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52 Curated Experience

It's a bird! I t's a plane! It's a supermodel! The In "Superheroes: and power of a fashion concept can be traced Fantasy," the Institute at the Metropolitan back to the most unexpected of sources. Who Museum of Art in New would have ever thought that an enti re exhibi• York explores fashionable tion exploring the influences of superheroes on superheroes. Outfits by fa shion would be the basis for an exhibition at designer Bernhard Willhelm the Metropolitan Museum of Art in N ew York? and House of Moschino. The "Superheroes: Fa shion and Fa ntasy" exhibit filtered fashion th rough the colorful fiction of comic books a nd graphic novels. Beyond secret identities, the exhibition establ ished specific strategies for creati ng superhero personas that had a di rect correlation to fashion.

The fashion tactics employed included using g raphics to brand a superhero; wra ppi ng a hero in the flag to capital ize on patriotism; supersizing muscle to overemphasize the masculine or femi• nine strength; the contradiction of good and bad existing simu ltaneously within the same char• acter; adding a protective layer of a rmor; h ow aerodynamic design feeds the need for speed; b reaking with conventional standards of beauty; heroes that morphed into h u m a n -a n im al hybrids; and the int rodu ction of the a ntihe ro, with a dark• e r, grittier side that defied easy classification. This wealth of resou rces was generated from just one gen re. App roaching li ke a museum cu rator has the adva ntage of being exposed to con nections that may not have been obvious, and building a concept a round that.

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53 Filter

Anyone who hears the word has an poncho from I ris Apfel immediate image in her mind of what it is. The private col lection poncho was used very strategica lly in Ugly Betty, a television sitcom that revolved a round the fash• ion world and a Mexican American fa mi ly. His• torical ly, the poncho has never rea lly been able to ga in a foothold as a definitively fashionable garment. but it does have a di rect connection to Mexican folk cultu re. One of the fi rst times the character of Betty Suarez is on-screen within the context of the fashion world, she is wearing a decidedly Mexican poncho. If we weren't certa in of its origin, the word Guadalajara em blazoned across the front of it informs us immediate ly. The re is also an interplay with a very glamorous character who is wea ri ng a designer's interpre• tation of a poncho that brings the point home that Betty is not stylish. Used as a storytel ling tool in entertainment, a stereotype st radd les the border between humor and good taste, and that is exactly the same line that designers must be conscious of navigating when embracing cultural symbols as part of their concept.

Some designers shy away from incorporating elements from their own cu ltural background beca use they fear being stereotyped. Others avoid any di rect cu ltural references because they can not see beyond the folk costume. A designer must stretch, reaching beyond the expected, but not bypass the ethnic and cu ltural sym bolism associated with the ga rment. Fashion can use the idea of a stereotype a s a sta rting poi n t, and l et the idea evolve into a completely new expression of the source.

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America Ferrera stars as Betty Suarez in ABC Te levision's Ugly Betty.

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54 More Is More

If a designer is able to synthesize a wide variety Sara Marhamo design of elements into one garment, it has the poten• tial to be a must-have, goes-with-everything garment. This type of core ward item can be used as a founta in head that branches out into a b road col lection. But the designer must approach the design of each item with a greater understanding of how it works within the whole. This additive process should always enhance and never overwhelm, because the overall silhouette can easily be com prom ised by bulk.

Severa l strategies can be employed when assem• bl ing ensembles that involve many layers:

• Base layers should always be l ighter than those

on the next level.

• Concentrate on short over long, restricting the application to just one a rea-tan ks over tees or

over t ights, but not both.

• Control the visible proportions of each layer to see the shape it creates, and al low the eye to

fol low each laye r.

• Select special items for the mix that a re strong

enough to stand alone.

• D raw attention to fa mily resemblances in simi• lar items and c reate the ill usion of fami liarity

with dissi milar ones.

• Mix day into evening and bring a little n ight•

time glamour into the daylight.

• Coordinate looks that a re comforta ble and

not forced.

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55 Less Is More

Ockham's razor i s a pr i n c ip l e that m eans "A l l Minima list d ress things being equal, the simplest sol ution is by Donna Karan usually the right one." As it relates to fashion, this rule of thumb sets the tone for designers who don't wish to embellish or compl icate their work. Knowing when to stop is not always easy. A we l l -ed ited col lection need not be a ustere and is strengthened by the power of minimal• ism. Designers must resist the tem ptation to add elements in o rder to di sguise mistakes-a pitfall not uncommon among new designers. Be will ing to start over. A designer should be able to create something simple and restrained that is as compelling as a more complex design.

Every designer should view his work th rough the visual filter of simplicity to avoid weigh ing ideas down with unnecessa ry clutte r. Clear com pre• hension of the design challenge at hand al l ows the designer to emphasize the vital essentials. Anyth ing that distracts should be revisited and, in many in stances, discarded. But how many layers of design can be stripped away without com p rom ising the garment's functional ity or aesthetic valu e? When in doubt, leave it out.

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56 Med itation on a

Many spiritual and religious infl uences in fashion His Holiness the 14th Dalai a re rooted in ancient and a re often Lama in Tokyo, 2009 b rought to the mainstream by bold, visionary trendsetters. For insta nce, Madonna initiated a trend for wea ring crucifixes and rosary beads in the 1980s. Jean Paul Gaultier showed a collection in 1993 that was inspi red by the traditional gar• ments worn by Hasidic Jews. Religious iconog• raphy also plays a big part in fashion. Ch ristian Lacroix ended his 2009 ha ute couture show with a heavily emb roidered that could be descri bed as a tribute to the Virgin Mary.

I nternationally recognized figu res such as the Dalai Lama expose the globe to a way of l ife and d ress that people might not otherwise be aware of. One example is the saffron of Ti betan Buddhists. Along the same lines, many websites a re devoted to H ija b-friendly fa shion for M u slim women who wish to express their faith without inhi biting their fashion sense. Exploring rel igion th rough fashion can be seen as a tribute to all the meaningfu l traditions, rich history, and beautifu l a rtwork associated with religion.

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A model wearing a gown with distinctive religious references by designer Christian Lacroix, 2009 ARTISTRY

57 Building on Basics

Tried-and-true basics may feel li ke fa llback items

in fashion, but garments in this category exist beca use everyone understands and appreciates

their va lue. Staple garments a re not an easy out, beca use they actua l ly pose greater challenges for the designe r. Coming up with something com•

pletely di fferent is often easier than putting your stamp on a classic.

The little black d ress is a garment that most

women own or have owned du ring their life• ti me-it never goes out of style. It has been at the center of everything from museum exh ibi•

tions to morni ng-show ma keovers. The fi rst association most people make rega rding the

little black d ress is th rough the film Breakfast at Tiffany's in which Audrey Hepburn wea rs one designed by Hu be rt de Givenchy. In fact, it is

Gabrielle Coco Chanel's work in the 1 920s that is credited as the origin of the modern-day little

black d ress. Vogue cal led it "Chanel 's Ford," refer•

ring to the Model T, which was also designed to be simple and accessible. One of its most

redeeming qualities is the ability to accessorize it to any occasion. For men, the tuxedo is a fa shion staple for formal occasions, though

most men don't actually own one. Defi ni ng the basics that a designer will include in her body of work req ui res as m uch, if not more, research and British actor and comedian development if the designer wants her vision to Cary G rant in a tuxedo, 1953 be memorable.

