Apparelfunda

Indian Sarees

2012-04-02T21:34:00.000+05:30

Introduction
Saree is one of the oldest garments in the world and has been in style for the past 5000 years. Over the centuries, it has evolved in many ways. Not only have the designs evolved but also the methods of draping and usage, weaving/ manufacturing techniques, etc.

Saree Design and Structure
It is a long rectangular piece of unstitched cloth, generally five to six yards (some of them are nine yards too), worn mostly by women in India. It is generally worn over a petticoat (like an underskirt) and teamed with a tight fitting blouse or a choli (like a bodice). The loose end of the Saree usually has more designs (buttis, embroidery, prints , etc.) than rest of the body of the Saree. This part of the Saree is called pallu (a throw), generally thrown over the shoulder either ways. The bottom of the saree is always lines, irrespective of having a border, to prevent wear and tear. This is known as fall.

Types of Sarees
Sarees in India are of varied types and have diverse ways of draping. They can be broadly classified into Contemporary and Traditional categories according to their art styles and type of manufacturing.

Traditional Sarees

Traditional sarees can be further classified into the work or craft. Every region in India has its own style of weiving/embroidery ahich have developed over time. Traditional sarees/crafts can be classified according to the regions they belong to.

Punjab - Phulkari

Phulkari Embroidered Saree

Uttar Pradesh- Banarasi , Lucknow Chikankari

Banarasi Brocade Saree

Lucknavi Chikankari Embroidered Saree

West Bengal- Kantha Stitch, Taant, Batik, Jamdani, Tangail, Rajshahi, Dhaniakhali, Murshidabad Silk, Baluchari , Dacca Muslin

Kantha Embroidered Saree

Batik Printed Saree

Assam- Tassar silk, mekhla chadar, Muga silk

Orissa- Bomkai, Ikkat

Ikkat Saree

Bomkai Saree

Bihar- Bhagalpuri Silk, Madhubani

Bhagalpuri Silk Saree

Madhya Pradesh- Chanderi, Maheshwari, Vafta

Chanderi Saree

Rajasthan- Leheria, Bandhani, Kota Doria, Bagru Printed

Bandhej Saree

Gujarat- Ajrak, Patola, Kutch Embroidery, Gharchola

Maharashtra- Paithani, Pitamber

Karnataka- Mysore silk, Molakalmuru Silk, Ilkal

Andhra Pradesh- Mangalgiri, Narayanpet, Ponchampally, Gadwal, Guntur, Venkatgiri, Iklal, Uppada, Dharmavaram

Mangalgiri Cotton Saree

Tamil Nadu- Kanchipuram, Chettinad, Konrad, Coimbatore, Kanchi, Madurai, Kumbakonam, Mundum Neriyathum, Sungri, Arani

Kerala- Kasavu

Contemporary Sarees

Contemporary sarees or fashion sarees are majorly made of synthetic materials like Georgettes, Chiffons, Crepes, Nets, Satins etc. Various types of printing, embroidery (machine), patchwork, etc. are done for value addition. Surat, Pali are the major manufacturing hubs for these sarees.

Lehenga Saree

Lately there have been modifications in the saree to make draping hassle free. Prestitched sarees, popularly known as lehenga sarees, have become popular party wear attire.

Types of Sleeves in Women's Clothing

2012-03-09T07:55:00.000+05:30

A sleeve is that part of the clothing that covers the arm or through which the arm slips. The pattern of the sleeve is one of the characteristics of fashion that add to the design of the garment. It may vary in length and shape. The basic classification of sleeves could be according to the length:

Full Sleeve- This sleeve extends from armhole to wrist.

Quarter Sleeve- Also known as 'Three-Quarter Sleeve', it ends between elbow and wrist. It became popular in the United States in 1950s and again in 2000s.

Half Sleeve- This sleeve extends from shoulder(armhole) to biceps/triceps above elbow.

Sleeveless

Apart from this, sleeve types may vary according to their shapes and patterns. Some popular styles of sleeves in women's clothing are:

All-in-one Sleeve: Sleeve with no armhole, cut in one piece with front and back of blouse with seams down the inside and outside of the arms. Resembles the batwing sleeve and kimono sleeve but not cut as full under the arm. May be combined with a raglan or se-in sleeve with the front cut in either manner and the back cut all-in-one.

Angel Sleeve: Any type of long flowing sleeve. May fit smoothly into the armhole or be gathered. Sometimes split up outer arm to shoulder like and hanging sleeve.

Baby Doll Sleeve: Another name for a tiny Puffed Sleeve.

Balloon Sleeve: Very large puff sleeve extending to elbow set into a regular armhole and frequently made of crisp fabrics. Popular in 1890s and since for evening and wedding dresses.

