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Library of Congress Cataloging-in-Publication Data Barrett, Joanne Designing Your Fashion Portfolio: From Concept to Presentation p.cm Includes bibliographic references and index. ISBN 978-60901-007-2 (paperback) 2012045678 ISBN: PB: 978-60901-007-2 Typeset by Jones Prepress, New York Cover Design Cover Art Credit Printed and bound in the United States of America
TABLE Of CONTENTS
Preface
CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5 CHAPTER 6 CHAPTER 7 CHAPTER 8 CHAPTER 9
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Introduction to Portfolio Building for Fashion Designers The Idea Storage Bank Entering the Market with Professional Flair Focused Portfolios Specialized Portfolios: Diverse Market Segments Successful Line Building From A to Z: The Portfolio Project Building on the Portfolio Project The Digital and Web-Based Portfolio Interview Insights
1 46 76 96 158 200 264 290 314 350 356 356 357 359 360 365 366 367 368 370 372 376
Epilogue Appendices
A. B. C. D. E. F. G. H. I.
Trend Research for the Zeitgeist Fashion Research Sources Portfolio Websites Art Supplies to Experiment With Art Supply Sources Trade Shows of Interest to Fashion Designers Researching an Apparel Market Fashion Forecast Services Fashion Illustration References for Inspiration
Glossary Index
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1 2 3 4 8 18 21 26 27 27 34 35 38 38 38 48 46 46 48 48 51 55 55 59 61 64 67 67 76 76 78 81 84 84 85 85 92
96 96 98 98 99 100 101 102 102 124 127 130 138 141 142 143 144 144 145 158 158 160 163 163 167 170 174 176 176 180 184 186 188 192 200 200 203 203 203 205 205 205
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Decide on Your Collection Focus Unite the Segments Step 1: Concept Building Mood/Concept Building Color Concept Building Textile Concept Building Silhouette Concept Building Concept Summary Step 2: Editing General Materials Checklist for Step 2: Editing Edit the Mood Pages Edit the Color Story Edit the Textile Selections Edit Silhouettes and Flats Link the Segments Layout Checklist Implement Think and Do Step 3: Finalizing and Commiting Implement, Think, and Do
209 209 210 212 220 226 232 239 241 242 243 245 249 253 253 257 257 261 262 264 264 266 272 273 276 279 281 282 282 282 285 288 288 289 290 290 292 294 303 303 307
Layout Navigation
308 309 314 314 318 320 328 330 330 350 350 351 351 352 352 352 353 353 353 353 354 354 354 355 356 356 357 359 360 365 366 367 368 370 372 376
EPiLOGUE
Objectives Understanding and Preparing the Portfolio: Chapters 1 and 2 Chapter 1 Illuminates the Designer Chapter 2 Manifests the Illuminated: Creating an Idea Storage Bank Deciding on the Market Direction of the Portfolio: Chapters 3, 4, and 5 Chapter 3 Launches the Design Process and Apparel Line Building Chapter 4 Markets the Design Collections with a Focus Chapter 5 Branches the Direction for the Choices Portfolio Collection Doing the Portfolio Project: Chapters 6, 7, and 8 Chapter 6 Creates the Portfolio Chapter 7 Adapts the Final Portfolio to Different Purposes Chapter 8 Gives Guidelines for an Electronic Portfolio Chapter 9 Walks You through Interviewing with the Complete Portfolio Conclusion
APPENDicES
A. Trend Research for the Zeitgeist B. Fashion Research Sources C. Portfolio Websites D Art Supplies to Try E. Art Supply Sources F. Trade Shows of Interest to Fashion Designers G. Researching an Apparel Market H. Fashion Forecast Services I. Fashion Illustration References for Inspiration Glossary Index
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PREfAcE
The goal of Designing Your Fashion Portfolio: From Concept to Presentation is to free your mind of the question, what makes a portfolio stand out as exceptional, and how can I create one? The ultimate goal of the text is to give you, the designer, a tangible set of skills and a visual imprint of the process and completion of a job placement portfolio. The skills and techniques can be put into practice throughout your student and professional career. The fashion design portfolio (FDP) method is motivational. The teachings encourage you to increase your inner drive, enabling your creative level to reach high standards. The approach is to demonstrate how to become systematic while being creative. The text walks the you through exercises, self-evaluation critiques, goal-setting lists, commercial refinement research, and applied techniques, and shows you how to do these tasks while simultaneously maintaining the creative design process. Unlike a typical refinement application being the very end of the process, FDP teaches you to visualize your finest portfolio contents at the outset of the project and then guides you through the exercises that lead to the realization of your ideal portfolio. FDP presents you with direction and choices that