BLM Fashion Catalog 2015 UK

Fashion & Textiles 2015
Front, back and inside cover image photography by Niall McInerney.

Fashion & Textiles 2015
Contents Bloomsbury Fashion Central

Introduction to Fashion and Fashion Careers
2
4
Fashion Merchandising and Promotion 8
Fashion Law 17
Product Development 18
Fashion Design and Illustration 21
Technical Design and CAD for Fashion 26
Construction 27
Patternmaking and Draping 31
Sustainable Fashion 35
Introduction to Textiles 36
Textile Design and Technology 39
Textile History and Culture 42
Fashion and Costume History 44
Dress and Fashion Research Series 51
Fashion Journalism 52
Fashion, Culture and Society 53
World Dress and Anthropology 62
Reference 63
Journals 66
Index 69
Representatives and Agents 71
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2
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3
Introduction to Fashion and
Fashion Careers
Textbook
Key Concepts Accessibly written and logically

structured, this study provides a
UK August 2014
US October 2014
for the Fashion concise introduction to fashion
theories for all foundation level 152 pages
Industry students, covering cultural, 40 bw illus
social and individual influences 244 x 169mm / 9.6 x 6.7 inches
Andrew Reilly on fashion and how the fashion PB 9780857853653
system works. Key Concepts £17.99 / $29.95
for the Fashion Industry offers HB 9780857853646
clear, practical examples and £55.00 / $99.95
international case studies, Series: Understanding Fashion
making complex theory easy to Bloomsbury Academic
digest.
Andrew Reilly is Associate
Professor of Apparel Product
Design and Merchandising at
the University of Hawaii, Manoa,
USA.
Students
Contains discussion questions, activities and further reading
Contents
1. Overview
2. The Fashion System Key Terms
BOXED CASE 3.2: ETHICS FOCUS:
3. Cultural Influence on THE DIAMOND MONOPOLY •
•
Bandwagon effect
Chase and flight
•
•
Invidious consumption
Snob effect
Fashion Popular thought is that diamonds are rare. Their seemingly limited supply is one reason why
they fetch high fees per carat. However, in actuality, diamonds are not scarce—they are
made of carbon, one of the most plentiful elements on earth—and the myth of their rarity
•
•
•
Commodity fetishism
Conspicuous consumption
Fetish
•
•
•
Status consumption
Taste
Trickle down
4. Social Influence on Fashion

was created by diamond conglomerate DeBeers. • Habitus • Trickle up
In the 1870s business man Cecil Rhodes began buying tracts of lands in present-day • Imitation/differentiation • Sumptuary Laws
Kimberly, South Africa, on which diamonds had been discovered. Under Rhodes and later • Inconspicuous consumption • Veblen effect
Ernst Oppenheimer, DeBeers (named after the owners of one of the land tracts) became
5. Individual Influence on the largest diamond company in the world and established a network that controlled price
and flow of diamonds onto the markets. Their practices included quashing competition,
buying competitive diamond mines to shut them down, stockpiling diamonds, and refusing Discussion questions
Fashion to sell diamonds to people outside their network (Kanfer, 1993). Then, through a clever
“diamonds are forever” advertising campaign, consumers began to view diamonds as
heirlooms and rare, thus keeping them forever and not reselling them (Kanfer, 1993). The
1. If people like to possess exclusive or rare items why do not more brands offer limited edition
products? What qualities make “limited edition” valuable?
6. Conclusion
monopoly ended in the early 21st century when conflict diamonds (diamonds mined to
2. Identify a product you bought where your motivation was to display (perceived) wealth,
support wars) became a moral issue and consumers started buying other gemstones.
incite envy, or to fit in with a group of people.
Nonetheless, DeBeers remains one of the largest and most profitable diamond suppliers in
3. List 5–10 items of the lower/working class that have become fashionable. List 5–10 that
the world.
Bibliography
have not. Why do you think some became fashionable while others did not?
DeBeers’ practices, by restricting what diamond suppliers and designers and cutters can
4. Simmel conceived the social system having upper class and lower class. Kaiser added
purchase diamonds, created an artificial scarcity. Because they marketed diamonds as
gender, race, age and attractiveness as other strata of social organization. It was also
valuable, keepsakes, and symbols of love and marriage, they created a desire among
suggested that fame, notoriety, sexual orientation, ethnicity, skin color/tone, and power are
Index
people for them. As a result, diamonds were used as conspicuous consumption. Their status
possible alternatives to social strata. Are there any forms of social organization that you
as “rare” and expensive makes them a luxury item where size and quality were indicators
would add?
of wealth and class. Consequently, consumers were (and still are) willing to pay enormous
amounts for shiny bits of hardened carbon.
Learning activities
Summary 1. Examine ads in fashion magazines and categorize them according to one of the three
consumption theories discussed.
2. Show people an A-shirt and conduct a brief interview. Ask them to comment on it. Who
At the social level, fashion is influenced by habitus and taste that includes and excludes
wears it? Where do they wear it? Why do they wear it? Is it considered low class? Is it
people based on their manner of dress. One of the first theories to explain fashion change,
fashion? Organize their responses by theme. Do the themes tell you anything about taste? If
the Trickle Down theory was based on social structure; a number of theories since then have
the people you interviewed differ by age, is there a difference between older people and
looked at fashion through the lens of society. When there was a paradigm shift in the mid-
younger people?
20th century, the direction of fashion influence reversed with styles originating in the street
3. Find a location where you can observe people, like a coffee shop or a bench in a park. As
and working their way up through higher echelons of society. While other theories have
people walk by, analyze their mode of dress. How many scarce or rare items do you see?
also explained how trends move through social strata, the need to display one’s class (or
How many of these items are truly rare and how many are rare by human influence? Interpret
assume the aesthetics of another’s class) is common among them all.
your findings to relate to social organization.
76 77
KEY CONCEPTS FOR THE FASHION INDUSTRY FASHION AND SOCIETY
28039.indb 76 09/04/2014 12:44 28039.indb 77 09/04/2014 12:44
fashion it loses its cultural significance, is viewed as costume, and offends the originating
group.
Some designers find inspiration from controversial groups, such as the Hate Couture
trend. Hate Couture incorporates elements of the Nazi regime or Ku Klux Klan into fashion,
such as armbands with the Nazi swastika, Nazi uniforms, and shoes with the swastika on
the sole (so that they leave the impression in the ground). The trend even reached celebrities
and couture fashion; in 1995 the fashion house of Jean-Louis Scherrer (designed by
Bernard Perris) showed couture pieces with Nazi insignia;1 in 2005 Prince Harry of
England wore a Nazi armband to a costume party and in 2006 Rocky Mazzilli offered a
couture ensemble with a prominent swastika on the skirt. Elsewhere, Nazi fashion has
become popular among Harajuku trendsetters. Elements of the United States Deep South
can also be seen as offensive to some people. The Confederate flag is a source of
controversy (some view it as racist whereas others view it as heritage) and is featured on
t-shirts, shoes, bathing suits, and so forth. Meanwhile, in 2012 the Ku Klux Klan distinctive
robes inspired Ivaek Archer of Chiz’l Menswear to reveal a men’s robe with hoodie in the
shape of the Ku Klux Klan’s pointed hood, while in 2012 Rei Kawakubo showed a
wedding ensemble with pointed hood at Paris fashion week.2
BOXED CASE 6.2: CLASSICS CAN HAVE

FASHIONABLE DETAILS TOO
At the beginning of this text you read that fashions were different from fads and classic, and
while this is true, there is one caveat that you should understand. Classics can have
Figure 6.3 Converse shoes, considered a classic, often have fashionable
fashionable components to them. The little black dress is considered a classic of fashion,
elements that change, like color and print. Natali Glado/Shutterstock.com.
with its lineage dating back to Coco Chanel in the 1920s, but details such as ruffles,
neckline, hemline, and silhouette have changed depending on the Zeitgeist. Likewise,
Converse shoes have a classic silhouette, but the choice of color, print (e.g., solid, stripe,
camouflage), and fabrication (e.g., canvas, leather) can vary with a trend (see Figure 6.3).
The trench coat is also considered a classic, with Thomas Burberry claiming invention in
1901. The style has remained relatively unchanged for over a century, but details such as
colors, fabrications, hem lengths, sleeve style, and buttons have changed to align with
fashionable movements. The example in Figure 6.4 illustrates and demonstrates fashionable
elements. In addition to their fabrication (cotton twill, wax-coated nylon, and fine merino
wool) the cuffs vary with a curved, pointed, or nonexistent sleeve band. Thus, although
there are some items of dress that are deemed “unchangeable,” in reality there are little
changes that belie the influence of fashion.
Figure 6.4 Details from three trench coats show the influence of fashion
on a classic item of dress. Trench coats courtesy of author.
126 127
KEY CONCEPTS FOR THE FASHION INDUSTRY CONCLUSION
28039.indb 126 09/04/2014 12:44 28039.indb 127 09/04/2014 12:44
4
Fashion Careers
www/Textbook
Guide to Fashion Ideal for students and

fashion professionals seeking
UK July 2014
US June 2014
Entrepreneurship information on how to develop,
market, and sell their own 256 pages
The Plan, the product lines as independent 130 colour illus
labels or brands, readers will 216 x 279mm / 8.5 x 11 inches
Product, the expand their knowledge of the Book + STUDIO Bundle
Process ready-to-wear process in order
to successfully identify market
9781501395291
£60.00 / $100.00
opportunities, execute product STUDIO Access Card
Melissa G. Carr and differentiation and market a 9781501395055
Lisa Hopkins Newell new product/brand in the retail Fairchild Books
environment.
Melissa G. Carr is Assistant
Professor and Apparel
Merchandising Director in
the Department of Apparel
Design and Merchandising at
Dominican University, USA.
Lisa Hopkins Newell is an
Adjunct Professor in the
Fashion Studies Department
at Columbia College Chicago,
USA, and Membership Director
of Merchandising and Design
Dominican University, USA.
Features
• Includes chapter outlines, objectives, scenarios, summaries,

sidebars, key terms, end notes and bibliographies to enhance
learning
• Case studies provide real-world examples and step-by-step
simulations show the process of creating products
• Activities are application simulations that culminate in an
entrepreneurial action plan
• STUDIO: Guide to Fashion Entrepreneurship offers student self-
quizzes, flashcards, plus templates of business forms including
costing sheets, spec sheets and business document
• Teaching Resources: Instructor’s Guide and PowerPoint
presentations
Contents
Preface
Part 1: The Plan Part 3: The Partner
1. Entrepreneur Endeavors 8. Direct Sales Distribution
2. A Moving Target
3. Brand Personification
Part 2: The Product
9. Indirect Sales Distribution
10. The Buyer’s Mind
11. Web Presence
3 Brand Personification
4. Inspiration and Ingenuity Part 4. The Process To cut through the clutter of product saturation, entrepreneurs utilize branding
as an effective way to differentiate their products and to establish credibility
with the consumer. One must carefully orchestrate interplay between inspired
5. Strategic Sourcing 12. Marketing creativity and analytical rigor. Creating a brand perception requires intrusion—a
remapping of a consumer’s brand preference. The brand must be authentic and
Figure 3.1 Zac Posen ready-to-wear collection.
Model: Liya Kebede. Source: Fairchild Fashion
Media.
Figure 3.2 Gucci ready-to-wear collection.
Model: Eugenia Volodina. Source: AFP/Getty
Images.
Figure 3.3 Alexander Wang ready-to-wear
collection. Model: Shu Pei Qin. Source: Fairchild
Fashion Media.
powerful enough to force consumers out of their routines and into newness.
6. Pricing the Product 13. Getting Started Consumers must remember the brand experience and note it for long-standing
preferences. Iconic fashion brands begin with a collective synergy to create a first, Brand Analysis
When an entrepreneur enters into a branding arena that is laden with
lasting impression at a glance.
7. Commerce Checklist 14. Trade Tools

product saturation and heavy competition, it can be intimidating or over-
whelming. Conducting brand analysis and setting strategy will eradicate
uncertainty and ensure a firm start. Brand analysis involves sizing up the
industry, evaluating the competition, and creating a strategic plan.
15. The Expansion and the Exit Brand Power

A strong brand has incredible power—not just in how it is perceived in
the world, but also in how it redefines the competitive landscape, con-
The entrepreneur should assess the market:
1. Market size—the scope of competition

nects with prospects and influencers, creates memorable experiences, 2. Growth rate of their particular industry sector
Bibliography builds lasting relationships, and helps entrepreneurs and corporate organi-
zations better manage people, resources, and profits. The following images
evoke the power and presence of internationally recognized brands
3.
4.
5.
Current growth cycle of the industry sector
Number of competitors and their relative size
Market saturation—price classifications
Index
KEY CONCE PTS (Figures 3.1, 3.2, 3.3, 3.4, and 3.5). 6. Number of customers and their relative size
From a holistic perspective, a brand is a distinct entity with a name, 7. Type of distribution channels used to access existing/potential
✚✚Identify assessment tools for brand
sign, or set of perceptions intended to create an identity and differentia- customers
analysis.
tion among likeness. It represents a product, idea, or service. Branding
✚✚Understand the components of a is a vital strategy laced within brand development. It is the process of If these crucial market assessments are not executed, an entrepre-
brand statement. attaching a name, image, or reputation to a product, idea, or service. neur may find that the brand may not fit well with the intended sector
✚✚Explore the fundamentals of brand
Branding is a major force in the fashion industry. Effective entrepre- of the industry or may not be capable of establishing and maintaining
development. neurs utilize branding as the solidifying precursor to a product. It is the a competitive advantage for the new product. Once the assessments
fundamental voice that embodies the product. A relentless product differen- are determined as a prosperous opportunity, the long-term direction,
✚✚Examine emotional drivers to make a tiation strategy is needed to build recognition. Emotional engagement has objectives, and strategies can be developed. Designer, Rebecca Minkoff
brand connection.
become a dominant tactic to build consumer loyalty. From the idiosyncrasy Figure 3.4 Burberry Prorsum collection. Source:
explains her well-devised brand formula to enter into a competitive
✚✚Establish tactics to building brand to the obvious, a product’s positioning is often conveyed through layers of Fairchild Fashion Media. market in Box 3.1.
equity. reinforcement to establish and secure its identity in the marketplace.
Brand Power 39 40 Chapter 3 | Brand Personification
Carr_ch03_039-054.indd 39 3/18/14 11:59 AM Carr_ch03_039-054.indd 40 3/18/14 11:59 AM
5
Introduction to Fashion and Key Titles
Fashion Careers
5th Edition www/Textbook
The World of The World of Fashion provides an in-depth

introduction to the design, manufacturing and
2013
Fashion merchandising segments of the fashion industry. 720 pages

325 colour illus
• Chapter learning objectives, highlights, list of key 216 x 279mm / 8.5 x 11 inches
Jay Diamond and Ellen Diamond terms, review questions, exercises and projects, PB 9781609015275
case studies, Point-of-View readings and a £75.00 / $120.00
glossary enhance learning Fairchild Books
• New chapters on social responsibility and
sustainable fashion
• Profiles of leading individuals and firms in the
fashion industry
• Teaching Resources: Instructor’s Guide and
PowerPoint presentations available
Jay Diamond is Professor Emeritus at Nassau
Community College, USA.
Ellen Diamond is Professor Emerita at Nassau
Community College, USA.
The Dynamics Featuring the latest facts and figures, and the
most current theories in fashion development,
2013
of Fashion production, and merchandising, this book provides

a broad foundation for students hoping to become
480 pages
500 colour illus
Elaine Stone a part of the industry. Apparel, accessories, 229 x 305mm / 9 x 12 inches
cosmetics, home fashions, green design, and more Book + STUDIO Bundle
are explored in detail. 9781501395543
£60.000 / $125.00
• More than 150 new full colour photographs
STUDIO Access Card
• Revised charts and illustrations with up-to-date 9781501395536
data Fairchild Books
• Updated glossary with more than 500 industry
terms
• Teaching resources: Instructor’s Guide and
• STUDIO: The Dynamics of Fashion features
online self-quizzes with results and personalized
study tips and flashcards with definitions and
image identification to help students master
concepts and improve grades.
Elaine Stone was Professor Emerita at the Fashion
Institute of Technology (FIT), USA.
2nd Edition www/Textbook
In Fashion The various career paths available are woven into

each chapter’s structure so that students can
2011
Elaine Stone learn how to accomplish their goals in today’s fast- 352 pages
paced, ever-changing industry. 300 colour illus
216 x 279mm / 8.5 x 11 inches
• Hundreds of photographs highlight the people,
PB 9781609012229
principles, practices and techniques of the
£60.00 / $110.00
business
Fairchild Books
• End of chapter elements including lists of key
terms, review questions, projects/assignments,
and additional readings
6
Fashion Careers
3rd Edition www/Textbook
The Fashion The Fashion Industry and Its Careers explores

all fashion careers, the education and training
UK June 2015
US April 2015
Industry and Its required for each position, and how it relates to the
496 pages
industry as a whole.
Careers • Covers a wide range of careers including new
184 bw illus and 16pp colour
plate section
An Introduction coverage of accessory design, styling, and 203 x 254mm / 8 x 10 inches
digital media careers including fashion blogging, PB 9781628923414
Michele M. Granger website design and graphic design. £66.00 / $110.00
• Provides all the essential information on finding Fairchild Books
a job in the competitive fashion industry, and
progressing within it
Michele M. Granger is a Professor in the Fashion
and Interior Design Department, College of
Business Administration, at Missouri State
University, USA.
Key Titles
The Business This authoritative text examines how fashion

apparel and accessories are designed,
2011
of Fashion manufactured, marketed and distributed. It focuses

on the organization and operation of the US
640 pages
8pp colour plate section
Designing, textiles and fashion industry and the role of these 190 x 233mm / 7.5 x 9.2 inches
industries within a global context. PB 9781609011109
Manufacturing • Includes updated information on the global textile,
£60.00 / $105.00
and Marketing apparel, and retailing industries
Fairchild Books
• Discussion of sustainable practices and

Leslie Davis Burns, globalization
Kathy K. Mullet and
Nancy O. Bryant • Includes learning activities, case studies, career
profiles and glossary of terms
Powerpoint presentation available
Leslie Davis Burns, Kathy K. Mullet and Nancy O.
Bryant are professors at Oregon State University, USA.
Textbook Textbook
Visual Research Doing Research in

Methods in Fashion Fashion and Dress
Julia Gaimster An Introduction to
Qualitative Methods
Yuniya Kawamura
2011 2011
352 pages 160 pages

120 bw and 32 colour illus 234 x 156mm / 9.2 x 6.1 inches
244 x 189mm / 9.6 x 7.4 inches PB 9781847885821
PB 9781847883810 £17.99 / $29.95
£25.99 / $42.95 HB 9781847885838
Berg Publishers £55.00 / $89.95
Berg Publishers
7
Fashion Merchandising and
Promotion
Fashion Retailing In this fully updated overview

of fashion retailing, the authors
UK March 2015
US January 2015
A Multi-Channel focus on the globalization of the
retail industry with an emphasis 384 pages
Approach on US retail expansion into 100 bw illus
foreign markets as well as global 216 x 279mm / 8.5 x 11 inches
Jay Diamond, Ellen Diamond and brands proposed expansion to PB 9781609019006
Sheri Diamond Litt the US market. £66.00 / $110.00
Fairchild Books
• Includes chapter objectives,
bolded key terms, summaries,
important terms, review
questions, cases with
questions and exercises
• Teaching Resources:
Instructor’s Guide with
Test Bank and PowerPoint
presentations available
New to this edition
• New Chapter 10 “Communicating to Customers through Electronic

Media”
• New “Happening Now” boxes offer a look at current practices of
retailers such as J. Crew, Mango, Gap and Massimo Dutti
• Coverage of sustainable fashion, the growth of multicultural markets,
and the impact of technology and e-commerce
• Addresses retailing trends such as flash sales and pop-up stores
Contents
Preface
4 chapter one  the nature of the fashion retailing industry
Section One: Introduction Section Four: chapter one roof. It was the birth of the department store. Like the specialty
to Fashion Retailing Merchandising Fashion store, the department store was a huge success and expansion
would take place with branch stores that were opened to make
shopping easier for those who found it too difficult to patronize
1. The Nature of the Fashion Products THE NATURE OF THE

the main or flagship store, a term used today to signify the first
store in the organization. Macy’s was an early entry in the
department store and still commands tremendous recognition by
Retailing Industry 12. Planning and Executing the

fashion consumers. Figure 1.1 features Macy’s flagship store in
FASHION RETAILING New York City.

Some department stores also expanded their customer base
Purchase
with the development of catalog divisions. Early on it was Sears
2. The Global Impact of INDUSTRY

who offered catalogs to shoppers who couldn’t come to their
premises. Among the many products featured was fashion
merchandise. It was an easy approach that quickly caught the
Fashion Retailing 13. Purchasing in the Global attention of a new market segment and helped to make the
company more profitable. It was the forerunner of what today is
known as multi-channel retailing that will be fully discussed
3. Organizational Structures Marketplace later in the text.

Other brick and mortar fashion retailing enterprises in
operation today, in addition to the department stores and
14. Private Label Importance to

specialty chains include discounters, off-pricers, manufacturer’s
4. The Fashion Consumer

outlets, boutiques, warehouse clubs, pop-up stores, and a
After reading this chapter, you should be Fashion merchants all over the world have made dramatic moves by extending their multitude of off-site classifications that include e-tailers, and
the Merchandise Mix able to: consumer reach far beyond their borders. When one looks at today’s fashion retailing numerous social media formats such as facebook and pintrest,
news it very often speaks to the changes, namely conducting business globally. Their email, television shopping networks, and mobile devices.
5. Retail Research Directions

• Explain the differences between specialty The trend in retailing is for the merchants to reach their
retailers and department stores. quest for international expansion has motivated many of these businesses, in most parts
of the world, to plan their growth into markets that was once considered poor company customers and to increase their consumer base through a
15. Inventory Pricing • Discuss why some merchants are opting figure 1.1 combination of many of the enterprises already noted. The concept is known as
in Today’s Retail
strategy. Now that many fashion arenas have proven themselves as destinations for off- Macy’s is the largest department
for expansion through the spin-off store shore fashion retailers, merchandise assortments and emerging markets have started to multichannel retailing in which the vast majority of retailers reach their markets with
store in the world. It carries hard
concept. join these lists of countries, the scene promises to become an exciting one and an the use of many different means. It is typical of the giants in the field to use a combination
goods and soft goods and both
of bricks and mortar locations, catalogs, e-tailing, social networking and mobile devices
Environment Section Five:

• Describe the differences between off- opportunity for merchants to reach new markets. national products and private
price retailing and discounting. An analysis and historical overview of the retailers who sold fashion goods to labels and brands. to broaden their reach.
consumers actually began with the introduction of the limited line store also known Each of those entities that have been introduced thus far will be fully discussed in
• Explain how some fashion organizations
Communicating With and

later on as the specialty store. It was the late 1880s when manufactured merchandise the next section of the chapter, culminating with a section on strengths of the
have expanded their companies without
6. Ethical Practices and Social became available to the average citizen, only the wealthy could afford to have fashion multichannel retailing concept.
making their own investments.
items produced for them by designers and dress-makers. For those who had the skills of
Servicing The Fashion

• Assess the state of globalization for sewing, fabrics were sometimes purchased and turned into wearable clothing. The era
An AnAlySiS AnD HiStoricAl ovErviEw of
Responsibility by Retailers
fashion retailers. of the specialty store made way for affordable fashion items that were within the means
• Examine multichannel retailing and of the consumer. Its popularity quickly was embraced with the growth of manufactured fASHion orgAnizAtionS
Clientele identify its components. goods.
With so many people to serve in the global marketplace, the majority of the major
Section Two: Fashion

• Describe the status of e-tailing as a tool The popularity of the specialty store grew. Some merchants were quick to spread
their business to include more than one location, leading to the beginning of the chain fashion merchants engage in a number of the different enterprises. Each serves a unique
to attract consumers. purpose to the organization. Some, although few, today concentrate on just one
store organization. Retailers began to open more and more units that primarily featured
Retailing Environments 16. The Importance of • Explain why some consumers are
flocking to catalog usage instead of
bricks and mortar visitation for their
one item such as apparel, shoes, jewelry, and so forth. Today, the specialty chains are
considered to be the most popular places for shopping. Companies like the Gap, with its
global presence are among the more profitable enterprises in fashion retailing. With the
classification, brick and mortar, while others might just be online ventures. For
example, one major retailer of fashion footwear, and now apparel, whose exclusive
selling method is online is the American-based Zappos.
Advertising and Promotion purchases. success of the limited lines operations, some merchants decided if they could satisfy the
7. On-Site and Off-Site • Determine the impact of the home

shopping channels.
needs of their consumers in this manner, it might be feasible and profitable to expand
their merchandise offering to more than one classification. Some of the more successful
17. Communicating to • Summarize some of the trends in fashion of these retailers broadened their inventories to include a variety of products under one
Locations retailing.
3
Customers through
8. Designing and Fixturing
Electronic Media Fashion Retailing.indb 3 30/05/2014 13:41 Fashion Retailing.indb 4 30/05/2014 13:41
Bricks and Mortar Premises

18. Servicing the Fashion
9. The Importance of Visual
Shopper
Merchandising
Appendix
Section Three:
Management and Control Bibliography
10. The Human Resources Glossary
Division Index
11. Merchandise Distribution
and Loss Prevention
8
Promotion
Retail Buying “Probably one of the best

textbooks I have ever used.”
UK May 2015
US March 2015
From Basics to Carol Lazich, George Brown
College, Canada 576 pages
Fashion An introductory text that
95 bw illus
187 x 235mm /
balances retail theory,
Richard Clodfelter 7.375 x 9.25 inches
application and math concepts
Book + STUDIO Bundle
within the context of buying,
9781501395260
this comprehensive book
STUDIO Access Card
provides students with the skills
9781501395024
and savvy needed to become
£64.00 / $95.00
successful in any area of retail.
Fairchild Books
Instructor’s Guide, Test Bank
and PowerPoint presentations
available
Students
• Summary Points, Discussion Questions and Vocabulary Terms
reinforce chapter concepts
• Ample activities drawn from real-world merchandising give students
the opportunity to apply critical skills as they would in a professional
environment.
New to this edition

• STUDIO: Retail Buying features online self-quizzes, flashcards,
math practice problems and Excel spreadsheet activities that align
with chapter “Spreadsheet Skills” activities
• Updated and new contemporary retailing examples in end-of-
chapter “Snapshot” and “Trendwatch” case studies
• 20% new photographs throughout the book and 30% new end of
chapter case studies and updated content in all cases
• Expanded coverage of buying in foreign markets and integrated
content on product development throughout
Contents
Preface
Acknowledgments
Part I: Understanding the Part IV: Purchasing
Retail Environment Where Merchandise
Buying Occurs 10. Selecting Vendors and
1. Today’s Buying Environment Building Partnerships
2. The Buying Function in 11. Making Market Visits and
Retailing Negotiating with Vendors
3. Buying for Different Types 12. Locating Sources in Foreign
of Stores Markets
Part II: Getting Ready to 13. Making the Purchase
Make Buying Decisions Part V: Motivating
4. Obtaining Assistance for Customers to Buy
Making Buying Decisions 14. Pricing the Merchandise
5. Understanding Your 15. Promoting the Merchandise
Customers
Appendix A: Basic Retail Math
6. Understanding Product Formulas
Trends: What Customers
Appendix B: Decision Making
Buy
Glossary
Part III: Planning and
Controlling Merchandise Index
Purchases Credits
7. Forecasting
8. Preparing Buying Plans
9. Developing Assortment
Plans
9
Promotion
Textbook
Fashion Retailing Fashion Retailing looks at

fashion retailers from the store
UK September 2014
US November 2014
From Managing to level — exploring and explaining
how they are conceived, 192 pages
Merchandising managed and provide consumer- 120 colour illus
centric spaces. Readers will 230 x 160mm / 9.1 x 6.3 inches
Dimitri Koumbis gain a thorough understanding PB 9782940496235
of how the retail model operates £23.99 / $41.95
in an effort to continually capture Series: Basics Fashion
the ever-changing market, as Management
well as insights into corporate Fairchild Books
social responsibility (CSR) and
brand sustainability.
Dimitri Koumbis is Adjunct
Faculty for Fashion
Merchandising and Marketing
courses at The Art Institute of
New York, USA.
Features
• Explores multi-channel approaches that have been used in retail test
markets as a means to cost-effective growth within the industry
• Features case studies with Harvey Nichols, Target, American
Apparel, AllSaints, Gap and Asos; and interviews with key industry
professionals, including store managers, buyers and merchandisers
• Crucially explores how technology has revitalized fashion retailing
through case studies, interviews and “day in the life” job overviews,
which feature in each chapter
• Covers back-of-house functions (human resources, loss prevention)
and front-of-house functions (merchandising, visual merchandising,
circulation patterns) across different retailers
Contents
Introduction
Chapter 1: What Is Retailing? Chapter 3: Retail Corporate Chapter 5: Store Merchandising Conclusion
The History of Retail Offices Merchandising and the Front of Glossary
Understanding the Difference Corporate Offices and Their Role House Industry Resources
Between Retailing and the Retailer Strategic Planning Merchandising vs. Visual Index
Classification of Retailers Supporting Store Teams Merchandising
Acknowledgments and Picture
On-Site vs. off-Site Retailing Ethics and Corporate Merchandising The Store Credits
Environment
Multichannel Retail Approaches Social Responsibility
Interview: Alfonso Paradinas—
Interview: Kyle Muller—Shop Owner Interview: Jackie Mallon—Corporate
Merchandiser
Case Study: Harvey Nichols Fashion Designer
Case Study: Gap
Chapter 1 Summary Case Study: American Apparel
Chapter 5 Summary
Chapter 3 Summary
Chapter 2: Retail Consumer
Chapter 6: Trends in Retailing
Markets Chapter 4: Store Management
E-Commerce and the Online
Consumer Behavior Store Management and the Back of
Shopper
Consumer Demographics House
Mobile Retail, Pop-Up, and Concept
Site Selection and Store Location Employee Management
Shops
Emerging Domestic and International Store Logistics
Retailer and Designer Collaborations
Markets Merchandise Controls and Loss
Technology in the Retail Sector
Interview: Tate Ragland—Retail Prevention
Interview: International Playground—
Market Researcher Interview: Shana Tabor—Vertically
Wholesaler and Retailer
Integrated Retailer
Case Study: Target Case Study: ASOS
Case Study: All Saints
Chapter 2 Summary Chapter 6 Summary
Chapter 4 Summary
10
 Interview: Tate Ragland — Retail market researcher Chapter 2 summary 
60 61 CHAPTER 2: RETAIL CONSUMER MARKETS
Case study: Target
Designer collaborations Rethinking expansion

