Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator
Chapter: 1 INTRODUCTION
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Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator
INTRODUCTION
“Cinderella is proof that a pair of shoes can change your life.”
- Anon Fashion has played an important part in human cultures for thousands and thousands of years. Designers have been making clothing, shoes, and accessories out of beads, cotton, leather, fur, feathers, plastics, and metals for eons. They are talented, trained, and skilled artisans who create wearable, fashionable art. Shoe designers have a special role in the fashion design industry. Perhaps the most technical of the design careers, shoe designers combine anatomy, fine art, kinesiology, marketing, engineering, fashion, beauty, and industrial design to create interesting, durable, and attractive footwear for all occasions. Shoes play major roles in every society. We wear them for support during sports; we wear them for dancing and for stylish nights on the town. We wear them for status, we wear them for comfort, we wear them for safety. Shoes are everywhere, and everyone owns at least one pair. Shoe designers are responsible for caring for our feet, as they design functional, interesting shoes for all of life's occasions. Sandals are an integral part of any wardrobe, whether it’s for relaxing, walking in the outdoors or being fashionable in the mall. Which makes sense as not only is this our summer time, but it is also traditionally holiday time, which means people generally have more time to enjoy their spare time, whichever way they choose to fill it. High-heeled footwear (often abbreviated as high heels or simply heels) is footwear that raises the heel of the wearer's foot significantly higher than the toes. When both the heel and the toes are raised equal amounts, as in a platform shoe, it is technically not considered to be a high heel; however, there are also high-heeled platform shoes. High heels tend to give the aesthetic illusion of longer, more slender and more toned legs. High heels come in a wide variety of styles and the heels are found in many different shapes, including stiletto, pump (court shoe), block, tapered, blade, and wedge.
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1.1: Aims/Objectives of the project: 1.1.1: The objectives that desired by the project are1. Studying about the high fashion trend of the ladies high heel sandal. 2. Range building of highly fashionable ladies high heel sandal line. 3. Creating design using, Adobe Illustrator and Adobe Photoshop Software. 4. Manufacturing of the highly Fashionable ladies high heel sandal. 5. Studying about the quality of the fashionable ladies high heel sandal. 6. Studying about the costing of the ladies high heel sandal.
1.1.2: Others goals are: 1. To know the creative design making. 2. To save money and time during manufacture. 3. To achieve better quality easily during bulk production. 4. Studying about the fashion trends of the shoe. 5. To provide attractive shoe for different group of people 6. To develop skills in manufacturing according to the developed pattern. 7. To develop skills in quality control during manufacturing. 8. To acquire knowledge about the product the productivity improvements.
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1.1.3: Project plan: The title of my project is “Studies on manufacturing of ladies high heel sandal using adobe Illustrator software." First, it should finding the way or making a project plan:
Identifying the best fashion for ladies high heel sandal through
customer analysis and research.
Building up collection and create a new design using the Adobe
Illustrator software.
Pattern making.
Manufacturing the new product.
1.1.4: Expected Outcome: 1. To be a good designer. 2. To know how to maintain product development. 3. To be a good manufacturer. 4. To know the uses of Adobe illustrator software.
1.2: Methodology: For the simplicity of the project work, I divided my project work into four parts. This areUnit A: Researching & analyzing of the high heel fashion trend. Unit B: Range building of the fashionable ladies sandal Unit C: Creating Design using the software. Unit D: Manufacturing of the ladies sandal.
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Unit E: Making costing and quality control of the product.
1.3: Terminology used in the project: Upper
All parts or sections of the shoe above the sole that are stitched or otherwise joined together to become a unit then attached to the insole and outsole.
Linings
In quality shoes or sandals the uppers are lined to enhance comfort and durability. Linings may consist of various materials i.e. leathers, fabrics, and manmade synthetics. The lining on the insole segment is called 'the sock' and may be fulllength, three-quarter or just the heel section. Many linings are made of synthetic material and are usually confined to the quarters and the insock. Out Sole
The term sole derives from 'solea' a Latin word meaning soil or ground, is the platform of any types of footwear. It is the bottom pieces of any variety of footwear which is in contact with the ground. Mid Sole
A buffer layer of material between the outsole and the insole, which is used as a bonding layer adding comfort and support to the shoe bottom. Insole (inner sole)
Insole is the backbone of a shoe or a sandal. A layer of material shaped to the bottom of the last and sandwiched between the outsole (or midsole) and the sole of the foot inside the shoe. The insole covers the join between the upper and the sole in most methods of construction and provides attachment for the upper, toe box linings and welting. Page 5 of 94
Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator Shank
The shank bridges between the heel breast and the ball tread. The shankpiece reinforces the waist of the shoe and prevents it from collapsing or distorting in wear. Heel
The heel is the raised component under the rear of the shoe. Heels consist of a variety of shapes, heights, and materials and are made of a series of raised platforms or a hollowed section.
Last
From the old English word "laeste" meaning "footprint" it's the form in plastic, wooden or metal shaped like the human foot and over which a shoe is formed or repaired.
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Chapter: 2 Foot & Footwear Page 7 of 94
Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator
2.1: Anatomy of Foot : The human foot is a "masterpiece of engineering and a work of art," declared Leonardo da Vinci, who was himself a preeminent engineer and artist. Just how amazingly intricate foot's architecture is has been catalogued by a well-known podiatrist and footwear historian. He points out that a foot has 26 bones, which are covered by19 foot muscle. As well, 13 leg muscles are attached to the foot. A foot also has four arches (two lengthwise and two across), 107 ligaments, plus a mile of combined blood vessels and nerves - and hundreds of thousands of sweat glands with matching pores.
2.1.1: FOOT FACTS •
The big toe has two bones; the other four have three. •
The 52 bones in your two feet comprise one-quarter
•
Of all the bones in your entire body. Page 8 of 94
Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator •
The Achilles tendon is the strongest and largest tendon in your body.
•
The human foot continues to grow until a person is about 20 years old.
•
Every day, each foot absorbs about 10000 steps a day.
•
During a year, an average person walks about 3200 kilometers (2000 miles) —the
distance by air from Toronto to Mexico City or Paris to Cairo. •
During lifetime, a person is likely to walk the equivalent of about four and a half
times around the globe.
2.2: What is Footwear? Footwear consists of garments worn on the feet, for fashion, protection against the environment, and adornment. The oldest confirmed footwear was discovered in Fort Rock Cave in the U.S. state of Oregon; radiocarbon dating of these sandals woven from sagebrush bark indicates an age of least 10,000 years. However footprints of what looks like ancient sandals have been carbon dated to around the time 500,000 BC.
2.2.1: Definition: "Footwear is a protective covering of the foot that aids in the gait cycle." "Anything attached to the foot or feet for the purpose of fashion, function
or protection that may be motivated by personal, social, religious or cultural ideology"
2.2.2: Components: 1. Leather
3. Plastic
5. Rubber
2. Textiles
4. Wood
6. Jute
7. Metal etc.
2.2.3: Purpose of Footwear: Page 9 of 94
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The shoe has two primary functions to perform and has acquired through the years other lesser ones. The primary functions are: a) To protect the sole of the foot from the heat, cold, dampness, dirt or roughness of the ground in walking and standing. In its simplest form this is achieved in the primitive "sandal" which is nothing more less than a piece of leather, wood or other material, fixed under the foot by a strap or other means. b) To the upper part of the foot, and if required, the leg, from cold, rain, thorns, heat and insect or other bites. In its simplest form this is a bag of leather or material wrapped round the foot and is here given the generic name of "Moccasin". It is essentially that worn by a hunter, as it is flexible and especially suited to forest conditions. Lesser functions are: c) To assist the foot to perform some abnormal task. This includes the various sports such as football, cricket, hockey, running, fishing, riding, mountaineering, dancing, etc. all of which today have their own special footwear. So, also, have many trades, such as mining, deep-sea diving, munitions manufacture and fire-fighting, and the armed services. It should be noted here that more primitive peoples with much stronger and tougher feet can tackle many of these sports, pastimes or occupations without special shoes, or, in fact, without shoes of any kind. d)
To complete a costume. This is particularly important today when costume
designing includes not only the dress but also the hat, shoes, gloves and handbag. In fact, the main purpose of the shoe may be to complete or enhance the remainder of the costume, the primary functions of foot-covering and sole-protection being subordinate to this. e) To indicate rank or office. This is not applicable in western civilizations, unless we include the notorious "jackboot in this category, but formerly it was important, certain types of shoe being restricted to certain classes; there is obviously a very close link here with the purpose stated in above Para.
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f) To overcome abnormalities in the foot itself, the surgical boot being the extreme example of this, while many shoes incorporate corrective devices, some more corrective in name than in fact. g) To fulfill the fashion, in some cases, the protecting purpose becomes trivial and here the main purpose is to meet the fashion demand.
2.2.4: Types of footwear: Basic types of footwear: Footwear is broadly classified into seven styles: 1. Derby shoe 2. Oxford shoe 3. Sandal 4. Court shoe 5. Slip-on 6. Casual 7. Moccasin
Another style is Sports shoe 1.
Derby shoe:A very wide range of styles can be derived from a derby design.
Fig: Derby shoe ď ś Features of Derby shoe : •
Most commonly used formal and casual shoes. Page 11 of 94
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2.
•
Quarter overlaps the vamp.
•
Unisex.
•
Lock stitch or stay stitch or derby lock.
•
Quarter can be opened till half of the tread line.
•
The vamp and tongue will be on the same line.
•
Parallel opening of the eyelet facing.
Oxford shoe:
Fig: Oxford shoe Features of Oxford shoe : •
Unisex.
•
Quarter is locked at the vamp point and hence opening of the quarter is limited,
3.
•
Has an Independent tongue which is stitched at the final stage of the upper.
•
In most of the case vamp will be on the quarter
•
Limited area of the eyelet facing.
Sandal: It is popular unisex footwear.
Features of Sandal : •
Comfortable.
•
The foot is free the toe and heel.
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Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator •
The sandals serves according to the specific needs as the length can be adjusted with the help of buckle.
•
This one kind of open footwear.
Fig: Sandal
4.
Court shoe:
Features of court shoe: •
It has an unbroken top line.
•
Shoes for ladies formal and casual wear 4- The top line will below the vamp point
•
Can be made in different heel heights.
•
Topline will be below the vamp point. Page 13 of 94
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5.
Slip-on:
Fig: Slip-on
Features of Slip-on : •
Slip on is also called as pantafola& loafer.
•
As the name indicates these shoes can be slipped in and slipped out very easily.
6.
•
Does not have lace.
•
Can be with or without elastic.
•
Saddle is present in most of these designs.
Boot:
Fig: Boot
Features of Boot : •
Quarter height is minimum up to ankle, maximum thigh or over thigh. Backheight more, upto minimum ankle.
