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    DESIGNING YOUR

    FASHION PORTFOLIOFROM CONCEPT TO PRESENTATION

    JOANNE CIRESI BARRETT

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    Designing Your

    Fashion PortFolio

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    From ConCept to pr esentation

    Designing Your

    Fashion PortFolio

    Fairchild Books

    a division oF

    BloomsBury

    PuBlishing inc.

    new york

    Joanne Ciresi Barrett

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    Fairhi Books

    An imprint of Bloomsbury Publishing Inc

    175 Fifth Avenue 50 Bedford Square

    New York London

    NY 10010 WC1B 3DP

    USA UK

    www.fairhibooks.om

    Bloomsbury Publishing Inc, 2012

    All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means,

    electronic or mechanical, including photocopying, recording, or any information storage or retrieval system,

    without prior permission in writing from the publishers.

    No responsibility for loss caused to any individual or organization acting on or refraining from action as a result

    of the material in this publication can be accepted by Bloomsbury Publishing Inc or the author.

    library of congress cataoging-in-Pubiation data

    Barrett, JoanneDesigning Your Fashion Portfolio: From Concept to Presentation p.cm

    Includes bibliographic references and index.

    ISBN 978-60901-007-2 (paperback)

    2012045678

    ISBN: PB: 978-60901-007-2

    Typeset by Jones Prepress, New York

    Cover Design

    Cover Art Credit

    Printed and bound in the United States of America

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    Preface

    Chapter 1 Introduction to Portfolio Building for Fashion Designers

    Chapter 2 The Idea Storage Bank

    Chapter 3 Entering the Market with Professional Flair

    Chapter 4 Focused Portfolios

    Chapter 5 Specialized Portfolios: Diverse Market Segments

    Chapter 6 Successful Line Building From A to Z: The Portfolio Project

    Chapter 7 Building on the Portfolio Project

    Chapter 8 The Digital and Web-Based Portfolio

    Chapter 9 Interview Insights

    Epilogue

    Appendices

    a. Trend Research for the Zeitgeist

    B. Fashion Research Sources

    C. Portfolio Websites

    D. Art Supplies to Experiment With

    e. Art Supply Sources

    F. Trade Shows of Interest to Fashion Designers

    G. Researching an Apparel Market

    h. Fashion Forecast Services

    i . Fashion Illustration References for Inspiration

    Glossary

    Index

    table oF Contents

    viii

    1

    46

    76

    96

    158

    200

    264

    290

    314

    350

    356

    356

    357

    359

    360

    365

    366

    367

    368

    370

    372

    376

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    Designing your Portfoliovi

    Pf

    Chapter 1 IntroduCtIon

    to portfolIo BuIldIng for

    fashIon desIgners

    Objectives

    T u f F d Ptf

    Different Expectations

    Common Expectations

    Typical Portfolio Contents

    stb B: T stpp st f ctt

    Sketchbook Contents

    s y ct

    y Tp Ptf

    Setup

    Explore and Commit to a Portfolio Style

    The Portfolio Shopping Chart

    Gather Historic References

    Establish Key Ingredients

    Ascertain Your Skill Level

    Define Your Design Direction

    Chapter 2 the Idea storage Bank

    Objectives

    w t t st

    An Organized Approach to a Design Project

    The Designer Filter

    w ot t st

    Retail Shopping

    Color Forecast and Trend Service Presentations

    Textile and Print Markets

    Fashion and Trade Shows

    Online Research

    Other Resources

    Chapter 3 enterIng the Market

    wIth professIonal flaIr

    Objectives

    F rt v

    Consumer Buying Habits, Retail Venues,

    and Your Portfolio

    c mt spzt

    The Basic Sportswear Portfolio

    The Specialized Evening Wear Portfolio

    dp i v f y Bt Ptf i

    cpt t d g f w

    t F itt

    extenDeD table oF Contents

    Chapter 4 foCused portfolIos

    Objectives

    mt Ptf df

    Gender- and Age-Focused Portfolios

    Focus on Functional Categories

    Key Category Portfolios

    Specialized Portfolios

    g-spf Ptf

    Womens Wear

    Womens Full-Figure or Plus Sizes

    Maternity Collections

    Menswear

    Childrens Wear

    mx-g Ptf: m w

    k ct Ptf

    cb k ct t spt

    spz F ct

    T s d l B

    T l-b P

    r f d Ptf

    Chapter 5 speCIalIzed portfolIos:

    dIverse Market segMents

    Objectives

    spz Ptf df

    r f spz Ptf

    Accessory Design Portfolios

    Activewear Portfolios

    Bridal Design

    Costume/Theatre/Film Design

    Eco/Green Apparel

    Intimate Apparel, Lingerie, and Innerwear

    Millinery

    Swimwear and Beachwear

    T-Shirts

    Technical Design Portfolios

    Urban Streetwear

    Chapter 6 suCCessful lIne BuIldIng

    froM a to z: the portfolIo projeCt

    Objectives

    ozt f t Ptf Pjt

    Segments

    Photos and Think-and-Do Exercises

    Materials

    gtt stt

    Gather

    v

    1

    1

    2

    3

    4

    8

    18

    21

    26

    27

    27

    34

    35

    38

    38

    38

    48

    46

    46

    48

    48

    51

    55

    55

    59

    61

    64

    67

    67

    76

    76

    78

    81

    84

    84

    85

    85

    92

    96

    96

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    100

    101

    102

    102

    124

    127

    130

    138

    141

    142

    143

    144

    144

    145

    158

    158

    160

    163

    163

    167

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    174

    176

    176

    180

    184

    186

    188

    192

    200

    200

    203

    203

    203

    205

    205

    205

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    viiextenDeD table of Contents