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A model wearing a sequined little black d ress at a Marc Jacobs , 2010 ARTISTRY

58 Design of Dissent

Rebels have always infl uenced fashion. By

today's stand ards, the flapper look of the 1920s is charming and chic. Nostalgia now clouds

how women who epitom ized that look were perceived, such as Louise B rooks and Cla ra Bow, who were the bad girls of their day. Rebellious

and reckless, these girls bobbed their hair and wore fl imsy d resses that exposed their knees and

ba red thei r arms.

Jean Harlow, Mae West, Joan C rawford, and Bette Davis person ified the sloe-eyed vamp of the 1930s who b ro ke with conventional morals

and brandished overt sexual ity in slinky satin . Actresses such as La na Tu rner, Virginia

Mayo, and Barba ra Stanwyck b rought the femme

fata le of the 1 940s to life in fi lm noi r.

The undercu rrent of the very conservative 1950s was part teenager, part Beat Generation, and

part "rebel without a cause." and leather jac kets were the major fashion influence of icons such as James Dean and Marlon B ran do. Hippie

of the 1 960s were heavily infl uenced by a bohemian l ifestyle and the music of performers

such as Joan Baez and Joni M itchel l. Punk is one of the most aggressive antifashion m ove ments. In the 1 970s, infamous pe rfo rmers such as

Johnny Rotten and Sid Vicious of the Sex Pistols were d ressed by Vivienne Westwood, who in•

corporated BDSM gea r, safety pins, razor blades, and spi ked dog collars into her fash ions. Goth-infl uenced style In di rect contra st to sl ick power d ressing in the 1980s, street fashion and deli berately torn beca me the , heavily influenced by pop stars Madonna and Cindy La r. The 1980s also in itiated the start of Goth, which has di ve rs ified over the yea rs to include everyth ing from horror to h igh fashion. Function trum ped form in gru nge fashions of the 1990s, popularized by the Seattle music scene, and in particula r, Ku rt Coba in. Layers of baggy, un kempt plaid shi rts, charity shop finds, cardigans, and combat com prised the look.

Fa shion designers must be in touch with the fringes of fashion. Who a re the outsiders of today that might be defini ng our era?

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Grunge-influenced style ARTISTRY

59 Attitude Adjustment

Clothes do ma ke the man, or the woman, when

they are part of the storytelli ng process on stage or on-screen. Ward robing successfu lly for film or the theater requi res that each cha racter is

p rofi led accurately. For a costu me r, understand• ing the character's history, psychology, circum• stances, and environment is as im portant as a

fashion designer's grasp of a client's lifestyle. Both rely on excellent powers of observation. Fa shion tel ls a story as well. That tale is a hybrid

of the designer's vision and the wea rer's inte rests and eccentricities.

Many h igh-p rofi le models build a career by establishing a distinct look that designers want

to al ign themselves with, but models that a re able to be chameleons will be valued for their ability to transform into the ideal of any client.

U ber-versatile supermodels of the 1980s, such as Linda Eva ngelista, were kn own as cha meleons. They made good use of cosmetics, hairstyles,

and clothes to transform their appea rance in any fashion fantasy.

Fa shion designers often cite fi lms and actors as sources of their inspiration. Why not weave a

story, based on a film or motivated by cha racters, Above: Model Linda into the fabric of a collection? Who is the muse Eva ngelista in Chanel haute du jour? What is she doing? Where is she going? couture, 2003 How will she express herself? Getting i nto her Right: Costume designs from head al l ows the designer to adjust and adapt the the show of deta ils of his work so that it hints at the sou rce, Tara are a part of an exhibit of but to avoid cliches, the designer must be able to nom inees for a 2009 Emmy pull the illusion into the context of rea l ity. Award in the category of Outstanding Te levision at the Fashion Institute of Design and Merchand ising (FIDM) Museum & Galleries. The title character suffers from dissociative identity disorder �" and each costume represents � one of her personalities. � � o � ,. z

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60 Myths and Archetypes

Accord ing to American mythologist Joseph Cam pbell. exploring myths is about more than the quest for meaning. It is founded in the desire to al ign ou rselves with experiences that resonate most with our true selves.

Fa shion plays a major role in the definition of any un iversal a rchetype. When romanticizing the girl next doo r, what types of characteristics a re attributed to her? How do virtue, wholesome• ness, and pu r ity translate into the design deta ils and make her immediately recognizable? Her identity m ight be sum med up by modest silhou• ettes that suppress her sexuality, combined with fresh, bright, ha ppy colors and sweet details such as buttons a nd bows. Snap judgments may be ti mesavers, but there is a downside. You're left with generic, prefabricated labels with little or no depth. Who wants to run off carbon copies of someone else's ideal? The trick to using type• casting in fashion design is to do it creatively, to mix it up. What kind of fashion do you get when you shuffle the traits of the Earth mother and fem me fatale? Or the damsel in distress and the trickster? In fa shion, there a re ce rta inly many shades of style.

Tough = Leather

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Soft = Ruffled Florals

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61 Wit

Can f u n ny be fa s h i o n a b l e? I t i s safe to assum e that Jean-Cha rles de Castel bajac has a sense of humor. Making clothing comical is at the heart of much of his work. Elsa Schiapa relli and Franco Moschino certainly had an appreciation for whi msy and the ridicu lous. These im pish designers endeavored to amuse and did not take fashion too seriously. Where is it said that a fash• ion designer cannot p roduce beautiful work that is also witty?

Fa shion with a sense of humor can also make a statement. Li ke any good editorial cartoon, fashion can become a vehicle for del ivering social or political messages. A made out of bears m ight be taking a satirical stab at the eth ics of using fur in fashion. The conscientious fashion designer makes a personal choice about which a bsurdities and abuses she m ight wish to poke fun at.

Hu mor doesn 't always have to be cha rged with meaning. Sometimes the only motivation beh ind injecting couture with a little comedy is the p romise of a good laugh.

Above: A model wears a Lego-inspired design by French designer Jean-Charles de Castelbajac, 2008.

Right: Sebastian Errazuriz's teddy bear

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62 Blackouts and Ful l Immersion

In this age of information overload, scheduling blocks of time when every channel has been turned off is essential to a designer's process-a sel f-imposed blackout. Downtime provides the time and space needed to edit and discard the ir• relevant, maki ng room for the next influx of data. This doesn't mean that a designer should cloister hi mself complete ly. Periods of rest can include b reaking with the routine and finding alternative sti mu lation in un rel ated and un familiar subjects. Recharging is well served when the creati ve mind is challenged in uncharted territory.

When a designer is ready to step back into the current, he can sta nd still and let it c rash agai nst him or he can ride the wave. The first is a "see what sticks" kind of approach- looking for creative triggers in t rends that a re relevant to his work. A designer who is looking to ride the wave must be ready to immerse himself.

A fashion designer also needs to find a place to test the waters, respect the e nvironment of the industry, and stay in his league until he is p repa red to play with the big boys. A designer who is ded icated will keep paddling until he feels the swell, and knows it's time to pop up and ride the wave.

Full fashion immersion

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1111 .

