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Unit 1 Elements of Fashion Design 第一单元 服装设计基本元素 • • Introduction of Design Elements The design of a garment requires the selection and interpretation of colour, fabric, styling and fit. When these elements work together, the garment enhances the appearance of the wearer, thereby enticing him or her to make a purchase. When these components are haphazardly combined, the resulting design is disappointing. Design Elements The design elements are the building blocks of design. These elements—line, colour, texture , pattern, silhouette and shape—are intrinsic to every product, including apparel. Line determines the silhouette of the garment and the shapes formed within the garment. Internal garment lines may be created by using garment seams and edges, fabric patterns and texture , and details such as tucks, pleats, darts, gathers, and liner trims. Lines have several aspects that determine their character. These include length, boldness, thickness and direction. The impact of line is further defined by how frequently it is repeated, its placement, and whether it is used symmetrically or asymmetrically. The use of line can create optical illusions on the body. Use of vertical lines tends to elongate the figure, making it appear slimmer, whereas use of horizontal lines tends to shorten the figure, making it look wider. The optical illusions that line can create work best when the other design elements are used to enhance the impact.
• • • Colour Because colour speaks to individuals on so many levels, it is recognized as one of the first things that attracts a customer to a garment. How colour is utilized in an ensemble can create figure illusions. Colour hues are frequently classified as either warm or cool. Warm colours— red, yellow and orange—tend to draw in the viewer and make an area appear larger. Cool colours— blue, green and violet—make an area appear smaller. Ensembles that are made up of a single colour or shades of that colour tend to be slimming because they create the illusion of height. Dark colours that absorb light tend to be more slimming than light colours. Bright colours tend to call attention to the figure and give the illusion of bulk, whereas light colours tend to flatter the face Texture is the term used to describe the surface or hand of a fabric and can be attributed to a combination of the fabric's characteristics—fiber, yarn, construction, weight and finish. A fabric's hand affects how it drapes. The texture of a fabric affects how we perceive colour. Shiny surfaces reflect light, emphasizing the colour and making the figure look larger. Pile surfaces absorb light, giving the colour more variation. Pile surfaces also have more loft or thickness, thus making the figure look larger. Stiff fabrics stand away from the body. Drapey fabrics tend to cling to the body, identifying its natural curves. Each fabric a designer chooses to work with should be explored , using a dress form to determine its natural attributes. Fabrics and their textures speak to the designer. They are used to best advantage when allowed to do what they do naturally.
Pattern Some fabrics also have pattern. Patterns can be created by the texture of the fabric; they can be constructed into the fabric through weaving, knitting or felting; they also can be applied to the fabric through printing, embossing, and other specialty techniques such as laser cutting. The popularity of specific pattern is subject to fashion cycles. In a manner similar to line, colour and texture, patterns can help to create figure illusions. The placement of large motifs may need to be engineered on the body to avoid calling attention to certain body parts. Large patterns are generally best used in garment silhouettes where there is extra fabric and the pattern can drape in folds over the body. They should not be cut up by lots of seams and details. Smaller patterns are more appropriate for closefitting garments. Silhouette The garment silhouette is the outer shape of a garment. The size and shape of the silhouette is the first thing we see when a garment is on the body. Silhouettes are sometimes described by letters such as A, H, T, V or Y, in which the silhouette follows the shape of the letter. Silhouettes may also be described as specific shapes (trapezoid, tent, hourglass, pear or bell) or identified from periods in history (Empire or flapper). It is not always possible to see a silhouette clearly when a garment is on a hanger. When a garment is hanging, we tend to notice the colour and fabric first. The silhouette comes to life when the garment is viewed on the body (figure 1 -1, figure 1 -2).
1. 2 Extended Reading 扩展阅读 Valentino PARIS, July 4, 2012 Look at Maria Grazia Chiuri and Pier Paolo Piccioli, so ascetic and spare with their dark clothes and modest demeanor, and you can only wonder at the intensity of the clothes they create. So, obviously, did the scribe who penned their show notes, as lost in the search for words to define the collection as everyone else was after the fact. That's because Chiuri and Piccioli are like the solitary writer who spins a magic kingdom out of his imagination. “Regal beauty, ” Piccioli said by way of explanation. “Sensual but severe. ” And if that had a Game of Thrones (Game of Thrones) tang, well, that fitted with a Couture collection that felt like a world we were allowed to enter without fully understanding what it was we were seeing. The mood board in their studio was dense with nineteenth century altered states: the symbolists, the decadents, a romantic spirit that combined ecstatic release and exhausted lassitude. Valentino is a house that traditionally reads red, but Chiuri and Piccioli dialed down to blue, introspection and reflection versus the extrovert essence of house habit. It made for a quietly spectacular opening in crepes chiffons, and cashmeres with a lush sobriety. That same idea of modest luxury carried over into a full-length lace and chiffon floral dress, and a coat that was encrusted with cashmere appliqués of flowers and leaves in a pattern that was inspired by William Morris' Tree of Life. It was so ludicrously vivid that you could imagine the old boy himself would have felt one step closer to God when he looked at it.
华伦天奴的Chiuri 和Piccioli 就像是完全特立独行 的作家，用他们自己的想象力编织出一个独特的魔幻王 国。“大气磅礴的王者之美”，Piccioli 解释道，“ 情欲却又严肃”。如果说整场秀就像电视剧《权力的游 戏》中的场景那样充满奇幻之感，那么，我们并不必要 完全理解所见到的一切，却仍能走进这场高级定制秀营 造出来的奇幻世界。绉绸、雪纺、奢华而又低调的开司 米，开场是如此寂静的壮观。一条拖地蕾丝雪纺印花长 裙和一件上面缀着开司米花朵和树叶的外套延续了开场 那低调而奢华的风格。那件外套上由花朵和树叶组成的 图案，灵感源自William Morris的画作《生命之树》（ Tree of Life）。以他们运用锦缎的手法为例，虽然创 意稍显陈旧，但是黄色的运用却转移了人们的注意力。 当然，还有他们对于蓝色的运用，和品牌以前非常看重 的那些颜色完全相对，虽然在整个秀场的最后，还是出 现了几件红色的高级定制服装（但那也只是给整个秀场 带来了一丝春意罢了）。在今天Valentino 巴黎高级定 制秀场上，最让人难忘的就是那件海军蓝褶皱晚礼服。 礼服交叉线的右身使用了黑色的面料，就好像是倾泻而 下的影子一般。（见图 1 -3、图 1 -4）
1. 3 Class Interaction 课内互动 Overall Modelling 整体造型 • • • 讨论图中服饰装扮（见图 1 -5）， 并尽量使用课文中的专业词汇。 提示：讨论可从以下几个方面进 行： (1) 整体风格（Style）特点； (2) 服装的款式（Silhouette）、 色彩（Colour）、面料（Fabric ）、装饰（Decoration）等特点； (3) 服饰与鞋（Shoes）、帽（ Hat）、发式（Hair style）、化 妆（Cosmetic）等的搭配特点。
Unit 2 Principles of Fashion Design 第二单元 设计原理及原则 • Design Principles Design is the organization of design elements, using design principles, to create products that are considered aesthetically pleasing to the observer. Professionals who work with the design elements and principles in a creative, original way are referred to as designers; those who adapt the ideas of others are sometimes called stylists. The design process for any product—beit automobiles or apparel, furniture or kitchen appliances—relies on an understanding of design elements and principles. The design process revolves around determining how to combine the design elements we have just reviewed into a pleasing whole. Those decisions are guided by an understanding of design principles. Design principles include proportion, balance, emphasis or focal point, rhythm, and harmony or unity. Proportion is the relationship of all of the garment's or ensemble's parts to each other and to the body as a whole. Horizontal lines such as yoke and waistline seams or jacket and top edges divide a garment or ensemble into sections. The ancient Greeks judged proportions by the rule of the golden mean. They believed that ratios of 2: 3, 3: 5, and 5: 8 were the most pleasing to the eye. Most garment proportions commonly worn today follow this standing, but examples of equal proportions also exist.