best match your skill level. The exercises teach you to understand how your skill level affects your goal planning to produce your best image package. Proven techniques help you determine how far to go out of your comfort zone with your current skills set, as well as how to acquire and hone stronger skills. The system enables you to fuel your individual creative engine throughout the design process. It intends to maintain the flow of your creative thoughts balanced by extreme reality checks for portfolio betterment. Based upon my years of teaching on the college level, the book presents real-life questions by current-day students, which are answered by The chapters of Designing Your Fashion Portfolio are sequenced to take readers step by step through the process of creating a portfolio to present as a primary way to market themselves to potential employers. The first five chapters discuss the initial steps of collecting ones work and selecting the contents of a portfolio focused on a particular market segment. Chapter 6 is a pivotal chapter that provides options for organizing a portfolio geared to promoting the designers qualifications for a job with a specific company. The remaining three chapters discuss how to revise the contents of the portfolio to market the designer to other potential employers and how to present the portfolio in an interview. In Chapter 1, the contents of the portfolio are defined and illustrated by examples of each element. This chapter outlines collection size, number of collections, and sequencing of the portfolio pages. An explanation of the different end uses of a portfolio and the importance of example and brought into the process of portfolio development. Professional designers experiences are presented for reference and motivation. The sequence of the chapters is based on in-class development of portfolios in the senior-level exit portfolio courses. The chapters can be referenced throughout your professional career in fashion design, as well as during college. The visual examples in the text are meant to show diversity in skill level and segments of the fashion market to encourage you to work at the level that best showcases your strengths and understanding of not just who you are as a designer, but what you can bring to the company or design studio job. The exercises, boxes, and visuals aid you in executing the portfolio project.
O R G A NI z At IO N O f tH E TEX t
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the sketchbook are emphasized. Students set up an initial portfolio of past and current work for immediate interviews and to serve as a catalyst for launching the final portfolio project. They preview steps in portfolio building that will be studied in more detail in later chapters. Chapter 2 serves to organize the building process of designing the portfolio collection. The conceptual design of the portfolio layout is planned at the same time the collection is designed. Activities performed within and outside of the studio are segmented for the purposes of creating clarity, but designers can worked on these tasks as they see fit. The basic steps of the design process are used as a map for collection building. The chapter includes the basic guides to organizational techniques, retail shopping, forecast and color trend services, fashion and trade shows, and the textile and print markets. Icons of the compile, edit, finalize, and designer filter formulas serve as visual cues for steps in portfolio building. Exercises ask the designer to outline the process of a designer project, to research category specializations, and to apply a hit this mark method of designing a market-right collection. Chapter 3 sharpens the designers portfolio marketing strategies by focusing on retail channels of distribution and considering a market specialization. The exercises walk the designer through how to identify the target consumer, the designers own taste, price points, and designing for age groups and size ranges. In addition, the exercises tap the designers motivations for portfolio direction and ask the designer to idealize the final portfolio through visualization techniques. The final exercise is the preparation of the designer grid to position all the design aspects of mood, color, textiles, and silhouettes of the portfolio collections. Chapter 4 defines the market-focused portfolio through viewing, planning, and technique. Portfolios focused on gender, childrens wear,
