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Index
Cover
Copyright
Author’s Note
Acknowledgments
Chapter 1: Fashion was born in the 12th century.
Chapter 2: Fashion designers create collections, not simply individual garments.
Chapter 3: Fashion-ese
Chapter 4: Fashion is born from ideas.
Chapter 5
Chapter 6: The Five C’s of good pre-design
Chapter 7: Know who you aren’t designing for.
Chapter 8: Design outside in, top to bottom, big to small.
Chapter 9: Create an organized fabric story.
Chapter 10: Weaving and knitting
Chapter 11: Go with (or against) the grain.
Chapter 12: Design into the fabric.
Chapter 13: Cotton is a fiber, not a fabric.
Chapter 14: Satin is a weave, not a fabric.
Chapter 15: How to cut fabric
Chapter 16: Details aren’t add-ons to a design concept; they’re essential to formulating a design concept.
Chapter 17: If you don’t know how the garment you’ve designed will be made, you haven’t designed anything.
Chapter 18: How to pivot a dart
Chapter 19: Random hypothesis
Chapter 20: Who does what
Chapter 21: The average adult is 7-1/2 heads tall. A fashion figure is at least 9 heads tall.
Chapter 22: How to draw a 9-head-tall fashion figure
Chapter 23: Illustration types
Chapter 24: Draped clothes are nearly impossible to sketch accurately.
Chapter 25: How to turn a sketch into a garment prototype
Chapter 26: Take measurements with ease.
Chapter 27: Haute couture is protected by French law.
Chapter 28: Bespoke tailoring
Chapter 29: Rules for the traditional man’s suit
Chapter 30: The collar and tie
Chapter 31
Chapter 32: Fashion is a barometer of culture.
Chapter 33: Conceptual design began at Hiroshima.
Chapter 34: Before rock and roll, young people dressed like their parents.
Chapter 35: Women’s fashions change every day; men’s change every few centuries.
Chapter 36: The 20th century in women’s fashion
Chapter 37: A fashion designer jump-started France’s post-WWII economy.
Chapter 38: Basic skirt types
Chapter 39: “Free” accessories reduce the quality of a garment.
Chapter 40: Added value
Chapter 41: You can’t add value where some doesn’t already exist.
Chapter 42
Chapter 43: The dressmaker
Chapter 44: Give it a reason.
Chapter 45: Patch pockets imply utility. Welt and besom pockets suggest refinement.
Chapter 46: Turn seams into style lines and style lines into seams.
Chapter 47: Simple clothes aren’t simple to design.
Chapter 48: Model proportions
Chapter 49: If a garment looks good only on a six-foot-tall, 120-pound model, its designer hasn’t done a good job.
Chapter 50: Grading
Chapter 51: Fabric selection is inseparable from color selection.
Chapter 52: Primary colors have a limited audience.
Chapter 53: Black and white aren’t simply black and white.
Chapter 54: Two views on fashion ambition
Chapter 55: Two ways to disappoint a design instructor
Chapter 56: Four design myths
Chapter 57: Michelangelo was doing a job.
Chapter 58: If you feel like a misunderstood genius, it might be because you’re not a genius.
Chapter 59: It’s not always a matter of taste.
Chapter 60
Chapter 61
Chapter 62: Select fabrics by hand.
Chapter 63: Remember hanger appeal.
Chapter 64: Center back zippers are like fine crystal: best reserved for special occasions.
Chapter 65: There’s a dangerous gray area between fashion and costume.
Chapter 66: You can’t always play it straight.
Chapter 67: When designing children’s clothing, the parent is your customer.
Chapter 68: Make children’s clothing safe!
Chapter 69: Young customers have big heads.
Chapter 70: A fashion illustration should showcase the fashion, not the illustrator.
Chapter 71: Illustration don’ts
Chapter 72: What pose best shows it?
Chapter 73: Low shoulder, high hip
Chapter 74: Skin is translucent.
Chapter 75: Avoid the firing line.
Chapter 76: Counterpoint clothing with hair and skin color.
Chapter 77: Step back and take a look.
Chapter 78: Render patterns generally, not literally.
Chapter 79: Good fashion is like freestanding sculpture: interesting from every angle.
Chapter 80
Chapter 81: Asymmetry implies nudity.
Chapter 82: Visual patterns
Chapter 83: There’s no perfect match.
Chapter 84: Combining visual patterns
Chapter 85: The more perfectly matched a fabric group, the lower-end it tends to look.
Chapter 86: When in doubt, look in your closet.
Chapter 87: The mirror is your best friend.
Chapter 88: A good fit model tells a designer what does and doesn’t work.
Chapter 89: The upper end of the fashion industry uses a 2-season annual calendar. The lower end uses a 4-season calendar.
Chapter 90: Displaying the goods
Chapter 91: Sportswear isn’t clothing worn for sports.
Chapter 92: Jeans = sex.
Chapter 93: Fashion is commentary.
Chapter 94
Chapter 95: In leather, emphasize the details.
Chapter 96: Hardware and embellishments should further, and not simply accompany, a design concept.
Chapter 97: Why men and women button on opposite sides
Chapter 98: A good designer doesn’t rely on styling.
Chapter 99: A successful professional thinks big and small.
Chapter 100: True style is innate.
Chapter 101
About the Author
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