3 Fashion Design Basics - Fashion, Clothing and Textile Strand

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3.4.8 Production of Prototype

In the design process, the translation of a two-dimensional drawn idea into a
three-dimensional prototype is the essential procedure in the realisation of a garment
design. After the sample room receives the production drawing(s) from the designer(s),
the next step in the product development procedure is to make the first pattern, which
will be used to cut and sew the prototype. The pattern is made in a sample size, the
one used for testing and selling purposes. Pattern makers can use either flat-pattern
cutting or toile modeling to make the pattern.

(A) Flat-pattern Cutting

Basic blocks such as bodices, sleeve, pants or skirts are drafted. Drafting is the
process of blocking a set of prescribed measurements on paper. These patterns,
once tested for accuracy, become “blocks” or “slopers” that can be changed or
adapted to each new style through the moving of their darts and seams. The
flat-pattern method uses angles, rulers and curves to change existing board patterns.
This method involves the cutting and seaming of fabrics in order to fit the figures. The
system of pattern cutting has evolved over time in line with the development of mass
production. This method involves the use of card board blocks that provide a well fitting
shape. Patterns are then made into first samples or muslin toiles and the fit is

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perfected on models. Blocks are developed to suit the prevailing fashionable body
shapes and are purpose-built for the products that the companies wish to produce.

(B) Toile Modeling

Pattern makers or assistant designers use the “draping”, also known as “modeling”
on the stand, to entail fitting toile fabrics such as calico or lightweight cotton muslin
on dressmaking mannequins of the appropriate size or on real bodies. When the
shapes and fits are correct, the toiles are removed and copied onto pattern papers or
cards. Draping techniques work best with jersey fabrics and generous amounts of
soft materials. They are also used to work fabrics ‘on the bias’, which means across
the grain so that it moulds to the body shape and moves well.

This method is used mainly for eveningwear or couture dresses. It enables designers
to see the proportions and lines of designs exactly as they will look on wearers. The
designs are often altered as they develop on the form.

Good toiles save time later on when the garments are made in actual fabric but it is
not necessary to make real pockets or put lining in toiles. This translation stage is
one of the experimentation and evaluation stages. Prototypes of designs are made
and fitted on mannequins or models; traditionally muslins or calicos are used.
However, in mass production, this specific stage is usually carried out with intended
fabrics and the samples created are called ‘first samples’. In some companies,
dedicated ‘toilists’ are specialists whose sole job is to understand the drawings of
designers and translate these into first prototypes.

(C) Structure

The next consideration is structure; most garments have some form of interlining in
order to reinforce part of the garment such as the lapels, pockets, collars and cuffs.
Interlinings are used in many ways to give support to delicate or loosely woven
fabrics; they exaggerate the appearance of and create a different handle to fabrics.

(D) Details and Embellishments

Details form the decorative part of design, which include embellishment processes
and design details that drift in and out of popularity. Once the fabrications are decided,
the silhouette created forms the design. The next stage is to consider the details and
embellishments. This stage is extremely important for the finish of a garment as the
work done in this stage is often what makes the difference between higher-level
designs and those of a lower market value. Embellishments give a more
three-dimensional and decorative look than printing. Techniques for embellishment

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include embroidery, appliqué, cutwork, beading, smocking and fabric manipulation.
Details cover everything from fastenings, flying panels, flounce, pocket, collars, frills
and cuffs to lining, piping, binding and gauge of actual stitching.

An outfit can have a dramatic silhouette and good lining but without great details or
embellishments. In this case, the outfit may seem amateur and unresolved. Outfits
that lack details can survive on the runway but will not bear close scrutiny. Details
and embellishments in clothes are often the clincher when it comes to persuading
consumers to part with their money.

Detailing is extremely important in men’s wear, where outlandish silhouette, fabric,
line and pattern are off-putting to what is a largely conservative clientele. Using an
embellishment in one area of a garment or the finishing of an edge can help
differentiate garments designed by different designers.

3.4.9 Evaluation of Collection

After completing the individual garment design, the next stage is the consideration of
the range plan and evaluation of the design.

(A) Range Plan

In addition to the decisions made on each individual garment, the balance of the
range as a whole also needs to be considered. Fashion designers develop a whole
range of related ideas to produce groups of garments that work not only as
stand-alone outfits but also as a collection. A consistent approach to important factors
such as colour, silhouette, fabric, pattern and proportion helps create this cohesion.
Moreover, range planning involves the devising of the ratio of garments to be
designed in any given collections such as a basic range may consists of two dresses,
four pants, eight tops, three skirts, two blazers, four sweaters and two twin sets in
four colour choices. Every collection needs to have colour and size breakdown of
units so that customers can make right choices and be able to put together a
combination of outfits. If more volume sales come from tops or blazers, then it makes
sense to provide more of these in a given collection.

(B) Evaluate of the Design

In many fashion companies, the development of each new season’s collection is
based upon the last season’s sale figures. Often it is difficult for designers to evaluate
what elements of the designs have been successful as the communication between
the designers and the end users is blocked by the wholesales in the retail processes.
A particular executive suiting may sell well in Central but not in Tuen Mun; it may sell

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well in warm weather, only at certain time in the season in certain colours or in
particular positions within the store. All these different factors should be taken into
consideration when it comes to the evaluation of any designs and collections.

(C) Promotion of the Range

The branding trend in recent years has become central to promoting and marketing
fashion goods. The branding process requires the range to have a ‘name’. Producing
a name requires some thought regarding the creative ideas of the range and how this
can be interpreted into an evocative word or words. As designers, it is very important
to stand apart from other brands and designers.

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Not for Sale

The copyright of the materials in this booklet belongs to the Education Bureau. The
materials can be used by schools only for educational purpose. Prior written
permission of the Education Bureau must be sought for other commercial uses.

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