maternity, and large sizes are discussed. Attention is also given to key category influences, general sportswear portfolios, specialized portfolios, and attitudinizing the fashion figure for a specific market. The exercises ask the designer to compare sizes in retail stores to better understand the consumers fit and function requirements, and to study influential fashion illustrators for inspiration in portraying appropriate figure attitudes in their own portfolio collections. The specialized portfolio is defined in explicit detail in Chapter 5. Categories of design are described verbally and shown in illustrations. The boxes itemize the types of specializations, inform the readers about how the specialized designer works to meet the clients needs, and give further in-depth descriptions of the activewear, bridal, and millinery categories. The exercises enforce the need to get to know ones specialized client and to evaluate ones own design and problemsolving capabilities for a specialized category. In Chapter 6, students undertake the Portfolio Project. The portfolio pages are described and illustrated in terms of the segments of mood, color, textiles, and silhouettes/flats pages, and each segment is designed through the steps of concept development, editing, and finalization. The building blocks of the previously completed materials are utilized: The designer grid, the idealized final portfolio exercise, the sketchbook, retail market reports, illustrations, layout and finalization evaluations, and art supplies and CAD programs are all brought together as tools for creating the final portfolio story. Chapter 7 walks the designer through the completion of all collections being shown in the portfolio. The portfolio project is reviewed for adherence to the idealized portfolio goals, the layout goals, and the page sequencing to tell the story of the designers collections. The designer considers options for further refinement of the
PREFAcE
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layout details, page-turning dramatic effects, branding/packaging, and possibilities of including past collections in the portfolio. Keeping fluid in portfolio building and refinement is presented as a lifetime endeavor. Exercises help readers evaluate whether their portfolio goals are actualized, train them to become more objective in their critiques of their work, and guide them to make changes in their portfolio projects to present themselves effectively with a portfolio tailored to each new interview throughout their careers. A sequencing exercise tasks designers with evaluating the drama created in the order of the portfolio pages. Chapter 8 introduces the designer to the basic language, formats, and visual presentations of digital and Web-based portfolios. Old school presentations are blended with new school portfolio combinations for designers to decide how much technology to apply to their books. This chapter
surveys programs and devices that can enhance designers portfolios through modern technology. Chapter 9 prepares the designer for interviews for entry-level, design-related jobs in the apparel industry. Preparation for the interview, expectation of the designer and interviewer, and interview follow-up methods are outlined in the text and practiced in an in-class role-play exercise. In a series of interviews, design professionals share their insights and inform and inspire student designers as they take their portfolios on the road for their first job interviews. An epilogue reviews what was accomplished in each chapter; it can be used as a reference during portfolio building throughout a designers career. Finally, this book is about learning to be open to new challenges in designing a portfolio that best suits the client and the designers specific career goals.
AcKNOWLEdGEMENTS
This book is dedicated to all of my former and future students. I am sincerely grateful to all of the students I have had the privilege to teach in my classroom at Massachusetts College of Art and Design. Ive learned so much from each of you. My experiences working with you have shown me where there was need for a textbook to help you learn the process of creating a design portfolio; and thanks to you, I learned how to teach my craft. I am eternally grateful to the incredible designers who contributed to this book with their work and their insights, including Joseph Abboud, Amsale Aberra, Doranne Westerhouse Awad, David Bermingham, Katie Choquette, Christos, Bissie Clover, Cat Craig, Mary-Frances Cusick, Carole DArconte, Jerry Dellova,Virginia Fretto, Annie Kee Gaia, Pavlina Gilson, Kerrin Marie Griffin, Jane Henry, Ithwa Huq-Jones, Maya Luz, Margee Minier, Kelly Moore, Alexandra Palmisano, Peter Morrone, Plugg Jeans, Shawn Reddy, Miri Rooney, Jeury Rosario, Lindsey Rogue Russell, Jamie Sadock, Rebecca Sheehan, Nooree Suh, Katherine Waddell, Jenn Webb, and Cheryl Zarcone. These talented designers contributed their work to this book without hesitation. It is because of them that the book can show you a range of work styles to use as a benchmark for your designs. This is the principle premise of the book: each designer works differently and needs to find his or her voice in a final portfolio