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FIGURE DRAWING FOR FASHION DESIGN
ELISABETTA DRUDI TIZIANA PACI
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TilE PEPIN PRE SS
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The authors and publishers wish to thank the following
for their advice and contributions to this book:
Prof. Maria Massa
Simona Marcolini
Tatyana van Walsum
Management, teachers and students at the
Istituto Statale d'Arte 'F. Mengaroni'
This book is an adaptation of La Figura nella Moda
Ikon Editrice srl, Milano
Copyright for this edition 2001 The Pepin Press BV
All rights reserved. No part of this book may be repro-
duced or transmitted in any form or by any means with-
out permission in writing from The Pepin Press BV.
ISBN 90 5496 080 9
This book is produced by The Pepin Press in Amsterdam
and Singapore.
Lay-out by Joost Baardman
Translated from the Italian by Philip Jenkins
Cover design by Pepin van Roojen
The Pepin Press BV
P.O. Box 10349
1001 EH Amsterdam
mail@pepinpress.com
www. pepinpress.com
Printed and bound in Singapore
2005 04
10 9 8 7
The Pepin Press publishes a wide range of books and
book+CD-Rom set s on architecture, ornament, costume,
and various types of design. Some titles of related
interest to this book are:
The Pepin Press Visual Encyclopedia of Costume
A Pictorial History of Costume
Fashion Design 1800-1940
Batik Design
Hats
Accessories
Hair Styles
Footwear
Tribal Tattoo Design
Indian Textile Prints
Woven Patterns
Embroidery Designs
Many more titles in preparation.
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CONTENTS
Before you begin 11
THE FIGURE
Rule of Proportion 15
The Eyes 21
The Nose 28
The Ear 32
The Mouth 34
The Head 39
The Hand 53
The Arm 61
The Foot 66
The Leg 69
The Upper Body 76
FASHION
The Fashion Plate 86
Stylization 104
Focus Techniques 113
Various Fashion Poses 116
Models on the Catwalk 123
'I)rpes of Hairstyle 125
Fashion Design 129
Fashion and its Dissemination 162
Technical Aspects 163
Finishings and Trimmings 173
Pattern Schemas 188
Footwear 210
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BEFORE YOU BEGIN
In the same way that a musical instrument needs to be
tuned to produce harmonious sounds, the hand has to be
' tuned' by means of patient exercises to achieve a fluid
and flexible drawing style.
Before beginning the study of the figure, it is a good idea
to carry out exercises to loosen the hand, in order to get
rid of any tension or apprehension. Sketch a number of
lines, concentric curves, spirals, hatching and cross-
hatching until you feel a sense of relaxation both emo-
tionally and physically. These exercises also serve to relax
the excessive rigidity common in the wrist of the inexpe-
rienced artist. During this phase use various grades of
pencils that will allow you to sketch lines of varying thick-
nesses. Get used to measuring out the pressure of the
hand on the paper by sketching some lines with the finest
of strokes and others with more incisive ones.
By the systematic study of the drawings presented in this
book, the student will find useful support in his training,
which will lead him or her to practise at a professional
level. We would advise you to work through the book con-
sistently without missing out chapters. 'I)'pical exercises
to do for each section are to copy the drawings in this
book, first on tracing paper, then on drawing paper, and
proceed to work free-hand from memory. Practise repeat-
edly on all the suggested poses, starting with the structur-
al analysis and finishing with the drawing in outline.
Finally, draw your own designs, trace them, and colour
them in.
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Greek Canon
1) The head measures one-eighth
of the height of the body and
therefore constitutes a unit of
measure.
2) The distance between the tem-
ples forms the basis of the width
of a shoulder from the base of the
neck to the shoulder joint (AB =
A'B').
3) When the figure is viewed from
the front, the median axis divides
the figure perfectly in half.
4) The shoulders are as wide as
the pelvis, the waist two-thirds of
the width of the shoulders.
5) The shoulders are drawn
extending beyond the upper body,
with the joint emphasized by
drawing a small circle.
6) The elbow corresponds to the
waist, the wrist to the pubic
region, (in the fashion canon it is
below the groin, the pelvis having
been shortened) the hand to
halfway down the thigh.
7) The width of the thigh is equal
to that of t he legs.
8) The foot is t he length of a unit
of measure and is t herefore equal
to the height of the head.
By dividing the height of the body
into two equal parts, we will see
that the head and the upper body
take up four units of measure,
whilst the legs take up the other
four.
RULE OF PROPORTION THE HUMAN BODY
By canon we mean the guiding code which establishes by
means of mathematical rules the ideal proportions of the
human body, dividing it into standard units of measure.
From antiquity the human body has been a subject of
study for many scientists and artists who have established
canons of proportion suitable for the age in which they
lived and for the conception of the figure prevailing at the
time.
Among the many canons which have been proposed we
have chosen the Greek one, because we regard it as the
simplest and the one most adapted to our purposes.
In this canon the head is regarded as a unit of measure to
establish all the other subdivisions, resulting in a total
height of the body of eight units of measure.
In order to achieve a harmonious reproduction of the
female figure in accordance with the language of fashion,
it has been necessary to modify slightly the relative size of
some parts of the body, whilst leaving the overall body and
the division into sections unchanged.
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By comparing this diagram with the preceding one it will
be noted that one half of a unit of measure has been
added to the bottom of the feet, as the fashion plate is
very often drawn with the foot curved.
This particular and rather unrealistic posture gives more
elan and elegance to the leg, moreover allowing visualiza-
tion in detail of the type of footwear worn when viewed
from above.
Another slight modification is the elevation of the waist
and of the pubic region shortening the pelvis a little,
allowing the fi gure to appear taller and more slender.
Finally, to accentuate the height further, the bulk of the
body has been slimmed down.
We shall call this modified code the fashion canon.
The measurements of this canon serve as a means of
creating ideal proportions, hence they are rare in reality.
However, the aim is to find a way to achieve an accurate
and harmonious representation of a female figure.
Having made these basic introductory remarks, let us
move on to the examination of the various aspects of the
canon, outlining the fundamental points in order of occur-
rence.
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Fashion Canon
This diagram provides a further
schematization of the outline in
geometrical building blocks, mak
ing the figure resemble a robot.
In order to emphasize better the
articulation of the figure, the
lower and the upper limbs have
been made to rotate around the
body.
In this way the shoulder is
included in the upper body and
the leg in the pelvis as they are
raised laterally.
As you can see, the figure has
been made thinner and the pelvis
is narrower than the shoulders.
The half unit of measure which
has been added is for the exten
sion of the foot.
All of the joints have been repre-
sented by small circles drawn
inside the body.
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Drawing the diagram
Draw the vertical axis which measures the height of the
figure (H) and then the horizontal guidelines.
Draw the median axis, which in this case is parallel to the
vertical axis, then the oval shape of the head, being care-
ful not to make it too wide.
The distance between the temples will determine the
width of the shoulders, and in their turn the shoulders
will determine the width of the pelvis in the fourth seg-
ment of the diagram. The pelvis is drawn in a condensed
fashion to obtain a more slender f i g u r ~
The chest, the waist and the pelvis should be drawn in a
schematic way.
Finally the structure of the legs and the arms should be
sketched emphasizing all of the joints.
It is also necessary to proceed with this method when
working with other positions, always correctly portraying
the relationship between one figure and another.
