3 Elements of design

G. Bagyalakshmi

3.0 Introduction

Design is an art of mixing known elements in a creative way to develop pleasing combinations and appealing look in the garment. A good design is achieved when the elements of design are combined together harmoniously. Design is as an arrangement of line, shape, colour and texture in a pleasing way. The elements are therefore the raw materials in design development and these elements of visual design are also defined as the fundamental components from which a design or pattern is made. While developing a design, the line, shape, colour and texture combined well with design principles. As a result the elements of design are the foundation facets in garment designing.

The elements of design should be used within the perspective of current fashion in order to present fashionable garments for a season. Fashion designers create structure and add functionality in a decorative way using the elements of design as per the current day’s fashion demands. The elements are the basic blocks which can transform a wide variety of messages and thus an apparel designer need to be familiar with design elements as guides. Designers must understand both the potentials and the limits of using elements of design. Although the elements are only one of its kind and original, they need to be combined to form a design. For example, shape is created with line and space, colour and texture combined together present illusions. Therefore it is important to understand the each elements of design individually and use them efficiently become an important aspect in fashion designing.

Objectives:

To study about various elements design and its types
To learn the concept of using elements of design in fashion designing
To understand the methods of creating optical illusions through elements of design.

3.1. Fashion design elements: Types

The fundamental fashion design elements are classified as follows:

1.1.1. Line and direction

1.1.2. Shape and Silhouette

1.1.3. Texture

1.1.4. Pattern

1.1.5. Colour

3.1.1. Line and direction

A line joins two points. It is an absolute line joined between two points. Line refers to the contour of a garment. It divides the space in design development.

It is a visual and verbal medium in fashion designing. Line provides direction and movement. It carries the eye and gives a dividing point in a design. A shape created by a line conveys a meaning. Line shows visual illusions – height and width, thinner or bulkier. Lines separate entire areas into individual shapes and background spaces and are an important contributing factor in beauty of form. Thus, there are various characteristics of line that extend a powerful role in dress. The characteristics of the line are path, thickness, evenness, continuity, sharpness and contour of edge, consistency, length and direction. Lines can be used in various means and combinations of these create a pleasing effect. They are discussed as follows;

Types of Line

Direction of Line

Application of Line in garments

Types of illusion created by line in dress

3.1.1.1. Types of Line

The lines can be divided into three types namely straight line, curved line, and jagged lines.

Straight lines: These lines form the basic structure, moderately stiff and severe. They also suggest something impersonal, firm and practical. Garments designed with some theme do definitely exhibit some lines and these lines show body shapes. Seams, fellnesses, hems lines, trimmings and decorations can be placed in straight line. They form a feeling of bold and dominant effects in a garment.

Curved lines: These lines are neither straight nor angular but rounded and circular to whatever degree desired. The degree to which they are rounded determines the kind of curve. Curved lines are often used as full curve or restrained curve. These lines are less powerful than straight lines and hence informal and conventional. Circles and curves create larger spaces visually than they actually look and apparently increase the dimension of the figure. They add a gentle and youthful look to the wearer.

Fully curved lines give a feminine outlook. Most of the natural body shapes are emphasized through seams, darts and edge finishing.

Restrained curved lines less likely to emphasize the body curves but extend a feminine and graceful effect on the wearer. Seams, princess lines, draping, fullness and patterns in a form are few examples to exhibit restrained curved lines.

Jagged line: These lines are made of abrupt lines and have sharp edges like zigzags. These lines show a feeling of confusion yet give an exited and fashionable effect. Since these lines are more angular and sharp, they are noticeable; therefore use of jagged lines should be minimum. If used in excess, creativity lies in the hands of designers to provide the best line.

3.1.1.2 Direction of Line

Line can cause the eye to move in any direction although it has only one dimension, that of length. There are three kinds of movement such as vertical, horizontal, or diagonal direction.

Vertical lines manifest the feelings of poise, dignity, good posture, strength, stability, uprightness or aspiration. These lines lead the eye upwards and downwards. Added height and slimness are the impressions created by vertical lines. Seam lines, princess lines, placket lines, fullness, fabric patterns and draping lines for example demonstrate the vertical effect.

Horizontal lines are line at rest. These lines imply a visual feeling of stretch out as it is parallel to the ground. More often these lines suggest a sense of calm, serenity, gentleness and will lead the eyes across the garment and give a feeling of less height and more width.

