Do You Dream in Color? The Science of Color

image of University of Fashion's lesson on Color Theory

University of Fashion’s lesson on Color Theory (Image credit: University of Fashion)

Every day, we’re surrounded by color—but how often do we stop to ask where it comes from, or why we see it the way we do? Is there a science behind color, and who were the pioneers who first tried to understand it?

This blog explores the founding fathers of color theory, from early scientific discoveries to the systems designers still rely on today. At University of Fashion, our color theory lessons build on this rich history, offering you a gateway into a world where art, science, and perception intersect.

Newton Started It: A Color Theory Saga

Although he didn’t realize it at the time, Isaac Newton laid the foundation for the study of color. You probably know the story: he captured sunlight with a prism, splitting it into seven distinct hues, and then used a second prism to recombine those hues back into white light. With this experiment, Newton proved that color comes from light itself—not from a mixture of light and darkness, as was previously believed.

These seven hues are remembered as ROY-G-BIV: red, orange, yellow, green, blue, indigo, and violet. Newton arranged them in a circle because he believed red and violet were related. This circular model allows us to see how colors relate to one another, including complementary and triadic relationships, which we’ll explore further in the next video.

Michel Chevreul: The Law of Simultaneous Contrast

Michel Chevreul, a French chemist, made another major contribution to color theory. He discovered that colors affect how we perceive one another when placed side by side. In 1839, he published The Law of Simultaneous Contrast, explaining that adjacent colors influence each other. He argued that it’s impossible to see a color in isolation because surrounding colors alter its appearance.image of Color Harmony and analogous yellows

Color Harmony – analogous yellows (Image credit: University of Fashion)

Chevreul made this discovery while studying carpets from the Aubusson workshop in France. He noticed that a pure white yarn appeared yellow when placed next to violet yarn. The effect occurs because the eye seeks balance—white appears slightly yellow to complement the neighboring violet. This demonstrated that color perception is not fixed, but relational.

Albert Munsell:  Color Notation

Albert Munsell introduced a more structured way to understand color by identifying its three key components: hue, value, and chroma (which we now often call intensity). He developed a three-dimensional “color tree,” where each hue extends outward from a central axis. At the top sits white (the highest value), at the bottom black (the lowest value), and between them a range of grays.

 

Albert Munsell's Color Tree

In 1905, Munsell created a system called Color Notation to precisely measure and describe color. His goal was to standardize color so manufacturers could reproduce it consistently. This system—and others like it—remains essential today, allowing designers to match colors accurately across fabrics, leather, and other materials.

Josef Albers: Law of Simultaneous Contrast

Josef Albers, an influential artist and educator, further developed these ideas in his 1963 book Interaction of Color. Building on Chevreul’s work, Albers emphasized how colors constantly shift depending on their context. His teachings remain central to how we understand color relationships today.

Image of University of Fashion's lesson on Color Relationships

University of Fashion’s lesson on Color Relationships. (Image credit: University of Fashion)

Once you’ve completed our two-part lecture series on color theory and color relationships, you’ll never see color the same way again. What once seemed intuitive will reveal itself as a dynamic interplay of light, perception, and context—transforming how you design, observe, and experience the world around you. So, do you ever dream in color?

What’s the Real Meaning Behind the Met’s Costume Art Exhibition?

images of Costume Art at the Met and Devil Wears Prada 2 poster

The Met’s exhibition Costume Art (Image credit: MetMuseum.org) and Devil Wear’s Prada 2 (Image credit: HarpersBazaar.com)

Timing is everything. I recently saw The Devil Wears Prada 2, which opens with Runway (a thinly veiled Vogue) under fire for publishing a glossy puff piece that conveniently overlooks a brand’s sweatshop labor practices. The backlash threatens the magazine’s credibility, forcing a scramble to restore integrity. It’s hard not to see a parallel. The Met and Vogue’s new exhibition, Costume Art, feels less like a celebration of fashion and more like an exercise in reputational repair.

According to the Met, the exhibition “examines the centrality of the dressed body,” pairing garments with artworks to explore the relationship between clothing, the body, and fashion as an embodied art form. It’s an elegant premise—but one that sidesteps the more urgent realities shaping fashion today.

Like Runway in the film, Vogue—and by extension, the Met—feels increasingly out of step with both the industry and its audience. Years of overlooking body diversity and prioritizing mega-brands with massive advertising budgets over emerging designers cannot be erased by staging an exhibition featuring diverse mannequins and a nod to streetwear. Representation, when deployed selectively, risks reading as strategy rather than substance.

image of Mat exhibit showing body diverse mannequins

The Met’s Costume Art exhibition with body diversity on display (Image credit MetMuseum.org).

