. Dutch Wax Resist Textiles: Roger Sabine Broeck and Alice Schmid Gerards, Creative Director of Vlisco, (both of the University of Bremen, and Jessica Hemmings (National Germany) College of Art & Design, Dublin, Republic of Ireland) 13. Contemporary Textile Imagery in Southern Africa: a Question of 7. An Imagined Africa: Stories told Ownership, Sarah Rhodes (Central by Contemporary Textiles, Jessica Saint Martins, University of the Arts Hemmings (National College of Art & London, UK) Design, Dublin, Republic of Ireland) 14. Social Sutra: A Platform for Ethical 8. Weaving, Tradition and Tourism in Textiles in Partnerships Between Ghana: “The End of Skill”, Mamle Australia and India, Kevin Murray Kabu (Ghana) (Australia) Index

Thinking Through Textiles offers a compelling case UK December 2015 Thinking Through for the integration of textile scholarship within the US February 2016 Textiles mainstream of visual and material cultural studies. 160 pages Reflections on Pennina Barnett is an independent scholar and 70 colour and 10 bw illus writer on contemporary visual and material culture 246 x 189mm / 9.7 x 7.4 inches Cloth, Memory based in the UK. PB 9781847888242 £19.99 / $34.95 and Touch HB 9781847888259 £55.00 / $94.00 Pennina Barnett Bloomsbury Academic

Contents

List of Illustrations Acknowledgements Introduction 1. Touch 5. Stain 2. Weave 6. Matter: Materiality, Maternity, Dust 3. Fold Bibliography 4. Stitch and Repair Index

42 44 45

opposite and aB ove Cecilia Vicuña, Quipu Austral, 2012. Tasmanian wool fleece, installation 18th Sydney Biennale, Australia, June 27 – September, 16, 2012. Photograph by the artist.

artist statement Quipu: knot (Quechua) In the ancient Andes people did not write; they wove meaning into textiles and knotted cords. Five thousand years ago they Quipuing from created the quipu (knot), a poem in space, a tactile, spatial metaphor for the union and santiago, chile to interdependence of all. The quipu, and its sydney, australia virtual counterpart, the ceque (a system of sightlines connecting all communities and sacred sites in the Andes) were banished after the Spanish conquest of the Americas. Quipus were burnt and they ceased to be used, but the vision of interconnectivity they represent Cecilia Vicuña endures underground.

cHaPTer one artist statements

46 47

Cecilia Vicuña, Quipu Austral, 2012. Tasmanian wool fleece, installation 18th Sydney Biennale, Australia, June 27 – September, 16, 2012. Cecilia Vicuña, Quipu Austral, 2012. Tasmanian wool fleece, installation 18th Sydney Biennale, Australia, June 27 – September, 16, 2012. Photograph by the artist. Photograph by the artist.

I first encountered quipus as a teenager, and A decade later, in exile in London, while which stars and galaxies are born. The gluon the and thread, hand and voice. To write with breath something in me knew they belonged – like poetry enduring the pain of loss from the military coup Large Hadron Collider can’t find. is to see the body and the cosmos in a continuous – outside time and space, despite being in time and in Chile, I created a large quipu above my bed and Emptiness is connection. reciprocal exchange. space. This non-local quality of the quipu acts as a I slept under it for the memory of the pain not to I began making monumental quipus and Chanccani Quipu condenses the clash and connector between dimensions. Touching the threads leave my body. precarious weavings of unspun wool in the early collaboration between two cultures and worldviews: or thinking about them I re-enter a different scale of Years later, walking along Lake Titicaca in 1990s. Cloud-Net (1999) was dedicated to global the Andean oral universe of threads and the Western the imagination. The quipu knots me into new ways Bolivia I observed that alpaca herders tied unspun warming, and Canoes of Light (2000), to the world of print. of being and seeing. wool dyed in rainbows to the ears of their alpacas. indigenous view of the life force. In Quipu Austral, created for the 18th Sydney I began making quipus in the mid 1960s as an The fibres hung and danced in the wind as prayer In my book Chanccani Quipu (2012) I Biennale, I connected two ancient traditions of the act of poetic resistance. El quipu que no recuerda nada flags do in Tibet. In the Andean worldview ritual metaphorically wrote with breath on the unspun southern hemisphere: the Andean quipu and the (the quipu that remembers nothing), an imaginary tying increases the fertility of the herd. wool by printing words on the outer hairs of fleece. aboriginal Australian songline. Quipus and songlines cord laid out in my bedroom in Santiago, was my Unspun wool is all potential, nothing holds it The Quechua word quipucamayoc, or quipu maker, participate in the web of life by creating complex first quipu work. I wrote: ‘an empty cord is the core, together, except the desire of togetherness in each means ‘the one who animates and gives life to the interactions between land, memory and sound the heart of memory, the earth listening to us’. hair. Unspun wool stands for the cosmic gas from knot’. A quipu depends on the interaction of breath enacted through song and speech.

cHaPTer one artist statements

43 Fashion and Costume History

6th Edition www/Textbook Now celebrating its 25th UK May 2015 Survey of anniversary as a best-selling US March 2015 Historic Costume textbook for the study of fashion history, Survey of Historic 640 pages Phyllis G. Tortora and Costume is an introduction 1,000 colour illus Sara B. Marcketti to Euro-American dress from 216 x 279mm / 8.5 x 11 inches the ancient world through the Book + STUDIO Bundle twenty-first century. 9781501395253 £86.00 / $140.00 Phyllis G. Tortora is Professor STUDIO Access Card Emerita at Queens College, 9781501395017 The City University of New York, Fairchild Books USA. Sara B. Marcketti is an Associate Professor at Iowa State University, USA.

Features • Visual Summary Tables show clear line drawings of period garments • Illustrated Tables depict important accessories, footwear and headwear for each era • Modern Influences photo feature shows modern interpretations of historic fashions NEW ONLINE STUDENT RESOURCES • Teaching Resources: Updated Instructor’s Guide, Test Bank, STUDIO: Survey of Historic Costume Image Bank and PowerPoint presentations available includes digital study tools, including the Student Study Guide eBook (see facing New to this edition page for more details) • Over 20% new illustrations • Expanded and redesigned chapter timelines present an overview and images of historic events in each chapter focusing on fashion and textiles, politics and conflicts, decorative and fine arts, economics and trade, technology, and religion • New Global Connections boxes highlight dress and textiles from around the world including China, India, Japan, Latin America, Africa and more • New Chapter 20 covers twenty-first century dress from 2000 to the present

Contents Preface 140 PART TWO The Middle Ages CHAPTER FIVE The Early Middle Ages 141

it was in ninety-nine cases out of a hundred made of mail.” (See Figure 5.30.) Mail in medieval Europe was made Visual Summary Table Acknowledgements of circular rings, each ring having four other rings hooked through it. major garments of the Byzantine and early medieval periods The Bayeux Tapestry is one of the earliest and most the mail, the helmet was worn only for combat as it important sources of information about the appear- was too uncomfortable for general wear. In the last 1. Introduction ance of medieval armor. Dated from the second half half of the 13th century, large crests in animal or bird- of the 11th century, or slightly later, the tapestry depicts like shapes were placed on top of the helmet so as to not only the events leading to but also the actual Battle identify the knight. of Hastings, which took place in 1066. In the tapes- The use of closed helmets brought about changes Part 1: The Ancient World: Part 4: Baroque and 15. The Edwardian Period try many figures wear knee-length shirts of mail, in hairstyles. Men wore their hair shorter and were which are split in front for riding. This mail shirt was clean shaven in order to avoid the heat and discomfort called a hauberk (ho’berk) or byrnie (burr’neh). A hood that came from wearing a closed helmet over a full c. 3000 BC – AD 300 Rococo: c. 1600-1800 and World War I: 1900- of mail was worn to protect the neck and head. This beard or long hair. may have been a separate piece, but in later armor the Common foot soldiers were not equipped with

hood is made in one with the body of the hauberk for chain mail. Their protection was most likely limited Byzantine man, Byzantine woman, Byzantine man, 1920 maximum protection of the neck. Some figures also to reinforced, quilted coats such as those worn under c. 6th century c. 6th century c. 11th century 2. The Ancient Middle East: 9. The Seventeenth wore leg protectors of mail, or chausses (shos). Some the armor to which they might add quilted leg guards. chausses merely covered the front of the leg while By the end of the 13th century, a change from mail others were more like hose and fitted all around. On to plate armor had begun. c. 3500-600 BC Century: 1600-1700 16. The Twenties, Thirties, the head and over the mail hood, the warrior placed a cone-shaped helmet with a barlike extension that cov- ered the nose. In the mid-12th century men began wearing a sur- modern inFluenCes 3. Crete and Greece: 10. The Eighteenth Century: and World War II: 1920- cote over the armor. (See Figure 5.31.) Possibly the practice originated during the Crusades in an attempt Contemporary designers cut to protect the metal armor from the heat of the in styles and lengths that 1947 Mediterranean sun, a custom possibly copied from are very different from the c.2900-300 BC 1700-1790 Muslim soldiers. In later periods soldiers wore sur- medieval period, nevertheless Byzantine woman, Medieval European man, Medieval European woman, cotes decorated with a coat of arms that identified the the use of fur, tightly fitting c. 11th century 12th century 12th century force to which they belonged, a necessary step when leg hose (known as trousers 17. The New Look: Fashion faces were covered by helmets. for men today!), and even a 4. Etruria and Rome: c. Part 5: The Nineteenth In the 12th and 13th centuries, armor consisted of hood of mail were inspira- a coat of mail—sometimes quite long, other times tions to designers Dolce and Conformity Prevails: shorter—hose, and shoes of mail. The sleeves reached Gabbana in their fall 2014 800 BC – AD 400 Century: 1800-1900 over the hands to form a sort of mail mitten. The menswear collection. Dolce whole outfit weighed from 25 to 30 pounds and was and Gabbana’s 2013 and 2014 1947-1960 worn over a padded garment. In the early 13th century, women’s wear collections a closed form of helmet developed. Blair (1972) com- were also heavily inspired Part 2: The Middle Ages: 11. The Directoire Period pares it to a modern welder’s helmet, except that it was by Byzantium and medieval closed in the back, with eye slits and breathing holes, periods. sort of like wearing a large, inverted can over the head. 18. The Sixties and Placed over the chain-mail coif and a small padded Medieval European man and Outer garment called the garnache, Medieval outer garment called herigaut c. 300 – 1500 and the Empire Period: woman, 13th century late 13th/early 14th century or gardecorps, mid-13th century Seventies: Style Tribes skull cap that protected the head from the ridges of 5. The Early Middle Ages: 1790-1820 Emerge: 1960-1980 c. 300 – 1300 12. The Romantic Period: HistoricCostume_CH05_v3.indd 140-141 8/5/14 6:24 PM 19. The Eighties and the 6. The Late Middle Ages: 1820-1850 Nineties and the Twenty- c.1300-1500 13. The Crinoline Period: first Century: 1980- 1850-1869 Part 3: The Renaissance: 1999 c 1400-1600 14. The Bustle Period and 20. Twenty-first Century: the Nineties: 1870-1900 7. The Italian Renaissance: 2000-2014 c. 1400-1600 Part 6: From the Bibliography 8. The Northern Renaissance: Twentieth to the Twenty- Credit c. 1500-1600 first Century: 1900-2014 Index

44 Fashion and Costume History

Free with purchase of Survey of Historic Costume, 6th Edition www/Textbook

™ This new multimedia resource provides a digital UK May 2015 : study tool directly related to the content of Survey US MarchThis 2015 package contains your online ™ STUD O access code to : of Historic Costume. Consisting of self-quizzes ™ STUD O Survey of Historic and test prep tools, videos and images, flashcards, STUDIO STUDAccess CardO: Survey of Historic Costume Survey of Historic Costume Costume maps and a timeline, STUDIO: Survey of Historic 9781501395017 OnlIne ACCESS CODE Study smarter with visual Costume will enhance learning, aid in instruction, Fairchild Booksflashcards, glossary of terms, and and result in better retention and higher grades for self-quizzes Phyllis G. Tortora and Learn context for costumes from students. chapter-specific videos Sara B. Marcketti Review on the go with the included eBook study guide Gain perspective with the Fashion Atlas, Timeline, and Designer Index Access activities, exercises and For Students projects Branch out with links to fashion

museums, costume collections and • Videos launch each chapter and introduce students to major costume trends of each online resources historical era Once opened, access cards are not replaceable • Self-quizzes are automatically scored and provide directions for further study or returnable.

