fashion flats WOMENSWEAR
merrin stacey cameron
First published by Merrin Cameron 2014 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the author & illustrator Merrin Stacey Cameron. Copyright Merrin Stacey Cameron 2014
CONTENTS
Introduction
1
Chapter 1
2
Chapter 2
10
Chapter 3
24
Chapter 4
36
Index of garment categories
83
To purchase hard copy book: Amazon link http://www.amazon.com/Fashion-Flats-Merrin-Stacey-Cameron/dp/1320215041/ref=sr_1_1?s=books&ie= UTF8&qid=1416365283&sr=1-1&keywords=fashion+flats+w omenswear PDF version: http://au.blurb.com/b/5729106-fashion-flats-womenswear
INTRODUCTION
An ability to trade sketch garment ats correctly is essential for a Fashion Design career. This book explains how garment technical drawings are a necessary process in linking apparel design, production and sales at wholesale level. Whether you are a beginner, or have fashion industry experience, I hope the information contained in the following pages will help you to improve your skills of observation, understanding of garment construction, patternmaking, design, sense of proportion & technical drawing accuracy, whether manually or electronically. Happy drawing!
1
CHAPTER 1
Fashion flats Technical drawings, otherwise known as trade flats, flats, trades, trade sketches or tech drawings are used as a way of communicating technical information for two main purposes. Flats for Design/Selling, and Flats for Production. True trade flats are drawn in black pen only (or printed in black ink), without the addition of colour, shading or pattern, so that they are clear and can be faxed or copied if necessary. Flats are a flat, 2 dimensional representation of a garment with all technical information included.
Flats for Design & Sales The Designer will create rough developmental sketches to begin the design process. These sketches will develop into trade flats or technical drawings as concepts and ideas are established. Technical drawings are used at the design development stage to illustrate and communicate ideas within a design/sales team prior to sample production and the development of a complete collection. These technical drawings must convey design concepts and technical garment detail in a format that can be easily communicated. Not only are these drawings used during the design development process, they are also used to relay information to a patternmaker/manufacturer (production process), & for illustration purposes in wholesale range books.
Flats for Production The second purpose of technical drawing is for use in specification sheets as part of a technical pack. Technical drawings are annotated with important garment construction information to be followed by the apparel manufacturer. A technical pack or tech pack includes all the information that a factory requires for the production of sample garments and eventually production of apparel orders. Other information may include fabric suppliers, fabric requirements, testing, construction details, labelling requirements, sample garment, suppliers of notions and accessories, accessory details, thread or yarn weight/gauge, stitch lengths and machines, construction methods, printing details, packaging requirements, production and delivery dates, garment specifications (sizing measurements, garment dimensions and grade rules), tolerance, pricing, factory contact details and contracts. Drawings must be easily interpreted by the manufacturer (patternmaker, sample machinist, production manager, cutter etc.).
2
FASHION FLAT
3
brand
1. Style no: ss001 Polished cotton, double breasted Trench Coat with belted waist & contrast lining. Tangerine or Lemon colours available. 2. Style no: ss02 Bias cut, sandwashed silk charmeuse, Cowl neck top with self bound neck & armhole available in Window pane check only. 3. Style no: ss03 Bengaline waisted capri pant with belt loop detail, y front, slash pockets & hem side split. Charcoal grey only. All styles available sizes 8-14
brand
FLATS FOR PRODUCTION
GARMENT CONSTRUCTION
STYLE NUMBER: SS006 STYLE NAME: Oliver Grey
SEASON: Spring/Summer 16
MANUFACTURER: CP&R FABRIC : Pinstripe poly/cotton blend shirting DESIGNER: AJ
x
x
x
x
x
x
x
x
Edge stitch pocket with reinforced opening.
Cut away collar with edge stitch. Armhole topstitched 6mm in from seam.
Double row topstitch detail (twin needle).
BACK VIEW
x
x
COMPANY
Double pleat detail at sleeve cuff.
6
FIT DETAILS/DESCRIPTION: Mens casual fit business shirt with cut away collar & single breast pocket detail. FRONT VIEW
Double roll hem 6mm topstitch.
Placket to be edgestitched. Horn buttons 11mm 2 hole.
Topstitch 6mm in from seam (foots width). Side & sleeve seams to be french seamed.
