Good design creates visual impact as well as meeting practical demands. It can create mood, imply personality, suggest ideas, trick the viewer, and draw the eye to a focal point or main point of
interest. In fashion, it also draws the
eye away from aspects of the wearer’s body that he or she wishes to
de-emphasize and towards features that the wearer wishes to emphasize. This can be done simply through colour, line, light,
texture and the other elements of design.
It can also be achieved through skilful combination of the elements of design,
for example, placing a strongly contrasting element at the focal point and using line to lead the eye there.
Line
Most of the fabrics used in textiles (wovens and knits) are grid-based by their very structure, giving them visual and often tactile lines. Common textile construction techniques introduce more lines into articles by way of seams, zippers, pleats, creases and so on. Good design makes deliberate use of points, lines and planes to create desired effects.
This hat, entered in Oaks Day Fashions on the Field millinery contest shows a very original use of line to create an impression of volume. This technique. although visually effective, would not be practical for ordinary textile applications with the possible exception of home decor. [Photo retrieved from http://www.dailytelegraph.com.au/photos-e6freuy9-1226506447733?page=9]
Compare the use of line in the two sheath dresses with similar cuts. The dress on the left by Malene Birger gives a very blocky look to the dress, de-emphasizing the wearer's curves and possibly making her look taller by virtue of the white/black stripes, while the dress on the right by Versace uses line to create the impression the wearer has an hourglass figure. [Photo on left retrieved from http://www.farfetch.com/ca/
shopping/women/item
10611657.aspx.
Photo on right retrieved from
http://www.andradorolti.com/
wp-content/uploads/2014/05/
patterns.jpg]
In this quilt the star bursts act as points, and the concentric circles and the radiating background wedges act as lines. In addition, contrast between the lighter and darker wedges implies a horizon (another line), thus combining the lighter wedges into plane above the imaginary horizon and the darker wedges into a plane below. This is an excellent example of the use of line to create multiple effects in a piece with enough unity to work as a coherent whole while at the same time a great deal of variety and detail to maintain interest. Note that the concentric circles are comprised of many individual pieces that are perceived as lines, and the star bursts are also composed of many linear shapes.
Issey Miyake is began experimenting with pleating techniques in 1988 and even worked with textile mills to create fabrics that would respond to his concepts. Observe how the garment in the photo uses line in its vertical pleating and vertical coloured stripes and horizontal line in the accordion-pleated construction. Clearly this is not a dress that would receive much use off the fashion runway, but the techniques developed to create it have been applied subsequently to many haute couture and ready-to-wear garments as well to decor items such as lampshades and sculptures. [Photo retrieved from http://isseymiyake.com/en/]
This Aran throw knit by Sharon Thiessen at Sharondipity Designs is an excellent example of line in knit construction. Traditional Aran knitting celebrates knitted patterns including interwoven lines as the only form of embellishment; garments and other knit items are made from only one colour of wool, usually natural white, but sometimes natural grey or brown. This style of knit is very practical, being thick and warm, but in terms of design the vertical lines are very flattering to the wearer, elongating the torso and arms. Although it is possible to knit a sweater with the lines of pattern running horizontally or diagonally, such designs never achieve more than novelty status as they are typically unflattering. [Retrieved from http://www.craftsy.com/pattern/knitting/home-decor/celtic-aran-afghan/74457]
Pattern
This Pakistani sherwani displays a beautiful example of a woven brocade pattern with several large paisleys and an intricate infill of swirls and curves. Being worn by muslims, there are no representations of plants or animals in the pattern. The pattern has been produced in mirror image and matched on either side of the centre. The braided trim is in the same colour palette as the body of the sherwani, but the pattern, though harmonious, is smaller and quite different adding a nice contrast to the brighter body and emphasis to the shape of the coat, not to mention making the wearer appear taller and slimmer.