From Online tools for more effective study • Flashcards with images, glossary terms, and definitions Fairchild Books and This card provides access to information that may be required for your course. Bloomsbury Publishing Fairchild Books and Bloomsbury Publishing • Chapter objectives, key terms and summaries • World maps showing fashion and geography over time • Comprehensive timeline spanning the Ancient World to the present, placing fashion and textiles within historical context—and showcasing evolutions of silhouettes • Fashion designer index with a comprehensive, alphabetized list of designers with brief bios • Searchable glossary of terms • Links to fashion museums and costume collection websites • Complete eBook version of Survey of Historic Costume Student Study Guide (a $42.95 value)

For Instructors • Easy access to eBook version of Survey of Historic Costume, 6th Edition • Image library with all the illustrations and photos from the book • PowerPoint presentations for each chapter • Test Bank with multiple choice, true/false and essay questions for each chapter with answer key • Instructor’s Guide including sample syllabi and units based on the timeline in the book, chapter objectives, lecture notes, discussion questions, additional research projects, assignments and more

6th Edition Textbook This study guide is designed to help students UK May 2015 Survey of Historic effectively navigate the Survey of Historic US March 2015 Costume Student Costume. Following the chapters of the textbook, the Student Study Guide includes chapter 246 pages Study Guide objectives, key terms, historic overviews, chapter 216 x 279mm / 8.5 x 11 inches summaries, chapter quizzes, image-analysis PB 9781628922349 Phyllis G. Tortora and exercises, garment analysis worksheets, glossary £26.00 / $42.95 Sara B. Marcketti of key terms, and a fashion garment guide—a “mini” Fairchild Books dictionary identifying basic garment terminology Free eBook included in with illustrations. By providing a consistent STUDIO: Survey of Historic approach to all of the chapters in this text, the Costume access guide provides a vehicle that enhances the journey students will take through time and place, making the study of historic costume accessible, memorable and exciting.

45 Fashion and Costume History

6th Edition www/Textbook Features more than 300 profiles UK November 2014 Who’s Who of fashion legends as well as US September 2014 in Fashion newcomers and nonconformists — past and present — who 544 pages Holly Price Alford & make up the rich tapestry of the 888 colour illus Anne Stegemeyer fashion industry. 216 x 279mm / 8.5 x 11 inches PB 9781609019693 • Teaching Resources: £59.99 / $105.00 Instructor’s Guide, Test Bank Fairchild Books and PowerPoint presentations available Holly Price Alford is an Associate Professor in the Department of Fashion Design and Merchandising and Director of Diversity for the School of the Arts at Virginia Commonwealth University, USA. Anne Stegemeyer is a freelance writer and fashion specialist based in New York City, USA.

New to this edition • Over 400 new images and 70 new profiles (382 profiles in total), including Joseph Altuzarra, Garance Doré, Riccardo Tisci, The Row (Mary Kate and Ashley Olsen), Carine Roitfeld, Prabal Gurung, and more • Alphabetical tabs for easy access and pronunciation guides • Updated timeline and awards listing, now including the British Fashion Awards • Expanded coverage to include more non-designers with category icons designating fashion designers, accessory designers, jewelry designers, fashion companies, makeup artists, costume designers, illustrators, photographers, writers, editors, journalists, and creative directors

Contents Extended Table of Contents (alphabetical listing of all entries) JOSEPH ALTUZARRA Preface to 6th Edition line, which established his signature silhouette and boosted his company’s sales by nearly 40 percent—catching the Acknowledgments attention of a number of retail stores. Altuzarra is best known for pairing the masculine Introduction: Fashion—All with the feminine—the sensual and sexy with the pragmatic and easygoing. The label is renowned for its About Change outerwear, but Altuzarra drives his staff to constantly assess what they do well and what they need to provide 1. Timeline: The Crinoline 7. British Fashion Awards to customers. For example, when Altuzarra designed a capsule collection for J.Crew in 2012, he carefully Period (1850-1869) — The considered the large number and varied characteristics 8. Coty Amercian Fashion of the women he was targeting. New Millennium Critics’ Award The year 2013 was pivotal for Altuzarra: he won the Above: Designer Joseph Altuzarra. first CFDA branding initiative and was among Crain’s 2. Alphabetical Listing of Below Right: Spring 2014. New York Business 40 Under 40 and Women’s Wear 9. Neiman Marcus Awards Daily’s Ten of Tomorrow. In addition, his label earned Fashion Icons BORN Joseph Altuzarra; Paris, 1983 more than $10 million, and the designer created outfits 10. Fashion Walk of Fame for the New York City Ballet. In addition, Altuzarra AWARDS: Council of Fashion Designers of America cohosted the kickoff party for the Emmy Awards and 3. Appendices (CFDA)/Vogue Fashion Fund, 2011; Swarovski Award for designed the green room for stars backstage. His clothes 11. Cooper Hewitt Awards in Womenswear, 2012; Swarovski Award for Designer of the have been worn by celebrities such as Emma Watson, 4. Designers by Country of Fashion Year, 2014 • International Woolmark Prize, 2013 Rihanna, and Angelina Jolie.

Origin Joseph Altuzarra (Al-too-ZAR-uh) is a designer of luxury Bibliography women’s ready-to-wear. His multicultural upbringing— 5. Designers by Categories with a Chinese-American mother and French father—has Credits had an enormous influence on his collections. As a child, 6. Council of Fashion Altuzarra was obsessed with the glamorous side of fashion, Index of Designers especially Tom Ford for Gucci and Yves Saint Laurent. Designers of America Altuzarra studied art history at Strathmore College in Strathmore, Pennsylvania and became interested in a career (CFDA) Awards in fashion while working in the school’s costume shop. Altuzarra began his career as an intern at Marc Jacobs, then worked as a freelance designer at Proenza Schouler while it was still a fledgling label. Altuzarra also apprenticed with patternmaker Nicolas Caito to hone his technical knowledge and skills, which he considered weak because he lacked a formal education in fashion design. He ended up back in his birthplace, Paris, after landing a job at Givenchy as first assistant to Riccardo Tisci. In 2008, Altuzarra returned to New York and launched his own label. In 2010, he collaborated with Swarovski on a jewelry collection. His big break came with his fall 2012 9

aLf19693_a_001-019.indd 9 6/11/14 8:14 AM

46 Fashion and Costume History

Structured chronologically from pre-history to the UK March 2015 Dress, Fashion present day, this study explores the relationships US May 2015 and Technology and interactions between technology, dress and fashion and how these have changed 256 pages From Prehistory throughout human history. Through a wide range of 90 bw illus international case studies, the book challenges the 234 x 156mm / 9.2 x 6.1 inches to the Present perception that fashion is unique to western dress PB 9780857851918 and outlines the many ways in which dress and £19.99 / $34.95 Phyllis G. Tortora technology intersect. HB 9780857851901 £55.00 / $99.95 Phyllis G. Tortora is Professor Emerita at Queens Series: Dress, Body, Culture College, The City University of New York, USA. Bloomsbury Academic

Contents 1. Connecting Technology, Dress, Part II: The Industrial Revolution 11. Transportation and its Effects And Fashion and First Steps Toward the (20th and 21st Centuries) Fashion Industry Part I: Before the Revolution 12. The Effects of Sports (19th to 6. Dress And Fashion Move The 21st Century) 2. Dress And The Technologies Of Industrial Revolution Forward Prehistory (Upper Paleolithic To 13. Communications Technologies (18th Century) The Neolithic Period) That Disseminate Fashion 7. The Central Role Of Dress Information (19th to 21st Century) 3. Technologies And Dress In Towns, And Fashion In The Industrial Cities And Empires (Neolithic Part IV: High Tech Enters Revolution (c. 1800 to 1860) Period To C. 500 C.E.) 14. Technology Contributes To The 8. Dress, Fashion And Social 4. Technology And Dress Facilitate Globalization Of Fashion (20th Changes Follow The Industrial Fashion Change (Dark Ages and 21st Centuries) Revolution (Nineteenth Century) to The Seventeenth Century in 15. Environments Interact With Europe) 9. Tools That Enable Fashion Technologies (20th and 21st Change And Innovations In Dress 5. Some Asian Developments in Centuries) (19th Century) Technology, Dress and Fashion 16. New Technological Frontiers (End of the Neolithic Period until Part III: The Fashion Industry is For Dress And Fashion (21st the 17th Century) Born Century) 10. Tools And Processes Expand References Options For Dress And Fashion Acknowledgements (20th and 21st Centuries)

Key Titles

A Cultural History Wartime Fashion of Jewish Dress From Haute Couture

Eric Silverman to Homemade,

2013 1939-1945 Geraldine Howell 288 pages 77 bw illus 244 x 172mm / 9.6 x 6.8 inches 2012 PB 9781847882868 £21.99 / $39.95 272 pages HB 9781845205133 30 bw illus £60.00 / $99.95 234 x 156mm / 9.2 x 6.1 inches Series: Dress, Body, Culture PB 9780857850713 Bloomsbury Academic £21.99 / $39.95 Berg Publishers

47 Fashion and Costume History

This definitive guide to footwear, from fetish heels UK November 2014 Shoes to winklepickers, takes the reader on a glorious, US November 2014 An Illustrated lavishly illustrated journey from antiquity to the present, showcasing a dazzling array of shoes from 256 pages History all over the world. 300 colour illus 246 x 189mm / 9.7 x 7.4 inches Written by an expert curator, the book is packed HB 9781472531001 Rebecca Shawcross with social and historical detail putting shoe £25.00 / $40.00 trends, superstitions and traditions in context and World English exploring shoes as symbolic, evocative, highly Bloomsbury Visual Arts personal objects. Rebecca Shawcross is the Shoe Resources Officer at The Shoe Collection, Northampton Museum, UK. Contents Introduction