•
Different types of boots are Ankle Boot, High boot, knee boot & Thigh boot
•
These have large tongue Page 14 of 94
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Generally with lace. .
7.
Moccasin:
Fig: Moccasin Features of moccasin shoe: •
The most comfortable shoe to wear
•
Expensive as more leather is consumed.
•
Formal &casual shoe.
•
Bottom will be covered with upper leather at the forepart.
•
Hand stitching given a good appearance.
•
True moccasin has no insole. 4%- 30% more materials will be consumed.
Sports shoe:
Fig: Sports shoe Features of sports shoe: •
The upper should be of mash materials with a lot of appliques.
•
It’s a hybrid of derby & oxford shoe but the backheight should be more than the oxford/derby shoe(minimum 20-27 mm).
•
The topline of the sports shoe should be of bagged topline due to cushioning effect.
•
It should be flexible.
•
It should make of light weight material.
•
There should no heel or wedge sole. Page 15 of 94
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Long tongue, padded topline/bagged topline for making cushioned topline.
Chapter: 3 Page 16 of 94
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Design, Fashion & Adobe Illustrator
3: Analyze the Project Subject The title of my project is ''Studies on the manufacturing of fashionable ladies high heel sandal using adobe illustrator�. There are three significant words in my project. 1. Design 2. Product development of fashionable high heel ladies sandal 3. Using Adobe Illustrator software There are three significant words in my project.
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3.1: DESIGN Design is a roadmap or a strategic approach for someone to achieve a unique expectation. It defines the specifications, plans, parameters, costs, activities, processes and how and what to do within legal, political, social, environmental, safety and economic constraints in achieving that objective. “Initiate change in man-made things” “A plan or drawing produced to show the look and function or workings of a building, garment, or other object before it is built or made.” Design is everywhere - and that's why looking for a definition may not help you grasp what it is. Design is everywhere. It's what drew you to the last piece of furniture you bought and it's what made online banking possible. It's made London taxi cabs easier to get in and out of and it made Meanwhile, a definition focused on products or 3D realizations of ideas excludes the work of graphic designers, service designers and many other disciplines. There may be no absolute definitions of design that will please everyone, but attempting to find one can at least help us pin down the unique set of skills that designer brings to bear.
3.2: Creativity A design doesn't have to be new, different or impressive to be successful in the marketplace, as long as it's fulfilling a need, but design methods do lead to innovative products and services. Designers learn that ideas that may seem strange are worth exploring and that the 'common-sense' solution is not always the right one. Designers often hit on counter-intuitive concepts through methods such as drawing, prototyping, brainstorming and user testing. Watching users in real-world situations especially gives insights into their behavior that lead to ideas that wouldn't have formed had the designer simply thought about the situation, or relied on generalized market research.
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What is design to me? Like design I think it's best to break the problem up until you find the simplest solution. So to answer the question maybe it's best to take a design approach to it. This might mean looking at what others are saying about design. You can see how people responded to the question on Twitter to the right. The Wikipedia definition of design of course doesn't keep things as simple as a 140 character response.
3.3: FASHION Fashion is a general term for a popular style or practice, especially in clothing, foot wear, or accessories. "Fashion" refers to current trends in look and dress up of a person, as well as to prevailing styles in behavior. The more technical term, "costume," has become so linked in the
public eye with the term "fashion" that the more general term "costume" has in popular use mostly been relegated to special senses like fancy dress or
masquerade
wear, while the term "fashion" means clothing
generally, and the study of it. For a broad cross-cultural look at clothing and its place in society, refer to the entries for clothing, costume, and fabrics. The remainder of this article deals with clothing fashions in the Western world.
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“The Feeling for FASHION is As Old as Mankind.” But fashion itself is millions of years older. Even since the first mineral plant or animal forms appeared in the universe, distinct patterns have been evolving naturally and logically in infinite variation. Edwin Hubbel said, “Fashion is the science of appearances, and it inspires one with the desire to seem rather than to be.” According to Herbert Harold Vreeland, “Clothes don’t make a man, but clothes have got many a man a good job.” Fashion is the style or styles most popular at a given time the term implies three components-Style, Change and Acceptance. Fashion is at once both caterpillar and butterfly. Be a cuter pillar by day & butterfly by night. Nothing could be more comfortable than a caterpillar and nothing more made for love than a butterfly. There must be dresses that crawl and dresses that fly. The butterfly does not go to the market& caterpillar does not go to a ball. Coco Channel, from Ed monde Charles-Roux Channeled Her World 1979. A hit product goes beyond just selling well. A true hit product establishes an entirely new franchise in the market place. You can design these products and they not only win awards but sell lied crazy. 3.3.1: Interpretation of fashion in designing: A designer interprets the times in a creative form, and then a manufacturer offers the new styles to the public. Increase in Popularity
As the new fashion is purchased, worn, and seen by more people, it begins to rise in popularity. Peak of Popularity
When a fashion is at the height of its popularity, it may be in such demand that many manufacturers copy it or produce adaptations of it at many price levels. Decline in Popularity
Eventually, so many copies are mass produced that fashion-conscious people tire of the style and begin to look for something new. Page 20 of 94
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Rejection of a Style, or Obsolescence:
In the last phase of the fashion cycle, consumers have already turned to new looks, thus beginning a new cycle for another style. 3.3.2: Fashion Followers: Frings (1982) evaluates fashion followers: Fashion followers emulate others only after they are sure of fashion trends. Most consumers are fashion followers, for several reasons: They lack the time, the money, and the interest to devote to fashion
leadership. They need a period of exposure to new styles before accepting them. They are insecure about their tastes and therefore turn to what others have
already approved as acceptable and appropriate. They want to keep up with their neighbors or peer group or to be accepted by
them. They tend to imitate people they admire.
Fashion followers cause most of the fashion industry to be copyists or adapters. From a marketing point of view, fashion followers make mass production successful, because volume mass production of fashion can be profitable only when the same merchandise is sold to many consumers. Figure 10 Inter-relationship of the fashion cycle, the traditional adoption theory, the fashion press, and manufacturing (Frings, 1982, p.51)
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3.3.3: Basic Principle of Fashion: Introduction Understanding fashion Change of fashion.
In all fashion design, unity is the guiding principle in successful footwear. A successful fashion design employs the same elements and principles as any other design with the over-all consideration that it must be adapted to the needs of the human foot. Variety is essential in footwear in varying degrees, depending upon the desired effect. In fashion design balance can be either symmetrical or informal. We know that the human foot is never perfectly symmetrical, so footwear it in symmetrical lines may counteract its inequalities. Page 22 of 94
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3.3.4: Importance of the Fashion Designer: The life of the fashion designer is hectic, varied, and filled with interesting experiences. While he may not engrave the permanent impression on his environment that the architect achieves, he influences the lives of thousands of people who unknowingly are more comfortable or more festive because of his designs, in this fact we find the most important trait of any fashion designer, his interest in people. No one can design apparel successfully without a sense of the importance of all the varied feelings and relationships that arise from the wearing of footwear that is becoming, attractive and skillfully designed. 3.4: DESIGNERS The person designing is called a designer, which is also a term used for people who work professionally in one of the various design areas, usually also specifying which area is being dealt with (such as a fashion designer, concept designer or web designer). A designer's sequence of activities is called a design process. The scientific study of design is called design science The first designers appeared on the scene around 1960, encouraged by the debuts of design houses such as Mafia & Porosity. The marked by offering models that could be produced in large no. to sell at ready-to-wear prices. The new designer's names started become familiar; haute-couture houses began to launch their own ready-to wear lines, with clothes of high quality and of styli cloze to those of couture collections. The gap between the diverse branches of the fashion industry began to close and the most prominent designers began to troop together, at least partly to attain the prestige that accompanied the creations of haute couture with this in mind, an association called Mode it creation was founded in 1973 in the wake of the founding of the Paris fashion industry's trade union. Today the members of this group of internationally acclaimed designers come together to present their collections for each season, with designers showing two new collections per year, the rhythm of change in fashion has never been so rapid. The choice of clothes depends essentially on the image one wishes to project. In these times of liberalism in life style and morals, people can opt for the look that will best express their personalities. Page 23 of 94
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Women's hats, despite designer's efforts to keep them in fashion were relegated to wedding & solemn functions. In the terms of overall line of
Clothes, the tight-fitting curvaceous silhouette disappeared in the sixties. Although it failed to catch on the “bag dress” introduced by couturiers in 1959 did serve to accustom the eye to clothes that hung loosely on the body. Balancing was undoubtedly the initiator of this relaxed sprit of fashion. Modern designers explain design as three-dimensional art related in production technology fulfilling human needs, wants and demands. That means, in a word m we can define that design is the duplication of art through technology. So we of course need to know what art is. 3.5: Art: Art is a term that describes a diverse range of human activities and the products of those activities, but is most often understood to refer to painting, film, photography, sculpture, and other visual media. Music, theatre, dance, literature, and interactive media are included in a broader definition of art or the arts. Until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences, but in modern usage the fine arts are distinguished from acquired skills in general. “A representation of a drawing-using color is called art”. On the other hand, art is the representation of an emotion. Emotion is excited state of mind of feelings. Actually art itself is an emotional subject matter. It represents the nature, the society, and the feeling with impression and expression, while drawing is totally geometrical emotionless and representing the dimension, area and line effect
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Art actually represents the combination of drawing and color, society and nature and lastly emotion. 3.6: Motif: Motif is the symbolic explanation of an idea of concept. It art and design it reflects a meaningful symbol of the experiences of culture. In culture, motif shows the guideline to the artists and designers as the communicating language between the past and modern civilization. We can get the motif form the worship houses, ancient architects, their crafts and paintings and as well as their experiences from different civilization. So before collecting the motif we must specify an idea of theme.
