Galliano’s SS 17 couture collection for Maison Margiela evokes the eerie state of affairs in today’s political climate. At a time that feels as if someone is taking a giant seam ripper to the threads of American democracy as we know it, Galliano has put deconstructionism center stage in Maison Margiela’s recent runway offering. Read More
Posts by: Kara Laricks
The “real woman” challenge on Project Runway draws a distinctive line between designers who are adept at working with actual clients and those who design on a standard size 6 dress form. Often design students, through no fault of their own, spend their design education creating on a dress form, which does not necessarily reflect the “real” woman they will one day dress.
For emerging designers who have yet to make their passion a business, it is important to consider who your client will be and how your designs will fit her body type. Or, if you are designing for only a specific body type, it is important to consider how that might affect your business’ bottom line.
At latest report, the average American woman is 5’4”, 166 pounds and has a waist size of 37.5 inches. This is a stark contrast in size to the typical size 6 or 8 dress form most fashion design students use to design. But these are important statistics to take into account when it comes to selling your designs and making sure the women who want to wear your clothes can.
Regardless of height and weight, standard sizing or plus size, there are four body types designers should be familiar with: the wedge, column, pear and hourglass. Over the course of fashion history, there are many examples of designers who have been known for specific silhouettes that mirror these four body types. Take a look at the following:
Claude Montana and Thierry Mugler, famed French designers of the 1980s, were well known for their broad-shouldered silhouettes. Notice how this silhouette gives the appearance of the wedge body type and a great silhouette to minimize the waist and hips by broadening the shoulders.
Look no further than the 1920s to find designers who embraced the column silhouette, as in the Paul Poiret illustration above. Other designers to research include Madeleine Vionnet and Madame Grés. This silhouette is great for women who don’t have a defined waistline and whose shape is less curvy.
Yves Saint Laurent’s trapeze silhouette of the late 1950s is a good example of a silhouette that follows the shape of the pear body type. Narrow at the shoulder and more voluminous at the hip, this silhouette was also made popular by Pierre Cardin and Rudi Gernreich in the 1960s. This silhouette is popular with girls whose waists and hips are larger than their bust.
And most famous for the hourglass silhouette is Christian Dior and his New Look, as seen above. Nipped in at the waist, and balanced at the shoulder and the hip, many designers have worked to achieve this ideal including Charles Frederick Worth, Azzedine Alaia and of course, Alexander McQueen. Girls with this body shape, accentuate the appearance of a smaller waistline with belts and body contoured clothing.
Understanding the four body types is just the tip of the iceberg for designers today. As the market shifts to accommodate a growing plus sized industry, many designers are shifting their offerings to support both their clients and their businesses. As recent as 2014, the British design collective of Clements Riberio, Giles Deacon, Hema Kaul, Jamie Wei Huang, Lulu Liu and Vita Gottlieb, were the first plus-size brands to show at London Fashion Week.
There has been a growing body positivity movement for some time. In 2004, Dove created their Campaign for Real Beauty which fostered conversations on female self-confidence and self-esteem issues, no matter her size, shape or race. Dove beauty ads featured plus-size women as the “real beautiful.”
However, as recent as last summer, Leslie Jones, star of SNL and Ghostbusters, struggled to find a designer who would design for her due to her size. She took her story to Twitter and her exchange with Christian Siriano made headline news. Siriano, a long time champion of dressing women with diverse body sizes was honored to step up to the plate. Siriano says of his collection in general, “We want to make sure that the collection feels cohesive, but we want to make sure that the models and the women wearing it are just as different as the women that shop in a store.” In fact, Siriano included plus-sized models in his fashion show last September to prove his point. In addition, many designers including Siriano and Isabel and Ruben Toledo, have partnered with plus-size retailer Lane Bryant as a way to make their designs accessible to all women.
We know this is a lot to consider as you are just learning to drape, draw and sew. However, we are dedicated to helping you navigate the fashion industry and its quickly changing trends. Take a look at our recently posted video for more information on body types and the plus-sized market.