One of the most talked about retailing strategies that Target Target has been known for its large “white-box” style
is known for is its continual introduction of designer–retailer stores, with large square footages and minimal design.
collaborations, which have brand loyalists (for both parties) Over the past couple of years, the company has really
rushing to purchase. Focusing on brand identity, marketing invested in the visual design of its stores, making them
strategy, and design, Target has brought some well-known feel less like a discount operation and more like an
names into the playing field. Designers such as Michael affordable department store. They tested various models
Graves, Sonia Kashuk, Missoni, and Prabal Gurung, to in various shopping districts but have recently moved
name but a few, have collaborated on collection pieces that into a new phase of expansion—exploring downtown
are Target exclusives. This strategy not only introduces the and inner-city shopping districts. A recent opening in
designer but also allows the consumer to have a taste of New York City’s Harlem district has revitalized the
designer labels at a fraction of the cost. area and created a more diverse community. Recently,
Target opened three stores in downtown areas,
Recently, Target opened The Shops at Target, a
appropriately titled City Target, in Seattle, Chicago,
collaboration between Target and shop owners of specialty
and San Francisco, with more stores scheduled to open
stores and boutiques (retailer–retailer collaboration).
over the next couple of years. These stores are geared
Together, limited-edition collections will be delivered to the
more for the urban shopper and, thanks to extensive
public via Target stores, which will allow the small businesses
market research by the Target team, have catered their
to gain exposure in a large, often intimidating industry. The
retailing strategies appropriately. The stores are built up
collections are only for a limited time but allow shop owners
(not out) to accommodate the small, dense areas. There
to give their unique perspective to the masses, with Target
is more streamlined product that fits the needs of this
providing the forum to do so. Earlier, we discussed the start
particular consumer.
of Target’s corporate social responsibility initiatives, and this
is a prime example of how this company is working with the With over 1,800 stores in North America, Target
community to enable it to flourish while remaining profitable recently expanded its tech department to India, which
and socially conscious. may be the first step to moving this successful retailer
into Europe and Asia. Not only is Target a successful
retailer with strong CSR initiatives built into its core; it
has also been recognized as one of the top US
companies to work (and watch out!) for.
13 DESIGNING FOR THE MASSES

A retailer that once sold
inexpensive, unbranded goods has
become a market leader in the art
of fashion–retailer collaborations— “Our innovative approach to store design
bringing high-brow fashion to
budget-conscious consumers. and development allows us to customize
13
the Target model for each location without
sacrificing the key tenets that set a Target
store apart.”
Greg Nations, Senior Creative Manager—Marketing
107 CHAPTER 4: STORE MANAGEMENT 29 CHAPTER 1: WHAT IS RETAILING?
10 11
11
Promotion
The Why of The Why of the Buy addresses

how psychology, sociology, and
UK December 2014
US October 2014
the Buy culture all influence the how,
what, when, where, and why 512 pages
Consumer of the buy, and provides the 180 colour illus
most contemporary resource 203 x 254mm / 8 x 10 inches
Behavior and for understanding consumer PB 9781609018986
Fashion Marketing behavior theory and practice
in the context of the fashion
£64.99 / $115.00
Fairchild Books
industry.
Patricia Mink Rath, Stefani Bay,
Richard Petrizzi and Penny Gill • Teaching Resources:
available
New to this edition
• New Chapter 11, “Social Media and the Fashion Consumer,”

explores how the relationship between marketers, retailers, and
consumers is aided by social media and the internet
• Expanded and updated coverage of technology, ethics, and social
responsibility related to consumer behavior
• Chapter mini-projects offer an opportunity to apply chapter
concepts to a realistic fashion setting
• Newly updated “Case in Point” and “Point of View” sidebars
spotlight current examples of consumer behavior or consumer-
driven marketing concepts in real-life situations
• More than 20% updated photographs
Contents
Preface
Acknowledgments
Introduction Chapter 11 find meaning, a sense of belonging, and even pure
pleasure. What has changed throughout differ-
ent historical periods is the means for socializing.
Here’s the parallel: People used to gather in a com-
mon location—whether the courtyard of a castle,
Part I: We Are All Consumers 9. Demographics, Social Media and the

the town square, or the neighborhood mall—to
interact in person. Now they can get together using
1. Why Is Consumer Behavior Psychographics, and the any computer, tablet, or smartphone with an Inter-
Fashion Consumer net connection. So, instead of having to physically
Important to the Fields of Fashion Consumer go somewhere to meet, we can interact, share, and
communicate with others in the digital world no
matter where we are, and at any hour of the day or
Fashion and Design? Part IV: How Fashion night (Figure 11.1).
2. Consumer Behavior, Marketers Communicate and Let’s Talk

Marketing, and Fashion: A Consumers Decide WHAT DO I NEED TO KNOW ABOUT SOCIAL MEDIA AND THE FASHION
CONSUMER?
How do you use social media? To share news,
display your fashion preferences, shop,
communicate with friends? Have you used social
Working Relationship 10. How Marketers Obtain and ✔✔ The origin and different types of social media
✔✔ How the use of social media influences consumers’ buying behavior
media to find a job, conduct research, or establish
new personal or business relationships?
Part II: Internal Factors Use Consumer Information ✔✔ How marketers use social media to learn about and communicate with their customers
✔✔ The ethical issues that can arise with use of social media
Studies have found that people post on social
Influence Fashion 11. Social Media and the media primarily to share interesting things, impor-
tant things, or funny things—just as they would
W
Consumers Fashion Consumer hen you got up this morning, how long bought, or pinned your original design for an appli-
do if they were seeing friends or others face to
face. Other key reasons include to share a personal
was it before you checked in with your quéd tote bag on your Pinterest board, or watched belief or philosophy, to recommend a product or
3. How Fashion Consumers 12. Consumer Decision Making friends . . . not in person or by phone,
but on Facebook or Twitter? Perhaps you
a YouTube video in which someone demonstrated
how to emulate the hairstyle of an actor you like.
Perceive, Learn, and 13. How Fashion Consumers

sat down to read the latest entry on your
favorite fashion blog—or to write an observation
Every day, hundreds of millions of people log
in to social networking sites, making connections
Remember
about a new trend on your own blog. Maybe you with everyone from best friends to favorite celebri- FIGURE 11.1 Social media lets us communicate and
Buy
interact with others without being in the same physical
shared a photo on Instagram of the jacket you just ties, and sharing their thoughts and feelings about
location.
4. Motivation and the Fashion 14. Global Consumers of 259 261

Consumer
CHaPTer 11: SoCIal MedIa and THe FaSHIon ConSuMer
Fashion and Design

5. Attitude and the Fashion Part V: Fashion Consumers Part IV
WOB2e_ch11_259-285.indd 259 7/3/14 8:42 AM WOB2e_ch11_259-285.indd 261 7/3/14 8:43 AM
Consumer and Responsible Citizenship HOW FASHION MARKETERS COMMUNICATE AND CONSUMERS DECIDE
6. Personality and the Fashion 15. How Ethics and Social
Consumer Responsibility Impact
Part III: External Factors Consumer Behavior
Influence Fashion 16. The Role of Government for
Consumers Fashion Consumers
7. Age, Family, and Life Cycle Glossary
Influences
Credits
8. Social Influences on Fashion
Index
Consumers
12
Promotion
Perry’s Perry’s Department Store: A

Buying Simulation bridges the
UK March 2015
US January 2015
Department gap between the principles of
retail buying and mathematical 160 pages
Store concepts using a unique 40 bw illus
simulation approach that takes 216 x 279mm / 8.5 x 11 inches
A Buying readers step-by-step through Book + STUDIO Bundle
Simulation a real-life buying experience.
Videtic and Steele use the
9781501395307
£56.00 / $95.00
fictitious Perry’s Department STUDIO Access Card
Karen M. Videtic and Store to walk students through 9781501395062
Cynthia W. Steele the steps a new buyer would Fairchild Books
take to complete a six-month
buying plan and a merchandise
assortment plan.
Instructor’s Guide available
New to this edition

• STUDIO: Buying Simulation features online self-quizzes and
flashcards, plus data and statistical information, worksheets, Excel®
spreadsheets with embedded formulas and blank worksheets,
industry catalogs and private label line sheets, and web links to
additional resources to complete the buying simulation
• New categories added for denim, accessories, and misses bridge/
contemporary markets
• Updated information on additional markets, classifications and
resources, information on customer profiles, census data, and
statistics
• Revised with statistical information to reflect a more contemporary
structure and business model for a successful larger-scale
department store
Contents
Preface
Introduction: Perry’s Background 7. Step 7: Negotiating
Information and How to Use this Profitability
Simulation 8. Step 8: Examine Income
1. Step 1: Redefine Customer Statement
2. Step 2: Research Current 9. Buyer’s Role in Product
Trends Development
3. Step 3: Develop Buying 10. Career Opportunities in
Plan Retail Buying
4. Step 4: Develop Stock Appendix A: Website Resources
Plans Appendix B: Retailing Formulas
5. Step 5: Shop the Market Glossary
6. Step 6: Plan Market Bibliography
Purchases
Index
13
Promotion
2nd Edition
www/Textbook
The Real World This “sales bible” for the apparel and retail
industries is now updated with successful sales
UK July 2014
US May 2014
Guide to Fashion and management principles and features current
information on social media, content marketing and 352 pages
Selling and retail in the digital world. 25 bw illus and photos
187 x 235mm /
Management • Real-world terms, concepts, and principles plus
new role play exercises reinforce the text
7.375 x 9.25 inches
PB 9781609019334
Gerald J. Sherman and • Case studies feature high-caliber businesspeople £64.00 / $105.00
Sar S. Perlman and their successful methods Fairchild Books
• Teaching Resources: Instructor’s Guide available
New to this edition

• Expanded to cover professional selling in retail beyond fashion
• New sections on Business-to-Consumer (B2C) retail sales management, and a new
chapter on digital and social media
• Covers top sales management strategies and software tools
• Emphasizes how to find a job, networking, and building relationships
Contents
Preface
Acknowledgments
1. Selling Isn't a Dirty Word 10. Managing a B2B Sales Force
2. The Characteristics of Successful 11. Training and Tools
Salespeople and Sales Managers 12. Measuring Productivity
3. Retail Sales and Management 13. Organizational Structure and
4. Business-to-Business Selling Interaction
5. Getting to the Sale 14. Adapting to Change in the
6. Selling Yourself 15. The Global Marketplace
7. The Sales Presentation 16. Resources for the Reader
8. Follow-Through and Relationship References
Development Glossary
9. Digital and Social Media in Sales Bibliography
(New Chapter)
Index
Key Titles
Textbook
Fashion Buying “This is worth a thousand mediocre books

on theory with scant data or access to actual
2013
From Trend experience. The book is aimed at the student

and to researchers and others who wish to
176 pages
120 colour illus
Forecasting to learn how this field is structured. It succeeds 230 x 160mm / 9.1 x 6.3 inches
completely in this endeavor.” Veronica PB 9782940411689
Shop Floor Manlow, Assistant Professor, Finance and £23.99 / $41.95
Business Management, CUNY, New York Institute Series: Basics Fashion
David Shaw and Dimitri Koumbis of Technology, USA. Management
Fairchild Books
Fashion Buying explores what this key role entails
in terms of the activities, process and people
involved — from the unique perspective of the
fashion buyer.
14
Fashion Merchandising and Key Titles
Promotion
Mathematics for Explains the essential concepts, practices,

procedures, calculations, and interpretations of
2013
Retail Buying figures that relate to merchandising and buying at

the retail level.
392 pages
50 bw illus
Bette K. Tepper 216 x 279mm / 8.5 x 11 inches
• Teaching Resources: Instructor’s Answer
Manuals, and a new Test Bank available
9781501395314
Bette K. Tepper is a former faculty member of the £64.99 / $120.00
Fashion Management Department at the Fashion STUDIO Access Card
Institute of Technology (FIT), USA. 9781501395079
Fairchild Books
New to this edition
• Incorporates metrics used to analyze in-store and e-commerce business

• Over 250 practice problems and 16 case studies apply industry concepts and
terminology in realistic merchandising situations
• Reorganized Units I and VI reflect the order of importance of profit factors in the
buying/selling process
• STUDIO: Mathematics for Retail Buying features online self-quizzes and flashcards to
help students master concepts and improve grades
Textbook
Visual Examines the various approaches to visual

merchandising and retail display, from the initial
2014
Merchandising design process through to product handling and

experimentation.
192 pages
200 colour illus
for Fashion • Includes activities to encourage an interactive
230 x 160mm / 9.1 x 6.3 inches
PB 9782940496129
approach
Sarah Bailey and Jonathan Baker £23.99 / $44.95
• Includes interviews with visual merchandisers Series: Basics Fashion
from a range of fashion environments including Management
Liberty, Beyond Retro and Anthropologie Fairchild Books
Sarah Bailey is Course Director for the BA (Hons)
Fashion Retail Branding and Visual Merchandising
course at the London College of Fashion, UK.
Jonathan Baker is the Course Director of the
BA (Hons) Fashion Retail Branding and Visual
Merchandising course at the London College of
Fashion, UK.
6th Edition www/Textbook 4th Edition www/Textbook
Visual Merchandising Silent Selling

and Display Best Practices and
Martin M. Pegler Effective Strategies in
Visual Merchandising
Judith Bell and Kate Ternus
2011 2011
432 pages 448 pages

280 full colour illus Full colour illus
PB 9781609010843 216 x 279mm / 8.5 x 11 inches
£60.00 / $110.00 PB 9781609011536
Fairchild Books £55.00 / $100.00
Fairchild Books
15
Fashion Merchandising and Key Titles
Promotion
Guide to The definitive source of information for anyone

interested in fashion show production — from an
2013
Producing a informal affair to a large, complex event. 320 pages

133 illus
Fashion Show • Chapter features include objectives, key fashion
show terms, summary recaps, discussion
216 x 279mm / 8.5 x 11 inches
questions, activities, and capstone projects
Judith C. Everett and 9781501395321
Kristen K. Swanson • Notes from the Runway feature includes insider £55.00 / $95.00
interviews in each chapter STUDIO Access Card
9781501395086
• A 16-page colour insert features real world Fairchild Books
fashion show and behind the scenes examples
• STUDIO: Guide to Producing a Fashion Show
includes online self-quizzes, flashcards and all
blank sheets, forms, and templates needed to
plan and execute a fashion show
www/Textbook
Style Wise A comprehensive manual on establishing a

successful career as a stylist.
2013
A Practical Guide • Includes sample documents used by

304 pages
160 colour illus
to Becoming a professionals and an illustrated list of essential
items for the stylist’s kit
187 x 235mm /
7.375 x 9.25 inches
Fashion Stylist • Covers the step-by-step preparation, walk- PB 9781609011604
through, and follow-up of an actual shoot £37.00 / $75.00
Shannon Burns-Tran Fairchild Books
• Includes charts and tables that summarize key
information and resources and hands-on learning
activities for every type of styling
3rd Edition Textbook Textbook
Fashion Forecasting Fashion Forward

Evelyn L. Brannon A Guide to Fashion
Forecasting
Chelsea Rousso
2010 2012
480 pages 352 pages

Full colour illus Full colour illus
187 x 235mm / 7.375 x 9.25 inches PB 9781563679247
PB 9781563678202 £50.00 / $90.00
£60.00 / $110.00 Fairchild Books
Fairchild Books
NEW EDITION COMING IN FALL 2015
16
Promotion / Fashion Law
Essentials of A practical, basic guide for importing and

exporting products, services, or technology, while
UK October 2014
US August 2014
Exporting and maintaining compliance with government policies.
Calling upon the expertise of industry professionals 360 pages
Importing and government officials the authors focus on the 126 bw illus
policies, procedures, and practices essential for 152 x 229mm / 6 x 9 inches
U.S. Trade success in international trade. PB 9781609018894
Policies, • Teaching Resources: Instructor’s Guide and
£64.00 / $105.00
Fairchild Books
Procedures, and
Practices
Harvey R. Shoemack and
Patricia Mink Rath
New to this edition

• New concluding chapter of case studies relevant to exporting and importing
• Updated International Fashion Focus features describe special aspects of certain
fashion businesses and Spotlight on Global Trade boxes explain current practices in
international trade
Contents
Introduction
Preface
Acknowledgments
Part I: Globalization and World Trade 6. Basics of Importing into the United
1. An Overview of Global Business States
Today 7. Entering the Import Business
2. Globalization and World Trade 8. Navigating the Maze of Import
Liberalization Controls
3. The U.S. Role in Global Trade Part IV: Trade Finance
Part II: U.S. Exporting Policies and 9. Getting Paid or Paying for Exports or
Procedures Imports
4. Basics of Exporting 10. Case Studies
5. U.S. Export Controls and Procedures Glossary
Part III: Importing into the United Credits
States Index
Fashion Law The revised edition of Fashion Law provides

authoritative information on all legal aspects of
UK May 2014
US March 2014
A Guide for the fashion business, with new information on
intellectual property law and cases. 416 pages
Designers, • Provides practical tips and templates for legal
16 bw illus
152 x 229mm / 6 x 9 inches
Fashion agreements
PB 9781609018955
Executives, and • Sample clauses familiarise readers with the
legal language that covers the rights and
£64.00 / $100.00
Fairchild Books
Attorneys responsibilities of the parties to agreements
Edited by Guillermo C. Jimenez PowerPoint presentations available
and Barbara Kolsun
Guillermo C. Jimenez is Professor of International
Trade and Marketing at Fashion Institute of
Technology, USA, and an adjunct at International
School of Management in Paris (France), the New
York University Stern School of Business and New
York’s Iona College (USA).
Barbara Kolsun is an adjunct professor at the New
York University School of Law and Benjamin N.
Cardozo Law School at Yeshiva University, USA.
17
Product Development
www/Textbook
Apparel Quality This guide to evaluating apparel quality presents

the roles of product designers, manufacturers,
UK November 2014
US September 2014
A Guide to merchandisers, testing laboratories, and retailers
from product inception through the sale of goods, 480 pages
Evaluating Sewn to ensure quality products that meet customer 365 colour illus
expectations. 216 x 279mm / 8.5 x 11 inches
Products • Covers both US and international standards and
9781501395338
Janace E. Bubonia regulations
£74.00 / $120.00
• Case studies highlight real world situations such STUDIO Access Card
as the Lululemon recall and the environmental 9781501395093
impact of apparel manufacturing Fairchild Books
• Provides an illustrated guide to ASTM stitch and
seam types plus photos of their uses in actual
garments
• STUDIO: Apparel Quality features online self-
quizzes and flashcards to help students master
concepts and improve grades
• Teaching Resources: Instructor’s Guide with Test
Bank and PowerPoint presentations available
Janace E. Bubonia is an Associate Professor and
Chair at Texas Christian University, USA.
Contents
Preface
Most commonly used ASTM & ISO 300 Class lock stitches for apparel
1. Overview of Apparel Quality and the 10. Safety Regulations and Guidelines 300 Class lockstitches
The 300 lockstitches classification is the most widely
Consumer for Wearing Apparel

used for assembly of apparel products. Lockstitches
are selected for securing buttons, forming button-
holes and bar tacks, main seaming and hemming of
garments, attaching elastic and trims, embroidery,
2. Integrating Quality into the 11. Measuring Product Quality through

and top stitching. It is important to note that this
stitch class, while strong and secure, does not offer
stretch or extendibility. The 300 Class of lockstitches
are formed with a bobbin thread and one or more (c) (d)
Development of Apparel Products Testing

needle threads that pass through the fabric and inter-
lace together to secure each stitch. This stitch class
figure 6.10 Hand stitch machine
© Juki juki.com offers straight stitching and zigzag patterns, as well as
blind hem stitch formations that offer greater secu-
3. Raw Materials Selection and 12. Raw Materials and Sewn Products
rity than 100 Class stitches.7,8 See Figure 6.11 for the
commonly used ASTM and ISO 200 Class stitches in most commonly used ASTM and ISO 300 Class lock
apparel. This stitch classification utilizes hand-stitch stitches in apparel. This stitch classification utilizes
machines (see Figure 6.10). lockstitch machines (see Figure 6.12)
Performance Testing Most commonly used ASTM & ISO 300 Class lock stitches for apparel Face View as Sewn
(e)
4. Garment Construction Details 13. Quality Assurance Along the Supply

5. Apparel Sizing and Fit Strategies Chain (f) Face View as Sewn Back View as Sewn
6. ASTM and ISO Stitch Classifications Appendices (a)

304 Zigzag lock stitch
Bibliography
Back View as Sewn
7. ASTM and ISO Seam Classifications (b) Face View as Sewn Back View as Sewn
304 Zigzag lock stitch
8. Sourcing and Mass Production of Glossary figure 6.11 a–b (a) ASTM 301 Lock stitch; (b) ASTM 301, ISO 301 Lock stitches
Illustrations of stitch formations from ASTM D 6193. Illustrations of stitches showing face and back views courtesy of
Fairchild Books. Photos courtesy of Janace Bubonia.
(g) (h)
Sewn Products Index

301 Lock stitch continued
figure 6.11 c–h (c) ASTM 301, ISO 301 Lock stitches face view; (d) ASTM 301, ISO 301 Lock stitches back view;
(e) ASTM 304 Zigzag lock stitch; (f) ASTM 304, ISO 304 Zigzag lock stitches; (g) ASTM 304, ISO 304 Zigzag lock
stitches face view; (h) ASTM 304, ISO 304 Zigzag lock stitches back view
Illustrations of stitch formations from ASTM D 6193. Illustrations of stitches showing face and back views courtesy of
Fairchild Books. Photos courtesy of Janace Bubonia.
9. Labeling Regulations and Guidelines

A S TM A n d IS O S TAn d A R d S f OR S TITC HE S 123 124
for Manufactured Apparel Bubonia_108-141_ch06_new.indd 123 7/1/14 11:59 AM Bubonia_108-141_ch06_new.indd 124 7/1/14 11:59 AM
Textbook
Apparel Quality The student lab manual reinforces the chapter

content and lecture material from Apparel Quality
UK November 2014
US September 2014
Lab Manual with more than 30 hands-on lab activities and
projects. Designed for courses that emphasize 184 pages
Janace E. Bubonia textile testing or offer a laboratory component, 10 bw illus
the Apparel Quality Lab Manual includes supply 216 x 279mm / 8.5 x 11 inches
lists, extensive reference tables, assignments PB 9781628924572
for analyzing products, testing and evaluating £40.00 / $65.00
materials and garments, project sheets for product Fairchild Books
comparison testing, worksheets to record data,
directions for mounting specimens after testing,
and templates for cutting specimens.
Contents
1. Apparel Quality and Consumer 7. Labeling Regulations and Guidelines
Perceptions Lab for Manufacturing Apparel Lab
2. Integrating Quality into the 8. Safety Regulations and Guidelines
Development of Apparel Products for Wearing Apparel Lab
Lab 9. Measuring Product Quality Through
3. Raw Materials and Sewn Product Raw Materials and Product Testing
Testing Labs Lab
4. Garment Construction Details Lab 10. Inspection of Raw Materials and
5. Apparel Sizing and Fit Strategies Lab Sewn Products Lab
6. ASTM & ISO Stitch and Seam
Classifications Lab
18
Body Scanning Technology
Apparel
CHAPTER FIVE
Sizing and Fit
Strategies (a) (b)
Objectives:
■ To identify methods for ■ To examine prototype
gathering body measurement development and means for
data that is used for determining evaluating fit
sizing standards for apparel ■ To understand contents
■ To have an awareness of of technical packages and
established domestic and specifications for apparel and
international voluntary their importance in ensuring the
standards for apparel sizing production of garments at the
desired quality level
P urchasing apparel is a challenge for many con-

sumers when it comes to finding garments that fit
properly. Some consumers have come to terms with
of measurements that relate to the size designations
they offer. As fashion brands expand into new mar-
kets, the issue of sizing is further compounded. There
the fact that apparel purchases will be followed by a can be quite a variance in body measurements of con-
visit to a tailor which ultimately drives up the cost of sumers worldwide—even within a continent such as
the garment. Although international and domestic Asia or North America—that can ultimately affect
standards for sizing apparel exist, brands do not have sizing and the way garments fit different body types
to conform to these and often establish their own set and measurement configurations.
(c) (d)
Figure 5.2
(a)–(c) Images courtesy of [TC] 2, NC US. www.tc2.com; (d) Courtesy of Human Solutions
89 94 CHA PTER 5 A PPA REl SIzI n g An d FIT S TRATEgIES
Bubonia_088-107_ch05_new.indd 89 7/1/14 11:25 AM Bubonia_088-107_ch05_new.indd 94 7/1/14 11:25 AM
Unbalanced thread tension in apparel items
Top tension is too tight Lower thread

Upper thread
Fabric
Lower thread
(a)
ASTM and ISO

(b)
CHAPTER SIX
Top tension is too loose

Upper thread
Stitch Classifications
Fabric
Lower thread
Upper thread
(c) (d)
figure: 6.5 (a) Top tension is too tight;

(b) Face view: Top tension is too tight (needle
thread is red, bobbin thread is blue); (c) Top
tension is too loose; (d) Back view: Top tension
Objectives: is too loose (needle thread is red, bobbin
thread is blue); (e) Broken thread face view
■ To review thread construction ■ To examine ASTM and and (f) Broken thread back view resulting from
methods for creating sewing ISO standards for stitch tension being too tight (needle thread is red,
bobbin thread is blue)
threads classifications and where they Illustration by Q2A Media Services Private (e) (f)
■ To understand thread sizing and are used in garments Limited; Photos courtesy of Janace Bubonia;
how thread ticket numbers are ■ To show the types of sewing Samples prepared by Stephanie Bailey.
determined equipment used to create the
various types of stitch classes
S ewing thread is used to add decorative details to

garments and assemble most apparel items in the
marketplace today. The selection of sewing threads and
of the responsibility of the seam.”1 Therefore, the type
of thread, the stitch formation, and seam construc-
tion play vital roles in the quality and durability of the
stitch types for the assembly of apparel products is pri- finished product. Standards have been developed to
marily driven by the fabric selected. Secondary factors ensure proper communication of stitch formations
include product category, styling, function, seam con- required for manufacturing of apparel products to
struction, price, and quality level. According to Amer- eliminate confusion between product developers and
ican & Efird, “Thread only makes up a small percent factory production personnel.
of the cost of the sewn product, but shares 50 percent
(a) (b)
figure 6.6 Unbalanced thread tension in apparel Items

