100 Illustrated Pages Of Fashion History

Fashion Drawing Figure Templates Ebook

What you get is a beautiful fashion ebook full of female template outline guides which you can use to create your own fashion drawings for women. If you want to draw fashion models, I have a variety of female poses. Each pose is repeated 5 times from small to large giving a range of sizes that fit under A4 paper. On the other hand, if you want to design fashion clothes, there are plenty of picture examples of design briefs arranged in storyboards. The variety of fashion design briefs will inspire you to get started. If you are unsure what to draw for your fashion designs, then I will show you how to begin. Download the ebook and print out the pages or read the pages offline in your browser. Contents Fashion Drawing Figure Templates. Drawing Fashion Hints, Tips and Basic Templates. Model Outlines Elegant Templates. Model Outlines Strident Templates. Model Outlines Sexy Templates. Model Outlines Confident Templates. Model Outlines Back and Side Templates. Fashion Gallery of My Storyboards. Fashion Samples of Ma Read more here...

Fashion Drawing Figure Templates Ebook Summary


4.6 stars out of 11 votes

Contents: Ebook
Author: Pauline Thomas
Official Website: www.fashion-era.com
Price: $7.50

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My Fashion Drawing Figure Templates Ebook Review

Highly Recommended

The writer has done a thorough research even about the obscure and minor details related to the subject area. And also facts weren’t just dumped, but presented in an interesting manner.

Purchasing this e-book was one of the best decisions I have made, since it is worth every penny I invested on it. I highly recommend this to everyone out there.

Warn ihm m m m m m provides

A visually led overview of fashion drawing, presentation and illustration. Featuring practical exercises, examples and tips, the book covers all aspects of fashion illustration from the initial inspiration through to range building and technical drawing. There is comprehensive advice on how to draw the figure, on the selection of art materials, the use of colour and techniques for rendering fabrics. A series of tutorials explores different media, both traditional and digital, and a showcase chapter traces the history of fashion illustration as well as featuring the work of thirty-five leading contemporary illustrators and artists. To help illustrators prepare for a career in fashion, there is guidance on portfolio presentation and a series of interviews with industry specialists.

Nicola White and Ian Griffiths

With the analysis of the fashion arena in the post-war period as its central theme, the book is divided into three principal sections which have emerged from the lectures as the sites of important debates the theory and culture of fashion, design and industry, image and marketing. The text begins with Valerie Steele's contextual overview of the history of fashion in the second half of the twentieth century.

Selected Bibliography

The Why of Fashion. Ames State University Press, 1967. Batterberry, Michael, and Adriane Batterberry. Mirror Mirror A Social History of Fashion. New York Holt, Rinehart, Winston, 1977. Random House, 1985. Breward, Christopher. The Culture of Fashion A New History of Fashionable

Clothing of Early Asian Cultures

Early Asian Clothing

UU p until very recently, people in the Western world had a very limited understanding of the kinds of clothing worn in Asia. Our pictures of Asian clothing relied on stereotypes of Japanese people wearing kimono, or long robes with wide sleeves, and Chinese people wearing Mao suits, the simply cut, dull-colored outfits favored by the Communist Party. In fact, the peoples of Asia have a clothing tradition every bit as rich and varied as that of the cultures of the West. Understanding of Asian clothing traditions remains rather limited, however, for a number of reasons. Differences in language and culture have made studying Asian cultures difficult for Western historians. China has been closed to Western historians for political reasons for much of the twentieth and twenty-first centuries, and because of the nation's poverty it has not devoted a great deal of money to its own archeological research. Japanese costume is much better known, thanks to that nation's wealth and great respect...

America fashion and commerce

By the 1970s, both designers had become highly successful experts in ready-to-wear fashion. In 1974, Ralph Lauren designed the wardrobe of the cast of the film 'The Great Gatsby', and stamped a definite place for himself in American fashion history. Calvin Klein's success was boosted by the carefree attitude of the consumer public and the growing independence of women. At the same time, fashion magazines like Vogue and Vanity Fair, which had become reference points, promoted their designs and contributed immensely to their fame. The success of Ralph Lauren and Calvin Klein encouraged other designers like Diane von F rstenberg and Perry Ellis to launch their fashion businesses in the 1970s.

Sixteenth Century Clothing

Clothing And Body Decoration

The sixteenth century was one of the most extravagant and splendid periods in all of costume history and one of the first periods in which modern ideas of fashion influenced what people wore. Some of the larger cultural trends of the time included the rise and spread of books, the expansion of trade and exploration, and the increase in power and wealth of national monarchies, or kingdoms, in France, England, and Spain. Each of these trends influenced what people chose to wear and contributed to the frequent changes in style and the emergence of style trendsetters that are characteristic of modern fashion.