6
FLATS VS FLOATS
Flats vs Floats Trade flats or technical drawings are flat, 2 dimensional representations of garment designs. Garments are illustrated as if they are flat, lying on a flat surface. If you refer to the process that you would go through to create a garment pattern you should not have any problems understanding how a flat should be drawn, garment shape (silhouette), where dart values are manipulated to and where seam lines should exist. Consider garment construction when identifying locations of topstitch detail, flatstitching/bluffing, blind hem, coverstitch, flatlocking, twin needle stitch detail and overlocking. Garment floats are slightly more 3 dimensional in appearance than a garment flat, as they demonstrate a sense of movement & drape around a body. Shading, creases and drag lines are often added to garment floats to add to the sense of a garment being alive. Fashion forecasting agencies like Stylesite use garment floats as a way of illustrating garment designs. All technical information is still included in the illustration, but the garment silhouette hangs as it would on a hanger or around a real body. Some designers will draw floats instead of flats in their technical packs, as long as all relevant information is still communicated accurately. See example of crew neck sweater, T-shirt and jeans to note the differences in drawing styles.
7
FLATS
8
FLOATS
1. Crew neck, fully fashioned knit sweater 100% Australian wool. 2. Boat neck T-shirt with angled hemline & buttoned sleeve turnback/cu. Cotton/elastane interlock. 3. Sleeveless, drop waisted rayon jersey casual T with single shoulder tuck detailing. 4. Cotton/elastane twill weave hipster slim ďŹ t jean with cut away side pockets, belt loops, coin pocket, side hem exposed zippers & curved seam detailing.
9
CHAPTER 2
Technique Trade flats can be drawn either by hand (manually) or electronically (CAD vector program). Most trade sketching is now created electronically as it is far more accurate and less time consuming to draw, particularly once you have created templates of basic, repeated shapes. Files can also be edited easily, emailed and imported into different programs. However it is a valuable skill to learn to hand draw manually and observe proportion. Before you start drawing using either method you must develop or find a croqui (figure template) to use as a guide. The croqui included here has been used to create all of the flats in this book, but the croqui you use must suit the product you are drawing. Remember not to take the croqui body shape too literally as you must first of all consider the garment pattern shape and construction before you start drawing. A common mistake is that tight fitting garments with some stretch are drawn around the croqui body shape adopting the curves of the elbow and knees, when in fact the garment pattern shape would be much straighter through the arms and legs. Also check that you have included all necessary seaming, front/back crutch seams in pants, armholes, zips and split into seams.
Hand Drawing (Manual) When hand drawing technical drawings for fashion ensure that you use a mechanical pencil with a fine HB lead, rulers, eraser, French curves (or compass) and bank paper. Bond paper, (printer paper) can also be used for technical drawing but it is more difficult to see through when tracing. Drawings must be neat, accurate and symmetrical. To ensure symmetry in a garment (unless the garment design is purposely asymmetric) follow the steps shown in the following diagrams:
Croqui based on 9 heads body proportion.
10
CROQUI FRONT
SHOULDER
COLLARBONE
ELBOW BUST
WRIST
WAIST
HIP
KNEE
HEEL
11
GARMENT DIMENSIONS GUIDE TO GARMENT DIMENSIONS
SHORT ABOVE ELBOW ELBOW 3/4 LENGTH UNDER BUST
NATURAL WAISTLINE DROP WAIST HIPSTER
ZIP LENGTH (BACK) HIPLINE
KNEE LENGTH
MID LENGTH
ANKLE LENGTH FULL LENGTH
12
FULL LENGTH
CROQUI BACK
HEEL
13
HAND DRAWING STEPS
Steps 1 & 2 1. Draw or fold a central guideline horizontally through your page (this will become the centre of your garment).
2. Using a light box place your trade sketching croqui behind your bank paper, matching the central guideline.
3. Use your drawing tools (pencil/ rulers) tracing the croqui to draw one half of your garment, including stitch, dart and seam detail. Check garment proportion against real garments to create an accurate representation. Place the garment, or similar garment on a mannequin or body to check ďŹ t in relation to your croqui. When adding topstitching measure stitch length against you ruler 1mm dash, 1mm gap.
Step 3 & 4
4. Fold your paper in half and trace drawing through to reverse side of your paper, once again using your drawing tools to blend lines. (Only rarely should lines ever be drawn freehand without your ruler and French curves eg. to indicate gathering.)
14
HAND DRAWING STEPS
Step 5 5. Fold paper back out and retrace through to the front side of your page to complete the drawing.