Brocade is usually quite heavy and expensive due to the many colours of threads that are carried across the weft, so this garment is reserved for formal occasions such as weddings, but this type of fabric has been used for other garments such as waistcoats, dresses, coats and jackets, and even shoes. It can be produced in virtually any colourway. This brocade pattern could be woven into upholstery grade fabric; its mirror symmetry would be very useful in interior designs where seat backs need to be paired, for example. This pattern could be copied in print and used for an even wider range of textile items, however it would be used best where the pattern repeat is allowed to show fully; a decapitated paisley is a terrible tragedy! [Retrieved from http://www.gauravchhabra.com/sherwani.html]
This print is from the famed Marimekko fabric designers in Finland. They are well known for their bold prints that often resemble block prints and draw upon traditional Scandinavian images of flora and fauna. Their style is distinctively simple and often folksy. This pattern of birds and animals looks as though it might have been inspired by a mid-century story book's woodblock illustrations. Bright contrasting colours, strong rectangular framing, clear images and definite direction limit the applications of this print. It would be good for household textiles from curtains to sheets to tea towels; accessories such as bags and scarves; and informal or playful clothing. It would not be suitable for small items where the pattern would not show properly, items that would display the pattern upside down, and business or formal wear. This pattern could would not convert well to other textile constructions such as knit or woven fabrics, although it could be copied in embroidery. [Retrieved from https://www.marimekko.com/]
This cute family of micro-crocheted penguins, although not strictly a pattern, represent an important and very familiar pattern concept: repetition. There is is a pleasing rhythm in repetition, but to avoid being dull it can include variety to increase interest while still achieving unity in the pattern overall. In this case, the shape, concept and main colours of the penguins is maintained and the variation is in the size of the penguins and the colours of their scarves. Patterns based on repetition are applied to all forms of textiles or sets/series of items made from textiles. The main drawback with repetitive patterns - unless the pattern is very tiny - is that care must be taken to use them skillfully and avoid mistakes such as mismatching the pattern across seams or closures, losing the vertical or horizontal so that the item looks crooked or missing a subtle nap and using the fabric upside down. [Retrieved from http://su-ami.blogspot.ca/]
This pattern is from the Russian Zhurnal Mod ("Fashion Magazine") which specializes in very complex crochet designs for clothing. This dress, while fairly monochromatic, is very interesting. The crochet pattern is slightly figurative with flower, leaf and star shapes, but non-repeating and not in the least symmetrical. Due to the analogous colour palette in a consistent value, the overall effect cohesive and highly textured. This pattern could be applied to prints or embroidery where it would work equally well, although embroidery would be much less affordable. As a print it would useful in applications where an all-over, non-linear pattern is desired. [Retrieved from http://www.duplet-crochet.com/]
This is the Robertson Hunting tartan. It is registered in the Scottish Register of Tartans, among over 3500 different tartans. Traditional tartans are woven with the same colour arrangement in the weft and the warp, producing a plaid pattern that is either symmetrical vertically and horizontally or across one of the two diagonals. The two by two twill pattern of the weaving results in the appearance of colours due to optical blending that are not in the warp and weft threads. Although they are usually woven, tartans can be replicated in fabric prints and approximated in knits. Tartans can be scaled up or down in size making them useful for most applications, but care must be taken to ensure that the tartan is level and straight. Indeed, any Scot would assert that there is nothing that is not improved by the addition of tartan. [Retrieved from http://www.tartanregister.gov.uk/]
Texture
Laure Kasiers' use of various pile lengths produces contrasting textures that add visual and tactile interest to these rugs, giving them an almost organic effect. Texture such as this would not be functional where chairs would be moved over it, such as in a dining area. This would also not be suitable in a rug intended for a high traffic area as there is a possibility of tripping on the deep pile, but as a feature in a protected area or on a wall this is a very interesting rug. [Retrieved from
http://interiorzine.com/2009/10/27/textile-design-by-laure-kasiers/]
This detail from Canadian Landscape Triptych by Heather Lair presents a skillful application of slash quilting. As a decorative item it is very engaging depiction of landscape. This technique is suitable for art and home decor items, but were it to be used in clothing it would be rather thick and warm - and perhaps inconveniently bulky. It would not wash well due to the fraying that would occur on the many cut edges. [Photo taken by author at Quilt Canada 2012, Halifax NS.]
This superb example of whole cloth quilting, employing several quilting techniques demonstrates a variety of textures that are made possibly simply by varying stitch pattern, density and type of fill. Labour intensive, and therefore expensive to produce commercially, this technique is not affordable in ready-mades for the average consumer. However, it is a timeless style that is used to good effect in linens, art wear, fibre art and period costume. [Photo taken by author at Quilt Canada 2012, Halifax NS.]
This fairytale gown was designed and constructed out of Little Golden Books by Ryan Novelline. As a piece of conceptual art it is a stroke of genius, but as a garment it would not be very functional. The fabric is quite stiff and heavy. Its sheen and drape suggest it may have been plasticized, rendering it unbreathable, but on the other hand possibly water resistant. This textile concept might be suitable for wipe clean durable items such as table, wall, and floor coverings, blinds, and bags. [Photo retrieved from http://designrelated.com/inspiration/view/
mattsung/entry/4482/storybook-gown-made-from-golden-books
This dress was commissioned by Lincoln City, Oregon US and made by several people as part of a campaign to raise awareness of the damage plastic bags cause in the aquatic environment. This dress is made of blue plastic newspaper bags, green dry cleaning bags, and white grocery bags ironed together. Due to its lack of breathability and stretch, this would be an uncomfortable dress to wear for any length of time. Whereas other fabrics constructed from recycled plastics, such as Polar Fleece and polyester jersey, are very comfortable, washable and durable, this dress would not be. It would also be somewhat noisy to wear. However, clothing is often worn to convey a message about the wearer`s beliefs and priorities and this dress would certainly illustrate a very definite position. [Photo r
etrieved from http://recyclerunway.com/
fashions/jellyfish-dress/]
Useful Resources:
Danquah, R. (2014). Elements and principles of design. Retrieved from
http://professordanquah.wordpress.com/2014/06/24/elements-and-principles-of-design/
Clothing and textiles: elements of design. (n.d.). Utah State University Department of Extension. Retrieved from
http://www.clothingandtextiles.org/uploads/5/5/5/6/5556885/elementsofdesign.pdf
Clothing and textiles: principles of design. (n.d.). Utah State University Department of Extension. Retrieved fromhttp://www.clothingandtextiles.org/uploads/5/5/5/6/5556885/principlesofdesign.pdf
Design elements and principles. (2014). Retrieved from
http://en.wikipedia.org/wiki/Design_elements_and_principles
Understanding formal analysis: principles of design. (2011). J.Paul Getty Trust. Retrieved from
https://www.getty.edu/education/teachers/building_lessons/principles_design.pdf