    Decide on Your Collection Focus

    Unite the Segments

    stp 1: cpt B

    Mood/Concept Building

    Color Concept Building

    Textile Concept Building

    Silhouette Concept Building

    Concept Summary

    stp 2: et

    General Materials Checklist for Step 2: Editing

    Edit the Mood Pages

    Edit the Color Story

    Edit the Textile Selections

    Edit Silhouettes and Flats

    Link the Segments

    Layout Checklist

    Implement Think and Do

    stp 3: Fz ct

    Implement, Think, and Do

    Chapter 7 BuIldIng on

    the portfolIo projeCt

    Objectives

    r f iz Ptf g t rt

    rpt

    exp B l t Ptf P

    Branding Your Portfolio

    Logo-Branded Merchandise on Portfolio Pages

    Logos on Hardware

    Other Garment Details That Can Feature Logos

    sq t P t t ct

    Storytelling Styles

    Introductory Pages

    Additional Pages

    Fashion Show Photographs

    Press Coverage: Internet, Newspaper, Periodical

    Publications, and Fashion Awards

    kp t c F: n lft T

    Chapter 8 the dIgItal and

    weB-Based portfolIo

    Objectives

    The Tactile Old School Portfolio Presentation

    T n s Ptf ext

    dp P f t et Ptt

    Color

    Fonts

    Layout

    Navigation

    Chapter 9 IntervIew InsIghts

    Objectives

    mt y Qft t t Jb

    Pp f t it

    wt t expt it stt

    it F-p

    it Pf Ptf r

    epIlogue

    Objectives

    ut Pp t Ptf:

    cpt 1 2

    Chapter 1 Illuminates the Designer

    Chapter 2 Manifests the Illuminated: Creating an Idea

    Storage Bank

    d t mt dt f t Ptf:

    cpt 3, 4, 5

    Chapter 3 Launches the Design Process and Apparel

    Line Building

    Chapter 4 Markets the Design Collections with a Focus

    Chapter 5 Branches the Direction for the Choices

    Portfolio Collection

    d t Ptf Pjt: cpt 6, 7, 8

    Chapter 6 Creates the Portfolio

    Chapter 7 Adapts the Final Portfolio to Different

    Purposes

    Chapter 8 Gives Guidelines for an Electronic Portfolio

    cpt 9 w y t it t

    t cpt Ptf

    c

    appendICes

    a. T r f t Ztt

    B. F r s

    c. Ptf wbt

    d at spp t T

    e. at spp s

    F. T s f itt t F d

    g. r app mt

    h. F Ft s

    i. F itt rf f ipt

    Glossary

    Index

    209

    209

    210

    212

    220

    226

    232

    239

    241

    242

    243

    245

    249

    253

    253

    257

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    261

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    309

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    318

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    328

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    330

    350

    350

    351

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    367

    368

    370

    372

    376

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    Designing your Portfolioviii

    The goal ofDesigning Your Fashion Portfolio: FromConcept to Presentation is to free your mind of the

    question, what makes a portfolio stand out as

    exceptional, and how can I create one?

    The ultimate goal of the text is to give you,

    the designer, a tangible set of skills and a visual

    imprint of the process and completion of a job

    placement portfolio. The skills and techniques

    can be put into practice throughout your student

    and professional career. The fashion design

    portfolio (FDP) method is motivational. The teach-ings encourage you to increase your inner drive,

    enabling your creative level to reach high stan-

    dards. The approach is to demonstrate how to

    become systematic while being creative. The text

    walks the you through exercises, self-evaluation

    critiques, goal-setting lists, commercial refinement

    research, and applied techniques, and shows

    you how to do these tasks while simultaneously

    maintaining the creative design process.

    Unlike a typical refinement application being

    the very end of the process, FDP teaches you to

    visualize your finest portfolio contents at the

    outset of the project and then guides you through

    the exercises that lead to the realization of your

    ideal portfolio.

    FDP presents you with direction and choices

    that best match your skill level. The exercises

    teach you to understand how your skill level

    affects your goal planning to produce your best

    image package. Proven techniques help you deter-

    mine how far to go out of your comfort zone with

    your current skills set, as well as how to acquire

    and hone stronger skills. The system enables you

    to fuel your individual creative engine throughout

    the design process. It intends to maintain the flow

    of your creative thoughts balanced by extreme

    reality checks for portfolio betterment.

    Based upon my years of teaching on the col-

    lege level, the book presents real-life questions

    by current-day students, which are answered by

    example and brought into the process of portfoliodevelopment. Professional designers experiences

    are presented for reference and motivation. The

    sequence of the chapters is based on in-class

    development of portfolios in the senior-level exit

    portfolio courses. The chapters can be referenced

    throughout your professional career in fashion

    design, as well as during college.

