relevant information
applying the element of shape to fashion
merrin stacey cameron
11
SILHOUETTE SHAPES IN FASHION DESIGN
These pages are an excerpt from Design Fundamentals by Merrin Stacey Cameron soon to be available through Blurb and Amazon, designed to assist both Fashion Design lecturers and students. Shape is one of the 5 Elements of Design, the others being Line, Colour, Scale and Texture. The Elements are the building blocks of design. The Fashion Design examples that have been illustrated in this publication are designed to be used for discussion and analysis in a classroom situation. Students should consider how the Element of shape has been used, as well as contemplating the way in which the Principles of Design are seen. Does the example show Movement, Harmony, Balance, Repetition etc, and if so what effect does it have and why? What decade do you think the design may have been inspired by or reflect? Discuss the political, economic and sociological issues that may have affected Fashion at this period in time? How could the design be altered or improved? These are the questions that Fashion Designers need to be able to ask and answer to create successful outcomes.
copyright merrin stacey cameron 2015 No part of this publication may be reproduced without the consent of the author and illustrator.
DESIGN
DESIGN ELEMENTS & PRINCIPLES ELEMENTS AND PRINCIPLES
As designers we need to understand and apply the Elements and Principles of Design to create successful design outcomes. We not only need to understand what is possible, but also why certain components of our design may work in a particular way, and how we change or improve that. The Elements and Principles that need to be understood, apply not only to the field of Fashion, but Fine Art, Graphic Design, Architecture and Industrial design in slight variance. What is an element? Elements are considered to be the building blocks of design. We cannot create a 2 dimensional image of an object without line, we cannot imagine it without colour, once it is given texture, shape and scale it becomes 3 dimensional. These are the elements of design. Element 1: Line When we draw, the initial mark that we make on paper is a dot. As we continue to draw from this dot it becomes a line. A line has direction, purpose, width, weight and character. We may see line used in Fashion design either as an outline of the garment (silhouette - although this line becomes shape), or as internal design and construction lines within a garment. Lines may also be actual or suggested, leading the eye to read through the garment in a preconceived direction. Element 2: Colour Adding colour into a design gives it life, but there are many considerations that we need to make when selecting colour. Each element of design has its own particular attribute, as does each colour. What is the visual weight of the colour, is it advancing or receding, how does it react in its environment or sit in its context? What relationship does it have with the other colours utilised in the design? Does the colour palette create a sense of tension or calm? Is the colour on trend or fashion forward and will it suit the client? Element 3: Shape Shape relates to the garment silhouette or outline as it sits on the body. Different garment shapes relate back to the body in different ways and incite different emotional outcomes. By understand and utilising the elements of design successful design outcomes can be achieved by drawing attention to a figures attributes. When discussing shape in fashion design we refer to these basic silhouttes: Triangle, Inverted Triangle, Egg or Cocoon, Tube, Bell, Box, Hourglass and the Historical silhouette of Back Fullness.
SILHOUETTE SHAPES IN FASHION DESIGN
TRIANGLE
TUBE
INVERTED TRIANGLE
BELL
BOX
HOURGLASS
S-BEND
COCOON
SILHOUETTE
COLOUR AND SHAPE RELATIONSHIPS Unity in design can be created by understanding the relationship of colour with it’s corresponding shape element. The warm colours are advancing in nature, as are the sharp and angular properties illustrated by the advancing shapes. Note that the most advancing colour yellow is illustrated as a triangle - a sharply angled shape, but with a smaller surface area than the less advancing red square. The proportion of colour has been limited thus creating balance between the shapes. In comparison the violet oval shape is the most receding and organic of the set, therefore requiring a larger surface area to create a sense of balance between the shapes. You will also notice that each shape is only slightly different from the previous shape as they morph from one into the other, as does the colour palette.
COLOUR
SHAPE
ATTRIBUTES & PROPERTIES
Red Orange Yellow Green Blue Violet
Square Trapezoid Triangle Hexagon Circle Oval
Solid, static, grounded, strong, sharp limitation, energy, regularity Spiritual energy, nonconformist, angled but not unpleasant Sharply angled, bottom heavy, powerful Irregular movement, discomfort, awkward, perplexed, unsure Continuous movement, equilibrium, balance, harmony Organic, pleasant, easy, unobtrusive, relaxing
Such attributes can be utilised as part of the design process, to produce more unified and successful fashion designs.
square
trapezoid
triangle
hexagon
circle
oval
SHAPE
CIRCLE ATTRIBUTES
whole
feminine welcoming
eternal VARIATION
oval
movement
circular
warm
unity
SHAPE
TRIANGLE ATTRIBUTES
edgy
VARIATION trapezoid inverted triangle
sharp
active
loud masculine
fun
brave
extrovert
SHAPE
SQUARE ATTRIBUTES
strong
conservative
VARIATION
rectangle
square
honest
trustworthy masculine
earthed
solid
SHAPE
GEOMETRIC TO ORGANIC
As we see regular geometric shapes evolve into rounder organic shapes they soften and become more voluptuous. These same concepts can be applied to Fashion Design. If you are wanting to design garments that are sharp, neat and edgy utilise the element of shape creating tubular, box, triangle or inverted triangle silhouettes. Alternatively, if you are desiring garment shapes that are soft, feminine and pretty, apply a curved cocoon, bell or irregular organic silhouette.
