BASICS FASHION DESIGN 2 Simon eeeSimon Seivewright graduated from Brighton University in Fashion Textiles Design with Business Studies and also won Graduate of the Year at the BHS Graduate Fashion Week exhibition, Since then Simon has exhibited at Premiere Vision in Paris and has worked in Paris for clients in Europe, Japan and America. Asa freelance woven textile designer and stylist, Simon's clients have included Vivienne Westwood, Christian Lacroix, Missoni, Simply Red BBC and London Men's Fashion Week. Simon's teaching career began at the London College of Fashion as a design and illustration tutor; he also tutored at the private evening classes and summer school run by LCF. He then became the Fashion Clothing course leader at Hertford Regional College. He is currently the course leader for the National Diploma in Fashion Clothing and Textiles at Northbrook Collage, UK and continues to teach evening classes at the London College of Fashion. ava publishing sa www.avabooks.com http://blog.avabooks.com enquiries@avabooks.com sales@avabooks.com BASICS a AN ES Ca) Peet Ura) PE oad Ce eu) Peet oor iy EoD ore i ud Ce Sa) CE eC) Pres eed eT Ce ce st CEC ei PE Pee eulicca titd ctu) ee a Cece eC gBASICS FASHION DESIGN Simon Setvewright RESEARCH AND DESIGN academia‘An. AVA Book Published by AVA Publishing SA Rue des Fontenailles 16 Case Postale 1000 Lausanne & Switzerland Tel: +41 786 005 109 Email: enquiries@avabooks.com Distributed by Thames & Hudson (2x-North America) 181a High Holborn London Wea 70x United Kingdom Tel: +44 20 7845 5000, Fax: +44 20 7845 5055 Email: sales@thameshudson.co.uk www.thamesandhudson.com Distributed in the USA & Canada by: Ingram Publisher Services Tae. 1 Ingram Alva. La Vergne TN 37086 USA Tel: +1 866 400 $351 Fax: +1 800 838 1249 Email: customer.service@ingrampublisherservices.com English Language Support Office AVA Publishing (UK) Lt. Tel: +44 1903 204 455 Email: enquiries @avabooks.com AVA Publishing SA 2007 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the cooyright holder ISBN 978-2-940373-42-3 109876 Design by Sifer Design Production by AVA Book Production Pte. Ltd., Singapore Tel: +65 6334 8173 Fax: +65 6259 9830 Email: production@avabooks.com.sg All reasonable attempts have been made to trace, clear and credit the copyright holders of the images reproduced in this book. However, if any credits have been inadvertently omitted, the publisher will endeavour to incorporate amendments in future editions.Introduction How to get the most out of this book Research: what and why? What is a brief? ‘Types of brief What is research? What is its purpose? What should research contain? Brainstorming Research and Design 10 12 13 14 16 Sources of inspiration Designer case studies Drawing Collage Juxtaposition Deconstruction Cross-referencing Analysis of research Focus on key elements Mood-, story-, and concept-boards, Examples of layout ‘and composition 8 92~ ne Designing from Communicating your research 116 your ideas Bridging the aap 118 Sketching and design drawing Design development elements, 122 Tempiates Ideas generating Collage exercise 137 Working drawings Development and refinement of ‘Act materials individual garments 138 Layout and Selecting and editing ‘composition your ideas to form a collection 140 Mlustration Conclusion Glossary Bibliography Useful resources and Canon ‘Acknowledgements and picture credits Working with ethics 142 146. 148 160 152 156 158. 160 162 164 168-175 176 7 ‘Contents‘Research is vital to any design process; itis the initial trawl aed collection of ideas prior to design. It should be an ‘=s2=rimental process, an investigation to support or find /@t 2bout a particular subject. Research is an essential _ S201 i the creative process and will provide inspiration, “@femmation and creative direction, as well as a narrative to _ = cellection. Research is about a journey that can often take “wecks or even months to collate and process. It is also a very _@erSonel activity, which through its manifestation, provides: “B= Wewer with an insight into the thinking, aspirations, “t=essts and creative vision of the designer. Feo in-depth and broad-ranging research, the designer ‘begin to interpret a series of garments or a collection. ‘aif have their place in the process of design and will all ‘found in the research created. Fashion Design: Research and Design will lead you the essential stages of research and translation into ‘ideas. It will discuss elements such as the brief and | constraints it can place on the research and design ft will explain the importance of identifying your ‘market and understanding the different levels and research and design. Design development is also ‘and communicated through a series of structured Finally the book shows and explores a variety of to communicating and rendering your design work. ‘2nd Design will provide you with the fundamental knowledge to start you on the journey of 1 Christian Dior haute couture 8/807. Designer John Galliano. IntroductionuBiseq