    The visual examples in the text are meant

    to show diversity in skill level and segments of

    the fashion market to encourage you to workat the level that best showcases your strengths

    and understanding of not just who you are as a

    designer, but what you can bring to the company

    or design studio job. The exercises, boxes, and

    visuals aid you in executing the portfolio project.

    organiZaTion oF The TexT

    The chapters ofDesigning Your Fashion Portfolio are

    sequenced to take readers step by step through

    the process of creating a portfolio to present as

    a primary way to market themselves to potential

    employers. The first five chapters discuss the

    initial steps of collecting ones work and selecting

    the contents of a portfolio focused on a particular

    market segment. Chapter 6 is a pivotal chapter

    that provides options for organizing a portfolio

    geared to promoting the designers qualifications

    for a job with a specific company. The remaining

    three chapters discuss how to revise the contents

    of the portfolio to market the designer to other

    potential employers and how to present the

    portfolio in an interview.

    In Chapter 1, the contents of the portfolio

    are defined and illustrated by examples of each

    element. This chapter outlines collection size,

    number of collections, and sequencing of the

    portfolio pages. An explanation of the different

    end uses of a portfolio and the importance of

    PreFaCe

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    ixPrefaCe

    the sketchbook are emphasized. Students set upan initial portfolio of past and current work for

    immediate interviews and to serve as a catalyst

    for launching the final portfolio project. They

    preview steps in portfolio building that will be

    studied in more detail in later chapters.

    Chapter 2 serves to organize the building

    process of designing the portfolio collection.

    The conceptual design of the portfolio layout

    is planned at the same time the collection is

    designed. Activities performed within and outsideof the studio are segmented for the purposes of

    creating clarity, but designers can worked on these

    tasks as they see fit. The basic steps of the design

    process are used as a map for collection building.

    The chapter includes the basic guides to organi-

    zational techniques, retail shopping, forecast and

    color trend services, fashion and trade shows,

    and the textile and print markets. Icons of the

    compile, edit, finalize, and designer filter formulas

    serve as visual cues for steps in portfolio building.

    Exercises ask the designer to outline the process

    of a designer project, to research category special-

    izations, and to apply a hit this mark method of

    designing a market-right collection.

    Chapter 3 sharpens the designers portfolio

    marketing strategies by focusing on retail channels

    of distribution and considering a market specializa-

    tion. The exercises walk the designer through how

    to identify the target consumer, the designers own

    taste, price points, and designing for age groups

    and size ranges. In addition, the exercises tap

    the designers motivations for portfolio direction

    and ask the designer to idealize the final port-

    folio through visualization techniques. The final

    exercise is the preparation of the designer grid to

    position all the design aspects of mood, color, tex-

    tiles, and silhouettes of the portfolio collections.

    Chapter 4 defines the market-focused port-

    folio through viewing, planning, and technique.

    Portfolios focused on gender, childrens wear,

    maternity, and large sizes are discussed. Attentionis also given to key category influences, general

    sportswear portfolios, specialized portfolios, and

    attitudinizing the fashion figure for a specific

    market. The exercises ask the designer to compare

    sizes in retail stores to better understand the

    consumers fit and function requirements, and

    to study influential fashion illustrators for

    inspiration in portraying appropriate figure

    attitudes in their own portfolio collections.

    The specialized portfolio is defined in explicitdetail in Chapter 5. Categories of design are

    described verbally and shown in illustrations. The

    boxes itemize the types of specializations, inform

    the readers about how the specialized designer

    works to meet the clients needs, and give further

    in-depth descriptions of the activewear, bridal,

    and millinery categories. The exercises enforce

    the need to get to know ones specialized client

    and to evaluate ones own design and problem-

    solving capabilities for a specialized category.

    In Chapter 6, students undertake the Portfolio

    Project. The portfolio pages are described and

    illustrated in terms of the segments of mood,

    color, textiles, and silhouettes/flats pages, and

    each segment is designed through the steps of

    concept development, editing, and finalization.

    The building blocks of the previously completed

    materials are utilized: The designer grid, the

    idealized final portfolio exercise, the sketchbook,

    retail market reports, illustrations, layout and

    finalization evaluations, and art supplies and

    CAD programs are all brought together as tools

    for creating the final portfolio story.

    Chapter 7 walks the designer through the

    completion of all collections being shown in the

    portfolio. The portfolio project is reviewed for

    adherence to the idealized portfolio goals, the

    layout goals, and the page sequencing to tell the

    story of the designers collections. The designer

    considers options for further refinement of the

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    Designing your Portfoliox

    layout details, page-turning dramatic effects,

    branding/packaging, and possibilities of including

    past collections in the portfolio. Keeping fluid in

    portfolio building and refinement is presented as a

    lifetime endeavor. Exercises help readers evaluate

    whether their portfolio goals are actualized, trainthem to become more objective in their critiques

    of their work, and guide them to make changes

    in their portfolio projects to present themselves

    effectively with a portfolio tailored to each new

    interview throughout their careers. A sequencing

    exercise tasks designers with evaluating the

    drama created in the order of the portfolio pages.