• Balance is defined as a sense of stability or equilibrium. It is determined by dividing a silhouette vertically down the middle. A symmetrical garment appears to be the same on both sides. A symmetrically balanced garment can be easily changed with accessories and can be readily mixed and matched with other symmetrical garments in the wardrobe. An asymmetrical garment is different on each side. Asymmetry may be achieved by an offcenter closing or a pocket detail on only one side of the garment. Asymmetrical garments must be carefully thought during the patternmaking and cutting process. Garments designed to be worn with them must be similarly balanced or neutral with no visible center point. • Emphasis or Focal Point • A garment's emphasis or focal point is the first place on the garment to which the eye is drawn. It may be created through a convergence of lines, a combination of colours, or details. If several elements of the design are competing for the viewer's attention, the garment may be overdesigned.
• Rhythm • From the focal point, the eye should move naturally through the entire garment. Rhythm is the organized movement of the eye through the related elements of a garment. Rhythm can show strong silhoutte lines, achieved by using colour, line, and shape, or by repetition, radiation, and gradation. • Harmony or Unity • Successful placement of a focal point that suggests rhythm is the key to achieve harmony or unity in a design. Harmony means that all of the design elements work together in a garment to produce a pleasing aesthetic appearance and to give a feeling of unity to the design(figure 2 -1, figure 2 -2).
2. 2 Extended Reading 扩展阅读 • • Spring 2013 RTW Four cities, in as many weeks, and more shows than you can shake an i. Phone at; next spring is yet to happen, but in fashion terms, it's pretty much all over bar the wearing. At this moment— the end, or as good as—of the run of the collections, the mind turns to ideas of getting away from it all, to the notion of sun, sea and sand, to rest and recuperation, to…. Oh, you get the idea; anywhere but being back at the office, basically. So what's this, reminding us of the joys of vacations, and simultaneously torturing us all with the idea that in reality the next holiday is only going to involve a turkey and Black Friday, but the set of the Moncler Gamme Rouge show, a boardwalk–and–diving board idyll with a shimmering tiled sea on the runway and hunky lifeguards limbering up like they're the Italian Olympic gymnastic hopefuls of 2012. Or perhaps that should be 1968, because as the first model appeared, it was clear we were back in some mythic Positano, circa the sixties: She wore a white sports mesh body decorated with ruffle-like flowers, and a matching bathing cap. The look was very Monica Vitti in Modesty Blaise(figure 2 -3, figure 2 -4).
• Gamme Rouge is under the creative direction of Italian designer Giambattista Valli, and Valli realizes that when you are a brand essentially making some of the very best down jackets in the world, there is a challenge as to what to do when it comes to the warmer times of the year. His sensible solution is to put the label's technical skills to work creating techno fabrics that he can whip up into his modernized sixties alta moda shapes. (And the other option, as happened here, is to use this vacation theme to showcase the house's white and silver luggage. ) There were zippered coats and dresses that finished above the knee, perhaps decorated with yet more flowers, shimmering with iridescence, or rendered in gleaming opticwhite lace, with Valli molding the silhouette so that whatever rigor and control existed at the front then relaxed into a cocoon shape at the back. As the show progressed, he wove in colour and print into body-conscious or sporty silhouettes, using pretty watery blue sequins for a nipwaisted scuba jacket and a pair of matching shorts (his take on the increasingly omnipresent idea of embellishment-plus-shorts for evening) and an exotic bloom print that turned up blown over in grand scale over an easy airy parka, or taken down to a smaller size and used for a featherlight-looking down jacket, which could be worn as a chic evening cover-up when the temperature starts to drop as the days go by. After all, it doesn't stay hot forever.
2. 3 Class Interaction 课内互动
Unit 3 Types of Clothing Design 第三单元 服装设计的类别 Fashion Levels • • The Paris couture is considered as the highest level of fashion. Sometimes, the couture is criticized for existing in a world that is more fantasy than reality, but it gives birth to many directional fashion ideas in the no-rules environment. On the runway, designers show clothes that explore the limits of creativity and fantasy. The garments they sell to order are made by the best technicians, for clients who can afford prices that start at $20, 000 for a suit and climb to $30, 000 for an elaborate evening gown. According to Sidney Toledano, president of Dior, there about 300 core customers for couture, with most coming from the United States and the Middle East. Characterized by luxurious fabrics, complex silhouettes, meticulous tailoring, exquisite beading and unique details, couture garments are truly works of art. Designers focus on artistic and creative expression, along with a quest for publicity, rather than practicality, function or profit motives. That being said, the publicity garnered by couture collections gives cachet to the ready to- wear, accessories, and fragrances of the same house. These products reflect inspiration from the couture in terms of silhouette, materials and techniques. The house of Chanel, Dior and Jean Paul Gaultier are among those that show couture lines. ( figure 3 -1)
• • The next level of fashion is designer ready-to-wear. More profit-oriented, designer readyto- wear styles may be produced in quantities that vary from 100 garments to several thousand. Although not as expensive as couture garments, they are beautifully designed, impeccably made, and use the finest fabrics. Designer ready-to-wear labels include Armani, Gucci, Prada, Chanel, Donna Karan and others. Trend forecasters look to designer readyto-wear to identify the right shade of the next hot colour, the newest detail or accessory, and the “of-the-moment” hemline. Most of us make our fashion selections from mass-market, moderate and better price points in mass retailers, chain stores and department stores interpret fashion trends, taking into account the lifestyle and budget of their average target consumer. Garments designed for labels such as the Gap, Jones New York, George ME, and Tony Hawk prioritize value, practicality, and function, as well as aesthetics, for mainstream consumers in order to maximize sales and profits. Thanks to the real-time availability of news from the designer runways, important trends trickle down to these lines rapidly. Popular styles at this level of fashion may be produced in quantities of up to one million.
• Street fashions originate with the consumer rather than a designer or product developer. Free spirits and innovative youth, who bristle at the cookie-cutter approach to fashion in traditional channels, express their creativity by putting together unique looks of their own. They scour flea markets, vintages stores, army surplus stores, and other eclectic but inexpensive sources for looks that define who they are and how they think. Some of the biggest trends in recent years— cargo pants, frayed jeans, and urban bohemians. (figure 3 -2)
3. 2 Extended Reading 扩展阅读 Charles Frederick Worth • Charles Frederick Worth, the designer who dominated Parisian fashion in the latter half of the nineteenth century, was born in Bourne, Lincolnshire, England, on October 13 th, 1825. As a young man, Worth worked as an apprentice and clerk for two London textile merchants. In addition to gaining a thorough knowledge of fabrics and the business of supplying dressmakers during this time, he also visited the National Gallery and other collections to study historic portraits. Elements of the sitters' dresses in these paintings would later provide inspiration for Worth's own designs, for both fashionable ensembles and masquerade costumes.