1. Medieval Ages-1580s, From the shoes: An IllustrAted HIstory return to sImplIcIty

Long, to the Wide to the High changing Fashions

2. 1590s-1650s, Heights of Fashion Throughout europe, women’s fashions were largely this silence was short-lived, however, and as the eighteenth bottom left: Women’s below: Women’s rose pink, kid dictated by reactions to the French Revolution and the century drew to a close, French fashions were once again a heliotrope (purplish-red, but leather, slip-on shoes, 1810–19. radical social and political turmoil of 1789. The French major influence across europe. faded to steel blue) satin over the uppers are decorated kid leather shoes, c. 1796. with a white scalloped design. ideals of ‘Liberté, égalité, fraternité’ did not sit well with the Women’s shoes developed throughout europe in tandem 3. 1660s-1720s, Buckle My Shoe they have pointed toes and they have silk ribbon loops conspicuous displays of wealth that large, over-the-top with the prevailing French styles. Broad, flat heels emerged, 4 cm (1½ in) wedge-shaped and ties to go around the shoe buckles provided. ‘Down with buckles’ was the cry and there was a brief passion for the ‘sandle’ shoe – a low- heels covered in white kid ankle and low, covered, wedge of the Parisian masses in 1789. cut, slip-on model fastened with ribbons that tied around leather. the edges are bound heels. they are an example of 4. 1720s-1780s, Elegant Footwear the ankle and lower leg. shoe styles tended towards the with blue braid and there are a sandle shoe. drawstrings around the vamps. As shoe expert June swann states: ‘the buckle was killed simple, providing greater freedom of movement. they the shoes are embroidered by the desire for equality’ (date, p. xx). shoe buckle reflected the narrow look of French fashions, with a distinct with tarnished silver thread 5. 1790s-1830s, Vive La Révolution manufacturers throughout europe were hit hard. Buckles pointed toe and a low Italian heel, with or without a wedge. and sequins. didn’t simply disappear overnight, however. As with many colours were minimal, often with shoes in a single tone trends, the process was gradual, radiating out from throughout. cream, white and black were very popular fashionable centres, but disappear they eventually did. although colours such as yellow, olive and blue also existed, 6. 1830s-1880s, The Industrial designed to match a wearer’s other accessories and clothing. PRevailing sTyles shoes were often accompanied by small leather the French revolution, and the downfall of the monarchy overshoes, which covered the toe and had an elasticated Revolution in particular, did much to damage France’s reputation – and loop that went around the heel. slip-on shoes, rather like a paris, once the epicentre of all things tasteful, went silent. court shoe, were common in black, often with a cut-out design on the vamp that had a coloured leather insert – 7. 1880s-1920s, Toward the Modern delicately reminiscent of the cuts and slashes seen on medieval footwear in the past (see pp. 34–5). Age 8. 1930s-1947, Glamor and Utility 9. 1947-1970s, A New Era 10. 1980s-Present Day Appendices Bibliography Index

84 85

Key Titles

“McKean and illustrator Mehalko have 2013 The Hundred created a book so charming that any critic Dresses is completely disarmed... In all its delightful 224 pages chattiness, the book has something Full colour throughout The Most Iconic intelligent to say about fashion HB 9781408190500 as representation and nostalgia.” £14.99 Styles of Our Publishers Weekly World English Bloomsbury Academic Time “Like a wonderfully illustrated bird-watcher’s guide, but to frocks, The Hundred Dresses Erin McKean is a whimsical and inspirational taxonomy: from the J. Lo, via the Space Empress to the Vreeland.” The Sunday Telegraph

48 shoes: An IllustrAted HIstory

The PlaTForm revival

The 1990s heralded a platform that was altogether higher and clumpier than ever before, and which was popularized by the UK girl band the spice Girls. For some, this band will forever be associated with the Buffalo trainer and glitter Union Jack platform ankle boot.

through their music, names and styling, the five spice Girls became role models for thousands of young girls across the world. everyone had a favourite spice Girl to emulate – Baby, Ginger, scary, Posh or sporty.

Girl Power the mood of the day was all about empowerment and the right shoes were vital for the look. Baby and Ginger favoured the Buffalo trainer with 20 cm (8 in) soles. the Buffalo firm had been established in 1979 with their HQ at Hochheim an Main, Germany. their 20 cm (8 in) platform- soled trainers were a global success in the 1990s and early 2000s, largely down to the popularity of the spice Girls. While scary spice was often seen in leopard-print boots and sporty wore sneakers, Posh had girly heels. Geri Halliwell will always be remembered for wearing that union Jack dress made from a tea towel at the Brit Awards in

February 1997, which she teamed it with a pair of red shorT-lived Fame above: the spice Girls pose platform boots.. Although platforms were popular with the young, for a photograph in 1997. newspapers and parents frequently expressed their each is wearing her trademark footwear: stilettos for Posh, disapproval about their unsuitability for everyday wear. trainers for sporty and Baby spice, emma Bunton, twisted her ankle wearing them. platforms for scary, Ginger In Japan a girl reputedly fell to her death wearing 12.7 cm and Baby. (5 in) platforms. they earned themselves the nickname

‘Frankenstein’ shoes and had more in common with opposite: these union Jack orthopaedic footwear than the platform of the 1970s glitter boots were made by (see pp. 210–11). shelly’s of london, c. 1997. the style became synonymous with the Girl Power sentiment of the spice Girls phenomenon.

Fashionisto

australian leigh Bowery, outrageous outfits fully fashion icon, nightclub host, explored the use of wigs, body actor and artist’s muse, was modification, make-up and one of the most influential and footwear. he often wore one charismatic figures in the huge platform shoe on one 1980s and 1990s. Famed for foot and a low version on the 242 his striking looks, his other with tights over the top.

shoes: An IllustrAted HIstory A new erA

The shoe As ArT you CAn look, But don’t touCH

shoes are practical, they can be truly beautiful and, as in CAndACe bAhouTh opposite: Gaza Bowen’s red the 1970s, they can feature as works of art. It was during Candace Bahouth designed and created the amazing winter shoe reader, 1994. the shoe is this decade that shoes became embraced as sculptural art and spring boots with technical help from walker’s shoes; constructed from a red leather, stiletto-heeled court shoe, cut forms – a little tongue in cheek, perhaps, but always playful they were commissioned by the Crafts Council in 1979. at the back of the forepart and and fun. A number of art styles could still be worn, these boots are made from pink tapestry decorated with with a concertina-page book although many of them were purely decorative. appropriate winter and spring accessories – so spring inserted between the two flowers and birds or winter birds and flowers in frosty halves. the book pages feature the 1979 Crafts Council shoe show: British shoes since looking colours. Complete with synthetic, green grass wedge images and text relating to high-heeled shoes. 1790 highlighted an obsession with shoes that surprised heels, they were not practical for wearing. many. People showed interest, not only in shoe style and history, but also in the fact that shoes could be turned into something magical and sculptural.

TheA CAdAbrA thea Cadabra’s fantasy shoes from the 1970s are sold as wearable art. Her maxim was, ‘wearing wonderful shoes is a truly uplifting experience’. Cadabra’s designs carried themes and featured three-dimensional motifs that lent drama to her creations. Best known among her designs are the Cloud and rainbow, the dragon, the Maid and the Bat. the Cloud and rainbow is an amazing shoe, essentially a court shoe in blue suede, which has been skilfully accessorized with a leather rainbow and little beads symbolizing the rain.

GAzA bowen Internationally renowned sculptor Gaza Bowen has exhibited extensively since 1978. In the broadest sense her work is an enquiry in to the non-verbal communication between people and objects, and for nearly twenty years she has focused her attention on shoes: their construction, history, cultural meaning and social significance. she made the red shoe reader and her famous tuff scuffs – feminine mules adorned with scouring pads!

above: thea Cadabra’s Cloud and rainbow, 1979. Pink and yellow clouds issue raindrops made from strings of beads and a lightning flash in silver leather is attached to centre 220 of vamp. 221

shoes: An IllustrAted HIstory towArds tHe Age of reAson

pAtten evolution

During the eighteenth and nineteenth centuries, the highlighted the problem of a country girl aspiring to look left: women’s buckle latchet practical solution for raising oneself out of the mud and like her mistress by swapping her ‘high wooden pattens’ for shoes with matching clog the wet was the iron-ringed patten. At its simplest, this ‘leather clogs’ when she came to work in london. overshoes in a floral silk brocade/damask, 1680–1720. involved a rough, foot-shaped piece of wood, the toe ‘Patynmakers’ are first mentioned in City of london the shoes have 5 cm (2 in) of which echoed the shape in fashion at the time. Worn records in 1379 and a pair of pattens features in the Arnolfini heels covered in red, Morocco beneath a person’s shoes, a patten had leather latchet Portrait of 1434 (see p. 38). they were worn across northern leather. It is difficult to match ties that came up over the foot for tying securely. europe, Italy and other countries to raise the wearer out of up clogs with shoes but these some variations also had leather toecaps. the mud on the streets. do have the same binding. the clog overshoes would have prevented wear to the An iron stalk was attached to the patten, at the end of clog overshoes shoe sole, but offered little which was an iron ring, usually oval in shape. the idea was If pattens were for country folk and the working classes, practical protection from dirty, that as the iron ring made contact with the ground, it then clog overshoes were for the upper classes. these small, wet streets. they became distributed the wearer’s weight and aided mobility. odd-looking overshoes consisted of textile uppers and must-have fashion accessories, indicating a rich and, therefore, these pattens must have been very difficult to walk in, leather soles, with the most practical versions being made more sedentary lifestyle. since there was no flexibility in the solid wooden platform. entirely of leather. the clog’s sole fitted beneath the wearer’s A certain amount of leg lifting and stomping action was shoe and was curved and shaped in such a way that it fitted necessary, unless one could master the glide, which was snugly within the arch of the shoe, leaving an area to difficult on uneven surfaces. As with pattens of the Middle accommodate the heel at the back. the style was not as Ages (see pp. 38–9), hinges were added to some styles in an practical for outdoor, however, and quickly became little attempt to increase flexibility. more than a fashion accessory. wealthy patrons ordered a pair of shoes from their shoemaker, who at the same time A loWer-clAss phenomenon could make a pair of matching overshoes for showing off Highly functional and cumbersome in appearance, pattens when companions came to visit. did not appeal to the aristocracy and were generally worn by the less wealthy and countryside dwellers. In 1725 daniel defoe published Every-Body’s Business is No-Body’s Business, a pamphlet on the breakdown of the social order. In it, he

right: wood and leather pattens, nineteenth century.