Horizontal lines are seen at neckline, yoke lines, waistlines and hemlines. For example a belt or band around the hipline which would seem to widen the hip.

Diagonal lines may be described best by the body in motion; it can portray powerful movement and activity. These lines are always slanted and imply a direction. A garment with diagonal lines tends to slenderize and is strong. These lines draw attention where they are used. Visual effect due to diagonal lines in clothes is determined by the degree of slantness. Vertically slant lines add slenderness feeling and horizontally slant lines add width. Diagonal lines combined with vertical lines seem to show a figure, the tallest due to the slenderizing effect. Example; Panels, darts, seams, ‘V’ necklines, collars, lapels, flared trousers. ‘A’ line skirts, bias cut stripes and raglan sleeves.

3.1.1.3. Application of Line in garments:

Structural lines and decorative lines are the two different methods of applying lines into clothing;

Structural lines: Structural lines are the most obvious if plain fabric is used for making garment. For example, constructional lines – seams, darts, tucks and shirring, collar edges, sleeves, belts, hems and pockets, creases and folds shown by pleats and gathers.

Decorative lines: Surface embellishments visually form decorative lines in garment. For Example: stripes, herringbones , plaids, checks, button placed in particular direction, topstitching, braids, piping, bias binding, lace edging, faggoting, ruffles and fringe.

3.1.1.4. Types of illusion created by line in dress:

To create an optical illusion an understanding of the line movement, the psychology of colour and the effect of various textures in expanding and reducing size is essential. Designers should be sensitive about line direction and the following optical illusions can be created.

Repeated unbroken verticals exaggerate height
Repeated thin vertical lines widens
Dominant panel in the center broadens figure
Center front seam line reduces hip width Side flares broaden hips
Heavy banding around the hemline shortens and broadens
Details near hip broadens the figure

Converging and diverging pairs of diagonals

Broadens shoulders
Increases hip and seam lines
Increases bust and waistline
A raglan sleeve exaggerate weakness and narrowness of shoulders
Set – in sleeves strengthen shoulders

In garment designing, the letters T, I or Y are always related to the shape of garments. Garments with the “T” shape stop the eye movement near the shoulder. A tubular garment looks like the letter “I”, more likely to move the eyes vertically up. Lines that form a “Y” fix eyes as if it is moving upward and even further.

3.1.2. Shape and Silhouette

Silhouette refers to a form of one solid colour projected against a background of another colour so that only the shape is visible. In fashion the term “silhouette” is used to refer to the line of a dress, or the garment’s overall shape. It implies the outline of a form. This can be used to dramatically emphasize and alter a woman’s appearance. Since the shape is the first impression, it possesses greater power to convey an image of beauty, style, and taste than any other design element.

Different dress silhouettes are designed to flatter different body types, and to match the current fashion. Designers must constantly keep in mind the whole silhouette, and fashion reports on prevailing mode as the fluid line; the bouffant, or the boxy, shape; T form; the chemise; or the back flare. Each shape represents a particular fashion which influences the shape: the latest skirt length, shoulder width, sleeve contour, belt width, jacket length, and so on. Entire silhouette is visualized from head to toe and from front to back. Based on the shape and visualization silhouettes can be discussed under the following head;

3.1.2.1. Types of Silhouettes for individuals

Ball Gown – Ball gown was made popular by Queen Victoria. She wore a ball gown silhouette for her wedding. In terms of design, it is fitted in the chest and down the torso, and then flares at the waist into a very full, often multilayered, skirt. This style is flattering on almost any body type, but is especially flattering for petite women, or full-figured women. On a pear-shaped woman, the full skirt can camouflage large hips.

Empire – This was a popular silhouette in the early 1800s. This style has a waistline just below the bust and a skirt that flows down all the way down. This dress has a waist line which is raised to directly beneath the bust, with a skirt that flares slightly from the raised-waist down. This dress is particularly recommended for women who do not have a defined waist, but is not recommended for women with a pronounced hourglass shape.

A-Line – This is a silhouette, usually of a one-piece garment, flaring gently at the waist or hips, thus resembling the letter A. It is similar to the ball gown, with a fitted chest and torso, however, the skirt is much less full. This creates a smoother, more flowing line from the torso to the floor, or an overall body shape. This is great for short women because the seamlessness can give the illusion of height.