• Worth's rise as a designer coincided with the establishment of the Second Empire in France. The restoration of a royal house in 1852, with Napoleon III (1808— 1873) as the new emperor, once again made Paris an imperial capital and the setting for numerous state occasions. Napoleon III implemented a grand vision for both Paris and France, initiating changes and modernization that revitalized the French economy and made Paris into a showpiece of Europe. The demand for luxury goods, including textiles and fashionable dress, reached levels that had not been since before the French Revolution (1789— 1799). When Napoleon III married Empress Eugenie (1826— 1920), her tastes set the style at court. The empress's patronage ensured Worth's success as a popular dressmaker from the 1860 s onward. Worth's designs are notable for his use of lavish fabrics and trimmings, his incorporation of elements of historic dress, and his attention to fit. While the designer still created one-of -a- kind pieces for his most important clients, he is especially known for preparing a variety of designs that were shown on live models at the House of Worth. Clients made their selections and had garments tailor-made in Worth's workshop. Although Worth was not the first or only designer to organize his business in this way, his aggressive self-promotion earned him the titles “father of haute couture” and “the first couturier. ” By the 1870 s, Worth's name frequently appeared in ordinary fashion magazines, spreading his fame to women beyond courtly circles.
• The large number of surviving Worth garments in the permanent collection of The Costume Institute, as well as in other institutions in the United States, is testament to Worth's immense popularity among wealthy American patrons, as well as European royalty and aristocrats. Many clients traveled to Paris to purchase entire wardrobes from the House of Worth. For the wealthy woman, a complete wardrobe would consist of morning, afternoon, and evening dresses), and lavish “undress” items such as tea gowns and nightgowns, which were worn only in the privacy of one's home. Women also looked to Worth to supply gowns for special occasions, including weddings and ornate masquerade balls, a favorite entertainment in both the United States and Europe. Worth's clients also included stars of theater and concert stage. He supplied performance costumes and personal wardrobes for leading actresses and singers such as Sarah Bernhardt, Lillie Langtry, Nellie Melba, and Jenny Lind.
• With his talent for design and promotion, Charles Frederick Worth built his design house into a huge business during the last quarter of the nineteenth century. His sons, Gaston- Lucien (1853— 1924) and Jean-Philippe (1856— 1926), took over their father's business following his death in 1895 and succeeded in maintaining his high standards. Jean-Philippe's designs in particular follow his father's aesthetic, with his use of dramatic fabrics and lavish trimmings. The house flourished during the sons' tenure and into the 1920 s. The great fashion dynasty finally came to an end in 1952 when Charles Frederick Worth's great-grandson, Jean- Charles (1881— 1962), retired from the family business. (figure 3 -3, figure 3 -4)
3. 3 Class Interaction 课内互动
Unit 4 Designer & Stylist 第四单元 设计师与造型师 Fashion Stylist • • A fashion stylist helps to coordinate all of the parts of a fashion shoot or fashion showcase on the catwalk. In this capacity, a fashion stylist handles the interaction of the clothing with jewelry and other accessories, to make sure the look is as it should be. In a personal capacity, a fashion stylist may be hired to help a person pick out exactly the right look for them, and to help them find the right wardrobe and accessories. This sort of fashion stylist may often be referred to as a personal shopper, although their scope is somewhat more limited. (figure 4 -1) Most people choosing to pursue a career as a fashion stylist have an education in fashion design, as this gives them a strong foundation and understanding of the industry to work within. In some cases, however, a fashion stylist may be self-taught, or may have apprenticed with a fashion designer or another fashion stylist. Some stylists also come from a different design background, helping to hone them although not to directly teach them how it pertains to fashion styling.
• The primary job of a fashion stylist is to make a person look and feel beautiful, and in the case of professional fashion styling, to make the clothing itself shine. Stylists do this through an understanding of up-to-theminute trends in fashion, as well as the intricacies of design, colour theory, and lighting. They must use a number of different fields in their work, to make sure that an outfit and accessories looks as good as it possibly can give the situation at hand. In a highstress environment like a catwalk, this can be an intense job, and on a daily basis working with celebrities or the wealthy it can be a challenge to design wardrobes that innovate, excite, and can hold up to everyday wear and tear.
• • With the outward appearance of those in the public eye being such a key to keeping in the media's good graces, most high-profile movie stars, business people, and politicians employ a fashion stylist to help them in special events, or even in their everyday fashion design. When a movie star walks down the red carpet, or when a foreign dignitary meets a head of state, it is very likely that a fashion stylist has helped them put together every part of their wardrobe, from the drape of the dress or hang of the suit, to the watches or earrings they wear as accessories. A good fashion stylist is a treasured commodity, as the best will take anyone and make them shine, choosing clothing and accessories that highlight the best features of the individual, and working with makeup and hair stylists to ensure they look at their best anytime they are in public. In the world of high fashion, the fashion stylist also plays a key role. During photo shoots, or when a model walks down the catwalk, the clothing needs to look alluring and perfect, highlighting the trends of the season while differentiating itself from everything around. A good fashion stylist makes the best use of the model to showcase the clothing, and the best stylists are highly prized by designers, with many designers taking a part in the styling process as well
4. 2 Extended Reading 扩展阅读 Fashion Designer • • There is no doubt that the task of the fashion designer begins with creating the basic design. Fashion design initially begins in several ways. Some designers create storyboards with sketches of new ideas. Others prefer to work with a sewing dummy and begin to use various pieces of cloth to come up with a new design. During this phase of the creative process, the fashion designer is translating the vision that he or she has seen in the mind's eye, and giving it some sort of outward expression. Often, the initial design is refined as the designer comes up with the first basic prototype. Taking the sketches or the rough model of the new design and providing a more detailed working pattern is the next step for the fashion designer. This is achieved by making what is usually known as a toile. The toile is simply a rough model of the design, sewn from some basic material, such as calico. In the United States, the toile is often referred to as a muslin, perhaps because muslin fabric often is an inexpensive type of cloth to use in the creation of the rough model. Muslins are ideal for placing on a dress stand to make sure the design allows for properly draping and hanging on the human form.
• • • Once the toile is considered to be perfect, the fashion designer will oversee the creation of a card pattern. This is simply all the sections of the garment made from cardboard, and assembled to ensure the pieces fit together properly. Once the designer approves the card pattern, the final task of the design process takes place, which is the creation of the finished garment Here, the fashion designer will make final selections in the choices of material, buttons, zippers, and all other elements of the garment. All the materials, including colour selections, are provided to a competent dressmaker, along with the card pattern. Upon completion of the garment, the fashion designer will either approve the garment for showing in a collection, or choose to modify or abandon the design. The fashion designer will also be heavily involved in the arrangements for a fashion showing, often selecting the models, arranging the presentation of the garments in the collection, and determining the final price for each garment. While most designers utilize assistants to handle many small details, the fashion designer usually retains full control of the process, from the initial vision to the first public presentation of the garment
4. 3 Class Interaction 课内互动
Unit 5 History of Costume 第五单元 服饰历史 Corsets • • What is woman? Wife, mother, daughter, temptress? Idealized on the one hand denounced on the other, she's had another role, that of man's property. If the owner of this creature wishes to establish that he can afford his wife or daughter who has no obligation to do menial work, he will take pride in seeing her dressed in such a way that his affluence is obvious; clothes that make it hard to move show that the wearer is rich enough not to have to do very much. On a pedestal, the idealized woman could be celebrated, immobilized, and kept helpless. Corsets have probably done their part in immobilizing women longer than any other article of underwear; the wearing of tight stays has recurred over the ages and was common throughout most of the sixteenth, seventeenth, eighteenth, and nineteenth centuries. Tightly laced corsets affirmed the fact that courtesans were as tightly corseted as any other woman; it was thought that ungirded women might be wanton or “loose”. The chastity belt carried the idea to an extreme. The charming medieval invention worn by women to prevent sexual intercourse, it was intended by the Crusaders to guarantee their wives' faithfulness. It was found that one in the collection of the Carnavalet Museum in Paris, and Harper's Bazaar offered one to its readers in 1995, “complete with key, ” as a gift idea. Just joking, of course.