Barrel Sleeve: Sleeve that fits at armhole and at wrist but is full at the elbow.

Batwing Sleeve: Long sleeve cut with deep armhole almost to waist, made tight at wrist, giving wing-like appearance when arm is extended.

Bell Sleeve: Sleeve made narrow at the top, set into normal armhole, and flaring at lower edge like a bill. Introduced in the second half of the 19th c.

Bishop Sleeve: Full sleeve set into normal armhole and gathered in band at wrist. May also be gathered or puffed at shoulders. Often called "Poet Sleeves" or "Billow Sleeves". Tom Jones Sleeves are a fuller version of this sleeve sometimes with a drop shoulders.

Bracelet Sleeve: Three-quarter length fitted cuffless sleeve allowing a bracelet to show.

Butterfly Sleeve: Wide flaring sleeve set in smoothly at armhole, extending to elbow or wrist, giving a caped effect.

Button Tab Sleeve: A convertible roll-up sleeve made in long sleeve style with buttonholed tab sewed on above elbow. Sleeve is rolled up and fastened to tab with button sewn on underside of sleeve.

Cap Sleeves: Small extension cut on the front and back of a blouse to cover the shoulder. Has a seam at the shoulder fastening front and back of garment together but no armhole seam. Popular in the 1940s and worn at intervals since. In the 1980s flat turn-over cuffs were sometimes added to this type of sleeve.

Cape Sleeve:

Circular, or semi -circular, piece place over each shoulder and stitched to blouse giving a caped effect over each arm.

Flared piece of fabric cut to extend to neck in raglan style. Introduced in 1920s and featured in late 1960s for cape coats.

Cold Shoulder Sleeve : A long sleeve that is disconnected past the stitching on top of the shoulder, but not underneath, where the armpit is. The top of the bicep is exposed.

Dolman Sleeve: Sleeve that is fitted at wrist but cut with deep/wide armhole so that it somewhat resembles a cape from the back. So called because it looks somewhat like sleeve in original Dolman which was worn from the 1870s through the 1880s.

Epaulet Sleeve: Sleeve with yoke across top of shoulder cut in one piece with sleeve.

Fitted Sleeve: Full-length, bracelet, or three-quarter length sleeve set into the normal armhole.

Handkerchief Sleeve: Sleeve made with square piece put over shoulder in such a manner that it falls in points like a handkerchief.

Hanging Sleeve: A sleeve that opens down the side or front, or at the elbow, to allow the arm to pass through. It was quite popular from 14th-17th centuries.

Juliet Sleeve: Long sleeve with short puffed top, fitted in lower arm. Named after heroine of William Shakespeare's drama Romeo and Juliet.

Kimono Sleeve: Wide sleeve cut in one piece with front and back of the garment and seamed down outer and under arm like a Japanese Kimono. Also call Kabuki Sleeve and Mandarin Sleeve.

Leg-of-mutton Sleeve: Sleeve with full top gathered or pleated into armhole and tapered to wrist where it looks like a regular sleeve. Also spelled Leg O' Mutton or called a French Gigot Sleeve.

Pagoda Sleeve : A wide, bell-shaped sleeve, worn over engageante or false under-sleeve. It was popular in 1860s.

Paned Sleeve : A sleeve made in panels or panes, allowing lining or shirt sleeve to show through. It was popular in 16th and 17th centuries.

Peasant Sleeve: Full sleeve gathered at top and bottom. May be either short and puffed or long and full.

Petal Sleeve: Short sleeve curved at hem and over-lapping to give a petal-shaped effect in front.

Poet Sleeve : A long sleeve, fitted from shoulder to elbow and then flared from elbow to wrist or mid-hand (sometimes dramatically). It may often feature ruffles on the cuffs.

Puffed Sleeve: Short sleeve gathered, either at the armhole or at the cuff band or both, producing a rounded shape. Popular in 1920s and 1930s, revived in late 1960s, and still used for babies and children's wear.

Raglan Sleeve: Sleeve that extends to neckline, set in by seams slanting from underarm front and back. Used since mid - 1850s. A variation is made with an additional seam down outside of arm called a three-seamed raglan. A raglan sleeve is an excellent choice when you have a hard time fitting the shoulders in a blouse.

Roll-Up Sleeve: Sleeve, approximately elbow length, finished only with a narrow hem, designed to be folded --- or rolled up --- at least twice in lieu of a cuff. Popular for women's tailored shirts in the 1950s and 1960s, an outgrowth of earlier fad for wearing long sleeves folded up in this manner.

