Sabtu, Januari 05, 2008

Wedding Dress

Detailed Product Description
A ball gown fit for a modern princess. The lace-up strapless bodice is embellished with intricate embroidered lace and beaded with a pleated tulle overlay creating an empire waist. The fully gathered tulle skirt has a hem rich with scrolled embroidery and beading.

Detailed Product Description
√Main Material: Satin (Taiwan 4810+395); Organza; Lace; Lining; US soft net; beadings; embridery, etc.
Detailed Product Description
Satin Strapless W/ Corset Bodice & Beaded Embroidery On Upper Bodice, Attached Chapel Train W/ Beaded Embroidery On Back Train
(1) Long Trail, metal boning;
(2) Good Handmade work of the dresses
Detailed Product Description
Fabric: Satin & organza & lining decorated with lace & beading.Strapless A-Line Empire Bodice,Net Over Satin,Beaded Embroidery,Attached Chapel Train
Detailed Product Description
All Over Lace Mermaid Strapless With Empire Bodice, Attached Chapel Train
Strapless gown with lace draped asymmetricaly across the bodice to the shirred band along the waist into the layers of falling ruffles on the skirt. The partial lace-up back is outlined with the lace into the center back skirt.
Detailed Product Description
Strapless gown with lace draped asymmetricaly across the bodice to the shirred band along the waist into the layers of falling ruffles on the skirt. The partial lace-up back is outlined with the lace into the center back skirt.
Detailed Product Description
Spaghetti strap gown with embroidered lace along the sweetheart neckline. Shirred organza overlay falls asymmetrically across the bodice and over the embroidered tulle skirt. The back is decorated with scattered embroidered lace.
Fabric: Organza and Tulle
Detailed Product Description
1) One-piece wedding dresses
2) Satin gown
3) Zipper back
4) Embellished with hand made satin/organza flowers
5) Fabric:
a) Taiwan made high quality thick bridal satin (4811 and 395 satin)
b) We also use chiffon, taffeta and 2080 organza
6) Beads:
a) For rhinestones, we only use crystal and Czech diamonds
b) For other beads, we only use Japan made Matsuno glass
beads, bugle beads and seed beads
Detailed Product Description
Spaghetti strap gown with embroidered lace along the sweetheart neckline. Shirred organza overlay falls asymmetrically across the bodice and over the embroidered tulle skirt. The back is decorated with scattered embroidered lace.
Detailed Product Description
1) One-piece wedding dresses
2) Strapless
3) Satin gown
4) Zipper back
5) Embellished with hand made satin/organza flowers
6) Fabric:
a) Taiwan made high quality thick bridal satin (4811 and 395 satin)
b) We also use chiffon, taffeta and 2080 organza
7) Beads:
a) For rhinestones, we only use crystal and Czech diamonds
b) For other beads, we only use Japan made Matsuno glass
beads, bugle beads and seed beads

Detailed Product Description
Short sleeve gown with a scoop neckline. The bodice is filled with scrolling embroidery and beadwork. The same accents the front of the full A-line skirt. The back bodice is finished with a lace up over the zipper. The box pleated bustles are embroidery accented and flow into the decorated semi-cathedral train.
Fabric: Royal Satin, Taiwan Satin
Detailed Product Description
1) Fabric:satin,tulle,chiffon,silk,organza
2) Embellishment:lace,handmade embroidery,beadings
3) Beading:Bugle beads, pearls, sequins, seed pearls and glass beads,Swarovski crystal,Czech diamond

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Selasa, Januari 01, 2008



The ruthless business of fashion forecasting - also known as trend spotting - makes its money, as well as its reputation, on the quick and accurate dispersal of such information. Sites such as WGSN and contain all the latest trend info for companies and retailers online, for a substantial fee.

-Yen Tran

Currently, many designers and retailers employ in-house trend-seekers to travel to international cities in search of the latest and the hottest trends and ideas. As a fashion buyer for a retailer you would travel the world in seek of samples of clothing on offer in many different countries for inspiration for your retail store.

It’s a good place to start by looking at sites for fashion trends, to give you an idea of which direction fashion is going. This will give you insight into the latest colours, fabrics, accessories, silhouettes and themes to come. You do not need to be a fashion follower, but it is always helpful to get some inspiration for your designs. Here are some of the places I like to browse:

You might also try to walk the streets, see what people are wearing, how they’re wearing it, and how they’re accessorising it. Often I find if you look at other people’s work, you tend to be influenced by it. Therefore its better to find inspiration from your surroundings. Either by people, nature or even interior design and architecture.

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Technical Drawings

Technical Drawings

Also known as: flats, black & whites, diagrammatics or specification drawings - these are used to demonstrate several garments used in clothing design. Using a template, they are drawn to scale, showing construction lines and styling details. This drawing would include stitch lines, collar types, style lines, pockets, trims and all sewing techniques. All aspects must be labelled, eg:”Binding” or “saddle stitch” even if its obvious in the drawing. Imagine you’re communicating with someone who doesn’t know the manufacturing process.

