A knowledge of dressmaking also assists the artist to determine what seams and what details must go into drawings, and what can be omitted. Some seams which in the actual model show just as much as others may be left out of the drawing with advantage if they are unimportant from a constructional point of view that is to say, if their position, etc., is well understood or self-evident; e.g. arm-hole seams. But the omission of seams must be practised with caution, particularly in the pattern work referred to above, and in drawings of tailor-mades. In both these sorts of drawings the seams, buttons, etc., must be very accurately placed. In patterns, the back, drawn small, as well as the front view, must be depicted.

Apart from their primary purpose as an indication of the construction of the garment, seam lines in a drawing have a value to

the artist. Treated with understanding and with feeling for the form underneath, seam lines can be very helpful in suggesting fullness, and giving the third dimension to the figure.


The bread and butter of fashion drawing is providing illustrations for catalogues. There are perhaps ten times as many figures drawn for the various stores catalogues as for any other purpose. The student will remember what has been said about the preferences of individual clients. One has also to remember that figures for catalogues are required to reduce to a uniform size, not only because the catalogue requires this, but for technical reasons connected with making the block. The single drawings should therefore all be of the same size, so that a number can be pinned or pasted together and sent to the blockmakers to be made into a single block, which is afterwards cut up as required. Incidentally, it may be mentioned that although in some respects they are improved, all drawings lose something in the process of reproduction, and it helps to get a good bright block if colour contrasts are somewhat accentuated, and the more important points brought out strongly.


Chic neck lines are the making of a good millinery sketch. The face also should reflect the attractiveness and individual charm of the hat. Of course, one would not put a smart "birdy" hat on a plump and matronly face. But there are refinements of this elementary rule which will be better understood than explained, and which apply in some measure to all fashion drawings. What was said about town and provincial styles applies just as much to hats as to dresses.


Although there are remarkably few fashion artists who are really convincing with furs, the special technique of fur drawing

Fashion Design Drawing - Fashion Technique 17.jpg

is not really difficult to acquire if the fur is viewed with understanding and appreciation of its special possibilities. Fur is generally shown in wash, and the student is referred to the chapter on "Wash" for the technique to be followed.


Fashion Drawing Sections

Part-1 Part-2 Part-3 Part-4 Part-5 Part-6 Part-7 Part-8 Part-9