Set-in Sleeve: Any type of sleeve which is sewed into the natural armhole.

Saddle Sleeve: Variation of Raglan Sleeve in which shoulder portion forms a straight band cut in one piece with the sleeve and seamed to front and back parallel to shoulder, instead of at an angle as in raglan style.

Shirt Sleeve: Tailored wrist-length sleeve with flat-felled seams set smoothly into the armhole. Sometimes has one of two small unpressed pleats where it joins the cuffs. Basic sleeve for men's shirts since late 19th c., may have Barrel or French Cuff --- women's style may have band at cuff.

Suit Sleeve: Sleeve cut in two pieces --- one for under the arm --- one for top of arm. Cut to allow for the bend in the elbow, it is generally used in tailored suits for men and women.

Tom Jones Sleeve: A full billow sleeve, gathered into cuff or ruffle, used on men's shirts, sometimes into a dropped shoulder. Named for style of shirts worn in 18th c. popularized by costumes worn in 1963 film of Henry Fielding's 1749 novel Tom Jones.

Trumpet Sleeve: Sleeve fitting into natural armhole, falling straight to elbow where it flares in the shape of a trumpet.

Tulip Sleeve: Set-in sleeve with bell shape made in several pieces like petals on a flower.

Two Piece Sleeve: A sleeve cut into two pieces, inner and outer, to allow the sleeve to take a slight "L" shape to accommodate the natural bend at the elbow, without wrinkling. It is usually used in tailored garments.

Virago Sleeve: A full 'paned' or 'pansied' sleeve gathered into two puffs by a ribbon or a fabric band above the elbow. It was popular in 1620s-1630s.

Types of Necklines in Women's Clothing Part 2 - Collars, Revers & Lapels

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A collar encircles the neck and frames the neck. Collars may be developed close to or away from the neckline. They may be wide, narrow, flat, or high and with or with out an attached stand. The collar edge may be stylized or may follow a basic shape. I t may be round, curved, scalloped, square or pointed in any direction. A collar is different from revers or lapels where, as it is made from a separate piece of fabric, rather than a folded or cut part of the same piece of fabric used for the main body of the garment.

Types of Collar- Collars can be broadly categorized as:

Standing or Standup- fitting up around the neck and not lying around the shoulders.
Turnover- standing around the neck and then folded or rolled over.
Flat or Falling- lying on the shoulders

Some specific collar styles include:

Basic Shirt collar- This collar is most commonly seen in formirts formal shirts for men.

Various parts of the collar are

1. Collar Points - The tips of the collar.

2. Collar Point Length – The distance from the Collar Points to where they meet the Collar Band.

3. Collar Band- the piece of fabric that wraps around the neck.

4. Collar Height- The height of a folded collar as it fits on the neck.

5. Tie Space – The distance between the top of the folded collar parts when the shirt is buttoned.

6. Spread – The distance between Collar Points.

Ascot collar- It is a very tall standing collar with the points turned up over the chin, to be worn with an Ascot tie.

Victorian Bertha collar- A Bertha collar is a wide, round, flat, cape-like collar fitted to a low scooping neckline, designed to accent a woman's shoulders. It has a long history stretching back to Victorian fashion. It can be worn as an accessory to a dress or a top, and it is sometimes removable like a shawl. It was adapted in the 1940s but generally attached to a V-neckline. Over the years, the Bertha collar, sometimes called a cape collar because of its size, has morphed into an actual cape. Often made of lace or with frilly accents, the cape collar can be easily removed to transition from day time to evening wear. It can also be worn as an accessory for many different outfits.Square collars and Peter Pan collars evolved from this trend.

Peter Pan collar- It is a is a flat, round-cornered clothing collar and is particularly associated with little girls' dresses..

Chelsea collar- A woman's collar for a low V-neckline, with a stand and long points, popular in the 1960s and 1970s.

Fichu Collar- It is an oversized collar. The collar employs a triangular piece draped over the shoulders and is styled like an 18th century fichu, a large neckerchief folded into a triangular shape and worn with the point in the back and the front corners tied over the chest.

Imperial/Poke collar- It is a stiff standing collar for men's formal wear, differentiated from other tall styles by the lack of tabs at the front.

Band collar- is a standing band-shaped collar that encircles the neck without a full turndown or a collar "cape". It can be any height or "stand", but is usually under 2" at the front, so as not to push up into the chin. Variations of the Band Collar are: Clerical Collar, Mandarin Collar and Cadet Collar.

Mandarin or Chinese collar- It is a short unfolded stand-up collar style on a shirt or jacket. Mandarin collars start at the neckline and typically rise vertically two to five centimeters.