• • • Aesthetically and in the abstract, antique corsets have a certain charm: rows of tiny handstitched seams, hand-stitched embroideries, rims of frothy lace. One marvels at the workmanship. No matter how pretty, however, their mission was to compress the waistline to its tiniest dimensions, and to this end they were of whalebone but they could also be metal or reed. The first elastic inserts to ease the pain appeared aroud 1885. At the end of the nineteenth century some corsets had “bumpers” to support the bustle and some had tabs to hold garters, which in bridal corsets might have sterling silver hardware. The nineteenth century was an extraordinary time in the history of underwear, when girls as young as four were laced into corsets on theory that it was good for their posture, and no selfrespecting woman, rich or poor, would venture out in public without her stays in place. Usually the corset was worn over a chemise that reached to the knees; at the end of the century, corset covers were added. By then women had become as upholstered as the love seats in their drawing rooms. It was not unusual for them to be wearing as many as thirteen undergarments weighing as much as ten pounds. No wonder they were tired at the end of a day. (figure 5 -1)
5. 2 Extended Reading 扩展阅读 Petticoats • • With the French Revolution all fashion died, along with much of the aristocracy. Then with the end of the Reign of Terror, for a little more than a decade women enjoyed unprecedented freedom as they adopted a version of classical dress: sheer fabrics, a simpler silhouette with the skirt falling from directly under the bust, and very little underwear. Soon enough, the waistline began once more to move down toward its normal position, skirts became fuller to make the waist appear smaller, and the corset returned. By the 1840 s the bottom half of the female figure had become a miniature dome or oversize lamp shade. What began modestly with a stiffened petticoat, by midcentury had grown to such exaggerated proportions and required so many petticoats that the crinoline or hoopskirt was born. Described in an 1856 patent as a “skeletal petticoats made of steel springs fastened to tapes, ” it must have seemed liberating compared to the weight of myriad stiffened petticoats. The crinoline's great width gave a woman an impression of unapproachability, but it was also seductive, with a graceful, swaying motion when she walked, giving tantalizing glimpses of ankles. But it was a cumbersome device and an irresistible target for cartoonists and humorists. When the wearer was seated, it rose in front, and when she leaned forward, it rose back, and in a high wind it invited indecent exposure. Neither ridicule nor impracticality diminished the crinoline's popularity, however, one English firm made four thousand daily, another produced nine million in twelve years. It took a shift in fashion to do it in.
• From the sixteenth through the early nineteenth centuries, women were naked under their chemises. Finally, in the mid-1830 s, women for the first time began wearing pantaloons or “drawers, ” so called one drew on first one leg, then the other. Though any form of bifurcated women's apparel was forward on as being masculine, drawers began to be advocated for reasons of health as well as propriety. An English doctor in 1852 recommended them for promotion from “our piercing easterly winds. ” He also said “…they need not descend much below the knees. Thus … being worn without the knowledge of the general observer, they will be robbed of the prejudice usually attached to an appendage deemed masculine. ” • After 1865, the shapes of hoops altered as skirt fullness again began to migrate to the back of the figure, until by the end of the decade the front was flat and the crinoline had disappeared entirely, to be replaced by the bustle. This invention, which was accompanied by extreme tight lacing, went through various remarkable permutations before it disappeared for good in the 1880 s, leaving only corsets and petticoats behind(figure 5 -2).
衬裙 • 随着法国大革命的到来，时装 几近灭亡， 多数贵族同样走向衰落， 在恐怖政策统 治下，妇女有那么十 几年的穿衣自由。 不久，腰线回归， 裙衬加多，紧身胸衣 复辟了。出现 了“克里诺林裙”等比例夸张 的裙 撑，让女性看来摇曳多姿又难以靠 近。同时这也使得她们的行动和生 活多 有不便。尽管如此，硕大裙撑 的受欢迎 程度依然不减。 从16 世纪到 19 世纪早 期，妇 女裙下都不穿内裤，到了19 世纪 30 年代，她们开始穿马裤或衬裤， 衬裤 穿法奇特。后来穿底裤的方式 得到提倡。 19 世纪 70 年代，克里 诺林裙销声匿迹， 巴斯尔裙取而代 之，但80 年代末期也消 失了，只 留下了紧身胸衣和衬裙。（见 图 5 -2）
5. 3 Class Interaction 课内互动
Unit 6 Fashion Brands 第六单元 服装品牌 The History of Burberry • The Burberry fashion powerhouse is known for its check-pattern design and the founder Thomas Burberry's trench coat. But there is more to the history. The fashion brand Burberry is known for its iconic trench coat, squared pattern and natural colour selection. Coming out of Britain, the fashion powerhouse has extended its manufacturing past the trench coat and now offers a large collection of fragrances and fashion accessories, such as scarves, shoes and belts. While the famous trench coat that many associate with the Burberry brand was created by Burberry's original founder Thomas Burberry, the iconic pattern that tends to define the Burberry look came much later. (figure 6 -1)
• The Beginnings of Burberry • Thomas Burberry is the original founder of Burberry. He started the famous brand in 1856 after completing years as a draper's apprentice. He started Burberry by opening a store in Hampshire, England, that focused primarily on outerwear. Although a success, Thomas changed the way he created the outerwear jackets in 1880 by introducing gabardine to the clothing, which is a water-resistant and breathable fabric.
• The Growth of Burberry • The popularity of Thomas' designs grew and soon the name changed from Burberry to Burberrys, because of the many stores he managed to open in London, England surrounding area. It was the popularity of his functional outerwear that landed Thomas in a deal with the War Office to create the trench coat to suit contemporary warfare. The trench coat became a popular fashion item after the war and the iconic check design was created in the 1920 s as a primary lining of these coats. • Modern Burberry • In 1955, Burberr y went from an independent company to becoming a part of the Great Universal Stores (GUS). However, by 2002, the London Stock E x c h a n g e b e c a m e t h e platform for Burberry Group plc's floating and in 2005, GUS divested any interest in the company. The modern Burberry brand is operated in CEO Angela Ahrendts, who took the position after long-time employed Rose Marie Bravo retired from the CEO position.
• The Burberry Collection • The current Burberry selection is divided into several sections and accessories. These sections are indeed sub-brands of the Burberry family, including Burberry London, Burberry Brit, Burberry Prorsum, Burberry Sport and Thomas Burberry. The Burberry London is the primary brand of all the sub-brands. In addition, the current line of Burberry fragrances continues to grow over time, adding fragrances under each of the sub-brands. Popular fragrances include Burberry Brit, Burberry London, Burberry Sport, Burberry The Beat and Burberry Brit Sheer Eau de Toilette. The Burberry brand is known for its classic and elegance. Its history shows a professional company with a trustful brand a functional design. In addition, the Burberry brand is one of the less dramatic and chaotic fashion houses when comparing it to other powerhouses, such as Chanel and Gucci.