    Chapter 8 introduces the designer to the basic

    language, formats, and visual presentations of

    digital and Web-based portfolios. Old school pre-sentations are blended with new school portfolio

    combinations for designers to decide how much

    technology to apply to their books. This chapter

    surveys programs and devices that can enhance

    designers portfolios through modern technology.

    Chapter 9 prepares the designer for inter-

    views for entry-level, design-related jobs in the

    apparel industry. Preparation for the interview,

    expectation of the designer and interviewer, andinterview follow-up methods are outlined in the

    text and practiced in an in-class role-play exercise.

    In a series of interviews, design professionals

    share their insights and inform and inspire student

    designers as they take their portfolios on the road

    for their first job interviews.

    An epilogue reviews what was accomplished in

    each chapter; it can be used as a reference during

    portfolio building throughout a designers career.

    Finally, this book is about learning to be opento new challenges in designing a portfolio that

    best suits the client and the designers specific

    career goals.

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    xiaCknowleDgements

    aCknowleDgements

    This book is dedicated to all of my former and

    future students. I am sincerely grateful to all of

    the students I have had the privilege to teach in

    my classroom at Massachusetts College of Art

    and Design. Ive learned so much from each

    of you. My experiences working with you have

    shown me where there was need for a textbook

    to help you learn the process of creating a design

    portfolio; and thanks to you, I learned how to

    teach my craft.

    I am eternally grateful to the incredible

    designers who contributed to this book with

    their work and their insights, including Joseph

    Abboud, Amsale Aberra, Doranne Westerhouse

    Awad, David Bermingham, Katie Choquette,

    Christos, Bissie Clover, Cat Craig, Mary-Frances

    Cusick, Carole DArconte, Jerry Dellova,Virginia

    Fretto, Annie Kee Gaia, Pavlina Gilson, Kerrin

    Marie Griffin, Jane Henry, Ithwa Huq-Jones, Maya

    Luz, Margee Minier, Kelly Moore, Alexandra

    Palmisano, Peter Morrone, Plugg Jeans, Shawn

    Reddy, Miri Rooney, Jeury Rosario, Lindsey RogueRussell, Jamie Sadock, Rebecca Sheehan, Nooree

    Suh, Katherine Waddell, Jenn Webb, and Cheryl

    Zarcone. These talented designers contributed

    their work to this book without hesitation. It is

    because of them that the book can show you a

    range of work styles to use as a benchmark for

    your designs. This is the principle premise of the

    book: each designer works differently and needs

    to find his or her voice in a final portfolio form.

    Their design visuals drive this textbook. Thankyou for your generous supportyour work will

    inspire students for years to come!

    Thanks to my friends and former colleagues

    at Massachusetts College of Art and Design,

    Boston Massachusetts, without whom this book

    would not be possible. Ive learned so much from

    each of you, especially Sondra Grace, chair of

    the Fashion Design department, and Elizabeth

    Resnick, chair of the Graphic Design department.

    A special thank you to the wonderful professors

    and instructors that I had the honor to work with

    at MassArt: Jayne Avery, Anne Bernays-Trevenen,

    John DiStefano, Renee Harding, Yelena Piliavsky,

    Jennifer Varekamp, and Meg Young. Thank you

    to Velma Johnson for her administrative support,

    smile, and genuine friendship while I was at

    MassArt.

    Thank you to all of the professors and

    instructors at the Fashion Institute of Technology,

    New York, New York, who taught me how to

    be a fashion designer. The college was and is

    my professional backbone. The quality of high-

    level mentoring and hands-on instruction that I

    received at FIT make me the designer I am today.

    Thank you all of the great fashion professionals

    Ive had the pleasure to work with in the industry

    since 1980; youve taught me so much. Your

    support and belief in me throughout my career

    have been incredible and are greatly appreciated.

    The following reviewers, selected by the pub-

    lisher, provided many helpful recommendations:Abra Berman, Art Institute of San Francisco;

    Catherine Darlington, IADT, Chicago; Kelly De

    Melo, Art Institute of Dallas; Barbara Gutenberg,

    FIDM; Monica Klos, formerly of IADT, Pittsburgh;

    Van Dyk Lewis, Cornell University; Jeanie Lisenby,

    Miami International University of Art and Design;

    Tania Pazelsky, Wood Tob Coburn School; Nancy

    L. Strickler, Purdue University; and Theresa M.

    Winge, Indiana University.

    To the staff of Fairchild Books I extend mythanks for educating me in the textbook pub-

    lishing process and helping me translate my

    strategies for portfolio design from my class-

    room presentation into a printed format that

    other instructors can share with their students.

    Specifically, I thank my editors: Jaclyn Bergeron

    for supporting this project from the outset, Sylvia

    Weber for helping me organize and revise the

    text, Jessica Katz for shepherding the manuscript

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    Designing your Portfolioxii

    through copyediting and production, and Amy

    Butler for her assistance with the preparation of

    ancillary materials for the instructor. I appreciate

    the guidance of Sarah Silberg in communicating

    my vision for the layout and design and the help

    of Avital Aronowitz with photo research.

    Finally, I owe my family and friends a big thank

    you for their support, especially my wonderful

    husband of 26 years, Kevin; and my loving children

    Dylan and Alana. You made this book possible

    each time you encouraged me to keep on writing!