Sailor collar- It is a collar with a deep V-neck in front, no stand, and a square back, based on traditional sailor's uniforms.

Jabot collar- It is a standing collar with a pleated, ruffled, or lace-trimmed frill down the front.

Collaret- A collaret is a collar provided with pleats or puckers.

A revers or rever is a garment or part of a garmeJacket lapels are the folded flaps of cloth on the front of a jacket or coat, and are most commonly found on formal clothing and suit jackets.nt that is reversed to display the lining or facing outside.

Lapels are the folded flaps of cloth on the front of a jacket or coat, and are most commonly found on formal clothing and suit jackets.

Types of Lapels-There are three basic forms of lapels: notched, peaked and shawl.

Notched lapels,also known as step lapels or step collar, are the most common, are usually seen on business suit jackets, sports jackets,blazers. They are sewn to collar at an angle, creating a step effect. A small notch is called a fishmouth.
Peaked lapels, also known as pointed lapels, are more formal, and nearly always used on double breasted jackets or coats.
Shawl lapels (or roll collars) are usually carried by dinner jackets. It is a continuous curve.
Traditional Indian jackets, like Nehru jackets, Achkans or Sherwanis dont have lapels. Rather they have Chinese/Mandarin collars. This "Bandh Gale ka Coat" has been popular since the 1940s.

Types of Necklines in Women's Clothing Part 1

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The neckline is the top edge of a garment that surrounds the neck, especially from the front view. Neckline also refers to the overall line between all the layers of clothing and the neck and shoulders of a person, ignoring the unseen undergarments.

Necklines can be grouped into categories according to their shape and where they cut across the body:

Polo or Turtle Neck

These are high, close-fitting collars that fold over and wrap around the neck itself. They are also called turtlenecks.They make the torso appear elongated, accentuate the bust and shorten the neck.They are most common for sweaters (also called jumpers) or jerseys.

Polo neck shirt with collar.

Cowl Neckline

This is a loose fitting turnover collar (specially at the front) which hangs down.

Crew Neck or Jewel Neckline

Its a round neckline that sits at the base of the neck and is also called the T-shirt neckline. This type of neckline is suggested for women with smaller chests.

Scoop Neckline

These have a curved U shape, with the arms of the U hanging on the shoulders. The depth of the U can vary, ranging from demure styles to plunging. This type of neckline works for most figures.

V-neckline

This is formed by two diagonal lines from the shoulders that meet on the chest creating a V shape. The depth of the V can vary, ranging from demure styles to plunging. This neckline lengthens the neck. A wide "V" makes shoulders look broader and a narrow "V" does the opposite. The surplice & portrait versions of this neckline are alternatives. The V may also be truncated by a small bottom edge, forming a trapezoid.

Square Neckline

This is characterized by three linear edges, the bottom edge meeting the side edges at right angles. The bottom edge cuts across the figure horizontally and the side edges pass over the shoulders. A special case of this is the slot neckline, in which the side edges are very close (roughly the width of the collar-bone points), forming a narrow slot.

Deep or Plunging Neckline

This is a low necklines, in either V, U or square shape, that reveals various amounts of cleavage.

Boat Neckline (Bateau or Sabrina)

This neckline has a high, wide, slightly curved neckline that pass past the collarbones and hang on both shoulders. This neckline shows off the collar bones, makes the shoulders appear broader, accentuates the bust, gives roundness to the face, elongates the torso and shortens the appearance of the neck. It is also called Bateau neckline or Sabrina neckline.

Portrait Neckline

It is a variation of the boat neck or off-the-shoulder.In this the fabric is folded in a shawl like manner, which frames the shoulders. It is suggested for short waisted women with well defined collar bones and fuller arms.

Off-the-shoulders

This is similar to boat neckline but is significantly lower, below the shoulders and collar bone. Usually these pass over the arms but, in the strapless neckline style, may pass under the arms. These necklines accentuate the shoulders and neck of the wearer.

Strapless

As the name suggests, there are no straps. Here the fabric passes under the arms. This is suggested for women who are full figures, are petite or have an hourglass figure. Should be avoided bu women with smaller chests.

One-shoulder

This is an asymmetrical linear neckline that cuts across the torso diagonally, usually from one shoulder to under the other arm.

Halter Neckline

This is a sleeveless style which features a V-neck or scoop front neckline with straps which wrap around and connect at the nape of the neck and leaves the shoulders (and sometimes the back) bare. This is suggested for short waisted or broad shouldered women.

Sweetheart Neckline This has a curved bottom edge over the bust line that is concave down and usually doubly scalloped to resemble the top half of a heart. The side edges often converge on the neck, similar to halter necklines. Sweetheart neckline accentuates the bosom.