(a) © Ken Cavanagh Photo courtesy of KenCavanagh.com; (b) Photo courtesy of Janace Bubonia
109 118 CHA PTER 6 A STM An d ISO STITCH ClA SSIf ICATIO n S
Bubonia_108-141_ch06_new.indd 109 7/1/14 11:58 AM Bubonia_108-141_ch06_new.indd 118 7/1/14 11:58 AM
19
Product Development Key Titles
Apparel This text on apparel product development reflects

the current importance of manufacturers’ and
2014
Merchandising retailers’ private brands and exclusive designer

collections. This edition addresses the impact
512 pages
138 bw and 12 colour illus
The Line of technology and social media on all facets of 187 x 235mm /
product development. 7.375 x 9.25 inches
Starts Here • Executive profiles and case studies provide
PB 9781609015398
£64.99 / $105.00
Jeremy A. Rosenau and current real-world context and examples
Fairchild Books
David L. Wilson • Teaching Resources: Instructor’s Guide and
Textbook
Apparel Defines materials and terms relating to the mass

production of raw materials, design and product
2011
Production Terms development, patternmaking, garment details

and component parts, assembly, production and
416 pages
432 2-colour illus
and Processes manufacturing, labeling regulations, packaging and PB 9781563677625
finishing, testing, and quality control. £55.00 / $95.00
Janace E. Bubonia Fairchild Books
• Updates the industry terms first listed in
Fashion Production Terms to reflect advances
in machinery and technology and the impact of
globalization
• New organization focusing on manufacturing and
mass production, with terms grouped according
to subject
Beyond Design This practical text takes students step-by-step

through the pre-production processes of apparel
US June 2012
The Synergy of product development: planning, forecasting,

fabricating, line development, technical design,
624 pages
525 colour illus
Apparel Product pricing and sourcing. 216 x 279mm / 8.5 x 11 inches
PB 9781609012267
Development • Focus on sustainability and business ethics, fast
fashion calendars and their impact, and the effect
£74.00 / $115.00
Fairchild Books
Sandra J. Keiser and of social media on design and distribution
Myrna B. Garner • Includes international examples and case studies
that address the effects of globalization, and
explanations of various careers
20
Fashion Design and
Illustration
www/Textbook
Functional Functional Clothing Design

explores how wearable products
UK February 2015
US January 2015
Clothing Design are designed and created for a
specific purpose using the latest 480 pages
From Sportswear technological innovations. 365 bw illus
203 x 254mm / 8 x 10 inches
to Spacesuits • Highly visual with over 360
illustrations−a must for those
HB 9780857854674
£56.00 / $95.00
Susan M. Watkins and studying fashion design or
Fairchild Books
Lucy E. Dunne textiles
• Includes new content on
smart textiles and all the latest
developments in wearable
technology
• A worthy successor to
Clothing: The Portable
Environment, with new
chapters and case studies
bringing the content to modern
day
Instructor's Guide available
Susan M. Watkins is Professor
Emeritus in Apparel Design at
Cornell University, USA.
Lucy E. Dunne is Assistant
Professor at the University of
Minnesota, USA.
Contents
Preface
Introduction
About the Illustrations
1. User-Centered Design 4. Smart Clothing And Wearable Technology Protecting Workers from Radiation Hazards
What is Design? Electricity and Electrical Systems Protection from Solid Particles
The Design Process Information in Wearable Technology Electricity
Designing Technology for the Wearable Protection from Cuts and Punctures
2. Providing Mobility in Clothing Environment Clothing Design for Flame and Molten Metal
Human Body Movement Smart Clothing Design Hazards
Describing Body Movement
Identifying User Needs for Movement 5. Thermal Protection 8. Enhancing And Augmenting Body
Thermal Balance and the Human Body Functions
Movement Notation
Materials for Thermal Protection Clothing for Sensory Perception
Movement Analysis
Clothing Systems for Thermal Protection Clothing for Diving and Water Safety
Applying Data on Body Movement to Clothing
Design Case Study: Full-Cycle Research: the Cyberia Suit Enhancing Speed
Increasing Mobility in Clothing Enhancing Physical Strength
Fit and Movement Contributed by Susan P. 6. Impact Protection Clothing for Flight and Outer Space
Ashdown Impact Designing for Special Populations
Analyzing the Effects of Clothing on Movement Impact Protective Materials
Case Study: Movement in Pressurized and Impact-Sensing Materials and Methods 9. Commercial Product Development
Pressure-Positive Clothing And Production
Designing Impact Protective Clothing
Case Study: Movement After Injury Garment Production Methods
Case Study: Protective Equipment for American
Football Fastening Systems
3. Materials Case Study: Protection for Ordnance Disposal
Textiles Glossary
The Structure of Other Materials Used in Apparel 7. Living And Working In Hazardous Bibliography
Responsive Fabrics Environments Index
The Nature of Hazards in the Environment
Protection from Chemical/Biological (CB) Hazards
21
Fashion Design and
Illustration
Textbook
Creative Fashion The go-to resource for anyone wanting to develop

their own unique style. Easy-to-follow exercises
UK September 2014
US November 2014
Illustration are designed to build confidence and encourage
experimentation as readers develop essential skills 112 pages
How to Develop and learn simple and effective tips and tricks. 295 colour illus
210 x 210mm / 8.3 x 8.3 inches
Your Own Style • Step-by-step exercises are simple and effective,
encouraging readers to think creatively and
PB 9780857858290
£14.99 / $25.95
Stuart McKenzie develop new approaches
HB 9780857858283
• Packed with tips and tricks £45.00 / $78.00
Bloomsbury Academic
• Covers all the key elements of illustration, from
line and silhouette to exaggeration and proportion
Stuart McKenzie is a freelance illustrator based in
the UK.
Contents
Introduction
1. Line 9. Movement
2. Silhouette 10. Proportion
3. Light and Shade 11. Faces
4. Collage 12. Hands and Feet
5. Fabrics, Pattern, Texture/Use of 13. Style Sheet
Media 14. Inspiration
6. Drawing Design Details 15. Showcase
7. Exaggeration
8. Drawing from Life
Key Titles
6th Edition www/Textbook www/Textbook
Fashion Sketchbook Designing Your

Bina Abling Fashion Portfolio
STUDIO: Fashion Sketchbook
From Concept to
features online self-quizzes and
flashcards, plus videos demonstrating
Presentation
mixed media rendering techniques. Joanne Ciresi Barrett
2012
2012
400 pages
496 pages 356 colour illus
680 colour illus 280 x 216mm / 11 x 8.5 inches
229 x 305mm / 9 x 12 inches PB 9781609010072
Book + STUDIO £65.00 / $110.00
9781501395352 Fairchild Books
£60.00 / $110.00
STUDIO Access Card
9781501395116
Fairchild Books
22
Collage (and photomontage) can deliver
dynamic and unpredictable results.
The work of artists belonging to the
Dada, Surrealist, and Pop Art movements,
such as Kurt Schwitters, Hannah Höch,
and Richard Hamilton, shows how the
juxtaposition of images can be used to
Co
startling effect.
Materials for collage can be sourced

inexpensively and imaginatively from
all around you. It’s a great way to use
up old magazines, newspapers, fabric
swatches, theater, cinema, and travel
tickets and a good opportunity to try
unexpected materials like pressed leaves
or flowers. You could even try using
lla
traditional methods like making your
own glue by mixing flour and water.
In this chapter you will expand your

repertoire through working with collage to
create lively and imaginative illustrations.
ge Exercise 1 Collage Silhouette Use 11 x 17 (A3) paper, glue, and a magazine

for this exercise.
– Tear out as many swatches of color, pattern,

and texture from the magazine as you can.
– Create a collage on the piece of paper
quickly, without too much thought, and cover
the whole surface of the paper, sticking the
pieces down with glue.
– When you have finished, turn the paper
over and tear out an imagined silhouette
of a figure.
– When finished, notice how unpredictably
areas of color, texture, and pattern can
randomly add to the silhouette giving the
impression of clothing.
Collage 29
These illustrations have an understanding of

movement at their core.
Exercise Using a For this exercise you will need some 17 x 22 – Find a person willing to pose for you
Live Model (A2) drawing paper, a drawing board or easel in a variety of outfits and poses.
(or lean a drawing board on the back of a chair – Vary the time and length of poses.
for a makeshift easel), and a variety of media. Work with both quick and longer sessions.
– Mix up your media and vary the starting
points each time, drawing on all the
techniques you have learned so far.
Assess Your Work Working from life can be exciting to do once you have found a willing model. From the exercises in
this chapter you have learned:
– Not to be scared of using color or experimenting with media when drawing from life
– Not to worry if your illustration from life is not proportionally correct—this might make it
a more interesting illustration
– To work quickly: When drawing from life, there is a temptation to work slowly in order to
create an accurate picture. To work as a professional illustrator, it is essential to be able to
identify the key aspects of your figure—be it the interesting angle of a model’s pose or a
design detail such as an interesting collar—and work quickly before the model starts a
new pose or changes clothes.
In order to progress as an illustrator and perfect your skills in drawing from life, answer the
following questions and think carefully about which methods work best for you:
– How do your illustrations drawn from life differ from the illustrations you did from garments in
a museum or gallery for the exercises in the Drawing Design Details chapter? Which do you
prefer? Which did you find easier to undertake and why?
– Which poses did you find harder and why? Are there certain angles or movements you
find harder to capture? Work on these!
– Which medium did you find the easiest to work quickly with and why?
62 Drawing from Life Drawing from Life 63
Experimenting with line
Exercise 3 Exploring You’ll need a range of different mediums and – Make a series of lines using your different Assess Your Work By practicing the exercises in this first chapter you have achieved:
Different Styles an 11 x 17 (A3) piece of paper (or larger) for mediums.
this exercise. A roll of lining paper (wallpaper – Draw while listening to different types – Improved hand-eye coordination
liner) can be good—it is inexpensive and you of music. Does a change in background – An ability to sketch quickly to capture what is in front of you. This is an important skill
can stick it to a wall to work in a slightly larger music inspire different types of line? for fashion professionals, when taking visual notes at fashion shows, for example.
format if you wish. – An understanding of different ways to approach line drawing
Notice the different qualities of line in your work and reflect on the techniques and approaches
you’ve used to create them.
– How does the “blind” drawing compare to the others? Does it look looser or more spontaneous?
– What effect did using your other hand have on your drawing?
– How did you work with less time? Did the time limitation produce better results since you had
less time to think?
– Which medium did you work better with? Why?
12 Line Line 13
23
Fashion Design and
Illustration
www/Textbook
Designing A current and comprehensive

introduction to design
UK November 2014
US September 2014
An Introduction fundamentals including 2D and
3D design concepts. 296 pages
Karl Aspelund 250 colour illus
• Covers a wide range of fields:
216 x 279mm / 8.5 x 11 inches
industrial, apparel, interior,
PB 9781609014964
landscape, Web, graphic, fine
£74.99 / $130.00
arts, artisanal, and more
Fairchild Books
• Applies basic design elements
such as line, shape, volume,
space, value, texture, color,
scale, unity, contrast, repetition
and rhythm to fashion
• Sidebars and end-boxes
place focus on topics, such
as networking, ergonomics,
timelines, and sustainability
• Includes chapter summaries,
lists of objectives and key
terms, exercises, assignments,
and questions for classroom
discussion
Instructor’s Guide and
PowerPoint presentation
available
Karl Aspelund is an Assistant
Professor in the Department of
Textiles Fashion Merchandising
and Design at the University of
Rhode Island, USA.
Contents
Part I: The Nature, Elements
and Principles of Design NeOclAssicism cA. 1760 tO 186 0 tO . . . ?
1. What is Designing?
As the new society of urban commercial wealth gradually displaced the power struc-
tures of royalty and church, a couple of vectors combined to bring back classicism in
a “pure” form, placing Greco-Roman architecture and references directly into the cur-
rent designing of buildings and luxury fur-
2. A Brief History of Designing

nishings. In part, neoclassicism, the turn
toward classicism was a reaction to the
perceived decadence of the Rococo style
and its attendant culture of sensuality. In
3. The Elements of Design

part, it was a way of turning away from the
influence of the southern European culture
of royalist Catholicism, stripping down to
a “modern,” democratic Protestantism of
4. The Principles of Design

Western capitalism (Fig. 2.13). Another
influence was the discovery of the ruins of
ancient Rome found at Herculaneum in
1738 and Pompeii ten years later. The vis-
ible evidence of a previous grand civiliza-
Part II: Informing Design wilhelm von der pfalz and Anna
ABOve
2.13 left: portrait of Johann
tion was picked up, romanticized, and used
as a claim to glory, not just by the descendants of Rome but by any culture that laid
claim to political and philosophical ties back to Rome and Athens (Fig. 2.14).
Finally, and no less significant, was the establishment of art history itself as a dis-
5. Researching and Planning for

Maria luisa de’ Medici (before
1708), by Jan frans van douven. cipline. The German scholar Johann Joachim Winckelmann established the modern
right: portrait of Antoine-laurent methods of art history in the late 1700s and grounded the idea of the ancient Greek
RO cO cO and Marie-Anne lavoisier, 1788 high culture as being “perfection.” This moment in history defined the visual language
Designs
ABOve As secular wealth overtook the place of church riches and the authority of aristocracy by Jacques-louis david. The new
2.11 Baroque carried with it and monarch outstripped the clergy, design went toward a more worldly emphasis, democracies simplified the designs
a pervasive sensuality often of their garments as well as their
and as would become a standard pendulum swing, the wealthy clientele pushed their
disguised as mythological furnishings. This was meant to
allegories. pursuit of luxury to the furthest possible point. Rococo style (essentially late-Baroque) convey a sense of seriousness and
6. Creating and Presenting

source: fresco in rome, palazzo
amplified all the characteristics of Baroque, adding layers upon layers of decoration purpose after a time of decadence
farnese. Triumph of Bacchus and (with the characteristic shell motif, or rocaille—a combined form of the French words and sensual excess.
Ariadne. Artist: Annibale carracci
for shell and for stone—probably giving the style its name). Rococo furniture, art, and source: l: Jan frans van douven [public
[public domain], via wikimedia
domain], via wikimedia commons. r:
Designs
commons apparel all indicate a heightened sensuality. It is here that the physical and emotional Jacques-louis david [public domain],
via wikimedia commons
distance from country life and direct contact with nature allowed the urbanized upper
r ig hT
2.12 portrait of Marie Antoinette classes, inspired by the philosopher Rousseau, to r ig hT
in “country garb.” Attributed to romanticize the wild outdoors. Idealizing and over- 2.14 The ruins of pompeii.
louise Élisabeth vigée le Brun, dramatizing nature became a design feature, with echoing the romanticizing of
Part III: Thinking Design

1783. This outfit scandalized the the high formalizing of gardens and landscaping nature: The romanticizing of
ladies of france who felt it was far history after the rediscovery
of the Baroque giving way to the introduction of
too “relaxed” for the Queen to be of herculaneum (1738) and
seen in it. And who could blame “random” elements and “wild” growth. This is also pompeii (1748) further cemented
them? compared with previous reflected in a studied “dishabille” in dress along with classicism into the culture but also
7. Thinking “Print”: Graphic styles at european courts, this one

was practically a state of undress.
source: louise Élisabeth vigée le
a romanticizing of peasant and country garb (again
Rousseau inspired), which appeared in the studied
casualness of French ladies and country gentlemen
led to an examination of antiquity
as a source for art and design.
photograph copyright © edinburgh
Design and Elements in Two

Brun (public domain), via wikimedia university library special collections
commons in the late 18th century (Fig. 2.12). division
ch aP t e r 2 | a Br i e f o ve r vi e w of mod e r N d e si gNiNg 37 38 P ar t 1 | t h e Nat u r e , e le me Nt s, aNd P r i Nci P le s of d e si gN
Dimensions
8. Three-Dimensional Thinking
9. Time and Experience: Design r ig hT
4.24 There is a certain natural
order to the idea of balance
r ig hT
4.26 A picture placed off-center
in a layout will draw attention to
and Culture/Design in Culture

and symmetry in the design and itself. The pattern recognition
creation of human environments that humans are so adept at,
and equipment that derive from serves here in the opposite:
the shape and scale of the human We very quickly spot the out-
body—how things face, how they of-place—there is a sense of
10. Thinking “On-Screen”

fit, where we fit into the negative unease—and are very alert to the
space and around the positive danger of something falling off the
space of the structure. established structure.
source: © car culture/car culture/ source: illustration by Karl Aspelund
corbis
Appendix 1: Notable Designers BeloW

4.27 The measure of balance
in clothing perceived from the
outside as well as from within is
Appendix 2: Resources for Design

the planes of the human body,
and our sense of balance comes
BeloW from a perceived relation to these.
4.25 The textured surface adds When designers work against
a disproportionate weight in the This is perhaps so obvious a situation that it takes a step outside our being to grasp this, as rei Kawakubo did here in
Glossary
totality of this design, but position, it. It is by the three planes of our body that we interpret the world, splitting space, 1997, distorting shape and using
contrast, and emphasis matter as motion, and objects into front and back, left and right, and up and down. Imagine unfamiliar textures, it produces a
well. The positive/negative of the sense of unease: The design is not
you were a being with 360-degree locomotion and vision. The sense of front and back
fabric versus skin, the lines (actual recognizable to us. it is unfamiliar
and implied), and the contrast of would not be relevant at all. If we flew like birds or floated like fish, our sense of up
and uncanny.
Index
textures all have a say in the gestalt and down would be very different. In contrast to the other principles under discussion
source: firstvieW.com
of this gown. here, there is a certain natural order to the idea of balance and symmetry in the design
source: giovanni giannoni/WWD and creation of human environments and equipment (Fig. 4.24).
the out-of-place—there is a sense of unease—and are very alert to the
danger of something falling off the established structure (Fig. 4.26).
elemeN ts iN sy mmetRy AND bAlANce
A structure—a grounding horizon line of sorts—is always implied
Designers can use each of the elements to create a balance either by refer-
in a printed page by virtue of the format, and architecture brings with it
ring to other elements of the same type or by working with others in a
at least the flat floor if not a ceiling and orthogonal walls. With clothing,
combination of position, contrast, and emphasis. Color, for example, has
however, the measure of balance, perceived from the outside as well as
a fairly complex number of ways in which it can balance within a design.
from within, must always be the planes of the human body and our sense
Different hues, intensities, and values have different visual weight and
of balance comes from a perceived relation to these (Fig. 4.27).
can therefore create balance in different-sized areas. Lines and shapes can
balance in both two and three dimensions in an interplay of positive and
bAlANce AND P OWeR si GNAl s
negative, but also in play with color and/or texture, whether the texture
Just as overemphasized unity is frequently used to overwhelm an audi-
is actual or implied in graphic design or built in. Textures can work in
ence or signal the presence of power, so are symmetries and the result-
similar ways, where a more textured surface can have a disproportionate
ing balance used in architecture. Classicism had a strong symmetrical
weight in the totality of the design (Fig. 4.25).
tendency with its facades and rotundas. And when the nations of the
Imbal an ce and Implicat ion of Mot ion Euro-American culture were forming identities, neoclassicism became
Imbalance in design can be achieved by the same means and can be the prevailing style. Well into the 20th century, the strong symmetries of
used to imply motion and change. The simple imbalance of a text can, power are evident in architectural structures, with the apparent stabil-
for example, create emphasis on a headline and a picture placed off-cen- ity of the buildings signaling the enduring nature of the state. Imposing
ter in a layout will draw attention to itself. The pattern recognition that order became a sign of modern culture. Societies also showed their mas-
humans are so adept at serves here in the opposite: We very quickly spot tery of nature in well-ordered gardens, while the power of government
114 P ar t 1 | t h e Nat u r e , e le me Nt s, aNd P r i Nci P le s of d e si gN ch aP t e r 4 | the PriN ciP l es of desigN 115
24
Fashion Design and Key Titles
Illustration
2nd Edition Textbook
Textiles and Textiles and Fashion examines the process of

creating and using fashion textiles and discusses
2014
Fashion the processes involved in fibre production, dyeing

and finishing, and explores weaving and knitting.
200 pages
200 colour illus
Exploring Printed Jenny Udale is a lecturer at the University of
230 x 160mm / 9.1 x 6.3 inches
PB 9782940496006
Textiles, Knitwear, Middlesex and Ravensbourne College, UK. £23.99 / $44.95
Embroidery, Series: Basics Fashion Design
Fairchild Books
Menswear and
Womenswear
Jenny Udale
New to this edition

• Exercises help students to explore further the world of textiles and fashion
• Updated images throughout
• Case studies and new interviews ensure readers will gain a clear and practical
understanding of the world of textile design
Textbook
Basics Fashion “A well-crafted collection of everything you

need to know about menswear.” Krystyna
2011
Design 07: Kolowska, Nottingham Trent University, UK 200 pages

200 colour illus
Menswear An introduction to menswear fashion that
considers a range of social and historical contexts
230 x 160mm / 9.1 x 6.3 inches
PB 9782940411436
that have served to define and redefine menswear
John Hopkins £23.50 / $34.50
through the ages.
Series: Basics Fashion Design
• Highly visual content with a mixture of Fairchild Books
contemporary and historical photographs,
artworks and scanned fabrics
• Interviews with contemporary and upcoming
menswear designers and photographers
John Hopkins is head of Fashion and Textiles at
Winchester School of Art, UK.
Basics Fashion Investigates fashion design research and how to

use it to develop inspired designs and concepts.
2012
Design 01: Simon Seivewright ran the undergraduate fashion

192 pages
200 illus
Research and degree program at Northbrook College, UK.
230 x 160mm / 9.1 x 6.3 inches
PB 9782940411702
Design £24.99 / $34.50
Simon Seivewright Fairchild Books
New to this edition

• Filled with new, full-length interviews with contemporary designers and creatives
including Jenny Packham, Omar Kashoura, Alice Palmer, Julien Macdonald, Richard
Sorger and Dr. Noki
• Designed to inspire students in their own creative work, Research and Design also
features helpful, practical exercises to support readers with their own understanding
and creative development
• Fully updated and revised, this new edition is full of useful advice about where to go to
find inspiration when researching concepts for design work
25
Technical Design and
CAD for Fashion
Technical Presents a comprehensive and holistic perspective

of technical design processes for aspiring and
UK May 2014
US March 2014
Sourcebook for professional apparel designers.
496 pages
Designers • Includes detailed illustrations of design flats and
sample spec sheets from technical packages
695 2-colour illus
229 x 305mm / 9 x 12 inches
for a variety of garments including menswear,
Jaeil Lee and Camille Steen Book + STUDIO Bundle
women’s wear, and knitwear
9781501395376 
• Lists key terms and provides a comprehensive £64.00 / $100.00
glossary STUDIO Access Card
9781501395130
• Features ASTM and ISO industry standards Fairchild Books
for seams and stitches plus tech packs for 12
different apparel products
• STUDIO: Technical Sourcebook for Designers
features online self-study quizzes and flashcards,
templates of blank tech packs, clip art of flats for
various product, and Excel charts of tech packs
with embedded grade rule formulas
• Teaching Resources: Instructor’s Guide, +25,=217$/0($685(0(176
1(&.:,'7+
9(57,&$/0($685(0(176
6+28/'(5'523
5,*+7+36
Step 3 When the shoulder seam is in place, continue on
to the armhole.
Step 5 Draw a back neck line (see Steps 3 through 5 in
Figure 4.33).
PowerPoint presentations and image bank

Step 4 Draw the side seam and the bottom edge, ending at Step 6 Mirror the image. Remove the guide square, but
the center line. Note that for this style, the bottom tapers in leave the center line, which will be used to position the
6+28/'(532,177232,17 )52171(&.'523)520+36 slightly (the chest measurement is bigger than the bottom sleeve (see Figure 4.34).
opening), which is typical for a men’s knit style.
available
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Jaeil Lee is a Professor and Director of Clothing

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a b &(17(5/,1( &(17(5/,1(
Figure 4.31 measurements, horizontal and vertical, men’s shirt

University, USA.
67(3$1' 67(3
Step 1 Set up the horizontal guidelines for front neck Step 2 Set up the guides for shoulder point to point,
drop and neck width. Identify the HPS position. Draw and shoulder drop. Draw the line segment, which is the
ULJKW VLGH IURP
the front neckline according to the spec (see Figure 4.32). shoulder seam (see Figure 4.32). ULJKW VLGH IURP
32,176 2) 0($685( 6SHF FHQWHU SRLQW
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Camille Steen is Technical Designer Manager at

6+28/'(532,177232,17
Figure 4.33 Drawing a men’s long-sleeved shirt: Steps 3 through 5
6+28/'(5
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Ex Officio LLC, USA.

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Preface · Acknowledgments · Overview of the Industry · The Apparel Product Figure 4.32 Drawing a men’s long-sleeved shirt: Steps 1 and 2
67(36$1'
Figure 4.34 mirror the drawing: Step 6
Development Process and Technical Design · All about the Technical Package · 78 c H A P T E r 4 : D E v E lo P i n g T E c H n i c A l S k E Tc H E S D r Aw i n g g A r m E n T S T o S c A l E , S T E P B y S T E P 79
Developing Technical Sketches · Technical Design Terms for Silhouettes and Design
Details · Styles, Lines, and Details for Shape and Fit · Fabrics and Cutting · Sweaters ·
Stitches and SPI · Seams, Seam Finishes and Edge Treatments · Construction-Related
Design Details · Shape and Support · Fasteners · Labels and Packaging · How to
Measure, Size, and Grade · Fit and Fitting · Appendix A: Seams and Stitches · Appendix
B: XYZ Product Development, Inc.: Selected Technical Packages · Glossary · Index
Key Titles
www/Textbook
CAD for Fashion An all-in-one resource for creating digital fashion

presentations using Adobe Illustrator® and Adobe
2013
Design and Photoshop®. Colourful illustrations accompany

easy, step-by-step tutorials and DVD videos
592 pages
1250 colour illus
Merchandising geared toward students at the beginner and 229 x 305mm / 9 x 12 inches
intermediate levels. Book + STUDIO
Stacy Stewart Smith 9781501395345 
• “Digital Duo” feature shows users how to £60.00 / $100.00
combine techniques in Photoshop® and STUDIO Access Card
Illustrator® to achieve optimal results 9781501395109
• STUDIO: CAD for Fashion Design and Fairchild Books
Merchandising features video demonstrations
providing additional practice and supplementary
techniques, plus CS6 applications files needed
to complete tutorials in the text, Digital Duo
Modeling
Stacy Stewart Smith is an Adjunct Assistant
Professor of Fashion Design Art at the Fashion
26
Construction
A Guide to Features step-by-step

instructions and illustrations
UK May 2015
US March 2015
Fashion Sewing that take the reader start to
finish through over 100 sewing 400 pages
Connie Amaden-Crawford applications. 1200 bw illus
229 x 305mm / 9 x 12 inches
• Studio Tips highlight important
construction techniques used
9781501395284
in the fashion industry
£70.00 / $115.00
• STUDIO: A Guide to Fashion STUDIO Access Card
Sewing includes video 9781501395048
demonstrations to accompany Fairchild Books
chapter lessons, plus self-
quizzes and flashcards
Instructor’s Guide available
Connie Amaden-Crawford is
President and CEO of Fashion
Patterns by Coni, USA.
New to this edition

• New industrial sewing machine information and photographs
• Expanded information on tailoring
• Now includes metric measurement equivalents within text
instruction
• Appendices include new project checklists and 1/2 pattern blocks
Contents
Preface
Chapter 6: Stitches Key Terms and Concepts
Acknowledgements
KEY TERMS
1. The Sewing Machine and Glossary of Sewing Terms
Stay stitching is plain machine stitching 1⁄8 inch (0.32 cm)
Chapter 6 Objectives and C O N C E P T S inside the stitchline before the garment is assembled.
By studying the information in this chapter, the designer It is used to maintain the original shape of the garment
Sewing Equipment
will be able to: pieces and prevent stretching, which is especially Zigzag stitches are machine stitches
Appendix A: Project Checklists »

»
Learn hand stitching methods.
Learn sewing machine stitching guidelines.
Stitches are created in a complete sewing action, using a
threaded needle. They can be produced either by hand or
machine. Stitches may be functional or decorative, and
necessary in necklines. that have a saw-toothed shape. Zigzag
stitches are used to join two pieces of
fabric together to create a decorative
2. Identifying Fashion Fabrics Appendix B: Pattern Blocks

»
»
»
Learn basic stitch length.
Identify basic stitches.
Identify the zigzag stitch.
they may be concealed within or show on the face of a
garment.
design. The stitch length and width can
be varied, depending upon the desired
effect. Using a zigzag stitch on the seam
Equipment » Identify topstitching. Permanent stitches are used for seams, darts, and tucks. edge will prevent raveling.
Appendix C: Yardage
» Learn the uses and methods of topstitching. The length and tension of the stitch varies, depending on
» Learn to sew a crimped seam. the fabric used. On most medium-weight fabrics, there Zigzag stitches can also be used when
3. Body Types and Size Charts

» Learn to sew a gathered seam and distribute are about 10 to 12 stitches per inch (25.4 cm to 30.48 cm); sewing knits. (Refer to “Sewing with
Conversion Table fullness.