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63 Representation and Abstraction

Extra ! Extra ! Read all about it! The written word

wraps itself around fashion, litera l ly. The di rect application of text to textile al l ows fashion to be

an instru ment that conveys thoughts, phrases, and powerful messages. Designers select content to expl icitly represent what they wish

to express on their ga rments. Pages borrowed from books or newspapers, fragments of sheet

music, magazine covers, or the handwritten word will speak vol umes when it adorns what will be worn. The reprod uction of a rt a nd photographs

as texti les for fashion is a medium that gets bet• ter with technological advances. N ew methods

al low designers to capture the minutest deta ils. With in severa l collections, designer Ralph Rucci has a rtfu l l y transferred both pai nti ngs of his own

and photographs to fa bric. Designing with images is at its best when the translation is not

obvious. Figu res that exceed the bounda ries of the garment, becom ing abstracted by their sheer Jessica Lee designs featuring a scale and position, set the scene for discovery• newspaper print fabric a moment when the observer real izes there is more there than meets the eye.

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A model wearing a gown featuring a photo print fabric by Chado Ra lph Rucci, 2010

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64 Symbols

The most common use of symbols in fashion to•

day is the graphic T-. Beyond those that a re about blatant ma rketing, there is a t remendous

market for garments in this category, which al low the wea rer to exp ress hersel f. Ni ke's "J ust do it." was at the forefront of big name b rands that

created a l ternat ives to the conve nt io n al wisdom of the day-slap your logo on every conceivable

surface. Tag lines, meaningful messages, clever quotes, provocative images, and endearing mas• cots can speak to the m essage behind the brand

better than just a l ogo ever could.

These carefully crafted g raphics a re the con• tem po ra ry eq u ivalent of a fa mily crest, a coat of a rms, or the Japanese family badges cal led Phrase T: "No autographs" kaman. Although they a re all now appreciated for their beauty, each part of the design actu- ally means something. A customer who adopts

a designer's motto or sym bolism is making a fa r greater contribution to the growth of the b rand than simply making a sale. He is flying the

b ran d's flag every time he wears it. A customer often al igns himself with these pictogra ms or ideograms beca use they a re unique; there is

instant recognition; they accurately represent the

b ran d; and they often become an a lternate mark or signatu re that em bodies the message of the company as strongly as its logo does.

Business T: Zaftigs Delicatessen

Political T: Barack Obama's presidential campaign

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Destination T: Beetlebung of Martha's Vineyard Museum T: Cooper-Hewitt National Design School T: University of Kansas mascot Museum 'Fashion in Colors' exhibit the Jayhawk

Band T: Rolling Stones Charity T: Marc Jacobs' for skin cancer awareness Memorial T: Dropkick Murphys' tribute to Greg "Chicken man" Riley

Concert T: Pearl Jam To ur Nostalgia T: Woodstock Cause T: Yoko Ono for Fashion Against AIDS at H&M

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65 Dynamics

When it comes to da nce, the space that contains

it can be considered a bla nk ca nvas, while the da ncer who moves th rough it is li ke a brush. Each

movement is similar to a brush stroke of ene rgy across it. Keeping that in mind, a designer can virtually paint movement if he considers h ow

his garments will become an extension of each gesture the wea rer will make.

The silhouette of a will change d ramatically

once the wearer begi ns to move. Will that shape restrict m ovement? H ow flexible is the fabric, and does it respond to the extension and con•

traction of muscle grou ps? Does a long hanging sleeve create the ill usion of longer arms? When

the hips suddenly twist, do the yards of fabric in

a ci rcular skirt whip around the body? Has the sheer volume of that skirt become an extension Above: Classica l ballet at of the choreogra phy? Through modern dance, the Boston Ballet choreographer Martha G raham uses the body of the dancer to pull the fa bric of a garment i nto Right: Romantic ballet tutu at bold, expressive shapes. the Boston Ballet

Color is a vital part of how dynamic a m ovement is pe rceived to be. The same gesture and the same garment m ight suggest completely di ffer• ent things in di fferent colors. A vibrant red m ight push the perception of power. Rende red in white it might be described in softer, gentler terms.

Texture plays a b ig part in how sharp or soft the movement of a garment ca n be. The trad itional tutu is constructed to reta in its rigid form while the longer " romantic tutu" is meant to be fluid. The same dance is exp ressed differently depend• ing on which form is chosen.

Dance, li ke fashion, often reflects a certain period, culture, and trad ition. The designer who understands this and also recognizes that both a re nonverba l forms of commu nication is able to anticipate and incorporate m ovement into his works. The designer must also take steps to understand how much stress a ga rment must endure based on how people will move in it, to be su re that the materials and construction a re up to the job.

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Martha G raham Dance Company performance in Berlin, 2008

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66 Trompe L'Oei l

In some ways, fashion has always been smoke Ouchi Illusion and mi rrors. Every detail of fashion can be A ci rcle with a pattern on the c ross-grain, within m a n i p u l ated to fa bricate a bel ieva ble fa <;:ade. With a squa re that places the same pattern on the a history of misdirection, it's not surp rising that lengthwise grain, creates the illusion that each fashion designers also play with perception and is floating independently of the othe r. It is named rea l ity to create optical tricks for completely after the Japanese op artist H ajime Ouchi. aesthetic reasons. Many of those illusions can be Penrose Triangle applied to the surface or woven into a textile. The impossible triangle, or the triba r, is a shape Atmosphere that could not exist in the real world and was Aerial or atmospheric perspective is the place• inspired by the work of a rtist Esche r. ment and size of objects, the value of colo r, or Pointillism the use of highl ights and shadows to produce the Use of points of different colors that a re set side illusion of th ree dimensions on a flat su rface. by side to generate the ill usion of another color Convergence was a technique used by a rtist Georges Seurat. Converging lines create the illusion of a shape Stroop that is diminishing into the distance. The Stroop effect is a cognitive visual illusion Distortion that c reates a conflict in the brain when the Sometim es called the "Cafe Wall" ill usion, paral• words used to identify pigments a re rendered in lei lines can be di storted by outlin ing offset rows di ffe rent colors. of black and white squares in gray.

Face Hu man beings a re hard-wi red for face recogni• tion, so a ny configu ration that closely resembles the placement of facial featu res seems to be staring back at us.

Illusory Contour Objects that are configured in such a way that their borders create the il lusion of another shape trick the b rain into imposing the perception of an object onto what is actually negative space.

Stroop effect bag

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Convergence Distortion Stroop effect

Illusory contour Ouchi illusion Face

Atmosphere Pointillism Penrose triangle

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67 Space and Sculpture

Clothing can be scul pted to conform to the shape of the body or built to c reate abstract spaces between the garment and the wearer. When the designer scu l pts to reflect the natural shape of the body it speaks to traditional Eu ropean tai lor• i ng, a n a rt form i n itse lf when done we ll. This discipline rel ies on techn iques that subdue the texti le, in o rder to make it fit.

Less common is the exploration of how different shapes relate to the human form. This process is both conceptual and organic. The characteristics of each sha pe, as we l l as the materials, inform the designer as to how it m ight be manipulated independent of the body.

It can be done with every conceivable shape. One example would be the use of circles or rings. When they a re applied horizontally to a design they can emu late the re lationship that the rings of Saturn have to the planet itself. They completely surround the o bject at its cen• ter, but remain independent of the same form. Issey Miya ke takes it a step fu rthe r, c reating a kind of ki netic sculptu re. In one of his creations, a lternating sizes of those ri ngs are connected to mimic horizontal acco rdion pleati ng. The natu re of structu re introduces m ovement into the gar• ment that seems to al most float, at times even bounce, as it skims a body in motion. Circles can also be used to create a unique th ree-d imen• sional su rface treatment. as in Valentino's pink bubble sculpture.

