Esmod Éditions catalogue

CATALOGUE

EDITIONS

2018 2019

CATALOGUE

Design © Yiyi Rao - photo © Ye Tian

EDITIONS

EN

www.esmod-editions.com

design © José Luis Gutierrez - photo Jean-Baptiste Pennel

THE FASHION DESIGN PROCESS FIVE BOOKS that propose a step-by-step approach to ALL THE CREATIVE PROCESSES in the fashion industry.

1 Creative paths Armelle Claudé • Éric Rabiller

ISBN 978-2-909617-48-0 e-BOOK available

The first volume of “The Fashion design process” series, Creative paths lays the base for the creative process today in the fashion world.

Numerous techniques and tools can help one develop ideas, stimulate methods of thinking… and create. Look at things differently, research freely, without restrictions, take time to experiment, be conscious of the context in which you must express your creativity.

This is a thought process of a creative person on an every day basis.

21x29,7 96 pages

23,99 € TTC

French / English Soft cover / bound 32,50 € TTC

2 Fashion drawings

Sylvie Fagegaltier • Isabelle Gonnet

ISBN 978-2-909617-38-1

This second volume of the “The Fashion design process” series concentrates on tools for fashion drawing.

Learn to draw your fashion creations by understanding the human body and how to stylize it through sketches. Each person will find a way to express his or her creativity by using basic drawing skills for women’s, men’s and children’s fashions. Imagine different poses and figures drawing to express techniques as a basis for drawing flat garments. Learn the vocabulary, shapes and details of the three clothing sectors.

21x29,7 208 pages

French / English Soft cover / bound 45,70 € TTC

3 Digital graphic expressions Dorothea Beisser • Vanessa Morin

ISBN 978-2-37781-006-2 e-BOOK available

This book is proposed, first and foremost, as a way to awaken each creative person’s curiosity when confronted with the different artistic techniques proposed by Illustrator and Photoshop to render fashion drawings.

Starting with sketches based on careful observation, these methods will help motivate you to realize models and develop your creativity as an expert or amateur. In this book you will find numerous exercises and paths to bring your ideas to life!

21x29,7 96 pages

23,99 € TTC

French / English Soft cover / bound 32,50 € TTC de se composent généralement Les jeunes maisons : la manière suivante aussi • Du créateur, ‘son alter égo’ responsable • D’un gestionnaire, l’entreprise que de la stratégie de bien de la gestion de vente et de communication. binôme (DUO travaillent en (Souvent les créateurs que Yves Saint Laurent et er tel Grumbach, créateur/manag Mugler et Didier Pierre Bergé, Thierry Marc Jacob et et Jenny Meirens, Martin Margiela Robert Duffy). cette analyse par se dégagent de 2 groupes bien distincts de fonctionnement présentent un mode leur structure et les ‘autres’. indépendant’ et . différent : le ‘créateur ‘Créateur’ & ‘PàP’ pour plus de facilité Nous les nommerons Étapes de collections. notre approche des Ils ont déterminé

4 Collection process

Cycle de collection

in the are generally composed Smaller companies following way: respon• Designer, the designer’s ‘alter-ego’, • Director/manager, the company as well as sales sable for managing strategies. and communication pair – well-known work as part of a (Often designers Yves Saint Laurent tandems include Grumbach, designer/manager Mugler & Didier & Pierre Bergé, Thierry Marc Jacobs & & Jenny Meirens, Martin Margiela Robert Duffy). structure, analysis by their stand out in this 2 distinct groups erently : the ‘independent that functions diff indicating a fashion ‘others’. . designer’ and the ‘Designer’ & ‘RTW’ we will call them To make things simpler, the Collection Steps. our approach in They will determine

/ Collection cycle

Armelle Claudé • Valérie Praquin PAR QUI ?

BY WHO?

Studio créa (sa composition dépend de la taille et de la structure de la société) ;

Design studio (its composition depends on the company’s size and structure) ;

Chef de produit Ce travail requiert certaines qualités et compétences incontournables telles que : • curiosité (il faut être astucieux : savoir où chercher et sortir des sentiers battus) ; • créativité ; • autonomie ; • intuition ; • capacité d’analyse, de synthèse et d’adaptation (savoir traduire une tendance ou un thème en formes, matières et couleurs) ; • dynamisme et réactivité ; • maîtrise de l’outil informatique (pour les présentations) ; • capacité d’argumentation ; • humilité (ce travail se fait souvent en équipe, il est donc important d’écouter et de remettre en question ses propres idées).

Product manager • This job requires certain essential qualities and competences such as: • curiosity (it is important to be clever: know where to find things and wander off the beaten path); • creativity; • autonomy; • intuition; 13 (know how to • a capacity to analyze, synthesize and adapt translate a trend into shapes, fabrics and colors); • dynamism and reactivity; • mastery of computer skills (for a verbal presentation); • an ability to defend one’s work; • humility: since this work is often done in a team, it is important to be able to listen and eventually question your own ideas.

Tout peut-être source d’inspiration / Anything can be a source of inspiration Cf. Parcours de création, dans la même collection.

Ex. Creative paths, fort he same collection.

Création • Creation

ISBN 978-2-909617-28-2

This book brings you behind the scenes to understand how fashion collections are born, organized and manufactured. Though the industry may be fragmented, the collection process itself is universal in the phases which compose it and the collaborators involved. The work proposes a parallel between the work methods of a “creative” and a readyto-wear designer.

21

e-BOOK available

21x29,7 96 pages

23,99 € TTC

French / English Soft cover / bound 32,50 € TTC

5 Products environment

Armelle Claudé • Éric Rabiller • Thierry Petit

ISBN 978-2-909617-49-7 e-BOOK available

23,99 € TTC

This book analyzes and helps conceive the identification codes a brand will use on all its communication grounds - logos, signage and packaging - without forgetting its marketing and merchandising strategies.

21x29,7 96 pages

French / English Soft cover / bound 32,50 € TTC

BECOME A PATTERN

DRAFTER

A SERIES OF FLAT PATTERNMAKING METHODS in different sectors of ready-to-wear.

Men’s garments Claire Wargnier This method uses a logical drafting technique called “flat pattern design” that provides key formulas that apply to all fashions. A complete men’s wardrobe can be made using this method from shirts to coats: shirts, ties, vests, knitwear, tailored pants, jeans, suits, jackets and coats in all styles (classic and timeless, fashion, luxury, sport).