Insult to Injury

A bit of context matters. Diana Vreeland, Vogue’s editor-in-chief from 1963 to 1971, helped shape the modern Met Gala during her tenure at the Costume Institute from 1973 to 1986. She introduced themed exhibitions and cultivated a glamorous guest list, but she also championed young, emerging designers—myself included—and actively supported the New York fashion community. Her vision was expansive, not exclusionary.

Today’s Gala, by contrast, has taken on a distinctly transactional edge. Under Anna Wintour, it has evolved into what many see as a “pay-to-play” spectacle, where influence can be bought as readily as it is earned. The widely publicized $10 million donation from Lauren and Jeff Bezos only underscores the point. Against this backdrop, Costume Art begins to feel less like a thoughtful inquiry into whether fashion is art, and more like a carefully orchestrated PR moment.

More Damage Control?

image of the Ball Without Billionaire's show in the Meatpacking

Ball Without Billionaires runway show in the Meatpacking (Image credit HarpersBazaar.com)

The Fix?

If The Devil Wears Prada 2 gets anything right, it’s this: credibility can’t be curated – it has to be earned. Vogue and the Met may be trying to recalibrate their image, but true relevance will require more than a well-staged exhibition. It will demand a genuine shift in values, priorities, and who gets a seat at the table.

Chloé Malle, the new head of editorial content at Vogue U.S., may want to take a cue from Anne Hathaway’s character, Andy Sachs, in Devil Wears Prada 2, and learn how to navigate the changing world of fashion publishing and the fashion industry.

Meet Your New Best Friend: The Sloper

image of bodice sloper drape

University of Fashion’s Basic Bodice Sloper draping lesson (Image credit: Universityof Fashion.com)

Years of working in the fashion industry and teaching fashion design at some of the country’s top schools all comes down to one essential truth: everything begins with mastering slopers. So, what exactly is a sloper? Think of it as your foundational template—the starting point from which virtually any design can be created. Whether you call them slopers, blocks, or a moulage, these are the quiet workhorses of your design process—your very own team of foot soldiers.

The Fashion Designer’s Essential Toolkit

Bodice & Sleeve sloper

University of Fashion’s drafting slopers from measurements lessons: Basic Bodice and Basic Straight Sleeve (Image credit: UniversityofFashion.com)

Torso, Skirt and pant sloperUniversity of Fashion’s drafting slopers from measurements lessons: Torso Sloper, Basic Straight Skirt Sloper and Basic Pant lesson (Image credit: UniversityofFashion.com)

A well-rounded sloper library typically includes these 5 pieces: a basic bodice, straight sleeve, basic straight skirt, torso sloper and pant sloper. Each one serves as a building block, ready to be transformed into endless design possibilities.

Drafting Slopers

measuring lesson

From University of Fashion’s lesson on how to measure the female figure. (Image credit: UniversityofFashion.com)

If you plan to draft your slopers, accuracy is everything. It all starts with precise body measurements—and we’ve got you covered with our lesson, Measuring the Female Body, to help you get it just right.

Draping Slopers

Introduction to Dress Forms lesson University of Fashion’s lesson on how to choose a dress form, Introduction to Dress Forms (Image credit: Universityoffashion.com)

If you plan on draping your slopers, start by viewing our lesson, Introduction to Dress Forms, which will guide you in selecting the right form—where the key factor is simple: will your pins glide in smoothly or not?

Draping Basics: Muslin

lesson on Draping Basics

University of Fashion’s lesson on how to choose the correct muslin for draping and then how to block, mark and press it. (Image credit: Universityoffashion.com)

Before you begin draping your slopers, be sure to watch our lesson, Draping Basics—Muslin, Blocking, Marking & Pressing. If you’re new to draping, we strongly recommend starting with muslin. In this lesson, you’ll learn about the different types of muslin and how to properly prepare your blocks, including cutting, blocking, marking, and pressing. We also cover the importance of fabric grain, so you can create balanced, professional-quality garments in all your designs.

The Big 3 — Draped Slopers

images of draped slopers: Bodice, torso and pantsUniversity of Fashion’s sloper draping lessons: Basic Bodice, Torso Sloper, Basic Straight Skirt Sloper. (Image credit: UniversityofFashion.com)

The slopers most commonly created through the draping process are the bodice, torso, and basic straight skirt. In contrast, sleeve and pant slopers are typically more efficient to develop using flat pattern drafting methods rather than draping.