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The diagram shows the female
body in various basic stationary
poses. They are static and rigid
postures of which the outlines
H
2
4
5
6
8
8.5
have been greatly simplified so
that the body and its constituent
parts are better characterized.
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Summing up
Looking at the various diagrams we can conclude that
each segment contains:
1 the head
2 the neck and the shoulders
3 the breasts, the lower part of the chest and the waist
H
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3
4
5
6
8
8.5
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4 the pelvis and the pubic region
5 the central part of the thighs
6 the bottom of the thighs, the knee
7 the central part of the leg and the calf
8 the extremity of the legs, the ankle and the feet
8.5 foot extended forward.
The arms and the hands extend from the second to the
fifth segment.
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Having considered the analysis of the human body in the
Greek canon and the fashion canon, let us move on to
examine all of the anatomical components, beginning
with the details of the face.
The eyes represent the most emotive part of the face,
because they assume an infinite variety of expressions
which are capable of communicating the most varied feel-
ings.
In a face the eyes are certainly the most truthful reflection
of a state of mind. It is not by chance that the first contact
with another person is indeed determined by the eyes.
Among the various features of the face they are certainly
the most important. It is inconceivable to draw fashion
designs without portraying the eyes, as one would be
depriving oneself of the soul.
Technically the effect of light is obtained by making small
white circles inside the iris and the pupil , whilst giving
greater prominence to the shadow which the upper eyelid
projects upon the eye.
In the first drawing the eye is sim
ilar to real life, sketched with
darker shadows and half shadows.
The second eye is more artificial,
the half shadows having been
removed.
The third eye is more stylized and
has more clearly defined outlines.
THE EYES
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PROPORTIONAL ANALYSIS
From an anatomical point of view the eye is made up of
the perfectly spherical eyeball inside of which we find the
iris in various colours and the pupil.
The eye is protected by the eyelids, the upper one being
thicker and broader while the lower one is thinner.
Seen from the front, the eye has the shape of an almond,
while in profile it assumes a triangular aspect.
The distance between one eye and another corresponds to
the width of one of them (AB = A'B').
Important embellishments to the eyes are the eyelashes
and the eyebrows, which according to their shape and
width lend a profundity to the eyes.
In order to draw the eyes accurately give greater emphasis
to the lower edge of the upper eyelid and cast a light shad-
ow across the iris.
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upper eyelid
eyeball
eyebrow
iris
eyelash
lower eyelid
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The drawings underline the tran-
sition from the eye drawn from
life, via its geometrical analysis to
the subsequent stylization.
Left: Representation of the real
eye with the technique of
chiaroscuro.
Middle: Structural analysis of the
eye.
Right: Stylized drawing of the eye.
The half shadows have been
removed, greater emphasis has
been placed on the outline and on
the inside of the upper eyelid.
FORM AND STRUCTURE
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SECTIONS
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t!On of the exact posi-
eyes, visualizin
the face as if i g part of
The s t were a mask.
egments as they are
sketched h ere emphasize a
of proport' sense
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tances th nmg the dis-
' e areas the
external sp ' mternal and
aces betwee
being repre n what is
sen ted.
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DIFFERENT PERSPECTIVES
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THE NOSE ANALYSIS AND STRUCTURE
As far as the head is concerned, the nose is the most
prominent anatomical feature. Every face has a different
nose which sometimes gives it a decisive appearance.
For this proportional analysis we select a well-propor-
tioned nose, even if it is generic in form.
For an accurate frontal portrayal we enclose the nose in an
elongated trapezium at the bottom of which we sketch
three circles, the central one being larger and the two side
ones being smaller.
The distance between the alae is the equivalent of the
width of an eye {AB = A'B'), as the illustration on the page
to the right shows.
The nose is divided into the septum, the alae and the nos-
trils.
It is attached to the mouth by the nasal sulcus, which
when seen in profile corresponds to the groove beneath
the mouth.
Always in profile, the hollow above the nose is on the
same line as the groove below the mouth.
The length of the nose starting from the groove at the top
C, is equal to the distance between the point at the bottom
of the nose and the chin (CD = DE) and to the height of the
ears C'D'.
Frontal view Side view
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Foreshortened view View from below
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STRUCTURAL ANALYSIS WITH LINES OF CONSTRUCTION
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THE EAR ANALYSIS AND STRUCTURE
A
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1 Schematized form of the ear
2 Overall sketch
3 Rear view
4 Three-quarters perspective
5 Left profile
1 2
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3 4 5
helix tubercle
B
anthelix
D
concha
tragus
lobe
Externally the ear has the form of a shell or of a large let-
ter C. Structurally it is made up of an external border
called a helix, and an internal one called an anthelix, a
softer lower feature at the bottom, the lobe, a protrusion
which protects the inside of the ear, the tragus, the tuber-
cle, a small swelling on the curve of the helix and finally
the concha of the auricle. The height of the ear corre-
sponds to that of the nose.
The upper line of comparison AB aligns the hollow at the
top of the nose, the upper eyebrow and the tip of the ear,
whilst the lower one CD aligns the bottom of the nose
with the bottom of the ear.
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Series of drawings from the sketch
to the definitive representation.
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Schematized drawings of the ear
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THE MOUTH ANALYSIS A ND STRUCTURE
The mouth is made up of two moving parts, the smaller
and broader upper lip and the larger and fleshier lower lip.
Where the lips join corresponds to a point one-third
across each eye (AA' BB').
The trapezoidal sulcus is found between the nose and the
mouth, its central axis dividing the mouth exactly into
two equal parts.
Sketches of mouths from different
perspectives.
Seen in profile the upper lip is
more exposed than the lower.
All of the visualizations are drawn
with the help of lines of construc-
tion.
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Frontal view
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ANALYSIS OF MOUTHS IN THREE CONSECUTIVE PHASES
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From life Sketch with lines of construction Stylization
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Sequence of drawings
Outline sketch
2 Structural analysis with lines of construction
3 Drawing with the mouth executed using chiaroscuro
4 Visual relationships between spaces and anatomical features underlined
as in previous drawi ngs by lines of construction.
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DIFFERENT PERSPECTIVES AND LIGHT CHIAROSCURO
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For a student who is training for the profession of fashion
design, the representation of the head is probably the
most complex artistic subject-matter.
The body has no other anatomical part as diversified in its
form, size, proportions and expression.
Therefore an in-depth analytical study is necessary,
accompanied by systematic exercises to acquire the nec-
essary ability to reproduce the head by rote.
The overall structure of the head is similar to an egg,
whose upper part consists of the cranium and whose
lower part consists of the face and the jaws.
The drawings below show three highly simplified repre-
sentations of the head and each has been divided into four
sections by drawing in the horizontal axis AB and the ver-
tical axis CD.
The horizontal axis AB divides the upper part, which we
shall call the cranial area {CA), from the lower part, which
we shall call the facial area {FA).
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Cranial area
A
Facial area
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THE HEAD ANALYSIS AND STRUCTURE
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RULE OF PROPORTION
Precisely because of its complex and variable morphology,
the head has been an element of study from antiquity and
there are many artists who with their observations and
reflections have contributed to stabilizing the rules of pro-
Fig. 1
A
portion. FA
The rule used is one of three divisions from the hairline to
the tip of the chin, because it has been shown to be the
simplest from the point of view of drawing it.
It was Leonardo da Vinci who established that the perfect
oval must be divisible into three equal sections measured
from the hairline to the upper eyelid, from there to the
bottom of the nose, and finally from the bottom of the
nose to the tip of the chin.