These are always drawn from an anterior perspective, never at an angle. Consider this your only means of communication to the seamstress, if you leave out a particular detail, then the garment won’t end up being manufactured properly.

Use these body templates in the same way that you’d use the figure templates, but exclude any parts of the body; this is used for clothing demonstration only, not storyboards.
Click on the wording, not the picture to enlarge:

Female Template: Male Template:

Use these CAD garment templates in the same way that you’d use the figure templates, you can use them in Photoshop, Coreldraw or Freehand to do your fashion flats or technical drawings. You can even print them and just trace them off. I gave a selection of the same garment to suit everyone’s styles:

image hosted by ImageVenue.comimage hosted by

Working drawings may be drawn with your free hand or using a computer program. It is not necessary to use the 9 heads techniques in your flat technical drawings.

I prefer to use a 0.1mm pin fineliner. This will create a professional finish and is handy when illustrating the stitch lines. I know its time consuming, but always draw with pencil first, then fineliner. Use curves and rulers at all times to ensure symmetry.
You can use some creative ideas when displaying your technical drawings, it need not be dull.

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Creating Figures

Creating Figures

In fashion illustration your figure should be drawn long and slim with squared off shoulders and very unrealistically elongated legs. It will look extremely out of proportion, as the legs tend to be exaggeratedly long. The waist must be drawn very slender.

In drawing your figure, remember that the waist is one third down from the top of the figure. It is most important to show this important aspect of the figure, which will add to the elegance of your croquis. The waist falls in between the pelvic box and the upper torso shape, and should have a nice curve inward over these two structures of the body. The figures are measured in head widths, in order to ensure you’re getting the proportions right.
-Image- Arturo Elena

The true female figure measures seven to eight head lengths in height, the fashion figure measures nine to ten head lengths. In fashion drawing you must retain the basic proportions of the human form from head to crotch, only add extra length to the legs to give dramatic stylised effect and give your designs more dynamic appeal. Why do some people prefer to use templates to trace instead? Your proportions are guaranteed and the hard work of redrawing faces and hands is greatly diminished when just using a set of templates and tracing the clothing directly onto it!

Try to keep as many different pose templates as you can, it becomes boring if you keep using a figure that has the same animated pose over and over. Keep demure ones for eveningwear, strident ones for fashion wear, animated ones for sportswear etc. If you are using four figures on one board, use at least two different poses.

-Christian Lacroix Croquisnbsp; -Image- online-academy


In the diagram below, you’ll see a typical scale for the fashion figure that generally measures 9 heads tall. Male and female fashion figures are the same in proportion of height, but have some obvious differences. Keep this diagram handy when practicing your figure illustration.
The following points of reference are noted below:

-Nine Heads Diagram

Top of the head
Bust apex
End of torso or crotch


Below the foot


When illustrating the fashion template, you need to ensure the figure doesn’t look skew and seem like it is falling over, you need to understand the balance line. If you always keep in mind where your balance line is supposed to be, then your figure pose will always look correct, even when exaggerating and stylising everything else.

The line is dependant on the position of the feet, and is determined by the centre of gravity of your chosen pose, it must be a vertical line from floor to neck, this is a good rule to draw by.

The balance line will move if the weight is placed from one foot to the other. Always bear in mind that the balance shifts between the feet as the figure moves. Find the correct placement of the figure’s head in relation to the legs and feet.

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-Image: Sarah Louise Petty

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Garis Rancang

Faces, Hands and Legs


See our competition on this page!! Win full colour fashion illustration CD!

Start working on your own fashion template for your garment designs, most fashion illustrators use them - either one they’ve acquired, or one they’ve made for themself. Its unnecessary to recreate a new one each time.

When designing a garment you have to have a primary focus - the clothing. You shouldn’t get too wrapped up in detail of the face, but it does form an important part of the illustration. A pretty, inviting face can draw the viewer into the picture. This does play a big part in projecting the correct image. If you are not able to draw well, then try to draw understated lines, don’t allow it to overpower the sketch. As usual, practice makes perfect!

-Cybele Illustrations

Try to look at as many other fashion illustrators work as possible, keep seeking inspiration - notice the line work, shading and different stylistic approaches that artists take on drawing faces. I know that the face is probably the most intimidating part of the entire fashion illustration! Similarly to the nine heads principle, I can help you with an excercise to help you practice drawing faces accurately.

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Face Grid:

Split the face up in half, then draw a line in the very middle, Split the face into the grid, as seen above .

Head: Draw an oval head, draw in the guidelines for the centre line, eyes and mouth line.

Eyes: Using the eye guidline, draw almond shaped eyes, the space in the centre of the eyes (bridge of the nose) can be the width of one eye, and half an eye on either side of the left and right eye.