pur yoressoyee Re cat i Gescerch is what I'm doing when I don’t know what Sees) fas cining eee i um asec} ee Re cay eC oa ee ie Eau ee inthis first chapter we aim to demystify what research is, te Ne a see) I oe ed om eee tro St ge ek md Se ee ee SECS ay ea eRe acg Sed eR mur ee ee Rae) Se eg ee Ea acu ar i p : EResearch: what and why? Research: what and why? Julien Macdonald's design illustration for the new British Airways’ uniform, Courtesy of NewsCast. Y ‘ What is a brief? ‘The bref is usually the start to any creative projact and the project is a sustained body of work that is normally time bound. The purpose of a brief is essentially to inspire you and outline the eins and objectives that are reauired. It wil identify any constraints, conditions or problems that need to be solved, as well as providing ‘you with information on what final outcomes or tasks ave to be achieved. The brief is there to help you and more importantly to guide the whole research and design process British Airways brief, as discussed with Julien Macdonald: What was the brief British Airways set you as a designer? | was asked along with mary other designers to come up with a set of sketches for Uniforms that could be worn by allthe different British Airways staff from all over the world. The uniforms had to be functional pieces that could be ‘wom by the cabin crew ta the round staff to the baggage anders, over 89,000 employees worldwide, ‘The designs were submitted ‘encnymousty tothe Bath ‘Airways board of directors and design toam so that the ideas would not be judged on the ‘ame of the designer. They ‘were really surprised when they found out thet the clean, simple styish idees were mine, as they essociated my name with glitz and gamourl ‘What were the constraints you had? ‘There were many complex ‘constraints as the investment by the company was worth rrilions of pounds and the last time it was changed was over ten years ago, when Paul ostelloe did the designs. The clothes had to fit rorn a Siz2 6 to 22, both men and ‘women, and there was to be 10 discrmination between race, colour or creed. The garments had to be inthe same fabric, whether you were working i a Russian winter or the summer in the Seychelles. | spent time ‘workng alongside the staff to find out about thelr working lives from leaving their homes to.go to work to then arriving in a hotel after a ten-hour fight and having to wash the blouse in the sini to have it fresh for the return fight the next morning! The garments where given a pict pertod where wo looked at how they performed under the ermal working conditions. For example, did the fabric wear well? Did the buttons fal off etc.? The final garments ‘were then suocesstuily put into jproduction and can be seen, ‘on any current fight with Btish Airways,ee of brief eee Se sre types of brief. The most common one is found See Se academic forum where itis usualy set by the tutor and = = @ individual to respond to it. The aims are what == S0e0101 to loarn and the objectives will be the work aed As the student you will be expected to answer Sey he brefs creative requirements, but also the assessment = wil be clearty identified. The brief js used es an = aby the tutor to help teach specific skils and 2°6 improve your knowledge and understanding. 2yG2 of brief also found within the academic forum is one |= Ses on often set by a company or external organisation as =f pe2moting products or a brand and in tum, encouraging "Ser chin the industry. This association with industry will See sponsorship, placement awards and travel bursaries Seicents taking part Sad client basad are the other types of briefs you will SESS 55 a designer. These will have very specific aims and et will consider some or all of the following: market, ‘227s, cost and occasion. The true measure of your 5 2 designer will be to achieve something exciting and eric considering very closely what you are being asked 2 adhering to the constraints of the brief in © ee the cient’s approval -=sS70ie of 2 designer working to a spactic commercial = 2 Julien Macconal, who redesigned British Airways’ upto. Here the brief would have hac very specific 25 *=stictions on design, use of fabric, cost, function pSmerce ‘carmen type of brief is one that asks you to work within Sr aemple, a large high street brand. Here you will be = work with others on @ project and you will have specific S223 fo you that will utimately work towards presenting = cohesive collection. ‘Occasion and season: ‘Asa designer itis important to be aware of when you ‘are designing tor, 28 i wil have an impact on many of the design factors, such as fabric and colour. ‘Muse or customer: ‘A brief will sometimes ask you to design for a very pectic consumer of & certain age, size and gender. temay also ask you to bulla a customer protic ond. ‘consider elements such as background, work, Kfestyle and income: Target market: A bre! wil offer ask you to foous on a speci market sector in the industry. such as high strest of middle-market rice points, This again, equtes you to consider market analysis and ‘customer profiling, Material and fabric: ‘Sometinesin the academic fied you wil be ased to problem sohe a brie! that focuses your creativity on ‘Costing: Most project briefs, whether they are academic oF industry set, ‘wil require you to consider the price that something wl cost, Practical outcomes: This is simply wnat you are ‘expected 10 produce. The brief may have’ specitic ‘garment type as its final ‘outcome, for example, a ‘dress, 2 jacket, ora piece ‘of knitwoar What is a brief?