    Thanks for the go Joey and the go Mommy love.

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    Designing Your

    Fashion PortFolio

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    IntroductIon

    to PortfolIo

    BuIldIng

    for fashIon

    desIgners

    Ob j ect ives

    Describe the contents

    of a fashion portfolio.

    Maintain a sketchbook

    that reflects your creative

    process.

    Complete a temporary

    portfolio of student work

    to be ready for self-critique

    and on-the-spot job

    interviews.

    Purchase a portfolio case

    based upon your ideals for

    a final portfolio.

    Chapter 1

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    Chapter 1: IntroduCtIon to portfolIo BuIldIng for fashIon desIgners 1

    Regardless of your strengths in 2D (illustration) or 3D (making your

    garments work on the runway) design, what lands you a job is a

    dynamic portfolio. Your portfolio is your selling tool, your visual

    communication device. It is your designer message presented in

    a strong illustrated package.

    The portfolio is always presented by the designer in the first

    interview for an assistant, associate, or designer position. You will

    edit your portfolio throughout your career to represent yourself

    in your best light for each interview. This textbook will help you

    prepare the portfolio for your exit interview from school and adapt

    the portfolio you prepare for that purpose for later use.

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    desIgnIng your portfolIo2

    the uses of a

    fashIon desIgn

    PortfolIo

    Fashion design portfolios have different end uses

    depending on the market for particular talents

    and skills. Different end uses lead to different

    expectations on the part of the person or people

    reviewing a portfolio.

    Your student portfolio, where you assemble

    your work for different courses, will be different

    from your exit portfolio from college. As you

    enter each stage of advancement in your career,

    you will update your portfolio. It will become anongoing process.

    Different end uses for portfolios include the

    following:

    Placement into college or graduate school.

    National or international design competitions.

    Exit interview from college.

    Interview with a job placement counselor.

    Interview with a head hunter.

    Assistant design internship (paying or non-

    paying) while in college or after graduation.

    Entry-level position in the industry:

    assistant designer or assistant tech designer. Entry-level position in the industry as a first

    patternmaker or an assistant draper:

    sometimes a designer will interview for

    a position as a first pattern maker or assistant

    draper as an option to building a career

    in patternmaking or draping instead of

    design or as a foot in the door to become

    an assistant designer.

    Presentation for the next levels of design

    after your first job: associate designer,associate tech designer, tech designer,

    designer, head designer, design director,

    creative director.

    Interview with a specific companydesigning

    a collection just for the interview.

    Follow-up interview with presentation board.

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    Chapter 1: IntroduCtIon to portfolIo BuIldIng for fashIon desIgners 3

    Different expectations

    During your college years, keep all of your final

    fashion plates in acetate portfolio sleeves. Keep

    a temporary portfolio with the pages inserted in

    the portfolio case. Review your work periodically,and have the case ready to go for an internship

    or related opportunity. Itoya-brand cases are fine

    for very temporary or short-term use.

    Also keep your design competition collections

    in your portfolio, along with any credentials or

    awards and press releases regarding the nature

    of the competition.

    The exit portfolio and the entry-level portfolio

    you will be developing using this textbook will

    be the same and will follow the contents listedin Table 1.1. Your design portfolio is your foot in

    the door to an entry-level design job. The portfolio

    needed for the job interview is inherently more

    refined than a basic student portfolio, which

    is traditionally a compilation of your student

    assignments in college. More advanced levels and

    specialized versions of portfolio development are

    presented in Chapters 4 through 7, and interviews

    are detailed at length in Chapter 9.

    When you are on a first interview, whether

    for your first full-time position or later in your

    career, you may be asked to come back for a

    second or third interview with a completed board

    presentation of a collection that the interviewer

    asks you to design for the company or design firm.

    I i b m ixiv i c i wic

    iz i wk b ci c

    i b i. I i cmm

    i, i i. I i c w i

    i i i i c ck , wic ci

    pVC . t bk i m iwi , wicc wk m mi vim m. t bk

    i i i cm w . t i ck

    i b. siz, i ic, ib i i

    wk : 8 x 11, 9 x 12, 11 x 14, 14 x 17. (IA Image courtesy of

    ITOYA of America, Ltd.)

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    desIgnIng your portfolIo4

    common expectations

    As you review this evolution, try to understand

    the complexities within the industry that put

    increasing demand on the designers portfolio to

    be more than a library of fashion plates. A storyneeds to be told, and you are charged with cre-

    ating the narrative, illustrations, plot, character

    development, beginning, and endall the while

    luring the viewer into your design statement and

    your design world.