» Learn to sew an overlock / serged seam and a
merrow edge.
sheers require a finer stitch length, about 14 stitches per
inch (35.56 cm); heavyweight fabric is usually sewn at 8
to 10 stitches per inch (20.32 cm to 25.4 cm).
Knits,” Chapter 11.)
4. Planning a Design and Appendix D: Fabric Resources

» Learn to sew various hem stitches.
Regular stitch is a straight, consistent, even-length stitch
used as a permanent stitch.
STUDIO TIP
Place your index finger behind the foot as you sew to prevent
the seam from stretching out the original shape of the fabric.
Directional stitching prevents seam stretching. In general,
shoulder seams are stitched from the neckline to the
Selecting Fabric armhole; side seams from the underarm to the waistline;
Index
sleeve seams from the underarm to the wrist; and skirt /
P R A C T I C E PAT T E R N S pant seams from the hem to the waistline.
5. Method to This Madness

Stitching Guides are located in Appendix A. By using these
Stitching Guides, one begins to learn to control the pace of the
machine, how to guide the fabric, and how to stop and start a Pin basting is used when pins hold fabric pieces together,
seam with backstitching. so that they can be easily removed as stitched. Use as
6. Stitches many pins as necessary to keep the layers of fabric from
Video Contents:
slipping.
7. Seams
Lesson One: The Sewing STUDIO TIPS pin
basting
8. Darts
» To make the sewing process easier on sheer or slippery Basting stitches are long temporary stitches made by
Machine and Sewing fabrics, place a piece of tissue paper under fabric to
prevent slipping. After stitching, tear the tissue away.
hand or machine, approximately 6 stitches per inch (2.4
per cm). Ends are not fastened or backstitched. Before
basting stitches are removed, threads are snipped every
9. Pleats and Tucks Equipment » When sewing velvet or pile fabrics, hand baste along the
seam line to prevent the fabric from slipping. Stitch the
seam in the direction of the pile.
few inches to facilitate removal.
10. Bias and Bias Treatments Lesson Two: Seams » Areas where there is strain or a need for reinforcement,
such as points of collars, cuffs, and pointed faced openings
of necklines, need a finer, tighter stitch, usually 16 to 18
11. Sewing with Knits Lesson Three: Darts

stitches per inch (6.3 to 7.1 per cm).
12. Zippers Lesson Four: Bias and Bias

13. Pockets Treatment 96 97
14. Sleeves Lesson Five: Zippers

15. Collars Lesson Six: Planning a Design
and Selecting Fabric
16. Necklines
Lesson Seven: Garment Sewing
17. Facings
Process
18. Linings
19. Tailoring
20. Waistlines
21. Hems
22. Closures
27
Construction
Classic Tailoring Since its first publication,

Classic Tailoring Techniques:
UK May 2015
US March 2015
Techniques A Construction Guide for
Menswear has been the 304 pages
A Construction authoritative resource for custom 420 bw photos and 300 bw illus
hand tailoring production. This 216 x 279mm / 8.5 x 11 inches
Guide for new edition focuses on updating Book + STUDIO Bundle
Menswear these timeless construction
techniques.
9781501395390
£50.00 / $95.00
STUDIO Access Card
Roberto Cabrera and Roberto Cabrera was an
9781501395154
Denis Antoine instructor at the Fashion Institute
Fairchild Books
of Technology in New York City,
USA.
Denis Antoine teaches in the
fashion program at Savannah
College of Art and Design, USA.
New to this edition

• Includes a brief overview of contemporary tailoring and the
identifying key components of luxury tailoring from Britain, Italy and
the Unites States
• More than 700 new photographs and illustrations with colour line
overlays improve the clarity and detail of instructions and examples
• New boxed features adjacent to construction processes discuss
how the traditional methods presented can also be used for the
production of “hybrid” luxury ready-to-wear
• Expanded key terminology within text, a new glossary and updated
list of supply sources at the end of the book
• Presents clarified measuring instructions supported by a new series
of annotated photographs
• STUDIO: Classic Tailoring Techniques includes quizzes, flashcards,
and a digital library of quarter-scale pattern blocks
• Teaching Resources: Instructor's Guide available
Contents
Preface
1. Tailoring Slant Yoke
2. The Pattern Side & Slant Pocket Facing ⅜"(1cm)
3. The Fit Back Pocket Facing

4. Fabric French Tab
⅜"(1cm)
5. Layout/Cutting French Fly Front
6. The Jacket Shoulder Pad

7. The Pants Appendix B: Tailoring Supply
8. The Vest Sources ¾"(1.9cm)
9. Alterations Glossary ⅜"(1cm)
Appendix A: Pattern Blocks Bibliography

Back Pocket Piping Index
2"(5cm)
28
Construction
Professional A fully illustrated and detailed construction guide

designed to help students and professionals
UK July 2014
US June 2014
Sewing develop accurate and quality sewing skills to
create original fashion designs. 608 pages
Techniques for • Style Key features indicate the various materials
1,015 colour illus
280 x 216mm / 11 x 8.5 inches
Designers used for each project
• New chapter order reflects the stitching order of 9781501395529 
Julie Cole and Sharon Czachor garments £70.00 / $115.00
STUDIO Access Card
• New Chapter 5 "Sticking Knits: Working with 9781501395512
Stretch" and Chapter 7 "Fitting: Developing an Fairchild Books
'Eye' for Good Fit"
• STUDIO: Professional Sewing Techniques for
Designers features self-study quizzes, flashcards
and downloadable half-scale patterns to
accompany each chapter
wrong
wrong side
side of
of fabric
fabric
5
correct side of interfacing
correct
correct side
side of
of interfacing
interfacing
• Teaching Resources: Instructor’s Guide includes STYLE KEY

wrong side of nonfusible interfacing
wrong
wrong side
side of
of nonfusible
nonfusible interfacing
interfacing
source outlines, suggestions for additional Correct

correct side ofSide
correct
correct side
side of
fabric of Fabric
correct side of fabric
of fabric
fabric
wrong side of fusible interfacing
Wrong
wrong
wrong side Side
side of
of fusible of
fusible
Fusible Interfacing
interfacing
interfacing
projects, how to use the sample workbook and C H A P T E R
Wrong
wrong side ofSide
fabric of Fabric
wrong side of fabric
wrong
wrong side
side of
of fabric
fabric
correct side of underlining
Correct
correct
correct side
Side
side of
of Underlining
of underlining
underlining
patterns, tips and problem-solving techniques Correct

correct side ofSide
correct
correct side
side of
of Interfacing
interfacing
of interfacing
interfacing
correct side of lining
Correct
correct
correct side
Side
correct side of lining
side of
of lining
lining
of Lining
and evaluation guidelines for student projects Wrong

wrong
wrong side
Side of Nonfusible
side of
Interfacing of nonfusible
nonfusible interfacing
interfacing
wrong side of lining
Wrong Side of Lining
Stitching Knits:
Julie Cole owns a business designing couture Working with Stretch
Stitching Order
wrong
wrong side
side of
of fusible
fusible interfacing
interfacing
bridal gowns based in the USA. correct side of underlining
K
nits are comfortable, easy to wear, wrinkle free, “forgiving” in fit, and easy to care for, and are
K EY T ER MS
great travel clothes for all these reasons. Knits can be elegant, funky, sporty, innovative, and 2-Thread Serger Felted Wool
classic. The very thing that makes knits wonderful is also what makes them tricky—stretch.
correct side ofToo
correct side of lining much Stitch Invisible Casing
Sharon Czachor is an adjunct instructor in the

lining
correct side of lining correct side of lining
stretch, and the garment fit could be a disaster; not enough stretch, and it could be a disaster. The 3-Thread Serger Joined Elastic
amount of stretch in a knit replaces many fitting details such as style lines, princess seams, and Stitch Casing
fashion department of Harper College, USA. 4-Thread Safety Mesh Knit

darts, so it’s important to have the right amount of stretch in the fabric. Some knits stretch only in the wrong side of lining
wrong
wrong side
side of
of lining
lining
width and/or the length. The huge variety of weights, blends, and textures of knits requires careful Stitch Open Serged Seam
consideration of the use of the knit for the style of the garment. Knit and woven fabrics need very 4-Thread Serger Rotary Cutter and
Contents
different designs, because knit fabric stretches and woven fabrics don’t (the exception being woven Stitch Mat
fabrics with a small percentage of Lycra added for comfort). The percentage of stretch (referred to as 5-Thread Serger Seam Finish
stretch factor or stretch capacity) in the fabric replaces the ease of the garment, and how this stretch Stitch Serged Hem
is utilized in the design is what determines the fit of the garment. Typically, knits have fewer design Activewear Serger
Casings Single Knit Jersey
Preface
lines, making them faster and easier to fit and construct. Although speedy sewing may be part of the
attraction to stitching with knits, it does not mean sacrificing quality stitching or design. Chainstitch Sweater Knit
This chapter will direct you on how to stitch successfully with knits, which are very versatile Closed Serged Seam Three-Stitch Zigzag
fabrics. Acquiring this skill requires you to become knowledgeable about the different stretch Courses or Loops Twin Needle
Acknowledgments capacities of each knit and how those differences must be applied to the garment being designed.
Utilizing the stretch in each knit impacts the fit of the knit garment, and without good fit, there isn’t
Crooked Straight
Stitch
Twin Needle Hem
Wales or Ribs
good design. Mastering the stretch is mastering the knit, and this may require time and patience as Double Knit Zigzag Stitch
Style Key 154
1. The Design Process: Why 11. Waistbands: Finishing the Waist

Construction Should Matter to the Edge
Fashion Designer 12. Ruffles and Flounces: Feminine and 164 C ha p t e r 5 | S t i t c h i ng K n i t s : Wo r k i ng w i t h S t r e t c h
2. Getting Prepared: Sewing Flirty F IG U R E 5 .6 SE WING MACH INE S TR ETCH S TITCHE S FIGURE 5.7 SERGER STITCHES
Equipment, Fabric, Patterns and 13. Collars: Silhouetting the Neck

Pressing
looper thread upper
looper
FIGURE 5.6A CROOKED STR AIGHT STITCH
14. Facings: Encasing Unfinished Edges

thread
3. Introduction to Stabilizers:
needle thread
needle thread
15. Cuffs and Other Finishes: Encircling lower looper thread
Fabricating a Stable Foundation F IG U R E 5 .6 B TH R E E-S TITC H Z IG Z AG S TITC H
the Wrist F I G U R E 5 . 7A 2 -T H R E A D F I G U R E 5 . 7 B 3 -T H R E A D
4. Seams: Joining It All Together

SERGER STITCH SERGER STITCH
16. Sleeves: Setting the Sleeves F IG U R E 5 .6C Z IG Z AG S TITC H

left needle right needle left needle right needle
5. Stitching Knits: Working with Stretch

17. Hems: Defining the Length
upper upper
looper looper
6. Darts: Tapering to Fit the Garment FIGURE 5.6D TRIPLE STR AIGHT STITCH
18. Linings: Covering the Inner Surface lower looper

lower right looper
7. Fitting: Developing an "Eye" for correct side wrong side

lower left looper
Glossary
Good Fit FIGURE 5.6E T WIN NEEDLE STITCHING
F I G U R E 5 . 7 C 4 -T H R E A D F I G U R E 5 . 7 D 5 -T H R E A D
Where to Buy
SERGER STITCH SERGER STITCH
8. Pockets: Building a Handy

Compartment Notes You should take time to consider whether to finish
the seams first, before the seams are stitched, or
you want it to look. So to finish the seams first
may be problematic. The decision is up to you
Types of Serger Stitches
Sergers can produce stitches using a variety of
Index
after. While the garment is being developed, the and guided by the individual style being stitched. thread combinations depending on the number
9. Tucks and Pleats: Tailoring a Texture fit is being perfected. Recutting, restitching, and
more fitting continue until the style is exactly how
Consultation with your instructor will also help
in making the best decision.
of threads they can utilize. Sergers set up in pro-
duction usually produce just one type of stitch:
10. Zippers: Fastening Your Way into the

Garment
Sample This companion workbook consists of project

instructions and card stock worksheets in a
UK August 2014
US June 2014
Workbook to 3-hole binder for convenient storage. Using these
resources, students can sew sample garment 160 pages
Accompany details and record design information for ongoing 216 x 279mm / 8.5 x 11 inches
and additional projects. The instructions for each Flexiback 9781609018801
Professional project list the supplies and tasks needed to £50.00 / $80.00
Sewing prepare the samples, plus clear cross references
to sewing techniques in the textbook, Professional
Fairchild Books
Techniques Sewing Techniques for Designers, 2nd Edition,

and the downloadable half-scales patterns
for Designers available to complete projects.
Julie Cole and Sharon Czachor
29
Construction
Textbook
Fashion Sewing: Packed with step-by-step sewing instructions and

illustrations, Introductory Techniques is a guide
UK September 2014
Introductory for all those with an interest in dressmaking, from

complete beginners to more seasoned sewers.
184 pages
1,000 colour illus
Techniques The book includes an introduction to fabrics, 270 x 210mm /
a fitting guide and a wide range of basic and 10.6 x 8.3 inches
Connie Amaden-Crawford intermediate techniques on stitches, seams, hems PB 9781472529459
and fastenings. £23.99
Fairchild Books
• Includes guidance on setting up sewing
Not available in USA and
machines, overlockers/sergers and other sewing
Canada
equipment
• Tables provide one-stop information for selecting
fabrics by garment category with tips on
performance qualities, care, pressing and sewing
• Appendices include a glossary and extensive
sewing and fabric resources
Connie Amaden-Crawford is President and CEO
of Fashion Patterns by Coni, USA.
Textbook
Fashion Sewing: Fashion Sewing: Advanced Techniques guides

the reader through a range of intermediate and
UK December 2014
Advanced advanced skills, such as tailoring, sewing with

knits, inserting linings and facings and how to
208 pages
1000 colour illus
Techniques sew a wide range of design variations for collars, 270 x 210mm /
pockets and sleeves. The detailed step-by- 10.6 x 8.3 inches
Connie Amaden-Crawford step instructions are easy to follow, with clear PB 9781472532664
accompanying illustrations. £23.99
Fairchild Books
• Includes studio tips and tricks of the trade that Not available in USA and
will help produce a professional, industry finish Canada
• Includes guidance on how to select linings and
interfacings for typical fabrics with performance
qualities and care tips
• A companion to Fashion Sewing: Introductory
Techniques
Key Titles
Textbook
Sewing Sewing Techniques simplifies the often complex

processes required to turn a two-dimensional
2014
Techniques design into its three-dimensional realisation by

arming readers with the basic sewing skills they
184 pages
200 colour illus
An Introduction need; clear diagrams demonstrate essential 230 x 160mm / 9.1 x 6.3 inches
techniques in a step-by-step way. The book PB 9782940411917
to Construction encourages students to develop their own sample £23.99 / $39.95
Skills Within the folio and emphasises the importance of developing
these for individual projects. It explores the work
Fairchild Books
Design Process of contemporary fashion practices, including Elie
Saab, Fumilayo Deri and Ada Zanditon.
Jennifer Prendergast Jennifer Prendergast is a Senior Lecturer in
Design and Product Development at Manchester
Metropolitan University, UK.
30
Patternmaking and Draping Key Titles
www/Textbook
Patternmaking for A current, comprehensive and user-friendly guide

to men’s patternmaking.
2014
Menswear • Reflects the contemporary menswear market with

488 pages
600 bw illus
Classic to emphasis on patternmaking for both slim-fit and
classic-fit style
229 x 305mm / 9 x 12 inches
Contemporary • Details patternmaking techniques for knit designs 9781501395505
using jersey fabrics £54.00 / $85.00
Myoungok Kim and Injoo Kim STUDIO Access Card
• Includes 2-colour flat sketches showing details 9781501395499
and finished pattern drafts and photos showing Fairchild Books
completed garments and how to accurately
measure the male body
• STUDIO: Patternmaking for Menswear features
self-quizzes, flashcards, and downloadable half-
scale pattern slopers
• Teaching Resources: Instructor's Guides
including course syllabi, project descriptions,
student samples, and evaluation sheets for each
project available
Myoungok Kim is a lecturer in the Department of
Clothing and Textiles at Hanyang University, South
Korea, as well as a visiting scholar at the University
of Cincinnati, USA.
Injoo Kim is an Associate Professor in the Fashion
Design program at the University of Cincinnati, USA.
Contents
Preface Moto Jacket Back Draft (Figure 10.29)
• Trace the back classic-fit casual jacket foundation
Section I : Principles 10. Casual Jackets Design Style Points

This style borrows design elements from the
protective jackets commonly worn by motorcycle
(Figure 10.5 or 10.6, pages 292–293).
• A–B = Jacket length on the back; make the desired

length from the sloper hip line (ex: 1½″).
E
A
5″
¼″GI
1. Introduction to Patternmaking 11. Suit Jackets

F
riders. Such details featured in this design • C = The side seam at bottom. H
include the shoulder epaulettes with belt loops,

• D = The side chest point.
the standing collar with concealed hood, and the C.L.
• E = The L.P.S. D
center front zipper closure and placket. Back
2. Basic Sloper for Wovens: Slim-Fit 12. Coats
C.B.
• A–F = A yoke depth; measure down (ex: 5″).
String tunnel
classic-Fit Style • F–G = Draw a line perpendicular to the center (ex:¾″)
style vs Classic-Fit
back. W.L.
13. Vests
1. Zipper and placket
• H = The midpoint of line F–G.
2. Inner drawstring
• G–I = Measure up ¼″.
3. Standing collar and zipper with concealed
3. Necklines
• I–H = Draw a straight line.
Section III: Design Variations For

hood H.L.
• Mark the string tunnel (casing) placement by 1½″
4. Shoulder epaulettes drawing a ¾″ line parallel to the waist line, as C B
shown.
4. Collars Knit Fabrics

5. Front and back yokes Figure 10.29
• Mark the notch positions on the armhole line.
6. Welt pocket
• Mark the fold symbol on the yoke section.
7. Patch pockets
14. Jersey Knit Torso Sloper and Tops

• Separate the yoke section from the body section.
5. Sleeves and Cuffs 3 4

8. One-pleat sleeves with cuffs
6. Plackets and Pockets 15. Knit Pants

epaulette Draft (Figure 10.30)
• E–J = Measure down half of the epaulette width

(ex: ¾″).
6 1″
¾″ M L
7. Details Appendices
• J–K and K–L = Draw an epaulette shape
according to the design. E K A
2
• L–M = Epaulette belt placement; measure in J
⅝″
C.B.
(ex: 1″). =Back-neck
A. Reference Size Charts for Men

length
Section II: Design Variations For 7

• Lengthwise draw the half of the epaulette belt:
the length, half of epaulette width + ¼″ – ½″, and
the band width, 5⁄8″.
I
Figure 10.30
F
Woven Fabrics B. Basic Metric Conversion

8. Shirts C. Quarter-Scale Slopers
1 8
Flat 10.4
9. Pants D. Glossary of Terms Moto Jacket 309 310 Chapter 10: Casual Jackets
Pattern-drafting Each title in the Pattern-drafting for Fashion series

is a practical guide to pattern-making for fashion
2011
for Fashion students and serious home dressmakers. Pattern-

drafting for Fashion: The Basics shows how to
224 pages
600 colour illus
The Basics construct the block for the bodice and skirt, and PB 9781408129906
then modify it for different styles. £35.00 / $55.00
Teresa Gilewska World English
• Covers all the basics of pattern designs for a Bloomsbury Visual Arts
complete range of garments
• Features clear, step-by-step instructions
• Packed with handy tips and practical illustrations
31
Patternmaking and Draping
Fashion Pattern Fashion Pattern Cutting

pushes the boundaries of
UK June 2014
US August 2014
Cutting 3D experimentation on the
mannequin stand. Designed to 144 pages
Line, Shape boost confidence and design 200 colour illus
creativity, it provides a step-by- 276 x 219mm / 10.9 x 8.6
and Volume step guide to the pattern cutting inches
process, from finding the initial PB 9781408156698
Zarida Zaman inspiration for a design through £19.99 / $29.95
to creating the finished product. Bloomsbury Visual Arts
Included in the book are
hand-drawn pattern pieces,
complete with measurements
and recommended fabrics to
help readers achieve the best
effects, whether beginners or
experienced pattern cutters.
Zarida Zaman teaches at
Institute Marangoni and the
London College of Fashion, UK.
B Ox - F R O N T S K I R T 15
a 2.6” (7 cm)
2.6” (7 cm)
Box-Front
Skirt
17” (43 cm)

This striking design, with the
angled lines depicting the side of
a building, is directly inspired by
the architecture theme. The skirt
is sculptural in its design and has
a three-dimensional effect.
The design is created by a series

of simple step-by-step tasks. d 9” (23 cm)
This method of creating relies on

To begin this design, we need We will then need to add our box When you cut the box shape, ensure
working directly with a 3D form 1 to create a basic skirt shape with 2 shape. This is how I created mine. you have seam allowance as we will
or mannequin stand. If you do the darts kept in. A simple fitted The measurements are a guide, but use this to place the box on the simple
not have one, use yourself as a skirt will work the best. Decide you can decide on the length and skirt shape.
model to check for size and fit. on the length you want. I have width of your own design. Using a
used a length just over the knees. structured fabric with stability will a. 2.6 inches (7 cm)
work the best for this design. I always b. 2.6 inches (7 cm)
use a cheap and plain fabric such as c. 17 inches (43 cm)
calico when making the toile or muslin. d. 9 inches (23 cm)
AC C O R D I O N - P L E AT E D S L E E V E 107 108 ORIgAMI
The finished sleeve was made from

7 silk material. This type of silk has
little movement and works well for
the design. The finished effect is
eye catching and strongly reflects
the origami inspiration.
A close-up of the pleats shows

6 the simplicity of the design.
When the garment is not being
worn, the sleeves lie flat.
32
P L E AT- S E C T I O N S K I R T 117
4 6
The pleats are For additional flair,

multiplied around insert the pleats
the hem of a into the lower part
dress, creating a of a dress.
ruffled effect.
The pleats can

inserted into the
back of a jacket.
This design looks
problematic
to wear, but in
reality it is not,
as the pleats
move and lay flat
when needed.
33
Patternmaking and Draping Key Titles
Draping for “Clarity is a strength. Students can see the

design lines and make an analysis before
2013
Apparel Design moving into a drape.” Debra Otte, Montclair

State University, USA
640 pages
1,450 illus
Helen Joseph-Armstrong 229 x 305mm / 9 x 12 inches
A complete book of draping techniques updated
PB 9781609012403
with an easy-to-follow format, 150 new beautifully-
£60.00 / $105.00
rendered fashion illustrations and more than 10
Fairchild Books
new design projects.
• New step-by-step instructions for padding a
dress form, an expanded guide for measuring the
dress form and model and updated instructions
for developing attachable arms
• New twist designs based on Madeleine Vionnet’s
bias-cut techniques and a bias slip dress design
variation
The Art of Fashion This user-friendly bestseller teaches the different

methods of — and principles involved in —
2012
Draping draping fabric on a dress form with step-by-step

draping instructions accompanied by two-colour
512 pages
1,450 colour illus
Connie Amaden-Crawford illustrations. 229 x 305mm / 9 x 12 inches
PB 9781609012274
• New chapter on fitting methods that explains
£65.00 / $115.00
how to evaluate garments and correct common
Fairchild Books
problems
• Updated and expanded chapters on trousers and
knits
• Intermediate and advanced design variations that
integrate contemporary designs with time-tested
classics
Textbook
Draping Basics With step-by-step written instructions, Draping

Basics provides the fundamentals of designing
2009
foundation garments by draping fabric on a dress 432 pages

Sally DiMarco 462 full colour illus
form. Photographs clearly demonstrate the details
of the process, and CAD drawings show how the PB 9781563677366
draping is transferred to paper patterns. The text £55.00 / $105.00
covers the foundation skirt, bodice, and set-in Fairchild Books
sleeve, as well as foundation bodice variations;
dart equivalent bodice styles; bodice designs; and
skirt, dress, and collar styles.
34
Sustainable Fashion
Sustainable Sustainable Fashion provides a unique and

accessible overview of fashion ethics and
UK November 2014
US January 2015
Fashion sustainability issues of the past, present and future.
This book is the first to situate today’s eco-fashion 224 pages
Past, Present movement in its multifaceted historical context. 60 bw and 16 colour illus
244 x 169mm / 9.6 x 6.7 inches
and Future • Explores each stage of the fashion production
cycle
PB 9780857851857
£19.99 / $34.95
Jennifer Farley and Colleen Hill • Discusses the future of sustainable fashion HB 9780857851840
practices based on a wide variety of interviews £55.00 / $99.95
with eco-fashion designers Bloomsbury Academic
• Addresses key issues in sustainability, from
recycling and repurposing to labour practices
and the treatment of animals
Jennifer Farley is Assistant Curator of Costume at
The Museum at FIT, New York City, USA.
Colleen Hill is Assistant Curator of Accessories at
The Museum at FIT, New York City, USA.
Contents Overview
Introduction
1. Repurposed and Recycled Clothing
and Textiles
2. Quality of Craftsmanship
3. Textile Dyeing
4. Labor Practices
5. Treatment of Animals
Key Titles
www/Textbook
A Practical Guide “A well structured resource for teaching

which demonstrates a breadth of approaches
2014
to Sustainable to sustainability.” Jade Whitson-Smith,

University of Huddersfield, UK
176 pages
200 colour illus
Fashion 230 x 160mm / 9.1 x 6.3 inches
Packed with full-colour images from contributors PB 9782940496143
Alison Gwilt such as Vivienne Westwood, Stella McCartney, £23.99 / $44.95
Edun and People Tree, this is a much-needed Series: Basics Fashion Design
handbook for students and professionals in Fairchild Books
the fashion and textile industries. It includes
guidance on how to map and assess the
life cycle of a garment, case studies of best
practice and interviews with a selection of
industry professionals, including Annika Matilda
Wendelboe, Susan Dimasi (Materialbyproduct)
and Isabell de Hillerin.
• Online resources include a list of organisations
and designers featured in the kit
• Teaching Resources: PowerPoint available
35
Introduction to Textiles
Swatch Swatch Reference Guide to

Fashion Fabrics is an all-in-
UK April 2015
US February 2015
Reference one text and swatch book that
focuses on the unique needs 200 pages
Guide to Fashion of students in fashion design, 52 bw illus
apparel manufacturing and 216 x 279mm / 8.5 x 11 inches
Fabrics merchandising, and product Three-Ring Binder
development. The package HB 9781628926569
Deborah E. Young includes a 3-ring binder, 144 £106.00 / $170.00
page textbook, 56 swatch Fairchild Books
mounting boards, 206 fabric
swatches, and a metal pick
glass.
Deborah E. Young is a Textile
Science Instructor at Fashion
Institute of Design and
Merchandising (FIDM), Los
Angeles, USA.
Features
• Includes all pertinent information about each fabric sample pre-
printed on the mounting pages: fabric name, fiber content, yarn
construction, count, coloration, weight, uses, characteristics, and
similarities/differences between fabrics
• Teaching Resources: Instructor's Guide with new Fabric Key
PDF includes swatch pages with mounted fabrics. PowerPoint
presentations include lecture framework and images of front and
back of swatches.
New to this edition

• High quality, fashion-forward samples that reflects trends in the
fashion industry
• Expanded fiber chapters with relevant tips for performance
expectations and care
• Additional microscopic view photographs in Chapter 2 and 3
• STUDIO: Swatch Reference Guide to Fashion Fabrics includes
self-quizzes, flashcards, and a “How to Use the Swatch Reference
Guide” video tutorial
Contents
Preface
How to Use the Swatch Performance Expectations of Twill
Reference Guide Weaves

As float length increases, the following properties improve
or change:
Acknowledgements Durability
• Strongest overall weave
1. The Textile Cycle: From 9. Satin Weaves

• Average abrasion resistance (reduced by float length)
Left-handed twill • Improved elasticity
• Improved flexibility
Fiber to Fashion
• Higher, unbalanced count
10. Complex Weaves Comfort
2. Fiber Classification: Natural

• Improved air and water resistance due to floats
11. Pile Weaves Care
Fibers • Improved resilience
12. Knit Fabrics Appearance
3. Fiber Classification:
Right-handed twill
• Hides soil
13. Specialty Weft Knits

Figure 8.2 Left-hand and right-hand twill patterns • Improved drape
• Improved luster
Manufactured Fibers
14. Warp Knits
Uneven Twills
63°
4. Fiber Classification: 45°

Uneven twills have a minimum ratio of 1 to 2 or 2 to 1,
which means the woven structure is over one thread,
15. Minor Fabrications

under two, or a 3-to-1 ratio. Because the ratios are un-
Synthetic Fibers
balanced, the front and back of these fabrics are always
different (more so with 3-to-1 than 2-to-1). Denim is an
example of this type of twill; this fabric always has an ob-
27°
16. Dyed and Printed Fabrics

vious technical face (front) and back. The technical face
5. Yarn Classification
has the most pronounced wales and is more attractive
and durable (Figure 8.4).
6. Plain Weaves 17. Fabrics Defined by Finishes [Reference Swatches 70–75, 77, 78]
7. Plain-Weave Variations: Quick Reference Guide Tables Figure 8.3 Twill degrees of diagonal
Basket and Rib Weaves Swatch Boards