Sheath- This silhouette flows straight down from the neckline, thus gently clings to the body. The sheath silhouette is used to refer to dresses that are form-fitting from the bust through the length of the thighs. This is generally recommended for thin women who have gentle to no curves. Curvy, full-figured women or short women should avoid this silhouette because it hugs.

Mermaid – This is a voluptuous silhouette that clings to the figure down upto the knee and then flares fully. It is mainly for the petite figures with less junk in the trunk and no tummy bulge. The mermaid silhouette is designed for women who have flattering curves that they want to accentuate. It is extremely fitted to the knee, at which point it flares out dramatically. It is not recommended for women who are short.

Natural Waist – This is the most pleasing silhouettes. It draws the attention to the waist, when a seam, belt, fabric, appliqué and colour are used.

Trapeze – It is also known as Tent or Trapezoid. This silhouette looks like a triangle. This silhouette looks good with sheer fabrics.

Chemise – This is like a rectangle from top to bottom it is straight and shapeless.

Fit & Flare – This type of skirts always have the shape of an A-line skirt. It looks like a natural waist silhouette.

H-Line – This is a silhouette, usually of a one-piece garment. This is designed as a single straight garment from shoulder to hip. It is crossed at the waist with a belt, and demonstrate the letter ‘H.’

Basque waist – This silhouette has a natural waistline that angles down into a V shaped garment and accompanies a flared skirt.

Ballerina – This silhouette is inspired by classical ballet and it flows straight down from the neckline, and features a voluminous skirt that falls to the mid-calf.

3.1.3. Texture

Texture is the fabric surface appearance and feel. It also depicts the roughness or smoothness of fabric. It is identified by touch or visual feel. For example: roughness or smoothness, dullness or glossiness, stiffness or softness. To work professionally with fabrics, it is important to understand how every material falls when cut, as well as what effect it will have on an individual. Texture affects light absorption and reflectance and the same colour may appear different when wet and dry, rough and smooth. Determinants of texture may be discussed as follows;

3.1.3. 1.Types of Texture

3.1.3.2. Effect of texture on physical proportion

3.1.3. 1.Types of Texture

Textures may be divided into several classes;

Those that absorb the light and are consequently dull-surfaced due to the properties of their raw materials, rough yarns, fabric construction, or finish, as moss crepe or a rough cotton suiting

Those that reflect the light or lustrous, because of the luster and smoothness of their raw materials, or the smoothness of the yarns or the weave, as satin; or because of the kind of finish, as glazed chintz

Those that both reflect and absorb light, as pile materials. Eg: velvet, satin,

Types of textures – lightweight, medium weight, or heavy weight. For example: Structural texture- manufactured fabrics, stitched garments and added visual textures. Decorative texture – printing, functional fibers, yarns and fabrics. .

Finish can alter the texture of the fabric. For example sizing – stiffness, moireing – shine effect, calendaring – shine effect, singeing – surface smooth and napping – fabric fuzzy.

Effect of texture on colour: lighter on a shiny surface, darker on textured and wrinkled fabrics, duller texture on fuzzy surfaces, flat texture on smooth surfaces.

3.1.3.2. Effect of texture on physical proportion:

Smooth, flat textures – proper for all figures and physiques, make people look smaller, conceal figure irregularities.

Rough textures – Subdue the colours of fabrics, sheer fabrics – skin of the wearer is seen. Soft and drapable textures – cling to the body, and reveal body irregularities.

Stiff Textures – stand away from the body, hide body irregularities, and add width to the body.

Shinny texture – reflects light and appear larger, do not enlarge body, suitable for all body types.

Scale of textures – size of the person, contrast texture emphasizes form. Added visual texture affects the apparent size of the wearer. Large, bold patterns emphasize increase the apparent size of the wearer.

3.1.4. Pattern

Pattern is the interplay of values and colours created by print designs, weave structures or by embroidering. Choosing patterns depends on their use in costume in relation to the person who uses. A combination of several design elements such as lines, shapes, colours are arranged on textural material to create pattern.

