Technology Education Key Learning Area

Technology and Living

(Secondary 1-3)

FASHION
DESIGN BASICS
Booklet 1 Family and Lifestyle

Booklet 2 Consumer Behaviour in Food Choices and Implications

Booklet 3 Health and Nutrition

Booklet 4 Chemistry of Foods

Booklet 5 Diet and Meal Planning

Booklet 6 Food Commodities

Booklet 7 Food Preparation Technology

Booklet 8 Food Hygiene

Booklet 9 Food Spoilage and Food Poisoning

Booklet 10 Food Preservation Technology

Booklet 11 Food Culture

Booklet 12 Food Science and Technology Extended Study

Booklet 13 Food Product Development

Booklet 14 Consumer Behaviour in Clothing Choices and Implications

Booklet 15 Fashion Design Basics

Booklet 16 Fibres and Fabrics

Booklet 17 Clothing Technology

Booklet 18 Culture and Fashion Design

Booklet 19 Textiles and Textile Technology

Booklet 20 Apparel Industry

 Fashion Design Basics

15.1 Principles of Fashion Design

The primary purpose of wearing clothes is for protection, e.g. to keep warm, modesty.
Nowadays, people wear different clothes for different occasions and identities. They
also choose clothes by following their aesthetic sense and the fashion trend.

15.1.1 Aesthetic Values

Beauty is a quality that gives pleasure to the sense. It creates a positive emotional
reaction in the viewer. Most psychologists believe beauty and aesthetic are essential
to human life.

15.1.2 Principles of Aesthetic

(a) Proportion
 Basically, proportion in fashion design is the size relationship of each
of the internal spaces within a garment to one another and to the
whole design.
Out of Proportion In Proportion
Sleeves are too large for the size of skirt Sleeves are balanced by a longer skirt

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  If the design is properly proportioned, the design effect will appear
to be harmonious and pleasing.
 The golden mean is the proportion rule that pleases the eyes. 5:8
and 8:13 are the standard formulae.
 Unequal proportion can be more interesting than equal proportion.
In Example 1 and 2, the 5:8 proportion is comparatively more satisfying to the eyes.

Example 1

Example 2

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In Example 3, the 6:8 and 4:8 proportion are too small and too large.

Example 3

( 6:8 ) ( 5:8 ) ( 4:8 )

Too little difference Golden Mean Too much difference

(b) Balance
Balance is how the internal spaces of a shape work together. The
surface of a design may be broken up by structural lines, trims, fabric
patterns, textures or colours. Balance can be symmetrical or
asymmetrical:

Formal balance Informal balance

Formal balance Informal balance
is symmetrical, is asymmetrical,
both sides are its design details
the same are divided
unequally from
the centre

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(c) Rhythm
In fashion design, rhythm is the flow of lines, shapes,
textures and colours of garment.

(d) Radiation
Radiation is the use of design lines that fan out from
a pivotal point.

(e) Gradation
Gradation is the use of a single colour, shape, size,
design detail and motif. These principles featured in
any gradating pattern can be done from the darkest to
the lightest tone or from the smallest to the biggest
size.

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 (f) Emphasis
 Emphasis is a centre of interest that draws
attention to the focal point of a garment.
 ‘Emphasis’ could be accomplished by the use
of lines, details, colour accents, shapes, trims
or accessories.

 A poorly planned ‘emphasis’ confuses our eyes,

so that we do not know where to focus on in the
garment.

(g) Contrast
Contrast is the use of different colours,
textures and shapes.

Leung Man Ying’s collection in 2006

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(h) Harmony
Similarity in areas such as the use of colours
or textures.

Tam Wai Yin’s collection 2006

(i) Unity
The repetition of a design element throughout a garment creates a
sense of unity.

Unity No unity

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 (j) Repetition
Repetition is the repeated use of certain design
elements, details or trims in a garment. A feature
could be repeated either regularly or irregularly.

(k) Scale
The term ‘scale’ refers to the relationship between a garment and its
design details.

Right Scale Wrong Scale

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15.2 Fashion Design Elements

15.2.1 Line and Direction

The term line refers to the direction of visual interest in a garment created by
construction details such as seams, fastenings, patterns, tucks, contrast stitching and
trims.

Vertical Lines Horizontal Lines Diagonal or Oblique Lines

- create an illusion of a - make the wearer look - add some sense of
longer and slimmer shorter and plumper movement and visual
body impact on the design

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15.2.2 Shape

In the fashion industry, the term “silhouette” is normally used to describe the shape of
garment.
(a) Basic Garment Shapes

Natural Rectangular Tent Full

(b) Basic Shapes of Women’s Wear

Rectangle/ Inverted
Tubular/ Triangle/
Triangle/ Tent/
Cigarette/ Natural Full Wedge/
A-line Trapeze
Straight/ Tapered/
H-line Y-line

Round/
Hourglass/
Oval/ Sheath/
Trumpet Bell Body Empire
Cocoon/ Close fitted
Conscious
Egg

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 (c) Basic Garment Shapes of Menswear

Rectangle/ Inverted Triangle/ Square Natural

Straight Wedge

15.2.3 Texture

In fashion design, the texture is the surface interest of a fabric which depends on the
variations of four factors: fibre content, yarn structure, fabric structure and finishes.

