Fashion Design Basics

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3.4.8 Production of Prototype In the design process, the translation of a two-dimensional drawn idea into a three-dimensional prototype is the essential procedure in the realisation of a garment design. After the sample room receives the production drawing(s) from the designer(s), the next step in the product development procedure is to make the first pattern, which will be used to cut and sew the prototype. The pattern is made in a sample size, the one used for testing and selling purposes. Pattern makers can use either flat-pattern cutting or toile modeling to make the pattern. (A) Flat-pattern Cutting Basic blocks such as bodices, sleeve, pants or skirts are drafted. Drafting is the process of blocking a set of prescribed measurements on paper. These patterns, once tested for accuracy, become “blocks” or “slopers” that can be changed or adapted to each new style through the moving of their darts and seams. The flat-pattern method uses angles, rulers and curves to change existing board patterns. This method involves the cutting and seaming of fabrics in order to fit the figures. The system of pattern cutting has evolved over time in line with the development of mass production. This method involves the use of card board blocks that provide a well fitting shape. Patterns are then made into first samples or muslin toiles and the fit is 100

perfected on models. Blocks are developed to suit the prevailing fashionable body shapes and are purpose-built for the products that the companies wish to produce. (B) Toile Modeling Pattern makers or assistant designers 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. Draping techniques work best with jersey fabrics and generous amounts of soft materials. They are also used to work fabrics ‘on the bias’, which means across the grain so that it moulds to the body shape and moves well. This method is used mainly for eveningwear or couture dresses. It enables designers to see the proportions and lines of designs exactly as they will look on wearers. The designs are often altered as they develop on the form. Good toiles save time later on when the garments are made in actual fabric but it is not necessary to make real pockets or put lining in toiles. This translation stage is one of the experimentation and evaluation stages. Prototypes of designs are made and fitted on mannequins or models; traditionally muslins or calicos are used. However, in mass production, this specific stage is usually carried out with intended fabrics and the samples created are called ‘first samples’. In some companies, dedicated ‘toilists’ are specialists whose sole job is to understand the drawings of designers and translate these into first prototypes. (C) Structure The next consideration is structure; most garments have some form of interlining in order to reinforce part of the garment such as the lapels, pockets, collars and cuffs. Interlinings are used in many ways to give support to delicate or loosely woven fabrics; they exaggerate the appearance of and create a different handle to fabrics. (D) Details and Embellishments Details form the decorative part of design, which include embellishment processes and design details that drift in and out of popularity. Once the fabrications are decided, the silhouette created forms the design. The next stage is to consider the details and embellishments. This stage is extremely important for the finish of a garment as the work done in this stage is often what makes the difference between higher-level designs and those of a lower market value. Embellishments give a more three-dimensional and decorative look than printing. Techniques for embellishment 101

include embroidery, appliqué, cutwork, beading, smocking and fabric manipulation. Details cover everything from fastenings, flying panels, flounce, pocket, collars, frills and cuffs to lining, piping, binding and gauge of actual stitching. An outfit can have a dramatic silhouette and good lining but without great details or embellishments. In this case, the outfit may seem amateur and unresolved. Outfits that lack details can survive on the runway but will not bear close scrutiny. Details and embellishments in clothes are often the clincher when it comes to persuading consumers to part with their money. Detailing is extremely important in men’s wear, where outlandish silhouette, fabric, line and pattern are off-putting to what is a largely conservative clientele. Using an embellishment in one area of a garment or the finishing of an edge can help differentiate garments designed by different designers. 3.4.9 Evaluation of Collection After completing the individual garment design, the next stage is the consideration of the range plan and evaluation of the design. (A) Range Plan In addition to the decisions made on each individual garment, the balance of the range as a whole also needs to be considered. Fashion designers develop a whole range of related ideas to produce groups of garments that work not only as stand-alone outfits but also as a collection. A consistent approach to important factors such as colour, silhouette, fabric, pattern and proportion helps create this cohesion. Moreover, range planning involves the devising of the ratio of garments to be designed in any given collections such as a basic range may consists of two dresses, four pants, eight tops, three skirts, two blazers, four sweaters and two twin sets in four colour choices. Every collection needs to have colour and size breakdown of units so that customers can make right choices and be able to put together a combination of outfits. If more volume sales come from tops or blazers, then it makes sense to provide more of these in a given collection. (B) Evaluate of the Design In many fashion companies, the development of each new season’s collection is based upon the last season’s sale figures. Often it is difficult for designers to evaluate what elements of the designs have been successful as the communication between the designers and the end users is blocked by the wholesales in the retail processes. A particular executive suiting may sell well in Central but not in Tuen Mun; it may sell 102

well in warm weather, only at certain time in the season in certain colours or in particular positions within the store. All these different factors should be taken into consideration when it comes to the evaluation of any designs and collections. (C) Promotion of the Range The branding trend in recent years has become central to promoting and marketing fashion goods. The branding process requires the range to have a ‘name’. Producing a name requires some thought regarding the creative ideas of the range and how this can be interpreted into an evocative word or words. As designers, it is very important to stand apart from other brands and designers. 103

Not for Sale The copyright of the materials in this booklet belongs to the Education Bureau. The materials can be used by schools only for educational purpose. Prior written permission of the Education Bureau must be sought for other commercial uses. 104

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