From Foundation to Fabulous

In the end, slopers are less about rules and more about freedom — the freedom to create just about anything your imagination can conjure up. Once you’ve mastered them, you’re no longer guessing—you’re designing with intention, precision, and confidence. They give you the power to translate imagination into form, to experiment without losing control, and to build garments that truly fit and flatter. Invest the time in getting your slopers right, and they will quietly support every creative leap you make from that point forward.

 

 

Announcing Our Newest Lesson: Drafting a Square Neckline for Knits

image of square neckline knit top

UoF’s newest lesson in our cut & sew knit series: Drafting a Square Neckline for Knits (Image credit: University of Fashion).

Our latest lesson continues our journey into the wild world of cut & sew knit pattern drafting — where fabric stretches, stitches dance, and woven rules simply don’t apply. Drafting for a square neckline for wovens is one thing, but working with knits? That’s a whole different animal.

It All Starts with a Knit Sloper

knit sloper lesson and camisole and racerback tank lesson

UoF’s knit sloper lesson: Drafting a Women’s Fitted Stable Knit T-shirt from Measurements from which a camisole & racerback tank top is drafted. (Image credit: University of Fashion).

Attention all knit newbies! One of the biggest rookie moves in fashion history? Thinking you can just grab your woven sloper and call it a day for a knit project. Nope. Nada. Big, stretchy mistake!

Our lesson, Drafting a Women’s Fitted Stable Knit T-shirt Sloper from Measurements – is your golden ticket to the magical realm of cut & sew knits. Once you’ve drafted this powerhouse sloper, you’ll unlock a whole wardrobe of possibilities: racerback tanks, camis, body-skimming tees—basically, your dream closet waiting to happen. Oh, and did we mention it’s also the foundation for chic knit dresses and jumpsuits? You’ll be unstoppable (and fabulously comfy) in no time.

assorted knit neckline lessons

UoF’s other knit neckline lessons (Image credit: University of Fashion).

Not only will you master the art of drafting a square neckline knit top (hello, elegant minimalism!), but you’ll also unlock a whole neckline buffet of options. Feeling nautical? Try the boat neck. Want some drama? Go for a cowl. Prefer a sleek, built-up look or a little off-the-shoulder sass? We’ve got you covered—all using the same trusty knit sloper. It’s basically neckline mix-and-match magic!

Reading a Sketch

square neckline measurements

Reading the sketch to plan the neck drop, the width of square neck and the distance from the neck. (Image credit: University of Fashion).

Once you’ve nailed your knit sloper, you’re officially ready to dive into drafting the square neck knit top—cue the dramatic runway music! Step one: channel your inner designer and read the sketch (yes, like it’s the latest plot twist in your favorite book). Study those proportions—the neck drop, the width across the front neck drop, and how far that neckline sits from the neck.

Sewing Tipsimage of clear flat elastic sewing tip

Sewing tip on how to keep the square neckline and armhole from stretching (Image credit: University of Fashion).

Knits have a mind of their own when it comes to necklines and armholes, so think of this as your “behavior management” strategy. Cut a piece of ¼” wide clear flat elastic just ½” shorter than the neckline and armhole circumferences and stitch it in as you sew—like a tiny backstage bouncer keeping everything from stretching out of control.

More About Knits

knit lecture lessons

UoF’s knit lecture lessons: Introduction to Knit Fabrics and Knit Fabric Principles (Image credit: University of Fashion).

Thirsty for more knit know-how? Pull up a chair, because the stretch saga continues.​

If you haven’t already untangled the mysterious math of stretch ratios, check out our lessons Introduction to Knit Fabrics and Knit Fabric Principles—they’re like subtitles for what your fabric is trying to tell you. When your knit bounces back like an overcaffeinated bungee cord, you’ll want to plan those design details accordingly, not just cross your fingers and hope for the best.

Finale

And there you have it—your very own square-neck masterpiece, drafted with precision and just the right dose of fashion flair! Remember, every great designer started with a sloper and a little creative courage (plus maybe a few choice words at their ruler). Keep experimenting with shape, proportion, and personality, because once you’ve conquered knits, the world of stretch becomes your oyster—or should we say, your spandex runway.

 

 

Happy 18th Anniversary, University of Fashion — From Digital Pioneer to Global Classroom —

Image of University of Fashion's 18th Anniversary

On April 1, 2026, the University of Fashion proudly celebrated its 18th anniversary. We are honored to continue serving and preserving the art & craft of fashion design through this vital and evolving educational resource.