The student should use this rule to draw a female face
correctly.
Analysis of the Rules of
Proportion
1) Draw the vertical line AB and
the hairline C.
2) Divide the perpendicular line
into three equal parts between the
hairline C and the bottom of the
diagram B, locating points D-E.
3) Plot a circle with the radius 0-
A, allowing for the fact that its
lowest point corresponds to the
top of the upper lip and that the
segment E-B divided in half forms
the bottom of the lower lip. The
horizontal diameter F -G
determines the location of the
eyebrows.
4) Construct an oval that has as its
principal axis AB, making sure
that it is confined to a rectangle
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which is subdivided into two
equal parts by the line H-1. In this
way we will establish the cranial
area CA and the facial area FA.
5) Divide the straight line H-1
which corresponds to the distance
between the temples into five
equal sections, thus establishing
the spaces which lie between the
temples and the extremities of the
eyes (1-5), the position and the
width of the eyes (2-4) and the
distance between them (3).
The highlighted part of the central
section of the straight line L-M
describes the width of the base of
the nose. Let us now proceed to
sketch the almond-shaped eyes
and the trapezoidal shape of the
nose (Fig. 2).
B
B
Fig. 2
Remember that in drawing the
eyelids, the upper one is larger
and broader than the lower one.
Then let us retouch the oval,
adding to the face more feminine
features.
Then let us project a distance of
one-third of the eyes as far as the
li ne of the mouth, thus finding the
extremities of the lips.
Let us finish these sketches of the
face by drawing the ears, whose
height is equal to the line which
links the upper eyelid to the base
of the nose.
Finally let us draw the eyebrows
in a curved fashion touching at
their highest point the bottom of
section I.
II
II
Fig. 3
A
II
III
F i g ~
Let us finish the sketches of the
face with more realistic features
(Fig. 3).
To find where the neck joins the
head, let us extend the horizontal
line that extends from the base of
the lower lip until it touches the
oval at the points N-0. From the
base of the chin B let us draw a
straight line BP, the height of one
section of the rectangle, establish-
ing the hollow, the height and the
width of the neck.
As a last exercise trace the result-
ing outline giving clarity to the
features of the face, the neck and
the hair (Fig. 4).
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A B
2
Fig. 5
Fig. 8
In order to construct a head in
profile, sketch a circle the same
size as the one used for the cra-
nial area, extend the diameter by
one-third beyond the circle, con-
struct another circle of t he same
size bisecting the first (Fig. 5).
c D
Draw a square whose upper side
touches the circles and whose
width encloses both of them and
divide it into four equal sections
A-B-C-D. Draw all the horizontal
axes as they are portrayed at the
number 3, establishing all of the
points of correspondence and pro-
portion {Fig. 5}.
A B
2
3
Fig. 6
The female head is smaller than
the male one, and because of this
to sketch the face in profile it is
necessary to start again in the
first section establishing the
forehead, the nose, the mouth
and the chin (Fig. 6).
c D
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In profile, the bridge of the nose is
aligned with the indentation
below the mouth {Figs. 7-8}. The
ear inserted into section B is to be
located behind the jaw in a
slanting position. Repeat the
resulting outline giving clarity to
the features of the face, of the
neck and of the hair {Fig. 7).
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ROTATION AND DRAWING IN SECTIONS
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These drawings show the head in
sections, as if it were a mask.
Many students when they repro-
duce the human figure or a part of
it have difficulty in envisaging size
from the point of view of perspec-
tive and therefore inserting what
they want to draw into space. This
very often results in drawings
which are flat and shapeless.
Getting used to taking into consid-
eration the concave part of the
head as well helps in overcoming
these errors of vision.
Lines of construction and gentle
shading determine more clearly
the size of the head.
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Foreshortening is a way of repre-
senting a figure or part of it in
perspective.
Every movement of the head
results in a new redefinition of the
figure and its visual aspects.
In these pages we see visualized
some faces portrayed from a vari-
ety of angles. The structure of the
oval is emphasized by a neutral
background the better to empha-
size in each rotation the resulting
proportions.
FORESHORTENING
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Round face Trapeziform face
Oval face
It is possible to group faces into
different fundamental outlines,
highlighted by symbolic
cal forms.
Triangular face
These drawings show the most
common facial characteristics
among women.
ESSENTIAL FEATURES
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Rectangular face
Square face Heart-shaped face
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ESSENTIAL FEATURES AND LINES OF CONSTRUCTION
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ESSENT IAL FEATURES AND CONTRASTING SHADOWS
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Along with the head, the hand constitutes one of the most
important and difficult parts of the human body when it
comes to drawing.
Its variety of movements and joints obliges the student to
undertake an infinite series of studies whether from life or
from memory, with the aim of reproducing it accurately in
harmonious proportions and from various angles.
A well-drawn hand confers more grace and femininity on
the fashion plate, a badly designed hand compromises its
overall harmony.
Analysis of Structure
Proportionately speaking, the hand is as long as the face.
The principal parts of the hand are: back, palm and fin-
gers.
The latter consist of the thumb, thicker and shorter than
the other fingers and made up of two phalanxes, the index
finger, the middle finger, the longest, the ring finger and
the little finger which is almost as short as the thumb.
The last four fingers are made up of three phalanxes
known as follows: the proximal phalanx, which joins the
hand, the middle phalanx, which forms the middle of the
finger and the distal phalanx, which is at the extremity of
the limb.
Every finger is of a different length, the various points of
articulation and movement allow a hand to be the pre- back
hensile instrument of the body and in its particular mor-
phology and expressivity the hand sometimes reveals the
character and the degree of sensibility of the person.
THE HAND ANALYSIS AND STRUCTURE
distal phalanx
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HANDS FROM VARIOUS PERSPECTIVES WITH GUIDELINES
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HANDS FROM VARIOUS PERSPECTIVES WITH LIGHT CHIAROSCURO
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The arm is the upper limb of the body and is made up of
four moving parts: shoulder, upper arm, forearm and
hand.
Each part has a corresponding joint, which allows extreme
flexibility, mobility and rotation.
The broad outline of the limb can be represented by two
cylinders which narrow at the base, the upper part of the
forearm is similar to a truncated cone and the hand with
fingers extended but not separated is similar to an elon-
THE ARM ANALYSIS AND STRUCTURE
gated rhombus.
Three spheres of different sizes indicate the respective
joints of the shoulder, the elbow and the wrist.
The arm extends from the shoulder to the waist, the fore-
arm from the waist to the groin, whilst the hand extends
approximately halfway down the thigh.
For a better understanding of the proportions and the
joints of the arm, as for the rest of the body, we recom-
mend studying from life or using manikins.
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shoulder
elbow
forearm
wrist
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Get used to making your designs
pleasing and methodical, refining
the images with appropriate page
layouts, also making use of neutral
and geometrical backgrounds with
the aim of making your drawing
clearer and more professional.
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OUTLINE DRAWING OF INTERSECTING FIGURES
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. the arms
es featunng
various pos . with light
ated outhne in accentu
shading.
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DRAWI NGS IN RELIEF USING LIGHT SHADING
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THE FOOT ANALYSIS AND STRUCTURE
The length of the foot corresponds to one-eighth of the
height of the body, therefore to the height of the head.
Unlike the hand, the foot is more closed and compact and
its wedge-like shape and broad sole ensure that the foot
functions as a support for the body.
Structurally it consists of five main parts: the heel, the two
malleoli, the bridge of the foot and the five toes.