Queen Anne Neckline

This type of neckline has a high standing collar in the back and high sides that curve down in a low, open sweetheart-like neckline.

Keyhole Neckline

This is similar to halter neckline, but the converging diagonal lines meet in front of the neck, forming a "keyhole". More generally, this features a central hole, usually just below the collar bones. This neckline is seen infrequently.

Surplice Neckline

This neckline is sometimes thought of as a "faux wrap" style which creates a deep "V". It is similar to how a bathrobe's neckline is formed by one side of the garment overlapping the other. For a dress, the lower layer is usually sewn to the top layer just under the bust.

Silhouettes in Women's Apparel

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A silhouette in fashion terminology the overall shape of the garment. Shapes and silhouettes in fashion change over time. Many periods in fashion even have a distinct silhouette that we automatically associate with the clothing of that decade or era. Most comm types of silhouettes are:

A-Line

Th name 'A- Line' comes from the triangle (or "A" shape) between the narrow bodice and outer edges of the wide, ungathered skirt. The shape is a fitted chest and torso, however, the skirt is much less full. This creates a smoother, more flowing line from the torso to the floor, or an overall body shape like the letter "A." Suitable for a variety of fabrics, the A-line is versatile: It may or may not have a seam at the waist, which may be higher or lower than the natural waistline; and the close-fitting bodice may be strapless or have any type of neckline. A specialized variation of this cut is called the “princess” silhouette. Here, a single sheet of material is used to make the front of the dress from above the bust to the floor, creating a smooth flat shape at the front.This is great for short women because the seamlessness can give the illusion of height.

Ball Room

Introduced by Queen Victoria, reimagined by Dior in the 1950s, and never long out of fashion, this is the most romantic of all bridal silhouettes. It features a small waist (natural or dropped) and a voluminous skirt with petticoats. This style of dress, associated with fairy tales, is most suited to a formal wedding setting. It terms of design, it is fitted in the chest and down the torso, and then flares at the waist into a very full, often multilayered, skirt. This style is flattering on almost any body type, but is especially flattering for petite women, or full-figured women. On a pear-shaped woman, the full skirt can do much to camouflage large hips.

Empire

After the French Revolution, Napoleon's wife Josephine popularized this neoclassical dress with a very high waist; the sheer materials she chose caused a sensation.This dress has a waist line which is raised to directly beneath the bust, with a skirt that may be straight, slightly flared, or even as wide as an A-line from the raised-waist down.The cropped bodice of the Empire style flatters the small-breasted woman but not a more buxom bride; the raised waist creates a long line, ideal for a petite bride. This dress is particularly recommended for women who do not have a defined waist, but is not recommended for women with a pronounced hourglass shape.

Sheath

The sheath was popularized in the 1950s by Marilyn Monroe.This slyly constructed silhouette is used to refer to dresses that are form-fitting from the bust through the length of the thighs.This body-hugging profile is artfully sculpted with darts, tucks, and seams. The effect will differ depending on the weight and drape of the fabric. A great choice for a tall, slim-hipped woman, the sheath is equally becoming to a petite, slender bride. Avoid this style if you have wide hips but narrow shoulders.This is generally recommended for thin women who have gentle to no curves. Curvy, full-figured women or short women should avoid this silhouette because it hugs.

Trumpet or Mermaid

A trumpet dress hugs the body at the top and through the hips but jets out into a fuller skirt at the bottom. This style is also referred to as mermaid.The mermaid silhouette is designed for women who have flattering curves that they want to accentuate. Because of its emphasis on leg and torso length, it is not recommended for women who are short.

Sources:

www.ehow.com

www.marthastewartweddings.com

Styling Features in Apparel

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Silhouettes
Necklines
Collars
Waistlines and Waistbands
Sleeves
Cuffs
Yokes
Pleats
Pockets
Plackets

Principles of Design

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Unity/ Harmony

Unity is when all elements of design work together harmoniously to create a successful visual effect for a single concept, depicting a sense of completeness. Here all parts of a design are related in a regular, orderly arrangement to result in an overall pleasing visual. Unity may be achieved through:

Repetition- Repetition reemphasizes visual units, connecting parts and creating an area of attention.
Continuation- Continuation means that something (a line, an edge, a curve, a direction) continues from one element to another. The viewer’s eye will follow the continuing line or edge smoothly from one element to other and the mind will group the elements because of this connection. Implied lines are one example of continuation.
Proximity- Proximity is based on grouping by closeness; the closer elements are to each other, the more likely we will see them as a group. It is one of the easiest ways to achieve unity.
Alignment - Alignment consists of arranging elements so that their edges are lined up. The common alignment allows the eye to group those elements together. A grid is often used to create unity through alignment, not just in a single design but also between related designs (the pages of a magazine or book, for example).

