CHAPTER 1



CHAPTER 1

INTRODUCTION

Fashion illustrations are a classically beautiful way of showing off an item of clothing designed by a designer or the illustrator him/herself. They are typically more stylized than a traditional portrait. For example, the facial features are not “realistic", and the bodies are often slightly elongated. This creates the elegant and 'chic' more interesting look of a fashion illustration, and keeps the emphasis on the dress.

Fashion Illustration gives the illustrator the freedom to portray fashion as they wish. Unlike fashion design, there are fewer boundaries in which the illustrators can express their artistic point of view opposed to their flawless sewing skills. It is the communication of fashion designs through drawing. The main focus is the fashion figure or croquis used for draping the clothing onto. The true female figure measures seven to eight head lengths in height; the fashion figure measures nine to ten head lengths. By head it means that when an illustrator draws a croquis, the head is drawn first and then according to the size of the head the rest of the size of the body is determined. For example the distance from shoulder to waist is equal to two heads of the croquis the thigh is also drawn equal to the two heads of the croquis whereas the hip is equal to one and a half head.

In fashion drawing the basic proportions of the human form from head to crotch are retained, while extra length is added to the legs to give dramatic stylized effect and give the illustrator's designs more dynamic appeal. The body is drawn long and slim with squared off shoulders and very unrealistically elongated legs. But it also depends on the illustrator what his or her style is. Every illustrator has his or her own style. Some draw

the croquis very skinny and some like their croquis to be a bit less than skinny. Some draw it with bold lines some just give a vague impression of a croquis drawn.The body looks extremely out of proportion, as the legs tend to be exaggeratedly long. The waist is drawn very slender. In the face the eyes are mostly made very big with really long lashes. Again it depends on the illustrator. The lips are also exagerated. Some make them very pouty and some make them smiling or a half smile or even give expressions like haughty, arrogant, sweet, sultry etc. The nose and the teeth are rarely drawn. A stark nose and teeth do not give a nice out look on the small face of the croquis.

It is important to mention here that a croquis is not at all a realistic sketching of a human figure. It is like a clay in the hand of an illustartor and he/she can mold it into any form he/she wishes in any way he/she wants. Its all up to his/her ideas and experimenation. It is also worth mentioning that not all designers are good illustrators, therefore some of them hire the services of an illustrator.[1]

1.1 Studying Fashion Illustration

Fashion Illustration is a very major course which is a must part of a Fashion Design degree. It has many levels offered in each semester. Students develop drawing skills with an emphasis on figural proportion and gesture. Using a broad range of media, students draw from photographs and live models to communicate design concepts for men, women and children covering a variety of clothing styles, from costume to eveningwear. Basic drawing skills are a must to be eligible to take this course.[2]

1.2 Topic

The thesis topic is

“Importance of Fashion Illustration”

1.3 Aim

• First and foremost aim to do thesis on this topic is to introduce the concept of Fashion Illustration to a society that is ignorant towards it.

• People will be made to realize the importance of Fashion Illustration as a very essential aspect of Fashion designing and to start accepting it as serious a profession as medicine.

1.4 Conceptual Framework

As the topic of this thesis is “Introduction to Fashion Illustration” so it will start with a brief introduction to Fashion illustration followed by a small narration of its history with pictorial references. Some illustrators will be introduced depicting that this field is being adopted world over and can be introduced in Pakistan too. Their styles and mediums will be shown by illustrations and in the end problems will be discussed that are faced by customers due to illustrations and illustrators emphasizing the importance of fashion illustration to the designers. For this purpose data will be gathered through Internet giving proper sources. Questionnaires will be distributed among general public especially art students

who can opt for this field later. Designers and illustrators will be interviewed to get the whole scenario of what is going on these days and what are the different problems faced by them and their customers. The results will be shown through pie charts and graphs along with a gallaery of illustrations.

1.5 Hypothesis

The hypothesis statement is

“Creating awareness of Fashion Illustration among people of Pakistan”

It is a non-conditional hypothesis.

1.6 Objective of Research

• To encourage the designers to consider the whole area of fashion illustration.

• To investigate past and current practitioners, their style, materials and processes that they use.

• Then to feed back this learning into their own work.

• To make illustrators aware of the problems that the customers face due to fashion illustrations so that they may act to eliminate these problems.

• To emphasize the importance of fashion Illustration so that more people should join this field and take it seriously.

1.7 Impact of Research

• After studying this research thesis, general public will become aware of the existence of such a profession as Fashion Illustration and those people still deciding their career goals who have a flare for art might decide to opt for this profession.

• Designers with no proper degree and education in Pakistan will know that there is a very important step they are missing in their collection development that is making Fashion Illustrations. They may learn themselves or start hiring professional illustrators to do the job for them thus they will start following the pattern for collection development that is followed internationally and this will help Pakistan match steps with the international fashion world in the long run.

• Existing Designers will be reminded of the importance of Fashion illustration and they will make sure they are doing justice to this aspect of fashion designing.

• In short new Illustrators will spring up, exhibitions will be held and organizations of fashion will form giving a big boost to Pakistan Fashion industry internationally.

1.8 Related Literature

During literature review, books will be consulted. Here a problem will be faced because books on fashion illustration are not readily available in Pakistan but the Internet will overcome this, as a large portion of the data will be gathered through the Internet. Besides that questionnaires and interviews of illustrators and designers will also prove to be very helpful and beneficial for the data gathering part of the thesis.

1.9 Methodology

1.9.1 Qualitative/Quantitative

Research done through questionnaires is quantitative research and that done through interviews is qualitative research. This research will be qualitative and quantitative, as the data will be garhered through questionnaires and interviews simultaneously. Quantitative method of research allows quantifying the response of the respondent, their persona feedback through questionnaire restricted to a specified target group. Qualitative method of research allows measuring the annotations based on the information gathered from the interviews.

1.9.2 Structured Interviews

Interviews will be taken from different designers in the market. Associate subject of this research are designers who do not involve fashion illustration in their collection development process, who basically don’t have a degree or those who don’t take fashion illustration seriously; their input would be important and precious. The respondents will all be encouraged

to give their true and unbiased opinions so that the results of the research are accurate and as close to reality as possible.