The hallux, or big toe, is the largest. Finally, the sole of the
foot has the function of supporting the body.
heel -
sole
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Top: Sketches of feet drawn from
a number of perspectives with vis-
ible lines of construction and in
outline.
Right: Representation of the foot
in outline seen from different per-
spectives.
68
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thigh
hip
ankle
foot
toes
The leg is the lower limb of the body.
Proportionately the leg, including the foot, has a height of
approximately four units of measure of the overall figure.
Structurally the limb is made up of three moving parts:
the thigh, the leg and the foot, which are connected by the
joints of the hip, the knee and the ankle.
The various anatomical parts of the entire leg bend and
rotate by means of a moving and rounded bony structure,
THE LEG ANALYSIS A ND STRUCTU RE
I
which allows extreme mobility, exactly as we have seen
with the arm.
The broad outline of the lower limb can be represented as
with the upper limb by two cylinders, which narrow at the
bottom, by a truncated cone, which holds the calf geomet-
rically and by a wedge-shaped form already mentioned in
the previous chapter for the foot. Three spheres of various
sizes indicate the location of the joints.
69
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The length of the thigh is equal to
that of the shin. The first differ-
ence that we notice in these three
drawings is the variation in rhyth-
mic structures. In the first and
third drawings, the rhythmic
structure assumes a curved aspect
which starts from the hip joint
going as far as the centre of the
knee, whereafter it descends verti-
cally to the inside of the foot.
70
In the leg shown in profile the
rhythmic structure assumes the
form of an elongated letter S by
contrast.
In profile the lower half of the leg
underlines the difference in
height which exists in the bending
of the knee, namely lower at the
front and higher at the back.
The frontal view of all three legs
demonstrates the points of con-
tact with the body's musculature,
on the inside upper part of the
thighs, the knee, the calf and the
ankles. By contrast we note those
areas where there is no contact
with the musculature on the
inside of the thighs, between
them and the pubic region,
between the knee and the calf, on
the leg below the knee and
between the ankles and the foot.
-
Right: Legs portrayed from a
variety of perspectives, drawn
with rhythmic structure, points of
articulation and bending.
Sizes and proportions change
according to the type of perspec-
tive.
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I
1e examples of legs drawn in
line with light chiaroscuro and
ficial guidelines.
es of various styles are depict-
the better to show the ele-
ce which a leg assumes when
a model wears high-heeled shoes.
In order better to understand the
size and proportions involved,
practise usi ng an artistic manikin,
following the methodology sug-
gested in the preceding chapters.
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THE UPPER BODY
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76
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The upper body, or torso, is certainly the most important
anatomical part of the female figure; its extreme plastici-
ty and shape make it an important protagonist in so many
ways.
Stylists like to place it in evening dress with a surprising
decolletage or to emphasize its curvaceousness in highly
feminine suits.
The upper body is the key to the fashion plate and know-
ing how to reproduce it perfectly from every angle and in
its every movement is a sign of great artistic ability.
By contrast, an upper body in which the proportions are
badly rendered or which is drawn too rigidly undermines
the entire figure and throws its wearability off balance,
rendering the fashion plate listless and impractical.
In order to move so expressively, models practise at length
the art of walking with an air of dignity, and to understand
realistically every slightest rotation, every tension and
every muscular coordination, much attention must be lav-
ished even on the smallest movement.
Carrying out numerous exercises is therefore indispensa-
ble to achieve the necessary harmony for each pose.
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neck
collarbone
armpit
sternum
breast
--
nipple
rib - -
waist
stomach
hip ---------------
pelvis
pubic region - -
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ANALYSIS AND STRUCTURE
Perspective:
frontal side on
Proportionately speaking, the upper body extends over
two and a half units of measure of the overall female fig-
ure. Structurally it is made up of two moving parts of dif-
ferent sizes, the thoracic region and the pelvic region.
These anatomical features also constit ut e the main dif-
ference between the female body, which is rounder and
more flexible, and the male body which is more imposing
and muscular.
A frontal view reveals the following features from top to
bottom: the neck, cylindrical in form and nestling in the
upper body behind the collarbone, the shoulders which
are smaller than those of the male and of the same width
as the hips, the collarbones, bones in the shoulders that
join up as they dip in the cavity of the neck.
Then we have the thorax, which is the single largest struc-
ture in the body, formed by the ribs, the sternum, the pro-
truding breasts and the armpits.
To find the exact position of the nipples it is useful to
draw two lines at 45 from the hollow of the neck through
the ribcage.
78
shoulder-blade
three-quarters rear
It will be noted by so doing that the nipples are orientat-
ed towards the outside.
The shape of the breasts in an adolescent girl resembles
an upside-down goblet and the dimensions can vary
according to the type of build.
The upper body joins the hips at the waist, which is much
smaller and slightly elevated in contrast to a man's.
The pelvic region is formed by the stomach with the
navel, by the hips and the pubic region.
The main features of the back are the shoulder-blades,
which follow the movement of the arms, and the spinal
column, which elevates the upper body and allows by
means of its particular anatomical structure an infinite
number of positions and movements.
The lower part of the upper body is formed by the pelvic
wedge, which extends backwards to the sacrum and the
buttocks, whose medium-sized and large muscles have
the shape of a butterfly.
In profile we can see at the front the shape of the thoracic
region and at the rear the shape of the pelvic region.
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ROUGH SKETCH OF THE TORSO
4 5
The basic form of the torso is made up of two moving
s tructures, the thoracic region and the pelvic region.
The thoracic region can be represented from the front and
from behind by a trapezium (1-4-5) whilst from the side
and when foreshortened it assumes a more rounded
aspect, almost like a barrel (2-3).
The pelvic region is represented from the front and from
behind by a more flattened trapezium, whose base is as
wide as the shoulders (1-4-5).
From the side and when foreshortened it assumes the
schematic appearance of a cuneiform box to contain the
buttocks (2-3).
Pay careful attention to protrusions and indentations in
the thoracic region and the pelvic region and to their pro-
portions. In order better to emphasize the dynamic of both
parts or of one only, we h ave drawn the area of the hip and
the waist with chiaroscuro.
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ROTATION AND COU NTER-ROTATION OF THE UPPER BODY
The diagrams on pages 81 - 5 show the rotations most fre-
quently made by models.
From an infinite variety of movements we have carefully
chosen selected poses to present the most common posi-
tions adopted by models when they are modelling or sit-
ting.
In this instance it is also advisable to acquire the necessary
ability to portray any movement of which the upper body
is capable, even if subsequently only those poses most
suitable to the needs of the fashion designer are used.
For an exact reproduction either of the parts of the body
portrayed or of the rotations and counter-rotations of
which the body is capable, it is highly important to estab-
lish the rhythmic structure straight away, along with the
broad outline of the upper body and the pelvis.
We shall emphasize one line in order to stress the internal
rhythm and use finer lines to envisage the rotations and
counter-rotations.
We have marked the upper body here with curved lines, as
far as the breast, waist, hips and groin are concerned.
The lines drawn from top to bottom divide the body in half,
be it from the front, side or rear.
Every sideways bend corresponds to an extension on the
other side of the body.
Every movement of the shoulders corresponds to a move-
ment in the pelvis.
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THE FASHION PLATE
When you portray a human body it is necessary to
remember that you are depicting something that is alive,
and in the specific case of fashion design, it is fundamen-
tal to observe closely the typical movements which char-
acterize the poses adopted by the models.