Texture influences the drape of a garment. Chiffon clings and flows, making it a good
choice for soft, feminine styles while canvas has the firmness and bulk suitable for
more casual garments.
Texture affects the colour of a fabric. Rough textures absorb light, causing the colours
to appear flat. Smooth textures reflect light, causing colours to appear brighter.

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15.2.4 Fabric Patterns

Fabric patterns are coordinated by lines, dots, shapes, spaces and colours. They are
created in endless varieties - geometric, floral, stripes, checkers, dots, abstract motifs
and many others.
(a) Geometric Patterns

(b) Conventional Patterns

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(c) Naturalistic Patterns

(d) Dots and spots

(e) Printing Techniques

 Block printing
 Screen printing
 Burn-out printing
 Discharge printing
 Engraved roller printing
 Heat transfer printing
 Digital printing

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15.2.5 Colours
(a) Colour Dimensions
 Hue - the name given to specific colours such as red and blue

 Value - the use of darks and lights or the variation of light strength
in a colour
.

 Intensity - saturation, brightness or paleness of a colour, bright

colours are considered to be of high intensity; pale ones are of low
intensity

(b) Colour wheel

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 (c) Other terms
 Primary colours - red, yellow and blue, which cannot be made by
mixing other colours
.

 Secondary colours - orange, green, violet are colours made by mixing two
primary colours

 Tint - a pure colour mixed with white, e.g. red plus white to make
pink
 Shade - a pure colour mixed with black, e.g. red plus black to make
burgundy
 Tone – to describe a tint or shade

 Complementary colours (contrast colours) - pairs of colours that

appear on opposite sides of the colour wheel, e.g. red and green or
violet and yellow

 Warm colours - red, yellow and orange, which are usually

associated with fire and sun, warm colours are stimulating,
aggressive and lively
 Cool colours - blue, green and violet, which remind people of the
sky and the sea, cool colours are quiet, reserved, soothing,
peaceful and calm

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15.3 Fashion Design Presentation

15.3.1 Basic Proportions of Female Figure for Fashion Design Drawing

Average Female’s Proportion Fashion Drawing Proportion

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15.3.2 Basic Proportions of Male Figure for Fashion Design Drawing

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15.3.3 Production Drawing

Production drawing – skirt Production drawing - top

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15.4 Fashion Design Process

ANALYSE THE BRIEF

identifying needs

RESEACH INSPIRATION RESEARCH DIRECTION (industrial designer)

personal inspiration and concepts trends, fashion forecasting, directional and
(mood board / colour board) comparative, trade show reports, retail and
market research

CREATIVE PROCESS
 Ideasketch Silhouette, texture, pattern, fabric, colour and principles of design
 Design Development
 Production Drawing
 Presentation Drawing

PRODUCTION OF PROTOTYPE
flat pattern cutting, toile modeling, structure and embellished

EVALUATION OF COLLECTION
chosen range or collection, decision making

PROMOTION
promotion graphic and photographic styling

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15.4.1 Analyse the Design Brief
The information within a typical brief covers the following:
(a) The type(s) of garments to be designed. For example, women’s wear,
menswear, eveningwear, lingerie, casual wear or knitwear.
(b) The occasions or activities they are intended for. For example, surfing,
dancing, etc.
(c) The season.
(d) The fashion image required, e.g. different age range, formal or informal
style, etc.
(e) The price range.
(f) Title/Theme.

15.4.2 Research Inspiration

Sources of inspiration may be related to designers’ personal experience. They can

come from museums or post cards, from the Internet or family photographs. Many
areas of research including paintings, flowers, architectures, furniture, raw materials
or even films from different parts of the world could be used.

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(a) Mood Board

(b) Colour Board

(c) Theme Board

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15.4.3 Research Direction
(a) Trends and Fashion Forecasting
(b) Coverage of tradeshows and fabric fairs
(c) Retail reports and directional garments
(d) Original samples
(e) Ready-to-wear fashion show
(f) Market research
(g) Fashion Internet and websites

15.4.4 Creative Process

(a) Idea Sketch
Idea sketches are rough sketches simply for designers to write down
the ideas that they think might be useful for further design development.

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 (b) Design Development
Design development is the selection of rough sketches of the designers
to fully expand initial concepts. Development sketches could be finished
with or without colour, depending on the availability of suitable fabric
samples.

(c) Production Sketch

.

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(d) Presentation Drawing
Presentation drawings should contain complete figures wearing the
garments in a suitable pose and feature showing the most attractive
design interest.

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15.4.5 Production of Prototype

(a) Flat-pattern Cutting

Basic blocks such as bodices, sleeve, pants or skirts are drafted on card board and
provide well-fitting shapes. The basic blocks are changed or adapted according to
different styles to form new patterns. Patterns are cut into pieces of fabrics and
made into first samples or muslin toiles.
(b) Toile Modeling
Pattern makers use the “draping”, also known as “modeling” on the stand, to entail
fitting toile fabrics such as calico or lightweight cotton muslin on dressmaking
mannequins of the appropriate size or on real bodies. When the shapes and fits are
correct, the toiles are removed and copied onto pattern papers or cards

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