3.7: Understanding fashion is important for designers Fashion seems to have played a very much more modest role than with ourselves. Flu gel an eminent fashion thinker suggests that fashion is linked to a particular type of social organization, at particular type of society and culture, flues distinguished between fashion and non-fashion with the words he called fixed and modish Fixed costume changes slowly in time and its whole value depends, to some extent, upon its permanence, but it varies greatly in space, a special kind of dress tending to be associated with each locality and with each separate social body i.e. Shari of Indian Subcontinent. Modish costume on the other hand, changes very rapidly in time, this rapidity of change belonging to its very essence, but varies comparatively little in space, tending to spread rapidly over all parts of the world which are subject to the same cultural influences and between which there exists adequate means of communication. Capitalism and technological advancement influence every sphere of life including fashion and westerns are pioneer in the case. However, more the civilized nation lowers the influences. As a result fashion does not seem to occur in so-called primitive of simple societies, societies like Australian Aborigines, the bands of Indians like the Kakapo who live in the equatorial forests of Brazil, the people living in the New Guinea Highlands of the Kalahari Bushmen, the way of life of many such peoples has been destroyed by contact with the west, by colonial settlers. Simply fashion can fringe out in the following lines. Page 25 of 94
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3.8: Aspects of Fashion: 1. Ideological Aspects: This does not change much from purpose to purpose. We have some basic ideology and in representing our personality, we try to expose our ideology vividly for almost all purposes. This is quite common in case of religious and ethnic ideology. 2. Tangible aspect: These aspects are material aspects, which we can touch, buy or sell. Examples are apparels, shoes, facial make-ups, haircuts, etc. 3. Intangible aspects: These cannot be touched. We can only feel it. Examples: The way we talk, behave, walk, treat others etc. 3.9: Smartness: It refers to the degree of success or effectiveness to represent personality for the purpose for which the fashion has been adopted. If you are more effective you are smarter. Cultural influence on fashion design Fashion is a limited deviation from the folkways to try for something new to
better represent our personality. The limit or boundary of deviation is solely determined by our culture. Culture itself does not tell us how much too dentate from folkways. Craze is the maximum possible deviation from the folkway. We cannot deviate
anymore. If we do so, we will be subject to social sanction (Punishment, protest, legal action, etc.). As a result, only very few people in the society accept it or just tolerate it. Only very few people go for craze and we politely call them "crazy". Fads are something in between fashion and craze. Fashion is close to the
center of the circle (that is, a short deviation from the folkways). It therefore lasts a Little longer than craze.
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Many sociologists and anthropologists say that fashion is a circular flow of time, it comes, it goes, and after a pause, it comes back again. The pause is about 20 to 30 years in general. It is important to note that fashion can converted into fads or craze by changing the way we use fashion. From the very primitive time to 21st centenary people wanted to be fashionable. According to Blamer people wanted to be fashionable because, "People in response to a wish to be in fashion, to be abreast of what has good standing, to express new tastes which are emerging in a changing world". Not to be fashionable is to be “out of date", out of touch'. Taft behind' in the movement towards the future, and these terms, like "being out of fashion' have definite derogatory overtones. 3.10: ADOPTION OF FASHION It is important to understand how new fashion ideas are disseminated or spread & how they are adopted to the tastes, life style and budgets of various consumers.
Innovation Covered by Trade Publications Worn by fashion Leaders Covered in Consumer Magazines Page 27 of 94
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Worn by Fashion Conscious Versions & Adaptations Manufactured at Lower Prices Covered in Local Newspapers Worn by Fashion Followers Cheap Knock offs - Loses style and fit People Tire of it Close out sales Innovators & Fashion Leaders have moved on New Looks
“Only great minds can afford a simple style.� 3.11: Adobe Illustrator Adobe Illustrator is a vector graphics editor developed and marketed by Adobe Systems. Illustrator is similar in scope, intended market, and functionality to its Page 28 of 94
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competitors, CorelDraw, Xara Designer Pro and Macromedia FreeHand. The latest version, Illustrator CS5, is the fifteenth generation in the product line. Versions 1–1.6 (Illustrator 88) Adobe Illustrator was first developed for the Apple Macintosh in 1986 (shipping in January 1987) as a commercialization of Adobe's in-house font development software and PostScript file format. Adobe Illustrator is the companion product of Adobe Photoshop. Photoshop is primarily geared toward digital photo manipulation and photorealistic styles of computer illustration, while Illustrator provides results in the typesetting and logo graphic areas of design. Early magazine advertisements (featured in graphic design trade magazines such as Communication Arts) referred to the product as "the Adobe Illustrator". Illustrator 88, the product name for version 1.7, was released in 1988 and introduced many new tools and features. As of 2011, the Adobe Illustrator '88 file format is used in the MATLAB programming language as an option to save figures. Versions 2–5 Although during its first decade Adobe developed Illustrator primarily for Macintosh, it sporadically supported other platforms. In the early 1990s, Adobe released versions of Illustrator for NeXT, Silicon Graphics, and Sun Solaris platforms, but they were discontinued due to poor market acceptance. The first version of Illustrator for Windows, version 2.0, was released in early 1989 and flopped. The next Windows version, version 4.0, was widely criticized as being too similar to Illustrator 1.1 instead of the Macintosh 3.0 version, and certainly not the equal of Windows' most popular illustration package CorelDraw. (Note that there were no versions 2.0 or 4.0 for the Macintosh - although the second release for the Mac was titled Illustrator 88 - the year of its release.) Version 4 was, however, the first version of Illustrator to support editing in preview mode, which did not appear in a Macintosh version until 5.0 in 1993. Versions 6–10 Adobe Illustrator 10, The last version before the Creative Suite Rebrand With the introduction of Illustrator 6 in 1996, Adobe made critical changes in the user interface with regards to path editing (and also to converge on the same user Page 29 of 94
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interface as Adobe Photoshop), and many users opted not to upgrade. Illustrator also began to support TrueType, effectively ending the "font wars" between PostScript Type 1 and TrueType. Like Photoshop, Illustrator also began supporting plug-ins, greatly and quickly extending its abilities. With true ports of the Macintosh versions to Windows starting with version 7 in 1997, designers could finally standardize on Illustrator. Corel did port CorelDRAW 6.0 to the Macintosh in late 1996, but it was received as too little, too late. Designers tended to prefer Illustrator, CorelDraw, or FreeHand based on which software they learned first. As an example, there are capabilities in Freehand still not available in Illustrator (higher scaling percentages, advanced find-and-replace feature, selective round-corner editing, export/print selected objects only, etc.). Corel was never considered a professional level tool by major agencies or design shops. Famously, Aldus did a comparison matrix between its own Freehand, Illustrator and Draw, and Draw's one "win" was that it came with three different clip art views of the human pancreas. Adobe bought Aldus in 1994 for PageMaker. As part of the transaction, the Federal Trade Commission issued a complaint of Adobe Systems on October 18, 1994 ordering a divestiture of FreeHand to “remedy the lessening of competition resulting from the acquisition�
because of Adobe's Illustrator software. As a result,
Macromedia acquired FreeHand in 1995 from its original developer, Altsys, and continued its development through 2004. The difference in strengths between Photoshop and Illustrator became clear with the rise of the Internet; Illustrator was enhanced to support Web publishing, rasterization previewing, PDF, and SVG (Scalable Vector Graphics.) Adobe was an early developer of SVG for the web and Illustrator exported SVG files via the SVG File Format plugin. Using the Adobe SVG Viewer (ASV), introduced in 2000, and allowed users to view SVG images in most major browsers until it was discontinued in 2009. Native support for SVG was not complete in all major browsers until Internet Explorer 9 in 2011.
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Version 9 included a tracing feature, similar to that within Adobe's discontinued product Streamline. Versions CS–CS5 Illustrator CS was the first version to include 3-dimensional capabilities allowing users to extrude or revolve shapes to create simple 3D objects. Illustrator CS2 (version 12) was available for both the Mac OS X and Microsoft Windows operating systems. It was the last version for the Mac which did not run natively on Intel processors. Among the new features included in Illustrator CS2 were Live Trace, Live Paint, a control palette and custom workspaces. Live Trace allows for the conversion of bitmap imagery into vector art and improved upon the previous tracing abilities. Live Paint allows users more flexibility in applying color to objects, specifically those that overlap. In the same year as the CS2 release, Adobe Systems announced an agreement to acquire Macromedia in a stock swap valued at about $3.4 billion and it integrated the companies' operations, networks, and customer-care organizations shortly thereafter. Adobe now owned FreeHand along with the entire Macromedia product line and in 2007; Adobe announced that it would discontinue development and updates to the freehand program. Instead, Adobe would provide tools and support to ease the transition to Illustrator. CS3 included interface updates to the Control Bar, the ability to align individual points, multiple Crop Areas, the Color Guide panel and the Live Color feature among others. CS4 was released in October 2008. It features a variety of improvements to old tools along with the introduction of a few brand new tools acquired from FreeHand. The ability to create multiple art boards is one of CS4’s main additions from FreeHand. The art boards allow you to create multiple versions of a piece of work within a single document. Other tools include the Blob Brush, which allows multiple overlapping vector brush strokes to easily merge or join, and a revamped gradient tool allowing for more in-depth color manipulation as well as transparency in gradients. CS5 was released in April 2010. Along with a number of enhancements to existing functionality, Illustrator CS5's new features include a Perspective Grid tool taken Page 31 of 94
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from FreeHand, a Bristle Brush (for more natural and painterly looking strokes) and a comprehensive update to strokes, referred to by Adobe as "Beautiful Strokes".
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Chapter: 4 About Sandal
Sandal “A shoe consisting of a sole of leather or other material fastened to the foot by thongs or straps.” Sandals are an open type of outdoor footwear consisting of a sole held to the wearer's foot by straps passing over the instep and, sometimes, around the ankle.While the distinction between sandals and other types of footwear can sometimes be blurry (as in the case of huaraches —the woven leather footwear seen in Mexico—and peep-toe pumps), the common understanding is that a sandal leaves most of the upper part of the foot exposed, particularly the toes People may choose to wear sandals for several reasons, among them economy (sandals tend to require less material than shoes and are usually easier to construct), comfort in warm weather, and as a fashion choice. Usually, people wear sandals in warmer climates or during warmer parts of the year in order to keep their feet cool and dry. The risk of developing athlete’s foot is lower
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than with enclosed shoes and the wearing of sandals may be part of the treatment regimen for such an infection. Certainly one of the oldest and simplest forms of foot covering which date back many thousands of years. Stone Age sandals were a spontaneous invention, which helped protect vulnerable feet from alien environments. Later the spread of trade among Mediterranean countries accounts why sandals became associated with affluence but it took until the Romans before they became robust footwear, worn by the army. The trade of sandal making was almost lost after the fall of the Roman Empire and only rediscovered in the early twentieth century when the heeled sandal was associated with Hollywood’s sirens. Now considered the sexiest shoe women can wear, the 'venez y voir' or comes hither look is further enhanced with backless or slings back designs. All in an endeavor
to catch 'back interest', that
is admiring glances from
suitable suitors whose eyes
are transfixed on the beauty
even after she has passed by.
Sexy sandals are subtly erotic
whereas bitchy sandals are
flagrantly
(Jayne
Mansfield). Women wearing
the former are trying to
convey a message, which says
they want to be noticed and
admired as feminine and
sensuous women. According
to Eisman (2002), today's
sexual
male thong wearers may appearcrude but beneath this veneer lurks a gentle, wounded soul. Dreamers and hopeless romantics choose Jesus sandals to represent their soulful and gentle personalities. Rough and ready types wear sport sandals similar in the way suburban dwellers drive four wheel vehicles. New Age self-assured types exude their inner comfort by choosing reflexology sandals. 4.1: Feature of the sandal: 1. Certainly one of the oldest and simplest forms of foot covering which date back many thousands of years. 2. A popular unisex footwear which is very comfortable. 3. The foot is free at the Toe and Heel. 4. The sandal serves according to the specific needs as the length can be adjusted with the help of buckles.