ISBN 978-2-909617-30-5

21x29,7 288 pages

French / English Soft cover / bound 45,70 € TTC

Grading men’s garments Nathalie Coppin

ISBN 978-2-909617-40-4

This book, the second stage in our “Become a pattern drafter”: Men’s garments series, completes the creation of garments developed earlier using a point-by-point explanation of how to change their sizes: shirts, vests, jackets, coats, blousons, parkas, jeans and tailored trousers.

Conceived to respond to the needs of today’s clothing industry, it also addresses individuals passionate about sewing thanks to the choice of models used that can serve as examples for creating a multitude of other designs. Manual and computer methods are explained partnership with the Lectra company.

21x29,7 112 pages

French / English Soft cover / bound 29,40 € TTC

i n

Children’s garments Claire Wargnier A pattern drafting manual for children’s ready-to-wear clothing that includes details on the overall shape of a child’s body from layette to adolescence, as well as the procedures for development and transformation (volumes, sleeves, collars, details) + 10 added models of garments.

21x29,7 ISBN 978-2-909617-47-3

French / English Soft cover / bound 45,70 € TTC

Grading children’s garments Claire Wargnier

ISBN 978-2-909617-21-3

This book, the second stage in our “Become a pattern drafter”, Children’s garments series, completes the creation of garments developed earlier using a pointby-point explanation of how to change their sizes.

Conceived to respond to the needs of today’s clothing industry, it also addresses individuals passionate about sewing thanks to the choice of models used which can serve as examples for creating a multitude of other designs. Manual methods and sizing charts for the models in a children’s wardrobe are explained.

21x29,7 96 pages

French / English Soft cover / bound 29,40 € TTC

Cut-and-sew knits Sandrine Delhumeau Making patterns and 17 explained models, finishings and constructions for your T-shirts, sweaters, skirts, dresses, jackets and trousers in knit fabrics… This book explores all the possibilities in patternmaking for cut-and-sew knits and, through a selection of models, helps you make a full collection or complete your wardrobe with basic pieces adapted to women’s ready-to-wear.

ISBN 978-2-37781-007-9

21x29,7 272 pages

French / English Soft cover / bound 45.70 € TTC

Women’s garments Tome 1 Collective authorship This method uses a logical drafting technique called “flat pattern design” that provides key formulas that apply to all fashions.

A complete women’s wardrobe can be made using this method.

For garments called “fluid”: skirts, shirts, blouses, small tops, all styles of dresses (classic and timeless, fashion, luxury, sport).

21x29,7 240 pages

French / English Soft cover / bound 45,70 € TTC

ISBN 978-2-909617-22-0

Women’s garments Tome 2 Collective authorship This method uses a logical drafting technique called “flat pattern design” that provides key formulas that apply to all fashions. A complete women’s wardrobe can be made using this method from pants to “suit-coats”: tailored pants, jeans, warm-up suits, suits, jackets and coats in all styles (classic and timeless, fashion, luxury, sport).

21x29,7 240 pages

ISBN 978-2-909617-23-7 e-BOOK available

28,99 € TTC

French / English Soft cover / bound 39,50 € TTC

Grading women’s garments Nathalie Coppin This book, the third stage in our ”Become a pattern drafter / Women’s garments“ series, completes the creation of garments developed earlier using a point-by-point explanation of how to change their sizes.

Conceived to respond to the needs of today’s clothing industry, it also addresses individuals passionate about sewing thanks to the choice of models used which can serve as examples for creating a multitude of other designs.

21x29,7 112 pages

French / English Soft cover / bound 29,40 € TTC

ISBN 978-2-909617-35-0 e-BOOK available

21,99 € TTC

Women’s underwear Najah Ouahab Rassas A complement to patternmaking methods for women’s fashions, this book addresses the entire range of women’s underwear by using flat patternmaking techniques for bras, panties, bodysuits, corsets and bustiers.

21x29,7 192 pages

ISBN 978-2-909617-33-6

French / English Soft cover / bound 45,70 € TTC

FOCUS ON FASHION DETAILS 4 books showing STEP-BY-STEP details for men’s, women’s and children’s garments.

Essential PATTERNS AND MEASUREMENT CHARTS accompany each page to help you realize all your creations.

Generalities • Seams • Buttoning tabs Yokes • Assembly procedures Tome 1

Claire Wargnier

Generalities for machine assembly, vocabulary and diagrams for all seams, yokes, buttoning plackets and the different assembly procedures for: unlined skirts, lined skirts, women’s and men’s trousers, women’s shirts, men’s shirts, women’s jackets and men’s jackets.

21x29,7 192 pages

French / English Soft cover / bound 33,40 € TTC

Tome 2

Claire Wargnier

ISBN 978-2-909617-16-9

Pockets

All pockets for all kinds of garments: patch pockets, pockets in a seam, slit pockets for shirts, dresses, tailored jackets, coats, etc.

21x29,7 208 pages ISBN 978-2-909617-17-6

French / English Soft cover / bound 33,40 € TTC

Zippers • Flies • Waistbands Pleats and Vents Tome 3

Claire Wargnier

Everything that you need to know about zippers, fly closures, waistbands, pleats and vents!

21x29,7 192 pages

French / English Soft cover / bound 33,40 € TTC

ISBN 978-2-909617-18-3

Collars • Sleeves • Facings Canvas and Linings Tome 4

Claire Wargnier

All collars, different assembly procedures for sleeves, facings for loose-fitting and tailored garments, including tailored jackets and coats, complete with different kinds of interfacings and linings.

21x29,7 240 pages

ISBN 978-2-909617-19-0

French / English Soft cover / bound 33,40 € TTC

THE GRAMMAR OF WESTERN CLOTHING Cover it up!

ISBN 978-2-909617-36-7 e-BOOK available

Mireille Tembouret

The first volume of our ”Grammar of Western clothing” series.

Men – and women – have always wrestled with the elements to protect themselves from cold or hot weather and shield against rain or snow.

Though they may have wished to flatter their physique for aesthetic purposes, they were obliged to invent and adapt clothes for their everyday circumstances. The shapes, functions and details which appeared over the centuries defined a rich wardrobe, often forgotten in modern times.

This ”grammar of Western clothing” gives an overview of the codes and characteristics of typical garments from yesterday and today.

In this first volume, we explore the blousons, raincoats, habits, coats and jackets which… Cover us up!

