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Design and Product Development

1.The elements of fashion design

Fashion design does not just happen, nor does the designer wave a magic wand to create a new design. Fashion design involves the combination of four basic elements or components: silhouette, detail, texture, and color. Only through a change in one or more of these basic components dose a new fashion evolve. 1 Silhouette

The silhouette of a costume is its overall outline or contour. It is also frequently referred to as \"shape\" or \"form\". It may appear to the casual observer that women have worn countless silhouettes throughout the centuries. In the 1930's ,Agnes Brooke Young's research showed that there are actually only three basic forms---- straight or tubular; bell-shaped or bouffant; and the particular designs. These are denoted by letters, or according to their shape, or after particular periods. A distinct sectioning of the garment is obtained from the disposition of seam lines and edges.

2 Details

The individual elements that give a silhouette its form or shape are called details. These include collar, sleeve and shoulder treatment; skirt and pant length and width;

and trimmings.

Silhouettes evolve gradually from one to another through changes in detail. When the trend in a detail reaches an extreme, a reversal of the trend takes place. For example, dresses and suits featured wide shoulders with much padding in the 1940's and 1950's. This was reversed in the late 1960's and 1970's, when the look became casual and uunstructured. This casualness reached such extremes that by the start of the 1980's , structured clothing was back in fashion and dress and suit shoulders began once again to grow wider as padding was inserted. By the 1990's , the unstructured look was predominant again; toward the end of the decade, structured suits and wide shoulders were again seen on the runways!

Variations in detail allow both designer and consumer to express their individuality freely within the framework of the currently accepted silhouette. To emphasize a natural-waistline silhouette, for example, a slender woman might choose a simple wide belt, a decorated belt, or a belt in a contrasting color. To express his individuality, a man might emphasize the wide shoulder look with epaulets or heavy shoulder pads.

3 Texture

One of the most significant components of fashion is texture. Texture is the look and feel of material, woven or nonwoven. Texture can affect the appearance of a silhouette, giving it a bulky or slender look , depending on the roughness or smoothness of the materials. A woman dressed in a rough tweed dress and a bulky knit sweater is likely to look larger and squarer than she does in the same dress executed in a smooth jersey and topped with a cashmere sweater.

Texture influences the drape of a garment. Chiffon clings and flows, making it a goodchoice for soft, feminine styles, while corduroy has the firmness and bulk suitable for more casual garments.

Texture affects the color of a fabric by causing the surface to either reflect or absorb light, causing the colors to appear flat. Smooth textures reflect light, causing the colors to appear flat. Smooth textures reflect light, causing colors to appear brighter.

Anyone who has tried to match colors soon discovers that a color which appears extremely bright in a shiny vinyl, satin,or highgloss enamel paint seems subdued in a rough wool, a suede, or a stucco wall finish.

4 Color

Color has always been a major consideration in women's clothing has been regaining the importance it had in previous centuries. Today, color is a key factor in apparel selection for both sexes. Color is important in advertising, packaging, and store decor as well.

Historically, colors have been used to denote rank and profession. Purple, for instance, was associated with royalty, and in some periods, could be worn only by those of noble birth. Black became customary for the apparel of the clergy and for members of the judiciary. Color symbolism often varies with geographical location. While white is the Western world's symbol of purity, worn by brides and used in communion dresses, it is the color of mourning in India.

Today, a fashion designer's color palette changes with consumers' preferences. In some seasons, all is brightness and sharp contrast, and no color is too powerful to be worn. In other seasons, all is brightness and sharp contrast, and no color is too powerful to be worn. In other seasons, only subdued colors appeal. Fashion merchants must develop an eye for color----not only for the specific hues and values popular in a given season, but also for indications of possible trends in consumer preference.

2. Influences of fashion design

1 Style

Fashion is an expression of personality. Clothes only feel good when they express the wearer's own attitudes. The great variety of styles which exist side by side in today's fashion clothes allows for individual expression. The style that is favoured at a given time depends on both the venue and the personality of the wearer. Typical styles are: informal casual style, timeless classic style, masculine business-like style, formal conservative style, pretty romantic style, rustic style, elegant casual style, elegant refined style, feminine style, extravagant style, avant-garde style, and frivolous style.