Variety

Variety is the use of several elements of design to hold the viewer’s attention and to guide the viewer’s eye through the design. It could be thought of as a complement to unity and is needed to create visual interest. Without unity, an image is chaotic and "unreadable;" without variety it is dull and uninteresting. Good design is achieved through the balance of unity and variety; the elements need to be alike enough so we perceive them as belonging together and different enough to be interesting.

Emphasis /Focal Point

Emphasis id the quality that draws attention to a certain part of the design. It could be achieved through:

Contrast- Contrast of line, colour, texture or shape creates an emphasis on the design. Unusual shapes, lines, contrast colours arrest by the eye by virtue of their individuality.
Isolation
Placement- Emphasis may be achieved by placement of a focal point that draws one's attention, by leading the eye in the direction of the most important element on the garment.
Concentrating or Grouping- Emphasis may be achieved by grouping of a certain design part in one area such as rows of stripes, tucks, gathers, ruffles, buttons or trim, etc.
Absence of focal point

Balance

Balance is the distribution of elements across a design to achieve a visual equilibrium. It is the visual attribution of 'weight' from a central area to imply a sense of equilibrium. Large or bolder elements appear to be heavier while smaller elements appear lighter.

Symmetrical Balance - When the left and right (or upper and lower) halves of the garment are bilaterally symmetrical. The elements are placed in an even fashion in the design. These types of garments are least expensive for mass production, unlike others where every part of the garment has to be cut and handled differently.
Asymmetrical Balance - When the left and right halves of the garment are not symmetrical.
Radial Balance - When major parts of the garment design radiate from the central part of the garment, creating a sunburst.

Proportion /Scale

Proportion refers to relative sizes or scale of the parts of the design. Garment designs should be related to the structure and proportion of the human body. The golden mean equations are used to produce garments that may be divided visually into 3:5, 5:8, 8:13 horizontal sections. This is because, the body proportions have 3/8 of total figure from the waist to top of the head and the remaining 5/8 of the body is from the waist to soles of the feet. A surprising aspect of proportion is the way ideal proportions can vary for the human body itself. Styles change in bodies as they do in clothing. Prior to the 16th century, for example, the female body ideally had large hips and belly. Only later was a small waistline stressed.

Movement

Movement is the path the viewer’s eye takes through the design, often to focal areas. Such movement can be directed along lines edges, shape and color within the design.

Rhythm/Pattern

Rhythm is used by repetition of one or more design elements to create a feeling of organized movement.When depicted in a visual, the design seems active. Pattern is the repetition of an object or symbol all over the design.Variety is essential to keep rhythm exciting and active, and moving the viewer around the design. Rhythm is broken when lines, trimmings, or fabric designs are not matched at the seams or at other construction points. Fabric’s designs with widely placed motifs may lack rhythm. Rhythm could be depicted through:

Repetition- Rhythm

could be achieved by repetition or regular repeats of motifs of design, shapes, buttons, tucks, pleats, laces, edgings, color, textures, fabric designs etc. This can be done with all parts having the same shaped edges.

Progression- Rhythm is also created by progression or by gradation. Gradation implies a gradual increase or decrease of similar design elements.The gradual changes provide continuity while giving a feeling of movement.Example: Colours can go from light to dark or textures from fine to coarse or vice versa,shapes may range from small to large, and lines may range from thin to thick.
Transition- Transition is a fluid rhythm created when a curved line leads the eye over an angle.The curved lines of transition cause the eye to change direction gradually rather than abruptly.Transitional lines and shapes sweep and glide over the figure in an undulating rhythm leading the eye gracefully and easily from one area or direction to another. It is found in dropped shoulder designs, puff sleeves and cap sleeves, etc.
Radiation- Rhythm by radiation creates a feeling of movement in different directions. This organized movement originates from a central point of gathers, folds, tucks, darts, pleats and lines. Direction of radiation may be in a similar or one direction, opposing direction or both the directions, several directions and all directions.
Continuous line movement- This type of rhythm is obtained by flowing lines of trims, bands of colour, fabric designs etc, which make the eye move in a continuous line.This movement also unifies the garment design bringing about harmony.

Elements of Design- Texture

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Texture is the way a surface feels or is perceived to feel. Texture can be added to attract for repel interest to an element, depending on the pleasantness of the texture. Most textures have a natural feel but still seem to repeat a motif in some way. Regularly repeating a motif will result in a texture appearing as a pattern.