    Over the last few years, dramatic industry

    changes have stretched the role of the designer,

    requiring a multitude of demanding skills. In

    addition to telling your design story, your

    portfolio must show your instructorsand,later, potential employersyour capabilities

    as a designer, including the following:

    Forecasting and displaying mood, texture, and

    color statements to buyers

    Ability to design for multiple seasons and

    quick-turn merchandise

    Understanding of retail distribution

    Hand-rendering as well as computer-aidedskills (CAD systems, Adobe Photoshop and

    Illustrator programs)

    Ability to execute flat drawings with exacting

    spec calculations

    Production and factory communication

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    Chapter 1: IntroduCtIon to portfolIo BuIldIng for fashIon desIgners 5

    I , i i w mc im i vc i b i i. si-

    i fashion plates ( i ii i i c) w jci im

    i. h-, z i im, i i s-b; wii x i. sm i

    i vi croquis ( m i i c v i ii i) im i

    i x mb cci. t flat kc i w ciici m w miim i

    mbi kc. t wc bic w i , i ii w b c ic

    cc wi mk, , m ( m w), i ci m. (Authors collection)

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    desIgnIng your portfolIo6

    t i ic iic mii ki b wi -i cm wi. t 2d c b i

    mi m, ci imi, , x x b m cci. I bcm ic ,

    bck, mki m i m i ki wi mi jci. hi i i

    jb m m i bc bk c i k iviw. t i i i

    bii cmmic wi i i ici c mci i m, i b, v

    cm. (Courtesy of Nooree Suh)

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    Chapter 1: IntroduCtIon to portfolIo BuIldIng for fashIon desIgners 7

    Cv, m m i v b i bc i i i imici i. p i

    wi mic bii c i im wi k b c ci i , v v

    mk i w . (Courtesy of Jeury Rosario)

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    desIgnIng your portfolIo8

    typical portfolio contents

    The typical fashion design portfolio case consists

    of the items described in Table 1.1. As a designer,

    you will not just present your apparel collection

    story, but you will design your portfolio presentationin a story format to project a marketing or style

    image with a forward-thinking message. This is

    an opportunity to showcase your unique talents.

    To protect the pages of your portfolio,

    use only polypropylene or acetate sleeves. This

    material is an archival-quality plastic that can

    preserve all artwork for a lifetime and prevent

    damage, with the exception of a flood or fire.

    Clear plastic sleeves that are not designated as

    archival will allow permanent damage to yourartwork by fading, yellowing, and/or lifting your

    illustrations off of the page.

    Follow the checklist in Exercise 1.1 as you

    go through the book to check off your portfolio

    contents.

    aciv c i i mi-i

    i c m civ-

    c cmic bii. t bi w vib wi i. t i i i m

    , bm, bi i. ti i cmm,

    i m m i iiv viw. ec

    cm wi ci- bck i, i b

    mk mi qim civ . (Courtesy of

    Portfolios-and-Art-Cases.com)

    Bic i c wi mi-i bi m. (Courtesy of

    Portfolios-and-art-cases.com)

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    Chapter 1: IntroduCtIon to portfolIo BuIldIng for fashIon desIgners 9

    di iiici b wi m, , mb, -mi ii cv. ti b i im i c

    i. (Courtesy of Portfolios-and-art-cases.com)

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    desIgnIng your portfolIo10

    table 1.1. | tyal prfl cnens

    iem Desrn presenan ons and purse

    Portfolio case A formal book or carrying case (not aninformal Itoya case with plastic sleeves),

    typically ring bound, or a box containingindividual pages. Can be leather or vinylbound or a metal box covered in leatheror vinyl. Construction can include a zipperclosure, open edges, or a lid. May have ashoulder strap or handle. Standard industrysizes : 9" x 12", 11" x 14", or 14" x 17"

    Attractive container to show designs duringan interview.

    Identificationlabel

    Plain white paper or specialty paper,approximately 3 " x 2" (size of a busi-ness card) printed with designers name,address, phone number(s) (land line and/

    or cell), and e-mail address.

    Affixed to the inside front cover of theportfolio to identify the owner so thatit can be returned if it is left with aninterviewer or accidentally lost.

    Rsum One-page chronological description of ones work, educational experience, andother qualifications. Printed on business-quality paper.

    10 copies in a folder inserted in the frontsleeve or pocket of the portfolio case tobe available to present during interviews.

    Polypropylenesleeves

    Sleeves of thermoplastic substance. Maybe punched with holes to insert into a ring-bound portfolio. Sometimes called acetateor plastic pages, but must be of archivalquality.

    Protects pages of the portfolio collectionfrom moisture, fading from sunlight,tearing, and other causes of damage.

    Title page orintro page Optional first page of a portfolio. Either afull-page or business-card size. May includea designers statement.

    An introduction to the collection(s) pre-sented, creating a brand image or a settingfor viewing the contents of the portfolio.

    Mood orconcept pages

    1 to 2 pages per collection of images cutand pasted from various sources and/orcomputer-generated images that set themood for the collection or suggest sourcesof inspiration.

    Establish a concept or mood for thecollection, giving it a unifying theme oridentity. May be combined with otherpages or shown separately. Pages shouldbe all portrait or all landscape orientation,with few exceptions if needed, to allow foreasy viewing by interviewers.

    Color

    presentationpages

    1 to 2 pages per collection of colors,

    presented as 1"3" skeins of yarn, swatchesof fabric, paint chips, hand-rendered orcomputer-generated squares of color,typically 2" or 5" or other shapes.

    Presentation of the colorways for the

    collection(s) shown in the portfolio.May be combined with other pages orshown separately. Pages should be allportrait or all landscape orientation, withfew exceptions if needed, to allow for easyviewing by interviewers.