20x28 144 pages

French / English Soft cover / bound 35 € TTC

24,99 € TTC Wearing the trousers Mireille Tembouret

ISBN 978-2-909617-39-8 e-BOOK available

24,99 € TTC

The second volume of our “Grammar of Western clothing” series. We continue with the rules, codes and characteristics of clothing from the past and the present. Historically linked to the men’s fashion wardrobe, breeches and trousers have, more recently, seduced and become a part of women’s fashion as well. They originally wore them for sport activities but also when they replaced men at their jobs during wartime. Women adopted trousers as a key part of their wardrobe for their practicality and representation of women’s social evolution and even their independence.

Breeches, pants for leisure wear and tailored trouser shapes, functions and details followed this direction, establishing a timeless wardrobe and defining a rich language that is often forgotten today.

In this second book, breeches and trousers deliver their secrets to illustrate this social evolution since today, both men AND women are… Wearing the trousers!

20x28 128 pages

French / English Soft cover / bound 35 € TTC

Keep your shirt on! Mireille Tembouret

ISBN 978-2-909617-42-8 e-BOOK available

24,99 € TTC

Give the shirt off your back, don’t lose your shirt, keep your shirt on, change your shirt, a stuffed shirt... these colloquial expressions show that, over the years, the shirt was considered to be a garment intimately linked with everyday living.

Worn next to the body but visible, the shirt had two important roles: hygiene and protection for the body and indicating social status.

Always accessorized or accompanied by a vest, the shapes, fabrics and details on shirts, blouses and bodices have evolved to become part of a coded wardrobe that defines a rich vocabulary, often forgotten in modern times. This premise is the basis for the third book in our “Grammar of Western clothing“ series that illustrates the rules and characteristics typical of garments from yesterday and today.

To read this book, relax and take off your jacket to discover blouses, bodices and vests... but keep your shirt on!

20x28 144 pages

French / English Soft cover / bound 35 € TTC

All dressed up Mireille Tembouret

ISBN 978-2-909617-44-2 e-BOOK available

24,99 € TTC

Corsets, panniers, crinolines or bustles are words that no longer have significance today. But at various times throughout the history of clothing, women wore these essential pieces under their dresses and often needed help to put them on. Depending on the fashions of each period, certain parts of the body were highlighted as elements of seduction (a tiny waist, extremely wide hips, an exaggerated bottom,…). Women sought what they believed to be an ideal of perfection while obeying the strict, often extravagant codes of Fashion and social norms.

It was the events surrounding World Wars I and II and then the Women’s Liberation Movement of the 1970s that finally introduced dresses which did not restrict the body.

But even today, dresses still assert a woman’s femininity. Every woman has at least one precise memory of a dress that marked a key event in her life and was intrinsically associated with her joy of pleasing others!

20x28 144 pages

French / English Soft cover / bound 35 € TTC

KNOW-HOW The art of tailoring

Yukio Kakita

Thanks to his skills inherited from the top Parisian tailors, Yukio Kakita helps comprehend the sensitivity behind the techniques for making a suit. Follow his step-by-step explanations to understand how cuts and shapes, reinforced by the inside structure, can express your desires and take you from ready-to-wear to Luxury Womenswear to Bespoke men’s suits and thus discover … The Art of Tailoring.

22x30,5 176 pages ISBN 978-2-909617-43-5

French / English Hard cover/bound 39,50 € TTC

e-BOOK available

28,99 € TTC

The art of draping Nils-Christian Ihlen-Hansen Thanks to Nils-Christian Ihlen-Hansen’s experience as a renowned pattern-drafter, this book tackles the difficult technique of the draped clothing in the Western culture of fashion.

Transparency games and fabrics moving over the body play key roles in this subtle exercise. Draping transforms a garment into a work of art and makes pattern drafting noble through cutting techniques, choices of prestigious fabrics and dexterous manipulations. This exercise in style has always been preferred and used by the top names in fashion.

ISBN 978-2-909617-32-9

22x30,5 112 pages

French / English Hard cover/bound 37 € TTC

Fashion saga, 170 years of innovations Catherine Örmen

ISBN 978-2-909617-34-3

As much a history of manufacturing and ready-to-wear as a family saga, this book recounts the path of tailor Alexis Lavigne, a formidable visionary who cleverly constructed the technical foundations of Fashion. As an innovator, Alexis Lavigne dedicated himself, throughout his life, to analyzing the human body to advance and promote Paris fashion, especially thanks to his inventions which included the tapemeasure and the dress form.

By opening his workshop and then transforming it into a school, this humanist launched what would become Paris’ oldest fashion school. Here is the little-known story of a school that was perpetuated, first by his descendants, then by those dedicated to his spirit.

170 years of innovation at the service of Elegance and Well-Being!

English Hard cover/bound Partially in canvas Nouveau prix 39,50 € TTC 25 € TTC

21,5x27 160 pages

Une année de styles Ioannis Guia

with

49os

vide What can I wear today? ! utube This book-calendar answers the question, exploring n o yo 52 fashion themes throughout the year. Starting with a foundation of 12 timeless basics, combine 60 possible outfits and give them a special flair by pairing them with other pieces or accessories. The result? 365 days of fashion to accompany each woman in different directions so she can develop her own style.

tch the video Wa s ISBN 978-2-909617-41-1

19x28,5 176 pages

French Wire O / Cover with magnets 34,90 € TTC

,

NEWS Paris Flashback Ève Bertero

Drawing

A sketchbook to : • Learn about Paris over the centuries, • Sketch, draw, attach in photos, take notes, • Do exercises to discover how creative I am!

PAPER

Here I am, finally in Paris after having dreamed so much about this trip!

I’ve made a decision, I’m going to live here for a while…

Starting tomorrow, I’ll go out, discover my neighborhood and learn about the habits of Par­isians. Then little by little, I’ll go on adventures, explore the foundations of the city with its history and learn more about why everyone wants to come here.

21x29,7 144 pages

French / English Soft cover / bound 35 € TTC

In my travel sketchbook, I can draw, attach photos, take notes and bring my discoveries to life to tell the story of my real or imaginary trip to Paris. Who am I? A child or an adult, an amateur painter or an art student? Right now, I’ll observe and learn to satisfy my curiosity about this magical city… and find out more about myself in the process!

The Era of

icisme L’Ère du Class PARIS

cisme L’ère du Classi LOUIS XV

cism The era of ClassiLOUIS XV

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Classicism 1 Hôtel de Broglie

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Musée Rodin

(Hôtel Biron) Jean Aubert, 77, rue de Varenne, 75007 Paris (1732)

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HISTOIRE DU COSTUME

comme étant parmi la coquetterie s’installentdu Roi. La galanterie et à la cour des faules l’épanouissement de la journée et les premières préoccupations se poursuit avec se selon les moments L’urbanisation art. Les hommes Les tenues varient est un véritable façades debourgs !

