Fundamentals of Fashion Design
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ScribdTranslationsFundamentals of Fashion Design
Uploaded by
ScribdTranslationsBASICS
OF THE DESIGN
OF
FASHIONS
Designing is about mixing familiar
elements with new and exciting avenues
to create fresh combinations and good
products.
The main design elements are:
Silhouette , Line , Texture and
Color.
SILHOUETTE:
The silhouette is the first impression of a garment,
seen from a distance and before perceiving the
details.
The silhouette is the external shape of a garment,
which is reduced to a basic geometric description.
THE
SILHOUETTES
X SILHOUETTE SILHOUETTE SILHOUETTE SILHOUETTE SILHOUETTE
IN SQUARE IN A RECTANGULAR
SILHOUETT TALEGO SILHOUETTE
E SILHOUE ADJUSTED TO
TRAPEZE TTE BODY
INVESTED
X SILHOUETTE
SILHOUETTES:
SQUARE AND
RECTANGULAR
LINE :
The concept of line applied to fashion is often used as a synonym for style.
It can be hard or soft, imply rigidity or flexibility. It can move in various
directions and lead the viewer's gaze across the body .
You can highlight a style related to the theme and details.
Every design is a structure of carefully conceived lines and shapes that also
serve to create optical illusions with which to work to camouflage
defects.
The final garment presents, in the view of the observer, three main groups of
lines: The lines of the body, the lines of the silhouette and the lines of
the details , which should relate to each other in a balanced way.
When designing we must take into account that the lines of a garment
influence the visual movements of those who observe it, and also contribute
to determining shapes and giving character to the clothing.
BASIC RULES WHEN DESIGNING WITH LINES:
• THE OBSERVER'S EYES TEND TO MOVE FROM LEFT TO RIGHT AND
FROM UP TO DOWN, SO IF WE WANT TO STYLIZE A FIGURE, TAKE
INTO ACCOUNT THAT VERTICAL LINES ARE MORE APPROPRIATE,
SINCE HORIZONTAL LINES WITHIN A COMPOSITION ARE
PREDOMINANT OVER THE VERTICAL.
• A DOMINANT LINE IS THOSE THAT IS LONGER, WIDER, MORE
STRIKING OR IS REPEATED MORE TIMES THAN THE OTHERS THAT
MAKE UP THE GARMENT.
• IT IS SAID THAT THE EYES FOLLOW THE STRAIGHT LINES FIRST
AND FASTER, WHICH ARE THE MOST “SERIUS” AND STRUCTURAL,
THAN THE CURVES, WHOSE LAYOUT IS MORE
SOFT, RELAXING AND AIRY.
VERTICAL LINE
The vertical line, which is observed by
moving the gaze from top to bottom,
has a marked classic effect and makes
us appear taller and thinner.
The use of a single vertical is the
solution that most apparently increases
height, since when it is repeated at
regular intervals across the entire
garment, the illusion of length is diluted
because the observer's view must also
move laterally. to follow the succession.
HORIZONTAL:
It is known that horizontal lines “make you fat,” especially when used in
pairs.
Since these lines have a marked effect in any case, always avoid
making them coincide with the less attractive parts of a body.
To divert attention from a horizontal line, there are various resources,
such as balancing its effect with a properly placed vertical line, placing
it off-center.
DIAGONAL LINES
The modifying effect of an inclined line depends mainly on its inclination
and its length.
A short line of these characteristics tends to direct attention from one
side of the garment to the other, while a long diagonal is seen moving
the gaze as if it were vertical, which logically contributes to
accentuating height.
Diagonals may exist straight, curved, divergent or
convergent
Texture
WE CALL TEXTURE TO THE MATERIAL STRUCTURE OF A SURFACE
IN FASHION WE TALK ABOUT 4 TYPES:
• VISUAL, TOUCH, NATURAL AND ARTIFICIAL (OVERLAY).
THE PRINCIPLES OF DESIGN
TRENDING
The principles of fashion design are not always taught,
but they exist.
They are an important part of the aesthetic baggage and
are the means by which designers can artfully adjust the
focus and effect of designs.
If you know where to find and change them, you will be
able to view the designs objectively.
They are often the key to why a design works, or
doesn't. Deliberately failing to adhere to these principles
is just as valid as using them carefully if it
communicates a message.
REPETITION:
Collars, belts, cutting of garments in repetition.
RHYT
HM:
Rhythm is created with the repetition of line, shape, color or texture. It can also be created with progression, that is, with
the gradual increase or decrease in size, direction or color, through the manipulation of the directions of the elements
and the spaces between them; elements can be parallel, similar, contrasting or radiating.
• RHYTHM BY REPETITION It is the simplest. It consists of repeating the same motif
indefinitely in a certain direction, always preserving its size, shape and distance. The
figure is repeated several times in the same way, retaining its size, shape and
distance from one another.
RHYT
•HM:
RHYTHM BY ALTERNABILITY
Two or more different elements are used that alternate in the same order and direction so
that they form a contrast. It is more varied and is very interesting in decoration; as long as
the reasons are not abused
RHYTHM BY SYMMETRY
Another very important type of rhythm is rhythm by symmetry, here the
shapes are repeated on both sides of an imaginary axis as if there were a
mirror that reflected them. The artist starts from a line called the axis of
symmetry to place exactly equal elements on each side.
RADIAL RHYTHM
It is a type of symmetry, it consists of the circular and symmetrical repetition
of a motif, around a center following the direction of the needles. of the
clock.
RHYTHM BY PROGRESSION
In this type of rhythm, the same element can progressively increase its
height, width, size or intervals.
BROKEN RHYTHM
In the broken rhythm the shapes are repeated following the configuration of
broken or zigzag lines.
FREE RHYTHM
It differs from the previous ones, because it is not subject to an established origin, but
always maintaining balance.
• Gradation
• Long dress with rhinestones on the part
• superior
• "It is a more complex repetition where
• the features of a garment are worked
• increasing or decreasing in size
Radiation
It is the use of lines that emerge from a
common point. A pleated skirt is a good
example of this, but it can be executed
more subtly in draped clothing.
Contrast
It is one of the most used principles in design, and is responsible for
causing the eye to re-evaluate the importance of one focus area as
opposed to another. It is intentionally introduced when visual emphasis
is needed; Aspects of contrast not only include shape, size, color and
texture, contours and scale, but also position, direction and spatial
effects.
The number of shapes used and their density also affect contrast.
Emphasis or Point of Focus –
The focal point is the area that is offered as the center of interest and therefore what
attracts the eye at first glance.
The emphasis in a design must be achieved with the effective use of line, shape, color,
tone, texture, etc., that is, of the different elements.
Principles of design
IRREGULARITY
SONIA RYKIEL
Harmony
A good design is made up of a set of elements organized
and related in unity, it means a consistency of sizes and
shapes and a harmony of color and pattern, ensuring a
sense of order and therefore better appreciation.
This can be achieved by repeating elements, balancing
them in the design and then adding a little variety, so that a
sense of personality is achieved.
Overusing such variety can lose emphasis, and too much
unity can eliminate variety.
Balance:
A balanced design is one that presents equal doses of interest in all directions.
There are two types of balance.
The formal and the informal. Formal balance is obtained through SYMMETRY.
Conversely, if the two halves of a design are visually balanced but not identical, the
resulting balance is called informal or ASYMMETRIC .
The latter is achieved by shifting the center of interest and emphasizing
decentration.
Proportion.-
Proportion is the way we visually relate the various parts of a whole into a whole. It
is carried out by measuring the eye. The illusion of a body shape can be created
by playing with the proportions of a design's features or by moving and rearranging
seams and details.