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    Chapter 1: IntroduCtIon to portfolIo BuIldIng for fashIon desIgners 11

    iem Desrn presenan ons and purse

    Textilepresentationpages

    1 to 2 pages per collection of fabricswatches, cleanly mounted on paper orneatly folded. Edges of swatches may becut straight or with pinking shears. Usually

    1" x 2" or 4" x 5" rectangles or similarlysized squares. Swatches are usually ofuniform size for each collection.

    Presentation of the fabrics selected fora collection. May be combined with otherpages or shown separately. Pages shouldbe all portrait or all landscape orientation,

    with just a few exceptions if needed, toallow for easy viewing by interviewers.

    Fashion plates 6 to 8 pages per collection of full orcropped figures, 18 figures on a page.May be hand-drawn and hand-rendered,computer generated, or a combination.

    Presentation of the silhouettes of designswithin a collection. May be combined withother pages or shown separately. Pagesshould be all portrait or all landscape orien-tation, with only a few exceptions if needed,to allow for easy viewing by interviewers.

    Flat drawings Technical drawing of garments as theywould appear if lying flat on a surface

    rather than being worn. Show front andback views; back view may be 510%smaller than front view. Drawn to exactproportions of the cut and sewn garment.Outline may be thicker than lines showingstitching or details. Typically not shaded.May be hand-drawn or computer-generated,or a combination.

    In production, used to communicate mea-surements to sample makers; in portfolios,

    used to demonstrate ability to commu-nicate technical information visually forproduction. May be combined with otherpages, especially fashion plates, or shownseparately. Pages should be all portraitor all landscape orientation, with a fewexceptions if needed, to allow for easyviewing by interviewers.

    CAD pages Computer-generated mood, color, textile,fashion plate, and flat drawing pages, asseparate pages or in combinations.

    Demonstrate the designers skills with CADprograms. Pages should be all portrait orall landscape orientation, with a fewexceptions if needed, to allow for easyviewing by interviewers.

    Sketchbook(journal)

    A bound or spiral bound notebook, 3" x 5",8 " x 11", 11" x 14", or 14" x 17" with pagesshowing rough sketches, doodles, notes,colorings, cutouts, and other images inan unorganized format.

    Carried with the designer at all times torecord ideas and inspirations. Taken tointerviews in the back-cover pocket ofthe portfolio or carried separately, ifnecessary, to demonstrate to interviewersthe designers thought processes andtrend-tracking skills.

    Leave-behindpiece

    Optional flash drive, CD-ROM, DVD, orpage printed in full color that serves as a

    reminder of the designers style, brand, oridentity. Includes same information as onthe identification label in the portfoliocase; for electronic leave-behind pieces,identification information is on the coveringas well as within the electronic files.

    A condensed presentation of the portfolioimages to leave an impression of the

    designers work after the interview andserve as a reminder of the designers brandor image.

    Computer-basedpresentation

    An optional item; a flash drive carried inthe front or back sleeve of the portfoliocase. Can be a PowerPoint presentation.Shows entire portfolio.

    Makes portfolio available for the interviewerto view on his or her computer or sharewith co-workers who may have a voice inthe hiring decision.

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    desIgnIng your portfolIo12

    tw- i m b. (Courtesy of Kelly Moore)

    txi i iviw wi abcmbi & fic. (Courtesy of Katie Choquette)

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    Chapter 1: IntroduCtIon to portfolIo BuIldIng for fashIon desIgners 13

    C i wi ii i, m, xi i. (Courtesy of Lindsey Russell)

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    desIgnIng your portfolIo14

    di cci i i m. (Courtesy of Jeury Rosario)

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    Chapter 1: IntroduCtIon to portfolIo BuIldIng for fashIon desIgners 15

    f i . (Courtesy of Jeury Rosario)

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    SucceSSful

    line Building

    from A to Zthe Portfolio

    Project

    Ob j ect ives

    Develop the concept

    for the portfolio.

    Edit the contents.

    Finalize the contents and

    order of presentation.

    Chapter 6

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    Chapter 6: SuCCeSSful line Building from a to Z: the portfolio projeCt 201

    The Portfolio Project is the process of basic design line building of your

    portfolio collection. There are three steps of line building: concept

    building, editing, and finalization. The Portfolio Project walks you

    through each of these three steps in each of the four segments

    of the portfoliomood, color, textiles, and silhouetteswith

    demonstration photographs and think-and-do work. The materials

    are exercises you have completed and developed in the preceding

    chapters. Systematically, you will link the segments and steps

    together to have a finished portfolio.

    Before you begin to take the steps outlined in this chapter, review

    the box The Portfolio Project: Approaches to the Design Process,

    which summarizes five different approaches. There is no one right

    way of working through the design process of portfolio building.

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    deSigning your portfolio202

    the Portfolio Project:APProAcheS to the DeSign ProceSS

    Many people have the mistaken impression that

    being creative and being systematic in solving adesign problem are mutually exclusive. However, a

    conscious, systematic, and orderly approach does

    not have to be linear. And even a basically linear

    approach can allow for changes along the way to

    the solution of a design problem.