6. 2 Extended Reading 扩展阅读 Christian Dior Company History • Christian Dior was born in France on January 21 st, 1905, and was a man known for his ingeniousness. Coming from a family which dealt with producing chemical substances as well as fertilizers, he streamed right in the opposite route but quite successfully making a name for himself in the fashion fraternity which conferred him a lot of accolades in support of his inventive approach of dealing with clothing. He was a master of his trade leaving no loose ends to complain about. While his approach was different from the usual, it was this distinctiveness that gave him an impetus to make his concepts viable worldwide. He had brought with his designs a revolution in women's clothes once again making Paris as a centre of the fashion industry.
• Christian Dior was an influential style designer and the creator of the Dior Empire. He attended the École des Sciences Politiques to comply with his parent's wishes. Despite the fact that his family wished that he would turn out to be a diplomat, much to their surprise their child was more fascinated in art rather than being a diplomat. To make money he used to sell his fashion drawings at ten cents each. He opened a tiny art gallery in 1928 from the money he received from his father. But due to the family's financial disaster he was required to close up his gallery and worked alongside Robert Piguet who shortly joined the fashion house where he and Pierre Balmain were the key designers. In 1945 he went into business for himself, backed by Marcel Boussac, the cotton-fabric magnate. He opened his own fashion house in 1946 and presented his opening collection by the name “Corolle” which popularly acquired the name New Look. Celebrated for the sensual appearance given to his attires, he was a master in creating shapes and silhouettes. He died on October 23 rd, 1957.
• • • After his first design, that had already ensured his position in the global forum of fashion, his consequential creations also made a huge effect on the ramp. The H-line in 1954 and the A-line in 1955 became as fashionable as the original one and people began to look up to him as a person of inspiration. The business expanded not only in terms of stores but in addition ventured into different forums. Upon his death his company was managed by his granddaughter who made the company achieve new heights. Some of the awards won by the company include: Neiman Marcus award, Dallas in 1947 Remise de la legion d'honneur a Christian Dior in 1950 Parsons School of Design Distinguished Achievement award, New York in 1956 Fashion Industry Foundation award, to the House of Dior, New York in 1990. The brand that originally excelled in apparels extended its shores to readyto-wear, leather goods, footwear, watches, and perfumes, make up, ties as well as other accessories. The brand also comprises of Baby Dior products. The Dior tradition of dealing with beautiful fabric led to the formation of worldwide merchandising labels used for gloves, furs, along with jewellery. Dior flagship shops are found in Paris, London, Milan, Tokyo, Shanghai, Hong Kong, New York, Boston, Los Angeles, Honolulu, Las Vegas, and San Francisco, Seoul, Madrid, Miami, Barcelona, New Delhi, and Shanghai. (figure 6 -2, figure 6 -3)
Unit 7 Masters of Fashion Design 第七单元 服装设计师 Yves Saint Laurent, Legendary Designer and Pied Piper of Fashion • • Alongside Coco Chanel and Christian Dior, Saint Laurent was considered a member of the French fashion world's holy trinity. Yves Saint Laurent was deemed by many to be the last of the great 20 th century French designers and the founder of modern fashion for women. It was a role he was predicted to fill since he took over as haute couture designer at Dior at the age of 21. Throughout his time at Dior and much more under his own label, Saint Laurent coined styles for women that changed the way they dressed in the postwar era and his influence can still be seen today, arguably so more than Chanel's and Dior's. For fellow designer Christian Lacroix, the reason for Saint Laurent's success was his versatility. “Chanel, Schiaparelli, Balenciaga and Dior all did extraordinary things. But they worked within a particular style, ” he said. “Yves Saint Laurent is like a combination of all of them. He's got the form of Chanel with the opulence of Dior and the wit of Schiaparelli. ”
• • • Saint Laurent's nipped-in trouser suits, slinky tuxedos and safari jackets still look perfectly modern decades after their shocking debuts on the runway. In an industry where most clothes are deemed passé after six months, such longevity is as rare as a healthy looking model. Saint Laurent's influence can still be seen on any high street in any western country. His styles epitomised a certain kind of seductive, wealthy, intelligent French woman, Catherine Deneuve said, in other words, who frequently sat in the front row at his shows, and it's a look that is still as desirable today as it was 40 years ago. His shamelessly sexy clothes dovetailed perfectly with feminism's inception, as did his advent of trousers for a woman's daily wardrobe, and his frequent references in his collection to art and other aspects of modern culture. He was one of the first to use black models and he also is credited with beginning to democratise the fashion world by shifting the industry's attention from the rarefied and frankly extortionate world of haute couture to the relatively more accessible one of prêt a porter, with his Rive Gauche line.
• • • But his fame grew in a hedonistic era and Saint Laurent had long-term drug and alcohol problems, and his walk down the runway at the end of his shows was occasionally fragile and fraught. When he announced his retirement in 2002, he referred to these addictions that blighted his life and more movingly, the lives of those near him: “Every man needs aesthetic phantoms in order to exist, ” he said. “I have known fear and the terrors of solitude. I have known those fairweather friends we call tranquillisers and drugs. I have known the prison of depression and the confinement of hospital. But one day, I was able to come through all of that, dazzled yet sober. ” But the Saint Laurent label began to languish in the 80 s and 90 s and it was then bought and sold by various companies. In 1999, it was bought by the Gucci Group, and the ready to wear line was taken over Tom Ford, seen as the antithesis of Saint Laurent. The label is now designed by Stefano Pilati, who bases his styles on those of the man who gave the brand its name. (figure 7 -1)
Unit 8 Fashion Show 第八单元 服装发布会 Fall 2012 CTR Chanel • • PARIS, July 3, 2012 By Tim Blanks Maybe it's because he speaks so fast that there always seems to be a slight undertow of scorn in Karl Lagerfeld's aperçus. “In fashion, the future is six months, ” he practically spat after Chanel's Couture show today. That could be why he took New Vintage as his theme. “Vintage is depressing, ” Lagerfeld clarified. “But 'new vintage' is something to come. It's preparation for something that could last. ” The show was staged in the Grand Palais, as has become custom, but this time Lagerfeld used the Salon d'Honneur, a space that had been closed off for 70 years. The walls were painted, the ceiling and door surrounds customized to an interior design concept that Coco Chanel used in her original salon de couture. But here it was refreshed. “A renovation of the existing spirit for our time, ” Lagerfeld said.
• • Renovation wasn't, however, the thrust of the actual collection. It was far less jeunefille than it's been of late. When Jamie Bochert and Stella Tennant stepped out on the catwalk, they looked like substantial women of character. Their clothes had a 1940's line—broad shoulders, swingy coat, cape backs —in a colour palette of black, gray, silver, and dusty pink that spoke of film noir interiors. Their hair also had a forties flavor, with a Rosie the Riveter snood. In other words, there was nothing new about this particular vintage. But it worked, in a gutsy, grown-up way. Lagerfeld's portrait of Chanel adorned the invitation and in keeping with that nod to heritage, the spine of the collection was suits. Except that the classic tweed was actually embroidery on tulle. Thousands of hours of handwork Couture in excelsis. (figure 8 -1) Lagerfeld paired the suits with sparkling hose and wove silver through his “tweeds. ” There was gilding galore. “These clothes are for a world of privileged people, ” he said, with a hint of resignation (surely not scorn). And it was a wide world of clothes on display: an ethereal gilet spun from what looked like thistledown followed hard and less than coherently on the heels of a tracksuit in degrade sequins. But that wayward abundance has always been the rule with Lagerfeld's Chanel. And who knows how that tracksuit will look on the block at Sotheby's in 50 years?