6. Trace drawing over light box to create garment back view, using your initial drawing as a template.
Step 7
7. Erase any pencil marks and retrace off if required.
8. Note that croqui arm angle may need to be adjusted for the illustration of different sleeve shapes and fits.
15
ELECTRONIC
Computer Aided Design (Electronic) Adobe Illustrator is commonly used in industry as a tool to create garment technical drawings. Once again a croqui is used as a guide, placed into a layer that is then locked, and the garment drawn using the Bezier pen tool on a separate layer. One half of the garment is drawn with all detail before it is reflected and lines joined. From the front view, a back view can then be copied and adjusted. Garment outlines should be set at 1pt weight and stitch details at 0.25pt weight, 2 pt dash, 2 pt gap (or other consistent amount). When drawing darts select a triangular line profile that is wider where the dart hits a seam, and thinner/lighter, where the dart is run off, to create a realistic- looking impression. This method can also be used when hand drawing by applying different pressure to your pencil. R
Illustrating Details (Flats for Production) When creating garment flats to be used in a technical pack, garment details may need to be redrawn larger scale to communicate exact and precise information to garment manufacturers. Internal structures of garments may also need to be illustrated if they are unusual or particularly complicated. If you are not sending a sample garment or pattern to your manufacturer you will need to provide them with as much drawn detail as possible, clearly labelled and instructed. Some garments may also need to be drawn as if they are hanging and as they look totally flat so that a patternmaker is able to understand the pattern shape required to achieve the relevant outcome. See example of a circle skirt.
Garment Descriptions & Annotations When describing a garment for the purposes of a specification sheet or range book, keep information clear, concise, relevant and accurate. Annotating illustrations with garment construction information in technical packs requires the same level of detail.
16
DRAWING DETAIL
GARMENT CONSTRUCTION
STYLE NUMBER: SS006
STYLE NAME: Coco
SEASON: Autumn/Winter 2016
MANUFACTURER: CP&R
FABRIC : wool crepe/elastane suiting
DESIGNER: AJ
DETAIL : CF PRESS STUD OPENING
FIT DETAILS/DESCRIPTION: Womens semi fitted tuxedo style jacket with contrast leather trim.
Facing length 20cm at CB seam join to lining with 2cm pleat
2 piece sleeve
Princess seams to semi ďŹ t jacket Inside of garment Oversized self covered press-stud detail 30mm stainless steel Leather contrast with topstitch detail
Centre Front 17
LAYOUT
Layout (Flats for Design/Selling) When creating a range board or range book it is important to plan the arrangement of the information required on each page. This is called your page layout design & it is integral that it remains consistent throughout your document. Consider the design elements (line, colour, texture, scale, shape) and principles of balance, harmony, repetition, focal point, dominance/subordinance, unity, positive/negative space and movement (how the eye reads the page) when designing your page layout. Rate information (graphic and written) in terms of its importance to work out page structures & where the most important information should be placed. Avoid overcrowding your pages with too much information. Draw a rough plan initially to brainstorm different page arrangements, and to compare their viability. Once a layout design is selected set up a system of columns, grids & guidelines (template) to simplify this process for you, and to keep design components within a designated space. When arranging garment front and back views in a document your front view may overlap your back view only when design and construction details on the back view are still clearly visible. Alternatively front and back views can be kept completely separate, the front being arranged in the primary position, or sleeves can be folded back to minimise use of space. If technical drawings are quite complex, garment internals can be greyed out to differentiate between the garment front and back. When developing a Wholesale Range Book in hard copy format consider paper types, weights, transparencies and binding options, to produce a document that reflects the brands aesthetic. Keep type size other than headings 10 or 11 pts in size and choose fonts carefully. Simpler fonts tend to work more successfully when a lot of written information is required. To retain the reader’s attention a range book should demonstrate flow, consistency and interest. Fashion illustrations or photographic images may be used to reinforce the mood of a particular collection, or to separate capsule ranges within a collection. Fashion Illustrations are generally highly stylised, evocative representations of garments on figures. Fabric swatches may be included in your range book or on a separate header so that they can be felt easily (either way they must be cut and presented neatly – try using tape on the reverse side of your fabric and pinking shears to cut them a consistent size). Range books should also include all relevant technical information relating to your garment designs.
18
LAYOUT
1.
Variation in garment layout for trade at illustration: 1. 2. 3.
Garment front & back views are shown totally separately so that all detail is easily visible. Garment front view overlaps back view. All essential detail is still visible on a single side back view only. To reduce the size of the technical drawing further a sleeve or sleeves may be folded back, as long as all necessary detail is still visible.
See following pages for example of page layout & trade ats for a Wholesale Range Book.
19
LAYOUT
2.
3.
20
LAYOUT
GARMENT COLOURWAYS
1. Nautical white 2. Taupe 3. Lipstick pink
Garment description : Double breasted blazer with peaked lapel in 100% linen, with full lining, shoulder pads, buttoned sleeve vent opening (nautical themed buttons with shank) & jet pockets.
Front views can also be stacked together when showing dierent colourways available in a particular style.
21
L ked s ipt by Mimi Luxe
SPRING/SUMMER 2015 Style : Lola Description : Cotton poplin sleeveless 60’s style day dress with contrast collar & faux belt detail, cut away patch pockets, centre back invisible zip opening with bow tie, A-line print skirt and centre front dome button detailing. Sizes : 8-14 Aus Price : $132 Delivery : September
Colourway A : Dot blue
Colourway B : Dot pink
CHAPTER 3
Garment components This chapter gives examples of common garment components, drawn as trade ats.