Louis XV. Les rencontres. Courtiser et précieux que les femmes. apparaît sous de coquilles, délicats d’argent, Le style Rocaille révèlent aussi ornées de mascarons, e arrondisde fils d’or ou liées ou rose… brodé Dans le 7 viennent plus gracieuses, L’habit est bleu perruques poudrées ou de motifs végétaux. (1724). Les lucarnes bas blancs et des de médaillons porté avec des le catogan. l’Hôtel de Broglie agrémentés la nuque, c’est En velours sement, se trouve en fer forgé, par un ruban sur » est à la mode. et les balcons façades « à la française jupe, d’un s’arrondissent partout sur les À la cour, la robe composée d’une répandent un peu (l’hôtel brocart, elle est se pose d’arabesques se du Musée Rodin de soie ou en triangulaire qui dans les jardins sont pièce d’estomac des hôtels. Assise couleurs des pierres le ventre et rehausmanteau et d’une constate que les fronton, afin de comprimer fils d’or et Biron, 1732), je est élégant et le sur le corps à baleine sont brodés de dorées ; le style rues Les motifs floraux terminent période que les plus blondes, voire ser la poitrine.

Les manches se à partir de cette des ». nombreux rubans. tard, on donnera très décoré. C’est « engageantes agrémentés de et qu’un peu plus en dentelles, les de porteront un nom de perles. Le tour par des manchettes maison. par une rangée travaillées, en bois numéros à chaque Le cou est souligné deviennent extrêmement hautes également, garnis mode.

Les portes cochères sont plus gorge est à la chapeaux de paille arrondies, elles rue des Francsportent de petits tous bis, 29 femmes au sculpté ; de formes retrouve On Les jeunes dentelle. le voir à l'Hôtel d'Albret, petit bonnet de comme on peut dans une scène de fleurs ou un et cette légèreté son Bourgeois.

Fragonard dans ces artifices vestimentaires par Jean-Honoré ». badine représentée hasards heureux de l’escarpolette : « Les tableau intitulé DÉCORATION toutes est au centre de Lumières. L’homme Louis XV va priviléC’est le siècle des de toutes les pensées. salons d’intérieurs, les réflexions et Les plus sein de son royaume. », deviennent gier la paix au décoration « rococo du Roi conçus dans une Pompadour, favorite mode. Mme de Louis XV. intimes et à la 1715 ➤ Règne de : Voltaire, Montesquieu,… des rues. les philosophes indiquant le nom dans des tonaLouis XV, y reçoit 1728 ➤ Plaques maîtresse de décorés avec raffinement, » (fauteuils) se marquise de Pompadour,et la mode.

Les salons sont « bergères 1745-1764 ➤ La les arts et les tissus des lités de pastels Louis XV, influence rideaux.

Rond d’Alembertaux le nombreux Jean de et que coordonnent Diderot » apparaît, ainsi 1751-1772 ➤ Denis l’Encyclopédie ou Dictionnaire Le fauteuil « causeuse des scènes de galanterie. publient », représentant « les des arts et des l’évoque le film objets en « biscuit raisonné des sciences, tout un art, comme d’après La séduction devient Frears (1988), métiers. » de Stephen Concorde. en 1782. de la place de la liaisons dangereuses Laclos publié Choderlos de ➤ Aménagement La 1753 Pierre mire. se de l’on un roman se pare, où le lieu où l’on comme de Le boudoir est prisé de la femme un cérémonial les perruques toilette devient les mouches et la poudre de riz, l’homme, ainsi par ces messieurs. sont adoptés aussi

ARCHITECTURE

IQUES

REPÈRES CHRONOLOG

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flourished! and Paris’ faubourgs were more Urbanism continues Louis XV. Facades and appeared under shells, medallions The Rocaille style with mascarons, (1724) in graceful and decorated Broglie mansion and An example, the dormer windows vegetation motifs. with its curved The style the 7th arrondissement decorated with arabesques.

Musée wrought iron balconies building facades. Sitting in the on stone I notice that the is seen everywhere 1732) gardens, and the style is elegant Rodin (Hotel Biron, even golden. The streets this period, the colors are blonder, decorated. During a number. pediment is highly building was given soon after, each wood with gots names and worked in sculpted were elaborately higher like Porte-cocheres were also much and their openings rounded shapes 29, rue des Francs-Bourgeois.

Hôtel d'Albret, we can see at

Profitez de votre à l'hôtel Biron visite pour faire connaissance avec Rodin !

aux ! pince

Corps à balein et panie es r

COSTUME HISTORY ARCHITECTURE

main preoccupations were one of the Galantry and coquetry was and whom one in the king’s court. on the time of day delicate Outfits varied depending an art. Men were often as became meeting. Courting women. and precious as

itecture

Arch

Architecture

gold or silver embroidery,a blue or pink with tied with Hôtel Their habits were d'Albret powdered wigs stockings and was invented worn with white Jean-Baptiste Vautrin, catogan hair style the neck. This ribbon low on 29 bis, rue des FrancsCadhogan.

In silk velvet

by England’s Lord Bourgeois was fashionable.

75003, Balcon la française” dress a triangular a coat In court, the “à styleand Rococo. Ferronnerie made up of a skirt, the tummy to compress or brocade, it was en fonte (1740) in over a boned corset stomacher placed motifs were embroidered breasts. Flower ended in lace cuffs, and push up the with ribbons. Sleeves gold and embellished and the choker or “engageantes”. string of pearls enhanced by a The neck was with flowers or was in fashion. hats garnished in the world was wore tiny straw lighthearteperiod. Man’s place Young women accessories and caps. We see these This was the Enlightenment and thought. Louis XV encouraged “The Happy Accident else small lace rococo reflection Fragonard’s painting designed in a at the center of dness in Jean-Honoré Indoor salons, de PomMme peace in his kingdom. and fashionable. of the Swing”. like more intimate invited philosophers decor, became of King Louis XV, Salons had refined, padour, the favorite to her home… were Voltaire and Montesquieu bergere wing chairs and fabrics on the pastel decorations the curtains. that repreobjects coordinated with “bisque” appeared as did Louis XV. The “loveseat” 1715 ➤ Reign of film street names. of galantry. in Stephen Frears sented scenes of signs indicating de an art, evoked 1728 ➤ Introduction Louis XV’s Seduction became (1988) based on Pierre Choderlos marquise de Pompadour, the arts and gazed 1745-1764 ➤ The “Dangerous Liaisons” in 1782. Women dressed and influence on mistress, has an done by Laclos’ novel published boudoir mirror. Primping was fashion. in the beauty at their reflection le Rond d’Alemused rice powder, Diderot and Jean men who also both a Systeboth women and 1751-1772 ➤ Denis Encyclopedia, or and bert publish the marks and wigs. the Sciences, Arts

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ICAL REFERENCES

CHRONOLOG

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Ciné Jean-Hon Fragonardoré

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Digital fashion drawing Éric Pâris

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Frears,

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PEINTURE DYNA LIVE PAINT

EXERCICE

12

dynamique est de : l’intérêt de la peinture BUT DE L’EXERCICE non fermés. des objets vectoriels mettre en couleur painting is to colour the interest of live AIM OF EXERCISE: unsealed vector objects.