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4.2: History of sandal: The Sandals began in 1962, when Danny Brawner, a drummer, joined a high-school group called The Twangs, headed up by the brothers Gaston and Walter Georis. The Twangs were a group heavily influenced by The Ventures. At this point, the core of The Sandals was formed: Brawner on drums, Gaston on keyboards, Walter on rhythm guitar, John Blakeley on lead guitar with his brother, David, on bass. David was replaced by John Gibson early on. The band changed their name to The Shadows, and eventually settled on The Sandells, a portmanteu of "Sand" and "ells", a popular ending for groups at the time. They released their first album, Scrambler!, in early 1964. They partnered with World Pacific Records for the release, which allowed them to come in contact with Bruce Brown, who was then just beginning editing work on his next documentary project, The Endless Summer. Brawner and the Georis brothers met with Brown, hoping to sell him one of their songs for use on Brown's new film. Brown, however, was so impressed by their music that he agreed to use a number of their songs in the film. It was agreed that all film profit would go to Brown, and all soundtrack profit to go to The Sandells. The group used the studio time that working on the film gave them to release a number of LPs and Singles during this period. Jim King worked with the group at this time, producing a number of songs, including "Always" and "All Over Again", both of which received limited national radio airplay. The group also slightly modified their name during this time, to the surf-inspired "The Sandals". For a time, the group toured with the film, providing live backing for the live narration by Bruce Brown. After The Endless Summer film reached nationwide distribution, The Sandals recorded the song "Endless Summer", one of their first songs with vocals. The song was a departure in a number of ways, and not just relating to the vocals. They were attempting a Beach Boys-esque sound, with mixed results. The also re-released the Scrambler! LP as The Endless Summer, along with new single records similarly retitled. In 1967, Dick Barrymore hired The Sandals to score his skiing documentary, The Last of the Ski Bums. As on Scrambler! John Blakeley's songwriting skills were at the Page 35 of 94
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forefront of the album — 10 of the 12 songs contained at least some of his input. However, this album also marked Danny's departure from the band after he refused to leave San Clemente, California, where the band had been based, for Riverside, California. He was replaced by Steve Ekwall, who played on the album. Soon after the release of the Last of the Ski Bums album, the group broke up. The Georis brothers went on to start a restaurant in Carmel, California; Danny Brawner worked for Mobile Surfboards. John Blakeley remained involved in music, joining Stoneground in 1971. There have been two reunions to date: in 1994, the Georis brothers and Blakeley reformed the band, and released a few albums, most notably working on The Endless Summer II. In 2002, the Georis', Blakeley, Gibson, and Brawner played at the Galaxy Theater in Santa Ana, California, to a packed house. 4.2.1 A brief history of sandals throughout the ages. Seventeenth to Nineteenth century: Early in the seventeenth century came the introduction of heels. In the era of the French king, Louts (1715-1774) a pair of shoes could cost as much as a present needed to live for an entire year. In times past often shoes were bequeathed to members of the family and it is thought "following in your father’s footsteps" may have derived from this practice. Sandals were not popular during this time, first shoes then boost were the preferred styles of footwear. The Twentieth century Tire emergence of Hollywood brought with it the ultimate celebration of the fashion shoe (Mazza, 1994). The sandal made a fashion comeback in the nineteen twenties, as skirts became shorted shoes became more important. T strap sandals with high thick heels were introduced in the 20s, according to Bigelow, (1970) shoes in the forties were heavy and clumsy. Shortage of material due the war meant there were many innovative designs for uppers and outsole, Shoe designer Sal vatore Ferragarno invented the wedge heel and introduced a metal arch support, which meant heeled shoes no longer required toecaps. The new pin up girls used this means to flaunt their charms and broadcast eagerly through developing popular mass media Page 36 of 94
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industries. Whilst high fashion shoes were considered normal! For the glamour set throughout the thirties and forties, daytime shoes, which revealed the toes, considered immodest. Early Civilization The Sumerian civilization was a notable non-Semitic culture, which appeared in South Mesopotamia (Sumer) about the fifth millennium BC. From very early times, their workmanship was of the highest order and as a people; they were clad in skins and hides. Although Sumerians went, barefoot excavations have unearthed a shoe with a turned up toe. The artifact was dated approximately to the "Ur Period" about 3000 BC and was thought to be the property of a king. The style eventually became associated with Cypriot fashion and is still worn today in Anatolia and Syria. In the time of the Babylonians/Assyrians (circa 2000 BC) the king wore slippers made from fine leather with bands of white and gold, and red. Women's slippers were made in white leather and fastened with jewels. Shoes of white leather worn to below the malleoli and tied in front with matching thong leather. The Persians fastened their low, open-toed shoes with triple Laces.
Aboriginals and Torres Strait Islanders In antiquity, Aboriginal people seldom wore sandals to protect their feet. Most tribes went unshod but some from the Northern Territory of Australia and adjoining desert country wore a primitive sandal to protect their feet from the scorching ground temperatures in summer (Reed, 1969). These were made from tree bark had no uppers and were retained by thongs to the first and fifth toes. Not particularly robust, the crude sandals required to be replaced several times during the hot season. Assyrians The first pointed shoes were worn by the Assyrians (2134-1250 BC) although sandals with upturned toes did not come into general use until about 1370BC . Earliest Assyrian sculptures show foot soldiers wearing simple flat sandals with protection for Page 37 of 94
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the heel. The sandals had a pointed cross-lacing of thongs around the big toe with others over the instep. Sandals were made either as a thin sole with heel cap made from red or different colored leather strips sewn together. A second sandal had a thickened heel area tapering towards the toes. The sole was attached covering to the heel and sides of the foot, leaving the toes and instep exposed. Later Assyrian soldiers, especially the cavalry of the 8th & 7th centuries BC, wore laced boots or greaves that reached almost to the knees. The Phoenicians in Syria (2300 BC) were the first people to dye leather and their distinctive red dyes were made from crushed beetles. Later the Babylonians allocated colors to rank with gold and bejeweled sandals the exclusive reserve of the king and his court, pastel colors were for dignitaries and the middle class wore red or yellow only.
Egyptians According to Ledger (1985) exhibits in the British Museum, the Victoria and Albert Museum and the Egyptian Museum in Cairo indicate shoes were worn as far back as 4000BC by Egyptian nobles. Their shoes were finely made from leather and elegantly matched their robes. Tomb and temple wall paintings also depict this. Heeled shoes started to be discovered when ancient Egyptian cities were uncovered. In the tablets relating to Pharaoh Narmer (3000 BC) these depicted the Pharaoh followed by a slave bearing his sandals which would infer sandals were worn only by royalty. Queen Hat-Shep-Sut (about 1552 BC) is said to have worn bejeweled sandals and enjoyed bathing her feet in scented oil. A popular Queen, she was thought to have made wearing sandals trendy and fostered the sandal trade of the time. It was also reported sandals from Lower Egypt were discovered with a 'follow me' message on the sole in nail. Some authorities think these belonged to contemporary sex workers. Girls of sport wore study sandals made from gazelle hide.
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Biblical Times In Biblical times, animal skins were used for clothing. "...Unto Adam and also unto his wife did the Lord God make clothes of skin and clothe them..." Genesis III verse 21. Elevated sandals were worn by girls much to the consternation of their elders. "Haughty daughters of Zion walking and mincing as they go and making a tinkling with their feet. The lord will take away the bravery of their tinkling ornaments about their feet," Isaiah III verses 16-18. Going barefoot on religious ground was certainly mentioned in the Old Testament. Moses hearing the voice of the Lord where approaching the burning bush, at Mt Horeb was told ..."Put off thy shoes off thy feel for the place where on thou stands is holy ground." Cretans Going barefoot indoors and in sanctuaries was common practice among all Mediterranean Civilizations and sandals were only worn when walking outside, To describe his heroes putting on their shoes to travel or fight and in the temple of Nike Apteros, Athens there is a carving of Victory untying her sandals when withdrawing from action. Great court personages were seldom seen outside heir regal mansions without footwear which would add weight to the argument only effluent men wore sandals and the poor went barefoot. African Sandals Until comparatively recently sandals were the most widely used footwear in Africa. The Hausa culture from southern Sahara wore turned up sandals. The sole of sandals in Samalia were made several centimeters wider than the foot which kept the wearer from sinking into sand and protected them from the scorching imperatives of the ground. The layered leather soles protected the set from the heat, while the upturned fronts enable the wearer to walk more easily, with the rolling gait, on sand. Sandals were worn r status in the court of Ashanti, in West Africa. The sandals had an extra wide sole to protect J wearer's foot from hot and stony surfaces. The leather was decoratively scored d inlaid with natural pigments.
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Asian Sandals Hindus, like the Egyptians, made more ornamental use for footwear with the vast majority of the populous going bare foot (Franzine, 1993). Until relatively recently the Indian Army wore sandals as regular issue footwear Greeks Greek Gods and heroes were often depicted barefoot with at least one notable exception i.e. Aphrodite. Greek warriors or hoplite wore body armor with heavy leg graves but no shoes. At first, the shoe served only as protection from the elements but later in Roman times footwear was developed for colder climates. It was ungraceful and always hidden by long robes. This style was later the inspiration for the classic revival in 19th century fashion, giving its name to a light sandal like shoe, tied with laces criss crossed up the leg Hunters wore high boots (cothurnes), these covered the whole foot and leg up to the calf level. They laced at the front over a broad tongue, and were made with a flat sole of wood or leather. These boots fitted either foot. The Greek historians, Herodotus and Strabo described the dress of the Medes, including a high shoe, or low boot, that opened in front and was fastened with buttons. The Median sovereign wore a high, long shoe which buttoned at the front and had a toe ring attachment. The color was saffron or deep yellow. Alcibiades (450404 B.C) wore a shoe with a gently peaked toe made from pliable yellow leather or fabric, which fitted snugly and had coloured lacing, intricately laced around the whole foot. Romans Footwear played a major role in the development of the Roman Empire for not only it provide protection for those who travelled by boat, like the Greeks, but also to soldiers who marched to the end of the Empire. Indeed as the empire increased in distance from Rome, supply lines to the outposts became impractical. Caius Caesar Germanic us (AD 12-41) was a Roman emperor (AD 37 - 41), better known as Caligula (or small shoe). Therewas evidence of right and left sandals. As an example of just how serious footwear was taken, Emperor Vespasian (69-79AD), Page 40 of 94
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himself the son of a shoemaker, refused to give professional couriers a footwear allowance because he thought they could run faster barefoot. Slaves were not permitted to wear sandals they were called 'cretin'' because it was customary to mark their feet with chalk when they were put up for sale. Shoes in Rome became a prized procession. Due to the popular fashion of highly decorated footwear threatened to usurp the shoemaker. Lovers would often preserve the shoes of their loved ones because of their intrinsic value. It also became a custom for a mistress to present her lover with the token of her sandal. Clerical Sandals Although priests occupied an important position in ancient societies, they almost invariably performed their offices, barefoot. During the middle Ages, the leather craftsmen of England organized themselves into guilds, or trade associations. The Worshipful Company of Leather sellers, founded in 1492, still plays an active role in the UK, leather industry, in the field of technological education Japanese Sandals Ancient Japanese wore sandals appropriate to their position in the social
strata.