3. Questionnaires

Besides taking interviews I will be getting my questionnaires will be filled by general public of Pakistan especially students studying arts who are deciding their career goals. Sample size of this research is 50.Questionnaires will be filled by 50 people both male and female to get their first hand information for this research which will prove to be very beneficial for me regarding data gathering. It will be kept in mind that there is a limited number of questionnaires to get useful input from, so purposeful sampling will be chosen with a view to selecting information rich cases for in depth study.

The geographic area of my research will be the twin cities, Islamabad and Rawalpindi. The twin cities have a variety of people residing in them having characteristics of people living all over Pakistan so they can act as representatives of the entire population of Pakistan. And thus the research results could be applied over the entire area of Pakistan and not just Islamabad and Rawalpindi.

4. Involvement of General Public

General Public will play a very major role in the data gathering process of my research. The subject of this research is general public especially students studying arts who are deciding their career goals. I chose university students were chosen because of the importance of vocational development and identity formation during this period.

1.9.5 Open ended Questionnaires

Open ended questions allows the respondent to give their true opinion without being bounded by options because in open ended questions no options are given to choose from and the respondent is free to write whatever comes to his or her mind regarding the topic. These questions would provide very beneficial and relevant information that would really help in concluding the research successfully.

1.9.6 Internet Research on Facts

Internet would be a major source for data gathering for this research as it provides vast information. It would be kept in mind while taking data from the Internet that sources are given for every part of information retrieved and nothing is copied down exact except if source is given. In other words rules of plagiarism will be kept in mind.

CHAPTER 2

LITERATURE REVIEW

2.1 Fashion Illustration: A Venture into the Past

2.1.1 Introduction

Fashion Illustration has been around for almost 500 years. Ever since clothing have been in existence and there was a need to express an idea or image into a garment there has been a need for fashion illustration. Not only do fashion illustrations show a design of a garment but also serve as a form of art.[3]

2.1.2 The Beginning

To be specific Fashion illustration began with the arrival of Charles Frederick Worth (1826–1895) who was not just a dressmaker but also the first fashion designer. Before his arrival, largely anonymous seamstresses handled clothing design and creation, and fashion statements descended from styles worn at royal courts. Worth's success was because he was able to dictate to his customers about what they should wear, instead of asking them what they would like to wear as earlier dressmakers used to do.

It was during this era that many design houses started to hire artists to paint or sketch designs for garments. The images were presented to clients much more cheaply than by making an actual sample garment. The clients orderd the design only if they liked it. Resulting garment made money for the design house. Thus, the tradition of designers sketching out garments later turned in to a separate field known as Fashion illustration followed by arrival of illustrators.[4]

• Beginning Till 1930- Since the beginning of fashion illustration 500 years back, it has been popular among the fashion followers. In the beginning only the rich could afford to indulge in such activities like having fashion illustration made and then the garments. It is also noticed that the past fashion illustration only show the models looking rich ladies. Many styles were followed and then dropped as time passed. Each illustrator did something different and new then the one before. And thus step by step fashion illustration took different forms in different ages.

• 1930: More recently, there has been a decline of fashion illustration in the late 1930s when Vogue began to replace its celebrated illustrated covers with photographic images.

• 1960: In the 1960s several leading artists, such as Rene Bouche of Vouge, died.

• 1960-1980: From the 1960s to the 1980s fashion illustration was still on the decline.

• 1980: Then in the 1980s fashion illustration finally made its comeback, the 1980s were said to be the "boom time" and when fashion illustration took its root.

• 1980 Till Today: since 1980 till today, fashion illustration did not loose its value again. It’s been climbing the steps higher and higher in popularity. A lot of illustrators have sprung up and people have started taking this aspect of fashion designing seriously and professionally. It’s become a form of art now.[5]

2.2 Fashion Illustrators

2.2.1 Also called

Fashion Artist

2.2.2 Job Description

Fashion illustrators make sketches and drawings of clothing, shoes, and accessories for catalogues, fashion advertisements and other media. They

conceptualize and create clothing and accessories by hand or use computer software programs (e.g., computer aided design/CAD). Fashion illustrations are used in newspaper and magazine advertising layouts, for fashion designers as an aid in their collection development, department store ads, television commercials, films, brochures, and flyers. Professional fashion illustrators may also work on a freelance basis for a manufacturer, a department store, and an advertising agency or for a designer or out of their own studio.

2.2.3 Salary Range

A Fashion Illustrator’s annual earnings potential is up to $60,000.

2.2.4 Qualifications

Education – 2-4 year degrees in Art, Drawing, Fashion Design, or Fashion Illustration is required for this job. Coursework in business is helpful for freelancers.

Experience – Demonstrated ability, style, and skill is required; this is displayed in the form of a portfolio. In addition to print illustrations, online and electronic examples of work may also be required.

Personal Characteristics/Skills – Good computer skills, excellent

drawing skills; high level of creativity and artistic expression; ability for self-promotion; basic business know-how.

2.2.5 Career Path

Fashion Illustrator Freelance > Staff Fashion Illustrator[6]

2.3 Categories of Illustrators

There are three broad groups designated for the artists of fashion illustration:

2.3.1 The Sensualists

The Sensualists are categorized to be strong, silent, and their work shows the presence of the artist his/herself. The delight in the materials they use such as paints, inks, paper, colors, textures, and they explore the capabilities of those medias.

2.3.2 Gamines & Sophisticates

Gamines and Sophisticates create imaginary worlds inhibited by vivid characters. They borrow elements of caricature and cartooning. As a result often translate humor and wit through their work by referencing and rejecting stereotypes of fashion representation.