The first steps in using a computer graphics software as Photoshop and Illustrator is not an easy task.

Tutoriel The digital fashion drawing enables the reader to learn digital drawing basics throughout 18 exercises adapted to a demanding daily fashion environment. Each exercise is designed to discover numerous possibilities that can be mixed and adapted to your questionings.

- Fermez visuelleme extrémités nt des tracés les tracés en Très important « posant sur : ne cherchezles autres tracés » les au contraire <03>. de ce que pas nous souhaitons nous avonsà fermer les tracés. couleur mettre Ici, sans fermer en avant vu jusqu’à maintenan la possibilité les objets vectoriels. de mettre t, en

2 DEFINISSE

Z UN NUANCIER La peinture dynamique et donc vous utilise les couleurs dynamique devez le défi nir en amont . du nuancier - Nettoyez de l’outil peinture (cf. Partie le nuancier en retirant - Ajoutez A, utilisation du les couleurs Nuancier) vos . de couleur propres couleurs inutiles Un motif de votre projet) (à définir comme <04>. que cet vectoriel a été la gamme élément ajouté dynamique au motif peut (cf. Partie aussi être inclus afin de montrer B, Exercices dans la 4a et 4b) peinture .

3 APPLIQUE

> [Nouveau] fichier [Fichier] . d’image). un nouveau fichier) (cf. Partie A, créer (cf. Partie A, import de l’illustration - Importez l’image <01>. plan de travail A, utilisation - Placez-la sur le l’image (cf. Partie calque contenant - Verrouillez le

- Créez un nouveau

a new file). (see Part A creating file [File] > [New] import picture).

- Create a new image (see Part A - Import the illustration <01>. artboard using layers).

- Place it on the image (see Part A containing the - Lock the layer

des calques).

ILLUSTRATION 1 REDRAW THE to work on.

layer - Create a new . tool. the contours - Select the Pen by only drawing - Redraw the illustration

L’ILLUSTRATION 1 REDESSINEZ calque pour travailler dessus.

- Créez un nouveau .

Plume les contours - Choisissez l’outil en ne traçant que - Redessinez l’illustration

<02>.

<02>.

02

01

- Redraw the illustration <03>. by only Very important: drawing the contours with what do not try possibility we have seen to close the paths. so far, of colour without we want to Here, unlike highlight closing vector objects. the

2 DEFINE

FUNCTIONS USED • live paint

FONCTIONS UTILISÉES • peinture dynamique

ILLUSTRATOR

ISBN 978-2-909617-68-8

Retour vers la TDM

Exercice 12 97

A SWATCH

Live painting uses the define the live colours paint tool from - Clean in advance.the swatch, the swatch so you Part A must by removing using - Add your Swatches). unnecessa ry colours for your own colours (to (see project) A vector <04>. be defined as pattern the colour this element was added range to the can also Exercices be included pattern to 4a and 4b show that vector). in Live Paint

oui yes

- Choisissez Z LA PEINTURE - Sélectionn l’outil Sélection (see Part DYNAMIQ B, UE - Choisissez ez l’ensemble . de votre l’emplaceml’outil Pot 3 APPLY de peinture dessin vectoriel ent de - Survolez LIVE PAINT - Select l’outil dynamique <05>. concepteu the Selection apparaît les parties internes - Select (à r de your entire tool tions des avec un contour du dessin forme).

- Select . vector pièces ; rouge the Live drawing Même <06>. indiquantchaque partie builder paint bucket si les <05>. les délimitadynamique tracés ne sont - Hover tool is located). tool over (where pas « simule remplir. part appearsthe interior the shape » une piècefermés, la peinture boundarie with a red parts of the fermée - Choisissez design; que l’on outline s <06>. each peut Even if la couleur showing gauche drawings the parts’ de fond “simulates” are not - Cliquez et haut/bas du clavier. à l’aide des closed, pour a closed dynamic flèches area Les couleurs remplir avec - Choose droite/ the backgroun that can be fi painting ainsi choisies la couleur and up lled.

- Répétez sont celles choisie.

- Click / down keys. d colour by du nuancier. using the apparait l’opération pour to fill with en surligné right / the chaque Colours left pièce are therefore chosen colour. rouge <07> <08>. du chemisier chosen - Repeat qui from the 4 SÉLECTIO for each highlighte swatches. part of NNEZ UN the blouse d in red LA PEINTURE OBJET <07> <08>. that appears - Choisissez DYNAMIQ CONTENANT l’outil (à l’emplacem Sélection UE de peinture - Sélectionn ent de 4 SELECT l’outil AN OBJECT la peinture ez, en survolant, Concepteu dynamique - Select the CONTAININ dynamique les pièces r de forme). couleur designer Live paint selection G LIVE soit par : vous remplies soit par - Select, tool).

PAINT le nuancier pouvez tool par la by (in the (avec de ainsi changer de quel objet palette de you can hovering, the Brush nouvelles de change pieces vectoriel. Couleur comme colours) Pour fonctionne the colour filled in couleurs) avec n’importe or with de la peinture r, il faut To function, the Colour panelusing the swatch live paint: as with dynamiqueque l’objet ait (with new live paint. the object any vector déjà été must have . rempli object. already avec been fi lled with

non no

03

04

05

ATOR

06

ILLUSTR

eBOOK

26,99 € TTC

158 pages French / English

Retour

vers la

TDM

07 08

ATOR

ISBN 978-2-909617-59-6

12

Retour

vers la

TDM

Exercice

ILLUSTR

98 Exercice

12 99

My favorite duds Nathalie Coppin • Claire Wargnier We all have a garment carefully folded away or hung protectively in our closet that recalls a key moment or memory in our lives: it’s a piece of clothing we certainly don’t want to take apart !