2 Purpose

Clothing has different requirements according to its purpose. Sports, leisure and work clothes are primarily functional. Formal dress should stand out from day clothes and appear elegant or festive. Clothing for Summer wear will have different requirements, in terms of its ventilation and insulation capabilities, moisture absorption and transparence, than clothing intended for Winter.

3 The personality of the wearer

The characteristics of the wearer include the combined aspects of figure, stature, age and personality. For a satisfactory overall effect the clothing must be adapted not only to the individual body measurements but also to the different requirements of a particular age group. Fashion design must endeavor to consider the broad distinctions between particular target groups.

3 The principles of fashion design

Whether designers are developing a collection of dresses or suits, footwear or jewelry , or fashions for the home, they must be properly schooled in the principles of design. To capture the eye of observer, the product must be properly executed in terms of balance, emphasis, proportion, rhythm, and harmony. Each design must effectively use these principles to create a successful product.

1 Balance

In its strictest strictest sense, balance is the equal distribution of weight on two sides. Absolute balance, however, sometimes leads to produce designs that lack creativity. Of course, some designs benefit from this approach.

the case of a man's shirt that is open down the middle and uses button closures, or one that the designer's eye imagines as the center. In either case, trim or ornamentation may be used in apparel design, such as patch pockets of equal size. Asymmetrical balance might be achieved by the garment's pattern. For example, one side of a sweater might use a single large flower, while the other side uses several smaller flowers. If properly used, the eye sees it as a balanced arrangement.

2 Emphasis

Drawing attention to a particular area of a product is central to its success. Designers generally choose one area of a garment to feature. This is known as the focal point. If too many areas of interest are given equal attention, the eye will not know where to focus and attention will be lost.

Emphasis is achieved in a number of ways. It might be the neckline or the back of a dress that captures the eye. For example, British designer Vivienne Westwood recently added bustles to her dresses. It could also be the fullness of a skirt, enhanced with petticoats that causes attention, or some trimming, such as intricate beading. Often, emphasis is achieved through coloration, alternating stripes, or the use of an unusual pattern or print. Contrasting fabrics might provide the necessary emphasis or focal point----- for example, the collar on a jacket might be in a different fabric than the overall fabric. A successful designer must know how to achieve this emphasis without too many confusing elements.

3 Proportion

The various elements in the design should be scaled in size to fit its overall proportion. For example, the size of the trimmings should be in proportion to the dress they are enhancing. A flower that is too large for a dress may detract from the silhouette,

neckline, or other detailing. A belt that is too wide or narrow to suit the garment becomes a disproportionate accent that ruins the silhouette.

4 Rhythm

While focal point is an important part of any design and is used to attract attention, the consumer must observe and evaluate the entire product. If the details and embellishments have been carefully placed, a sense of rhythm will move the eye from one element to the other. Rhythm can be achieved through numerous techniques.

colors are employed, alternation in rhythm is the result. The eye manages to focus on the alternating colors, eventually leading the observer to view the entire product.

Radiation Using a sunburst effect, the eye moves from the central point of the sunburst to the outer portions of the design. Imagine a circular ornament that is centered on a handbag. The viewer is first attracted to the ornament, and then the eye moves to the outer edges of the design.

Progression The use of a single color that is featured in a gradation of the darkest to the lightest tone imparts rhythmic progression. The eye will automatically move complete item. Sometimes a design will use a specific shape for its trim in a variety of sizes. The gradation of the shapes will tend to bring the eye from one to the other, and eventually to all of the garment.

Repetition involves moving the eye in any direction through the placement of many of the same shapes. Dots in a polka - dot fabric, for example, cause the viewer to move throughout the garment also tends to make the eye examine the entire object Continuous line When some of the elements of the design are connected by a linear device , continuous line rhythm is accomplished. Flower ornaments that are part of a design, for example, and are connected to each other with vining makes the eye move from flower to flower and throughout the garment.