2.3.4 Technocrats

Last there are the Technocrats, they use computers in a way in which are revolutionizing illustration. All of the Technocrats draw but do not end

with hand illustration. Technocrats digitally transform illustrations and work towards a final computer generated product.[7]

2.4 Introduction To Some Professional Illustrators

2.4.1 Jason Brooks

Educational background: Jason Brooks was born in London. From an early age he drew and painted avidly and first received freelance commissions in his early teens. At 19 studied graphic designs and illustration at St Martin's School of Art. 1992 won the prestigious Vogue/Sotheby's Cecil Beaton Award for fashion illustration. He attended the Royal College of Art in London for a Master of Arts Degree in illustration.

Experiences: Brooks regularly attended fashion weeks in London and New York, worked as an on the spot fashion illustrator at the Couture Shows in Paris for the Independent Newspaper. Here he drew at the Ateliers of Versace, Valentino and Lacroix and gained valuable experience of the fashion industry.

• Brooks was one of the first illustrators to adapt to the new medium of computers.

• In 1999 Brooks began a series of cd covers for Hedkandi which went on to sell over 4 million albums worldwide.

• In 2000 he joined forces with FOLIO, the leading London illustration agency who still represent him worldwide. .

• His current plans include having more solo exhibitions (he recently exhibited in St Petersburg) and to publish a book of his work.

Products: A range of Jason Brooks products are available under his own label through licensing agreements with BRB in Spain and with Mark's Inc. in Japan who in 2007 will be launching his Jil & Jet character range of stationery and calendars.

Clients: L'Oreal, Coty, Saatchi & Saatchi, Globetrotter, Safilo Sunglasses, Tali, Mercedes Benz, Audi, Martini, Finlandia Vodka, Carlsberg, Ritz Hotels, Veuve Clicquot, British Airways.[8]

2.4.2 Steven Stipelman

Background: Artist and fashion illustrator Steven Stipelman was raised in New York City, where he studied art at the prestigious High School of Music and Art and then at the Fashion Institute of Technology.

Career Development: Stipelman's first major illustration job was at the leading specialty store Henri Bendel in New York City. In 1965 he began working as a fashion artist for Women's Wear Daily, the daily newspaper and bible of the fashion industry. He worked there for twenty-five years, producing drawings that were highly regarded for their look of effortless elegance. He has been a professor at the Fashion Institute of Technology and Parsons School of Design in New York City and at Marist College in Poughkeepsie, New York. He has also lectured and conducted workshops at a number of other institutions, including Cornell University in Ithaca, New York, and Drexel University in Philadelphia, Pennsylvania.

Clients: Other Stipelman clients have included Estée Lauder, Vogue, and Lord and Taylor. Stipelman has won many awards for his work and has exhibited throughout the United States. His stunning sketches adorn the covers of numerous fashion industry books.[9]

2.4.3 Ruben Toledo

Background: Ruben Toledo was born in Havana, Cuba in 1961 and is at once a painter, sculptor, illustrator, fashion chronicler and critic, and surrealist.

• He has designed mannequins, store windows, award statuettes, scarves, fabrics, dishes and carpets.

• He has painted murals, portraits, album covers and barns.

• He has also created witty and incisive illustrations for the top fashion magazines and journals from around the world, among them The New Yorker, Vogue, Harper’s Bazaar, Town & Country, Paper, Visionaire, Interview and The New York Times.

• Additionally, he is the illustrator of Nordstrom’s national designer ad campaign.

• He is the author of Style Dictionary a collection of his drawings and watercolors.

• Ruben Toledo recently completed his first film — an animated History of French Fashion entitled Fashionation.

Exhibits: Toledo’s work has been on exhibit throughout the world, including the Metropolitan Museum of Art in New York City. His collaboration with his fashion designer wife, Isabel Toledo, was the subject of both a book and a museum exhibition titled Toledo/Toledo: A

Marriage of Art and Fashion at The Museum at the Fashion Institute of Technology in New York City, where they both reside and work.

He says his success has been a blessing. "There are a million people who can draw better than me. My talent is about receiving what's in the air, the mood... the feeling... the aura. I love finding out what's in between the lines and sharing it."[10]

2.5 Mediums

2.5.1 Black Lead Pencil

A large range of black lead pencils are available in different thickness from soft to hard. The choice of paper is also important depending on the finished effect required. If pressure is applied on the pencil it gives a darker tone when giving shades, leaving areas of white to give the details. When working it is advantageous to experiment with a wide selection of pencils, some sharpened to a fine point others with a softer point for shading.

2.5.2 Colored Pencils

There is a wide range of colors in colored pencils. Water solvent color pencils are also available which turn to paint if water is applied on the paper after coloring. Both rough and smooth paper can e used depending on the effect required.

• Tone: Use one color to produce different tones by varying the pressure applied on the pencil.

• Burnishing: Color may be smoothed out by this method. This is done by going over the color with a white or light gray pencil.

• Mixing Colors: 2 or 3 Colored pencils can be mixed to create another color.

2.5.3 Water Colors

Watercolors are available in both tablet and tube form. In a tablet powdered paint is made solid by pressure and a wet brush is used to apply color from a tablet. Ina tube watercolor is present in a paste form, which can be thinned with water. Different sizes of brushes can be used. The effect of watercolors is best on a watercolor sheet.

2.5.4 Gouache

Gouache is basically the same as watercolor but it is mixed with white pigment, which makes sit opaque. Gouache when dry forms a solid opaque color. A wide range of colors is available in small glass bottles, which can be mixed together to make new colors. Watercolor paper is most suitable for gouache. Tinted paper can also be used, as the paint is opaque.

2.5.5 Markers

There is a wide variety of markers available ranging from permanent color to water-soluble ink markers. Nibs tend to fiber tipped, nylon or foam. Sizes range from fine to broad and they may be round, square, and bullet or chisel shaped. They are also available in a wide range of colors. Markers tend to bleed on some papers and may go beyond the line so always experiment first before applying color on original drawing. Some areas of work will tend to look darker if these are gone over twice with the same marker.

2.5.6 Charcoal

Charcoal is actually black coal cut in the form of pencil or a stick to give ease for working on paper. It gives a textured effect on the paper rather darker shade than pencil shading. Best results are produces on paper with grains on it or some other texture. Color can be made to dark or light depending on the amount of pressure applied to the charcoal stick.