For decades, becoming a fashion designer or launching a brand meant gaining admission to a prestigious school, taking on significant debt, and relocating to a global fashion capital. The barriers were high and narrow, shaped by cost, geography, and an industry culture that favored a select few. Then broadband, video technology, and digital tools converged with a generation unwilling to wait for permission. From that intersection emerged a new kind of classroom—streaming platforms, virtual critiques, and on-demand courses covering everything from draping to digital marketing. Enter the University of Fashion.

Our Mission

Francesca Sterlacci Founder and CEO University of Fashion Francesca Sterlacci – CEO/Founder University of Fashion 2008

Founded in 2008 by fashion design entrepreneur, educator, and author Francesca Sterlacci, the University of Fashion (UoF) was an early innovator in online learning, delivering step-by-step, industry-driven instruction accessible anywhere with an internet connection. A student in Lagos can follow the same patternmaking lesson as a boutique owner in Ohio or a high schooler in Palm Springs—pausing, replaying, and learning at their own pace.

From its inception, UoF has been dedicated to preserving the art and craft of fashion design. What began with just 100 lessons has grown into a comprehensive library of over 525+ lessons across 13 disciplines, serving learners from beginner to advanced levels.

Certificate of Completion Program

University of Fashion Certificate of CompletionExample of University of Fashion’s Certificate of Completion

The introduction of Certificates of Completion in 2022 marked a turning point, elevating the platform from a library of tutorials to a source of recognized achievement. In an industry where, demonstrated skill often outweighs institutional pedigree, these credentials help redefine what it means to be “qualified.”

UoF Rolls Out Expanded Tech Lessons 

UoF 3D and AI Fashion Design

University of Fashion’s 3D and AI fashion design lessons (Image credit: University of Fashion)

At the same time, fashion itself has undergone a digital transformation. 3D prototyping, virtual fittings, AI-driven design and trend forecasting, and e-commerce are no longer optional—they are essential. While traditional programs work to keep pace, online platforms like UoF can evolve in real time, integrating digital patternmaking, virtual product development, and sustainability into their traditional hands-on curriculum as the industry shifts. UoF’s ever-growing library, created and updated by working professionals, sits at the intersection of craftsmanship and innovation, allowing learners to move seamlessly from couture hand sewing to AI in fashion design.

UoF’s Global Reach

Global Access image

University of Fashion serves thousands of individuals, colleges, fashion industry companies, groups, associations and public libraries. (Image credit: University of Fashion)

Perhaps the most significant shift is who now has access. People from 208 countries, worldwide, visited UoF’s website in 2025. Online education gives people not living near a good, bricks-and-mortar fashion school a chance to learn fashion design. In addition, it removes the burden of relocation and commuting, opening opportunities for mid-career professionals, parents, and students whose lives don’t align with rigid academic schedules. It also supports the entrepreneurial spirit that defines today’s fashion landscape, combining design skills with branding, social media strategy, and retail knowledge so learners can build labels, side businesses, or freelance careers on their own terms.

UoF — Complement to Fashion CollegesE-learning image

University of Fashion serves thousands of individuals, colleges, fashion industry companies, groups, associations and public libraries. (Image credit: University of Fashion)

In this evolving landscape, the University of Fashion is not a replacement for traditional education but a dynamic extension of it—a global, always-open studio where skills are sharpened, careers are reshaped, and the center of fashion education expands far beyond a handful of cities to wherever the learner logs in. Its flexible format and varied learning approaches continue to resonate with modern students, particularly those seeking accessible, self-paced alternatives to conventional programs.

Industry-Relevant Skill DevelopmentUpskilling image

University of Fashion’s library of lessons are intentionally designed to align with industry demands, by focusing on technology utilization in fashion. This direct correlation between coursework and market needs gave students enhanced employability, making their program an attractive choice compared to traditional competitors.

As the University of Fashion enters its next chapter, its mission remains clear: to democratize fashion education while honoring the discipline’s rich traditions and advancing its future. By bridging craftsmanship with technology and access with excellence, UoF continues to empower a global community of creators to learn, innovate, and lead on their own terms. In doing so, it not only reflects the evolution of fashion education—it helps shape it, ensuring that talent, not circumstance, defines who gets to participate in the industry.

 

The Art & Anatomy of Handsewn Buttonholes

image of 3 hand sewn buttonholes-straight, rounded and keyhole

University of Fashion’s 3-part series on creating handsewn buttonholes. (Image credit: University of Fashion)

Fashion has its own language—and nowhere is that more delightfully apparent than in the art of handsewn buttonholes. If you’ve ever felt that couture insiders are speaking in code when they discuss their sewing tools, consider this your glossary moment. Better yet, Andrew Curwen’s handsewn buttonhole video series serves as your guide, translating each term into a skill you can master with confidence.