NOTE : These bodice examples do not indicate openings (they need to be added in e.g. side or back zip).
24
DART MANIPULATION & NECKLINES
BODICE BLOCK WITH DARTS FRONT VIEW
BODICE BLOCK BACK VIEW
EMPIRE LINE WITH SCOOPED NECKLINE
DOUBLE DARTS & BOAT NECKLINE
SIDE/WAIST DARTS & LOW V NECKLINE
FRENCH DARTS & SQUARED NECKLINE
PRINCESS SEAMS & KEYHOLE NECKLINE
WINGED SEAMS / SWEETHEART NECKLINE FRONT VIEW
WINGED SEAMS BACK VIEW
25
DART MANIPULATION & NECKLINES
WAIST DARTS & ENVELOPE NECKLINE
DARTED BODICE BLOCK WITH STAND COLLAR
EMPIRE LINE WITH DEEP SQUARED NECKLINE
SINGLE SHOULDERED ASYMMETRIC NECKLINE
ASYMMETRIC NECKLINE WITH GATHERED DETAIL
FRENCH DARTS & FUNNEL NECK
BIAS CUT COWL NECKLINE
RUFFLE COLLAR WRAP BODICE
HALTER NECK WITH EMPIRE LINE
26
STRAPLESS BODICE STYLES 1. Boned strapless bodice with peplum in silk shantung with full lining. 2. Boned, traditional style corset with centre back eyelets & lacing (silk brocade).
3. Moulded/draped bodice over structured base with side tuck & wrap detail (Duchess satin). 4. Ruched bandage style bodice over boned base (bias silk georgette).
27
COLLARS
STANDARD 2 PIECE COLLAR
ROUNDED 2 PIECE COLLAR
ROUNDED 1 PIECE COLLAR
PETER PAN COLLAR WITH BIB FRONT
SHAWL COLLAR
MANDARIN OR STAND COLLAR
FLY AWAY COLLAR
PUSSY BOW TIE
TAILORED OR NOTCHED COLLAR
28
SLEEVE SHAPING
SET IN SLEEVE
RAGLAN
DROP SHOULDER
EXTENDED ARMHOLE
CAP
BATWING OR DOLMAN
2 PIECE
KIMONO WITH GUSSET
GATHERED OR PUFF
29
STITCH DETAIL
DOUBLE TURNED TOPSTITCHED HEM WIDE
DOUBLE TURNED TOPSTITCHED HEM NARROW
ROLLED HEM OR EDGE STITCH
TWIN NEEDLE COVERSTITCH
OVERLOCKED SINGLE TURN NARROW HEM
BLIND HEM OVERLOCKED
FLAT BED MACHINE SEAM WITH OVERLOCK (internal)
SAFETY STITCHED (internal)
TWIN NEEDLE OR WELTED/FLAT FELLED(JEANS)
30
STITCH DETAIL PRICK STITCH
RUNNING STITCH/TAILORS TACK
PIN STITCH
BUCKLES & BOWS ROUND BUCKLE TRADITIONAL BELT STYLE
FORMAL BOW
DIAMANTE CLASP DRESS BUCKLE
BUCKLE WITH PULL THOUGH WAIST TIE
LOOSE BOW
TIE
31
FULLNESS
INVERTED PLEAT
BOX PLEAT
KNIFE PLEAT
SUNRAY PLEAT
TREEBARK PLEAT
GATHERING
RUCHING
TUCKS
RUFFLE GATHERED FRILL/CIRCULAR FLARE
32
ZIP DETAIL
INVISIBLE ZIP
LAPPED ZIP
EXPOSED ZIP IN SEAM
EXPOSED ZIP STEPPED
FLY FRONT MEN OR UNISEX STYLES (JEANS)
FLY FRONT WOMEN
JEANSWEAR/HARDWARE BAR TACK, BASIC & KEY HOLE BUTTONHOLES
STAINLESS STEEL STUD, RIVET & GROMMET/EYELET
33
BUTTONS : 2 HOLE, 4 HOLE, SHANK
POCKETS
JET POCKET
WELT POCKET
JET WITH POCKET FLAP
JET WITH EXPOSED ZIP DETAIL
PATCH POCKET
CARGO STYLE POCKET WITH PLEAT (BELLOW) & FLAP
SIDE POCKET
CUT AWAY POCKET
CUT AWAY JEAN WITH COIN POCKET
34
SKETCH PAGE
Sketch new garment details as you discover them. Make a point of looking inside garments at the internal structure, and visiting fashion stores regularly as new design ideas and methods of construction are developed. Also take note of the linings and interlinings being used in commercial garments.