/Types of brief > What is research?Research: what and why? fies acu RULES Selection of research material gathered from wallpaper designs to buttons, trims to sketchbook references. What is research? ‘The systematic investigation into the study of materials and ‘sources in order to establish facts and reach new conclusions." (Oxford Dictionary of English Fashion by its very definition Is about current popular custom or style; the fashion designer expresses the zeitgeist, or spirit of the times in their work. Fashion is constantly changing and the designer 's expected to recreate the wheel every season. Because of this constant pressure for the new, designers have to dig ever deeper and search ever further for new inspiration and ways of interpreting this into their colections, Fashion designers are therefore ike magpies, obsessive collectors, and always on the hunt for new and exciting things to inspire thern. The need to gather and ‘source material for use in the creative process is essential for feeding the imagination, Research is about invesiigation, leaming about something new ‘or from the past. It can often be likened to the beginning of a journey of exploration. It is about reading, visiting or perhaps viewing, but above all, itis about recording information, There are two types of research. The fist is gathering the tangible and practical materials for your collection - for example, fabric tvims, buttons, The other is about the visual inspiration for the collection, ard this wil often help to sat the theme, mood or concept that is essential in developing an identity for your areative work. Research shauld be broad ranging and in-depth, enabling you to innovate, not imitate in the colection you create from it. Research could be likened to a diary or journal, a snapshot of who you are, what you are interested in and what is happening in the a specific time. Trends, social and political issues could be: documented and all have impact on the research and creative design process. This information, diary, research, is something that could be used in the present, new, or in the future world‘Research is formalized curiosity. Its poking and prying with a purpose.’ Zora Neale Hurston American folklorist and writer, 1891-1960Research: what and why? Research: what and why? What is its purpose? We know what research is, but why do we need it? How does it help you as a designer? Research is there, above al, to inspire you as a creative individual It is @ way of stimulating the rrind and opening up new directions in design. By gathering different references and exploring many avenues of interest you can begin to explore a variety of creative possibilties before you channel and focus your imagination towards a concept, theme or direction for a collection. Research wil help you learn about a subject. You might discover information previously unknown to you, or perhaps new skis or technologies could be explored, Research is an opportunity to inquire into your own interests and expand your awareness and knowedge of the world around you As a result, research is very much a personal and ingividual task, and although a team of people can gather it, one person generaly has the creative vision and takes the lead.= S 2 way of showing the world how you see it and how 1-2 Pee And this is extremely important in differentiating you from Student research sketchbooks. 22 in the industry. Think of it as a personal dary of a © your creative lifetime and a document to show whoever iat has inspired you and had an effect on your life. = hs ng to remember is that research must be above all else 2nd usetul= 3 E 5 g : [ice cee RL 1 Reichstag Building, Germany. Photograph by Nige! Young. The intornal structure shown in this image links closely with that of a 19th-century crinofine. Courtesy of Nigel Young/Foster + Partners. 2 Historical examples of 19th-century crinolines and corsets used to exaggerate the human silhouette. Dover Press. 