From
the
Imperial
House,
merchants
and
professionals, to actors, all had specific footwear. The braided sandals were called zoris. In the 19th century, sandals were made from iron with hemp rope laces threaded through a series of iron loops on the perimeter. At the coronation of Empower Hirohito he wore platform geta. India, Pakistan & Persia Hindu religion held the cow as sacred therefore leather was not used in sandal manufacture. Instead, wood, ivory or metal was preferred. The toe knob grip was a distinctive feature and sandals were carved from wood. Sometimes shoes were sheathed with intricate worked silver. Sometimes the sole section of toe and heel were on stilts and may have inspired the chopine. The Renaissance (14-16 Centuries)
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In Europe, the Renaissance was a time of turbulent change and discovery. Shoe fashions reflected these changes. Men's sandals became less thong like and more of a modern sandal design. Known as "tagliate a pezzi" or "cut to bits", the Renaissance sandal had open slits cut into the upper. Pragmatically this allowed the skin to breathe but was also used to display the wearer's brightly colored hose. Women rejected sandals at this time preferring wooden or cork clogs called pantoffles. Seventeenth to Nineteenth Century Early in the seventeenth century came the introduction of heels. In the era of the French King, Louis XV (1715-1774) a pair of shoes could cost as much as a peasant needed to live for an entire year. In times past often shoes were bequeathed to members of the family and it is thought "following in your father’s footsteps" may have derived from this practice. Sandals were not popular during this time, first shoes then boots were the preferred styles of footwear. The Twentieth Century - the fashion sandal The emergence of Hollywood brought with it the ultimate celebration of the fashion shoe (Mazza, l994). The sandal made a fashion comeback in the nineteen twenties, as skirts became shorted shoes became more important. T strap sandals with high thick heels were introduced in the 20s. During the60's, sandals became flat and sensible with the arrival of the exercise sandal. A decade later, the heel was back and the sandals were made in exotic fun synthetics, which were popular but left a slightly tarnished image. The introduction of seamless tights provided the opportunity to include back less sandals! This exposed more flesh and became very popular as glamorous shoes. 4.3: LADIES HIGH HEEL SANDAL High-heeled footwear is footwear that raises the heels, typically 2 inches (5 cm) or more above the toes, commonly worn by women for formal occasions or social outings. Variants include kitten heels (typically 1½-2 inches high) and stiletto heels (with a very narrow heel post) and wedge heels (with a wedge-shaped sole rather than a heel post). According to high-fashion shoe websites like Jimmy Choo and Gucci, a "low heel" is considered less than 2.5 inches (6 centimeters), while heels between 2.5 and 3.5 Page 42 of 94
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inches (8.5 cm) are considered "mid heels", and anything over that is considered a "high heel". Although high heels are now almost exclusively worn by girls and women, there are shoe designs worn by both genders that have elevated heels, including cowboy boots and Cuban heels. In previous ages, men also wore high heels. 4.3.1 History The history of the high-heeled shoe, or a shoe whose heel is higher than the toe, is a matter of contentious and heated discussion. Shoes in general have typically served as markers of gender, class, race, and ethnicity—and both the foot and the shoe have been imbued with powerful phallic and fertility symbols as evidenced in the contemporary practice of tying shoes to a newlywed couple's car. No other shoe, however, has gestured toward leisure, sexuality, and sophistication as much as the high-heeled shoe. Fraught with contradiction, heels paradoxically inhibit movement in order to increase it, at least in appearance. Standing in heels, a woman presents herself already half-walking while at the same time reducing the length of her step, fostering the illusion of speed while suggesting an imminent fall. The higher and more unstable the heel, the more clearly these contradictions are expressed. Doctors and scholars alike have argued about the physical and cultural effects, both positive and negative, that heels have had not only on women, but on society as a whole. 4.3.2: Precursors to the high-heeled shoe Most of the lower class in ancient Egypt walked barefoot, but figures on murals dating from 3500 B.C. depict an early version of shoes worn mostly by the higher classes. These were leather pieces held together with lacing that was often arranged to look like the ankh symbol, which represents life. There are also some depictions of both upper-class males and females wearing heels, probably for ceremonial purposes. Egyptian butchers also wore heels, to help them walk above the blood of dead beasts. In ancient Greece and Rome, platform sandals called kothorni, later known as buskins in the Renaissance, were shoes with high wood or cork soles that were popular particularly among actors who would wear shoes of different heights to indicate varying social status or importance of characters. In ancient Rome, sex trade was legal, and female Page 43 of 94
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prostitutes were readily identified by their high heels (Encyclopedia of Ancient Greece by Nigel Guy Wilson, 2005). During the Middle Ages, both men and women would wear patents, or wooden soles, that were clearly a precursor to the high heel. Patents would attach to fragile and expensive shoes to keep them out of the mud and other street debris when walking outdoors (Swann, 1984). Elizabeth Semmehack, curator at the Bata Shoe Museum, traces the high heel to horse riders in the Near East who used high heels for functionality, because they helped hold the rider's foot in stirrups. She states that this footwear is depicted on a 9th-century ceramic bowl from Persia. In the 15th century, chopines, a type of platform shoes, were created in Turkey and were popular throughout Europe until the mid-17th century. Chopines could be seven to eight or even 30 inches high, requiring women to use canes or servants to help them walk. Like patterns, chopines were overshoes, but unlike the patterns, almost exclusively women wore chopines. They were usually designed with cork or wood stacked as the heel. Shoes were beginning to be made in two pieces during the 16th century, with a flexible upper attached to a heavier, stiffer sole (Swann, 1984). This new two-part shoe led to the heel as an actual part of the shoe rather than just an attachable overshoe. It is sometimes suggested that raised heels were a response to the problem of the rider's foot slipping forward in stirrups while riding. The "rider's heel", approximately 1½ inches (4 cm) high, appeared around 1500. The leading edge was canted forward to help grip the stirrup, and the trailing edge was canted forward to prevent the elongated heel from catching on underbrush or rock while backing up, such as in on-foot combat. These features are evident today in riding boots, notably cowboy boots. The simple riding heel gave way to a more stylized heel over its first three decades. Beginning with the French, heel heights among men crept up, often becoming higher and thinner, until they were no longer useful while riding but were relegated to "court-pony" wears. By the late 17th century, men's heels were commonly between three and four inches high.
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In 1533, after men had already started wearing heels again, the diminutive Italian wife of Henry II, King of France, Queen Catherine de' Medici, commissioned a cobbler to fashion her a pair of heels, both for fashion and to suggest greater height. High-heeled shoes quickly caught on with the fashion-conscious men and women of the French court and spread to pockets of nobility in other countries. The term wellheeled became synonymous with opulent wealth. Both men and women continued wearing heels as a matter of noble fashion throughout the seventeenth and eighteenth centuries. When the French Revolution drew near, in the late 18th century, the practice of wearing heels fell into decline in France due to its associations with wealth and aristocracy. Throughout most of the 19th century, flat shoes and sandals were usual for both sexes, but the heel resurfaced in fashion during the late 19th century, almost exclusively among women.
Throughout the last 60 years, high heels have fallen in and out of favor several times, most notably in the late 1990s, when lower heels and even flats predominated. Lower heels were preferred during the late 1960s and early 1970s as well, but higher heels returned in the late 1980s and early 1990s. The shape of the fashionable heel has also changed from block (1970s) to tapered (1990s), and stiletto (1950s, 1980s, and post2000). Today, high heels are typically worn by women, with heights varying from a kitten heel of 1½ inches (4 cm) to a stiletto heel (or spike heel) of 4 inches (10 cm) or more. Extremely high-heeled shoes, such as those higher than 5 inches (13 cm), are normally worn only for aesthetic reasons and are not considered practical. Court Page 45 of 94
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shoes are conservative styles and often used for work and formal occasions, while more adventurous styles are common for evening wear and dancing. High heels have seen significant controversy in the medical field lately, with many podiatrists seeing patients whose severe foot problems have been caused almost exclusively by highheel wear. Wedge heel is informally another style of the heel, where the heel is in a wedge form and continues all the way to the toe of the shoe. 4.3.4: Reasons against wearing high heels, which are almost exclusively health and practicality reasons, include: They can cause foot pain. They increase likelihood of sprains and fractures. They make calves look more rigid and sinewy. They can create foot deformities, including hammertoes and bunions. They can cause an unsteady gait. They can shorten the wearer's stride. They can render the wearer unable to run.
Altered forces at the knee caused by walking in high heels may predispose to degenerative changes in the knee joint. See Foot and tendon problems below for many of the medical reasons. Women who wear high heels frequently have a higher incidence of degenerative joint disease of the knees. This is because they cause a decrease in the normal rotation of the foot, which puts more rotation stress on the knee. 4.3.5: Reasons for wearing high heels Which are almost exclusively aesthetic, include: •
They change the angle of the foot with respect to the lower leg, which accentuates the appearance of calves.
•
They change the wearer's posture, requiring an upright carriage and altering the gait in what is considered a seductive fashion.
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They change the angle of the foot with respect to the lower leg, which accentuates the appearance of calves.
•
They change the wearer's posture, requiring a more upright carriage and altering the gait in what is considered a seductive fashion.
•
They make the wearer appear taller.
•
They make the legs appear longer.
•
They make the foot appear smaller.
•
They make the toes appear shorter.
•
They make the arches of the feet higher and better defined.
•
They may improve the tone of a woman's pelvic floor,
•
They make the lower leg muscles more defined.
•
They make the gluteus maximus more defined.
•
They may help shorter people use items that have been designed for those of a normal height, e.g. sit upright with feet on floor on chairs that would otherwise be too high, reach items on shelves, etc.