Model wearing dress from Issey Miyake's Ready-to• Wear Collection, 1994

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Model wearing a pink ensemble by haute couture designer Va lentino, 2007 ARTISTRY

68 Matters of Size: Addressing Curves

The term inology that is used to describe a wom•

an with generous cu rves constitutes a reflection of how the observer perceives those p roportions.

By today's fashion sta nda rds, someone with a fu ll figu re, li ke Marilyn Mon roe, would be considered fat, but would anyone really use that term to

describe her? A designer might even find inspi ra• tion in the descriptors. Vo lu ptuous might imply

sensua lity. Rubenesq u e cou ld s uggest a l eve l of romanticism, while zaftig captures a sense of personal ity as well as size.

Throughout history, society has both condem ned

and celeb rated a body of generous p roporti ons. Theories su ggest that cu ltu re, politics, and

econom ics all play a part in what is accepted to

be beautiful and in fashion. In the West African cou ntry of , a plump figu re is preferred.

Gavage, or fatteni ng, which still ta kes place in this region, is just as da ngerous as ano rexia. Hi story

shows that during times when women enjoyed

g reater freedoms, such as the 1920s and 1960s, fem inine attri butes such as the bustline and the

hips were deemphasized. Economic prosperity is also thought to influence fashion norms, with thin being in du ri ng good times and bigger frames be•

ing more p reva lent du ring chal lenging times.

H igh-profi le, cu rvaceous celebrities continue to make strides in building an appreciation for

beauty in all sizes. Queen Latifah (Dana Owens) is not only a h igh- profile enterta iner in the music and fi lm industries, she is also a spokesperson for

Cover Girl. Emme, whose real name is Mel issa Aronson, made a name for herself as a plus- Model Emme unveils the ful size model. Her success has a di rect correla- l-figured Emme Doll at FAO tion to consumers' desire to see a reflection of Schwarz in New Yo rk City, 2002. themselves on the ru nway, in pri nt, and over the ai rwaves.

The re a re unique chal lenges when designing for fu ller-figure women, beca use the structu re of the clothing must fit and flow properly for comfo rt and movement. Foundation garments can be built into a garment to provide su pport while also streamlin i ng the shape of the wearer. Linings al low the fashion fabric to skim the figure and move freely without clinging unattractively to the body. Design details can also be sca led to keep in p roportion to the overa ll silhouette.

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Actress Queen Latifah arrives at the 81st Annual Academy Awards, 2009. ARTISTRY

69 Dressing for Bowie

Is the goa l of the designer to d raw the obse rver David Bowie in Wembley, in gently and qu ietly? Should the sound of fash• Lo ndon ion be somewhere in the midd le, neither here nor there, just background noise? Or does the occasion call for turning up the volume in to attract kindred spirits?

While fash ion makers should be at the controls when developi ng the clothes, it is the consum• ers who will decide h ow loud they dare to be. Designers a re advised to keep in mind that psychology is always in play when pushing the envelope, so they should be ready to add ress any issues with the client. In a story about her love of fashion and music, stylist and a rtist Na ncy Ha rt passes on words of wisdom that a friend once shared with her about being true to your voice and your fash ion sense. The essence of the message came in the form of a question. "Who a re you d ressing for-your bank teller or David Bowie?" The an swer for her was clear: "I am d ressi ng for Bowie!"

David Bowie is a great exam ple of the strength of the con nection between fashion and music. Through many fash ion incarnations, from Z iggy Stard ust to present day, he has influenced style, along the way inspiring others to exp ress them• selves. Everyone seems to have a pictu re in her head of who she bel ieves she is and what she wishes to look li ke. Fashion provides the tools to act on creating that vision, while musicians and other h igh-profile figures who em brace their per• sonal style stand as exam ples of how reward ing it is to do ju st that. A designer must ask himsel f, "Who and how am I looking to influence?" and "Who does my customer identify with?"

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70 Objects of Art

Very few a rtists who work with fa bric compare The Gates by Christo and with Chri sto and Jeanne-Claude. The Gates Jeanne-Claude (1979-2005) and other p rojects li ke it set the standard when it comes to a rt for a rt's sake. In addition to the rationale behind these acts of art the daunting scale and the finite period of time in which they exist make them both one of a kind and once in a lifetime. What can the fashion designer take from this?

Most designers would be hard-pressed to make this a way of l ife, but engaging in the a rt of fash• ion with pu re intentions can become the cata lyst for a host of va l ua b l e resu l ts, i n c l u d i n g aesthetic explorations and sta rting dialogues with other designers.

What a re the criteria for judging something a work of a rt? Does it el icit an emotional re• sponse? Does it challe nge the obse rver to look at the world in a di ffere nt way? Is it simply bea uti• ful? When it comes to the a rt of fashion, the only confl ict with the traditional defin ition of fine a rt is that a garment no matter how extraordinary, does serve a pu rpose beyond just being a rt.

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71 A Designer's Inheritance

It's never too early to be thinking about the futu re, specifically the passing on of a c reative -a fashion designer's last will and testa• ment. The motivation behind such an exercise m ight be based in the desire to qua ntify the va lue of the b rand beyond dollars and cents. It also helps to ensure that the vision will continue in the event of a t ran sfer of power. Many compa• nies reach a point when it becomes more lucra• tive to the designer to make a sale and move on, rather than re main ing in cha rge.

Records, press clippings, and reference resou rces should be coll ected and stored by a li brarian. Cata l ogs serve to document a designer's h istory of col lections and special p rojects. Arch ives ben• efit from the curator's perspective regard ing the preservation and storage of heirloom garments based on their cultu ral and historical sign ifi • , cance. A b rand bible will ensure consistency \ and p reserve the integrity of the brand. The only " \ . . . other thing to consider is an heir apparent who would be able to take the reigns.

Designers who a re not yet in a position to be thinking about this for themselves can begin to study the legacies of other des igners as a source of guidance.

From Coco to Karl: The history behind the House of Chanel is one of the best examples of a successful long term legacy of fashion.

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72 Luxury Washing

The concept of luxu ry p rovides th ree rewards,

however fl eeting they may be:

• A sense of power: class-driven prod ucts or encou nters that build boundaries between us

and them

• A sense of commun ity: items and events that

al l ow us to belong to a particular social group

• A sense of pleasu re: goods and experiences

that stimulate, indu lge, and comfort

The word luxury is in danger of losing all meani ng

if you believe that every company that calls itself a luxury brand rea lly is one. At first glance, it seems li ke an abuse of the term, but the defini•

tion of luxu ry is always subjective, especially as it pertains to fashion. Si nce luxu ry is ultim ately

in the eye of the beholde r, many th ings influence our characterization of it: standa rd of l iving, sup• ply and demand, or exceptiona lly distinctive.