Textures are of two types-

Tactile texture (3D): The actual three-dimension feel of a surface that can be touched. Painter can use impasto to build peaks and create texture

Visual texture (2D): The illusion of the surfaces peaks and valleys, like the tree pictured. Any texture shown in a photo is a visual texture, meaning the paper is smooth no matter how rough the image perceives it to be.

In fashion, texture plays the role of surface quality of garments (how it looks and feels) - Roughness, smoothness, dullness, glossiness, stiffness, softness.

¡ Bulky fabrics

Add visual size (make one look bigger)

Can disguise a flaw

Can overpower a small person

¡ Smooth, flat textures

Make one look smaller

¡ Shiny textures

Make one look bigger, as they reflect light

¡ Dull Textures

Make one look smaller, as they absorb light

Elements of Design- Colour

2011-10-29T04:20:00.000+05:30

Colour is one of the most powerful elements of design. There are basically two theories that explain how colors work and interact. The light, or additive theory deals with radiated and filtered light. This theory’s principles suggest that the perceived color results from the mixing of different colors of light. Principles of color addition have important applications to color television, color computer monitors and on-stage lighting at the theaters. The pigment or subtractive theory deals with how white light is absorbed and reflected off of colored surfaces. A colored pigment, blue for instance, absorbs most of the frequencies of light that are not blue, reflecting only the blue light frequency. Because all colors other than the pigment colors are absorbed, this is also called the subtractive color theory. We will be investigating from the pigment theory perspective here.

Dimensions of Color

Hue is the name of the color (eg Red, Blue). Each hue is a different wavelength of light.

Value is the lightness or darkness of a hue (eg. Light blue, navy blue etc.). A lighter colour is also known as ‘tint’. To achieve this white has to be added. A darker colour or a ‘shade’ could be achieved by adding black to it.

Intensity is how bright or dull a colour is (eg: black and grey). Intensity is brightest at its full purity. To reduce intensity of hue with least alteration in value, a small amount of its complement is added.

Colour Wheel

One way of arranging the colours in the solar spectrum is the Colour wheel.

The primary colors are red, yellow, and blue. They are called primary because they are not mixtures of other colors. Rest all colours could be derived from mizing these three colours in different proportions.

Mixing any two primary colors results in a secondary color.

Tertiary colours- These are made by mixing a primary colour with an adjasant secondary colour. Example red-orange, red violet, yellow-green, yellow orange, blue-violet, and blue green.

Colour Schemes

Colour schemes are descriptions of color relationships. Some of them are:

Achromatic: Black, white and the grays in between. There are no possible color contrasts.

Monochromatic colour scheme is based on one hue. This is like achromatic, but with one dominant hue-a single spoke of the color wheel. Red, black and white is a common example.

Analogous are hues lying near each other on the colour wheel, red-orange, red-purple.

Complementary colours are placed directly across from each other on the colour wheel. Example: Orange & Blue, Yellow & Violet, Red & Green, etc. They are used together provide extreme contrast. More harmonious effects can be achieved by using colors that are close together on the color wheel.

Double complementary or Split complementary colour scheme is two adjacent hues and their complements.

Triad is formed when three hues equally spaced on color wheel are taken together (eg: red, yellow and blue).

Discord is where opposite colours are together and one is a tint, so that the original tone of the hue is different.

Colour Temperature

Warm Colours & Cool Colours - Another way to organize color is by color "temperature." Colors are either "warm" or "cool." If we divide the color wheel vertically through the center, splitting yellow and violet, the red, orange side is warm and the blue green side is cool.

Red, Orange and Yellow are considered 'warm colours'. They give a feeling of advancement.

Blue , Green and Violet are considered 'cool colours'. They tend to recede.

Metamerism

Metamerism is the phenomenon that occurs when a color appears to change when viewed in different light sources. The colors that are most likely to have metameric problems include taupes, mauves, lilacs, tans, celadons, grey/blues, greys, etc.

Colour Standards

By standardizing the colours, different manufacturers in various locations can all reference a particular standard for colour, which is numbered. This makes sure that colours match without direct contact with one another. The most common colour standards in the fashion industry are by Scotdic, Colour Solutions, Pantone, etc.

Elements of Design- Shape & Form

2011-10-28T14:00:00.000+05:30

A shape is defined as an area that stands out from the space next to or around it due to a defined or implied boundary, or because of differences of value, color, or texture. A form is an object having three dimensions like length, width and depth.

A shape or outline seen from a distance is called a silhouette.It can reveal or hide a natural body contour. Full, wide shapes make you look bigger. Trim, compact silhouettes make you look smaller. Straight, tubular shapes make you look taller. Form fitting clothes reveal any unattractive contours, should only been worn by figures that are near-perfect.