8. Twill Weaves S W A T C H R E F E R E N C E G U I D E F O R F A S H I O N F A B R I C S
50
36
Introduction to Textiles Key Titles
J.J. Pizzuto’s Fabric Science includes information on basic fibre

makeup, fibre innovation, the formation of fabrics,
2011
Fabric Science quality issues and laws that regulate textiles. 400 pages
Full colour illus
• Updated topics include environmental 216 x 279mm / 8.5 x 11 inches
Allen C. Cohen and Ingrid responsibility, and technology and innovations in
Johnson Three-Ring Binder
industrial textiles Book + STUDIO Bundle
• STUDIO: Fabric Science features online self- 9781501395369
quizzes, assignments and flashcards to help £65.00 / $110.00
students master concepts and improve grades STUDIO Access Card
9781501395123
New edition forthcoming • Teaching Resources: Instructor’s Guide and Fairchild Books
in Fall 2015 PowerPoint presentation available
J.J. Pizzuto’s Designed to accompany Fabric Science, this

Swatch Kit supplements the study of textiles
2011
Fabric Science for students in fashion design, merchandising,

product development and home furnishings. This
124 pages
216 x 279mm / 8.5 x 11 inches
Swatch Kit kit contains a three-ring binder, 3-hole punched Three-Ring Binder
text and mounting boards, 114 bundled fabric 9781609013585
Allen C. Cohen and Ingrid swatches and a pick glass. Swatches represent £55.00 / $90.00
Johnson the types of fabrics currently available to apparel, Fairchild Books
interior, and industrial designers.
• New examples eco-friendly fibers, microdenier
fiber, lyocell fiber, and “high tech” fabric such as
Staybright™ bleach-resistant fabric
• Teaching Resources: Instructor’s Swatch Set
New edition forthcoming with 8 additional samples, Instructor’s Guide, and
in Fall 2015 PowerPoint presentation
Textbook
The Textile Book “Although the authors planned this book

as a text/reference book, I recommend
2002
reading every page ... a valuable authority 232 pages

Colin Gale and Jasbir Kaur that provides an historical and global view 30 bw and 8 colour illus
of the past, present, and future of textiles.” 234 x 156mm / 9.2 x 6.1 inches
Handwoven PB 9781859735121
£18.99 / $32.95
“Essential reading for anyone considering a HB 9781859735077
career in textiles.” Embroidery Magazine £53.00 / $89.95
Berg Publishers
The Textile Book explores a range of textile
careers, from the creative, social and industrial, to
the commercial and associated practices, taking
us behind the scenes to reveal what various jobs
involve, what influences decision makers, and how
their decisions affect what we buy next season.
37
Introduction to Textiles Key Titles
Textbook
Sourcing and Written with the innovative fashion student in mind,

Cadigan gives a full overview of the current textile
2014
Selecting Textiles market and shows how to apply this knowledge

when creating a fashion collection. Students will
208 pages
200 colour illus
for Fashion learn about the different textiles available, where 300 x 220mm /
to source them, how their specific properties 11.8 x 8.3 inches
Erin Cadigan affect design, how to manipulate or create custom PB 9782940496105
textiles and the steps to creating a well-rounded £37.99 / $70.00
fashion collection. Series: Required Reading
Contents Range
Fairchild Books
Introduction
1. The Role of Textile In Fashion: Fabric; Designing Custom Textiles;
Textile Culture; Evolution of Textile Tradeshows; Designer Spotlight -
Design; Global Textile Production; A Melanie Bowles and Ceri Issac of
Call For Sustainability; Certifications Makeitdigital Textiles.
and Labeling. 5. Textile and the Collection: Textile
2. Materials Fibres and Yarns: Choice; Designing to Textiles;
Woven Fabrics; Knits Other Methods Surface Design; Signature Textile 45 68
fibres sourcing and selecting CHAPTEr ONE: THE rOLE OF TExTILES IN FASHION
YArNS textiles for fashion chapter tWo: materials
TExTILE CONSTrUCTION METHODS CHAPTEr THrEE: SUrFACE DESIgN
COLOUrINg THE FABrIC CHAPTEr FOUr: CONCEPTUALIzINg THE COLLECTION
FINISHINg METHODS CHAPTEr FIvE: SOUrCINg YOUr FABrIC
of Production; Non-Fabric Textiles; In Design; Drawing Your Designs;

DESIgNEr SPOTLIgHT – PATAgONIA CHAPTEr SIx: TExTILES AND THE COLLECTION
SOUrCINg INTErvIEWS
APPENDIx
Future Fabrics; Colouring the Fabric; Draping Your Designs; Editing the
2 11 The Super Twirkle Mini 11
2 A selection of natural Dress by CuteCircuit is an
fibre fabrics. interactive minidress utilizing
d e smart technology. The fabric
c a Silk georgette is embedded with CuteCircuit
Finishing Methods; Surface Design; Collection; Designer Spotlight - Issey

b Silk georgette LED technology that sparkles
c Dupion silk and glows.
d Wool melton
e Wool herringbone
f Shearling
g Leather
h Jute hessian
Decorative Dye Effects; Printing Mikaye.

i Cotton lawn
j Cotton shirting
a k Denim
l Linen
b
and Pattern; Embroidery; Fabric 6. Sourcing Interviews: Student

Manipulation; Three Dimensional Interview - theresa Deckner, Fashion
h
f i
Embellishments; Designer Spotlight Student; Indie Designer Interview -

- Astrid De Saint Anthost, Le Studio David J Krause, Fashion Designer,
Anthost. the Twentyten Alder; Sustainable j
3. Conceptualizing the Collection: Interview - Rebecca Burgess, k

l
Target Market; Mood Boards and Fashion Designer/Textile Designer,

Inspiration; Trend; Silhouette; Colour; Fibershed Project; Lifestyle/
Surface; Designer Spotlight – Activewear Interview - Burton
Rhodarte Snowboard Company; Ready to
4. Sourcing Your Fabric: Getting Wear Interview - Anna Suimass;
the Fabric to Market; Industry Market Interview - Urban Outfitters 9782940496105_txt_print_black3.indd 45 22/8/13 3:32 PM 9782940496105_txt_print_black3.indd 68 22/8/13 3:32 PM
Sources of Textiles; Retail Sources Inc.

of Textiles; the Changing World of Glossary
Sourcing; Fabric Properties and Bibliography
Characteristics; Creating Your Own
Index
How to Read “An excellent reference guide.” Craftsman

Magazine
2009
Pattern How to Read Pattern narrates the evolution of

256 pages
575 colour illus
A Crash Course textile pattern through the history of manmade PB 9781408109434
design. It studies the decorative art of pattern £9.99
in Textile Design across a range of cultural aesthetics embracing World English (excluding
Egyptian, Greek and Roman motifs, Asian and Australia, Bangladesh, Canada,
Clive Edwards Middle Eastern as well as Western designs from India, Malaysia, New Zealand,
medieval times up to the present. The chapters Pakistan, Singapore,
are thematic and include geometric, floral, natural Sri Lanka, USA)
forms, and abstract patterns, each broken down Herbert Press
into chronology and region.
ABSTRACT
Painterly Cotton, England,
c.1920s
A roller-printed
20th Century furnishing fabric
During the early 20th century a designed by
Minnie McLeish
number of well-known artists tried for William Foxton
their hand at pattern-making for Ltd. McLeish was
textiles. This development, often in known for bold,
bright patterns that
conjunction with the rise of abstraction
owe something to
in modern painting, was also reflected Linen, England, 1913 the influence of
in commercial patterns of the time. ‘Amenophis’, a furnishing fabric, was Cubist painters,
The similarity of a flat canvas and produced by Roger Fry for the Omega in this case visible
Workshops. Their innovative textile designs particularly in the
a flat textile ready for printing is set a fashion for abstract and geometric central column
clear. The combination of abstract themes. The pattern here is based on Fry’s of heavily
forms and geometry, often with a very painting Still Life with Eggs and Books. abstracted flowers.
lively working of the shapes and
colours within a design, represented a
‘modern’ approach to patterning that
was revolutionary.
Cotton, France, early 20th century Silk, France, c. 1920s Cotton, England, 1923
Designed by the Art Deco artist Madame The influence of fine painters on decorative This roller-printed furnishing fabric
Andrada, this furnishing fabric of printed art in France at this time was very strong, features a painterly palette of colours
cotton exhibits an exuberant abstract but and many artists worked as designers as reflecting contemporary art, within an
regular pattern featuring various geometric well. In this example, the influence of the abstract geometric pattern of rectangular
shapes in assorted warm bright colours, Fauves and their bold colour schemes is planes. Each rectangle is decorated with
and including a black and white combined with an exotic image of a stylised zigzag patterns comprising a multitude of
chequerboard pattern. woman with a turban. different colours.
150 151
38
Textile Design and Technology
www/Textbook
Surface Design A how-to guide to more than

60 surface design techniques
UK March 2015
US January 2015
for Fabric for various fabrics and leather
— ranging from the traditional to 320 pages
Kimberly Irwin the experimental. 850 colour illus
216 x 279mm / 8.5 x 11 inches
Kimberly A. Irwin teaches
fashion construction, apparel
9781501395277
development and experimental
£50.00 / $85.00
design techniques at Savannah
STUDIO Access Card
College of Art and Design
9781501395031
(SCAD), USA.
Fairchild Books
Features
• “Designer Profiles” and “Collection Spotlights” show current
examples of surface design end uses
• Includes helpful hints, important facts, shortcuts and mistakes to
avoid throughout chapters
• Provides step-by-step instructions, fabric quick guide keys,
application methods, tools and material needed, and safety tips for
every technique
• Spiral, stay-flat binding is easy to use in a studio environment
• STUDIO: Surface Design for Fabric includes video tutorials of
select techniques plus online self-quizzes and flashcards
• Teaching Resources: Instructor’s Guide and Test Bank available
Contents
Preface
1. Dyeing and Staining Fabric
2. Discharging Colour and
Using Resists
3. Transfer and Printing
4. Fiber Manipulation
5. Fabric Manipulation
6. Embroidery
7. Embellishment
8. Combining Techniques
Appendix A: Tips, Workspace,
and Preparation
Appendix B: Visual Library of
Materials
Bibliography
Glossary
Index
© Photography by David Otoddard, Designs by Particia Garcia
39
Textile Design and Technology Key Titles
Textile Surface “This is an exceedingly useful book that

is well presented, with plenty of inspiring
2013
Manipulation images of results you can achieve.” Textile

Fibre Forum
144 pages
300 colour illus
Nigel Cheney & Helen McAllister 246 x 189mm / 9.7 x 7.4 inches
Textile Surface Manipulation helps you to develop PB 9781408156704
a diverse variety of textile techniques from personal £16.99 / $27.95
visual inspiration sources, and apply these to ten Series: Textiles Handbooks
projects, with applications ranging from fashion to Bloomsbury Visual Arts
interiors to textile art.
Contents
Introduction D E C O R AT I N G S U R FAC E S : E M B E L L I S H I N G A N E x I S T I N G S U R FAC E
1. Visual Research
5
Decorating surfaces: effect and appreciation, beading should not only create a new visual
2. Repeat Structures
effect, but should also change the weight and handle of an object. The
embellishing an
embellishment and encrusting effect not only adds texture to a surface
but makes an object glitter, shimmer and shine.
3. Building Surfaces From Scratch existing surface

Sourcing materials
It is hard to create and design from poverty! Working from a meagre
range doesn’t allow for the excitement of unexpected contrasts. For 82
4. Decorating Existing Surfaces

best results, before embarking on any beading project it is worth
82 Variety of beads.
amassing a good range of beads. Finding a rich range of suitable beads
can be a challenge, but if over time you have collected a stockpile of
beads it is much easier to augment what you have with specific buys as
Working with imagery
5. Manipulating Surfaces Through

opposed to starting from scratch. Augmenting cheap beads with more
expensive types will certainly reduce overall costs. It is important to
Beading
build up your stock with a range of very small beads that can be added
Beading is an ancient technique that is widely used in many cultures to by specialist quality beads to be used as highlights, extra texture
Stitch and historical periods. It is used to denote status or importance by its

association with labour-intensive and time-consuming craftsmanship.
Beading techniques can be used to make forms and structures, and can
and detailing. It is hard to fight the magpie in us all that wants to buy
gorgeous beads, but for reasons of economy, these specialist purchases
should only be made when there is a project in mind! The stock range
be used as decoration on a ground fabric. Beading has been used to of beads should build up a palette of specific colours with differences in
6. Deconstructing and Disrupting transform the everyday, giving a rich couture finish to the overlooked
and indistinguishable. Can you over-bead? Never! If you do not
immediately see the impact, there is no point in beading at all. Even in
80 Example of beading worked over
folded/pleated fabric grounds.
scale, finish and cut. Finishes can range from matt, iridescent, pearlised,
metallic and so forth, while cut can have a range of faceted, textured or
shaped beads. Conventional beads can range from glass to plastic. By
Surfaces
81 Example of encrusted beading where
a small detail like a button or a motif, beads should never be eked out we see the stretch fabric base the beads are sourcing a wide variety you will have a rich palette of shades and tints
or used so sparingly as not to be seen at first glance. For full dynamic attached to. to your colours. Subtle or dramatic variations of beads allow for a richer
depth of field and create a lot more movement as the images or effects
become more trompe l’oeil and less flat. Ultimately, to achieve couture
7. Trims and Edges desirability a selection of beads is indispensable.
Preparation 83
Suppliers Beading does need time and adequate workspace to have everything
to hand. When beading is for a 2D ground, it is best to stretch it in a
hoop or frame then clamp this to a worktop, to allow for the use of two
83 Treasure chest of beads.
hands. This saves time and is especially applicable to big projects. For
Gallery large images or expanses of beading, using a quilting frame will mean
that you don’t need to re-hoop over an area you have already beaded.
Binding a hoop
About the Authors 80 81

Delicate fabrics or pile fabrics such as velvet can often be damaged or
marked by an embroidery hoop. One way to reduce damage is to wrap
Acknowledgements
46 47
Index
textile surface manipulation with AU edits 21.5.13.indd 46 28/05/2013 11:54 textile surface manipulation with AU edits 21.5.13.indd 47 28/05/2013 11:54
Rag Rug In Rag Rug Creations, you will discover a huge

range of applications for this basic technique,
2014
Creations such as wall hangings, bags, cushions and

accessories. This book reveals all the techniques
128 pages
200 full colour illus
An Exploration and possibilities open to you using a minimum 246 x 189mm / 9.7 x 7.4 inches
of specialist tools and a wide range of materials, PB 9781408157565
of Colour and including recycled and found objects. £16.99 / $27.95
Surface Series: Textiles Handbooks
Bloomsbury Visual Arts
Lynne Stein
Contents
Introduction R AG RU G C R E AT I o N S G A L L E Ry
History of Rag Rugging Projects

Tools and Equipment Gallery of Rag Rug Makers
Sources of Inspiration Rag Rugs in Museums and Galleries
Designing for Rag Rugging Further Reading
Preparation and Finishing Suppliers
Techniques Glossary 72
Detail and Embellishment Index 72 Kaffe Fassett, Mosaic. 78 x 120 cm

(31 x 47 in). Enjoying the vibrant colour
and textural potential afforded by the
medium, Kaffe’s mosaic design is worked
with a latch hook, using thrift shop fabrics.
Comparable to traditional ‘crazy paving’
rag-rug patterns, the grey outlines in
Mosaic give unity to the whole design.
Picture credit: The Kaffe Fassett Studio.
Featured in Glorious Interiors (London:
Ebury Press, 1995).
73 Linda Rae Coughlin, Walking on Eggs,

2007. 38 x 43 cm (15 x 17 in). Hooked,
stitched, machine and hand embroidered.
Recycled fabrics, linen foundation, threads,
gold chain. Linda combines rag-rug
techniques, embroidery and artefacts
to make political and personal gender
statements, which can sometimes be
uncomfortable, but always powerful.
54 73
56 115
rag rug creations - corrected second proofs 2.9.13.indd 56 07/10/2013 10:56 rag rug creations - final file to print 17.10.13.indd 115 22/10/2013 12:37
40
Textile Design and Technology
Digital Textile Digital Textile Printing charts the meteoric growth

of digital textile printing since the 1990s and
UK August 2015
US October 2015
Printing explores its implications for current textile design
practice. 192 pages
Susan Carden 40 colour illus
• The first study of digitally printed textiles as a 246 x 189mm / 9.7 x 7.4 inches
cultural phenomenon PB 9781472535672
• Examines how new digital print technology £21.99 / $34.95
affects the role of the designer HB 9781472535689
£65.00 / $100.00
• Explores issues of sustainability and authenticity Series: Textiles that Changed
in relation to new digital print technology the World
Susan Carden is a research student based at the Bloomsbury Academic
Centre for Advanced Textiles at Glasgow School
of Art, UK.
Contents
Introduction
1. History of Printed Textiles
2. Technologies, Substrates and Dyes
3. The Process of Digital Printing
4. Art and Design Practice
5. Essence of Digital Textile Printing
6. Crossing Disciplines
7. Sustainability and Ethics
8. Authenticity 
Bibliography 
Index
Key Titles
The Complete “Excellent resource for students as an
updated reference book, reminder of
2011
Guide to techniques, inspirational and aspirational.”

Claire Baker, Cleveland College of Art & Design,
208 pages
200 colour illus
Designing and UK PB 9781408147009
£14.99
Printing Fabric The Complete Guide to Designing and Printing Australia/Europe/New Zealand
Fabric is a comprehensive handbook covering Bloomsbury Visual Arts
Laurie Wisbrun everything there is to know about designing and
printing fabric. This book includes step-by-step
tutorials, interviews with established professionals,
and plenty of inspiration for the aspiring fabric
designer.
41
Textile History and Culture
Cultural Threads Cultural Threads is an exploration of contemporary

textiles and their relationship with postcolonial
UK November 2014
US January 2015
Transnational culture. The postcolonial thinking examined here
shares with craft an interest in the lived, rather than 256 pages
Textiles Today the purely theoretical, and as such is a very human 210 colour illus
account of these interactions between craft and 276 x 219mm /
Edited by Jessica Hemmings culture. 10.9 x 8.6 inches
PB 9781472530936
Jessica Hemmings is Professor of Visual Culture £29.99 / $49.95
and Head of the Faculty of Visual Culture at the HB 9781472524997
National College of Art & Design in Dublin, Ireland. £95.00 / $164.00
Bloomsbury Academic
Contents
Introduction
1. Artists’ Statements 9. Can Pakeha Make Customary Maori
Julie Ryder: Reflections on Charles Art? A Conversation in New Zealand
Darwin’s South Pacific (Australia) with Weaver Margaret White and
2. Jorge Lizarazo and Hechizoo: Damian Skinner (New Zealand)
Colombian Voyages and Explorations 10. Crafting Difference: Art, Cloth and
(Colombia) the African Diaspora, Christine
3. Cecilia Vicuña: QUIPUing from Checinska (University of East
Santiago, Chile to Sydney, Australia London, UK)
(Chile) 11. From Brixton to Mostar: Social
4. Elaine Reichek: Revisiting a Practice Through Textiles, Françoise
Postcolonial Kinderhood in America Dupré (Birmingham City University,
(USA) UK)
5. Mr. Somebody & Mr. Nobody: African 12. A Post-Slavery Reading of Cotton:
Design Exported (South Africa) Lubaina Himid (University of Central
Lancashire, UK) in conversation with
6. Dutch Wax Resist Textiles: Roger
Sabine Broeck and Alice Schmid
Gerards, Creative Director of Vlisco,
(both of the University of Bremen,
and Jessica Hemmings (National
Germany)
College of Art & Design, Dublin,
Republic of Ireland) 13. Contemporary Textile Imagery in
Southern Africa: a Question of
7. An Imagined Africa: Stories told
Ownership, Sarah Rhodes (Central
by Contemporary Textiles, Jessica
Saint Martins, University of the Arts
Hemmings (National College of Art &
London, UK)
Design, Dublin, Republic of Ireland)
14. Social Sutra: A Platform for Ethical
8. Weaving, Tradition and Tourism in
Textiles in Partnerships Between
Ghana: “The End of Skill”, Mamle
Australia and India, Kevin Murray
Kabu (Ghana)
(Australia)
Index
Thinking Through Thinking Through Textiles offers a compelling case

for the integration of textile scholarship within the
UK December 2015
US February 2016
Textiles mainstream of visual and material cultural studies.
160 pages
Reflections on Pennina Barnett is an independent scholar and
writer on contemporary visual and material culture
70 colour and 10 bw illus
246 x 189mm / 9.7 x 7.4 inches
Cloth, Memory based in the UK. PB 9781847888242
and Touch £19.99 / $34.95
HB 9781847888259
£55.00 / $94.00
Pennina Barnett Bloomsbury Academic
Contents
List of Illustrations
Acknowledgements
Introduction
1. Touch 5. Stain
2. Weave 6. Matter: Materiality, Maternity, Dust
3. Fold Bibliography
4. Stitch and Repair Index
42
44 45
o ppo s i te a nd a B ove Cecilia Vicuña, Quipu Austral, 2012. Tasmanian wool fleece, installation 18th Sydney Biennale, Australia, June 27 – September,
16, 2012. Photograph by the artist.
artist statement Quipu: knot (Quechua)

In the ancient Andes people did not
write; they wove meaning into textiles and
knotted cords. Five thousand years ago they
created the quipu (knot), a poem in space,
Quipuing from
a tactile, spatial metaphor for the union and
santiago, chile to interdependence of all. The quipu, and its
virtual counterpart, the ceque (a system of
sydney, australia
sightlines connecting all communities and
sacred sites in the Andes) were banished after
the Spanish conquest of the Americas. Quipus
were burnt and they ceased to be used, but
the vision of interconnectivity they represent
Cecilia Vicuña endures underground.
cHaPTer one artist statements
46 47
Cecilia Vicuña, Quipu Austral, 2012. Tasmanian wool fleece, installation 18th Sydney Biennale, Australia, June 27 – September, 16, 2012. Cecilia Vicuña, Quipu Austral, 2012. Tasmanian wool fleece, installation 18th Sydney Biennale, Australia, June 27 – September, 16, 2012.
Photograph by the artist. Photograph by the artist.
I first encountered quipus as a teenager, and A decade later, in exile in London, while which stars and galaxies are born. The gluon the and thread, hand and voice. To write with breath
something in me knew they belonged – like poetry enduring the pain of loss from the military coup Large Hadron Collider can’t find. is to see the body and the cosmos in a continuous
– outside time and space, despite being in time and in Chile, I created a large quipu above my bed and Emptiness is connection. reciprocal exchange.
space. This non-local quality of the quipu acts as a I slept under it for the memory of the pain not to I began making monumental quipus and Chanccani Quipu condenses the clash and
connector between dimensions. Touching the threads leave my body. precarious weavings of unspun wool in the early collaboration between two cultures and worldviews:
or thinking about them I re-enter a different scale of Years later, walking along Lake Titicaca in 1990s. Cloud-Net (1999) was dedicated to global the Andean oral universe of threads and the Western
the imagination. The quipu knots me into new ways Bolivia I observed that alpaca herders tied unspun warming, and Canoes of Light (2000), to the world of print.
of being and seeing. wool dyed in rainbows to the ears of their alpacas. indigenous view of the life force. In Quipu Austral, created for the 18th Sydney
I began making quipus in the mid 1960s as an The fibres hung and danced in the wind as prayer In my book Chanccani Quipu (2012) I Biennale, I connected two ancient traditions of the
act of poetic resistance. El quipu que no recuerda nada flags do in Tibet. In the Andean worldview ritual metaphorically wrote with breath on the unspun southern hemisphere: the Andean quipu and the
(the quipu that remembers nothing), an imaginary tying increases the fertility of the herd. wool by printing words on the outer hairs of fleece. aboriginal Australian songline. Quipus and songlines
cord laid out in my bedroom in Santiago, was my Unspun wool is all potential, nothing holds it The Quechua word quipucamayoc, or quipu maker, participate in the web of life by creating complex
first quipu work. I wrote: ‘an empty cord is the core, together, except the desire of togetherness in each means ‘the one who animates and gives life to the interactions between land, memory and sound
the heart of memory, the earth listening to us’. hair. Unspun wool stands for the cosmic gas from knot’. A quipu depends on the interaction of breath enacted through song and speech.
cHaPTer one artist statements
43
Fashion and Costume History
Survey of Now celebrating its 25th

anniversary as a best-selling
UK May 2015
US March 2015
Historic Costume textbook for the study of fashion
history, Survey of Historic 640 pages
Phyllis G. Tortora and Costume is an introduction 1,000 colour illus
Sara B. Marcketti to Euro-American dress from 216 x 279mm / 8.5 x 11 inches
the ancient world through the Book + STUDIO Bundle
twenty-first century. 9781501395253
£86.00 / $140.00
Phyllis G. Tortora is Professor
STUDIO Access Card
Emerita at Queens College,
9781501395017
The City University of New York,
Fairchild Books
USA.
Sara B. Marcketti is an
Associate Professor at Iowa
State University, USA.
Features
• Visual Summary Tables show clear line drawings of period
garments
• Illustrated Tables depict important accessories, footwear and
headwear for each era
• Modern Influences photo feature shows modern interpretations of
historic fashions NEW ONLINE STUDENT RESOURCES
• Teaching Resources: Updated Instructor’s Guide, Test Bank, STUDIO: Survey of Historic Costume
Image Bank and PowerPoint presentations available includes digital study tools, including the
Student Study Guide eBook (see facing
New to this edition page for more details)
• Over 20% new illustrations
• Expanded and redesigned chapter timelines present an overview
and images of historic events in each chapter focusing on fashion
and textiles, politics and conflicts, decorative and fine arts,
economics and trade, technology, and religion
• New Global Connections boxes highlight dress and textiles from
around the world including China, India, Japan, Latin America, Africa
and more
• New Chapter 20 covers twenty-first century dress from 2000 to the
present
Contents
Preface 140 PART TWO The Middle Ages CHAPTER FIVE The Early Middle Ages 141
Acknowledgements it was in ninety-nine cases out of a hundred made of mail.” (See Figure 5.30.) Mail in medieval Europe was made
of circular rings, each ring having four other rings hooked through it.
Vi su al S u m m ar y Table
major garments of the Byzantine and early medieval periods
1. Introduction
The Bayeux Tapestry is one of the earliest and most the mail, the helmet was worn only for combat as it
important sources of information about the appear- was too uncomfortable for general wear. In the last
ance of medieval armor. Dated from the second half half of the 13th century, large crests in animal or bird-
of the 11th century, or slightly later, the tapestry depicts like shapes were placed on top of the helmet so as to
Part 1: The Ancient World: Part 4: Baroque and 15. The Edwardian Period
not only the events leading to but also the actual Battle identify the knight.
of Hastings, which took place in 1066. In the tapes- The use of closed helmets brought about changes
try many figures wear knee-length shirts of mail, in hairstyles. Men wore their hair shorter and were
c. 3000 BC – AD 300 Rococo: c. 1600-1800 and World War I: 1900-

which are split in front for riding. This mail shirt was clean shaven in order to avoid the heat and discomfort
called a hauberk (ho’berk) or byrnie (burr’neh). A hood that came from wearing a closed helmet over a full
of mail was worn to protect the neck and head. This beard or long hair.
may have been a separate piece, but in later armor the Common foot soldiers were not equipped with
2. The Ancient Middle East: 9. The Seventeenth 1920 hood is made in one with the body of the hauberk for
maximum protection of the neck. Some figures also
wore leg protectors of mail, or chausses (shos). Some
chain mail. Their protection was most likely limited
to reinforced, quilted coats such as those worn under
the armor to which they might add quilted leg guards.
Byzantine man,
c. 6th century
Byzantine woman,
c. 6th century
Byzantine man,
c. 11th century
chausses merely covered the front of the leg while By the end of the 13th century, a change from mail
c. 3500-600 BC Century: 1600-1700 16. The Twenties, Thirties, others were more like hose and fitted all around. On
the head and over the mail hood, the warrior placed a
cone-shaped helmet with a barlike extension that cov-
to plate armor had begun.
and World War II: 1920-

ered the nose.
3. Crete and Greece: 10. The Eighteenth Century: In the mid-12th century men began wearing a sur-
cote over the armor. (See Figure 5.31.) Possibly the
modern in Fl uenC es
1947
practice originated during the Crusades in an attempt Contemporary designers cut
c.2900-300 BC 1700-1790
to protect the metal armor from the heat of the in styles and lengths that
Mediterranean sun, a custom possibly copied from are very different from the
Muslim soldiers. In later periods soldiers wore sur- medieval period, nevertheless Byzantine woman, Medieval European man, Medieval European woman,
17. The New Look: Fashion

cotes decorated with a coat of arms that identified the the use of fur, tightly fitting c. 11th century 12th century 12th century
4. Etruria and Rome: c. Part 5: The Nineteenth

force to which they belonged, a necessary step when leg hose (known as trousers
faces were covered by helmets. for men today!), and even a
In the 12th and 13th centuries, armor consisted of
Conformity Prevails:
hood of mail were inspira-
800 BC – AD 400 Century: 1800-1900

a coat of mail—sometimes quite long, other times tions to designers Dolce and
shorter—hose, and shoes of mail. The sleeves reached Gabbana in their fall 2014
over the hands to form a sort of mail mitten. The
1947-1960
menswear collection. Dolce
whole outfit weighed from 25 to 30 pounds and was and Gabbana’s 2013 and 2014
11. The Directoire Period

worn over a padded garment. In the early 13th century,
Part 2: The Middle Ages:

women’s wear collections
a closed form of helmet developed. Blair (1972) com- were also heavily inspired
pares it to a modern welder’s helmet, except that it was by Byzantium and medieval
18. The Sixties and

closed in the back, with eye slits and breathing holes,
c. 300 – 1500 and the Empire Period:

periods.
sort of like wearing a large, inverted can over the head.
Medieval European man and Outer garment called the garnache, Medieval outer garment called herigaut
Placed over the chain-mail coif and a small padded
woman, 13th century late 13th/early 14th century or gardecorps, mid-13th century
Seventies: Style Tribes

skull cap that protected the head from the ridges of
5. The Early Middle Ages: 1790-1820