Competing in a market satu rated with cla ims of

luxuriousness, a designer has a great adva ntage if she has a realistic understa nding of whe re in

the spectrum of luxury her product or service stands. This also appl ies to her customers. A re they aspirational? Or is luxu ry a basel ine sta n•

dard for her client? Fu r, for example, is both a coveted and controversial commodity. When and Luxe costume jewelry how is it a necessity? Is it a symbol of a sump• tuous li festyle or of an excessive one? A clear defi n ition of what merits the luxe label p rovides a kind of p rotect ion for a designe r. Her claims a re less at risk of being challenged if they a re p resented in the appropriate context.

Luxe warni ng: The luxury trap comes in the form of "the em peror's new clothes": blind accep• tance. The natu re of the fashion business is to intentionally perpetuate a cycle in which thi ngs come in and out of favor, arbitrarily increasing or dec reasing the desi re for them. Will the con• sume r, a nd in some cases the designe r, defer to the unspoken contract between the industry, the media, and the public to agree on what luxu ry is at any given time? If it is general ly accepted to be the standard, who will the leaders be, who will foll ow, and who will rebel?

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Viktor & Rolf fur coat, 2006 N AVIG ATION

73 Copies Degrade

The M usee de l a Contrefa c;:on i n Paris i s replete Genuine and counterfeit with displays of counterfeit coutu re and every bags are displayed at the other type of fa ux luxury item worthy of coveting. Musee de la Contrefa <;:on in Paris. The museum serves The exhibits a re curated to clearly compare the to highlight the impact that originals with the forgeries, and there is no short• fake items have both on age to choose from in the marketplace. At fi rst the producers of authentic glance, the novelty of a knoc koff and the consid• products in regard to erably lower price tag may be enticing, but these consumers and the wider economy, and on general crude facsimiles don't l ive up to expectations. health and safety issues. The re a re a few things that consumers should consider when buying a luxury item:

• Point of sale: Is the pu rchase th rough a repu•

table department store or on a street corner?

• Packaging: Is it consistent w ith the promise of

the b rand?

• Price: Are you getting what you pay for?

Im itations a re misrepresenting the brand, and therefore a re illega l. Any product that assumes the identity of a b rand is also devalui ng the original work. Big companies have recourse, but the liveli of smaller operations is th reat• ened when thei r ideas a re misappropriated. Cities a round the world a re cracking down on the purveyors of fa lse fashions, confiscating and destroyi ng them. Reflecting on which materials, techniq ues, and fi nishing touches a re incorpo• rated into a design will help to make the design ha rder to dupl icate, resulting in a product that is not profitable to duplicate.

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74 Platforms

To be prepared when opportun ity knocks, a de•

signer should always be building a platform with and around his work. Authentic experiences and

va luable excha nges a re a big part of cu ltivating a

loyal fa n base. H igh-ca liber connections put the designer in a position to ene rgize and activate

that audience when needed.

Before embarking on the development of a com• pl icated commu nication network, choices need to be made regard ing which outlets best al ign

with the goa ls of the designer: a website, social media, project partners hips, blogs, live events, television appea ra nces, relevant products, writ•

ing books, a uthored magazine articles, speaking engagements, work experience, and teaching

opportun ities. The designer should also esta b• lish and prioritize his va lues, because sha red ideals forge strong bonds between him a nd his

constituents. These systems al low the fashion designer to add value by encou raging i nteractiv• ity; i nvolving his audience th rough regular up• Isaac Mizrahi presents The dates, mobi lizing the masses with calls to action, Adventures of Sandee the reward ing loya lty, and extending the personal ity Supermodel. 1997 S&S of the brand. Editions Comic Book Series. Artwork by William Frawley

.: .

"Absohl � AnI Wdedy h a e e t y l t o ...... h o w . , ., . , ...... , . , ... i rn i z ra hi a a

Isaac Mizrahi uses a segment ca How to Have Style lled "Sketches & Answers" to Unzipped DVD of by Isaac Mizrahi, 2008 sketch out answers to audience 1995 documentary questions about style. by Douglas Keeve

184 Fashion Design Essentials

Business Week magazine dubbed Isaac Mizrahi a "one• man brand," which describes his exceptional talent for translating his vision and style across a wide variety of platforms. In addition to a documentary, a series of comic books, and a book on personal style, he designed a diffusion col lection for Target; served as creative di rector for Liz Claiborne; designs products for QVC; hosts reality show, The Fashion Show, on Bravo TV; communicates with fans via a daily video-blog, Facebook, and Twitter; hosts the web• show, WATC HI SAAC.com; and was among the first generation of designers to livestream his fashion runway shows online. He was also the for stage revivals of The Women (2001), Barefoot in the Park (2006), the operetta, Three Penny Opera (2006), and the Metropolitan Opera's production of Orfeo ed Euridice (2008). N AV IGATION

75 Label Maker

Part of the fashion design process i nvolves how Ca re labels for apparel should provide complete information about the ga rments you create will in structions regarding ca re and any warning spe• be sha red with you r custome r. The re a re laws cific to that ga rment to ensu re that the qual ity rega rding how clothing must be labeled. In the is not com p rom ised. Warnings should use clear Un ited States, the Federal Trade Comm ission terminology, such as "Do not i ron," "No bleach," req ui res that most textile and wool products and "D ry clean only." A system of universa l clearly identi fy fiber content, country of ori- symbols for vi rtually every conti ngency is also gin, and brand or man ufactu re r, and that those available. labels be securely fastened. They can be sewn Designer name labels, hang tags, and price in or i roned on. A label pri nted di rectly onto the tic kets a re usually designed to be extensions of garment ca n end up as part of the design. The the brand. percentages of fiber content for each component of the garment- body, lin ing, interl ini ng, and/or decoration-m ust also be included. Keeping tabs on in formation is the designer's responsibil ity.

Un ive rsa l Garment-Ca re Sym bols

Machine Wash Cycles

Normal Permanent Delicate Hand Wash Do Not Wash Press Gentle

Water Temperature

WASHING • • • • • •

Cold Warm Hot (86°F [30°C]) (104°F [40°C]) (122°F [SO°C]) Do Not Ring

Any Bleach When Needed Do Not Bleach

BLEACHING Only Non-Chlorine Bleach When Needed

186 Fashion Design Essentials

Tumble Dry Cycles

[Q] [Q] E1

Normal Permanent Delicate/ Line Dry Drip Dry Dry Flat Press Gentle

Tumble Drying Temperatures

D RYING

e 0

Any Heat H igh Heat Medium Heat Low Heat No Heat/Air Do Not Tu mble Dry

Iron Dry or Steam

Low H igh Do Not I ron

(230°F [11 0°C]) (392°F [200°C])

IRONING No Steam

Medium (302°F [150°C])

o

Dry Clean Do Not Dry Clean

D RY CLEANING

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76 Master and Apprentice

Master, apprentice; instructor, student; mentor,

p rotege: The semantics here a re not as impor• tant as the acts of giving and receiving that take

place when the inexperienced benefit from those who have come before. Donna Karan started working under Anne Klein in 1970. In 1 974, when

Klei n passed away, Karan joined forces with Louis Dell'Olio to continue to build on the Anne

Klei n legacy. This partnership continued until 1 984, w he n Karan l eft to begi n her s o l o career. After the u ntimely death of her brothe r, Gianni

Ve rsace, in 1997, Donatella Versace was able to step in and m ove forwa rd with his vision for

Ve rsace. Her experience and respect for the b rand all owed her to honor the position the com• pany had earned in the fashion world, and still

p roj ect her vision for the futu re of the label.