3.1.4.1. Types of Pattern

3.1.4.2. Effect of pattern on physical proportion

3.1.4.1. Types of Pattern

Classic Patterns retain their fashion ability, and thus their wear ability exits for more years. The classic patterns are always in good taste and look familiar. These patterns are in style for ever in small and medium scales. Trendy Patterns on the other hand have unique elements such as lines and shapes. These patterns are designed in large scales. They are bold and coloured in bright or contrast colours.

Benefits of pattern

It adds significance to the fabric
It harmonizes with different coloured patterns
It creates a center of interest and visual illusion
It expresses personal style

Types of motifs

Naturalistic motif is the photocopy of nature and appears realistic

Conventional motif is the stylized form of natural or man-made objects

Abstract motif is the exaggerated imagination of an artist wherein stylized geometric forms are used

Geometric motif is the exact application of geometrical shapes such as square, rectangle, circle and the textural patterns

Arrangement of motifs

All over arrangements – Patterns can be viewed as the same from any direction 4 way arrangements – Identical view from four directions Two-way arrangements – Identical view from only two directions

One-way arrangement – Pattern is right side up from only one direction.

Border arrangements – Pattern is right side up along one selvage edge.

3.1.4.2. Effect of pattern on physical proportion

Patterns are used to emphasize the body in order to enlarge areas and chubbiness. Bold advancing designs suit only the most dramatic personalities.

Versatile patterns suit a wide range of persons Reserved patterns suit women than young girls Angular geometric patterns suit the broad shouldered personalities Dainty small patterns suit the small figures Selecting a right print with a right scale complement an individual body shape

Patterned fabric enlarges the figure
Small areas of pattern attracts attention

Use of trimmings and decorations may also enlarge or minimize body proportions

3.1.5. Colour

Colour is an element in dress design. It must be combined harmoniously. The colour scheme must be becoming to the wearer and suitable to the occasion. Colour has the power to attract or repel. Several colour systems are in use today. The Brewster or Prang theory of colour is used extensively and is explained as follows;

3.1.5.1. Properties of Colour

3.1.5.2. Colour Harmonies

3.1.5.3. Effect of colour on individuals

3.1.5.1. Properties of Colour

Colour has three properties such as Hue, Intensity and Value.

Hue – quality of color

Value – lightness of darkness of color

Intensity – brightness or dullness of color

Primary Colours such as Red, Yellow, Blue cannot be combined from mixing any colours together
Secondary Colour such as Orange, Violet, Green, are created by mixing two primaries.
Intermediate Colours such as Red Orange, Yellow Green, Blue Violet, mixing a primary with a secondary creates these colours.

3.1.5.2. Colour Harmonies

Colour Harmonies are created with combinations of colours.

3.1.5.3. Effect of colour on individuals

Warm colours are on one side of the colour wheel and they give the felling of warmth and make the wearer look larger because they advance. For example red, orange and yellow are the colour of fire and feel warm.

Cool colours are on the other side of the colour wheel and they give the feeling of coolness make the wearer look smaller because they recede for example blue, violet, are the colour of water, and green are the colour of cool grass.

Brighter colours seem to create larger appearance than the dull colours

Conclusion

Learning the meaning of taste in fashion designing is an art. Try to understand what constitutes good design and learn to distinguish various elements of design as guides are essential. All art is concerned with certain plastic elements because it is possible to manipulate them. The plastic elements are line, form, texture, pattern and colour. It is necessary to analyse each element individually and learn to fit them effectively so as to get a pleasing design. Use of various elements of design while designing costumes for an individual based on the body composition gives a feeling of satisfaction.

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References:

Sumathi, G.J., (2002) Elements of Fashion and Apparel Design, New Age International (P) Ltd..New Delhi.
Pooja Khurana and Monika Sethi (2007), Introduction to Fashion Technology, Laxmi publications.
Jenny Davis (2006), A Complete Guide to Fashion Designing, , First Edition, Abhishek Publications, Chandigarh.
Kathryn Mc kelvey and Janine munslow (2012),Fashion design process innovation and practice , Wiley Publications, New Jersey.
Anmol roy (2011), Fashion designing and technology, Sonali Publications, New Delhi.

Web links:

https://www.liveabout.com › Fashion and Style › Do It Yourself
https://books.google.com/books/…/Elements_of_Fashion_and_Apparel_Design.html
williamson.agrilife.org/files/2014/09/principleselements.pdf