Creating a truly refined handsewn buttonhole begins with a carefully selected toolkit: polyester thread for basting, silk buttonhole twist, gimp, hymo, a #7 sharps needle, and an open-top thimble. Each element plays a distinct role in achieving that crisp, elevated finish.

Buttonhole Twist
This is the star of the process—the thread used to form the dense blanket stitches that define the buttonhole’s edge. Strong, smooth, and slightly lustrous, silk buttonhole twist is the couture standard. Whether you choose a matching shade for subtlety or a contrasting color for emphasis, this thread carries both the structure and the visual impact.

Gimp
Gimp is a thicker thread that sits beneath the buttonhole stitches, giving them dimension and a beautifully raised profile. While finding an exact color match can be challenging, Andrew Curwen offers an ingenious solution in his three-part series: a method for creating perfectly matched gimp, ensuring both precision and polish.

Hymo
Hymo is a hair canvas interfacing that provides essential internal support. Available in various weights and in both fusible and non-fusible options, it reinforces the fabric layers, helping the buttonhole maintain its shape and durability over time.

#7 Sharps Needle
Sharps are versatile hand-sewing needles with a sharp point and a round eye, available in sizes 1 through 12. For buttonholes, a size 7 strikes the ideal balance—fine enough for precise, tight stitches, yet sturdy enough to handle multiple layers.

Open-Top Thimble
An open-top metal thimble protects your finger while allowing greater sensitivity and control. It helps push the needle cleanly through the fabric, making it an essential tool for the repetitive, controlled motions required in buttonhole work.

The Process
images of the handsewn buttonhole-making processThe steps for making a Straight Handsewn Buttonhole: 1) baste & mark the buttonhole before slitting the buttonhole opening, 2) Twist silk buttonhole thread to create gimp, 3)   baste gimp to slit, 4) blanket-stitching the buttonhole, 5) bar tacking one edge, 6) finished buttonhole.   

Mastering handsewn buttonholes is as much about understanding your tools as it is about technique. With the right materials—and expert guidance from Andrew Curwen—you can transform what seems like a meticulous detail into a signature mark of craftsmanship. In the end, these small, deliberate stitches speak volumes, elevating a garment from simply made to truly exceptional.

Not a UoF Subscriber? Watch our Video Previews

3 lessons on handsewn buttonhole - sewing Click on the link to view our video previews: Handsewn Straight Buttonholes, Handsewn Rounded Buttonholesand Handsewn Keyhole Buttonhole.  

The Anatomy of Style: Measuring the Modern Man

Measuring the Male Body Lesson poster frame

UoF’s lesson on measuring 93points of the male body. (Image credit: University of Fashion).

Before you can jump into designing and pattern drafting menswear masterpieces, you’ll need to master the fine art of measuring the male form—accurately, that is. In our lesson Measuring the Male Body, our renowned bespoke menswear designer/instructor/tailor extraordinaire, Rishabh Manocha, demonstrates how to measure 93 key points on a real, live male body—from the very top of his head right down to his toes (yes, all 93).

Measuring Points Diagrams

 

Measuring points diagram

One of six downloadable color-coded diagrams to assist in the measurement-taking process (Image credit: University of Fashion)

Measuring Points Charts

Measuring Points ChartsOne of seven downloadable chart pages that correspond to our color-coded measuring point diagrams. (Image credit: University of Fashion)

You’ll discover the essential measurement points used in creating bespoke garments and professional tech packs, along with downloadable charts and diagrams to keep you on track. Mr. Manocha also reveals the tools of the trade, including the mysteriously scientific-looking goniometer (trust us, it’s cooler than it sounds).

Global Men’s Size Range Chart

mens's global size range chart

University of Fashion Global Men’s Size Range Chart. (Image credit: University of Fashion)

And just when you think you’ve seen it all, Mr. Manocha adds a comprehensive downloadable Global Men’s Size Range Chart covering U.S. sizes 34–54 and their European and Asian equivalents. Consider this your passport to understanding menswear and entering the wonderfully precise—and occasionally tape-measure-wielding—world of bespoke fashion.

But there’s More

By the time you’ve completed your study of male figure measurement, you won’t merely comprehend the fluent geometry of the male form—you’ll glide through spec sheets and tech packs with the practiced ease of a professional who understands precisely where every millimeter resides, and, with just a hint of satisfaction, exactly why it should. And ready to tackle our 11-part menswear drafting series.