Elements of Design- Line

2011-10-28T12:35:00.000+05:30

If a point continues to get thicker without also getting longer at some point it ceases to be a point and becomes a line. Where a point has no dimension, a line has one dimension. It has a length, but nothing else. Where dots are about attracting attention, lines are about movement and direction. That line can be straight (although some would argue that a line can never be truly straight) or curved. Lines are used to delineate objects as in a line drawing, or used to create graphs, or used to outline areas as in a framed effect. Imaginary lines are created when two areas of different colors, textures, or values meet to create a line between those effects. Vertical lines can stop eye movement. They also equate to power and strength. Horizontal lines symbolize rest and relaxation. Diagonal lines are dynamic and action-oriented.

The fundamental characteristic of a line is to connect or unite. A line leads somewhere, your eye moves along it seeking one or both of its endpoints. This movement and direction makes lines inherently dynamic. A line is not attracting you to a point in space. It’s directing you toward and away from points in space.The flip side of connecting is separating. Lines not only connect elements, they can also separate elements. They can connect an element to space or separate it from space. Lines separate and join both spaces and objects. Lines can also cross barriers, protect, and support.As lines become thicker they begin to be perceived as planes or surfaces and they gain mass. To maintain their identity as lines they must increase in length as they increase in width. Changing the width of a line relative to its length has a much greater effect on the quality of a line as changing the size of a dot has on the quality of a dot. The thinner the line the more the emphasis is on the quality of direction. The thicker the line the more emphasis is moved to the quality of mass and away from the quality of direction.

Which line segment is longer?

In this, although you may perceive (like most people the world over) that the bottom line is longest, you can quickly confirm that all the lines are of the same lengths. Even armed with the knowledge that they are the same length, the bottom line still appears longer than the other two. You can achieve the exact same effect just by wearing a V-neck shirt or dress (and, theoretically,bell-bottom pants or mermaid skirts). So why does a longer torso matter?

Designers also commonly use illusions to “trick the eye” into perceiving a more flattering silhouette, such as highlighting the waist with a belt to draw attention to the narrowest part of the body. Another trick is to wear V-neck tops, which gives the illusion of a longer torso.

Which of these two women looks thinner to you?

If you think you know the answer, feel free to leave a comment.

Thus, fashion experts could be basing their judgments on basic perceptual elements like color and height. If perceptual elements influence fashion judgments, we can pinpoint why a look appears unflattering, too busy, incohesive, etc. Ultimately, judging fashion may be less an art than a science.

Elements of Design: Point

2011-10-28T05:53:00.002+05:30

The point is the simplest element of design. It is a coordinate without any dimension or area. It may serve as a focal pointof a visual, highlighting or drawing attention to important information.

If there are two or more points, they start interacting with each other. They imply a structure. For example, if there are 2 points, immediately the eye will make a connection and "see" a line. If there are three points, one can’t help but interpret them as a triangle; the brain provides these connections. This compulsion to connect parts is described as grouping, or gestalt.

Points at different locations in space and shape and everything is changing will cause people of different visual experience. Depending on their placement/arrangement, they can produce sense of expansion, instablity, direction, vertical stretch, rhythm, etc.

The point has some of the characteristics. In designing apparel, appropriate use of point may feature a rich change. The point maybe in creative location, varied number(s), arrangement, form, colour and texture of a feature, to produce unexpected artistic effect (examples in the images above). Buttons in clothing, fabric dot patterns, decorations, accessories can be perceived as a point, however small or large they may be.

Elements of Design

2011-10-27T00:48:00.000+05:30

Elements of design are like the building blocks of design. They are the effects we actually use in a design. There are mainly 6 elements of design. They are point, line, colour, shape, movement and texture.

Point- A point or a dot is a coordinate in space. It does not have any dimension or area. It is the most basic building block for everything.

Line- A line could be represented as a series of adjacent points. It has one dimension (by definition), but to see it, one needs two dimensions. It could be used to represent a lot of things (direction, movement, etc.) Check out the following image; which line segment is longer?

In this Müller-Lyer illusion although you may perceive (like most people the world over) that line (a) is longer than line (b), you can quickly confirm that they are the same lengths. Even armed with the knowledge that they are the same length, line (a) still appears longer than line (b).

Colour- Colour is nothing but how we see the reflection of light waves. It is probably the most most effective element of design.

Shape/Silhouette - A shape is a two dimensional form, without any depth. A silhouette is a shape or outline seen from a distance.

The image above is a static, the beans are NOT moving. This brings us to the next element of design - movement

Texture could be two dimensional (visual) or three dimensional (tactile).