They are movements which are supple, trim and nimble.
The fashion model walks in a way that is absolutely
unique, turns and swings her hips in a wonderful way,
stops and poses in ways which defy gravity.
86
The reaction to the gait of a professional fashion model is
one of amazement and captivation in the face of so much
charm and elegance.
Let us seek to understand together how to capture with a
few lines in a drawing these exceptionally flexible and
dynamic movements.
In each instance rotation and counter-rotation of the upper
body will be analysed, identifying the rhythmic structure
and proportions of every pose.
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The fashion plate is the ideal means of depicting an item
of clothing or an entire collection.
It has to be lively in expression, freshly drawn, dynamic in
movement, elegant in the pose and portrayed in the posi-
tions which are in keeping with the type of clothing cho-
sen. Try not to draw a fashion plate in a pose which is too
static or too realistic, the result will be wooden, artificial
and not in keeping with the ephemeral and joyous lan-
guage of the fashion world.
It is also advisable not to portray the fashion plate in posi-
tions which block the interpretation of the model.
Remember that the body of the model acts as the basis for
the item of clothing, but it must not dominate, cover or
distort it; it must rather facilitate the legibility of the cut
and of the details, accompanying the pattern in its shape,
assuming dynamic poses to emphasize spaciousness,
sophisticated and sober poses to underline a more rigor-
ous cut and more relaxed poses for a younger one.
GRAPHIC INTERPRETATION
87
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RHYTHMIC STRUCTURE
To make a figure come alive, it is not enough to have a per-
fect knowledge of anatomy, a copy which is too faithful
can harm the image, making it cold and impersonal.
It is important, by contrast, to be able to catch the correct
position with a few strokes and to distribute bodily
weight, signalling inside and outside of the body planes of
incidence, lines of comparison, angles and perpendicular
lines so that it is possible to reproduce the pose of the
model in the most faithful way possible.
First of all it is necessary to locate the key line, or put
another way the rhythmic structure, which is inherent in
every pose. This line can vary enormously, as every figure
has its own fundamental rhythm.
First and foremost you should sketch a line in the upper
body, passing through the hollow of the neck, the ster-
num, the navel and the pubic region, which then descends
to the ground following the leg, which functions as a sup-
port for the body.
In a static figure viewed from the front, the rhythmic
structure corresponds to the line which describes the
height of the figure.
Method of Execution
To understand how the weight of the various parts of the
body is distributed, sketch the rhythmic structure, reduce
88
the body to a skeleton and visualize schematically the
principal structures, namely the line of the shoulders,
waist, hips and finally the segments which indicate the
position and length of the limbs, marking the joints with
small circles.
We shall thereby have obtained the outline or the essen-
tial structure of the female body.
Then, as the second phase of this procedure, draw on top
of the structural skeleton the broad sketch of the figure
determining the areas of the body, outlines and the
dimensions of the hair.
The result will be a geometrical figure similar to a robot,
with all of the joints clearly indicated.
Proceed then to a more detailed analysis of the various
anatomical features with a view to reproducing faithfully
or almost faith fully the subject under scrutiny.
It is important to draw lightly insofar as there will be a
number of pencil strokes superimposed.
Only intensify those that are right for the visualization of
the outline, eliminating the others that do not form an
integral part of your study. Finally, on a sheet of tracing
paper, draw the figure only in outline, removing all the
pencil strokes, lines and segments that you have drawn to
characterize perfectly every aspect of the body.
The outline that you obtain will be your first fashion plate.
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Left to right: outline and arrange-
ment of parts of the body with
rhythmic structure.
Figure in outline and fashion
plate.
89
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90
Basic fashion plate to be repro-
duced.
From left to right :
Location of the key line or rhythm.
Construction of the skeletal struc-
ture in outline, sketching the line
of the shoulders, of the waist and
of the hips.
Schematic representation of the
parts of the body.
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From left to right:
Broad sketch of the whole figure.
Detailed analysis of the various
anatomical parts.
Copy of the figure obtained in
outline.
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91
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POSITIVE AND NEGATIVE SPACE
Sequences in succession:
Structural analysis and sketch of
the body.
92
As in all disciplines, there are also rules that should be fol-
lowed in drawing to reproduce any subject or composition
correctly. One of these rules, probably the most important,
is the notion of positive and negative space.
The space surrounding the figure is negative, whilst the
space that the body occupies in a given area is positive.
In every respect it is essential to consider a negative area
as positive to achieve the correct reproduction of the given
subject.
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The visual field around the figure is only negative in
appearance. In reality it is a complex structure composed of
dynamic forces, tensions, balances, proportional compar-
isons and depths of perspective.
Let us analyse a figure according to these rules with a view
to reproducing it accurately in terms of proportions and
position. The use of tracing paper is advised to visualize all
of the lines of construction directly over the subject, in
order then to proceed to drawing freehand.
Model ever more clearly defined.
The fashion plate finished in
outline and light chiaroscuro.
93
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From left to right:
Structural and outline analysis.
Fashion plate drawn in outline.
94
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From left to right:
Structural diagram with robot-like
figure. The upper and lower limbs
assume various positions.
Fashion plate drawn in outline.
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From left to right:
Structural analysis.
Robot.
Fashion plate partially clothed,
drawn in outline.
96
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FIGURE AND STRUCTURAL RHYTHM
98
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99
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Movements in dynamic succession.
AS the shoulders and the pelvis
move, the rhythmic structure of
the entire figure changes.
100
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102
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103
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STYLIZATION
By the term stylization is understood the exaggeration of
the structure of the body, reducing it to a few essential fea-
tures.
There are various ways of stylizing a figure, and one of
them is to elongate the height of the model by one or two
units of measure.
2
4
5
6
7
8
9
10
First method
As you will see in the two dia-
grams, the proportions have
remained unchanged in every
instance, that is to say that the
anatomy of the figure has
remained the same while the
104
length of the limbs and principal
parts of the body has been modi-
fied.
The diagram above has been elon-
gated by one and a half units of
measure and the one on the page
opposite has been raised by two.
The head has more or less the
same dimensions, the shoulders
are slightly broader in relation to
the pelvis, the neck has been
slightly elongated. The chest has
also been broadened while the
pelvic region has been shortened,
thereby raising the pubic region.
The waist has been reduced in
size, the limbs have been elongat-
ed, maintaining proportions with
the upper body.
The feet obviously follow the
extension of the body in length.
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106
Second method
Here below, the pose has been
rendered even more abstract,
reducing the figure to a few essen-
tiallines which exaggerate the
structure.
The resulting drawing is very sim-
ilar to the outline but presents
more energy and vitality.
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Third method
Another system for obtaining a
convincing fashion plate is that of
reducing a real figure without
making it any taller, leaving
almost unaltered its basic propor-
tions.
The diagram clearly shows the
variations that we have intro-
duced. We have made the waist
thinner as well as the flank, the
pubic region has been raised, the
legs and arms are equally long but
have been made thinner, the neck
is slimmer, while the head and
the feet remain unchanged from
their original size.
107
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WHAT A FASHI ON PLATE MUST NOT LOOK LIKE
108
Now that we have established the
correct basis for designing a fash-
ion plate, let us analyse in detail
the errors that can be made when
it comes to personal interpreta-
tion.
It is opportune in this respect to
keep a file of poses used by pro-
fessional fashion designers; this
will be extremely useful for copy
practice and for examples of
interpretation.