4.3.6: Types of high heels Types of heels found on high-heeled footwear include: Cone: a round heel that is broad where it meets the sole of the shoe and noticeably narrower at the point of contact with the ground Kitten: a short, slim heel with maximum height under 2 inches and diameter of no more than 0.4 inch at the point of contact with the ground Prism: three flat sides that form a triangle at the point of contact with the ground Spool: broad where it meets the sole and at the point of contact with the ground; noticeably narrower at the midpoint between the two Stiletto: a tall, slim heel with minimum height of 2 inches and diameter of no more than 0.4 inch at the point of contact with the ground Wedge: occupies the entire space under the arch and heel portions of the foot Puppy: thick square block heel approximately 2 inches in diameter and height 4.3.7: Accessories
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The stiletto of certain kinds of high heels can damage some types of floors. Such damage can be prevented by heel protectors, also called covers, guards, or taps, which fit over the stiletto tips to keep them from direct, marring contact with delicate surfaces, such as linoleum (rotogravure) or urethanevarnished wooden floors. Heel protectors are widely used in ballroom dancing, as such dances are often held on wooden flooring. The bottom of most heels usually has a plastic or metal heel tip that wears away with use and can be easily replaced. Dress heels (high-heeled shoes with elaborate decoration) are worn for formal occasions. Many philanthropies have been created around the central idea of men fighting gender violence by wearing high-heeled shoes and "walking a mile in her shoes". This theme has shown up in display windows in malls and across several cities in the United States. 4.4: Foot and tendon problems High-heeled shoes slant the foot forward and down while bending the toes up. The more that the feet are forced into this position, the more it may cause the Achilles tendon to shorten. This may cause problems when the wearer chooses lower heels or flat-soled shoes. When the foot slants forward, a much greater weight is transferred to the ball of the foot and the toes, increasing the likelihood of damage to the underlying soft tissue that supports the foot. In many shoes, style dictates function, either compressing the toes or forcing them together, possibly resulting in blisters, corns, hammer toes, bunions (hallux valgus), Morton's neuroma and many other medical conditions, most of which are permanent and require surgery to alleviate the pain. High heelsbecause they tip the foot forward—put pressure on the lower back through making the rump push outwards and crushing the lower back vertebrae and contracting the muscles of the lower back. If it is not possible to avoid high heels altogether, it is suggested that the wearer spend at least a third of the time on their feet in contour-supporting "flat" shoes(such as exercise sandals), or well-cushioned "sneaker-type" shoes, saving high heels for special occasions.
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One of the most critical problems of high-heeled-shoe design involves a properly constructed toe-box. Improper construction here can cause the most damage to one's foot. Toe-boxes that are too narrow force the toes to be "crammed" too close together. Ensuring that room exists for the toes to assume a normal separation so that high-heel wear remains an option rather than a debilitating practice is an important issue in improving the wear ability of women's high-heeled fashion shoes. Wide heels do not necessarily offer more stability, and any raised heel with too much width, such as found in "blade-" or "block-heeled" shoes, induces unhealthy side-to-side torque to the ankles with every step, stressing them unnecessarily, while creating additional impact on the balls of the feet. Thus, the best design for a high heel is one with a narrower width, where the heel is closer to the front, more solidly under the ankle, where the toe box provides room enough for the toes, and where forward movement of the foot in the shoe is kept in check by material snug across the instep, rather than by the toes being rammed forwards and jamming together in the toe box or crushed into the front of the toe box. Despite the medical issues surrounding high-heel wear, a few podiatrists recommend well-constructed low to moderate heels for some patients [citation needed]. It appears a slight elevation of the heel improves the angle Page 49 of 94
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of contact between the metatarsals and the horizontal plane, thereby more closely approximating the proper angle and resulting in proper weight distribution of a medium-to-high-arched foot. Other foot specialists, however, argue that any heel causes unnecessary stresses on the various bones and joints of the foot. 4.5: Feminist attitudes towards high heels The high heel has been a central battleground of sexual politics ever since the emergence of the women's liberation movement of the 1970s. Many secondwave feminists rejected what they regarded as constricting standards of female beauty, created for the subordination and objectifying of women and self-perpetuated by reproductive competition and women's own aesthetics. Some feminists argue that the high heels were designed to make women helpless and vulnerable, perpetuating the gender role of males as protectors of the slowly staggering women. High heels have also been blamed for reducing the woman to a sex object by sacrificing practical comfort in favor of an alleged increase in sex appeal. Some second-wave feminists, such as Judy Grahn, have tied high heels to menstruation rituals that various cultures have used.
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Chapter: 5 Customer analysis & market research
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5.1: CUSTOMER ANALYSIS Customer analysis is the collection and evaluation of data associated with customer needs and market trends, through customer focus group groups, customer satisfaction measurement, field testing etc. It is a process by which data from customer behavior is used to help make key business decisions via market segmentation and predictive analytics. This information is used by businesses for direct marketing, site selection, and customer relationship management. Marketing provides services in order to satisfy customers. With that in mind, the productive system is considered from its beginning at the production level, to the end of the cycle, the consumer. Customer analytics is playing a very important role in the prediction of customer behavior these days and takes place among social sciences.
5.1.1: Uses of Customer Analytics
Retail
Gathering customer data and implementing it into some type of application that can enhance insight and the decision making process is a common application of customer analytics used by retailers.
Community
Municipalities utilize customer analytics in an effort to lure retailers to their cities. Using psychographic variables, communities can be segmented based on attributes like personality, values, interests, and lifestyle. Using this information, communities can approach retailers that match their community’s profile.
Customer Relationship Management
Analytical Customer Relationship Management, commonly abbreviated as CRM, enables measurement of and prediction from customer data to provide a 360° view of the client.
Predicting Customer Behavior
Forecasting buying habits and lifestyle preferences is a process of data mining and analysis. This information consists of many aspects like credit card purchases, Page 54 of 94
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magazine subscriptions, loyalty card membership, surveys, and voter registration. Using these categories profiles can be created for any organization’s most profitable customers. When many of these potential customers are aggregated in a single area it indicates a fertile location for the business to situate. Using a drive time analysis, it is also possible to predict how far a given customer will drive to a particular location. Combining these sources of information, a dollar value can be placed on each household within a trade area detailing the likelihood that household will be worth to a company. Through customer analytics, companies can make decisions with confidence because every decision is based on facts and objective Data.
ď ś Data Mining
There are two types of categories of data mining. Predictive models use previous customer interactions to predict future events while segmentation techniques are used to place customers with similar behaviors and attributes into distinct groups. This grouping can help marketers to optimize their campaign management and targeting processes.
5.2: MARKET RESEARCH Market research is any organized effort to gather information about markets or customers. It is a very important component of business strategy. The term is commonly interchanged with marketing research; however, expert practitioners may wish to draw a distinction, in that marketing research is concerned specifically about marketing processes, while market research is concerned specifically with markets. Market Research is the key factor to get advantage over competitors. Market research provides important information to identify and analyze the market need, market size and competition. Market research, as defined by the ICC/ESOMAR International Code on Market and Social Research, includes social and opinion research, [and] is the systematic gathering and interpretation of information about individuals or organizations using statistical and analytical methods and techniques of the applied social sciences to gain insight or support decision making.
ď ś Market research for business/planning
Market research is for discovering what people want, need, or believe. It can also involve discovering how they act. Once that research is completed, it can be used to determine how to market your product.
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Questionnaires and focus group discussion surveys are some of the instruments for market research. 5.3 Customer Analysis & Marketing The customer analysis and marketing process allows your organization to identify and target the most profitable customers with marketing campaigns directed at various distribution channels. Integrating these channels allows for targeted sales force management and the tracking and monitoring of campaign results.
ď ś Data Collection/Analyzing
Conducting user surveys is a way to get the opinions of consumers and a more focused idea of what to design. I have conducted two surveys to get an understanding of what qualities consumers would like in a HIGH HEEL shoe. The purpose of conducting this research is to gather personal characteristics and fashion preferences as an initial step in the development of fashionable shoes for ladies. The research was conducted over a period of six weeks during class hours of university students. Upon arrival, participants were handed a survey and given a verbal description of what the survey contained.
5.4: Questionnaire A questionnaire was developed to explore the participants’ preferences on styles and fashion, their opinions on the importance of color, and comfortable shoes, height of heel etc. According to the guidance of my guide teacher Mr. Amal Kanti Deb I go through this verbal survey. Some questionnaire of that research was like the following:
A. Which type of sandal do you like to wear generally for everyday use? 1. Flat (Open type) 2. Heel (Open type) 3. Flat (Close type) 4. Heel (Close type)
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B. Which type of shoe do you prefer for party? 1. Open/Close type medium heel(2-3 inch heel) 2. Open/Close type high heel(above 3 inch) 3. Open/Close type flat
C. Which type of heels do you like? 1. Pencil heels 2. Wide heels 3. Neutral
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D. Do you think high heels can formulate you more attractive? 1. No 2. Yes
E. Do you like any fastening system on you high heels? 1. Yes 2. No 3. Neutral
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Survey Conclusion
Participants would like a choice of the style options for different occasions Participants of teenagers felt that the appearance of their shoes was as
important as comfort. The younger participants worried more about appearance, but also wanted comfort. Most of participants want high heel about 2- 3 inches high. A majority of the participants would like a specialty shoe that is comfortable,
yet modern, not too complex in design and is available in a sufficient choice of colors.
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Chapter: 6 Design development
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This chapter will feature the exploration of design concepts, explain the techniques, and design system. Processes will describe, illustrate and document the systematic approach taken. The method and styles that are used were selected for multiple reasons including research, data analysis, knowledge and familiarity. However, there may be several design solutions and this method is not universal and can be modified to suit the designers’ particular objectives and the customers’ collective needs. The first step of the concept design process is inspiration and general design direction. In this case, a lot of inspiration came from the unique Scandinavian aspect of the brand. Looking at the combination of Scandinavian modernism, technology and design found in places like Volvo car design, Stelton tableware, and Arne Jacobsen furniture, a clean, refined aesthetic was developed with formal cues between organic and geometric. A designer should first and foremost be aware and comfortable with the anatomy of the human foot. Though, the basic shape of a foot remains the same from person to person, there are many underlying subtle differences that need to be accounted for. The design of a shoe should be such that, it does not restrict or hamper the movement of the individual in any way. In fact, itshould enhance the movement. One may never learn how to design shoes properly by overlooking this fundamental factor.
6.1: Fashion Forecasting Using the fashion forecasting method presented previously that analyzes previous fashion design styles and current design styles, it will be possible to develop a projected styled high heel shoe, with emphasis on understanding that the adaptation of the trends depends on the particular group, age, income, lifestyle, and fashion preferences. Searching for past and current trends can be done via the internet, because it contains recent information also via fashion magazines.
6.2: Color Research
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Colors studies should be conducted to be updated on the latest color trends. Pantone surveys the designers of Bangladeshi Fashion Week to present to consumers the season’s latest color trends. According to my collected data, forecasting and color research, I select teenager as target group and select the party category. Then I plotted my design plan into the adobe Illustrator and Photoshop.