Fashioning the Feminine Fashion Gender and Representation

Approach, we are responding to the plethora of theories emerging from numerous disciplines, including cultural geography, material and cultural studies and gender studies, which have addressed important questions regarding history, representation, meaning, space and identity. Our aim has been to identify a number of 'historical moments' in Britain in the twentieth century, so as to explore the shifting meanings of fashion, particularly in relation to gender and representation. If we have had a 'guiding light' in this process, it has been without doubt feminism. Feminism has formed the backbone to our intellectual development, providing both method and motivation for our research. Its richness and diversity has engaged, persuaded and occasionally infuriated us. At the same time it has been at the core of our 15 year-old friendship and close working relationship, and it has 'enabled' us to see the political significance of our personal experiences. Working in a large new university, we...

Nonconformist Quaker Dress

During the years following the English Civil War of 1642, various influential clothing-reform movements flourished. One of the nonconformist groups that emerged during this time was the Religious Society of Friends, commonly known as Quakers. The group's founder, George Fox, established a set of social practices that were based on Christian ideologies and utopianism. The main thesis proposed by Fox was simplicity of appearance and lifestyle. His favor of spirituality over what he considered to be the unholy virtues of fashion signaled a radical move within the history of fashion.

Fashion and Signification

Fashion historians have of course been utilizing this power for a long time. Every time the clothing in a portrait is read (for its literary associations, the symbolic power of its various textiles and elements of decoration, the value entailed in its material and production that might together offer evidence of status, nationality, age, sexuality or date) representation is being decoded as text, associative meanings combed out and cultural systems established. But the process has rarely been perceived in a self-reflective or critical light. Culture is often taken as an historical given rather than a constructed system in which the portrait or the dress plays its constitutive part. Elizabeth Wilson must take the credit in her highly influential work on the cultural meaning and history of fashion for questioning and opening up the field.13 In her aim to ally fashionable dressing with other popular or mass leisure pursuits she has taken the graphic and literary reproduction of dress...

Pleasure and Politics

Summarized by the term New Times , the discussion was taken up by Marxism Today and signalled, according to Angela McRobbie, the diversity of social and political upheavals in Britain . . . including the success of Thatcherism, the decline of a traditional working class politics, the emergence of a politics of identity and consumption, and most importantly the challenge these represent to the left .33 It cannot be easily claimed that fashion history has arisen out of a political consensus in the way that cultural studies obviously has, but nevertheless the implications of the New Times debate have important repercussions for the study of objects which cannot be divorced from questions of status, gender, sexuality and national identity. Though the terms of New Times were complex and inward-looking, the emergence of a new politics of identity and consumption offered genuine opportunities for novel approaches and arguments, represented particularly in works on clothing,...

Fashion Historical Studies Of

Earliest books on fashion history published in Europe date back to the Renaissance and the early modern period. Between 1520 and 1610, over two hundred books on dress were published in Germany, Italy, France, and Holland. These little books, designed for wealthy consumers, contained wood-engraved plates and minimal text, often in Latin and were focused on contemporary clothing. Curiosity about the foreign and the strange was as intense as ignorance was rife and publications contained fantasized images of the noble savage (the Peruvian, the Florida Indian, the African) set against plates of the fashionable clothes of European aristocracy and the dress of merchants, peasantry, and tradesmen. Between 1760 and 1820 interest in fashion and dress from wealthy consumers encouraged the publication of large folio-size costume books featuring hand-colored, etched copper plates and the new color printing technique of aquatint and, from the 1830s, lithography. Romanticism suffused all these...

Distinctions among Clothing Costume and Dress

Margot Fonteyn Costumes

Items of clothing are components utilized in both costume and dress and designate specific garments and other apparel items such as footwear, headwear, and accessories. Costume is an ensemble created to allow an individual to present a performance identity for the theater, cinema, or masquerade, or to assert an identity as a member of an ethnic group on special occasions or for special events. Dress is the totality of body alterations and additions that help an individual establish credibility of identity in everyday life. In the United States, the term costume history ordinarily indicates the chronological study of dress, but in the United Kingdom, the term dress history is most frequently used.