3 Example of a stucient sketchbook cloarly demonstrating the influence of architecture on garment design. ‘What should research contain? As already discussed, research is about the investigation and recording of information. This information is something that can be broken down into a series of categories that wil help to inspire you, as well as providing the different components of a collections direction‘Shapes and structures By its vory definition, ‘shape’ is an Jarea or form with a definite outline 7° S¥2p0rt shape itis also important ada visile appearance and to consider structure and how structure. It is also thw way in which Something is constructed or created, ‘something is constructed or supported’ Potential to understand how @ in a framework. Shapes are a vital fa™ework or parts can support Jelement of reserach and ultimately _ $"9°¢'s vital and again this can design, as they provide you with — 8 "anslated into fashion design. potential ideas to translate on to Conscer a domed roo! of a the body and into garments. catheceal or contemporary Without shape there would be no 928S%0USe and the cxnolne trame silhouettes in fashion design ‘of 8 Toth-contury cress: ‘Crinoline: This is a lightweight frame constructed by connecting horizontal hoops of wie and cotton tape together. Crinoines ‘were worn under skirts to ‘allow the sihouette of the ‘body to be exaggerated. Their use was at its most popular and extreme ‘shape during the mid to late 1800s. : i i Q ' 5 i :‘As @ designer itis important you not only consider insp shape in your research, bu more practical elements i detais, The details of a armen can be anything from where tre ;pslitching is placed to po: types, fastenings, anc shapes a cous and collars. The det garment are equally import design as the sihouette, 6s ese will often be the seling itis given closer exami buyers. Its therefore ess you incorporate detaling in Create a successful and evolved garment come from many different Sora: It may be thet you explore Pockets and cutfs of a.m Jacket or take elements historical garment. it me the details come trom 2 abstract source, for exame Pocket shape inspired b: something more organic. Te ingpiration for the detaling om = garment or a whole co’ should fiter through from ifferent sources you ha researched. The d be immediately obvious, you wil learn, its an of the design process utimately be considered1 Sheepskin collar detail on men’s DSquated flight jackot. 2 Swarovekd crystal button solection card. 3 Cuff detail on trish Guards? military dress jacket. 4 Irish Guards’ military dress jacket.Colour Coleus a fundamental casideraton inthe research and design process. Iti often theft element thats noted about adesian and infueness how that garment or Colleton is percelved. Colour has fascnatod us since ancient mes ‘an In our lating it relies personally, charac ans taste, and also convey sgnificant messages reflecting different cukures ‘and gooial status ‘As a designer colour is ott tho ‘starting point ofa collection ana ‘can contol the mcod and season that you are designng for The reseaich you gather for colour ‘should be both primary and ‘secondary, ard allow You to mix and play witha variety of combinations. Where your inspiration comes from is liritiess as we lve in a world surrounded by colour Nature, for instance, provides you wt an unlimited array of colours, shades and tones that can be translated into a palette for the design process However, your inspiration could equally come trom an artist or a pectic painting or period in history 1 A selection of colour themed inspiration boards, Palette: This isa piece of board that an artist mixes Up paint on before painting butas a designer it means ‘a.goup of colours that are mixed together. They cant coordinate, fave simier hues and tones o° can be jutaposed and cian, In chapter five we wil ciscuss ‘colour theory and the use ‘of colour palettes fy the design of a colzction.Research: what and why? Textures Texture ress to the surface quality of objects and appeals to our sense Cf touch. Light and derk pattems of different textures can provide visual stimulation for the viewer without ‘actualy having to touch the object, a8 well as deseribing the surface that is presented. ‘Asa fashion designer, research into texture wil utimately leat to fabric and the mary diferent qualities and finishes avalable to you. The way ‘something looks and feels on the ‘body is crucial part ofthe design ‘process, out nsovration for this can ‘come from many diferent sources, ‘The textures you research ean often inspire new ideas for surface mariguation and the way a fabric handes vill help to define ard possibly shape a garment. images of buiding materals, landscapes and organic. forms may help inspire knitwear and fabric manipulation techniques euch as ckealing24/25 1 < guleqUOD YoIeased PINOYS YUM < 22 WAG ee os 7 )N wilee ce Rd | Research: what and why? Print and surface decoration “Through the process cf research you may wel start to gather information ‘and relerences that nave natural ‘patterns or decorations on them and. lend themselves to be interpreted into pint and textile development. Images Cor objects may well be decorative, Jeweled, repeated, mirored or provide an opponunity for a moti within @ design concept Surface qualities may also suggest translation into textie techniques, such as embrodery, smocking, ‘appiqué and beading. Surtace fishes ‘can be applied to a fabric or garment to ater