2.5.7 Wax Crayons

A large selection of wax crayons is available and they come in different thickness. They produce a solid bright waxy color and it is difficult to produce different tones with wax crayons. Experiment with crayons on paper of different textures and colors. A wax crayon or candle may also be used as a resistant to water colors.[11]

2.5.8 Computer Graphics

It is the most widely used medium for Fashion Illustration now days. It is fast and easy, most suitable for today’s busy life when an illustrator simply don’t have days to put on just one illustration when he can make five in one day on different computer software’s such as Adobe Photoshop. Usually the croquis is drawn by hand on a paper and then scanned. The rest of the work is done on computer and the final product is computer based.

2.6 Types of Fashion Illustration

2.6.1 Women’s Wear

When a designer intends to design women wear, a female croquis is drawn. It is narrower at the shoulders and has body proportions and features of a female body.

2.6.2 Men’s Wear

When a designer intends to design men’s wear then a male croquis is drawn. Its shoulders are drawn very broad. By doing this, it automatically starts looking like a male. It’s other body proportions and features are of a male human body.

2.6.3 Children’s Wear

A child croquis is adopted from a human child’s body of a particular age. For example a toddler’s croquis is drawn a bit chubby with protruding stomach and a big head.

2.7 Displaying and Presenting Work

2.7.1 Mood Board

Mood board depicts the mood of the theme chosen for collection development. The way in which material is arrange son the board and the color schemes selected, reflect the mood and the theme being promoted.

2.7.2 Research Board

Research board includes carefully selected reference material to the theme selected for collection consisting of for example photographs, photocopied images, postcards, magazine clippings, sketches and fabric trimmings which sere as a source of reference and inspiration when designing.

2.7.3 Story Board

A storyboard reflects the research, color and fabric of a design collection.

2.7.4 Fashion Design Presentation Board

The board presents a design and its technical drawings with its fabric samples and may also include sketches, photographs or any other relevant material to suggest the mood of the designs and the environment in which they would be worn.

2.7.5 Reproducing Color, Patterns and Textures

Matching the color against the fabric being used is a skill an illustrator has to master. The fabrics being used in the garments have to be drawn on the croquis body exactly the way they would look on a model in reality.[12]

2.8 Importance of Fashion Illustration in Collection Development Process

2.8.1 Introduction

There is a preset stepwise procedure that designers all over the world follow for their collection development process every season. But unfortunately designers in Pakistan fail to do so due to lack of knowledge and awareness.

2.8.2 Selection of Theme

When starting design collection, designers begin with design research, working from different areas searching for a theme. Inspiration may come from many sources in fact, from any object, which has a strong visual impact. It is good to work on a theme as it gives designers a framework to work within and it also enhances the designer’s creativity as the theme inspires him or her to do different things and make creative cut lines. The theme of the example shown here is “A Night at Opera”

2.8.3 Mood Board

After the selection of a theme a board is prepared which basically depicts the mood of the theme. The way in which material is arranged on the board and the color schemes selected, reflect the mood and the theme being promoted.

2.8.4 Research Board

After the preparation of the mood board the designers go for a research on that theme. A camera may also be used to research images and textures. Research material is displayed on a board for reference and inspiration when designing. This board is called research board.

2.8.5 Rough Sketches

After the research on the theme is completed, the designer sits down with his sketchbook or loose sheets and start making rough sketches basically giving life to the ideas in his mind.

2.8.6 Fabric Research

The designer also goes out on a fabric search in the market and collects swatches.

2.8.7 Layouts

The garments, which the designer likes best from his or her rough sketches are selected, and final layouts are prepared with technical drawings and neatly rendered images of the garments.

2.8.8 Stitching and Finishing of Garments

Then the stitching procedure starts which ends with the finishing of the garments.

2.8.9 Display of Garments to Public

After that the garments are ready for display in an outlet or for a Fashion show or a photo shoot in a fashion magazine.

2.8.10 Conclusion

The role of fashion illustration was evident in the whole collection development process and it is not wrong to say that this whole process would not be possible without fashion illustration. If you are unable to give an idea the shape of an illustration it is not possible to turn it into a garment. Without a visual image the completion of a garment is impossible.

Another thing that it is highly recommended that designers all over Pakistan should start following this procedure for their collection development process. This will help them to match steps with the international fashion world and come up to their standards.

CHAPTER 3

RESEARCH METHODOLOGY

1. Research

Research is a human activity based on intellectual investigation and aimed at discovering, interpreting, and revising human knowledge on different aspects of the world.

It is done by scientific Method or historical method.

2. Research Methods

The primary objectives of research are the advancement of knowledge and the theoretical understanding of the relations among variables.It is done by a specific research question, hypothesis or peoblem.

It follows a specific plan or procedure, the research process or method. [13]

Research methods used in this thesis are as follows:

1. Interviews

An interview is a conversation between two or more people (the interviewer and the interviewee) where questions are asked by the interviewer to obtain information from the interviewee. Interviews can be divided into two rough types, interviews of assessment and interviews for information.Interviews are structured or unstructured and conducted either face to face or by telephone.[14]

1 Structured Interviews

The aim of structured interview is to ensure that each interviewee is presented with exactly the same question in the same order.

In this type of interview, the researchers want ot know specific information which can be compared and contrasted with information gained in other interviews.[15]

Structured Interview Results

Interviewee: Mr. Faisal Akram

Occupation: Fashion Designer

Education: Masters in Fashion Design from Brooks College California, USA.

Job: Teaching at Iqra University Islamabad as a Lecturer in Art and Design Department.

1. What is Fashion Illustration?

It is a sketch of garment on a croquis which designer illustrate to show design and innovation

2. What role does it play in garment development process?

Illustration plays an important role in garment construction because we totally focus on sketch to develop and cut the cloth according to the innovative illustration.

3. Do you think this role could be ignored and some designer can do without making illustrations?

I do not agree with this statement. I believe that if you don’t have any idea and illustration then it is not possible to make patterns for any garment, which is imaginary. It is just like you are sitting in a car without patrol.

4. Do you make illustrations as a Designer?

Yes, I do always. Without illustration you cant finalize an idea of garment.