Yohji Ya mamoto's da ughter, Limi Ya ma moto, was exposed to fashion early in l ife. She carries on her father's passion for design through her work, a

label cal led Limi Feu. She had shown in To kyo for severa l years before a successfu l Pa ris debut in

2007. Her father's aesthetic can certainly be felt th roughout her work, but the second-generation Ya mamoto has an independent perspective on

fashion all her own. Fashion designe rs/sibli ngs Not only have these relationships benefited the Gianni and Donatella "master's" brand, in that the apprentice can Versace, 1990 maintain the designer's vision of the brand, but they also al l ow the apprentice the chance to insti ll her own sensibilities in the fashion. It's a win-win situation.

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A model wearing an ensemble from the Limi Feu fashion show, 2010 N AV IGATION

77 Designing the Job

"C reate a job you love, and you will never have to work a day in your li fe": It's a sl ightly mod ified version of the wisdom of Confucius. Designing your own job may sound li ke a luxu ry, or perhaps is the very defi n ition of a fantasy, but in spite of how un realistic it sounds, there are some pretty simple steps you can ta ke to get a little bit closer to that ideal work experience. The good news is that a fashion designer is al ready on the a rtist's path, so making an emotional investment in her work is par for the course.

First, no one wants to hea r, "That's not my job." If something needs to be done, someone who sincerely ca res about the end result also ca res about how to get there, so she assigns herself tasks that seem petty. This means there a re no small jobs.

Second, "I was only following o rders" is just as bad. Have a point of view, a nd let your voice be heard. Risk and sacrifice come with the territory if in novation is goi ng to take place. Every time you suppress yourself and avoid uncomfortable situations you devalue you rself and your work.

Final ly, this is n ot the domain of a select few. H aving pu rposefu l pu rsu its, and letting your work ethic classify you as indispensable, is the currency you need to remain com petitive. Going the extra mile will pay off in the end.

190 Fashion Design Essentials

The ten things to consider when designing your ultimate job: Ask yourself how does this job meet your expectations with regard to: 1) creativity; 2) financial compensation; 3) recognition; 4) commu nity involvement; 5) productive teamwork; 6) strong leadership; 7) opportunity for advancement; 8) skill development and continuing education; 9) environmental impact; 10) intel lectual integrity.

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78 External Influences

I nd ividuals and orga nizations that have the

a uthority to make their views known to a broad aud ience can have a profound effect on public

opinion, and ultim ately the commercial success of a designer. A nod of approva l from a respected indu st ry p rofessional can fuel the fire while a

negative gesture may have the power to extin• guish it.

Ch ristian Be ra rd, known as Bebe, was an a rtist in

Paris who had great influence in the 1930s and 1 940s. He was sought after by clients of ha ute couturiers because his fashion assessments held

a lot of weight. In many ways, he was a prede• cessor to the stylist. Stylists provide a va luable

service because they p rocess fashion in formation

in a way that takes into consideration the needs of the client, the vision of the designer, and the

environment in which the work will be seen.

As long as there are creative individuals who a re b rave enough to share their work with the rest of the world, there will be critics. Anyone

who is pursuing a career in fashion is fami liar w i t h Vogue's editor- in-chief, Anna Wi ntour. It i s

im porta nt to remember that she had established her reputation long before movies and books made her a household name. Yea rs of experience

a re responsible for her im measurable impact on the careers of designers and the fashion indu stry G race Coddington and as a whole. Hamish Bowles attend a Marc by Marc Jacobs fashion Whether the source of influence is interna• show, 2010. tional, national, regional, or local, there will be journal ists, editors, and stylists who help guide the di rection for fashion under thei r watch. On the global stage, G race Coddington, Hamish Bowles, and Andre Leon Ta ll ey a re just a handful of fashion ed itors who a re held in h igh regard for how well they a re able to interpret fash ion. These a rbite rs of taste enjoy a broader understanding of the fashion la ndscape and, as a result, a re in a position to sha re invaluable feedback. Although designers should always trust their in stincts, they wou ld be well advised to listen when the criticism is constructive.

192 Fashion Design Essentials

And re Leon Ta lley N AV IGATION

79 Lifestyle: A Rosetta Stone

The designer discovers or creates his unique Rosetta stone, a primer that helps him to decode and t ranslate the intricacies of other fields. Armed with a key, he approaches his design c h a l lenge as an i nterp reter. Although h e needs to work within the natural bounda ries of his craft, he can introduce his audiences to new things, educating them as to how viable and va luable they a re within the fra mework of fashion.

Whether it's pop culture or science and technol• ogy, ga ining insights into other areas stimu lates the design p rocess and spawns new ideas.

The a rts have always sti mulated the c reative mind, but dedicated p ractice of another a rt form-whether it is painting or performance• gains adm ission into a new dimension of that a rtistic outlet. Analyzing horticultu re and the cu• linary arts provides insight into how to cu ltivate plant l ife and prepare food. Animal, insect, and sea life also broaden the scope of understa nding of how th ings work. Even if in-depth comprehen• sion is not the goa l, a casual acquaintance with the subject can be enough to trigger an idea if the designer is open to it.

Fashion and art: preschool masterpiece by Zak Atkinson as inspiration

194 Fashion Design Essentials

Fashion and technology: Fashion and architecture: Fashion and food: ci rcuit board surface as decoration reflecting patterns in man-made structures produce provides a source of sil houette and color

Fashion and transportation: Fashion and nature: Fashion and lifestyle: emu lating the finish and flair of automobiles identifying layers of texture in landscapes beach toys provide common reference points

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80 Fashion Portals

The re is little point to all the hard work i nvolved It's im portant to com pa rtm enta li ze different in fashion design if the fi nal product doesn't go needs for the press and what they u ltimately a nywhere. Designers must also design systems need to deliver to their aud iences, as wel l: A that distribute their work to many di fferent des• blogger is looking to express his opinion; the ti nations, utilizing lots of channels-with each journal ist needs to present the facts; an editor channel having a distinct message. needs to place the designer's work within the context of the current vision for the market. How In-store, it is all a bout ha nger appea l. Retailers can you help each of them reach their goals? expect the prod uct to be packaged in a way that maintains the integrity of the design. Last, and most im portant, public opinion and word of mouth are pa ram ount. Public opinion, in Screen appeal ru les onl ine, and that means particula r, is a powerful conveyor of messages. beautiful, clear ima ges. The e-commerce experi• It also va lidates and perpetuates a designer's ence falls short in many ways beca use there is reputation. no way to touch the fa bric or try on the garment.

A picture must provide a great deal of visual

information and be strong enough to engage the customer. A showroom is a bridge between designer and

buyer. The sales representative must be in formed

and invested in the prod uct because she is edu• cating and stimulating the client in order to make the sale.

Celebrity association is one of the easiest ways to scale up perceived im portance when the del iv• ery channel is through imagery-either motion or still shots. Having a well- known persona repre• senting the prod uct is an asset.

Pop-up stores, taking a collection on tou r, trunk shows, a nd private shopping experiences a re just a few of the guerilla tactics that can be em ployed to surprise and seduce the shopper.

Fa shion shows and shopping events put the clothes on display within the context of enter• ta in ment. The ru nway presentation is trans• formed w ith theatrical models, hai r, makeup,

and styli ng.