Unit 9 Clothing Culture 第九单元 服饰文化 Gender and Dress • Most cultures differentiate between men's and women's dress. These differences may be seen in fabric, colour and style, as well as in the accessories that accompany clothing. In western culture this differentiation has gradually evolved. During the 19 th century the differences between men's and women's clothing became more pronounced. Men abandoned the coloured silks and satins, embroideries and lace that they had worn for centuries. The trouser suit, typically in muted colours, became the ubiquitous male outfit. • In the 1920 s, after World War I, it became fashionable for women to take on a boyish appearance, cutting their hair short, flattening their chests and wearing calf length, shift dresses. Trousers, previously only male attire, very gradually became acceptable for women. Today women wear many styles of dress traditionally reserved for men
• • Children For much of the 19 th century infant's dress did not reflect gender distinctions. It was not considered important to differentiate gender at an early age and therefore distinctions were delayed until several years later. Both boys and girls wore long white dresses until they could walk. Toddlers wore shorter loose fitting dresses until they were two or three. From the age of two or three until the age of five or six, children wore pinafores, dresses or suits with short skirts, however differences in material and trim were used to make gender distinctions. Boy's dresses buttoned up the front and girls up the back. In portraits a child's gender can often be distinguished by the parting of their hair. A young boy's hair was commonly parted on the right side, whereas girls' hair was parted in the middle, reflecting the way older girls and women wore their hair. Between the ages of five and seven, boys were dressed in short trousers and they were given their first short haircut, marking their first step towards independence. This was known as “breeching”. The exact timing of this change was at the discretion of the boy's mother. Between 1890 and 1920, children's clothing became more gender specific. Around the end of the 19 th century boys began to be put directly into trouser suits rather than skirted suits.
• Buttoning up • Men's coats and jackets button left over right. This is inherited from the days when a man drew his sword with his right hand from his left side. The buttons were placed on the right-hand side so that the fabric didn't catch as he drew his sword. A woman's jacket, coat or bodice fastens on the other side, i. e. her right side over left. • Pockets • During the 19 th century externally visible pockets on men's clothing were widespread and could be accentuated, for example, by a handkerchief or watch chain in a breast pocket. In contrast, women's pockets had been a separate item in the 18 th century, worn under aprons or inside skirts. In the 19 th century they generally remained hidden from view in the seams and folds of their clothing. Discrete pockets were considered more feminine and therefore appropriate for ladies. Working class women may need to have more visible pockets for functional purposes.
• Colour • Today particular colours are often associated with gender differentiation. However, this was not always the case, colour conventions have varied over time. For example, colour coding children's dress according to gender, such as blue for boys and pink for girls, was not common prior to the 1920 s. Until then infants of either gender were dressed in identical, usually white, dresses. (figure 9 -1)
Unit 10 Fashion Technology 第十单元 服装 艺与技术 Patternmaking • Patternmaking represents a critical step in the supply chain. Patternmaking is the interpretation of a garment concept, from either a sketch or another existing product, into a paper representation or model for use in production of a finished garment style. How this step will be accomplished is an important part of the product development process. Patternmaking capabilities for the projected product style must match the original garment concept, yet also meet the expectations of the target customer in relation to fashion, fit, price and turnaround time. Turnaround time refers to the time frame required for completion of a garment from inception to delivery.
• Patternmaking methods have evolved over centuries into a set of highly technical skills. Patterns for new garments may be completed in numerous ways utilizing either two-dimensional (2 D) or threedimensional (3 D) methods. The most used methods of patternmaking are 2 D. Historically, draping was the first method of patternmaking to be developed and is 3 D. Product developers may use one method or utilize a combination of methods that is most appropriate for the specific product. • The most widely used method of developing pattern in today's manufacturing environment is the flat-pattern method. Flat-pattern development involves making styling changes to a basic twodimensional pattern. One approach is to use a sloper, a fivepiece pattern of previously developed and perfected basic body blocks. The basic sloper is created in a cut and fit that have proved successful with the company's target market in the past. The original pattern is kept intact. It can be copied and manipulated to produce pattern for new garment styles. (figure 10 -1)
• The first pattern version of a new style is usually made up in fabric as a first sample. Adjustments are then made in the sample's styling and fit. Only when the desired fit and look are achieved is a production pattern developed. The revised pattern may be cut in a heavy manila-coloured tagboard to be used as the production pattern. It is marked with grain lines and other essential locations need to facilitate its use during grading and marker making processes. Many of these flat-pattern steps are now performed on computer-aided design (CAD) systems developed expressly for flat-pattern manipulation. Computer-aided design (CAD) software can be purchased and loaded onto one's home computer in order to help design new patterns or modify existing ones. These programs allow the user to resize and alter patterns for a more custom fit or to modify patterns according to one's preference or need. The CAD will draw, adjust and calculate measurements for the pattern
Unit 11 Garment Production and Manufacture 第十一单元 服装生产与制作 Sizing • Women's clothing is sized for adult women and is assigned numbers that reflect the relationship of height, bust, waist, hip and torso length measurements. The difference from one size to the next in a range is called the grade. • The problem of sizing arose with the development of the production of ready-made garments at the turn of last century. If manufacturers were to cater for public demand, a detailed investigation of the range of sizes within a country was needed. In 1940 a survey was set up in the United States to measure the American female. This survey covered a sample of 10, 000 women using sixty measurements. A similar survey was carried out in the United Kingdom in 1950 using a sample of 5000 adult and thirty seven measurements. These produced very similar results and are the main source of data for sizing and grading systems in these two countries now.
• • The data and results of the British survey were published in a book called Women's Measurements and Sizes. In this book there are comments and a number of comparisons with the American survey, and also with the Dutch. The main result of the survey was that it produced a set of measurements for the statistically average women. This average figure represents the highest percentage of the population. The survey sizing data in the form of several size charts. The size charts in the survey provide vital information which enables manufactures to select and cater for specific areas of the population. First, the type of garment will have a great influence on the number of sizes required. Second, the type of material will also affect the sizing. A loose fitting garment will not require as many sizes as a skin—tight garment, and a woven fabric will require more tolerance than a stretch fabric. Another aspect of the situation is the number of styles needed. If only a single style is required, a number of styles needed, a manufacturer and retailer would find it economic to stock a greater range of sizes. Conversely, if many styles are required the opposite applies, this is affected by the number of different colours and material designs used.