5. When a Theme is followed in a collection, how is it different from a collection in which no theme is followed?

Whenever we work on theme it presents harmony and specific impression accordingly, rather if we analyze non-thematical collection it automatically shows disturbance and non-professional work.

6. What is the reaction of customers when you make illustrations for them?

Before making illustration I discuss and try to open my ideas then in second step I make illustration. I don’t bluff my designs to customers.

7. Did you ever feel that you couldn’t make a garment exactly as you showed it

in the illustration?

Sometimes it happens if illustration and design is depended on so many cuts and patches. I remember in one of my projects we were suppose to use different materials and because of material and so many patches garment had not shown the actual look.

8. Do you think the fact that you make illustrations bring more customers to you?

I am totally dependent on computer based illustrations and I believe that more choice and quick design attracts customers and if you have so many designs to show in first meeting than automatically this strategy gives quick feed back.

9. Don’t you think customers are mislead when they see an illustration because the croquis is so thin and pretty and every garment obviously looks good on it which may not be the case with the customer?

Yes, I totally agree. There are some cases people see garment on croquis and when they wear it they are disappointed because of entire look and fitting which was ok on croquis.

10. What do you say about the so-called designers in Pakistan who are working without a degree like our actors and models?

Non-professional designers start work but can’t satisfy customers. I can imagine the pathetic dressing of our actors and models because of tailors who call them selves’ designers.

11. How much do you use computer programs in your daily designer work?

I am 90% dependent on computer programs because in less time I do a lot of work and designing.

12. Do you discuss the garments with your customers after showing them the illustrations?

Yes, I do because if you will play games with them then as a reaction they will play games with you. So it is better to show them the true picture.

13. Do you think the customers do get distracted by the inspiring style or colors of the illustration and not really see the garment?

Yes, its reality the more you stylize the illustration customer will attract and I think style and color attracts human psychology.

14. When in studying stage did you ever feel that there are not enough books and rendering materials and tools on Fashion illustration available in Pakistan?

I completed my fashion studies in States when I came to Pakistan I realized that this is a major problem especially for students, I did not even see a single book illustrated by a Pakistani Illustrator

ii. Interviewee: Ms Maheen Ali

Occupation: Fashion designer

Education: Graduated from Fashion Institute of Technology, New York, USA.

Job: Teaching in Iqra University Islamabad as a lecturer at Art and design Department.

1. What is Fashion Illustration?

A sketch of garments overall look stylized.

2. What role does it play in garment development process?

It gives a sketch of how the garment will come out.

3. Do you think this role could be ignored and some designer can do without making illustrations?

No I can’t be ignored. It is easy helpful way of studying the whole look of the garment.

4. Do you make illustrations as a Designer?

Yes I do

5. When a Theme is followed in a collection, how is it different from a collection in which no theme is followed?

There is no rhythm or harmony throughout the project.

6. What is the reaction of customers when you make illustrations for them?

The customer understands what the whole look is going to be like and if it is what they want. It is pleasing for them.

7. Did you ever feel that you couldn’t make a garment exactly as you showed it in the illustration?

Yes you can if you had a very good understanding of how the fabric you are using will fall or the garment as they are being

8. Do you think the fact that you make illustrations bring more customers to you?

Yes to some end it does.

9. Don’t you think customers are mislead when they see an illustration because the croquis is so thin and pretty and every garment obviously looks good on it which may not be the case with the customer?

Yes they do

10. What do you say about the so called designers in Pakistan who are working without a degree like our actors and models?

They don’t have the understanding of the basic background of art and creativity. They are playing and using other designers work.

11. How much do you use computer programs in your daily designer work?

Twice a week

12. Do you discuss the garments with your customers after showing them the illustrations?

Yes

13. Do you think the customers do get distracted by the inspiring style or colors of the illustration and not really see the garment?

Some times, very rarely.

14. When in studying stage did you ever feel that there are not enough books and rendering materials and tools on Fashion illustration available in Pakistan?

Yes.

iii. Interviewee: Ms Saadia Niazi

Occupation: Fashion Designer

Education: Graduation from PSFD Lahore

Job: Teaching at Iqra University Islamabad in Art and Design Department as a Fashion Illustrator.

1. What is Fashion Illustration? 

It is the most successful way of presenting an idea or a concept that conveys the style that the designer has envisioned to others.

2. What role does it play in garment development process?

It is the visual needed to begin the project.

3. Do you think this role could be ignored and some designer can do without making illustrations?

It would be very hard to explain the artist's vision in words. It is an essential part of the design process in my view. 

4.  Do you make illustrations as a Designer?

Absolutely.

5.  When a Theme is followed in a collection, how is it different from a collection in which no theme is followed?

The collection without a theme is often in danger of losing 'direction' and the designer may find it hard to come up with designs.

6.  What is the reaction of customers when you make illustrations for them?   People like seeing a visual of what the designer is suggesting to make for them.

7. Did you ever feel that you couldn't make a garment exactly as you showed it in the illustration? 

That would only happen if you were not technically sound. Its unlikely for a good designer to be faced with a problem like this.

8. Do you think the fact that you make illustrations bring more customers to you?  

That is quite unlikely.

9.  Don't you think customers are mislead when they see an illustration because the croquis is so thin and pretty and every garment obviously looks good on it which may not be the case with the customer?  

It is the duty of the designer to advise their client on such matters, diplomatically, ofcourse!

10. What do you say about the so called designers in Pakistan who are working without a degree like our actors and models?

As long as they produce work that satisfies the consumer. People can be naturally talented at things they have not received formal education for. I don’t think anyone can put them down for it.

11. How much do you use computer programs in your daily designer work?

Not at all.

12. Do you discuss the garments with your customers after showing them the illustrations?

Not often. They have to trust you after a point.

13. Do you think the customers do get distracted by the inspiring style or colors of the illustration and not really see the garment?

The colors and style 'make' the garment. I don’t understand your question.

14. When in studying stage did you ever feel that there are not enough books and rendering materials and tools on Fashion illustration available in Pakistan? Absolutely. We need a lot of information and exposure in this department.

