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Iqra University, Islamabad Introduction To Fashion Illustration

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

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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 http://en.wikipedia.org/wiki/Fashion_illustration2http://www.saic.edu/courses/Adult_Continuing_Education_Beginning_Fashion_Illustration_65.html

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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

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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.

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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

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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 il lustration in their collection development

process, who basically don’t have a degree or those who don’t

take fashion il lustration seriously; their input would be

important and precious. The respondents will all be encouraged

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to give their true and unbiased opinions so that the results of the

research are accurate and as close to reali ty as possible.

1.9.3 Questionnaires

Besides taking interviews I will be gett ing 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 fil led 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 l imited 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 cit ies 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.

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1.9.4 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.

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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.

3 http://en.wikipedia.org/wiki/Fashion_illustration

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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.

4 http://en.wikipedia.org/wiki/History_of_fashion_design

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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


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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

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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 Illustrator6

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

6 http://www.fashion-schools.org/fashion-illustrator.htm

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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.


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In 2000 he joined forces with FOLIO, the leading London illustration

agency who still represent him worldwide. www.folioart.com .

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

8 http://www.jason-brooks.com/

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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

9 http://www.shop4pictures.co.uk/bios/stipelman.html

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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

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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

10 http://www.steidlville.com/artists/346-Ruben-Toledo.html

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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.

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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.

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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.

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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.

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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.

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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.

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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

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

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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.

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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.

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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.

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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.

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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.

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2.7.3 Story Board

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

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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.

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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

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

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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.

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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.

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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.

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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.

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CHAPTER 3

RESEARCH METHODOLOGY

3.1 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.

3.2 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:

3.2.1 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

13 http://en.wikipedia.org/wiki/Research14 http://en.wikipedia.org/wiki/Interviews

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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

i. 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?

15 http://en.wikipedia.org/wiki/Structured_interview

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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?

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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?

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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.


A sketch of garments overall look stylized.


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



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

garment.


Yes I do

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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.


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


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


you?

Yes to some end it does.

9. Don’t you think customers are mislead when they see an illustration because



Yes they do

10. What do you say about the so called designers in Pakistan who are working


They don’t have the understanding of the basic background of art and creativity.

They are playing and using other designers work.


Twice a week

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illustrations?

Yes



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.


It is the most successful way of presenting an idea or a concept that conveys the

style that the designer has envisioned to others.


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It is the visual needed to begin the project.



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.


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.


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


That would only happen if you were not technically sound. Its unlikely for a good

designer to be faced with a problem like this.


you?

That is quite unlikely.

9. Don't you think customers are mislead when they see an illustration because



45


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


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.


Not at all.


illustrations?

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



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.

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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

16 http://en.wikipedia.org/wiki/Unstructured_Interviews17 http://en.wikipedia.org/wiki/Questionnaire

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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)

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CHAPTER 4

DATA ANALYSIS

4.1 Quantitative Results

Questionnaire Survey

Table 4.1

Age group

Frequency PercentValid

PercentCumulative

PercentValid 18-20 32 64.0 64.0 64.0

21-24 15 30.0 30.0 94.025+ 3 6.0 6.0 100.0

Total 50 100.0 100.0

Pie Chart 4.1

ConclusionThe 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.

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Table 4.2

Occupation


PercentCumulative

PercentValid Student 47 94.0 94.0 94.0

Others 3 6.0 6.0 100.0Total 50 100.0 100.0

Pie Chart 4.2

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.

50


Table 4.3

Gender


PercentCumulative

PercentValid Male 15 30.0 30.0 30.0

Female 35 70.0 70.0 100.0Total 50 100.0 100.0

Pie Chart 4.3

Conclusion

The above table shows the frequency distribution of respondents with

respect to Gender. It shows that 30% respondents were male and 60% were

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female. That means more females were given the questionnaire than

males.

Table 4.4

Any idea what Fashion Illustration might be?


PercentCumulative

PercentValid Yes 15 30.0 30.0 30.0

No 35 70.0 70.0 100.0Total 50 100.0 100.0

Pie Chart 4.4

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

52


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?


PercentCumulative


No 13 26.0 26.0 100.0Total 50 100.0 100.0

Pie Chart 4.5

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

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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?


PercentCumulative


No 33 66.0 66.0 98.0Not applicable 1 2.0 2.0 100.0

Total 50 100.0 100.0

Pie Chart 4.6

ConclusionThe 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

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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?


PercentCumulative


No 6 12.0 12.0 100.0Total 50 100.0 100.0

Pie Chart 4.7

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

55


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?


PercentCumulative


No 28 56.0 56.0 100.0Total 50 100.0 100.0

Pie Chart 4.8

Conclusion

The above table shows the frequency distribution of respondents with

whom the designer did or did not discuss the garment before sell ing it.

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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?


PercentCumulative


No 13 26.0 26.0 100.0Total 50 100.0 100.0

Pie Chart 4.9

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

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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?


PercentCumulative


No 12 24.0 24.0 100.0Total 50 100.0 100.0

Pie Chart 4.10

Conclusion

58


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 i t 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?


PercentCumulative


No 17 34.0 34.0 100.0Total 50 100.0 100.0

Pie Chart 4.11

ConclusionThe above table shows the frequency distribution of respondents who have

of have not felt inferiority complex by looking at thin and pretty models.

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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.

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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.

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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

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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

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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

64


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

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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

66


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.

67


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”.

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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.

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