The couturier or dressmaker capable of creating original fashion design is an artist — as a sculptor working with the material on hand to create and mold a pleasing effect — one which creates an attractive picture by enhancing the best qualities of the wearer and unobtrusively subduing or camouflaging the less perfect points by applying the skill which comes with knowledge and practice.

A dress of good design is almost timeless — it can be worn for a great many seasons without appearing out of style.

THE BASIC REQUIREMENTS OF GOOD FASHION DESIGN ARE THE PROPER USE OF BAL­ANCE, RHYTHM, AND PROPORTION.

BALANCE

This can be symmetric or occult.

SYMMETRIC BALANCE is formal, dignified, simple, measured and exact. It is duplicated in reverse on each side of the exact center in the same line, form and shape.

Occult (assymmetric) balance is off center balance. It signifies move­ment and freedom and the balance is achieved by feeling and sight rather than by measure. It can be achieved by various methods — by the use of line, color, or ornament.

RHYTHM

Rhythm is movement repeated. In dress designing it can be achieved by repetition of lines of direction in construction of the dress itself, or by repetition in the use of buttons and miscellaneous ornamentation, or the repetition inherent in tucks, pleats, and folds. Rhythmic move­ment in fashion design can also be accented by the use of contrasting colors.

PROPORTION

Proportion is the relation of one part of a fashion design to another in line, mass, or color. Proportion is also the relation of the entire design to the wearer. Care must be taken in keeping this relation of one part to another interesting — not to allow it to become monotonous. A good sense of balance and rhythm and the proper use of them will help your judgment in this respect.

Just as a chain is no stronger than its weakest link so is no design truly good unless each part of it is as perfect as you can make it.

INTERESTING DESIGN

Balanced fashion design, to be attractive, has to have one dominant quality which is achieved by convergence or a central focus of interest from which minor, or secondary points of interest take their cue. Proper contrast in direction of line design and contrast in color should attract attention to the center of interest.

The secondary points of interest should never be important enough in line, mass, or color to detract from the dominant quality — but should be used in a way to create balance and rhythm to the entire fashion design. Under no circumstances should there ever be more than three secondary interests — usually two are enough.

These can be expressed as contrasting color accents, pleats, ruffles, va­rious types of ornaments, buttons, pockets, or the direction of any of the inner lines of design.

To preserve unity in your fashion design so that each part of the dress or costume seems to be made for each other it is necessary to soften sharp angles and abrupt changes from curves to straight line. Such co-ordina­tion, or harmonious movement is achieved by transitional lines.

A well designed costume or dress will be pleasing in appearance for its line alone. Once the becoming outline is adapted to the figure, the next problem is the introduction of the inner lines of design which must be in harmony with the outer lines, or silhouette. All future orna­mentation will be on this space within this outline. If these proportions are not harmonious and attractive then the most beautiful ornamentation or colors cannot make up for this lack. If you remember and practice the basic principles of good fashion design then the dresses and costumes you create will have unity and grace which will be both beautiful and be­coming.

Good fashion design should be applied to every dress or costume you create. Well balanced arrangement becomes good design — in utility clothes, wash dresses, severely tailored garments, formal wear. Each will be more attractive and flattering to the wearer for the care and creative thought that went int© it.

LINE AND SILHOUETTE

When we speak of the good lines of a particular fashion design we refer to the silhouette. When we speak of line design we refer to the strxic-tural lines, to shaping and forming achieved by shoulder, side, and other seams, by neckline, armholes, waistlines, sleeves, and hemlines; and by ornamentation.

BASIC SHAPES

In dress designing there are seven basic shapes — each season adapta­tions of one or more of these predominates the fashion picture. They are as follows:

RECTANGLE

Examples: Long, straight, hanging in loose, graceful folds, such as in Greek and Roman styles; straight line sheaths; tailored suits. Styles with these lines are slenderizing and suitable for the well proportioned, heavier woman.

TRIANGLE

Examples: Spanish styles. Fitted bodice, bell shaped gently widening skirt.

Flattering to the figure with small bust and larger hips.

INVERTED TRIANGLE

Examples: Wide shoulders, narrow skirt, dolman or raglan sleeves. Good fashion design style for large bust.

SQUARE

Examples: Straight or boat shaped neckline, boxy jackets, capes. Generally this style is very good for the very thin figure, however, with proportions well planned, and good design, can camouflage various figure irregularities.

OVAL

Examples: Draped and softly molded, very feminine and decorative. Good for well proportioned, ideal figure. Suitable especially for afternoon and evening wear.

ROUND

Examples: Wide, crinoline lined skirts, petal shapes, puffed sleeves. Suitable for formal wear or afternoon frocks. This fashion design is the most attractive on the very young and the very thin figure.

HOURGLASS

Examples: Wide shoulders, leg of mutton sleeves. Natural or wasp waist.
Smooth fit over hips and full skirt at bottom. Good fashion design for the tall, thin figure.

COMBINATIONS

Examples: Outline of any current fashion silhouette can be altered and com­bined with another, and adapted for the specific figure type. Thus irregu­larities or lack of ideal figure proportions can be minimized while the gen­eral effect of current fashion design style is preserved.

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