    Take the time to evaluate the approaches

    to the design process that follow. Based on the

    book, The Universal Travelerby Don Koberg and

    Jim Bagnall, these are choices you, as a designer,

    can apply to the completion of your portfolio orany other design task. Koberg and Bagnall identify

    five basic approaches to creative problem solving:

    l. Linear Process Step-by-step logical sequence;

    being cautious of not getting ahead of yourself.

    Well-suited to large, complex, team projects.

    2. Circular Process Starting at any stage and

    advancing to the others in turn. Ideal for

    lengthy projects (like college programs,

    summer jobs, contracts, etc.).

    3. Feedback Approach Moving forward while

    looping back to reconsider previousdiscoveries. Important when caution is

    imperative.

    4. Branching Paths Allowing specific events and

    the interrelation of separate stages to control

    progress.

    5. The Natural Pathway Awareness of all stages

    concurrently, but emphasis on one or two

    steps at a time; like viewing seven open boxes

    in a row, each one ready to receive additional

    data and thereby modifying your overallthinking accordingly.

    These authors compare the Linear Process

    to to a mule train, with each unit responsible

    for pulling the one behind it,and the Natural

    Way to a horse race, where all units progress

    independently; where only one unit is out in

    front (i.e., in focus) at any given moment.

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    Chapter 6: SuCCeSSful line Building from a to Z: the portfolio projeCt 203

    orgAniZAtion of

    the Portfolio

    Project

    With the five approaches in mind, youre ready

    to consider the organization of the Portfolio

    Project in detail.

    SegmentS

    The Portfolio Project is divided into four working

    segments, each with three steps. See the visual-

    ization and a further explanation in the box TheFour Basic Phases of Line Building.

    PhotoS AnDthink-AnD-Do exerciSeS

    Each development step of the four segments is

    explained in how-to photographs of a designer

    performing the task at hand. And each of the foursegments steps challenges you to create your

    portfolio images by undertaking the think-and-do

    exercises as you read through the text.

    rvw wk ss c s scb . ec wk ss w w

    s ss s v.

    1. md

    a) Conceptualize: work with free association.

    b) Edit: use critical thinking andthe Designer Filter.

    c) Finalize: commit the images to the page.

    2. c

    a) Conceptualize: work with free association.

    b) Edit: use critical thinking andthe Designer Filter.

    c) Finalize: commit the images to the page.

    4. Sus

    a) Conceptualize: work with free association.

    b) Edit: use critical thinking andthe Designer Filter.

    c) Finalize: commit the images to the page.

    3. ts

    a) Conceptualize: work with free association.

    b) Edit: use critical thinking andthe Designer Filter.

    c) Finalize: commit the images to the page.

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    deSigning your portfolio204

    the four BASic PhASeS of line BuilDing

    The four basic phases of line buildingthe mood,

    color, textiles, and silhouettesare explored each

    time a designer approaches a new season. Thephases are revisited many times during the design

    implementation, refinement, completion, and

    production of the line. The first ideas are hardly

    ever just put onto paper or made into a garment

    without refinement. During the revisiting, it is

    important to reference ideas in your sketchbook to

    see whether your initial concepts are going forward

    the way that you would like toor the way that you

    envisioned them. You may have a new vision that

    does not match your designer sketchbook idea,but checking in on the idea stage before you finish

    the line can only help your portfolio images. The

    four phases are spelled out below in simple terms.

    Mood/Concept The concept of a movement, orinspirational base.

    Color The color story of the line, usually two to

    eight basic colors for each line.

    Textiles A collection of fabrics that work well

    together for a line that meets manufacturing

    needs of yardage consumption. Usually two to

    eight basic fabrics per line.

    Silhouette The shapes and actual garments for

    each collection. Usually the portfolio will have 8 to

    16 ensembles per collection (head-to-toe figuresor croquis displayed in silhouettes).

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    mAteriAlS

    The four segments and three steps are developed

    using the following materials:

    Previously completed materials The Idealized Final Portfolio (Exercise 4.3)

    The Designer Grid (Exercise 4.4)

    Previously developed, ongoing work-in-

    progress materials

    The Creative Chaos Sketchbook

    Retail market focus reporting

    Illustration, layout, and finalization

    evaluations

    As you work through the segments and steps,you will link the four segments together in a

    portfolio page-flow story. Chapter 7 refines the

    portfolio statement.

    getting StArted

    Chapter 6 is an exercise in building the final port-

    folio presentation. You will get started by walking

    through the steps of creative line planning

    concurrently with building your presentation.

    gAther

    To start the portfolio project, gather the previously

    completed materials as listed at left. Work on

    Exercise 6.1 to prepare the workspace.

    Study the different ways of preparing the

    designer grid shown on page 206, demon-

    strating four different scrambled approaches

    to creating your line.

    Keep your Idealized Final Portfolio (Exercise

    3.2) transparency overlay on your desktop or

    on your bulletin board for reference.

    Bring these materials to your workspace:

    The sketchbook or journal

    Retail market reports

    Illustration, layout, and finalization

    evaluations

    Art supplies previously purchased

    CAD programs, such as Photoshop and

    Illustrator

    The materials list will grow to include color

    and textile swatches and silhouette/flats materials

    as you go through the portfolio project in this

    chapter.