6.3: Design Development with Adobe Illustrator
Sample 1
Sample 2
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Sample 3
Chapter: 7 Manufacturing procedure of ladies high heel sandal Page 63 of 94
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Everything starts out as a concept, including shoes. In the beginning, they're designed on paper or computer, but then they're put on something called a "last." Think of it like a shoe blank. It's blank white, but it's a three-dimensional model of a shoe. This is how the designers get a more accurate depiction of their could-be shoe.
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7.1 MANUFACTURING O F SANDAL My project work, “Studies on manufacturing of ladies high heel sandal using Adobe Illustrator and Adobe Photoshop software." So, I am now briefly described about the ladies sandal. Y.A Bette Middle once said "Give a girl the correct footwear she can conquer the world."
FLOW CHART Rough-sketch Final sketch Masking sketch Drawing Cutting Pattern Making Material cutting
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Closing Lasting Sole attaching Checking 7 .1.1 MAS KING: 1. Apply a strip of the down center of the front. And down the back of the last
2. Apply lengthways strips to cover one side of the last completely. 3. When one side competed, the procedure should be repeated tin the other side. 4. When all the length strips have applied, with the downed ones. Start at the top of the cone (about half way along the last), and work your way around the back of the last until you come to the same point on the other side. These strips should also be over lapped. Alter this; strips can be placed across the front of the last in one piece, starting at the top of the cone and working forwards (overlapping), until you
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reach the toe. At the beginning you will have to let them cross over onto the vertical side pieces. To avoid pleats in the Centre.
5. The next step is to trim the waste tape from the bottom of the last. Right up to the feather edge. 6. Now center lines can be applied. The simplest way is to stretch a length of
masking tape out on your cutting board (about the same length as the last), and draw a straight line down the middle.
7.1.2 THE DESIGN PROCESS Inspiration for new design:
Know your customer's profile, that is, his or her age and socioeconomic background, in order to design clothes that he or she can afford and will want to wear. For example, if your customer is voting, design clothes that are trendy. tun, and affordable. Pay particular attention to the price of the skins you select for your design. Similarly, if you have an older "missy" customer, you may want to design a more conservative or classic garment, paying particular attention to interesting details. Skins would be chosen based price range of the clothes designed. Attend forecast and trend shows:
Most designers want to know what the fashion industry trend services will be predicting for the upcoming season. It can studied by: Attend trade shows:
Numerous fashion shows are held throughout the year. The shows allow designers to stay abreast of the latest trends. New treatments, colors, and textures are continually being introduced there. Leather designers also should keep up-to-date on textile trends by attending the top fabric shows, for example, Premier Vision in Paris (October and March) and the International Fashion Fabric Exhibition in New Page 67 of 94
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York. Make travel plans designed to create inspiration:
Many manufacturers find traveling to Paris, Amsterdam, London, Milan, Florence, Munich, Dusseldorf, Montreal, Tokyo, Barcelona, and Brussels inspirational. They might photograph merchandise in store windows, sketch items they see, and/or purchase items they might wish to copy or interpret for their own collections. This way management can firsthand the new merchandise and trends, Read magazines and newspapers:
Designers should always read fashion magazines, for color and trend directions. 1n addition to the specialized leather apparel magazines, designers should read all of the most important fashion magazines, both American and European. Designers also should regularly read trade papers, for example, Women's Wear Daily and the Daily news Record for up-to-the-minute information. Actively research museums and libraries:
Designers can gain inspiration from numerous sources, but one of the best ways is by studying what previous designers have done. Many museums throughout the world, such as the Metropolitan Museum of Art in New York, exhibit the costumes of a particular designer and/ or of a certain period in history. These shows can have a surprisingly great influence on modern-day fashion trends. The Fashion Institute of Technology, also in New York, features wonderful exhibits and an extensive costume library, as does the Muse de la Mode in Paris. All of the above-mentioned institutions also have book and magazine costume libraries. Note non-fashion events and trends:
Designers should always be aware of all events occurring in the world. Current trends in music, movies, dance, theatre, even local news can be potential sources of design inspiration. Some of the major fashion trends of the past have resulted from such influences. For example, many designers have tied their collection to the musical trends of grunge and hip-hop. Sometimes, just people watching from Page 68 of 94
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a park bench or from a table at a sidewalk cafe can provide enough inspiration. ďƒ˜ Organizing and Planning Collection:
Once the designer has accomplished the preceding steps, he or she should possess information to organize and plan a collection. By focusing on the fashion interests and economic means of the customer, he designer should be able to forecast what fashions must be created. One of the best ways the designer can organize his or her thoughts and ideas is to create a theme board. Later, a style hoard should be created. These not only help the designer visualize the line, but also are extremely effective in helping present concepts to the manufacturer's sales staff and retail buyers. The combination of a theme and style board can be very cost effective; since they help the designer and manufacturer determine the viability of a line concept before the expensive process of sample making is initiated. 7.1.
Design story:
My motto is to provide a simple but still fashionable product that should attract a customer. Simplicity is what I want to express through my design.
And my design is for the women wearing traditional Bengali dress especially.
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7.1.2: Color story: Black and white is the most contrast color. White is the combination of all colors and hue. Mixing nominally equal proportions of the additive primaries results in shades of Grey or White; whereas black is without any color. People are also like colors. When all are together they look brighter and can do anything with full strength, when they are alone, they become lonely, deprived. My theme is Simplicity with Black & white.
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7.1.3: Create theme board: A theme board is a visual presentation used by the designer to communicate the general concept or mood that will help sell a particular line to a target customer. Most theme boards (also called concept boards or mood boards) consist of a cubage of photographs, tear sheets, or photocopies from books or magazines, which are mounted on 1/4" or 1/2" foam core board. Typically, the dimensions inches of the foam core board are either 20x30 inches or 30x40 inches. The photographs, photocopies, and tear sheets should complement the designer's color story. To make the best impression, assemble the board using the proper artist supply materials. Remember, when boards are presented, the audience will be several feet away. Therefore, make sure that visual materials are large enough to he easily seen by everyone in the audience. Strong visuals also should be chosen Page 71 of 94
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to create an effective, immediate impression. TIPS FOR MAKING AN INTERRESTING THEME BOARD
There are many ways one can approach designing a theme board. Specific ideas follow to make it interesting and effective:
Carefully plan the layout of the theme board. Experiment with positioning
the photographs, tear sheets, swatches, and other materials in different places on the board until the best result has been achieved. The theme board should be visually exciting as well as able to effectively convey the designer's message.
Always including several swatches of recommended skins. Make sure the
swatches are cut large enough so the intended audience will be able to distinguish individual characteristics. Swatches should not be smaller 2x3 inches. A three-dimensional quality can he created on the hoardif swatches are artfully arranged and/or occasionally folded. If patterned or printed skins are used, swatches should be large enough to effectively show the complete pattern. Sometimes designers mount swatches on theme boards with Velcro, which makes it easier for the audience to remove swatches for a detailed inspection.
7.1.4: Style board: The style board includes flat sketches of all of the styles in a particular theme. Generally, the sketches show both the front and back views of each garment. They should be large enough to view the details of each garment, that is. neversmaller than 3x4inches each. However, sometimes style boards depict certain styles on a fashion figure for a more dramatic effect. The board must always include color swatches and style numbers. For large collections, designers generally present both a theme and s style board to full present their design concepts. For smaller groups. many designers combine their theme and boards. 'I lie Siena Studio Presentation Board includes all of the key information that would normally be found in Siena's theme and style boards.
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It depicts: •
The target customer
•
The feature skin ("Bubble Lamb")
•
The color story
•
The mood
•
The styles offered in the line.
Sales people and merchandising aids for buyers. They also can manufacturer from proceeding with poorly conceived expensive samples. The remaining Steps in the design Process: 1. The pattern maker makes the pattern2. The sample maker sews a muslin or canvas prototype 3. The designer fits the muslin and makes any needed corrections. 4. The sample maker cuts and sews the garment using production skins. 5. The designer fits the final sample and makes and additional adjustment. When a company manufacturers overseas, the process is different. Once the designer creates the garment and it is approved for sample making, the process is as follows: The designer completes a design/spec sheet that specifics everything the overseas pattern maker needs to know about the design, including exactly which skin or skins to use. The overseas factory will follow the design specification sheet and return the sewn sample in the specified skin The designer will find and inspect the garment and tell the overseas factory what corrections need to be made. The overseas factory will continue to revise the product until the designer is happy Page 73 of 94
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with it. Latest theme and Style board are the combination of two. One example can illustrate bellow-
7.2: PATTERN MAKING: Remove the masking tape and place on the pattern paper. Pattern is made according to the design.
7.2.1: Standard Construction The next step is the production of the standard. The standard is a kind of "blueprint" for the upper design. It is normally a plan of the upper viewed from one side, but sometimes e.g. with some ladies court shoes. A whole cut (opened out), standard is produced. Lasting allowance Stiffener allowance for lining when constructing the standard the following matters should be considered:
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positioning the seams and upper features Foot anatomy, the position of prominent bones and joints Economy of the materials; creating sections which will make efficient use of
materials i.e. without excessive material wastage
Method of construction (details in APPENDIX); amount of allowance/s to be add
Foot entry; is there sufficient opening and adjustment.
7.2.2: Sectional Pattern
Sample 1
Sample: 2
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Sample 3 From the standard, sectional patterns are produced for every part of the upper, lining. These are sometimes known as working patterns. When cutting the sectional patterns all necessary allowance for such items as folded edges and seams must be added. Stitch marks should also be included. It should be noted that occasionally a pattern cutter may sketch the design onto the covered (by tape or plastic) last and then cut the upper sections directly from this, flattening each individual section separately. Allowances are then added as necessary. With this method, there is no mean forme and no standard, which can be inconvenient if alterations are later necessary. In my project, both methods are applied as per simplicity.
7.2.3: Selecting upper materials, colors etc. to the products All parts or sections of the shoe above the sole that are stitched or otherwise joined to become a unit then attached to the insole and outsole. The upper of the shoe consists of the vamp or front of the shoe, the quarter i.e. the sides and back of the shoe, and the linings. Uppers are made in a variety of different materials, both natural and synthetic.Synthetics are cheaper to mass-produce and are now found in most mass produced footwear. Synthetic uppers are waterproof. Woven fabric such as cotton corduroy can be used as uppers. Classified as breathable fabrics these help aeration. In quality shoes the quarters and vamps are lined to enhance comfort and durability. Linings may consist of various materials i.e. leathers, fabrics, and manmade synthetics. The lining on the insole segment is called 'the sock' and may be fulllength, three-quarter or just the heel section. Many linings are made of synthetic material and are usually confined to the quarters and the in sock.
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My theme is simplicity. And wants to make sandals for corporate women. To wear the shoes for both fashion and comfort as well as cheap. According to the product outline, the upper and lining materials are in follows: The upper and lining is of synthetic.