74 75

49 Fashion and Costume History Key Titles

“A comprehensive synthesis of the works and 2011 Japanese Fashion careers of the three Japanese designers who Designers revolutionized the Western fashion world... 192 pages This is a must read for anyone interested 24 colour and 40 bw illus The Work and in Japanese fashion.” Yuniya Kawamura, 244 x 172mm / 9.6 x 6.8 inches Associate Professor of Sociology at the Fashion PB 9781847883100 Influence of Issey Institute of Technology, State University of New £18.99 / $34.95 York, USA HB 9781847883117 Miyake, Yohji £60.00 / $99.95 “Bonnie English here condenses twelve Berg Publishers Yamamoto and years of research into a book which Rei Kawakubo examines the emergence of the three leading Japanese fashion designers, Issey Miyake Bonnie English (b. 1938), Yohji Yamamoto (b. 1943) and Rei Kawakubo (b.1942), in the last quarter of the twentieth century... Twelve years to write a book testifies to Bonnie English’s dedication and encourages reader confidence.” Daniel Milford-Cottam, Victoria and Albert Museum, London, UK, Costume

2nd Edition Textbook “English has created a very respectable 2013 A Cultural History academic treatment of the last century of of Fashion in the fashion... What is most notable about the 280 pages content of this volume is the way English 61 bw and 32 colour illus 20th and 21st handles her broad topic; there are some 244 x 169mm / 9.6 x 6.7 inches powerful fashion images in this book, but PB 9780857851352 Centuries this is no pretty coffee table accessory. £16.99 / $29.95 English selects unique subjects within Bloomsbury Academic From Catwalk to fashion for each chapter and zeroes in to prevent a deluge of meaningless and broad Sidewalk historical summaries.” WORN Fashion Journal Bonnie English “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

Textbook “This a strong collection of essays that 2005 Twentieth-Century brings together a very balanced variety of American Fashion subjects and viewpoints. Its insights into the 288 pages USA’s transition from fashion follower to 50 bw illus Edited by Patricia Cunningham fashion leader and the influence of American 234 x 156mm / 9.2 x 6.1 inches and Linda Welters culture on the wider fashion world not only PB 9781845200732 make interesting reading but would make £18.99 / $32.95 a good supplement to general histories of HB 9781845200725 American fashion.” Costume £53.00 / $109.95 Series: Dress, Body, Culture This overview of American fashion in the twentieth Berg Publishers century considers how Americans went from imitating British and French fashion to developing their own sense of style. Further, the book shows how gender, psychology, advertising, public policy, shifting family values, the American design movement and expertise in mass production influenced an American style.

50 The Dress and Fashion Research Series

Series Editor: Joanne Eicher

The Dress and Fashion Research series is an outlet for high-quality, in-depth scholarly research on previously overlooked topics and new approaches. Showcasing work on fashion and dress, each book in this interdisciplinary series focuses on a specific theme or area of the world that has been hitherto under-researched, instigating new debates and bringing new information and analysis to the fore.

The first detailed analysis of men’s fashion UK March 2014 Advertising advertising from 1945 to 2000, this book explores US May 2014 Menswear design issues and period style in advertising, the role of market research and consumer 272 pages Masculinity and psychology in determining target audiences, the 50 bw illus idea of the ‘new man’ in representing fashionable 234 x 156mm / 9.2 x 6.1 inches Fashion in the masculinities, and the various ways that menswear HB 9781472533432 retailers and brands dealt with sex and gender, £65.00 / $112.00 British Media race, class and age. Series: Dress and Fashion Research Paul Jobling is Researcher in Arts and since 1945 Bloomsbury Academic Architecture, University of Brighton, UK. Paul Jobling

Contents

Introduction Part I: Going for a Burton: menswear Epilogue: Getting the Right Fit – Objects/ advertising from austerity to affluence, Images/Readers 1945-1957 Bibliography Part II: Thinking young: menswear Index advertising and the generation games, 1958-1978 Part III:Leader of the pack: jeans advertising since the 1960s

Based on ten years of extensive field research, UK November 2014 Moroccan Moroccan Fashion provides an in-depth US January 2015 Fashion ethnographic study of Moroccan dress and the fashion industry. The author draws on interviews 192 pages Design, Tradition with three generations of designers and the 16 colour illus lifestyle press to provide an in-depth analysis of 234 x 156mm / 9.2 x 6.1 inches and Modernity the development of urban dress, which reveals HB 9781472524676 how traditional dress has not been threatened but £65.00 / $112.00 M. Angela Jansen rather produced and consumed in different ways. Series: Dress and Fashion Research M. Angela Jansen is Postdoctoral Researcher at Bloomsbury Academic London College of Fashion, University of the Arts London, UK.

Contents

Introduction 1. Moroccan Fashion as Tradition Conclusion 2. Three Generations of Moroccan Transcription of Arabic Fashion Designers Notes 3. Moroccan Lifestyle Media Bibliography 4. The Impact of Foreign Fashion Index Brands 5. The Consumption of Moroccan Fashion

51 Fashion Journalism

Textbook A concise and comprehensive student guide to UK October 2014 Fashion Writing fashion writing and criticism, including a wide US December 2014 and Criticism range of case studies from Antiquity to the present day. Through concise snapshot case 160 pages History, Theory, studies, including classic examples of fashion 30 bw illus writing alongside contemporary examples, top 234 x 156mm / 9.2 x 6.1 inches Practice international scholars McNeil and Miller analyse PB 9780857854476 fashion excerpts in relation to philosophical ideas £19.99 / $34.95 Peter McNeil and Sanda Miller and situate them within historical contexts. HB 9780857854469 £55.00 / $94.00 Peter McNeil is Professor of Design History at the Bloomsbury Academic University of Technology Sydney, Australia. Sanda Miller is Senior Lecturer in Media and Visual Arts at Southampton Solent University, UK.

Contents Acknowledgements List of illustrations Part 1: What is Criticism? 8. Fashion And Morality: Leo 16. Being Critical About 1. Introduction tolstoy’s What Is Art? ‘Deconstruction’: Theoretical Approach or ‘Le Destroy’? 2. Aristotle and the Origins of 9. Paul Poiret: ‘Sultan of Fashion’ – Criticism From Tradition to Innovation 17. What Is A Reviewer? – And How Can We Recognise One? 3. Talking in private: the Academies 10. Diana Vreeland: ‘Why Don’t You?’ and the Salons – The Invention of The Fashion 18. What Gives Suzy Menkes The Editor Status of Professional Critic? 4. Understanding Taste: The Critic as Qualified Observer 11. Christian Dior: The ‘New Look’ 19. ACNE Paper: The Beauty of Print, And Reporting By Carmel Snow The Splendour of the Page 5. Charles Baudelaire: the Beginning of Fashion Criticism; The Art Critic 12. Yves Saint Laurent – A 1970s 20. How to Be A ‘Critical’ Blogger: of the Salons Analysis of ‘The Couturier And His Moving Beyond the PR Release Brand’ 6. Oscar Wilde and the Apostles of 21. Conclusion: Where Do We Go Aestheticism 13. What Is Fashion Irony? Mild From Here? Sarcasm or Feigning Ignorance? Bibliography 14. Reporting on the Japanese Index Part 2: Reporting Fashion: Revolution In Paris Overview 15. Richard Martin as Essayist: Karl 7. Snapshots Lagerfeld Reworks Chanel

Key Titles

Textbook www.Textbook Uncovering Fashion Writing for the Fashion Fashion Business

Communications Kristen K. Swanson and Across the Media Judith C. Everett

Marian Frances Wolbers

2009 2008

320 pages 624 pages 8pp colour section PB 9781563674396 PB 9781563676154 £54.00 / $105.00 £55.00 / $105.00 Fairchild Books Fairchild Books

52 Fashion, Culture and Society

4th Edition www/Textbook This anthropological UK October 2014 The Visible Self investigation of dress, featuring US August 2014 Global 15 selected scholarly readings, is ideal for courses focused on 400 pages Perspectives global perspectives and cultural 200 bw illus aspects of dress. 216 x 279mm / 8.5 x 11 inches on Dress, PB 9781609018702 • Teaching Resources: £70.00 / $115.00 Instructor’s Guide with Culture and Fairchild Books Test Bank and PowerPoint Society presentations including full- colour versions of images from Joanne Eicher and the book available Sandra Lee Evenson

New to this edition

• Covers social media, social responsibility, eco-fashion, subcultures and current trends such as cosplay • Includes readings and examples on Latin America, Asia, and the Middle East as well as contemporary examples of social and political movements, the impact of the Internet and globalization • Newly organized Part III uses John Bodley's revised analysis of sociocultural systems to relate to dress and fashion across the world • A new reading by John Vollmer on the Qing Dynasty of China • Revised and expanded art program, including 65 new photographs

Contents Preface Acknowledgments Part I: The Systematic Study Part III: Culture, Society, and of Dress : Dress 1. The Classification System 7. The Twenty-first Century of Dress 8. Earlier Times, Other People 2. Studying Dress, Culture, and Places and Society Part IV: Art, Aesthetics, and 3. Records of the Types of Dress Dress 9. The Art of Creating Dress 4. Written Interpretations of 10. Ideals for Individual Dress Appearance and the Art of Part II: Physical Appearance, Dress Environment, and Dress 11. The Art of Dress: Conformity 5. Physical Appearance and and Individuality Dress 12. Dress and the Arts 6. Body, Dress, and Bibliography Environment Credits for Figures Index

53 Fashion, Culture and Society

Winner of the 2014 Ray and Pat Browne Award for Best Edited Collection for the Pop Culture Association / American Writers Association “A feast for the fashionista scholar! …New UK November 2013 Fashion Media names, new insights and provocative ideas US January 2014 Past and Present arise aplenty raising questions to ponder and arguments to challenge.” Joanne B. Eicher, 216 pages Edited by Djurdja Bartlett, Editor-in-Chief, Encyclopedia of World Dress 50 bw and 32 colour illus Shaun Cole and Agnes Rocamora and Fashion and Regents Professor Emerita, 246 x 189mm / 9.7 x 7.4 inches University of Minnesota, USA PB 9780857853073 £19.99 / $34.95 Including a broad range of case studies, from HB 9780857853066 fashion plates to fashion films, and from fashion £55.00 / $100.00 magazines to fashion blogs, this book provides an Bloomsbury Academic up-to-date examination of the role and significance of this field. Chapters written by international scholars cover topics including historic magazine cultures, contemporary digital innovations, and art and film, exploring themes such as gender, ethnicity, design, taste, and authorship. Djurdja Bartlett, Shaun Cole, and Agnès Rocamora are all based at the London College of Fashion, University of the Arts London, UK.

“Helen Warner’s smart and eminently UK April 2014 Fashion on readable book is the first detailed study of US June 2014 Television an increasingly significant television genre.” Moya Luckett, New York University, USA 200 pages Identity and 10 bw illus Essential reading for those seeking to understand 234 x 156mm / 9.2 x 6.1 inches Celebrity Culture the cultural function of costume in a television PB 9780857854414 context, Fashion on Television provides a critical £19.99 / $29.95 Helen Warner examination of the intersection between fashion, HB 9780857854407 television and celebrity culture. Examining case £55.00 / $99.95 studies such as Sex and the City, Gossip Girl, Bloomsbury Academic Ugly Betty and Mad Men, the book examines how TV has made style icons out of leading actresses and fashion-conscious consumers out of audiences. Helen Warner is Lecturer in Media and Cultural Studies at University of East Anglia, UK.

Featuring a range of contemporary case studies, UK June 2015 Fashion and Film this is an academic inquiry into costume and US August 2015 Gender, Costume fashion both on and off the big screen. Complex issues of eroticism, fetishism and haptic pleasure, 224 pages and Stardom in and themes of gender, celebrity and sexuality are 25 bw illus clearly mapped onto cinematic clothing and the 234 x 156mm / 9.2 x 6.1 inches Contemporary body. PB 9780857850454 £19.99 / $34.95 • Case studies include Pirates of the Caribbean, Cinema HB 9780857850447 The Great Gatsby, Casino Royale, The Matrix £55.00 / $94.00 Trilogy, and more Sarah Gilligan Bloomsbury Academic • Includes a foreword by Pamela Church Gibson and Stella Bruzzi Sarah Gilligan is Lecturer in Media at Hartlepool College of Further Education, UK.