When the legs are too long in
comparison with the rest of the
body it is difficult to make out
exactly the height of the head.
An upper body that is short or
narrow impedes the clarity of the
line.
--
When the neck is too long and the
head is too small in comparison
with the rest of the body, a giraffe-
like effect results.
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Large and clumsy feet burden a
figure, but if you still want to draw
them, confine them to the casual
style only.
Shoulders that are too broad or
too narrow interfere with weara-
bility.
A waist that is too narrow
impedes the clarity of the waist-
line.
Poses that are too static, relaxed
or generic make the fashion plate
wooden and dull.
Artistic techniques that are too
illustrative are of no use in the
planning stage, even if they are
pleasing in the execution.
Remember that you are fashion
designers and not illustrators,
therefore your task is to conceive
of the collection in considerable
detail and as quickly as possible.
109
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MULTIPLE POSES WITH FIXED UPPER BODY
110
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Often a fashi on designer when he
is setting out thinks that he has to
commit to memory so many posi-
tions that he can use for his proj-
ects, and this creates in some peo-
ple a real crisis of memory.
To simplify the initial work we

/
suggest that you use only a few
key poses and that you transform
t hem as we show you in this
chapter's illustrations.
Take a simple and striking fashion
pose, such as the one in the dia-
gram.
. 6
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Keeping the upper body fixed,
move only the arms and legs of
the model. If you want to you can
move the head: you will obtain
from a single position various
fashion plates portrayed in differ-
ent positions.
Using this technique of multiple
poses with a fixed upper body, you
will obtain various fashion plates
from a few basic original posi
tions.
111
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112
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Close-up
Three-quarter shot \ \
In order to visualize a detail of an item of clothing, a head
and shoulders view, an item of footwear etc, it is unneces-
sary t o draw the figure in its entirety.
It is sufficient to portray only the motif or the detail that
you wish to emphasize, enlarging the area of interest and
bringing it into close-up, using a technique common in
cinema and photography.
Each picture drawn serves to highlight a detail which
must be clearly portrayed, in order to facilitate the faithful
interpretation of the stylist's work in the fashion house.
FOCUS TECHNIQUES
113
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ENLARGEMENTS OF FACES IN CLOSE-UP
114
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ENLARGEMENTS OF FACES IN CLOSE- UP
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VARIOUS FASHION POSES
Poses suitable for showing a
young and decisive fashion line.
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RELAXED POSES FOR YOUTH FUL, CLASSIC OR CASUAL FASHION
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The three models have been
drawn with a fluid and more
emphatic line and with very light
chiaroscuro which emphasizes the
dimensions of the body.
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Panorama of models drawn from
various perspectives. The smaller
figures represent the sketches for
some poses.
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Static frontal poses and th ree-
quarter poses are suitabl e for p -
t , or
lStl- raymg an elegant and soph' ,
cated fashion line.
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This composition is very useful
like the preceding one for assem-
bling models for the same collec-
tion. The route taken by the mod-
els presents the opportunity of
visualizing various items of cloth-
ing in a pleasant setting.
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MODELS ON THE CATWALK
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Very dynamic poses suitable for
representing fashion that is casual
and very youthful.
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The hairstyles port rayed h ere in various styles and
lengths are a suitable way of personalizing various trends
in fashion.
For classical lines you should use hairstyles which are
unostentatious and sophisticated. For casual and elegant
lines hairstyles which are more natural and fashionable
would be more suitable, whereas for a very youthful item
of clothing, styles which are more informal and amusing
are to be preferred. When putting the finishing touches to
a fashion plate it is important to choose an appropriate
coiffure which underlines the style, because the type of
woman for whom the item of clothing or t he entire col-
TYPES OF HAIRSTYLE
lection are destined will be all the more clear.
Accustom yourself to observing the appearance of the
models as they are working, studying the smallest details
in relation to the item of clothing that they are wearing,
developing the curiosity to discover every message which
is hidden from the superficial observer.
Sometimes a hairstyle which is very distinctive and which
goes with extravagant accessories is enough to engender
fascination, even with a very simple item of clothing.
Designers sometimes love to make their more classical
creations seem extreme with hairstyles and bizarre head-
gear, in order to create an original and spectacular image.
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The illustrations on pages 129-61 show sequences which
build up to the finished image.
All of the illustrated fashion plates were created with spe-
cial felt tip pens, using clear and precise strokes (poses on
page 121). The technique of felt pens was chosen as it is
the one most used by fashion designers for its fresh and
impromptu nature.
If you want your design to be neat, it is necessary to trace
the primary sketch on a white sheet of paper and to colour
it in afterwards.
FASHION DESIGN
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BEACH THEME
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The figures used are to be found
on page 116. Dynamic and distinc-
tive poses for this youthful and
vital type of fashion.
Take note of the distinctive hair-
styles, the fashion accessories and
the attention to detail.
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EVENI NG DRESS Picture sequences (For poses used,
see page 122).
Elegant poses as are required for
evening dresses which make use
of drapes.
Few lines of movement and eco-
nomical uses of colour give the
figures freshness and spontaneity.
The hairstyles and the accessories
emphasize the sensual and orien-
tal style of this mini-collection of
evening dresses.
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AUTUMN AND WINTER
! : __:_
, I
Picture sequences. (For poses
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used, see page 122).

I
The set of figures on the right has
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been drawn in outline.
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The set above emphasizes the

darker and thE: s\l.in-
The third set of figures has been
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........._
finished according to the rules for
representing the fashion plate.
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CASUAL
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Pictures with hints for fabrics
(For poses used, see page 118).
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URBAN
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As this illustration shows, it is
sometimes sufficient to change
style to substitute the materials
and colours used, leaving the cut
and the basic patterns unchanged.
Every detail and element of finish
ing accentuates the youthful and
informal style.
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CLASSIC
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(For poses, see page 119).
The fashion plates drawn in out -
line can be used as the basis for
practising variations in colour and
particular fabrics.
Take note also in this case of the
attention to details.
For every suggested pattern it is
advisable to carry out the relative
drawings from the dress stand
and some production schedules.
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The same fashion plates have
been used with different fabrics.
To achieve these effects it is advis-
able to use special halftone
screens, which are sold in special -
ist artists' materials shops. With
the use of the computer it is pos-
sible to carry out innumerable
variations in colours and fabrics.
But in the absence of a computer
it is advisable to use, besides felt
pens, the technique of collage,
through which it is possible to
obtain surprising arti stic effects.
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VARIOUS STYLES
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\
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WESTERN STYLE
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FASHION AND ITS DISSEMINATION
Fashion from the post-war period onwards spread and
diversified in a way that was particularly striking.
The companies in the sector made themselves more
responsive to changes in taste among consumers, offering
in profusion products which were suited to the most var-
ied demands of the market.
The figure of the designer became increasingly important
for the success of a company in the world of fashion.
It was in the 1980s that the relationship between designer
and industry assumed an absolute importance insofar as
the latter had an ever greater need of the most well-
known names to publicize and promote its product suc-
cessfully at an international level.
It will be realized th at clothing, just like other consumer
products, is not just an external covering of the body, but
is its living cockpit which seeks to represent through its
function and aesthetic a real industrial undertaking that
fully responds to the portrayal of the 'self and to the
social context in which one moves.
It was from here that the need developed for specific stud-
ies relative to the mass media, to marketing, to advanced
technologies with the planning of textile fibres which
were ever more comfortable and futuristic.