The fashion show: Girls Rule! Runway fashion show at Bryant Park during New Yo rk

196 Fashion Design Essentials

The pop-up store: Puma transformed shipping containers into prefabricated retail stores that can literally pop up a nywhere.

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81 Diversification and Specialization

Right: Bridal gown Find one thing you do well, and do ju st that. Whether the niche is bridalwear or skiwea r, Below: Skiwear ensemble by the path to special ization is one which requi res M. Miller that a designer focus exclusively on a particular

market and master the design i ntricacies unique to that field.

Fi n d one t h i ng you do we l l , and tra n s late what was successful about it into many different prod•

ucts. During the late 1800s, Bu rberry established itself by focusing on outdoor attire. The com pany

is also credited with the invention of gaba rdi ne,

a du rable, breathable, water-resistant fa bric. At the start of Wo rld War I, the com pa ny was com•

missioned to develop what ended up being the . Its signature was introduced

du ring the 1 920s as a lini ng for the coat.

The symbols of the b rand a re interpreted and � I o adapted to the needs and desires of today's .. ()

consume r. Outerwear is still at the heart of the mis � ro b rand, but items such as the iconic trench coat m Z ); a re reimagined each season. The classic black, ;;: tan, and red Bu rberry pattern, n ow a registered trademark, is no longer relegated to linings. It can be found on apparel, fragra nces, accessories, luggage, and even swimwea r.

The re is an a rgument to be made for both sides, but d iversification definitely benefits from the p restige of having done one thing well for a long time. Good foundations provide an excel lent environment for experi mentation and expa nsion.

198 Fashion Design Essentials

A model displays a ensemble by Bu rberry, 2005. N AV IGATION

82 Crowdsourcing Style

Too many cooks in the kitchen spoil the soup,

and too many opinions during the design process can turn out diluted or in cohe rent work. H erd

behavior often strives to appeal to the l owest common d en om i nator. Bei ng well awa re of the downside of design by committee is a good

reason for creating a filter for feed back and criti• cism, constructive or otherwise.

The fl ip side of this is the positive power of the

people. C rowdsou rcing is reaching out to b road aud iences-m ost comm only ove r the I nternet• to help develop designs, raise money, and

mobi lize people. Services such as Kickstarter .com help volunteer o rga nizations, cha rities,

startups, designers, and level the playing

field between amateurs a nd professionals. They remove the midd leman, al lowing a designer to

go di rectly to the customer for content, fund ing, and distribution. The goa ls of crowdsourcing include finding resou rces, outsou rcing projects,

finding fund ing, cou rting inspiration, ga ining a democratic consensus, min im izing costs, and

taking adva ntage of the wisdom of the masses. When it is managed well, mass colla boration can be leveraged to take advantage of having

mu lti ple designers participating in problem solv• ing, multiple sources contributing com ponents of

the design, and finding scores of patro ns who will support a designer's vision. Above: Designer Valerie Mayen of Project Runway Making a good pitch onl ine is not much differ• fame, used Kickstarter.com ent from the process of d rafting a business plan successfu lly to raise funds for to im press a ban ker. A compelling case must be a startup venture. The project made, beca use investors of any kind a re loo k• is a fashion design incubator ing for sound ideas as well as a spa rk- not to ca lled Buzz & Growl, based in Clevela nd, . mention a reward for getting involved. Ta king advantage of this platform raises awareness and helps to ga uge what people actually want, and potentially empowers participa nts to become a commun ity of brand citizens.

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83 Labors of Love: DIY

It's easy to say "I could have done that." As a ny designer knows, setting aside the time, getting o rga nized, and figuri ng out exactly how to do that is another thing altogethe r. Satisfaction is cited as the primary motivation for doing it your• sel f, which explains why so many invest time and money in classes, workshops, books, magazines, and kits that al l ow them to literally take matters into thei r own hands.

Writing off homespun attempts at fashion as merely crafts and hokey hobbies is a mistake. Although the results may display an obvious lack of training, great in genu ity and a wealth of rough concepts often can be pol ished in the hands of a trained designe r. Many things produced in this environment cater to un identified niche markets that m ight have otherwise gone un noticed by designe rs. The influence of these microma rkets should not be underestimated. Natural talents with the potential to transform a pastime into a career now have distribution channels such as Etsy.com and public markets in which artisa ns and aspiring designe rs can show and sell their work. Pay attention to trends in these ma rkets.

Etsy success story: Moop, a Pittsburgh-based company that designs and manufac• tu res handmade bags, was able to use the website to build their business. Owner/ designer Wendy Downs describes Etsy.com as a place she could experiment with and learn how to run a business.

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84 Rapid Prototyping : Twenty- Four- Hour Fashion

Real ity shows such as Project Runway and proj• (uni)forms are designer/

artist Ying Gao's response ects such as the 24- Hour Film making to the phrase "Speed kills a re good exa mples of popu lar "sink or swim" creativity." By using morphing enterprises. Be warned, however, that condens• software, she was able ing the time allowed for a project to be executed to generate new can p rodu ce both brilliant and disastrous results. designs based on the origi na I

As ente rtain ment, it might be fun to observe within seconds.

the praise and the pitfalls, but in the real world, this could correlate to the begi nning or end of a

career. Wo r k i ng i n the fas h i o n ind u stry doesn't

always mean running at breakneck speeds, but

it does demand that c reatives be able to make smart decisions in crisis mode.

Not everyone is cut out for it, so it's important to im pose time-sensitive challenges to test for

vulnerabilities. These a re great opportu nities to

learn h ow to anticipate and avoid the kinds of

things that have the potential to derail the design

process. Situations in which speed impedes the � I o p rocess and th reatens to thwart creativity a re .. � ro ideal occasions in which to consider the skills -< o o that st ill need to be honed; immediate situation s :Z assessment, quick decision making, effi cient is "' application of techniq ues, fast problem solving, S; o an d/o r c reative resourcefulness. z o Some designers th rive on the st ress of tight, Original 1940s German female worker's uniform and sometimes un real istic, dead lines. Rapid-fire fa shion design re lies heavily on instinct and ex• perience. Beyond crossing the finish line, success under these conditions should also be measured by how well executed the work is, and how clearly the designer's vision is perceived. Speed as a cata lyst for good design is a difficult thing to sustain. The rush of these p ressu re-cooker p roj • ects may p rovide an add ictive rush of ad renali ne, but that is ha rd to rely on.

202 Fashion Design Essentials

Ying Gao (uni)form #1 Ying Gao (uni)form #2 Ying Gao (uni)form #3

Ying Gao (uni)form #4 Ying Gao (uni)form #5 Ying Gao (uni)form #6

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10 0 What Is Good Fashion?

Assigning value to someth ing that stems from in• A model wearing a gown dividual creativity is a very su bjective thing when from Alexander McQueen's the only criteria a re the sta ndards of the day. In last col lection during the 2010 CFDA Fashion Awards addition to being judged for its aesthetic va lue, at Alice Tu lly Hall at Lincoln fashion is also charged with being functional. In Center, 2010 hindsight, it is easy to assess why some houses endure, some make a brief but sign ificant mark at a singular point in time, and some fade from memory. The thi rd group, although it demands greater effort, has the potential to reward us with exciting discoveries. For instance, not many people know that a rch itect Frank Lloyd Wright designed d resses for his wife and for a select few of the lad ies he created homes for. So, what type of designer produces good, if not great, fash ion?