UoF menswear drafting series

UoF’s men’s pattern-drafting series:

 Measuring The Male Body, Drafting A Men’s Upper Body Block, Drafting A Men’s Shirt Block, Drafting A Men’s Trouser Block, Drafting a Men’s Set-in Sleeve Sloper, Drafting A Men’s One-Piece Jacket Sleeve From Measurements, Drafting A Men’s Pleated Trouser, Drafting A Men’s Hoodie, Drafting A Men’s Upper Body Jacket Block, Drafting A Men’s Classic 2-Button Single-Breasted Jacket, and  Drafting A Men’s Jacket Lining, Facing & Interfacings.

Where Art Still Has a Pulse: University of Fashion Celebrates Hand Drawn Fashion

Fashion Illustration by Roberto CalasanzFashion illustrator Roberto Calasanz — from one of his gouache mood illustration lessons. (Image credit: University of Fashion)

This post celebrates our brilliant fashion illustration instructors—artists whose line work is guided not by algorithms but by instinct, observation, and soul. These luminaries have spent decades mastering the eloquence of the hand. They are, in many ways, the unsung pioneers of the very machine-learning artistry now trending online.

Preserving the Hand — The University of Fashion Legacy in an AI Age

Logo pf University of Fashion with tagline "Master Design One Step at a Time

Since its founding in 2008, the University of Fashion has held steadfast to one clear mission: to preserve the art and craft of fashion design. Our tagline, “Master Design One Step at a Time,” has remained delightfully unchanged, a rarity in an age that worships constant reinvention.

The Living Line — Where Human Hands Outdraw the Machine

Fashion illustrator Steven Broadway — from his lesson on illustrating a contemporary female fashion figureFashion illustrator Steven Broadway — from one of his many lessons on illustrating contemporary female fashion figures. (Image credit: University of Fashion)

Why Live Model Sketching Still Belongs to Humans

Of course, evolution is part of any creative discipline, and we’ve embraced it with style. Over the years, digital pattern making, computer-generated illustration, 3D visualization, and even AI-assisted design have joined our curriculum. Yet, at our core, we remain guardians of the tactile traditions — the rhythmic scratch of pencil on paper, the well-placed notch in a pattern, the sweep of a brush translating fabric into fantasy.

Drawing from a live model by fashion illustrator, Richard Rosenfeld’s lesson. (Image credit: University of Fashion)

Drawing from a live model — one of  Richard Rosenfeld’s fashion illustration lessons. (Image credit: University of Fashion)

Each sketch our instructors produce hums with the irreplaceable pulse of human creativity. Something no bot, however sophisticated its neural net, can quite counterfeit, especially when it pertains to drawing from a live model!

Hand to Paper — The Original Design Technology

Roberto Calasanz’s lesson on how to render camouflage (Image credit: University of Fashion)

And the public agrees. Every time we share one of our drawing demonstration clips on our Instagram, Threads and Facebook page, engagement soars, reaffirming that people still crave the poetry of human touch. That’s why, regardless of what ChatGPT, Claude, Grok, Perplexity, or the next digital wunderkind may predict, the University of Fashion will always champion the exquisite imperfection of the hand-drawn line. Because in fashion, as in life, a little humanity never goes out of style.

The Enduring Hand in a Digital AgeDigital AI lesson excerpt and Hand drawn art Excerpts from our AI for Fashion Design & Rendering Crocodile lessons. (Image credit: University of Fashion)

Bridging Tradition & Technology — Where Pencil Meets Pixel

In the end, the University of Fashion stands as both a sanctuary and a bridge — honoring the lineage of the hand-drawn line while preparing artists for the digital frontiers ahead. Our commitment is not to resist change, but to ensure that progress does not erase provenance. The pencil and the pixel can coexist, but only one can teach us why  beauty moves us. In tracing each curve by hand, our instructors remind the next generation that artistry begins not in code, but in consciousness, a timeless dialogue between mind, hand, and heart

 

Announcing Our Newest Lesson: Draping a Princess Panel Sundress with Handkerchief Hem

image of lesson Princess Panel Sundress with Handkerchief Hem

UoF’s newest advanced draping lesson: Draping a Princess Panel Sundress with Handkerchief Hem (Image credit: University of Fashion).

Get ready for some pint-sized fashion magic! Our newest lesson, “Draping a Princess Panel Sundress with Handkerchief Hem,” is full of surprises—starting with the fact that we’re working on a half-scale dress form. We’ll be turning our mini masterpiece into a lively black-and-white check fabric that practically screams “picnic chic.” Perfect for a sunny day—or just for showing off your draping skills.

Working Half Scalehalf scale and full scale dress forms

Full scale and half scale dress forms. (Image credit: University of Fashion).