Though we may regretfully have abandoned it, we dream of wearing it again but often it’s worn out or doesn’t fit us anymore.

It may be a souvenir from a trip or a timeless piece that’s frayed and threadbare. Maybe it reminds us of a person who was dear to us, maybe it’s too classic or strict but fits us perfectly, maybe we found it in a vintage store … In any case, we keep it and take it with us whenever we move !

The seven workshops in this book explain how to remake patterns for garments without taking them apart. You’ll discover a sweater, jeans, pants, a shirt and a blouse plus a dress and jacket.

By using a variety of simple techniques, you’ll be able to make a pattern you can transform at whim to give your new garment a look that’s yours alone !

ISBN 978-2-909617-50-3

21x29,7 144 pages

French / English Soft cover / bound 32,50 € TTC mon grand-père

Atelier 3

la chemise de

Workshop 3

my grandfather shirt

Marion et la chemise Marion and her

de son Papi

Avant Before

’s shirt

4

grandfather’s

Matér

iel / Suppl

Plastron amovible v b enn cuir c Removable movable lea ather bib-front front leather

Empiècem ent, plastron et manchette s en rayures claires Bib-front inset and in light-colo cuffs red stripes

shirt who was of I discovered my grandfather’s a painter under a pile de mon Grand-Père, a poet and sometimesin an old wardrobe of my d’une J’ai découvert la chemise heures, au fin fonddans la thick cotton sheetshad the impression that the poète et peintre à ses de draps anciens It family home. I armoire, sous une pile for me to discover it!that on aurait pu croire qu’elle shirt was just waiting maison familiale ; me was looking for! In convenait en tout point. was exactly what I were worn until they fell m’attendait. Elle usait ses chemises jusqu’à la period, men’s linens that this percale cotton A cette époque, onpresque miraculeux que celleapart. It’s a miracle trame. C’en était conservée. deshirt is so well-preserved. ci ait été aussi bien be essential to keep the de garder tous les coI thought it would shirt with its flat-pleated de Il me semblait essentiel 1900 à plastron ornémais tails of this 1900s it my signature to make it des de cette chemise sombre give souhaitée and l’ai bib front plis religieuses ; je - in cotton with a touch le coton comme matière This somber – but not sad un pas triste, en gardant a removable bib front. une touche de cuir pour of leather thanks to personalities (day/night, principale mais avecafin de lui donner deux perhave two can it way amovible masculine). My plastron classique/branché, fémishirt classic/trendy, feminine/x sonnalités (jour/nuit, have appreciated his if grandfather would style, especially nin/masculin). revisité à la sauce « rock n’ but reworked in a “rock’n’roll” Ce modèle vintage déplu à mon Grand-Père, with his felt hat… he saw me wearing it roll » n’aurait pas avec son chapeau de feutre, that’s another story… surtout si je le porte une autre histoire… a detachable leather mais ça, c’est encore What I chose to modify: it 10 cm longer ! de modifier : un plastron bib front, plus I made 54 / 144 Ce que j’ai choisi 10 cm en plus de longueur ! amovible en cuir et

ies es

Info

• White • 1 pencilpaper • Self-stick different seam tape in two • 1-meter colors • Japaneseruler • Tapemeasuor transparent ruler • L-square re • Weights

ÉTAPE 1 Le relevé STEP 1

The tracing PREPARING

THE TRACING

First, look at the garment The grandfath er shirt can closely. be laid out flat.

T h e d et a ils

Chemise allongée de Shirt 10 cm longer 10 cm

Valeur de

Le s d étails

2D / Foldable or 2-D garments

gousset

Le dos est développe souvent plus large Dans cette ment du mouvemenque le devant. Seul, le gousset t du chemise de grand-pèr bras donne un volume de la manche 1. un devant e: qui permet au-dessou un plus grand s de bras.

2. un plastron 6. une patte 3. un dos 7. un poignetcapucin 4. un col 8. Ici, une 5. une manche patte ceinture du d’attache à la pantalon

Vêtements

movement sleeve gusset gives more than the front. And the The back is often wider In this grandfather’s shirt: 6. pointed sleeve placket 1. front 7. cuff the bib 8. here, a tab under pant front to attach to the waistband

Une pièce toute de 2. bib front lorsque poésie l’on sait douceur qu’elle a et3.de back temps confectionn été collardu ée par une la4.plupart alors jeune trousseau fille, en train de grand-mère 5. sleeve, réaliser en rêvant Ces chemises son du prince pour pouvoir réalisées avec charmant. de l’ampleur habiller connaissait celui que 1 c’est-à-dir pas encore étaient l’on ne chiffrées, aux initialese brodées de monogramm de l’élu après es, Le mot les «trousser» trousseau vient fiançailles. du verbe qui, en ancien «mettre en paquet». français, signifi aurait été, ait Ainsi, le trousseau qu’emporta le paquet de vêtements it la foyer vers personne qui quittait de nouveaux son Même simplement trouées, usées, horizons. déchirées à fouiller conservées pliées, ou dans les amusez-vo vieilles armoires et à retrouver us à qui appartenaitfamiliales chemises grâce aux ces brodées sur chacune monogrammes d’entre elles !

We know that this soft garment shirt was a poetic, since it by a young girl as part was usually made as she dreamed of her trousseau of her The shirt, cut wide Prince Charming. the young to dress first have lady hadn’t met someone yet, A monograma number embroidere would the initials would be added d on it. of her beloved later with The French became engaged. once she trousser word “trousseau which, in ” comes the from “make a package”. old days, meant would have Thus the to person took been a packet trousseau when leaving of clothes a home on to new Even if horizons. to move they’re full ripped or just folded of holes, worn, have fun rummaging and stacked up, old wardrobes through your shirt belongedto discover who family’s each embroidere to thanks to their d monograms !

PRÉPARATION DU RELEVÉ

Avant toutes La chemise choses, bien observer quement à de grand-père peut le vêtement. plat. se mettre prati-

Les

s tail

Vêtements pliables ou en

Apr Aft ès er

dé

52 / 144

• Du papier • 1 crayon blanc • Du bolduc autocollant deux couleurs de • Une règle différentes d’1 mètre • Une règle japonaise • Un mètre ruban • Une équerre • Des poids

Empiècem Em m ent, pplastron eett m last las la manchette stro rn a uress cclaires ay Bib Bib-front s enn rrayures llaaires insett and ur iress in llight-colo cuffs red ed stripes stripesf

Astuce

par le poinçon. en suivant les points laissés • Puis commencez le tracé following the points made by the awl.