35
CHAPTER 4
Technical drawing This chapter includes examples of full garments drawn as Trade Flats, relating to dierent garment categories. I have included garment descriptions and fabric swatches to introduce the industry language used in a wholesale range book. Use this as a reference guide as you build up your own design library of shapes and styles. When designing refer to actual garments, previous designs and garment construction methods to illustrate garments correctly as technical drawings for sampling and production. When referring to a colour to be used to print or dye a textile use the internationally recognised Pantone Colour Matching system. TPX code refers to textiles. R
This page : 1. T-shirt bra with moulded cups & underwire in nylon/elastane jersey. 2. Basic contoured bra with underwire. 3. Strapless bralette with padded, moulded bra cups, underwire & boned seams to waist. Nylon/elastane jersey. 4. Stocking suspender belt with adjustable back hook opening. Nylon/elastane jersey. Opposite page : 1. Lace trim push up bra with matching brief. Nylon chantilly lace on nylon/elastane jersey base. 2. Shapewear, short style brief with lace trim panel & CF invisible zip opening. 3. Corset with built in bra cups & CB rouleaux loop/covered button opening with satin bow trim at CF. 4. Figure slimming slip with built in padded balconette style bra. Nylon/elastane.
36
LINGERIE & SHAPEWEAR
37
LINGERIE & CORSETRY
1. Japanese style silk satin kimono. 2. Steel boned corset in cotton/rayon brocade with full lining & CB lacing detail. 3. Stretch lace G-string rayon/poly blend.
38
LINGERIE
1. Empire line bias cut camisole in silk satin. 2. Empire line bias cut silk satin slip with rouleaux straps. 3. Silk satin french knicker with chantilly lace trim. 4. Basic rayon/elastane brief with lace trim. 5. Lace trimmed petticoat in silk satin with elasticised waist.
39
SWIMWEAR
1. Retro style bikini set with padded bra, CB clear acrylic fastener & frilly knicker. Nylon/elastane. 2. Traditional triangular shape bikini bra with tie side brief & strapping. 3. One piece strapless bather with padded, ruched bust detail and stainless steel ring. 4. Basic sports swimsuit with racer back & contrast piping around openings. Nylon/elastane.
40
ACTIVEWEAR
1. Sports bra with built in bust support, racer back & seam detailing. Cotton/elastane. 2. Cotton/elastane legging with sports stripe side panels & contoured elastic waistband. 3. Basic T-shirt shape with colour block and v-shaped seam detailing. 4. Parachute silk (polyester) boxer short with elasticised waistband & contrast side panel. 5. Boy leg sports brief in cotton/elastane blend interlock.
41
CUT & SEW KNITS
42
CUT & SEW KNITS
This page : 1. Charcoal grey marle, bamboo/polyester/elastane eece hooded apres sport sweater with exposed metal zip at centre front opening, angled jet pockets, rope neck tie & rib trim. Opposite page : 1. Basic raglan style cotton/elastane T-shirt with rib trim. 2. Self bound cotton/elastane tank top. 3. Basic cotton interlock track pant with elasticised waist and rib trim. 4. Cotton/elastane wide leg yoga pant - comfort ďŹ t.
43
FULLY FASHIONED KNITS
1. Crew neck, fully fashioned knit sweater in wool/acrylic blend yarn with 3D cubic knitted textile design. 2. Plain & cable knit, oversized, crew neck sweater with raglan sleeve. 100% Merino wool.
44
FULLY FASHIONED KNITS
1. Turtleneck, short sleeve knit top with raglan sleeve, fashioning marks & rib trim. Mohair/acrylic blend. 2. Cashmere/nylon/acrylic cardigan with hand embroidered cotton daisies & CF pearl button opening. 3. College style V-neck, drop waisted, oversized sweater in 100% wool with embroidered badge detail.
45
CASUAL DAY WEAR
1. Semi fitted, light weight, sandwashed denim casual jacket with oversized button trim, 3/4 sleeve, rounded collar and inverted pleat at CB yoke. 2. Cotton/ramie knee length tailored short with slash pockets, fly front, single jet back pocket & belt loops. 3. Silk faille semi fitted camisole with self bound neck/armholes & longer, shirt style back hem.
46
CASUAL DAY WEAR
1. Cotton voile, boxy, drop shoulder casual shirt with concealed CF button opening & standard 2 piece collar. 2. Rayon/elastane, semi ďŹ tted, pant with contrast leather detailing at knee and part elasticised waist. 3. Leather gilet with extended shoulderline, full lining, stand collar & CF exposed zip opening.
47
JEANSWEAR
x
x
x
48
RESORT WEAR
This page : 1. Silk voile tunic with contrast neck detail, side hem and sleeve splits, semi ďŹ tted. 2. 5 pocket skinny leg jean in cotton/elastane blend twill with curved seam detail on leg, exposed zippers at side hem & contoured, hipster waistband. 3. 2.2m x 0.8m silk voile screen printed scarfe with double rolled hem.