the look, feel and perhaps. reflect the mood of the source of inspiration: for example, distressed, ‘aged and faded transiated from ‘scorched arid land in Aca, Or jowelled and decorative cuaities transiaied from sourced incien sari fabrics.1 Derails shoning embecidery, beading, smacking, stich work and applique 2 Research board inspited by ‘rican decorate costume. Embroidery: This is the craft of sewing thread on to the eurfaoe of a fabric to create patterns ‘and texture, By using different types of thread and stitch you ‘are able to create elaborate ‘sufeoe decoration on ft fabrics. ‘Smocking: This is a technique using stitch to gather fabric in a ‘honeycomb pattern. There are ‘many variations to this basic ‘stitch and it allows the designer {to create shape and volume in ‘a garment without the need to ‘out the fabric, Appliqué: This is @ technique where a pieos of cut-out fabric surface decoration or pattern. Beading: This is exactly as it sounds, the decoration of fabric with beads, usually sewn. What is its purpose? > What should research contain? > BraiResearch: what and why? earch: what and why? Historical influences As with any creative field itis A key element of historical research ‘essential to have an understanding must be that of dress history or of what has taken place in the past costume. Learning about cress 0 that you can move ideas and Iistory i an extremely important technologies forward. Historical part of being a fashion designer inluencos may be found in any and for many it nas provided a design discipine from any culture. treasure trove and wealth of They could be as diverse as information on everything from ooking at ancient tiles from an shape and tailoring, to fabric and Islamic mosque to vapanese embelishments. Vivienne Westwood samurai armour. osoribes the process of looking at tistorical dress for inspiration as ‘synthesising the old into the new’ ‘She is certainly famous for exploring many ditferent centuries of costume to invigorate ner cotections, Fashion by its Gefinition is about current popular trends and so looking at costume provides you vaith an insight into trends of that period.1 Givenchy haute couture AW98. Designed by Alexander McQueen, inspired by 18th-century Vandyke collars. Catwalking.com, 2 Christian Lacroix research sketchbook showing historical inspiration, Christian Lacroix: The Diary of a Collection, pp38-29. Courtesy of Thames & Hudson. What is its purpose? > What should research contain? > BrainstormingResearch: what and why? [ieee RL Cultural influences (Quituralinftuences can be everything from the aapreciation of iterature, arts and musie from your own country to the appreciation of the customs and exilization of another Looking at another country for ideas can provide you with a wealth of ingoration that may translate itself into colour, fabric, and print and garment shapes. Designers such as John Galiano and Jean Paul Gauitier are well known for the way they look to many diferent cutures as a springboard for their colections. ‘Asa designer you may also be inspired by Iterature and employ this to give narrative to your calection. Current art exhibitions can have an influence on the research you gather and the creations you des example, a retrospective of Frida Kario’s paintings, the Mexican painter who had a strong traditional dress style, was then clearly seen in colections by Lactoix and Gautier 1 Christian Dior haute couture ‘8/807. Designed by John Galliano, inspired by Japanese costume. Catwalking.com 2 Tth-contury Japanese colour int by the artist Suzuki Harunobu. Art Media/Hertage- images xt Jean Paul Gauiter $/898 and ‘ANOS, Frida Kablo-inspied and Mexican-inspired collections Catwalking.com,Research: what and why? ii eo colour, textile ‘yonTeR 07/08 wines 08/09 Contemporary trends Having an awareness of events and cultural trends is something you must develop as a designer. (Observing global changes, social tvends and poliical climates is essential in creating clothes for a specific target market. Tracking trends is not necessary a tuly conscious acti, but merely to tune in to the spirt of th 2eiigeist. It's also the awareness of subtle changes in taste and interests that offen start out on the ‘street times or ‘The ‘bubble-up effect’ describes: how activities, special interests and ‘subouiture groups ~ often through music and exposure on television = have an influence on the rrainetreae and ate seen as a new direction for fashion and media Fastion forecesting agencies and trend magazines are just some of the ways in which you can easily gen access to this sort of informationAe] e SI purpose? > What should research contain? > BrainstormingResearch: what and why? Research: what and why Brainstorming 1 Brainstorming, o° creating mind-maps, is a useful technique to An example of a mind-map explore in the initial stages of research and can helo to generate Senta te: aes roe ane many ideas that you as the designer can then delve into more deeply, Brainstorming requires