5 • Then begin the tracing by

le devant de la chemise sur votre chemise à plat, milieu • Mettez le plus possible de papier. pendant la reproduction. milieu, tracé sur la feuille chemise pour la stabiliser de la chemise.

• Posez des poids sur la sur le milieu devant ligne du dessous de manche. la • Placez un bolduc autocollant posez un autre bolduc sur front of • Puis en perpendiculaire, of the shirt on the center as possible, center front • Place your shirt as flat the reproduction. the sheet. shirt to stabilize it during • Place weights on the seam tape on the center front of the shirt. line.

• Place a piece self-stick place another seam tape on the undersleeve • Then, perpendicularly,

LE DEVANT ET LE DOS

/ FRONT AND BACK 3

Vêtements pliables ou en

56 / 144 or 2-D garments

un poinçon. des contours du corps avec • Commencez le relevé l’empiècement d’épaule et l’encolure du dos.détails (ici, • Relevez en même tempscontinuez le relevé en reprenant la forme des et des • Sans bouger les poids, des plis, la largeur de la patte de boutonnage le plastron, l’emplacement la patte de tension du plastron,…). veillez à bien avoir repris boutons-boutonnières, pour reprendre le tracé, Avant de déplacer la chemise tous les détails. bodice’s with an awl. neckline. back • Begin tracing the outlines shape of the the shoulder yoke and • At the same time, traceweights, continue the tracing by copying the buttonholes, • Without moving the placement, width of buttoned tab, buttons and details (bib front, pleat the details. be sure you’ve marked all tab below the bib front,…). to continue the tracing, Before moving the shirt

2

Toujours considérer moitié (côté le vêtement droit pour féminins par les et masculins). côté gauche pour vêtements Sauf dans les vêtements asymétriqu le cas d’un e où les deux parties vêtement et gauche) diffèrent. (droite

en 2D / Foldable

under the arm.

papier blanc avec une ligne • Préparez une feuille de le futur Droit Fil (DF) de la de milieu devant figurant placez une ligne pour pièce, puis en perpendiculaire, le dessous de manche. paper with a line at the • Prepare a sheet of white the piece’s future Straight center front that indicate a perpendicular line for Grain (SG) line, then place the under sleeve.

.

TIP Always look (right side at one half of for women’s the garment side for garments, asymmetric men’s garments). left al garments Except where the for left sides right and are different.

pliables ou

in the arm and more volume

Vêtements pliables ou en

2D / Foldable or 2-D garments

57 / 144

2D / Foldable or 2-D garments

55 / 144

Visual lexicon of Fashion Briar Paccalin • Illustrations Alain Boix

LE lexique illustré de la mode français-anglais

Visual Lexicon of Fashion English-French Briar PACCALIN Illustrations Alain BOIX

With over 1200 colour illustrations, this French-English glossary contains five families of Fashion vocabulary: garments (classed by shape category), garment details, textile basics, haberdashery and accessories covering hats, shoes, bags, belts and braces, ties, scarves, gloves and glasses.

Each word in the glossary is supplemented by its phonetic transcription in French and English, thus enabling the reader to pronounce the word correctly when speaking.

Veste ta Tailo red jacilleur - dé ket - de tails [vɛs 20 tails t tajɶ

11 Pied de col banane də kɔl banan] 10 AnglaiseTop collar-stand [tɒp[pjeˈkɒlə-stæ Gorge line[ɑ̃ glεz] [gɔːʤ laɪn]

9 Tête de manche Sleeve

head/cap

Enforme dos [ɑ̃ f Back facing ɔrm do] [bæk ˈfeɪsɪŋ]

nd]

[rəvεr/pa rmɑ̃tyr] re Lapel/Fr ont facing [ləˈpɛl/fr ʌnt ˈfeɪsɪŋ]

7 Ligne de

16

Toge [tɔʒ] Toga [ˈtəʊgə]

Foreseam

[frʌnt ˈpænl] Centre

21x29,7 176 pages

French / English Soft cover / bound 32,50 € TTC

Side back [peti kote] [saɪd bæk panel ˈpænl]

[peti kote/dek oupe princesse Side back/Pri up prε̃sεs] ncess [prɪnˈsɛs /saɪd ˈpænl seam siːm]

[raba də poche pɔʃ] Pocket flap [ˈpɒkɪt flæp] Petit coté [peti kote] Side front/bod [saɪd frʌnt/ˈbɒ y panel Point de di ˈpænl] cassure Break point [pwε̃ də kasyr] [breɪk pɔɪnt]

4 Couture de

25

[miljø front [ˈsɛntə dəvɑ̃] frʌnt]

21

Elbow/B coude [kutyr ack sleeve də kud] [ˈɛlbəʊ/b æk sliːv seam siːm]

19 Doublur Jackete de veste Lining [dub [ˈdʒækɪt lyr də vεst

3 Fente de manche

Pli fente Vent [vɛnt][pli fɑ̃ t]

Piping

[ˈpaɪpɪŋ]

1 Parementure

5 Doublure Sleeve

[parmɑ Front Facings ̃ tyr] [frʌnt ˈfeɪsɪŋz] Doublur e Shoulder devant [dublyr panel [ˈʃəʊldə dəvɑ̃] ˈpænl]

manche [dublyr [sliːv] mɑ̃ʃ]

[bæk ˈpænl]

17 Petit côté

18 Petit côté/déc

[pɔʃ paspwale lée ] Jet

[ʤɛt ˈpɒkɪt] 24 Rabatpocket de

1 Milieu devant

8 Piping [paipiŋ]

Back panel

[rɔb də marje] Robe de mariée gaʊn] Wedding gown [ˈwɛdɪŋ

s

25 Garment

[fɔ:ɼ siːm] 23 Poche passepoi

ˈlaɪnɪŋ]

Sleeve

vent [sliːv [fɑ̃t də mɑ̃ʃ] vɛnt]

]

2

6 Poches passepoi

ISBN 978-2-909617-69-5

de manche [ˈsɑːri(ː] [dəsu Sari də mɑ̃ʃ] Under sleeve [ˈʌndə sliːv]

22 Couture

ts de saignée Vêtemen[kutyr də seɲe]

2 Devant [dəvɑ̃] Front panel

16 Dos [do]

21

Sirène [sirεn] Siren/Mermaid [ˈsaɪərən/ ˈmɜ:meɪd]