• • To narrow down options available, a manufacturer will usually select a limited area of the market and cater only for that area. Having decided on the area, the next step is to construct a basic size chart for that market. The market will be chosen by: (1) The age group (2) The figure size (3) The type of garment The first step in constructing a size chart is to decide the increments between the size, where there is a hip or bust girth in the garment it is generally used as the code. It must be noted that the survey covered a wide range of ages from 18 to 65 years. The data was divided into three age categories: (1) 18 to 25 years (2) 26 to 35 years (3) 36 to 65 years
Unit 12 Fashion Merchandising 第十二单元 服装推广活动 Fashion Show • • • From Wikipedia, the free encyclopedia A fashion show is an event put on by a fashion designer to showcase his or her upcoming line of clothing during Fashion Week. Fashion shows debut every season, particularly the Spring/ Summer and Fall/Winter seasons. This is where the latest fashion trends are made. The two most influential fashion weeks are Paris Fashion Week and New York Fashion Week, which are both semiannual events. (figure 12 -1) In a typical fashion show, models walk the catwalk dressed in the clothing created by the designer. Occasionally, fashion shows take the form of installations, where the models are static, standing or sitting in a constructed environment. The order in which each model walks out wearing a specific outfit is usually planned in accordance to the statement that the designer wants to make about his or her collection. It is then up to the audience to not only try to understand what the designer is trying to say by the way the collection is being presented, but also to visually deconstruct each outfit and try to appreciate the detail and craftsmanship of every single piece. A wide range of contemporary designers tend to produce their shows as theatrical productions with elaborate sets and added elements such as live music or a variety of technological components like holograms, for example.
• Because “the topic of fashion shows remains to find its historian”, the earliest history of fashion shows remains obscure. In the 1800 s, “fashion parades” periodically took place in Paris couture salons. • American retailers imported the concept of the fashion show in the early 1900 s. The first American fashion show likely took place in 1903 in the New York City store Ehrlich Brothers. By 1910, large department stores such as Wanamaker's in New York City and Philadelphia were also staging fashion shows. These events showed couture gowns from Paris or the store's copies of them; they aimed to demonstrate the owners' good taste and capture the attention of female shoppers.
• • By the 1920 s, retailers across the United States held fashion shows. Often, these shows were theatrical, presented with narratives, and organized around a theme (e. g. Parisian, Chinese or Russian). These shows enjoyed huge popularity through mid-century, sometimes attracting thousands of customers and gawkers. In the 1970 s and 1980 s, American designers began to hold their own fashion shows in private spaces apart from such retailers. In the early 1990 s, however, many in the fashion world began to rethink this strategy. After several mishaps during shows in small, unsafe locations, “the general sentiment was, ‘We love fashion but we don't want to die for it, ’ ” recalls Fern Mallis, then executive director of the Council of Fashion Designers of America. In response to these shows, the New York shows were centralized in Bryant Park during fashion week in late 1993. Lately from the 2000 to today, fashion shows are usually also filmed and appear on specially assigned television channels or even in documentaries.
Unit 13 Fashion Brand Marketing 第十三单元 服装品牌营销 Fast Fashion • From Wikipedia, the free encyclopedia • Fast fashion is a contemporary term used by fashion retailers to acknowledge that designs move from catwalk to store in the fastest time to capture current trends in the market. Fast fashion clothing collections are based on the most recent fashion trends presented at Fashion Week in both the spring and the autumn of every year. These trends are designed and manufactured quickly and cheaply to allow the mainstream consumer to take advantage of current clothing styles at a lower price. This philosophy of quick manufacturing at an affordable price is used in large retailers such as H&M, Zara, Peacocks, and Topshop. It particularly came to the fore during the vogue for “boho chic” in the middle of the first decade of the 21 st century.
• • This has developed from a product-driven concept based on a manufacturing model referred to as “quick response” developed in the U. S. in the 1980 s and moved to a market based model of “fast fashion” in the late 1990 s and first part of the 21 st century. Zara has been at the forefront of this fashion retail revolution and their brand has almost become synonymous with the term, but there were other retailers who worked with the concept before the label was applied, such as Benetton. Fast fashion has also become associated with disposable fashion because it has delivered designer product to a mass market at relatively low prices. The primary objective of the fast fashion is to quickly produce a product in a cost efficient manner. This efficiency is achieved through the retailers' understanding of the target market's wants, which is a high fashion looking garment at a price at the lower end of the clothing sector. Primarily, the concept of category management has been used to align the retail buyer and the manufacturer in a more collaborative relationship. Category management is defined as “the strategic management of product groups through trade partnerships, which aims to maximize sales and profits by satisfying customer needs”. This collaboration occurs as many companies' resources are pooled to increase the market's total profit. The fast fashion market utilizes this by uniting with foreign manufacturers to keep prices at a minimum.
• Marketing is the key driver of fast fashion. Marketing creates the desire for consumption of new designs as close as possible to the point of creation. This is achieved by promoting fashion consumption as something fast, low price and disposable. The fast fashion business model is based on reducing the time cycles from production to consumption such that consumers engage in more cycles in any time period. For example, the traditional fashion seasons followed the annual cycle of summer, autumn, winter and spring, but in fast fashion cycles have compressed into shorter periods of 4– 6 weeks and in some cases less than this. Marketers have thus created more buying seasons in the same time-space. Two approaches are currently being used by companies as market strategies; the difference is the amount of financial capital spent on advertisements. While some companies invest in advertising, fast fashion mega firm Primark operates with no advertising. Primark instead invests in store layout, shop fit and visual merchandising to create an instant hook. The instant hook creates an enjoyable shopping experience, resulting in the continuous return of customers. Research shows that seventy five percent of consumer's decisions are made in front of the fixture within three seconds. The alternative spending of Primark also “allows the retailer to pass the benefits of a cost saving back to the consumer and maintain the
13. 3 Class Interaction 课内互动
Unit 14 Luxury Fashion Brand 第十四单元 服饰奢侈品 Luxury Fashion Branding • • By Uche Okonkwo The luxury and prestige fashion goods sector utilizes fierce brand development strategies in its overall marketing strategy development, visibly in communications. Luxury brands recognize that the art of product design, innovation and aesthetic beauty can only be effectively portrayed through creating strong brands that appeal to the psychology of consumers. Branding is the lifetime of the luxury industry while design and creativity are its bedrocks. Without branding, there would be no luxury goods. (figure 141, figure 14 -2)
• Luxury fashion brands strive for innovation, differentiation and appeal. This is because the fashion business is forward-thinking. Fashion always incorporates the past and the future and is hardly preoccupied with the present. It draws inspiration from the past in order to create the desire of the future. The present is only a temporary phase because if fashion is here today, it is already old-fashioned. This is where the role of branding is most prominent because it fuels the continuous desire of luxury products despite the constant changes of fashion.
• Luxury brands set the fashion trends for every season during the fashion weeks held in Paris, Milan, New York, London and other prominent cities. In the past century, haute couture designers like Christian Dior and Valentino decreed the colour of every fashion season and the cut of every jacket through their designs. Presently, the scenario is gradually changing as a result of a wider choice and variety in brand product offering fuelled by branding. However, luxury fashion designers are still considered like demigods in the fashion business. They tell the consumer public what to wear and not to wear, indirectly determining the tastes of the fashion society. If Marc Jacobs of Louis Vuitton showcases white as the colour of a fashion season, behold the world of fashion adopts white. If Karl Lagerfeld at Chanel decides that wedges should be the must-have accessories for a fashion season, then wedges it must be. If Jean-Paul Gaultier at Hermès rises in the morning and is suddenly inspired by a dream he had of an African safari trip, he can decide the zebra prints are the new season's fashion flag and so it will be. The consumer population awaits the judgements of these luxury fashion designers and the mass fashion brands take the dictation of these trends to the mass-production manufacturing factory.
• But you may ask: who bestows the luxury fashion designers and their brands with such powers? Why can we trust their opinions without question and why can the fashion population become like enthusiastic robots under their control? The answer is simple: luxury brands have the power of BRANDING! If you believe that brands like Dior or Gucci have the absolute prerogative to determine the appearance of the entire global fashion consumer population every season, then you've acceded to the absolutely powerful and commanding brand strengths of luxury brands.