1 Unstructured Interviews

Unstructured Interviews are a method of interviews where questions can be changed or adapted to meet the respondent's intelligence, understanding or belief. Unlike a structured interview they do not offer a limited, pre-set range of answers for a respondent to choose, but instead advocate listening to how each individual person responds to the question.[16]

3.2.2 Questionnaire

A questionnaire is a research instrument consisting of a series of questions and other prompts for the purpose of gathering information from respondents. Although they are often designed for statistical analysis of the responses, this is not always the case. The questionnaire was invented by Sir Francis Galton.

Questionnaires have advantages over some other types of surveys in that they are cheap, do not require as much effort from the questioner as verbal or telephone surveys, and often have standardized answers that make it simple to compile data. However, such standardized answers may frustrate users. Questionnaires are also sharply limited by the fact that respondents must be able to read the questions and respond to them.[17]

1 Qualitative

Qualitative research involves an in depth understanding of human behavior and the reasons that govern it. Qualitative research relies on reasons behind various aspects of behavior. Simply put, it investigates the why and how of decision-making.

It explores attitudes, behavior and experiences through such methods as interviews or focus groups. It attempts to get an in-depth opinion from participants, as it is them that are important.

▪ Quantitative

This type of resrach generates statistics through the use of large scale survey such as questionnaires.

(see appendix for questionnaire)

CHAPTER 4

DATA ANALYSIS

4.1 Quantitative Results

Questionnaire Survey

Table 4.1

Age group

| |Frequency |Percent |Valid Percent |Cumulative Percent |

|Valid |18-20 |32 |64.0 |64.0 |64.0 |

| |21-24 |15 |30.0 |30.0 |94.0 |

| |25+ |3 |6.0 |6.0 |100.0 |

| |Total |50 |100.0 |100.0 | |

Pie Chart 4.1

[pic]

Conclusion

The above table shows the frequency distribution of respondents with respect to age. It shows that 6% are 25 and above, 30% between 21 and 24 years of age and 64% are between 18 to 20 years. Over all maximum people who were given the questionnaire were from 18 to 20 years of age.

Table 4.2

Occupation

| |Frequency |Percent |Valid Percent |Cumulative Percent |

|Valid |Student |47 |94.0 |94.0 |94.0 |

| |Others |3 |6.0 |6.0 |100.0 |

| |Total |50 |100.0 |100.0 | |

Pie Chart 4.2

[pic]

Conclusion

The above table shows the frequency distribution of respondents with respect to occupation. It shows that 97 % of the respondents were students while the rest of the 3% respondents were holding other jobs.

Table 4.3

Gender

| |Frequency |Percent |Valid Percent |Cumulative Percent |

|Valid |Male |15 |30.0 |30.0 |30.0 |

| |Female |35 |70.0 |70.0 |100.0 |

| |Total |50 |100.0 |100.0 | |

Pie Chart 4.3

[pic]

Conclusion

The above table shows the frequency distribution of respondents with respect to Gender. It shows that 30% respondents were male and 60% were female. That means more females were given the questionnaire than males.

Table 4.4

Any idea what Fashion Illustration might be?

| |Frequency |Percent |Valid Percent |Cumulative Percent |

|Valid |Yes |15 |30.0 |30.0 |30.0 |

| |No |35 |70.0 |70.0 |100.0 |

| |Total |50 |100.0 |100.0 | |

Pie Chart 4.4

[pic]

Conclusion

The above table shows the frequency distribution of respondents who had or didn’t have nay idea of what fashion illustration might be. It shows that only 30% or respondents knew what fashion illustration is the rest 70% didn’t have any idea what fashion illustration is.

Table 4.5

Have you ever been to a designer?

| |Frequency |Percent |Valid Percent |Cumulative Percent |

|Valid |Yes |37 |74.0 |74.0 |74.0 |

| |No |13 |26.0 |26.0 |100.0 |

| |Total |50 |100.0 |100.0 | |

Pie Chart 4.5

[pic]

Conclusion

The above table shows the frequency distribution of respondents who had or had not been to a designer. The results show that 74% of the respondents have been to a designer and 26% have never been to a designer.

Table 4.6

Did he\she first draw the garment for your approval before making it?

| |Frequency |Percent |Valid Percent |Cumulative Percent |

|Valid |Yes |16 |32.0 |32.0 |32.0 |

| |No |33 |66.0 |66.0 |98.0 |

| |Not applicable |1 |2.0 |2.0 |100.0 |

| |Total |50 |100.0 |100.0 | |

Pie Chart 4.6

[pic]

Conclusion

The above table shows the frequency distribution of respondents for whom the designer first drew the garment for their approval. The results show that sketches were made for only 32% of the respondents while 66% of the respondents had not been made any sketches and for 1% this item was not applicable.

Table 4.7

When visiting a designer, would you like it if some sketches of garments were shown to you in different colors or designs before a garment is made for you?

| |Frequency |Percent |Valid Percent |Cumulative Percent |

|Valid |Yes |44 |88.0 |88.0 |88.0 |

| |No |6 |12.0 |12.0 |100.0 |

| |Total |50 |100.0 |100.0 | |

Pie Chart 4.7

[pic]

Conclusion

The above table shows the frequency distribution of respondents who would like it if some sketches of garments are shown to them before a garment is made for them. The results show that 88% of the respondents would like it very much while the rest 12% of the respondents don’t want nay sketches to be made.

Table 4.8

Did he\she discuss the garment with you first telling you why it would suit you or why it wouldn't in reference to your looks and body proportions?

| |Frequency |Percent |Valid Percent |Cumulative Percent |

|Valid |Yes |22 |44.0 |44.0 |44.0 |

| |No |28 |56.0 |56.0 |100.0 |

| |Total |50 |100.0 |100.0 | |

Pie Chart 4.8

[pic]

Conclusion

The above table shows the frequency distribution of respondents with whom the designer did or did not discuss the garment before selling it. The results show that with 44% or the respondents the designer discuss the garment but with 56% of the respondents the designer did not discuss the garment they were buying.