Emerge: 1960-1980
c. 300 – 1300 12. The Romantic Period: HistoricCostume_CH05_v3.indd 140-141 8/5/14 6:24 PM
1820-1850 19. The Eighties and the

6. The Late Middle Ages:
Nineties and the Twenty-
c.1300-1500 13. The Crinoline Period:
first Century: 1980-
Part 3: The Renaissance: 1850-1869
1999
c 1400-1600 14. The Bustle Period and
20. Twenty-first Century:
7. The Italian Renaissance: the Nineties: 1870-1900
2000-2014
c. 1400-1600 Part 6: From the
Bibliography
8. The Northern Renaissance: Twentieth to the Twenty-
first Century: 1900-2014 Credit
c. 1500-1600
Index
44
Free with purchase of Survey of Historic Costume, 6th Edition www/Textbook
STUD O: This new multimedia resource provides a digital UK May 2015

™
study tool directly related to the content of Survey US MarchThis

2015
STUD O:
package contains your online ™
access code to
Survey of Historic of Historic Costume. Consisting of self-quizzes

and test prep tools, videos and images, flashcards, STUD O:
STUDIO Access Card
™
Survey of Historic Costume
Costume maps and a timeline, STUDIO: Survey of Historic

Costume will enhance learning, aid in instruction,
Survey of Historic Costume
9781501395017
Fairchild Books
Study smarter with visual
OnlIne ACCESS CODE
flashcards, glossary of terms, and
Phyllis G. Tortora and and result in better retention and higher grades for self-quizzes
Learn context for costumes from
Sara B. Marcketti students. chapter-specific videos

Review on the go with the
included eBook study guide
Gain perspective with the
Fashion Atlas, Timeline, and
Designer Index
For Students Access activities, exercises and

projects
Branch out with links to fashion
• Videos launch each chapter and introduce students to major costume trends of each museums, costume collections and
online resources
historical era
Once opened, access cards are not replaceable
or returnable.
• Self-quizzes are automatically scored and provide directions for further study
Online tools for more effective study
• Flashcards with images, glossary terms, and definitions
From
Fairchild Books and This card provides access to information that may be required for your course.
Bloomsbury Publishing Fairchild Books and Bloomsbury Publishing
• Chapter objectives, key terms and summaries

• World maps showing fashion and geography over time
• Comprehensive timeline spanning the Ancient World to the present, placing fashion
and textiles within historical context—and showcasing evolutions of silhouettes
• Fashion designer index with a comprehensive, alphabetized list of designers with
brief bios
• Searchable glossary of terms
• Links to fashion museums and costume collection websites
• Complete eBook version of Survey of Historic Costume Student Study Guide
(a $42.95 value)

For Instructors
• Easy access to eBook version of Survey of Historic Costume, 6th Edition
• Image library with all the illustrations and photos from the book
• PowerPoint presentations for each chapter
• Test Bank with multiple choice, true/false and essay questions for each chapter with
answer key
• Instructor’s Guide including sample syllabi and units based on the timeline in the
book, chapter objectives, lecture notes, discussion questions, additional research
projects, assignments and more
6th Edition Textbook
Survey of Historic This study guide is designed to help students

effectively navigate the Survey of Historic
UK May 2015
US March 2015
Costume Student Costume. Following the chapters of the textbook,
the Student Study Guide includes chapter 246 pages
Study Guide objectives, key terms, historic overviews, chapter 216 x 279mm / 8.5 x 11 inches
summaries, chapter quizzes, image-analysis PB 9781628922349
Phyllis G. Tortora and exercises, garment analysis worksheets, glossary £26.00 / $42.95
Sara B. Marcketti of key terms, and a fashion garment guide—a “mini” Fairchild Books
dictionary identifying basic garment terminology Free eBook included in
with illustrations. By providing a consistent STUDIO: Survey of Historic
approach to all of the chapters in this text, the Costume access
guide provides a vehicle that enhances the
journey students will take through time and place,
making the study of historic costume accessible,
memorable and exciting.
45
Who’s Who Features more than 300 profiles

of fashion legends as well as
UK November 2014
US September 2014
in Fashion newcomers and nonconformists
— past and present — who 544 pages
Holly Price Alford & make up the rich tapestry of the 888 colour illus
Anne Stegemeyer fashion industry. 216 x 279mm / 8.5 x 11 inches
PB 9781609019693
£59.99 / $105.00
Fairchild Books
available
Holly Price Alford is an
Associate Professor in the
Department of Fashion Design
and Merchandising and Director
of Diversity for the School of the
Arts at Virginia Commonwealth
University, USA.
Anne Stegemeyer is a freelance
writer and fashion specialist
based in New York City, USA.
New to this edition

• Over 400 new images and 70 new profiles (382 profiles in total),
including Joseph Altuzarra, Garance Doré, Riccardo Tisci, The Row
(Mary Kate and Ashley Olsen), Carine Roitfeld, Prabal Gurung, and
more
• Alphabetical tabs for easy access and pronunciation guides
• Updated timeline and awards listing, now including the British
Fashion Awards
• Expanded coverage to include more non-designers with category
icons designating fashion designers, accessory designers, jewelry
designers, fashion companies, makeup artists, costume designers,
illustrators, photographers, writers, editors, journalists, and creative
directors
Contents
Extended Table of Contents
(alphabetical listing of all entries)
JOSEPH ALTUZARRA
Preface to 6th Edition line, which established his signature silhouette and boosted
Acknowledgments his company’s sales by nearly 40 percent—catching the

attention of a number of retail stores.
Introduction: Fashion—All
Altuzarra is best known for pairing the masculine
with the feminine—the sensual and sexy with the
About Change pragmatic and easygoing. The label is renowned for its
outerwear, but Altuzarra drives his staff to constantly
assess what they do well and what they need to provide
1. Timeline: The Crinoline 7. British Fashion Awards to customers. For example, when Altuzarra designed
a capsule collection for J.Crew in 2012, he carefully
Period (1850-1869) — The 8. Coty Amercian Fashion considered the large number and varied characteristics
New Millennium
of the women he was targeting.
Critics’ Award Above: Designer Joseph Altuzarra.

The year 2013 was pivotal for Altuzarra: he won the
first CFDA branding initiative and was among Crain’s
2. Alphabetical Listing of 9. Neiman Marcus Awards
Below Right: Spring 2014. New York Business 40 Under 40 and Women’s Wear
Daily’s Ten of Tomorrow. In addition, his label earned
Fashion Icons BORN Joseph Altuzarra; Paris, 1983 more than $10 million, and the designer created outfits
10. Fashion Walk of Fame for the New York City Ballet. In addition, Altuzarra
3. Appendices AWARDS: Council of Fashion Designers of America cohosted the kickoff party for the Emmy Awards and
11. Cooper Hewitt Awards in (CFDA)/Vogue Fashion Fund, 2011; Swarovski Award for designed the green room for stars backstage. His clothes
4. Designers by Country of
Womenswear, 2012; Swarovski Award for Designer of the have been worn by celebrities such as Emma Watson,
Fashion Year, 2014 • International Woolmark Prize, 2013 Rihanna, and Angelina Jolie.
Origin
Bibliography Joseph Altuzarra (Al-too-ZAR-uh) is a designer of luxury
women’s ready-to-wear. His multicultural upbringing—
5. Designers by Categories with a Chinese-American mother and French father—has
Credits had an enormous influence on his collections. As a child,
6. Council of Fashion Altuzarra was obsessed with the glamorous side of fashion,
Index of Designers especially Tom Ford for Gucci and Yves Saint Laurent.
Designers of America Altuzarra studied art history at Strathmore College in

Strathmore, Pennsylvania and became interested in a career
(CFDA) Awards in fashion while working in the school’s costume shop.

Altuzarra began his career as an intern at Marc
Jacobs, then worked as a freelance designer at
Proenza Schouler while it was still a fledgling label.
Altuzarra also apprenticed with patternmaker Nicolas
Caito to hone his technical knowledge and skills,
which he considered weak because he lacked a formal
education in fashion design. He ended up back in his
birthplace, Paris, after landing a job at Givenchy as
first assistant to Riccardo Tisci.
In 2008, Altuzarra returned to New York and launched
his own label. In 2010, he collaborated with Swarovski on
a jewelry collection. His big break came with his fall 2012
9
aLf19693_a_001-019.indd 9 6/11/14 8:14 AM
46
Dress, Fashion Structured chronologically from pre-history to the

present day, this study explores the relationships
UK March 2015
US May 2015
and Technology and interactions between technology, dress
and fashion and how these have changed 256 pages
From Prehistory throughout human history. Through a wide range of 90 bw illus
international case studies, the book challenges the 234 x 156mm / 9.2 x 6.1 inches
to the Present perception that fashion is unique to western dress PB 9780857851918
and outlines the many ways in which dress and £19.99 / $34.95
Phyllis G. Tortora technology intersect. HB 9780857851901
£55.00 / $99.95
Phyllis G. Tortora is Professor Emerita at Queens
Series: Dress, Body, Culture
College, The City University of New York, USA.
Bloomsbury Academic
Contents
1. Connecting Technology, Dress, Part II: The Industrial Revolution 11. Transportation and its Effects
And Fashion and First Steps Toward the (20th and 21st Centuries)
Fashion Industry 12. The Effects of Sports (19th to
Part I: Before the Revolution
6. Dress And Fashion Move The 21st Century)
2. Dress And The Technologies Of
Industrial Revolution Forward 13. Communications Technologies
Prehistory (Upper Paleolithic To
(18th Century) That Disseminate Fashion
The Neolithic Period)
7. The Central Role Of Dress Information (19th to 21st Century)
3. Technologies And Dress In Towns,
And Fashion In The Industrial Part IV: High Tech Enters
Cities And Empires (Neolithic
Revolution (c. 1800 to 1860)
Period To C. 500 C.E.) 14. Technology Contributes To The
8. Dress, Fashion And Social Globalization Of Fashion (20th
4. Technology And Dress Facilitate
Changes Follow The Industrial and 21st Centuries)
Fashion Change (Dark Ages
Revolution (Nineteenth Century)
to The Seventeenth Century in 15. Environments Interact With
Europe) 9. Tools That Enable Fashion Technologies (20th and 21st
Change And Innovations In Dress Centuries)
5. Some Asian Developments in
(19th Century)
Technology, Dress and Fashion 16. New Technological Frontiers
(End of the Neolithic Period until Part III: The Fashion Industry is For Dress And Fashion (21st
the 17th Century) Born Century)
10. Tools And Processes Expand References
Options For Dress And Fashion
Acknowledgements
(20th and 21st Centuries)
Key Titles
A Cultural History Wartime Fashion

of Jewish Dress From Haute Couture
Eric Silverman to Homemade,
2013
1939-1945
Geraldine Howell
288 pages
77 bw illus
244 x 172mm / 9.6 x 6.8 inches 2012
PB 9781847882868
£21.99 / $39.95 272 pages
HB 9781845205133 30 bw illus
£60.00 / $99.95 234 x 156mm / 9.2 x 6.1 inches
Series: Dress, Body, Culture PB 9780857850713
Bloomsbury Academic £21.99 / $39.95
Berg Publishers
47
Shoes This definitive guide to footwear, from fetish heels

to winklepickers, takes the reader on a glorious,
UK November 2014
US November 2014
An Illustrated lavishly illustrated journey from antiquity to the
present, showcasing a dazzling array of shoes from 256 pages
History all over the world. 300 colour illus
246 x 189mm / 9.7 x 7.4 inches
Written by an expert curator, the book is packed
Rebecca Shawcross HB 9781472531001
with social and historical detail putting shoe
£25.00 / $40.00
trends, superstitions and traditions in context and
World English
exploring shoes as symbolic, evocative, highly
Bloomsbury Visual Arts
personal objects.
Rebecca Shawcross is the Shoe Resources
Officer at The Shoe Collection, Northampton
Museum, UK.
Contents
Introduction
1. Medieval Ages-1580s, From the s h o e s : A n Il l u s t r At e d H I s to ry r et u r n to s I mp l I c It y
Long, to the Wide to the High c ha ng i ng Fa sh ions

2. 1590s-1650s, Heights of Fashion Throughout europe, women’s fashions were largely this silence was short-lived, however, and as the eighteenth bottom left: Women’s below: Women’s rose pink, kid
dictated by reactions to the French Revolution and the century drew to a close, French fashions were once again a heliotrope (purplish-red, but leather, slip-on shoes, 1810–19.
3. 1660s-1720s, Buckle My Shoe radical social and political turmoil of 1789. The French major influence across europe. faded to steel blue) satin over the uppers are decorated
kid leather shoes, c. 1796. with a white scalloped design.
ideals of ‘Liberté, égalité, fraternité’ did not sit well with the Women’s shoes developed throughout europe in tandem they have pointed toes and they have silk ribbon loops
conspicuous displays of wealth that large, over-the-top with the prevailing French styles. Broad, flat heels emerged, 4 cm (1½ in) wedge-shaped and ties to go around the
4. 1720s-1780s, Elegant Footwear

shoe buckles provided. ‘Down with buckles’ was the cry and there was a brief passion for the ‘sandle’ shoe – a low- heels covered in white kid ankle and low, covered, wedge
of the Parisian masses in 1789. cut, slip-on model fastened with ribbons that tied around leather. the edges are bound heels. they are an example of
the ankle and lower leg. shoe styles tended towards the with blue braid and there are a sandle shoe.
drawstrings around the vamps.
As shoe expert June swann states: ‘the buckle was killed simple, providing greater freedom of movement. they the shoes are embroidered
5. 1790s-1830s, Vive La Révolution by the desire for equality’ (date, p. xx). shoe buckle
manufacturers throughout europe were hit hard. Buckles
didn’t simply disappear overnight, however. As with many
reflected the narrow look of French fashions, with a distinct
pointed toe and a low Italian heel, with or without a wedge.
colours were minimal, often with shoes in a single tone
with tarnished silver thread
and sequins.
6. 1830s-1880s, The Industrial

trends, the process was gradual, radiating out from throughout. cream, white and black were very popular
fashionable centres, but disappear they eventually did. although colours such as yellow, olive and blue also existed,
designed to match a wearer’s other accessories and clothing.
Revolution
PR e vailing sTy le s shoes were often accompanied by small leather
the French revolution, and the downfall of the monarchy overshoes, which covered the toe and had an elasticated
in particular, did much to damage France’s reputation – and loop that went around the heel. slip-on shoes, rather like a
paris, once the epicentre of all things tasteful, went silent. court shoe, were common in black, often with a cut-out
7. 1880s-1920s, Toward the Modern design on the vamp that had a coloured leather insert –
delicately reminiscent of the cuts and slashes seen on
medieval footwear in the past (see pp. 34–5).
Age
8. 1930s-1947, Glamor and Utility
9. 1947-1970s, A New Era
10. 1980s-Present Day
Appendices
Bibliography
Index
84 85
Key Titles
The Hundred “McKean and illustrator Mehalko have
created a book so charming that any critic
2013
Dresses is completely disarmed... In all its delightful

chattiness, the book has something
224 pages
Full colour throughout
The Most Iconic intelligent to say about fashion HB 9781408190500
as representation and nostalgia.” £14.99
Styles of Our Publishers Weekly World English
Time “Like a wonderfully illustrated bird-watcher’s
Bloomsbury Academic
guide, but to frocks, The Hundred Dresses

Erin McKean is a whimsical and inspirational taxonomy:
from the J. Lo, via the Space Empress to the
Vreeland.” The Sunday Telegraph
48
shoes: An IllustrAted HI story
Th e Pl aT F o rm r e vi val
The 1990s heralded a platform that was altogether higher
and clumpier than ever before, and which was popularized
by the UK girl band the spice Girls. For some, this band
will forever be associated with the Buffalo trainer and
glitter Union Jack platform ankle boot.
through their music, names and styling, the five spice Girls
became role models for thousands of young girls across the
world. everyone had a favourite spice Girl to emulate –
Baby, Ginger, scary, Posh or sporty.
G i r l P ow e r
the mood of the day was all about empowerment and the
right shoes were vital for the look. Baby and Ginger
favoured the Buffalo trainer with 20 cm (8 in) soles. the
Buffalo firm had been established in 1979 with their HQ at
Hochheim an Main, Germany. their 20 cm (8 in) platform-
soled trainers were a global success in the 1990s and early
2000s, largely down to the popularity of the spice Girls.
While scary spice was often seen in leopard-print boots
and sporty wore sneakers, Posh had girly heels. Geri
Halliwell will always be remembered for wearing that union
Jack dress made from a tea towel at the Brit Awards in
February 1997, which she teamed it with a pair of red s h o rT- l i v e d Fa m e above: the spice Girls pose
platform boots.. Although platforms were popular with the young, for a photograph in 1997.
newspapers and parents frequently expressed their each is wearing her trademark
footwear: stilettos for Posh,
disapproval about their unsuitability for everyday wear. trainers for sporty and
Baby spice, emma Bunton, twisted her ankle wearing them. platforms for scary, Ginger
In Japan a girl reputedly fell to her death wearing 12.7 cm and Baby.
(5 in) platforms. they earned themselves the nickname
‘Frankenstein’ shoes and had more in common with opposite: these union Jack
orthopaedic footwear than the platform of the 1970s glitter boots were made by
(see pp. 210–11). shelly’s of london, c. 1997. the
style became synonymous with
the Girl Power sentiment of
the spice Girls phenomenon.
Fa shi o n i sto
australian leigh Bowery, outrageous outfits fully

fashion icon, nightclub host, explored the use of wigs, body
actor and artist’s muse, was modification, make-up and
one of the most influential and footwear. he often wore one
charismatic figures in the huge platform shoe on one
1980s and 1990s. Famed for foot and a low version on the
242 his striking looks, his other with tights over the top.
shoes: An IllustrAted HI story A new erA
Th e s h o e As ArT
yo u C An l ook , But don’ t touCH
shoes are practical, they can be truly beautiful and, as in C A n dAC e b A h o u T h opposite: Gaza Bowen’s red
the 1970s, they can feature as works of art. It was during Candace Bahouth designed and created the amazing winter shoe reader, 1994. the shoe is
this decade that shoes became embraced as sculptural art and spring boots with technical help from walker’s shoes; constructed from a red leather,
stiletto-heeled court shoe, cut
forms – a little tongue in cheek, perhaps, but always playful they were commissioned by the Crafts Council in 1979. at the back of the forepart and
and fun. A number of art styles could still be worn, these boots are made from pink tapestry decorated with with a concertina-page book
although many of them were purely decorative. appropriate winter and spring accessories – so spring inserted between the two
flowers and birds or winter birds and flowers in frosty halves. the book pages feature
the 1979 Crafts Council shoe show: British shoes since looking colours. Complete with synthetic, green grass wedge images and text relating to
high-heeled shoes.
1790 highlighted an obsession with shoes that surprised heels, they were not practical for wearing.
many. People showed interest, not only in shoe style and
history, but also in the fact that shoes could be turned into
something magical and sculptural.
T h e A C A dA b r A
thea Cadabra’s fantasy shoes from the 1970s are sold as
wearable art. Her maxim was, ‘wearing wonderful shoes is a
truly uplifting experience’. Cadabra’s designs carried themes
and featured three-dimensional motifs that lent drama to
her creations. Best known among her designs are the Cloud
and rainbow, the dragon, the Maid and the Bat. the Cloud
and rainbow is an amazing shoe, essentially a court shoe in
blue suede, which has been skilfully accessorized with a
leather rainbow and little beads symbolizing the rain.
G Az A b ow e n
Internationally renowned sculptor Gaza Bowen has
exhibited extensively since 1978. In the broadest sense her
work is an enquiry in to the non-verbal communication
between people and objects, and for nearly twenty years
she has focused her attention on shoes: their construction,
history, cultural meaning and social significance. she made
the red shoe reader and her famous tuff scuffs – feminine
mules adorned with scouring pads!
above: thea Cadabra’s Cloud
and rainbow, 1979. Pink and

yellow clouds issue raindrops
made from strings of beads
and a lightning flash in silver
leather is attached to centre
220 of vamp. 221
shoes: An IllustrAted HI story towA rd s tH e Ag e o f r eA so n
pAtte n e vo l u tion
During the eighteenth and nineteenth centuries, the highlighted the problem of a country girl aspiring to look left: women’s buckle latchet
practical solution for raising oneself out of the mud and like her mistress by swapping her ‘high wooden pattens’ for shoes with matching clog
the wet was the iron-ringed patten. At its simplest, this ‘leather clogs’ when she came to work in london. overshoes in a floral silk
brocade/damask, 1680–1720.
involved a rough, foot-shaped piece of wood, the toe ‘Patynmakers’ are first mentioned in City of london the shoes have 5 cm (2 in)
of which echoed the shape in fashion at the time. Worn records in 1379 and a pair of pattens features in the Arnolfini heels covered in red, Morocco
beneath a person’s shoes, a patten had leather latchet Portrait of 1434 (see p. 38). they were worn across northern leather. It is difficult to match
ties that came up over the foot for tying securely. europe, Italy and other countries to raise the wearer out of up clogs with shoes but these
some variations also had leather toecaps. the mud on the streets. do have the same binding.
the clog overshoes would
have prevented wear to the
An iron stalk was attached to the patten, at the end of c l o g ov e r s h o e s shoe sole, but offered little
which was an iron ring, usually oval in shape. the idea was If pattens were for country folk and the working classes, practical protection from dirty,
that as the iron ring made contact with the ground, it then clog overshoes were for the upper classes. these small, wet streets. they became
distributed the wearer’s weight and aided mobility. odd-looking overshoes consisted of textile uppers and must-have fashion accessories,
indicating a rich and, therefore,
these pattens must have been very difficult to walk in, leather soles, with the most practical versions being made more sedentary lifestyle.
since there was no flexibility in the solid wooden platform. entirely of leather. the clog’s sole fitted beneath the wearer’s
A certain amount of leg lifting and stomping action was shoe and was curved and shaped in such a way that it fitted
necessary, unless one could master the glide, which was snugly within the arch of the shoe, leaving an area to
difficult on uneven surfaces. As with pattens of the Middle accommodate the heel at the back. the style was not as
Ages (see pp. 38–9), hinges were added to some styles in an practical for outdoor, however, and quickly became little
attempt to increase flexibility. more than a fashion accessory. wealthy patrons ordered a
pair of shoes from their shoemaker, who at the same time
A l oWe r - c l As s p h e n o m e n o n could make a pair of matching overshoes for showing off
Highly functional and cumbersome in appearance, pattens when companions came to visit.
did not appeal to the aristocracy and were generally worn
by the less wealthy and countryside dwellers. In 1725 daniel
defoe published Every-Body’s Business is No-Body’s Business,
a pamphlet on the breakdown of the social order. In it, he
right:wood and leather

pattens, nineteenth century.
74 75
49
Fashion and Costume History Key Titles
Japanese Fashion “A comprehensive synthesis of the works and

careers of the three Japanese designers who
2011
Designers revolutionized the Western fashion world...

This is a must read for anyone interested
192 pages
24 colour and 40 bw illus
The Work and in Japanese fashion.” Yuniya Kawamura, 244 x 172mm / 9.6 x 6.8 inches
Associate Professor of Sociology at the Fashion PB 9781847883100
Influence of Issey Institute of Technology, State University of New £18.99 / $34.95
Miyake, Yohji York, USA HB 9781847883117
£60.00 / $99.95
Yamamoto and “Bonnie English here condenses twelve
years of research into a book which
Berg Publishers
Rei Kawakubo examines the emergence of the three leading

Japanese fashion designers, Issey Miyake
Bonnie English (b. 1938), Yohji Yamamoto (b. 1943) and Rei
Kawakubo (b.1942), in the last quarter of the
twentieth century... Twelve years to write a
book testifies to Bonnie English’s dedication
and encourages reader confidence.” Daniel
Milford-Cottam, Victoria and Albert Museum,
London, UK, Costume
A Cultural History “English has created a very respectable

academic treatment of the last century of
2013
of Fashion in the fashion... What is most notable about the

content of this volume is the way English
280 pages
61 bw and 32 colour illus
20th and 21st handles her broad topic; there are some 244 x 169mm / 9.6 x 6.7 inches
powerful fashion images in this book, but PB 9780857851352
Centuries this is no pretty coffee table accessory. £16.99 / $29.95
From Catwalk to English selects unique subjects within
fashion for each chapter and zeroes in to
Bloomsbury Academic
Sidewalk prevent a deluge of meaningless and broad

historical summaries.” WORN Fashion Journal
Bonnie English
“This edition has encompassed all the
intricacies of the fashion world and
refreshingly included insight into the
‘business’ of the industry. A valuable tool for
opening up the fashion world to students,
and a one-stop read that will be entertaining
for ‘fashionistas’ who are keen to learn
more about the mysteries of fashion.”
Kay McMahon, Queensland University of
Technology, Australia
Textbook
Twentieth-Century “This a strong collection of essays that

brings together a very balanced variety of
2005
American Fashion subjects and viewpoints. Its insights into the

USA’s transition from fashion follower to
288 pages
50 bw illus
Edited by Patricia Cunningham fashion leader and the influence of American 234 x 156mm / 9.2 x 6.1 inches
and Linda Welters culture on the wider fashion world not only PB 9781845200732
make interesting reading but would make £18.99 / $32.95
a good supplement to general histories of HB 9781845200725
American fashion.” Costume £53.00 / $109.95
This overview of American fashion in the twentieth Berg Publishers
century considers how Americans went from
imitating British and French fashion to developing
their own sense of style. Further, the book shows
how gender, psychology, advertising, public
policy, shifting family values, the American design
movement and expertise in mass production
influenced an American style.
50
The Dress and Fashion
Research Series
Series Editor: Joanne Eicher
The Dress and Fashion Research series is an outlet for high-quality, in-depth scholarly research on
previously overlooked topics and new approaches. Showcasing work on fashion and dress, each book
in this interdisciplinary series focuses on a specific theme or area of the world that has been hitherto
under-researched, instigating new debates and bringing new information and analysis to the fore.
Advertising The first detailed analysis of men’s fashion

advertising from 1945 to 2000, this book explores
UK March 2014
US May 2014
Menswear design issues and period style in advertising,
the role of market research and consumer 272 pages
Masculinity and psychology in determining target audiences, the 50 bw illus
idea of the ‘new man’ in representing fashionable 234 x 156mm / 9.2 x 6.1 inches
Fashion in the masculinities, and the various ways that menswear HB 9781472533432
British Media retailers and brands dealt with sex and gender,
race, class and age.
£65.00 / $112.00
Series: Dress and Fashion
since 1945 Paul Jobling is Researcher in Arts and
Research
Bloomsbury Academic
Architecture, University of Brighton, UK.
Paul Jobling
Contents
Introduction
Part I: Going for a Burton: menswear Epilogue: Getting the Right Fit – Objects/
advertising from austerity to affluence, Images/Readers
1945-1957
Bibliography
Part II: Thinking young: menswear
Index
advertising and the generation games,
1958-1978
Part III:Leader of the pack: jeans
advertising since the 1960s
Moroccan Based on ten years of extensive field research,