54 Fashion, Culture and Society

With contributions from expert scholars and UK June 2014 Fashion and practitioners, this volume examines the rise of US August 2014 Museums fashion in the museum. It includes 12 international case studies including The Met, MoMu, and Bath 232 pages Theory and Fashion Museum. Drawing on approaches from 27 bw illus dress history, fashion studies, museum studies and 234 x 156mm / 9.2 x 6.1 inches Practice curatorship, this engaging book is key reading for PB 9781472527660 students and scholars. £19.99 / $34.95 Edited by Marie Riegels Melchior HB 9781472525246 Marie Riegels Melchior is Assistant Curator at and Birgitta Svensson £65.00 / $112.00 Designmuseum, Denmark. Series: Dress, Body, Culture Birgitta Svensson is a Professor at Stockholm Bloomsbury Academic University, Sweden.

Taking a complex view of the meaning of fashion as UK March 2015 Fashionable Art it relates to art, while also offering critiques of ‘art US May 2015 as fashion,’ Fashionable Art critically explores the Adam Geczy and relationships between commerce, taste, cultural 192 pages Jacqueline Millner value, and art since the 1970s. Drawing upon a 40 bw illus variety of theoretical frameworks, from Adorno and 234 x 156mm / 9.2 x 6.1 inches Bourdieu to Simmel and Zizek, expert scholars PB 9780857851826 Geczy and Millner engage with historical and £19.99 / $34.95 contemporary debates on this lively topic. HB 9780857851819 £55.00 / $99.95 Adam Geczy is Senior Lecturer at the Sydney Bloomsbury Academic College of the Arts, Australia. Jacqueline Millner is Senior Lecturer in the School of Art and Design in the University of Western Sydney, Australia.

Key Titles

Winner of the 2014 Emily Toth Award for Best Single Work in Womens’ Studies for the Popular Culture Association/American Culture Association “[A] fascinating discussion of what happens 2013 Fashion and Age to our sense of fashion as we reach later Dress, the Body life. As [Twigg] puts it, ‘age is not just 184 pages peripheral to fashion but positively erosive 12 bw illus and Later Life of it.’ Drawing on interviews with those 234 x 156mm / 9.2 x 6.1 inches who wear, sell and write about fashion, PB 9781847886958 Julia Twigg Twigg addresses a range of questions £19.99 / $29.95 about how we negotiate fashion as we get HB 9781847886965 older...The author’s grasp of the nuances £65.00 / $120.00 of interpretation of fashion, dress and Bloomsbury Academic clothing is excellent.” Times Higher Education Supplement

Drawing on fashion theory and the first-hand accounts of designers, fashion editors and older women, this book offers the first systematic account of the relationship between dress and age.

55 Fashion, Culture and Society

"Captures the most memorable moments UK September 2014 Ballroom Dance of the greatest ballroom dancers in the US September 2014 and Glamour world." Iveta Lukosiute, former US and World 10-Dance Champion, So You Think You Can 120 pages Jonathan S. Marion Dance competitor and Strictly Come Dancing 120 colour illus professional 276 x 219mm / 10.9 x 8.6 inches Ballroom Dance and Glamour takes the reader HB 9781472580733 on a visual journey through the dazzling world £25.00 / $40.00 of competitive ballroom dance. Including Bloomsbury Visual Arts vibrant photographs and commentary, the book showcases the extraordinary costumes, glamorous dancers and elegance of the sport. Jonathan S. Marion is Adjunct Professor of Anthropology at California State University, San Marcos, USA and an adjunct faculty member at San Diego State University and at Palomar College, USA.

Contents Acknowledgements 1. Photographing Ballroom 11. Costuming 2. How the Book Came About 12. Competitions 3. The Ethics 13. Rhythm 4. The Photography 14. Smooth 5. The Images 15. Latin Ballroom 6. Photographing Ballroom 16. Standard An Introduction Dancing History and Culture 7. Ballroom Dancing: An Introduction 17. Ballroom Dance and Glamour 1. 1959 World Ballroom Championships. With roots in fifteenth-century Europe and the French royal court, Held on March 10, at the Lyceum ballroom dancing, and its associated costuming, has always Ballroom in London, with the Joe Loss 1 Orchestra providing the music. Although been linked to social class and gender roles. With France as the the women’s dress and hairstyles attest leading European power of the time, the formal balls and dancing to the time period, the general structure of King Louis XIV’s court in Versailles provided a model for of contemporary dancesport is already Europe. The trends started at the time eventually evolved in two 8. History and Culture Appendix 1 evident and in place: multiple couples competing simultaneously, audience different ways: into the performance-directed genre of ballet and members sitting right up to the edge of the socially based genre of ballroom. This association between the floor, judges standing on the edges of dance and social etiquette2 has endured as part of a well-rounded the floor, and formal attire the norm for a world championship event. © 2012 Getty upbringing throughout Europe, with ballroom regularly offered in Images (Photo by Central Press/Hulton schools or as a ‘cultured’ elective alongside musical instruction, 9. Genres Image Captions Archive/Getty Images, Editorial Image and as the foundation for cotillion programmes in the United #153473431). States. Similarly, from the first unofficial world championship (in 1909) to the standardization and codification of acceptable steps (starting in 1920) a model was set for the ‘proper’ ballroom gentleman and lady, with competitive ballroom linking such 10. Dancers References models of social class and gender with completion, performance, and spectacle (as seen in Figure 1).

11 Ballroom Dancing

Key Titles

Lady Gaga David Bowie Style

Style Bible Danny Lewis David Foy 2012 2011 128 pages 128 pages 125 colour illus 125 colour illus 276 x 219mm / 10.9 x 8.6 inches 276 x 219mm / 10.9 x 8.6 inches PB 9781408173763 PB 9781408156636 £18.99 / $24.00 £14.99 / $29.99 Bloomsbury Visual Arts Bloomsbury Visual Arts PB 9781620401057 £18.99 / $24.00 Bloomsbury USA

56 45. Smooth on Display. Performing Dance Legends 2013, former US Professional Smooth Champions Tomas Mielnicki and JT Damalas showcase both competition (left) and show (facing page) costuming. © 2013 Jonathan S. Marion.

60 Smooth 61 Smooth

91. Performing on Tiptoe. 92. Getting There. US Standard Semi-finalists Egor Seen dancing here at their first Abashkin and Katya Kanevskaya, competition together at the 2010 Emerald seen here at the 2009 United States Ball, Giampiero Giannico and Anna Dancesport Championships, Mikhed went on to place as World and demonstrate the balance and ankle Blackpool Finalists in the six months they strength undergirding polished and competed. © 2010 Jonathan S. Marion. pleasant performance. © 2009 Jonathan S. Marion.

112 Standard 113 Standard

57 Fashion, Culture and Society

The first scholarly examination of the prominence UK December 2014 Cool Shades of sunglasses in contemporary visual culture, this US February 2015 The History and study explores their power as global signifiers and excavates the slippery concept of ‘cool’. 192 pages 30 bw illus Meaning of Featuring a broad range of case studies from Andy 234 x 156mm / 9.2 x 6.1 inches Warhol to Lady Gaga, it offers an original history of Sunglasses PB 9780857854452 how sunglasses became a fashion accessory and £19.99 / $34.95 addresses the complex variety of meanings they Vanessa Brown HB 9780857854445 can articulate. £55.00 / $99.95 Vanessa Brown is Senior Lecturer in Design and Bloomsbury Academic Visual Culture at Nottingham Trent University, UK.

Focusing on counter- and sub-cultural contexts, UK June 2015 The Birth of Cool this book investigates the role of dress in the US August 2015 Style Narratives creation and assertion of black identity in the United States, Jamaica, and the United Kingdom. 256 pages of the African Featuring a range of case studies, from hip hop 40 bw illus style to Jamaican home dressing, it is a powerful 234 x 156mm / 9.2 x 6.1 inches Diaspora exploration of how dress both initiates and PB 9781859734704 confirms change. £19.99 / $34.95 Carol Tulloch HB 9781859734650 Carol Tulloch is Senior Research Fellow, Chelsea £55.00 / $94.00 College of Art and Design, University of the Arts, Bloomsbury Academic London, UK.

Drawing on fashion studies and cultural theory, the UK January 2015 Fashion and Jazz book provides an in-depth analysis of the social US March 2015 Dress, Identity and political entanglements of jazz and dress, with chapters exploring race, class and gender. 208 pages and Subcultural A variety of case studies, ranging from Billie 30 bw illus Holliday and Ella Fitzgerald to Louis Armstrong 234 x 156mm / 9.2 x 6.1 inches Improvisation and Chet Baker, present a critical overview of jazz PB 9780857851277 performers as modern icons of fashion and style. £19.99 / $34.95 Alphonso McClendon HB 9780857851260 Alphonso McClendon is an Assistant Professor £55.00 / $99.95 in the Department of Fashion and Design and Series: Dress, Body, Culture Merchandising at Drexel University, USA. Bloomsbury Academic

58 Fashion, Culture and Society

With contributions from a wide range of UK December 2014 Dress and international scholars, this book presents the first US February 2015 Ideology scholarly analysis of dress and ideology through 13 accessible case studies. 224 pages 20 bw illus Fashioning Chapters are organized thematically and explore 234 x 156mm / 9.2 x 6.1 inches dress in relation to topics including nation, identity, Identity from PB 9781472529343 religion, politics and utopias, across an impressive £19.99 / $29.95 chronological reach from antiquity to the present Antiquity to the HB 9781472525499 day. Present £65.00 / $109.95 Shoshana-Rose Marzel and Guy D. Stiebel are Bloomsbury Academic Edited by Shoshana-Rose Marzel Lecturers at the Bezalel Academy of Arts and and Guy D. Stiebel Design Jerusalem, Israel.

Sneakers is the first academic study of the UK May 2015 / US July 2015 Sneakers obsessions and idiosyncrasies surrounding the Fashion, Gender sneaker phenomenon in America, from competitive 192 pages subcultures to sneaker painting and artwork. 40 colour illus and Subculture How have sneakers come to gain this status? 234 x 156mm / 9.2 x 6.1 inches In what ways are sneaker subcultures bound up PB 9780857857330 Yuniya Kawamura with gender identity? Based on the author’s own £19.99 / $29.95 ethnographic fieldwork in New York, and case HB 9780857857224 studies on major manufacturers, this book traces £65.00 / $120.00 sneakers’ transformation from sportswear to Series: Dress, Body, Culture fashion symbol. Bloomsbury Academic Yuniya Kawamura is Associate Professor of Sociology at the Fashion Institute of Technology, State University of New York, USA.