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Unit 15 Fashion Trend 第十五单元 服装的流行 The Rise and Fall of Fashion • • <The Psychology of Dress> By Elizabeth Bergner Hurlock Change has always been one of the most outstanding features of fashion, and this is especially true today. Many thoughtful men and women deplore the utter futility of this, and the fact that the waste of time, energy, and money involved are far out of proportion to the enjoyment received. Some blame the war for this mad fashion-racing, others blame the commercial interests. Still others try to show that woman's emancipation from home duties is at the root of the evil. Unquestionably, the general speeding up of all phases of civilization has contributed its share, but there are other factors which are more directly responsible. Popularity Versus Smartness. Popularity and smartness do not go well together. Fashionable women will drop a style they themselves have sponsored when they see it becoming popular. No fastidious woman of fashion wants to wear what a million other women are wearing. When clerks in a store inform you that “everyone is wearing” a particular type of clothing, then it is the time to look for something different if you desire to be looked upon as a stylish, smartly dressed person.
• • Desire for New. We tire of clothing more quickly than of anything else. We can get away from our homes and other possessions, but clothing constantly accompanies us. No matter how beautiful a new style may be nor how enthusiastically we may receive it at first, its appeal vanishes with the wearing off of its newness, and we seek something different. Youth most readily tires of clothing after it has been worn for a short time, and is willing to change to new as often as the pocketbook will permit. The desire for the new is not limited to clothing. In all phases of art the spirit of change predominates. Music, literature, and architecture, are not free from this spirit. Repetition becomes monotonous, and this leads to a tendency to seek something different. In spite of the desire of the new, there is in almost every one, no matter how wealthy or how poor, a dislike for wastefulness. When a change is to be made, whether in clothing or in some other phase of life, the innovation must present some real or pretended superiority over the old. The manufacturer must add to his new fashion some point of superiority over the ones to be supplanted, if the new are to be readily accepted.
• Fear of New. Nor must the new be too different from what one has become accustomed to. Fear of the untried holds back many in their desire to explore. While they are lured on by the novelty of a different fashion, they are afraid to accept anything too radically different, for fear of meeting the ridicule of the rest of the community. They must take the new “in small does” and be educated to it, rather than have it thrust upon them too suddenly. Manufacturers are well aware of this. When innovations are introduced they are just enough different from the prevailing fashion to be interesting, and yet not enough different to receive the instant condemnation of “freakish”. (figure 15 -1)
Unit 16 Apparel Market 第十六单元 服装市场 The Nature of Fashion Markets • • <Logistics & Retail Management> By John Femie Fashion is a broad term which typically encompasses any product or market where there is an element of style which is likely to be short-lived. We have defined fashion markets as typically exhibiting the following characteristics: (1) Short life-cycles The product is often ephemeral, designed to capture the mood of the moment: consequently, the period in which it will be saleable is likely to be very short and seasonal, measured in months or even weeks. (2) High volatility Demand for these products is rarely stable or linear. It may be influenced by the vagaries of weather, films, or even by pop stars and footballers. (3) Low predictability Because of the volatility of demand it is extremely difficult to forecast with any accuracy even total demand within a period, let alone week-by-week or item-by-item demand. (4) High impulse purchasing Many buying decisions by consumers for these products are made at the point of purchase. In other words, the shopper when confronted with the product is stimulated to buy it, hence the critical need for “availability”.
• Today's fashion market place is highly competitive and the constant need to 'refresh' product ranges means that there is an inevitable move by many retailers to extend the number of “seasons”, i. e, the frequency with which the entire merchandise within a store is changed. In extreme cases, typified by the successful fashion retailer Zara, there might be twenty seasons in a year. • The implications of this trend for supply chain management are clearly profound. The combined effect of these pressures clearly provides a challenge to logistics management. Traditional ways of responding to customer demand have been forecast-based, with the resultant risk of overstocked or understocked situations.
• • More recently there has emerged another trend that has added further complexity and difficulty to the management of fashion logistics. The growing tendency to source product and materials off-shore has led in many cases to significantly longer lead-times. While there is usually a substantial cost advantage to be gained, particularly in manufacturing, through sourcing in low labour cost areas, the effect on lead-times can be severe. It is not only distance that causes replenishment lead-times to lengthen in global sourcing. It is the delays and variability caused by internal processes at both ends of the chain as well as the import/export procedures in between. The end result is longer “pipelines” with more inventory in them with the consequent risks of obsolescence that arise. Much of the pressure for seeking low cost manufacturing solutions has come from retailers. At the same time there have been moves by many retailers in the apparel business to reduce significantly the number of suppliers with whom they do business. This supply-base rationalization has been driven by a number of considerations, but in particular by the need to develop more responsive replenishment systems, something that is not possible when sourcing is spread over hundreds, if not thousands, of suppliers. (figure 16 -1)
16. 3 Class Interaction 课内互动
Unit 17 Fashion Retail 第十七单元 服装零售 The Role of the Fashion Buyer • <Fashion Buying> • By Helen Goworek • The buying role differs between companies but all fashion buyers are responsible for overseeing the development of a range of products aimed at a specific type of customer and price bracket. There are various levels of seniority within a buying team, ranging from small independent stores, which may have one buyer who also participates in sales and promotion, to a major fashion multiple which has trainee buyers, assistant buyers, buyers and buying managers, headed by a buying director. The job title can also vary, most notably at Marks and Spencer, where buyers are referred to as “selectors”. Members of a buying team need to be effective communicators as most of their time at work is spent liaising with suppliers or internal departments.
• Buyers usually buy merchandise for a specific product area. In a small company, this may be a very broad range, for example ladies' casualwear, including jackets, tops, skirts and trousers, but in a large multiple, the range is likely to be far more focused, for example, men's shirts. Usually, the larger the company, the narrower the buyer's product area is. However, it is probable that a buyer for a very narrow product range in a large company will be responsible for a higher amount of financial turnover, owing to large quantities per style being sold, than a buyer for a broader product range working for a smaller retailer. If the range of product categories is large most retailers, including Marks and Spencer and BHS, have separate buying departments or divisions for menswear, womenswear and childrenswear. The responsibility for buying merchandise is subdivided into specific product ranges which may include jerseywear, knitwear, leisurewear, nightwear, swimwear, tailoring, underwear, eveningwear, footwear and accessories In larger companies, roles are usually more strictly defined than in smaller companies where the job may be more diverse in terms of products and responsibilities, calling for versatile buyers with a wide range of skills, as the job can extend into the creative and technical areas of design and quality control sometimes.
• The buying role for small independent retailers and some department stores is quite different from working for a high street fashion chain store, as independents mostly buy ranges of branded merchandise without the opportunity to become involved in the design or development of the product. The buyer's role is usually different in America as it includes more administrative duties and financial input which in the UK are normally part of the merchandiser's job. In the USA, buying is often a subdivision of the merchandising team, whereas in many companies in the UK buying is perceived as the central role. The experienced buyer's role invariably involves travelling, mainly to see clothing suppliers and to gather trend information. A trainee buyer rarely travels abroad during the first year of employment. This gives a new recruit the chance to see how the head office operates and to assist the buyers before they embark on overseas trips. The first working trip for a trainee or assistant buyer is likely to be to Paris to view the trends at trade fairs and in stores, but after two or three years he or she can be travelling to several countries per season, depending on the retailer and the product area. (figure 17 -1, figure 17 -2)
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