you to simply list every word you can, think of that relates to your project brief. Use dictionaries, a thesaurus and the Internet to assist in this activity, Pictures can also be assigned to the words written down and therefore provide you with potential starting points for your collection and also possible ideas for a theme or concept Be open-minded and alow your imagination to wander into many different related and unrelated areas; the juxtaposition of words and themes can often present new concepts and marriages for the design Red stone Organic Garnet Fruits Strawberries Ruby Autumnal leaves Grapes ‘Ayers Rock (Uiuru), Flowers Australia Emotions Peppers ed Light District Desire [+— Petals Passion eam Love | -=++= Valentine == 4— Red roses = Hatred Rage = —————— Anger ‘Strength Danger Blood Prohtsited Stop, —]—Warning [Hazen L ed tapeNapoleonic uniform 19th century = Feed, white and blue Tribal Mexican African Tradtional dress Embelishment Beads F- Dew = het f- Clay [ Houses —— wes - T= Sculpture L Texture [ Praying cards [Caso ~ Gambing Logos, slogans Aboriginal [ Highland Regiment = London Eclectic cultures ance F- Salsa Flamenco. Rouge Scarlet Crimson: Burgundy Cherry Russet Earthenware Pattern Regency women’ dress > Buckingham Palace, guarcs Traditional dress ~4 Red ~ good buck ~# ~ Pottery Rustic What should research contain? > Brainstormingee als 36/37 5 ot something that exists in dresses only. Dee aan Dien = m the sky, in the street, fashion has to do BERRA ee LL " ‘ ae Pee eae SP Sees the way we live, what is happening. priate tee ee ER Meer a Ra accu) re age) a RS Re tos ee in cre eared ae ye mut kage sca Se i) | SS ee nun a kt te er ee eae une uke Cur ur) eee egal ee el RE) See ec ea ea re ee ey ee kd ees Se ee ee = Esices Renee ced 1 Surrealism: sketchbook. 2 Research board inspired by the work of Christo & Jeanne-Claude and pleating. a Josephine Baker (1906-75) at the Folies Bergere (b/w photo) by Walery, Stanislaus (fl.c. 1890-1920) © Private Collection/Archives Charmet ‘(The Bridgeman Art Library. Nationality/copyright status: Palistvin copyright until 2¢ jemed student Abstract This fs where you work perhags wath ‘an undated word or description, for ‘example, ‘sureaism’ ‘This word is then transiated into a ‘series of ideas or leads tne approach to the research and design expored. What imagas and words would you associate with surrealism? How might a gament eventualy express this word? Where do you find research? Choosing a theme or concept ‘When it cames to choosing a theme for your collection you need to consider thet it should be something that firstly responds to the bref, if there is one and secondly, stimulates you to be creative. Words and images may well have been already explored in the brainstorming process and therefore will assist in the collation of ideas into a possible theme or concept. ‘A theme or concept is the essence of a good collection and is What makes it urique and personal to you. Remember that @ goos designer will explore aspects of their own personaly, interests ang) Viewpoints about the world around them; fusing then into a vibrant, innovative and credible collection. A theme may be driven by several different approaches. They are as follows: "Tt aetna eigen nt pt mand ali dy ol cna Bigger ocrConceptual This is where you might explore a variety of unrelated visual sources that can be drawn together because of similar or juxtaposed qualities. For example, a photograph taken of a piece of mineral rock and a shell, alongside a piece of pleated fabric land images af the artist Christo ‘and Jeanne-Claude’s installation work, such as warpping the Reichstag Building in Berlin, Germany with fabric, This compination of information might also possess similar qualties that could be explored, translating into shapes, textures and colours in the design of your collection. Narrative Narrative by its definition means a wate scocant ‘of something, perhaps ig eeistincioe he Paves, never forget that, despite ail the fantasy, the thing is The designer John Galliano is famous | about clothes." for creating wonderful sotries and ‘oheraoters for his collections, often John Gattano, Galliano, Colin McDowell, Wedenfeld & Nicolson creating a muse as his central focus, for example, the 1820s’ dancer Josephine Baker was inspiration in ‘one collection, as was the Countess de Castiglione. Each of these ‘characters not only brings style, but also a personality and helps to direct the soureas of research and the design, as well as the final presentation ‘of the collection. Itis important to remember that regardless of how you start the generation of ideas, itis the clothes that you will utimately be judged ‘on by the world's fashion buyers and press. Choosing a theme or concept > \Ue p eh enc What are primary sources? Primary sources are the findings you have collected or recorded frst hand. In other words they are the objects you have drawn directly from, for example, anatomical references from a museum of