Opposite page : 1. Calf skin leather & beaded harness with built in bustier, fully lined with boning & CB exposed zip detail. 2. Jeans style sleeveless vest in acid wash denim with stainless steel stud opening at CF. 3. Jeans style stretch denim, waisted, skinny leg pant with vertical side panels. 4. Leather & coated denim hipster style jean with multiple row topstitch detail at knee & side hem exposed zippers.
49
RESORT WEAR
1. Fitted halter neck bodice with empire line & CB oversized button opening. (100% linen). 2. Palazzo pant with slash pockets at side front, single jet pocket at back, y front & belt loops in 100% sandwashed linen. 3. Tailored sailor short with double button detailing, cut away pockets & tucks to reduce fullness. 4. Strapless linen bustier with lined front panel, built in bra cups, topstitch detail and shirring at centre back.
50
RESORT WEAR
1. Cotton voile sun dress with empire line, fully lined ďŹ tted bodice with shirred back, frill hem & neck tie rouleaux strap.
51
SURFWEAR
1. Asymmetric oversized T-shirt with buttoned cuff/turnback and bound boat neckline in 100% cotton interlock. 2. Bikini bra and brief in UV resistant nylon/elastane with rope and wooden bead trim. 3. Jeans style mini skirt with contoured waistband, belt loops, fly front and pocket detailing. Available in 100% cotton denim with acid wash finish.
52
SURFWEAR
1. Foil print 100% cotton fully fashion knit cropped sweater. 2. Camisole style cotton poplin jumpsuit with elasticised waist & CB zip opening. 3. Jeans style shorts in 100% cotton indigo dyed denim, with front cut away pockets & coin pocket, back patch pockets, belt loops & y front.
53
DAYWEAR
1. Cotton/elastane colour blocked T-top with mesh yoke detail and centre back exposed zip. 2. Pelmet style wrap skirt with full lining & side front split in 100% polyester gaberdine. 3. Tailored short with inverted pleat & topstitch detail. CB zip opening in 100% polyester garberdine. 4. 50’s style fully lined coat with contrast colour blocked detail and CB inverted pleat. 100% polyester gaberdine.
54
DAYWEAR
1. Quilted polyester bomber style jacket with centre front exposed zip opening, full lining, rib trim & angled jet pockets. 2. Sunray pleat polyester chion midi length skirt with jersey half lining and elastic sports band. (Front & back views the same.) 3. Polyester/elastane scuba midri top with drop shoulder & angled seam detailing.
55
EXPERIMENTAL
1. Drop shoulder rayon jersey oversized top with full length sleeve, self bound boat neck, cover stitch hems and fully fashioned cable knit applique trim. 2. Drop crotch 3/4 length pant with peg top tuck detailing, CB exposed zipper, high waistband & slash pockets in 100% rayon. 3. Rayon lurex cropped jacket with 3/4 petal sleeves, shoulder yoke detailing, internal hook and eye opening at CF and full lining.
56
EXPERIMENTAL
1. Wool annel coat with experimental sleeve shaping, cocoon silhouette, in seam pockets, round neck, contoured tapered hemline, full lining and curved seam/design lines.
57
WORKWEAR
This page : 1. Cropped 3/4 sleeve jacket with seaming detail, round neck and full lining. 2. Knee length tapered skirt with waistband and side front split in polyester/nylon twill weave suiting. (Fully lined.) 3. Polyester/nylon/elastane dress with contrast leather panelling at CF and CB, nylon mesh yoke, CB hem vent, geometric seam detailing and CB copper coloured exposed zipper. Opposite page : 1. Silk georgette and faille long sleeve shirt with asymmetric half bow detail, gathered pu sleeve, wide cu, button front and stand collar. 2. Sheath dress with winged seams, side front hem split, CB invisible zip, low rounded neckline and full lining. 3. Silk crepe satin bias cut top with cowl neck, self bound back neck and armholes, side bust darts and back waist darts.
58
WORKWEAR
59
SUITING
1. Suit jacket with tailored, notched collar, button front, 2 piece long sleeve with button vent opening, seam panelling and jet pockets (plus ap). 2. High waisted knee length skirt with dart shaping, centre back vent, invisible zip opening and full lining. Wool/elastane gaberdine. 3. Silk crepe satin shell top to waist with cap sleeve, winged seams, round neck, full lining and centre back oversized button opening.
60
SUITING
1. Tailored suit jacket with y away collar, 2 piece dolman sleeve, in seam pockets, topstitch detail and triple button front with full lining. 2. A-line suit skirt with contoured waistband, slash pockets, inverted pleats at CF and CB, CB invisible zip opening and topstitch detail. Wool/alpaca blend. 3. Silk crepe satin structured bustier with full lining, side invisible zip and topstitch detail.