Key Titles

3rd Edition www/Textbook This collection of articles and essays from 2012 The Meanings magazines, newspapers, books, and academic of Dress journals is designed to expand the reader’s 640 pages awareness and understanding of the role dress 190 bw illus Kimberly A. Miller-Spillman, plays in cultures and subcultures across the globe. 216 x 279mm / 8.5 x 11 inches PB 9781609012786 Andrew Reilly and Patricia The third edition is newly revised to reflect the £55.00 / $95.00 Hunt-Hurst current cultural landscape and includes more Fairchild Books theory than previous editions, as well as an increased emphasis on the male perspective • Teaching Resources: Instructor’s Guide and PowerPoint presentation available

59 Fashion, Culture and Society Key Titles

“For Barthes, words and objects have in 2013 The Language of common the organized capacity to say Fashion something; at the same time, since they are 192 pages signs, words and objects have the bad faith 216 x 138mm / 8.5 x 5.4 inches Roland Barthes always to appear natural to their consumer, PB 9781472505422 as if what they say is eternal, true, necessary, £12.99 / $19.95 instead of arbitrary, made, contingent.” World English (excluding Edward Saïd Australia/New Zealand) Series: Bloomsbury Revelations “Barthes's treatment of fashion in The Bloomsbury Academic Fashion System is his most elaborate attempt to reveal the little worlds of meaning enclosed in each nuance of social life. One is able to hear the voice of a sensitive and sensible critic who was alive to the symbolic vitality of the world.” The New York Times

Barthes’ essays range from the history of clothing to the cultural importance of Coco Chanel, from hippy 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. Textbook “Yuniya Kawamura’s Fashion-ology provides 2004 Fashion-ology an exhaustive and enlightening survey of the An Introduction to literature on fashion in the social sciences 144 pages from the nineteenth century to the present. 234 x 156mm / 9.2 x 6.1 inches Fashion Studies Her book will contribute enormously to PB 9781859738146 establishing fashion as a legitimate subject £15.99 / $27.95 Yuniya Kawamura for research and teaching in the social HB 9781859738092 sciences and humanities.” Diana Crane, £16.99 / $29.95 University of Pennsylvania, USA Series: Dress, Body, Culture Berg Publishers Fashion-ology provides a concise introduction into the sociology of fashion that examines the structure of its system and culture. Kawamura distinguishes between “clothing” and “fashion,” arguing that clothing is a tangible material product whereas fashion is a symbolic cultural product. She debunks the myth of the genius designer and explains, provocatively, that fashion is not about clothes but is a belief.

“This is an original, gracefully written study 1998 Paris Fashion of Paris fashion, one that manages to say as A Cultural History much about national character, in a sense, as 336 pages it does about the rise and fall of hemlines. . bw illus Valerie Steele . . I would not only recommend it to anyone 234 x 156mm / 9.2 x 6.1 inches interested in the psychology of clothes, but PB 9781859739730 to anyone planning a sejour in France — as £18.99 / $32.95 much required reading, say, as the Green World All Languages (except Guides of Michelin.” Los Angeles Times Book French and Japanese) Review Berg Publishers

“An impressive compendium of information.” The New York Times Book Review

“Once I started reading, I could not stop! Valerie Steele's book is wonderfully witty, pleasurable to read and so well documented. It is one of the best complete studies on Paris fashion that I have ever come across.” Jean-Michel Tuchscherer, Former Curator, Museum of Fine Arts, Boston, USA

60 Fashion, Culture and Society

“Masafumi Monden’s fascinating and UK November 2014 Japanese Fashion important book, Japanese Fashion Cultures, US January 2015 Cultures will be of great interest to everyone interested in fashion, gender, globalization, 208 pages Dress and and youth culture. His research on young 15 bw illus Japanese men and their attitudes towards 234 x 156mm / 9.2 x 6.1 inches Gender in fashion is especially significant, as it calls PB 9781472532800 into question persistent stereotypes about £19.99 / $29.95 Contemporary how men and women are assumed to engage HB 9781472536211 with fashion.” Valerie Steele, Director and Chief £65.00 / $112.00 Japan Curator, The Museum at FIT Series: Dress, Body, Culture Masafumi Monden Bloomsbury Academic Japanese Fashion Cultures challenges widely held notions of gender relations and European style imitation in Japan. Through case studies focussing on fashion image consumption in style tribes such as Kamikaze Girls, Lolita, Edwardian, Ivy Style, Victorian, Romantic and Kawaii, this ground- breaking book investigates the complexities of dress and gender and demonstrates the flexible nature of contemporary fashion and style exchange in a global context. Masafumi Monden is Research Associate at the University of Technology, Sydney, Australia.

Contents 1. Introducing Japanese Fashion, Past 5. Ribbons and Lace: Girls, Decorative and Present Femininity and Androgyny 2. Lost in a Gaze: Young Men and 6. An Ivy Boy and a Preppy Girl: Style Fashion in Contemporary Japan Import-Export 3. Boy’s Elegance: A Liminality of 7. Concluding Japanese Fashion Boyish Charm and Old-World Suavity Cultures, Change and Continuity 4. Glacé Wonderland: Cuteness, Bibliography Sexuality and Young Women Index

Key Titles

Textbook Fashioning Japanese Fashion and Subcultures Cultural Studies

Yuniya Kawamura Susan B. Kaiser

2012 2013

192 pages 240 pages 30 colour illus 29 bw illus 234 x 156mm / 9.2 x 6.1 inches 234 x 156mm / 9.2 x 6.1 inches PB 9781847889478 PB 9781847885647 £18.99 / $39.95 £18.99 / $34.95 HB 9781847889485 HB 9781847885654 £55.00 / $99.95 £55.00 / $99.95 Berg Publishers Berg Publishers

61 World Dress and Anthropology

Spanning India’s long historical contribution UK December 2014 Indian Fashion to global fashion to the emergence of today’s US February 2015 Tradition, vibrant local fashion scene, this book provides a comprehensive overview of the Indian fashion 224 pages Innovation, world. 60 bw illus 244 x 169mm / 9.6 x 6.7 inches The book addresses key issues such as identity, Style PB 9781847887795 class, youth and media, but does not simply apply £19.99 / $29.95 western fashion theory to an Indian context. It also Arti Sandhu HB 9781847887801 allows for a holistic understanding of how fashion £60.00 / $99.95 is created, worn, displayed and viewed in India, Bloomsbury Academic and considers India’s sartorial impact on the West, providing a model for studying non-western fashion in general. Arti Sandhu is Assistant Professor of Fashion Design at Columbia College Chicago, USA

Contents 1. Introduction: “Fashion” and India 2. Fashion, Class and Modernity 3. The Image and Ideals of Indian Fashion: Beauty, Celebrity and the Fashion Magazine 4. Indian Design: Designers, Branding and the Shaping Local and Global Tastes 5. From Bollywood to Street: Youth Trends, Everyday Style and Popular Culture 6. Modern Indian Menswear and Concepts of Masculinity 7. Conclusion Bibliography Index

Key Titles

The Sari Visibly Muslim

Daniel Miller and Mukulika Banerjee Fashion, Politics, Faith

Emma Tarlo

2008 2010

288 pages 320 pages 215 bw illus 50 bw and 32 colour illus 235 x 210mm / 9.3 x 8.3 inches 244 x 172mm / 9.6 x 6.8 inches PB 9781847883148 PB 9781845204334 £21.99 / $34.95 £19.99 / $34.95 HB 9781859737323 HB 9781845204327 £55.00 / $99.95 £65.00 / $109.95 Berg Publishers Berg Publishers

62 Reference

The Encyclopedia of Embroidery UK April 2015 Encyclopedia of from the Arab World charts US June 2015 Embroidery from the history of embroidery from Ancient Egypt to the present 688 pages the Arab World day and offers an authoritative 750 colour and 100 bw illus guide to all the major embroidery 280 x 210mm / 11 x 8.3 inches Gillian Vogelsang-Eastwood traditions of the region. It maps HB 9780857853974 the diversity of embroidery £150.00 / $240.00 from the Maghreb to the Gulf Bloomsbury Academic states, from Turkey to Sudan, and traces the impact of trade, commerce, politics and religion on materials, colours, styles and fashions. Gillian Vogelsang-Eastwood is Director of the Textile Research Centre, Leiden, The Netherlands.

Features • The first comprehensive reference work on this subject in any language (including Arabic) • Generously illustrated with 830 images, patterns and diagrams, many never previously published or on public view • Provides detailed coverage of the embroiders, their materials and techniques, and embroidery’s development over time, up to and including its use by modern fashion designers from the region

Contents Preface Timeline Part I: General Information • Embroidered Tiraz • Embroidery from Lebanon • Introduction • The Kiswah • Embroidery from Jordan • The Embroiderers • Egyptian Applique and the Street of • Embroidery from Syria • Foreign Influences and Sources the Tent Makers • Embroidery from Iraq • Materials and Equipment • Ottoman Turkish Embroidery • Embroidery from Saudi Arabia • Hand and Machine Embroidery Part III: Regional Embroidery • Snapshot: Saudi Arabian Fashion Techniques • Snapshot: The Maghreb Designer Adnan Akbar • Designs and Colours • Embroidery from Morocco • Snapshot: Saudi Arabian Fashion Part II: Archaeological and • Snapshot: The Jewish Kiswa Designer Yahya al-Bishri Historical Embroideries El-kabir • Embroidery from Sudan • Embroideries from the Tomb of • Embroidery from Algeria • Embroidery from Yemen Tutankhamun • Embroidery from Tunisia • Snapshot: Naeksha Harazi: The • Late Classical and Early Medieval • Embroidery from Libya Hand Embroidery Company of Al Embroideries from Egypt and Nubia Hajjarah, Yemen • Snapshot: Tuareg Embroidery • Early Embroideries from Palestine, • Snapshot: Zarrie Work from India • Embroidery from Egypt Syria and Iraq • Embroidery from Oman • Embroidery from the Negev and • Coptic, Byzantine and Arab Sicilian Sinai • Embroidery from the Gulf States Embroideries • Snapshot: Abas and bishts • Snapshot: Colonel and Mrs • Medieval Embroideries from Dickson’s Embroidered Garments Egyptian Archaeological Sites • Ecclesiastical Embroidery from the Eastern Part IV: Resources • Medieval Embroideries from Qasr • Stitch Appendix Ibrim, Egyptian Nubia • Samaritan and Jewish Ritual Embroidery • Glossary of Terms and Historic • Medieval Embroideries from the Writers’ Names Qadisha Valley, Lebanon • An Introduction to Palestinian Embroidery • Bibliography • Medieval Styles of Embroidery from Egypt and the Eastern • Palestinian Embroidery and • Index Mediterranean Clothing

63 Reference Key Titles

4th Edition The fourth edition contains over 15,000 entries, 2013 The Fairchild including apparel, accessories, and their Books Dictionary components, historical and textiles terms that 488 pages relate to contemporary fashion and the language 809 bw illus of Fashion of the fashion industry. Tortora and Keiser organise 203 x 254mm / 8 x 10 inches terms in broad categories that are fully cross- PB 9781609014896 Phyllis G. Tortora and referenced to the alphabetical listing to promote £45.00 / $85.00 Sandra J. Keiser understanding of related terminology. Fairchild Books Phyllis G. Tortora is Professor Emerita at Queens College, USA. Sandra J. Keiser is Associate Professor in the Fashion Department at Mount Mary College, Wisconsin, USA.