5 Harmony

Achieving a unified effect requires a degree of cohesiveness among all of the elements in the design project. The relationship of the appropriate shapes in the fabric's pattern or the trimmings, for example, must be in harmony with the rest of the elements. Although there is safety when the absolute rules of harmony are followed, it sometimes results in a dull design. This can be avoided by adding elements that lend excitement. A simple black dress might receive more attention if it is trimmed with gold braid rather than black piping.

Creatively using variety or an element of surprise transforms the mundane into something more exciting. Although these garments are extremely serviceable, they are not very exciting. In the early 1990's , designer Joannie Criscione transformed the blazer into a high fashion item and catapulted her company to success. She unconventionally scattered rhinestones on a woolen blazer and made fashion headlines. The item ran for several years, bringing significant profits to her company, and was eventually knocked off at many lower price points, Although this design treatment might not fit the traditional concept of harmony, it proves that creativity often adds appeal to the product.

4 About designer

1 Role of the designer

The days when the design world was populated by a few visionaries whose ideas produced all the designs for the public are long gone. Today , there are unlimited opportunities in the field of design for those who have the special talents, both artistic and practical, that are needed to shape the consumer's world.

Designers must continually study the litestyles of those consumers for whom their designs are intended. Because designers work far in advance of their designs' final production, they must be able to predict future fashion trends. Designers must be aware of the effects of current events, socioeconomic conditions, and psychological attitudes on fashion interest and demand.

In creating designs that will not only reflect consumer attitudes and needs but also give expression to artistic ideas, fashion designers are continually influenced and limited by many factors. Of particular importance are practical business considerations. All designs must be produced at a profit and within the firm's predetermined wholesale price range. Consequently, designers must consider the availability and cost of materials, the particular image that the firm wants to maintain available production techniques, and labor costs. Great designers use their creativity to overcome all these limitations and to produce salable, exciting designs. Most designers can be classified in one of the following three categories.

1 High-fashion or \"name\"designers are responsible for the full range of decisions of a fashion house as well as for establishing the image and creating designs for the company. They design ready-to-wear lines as well as custom designs, and many license the use of their prestigious names to manufacturers of accessories, fragrances, cosmetics, and home fashions. Some, like Ralph Lauren in the United States, run houses that bear their own name. Others take over a design company at the death or retirement of its founder. For example, Alexander McQueen became the head of the French house of Givenchy, in addition to having his own company in England, when Givenchy retired.

2 Stylist-designers work for manufactures and adapt the designs of others, typically of name designers. Usually they create variations in less expensive fabrics to appeal to a market for lower-priced merchandise at the late rise or early culmination stage of the fashion cycle.

3 Freelance designers sell sketches of their original designs or adaptations to manufacturers. Freelancers typically work out of disign studios. They are not involved in the selection of fabrics and colors or in the business decisions that are required to manufacture the products based on their designs.

2 Sources of design inspiration

Where does the designer get ideas and inspiration for new fashion ? The answer, of course, is : reverywhere! Through television, the designer experiences all the wonders of the entertainment world. In films, the designer is exposed to the influences of all the arts and lifestyles throughout the world. Because consumers are exposed to movies through international distribution, films prime their audiences to accept new fashions inspired by the costumes. Museum exhibits, art shows, world happenings, expositions, the theater, music, dance, and world travel are all sources of design inspiration to fashion designers. The fashions of the past are also a rich source of design

inspiration.

While always alert to the new and exciting, fashion designers never lose sight of the recent past. They know that consumers need to anticipate something new each season. But they also recognize that whatever new style is introduced will have to take its place with what consumers already have in their wardrobes. No one starts with all new clothes each season. Rarely dose a revolutionary new style succeed. Instead, it is the evolutionary new style that so often becomes the best-selling fashion.

5 Produce line

Product lines of apparel are created and styled for wholesale presentation several times, or seasons, per year. In the fashion industries a product line is referred to simply as a \"line\". A line not only encompasses the individual item of apparel or accessories but the entire season's production from that manufacturer as well. The term \"line\" is used for moderate-and popular-priced apparel. The term collection is used to describe an expensive line in the United States or in Europe. Lines are divided into groups of garments, linked by a common theme like color, fabric, or style. Each garment is known as a style number or \"number\" , such as 401 or 57.