The stroke of midnight on New Year’s Eve signals a new beginning, a chance to commit to new goals and for us, it means introducing you to new ways to drape. We’ve been looking forward to launching our newest videos featuring creative draping techniques for you to add to your design back pocket. Read More
Escape the bone-chilling temps and the uneasy political climate in the U.S. for a ten day sunny stay in Australia? Count. Me. In.
Although it took me a bit to wrap my head around the time difference (subtract 7ish hours from the current time in the states, go back one day and you have a successful switch to Australian time), Sydney and Melbourne have always been on my list of cities to experience. What I found in the land down under was an eclectic design culture where local designers are thriving. I visited outdoor markets and perused laneways and arcades (gorgeous hidden strips of shops, each with their own personality and vibe) and marveled at the ease with which local artisans described doing business in Australia. What I did not find in terms of fashion was a signature Australian style – unless of course I count the easy, colorful beachwear and bikinis necessary for time spent on Australia’s beautiful beaches.
I started my stay in Sydney where I quickly got the impression Sydney is to Manhattan as Melbourne may be to Brooklyn? Much like Manhattan’s Empire State Building, there’s no mistaking the Sydney Opera House skyline silhouette. I took the opportunity to see the opera house up close and was surprised by the textile inspiration I found in the tiled patterns that simply cannot be conveyed from far away. As for shopping, Sydney is home to all of the usual suspects in terms of Topshop, Uniqlo and H&M in addition to luxury designer boutiques. However, I was on the hunt for the local scene.
Convinced that I would discover a signature Australian design aesthetic, I headed to one of the Paddington Markets as well as Bondi Market located just off the beautiful Bondi Beach. In addition to the many sections of beachwear and jewelry, I was surprised to find influences from the world over – particularly Scandinavia and Japan. In talking with vendors, it seemed local production was very manageable and that taking one’s business from local markets to an independent boutique was not an uncommon route for designers. Yoshi Jones is an Australian designer that encompasses all that I observed. A well-known Sydney designer, she is heavily influenced by Japanese design and fabrics and has made her way from the Paddington and Bondi markets to an independent boutique.
For me, the fresh flowers, the colorful hand printed souvenirs and gorgeous food were standouts in Sydney. Edible flowers seemed to accompany every dish, and if ever I were to find design inspiration in food, Sydney and Melbourne would be front runners in terms of places to visit. Speaking of Melbourne, my initial analogy proved to be true. Just as Brooklyn is packed with emerging artists and creative inspiration, Melbourne boasts a similar feel. A visit to the suburb of Fitzroy will have you roaming in and out of shops for days.
Again, no aesthetic specific to Melbourne or even Australia, but you will find a wealth of locally made goods influenced by worldwide design. One of my favorite shops was ESS. Laboratory – started by a Japanese designer who now makes Melbourne her home, studio and place of production.
Another shock to my retail system was the amount of vintage I found in Melbourne. Take a look at the WALL of overalls I found at aptly named American Vintage Clothing Company on Brunswick Street in Fitzroy. This hidden goldmine was packed wall to wall with denim and classic Americana staples from American flags to Future Farmers of America jackets from each of the Midwestern states.
As a blogger for the University of Fashion, I understand you are looking for fashion-related tips (and field trips), however, I have to mention once again Australian food and drink – the coffee was the best I’ve sipped and just take a look at this Vegemite avocado toast, complete with edible flowers from Fika.
This slice of heaven was located an hour train ride outside of Melbourne in Ballarat. Should you make the long trek to Melbourne, tack a quick trip on to Ballarat for not only the food and coffee at Fika, but the stylie baristas who will serve you. Questions/comments about the land down under? Feel free to leave them in the the comments below. Cheers, mate!