New to this edition • Includes Appendix of historic and contemporary designers • Updated anatomical drawings show how parts of the fashion items fit together • More than 100 new and updated illustrations • Includes about 200 new terms identifying fashion industry practices and fashion products plus a new category of dresses • Icons identify historic terms and textile terminology defined in depth in The Fairchild Books Dictionary of Textiles

8th Edition This 100th Anniversary Edition of the industry 2013 The Fairchild standard for textile terminology features Books Dictionary approximately 100 new entries and over 14,000 736 pages definitions of fibers, fabrics, laws and regulations 425 bw illus of Textiles affecting textile materials and processing, inventors 203 x 254mm / 8 x 10 inches of textile technology, and business and trade terms HB 9781609015350 Phyllis G. Tortora and Ingrid relevant to textiles. Fully illustrated with over 400 £120.00 / $210.00 Johnson photographs and line drawings, entries include Fairchild Books pronunciation, derivation, definition, and industry uses. Phyllis G. Tortora is Professor Emerita at Queens College, New York, USA. Ingrid Johnson is Full Professor at the Fashion Institute of Technology (FIT), USA.

New to this edition • 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

64 Reference Key Titles

“The Berg Companion to Fashion is the title 2010 The Berg to get.” Library Journal Companion to 800 pages “Recommended for reference collections.” 150 bw illus Fashion Booklist Online 32pp colour plate section 244 x 189mm / 9.6 x 7.4 inches Edited by Valerie Steele A one-stop reference for students, curators and PB 9781847885630 scholars, this comprehensive volume includes £31.99 / $55.00 entries on the history, theory and culture of fashion, HB 9781847885920 from Avedon to Codpiece, Dandyism to G-String, £80.00 / $150.00 Japanese Fashion to Subcultures, Trickle Down to Berg Publishers the Zoot Suit.

ORIENTALISM 546 509 MILLINERS

It was in the realm of fashion that the impact of extravagant hats as well as having a fl air for fashion and “Orientalism” could also be profoundly felt. Platform fi nery were, and still are, the trademarks of successful shoes from central Asia led to the creation of the milliners. Venetian chopine in the sixteenth century. Textiles Th e fi rst celebrated “Marchande de Mode,” or “mo- from all over Asia, primarily China, India, and Tur- diste” as they were later called in France, was Rose key, inspired the creation of fashions like the robe á la Bertin (1744–1813). Her name is linked with Queen turquerie in the eighteenth century. Th is was a more Marie-Antoinette of France, the most extravagant extraordinary phenomenon since the fear of Turk- and illfated fashion icon of the eighteenth century. It ish Islamic invaders was a constant and imminent could be argued that Marie-Antoinette and her “Min- threat. Coupled with the threat of an invasion was a istre de Modes,” Rose Bertin established haute couture diametrically opposed view: the romantic notion of a in Paris and thus made it the capital of fi ne fashion. far-distant land, such as Cathay (or China), fi lled with Elaborate hats, demure straw bonnets, and extravagant genteel philosophers and lovers of art. Th is idealized headdresses, called “poufs” were the height of fashion impression of China would continue until the rise of in the last quarter of the eighteenth century. Rose the industrial revolution and European colonialism Bertin’s witty creations were perched high up on the in the early nineteenth century. Th e gritty reality of coiff ure and featured rising suns, miniature olive trees, ever-increasing business transactions between East and, most famously, a ship in full sail. Her fame was Women wearing dresses by Japanese designer Chiyo and West, as well as the ever-encroaching military enhanced by her notoriety and attracted an array of Tanaka. After World War II, the West showed a reemergence of dominance by European powers in Asia was fi rmly ladies of European nobility. Her salon survived the interest in other cultures, and Asian designers began to make cemented by the middle 1800s. French Revolution but sadly all her hats, just like her an impact in the fashion world. © BETTMANN/CORBIS. REPRODUCED BY As Queen Victoria ascended the throne of England famous clients, have disappeared and can only be traced PERMISSION. 1837, then the most powerful empire in the world, she in copies of the Journal des modes , which according to oversaw an eclectic art style that would come to domi- the custom of the period, never mentioned or credited nate the remainder of the nineteenth century. Th e Vic- the designer or creator of model hats. torian era brought together many historical European Th e fashion for straw bonnets spread to the newly ORIENTALISM styles of the past, Gothic and Rococo for example, independent America and with it the millinery trade. which were sometimes surprisingly combined with ele- Betsy Metcalf of Providence, Rhode Island, was one of Th e Orient has been a source of inspiration for fashion ments from cultures like Japan. Th e end result of one the fi rst milliners in the United States. She is said to Portrait of a lady in a gown and elaborate straw hat, designers since the seventeenth century, when goods amalgamation, Gothic and Japanese, led to the creation have invented a special way of splitting locally grown 1796. Straw bonnets were popular fashion accessories through- of India, China, and Turkey were fi rst widely seen in of the Aesthetic Movement. Fashion gowns refl ected oat straw, which she bleached in sulfur fumes, plaited, out the eighteenth century. © HISTORICAL PICTURE ARCHIVE/CORBIS. RE- Western Europe. While the use of the term “Oriental- this blend: smocked robes like medieval chemises were and sewed in spirals, creating straw bonnets intersected PRODUCED BY PERMISSION. ism” has changed over time, it generally refers to the embroidered with asymmetrically placed fl oral motifs with fi ne lace and lined with silk. Having started to appropriation by western designers of exotic stylistic of chrysanthemums, two distinctly Japanese design make hats at the age of twelve, she set the trend for new conventions from diverse cultures spanning the Asian elements. straw weaving techniques and became the founder of continent. Th e infl uence of Orientalism on fashion could be American millinery. Th e production of straw hats be- Th ough luxury goods have been fi ltering into Eu- seen in many other ways, both frivolous and profound. came an important home industry and rivaled the ex- rope from countries like China since ancient times, it For example, the fad for harem pants from Turkey ap- pensive imports of Florentine (Leghorn) straw from was not until the great age of exploration that a wider peared in the form of fancy dress costume at balls, just Italy. A bonnet that is said to be one of Betsy Metcalf ’s array of merchandise from cultures throughout Asia as the Zouave costume of North Africa found its way is in the collection of Rhode Island’s Literary and His- found their way to the west. For example, the importa- into the wardrobes of some Southern soldiers fi ght- torical Society. tion of Chinese ceramics exploded in the seventeenth ing in the American Civil War and the closets of Eu- During the nineteenth century, bonnets and hats century. Not only did these wares remain popular for ropean ladies. On the other hand, items of dress from were not only fashionable, but essential in any woman’s centuries, they also inspired the creation of stellar ce- Asia would become essential for women through the wardrobe. Bonnets were romantic and coquettish and ramic companies like Sevres in France and Meissen in mid-nineteenth century. Kashmiri shawls, originally thus the perfect accessory for women of the era. Mil- Germany. Even plants, like the legendary fl ower from woven in India then exported to the west in the late linery fl ourished, led by a strong force of Parisian “mo- Turkey that led to the “tulipmania” craze in Holland eighteenth century, became a ubiquitous part of the distes,” who set the tone for high fashion and demanded and the brewed leaf that became the status drink of the neoclassical costume. Th e shawl was often paired with to be addressed reverently as “Madame.” Famous names Milliner Frederick Fox, March 9, 1993. This famous well-to-do and evolved into the ritualized “high tea,” fu- a white columnar dress made of diaphanous, fi nely were Madame Herbault, Madame Guerin, and Ma- hatmaker, shown in his studio, was a royal milliner for Queen eled the love of all things from Asia. woven Indian cotton. Its popularity inspired many dame Victorine, who created Queen Victoria’s bon- Elizabeth II. Based in London, Fox’s career peaked during the 1970s nets. Society ladies expected milliners to create unique and 1980s. © TIM GRAHAM/CORBIS. REPRODUCED BY PERMISSION.

THE BERG COMPANION TO FASHION THE BERG COMPANION TO FASHION

“A welcome, needed update of an early 2010 The Dictionary of landmark dictionary on dress; a must have Fashion History for all who care about the A to Z of fashion.” 304 pages Joanne B. Eicher, Regents Professor Emerita at 75 bw illus Valerie Cumming, the University of Minnesota 244 x 189mm / 9.6 x 7.4 inches C. W. Cunnington and PB 9781847885333 P. E. Cunnington “Concise yet detailed, academic, and £18.99 / $34.95 fabulous, it is truly a dictionary. The HB 9781847885340 Dictionary of Fashion History is an essential £60.00 / $99.95 purchase for any library serving patrons with Berg Publishers an interest in fashion, clothing, art, history, theater, anthropology, or nearly any area of the social sciences.” Library Journal

First published in 1960, A Dictionary of English Costume was monumental in scope, providing a comprehensive catalogue of fashion terms from 900 to 1900. The Dictionary of Fashion History completely updates this landmark work to bring it up to the present day.

65 Journals

The Journal of Textile Design Only available on subscription Journal of Textile Research and Practice aims 2 issues per year: Design Research to create a forum to facilitate, May, November stimulate and disseminate ISSN: 2051-1787 and Practice research in the domain of e-ISSN: 2051-1795 textile design and practice, Edited by J.R. Campbell, and encompasses a range of www.bloomsbury.com/jtdrp Faith Kane, Janette Matthews, approaches, disciplines and Lauren Moriarty and outcomes. Nancy Boiter Powell 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 Institutions will receive both process including the role of Textile and Journal of Textile drawing and the significance Design Research and Practice of craft. 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.

66 Journals

“Any university or college with an interest Available to purchase on Textile in textiles should subscribe to it and make subscription or as individual The Journal of it easily available. For individual scholars issues and makers, the journal provides a useful 3 issues per year: Cloth and Culture resource and will be a pleasure to collect and March, July, November possess.” Times Higher Education ISSN: 1475-9756 Edited by Catherine Harper e-ISSN: 1751-8350 Textile is an international and peer-reviewed journal that brings together research in textile studies www.bloomsbury.com/ in an innovative and distinctive academic forum. textilejournal 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. Catherine Harper is Dean of Faculty of Creative and Cultural Industries at the University of Portsmouth, UK.

Institutions will receive both Textile and Journal of Textile Design Research and Practice as a single subscription.

New in 2014 “Luxury is a wonderful topic which crosses Only available on subscription Luxury so many disciplines and fields in the 1 issue per year: September History, Culture, humanities, arts and social sciences. A new ISSN: 2051-1817 journal on luxury is a significant initiative e-ISSN: 2051-1825 Consumption from the editorial group and publisher – a step forward I very much applaud.” Mike www.bloomsbury.com/luxury Edited by Jonathan Faiers and Featherstone, Professor of Sociology, Goldsmiths, Shannon Bell Price University of London, UK and Editor-in-Chief of Theory, Culture and Society and Body & Society

Luxury: History, Culture, Consumption is 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 School of Art, University of Southampton, UK. Shannon Bell Price is Assistant Dean of Design at the Pratt Institute, New York, USA.

67 Journals

“Fashion Theory is needed to help students Available to purchase as a Fashion Theory and professionals understand that fashion subscription or as individual The Journal of has meaning as well as form.” Vivienne issues Westwood 5 issues per year: February, Dress, Body and April, June, September, “A fine addition to academic institutions November Culture with cultural studies programs; essential for ISSN: 1362-704X those with special collections in fashion and e-ISSN: 1751-7419 Edited by Valerie Steele costume.” Library Journal www.bloomsbury.com/ Launched in 1997, Fashion Theory is well fashiontheory 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. Institutions will receive both Fashion Theory and Fashion Practice as a single subscription.