natural history Primary sources are generally recorded through drawings or photographs, and often provide greater sensory associations than just the object itself, for example, touch and smell may all recall memories and be included in the final design process. Where do you find research?Av ar Wei sources are therefore the findings of other people. ey De found in books, the internet, journals, anc They are just as important as primary sources of = 2nd often allow you to see and read about things that are zound or are not easily accessible $5 et you understand both types of sources and that in any = ===) there is a balance of both. Primary sources will call == crawing talents and secondary wil utlise your investigative S= De prepared to bring both together in your design research, ‘i ‘An example of drawing in a student sketchbook. Examples of drawings in sketchbooks by the designer Richard Sorger. 3 A variety of examples of secondary sources. ome or concept > What are primary sources?/What are secondary sources? > Sources of inspiration5 i é E 3 g 8 3 DR Ob Res ncaed 1 Skotehbooks demonstrating initial matorial that has intiuenced tho dirsction of the design. 2 Sample pages of dedicated fashion websites that are available to browse fashion collections, past and present. Sources of inspiration You should now understand what research is and the elements © should contain in order for you to design from it. Also explaines is the need for @ concept or theme. So where do you find the information in order to begin the process of gathering your research? ‘What are the sources of inspiration?The Internet ‘This is probably the easiest place to start, as itis the most accessible way The Intemet also has some great cf gathering information, images and weostes dedicated to fashion; text form all over the world. Using wwww/stye.com is fantastic for ‘search engines to find websites that up-to-date catwalk images ofthe latest may be dedicated to the subject YOU colections fiom top designe's around have begun to look ats often the the workd. Having a good ‘fashion fastest way to find inspiration, ee b essen f you eto Remember research is not ust about Progress wrthn the Mousty, vigual inspriation, but also the tangible practical things such as fabric sourcing, The Intemet allows you to get in touch with companies and manufacturers who may be able to provide you with fabric samples, trimmings and specialist sis in ‘production or finishing, ‘Some useful website addresses: wonnw.costumes org, ‘yninnfashionotice. org, ‘wenn: promosty. com ‘wen fashion about.com, wnnrnstyie.com ‘yon fashion-era.com ‘wren. wwgsn-edu.com \wniclondontashion- ‘week co Uk ‘www. premierevision.tr wewninfornat.com, ‘won: pantone.com,Dee R Rar essacaed Libraries, books and journals ‘Aiorary is a wonderful placs to begin You should be able to access a 1 your research as it can offer immediata brary in almost every town and cy references for images and text in the andi can provide you with a general form cf books and journals. A lbary and broad selection of books lows you to explore aises of books However, if you are studying at colege dust a small selection of Inspirational books ‘on suibects that you may nothave or unversiy then you shoud have intialy considered during your ‘anoess 10 a muich more spedtic brainstorming sessors. There is range of books and journals that wil something special about leaing hopetuly be more related to you andl through a book; the srl touch and the courses taught there vvsual stimulus they can provide are ‘oten forgotten when simply ooking ‘on the internet, Books are things that are thernseWves crated and designed. Viewing an original manuscript of Victorian drawings is far more Inspirational than seeing them on a computer seresn. Colourfulwo Dee ond Pe x= Where do you find research?HAUTE OUTURE 20? » Sources of inspiration > Designer case studies uorysey eopey,Where do you find research? Magazines Koning you eubeet ana an awvarocs ofan sn oocura Paro the reeach procs and Trapacns ea good pace o develop this knowledge. Magazines are a great source of information and patertal inspiration for the designer; they can firstly provide you wth images of the tatest trends, styles and garments from ther designers in the industry, and secondly g¥e you insight into other aspects you should consider as a designer, for examole, ifestyle and ccutural interests that may affect the ‘market you wish to design foc MIN ROMM Looking at other designers cotections is not so that you can copy what they are doing, but to give you an understanding of what has already bbeen created and the possiities that are open to you. There are so mary ferent magazines out on the hews-stands these days that you shoul not simply gravitate towards the obvious ones, such as Vogue and Ele. There are mary more fashion, ar and ifestye pubications that foous on niche markels that you should be aware of. These magazines are fled with nev up-and-coming talent and feature not ust on the clathes*