Costume design 150

Layouts Designs For Fashion Croquis

Jan Hamon, MA (Fashion and Textile Design, De Montfort), is a Principal Lecturer at Auckland University of Technology. She has a background in the apparel industry, in costume design for television and theatre, and operated her own business in both fields for several years. She has been involved in curriculum development for fashion programmes and lecturing in costume design and costume history for twelve years. Jan Hamon, MA (Fashion and Textile Design, De Montfort), is a Principal Lecturer at Auckland University of Technology. She has a background in the apparel industry, in costume design for television and theatre, and operated her own business in both fields for several years. She has been involved in curriculum development for fashion programmes and lecturing in costume design and costume history for twelve years.

American Look

Bikini Woman 1960

In fashion history the late 1940s are best known for the introduction of the New Look, a return to luxurious feminine clothes that was begun by French designer Christian Dior (1905 1957). Across the ocean, however, American designer Claire McCardell (1905 1958) was creating a revolution in fashion of her own. During World War II (1939-45), when French designers were inactive, McCardell began to design clothes that could be worn every day by busy women. In Fashion The Mirror of History McCardell is quoted as saying I belong to a mass production country where any of us, all of us, deserve the right to good fashion. Among her first designs was a bias-cut dress. A bias-cut meant that the fabric was cut diagonally across the weave, allowing the dress to have a soft and flowing shape. McCardell also invented the popover dress, which was meant for comfortable wear around the house. Women could move easily in these dresses, and in McCardell's other designs. Observers soon hailed McCardell's...

Christopher Breward

The first serious use to which research in historical dress was applied in British academia during the post-war period lay in the area of art historical studies. The careful dating of surviving clothing and its representation in paintings was seen as a useful tool in processes of authentication and general connois-seurship. The emphasis on the creation of linear chronologies and stylistic progressions that art historical directions dictated at the time has to some extent influenced the nature of much fashion history writing since. Various approaches have subsequently been adopted following the self-conscious establishment of a school of new art historical thinking in the late 1970s, in which social and political contexts were prioritized over older concerns of authorship and appreciation or connoisseurial value. The arising debates undoubtedly challenged those assumptions that had underpinned the serious study of fashion in the first place. Indeed many of the defining aspects of new...


Alexey Brodovitch Photography

Few events in the history of fashion photography rival the serendipitous reemergence of images by legendary photographer and art director Lillian Bassman in the early 1990s. The prot g e of Harper's Bazaar designer Alexey Brodovitch, Bassman was a key member of his Design Laboratory at the New School for Social Research in the early 1940s, and she later art-directed with Brodovitch at Junior Bazaar, where they worked with lalenled young photographers, including Richard Avedon, Louis Faurer, Leslie Gill, and Robert Frank. Having carved out her own reputation as an art director, Bassman began shooting couture in Paris in the early 1950s. Her enviable list of subjects included proto-supermodels Dovima, Suzy Parker, and Carmen Dell'Orefice.

Willi Smith

When Willi Donnell Smith died, at age thirty-nine, a New York Daily News fashion writer called him the most successful black designer in fashion history (Martin, p. 383). However, as Richard Martin pointed out in a biographical sketch of Smith, there were countless fans of his sportswear style who may never have known or cared whether he was Black,

Headwear 194660

Ladies Wearing Pink Pillbox Hat

The late 1940s and 1950s were a time in fashion history when many people were concerned with dressing just right, and the way they styled their hair and chose their hats was no exception. As with other areas of fashion, hat styles had been simplified during World War II (1939-45) in order to conserve precious materials that were needed for the war effort. French designer Christian Dior's (1905-1957) New Look, introduced in 1947, called for a range of accessories. Dior's New Look outfits and the many imitations that followed all featured hats chosen to match the outfit. These hats could be highly ornate, with wide brims and veils that hung around the head, or they could be as simple as a pillbox hat, a smallish, brimless round hat. It is estimated that the typical American woman in the 1950s owned four hats. Fashion-conscious women probably had many more.

The nineties

Another significant fashion market change of the 1990s was in the mass fashion division but with a direct impact on the luxury fashion sector. The mass fashion sector grew rapidly as a result of advanced manufacturing, designing and retailing techniques. Brands like Zara from Spain, H&M from Sweden and Top Shop from Britain began to produce catwalk-style fashion at low cost, offering consumers luxury fashion alternatives at significantly lower prices. Their fashion goods were instantly embraced by global fashion consumers, leading to swift success. Their presence in the fashion market also led to a dramatic change in luxury fashion consumption attitudes, as had never been witnessed in the history of fashion. These changes have been more prevalent in the noughties.

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