61
SUITING
1. Double breasted blazer with peaked lapel, full lining, shoulder pads, buttoned sleeve vent opening (nautical themed buttons with shank) and jet pockets in 100% linen. 2. Waisted capri pant with slash pockets, belt loops & side hem splits in lightweight linen with half lining. 3. Silk/rayon horizontal stripe jersey turtleneck top with extended armhole and rounded shoulder padding.
62
SUITING
1. Basic womens workshirt with dart shaping at waist, standard 2 piece collar, CF pearl button opening & sleeve with double pleat detail at cu. Poly/cotton poplin. 2. Ankle length tapered skirt with side front split and full lining in polyester crepe, with CB invisible zip opening. 3. Fitted & boned bustier with basque opening at CF, full lining & panelled peplum in wool yarn dyed tartan check.
63
1. Polished cotton, weatherproof trench coat with self belt, double breasted buttoning feature, oversized rounded collar lapel, angled welt pockets and sleeve hem detail.
64
COATING
1. Wool boucle 60’s style, hourglass shaped coat with round collar, oversized button and topstitch detail, cut away pockets, tab 2 piece sleeve and self belt with loops.
65
RETRO
1. Dolman style shell top with boat neck bead work, 3/4 sleeve with gusset, french darts and side invisible zip. 2. 60’s style day dress with pointed collar, full lining, contrast A-line knee length skirt with cut away patch pockets, dome button detail at CF and back neck ribbon tie. 3. Suede A-line mini skirt with contoured waistband, stainless steel stud opening at CF, slash pockets and full lining.
66
RETRO
1. Satin back crepe mini dress with frilled bib, high waist band, box pleat skirt, cap sleeve, stand collar and CB covered button opening. 2. Nylon organza shirt with CF multi frill panel detail, gathered pu sleeves, frilled cus, back yoke with tucks and stand collar.
67
VINTAGE
1. Stretch polyester sateen top with short pu sleeve, scooped neckline, contrast yoke, faux belt, diamante buckle and buttons at CF. 2. High waisted, fully lined, slim line 3/4 length skirt with waist darting, CB vent and invisible zip opening in polyester microďŹ bre. 3. Silk duchess satin strapless bustier, fully boned and lined with centre back eyelet lacing. Sweetheart neckline.
68
VINTAGE
1. Silk georgette apper dress with circular hem godets, low V neckline, french darts, self bound neck and armholes, faille lining, gelatin sequin and glass beadwork. 2. Silk georgette scarfe with roll hem ďŹ nish. 3. Silk velvet cape with satin bow and lining, side splits and contoured design lines.
69
VINTAGE
1. Dress details on opposite page. 2. Boucle bolero style shrug with extended shoulder, full lining, high back neck and dart detailing.
70
VINTAGE
LemĐž Myrt
Description : 1950’s style day dress with contrast halter neck, inverted pleat detail on skirt, hem contrast panel, diamante trim belt, empire line bodice with built in bra cups & centre back oversized button opening. Fabrication : 100% cotton pique screen printed textile & plain coloured cotton sateen trim.
71
RACEWEAR
1. Silk dupion slim fit dress with double dart detail, CB skirt split, full lining, sheer nylon mesh flocked yoke, waistband and bow trim detail. Matching head piece. 2. Silk dupion bodice with peplum, full lining, double darts, waistband with bow tie and sheer nylon mesh flocked yoke and 3/4 sleeve. 3. High waisted, mid knee taffeta skirt with box pleats and net petticoat.
72
RACEWEAR
1. Fitted formal jacket with shawl collar, jewelled buttons, back split, 3/4 - 2 piece sleeve with turn back cu, pocket aps, waistband and full lining in cotton sateen. 2. A-line, knee length skirt with full lining, side hem knife pleat details and CB invisible zip opening in cotton sateen. 3. Chantilly lace sleeveless shirt with stand collar, concealed button opening at front placket, border hem and contrast satin bow detail at neck.
73
PARTYWEAR
1. Neoprene and polyurethane colour blocked dress with high neck, CB exposed metal zipper, topstitch & seam detail. 2. Polyester scuba wrap over style bodice with CB exposed, open end zipper. 3. Semi circular neoprene skater skirt with waistband & CB exposed zip detail.
74
COCKTAILWEAR
1. Drop waisted silk taeta & appliqued tulle party dress with boned bodice, spaghetti straps & bow detail. 2. Appliqued tulle capelet with silk satin bow tie opening. 3. Rayon pebble georgette lined skirt with waterfall drape detail at side front, mullet hem and contoured waistband with side invisible zip.4. Bustier with built in bra cups, boning, full lining and CB rouleaux loop/self covered button opening.