Moroccan Fashion provides an in-depth
UK November 2014
US January 2015
Fashion ethnographic study of Moroccan dress and the
fashion industry. The author draws on interviews 192 pages
Design, Tradition with three generations of designers and the 16 colour illus
lifestyle press to provide an in-depth analysis of 234 x 156mm / 9.2 x 6.1 inches
and Modernity the development of urban dress, which reveals HB 9781472524676
how traditional dress has not been threatened but £65.00 / $112.00
M. Angela Jansen rather produced and consumed in different ways. Series: Dress and Fashion
Research
M. Angela Jansen is Postdoctoral Researcher at
Bloomsbury Academic
London College of Fashion, University of the Arts
London, UK.
Contents
Introduction
1. Moroccan Fashion as Tradition Conclusion
2. Three Generations of Moroccan Transcription of Arabic
Fashion Designers
Notes
3. Moroccan Lifestyle Media
Bibliography
4. The Impact of Foreign Fashion
Index
Brands
5. The Consumption of Moroccan
Fashion
51
Fashion Journalism
Textbook
Fashion Writing A concise and comprehensive student guide to

fashion writing and criticism, including a wide
UK October 2014
US December 2014
and Criticism range of case studies from Antiquity to the
present day. Through concise snapshot case 160 pages
History, Theory, studies, including classic examples of fashion 30 bw illus
writing alongside contemporary examples, top 234 x 156mm / 9.2 x 6.1 inches
Practice international scholars McNeil and Miller analyse PB 9780857854476
fashion excerpts in relation to philosophical ideas £19.99 / $34.95
Peter McNeil and Sanda Miller and situate them within historical contexts. HB 9780857854469
£55.00 / $94.00
Peter McNeil is Professor of Design History at the
Bloomsbury Academic
University of Technology Sydney, Australia.
Sanda Miller is Senior Lecturer in Media and Visual
Arts at Southampton Solent University, UK.
Contents
Acknowledgements
List of illustrations
Part 1: What is Criticism? 8. Fashion And Morality: Leo 16. Being Critical About
1. Introduction tolstoy’s What Is Art? ‘Deconstruction’: Theoretical
9. Paul Poiret: ‘Sultan of Fashion’ – Approach or ‘Le Destroy’?
2. Aristotle and the Origins of
Criticism From Tradition to Innovation 17. What Is A Reviewer? – And How
10. Diana Vreeland: ‘Why Don’t You?’ Can We Recognise One?
3. Talking in private: the Academies
and the Salons – The Invention of The Fashion 18. What Gives Suzy Menkes The
Editor Status of Professional Critic?
4. Understanding Taste: The Critic
as Qualified Observer 11. Christian Dior: The ‘New Look’ 19. ACNE Paper: The Beauty of Print,
And Reporting By Carmel Snow The Splendour of the Page
5. Charles Baudelaire: the Beginning
of Fashion Criticism; The Art Critic 12. Yves Saint Laurent – A 1970s 20. How to Be A ‘Critical’ Blogger:
of the Salons Analysis of ‘The Couturier And His Moving Beyond the PR Release
Brand’ 21. Conclusion: Where Do We Go
6. Oscar Wilde and the Apostles of
Aestheticism 13. What Is Fashion Irony? Mild From Here?
Sarcasm or Feigning Ignorance?
Bibliography
14. Reporting on the Japanese
Part 2: Reporting Fashion: Index
Revolution In Paris
Overview
15. Richard Martin as Essayist: Karl
7. Snapshots Lagerfeld Reworks Chanel
Key Titles
Textbook www.Textbook
Uncovering Fashion Writing for the

Fashion Fashion Business
Communications Kristen K. Swanson and
Across the Media Judith C. Everett
Marian Frances Wolbers
2009 2008
320 pages 624 pages

8pp colour section PB 9781563674396
PB 9781563676154 £54.00 / $105.00
£55.00 / $105.00 Fairchild Books
Fairchild Books
52
Fashion, Culture and Society
The Visible Self This anthropological

investigation of dress, featuring
UK October 2014
US August 2014
Global 15 selected scholarly readings,
is ideal for courses focused on 400 pages
Perspectives global perspectives and cultural 200 bw illus
aspects of dress. 216 x 279mm / 8.5 x 11 inches
on Dress, • Teaching Resources:
PB 9781609018702
Culture and Instructor’s Guide with
£70.00 / $115.00
Fairchild Books
Test Bank and PowerPoint
Society presentations including full-
colour versions of images from
Joanne Eicher and the book available
Sandra Lee Evenson
New to this edition
• Covers social media, social responsibility, eco-fashion, subcultures

and current trends such as cosplay
• Includes readings and examples on Latin America, Asia, and the
Middle East as well as contemporary examples of social and
political movements, the impact of the Internet and globalization
• Newly organized Part III uses John Bodley's revised analysis of
sociocultural systems to relate to dress and fashion across the
world
• A new reading by John Vollmer on the Qing Dynasty of China
• Revised and expanded art program, including 65 new photographs
Contents
Preface
Acknowledgments
Part I: The Systematic Study Part III: Culture, Society, and
of Dress : Dress
1. The Classification System 7. The Twenty-first Century
of Dress 8. Earlier Times, Other People
2. Studying Dress, Culture, and Places
and Society Part IV: Art, Aesthetics, and
3. Records of the Types of Dress
Dress 9. The Art of Creating Dress
4. Written Interpretations of 10. Ideals for Individual
Dress Appearance and the Art of
Part II: Physical Appearance, Dress
Environment, and Dress 11. The Art of Dress: Conformity
5. Physical Appearance and and Individuality
Dress 12. Dress and the Arts
6. Body, Dress, and Bibliography
Environment
Credits for Figures
Index
53
Winner of the 2014 Ray and Pat Browne Award for Best Edited Collection for the
Pop Culture Association / American Writers Association
Fashion Media “A feast for the fashionista scholar! …New

names, new insights and provocative ideas
UK November 2013
US January 2014
Past and Present arise aplenty raising questions to ponder and
arguments to challenge.” Joanne B. Eicher, 216 pages
Edited by Djurdja Bartlett, Editor-in-Chief, Encyclopedia of World Dress 50 bw and 32 colour illus
Shaun Cole and Agnes Rocamora and Fashion and Regents Professor Emerita, 246 x 189mm / 9.7 x 7.4 inches
University of Minnesota, USA PB 9780857853073
£19.99 / $34.95
Including a broad range of case studies, from HB 9780857853066
fashion plates to fashion films, and from fashion £55.00 / $100.00
magazines to fashion blogs, this book provides an Bloomsbury Academic
up-to-date examination of the role and significance
of this field. Chapters written by international
scholars cover topics including historic magazine
cultures, contemporary digital innovations, and
art and film, exploring themes such as gender,
ethnicity, design, taste, and authorship.
Djurdja Bartlett, Shaun Cole, and Agnès
Rocamora are all based at the London College of
Fashion, University of the Arts London, UK.
Fashion on “Helen Warner’s smart and eminently

readable book is the first detailed study of
UK April 2014
US June 2014
Television an increasingly significant television genre.”
Moya Luckett, New York University, USA 200 pages
Identity and 10 bw illus
Essential reading for those seeking to understand 234 x 156mm / 9.2 x 6.1 inches
Celebrity Culture the cultural function of costume in a television PB 9780857854414
context, Fashion on Television provides a critical £19.99 / $29.95
Helen Warner examination of the intersection between fashion, HB 9780857854407
television and celebrity culture. Examining case £55.00 / $99.95
studies such as Sex and the City, Gossip Girl, Bloomsbury Academic
Ugly Betty and Mad Men, the book examines
how TV has made style icons out of leading
actresses and fashion-conscious consumers out
of audiences.
Helen Warner is Lecturer in Media and Cultural
Studies at University of East Anglia, UK.
Fashion and Film Featuring a range of contemporary case studies,

this is an academic inquiry into costume and
UK June 2015
US August 2015
Gender, Costume fashion both on and off the big screen. Complex
issues of eroticism, fetishism and haptic pleasure, 224 pages
and Stardom in and themes of gender, celebrity and sexuality are 25 bw illus
clearly mapped onto cinematic clothing and the 234 x 156mm / 9.2 x 6.1 inches
Contemporary body. PB 9780857850454
Cinema • Case studies include Pirates of the Caribbean,
£19.99 / $34.95
HB 9780857850447
The Great Gatsby, Casino Royale, The Matrix
£55.00 / $94.00
Sarah Gilligan Trilogy, and more
Bloomsbury Academic
• Includes a foreword by Pamela Church Gibson
and Stella Bruzzi
Sarah Gilligan is Lecturer in Media at Hartlepool
College of Further Education, UK.
54
Fashion and With contributions from expert scholars and

practitioners, this volume examines the rise of
UK June 2014
US August 2014
Museums fashion in the museum. It includes 12 international
case studies including The Met, MoMu, and Bath 232 pages
Theory and Fashion Museum. Drawing on approaches from 27 bw illus
dress history, fashion studies, museum studies and 234 x 156mm / 9.2 x 6.1 inches
Practice curatorship, this engaging book is key reading for PB 9781472527660
students and scholars. £19.99 / $34.95
Edited by Marie Riegels Melchior HB 9781472525246
and Birgitta Svensson Marie Riegels Melchior is Assistant Curator at
£65.00 / $112.00
Designmuseum, Denmark.
Birgitta Svensson is a Professor at Stockholm Bloomsbury Academic
University, Sweden.
Fashionable Art Taking a complex view of the meaning of fashion as

it relates to art, while also offering critiques of ‘art
UK March 2015
US May 2015
as fashion,’ Fashionable Art critically explores the
Adam Geczy and relationships between commerce, taste, cultural 192 pages
Jacqueline Millner value, and art since the 1970s. Drawing upon a 40 bw illus
variety of theoretical frameworks, from Adorno and 234 x 156mm / 9.2 x 6.1 inches
Bourdieu to Simmel and Zizek, expert scholars PB 9780857851826
Geczy and Millner engage with historical and £19.99 / $34.95
contemporary debates on this lively topic. HB 9780857851819
£55.00 / $99.95
Adam Geczy is Senior Lecturer at the Sydney
Bloomsbury Academic
College of the Arts, Australia.
Jacqueline Millner is Senior Lecturer in the School
of Art and Design in the University of Western
Sydney, Australia.
Key Titles
Winner of the 2014 Emily Toth Award for Best Single Work in Womens’
Studies for the Popular Culture Association/American Culture Association
Fashion and Age “[A] fascinating discussion of what happens

to our sense of fashion as we reach later
2013
Dress, the Body life. As [Twigg] puts it, ‘age is not just
peripheral to fashion but positively erosive
184 pages
12 bw illus
and Later Life of it.’ Drawing on interviews with those 234 x 156mm / 9.2 x 6.1 inches
who wear, sell and write about fashion, PB 9781847886958
Julia Twigg Twigg addresses a range of questions £19.99 / $29.95
about how we negotiate fashion as we get HB 9781847886965
older...The author’s grasp of the nuances £65.00 / $120.00
of interpretation of fashion, dress and Bloomsbury Academic
clothing is excellent.” Times Higher Education
Supplement
Drawing on fashion theory and the first-hand

accounts of designers, fashion editors and older
women, this book offers the first systematic
account of the relationship between dress and
age.
55
Ballroom Dance "Captures the most memorable moments

of the greatest ballroom dancers in the
UK September 2014
US September 2014
and Glamour world." Iveta Lukosiute, former US and World
10-Dance Champion, So You Think You Can 120 pages
Jonathan S. Marion Dance competitor and Strictly Come Dancing 120 colour illus
professional 276 x 219mm /
10.9 x 8.6 inches
Ballroom Dance and Glamour takes the reader HB 9781472580733
on a visual journey through the dazzling world £25.00 / $40.00
of competitive ballroom dance. Including Bloomsbury Visual Arts
vibrant photographs and commentary, the book
showcases the extraordinary costumes, glamorous
dancers and elegance of the sport.
Jonathan S. Marion is Adjunct Professor of
Anthropology at California State University, San
Marcos, USA and an adjunct faculty member
at San Diego State University and at Palomar
College, USA.
Contents
Acknowledgements
1. Photographing Ballroom 11. Costuming
2. How the Book Came About 12. Competitions
3. The Ethics 13. Rhythm
4. The Photography 14. Smooth
5. The Images 15. Latin Ballroom
6. Photographing Ballroom
7. Ballroom Dancing: An Introduction
16. Standard
17. Ballroom Dance and Glamour
Dancing
An Introduction
1. 1959 World Ballroom Championships.
Held on March 10, at the Lyceum
Ballroom in London, with the Joe Loss
History and Culture
With roots in fifteenth-century Europe and the French royal court,
ballroom dancing, and its associated costuming, has always
been linked to social class and gender roles.1 With France as the
8. History and Culture Appendix 1

Orchestra providing the music. Although
the women’s dress and hairstyles attest leading European power of the time, the formal balls and dancing
to the time period, the general structure of King Louis XIV’s court in Versailles provided a model for
of contemporary dancesport is already
evident and in place: multiple couples
Europe. The trends started at the time eventually evolved in two
competing simultaneously, audience different ways: into the performance-directed genre of ballet and
members sitting right up to the edge of the socially based genre of ballroom. This association between
9. Genres Image Captions

the floor, judges standing on the edges of dance and social etiquette2 has endured as part of a well-rounded
the floor, and formal attire the norm for a
world championship event. © 2012 Getty upbringing throughout Europe, with ballroom regularly offered in
Images (Photo by Central Press/Hulton schools or as a ‘cultured’ elective alongside musical instruction,
Archive/Getty Images, Editorial Image and as the foundation for cotillion programmes in the United
#153473431).
States. Similarly, from the first unofficial world championship
(in 1909) to the standardization and codification of acceptable
10. Dancers References steps (starting in 1920) a model was set for the ‘proper’ ballroom
gentleman and lady, with competitive ballroom linking such
models of social class and gender with completion, performance,
and spectacle (as seen in Figure 1).
11 Ballroom Dancing
Key Titles
Lady Gaga David Bowie Style

Style Bible Danny Lewis
David Foy
2012
2011
128 pages
128 pages 125 colour illus
125 colour illus 276 x 219mm / 10.9 x 8.6 inches
276 x 219mm / 10.9 x 8.6 inches PB 9781408173763
PB 9781408156636 £18.99 / $24.00
£14.99 / $29.99 Bloomsbury Visual Arts
Bloomsbury Visual Arts PB 9781620401057
£18.99 / $24.00
Bloomsbury USA
56
45. Smooth on Display.
Performing Dance Legends 2013,
former US Professional Smooth
Champions Tomas Mielnicki and JT
Damalas showcase both competition
(left) and show (facing page) costuming.
© 2013 Jonathan S. Marion.
60 Smooth 61 Smooth
91. Performing on Tiptoe. 92. Getting There.

US Standard Semi-finalists Egor Seen dancing here at their first
Abashkin and Katya Kanevskaya, competition together at the 2010 Emerald
seen here at the 2009 United States Ball, Giampiero Giannico and Anna
Dancesport Championships, Mikhed went on to place as World and
demonstrate the balance and ankle Blackpool Finalists in the six months they
strength undergirding polished and competed. © 2010 Jonathan S. Marion.
pleasant performance. © 2009
Jonathan S. Marion.
112 Standard 113 Standard
57
Cool Shades The first scholarly examination of the prominence

of sunglasses in contemporary visual culture, this
UK December 2014
US February 2015
The History and study explores their power as global signifiers and
excavates the slippery concept of ‘cool’. 192 pages
Meaning of Featuring a broad range of case studies from Andy
30 bw illus
234 x 156mm / 9.2 x 6.1 inches
Sunglasses Warhol to Lady Gaga, it offers an original history of
how sunglasses became a fashion accessory and
PB 9780857854452
£19.99 / $34.95
Vanessa Brown addresses the complex variety of meanings they
HB 9780857854445
can articulate.
£55.00 / $99.95
Vanessa Brown is Senior Lecturer in Design and Bloomsbury Academic
Visual Culture at Nottingham Trent University, UK.
The Birth of Cool Focusing on counter- and sub-cultural contexts,

this book investigates the role of dress in the
UK June 2015
US August 2015
Style Narratives creation and assertion of black identity in the
United States, Jamaica, and the United Kingdom. 256 pages
of the African Featuring a range of case studies, from hip hop 40 bw illus
style to Jamaican home dressing, it is a powerful 234 x 156mm / 9.2 x 6.1 inches
Diaspora exploration of how dress both initiates and PB 9781859734704
confirms change. £19.99 / $34.95
Carol Tulloch HB 9781859734650
Carol Tulloch is Senior Research Fellow, Chelsea
£55.00 / $94.00
College of Art and Design, University of the Arts,
Bloomsbury Academic
London, UK.
Fashion and Jazz Drawing on fashion studies and cultural theory, the
book provides an in-depth analysis of the social
UK January 2015
US March 2015
Dress, Identity and political entanglements of jazz and dress,
with chapters exploring race, class and gender. 208 pages
and Subcultural A variety of case studies, ranging from Billie 30 bw illus
Holliday and Ella Fitzgerald to Louis Armstrong 234 x 156mm / 9.2 x 6.1 inches
Improvisation and Chet Baker, present a critical overview of jazz PB 9780857851277
performers as modern icons of fashion and style. £19.99 / $34.95
Alphonso McClendon HB 9780857851260
Alphonso McClendon is an Assistant Professor
£55.00 / $99.95
in the Department of Fashion and Design and
Merchandising at Drexel University, USA.
Bloomsbury Academic
58
Dress and With contributions from a wide range of

international scholars, this book presents the first
UK December 2014
US February 2015
Ideology scholarly analysis of dress and ideology through
13 accessible case studies. 224 pages
Fashioning Chapters are organized thematically and explore
20 bw illus
234 x 156mm / 9.2 x 6.1 inches
Identity from dress in relation to topics including nation, identity,
religion, politics and utopias, across an impressive
PB 9781472529343
Antiquity to the chronological reach from antiquity to the present
£19.99 / $29.95
HB 9781472525499
day.
Present Shoshana-Rose Marzel and Guy D. Stiebel are
£65.00 / $109.95
Bloomsbury Academic
Edited by Shoshana-Rose Marzel Lecturers at the Bezalel Academy of Arts and
and Guy D. Stiebel Design Jerusalem, Israel.
Sneakers Sneakers is the first academic study of the

obsessions and idiosyncrasies surrounding the
UK May 2015 / US July 2015
Fashion, Gender sneaker phenomenon in America, from competitive

subcultures to sneaker painting and artwork.
192 pages
40 colour illus
and Subculture How have sneakers come to gain this status? 234 x 156mm / 9.2 x 6.1 inches
In what ways are sneaker subcultures bound up PB 9780857857330
Yuniya Kawamura with gender identity? Based on the author’s own £19.99 / $29.95
ethnographic fieldwork in New York, and case HB 9780857857224
studies on major manufacturers, this book traces £65.00 / $120.00
sneakers’ transformation from sportswear to Series: Dress, Body, Culture
fashion symbol. Bloomsbury Academic
Yuniya Kawamura is Associate Professor of
Sociology at the Fashion Institute of Technology,
State University of New York, USA.
Key Titles
The Meanings This collection of articles and essays from

magazines, newspapers, books, and academic
2012
of Dress journals is designed to expand the reader’s

awareness and understanding of the role dress
640 pages
190 bw illus
Kimberly A. Miller-Spillman, plays in cultures and subcultures across the globe. 216 x 279mm / 8.5 x 11 inches
Andrew Reilly and Patricia PB 9781609012786
The third edition is newly revised to reflect the
Hunt-Hurst £55.00 / $95.00
current cultural landscape and includes more
Fairchild Books
theory than previous editions, as well as an
increased emphasis on the male perspective
PowerPoint presentation available
59
Fashion, Culture and Society Key Titles
The Language of “For Barthes, words and objects have in

common the organized capacity to say
2013
Fashion something; at the same time, since they are

signs, words and objects have the bad faith
192 pages
216 x 138mm / 8.5 x 5.4 inches
Roland Barthes always to appear natural to their consumer, PB 9781472505422
as if what they say is eternal, true, necessary, £12.99 / $19.95
instead of arbitrary, made, contingent.” World English (excluding
Edward Saïd Australia/New Zealand)
Series: Bloomsbury Revelations
“Barthes's treatment of fashion in The Bloomsbury Academic
Fashion System is his most elaborate
attempt to reveal the little worlds of meaning
enclosed in each nuance of social life. One
is able to hear the voice of a sensitive and
sensible critic who was alive to the symbolic
vitality of the world.” The New York Times
Barthes’ essays range from the history of clothing

to the cultural importance of Coco Chanel, from
hippy style in Morocco to the figure of the dandy,
from colour in fashion to the power of jewellery.
Barthes’ acute analysis and constant questioning
make this book an essential read for anyone
seeking to understand the cultural power of
fashion.
Textbook
Fashion-ology “Yuniya Kawamura’s Fashion-ology provides

an exhaustive and enlightening survey of the
2004
An Introduction to literature on fashion in the social sciences

from the nineteenth century to the present.
144 pages
234 x 156mm / 9.2 x 6.1 inches
Fashion Studies Her book will contribute enormously to PB 9781859738146
establishing fashion as a legitimate subject £15.99 / $27.95
Yuniya Kawamura for research and teaching in the social HB 9781859738092
sciences and humanities.” Diana Crane, £16.99 / $29.95
University of Pennsylvania, USA Series: Dress, Body, Culture
Berg Publishers
Fashion-ology provides a concise introduction
into the sociology of fashion that examines the
structure of its system and culture. Kawamura
distinguishes between “clothing” and “fashion,”
arguing that clothing is a tangible material product
whereas fashion is a symbolic cultural product.
She debunks the myth of the genius designer and
explains, provocatively, that fashion is not about
clothes but is a belief.
Paris Fashion “This is an original, gracefully written study

of Paris fashion, one that manages to say as
1998
A Cultural History much about national character, in a sense, as

it does about the rise and fall of hemlines. .
336 pages
bw illus
Valerie Steele . . I would not only recommend it to anyone 234 x 156mm / 9.2 x 6.1 inches
interested in the psychology of clothes, but PB 9781859739730
to anyone planning a sejour in France — as £18.99 / $32.95
much required reading, say, as the Green World All Languages (except
Guides of Michelin.” Los Angeles Times Book French and Japanese)
Review Berg Publishers
“An impressive compendium of information.”

The New York Times Book Review
“Once I started reading, I could not stop!

Valerie Steele's book is wonderfully witty,
pleasurable to read and so well documented.
It is one of the best complete studies on
Paris fashion that I have ever come across.”
Jean-Michel Tuchscherer, Former Curator,
Museum of Fine Arts, Boston, USA
60
Japanese Fashion “Masafumi Monden’s fascinating and

important book, Japanese Fashion Cultures,
UK November 2014
US January 2015
Cultures will be of great interest to everyone
interested in fashion, gender, globalization, 208 pages
Dress and and youth culture. His research on young 15 bw illus
Japanese men and their attitudes towards 234 x 156mm / 9.2 x 6.1 inches
Gender in fashion is especially significant, as it calls PB 9781472532800
Contemporary into question persistent stereotypes about
how men and women are assumed to engage
£19.99 / $29.95
HB 9781472536211
Japan with fashion.” Valerie Steele, Director and Chief
Curator, The Museum at FIT
£65.00 / $112.00
Masafumi Monden Bloomsbury Academic
Japanese Fashion Cultures challenges widely held
notions of gender relations and European style
imitation in Japan. Through case studies focussing
on fashion image consumption in style tribes such
as Kamikaze Girls, Lolita, Edwardian, Ivy Style,
Victorian, Romantic and Kawaii, this ground-
breaking book investigates the complexities of
dress and gender and demonstrates the flexible
nature of contemporary fashion and style exchange
in a global context.
Masafumi Monden is Research Associate at the
University of Technology, Sydney, Australia.
Contents
1. Introducing Japanese Fashion, Past 5. Ribbons and Lace: Girls, Decorative
and Present Femininity and Androgyny
2. Lost in a Gaze: Young Men and 6. An Ivy Boy and a Preppy Girl: Style
Fashion in Contemporary Japan Import-Export
3. Boy’s Elegance: A Liminality of 7. Concluding Japanese Fashion
Boyish Charm and Old-World Suavity Cultures, Change and Continuity
4. Glacé Wonderland: Cuteness, Bibliography
Sexuality and Young Women Index
Key Titles
Textbook
Fashioning Japanese Fashion and

Subcultures Cultural Studies
Yuniya Kawamura Susan B. Kaiser
2012 2013
192 pages 240 pages

30 colour illus 29 bw illus
234 x 156mm / 9.2 x 6.1 inches 234 x 156mm / 9.2 x 6.1 inches
PB 9781847889478 PB 9781847885647
£18.99 / $39.95 £18.99 / $34.95
HB 9781847889485 HB 9781847885654
£55.00 / $99.95 £55.00 / $99.95
Berg Publishers Berg Publishers
61
World Dress and Anthropology
Indian Fashion Spanning India’s long historical contribution

to global fashion to the emergence of today’s
UK December 2014
US February 2015
Tradition, vibrant local fashion scene, this book provides
a comprehensive overview of the Indian fashion 224 pages
Innovation, world. 60 bw illus
244 x 169mm / 9.6 x 6.7 inches
Style The book addresses key issues such as identity,
class, youth and media, but does not simply apply
PB 9781847887795
£19.99 / $29.95
Arti Sandhu western fashion theory to an Indian context. It also
HB 9781847887801
allows for a holistic understanding of how fashion
£60.00 / $99.95
is created, worn, displayed and viewed in India,
Bloomsbury Academic
and considers India’s sartorial impact on the West,
providing a model for studying non-western fashion
in general.
Arti Sandhu is Assistant Professor of Fashion
Design at Columbia College Chicago, USA
Contents
1. Introduction: “Fashion” and India
2. Fashion, Class and Modernity
3. The Image and Ideals of Indian
Fashion: Beauty, Celebrity and the
Fashion Magazine
4. Indian Design: Designers, Branding
and the Shaping Local and Global
Tastes
5. From Bollywood to Street: Youth
Trends, Everyday Style and Popular
Culture
6. Modern Indian Menswear and
Concepts of Masculinity
7. Conclusion
Bibliography
Index
Key Titles
The Sari Visibly Muslim

Daniel Miller and Mukulika Banerjee Fashion, Politics,
Faith
Emma Tarlo
2008 2010
288 pages 320 pages

215 bw illus 50 bw and 32 colour illus
235 x 210mm / 9.3 x 8.3 inches 244 x 172mm / 9.6 x 6.8 inches
PB 9781847883148 PB 9781845204334
£21.99 / $34.95 £19.99 / $34.95
HB 9781859737323 HB 9781845204327
£55.00 / $99.95 £65.00 / $109.95
Berg Publishers Berg Publishers
62
Reference
Encyclopedia of The Encyclopedia of Embroidery

from the Arab World charts
UK April 2015
US June 2015
Embroidery from the history of embroidery from
Ancient Egypt to the present 688 pages
the Arab World day and offers an authoritative 750 colour and 100 bw illus
guide to all the major embroidery 280 x 210mm / 11 x 8.3 inches
Gillian Vogelsang-Eastwood traditions of the region. It maps HB 9780857853974
the diversity of embroidery £150.00 / $240.00
from the Maghreb to the Gulf Bloomsbury Academic
states, from Turkey to Sudan,
and traces the impact of trade,
commerce, politics and religion
on materials, colours, styles and
fashions.
Gillian Vogelsang-Eastwood is
Director of the Textile Research
Centre, Leiden, The Netherlands.
Features
• The first comprehensive reference work on this subject in any
language (including Arabic)
• Generously illustrated with 830 images, patterns and diagrams,
many never previously published or on public view
• Provides detailed coverage of the embroiders, their materials and
techniques, and embroidery’s development over time, up to and
including its use by modern fashion designers from the region
Contents
Preface
Timeline
Part I: General Information • Embroidered Tiraz • Embroidery from Lebanon
• Introduction • The Kiswah • Embroidery from Jordan
• The Embroiderers • Egyptian Applique and the Street of • Embroidery from Syria
• Foreign Influences and Sources the Tent Makers • Embroidery from Iraq
• Materials and Equipment • Ottoman Turkish Embroidery • Embroidery from Saudi Arabia
• Hand and Machine Embroidery Part III: Regional Embroidery • Snapshot: Saudi Arabian Fashion
Techniques • Snapshot: The Maghreb Designer Adnan Akbar
• Designs and Colours • Embroidery from Morocco • Snapshot: Saudi Arabian Fashion
Part II: Archaeological and • Snapshot: The Jewish Kiswa Designer Yahya al-Bishri
Historical Embroideries El-kabir • Embroidery from Sudan
• Embroideries from the Tomb of • Embroidery from Algeria • Embroidery from Yemen
Tutankhamun • Embroidery from Tunisia • Snapshot: Naeksha Harazi: The
• Late Classical and Early Medieval • Embroidery from Libya Hand Embroidery Company of Al
Embroideries from Egypt and Nubia Hajjarah, Yemen
• Snapshot: Tuareg Embroidery
• Early Embroideries from Palestine, • Snapshot: Zarrie Work from India
• Embroidery from Egypt
Syria and Iraq • Embroidery from Oman
• Embroidery from the Negev and
• Coptic, Byzantine and Arab Sicilian • Embroidery from the Gulf States
Sinai
Embroideries
• Snapshot: Abas and bishts • Snapshot: Colonel and Mrs
• Medieval Embroideries from Dickson’s Embroidered Garments
Egyptian Archaeological Sites • Ecclesiastical Embroidery from the
Eastern Part IV: Resources
• Medieval Embroideries from Qasr
• Samaritan and Jewish Ritual • Stitch Appendix
Ibrim, Egyptian Nubia
Embroidery • Glossary of Terms and Historic
• Medieval Embroideries from the
• An Introduction to Palestinian Writers’ Names
Qadisha Valley, Lebanon
Embroidery • Bibliography
• Medieval Styles of Embroidery
from Egypt and the Eastern • Palestinian Embroidery and • Index
Mediterranean Clothing
63
Reference Key Titles
4th Edition
The Fairchild The fourth edition contains over 15,000 entries,

including apparel, accessories, and their
2013
Books Dictionary components, historical and textiles terms that

relate to contemporary fashion and the language
488 pages
809 bw illus
of Fashion of the fashion industry. Tortora and Keiser organise 203 x 254mm / 8 x 10 inches
terms in broad categories that are fully cross- PB 9781609014896
Phyllis G. Tortora and referenced to the alphabetical listing to promote £45.00 / $85.00
Sandra J. Keiser understanding of related terminology. Fairchild Books
College, USA.
Sandra J. Keiser is Associate Professor in the
Fashion Department at Mount Mary College,
Wisconsin, USA.
New to this edition

• Includes Appendix of historic and contemporary designers
• Updated anatomical drawings show how parts of the fashion items fit together
• More than 100 new and updated illustrations
• Includes about 200 new terms identifying fashion industry practices and fashion
products plus a new category of dresses
• Icons identify historic terms and textile terminology defined in depth in The Fairchild
Books Dictionary of Textiles
8th Edition
The Fairchild This 100th Anniversary Edition of the industry

standard for textile terminology features
2013
Books Dictionary approximately 100 new entries and over 14,000

definitions of fibers, fabrics, laws and regulations
736 pages
425 bw illus
of Textiles affecting textile materials and processing, inventors 203 x 254mm / 8 x 10 inches
of textile technology, and business and trade terms HB 9781609015350
Phyllis G. Tortora and Ingrid relevant to textiles. Fully illustrated with over 400 £120.00 / $210.00
Johnson photographs and line drawings, entries include Fairchild Books
pronunciation, derivation, definition, and industry
uses.
College, New York, USA.
Ingrid Johnson is Full Professor at the Fashion
New to this edition

• Since last publication in 1996, content is updated to include geographic information,
entries for governmental entities relevant to the textile field, and current trademarks
• Extensive cross-referencing, listings of synonyms and acronyms, and icons to
distinguish historic terms
• Entries include relevant information on a textile product end use
64
Reference Key Titles
The Berg “The Berg Companion to Fashion is the title

to get.” Library Journal
2010
Companion to “Recommended for reference collections.”