Eyelids: A curved line above each eye, following the shape of the eye.

Eyeball: Draw a ball inside the almond, but it should look like the ball is hidden behind the almond, dont’ draw the entire ball. Like this ( ). This will look like the face is mean!

Eyelashes & Eyebrows: Draw the top lash line slightly thicker, try not to draw too many separate eyelashes, this just looks messy. For the brows, draw a thicker line at the right place above the eyes.

The eye is not a perfect sphere. The cornea bulges out in front of the iris (the coloured part), so that the while the iris looks flat, reflections from the front of the eye show a curved surface.
The drawing above illustrates this.

• Note that when viewed from an angle, the pupil sits in the plane of the iris, and being in perspective is oval rather than circular

• The iris is not a solid tone, but has streaks of colour, dark around the edge.

• At this angle, the rim of the lower eyelid is visible. Use the lightest hint of tone here, except where shadowed.

• The ‘whites’ aren’t really white. They have slight colour and often visible blood vessels, and are frequently shadowed. Reserve pure white for highlights. The shape of the lids changes as the eye moves. We tend to think of the eyes as being mirror images of each other, but when gazing to one side, they can look very different. Expressions can drastically alter the shape of the eye. Pay attention to the lines and wrinkles around the eye, not just the lids themselves, otherwise the eyes will just look misshapen. Pay careful attention to placement of the eyes. If drawing without any aids, refer to the key ‘landmarks’ of the face, checking the angle and distance of the inner and outer points of the eyes in relation to the ears and nose.

To begin with, use construction lines to indicate the planes of the face, then place the pupils and draw in main lines of the lids and brows. Including wrinkles and lines at this point can help provide reference points. Don’t get too detailed at first, but work up the whole face, adding further reference points and ensuring that everything fits together. Some people prefer to focus on a single area at a time.

Careful observation is the key. Observing the tiny details of light and shade in the eyes will bring the subject to life.

Tips: Sometimes a little artist’s licence is needed if light is poor or when working from a photo. Adding a little curved highlight cutting across the pupil and iris, a shadow under the lid, or detail to the iris, can brighten flat eyes. Don’t automatically outline the lower lid - often the lower rim is highlighted and needs to be lightly indicated. Observe the subtle changes in tone which indicate the eye socket, and the planes of the nose and brows, which help to sit the eyes into the face

Lips: Above the mouth guidline draw in a stretched out “M”. Below the line, draw a curved line. For the centre lip line draw an even more drawn-out “M” line.

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The Nose: Draw two curved shapes on either side of the centre front line.

Ears & Hairline: Ears can be drawn from the eye guidline to just above the mouth line. Hair is sometimes drawn as a soft outline or shape, rather than a formal detailed hairstyle. It is your choice, but if you find you are not particularly good at drawing either of the features demonstrated here - rather draw as simplistically as possible.

For detailed hair: One of the most common mistakes is to attempt to draw every hair as a pencil-stroke. A single pencil line cannot represent the many changes of tone along the shaft of hair, so this approach is invariably disastrous. Another problem is lack of care - you should spend at least as much time on the hair as on the face.

Drawing long hair is in many ways easier than short hair, as the ’surface’ tends to be a little smoother, with broader sections of highlight, less dispersed than in short hair. Curly or frizzy hair can be more of a problem, but if you take your time and observe carefully, it is quite achievable. You might need to ask your model to tame their hair a little with conditioner prior to sitting.

First, look carefully at the model or reference photo and identify the major sections of hair. Curls will often be rather flat, like ribbons curling back on themselves. Try to ignore odd strands at first, concentrating on the main bulk of the hair, and lightly outline the main shapes and sections.

Next draw in the darks with a soft pencil, being careful to leave the highlights well alone. At this point, you might wish to lightly sketch in prominent lighter hairs that need to be left, bringing the darks up close beside them, to avoid problems with erasing them. Where strands of hair cross, small marks may be necessary to separate them. Make sure you follow the direction of the curl. Now that you’ve got the basic structure of the hair and put in the darks, you’ve won half the battle. Drawing lifelike hair is in part a test of observation, and in part a test of patience. This approach will certainly work for quick sketches when applied judiciously, but for really lifelike hair, you will need to take your time and pay attention to detail.

Now draw the mid-tones, with pencil-strokes following the direction of hair. Draw the darker lines separating sections of hair, and patiently draw the dark areas showing behind lighter hairs. At this point I use a harder pencil over the darks, filling in the paper-grain and blending the tone out along the hair. For super-smooth and shiny hair you can use a blending stump along the hair.

To finish off, I’ve added a few stray marks to loosen up the drawing around the edges. Some sections of hair are smoothed with a stump and highlights picked out with an eraser. The original drawing is a little sharper than shown by the scan - after blending tone and erasing, I use a hard pencil to lightly re-define nearby areas and keep them crisp.
-Images courtesy of Cosmoworlds Trends

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