The inventors, who int roduce unprecedented ideas- necessity often fuels these designers, as they approach a design chal lenge using alter• native m ethods. The a rch itects, who design the b u i l d ings we i n h a b it-they w i l l a l s o look to create a lifestyle a round their vision to achieve a com prehensive un ity. The scholars, who a re the standard- bea re rs, serving and p rotect ing the a rt and c raft of fashion-they immerse them• selves in the min utia of how others th roughout hi story have done it, and as a resu lt, they keep those practices al ive. Without these stewa rds of fashion, every generation of designers wou ld be starting from scratch. And fi nal ly, the rebels• whether we understa nd them or not we appreci• ate the iconoclasts because they have an im pact on our l ives. Thei r imagi nation and passion for the work is fueled by an u nyielding need to pro• voke and challenge us. Alexander McQueen was one of those bad boys of fashion who was known for being t rue to his vision. He will be remem• bered for the power and pu rity of his work. In the end, one word defines good fashion. Integrity.

204 Fashion Design Essentials

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205 CO NTRI B UTOR I NDEX

1. Alyce Santoro 17. Marie-Eve Tremblay

www.alycesa ntoro.com [email protected]

2. Berber Soepboer & Michiel Schuurman 18. Massachusetts College of Art and Design

www. berbersoepboer.nl www. massart.edu

3. Blauer 19. Moop

www. blaue r.com www. moopshop.com www.etsy.com/shop/moop

4. Bob Packert www. packertphotography.com 20. Oscar Correcher

www.oscarcorrecherphotography

5. Boston Ballet .blogspot.com

www. bostonbal let.org 21. Philips Design, SKIN Probe Project

Cory Stierley www.design .phi lips.com/p robes/projects www.csphotogra phic.com /d resses/index. page

Daniel Faucher Couture 22. Poor Little Rich Girl

www.daniel fau chercouture.com www.shoppoorlittlerichgirl .com

Dominique Lafond 23. School of Fashion Design, Boston

www.dom iniquelafond.com www.schooloffashiondesign.org

9. Fine Art by T 24. Sebastian Errazuriz www. meetsebastian.com finea [email protected]

10. Goods of Conscience 25. Simplynate Photography www.sim plynate.com www.goodsofconscience.com

11. I saac Mizrahi 26. Tracy Aiguier www.tracya iguie r.com www.isaacmizrahiny.com

12. Jessica Weiser 27. Uniform Project . . . www.theuniformproject.com www.Jesslcawe lser.com

13. Joel Benjamin 28. Valerie Mayen Buzz & Growl www. buzzandgrowl.com www.joel benja min .com www. ki ckstarter.co m/p rojects/ye l l owca ke/

14. Karolina Zmarlak buzz-and-growl-clevelands-new-fashion- incubator www.karolinazmarlak.com

15. Kevin Day 29. Victoria Dominguez-Bagu mariavictoriadesigns@gmail .com www.kevi ndayphotography.com

16. Lucy Orta 30. Ying Gao www.stud io-orta.com www.cavaalle r.blogspot.com

206 Fashion Design Essentials AC KNOW LEDGM ENTS

Special thanks to Robert Frye, Viola Gonzalez, Tina Calderin, Ja ke & Ena Calderin,

Patricia & Wa l l ace Frye, K i l sy C u r i e l , Rafael V i l l a l o na , Kathy P i l a rs k i ,

Richard B rooks, Mary Ga rthe, Jacobo & Edith Calderin,

Fructuoso & Gloria Gonzalez, Carmen Rita Gonza lez, Rebecca Gonzalez,

Jenn ifer Hudson, Jaycey Wetheri ngton, Jaclyn McGeehan, Jamie Mendoza,

Doreen Mendez, Al icia Kennedy, Betsy Gam mons, Ro ytel Montero, Rosina Rucci,

Che ryl Richardson, James Han non, Sondra G race, Richard Bath, Joel Benjamin,

Bob Packert, Victoria Domiguez- Bagu, Marie- Eve Tremb la y, Lisa Baker,

Tra cy A igu ie r, Jane Conway-Caspe, Jayne Avery, Dana M oscardelli, Terri Mahn,

Daniel Fa uche r, Lisa Ta ra nto, Elaina Ba risa no, Lisa Micheels, Phyllis Misite

Louis Selvitella, Mered ith Byam-Mi lle r, Nancy Hart, Mariclai re Hession-Landman,

Laura, Harrison & Amanda Soelter, Bethany VanDelft, Mu njeet Geyer,

Alex, Cynthia & Zak Atkinson, Mark Bai ley, To ny Ha lston, Donna Rice,

Chuck Lacombe, Wendy Downs, Va lerie Mayen, Rachel Kacenja r,

Marie Galvin, Shaunt Sarian, Jen nifer Lu rie, Erika Stai r, Sarah Carnabuci,

Amie Belobrow, Shi nroku Ohashi, Lisa Koplow N ogle r,

Joe Carl, Shannon Glasheen, Jeff Lahens, Shelley Chhab ra,

Mariel MacNaughton, Charles Heightchew,

Ying Gao, Father Andrew O'Connor, and Lisa Koenigsberg

Thank you to facu l ty, admin istration, and students past and present

at the School of Fashion Design in Boston. A BOUT THE AUTHOR

Jay Calderin was born and raised in N ew York In his capacity as a fashion designer his work City. The Los Angeles Times called his fi rst book, has graced the pages of Vogue, £lIe, the Boston Form, Fit, and Fashion, "a new fashion bible for Globe and the Boston Globe Sunday Magazine. He designers, aspire rs, and the just plain cu rious; has authored numerous a rticles and columns for this tome contains all the secrets." After m ov- newspapers, magazines, and the I nternet. He has ing to Boston and discovering the great wealth worked as an accred ited , photog• of local fashion talent, he adopted the city as his raphe r, and as a fashion com mentator for televi• new home, whe re he founded and became the sion. He c redits his solid foundation in fashion to executive di rector of Boston Fa shion Week. his t rain ing at the H igh School of Fashion I ndus• tries in N ew Yo rk City. The school cultivated a He is an instructor a nd the di rector of creative work eth ic and al legiance to excellence that has marketing at the School of Fashion Design in served him we l l ever si nce. Th roughout his career Boston, a position that al lows him to be involved he has maintained a passionate dedication to the in programmi ng development a nd commun ity im portance of giving back to the commun ity. As outreach, while also functioning as an indu stry an extension of that commitment, he works with liaison. In addition to the wide va riety of fash- lo c al cha rities a s we l l as grassroots e ndeavors to ion and professional development courses he nu rtu re and develop new talent-a driving force teaches at SFD, he has also served as an instruc• behind his work with the Fashion G roup I nterna• tor at the Massach usetts College of Art and tiona l as a regional di rector in Boston. Design, Bu rdett Col lege, and Lasell College. His pu rsuits as a professional coach and motivational See his website at www.ca lderin3.com. speaker have afforded him opportun ities to sha re his ideas about the a rt and indust ry of fashion at institution s i n c l u d i ng H a rva rd U n iversity, We l l es• ley Col lege, Tufts Un ivers ity, Lesley Un iversity, Babson College, Museum of Fine A rts Boston, Pea body Essex Museum, Boston Public Library, and the Hatch Festiva l in Bozeman, Montana.

208 Fashion Design Essentials