Designers typically work on three seasonal lines at a time. They monitor the sales of the current season's line, put the finishing touches on next season's line, while they begin to develop the new line for the following season. Clearly, this is a challenging balancing act!

Clothing manufacturers produce between four and six lines every year. For women's wear, these are spring , summer, transitional or fall I, fall or fall II, resort, and holiday.

Manufacturers start work on their new lines anywhere between 3 to 12 months before presentation to retail buyers. This means clothes are planned and designed as much as a year before customers will see them in the stores.

6 Product development process

The six stage product development process is outlined below, including planning the line, creating the design concept, developing the designs, planning production, production , and distributing. Stage 1 :Planning a line

The first step of the product development process involves the work of a designer or a product development team, working under the direction of a merchandiser. It is these people who are charged with creating a line. Their first task is research. They review information on trends, colors, fabrics, and other materials. Of course, team members must keep in mind previous fashion successes or failures, so past sales records are reviewed, as well as markdown reports.

Using all their merchandising and marketing skills, merchandisers or designers help to form and maintain a positive image in the marketplace for the manufacturer. It is this image that influences a specific consumer group to buy a particular line at the retail level. In most cases, design has to be disciplined and directed so that the particular image of the manufacturer and the merchandise that is produced will continue to fit the needs and wants of a specific consumer group.

Stage 2 :Creating the design concept

Next come designs for individual garments. Each one is sketched or developed in muslin. At this stage, the designer or design staff considers his or her work, and weighs it on two point: first, on its own individual merit and, second, for its suitability in the line as a whole. Many designs are

discarded at this point.

Price is also a critical factor in determining whether or not a design is deleted from a line. A cost analysis is often done at this stage, and designs that are too expensive t to produce profitably at the desired price point are rejected.

Stage 3 :Developing the designs

Those designs that seem most likely to succeed are

made up as finished sample garments. A patternmaker creates a production pattern in the garment size the company uses to produce its samples. From this pattern, one or more samples are cut. Finally,the garment is sewn a sample hand.

Now the design is presented to various executives and managers of the company-people in sales, purchasing, production, and cost accounting. Both the cost of the fabric and the cost of producing the garment are carefully analyzed. Many designs are discarded at this point, while others are sent back to the design department for modification. A few are accepted. The accepted design is assigned a style number . At this point, it is officially part of a manufacturer's line. Stage 4: Planning production

This stage of the product development process begins with sourcing. The fabric must be ordered, along with orders for the other components of the garment. Finally, each garment must be costed out, so that the exact cost and selling price can be set.

The samples, each with its style number, are then presented to retail buyers at the manufacturers' seasonal shows. The retail buyers either accept or reject parts of the individual designs. Sometimes

they test a line by buying a small number of styles in small quantities. If these style sell, they reorder them. Most manufacturers have set minimum orders for the quantity, number of style,and/or dollar amount required to accept the retail buyer's order.

Because the manufacturer usually has not yet begun production when a line is shown to the buyers, it may be possible to fine-tune production to the buyers' orders. When a particular style receives a lot of attention from buyers, it is then scheduled for production. Items that generate little or no enthusiasm are drop from the line.

Stage 5:Production

One of the most important steps in the mass production of apparel is the cutting of the garment pieces. Once a garment is slated for production, it is graded, or sloped, to each of the various sizes in which it will be made. After a pattern has been graded into the various sizes, the pieces are laid out on a long piece of paper called a marker. A spreader, or laying-up machine, carries the material along a guide on either side of the cutting table, spreading the material evenly from end to end. The marker is laid on top of these layers. For many years, material was cut by hand, but today, the cutting process is either computer-assisted or totally computerized. Computers are programmed to feed instructions to laser, blade, or high-speed water jet machines that do the actual cutting.

Stage 6: Distributing

Once the line is completed, it still requires more work before the retailer can sell it. Sales tickets and bar codes must be added; these time consuming tasks are frequently done by the manufacturer. As the season progresses, manufacturers remain sensitive to retail sales. For example, when reorders come in, they recut only the garments that are most in demand---and therefore the most profitable. Manufacturers may also recut\"hot sellers\" in different fabrics and colors to maximize the sales generated by high customer demand.