Fashion, therefore, is not just clothing but is an industrial
product at the highest level of planning design.
In recent years many sociologists and psychologists have
also analysed fashion as a 'mass phenomenon'; Konig for
example defines fashion as a fundamental force in social
life that has found profound roots in the collective uncon-
scious, not only in wealthy societies but in all types of civ-
ilization.
In his analysis he adds that one of the strangest charac-
teristics is that the more it is studied, the greater the
increase in importance that is attributed to it and adds
that at first sight it seems to influence only the exterior
aspect of people and things, but by observing it in greater
depth it is revealed as one of the great principles of trans-
formation in society.
The phenomenon that is fashion assumes a symbolic
value and it is by means of transference that it reveals
itself in clothing and every group, every individual
expresses a part of himself through what he wears:
dreams, needs, desires, taboos etc ...
To conclude this brief psychosocial excursion we advise
you to read specific texts which are useful in understand-
ing the language of the body in non-verbal communica-
tion, to enter into the infinite space of the psyche.
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Some decades ago before the arrival of mass production,
clothes were made by specialist couturiers who had on the
premises everything that was necessary t o realize any
request for an item of clothing.
The couturier knew exactly the tastes and the physical
characteristics of his own clientele.
Sometimes in the most prestigious fashion houses dress-
maker's dummies were made, reproducing the exact
measurements of the most discreet and fastidious women,
who with every confidence in their couturiers sometimes
had precious, finished items of clothing delivered directly
to their homes. The item of clothing was therefore unique,
TECHNICAL ASPECTS SIZES
completed almost entirely by hand, with much attention
paid to the details and the style and made with materials
of the highest quality.
Today this kind of product is reserved wholly for haute cou-
ture, which precisely because of its exclusive nature takes
care of the clothing for a clientele that is very sophistica-
ted and elite.
With the development of the textile industry and pret-a-
porter many fashion houses have turned themselves into
companies rendering consumers homogeneous by seg-
menting them according to type, dividing and manufactur-
ing clothes in relation to predetermined and uniform sizes.
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BASIC CUTS IN CLOTHING
The cut is the silhouette of the item of clothing and shows
the dimensions and length, whilst the style by contrast is
what gives it character and makes it unique. Clothes
which have their own cut can differ in style by means of
details, finishes and taste.
For centuries an infinite number of cuts and different
styles have been followed, but the dimensions most fre-
quently used can be summarized in a few examples and
from which innumerable variations dictated by taste and
the trends of the moment can be derived.
The examples which follow show some fundamental pat-
terns with diagrams that are very basic and geometrical,
with the aim of emphasizing primarily the dimensions
and the type of cut.
Top left to right: H, upside-down
truncated cone, hourglass,
column, empire, convex
Bottom left to right: 1Tapezium,
barrel or bag, redingote, amphora,
puff, siren
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Left to right: Reduces, lengthens and reduces, widens and makes stocky, lengthens, lengthens, lowers and makes stocky
Left to right: Lowers and widens, lengthens and reduces, lengthens, widens, shortens, widens and shortens
Left to right: Widens and shortens, makes slimmer, widens, makes slimmer, lengthens, lowers and makes stocky
The drawings shown here emphasize how the cut influ-
ences the proportions of any design.
Beyond the cut the dimensions are influenced by the
stitching, by the colour of the fabric, by its quality, by the
matching of styles and different colours among them-
selves, by the type of finishings used such as fringes,
flounces, pleats, necklines, fancy sleeves etc. Left to right: Projects, widens, lowers
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The production schedule is used in the clothing industry
to set out a pattern for manufacture in all of its technical
aspects.
We propose a generic schema made up of a useful panel
for portraying the garment with technical headings. In
this instance the design is for a pair of casual drainpipe
trousers.
Note also the accuracy of the drawing in this instance and
the precise representation of detail.
Completing the schema will allow one to verify the sam-
ple pattern in the workrooms.
Pattern Originating office
Shoulder width
Sleeve length
Total length
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Chest size
Waist size -,
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Hooks
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Trimming
Decorations
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Buttons
Waist
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Season
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The diagram above portrays the The movement of the lower limbs
dressmaker's model in basic posi- can simplify the explanatory
tions, which can be used to model drawing of the trousers or the
any item of clothing. skirt.
The drawing on the opposite page Also the arms being moved away
portrays the same basic positions, from the body give clarity to the
but the figure is more detailed. line of the fitted sleeve.
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WEARABILITY
Elastica ted costume - wearability
reduced.
Sleeveless top -Close-fitting skirt
minimal wearability.
Wearability is the relationship between the length and
spaciousness of an item of clothing. It is the room for
movement that exists between the fabric and the body.
Technically it is expressed in centimetres, which are
added to the pattern at special points.
The degrees of wearability are expressed in specific tables
which, according to the type of fabric and cut, give more or
less room to the item of clothing that is to be realized.
Loose-fitting plush pullover with
loose-fitting skirt- greatest
wearability.
The more elasticated a material, the fewer degrees of
wearability will be applied. The heavier a fabric is, the
more the degrees of wearability will be increased.
When the fabric is changed, using the same pattern, it is
sometimes necessary to change the degrees of we arability.
The examples in the diagrams demonstrate various
degrees of wearability applied to various patterns.
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Technically by elements of finishing we understand all of
those features that characterize the pattern (pleats,
flounces, crimping, drapes, necks, pockets).
By trimmings we understand the individualization of par-
ticular features and accessories which make the item of
clothing distinctive and elegant (buttonings, lapel facings,
seams, buttons, appliques, etc.).
In the following pages various types of patterns of finish-
ings and trimmings both basic and sophisticated are
shown.
The examples are presented in technical diagrams that
are very clear and easily used for creating any sophisticat-
ed pattern.
Once you have assimilated the concepts that govern por-
trayal, you will be able to visualize what is necessary,
emphasizing either the item of clothing or the details with
the correct graphic technique.
Always define your patterns precisely with the correct
technical terminology.
A novice fashion designer will have a little difficulty in
arranging the various elements of finishing in a harmo-
nious whole. Normally the tendency is to simplify the
item of clothing, reducing it to something simple and
basic or to exaggerate the dimensions and the details,
thinking that the more complicated an item of clothing is
the better the final result will be. Nothing could be further
from the truth.
Years of application and work are necessary in the
attempt to understand the essence of the design, to deep-
en the meaning of style and to understand the creations
of the greatest stylists of today and of the past.
Therefore moderation, taste and a great deal of study
should be your companions in this wonderful world of
fashion.
FINISHINGS AND TRIMMINGS
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PLEATS
'
~ - - - - - - - - - - - ~
Flat pleats Plisse pleat
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Flat pleats Accordion pleats
Pleats have the function of collecting the fabric around the
body in modular geometrical patterns and are also used as
trimming on a garment.
They are formed by one line of a fold, one of depth and one
of support (A-B-C-D}.
There are various types of pleats, and depending on their
application, pleasing and variegated effects can be
obtained.
They can be set at quite a distance, plisse, pressed or left
loose, backstitched or with the inside made up of another
fabric.
The best effect for pleats in dressmaking is that created by
pleats which follow a straight line, because they follow the
texture of the fabric.
B c
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A- Background pleat.
BC- Strips of fabric which
when folded opposite each
'\1 other create a pleat behind.
B
D -Depth of the pleat.