75
BRIDAL
1. Silk georgette bridal gown with bandage style ruched bodice over a boned, structured base, asymmetric shoulder strap, diamante brooch and bias full length circle skirt. Hemline neatened with satin stitch. 2. Silk tulle veil with detachable diamante brooch.
76
BRIDAL
1. Bridal gown with guipure lace moulded over structured strapless bodice, full satin lining, multi layered silk chion skirt with silk satin waistband and tie detail. Opening at centre back - rouleaux loops and satin covered dome buttons.
77
EVENINGWEAR
NOTE : Design your front and back views so that they match and create continuous design lines. Also experiment with dart manipulation to create interesting shapes. 1. Strapless delustred satin evening gown with draped crossover structured bodice, ďŹ shtail train, waist belt and bow detailing, fully lined. 2. Delustred satin bodice with boning/ topstitch detail, built in ruched bra cups, deep sweetheart neckline and diamante brooch trim on each strap.
78
EVENING WEAR
1. Bonded kangaroo hide evening dress with structured bra cups, bondage style collar, below knee length tapered skirt, full lining and centre back skirt split. 2. Asymmetric single shouldered bodice with curved seam detailing side invisible zip and stiened peplum blending multiple textures & fabrics. 3. Tapered knee length skirt with side front split, waistband and full lining in bonded kangaroo hide.
79
SLEEPWEAR
This page : 1. One piece jumpsuit in polyester/cotton interlock with rib trim, elasticised waist, zip front opening & faux pocket detail. Opposite page : 1. Cotton interlock night dress with contoured hemline, wide self bound neckline, single patch pocket, coverstitched hem, drop shoulder & 3/4 sleeve. 2. Cotton interlock tank top with self bound neck & armholes, shoulder seam detailing, contoured hemline & single patch pocket. 3. Cotton poplin boxer short with waistband elastic & pull through rope tie.
80
SLEEPWEAR
81
SLEEPWEAR
1. Cotton annelette pyjama set with rounded tailored collar, long sleeve, piping trim, patch pocket & button front opening. Oversized loose ďŹ t. Pyjama pant with elasticised waist and rope tie.
82
INDEX OF GARMENT CATEGORIES
Activewear Bralette, leggings, t-shirt, shorts, boy leg brief Bridal Wedding dress, veil Casual day wear Short, shirt, pant, camisole, gilet/vest, jacket Coating Coat, trench Cocktailwear Dress, skater skirt, top, strapless bodice, skirt, cape Corsetry Boned corset Cut and sew knits T-shirt, camisole, track pant, yoga pant, hoodie Day wear Shirt, jacket, short, bomber jacket, skirt, top Eveningwear Dress, skirt, top, bodice Experimental Coat, pant, top, jacket Fully fashioned knits Sweater, cardigan, jumper Jeanswear Jeans, t-shirt, vest, harness Lingerie Bra, briefs, french knicker, slip, kimono, petticoat Racewear Dress, headpiece, jacket, top, skirt, shirt Resort wear Jeans, shirt, dress, scarfe, shorts, halter, pant, bustier Retro Dress, shirt, skirt Shapewear Slip, bra, suspenders, bustier, brief, underwear Sleepwear Pyjamas, nightie, boxers, jumpsuit Suiting Blazer, jacket, shirt, skirt, bodice, camisole, pant Surfwear Bikini, shorts, T-shirt, mini, sweater, onesie Swimwear Bathers, bikini, bra, brief, swimsuit Vintage Dress, bodice, skirt, corset, cape, scarfe Workwear Suiting, skirt, jacket, shirt, cowl top, dress
83
41 76,77 46,47 64,65 74,75 38 42,43 54,55 78,79 56,57 44,45 48 36-39 72,73 49,51 66,67 36,37 80-82 60-63 52,53 40 68-71 58,59
Merrin Stacey Cameron graduated from RMIT with a Bachelor of Arts (Fashion) in 1991, & since then has worked extensively within the the Melbourne Fashion Industry as Designer, Patternmaker, Textile/Graphic Designer and Product Developer (Menswear, Womenswear and Homewares). She has seen the Fashion industry evolve from a time when all trade sketching was created manually and specification sheets faxed to factories in China, to a time when industry standards require that trades be created electronically and communicated via email.
Merrin also holds a Graduate Diploma of Education (Melbourne University) & in 2010 began lecturing at TAFE SA in both Design and Patternmaking as part of the Applied Fashion Design and Technology qualifications available (Diploma, Advanced Diploma, Bachelor with Flinders University). Her teaching experience has allowed her insight into the way students learn and this is the reasoning behind producing “Fashion Flats”, to provide relevant, accurate and current technical drawing information.