form. Their design visuals drive this textbook. Thank you for your generous supportyour work will inspire students for years to come! Thanks to my friends and former colleagues at Massachusetts College of Art and Design, Boston Massachusetts, without whom this book would not be possible. Ive learned so much from each of you, especially Sondra Grace, chair of the Fashion Design department, and Elizabeth Resnick, chair of the Graphic Design department. A special thank you to the wonderful professors and instructors that I had the honor to work with at MassArt: Jayne Avery, Anne Bernays-Trevenen, John DiStefano, Renee Harding, Yelena Piliavsky, Jennifer Varekamp, and Meg Young. Thank you to Velma Johnson for her administrative support, smile, and genuine friendship while I was at MassArt. Thank you to all of the professors and instructors at the Fashion Institute of Technology, New York, New York, who taught me how to be a fashion designer. The college was and is my professional backbone. The quality of highlevel mentoring and hands-on instruction that I received at FIT make me the designer I am today. Thank you all of the great fashion professionals Ive had the pleasure to work with in the industry since 1980; youve taught me so much. Your support and belief in me throughout my career have been incredible and are greatly appreciated. The following reviewers, selected by the publisher, provided many helpful recommendations: Abra Berman, Art Institute of San Francisco; Catherine Darlington, IADT, Chicago; Kelly De Melo, Art Institute of Dallas; Barbara Gutenberg, FIDM; Monica Klos, formerly of IADT, Pittsburgh; Van Dyk Lewis, Cornell University; Jeanie Lisenby, Miami International University of Art and Design; Tania Pazelsky, Wood Tob Coburn School; Nancy L. Strickler, Purdue University; and Theresa M. Winge, Indiana University. To the staff of Fairchild Books I extend my thanks for educating me in the textbook publishing process and helping me translate my strategies for portfolio design from my classroom presentation into a printed format that other instructors can share with their students. Specifically, I thank my editors: Jaclyn Bergeron for supporting this project from the outset, Sylvia Weber for helping me organize and revise the text, Jessica Katz for shepherding the manuscript
AcKNOWLEdGEMENTS
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through copyediting and production, and Amy Butler for her assistance with the preparation of ancillary materials for the instructor. I appreciate the guidance of Sarah Silberg in communicating my vision for the layout and design and the help of Avital Aronowitz with photo research.
Finally, I owe my family and friends a big thank you for their support, especially my wonderful husband of 26 years, Kevin; and my loving children Dylan and Alana. You made this book possible each time you encouraged me to keep on writing! Thanks for the go Joey and the go Mommy love.
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Chapter
Describe the contents of a fashion portfolio. Maintain a sketchbook that reflects your creative process. Complete a temporary portfolio of student work to be ready for self-critique and on-the-spot job interviews. Purchase a portfolio case based upon your ideals for a final portfolio.
Regardless of your strengths in 2D (illustration) or 3D (making your garments work on the runway) design, what lands you a job is a dynamic portfolio. Your portfolio is your selling tool, your visual communication device. It is your designer message presented in a strong illustrated package. The portfolio is always presented by the designer in the first interview for an assistant, associate, or designer position. You will edit your portfolio throughout your career to represent yourself in your best light for each interview. This textbook will help you prepare the portfolio for your exit interview from school and adapt the portfolio you prepare for that purpose for later use.
Interview with a job placement counselor. Interview with a head hunter. Assistant design internship (paying or nonpaying) while in college or after graduation. Entry-level position in the industry: assistant designer or assistant tech designer. Entry-level position in the industry as a first patternmaker or an assistant draper: sometimes a designer will interview for a position as a first pattern maker or assistant draper as an option to building a career in patternmaking or draping instead of design or as a foot in the door to become an assistant designer. Presentation for the next levels of design after your first job: associate designer, associate tech designer, tech designer, designer, head designer, design director, creative director. Interview with a specific companydesigning a collection just for the interview. Follow-up interview with presentation board.