If you are like us, the image of the dress below evokes the same uneasy feeling most designers, pattern cutters and sewers have experienced at least once in their careers. Read More
From the bags you will find on Canal Street in NYC to your local Target store, rip offs of original design run rampant. Designers that sell on Etsy have discovered their designs selling at a lower cost on Urban Outfitter shelves, and with access to social media, it is easier than ever for a manufacturer with the means to copy and produce an independent artist’s work. As recent as this past election season, Target copied Sandilake Clothing’s #MERICA t-shirt design and was caught red, white and blue handed by this Etsy artist. So, how can emerging designers protect themselves? Our new video series outlines copyright, trademark and social media basics in three short new videos.
Copying another designer’s work is certainly not a new concept. In fact, this practice dates back to the Middle Ages when styles created for the royals and other nobles were often “reinterpreted” by artisans in less expensive materials. The feudal society of the Middle Ages brought an increase in number of workers who looked to the lords and kings for fashion inspiration and aspiration. Today, we simply need to open our laptops to see what Princess Kate wore to last week’s events and can likely find very similar renditions quickly (and for less money) online.
In the early 1900s and long before access to the internet, Parisian designers attempted to stop the replication of their designs in the U.S. Madeleine Vionnet, the Callot sisters, Paul Poiret, Madeline Cheruit, Charles Frederick Worth, Jeanne Lanvin and Drécoll formed an anticopyist society in 1923 called Association pour la Défense des Arts Plastique et Appliqués. Their mission was to lobby for international copyright laws. Other groups and movements followed and by 1934, admission cards to couture fashion shows in Paris were being issued for $200 in addition to the promise that stores and manufacturers in attendance would not copy the designs they saw on the runways.
Securing protection for one’s designs has not been an easy task for designers. Even after the much-publicized case in the 1970s between Yves Saint Laurent and Ralph Lauren involving Saint Laurent’s “Le Smoking” dress (whereby Ralph Lauren lost), the process known as “knocking-off” still exists. Due to the prohibitive cost involved in legally pursuing a copyist, the problem of stealing or illegally taking an idea or product design and passing it off or selling it as your own continues, despite laws that have been passed to dissuade such activity.
Unfortunately, the black market means big business. According to Havoscope, a global black market trademarking source, counterfeiting totaled $654 billion globally in 2015. Of that total, the breakdown of counterfeit fashion related merchandise was reported as $12 billion worth of shoes, $12 billion clothing, $6.5 billion sporting goods, $3 billion cosmetics and $70 million in counterfeit purses. It also accounted for the loss of more than 2.5 million jobs. That’s quite an impact.
So what can you as an emerging designer do to protect yourself and your work? You do not need to go as far as Ferragamo who has begun inserting microchips in their shoes and handbags to combat counterfeiting. But you do need to educate yourself. Start by taking a look at our three newest videos above and become familiar with what you can and cannot copyright, if obtaining a trademark is appropriate for your business and finally, how to protect your brand when posting on social media.
Imagine the early 1960s in New York – dressed to kill and running around with The Rolling Stones, Velvet Underground and Mothers of Invention… This was reality for our featured instructor this week: Barbara Arata-Gavere. Not only was Barbara part of this historic pack, she was designing stagewear for the likes of Daryl Hooper of the Seeds and selling her designs in some of the most exclusive boutiques of the time in Manhattan. Read More
Often in fashion, we look for our tribe. We are drawn to those with a similar aesthetic, admire those with successful businesses and established clientele and seek out those who share the same philosophy on design and production. This week, I get to tell a bit of a fashion fairy tale as I share the story of two talented artists and makers, Roberto Calasanz and Judy Kaye. Read More
If you are joining the growing number of designers tapping into the childrenswear market, you may be on to something big. From Blue Ivy to Prince George, celebrity kiddos are driving clothing sales in droves. In addition, brands like Stella McCartney and Marc Jacobs have created “mini me” collections which offer kid-sized versions of their most popular adult offerings to support the increased demand for luxury childrenswear options. Read More
It’s a controversial time in fashion, folks. We are not just talking the dreadlock debaucle at Marc Jacobs or the spectacle that made attendees hot under the collar (literally) this season. We are living in a time that fashion historians will one day refer to as a major shift in the way designers design, buyers buy and consumers consume. The traditional fashion cycle is being rocked to its core. Read More