Table 4.9

Have you ever been disappointed by a designer who failed to produce a garment exactly the way he\she drew?

| |Frequency |Percent |Valid Percent |Cumulative Percent |

|Valid |Yes |37 |74.0 |74.0 |74.0 |

| |No |13 |26.0 |26.0 |100.0 |

| |Total |50 |100.0 |100.0 | |

Pie Chart 4.9

[pic]

Conclusion

The above table shows the frequency distribution of respondents who have or have not been disappointed by a designer who failed to produce a garment exactly the way he sketched it. 74% of the respondents had been disappointed by the designers failed abilities to produce a garment exactly the way he drew it. While 26% have never been disappointed.

Table 4.10

Have you ever experienced the fact that the garment didn't look as great on you as it did in the sketch or on the dummy?

| |Frequency |Percent |Valid Percent |Cumulative Percent |

|Valid |Yes |38 |76.0 |76.0 |76.0 |

| |No |12 |24.0 |24.0 |100.0 |

| |Total |50 |100.0 |100.0 | |

Pie Chart 4.10

[pic]

Conclusion

The above table shows the frequency distribution of respondents who have or have not experienced the fact the garment didn’t look as great on them as it did in the sketch or on the dummy. The results showed that 76% of the respondents have experienced being disappointed while the rest 24% have always been satisfied by the look of the garment on them.

Table 4.11

Have you ever felt inferiority complex by looking at super thin and pretty models?

| |Frequency |Percent |Valid Percent |Cumulative Percent |

|Valid |Yes |33 |66.0 |66.0 |66.0 |

| |No |17 |34.0 |34.0 |100.0 |

| |Total |50 |100.0 |100.0 | |

Pie Chart 4.11

[pic]

Conclusion

The above table shows the frequency distribution of respondents who have of have not felt inferiority complex by looking at thin and pretty models. The results showed that 66% of the respondent girls were in a complex while the rest 34% were satisfied by the way they look.

4.2 Qualitative Analysis Results

After interviewing several people, from the fashion field and other students who are the customers, I have concluded that there is s definite dearth of professional illustrators in Pakistan. It is a customer demand having illustrations drawn before their garments are made and this demand should be fulfilled.

CHAPTER 5

CONCLUSION AND RECOMMENDATIONS

5.1 Conclusion

This research is based on the importance of fashion illustration. The basic aim is to introduce the concept of fashion illustration in Pakistan where it is scarce. Introducing it to the existing designers will make their work better and bring Pakistan forward in the lane of fashion design in the world because then the designers would be following the internationally set rules of fashion designing and would be accepted all over the world. Whereas introducing fashion illustrations to young students would be very beneficial in bringing up new illustrators in Pakistan, making fashion illustration a common profession in Pakistan.

In order to conduct this research a sample of 50 questionnaire was made and mostly students were given the questionnaires to fill to know the extent of knowledge they have about fashion illustration and also to know the way fashion designers are working in Pakistan nowadays because these students also form a big percentage of customers those designers have. The respondents were divided into groups on the basis of their age.

Basically this research is conducted to give designers and students a basic know how of fashion illustration and also to find out that what are the factors which keep our designers from joining the same lane as the international designers and in the end t find out the problems customers are facing due to designers lack of know how of fashion illustration now a days and even what are the cons of fashion illustration its self. As per mentioned the questionnaires were distributed among 50 respondents and it was found out that 6% respondents are 25 years and above, 30% respondents are between 21 and 24 years of age and 64% are between 18 to 20 years. Over all maximum people who were given the questionnaire were from 18 to 20 years of age. It was also observed that unconsciously only 30% were male respondents and 70% were female respondents. And also that 94% were student and only 6% of respondents held other jobs.

It was not surprising when it was found out that only 30% of the respondents knew what fashion illustration was and the rest of the 70% respondents had not a least bit of idea about it. And it doesn’t mean that those 30% knew correctly what fashion illustration was. Out of that only a few got it right the rest just made a guess or they thought wrong. A female in the age group of 21-24 wrote its “tailor stitching”. Which is far from the correct answer. A male in the age group of 18-20 wrote “which suits you” its still cant figured out what did he mean to say. a vague answer was given by a female in the age group of 18-20 said ”it’s the way of defining fashion in a technical manner”. A female in the age group of 18-20 gave one of the correct answers. She said” I think fashion illustration is when the designer sketches a garment for his customers”. From the above information it is quite evident that people in Pakistan do not even have a ague idea what fashion illustration might be emphasizing more on the need to introduce it to them so that those students who have a knack of such things would know here is a future for them also doing what they like to do.

Further going ahead in the questionnaire the second item was have you ever been to a fashion designer? And not surprising enough 74% of the respondents said that they have been to a designer and only 26% of the respondents said that they haven’t been to a designer. This big difference is evident due to the new so called designer culture in Pakistan where even those people have opened boutiques and call themselves designers who don’t even know the ABC of designing. This matter will be further discussed in the interviews discussion section.

Only 32% of the respondents confirmed that the designer they have been to made sketches of the garment for the customer’s approval before making it. While 66%said that no prior sketches were made. It is evident from this finding the small percentage of designers in Pakistan who follow the correct designing pattern followed internationally. This emphasis more on the need to tell the designers the importance of making fashion illustration so that hay may be able to follow correct patterns of fashion designing.

When asked the customers choice that would they like it if some sketches are shown to them in different colors or designs for their approval before making the garment then a big percentage of 88% of respondents said yes they would like it very much and a mere 12% said that they don’t need nay sketches. This finding depicts a big customer demand that is left unfulfilled. And it is a big need that the designers should introduce fashion illustration into their designing system if they want to make customers, Right now all they are doing is losing them.

To judge the concern that the designers show towards their customers, the respondents were asked whether the designer they were visiting discussed the garment with them telling them why it would suit them or why it wouldn’t suit them with reference to their body proportions and looks. The results showed that with 44% of the respondents the designer they were visiting discussed the garment with them but with 56% of the respondents the designer did not discuss the garment they were buying. It is a small difference in the percentage but still it is countable as another flaw in our fashion industry which if not over come, Pakistan would never be able to join hands with the international fashion industry.