In this lesson, you’ll get acquainted with the delightful world of half-scale draping—meaning your dress form is literally half the size of the real deal. Think of it as your fashion lab’s fun-sized version: less fabric, faster results, and zero guilt about creative experiments gone wild.

Madalaine Vionnet draping half scale

Madeleine Vionnet draping on a half scale dress form. (Image credit: Sewing: Beginner Techniques, University of Fashion, Laurence King Publishing).

And you’ll be in good company! The legendary Madeleine Vionnet—queen of the bias cut and all things drape—was known to perfect her genius designs on half-scale forms before committing to the full-size masterpiece.

SundressFashionSketch+HeroShotIllustration-miguelangelreyesart.

 

Princess Panel Sundress with Handkerchief Hem illustration (Image credit: Miguel Angel Reyes for University of Fashion).

Before you even touch a dress form, you’ve got to crack the designer’s code — that mysterious sketch full of promise and proportions. Think of it as fashion detective work: studying how wide the sweep should be, where those flirty handkerchief points should drop, and making sure the sundress doesn’t end up a sundisaster. All this sleuthing happens before a single piece of muslin meets the mannequin.

Style Taping Design Lines

style taping the dress form

Style-taping the dress’s style lines. (Image credit: University of Fashion).

Next up… style tape time! This is where you play fashion cartographer — mapping out the landscape of your design. You’ll mark out where those straps and that neckline will actually live (because guessing never ends well), pinpoint the princess seams like royal boundaries, and stake your claim at hip level. Only once your tape lines are perfect can the draping magic officially begin.

Draped sundress front and backFront and back sundress:  draped and notches marked on all pattern parts. (Image credit: University of Fashion).

Once the dress has been draped, marked, and trued, and key notches added to all the sundress parts and panels, it’s time to place it back on the dress form to check the fit, before cutting it out in the fabric of your choice. In this case we chose a black and white check.

sundress cut out in black & white check

Front & Back of Princess Panel Sundress with Handkerchief Hem. (Image credit: University of Fashion).

Now it’s showtime! As that checkered fabric comes to life on your half-scale form, you’ll see how every princess seam, playful hemline, and clever bias cut turns theory into pure design magic. By mastering draping at half scale, you’re not just saving fabric—you’re sharpening your creative instincts, building confidence, and learning to think like a true couturier. So, step back, admire your miniature masterpiece, and get ready to scale up your newfound skills to full-size glamour. After all, every great designer starts small—literally.

 

Leading the Change: Women Shaping a Sustainable Fashion Future

Women's History Month image

The 2026 Women’s History Month theme, “Leading the Change: Women Shaping a Sustainable Future,” provides a timely framework for examining women’s leadership within the global fashion industry. Fashion, one of the world’s most resource‑intensive sectors, has become a key site for sustainable innovation. Increasingly, women designers, educators, and entrepreneurs are driving transformative practices that integrate environmental stewardship, economic equity, and cultural preservation into fashion’s future.

South Asia Women Leading the Charge for a Sustainable Fashion Future

Image of Ananya Patel artist at weaving loomArtist Darshani Patel of Thread Revival Collective, weaves together jute, wool, and other organic fibers, on a large loom. She then shapes these woven pieces into organic creations that evoke natural forms and unique textures. (Image credit: heartfullness.org)

In South Asia, Ananya Patel of India’s Thread Revival Collective integrates environmental and economic sustainability by training rural women, like Darshini Patel, to transform discarded textiles into marketable goods. Her enterprise bridges the informal economy with global fashion markets, demonstrating how circular production systems can align with poverty alleviation and women’s empowerment. Patel’s organization provides living wages and skills development, contributing to both gender equity and resource conservation.

Collectively, these examples highlight a growing paradigm in which women redefine leadership through relational, community‑centered models rather than hierarchical structures. Their work embodies ecofeminist principles that link the care of people and planet, challenging patriarchal and extractive systems long embedded in industrial fashion.

Immigrant Women in the United States Drive Sustainability

Designer Maria TorresMaria Torres, creator of the fast-growing immigrant-owned sustainable fashion boutique — Marian Style. (Image credit: Latinfashionweek.com)

Maria Torres, a Salvadorian‑American designer based in Los Angeles, approaches sustainability through material innovation and collaborative supply chains. Her collections utilize plant‑based alternatives such as cactus leather and organic cotton sourced from women’s cooperatives in Oaxaca. This model exemplifies sustainable economics, redistributing value along the supply chain while reducing dependence on petroleum-based synthetics. Torres’s work also foregrounds the intersectionality of sustainability, recognizing that environmental accountability cannot be separated from social justice and labor equity.

