My Desire for Fashion and Design

Hey there! I'm Bisola Amore. I'm a fashion designer, a student of university of ibadan studying statistics. The main purpose of my blogging is to share my learning experiences and all the useful and invaluable resources that i've been gathering for years now from the internet. Cause as Seneca, a Roman Philosopher said “There is no delight in owning anything unshared”. I take interest in lot of things. So i hope the resources i'll be sharing will be helpful for many. I've got this little view about fashion and design. This may be the most common approach to designing in industry and fashion design education. The designer

produces a sketch, which the patternmaker uses to create a pattern. The fashion designer may also be responsible for the pattern. Sketching is a fast way of communicating an idea to others, and the role of

sketching in the conceptualisation phase of the design process has been widely researched. Menezes and

Lawson (2006) review much of the research to date, and note that sketching is particularly important during early design. Jonson (2005) concludes that while the verbalization of ideas may be the most used conceptual tool in design, designers nevertheless perceive sketching as an important skill. In regard to fabric waste elimination, sketching poses particular problems, which the research needs to address through the experiments, given the widespread use of sketching in the industry. 

COMMUNICATION BETWEEN THE FASHION DESIGNER AND PATTERNMAKER

From the types of fashion design practice, different types of patternmaking practice become evident. The focus here is on the type of communication from the fashion designer that initiates the patternmaking

process. Because the amount of fabric waste produced depends on how well the pattern pieces are able to

interlock on a length of fabric, patternmaking has great significance for fabric waste elimination.

Consequently, how a patternmaker approaches the making of a pattern has implications for fabric waste

elimination. Relationships between designers and patternmakers are diverse; whilst the communication is

simplified here into four types, combinations of the four probably take place. In some instances the

designer may make the pattern, but may use sketches, draping or existing garments as conceptual tools

preceding the patternmaking process. The importance of other forms of communication between the designer

and patternmaker should not be underestimated. Regardless of the type of patternmaking practice,

verbal conversations probably play a significant role in assisting the patternmaker to interpret the designer’s

idea.