Pointing towards a fault in those designers who do make fashion illustrations but can manage to do it properly the respondents were asked that have they ever been disappointed be a designer who failed to produce a garment exactly the way he/she produced it. . 74% of the respondents had been disappointed by the designers failed abilities to produce a garment exactly the way he/she drew it. While 26% have never been disappointed. This is a big difference in percentage and there is also a probability that these 26% respondents who have never been disappointed are those for whom the designers they visited never made any sketches. So, evidently if there are no sketches, there is no disappointment. This is even more devastating that those designers who do make fashion illustrations cant do it up to the mark. They are not thinking while they are sketching. Every designer should make sketches keeping his/her own abilities in front of him/her. They should think that would they be able to make this garment exactly the way they are drawing it or not.

Another factor of customer dissatisfaction is when they look at a garment in a sketch or on a dummy they love it. It is mostly because a croquis is so thin and pretty and sometimes they are more inspired by the illustration style or the colors that they overlook the garment and order it up. When finally made they try it on and obviously they are disappointed because either the garment wasn’t as great as they thought or obviously the customer wasn’t like a croquis and the garment didn’t suit the proportions of the customer’s figures. These are very important details that a designer should discuss with the customer prior to the making of the garment so that there is no disappointment in the end on the customer’s behalf by being disappointed and on the designers behalf by losing the customer. This factor was also included in the questionnaire. The respondents were asked that did they ever experience that the garment didn’t look as great on them as it did in the sketch or on the dummy. The results showed that 76% of the respondents had experienced being disappointed by the end product while the rest 24% had always been satisfied by the look of the garment on them. This shows that a large percentage of the customers have already been a victim of this fault in our fashion designing system. In order to prevent any more customers from being its victim it is suggested that the designers should discuss the garment with the customers showing them the real picture. Those customers do not have the insight to over see how the garment would look on them but those designers have the experience and the insight so it is their duty to tell the customers.

The last item in the questionnaire pointed towards a big evil in our society. Due to the super thin models the girls in our society fall in the trap of inferiority complex, which leads to dieting and making themselves prone to a lot of diseases. Having asked have you ever felt inferiority complex by looking at super thin models 66% of the respondent girls were in a complex while the rest 34% were satisfied by the way they look. It is a big percentage and a big issue which cant be overlooked.

In the end it is concluded that there are a lot of faults and flaws in Pakistan Fashion Industry which if not overcome would prevent it to join lanes with the international fashion industries. Here this thesis comes in handy which tell the existing designers and also other people who could opt for this profession in the future the importance of fashion illustration and the defects it has so that they can over come it all and follow the internationally set pattern of fashion designing process in the most perfect way leading Pakistan fashion industry internationally.

According to the interviews with professionals’ fashion illustration there is a definite dearth of Fashion Illustration in Pakistan and there is an urgent need to bring it into the fashion industry in Pakistan. By doing this, firstly a big customer demand will be fulfilled. Secondly making illustrations will bring more customers to the designers resulting in profits and it will also create satisfaction among the customers and will bring our designers into the same lane as the other international designers. The role of fashion illustration can definitely not be ignored in the collection development process, as according to Mr. Faisal Akram without putting an idea on to paper it is impossible to realize it. Using computer programs for making illustrations is also an aspect, which is ignored and should be introduced. There are some drawbacks of Fashion illustration as well according to the interview results. The customers usually get inspired from the colors and style of the pretty and thin croquis and order up the garment which when made is nothing like the garment the croquis was wearing. As a result they are disappointed. Another important issue is about the so-called non-degree holder Fashion designers that are spreading in the local market of Pakistan like virus. They don’t have a degree; they know nothing about art and creativity. They just steal the ideas of other designer and sell it cheaper. They are destroying the market for the other real designers.

5.2 Recommendations

➢ After carrying out all the research, below are some suggestions and recommendations that I have put forward.

➢ Designers who lack the skill of Fashion Illustration should take courses and learn and implement it.

➢ Students who have an interest in art field should seriously consider becoming an illustrator.

➢ Students who show some interest towards Fashion Illustration should be encouraged and appreciated by their respective art schools

➢ Art and fashion schools should offer specialized courses on Fashion Illustration and present it as a separate profession. And Fashion institutes should collaborate with Fashion Institutes abroad like in USA or Paris and hold programs in which their teachers are requested to come over or the students could go over there to attend classes and learn.

➢ Those designers who have a little know how of Fashion Illustration should research on it and write some books on this topic to help those students who are studying it and also some steps should be taken to bring books from abroad so that they are readily available for the students to study.

➢ There is also a big issue of non-availability of a variety of material to work with in Fashion Illustration. The mediums that are available are either not of good quality or very expensive so that not every student can afford to buy them.

➢ Designers who make illustrations should be careful and they should keep in mind whether they would be able to realize it into a garment or not.

➢ Designers should make it a habit to discuss every detail of the garment with their customers so that the pretty and thing croquis and its perfect garments do not fool the customers. As According to Ms. Saadia Niazi “It is the duty of the designer to advise their client on such matters”.

➢ Designers when making their collections should follow the internationally approved pattern of collection development so that Pakistani designers would have the scope to go up and show their garments on the western runway.

➢ Designers should start taking Fashion Illustration seriously because it is a representation on their work which if good can make customers. They should work on Adobe. Show every thing to the customers. If the customer wants any changes make those changes and show the new result to her on the spot so that there are no chances of mistakes later.

➢ And lastly those designers who are working without a degree and stealing other designer’s work and customers should be discouraged and a system of copyright should be introduced in Pakistan.

-----------------------

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11] Patrick John Ireland. (2003), Introduction to Fashion Design. B.T. Batsford Ltd.London.

[12] Patrick John Ireland. (2003), Introduction to Fashion Design. B.T. Batsford Ltd.London.

[13]

[14]

[15]

[16]

[17]

................
................

In order to avoid copyright disputes, this page is only a partial summary.

Google Online Preview   Download