800 pages
150 bw illus
Fashion Booklist Online 32pp colour plate section
244 x 189mm / 9.6 x 7.4 inches
Edited by Valerie Steele A one-stop reference for students, curators and PB 9781847885630
scholars, this comprehensive volume includes £31.99 / $55.00
entries on the history, theory and culture of fashion, HB 9781847885920
from Avedon to Codpiece, Dandyism to G-String, £80.00 / $150.00
Japanese Fashion to Subcultures, Trickle Down to Berg Publishers
the Zoot Suit.
ORIENTALISM 546 509 MILLINERS
It was in the realm of fashion that the impact of extravagant hats as well as having a flair for fashion and
“Orientalism” could also be profoundly felt. Platform finery were, and still are, the trademarks of successful
shoes from central Asia led to the creation of the milliners.
Venetian chopine in the sixteenth century. Textiles The first celebrated “Marchande de Mode,” or “mo-
from all over Asia, primarily China, India, and Tur- diste” as they were later called in France, was Rose
key, inspired the creation of fashions like the robe á la Bertin (1744–1813). Her name is linked with Queen
turquerie in the eighteenth century. This was a more Marie-Antoinette of France, the most extravagant
extraordinary phenomenon since the fear of Turk- and illfated fashion icon of the eighteenth century. It
ish Islamic invaders was a constant and imminent could be argued that Marie-Antoinette and her “Min-
threat. Coupled with the threat of an invasion was a istre de Modes,” Rose Bertin established haute couture
diametrically opposed view: the romantic notion of a in Paris and thus made it the capital of fine fashion.
far-distant land, such as Cathay (or China), filled with Elaborate hats, demure straw bonnets, and extravagant
genteel philosophers and lovers of art. This idealized headdresses, called “poufs” were the height of fashion
impression of China would continue until the rise of in the last quarter of the eighteenth century. Rose
the industrial revolution and European colonialism Bertin’s witty creations were perched high up on the
in the early nineteenth century. The gritty reality of coiffure and featured rising suns, miniature olive trees,
ever-increasing business transactions between East and, most famously, a ship in full sail. Her fame was
Women wearing dresses by Japanese designer Chiyo and West, as well as the ever-encroaching military enhanced by her notoriety and attracted an array of
Tanaka. After World War II, the West showed a reemergence of dominance by European powers in Asia was firmly ladies of European nobility. Her salon survived the
interest in other cultures, and Asian designers began to make cemented by the middle 1800s. French Revolution but sadly all her hats, just like her
an impact in the fashion world. © BETTMANN/CORBIS. REPRODUCED BY As Queen Victoria ascended the throne of England famous clients, have disappeared and can only be traced
PERMISSION. 1837, then the most powerful empire in the world, she in copies of the Journal des modes, which according to
oversaw an eclectic art style that would come to domi- the custom of the period, never mentioned or credited
nate the remainder of the nineteenth century. The Vic- the designer or creator of model hats.
torian era brought together many historical European The fashion for straw bonnets spread to the newly
ORIENTALISM styles of the past, Gothic and Rococo for example, independent America and with it the millinery trade.
which were sometimes surprisingly combined with ele- Betsy Metcalf of Providence, Rhode Island, was one of
The Orient has been a source of inspiration for fashion ments from cultures like Japan. The end result of one the first milliners in the United States. She is said to Portrait of a lady in a gown and elaborate straw hat,
designers since the seventeenth century, when goods amalgamation, Gothic and Japanese, led to the creation have invented a special way of splitting locally grown 1796. Straw bonnets were popular fashion accessories through-
of India, China, and Turkey were first widely seen in of the Aesthetic Movement. Fashion gowns reflected oat straw, which she bleached in sulfur fumes, plaited, out the eighteenth century. © HISTORICAL PICTURE ARCHIVE/CORBIS. RE-
Western Europe. While the use of the term “Oriental- this blend: smocked robes like medieval chemises were and sewed in spirals, creating straw bonnets intersected PRODUCED BY PERMISSION.
ism” has changed over time, it generally refers to the embroidered with asymmetrically placed floral motifs with fine lace and lined with silk. Having started to
appropriation by western designers of exotic stylistic of chrysanthemums, two distinctly Japanese design make hats at the age of twelve, she set the trend for new
conventions from diverse cultures spanning the Asian elements. straw weaving techniques and became the founder of
continent. The influence of Orientalism on fashion could be American millinery. The production of straw hats be-
Though luxury goods have been filtering into Eu- seen in many other ways, both frivolous and profound. came an important home industry and rivaled the ex-
rope from countries like China since ancient times, it For example, the fad for harem pants from Turkey ap- pensive imports of Florentine (Leghorn) straw from
was not until the great age of exploration that a wider peared in the form of fancy dress costume at balls, just Italy. A bonnet that is said to be one of Betsy Metcalf ’s
array of merchandise from cultures throughout Asia as the Zouave costume of North Africa found its way is in the collection of Rhode Island’s Literary and His-
found their way to the west. For example, the importa- into the wardrobes of some Southern soldiers fight- torical Society.
tion of Chinese ceramics exploded in the seventeenth ing in the American Civil War and the closets of Eu- During the nineteenth century, bonnets and hats
century. Not only did these wares remain popular for ropean ladies. On the other hand, items of dress from were not only fashionable, but essential in any woman’s
centuries, they also inspired the creation of stellar ce- Asia would become essential for women through the wardrobe. Bonnets were romantic and coquettish and
ramic companies like Sevres in France and Meissen in mid-nineteenth century. Kashmiri shawls, originally thus the perfect accessory for women of the era. Mil-
Germany. Even plants, like the legendary flower from woven in India then exported to the west in the late linery flourished, led by a strong force of Parisian “mo-
Turkey that led to the “tulipmania” craze in Holland eighteenth century, became a ubiquitous part of the distes,” who set the tone for high fashion and demanded
and the brewed leaf that became the status drink of the neoclassical costume. The shawl was often paired with to be addressed reverently as “Madame.” Famous names Milliner Frederick Fox, March 9, 1993. This famous
well-to-do and evolved into the ritualized “high tea,” fu- a white columnar dress made of diaphanous, finely were Madame Herbault, Madame Guerin, and Ma- hatmaker, shown in his studio, was a royal milliner for Queen
eled the love of all things from Asia. woven Indian cotton. Its popularity inspired many dame Victorine, who created Queen Victoria’s bon- Elizabeth II. Based in London, Fox’s career peaked during the 1970s
nets. Society ladies expected milliners to create unique and 1980s. © TIM GRAHAM/CORBIS. REPRODUCED BY PERMISSION.
THE BERG COMPANION TO FASHION THE BERG COMPANION TO FASHION
The Dictionary of “A welcome, needed update of an early

landmark dictionary on dress; a must have
2010
Fashion History for all who care about the A to Z of fashion.”

Joanne B. Eicher, Regents Professor Emerita at
304 pages
75 bw illus
Valerie Cumming, the University of Minnesota 244 x 189mm / 9.6 x 7.4 inches
C. W. Cunnington and PB 9781847885333
P. E. Cunnington “Concise yet detailed, academic, and £18.99 / $34.95
fabulous, it is truly a dictionary. The HB 9781847885340
Dictionary of Fashion History is an essential £60.00 / $99.95
purchase for any library serving patrons with Berg Publishers
an interest in fashion, clothing, art, history,
theater, anthropology, or nearly any area of
the social sciences.” Library Journal
First published in 1960, A Dictionary of English

Costume was monumental in scope, providing a
comprehensive catalogue of fashion terms from
900 to 1900. The Dictionary of Fashion History
completely updates this landmark work to bring it
up to the present day.
65
Journals
Journal of Textile The Journal of Textile Design

Research and Practice aims
Only available on subscription
2 issues per year:
Design Research to create a forum to facilitate,
stimulate and disseminate
May, November
ISSN: 2051-1787
and Practice research in the domain of e-ISSN: 2051-1795
textile design and practice,
Edited by J.R. Campbell, and encompasses a range of www.bloomsbury.com/jtdrp
Faith Kane, Janette Matthews, approaches, disciplines and
Lauren Moriarty and outcomes.
Nancy Boiter Powell
The journal is interested in
interdisciplinary and cross-
disciplinary approaches and
the role of collaboration;
relationships between traditional
and contemporary practices;
the application of new and
traditional technologies and
materials from both technical
and aesthetic perspectives;
sustainable textile practices,
interfaces between research
and industry, the textile design Institutions will receive both
process including the role of Textile and Journal of Textile
drawing and the significance Design Research and Practice
of craft. as a single subscription.
J.R. Campbell is a Professor and

Director at Kent State University,
USA.
Faith Kane is a lecturer in
Textiles and leader of the Textiles
Research Group at The School
of the Arts, Loughborough
University, UK.
Janette Matthews is a
Researcher at Loughborough
University School of Art and
Design, UK.
Lauren Moriarty is a Senior
Lecturer for the BA (Hons)
Textiles and Surface Design
course at Buckinghamshire New
University, UK, and teaches on
the Surface Design pathway.
Nancy Boiter Powell is an
Associate Professor in the
Textile and Apparel, Technology
and Management Department at
North Carolina State University,
USA.
66
Journals
Textile “Any university or college with an interest

in textiles should subscribe to it and make
Available to purchase on
subscription or as individual
The Journal of it easily available. For individual scholars
and makers, the journal provides a useful
issues
3 issues per year:
Cloth and Culture resource and will be a pleasure to collect and March, July, November
possess.” Times Higher Education ISSN: 1475-9756
Edited by Catherine Harper e-ISSN: 1751-8350
Textile is an international and peer-reviewed journal
that brings together research in textile studies www.bloomsbury.com/
in an innovative and distinctive academic forum. textilejournal
It provides a platform for points of departure
between art and craft; gender and identity; cloth,
body and architecture; labour and technology;
techno-design and practice – all situated within the
broader context of material and visual culture.
Catherine Harper is Dean of Faculty of Creative
and Cultural Industries at the University of
Portsmouth, UK.
Institutions will receive

both Textile and Journal
of Textile Design
Research and Practice as
a single subscription.
New in 2014
Luxury “Luxury is a wonderful topic which crosses

so many disciplines and fields in the
Only available on subscription
1 issue per year: September
History, Culture, humanities, arts and social sciences. A new
journal on luxury is a significant initiative
ISSN: 2051-1817
e-ISSN: 2051-1825
Consumption from the editorial group and publisher – a
step forward I very much applaud.” Mike www.bloomsbury.com/luxury
Edited by Jonathan Faiers and Featherstone, Professor of Sociology, Goldsmiths,
Shannon Bell Price University of London, UK and Editor-in-Chief of
Theory, Culture and Society and Body & Society
Luxury: History, Culture, Consumption is the first

truly interdisciplinary, academic journal devoted to
luxury. It considers luxury in broad socio-cultural
contexts, exploring and interrogating both our
historical and contemporary understanding of the
term.
Within the context of the contemporary global
economic recession, our consumption of luxury is
being questioned and transformed, with notions
of ‘affordable luxury’, ‘sustainable luxury’ and even
‘luxury for less’ suggesting a new discourse. At
the same time, the demand for luxury goods and
services on a global scale is at an unprecedented
level. Luxury examines all aspects of the subject:
its historical formation and understanding, its
contemporary global political and economic
function, alongside an exploration of how the
concept of luxury remains an impetus for design,
popular culture, literature and fine art.
Jonathan Faiers is a Reader in Fashion and Textiles
at the Winchester School of Art, University of
Southampton, UK.
Shannon Bell Price is Assistant Dean of Design at
the Pratt Institute, New York, USA.
67
Journals
Fashion Theory “Fashion Theory is needed to help students

and professionals understand that fashion
Available to purchase as a
subscription or as individual
The Journal of has meaning as well as form.” Vivienne
Westwood
issues
5 issues per year: February,
Dress, Body and April, June, September,
“A fine addition to academic institutions November
Culture with cultural studies programs; essential for ISSN: 1362-704X
those with special collections in fashion and e-ISSN: 1751-7419
Edited by Valerie Steele costume.” Library Journal
www.bloomsbury.com/
Launched in 1997, Fashion Theory is well fashiontheory
established as the leading peer-reviewed,
international, and interdisciplinary journal for the
analysis of all aspects of the cultural significance
of dress and fashion worldwide – from Vogue
to Versace, from kimonos to kilts, and from foot-
binding to body piercing.
Valerie Steele is Director and Chief Curator of The
Museum at the Fashion Institute of Technology
(FIT), USA.
both Fashion Theory and
Fashion Practice as a
single subscription.
Fashion Practice Fashion Practice is the first academic peer- Only available on subscription Volume 6 Issue 1 May 2014
Fashion Practice Volume 6 Issue 1 2014
reviewed journal to cover all aspects of 2 issues per year, May,

Online at
www.ingentaconnect.com
The Journal of contemporary design and manufacture within the

context of the fashion industry. Interdisciplinary in
November
ISSN: 1756-9370
Editorial
Marilyn DeLong
Educational Strategies for Sustainable
Design: Four Case Studies
Design, Creative

A Typology of Creativity in Fashion Introduction
approach, it provides a much-needed forum for e-ISSN: 1756-9389

Design and Development Sandy Black
Mary Ruppert-Stroescu and Jana M. Hawley
Sustainability + Fashion = re:Dress
Basic Research in Art: Foundational Therèsa M. Winge
Problems in Fashion Design
topics ranging from design theory to the impact

Process and the
Explored through the Art Itself Upcycled Parachutes Project
Clemens Thornquist at Colorado State University
Juyeon Park
Barriers and Mechanisms for the
of technology, economics and industry on fashion www.bloomsbury.com/

Integration of Sustainability in Redefining, Redesigning Fashion:
Textile and Apparel Education: Designs for Sustainability
Stories from the Front Line Marilyn DeLong, Barbara Heinemann
Cosette Armstrong and Melody LeHew and Kathryn Reiley
Fashion Industry practice. fashionpractice

Fashion Design Industry Fashioning the Future
Impressions of Current Dilys Williams
Sustainable Practices
Noël Palomo-Lovinski and Kim Hahn

Sandy Black is Professor of Fashion and

Edited by Sandy Black and Textile Design and Technology at the Centre for
Marilyn DeLong Sustainable Fashion, London College of Fashion,
University of the Arts London, UK.
Marilyn Delong is Professor of Apparel Studies
at the College of Design, University of Minnesota, www.bloomsbury.com
Front cover image: Michaela Carraro design for Fashioning the Future
competition, photography by Sean Michel, styling Rob Phillips.
Fashion Practice
USA. Inside cover image: Sara Emilie Terp Hansen design for Fashioning
the Future competition, photography by Kerry Dean.
ISBN 978 1 4725 8044 3

The Journal of Design, Creative Process
& the Fashion Industry
ISSN 1756-9370

both Fashion Theory and
Fashion Practice as a
single subscription.
68
Index
A Complete Guide to Designing and Fashion Pattern Cutting 32, 33

Printing Fabric, The 41 Fashion Practice 68
A Guide to Fashion Sewing 27
Cool Shades 58 Fashion Retailing (Diamond) 8
A Practical Guide to Sustainable Fashion 35
Creative Fashion Illustration 22 Fashion Retailing (Koumbis) 10, 11
Abling, Bina 22
Creative Fashion Illustration 23 Fashion Sewing: Advanced Techniques 30
Advertising Menswear 51
Cultural History of Fashion in the 20th Fashion Sewing: Introductory Techniques 30
Alford, Holly Price 46
and 21st Century 50
Amaden-Crawford, Connie 27, 30, 34 Fashion Sketchbook 22
Cultural History of Jewish Dress 47
Antoine, Denis 28 Fashion Theory 68
Cultural Threads 42, 43
Apparel Merchandising 20 Fashion Writing and Criticism 52
Cumming, Valerie 65
Apparel Production Terms and Processes 20 Fashion-ology 60
Cunningham, Patricia 50
Apparel Quality 18 Fashion: The Industry and its
Cunnington, C. W. 65 Careers 4th edition 7
Apparel Quality Lab Manual 18
Cunnington, P. E. 65 Fashionable Art 55
Art of Fashion Draping, The 34
Czachor, Sharon 29 Fashioning Japanese Subcultures 61
Aspelund, Karl 24
D Foy, David 56
B Functional Clothing Design 21
David Bowie Style 56
Bailey, Sarah 15
DeLong, Marilyn 68 G
Baker, Jonathan 15
Designing 24 Gaimster, Julia 7
Ballroom Dance 57
Designing Your Fashion Portfolio 22 Gale, Colin 37
Ballroom Dance and Glamour 56
Diamond, Ellen 6, 8 Garner, Myrna B. 20
Banerjee, Mukulika 62
Diamond, Jay 6, 8 Geczy, Adam 55
Barbara Kolson, 17
Dictionary of Fashion 64 Gilewska, Teresa 31
Barnett, Pennina 42
Dictionary of Fashion History, The 65 Gill, Penny 12
Barrett, Joanne Ciresi 22
Dictionary of Textiles 64 Gilligan, Sarah 54
Barthes, Roland 60
Digital Textile Printing 41 Gordon, Jennifer Farley 35
Bartlett, Djurdja 54
DiMarco, Sally 34 Granger, Michele M. 7
Basics Fashion Design 01:
Doing Research in Fashion and Dress 7 Guide to Fashion Entrepreneurship 5
Research and Design 2nd edition 25
Draping Basics 34 Guide to Producing a Fashion Show 16
Basics Fashion Design 07: Menswear 25
Draping for Apparel Design 34 Gwilt, Alison 35
Bay, Stefani 12
Dress and Ideology 59
Bell, Judith 15 H
Dress, Fashion and Technology 47
Berg Companion to Fashion, The 65
Dunne, Lucy E. 21 Harper, Catherine 67
Beyond Design 20
Dynamics of Fashion 6 Hill, Colleen 35
Birth of Cool, The 58
Hopkins, John 25
Black, Sandy 68 E
How to Read Pattern 38
Brannon, Evelyn L. 16 Eicher, Joanne B. 53 Hundred Dresses, The 48
Brown, Vanessa 58 Encyclopedia of Embroidery from the Hunt-Hurst, Patricia 59
Bryant, Nancy O. 7 Arab World 63
Bubonia, Janace E. 18, 20 English, Bonnie 47, 50 I
Burns-Tran, Shannon 16 Essentials of Exporting and Importing 17 In Fashion 6
Burns, Leslie Davis 7 Evenson, Sandra Lee 53 Indian Fashion 62
Business of Fashion, The 7 Everett, Judith C. 16, 52 Irwin, Kimberly 39
C F J
Cabrera, Roberto 28 Faiers, Jonathan 67 Jansen, M. Angela 51
CAD for Fashion Design and Merchandising 26 Fashion and Age 55 Japanese Fashion Cultures 61
Cadigan, Erin 38 Fashion and Cultural Studies 61 Japanese Fashion Designers 50
Camille Steen, 26 Fashion and Film 54 Jimenez, Guillermo C. 17
Carden, Susan 41 Fashion and Jazz 58 JJ Pizzuto’s Fabric Science 37
Carr, Melissa G. 5 Fashion and Museums 55 JJ Pizzuto’s Fabric Science Swatch Kit 37
Cheney, Nigel 40 Fashion Buying 14 Jobling, Paul 51
Classic Tailoring Techniques 28 Fashion Forecasting 16 Johnson, Ingrid 37, 64
Clodfelter, Richard 9 Fashion Forward 16 Joseph-Armstrong, Helen 34
Cohen, Allen C. 37 Fashion Law 17 Journal of Textile Design Research
Cole, Julie 29 Fashion Media 54 and Practice 66
Cole, Shaun 54 Fashion on Television 54
69
Index
K Pizzuto, Joseph J. 37 T
Kaiser, Susan B. 61 Prendergast, Jennifer 30 Tarlo, Emma 62
Kaur, Jasbir 37 Price, Shannon Bell 67 Technical Sourcebook for Designers 26
Kawamura, Yuniya 7, 59, 60, 61 Professional Sewing Techniques for Tepper, Bette K. 15
Designers 29
Key Concepts for the Fashion Industry 4 Ternus, Kate 15
Kim, Injoo 31 R Textile 67
Kim, Myoungok 31 Rag Rug Creations 40 Textile Book, The 37
Koumbis, Dimitri 14 Rath, Patricia Mink 12, 17 Textile Surface Manipulation 40
Real World Guide to Fashion Selling Textiles and Fashion 25
L
and Management, The 14 Thinking Through Textiles 42
Lady Gaga Style Bible 56
Reilly, Andrew 4, 59 Tortora, Phyllis G. 43, 44, 45, 47, 64
Language of Fashion, The 60
Retail Buying 9 Tulloch, Carol 58
Lee, Jaeil 26
Rocamora, Agnes 54 Twentieth-Century American Fashion 50
Lewis, Danny 56
Rosenau, Jeremy A. 20 Twigg, Julia 55
Litt, Sheri Diamond 8
Rousso, Chelsea 16
Luxury 67 U
S Udale, Jenny 25
M
Sample Workbook to Accompany Professional Uncovering Fashion 52
Marcketti, Sara B. 43, 44, 45 Sewing Techniques for Designers 29
Marion, Jonathan S. 56 V
Sandhu, Arti 62
Mathematics for Retail Buying 15 Sari, The 62 Videtic, Karen M. 13
McAllister, Dr. Helen 40 Seivewright, Simon 25 Visible Self, The 53
McClendon, Alphonso 58 Sewing Techniques 30 Visibly Muslim 62
McKean, Erin 48 Shaw, David 14 Visual Merchandising and Display 15
McKenzie, Stuart 22 Shawcross, Rebecca 48 Visual Merchandising for Fashion 15
McNeil, Peter 52 Sherman, Gerald J. 14 Visual Research Methods in Fashion 7
McNeil, Peter 52 Shoemack, Harvey R. 17 Vogelsang-Eastwood, Gillian 63
Meanings of Dress, The 59 Shoes 48, 49 W
Melchior, Marie Riegels 55 Silent Selling 15
Warner, Helen 54
Miller-Spillman, Kimberly A. 59 Smith, Stacy Stewart 26
Watkins, Susan M. 21
Miller, Daniel 62 Sneakers 59
Welters, Linda 50
Miller, Sanda 52 Sourcing and Selecting Textiles for Fashion 38
Who’s Who in Fashion 46
Millner, Jacqueline 55 Steele, Cynthia W. 13
Why of the Buy, The 12
Monden, Masafumi 61 Steele, Valerie 60, 65, 68
Wilson, David L. 20
Moroccan Fashion 51 Stegemeyer, Anne 46
Wisbrun, Laurie 41
Mullet, Kathy K. 7 Stein, Lynne 40
Wolbers, Marian Frances 52
N Stone, Elaine 6
World of Fashion, The 6
STUDIO: Survey of Historic Costume 45
Newell, Lisa Hopkins 5 World’s Most Influential Fashion
Style Wise 16 Designers, The 47
P Surface Design for Fabric 39 Writing for the Fashion Business 52
Palomo-Lovinski, Noel 47 Survey of Historic Costume 44
Survey of Historic Costume 6th Edition Y
Paris Fashion 60
Pattern Drafting for Fashion 31 Student Study Guide 45 Young, Deborah E. 36
Patternmaking for Menswear 31 Sustainable Fashion 35
Z
Pegler, Martin M. 15 Svensson, Birgitta 55
Swanson, Kristen K. 16, 52 Zaman, Zarida 32
Perlman, Sar S. 14
Perry’s Department Store 13 Swatch Reference Guide to Fashion Fabrics 36
Petrizzi, Richard 12
70
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Fashion & Textiles 2015

Front, back and inside cover image photography by Niall McInerney.

Contents Bloomsbury Fashion Central

Bloomsbury UK, Europe and

Contact Us Review copies

© Philadelphia Museum of Art

• Over 140 textbooks available digitally as a comprehensive library of fashion resources

• Instant access to instructor materials

• Subscriptions to the Fairchild Books Library are available to institutional customers

For subscription or order enquires please contact fairchildbookslibrary@bloomsbury.com.

• Launch collection curated and articles commissioned by Editor-in-Chief Valerie Steele,

• Resources for teaching and learning, including video and lesson plans

For subscription or order enquires please contact

Photographer: Niall McInerney

• Free lesson plans with links through to live online content

Key Concepts Accessibly written and logically

4. Social Influence on Fashion

28039.indb 76 09/04/2014 12:44 28039.indb 77 09/04/2014 12:44

BOXED CASE 6.2: CLASSICS CAN HAVE

28039.indb 126 09/04/2014 12:44 28039.indb 127 09/04/2014 12:44

Guide to Fashion Ideal for students and

• Includes chapter outlines, objectives, scenarios, summaries,

7. Commerce Checklist 14. Trade Tools

15. The Expansion and the Exit Brand Power

1. Market size—the scope of competition

Brand Power 39 40 Chapter 3 | Brand Personification

Carr_ch03_039-054.indd 39 3/18/14 11:59 AM Carr_ch03_039-054.indd 40 3/18/14 11:59 AM

5th Edition www/Textbook

The World of The World of Fashion provides an in-depth

Fashion merchandising segments of the fashion industry. 720 pages

4th Edition www/Textbook

of Fashion production, and merchandising, this book provides

2nd Edition www/Textbook

In Fashion The various career paths available are woven into

3rd Edition www/Textbook

The Fashion The Fashion Industry and Its Careers explores

The Business This authoritative text examines how fashion

of Fashion manufactured, marketed and distributed. It focuses

• Discussion of sustainable practices and

Visual Research Doing Research in

352 pages 160 pages

3rd Edition www/Textbook

Fashion Retailing In this fully updated overview

New to this edition

• New Chapter 10 “Communicating to Customers through Electronic

1. The Nature of the Fashion Products THE NATURE OF THE

Retailing Industry 12. Planning and Executing the

FASHION RETAILING New York City.

2. The Global Impact of INDUSTRY

3. Organizational Structures Marketplace later in the text.

14. Private Label Importance to

4. The Fashion Consumer

5. Retail Research Directions

Environment Section Five:

Communicating With and

Servicing The Fashion

Section Two: Fashion

7. On-Site and Off-Site • Determine the impact of the home

Bricks and Mortar Premises

5th Edition www/Textbook

Retail Buying “Probably one of the best

New to this edition

Fashion Retailing Fashion Retailing looks at