Forecasting and displaying mood, texture, and color statements to buyers Ability to design for multiple seasons and quick-turn merchandise Understanding of retail distribution Hand-rendering as well as computer-aided skills (CAD systems, Adobe Photoshop and Illustrator programs) Ability to execute flat drawings with exacting spec calculations Production and factory communication
In the past, designers presentations were much simpler than the portfolios needed to advance in todays global fashion industry. Singlefigure fashion plates (one page of a fashion illustration that a designer or an illustrator creates) were standard projections of image and style for the designer. Hand-rendered, frozen in time, posing in her Sunday-best; she stood awaiting next seasons fashions. Some designers use their favorite croquis (a template of the fashion figure that can serve as the foundation for an illustration of a design) and simply redress it in the next seasons ensemble collections. The flat sketch intended to show the specifications of the garment was minimally represented in a thumbnail sketch. The frayed swatch of fabric was hastily pasted onto the plate, and the designer original would be created through direct contact with the pattern maker, draper, samplehand (the sample sewer), and finally the production team. (Authors collection)
Todays portfolios incorporate intricate manipulation skills both with hand-rendering and computer drawing. The 2D page can be treated in a multilayer format, creating dimension, depth, and texture that extend beyond the garment collections. It has become a theatrical stage, backdrop, or added marketing element that is more in keeping with todays fully loaded sensory media projections. Hired designers get their jobs from these modern portfolios because the book can sell the designers looks to the interviewer. Todays designers are hired for their ability to communicate with their potential audiencesinternal corporate merchandisers and selling teams, the retail buyer, and eventually the consumer. (Courtesy of Nooree Suh)
Conversely, many modern designers have been hired because of a portfolio that stands out in its simplicity of presentation. Pure designers with a dynamic ability to capture their images with the stroke of a pen or brush are encouraged to continue doing so, after they have evaluated the market and their own goals. (Courtesy of Jeury Rosario)
Archival page protectors are sold as refills that fit all multi-ring portfolio cases and are made of archival-grade polypropylene for transparency and chemical stability. The binders shown here are also available with three open sides. The fashion plate is inserted from the top, bottom, or binder side. This style is recommended, as the page lies more smoothly and is less disruptive to the viewer. Each page comes with an acid-free black paper insert, and it should be marked as meeting requirements for archival storage. (Courtesy of Portfolios-and-Art-Cases.com)
Designers identification label with name, address, phone number, and e-mail address on inside page cover. This label is important in case you lose your portfolio. (Courtesy of Portfolios-and-art-cases.com)
TABLE 1.1.
Item
Portfolio case
Identification label
Affixed to the inside front cover of the portfolio to identify the owner so that it can be returned if it is left with an interviewer or accidentally lost. 10 copies in a folder inserted in the front sleeve or pocket of the portfolio case to be available to present during interviews. Protects pages of the portfolio collection from moisture, fading from sunlight, tearing, and other causes of damage.
Rsum
Polypropylene sleeves
An introduction to the collection(s) presented, creating a brand image or a setting for viewing the contents of the portfolio. Establish a concept or mood for the collection, giving it a unifying theme or identity. May be combined with other pages or shown separately. Pages should be all portrait or all landscape orientation, with few exceptions if needed, to allow for easy viewing by interviewers. Presentation of the colorways for the collection(s) shown in the portfolio. May be combined with other pages or shown separately. Pages should be all portrait or all landscape orientation, with few exceptions if needed, to allow for easy viewing by interviewers.
1 to 2 pages per collection of colors, presented as 1"3" skeins of yarn, swatches of fabric, paint chips, hand-rendered or computer-generated squares of color, typically 2" or 5" or other shapes.
10
Item
Textile presentation pages
Description
1 to 2 pages per collection of fabric swatches, cleanly mounted on paper or neatly folded. Edges of swatches may be cut straight or with pinking shears. Usually 1" x 2" or 4" x 5" rectangles or similarly sized squares. Swatches are usually of uniform size for each collection. 6 to 8 pages per collection of full or cropped figures, 18 figures on a page. May be hand-drawn and hand-rendered, computer generated, or a combination.
Fashion plates
Flat drawings
Technical drawing of garments as they would appear if lying flat on a surface rather than being worn. Show front and back views; back view may be 510% smaller than front view. Drawn to exact proportions of the cut and sewn garment. Outline may be thicker than lines showing stitching or details. Typically not shaded. May be hand-drawn or computer-generated, or a combination. Computer-generated mood, color, textile, fashion plate, and flat drawing pages, as separate pages or in combinations.