19

Caftan [kaftɑ̃] Kaftan [kəfˈtɑːn]

de Top collar-facol [tɔ̃ bɑ̃ də kɔl] ll [tɒp ˈkɒlə-fɔː l]

20 20

13 Dessous Sari [sari]

poitrine [pɔʃ pwatrin] Welt pocket [wɛlt ˈpɒkɪt]

Princess princesse [dekup seam prε̃sεs] [prɪnˈsɛs /saɪd ˈpænl siːm]

r - deta j] ˈʤækɪt - ˈdi:teɪlz ]

12 Tombant

26 Poche

18

17

ɪk laɪn]

[pε̃s

Front dart dəvɑ̃] swar] [frʌntdy dɑːt] Robe du soir [rɔb [ˈiːvnɪŋ drɛs]

dress 5Evening Découpe

[ˈteɪləd

14 Dessus de

]

[liɲ də cassure kasyr] Roll/Bre ak line [rəʊl/bre

15

Couture milieu dos [kutyr miljø do] Centre back seam [ˈsɛntə bæk siːm] [dəsy də manche mɑ̃ʃ] Top sleeve [tɒp sliːv]

[tεt də mɑ̃ʃ] [sliːv hɛd/ˈkæp

8 Revers/Parementu

6 Pince devant

Qipao [kipao] Qipou [kiːpaʊ]

Babydoll [bebidol] [ˈbeɪbi dɒl /smɒk] Baby-doll/Smock

bystje] Robe bustier [rɔb drɛs] Bustier dress [bʌstiːeɪ

[rɔb ʃarlεstɔn]

15

14

13

12 Robe Charleston Flapper [ˈflæpə]

Jetted/Pi

lées ped pockets [pɔʃ paspwale ] [ˈʤɛtɪd/p aɪpt ˈpɒkɪts]

9 Doublure

3 Doublure

Side panel petit côté [dublyr [saɪd ˈpænl] peti kote]

[dublyr avec pli d’aisanc avεk pli e Lining d with ease εzɑ̃s] [ˈlaɪnɪŋ pleat wɪð iːz pliːt]

7 Courtoisie

[kurtwaz (patte triangula i Tab [tæb] (pat trijɑ̃gylε ire) r)]

4 Doublure

Back paneldos [dublyr do] [bæk ˈpænl]

Vêtemen

9 Poète [pɔεt] Poet [ˈpəʊɪt]

13 Fendue [fɑ̃dy] Slit [slɪt]

12

11

10

13 Garments

ts Pagode [pagɔd] Bell [bɛl]

[peizan/ ryʃe] Paysanne/ruché [ˈpɛzənt/ruːʃt] Peasant/Ruched

- pagɔd] Ballon-pagode [balɔ̃ Fluted [ˈfluːtɪd]

16

15

14 Lanterne [lɑ̃tεrn] Lantern [ˈlæntən]

Détailsts Vêtemen

Ballon [balɔ̃] Puff [pʌf]

Pagode [pagɔd] Pagoda [pəˈgəʊdə]

s

Details 84 Garment

+

00 overre5 c n ed refe s! textile

ISBN 978-2-909617-31-2

Textiles guide Florence Ferrari Conceived from a user viewpoint with a simple-to-read approach, this book explores technical information on fabrics while keeping in mind the difficult choices a user must make when conceiving his creations.

The first part of the book looks at the textile industry (raw materials, spinners, weavers and finishers) without forgetting a lesson in fabric “hand“, a vital skill needed for selecting fabrics; the second part helps consumers learn the vocabulary, properties, qualities and defects of each fabric family: woolens, cottons, silkies, knits and innovative fabrics.

Clever tips and technical details are scattered throughout the book to help the reader avoid the traps certain fabrics might hide behind their seductive appeal.

21x21 156 pages

e-BOOK available

French / English Soft cover / bound 32,50 € TTC

Watch the vide

os

Sketchbook Conceived as a memory aid to use during shopping expeditions, this sketchbook of semi-transparent white pages has a fold-out jacket with basic sketches of women’s and men’s silhouettes. Color ranges with names in French and English also give a visual overview with computer reference numbers.

14x21 50 pages

French / English Soft cover / bound 15,00 € TTC

ISBN 978-2-909617-37-4

FORM ARM Kapock arm covered with ecru jersey and construction lines. Shoulder tab for adapting it to the dress form. Available in a left or right arm or in pair.

45€ TTC each 80€ TTC the pair

DRESS FORM Size

MEN’S FORM

Size 48

Neckline measurement

40

Bust measurement

96

Belt measurement

84

Hip measurement

98

WOMEN’S FORM

Size 36

Size 38

Neckline measurement

35

36

Bust measurement

84

88

Waist measurement

64

68

Full hip measurement

90

94

Fiberglass dress form + foams, covered Fiberglass dress form + foams, covered with ecru muslin. Metallic shaft on a with ecru muslin. Wooden shaft on a tripod. metallic tripod.

510 € TTC 495 € TTC The ESMOD form was invented and registered by Alexis Lavigne in 1841, (along with the invention of the supple tape measure). The ESMOD dress form presently used in our network of schools is a dignified descendent of the dress form offered to Empress Eugenie by Alexis Lavigne.

Since 2008, the ESMOD mannequin adheres to the ready-to-wear clothing measurements revised in Europe’s most recent measurements campaign.

MANNEQUIN BAG Our students already adopted this bag for its resistance, its finish and its practicality.

Take your mannequin everywhere using this duffle-bag that can be carried on your back.

The bag has a zipper at the bottom of the bag allowing to insert the metallic tripod - The main opening closes with a cord locking system - Polyester body - Foam lining at the bottom and on the dorsal part of the bag - 100 x 47 x 40 cm 33 € TTC

HALF FORM Half form of a size 38, this nomadic dress form allows you to research draped shapes using a minimum of textiles.

Form in expanded polyurethane covered with ecru Jersey. Detachable wood base.

108€ TTC

ESMOD ALUMNI TAPEMEASURE Illustrated by engravings of dress forms invented by Alexis Lavigne since 1841, this supple tapemeasure is an essential tool for all fashion industry professionals.

Waterproof supple tapemeasure 3 colors 150 cm. 7,50 € TTC

Design © Yiyi Rao - photo © Ye Tian

esmod.editions@esmod.com 30, avenue Jean-Lolive 93500 Pantin Tél : +33 (0)1 42 33 93 36 www.esmod-editions.com

FASHION DESIGN PATTERN D RAFTING FASHION CULTURE