GEOMETRIC
ORGANIC
SHAPE ORGANIC
GEOMETRIC
CIRCLE OR SPHERE
HEXAGON
OVAL
IRREGULAR GEOMETRIC
STAR
RECTANGLE
INVERTED TRIANGLE TEARDROP
BLOB
DIAMOND OR KITE SQUARE
REGULAR GEOMETRIC
TRAPEZOID HEART
Organic shapes are distinguished by their curved line construction, evoking feelings of serenity, calm, nature & femininity.
TRIANGLE
Geometric shapes are distinguished by their straight lines and angled corners, evoking feelings of the mechanical, severity, boldness and masculinity.
SHAPE
REGULAR OR BALANCED
Regular or balanced shapes are characterised by their visual weight and symmetry. All of these shapes, even though they are a mixture of organic and geometric shapes, illustrate balance along a vertical axis through the centre of the shape. The visual weight on both sides of the shape are equal (although if the shape were folded along a horizontal axis the visual weight may not be balanced). The fact that one side of the shape reflects the other means that the shape appears regular.
IRREGULAR OR IMBALANCED
Irregular or imbalanced shapes are characterised by the fact that one side of the object, either horizontally or vertically does not reflect the other, although an object can be irregular as well as balanced if the visual weight on both sides of the object is equal. This is known as asymmetrical balance. Irregular shapes can be utilised in Fashion Design to create avante garde, eye catching and unusual garment silhouettes.
SHAPE
SYMMETRICAL BALANCE, IMBALANCE & ASYMMETRICAL BALANCE I find that the easiest way to understand the concept of balance and imbalance is to visualise a see-saw. If the see-saw demonstrated Symmetrical balance it has 1 shape on each end of the see-saw. These shapes are the same and of equal weight so the see-saw remains straight and balanced.
The see-saw would be imbalanced if different shapes were either side of the see-saw and they were different sizes or weights. The see-saw would be hitting the ground on the heavier side, and angled upward on the opposite, lighter side. This would also be demonstrating Asymmetric imbalance. Asymmetry can cause a sense of tension and imbalance within a design.
If the see-saw were demonstrating Asymmetrical balance the shape of the objects may be different on either side of the see-saw but their visual weight will be equal. The see-saw would remain straight and balanced. These same principles can be applied to Fashion, where the design of the garment is not symmetrical but it is balanced.
BALANCE
IMBALANCE
ASYMMETRIC BALANCE
A: Balance This example demonstrates balance and symmetry on either side of the garment along the vertical axis creating a sense of balance and harmony in the design. There is more visual weight at the bottom of the garment than the top so it is vertically balanced but horizontally imbalanced. The proportions of the dress have been designed to flatter the proportions of the body, which in this case have overidden the need for exact balance. Thi garment is symmetrical. B: Imbalance This dress design demonstrates more visual weight at the left side hem of the garment than the shoulder. It is both horizontally and vertically imbalanced as well as being asymmetric. C: Asymmetric balance Once again taking into consideration the proportion & scale of the body, this example demonstrates a design where the hem frill detail is balanced out, along the vertical axis, by the right side shoulder strap and detail, to create a relatively balanced design that is pleasing to the eye. The design lines utilised in this garment also create a sense of movement and fluidity. A
B
C
SILHOUETTE SHAPES IN FASHION DESIGN
TRIANGLE
DESCRIPTION: More visual weight at the base of the garment than the top. Popular silhouette 1810’s Regency era,1970’s Hippie & current.
INVERTED TRIANGLE
DESCRIPTION: More visual weight at top of the silhouette than at the bottom. Popular silhoutte 1940’s Wartime & 1980’s Power dressing.
TUBE
DESCRIPTION: Rectangular shape tube silhouette, drop waist, androgynous. Popular silhoutte 1920’s Flapper dressing, 1960’s & 1980’s.
COCOON
DESCRIPTION: Most visual weight at the central area of the garment. Popular silhouette 1920’s Art Deco and currently particularly coating.
BELL
DESCRIPTION: Pre 1900 a very popular silhouette where skirts were large & full creating contrast of scale against the small fitted bodices.
BOX
DESCRIPTION: This androgynous and boxy silhouette disguises the body’s feminine curves. Popular 1980’s oversized & masculine fashion.
HOURGLASS
DESCRIPTION: This silhouette is designed to emphasise the female forms narrow waistline, rounded hipline & bust. Think 1946 Dior “Bar suit”.
S-BEND
DESCRIPTION: Popularised in the 1890’s by the “Gibson Girls” this silhouette emphasises a rounded bust, bustled back & narrow front view.
Merrin Stacey Cameron graduated from RMIT with a Bachelor of Arts (Fashion) in 1991, & since then has worked extensively within the Melbourne Fashion Industry as Designer, Patternmaker Textile/Graphic Designer and Product Developer (Menswear, Womenswear and Homewares). She has also published technical drawing books”Fashion Flats” - Womenswear, Menswear & Childrenswear on Amazon, Issuu and Blurb.
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 “ Design Fundamentals”.
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