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Movement
pleats in persp
c
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Simple flounce, crimping
Double frill, flounce with crest
Mirror fl ounce with box pleats
and waistband, double flounce
FRILLS AND FLOUNCES
Frills and flounces, like pleats, have the function of col-
lecting the fabric in decorative motifs, conferring more
femininity and sweetening the cut. They are motifs suit-
able for a romantic and sophisticated style.
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Circular flounce
Gathers
Drape
The circular flounce is much used around the neck, over-
laid with gentle fabrics it becomes very charming and
spectacular.
Gathers underline the figure in a striking and decorative
way. Technically they are small parallel crimps: it is better
to use an elasticated fabric to make them.
Draping is the form assumed by a fabric when it is draped
upon the body. Due to its pliant nature, it caresses the fig-
ure providing a sensual accompaniment to the move-
ments of the per son who wears it in a choreography of
seductive rh thms.
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Patch pocket, with border
Patch pocket with flap
Inside pocket with external flap
Expanding with flap
Open zip, with backstitching, cov-
ered, casual for coats, concealed
and elegant
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CUFFS AND FASTENINGS
Casual cuffs: Quilted cuff, straight with side zip, elastica ted divided into t hree sections
Elegant cuffs: Edged with frills, with cuff links, with layered fringes
Stitched cuffs: Rib stitched, stitched with cuff, stitched joining the sleeve, stitched turned back
A
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Button with shank, with four holes, with two holes, press studs, hooks, types of casing
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Left to right: Basic, neckhole,
flat collar
Left to right: Mandarin, classic,
classic 1970s
Left to right: Button-down shirt
collar, rounded shirt collar, open-
necked collar
Left to right : Sailor, with small
lapels, American-style with large
lapels
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SHIRT COLLARS
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CASUAL COLLARS
Left to right: Tailored, turtleneck,
polo-neck
Left to right: Shawl, V-shaped,
high ribbed with buttons
Left to right: Polo style with trian-
gular insert, high cross-wound,
funnel-shaped
Left to right: Bomber, cross
wound, cardigan
Left to right: Lace-up, double cam-
bered, with hood

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Front
Flat collar
Classic collar
Collar with small lapels
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This schema is useful for drawing
any kind of collar that you can
think of.
Three-quarters
By changing the height and width
you will also be able to visualize
the most unusual collars.
Profile
COLLARS FROM BASI C PERSPECTIVES
Rear
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NECKLINES AND DECOLLETE
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Basic, tailored, on the shoulder, V-shaped, asymmetrical
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Square, square and singlet, rounded, on the shoulder with oval sli t, heart-shaped
American-style, asymmetrical, balcony, square, plunge
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)
)
variants in necklines
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BASIC COLLAR PATTERNS
Lapel variation: Casual, classic,
pointed
Shawl collars:
Basic, with flounce, plisse and
pleats, drape
Shawl collar, ample Vshaped
neckline, ample lapel, circular
flounce, shawl in plisse shell form
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Various drapes
Plisse
Circular flounce
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STYLISTIC VIRTUOSITIES
Sophisticated patterns with the
application of necklines and col-
lars, some of which were visual-
ized in the preceding schemas.
(For poses used, see pages 120-
121}.
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PATTERN SCHEMAS TYPES OF BASIC SLEEVES
Fitted, broader fitting, fitted with crimping
T-shaped, puff sleeve with cuff, Raglan
Hammer, Oared Raglan, kimono
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Technical diagrams for obtaining
pleats and flares.
Basic skirt:
1- Fl ared
2 - 1/4 bias-cut circular
3 - 1/3 bias-cut circular
4 -Full bias-cut circular
A- Basic miniskirt
B - Knee length
C- Midi
D- Full-length
SKIRT DIMENSIONS
A
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BASIC AND SOPHI STICATED SKIRTS
Close-fitting, straight, wrapover,
flared, wrapover with yolk and
pleats
Half bias-cut circular, puff, puff
with fitted hem, plisse pleats
Tiered frills, tiered flounces, asym-
metrical with flounces,
straight with large pleat and
accordion pleat
Half bias-cut circular with yolk,
full bias-cut circular with yolk, full
bias-cut circular with waist crimp-
ing, flared with inserts
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Simple and elegant poses under-
hoe the cut a d
n the details of th
pattern. e
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TYPES OF TROUSERS
Jeans, drainpipe wi th tucks, tubiform
Thcks and pleat, j odhpurs, pantaloons
Hipsters, bell-bottom, Oriental
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Above is seen a dressmaker's dummy from the four basic
perspectives.
To mould the bodice or the costume around the body it is
necessary to use tucks which reduce the fabric where it is
at its roomiest and where the body is rounded, underlin-
ing the shape.
The first figure shows the basic bodice with the application
of rotated tucks, both on the upper body and the pelvis.
To bring an item of clothing closer to the body, more tucks
which slope down from the top as far as the flank and
from the shoulder-blade to the flank can be used.
The tucks can be visible as in the basic version, inserted in
the lengths of material or absorbed in the looseness of the
design to confer more softness and linearity on the item
of clothing.
THE BASIC BODICE AND TUCKS
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TUCKS IN THE BODICE
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Man's, pinched, flared
'
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... __ __ ___ _
Large shirt, Mandarin, romantic
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SHIRTS WITH TUCKS
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SUMMER SHIRTS AND GI LETS WITH TUCKS
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Models wearing the designs on
previous pages. The poses are
simple and suitable for the inter-
pretation of the pattern.
Creases have been kept to a mini-
mum and the outlines of the pat-
tern are emphasized in the
drawing.
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BASIC AND SOPHISTICATED DRESSES
Drawings in outline with the actu-
al outline of garments and boots
in a darker line.
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I
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Straight double-breasted, double-breasted with
Barrel
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LIGHT COATS
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JACKETS
Bolero, spencer, jacket
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CASUAL JACKETS
Bomber
Casual with zips
The model assumes a decisive
and youthful pose like the fashion
that she is modelling. The arms
spread wide emphasize the fitted
sleeves and the fullness of the
deni m casual jacket.
The simple and neat drawing style
emphasizes the cut and the back-
stitches.
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0 1\0
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belt, raglan sleeve
and collar with
lapels
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collar
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Raincoat with flared skirt, hood
and expandable pockets
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Casual with zip>
The model assumes <
and youthful pose like
that she is modelling. T,
spread wide emphasize t
sleeves and the fullness ot
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The model on the opposite page is
moving to stress the fullness of
the cape, which is also accentuat-
ed by the raised arm.
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CAPES
Classic with hood
Single-breasted
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Double-breasted with lapels
Flared with partial doubling
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Close-fitting jackets with varia-
tions in cuts, finishing and trim
mings.
www.rekshaz.com ,,
Casual light coats and
jackets sharing the
same basic form, but
varied in cuts and fin-
ishing and trimmings.
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Plain coat with padded shoulders, coat with zip and hood, coat with casing
Bomber with zip, coat with patch pockets and double fastening, bomber with zip
Padded bomber jacket, quilted coat, quilted bomber jacket
7/8ths length coat, coat with double fastening and variation in pockets, coat with zip and double pockets and inside pocket
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FOOTWEAR VARIOUS STYLES AND FASHI ONS
It is important to personalize a fashion plate with acces-
sories which are suitable to identify a style or to pl ay down
an image that is too serious.
In these pages you will find many examples of footwear of
various types which are suitable for the most varied fash-
ions. The footwear is shown from a variety of perspectives.
www.rekshaz.com ,,
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