Fashion Practice is the first academic peer- Only available on subscription Fashion Practice Volume 6 Issue 1 Volume 6 Issue 1 May 2014 Online at Fashion Practice reviewed journal to cover all aspects of 2 issues per year, May, www.ingentaconnect.com contemporary design and manufacture within the November The Journal of Editorial Educational Strategies for Sustainable Marilyn DeLong Design: Four Case Studies ISSN: 1756-9370 context of the fashion industry. Interdisciplinary in A Typology of Creativity in Fashion Introduction Design and Development Sandy Black Mary Ruppert-Stroescu and Jana M. Hawley Sustainability + Fashion = re:Dress approach, it provides a much-needed forum for e-ISSN:Basic Research 1756-9389 in Art: Foundational Therèsa M. Winge

Design, Creative Problems in Fashion Design 2014 Explored through the Art Itself Upcycled Parachutes Project Clemens Thornquist at Colorado State University topics ranging from design theory to the impact Juyeon Park Barriers and Mechanisms for the Integration of Sustainability in Redefining, Redesigning Fashion: Textile and Apparel Education: Designs for Sustainability Process and the of technology, economics and industry on fashion www.bloomsbury.com/Stories from the Front Line Marilyn DeLong, Barbara Heinemann Cosette Armstrong and Melody LeHew and Kathryn Reiley

Fashion Design Industry Fashioning the Future fashionpracticeImpressions of Current Dilys Williams practice. Sustainable Practices Noël Palomo-Lovinski and Kim Hahn Fashion Industry Sandy Black is Professor of Fashion and Edited by Sandy Black and Textile Design and Technology at the Centre for Marilyn DeLong Sustainable Fashion, London College of Fashion, University of the Arts London, UK. Marilyn Delong is Professor of Apparel Studies

at the College of Design, University of Minnesota, Front cover image: Michaela Carraro design for Fashioning the Future www.bloomsbury.com competition, photography by Sean Michel, styling Rob Phillips. Fashion Practice

Inside cover image: Sara Emilie Terp Hansen design for Fashioning The Journal of Design, Creative Process USA. the Future competition, photography by Kerry Dean. & the Fashion Industry ISBN 978 1 4725 8044 3 ISSN 1756-9370

Institutions will receive both Fashion Theory and Fashion Practice as a single subscription.

68 Index

A Complete Guide to Designing and Fashion Pattern Cutting 32, 33 Printing Fabric, The 41 A Guide to Fashion Sewing 27 Fashion Practice 68 Cool Shades 58 A Practical Guide to Sustainable Fashion 35 Fashion Retailing (Diamond) 8 Creative Fashion Illustration 22 Abling, Bina 22 Fashion Retailing (Koumbis) 10, 11 Creative Fashion Illustration 23 Advertising Menswear 51 Fashion Sewing: Advanced Techniques 30 Cultural History of Fashion in the 20th Alford, Holly Price 46 Fashion Sewing: Introductory Techniques 30 and 21st Century 50 Amaden-Crawford, Connie 27, 30, 34 Fashion Sketchbook 22 Cultural History of Jewish Dress 47 Antoine, Denis 28 Fashion Theory 68 Cultural Threads 42, 43 Apparel Merchandising 20 Fashion Writing and Criticism 52 Cumming, Valerie 65 Apparel Production Terms and Processes 20 Fashion-ology 60 Cunningham, Patricia 50 Apparel Quality 18 Fashion: The Industry and its Cunnington, C. W. 65 Careers 4th edition 7 Apparel Quality Lab Manual 18 Cunnington, P. E. 65 Fashionable Art 55 Art of Fashion Draping, The 34 Czachor, Sharon 29 Fashioning Japanese Subcultures 61 Aspelund, Karl 24 D Foy, David 56 B Functional Clothing Design 21 David Bowie Style 56 Bailey, Sarah 15 DeLong, Marilyn 68 G Baker, Jonathan 15 Designing 24 Gaimster, Julia 7 Ballroom Dance 57 Designing Your Fashion Portfolio 22 Gale, Colin 37 Ballroom Dance and Glamour 56 Diamond, Ellen 6, 8 Garner, Myrna B. 20 Banerjee, Mukulika 62 Diamond, Jay 6, 8 Geczy, Adam 55 Barbara Kolson, 17 Dictionary of Fashion 64 Gilewska, Teresa 31 Barnett, Pennina 42 Dictionary of Fashion History, The 65 Gill, Penny 12 Barrett, Joanne Ciresi 22 Dictionary of Textiles 64 Gilligan, Sarah 54 Barthes, Roland 60 Digital Textile Printing 41 Gordon, Jennifer Farley 35 Bartlett, Djurdja 54 DiMarco, Sally 34 Granger, Michele M. 7 Basics Fashion Design 01: Doing Research in Fashion and Dress 7 Research and Design 2nd edition 25 Guide to Fashion Entrepreneurship 5 Draping Basics 34 Basics Fashion Design 07: Menswear 25 Guide to Producing a Fashion Show 16 Draping for Apparel Design 34 Bay, Stefani 12 Gwilt, Alison 35 Dress and Ideology 59 Bell, Judith 15 H Dress, Fashion and Technology 47 Berg Companion to Fashion, The 65 Dunne, Lucy E. 21 Harper, Catherine 67 Beyond Design 20 Dynamics of Fashion 6 Hill, Colleen 35 Birth of Cool, The 58 Hopkins, John 25 Black, Sandy 68 E How to Read Pattern 38 Brannon, Evelyn L. 16 Eicher, Joanne B. 53 Hundred Dresses, The 48 Brown, Vanessa 58 Encyclopedia of Embroidery from the Hunt-Hurst, Patricia 59 Bryant, Nancy O. 7 Arab World 63 Bubonia, Janace E. 18, 20 English, Bonnie 47, 50 I Burns-Tran, Shannon 16 Essentials of Exporting and Importing 17 In Fashion 6 Burns, Leslie Davis 7 Evenson, Sandra Lee 53 Indian Fashion 62 Business of Fashion, The 7 Everett, Judith C. 16, 52 Irwin, Kimberly 39

C F J Cabrera, Roberto 28 Faiers, Jonathan 67 Jansen, M. Angela 51 CAD for Fashion Design and Merchandising 26 Fashion and Age 55 Japanese Fashion Cultures 61 Cadigan, Erin 38 Fashion and Cultural Studies 61 Japanese Fashion Designers 50 Camille Steen, 26 Fashion and Film 54 Jimenez, Guillermo C. 17 Carden, Susan 41 Fashion and Jazz 58 JJ Pizzuto’s Fabric Science 37 Carr, Melissa G. 5 Fashion and Museums 55 JJ Pizzuto’s Fabric Science Swatch Kit 37 Cheney, Nigel 40 Fashion Buying 14 Jobling, Paul 51 Classic Tailoring Techniques 28 Fashion Forecasting 16 Johnson, Ingrid 37, 64 Clodfelter, Richard 9 Fashion Forward 16 Joseph-Armstrong, Helen 34 Cohen, Allen C. 37 Fashion Law 17 Journal of Textile Design Research Cole, Julie 29 Fashion Media 54 and Practice 66 Cole, Shaun 54 Fashion on Television 54

69 Index

K Pizzuto, Joseph J. 37 T Kaiser, Susan B. 61 Prendergast, Jennifer 30 Tarlo, Emma 62 Kaur, Jasbir 37 Price, Shannon Bell 67 Technical Sourcebook for Designers 26 Kawamura, Yuniya 7, 59, 60, 61 Professional Sewing Techniques for Tepper, Bette K. 15 Designers 29 Key Concepts for the Fashion Industry 4 Ternus, Kate 15 Kim, Injoo 31 R Textile 67 Kim, Myoungok 31 Rag Rug Creations 40 Textile Book, The 37 Koumbis, Dimitri 14 Rath, Patricia Mink 12, 17 Textile Surface Manipulation 40 Textiles and Fashion 25 L Real World Guide to Fashion Selling and Management, The 14 Thinking Through Textiles 42 Lady Gaga Style Bible 56 Reilly, Andrew 4, 59 Tortora, Phyllis G. 43, 44, 45, 47, 64 Language of Fashion, The 60 Retail Buying 9 Tulloch, Carol 58 Lee, Jaeil 26 Rocamora, Agnes 54 Twentieth-Century American Fashion 50 Lewis, Danny 56 Rosenau, Jeremy A. 20 Twigg, Julia 55 Litt, Sheri Diamond 8 Rousso, Chelsea 16 Luxury 67 U S Udale, Jenny 25 M Sample Workbook to Accompany Professional Uncovering Fashion 52 Marcketti, Sara B. 43, 44, 45 Sewing Techniques for Designers 29 V Marion, Jonathan S. 56 Sandhu, Arti 62 Mathematics for Retail Buying 15 Sari, The 62 Videtic, Karen M. 13 McAllister, Dr. Helen 40 Seivewright, Simon 25 Visible Self, The 53 McClendon, Alphonso 58 Sewing Techniques 30 Visibly Muslim 62 McKean, Erin 48 Shaw, David 14 Visual Merchandising and Display 15 McKenzie, Stuart 22 Shawcross, Rebecca 48 Visual Merchandising for Fashion 15 McNeil, Peter 52 Sherman, Gerald J. 14 Visual Research Methods in Fashion 7 McNeil, Peter 52 Shoemack, Harvey R. 17 Vogelsang-Eastwood, Gillian 63 Meanings of Dress, The 59 Shoes 48, 49 W Melchior, Marie Riegels 55 Silent Selling 15 Warner, Helen 54 Miller-Spillman, Kimberly A. 59 Smith, Stacy Stewart 26 Watkins, Susan M. 21 Miller, Daniel 62 Sneakers 59 Welters, Linda 50 Miller, Sanda 52 Sourcing and Selecting Textiles for Fashion 38 Who’s Who in Fashion 46 Millner, Jacqueline 55 Steele, Cynthia W. 13 Why of the Buy, The 12 Monden, Masafumi 61 Steele, Valerie 60, 65, 68 Wilson, David L. 20 Moroccan Fashion 51 Stegemeyer, Anne 46 Wisbrun, Laurie 41 Mullet, Kathy K. 7 Stein, Lynne 40 Wolbers, Marian Frances 52 Stone, Elaine 6 N World of Fashion, The 6 STUDIO: Survey of Historic Costume 45 Newell, Lisa Hopkins 5 World’s Most Influential Fashion Style Wise 16 Designers, The 47 P Surface Design for Fabric 39 Writing for the Fashion Business 52 Palomo-Lovinski, Noel 47 Survey of Historic Costume 44 Y Paris Fashion 60 Survey of Historic Costume 6th Edition Pattern Drafting for Fashion 31 Student Study Guide 45 Young, Deborah E. 36 Sustainable Fashion 35 Patternmaking for Menswear 31 Z Pegler, Martin M. 15 Svensson, Birgitta 55 Zaman, Zarida 32 Perlman, Sar S. 14 Swanson, Kristen K. 16, 52 Perry’s Department Store 13 Swatch Reference Guide to Fashion Fabrics 36 Petrizzi, Richard 12

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