American & European Matriarch’s of Fashion’s Sustainable Movement

Designers Eileen Fisher, Mara Hoffman and Stella McCartney

Early adopters of the sustainable movement in fashion: Eileen Fisher, Mara Hoffman and Stella McCartney. (Image credit: Vogue.com)

In the U.S., sustainable design has evolved from a niche pursuit to a powerful movement shaped largely by women innovators. Designers such as Eileen Fisher pioneered circular fashion systems, extending the life of garments through repair and resale programs. Her model inspired many of us to question not only how our products are made but what happens to them after purchase. Similarly, Mara Hoffman’s commitment to transparency and regenerative fibers has shown that sustainability can coexist with commercial viability and aesthetic excellence. For emerging American designers, these examples offered both blueprint and challenge: to design garments that meet ethical, environmental, and emotional needs simultaneously.

University of Fashion’s Female Contributors to Fashion Sustainability

University of Fashion series on sustainable designUoF’s Sustainable Design Series taught by Noor Bchara (Image credit: University of Fashion)

The University of Fashion has long demonstrated leadership in advancing the discipline’s commitment to sustainability through its comprehensive collection of instructional lessons led by distinguished fashion educators. Among these experts is Noor Bchara, founder of the Upcycle Design School and a recognized authority in sustainable fashion practices. Bchara has developed three foundational courses for the University of Fashion: Introduction to Sustainable Design, Sustainable Materials for Fashion Design, and Designing, Producing, and Marketing a Sustainable Collection—each designed to equip emerging designers with the knowledge and methodologies essential for responsible creative practice.

In addition to her pedagogical contributions, Bchara is an Alumna of the Arts Envoy Program, through which she collaborates with the U.S. Department of State to promote upcycling and circular design principles internationally. Her expertise is widely recognized, as evidenced by her frequent lectures at major art and fashion institutions and her participation in prominent global industry events.

Images of University of Fashion's sustainable lessons

Kromagnon was born in 2012 when Kristen Loung toured several textile factories in France and Italy with fellow FIT students. She began researching sustainable fabrics and practices through a scientific lens informed by her Pre-Med background at NYU. Applying an analytical approach, she examined the environmental trade-offs of various materials, discovering that even sustainably sourced fabrics often require extensive chemical processing. Her investigation culminated in a deep understanding of sustainable textile production, enabling her to source ethically aligned suppliers and manufacturers, insights that laid the foundation for Kromagnon, a brand dedicated to responsible and innovative fashion design.

Love is Mighty was a New York based luxury footwear and accessories brand committed to sustainability, Artisanal Craftsmanship and Cruelty-Free fashion. Monisha Raja, Founder and Creative Director, is a graduate of Parsons School of Design and the recipient of the P.E.T.A. Fashion Award for her dedication to Animals and Fashion. The company was dedicated to creating products that showcased an exceptional combination of modern design, innovation and ancient mastery, through collaborations with semi-nomadic tribes of the world.

Parron Allen, while not a female designer, he is worth mentioning here. Parron’s design practice embodies a harmonious dialogue between whimsy and functionality, articulating a distinctly contemporary aesthetic voice. Through his work, he reclaims the practice of upcycling as a cultural and ancestral homage to his Mississippi roots, transforming fabric remnants, discarded textiles, and thrifted garments into inventive, narrative-driven collections. Before establishing his eponymous brand in 2021, Parron Allen pursued formal design studies in both the United States and the United Kingdom and refined his technical and creative expertise at notable fashion houses including Vera Wang, Ellen Tracy, and Rebecca Taylor.

Eco Textiles is taught by Carol Brathwaite who served as an Adjunct Instructor at New York City College of Technology (City Tech), where she taught courses in textiles and fashion marketing. Drawing on over ten years of experience as a Senior Technician in Con Edison’s Chemical and Environmental Laboratory in New York, her lesson examines key innovations and contemporary developments in sustainable textile production and associated best practices and addresses ongoing efforts to reduce the environmental impact of textile manufacture, use and disposal, and considers the prospective trajectory of the global fashion industry as it continues to evolve toward greater ecological responsibility and awareness.

In Summary

From South Asia to the United States and Europe, women are redefining what it means to lead in fashion by merging creativity with conscience. Their work advances a model of sustainability that values people as much as the planet, one rooted in equity, education, and cultural continuity. Whether training rural artisans, developing next‑generation materials, or teaching the next wave of designers, these leaders are weaving a new narrative of fashion that is circular, ethical, and inclusive. Collectively, they embody the ethos of Women’s History Month 2026: not simply participating in change, but leading it, stitch by stitch, community by community.