CAD pages
Sketchbook (journal)
A bound or spiral bound notebook, 3" x 5", 8 " x 11", 11" x 14", or 14" x 17" with pages showing rough sketches, doodles, notes, colorings, cutouts, and other images in an unorganized format.
Leave-behind piece
Optional flash drive, CD-ROM, DVD, or page printed in full color that serves as a reminder of the designers style, brand, or identity. Includes same information as on the identification label in the portfolio case; for electronic leave-behind pieces, identification information is on the covering as well as within the electronic files. An optional item; a flash drive carried in the front or back sleeve of the portfolio case. Can be a PowerPoint presentation. Shows entire portfolio.
Computerbased presentation
Makes portfolio available for the interviewer to view on his or her computer or share with co-workers who may have a voice in the hiring decision.
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Textile presentation page for an interview with Abercrombie & Fitch. (Courtesy of Katie Choquette)
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Color presentation spread with additional pages of title, mood, and textile presentation. (Courtesy of Lindsey Russell)
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Chapter 6
Develop the concept for the portfolio. Edit the contents. Finalize the contents and order of presentation.
The Portfolio Project is the process of basic design line building of your portfolio collection. There are three steps of line building: concept building, editing, and finalization. The Portfolio Project walks you through each of these three steps in each of the four segments of the portfoliomood, color, textiles, and silhouetteswith demonstration photographs and think-and-do work. The materials are exercises you have completed and developed in the preceding chapters. Systematically, you will link the segments and steps together to have a finished portfolio. Before you begin to take the steps outlined in this chapter, review the box The Portfolio Project: Approaches to the Design Process, which summarizes five different approaches. There is no one right way of working through the design process of portfolio building.
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PH OT O s a N d T H INK-a Nd - D O EXE RC Is E s
Each development step of the four segments is explained in how-to photographs of a designer performing the task at hand. And each of the four segments steps challenges you to create your portfolio images by undertaking the think-and-do exercises as you read through the text.
SE G M E NT s
The Portfolio Project is divided into four working segments, each with three steps. See the visualization and a further explanation in the box The Four Basic Phases of Line Building.
1. Mood
a) Conceptualize: work with free association. b) Edit: use critical thinking and the Designer Filter. c) Finalize: commit the images to the page.
2. Color
a) Conceptualize: work with free association. b) Edit: use critical thinking and the Designer Filter. c) Finalize: commit the images to the page.
3. Textiles
a) Conceptualize: work with free association. b) Edit: use critical thinking and the Designer Filter. c) Finalize: commit the images to the page.
4. Silhouettes
a) Conceptualize: work with free association. b) Edit: use critical thinking and the Designer Filter. c) Finalize: commit the images to the page.
Review the four working segments of the portfolio project as described here in a grid formation. Each of the four working segments will follow the same three steps for its development.
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MaT E R Ia Ls GaT H E R
The four segments and three steps are developed using the following materials: Previously completed materials The Idealized Final Portfolio (Exercise 4.3) The Designer Grid (Exercise 4.4) Previously developed, ongoing work-inprogress materials The Creative Chaos Sketchbook Retail market focus reporting Illustration, layout, and finalization evaluations As you work through the segments and steps, you will link the four segments together in a portfolio page-flow story. Chapter 7 refines the portfolio statement. The sketchbook or journal Retail market reports Illustration, layout, and finalization evaluations Study the different ways of preparing the designer grid shown on page 206, demonstrating four different scrambled approaches to creating your line. Keep your Idealized Final Portfolio (Exercise 3.2) transparency overlay on your desktop or on your bulletin board for reference. Bring these materials to your workspace: To start the portfolio project, gather the previously completed materials as listed at left. Work on Exercise 6.1 to prepare the workspace.
GETTING STaRTED
Chapter 6 is an exercise in building the final portfolio presentation. You will get started by walking through the steps of creative line planning concurrently with building your presentation.
Art supplies previously purchased CAD programs, such as Photoshop and Illustrator The materials list will grow to include color and textile swatches and silhouette/flats materials as you go through the portfolio project in this chapter.
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