Textile Directory

More documents

Recommendations

Info

Introduction to the directory Designers describe their designs in emotive terms, and the fabric must reflect the designer’s intention. And here lies the continuing dialogue between designers and the textile industry: “What do you mean by the term ‘techno’?” “What is ‘edgy’?” “Clarify ‘new.’” STRUCTURE is about creating form that stands away from the body and can create line through shaping and seam detail. FLUIDITY is about fabrics flowing over the body, generally following the human form. It is the aqueous movement that is important. Designers are trained to develop a vision in terms of surface, silhouette, and “good” design; they are not trained to translate that vision into understandable terms for the textile industry. So, as the designer finishes the design concept and moves to the textile suppliers to find the fabric, communication often breaks down between the supplier and designer. This portion of the book is designed to bridge this gap in communication, so that the designer can view the fabric as the medium from which the design can be achieved right from the concept stage. The purpose of this book is to teach designers about selecting fabric in the same way that they are trained in design, so that they can feel confident working with suppliers in sourcing their fabrics. The designer will be guided through five fabric categories, introducing them to fabrics that will help them to achieve the appropriate surface and create the desired silhouette. The five categories, color-coded for ease of use, are briefly explained, right. The categories have been designed to fulfill the designer’s quest to find fabrics that perform in a specific way. Within the five categories, the fabrics are organized by fabric weight, working progressively from top weight to bottom weight. ••• 50 The textile directory Military jacket This structured, tailored coat includes an exposed metal zipper closure as ornamentation, as well as for function. Collaboration The contrasting structured tailored coat, layered over an ornamented sequin vest, fluid jersey tunic, and flowing georgette skirt provide a dynamic collaboration of color and texture.
ORNAMENTATION is about creating interesting details that the designer finds attractive and that will enhance the design. EXPANSION is about exaggerating shapes away from the body. These shapes transform the body by expanding the design silhouette. COMPRESSION is about compacting the body, following the exact shape of the body. Contracting and expanding with the body, like breathing, is the designer’s purpose. Intricate detail This black and red dress uses sheer, elegant fabric, beautiful ornamentation, and studded trim to create intricate detail. Expanding the silhouette This red dress uses fabric to both expand the silhouette away from the body and compress the body in the same design. Ensemble This ensemble combines a compressing corset, slim structured skirt that features an ornamented, cutout hemline, and contrasting textures in a tailored jacket.
Page 1: The Fashion Designer’s Textile Di
Page 6 and 7: ••• Poplin One of the most ve
Page 8 and 9: ••• Facts and figures Distinc
Page 10 and 11: ••• Puckered surface: seersuc
Page 14 and 15: ••• Shantung Shantung uses ir
Page 16 and 17: ••• Bridal satin Satin fabric
Page 18 and 19: ••• Hopsacking Wool fiber hop
Page 20 and 21: ••• Denim from recycled cotto
Page 22 and 23: Serge Serge is used for high-qualit
Page 24 and 25: ••• Ottoman Ottoman fabric ha
Page 26 and 27: ••• Tweed jackets Traditional
Page 50 and 51: Spunbonded fiber-web This fiberweb
Page 52 and 53: Lining Linings cover the inside of
Page 54 and 55:
Satin The smooth, shiny surface of
Page 56 and 57:
Crêpe de Chine (also known as fail
Page 58 and 59:
Crinkled fabric Crêpeon Fabric wit
Page 60 and 61:
Jersey Knitted jersey fabric is one
Page 62 and 63:
Interlock Interlock is a knitted fa
Page 64 and 65:
Fine-gauge sweater knits Sweater kn
Page 66 and 67:
Pointelle knits Weft-knitted fabric
Page 68 and 69:
Mesh A fabric that is mostly holes
Page 70 and 71:
Tricot Tricot knits are among the m
Page 72 and 73:
Traditional lace Historically signi
Page 74 and 75:
Mass-market lace The laces describe
Page 76 and 77:
Textured knits Using different-colo
Page 78 and 79:
Designed knit surfaces As mentioned
Page 80 and 81:
Satin crêpe Satin face crêpes use
Page 82 and 83:
Textured crêpe suiting Suiting cr
Page 84 and 85:
Smooth-surface crêpe All crêpe fa
Page 86 and 87:
Tricot for athletics Tricot warp kn
Page 88 and 89:
French terry Fleece fabric and Fren
Page 90 and 91:
Velour Velour is produced two ways:
Page 92 and 93:
Velvet Velvet is considered one of
Page 94 and 95:
Medium-weight sweater knits Sweater
Page 96 and 97:
Heavyweight sweater knits Heavyweig
Page 98 and 99:
All-over embroidered fabrics Top-we
Page 100 and 101:
Garment-specific embroidery These e
Page 102 and 103:
Embroidered denim The back pockets
Page 105 and 106:
Netting Netting is mostly air, not
Page 107 and 108:
Organza Organza is a crisp, sheer f
Page 109 and 110:
Crinolinesupported skirt The skirt
Page 111 and 112:
Pleated silk fiber fabrics Pleated
Page 113 and 114:
Facts and figures Distinctive featu
Page 115 and 116:
Stitched pleating Gabardine, poplin
Page 117 and 118:
Medium-loft quilting Quilted fabric
Page 119 and 120:
High-loft quilting High-loft quilti
Page 121 and 122:
••• Repurposed fur Repurposin
Page 123 and 124:
••• Facts and figures Distinc
Page 125 and 126:
••• Purple and black zebra fa
Page 127 and 128:
Page 129 and 130:
Page 131 and 132:
Page 133 and 134:
Page 135 and 136:
Page 137 and 138:
Page 139 and 140:
Page 141 and 142:
Page 143 and 144:
Page 145 and 146:
Page 147:
show all

Textile Directory

Create successful ePaper yourself

Delete template?

Save as template?