7.2.4: Selecting or designing of bottom components Insole (inner sole) A layer of material shaped to the bottom of the last and sandwiched between the outsole (or midsole) and the sole of the foot inside the shoe. The insole covers the join between the upper and the sole in most methods of construction and provides attachment for the upper, toe box linings and welting. This provides a platform upon which the foot can operate and separates the upper from the lower. The insole board is necessary in shoes that are constructed using cemented or Goodyear welt techniques because it is the attachment for upper and lower components. The majorities of insole boards are made of cellulose and are treated with additives to inhibit bacterial growth. Athletic shoe wear will often have a sock liner, a piece of material placed over the top of the insole board glued in position or removable.
Outsole This is the outer most sole of the shoe, which is directly exposed to abrasion and wear. Traditionally made from a variety of materials, the outsole is constructed in different thickness and degrees of flexibility. Ideal solingmaterials must be waterproof, durable and possess a coefficient of friction high enough to prevent slipping. Leather has poor gripping capabilities and synthetic polymers are much preferred. There are also an infinite variety of surface designs. Extra grip properties can be incorporated in the form of a distinctive sole pattern with well-defined ridges. Alternatively they can be molded with cavities to reduce the weight of the sole. These cavities need to be covered with a rigid insole or can be filled with light foam to produce a more flexible sole. In some cases two or more materials of different densities can be incorporated into the sole to give a hard wearing outer surface and a Page 77 of 94
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softer, more flexible midsole for greater comfort. Synthetic soling materials will off the physical property of dampening down impact levels (shock attenuation).
Shank The shank bridges between the heel breast and the ball tread. The shankpiece or shank spring can be made from wood, metal, fiberglass or plastic and consists of a piece approximately 10cm long and 1.5 cm wide. The shank spring lies within the bridge or waist of the shoe, i.e. between heel and ball corresponding to the medial and lateral arches. The shankpiece reinforces the waist of the shoe and prevents it from collapsing or distorting in wear. The contour of the shank is determined by heel height. Shoes with low heels or wedged soles do not require a shank because the torque between the rear and forefoot does not distort the shoe.
Heel The heel is the raised component under the rear of the shoe. Heels consist of a variety of shapes, heights, and materials and are made of a series of raised platforms or a hollowed section. The part of the heel next to sole is usually shaped to fit the heel, this is called the heel seat or heel base. The heel breast describes front face of the heel. The ground contact section is called the toppiece. Heels raise the rear of the shoe above the ground. A shoe without a heel or midsole wedge may be completely flat. When the heel section sits lower than the forefoot the style is called a 'negative heel'.
7.3: MATERIAL CUTTING: Upper & lining material cut according to the pattern and bottom components cut according to the pattern.
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Planning for production method:
Product no: 1 SI no
Name of operation
Way of application
Bottom component preparation Insole 01
Insole board cutting
By hand
02
Shank attaching
By hand
03
Insole and shank board attaching By hand
04
Insole molding
By hand
05
Insole beveling
By hand
06
Side covering of the insole by By hand using the upper materials
Outsole 01
TPR sole
02
Roughing
By emery paper
03
Priming of the sole
By hand
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04
Drying of the primers
05
Adhesive applying
06
Drying the adhesive
07
2nd coat of the adhesive
By brush
08
Heat reactivate
Heat reactivation machine
By brush
Upper preparation 01
Cutting of the upper and lining
By anti-cutter
02
Applying adhesive for folding
By hand
03
Folding the upper materials
By hand
04
Attach lining with the upper By hand materials
05
Stitching
lining
with
the Post be sewing machine
upper materials
06
Trimming
the
upper
lining By hand
materials
Lasting 01
Rouging
the
lining Roughing machine
materials if needed 02
Stitching the upper and Post bed sewing machine lining in lasting area
03
Applying the latex
By brush
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04
Drying the adhesive
05
Hand lasting
By hand
Sole attaching
01
Roughing
the
lasting Roughing machine
margin area 02
Cleaning the dust
By hand
03
Apply primers into the By sponge PU sole
04 05
Drying the primers 11st coat of PU both in By brush lasted upper and sole
06
Drying the adhesive
07
2nd
coat
of
the
PU By brush
adhesive 08
Heat reactivation
Heat
reactivation
machine 09
Upper positioning on the sole
10
Sole pressing
Sole pressing machine
11
Chilling
Chilling machine
12
De-lasting
By hand
02
Cleaning the sandal
By hand
03
Sole cleaning
By hand
Finishing
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04
Insertion of the tissue By hand papers
05
Shoe stick use if needed
By hand
06
Shoe boxing
By hand
Material Specification: Specification & Consumption sheet for Product
8.1.1: Costing & Profitability Analysis:
Sample: 1 ďƒ˜ Article: Sample 1 Size: 4 Type of shoe: Ladies high heel sandal Designer: Tahmina Sharief Mitu Costing for: One pair
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COMPONENTS UPPER Material (Synthetic)
UNIT
PRICE(TK)
AMOUNT
COST(TK)
Sq-ft
80.00
1.23
98.40
Sq-ft
60.00
1.01
60.60
INSOLE BOARD
15.00
2
30.00
SHANK BOARD
15.00
2
30.00
(White) LINING (Synthetic)
SOCK (Leather) SHANK THREAD
10.1
250.00
.03
15.00
2 pieces
10 .00
2
20.00
Meter
15.00
15.00
ADHESIVE
60.00
SOLE
2 Pieces
110.00
2
220.00
Heel
2 pieces
40.00
2
80.00
SHOE BOX
Buckle
25.00 4 Pieces
3.00
TISSUE/PAPER
5.00
material cost
662.00
Production cost 50% of material cost
331.00
Standard shoe cost
993.00
C. profit Margin@25% of standard cost
248.25
Standard selling price
1241.25
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Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator
Costing & Profitability Analysis:
Sample: 2 ďƒ˜ Article: Sample 1 Size: 4 Type of shoe: Ladies high heel sandal Designer: TahminaShariefMitu Costing for: One pair COMPONENTS UPPER Material (Synthetic)
UNIT
PRICE(TK)
AMOUNT
COST(TK)
Sq-ft
80.00
1.23
98.40
Sq-ft
60.00
1.01
60.60
INSOLE BOARD
15.00
2
30.00
SHANK BOARD
15.00
2
30.00
2 pieces
10 .00
2
20.00
Meter
15.00
(White) LINING (Synthetic)
SHANK THREAD ADHESIVE
15.00 60.00
Page 84 of 94
Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator SOLE
2 Pieces
110.00
2
220.00
Heel
2 pieces
40.00
2
80.00
SHOE BOX
Buckle
25.00 4 Pieces
3.00
TISSUE/PAPER
5.00
material cost
647.00
Production cost 50% of material cost
323.50
Standard shoe cost
970.50
C. profit Margin@25% of standard cost
242.625
Standard selling price
1213.125
Costing & Profitability Analysis:Sample: 3 ďƒ˜ Article: Sample 1
Size: 4 Type of shoe: Ladies high heel sandal Designer: TahminaShariefMitu Page 85 of 94
Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator Costing for: One pair
COMPONENTS UPPER Material (Synthetic)
UNIT
PRICE(TK)
AMOUNT
COST(TK)
Sq-ft
80.00
1.23
98.40
Sq-ft
60.00
1.01
60.60
INSOLE BOARD
15.00
2
30.00
SHANK BOARD
15.00
2
30.00
2 pieces
10 .00
2
20.00
Meter
15.00
(White) LINING (Synthetic)
SHANK THREAD
15.00
ADHESIVE
60.00
SOLE
2 Pieces
110.00
2
220.00
Heel
2 pieces
40.00
2
80.00
SHOE BOX
Buckle
25.00 4 Pieces
3.00
TISSUE/PAPER
5.00
material cost
647.00
Production cost 50% of material cost
323.50
Standard shoe cost
970.50
C. profit Margin@25% of standard cost
242.625
Standard selling price
1213.125
Page 86 of 94
Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator
Part: 8 Product Photo
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Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator
Sample: 1
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Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator
Sample: 2
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Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator
Sample: 3
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Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator
Chapter: 9 Conclusion
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Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator
9.1 Findings: 1. The heel height used in the products are not much harmful. 2. The products are comfortable. 3. The designs are simple and easy to manufacture. 4. The materials used are cheap, so will be less costly product but still fashionable.
9.2 Recommendations: 1. For Bangladeshi weather, especially in summer time it is preferable to wear open type sandals. 2. Heel height should be 1.5-2 inches for everyday use. 3. Market research is very important before every product design. “You have brains in your head. You have feet in your shoes. You can steer yourself any direction you choose. You're on your own. And you know what you know. And YOU are the one who'll decide where to go...�
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Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator
References •
Venkatappaiah B., Introduction to the modern Footwear technology.
•
Miller R.G., (Editor), Manual of Shoe making.
•
Thornton J.H., Textbook of Footwear manufactures.
•
Thornton J.H., Textbook of Footwear materials.
•
Ruth Tholfon., Making shoes.
•
SATRA Bulletin
•
Foot anatomy
•
Shoe Box, http://www.google.com/search? tbm=isch&hl=en&source=hp&biw=1366&bih=664&q=Shoe+boxes&gb v=2&oq=Shoe+boxes&aq=f&aqi=g8gm2&aql=&gs_l=img.3..0l8j0i5l2.3475l8044l0l8303l10l10l0l0l0l0l426l 2307l2j1j2j3j1l9l0.frgbld.#hl=en&gbv=2&tbm=isch&sa=1&q=foot+ana tomy&oq=Foot+ana&aq=0&aqi=g10&aql=&gs_l=img.1.0.0l10.3377l73 65l0l10970l21l12l0l0l0l2l1560l8433l61j5j1l7l0.frgbld.&pbx=1&bav=on.2,or.r_gc.r_pw.r_qf.,cf.osb&fp=db1f0 d45a3fe8b22&biw=1366&bih=664
Or, http://www.webmd.com/pain-management/picture-of-the-feet
•
Adobe Illustrator http://en.wikipedia.org/wiki/Adobe_Illustrator
•
Sandal http://en.wikipedia.org/wiki/Sandal
•
High heel sandal http://en.wikipedia.org/wiki/High-heeled_footwear Page 93 of 94
Studies on manufacturing of fashionable ladies high heel sandal using adobe illustrator •
Rossi, William A., The Complete Footwear Dictionary, Rossi William A., 2nd ed., Florida: Krieger Publishing Company, 2000.
•
Shoe, Wikipedia, the free encyclopedia, http://en.wikipedia.org/wiki/Shoe
•
History of Footwear, Website Server Location: Brazil, http://www.sapatosite.com.br/ingles/opcoes/history.htm
•
Types of Footwear, ILET, DU: Class Lecture & Note.
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