When you portray a human body it is necessary to remember that you are depicting something that is alive, and in the specific case of fashion design, it is fundamental to observe closely the typical movements which characterize the poses adopted by the models. They are movements which are supple, trim and nimble. The fashion model walks in a way that is absolutely unique, turns and swings her hips in a wonderful way, stops and poses in ways which defy gravity.
The reaction to the gait of a professional fashion model is one of amazement and captivation in the face of so much charm and elegance.
Let us seek to understand together how to capture with a few lines in a drawing these exceptionally flexible and dynamic movements.
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In each instance rotation and counter-rotation of the upper body will be analysed, identifying the rhythmic structure and proportions of every pose.
It has to be lively in expression, freshly drawn, dynamic in movement, elegant in the pose and portrayed in the positions which are in keeping with the type of clothing chosen. Try not to draw a fashion plate in a pose which is too static or too realistic, the result will be wooden, artificial and not in keeping with the ephemeral and joyous language of the fashion world.
It is also advisable not to portray the fashion plate in positions which block the interpretation of the model. Remember that the body of the model acts as the basis for the item of clothing, but it must not dominate, cover or distort it; it must rather facilitate the legibility of the cut and of the details, accompanying the pattern in its shape, assuming dynamic poses to emphasize spaciousness, sophisticated and sober poses to underline a more rigorous cut and more relaxed poses for a younger one.
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To make a figure come alive, it is not enough to have a perfect knowledge of anatomy, a copy which is too faithful can harm the image, making it cold and impersonal. It is important, by contrast, to be able to catch the correct position with a few strokes and to distribute bodily weight, signalling inside and outside of the body planes of incidence, lines of comparison, angles and perpendicular lines so that it is possible to reproduce the pose of the model in the most faithful way possible. First of all it is necessary to locate the key line, or put another way the rhythmic structure, which is inherent in every pose. This line can vary enormously, as every figure has its own fundamental rhythm.
First and foremost you should sketch a line in the upper body, passing through the hollow of the neck, the sternum, the navel and the pubic region, which then descends to the ground following the leg, which functions as a support for the body.
In a static figure viewed from the front, the rhythmic structure corresponds to the line which describes the height of the figure.
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To understand how the weight of the various parts of the body is distributed, sketch the rhythmic structure, reduce the body to a skeleton and visualize schematically the principal structures, namely the line of the shoulders, waist, hips and finally the segments which indicate the position and length of the limbs, marking the joints with small circles.
Then, as the second phase of this procedure, draw on top of the structural skeleton the broad sketch of the figure determining the areas of the body, outlines and the dimensions of the hair,
Proceed then to a more detailed analysis of the various anatomical features with a view to reproducing faithfully or almost faithfully the subject under scrutiny.
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Only intensify those that are right for the visualization of the outline, eliminating the others that do not form an integral part of your study. Finally, on a sheet of tracing paper, draw the figure only in outline, removing all the pencil strokes, lines and segments that you have drawn to characterize perfectly every aspect of the body.
From left to right: Location of the key line or rhythm. Construction of the skeletal structure in outline, sketching the line of the shoulders, of the waist and of the lups.
As in all disciplines, there are also rules that should be followed in drawing to reproduce any subject or composition correctly. One of these rules, probably the most important, is the notion of positive and negative space. The space surrounding the figure is negative, whilst the space that the body occupies in a given area is positive. In every respect it is essential to consider a negative area as positive to achieve the correct reproduction of the given subject.
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The visual field around the figure is only negative in appearance. In reality it is a complex structure composed of dynamic forces, tensions, balances, proportional comparisons and depths of perspective.
Let us analyse a figure according to these rules with a view to reproducing it accurately in terms of proportions and position. The use of tracing paper is advised to visualize all of the lines of construction directly over the subject, in order then to proceed to drawing freehand.
From left to right: Structural diagram with robot-like figure. The upper and lower limbs assume various positions fashion plate drawn in outlineThere are various ways of stylizing a figure, and one of them is to elongate the height of the model by one or two units of measure.
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As you will see in the two diagrams, the proportions have remained unchanged in every instance, that is to say that the anatomy of the figure has remained the same while the length of the limbs and principal parts of the body has been modified.
The diagram above has been elongated by one and a half units of measure and the one on the page opposite has been raised by two.
The head has more or less the same dimensions, the shoulders are slightly broader in relation to the pelvis, the neck has been slightly elongated. The chest has also been broadened while the pelvic region has been shortened, thereby raising the pubic region.
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The waist has been reduced in size, the limbs have been elongated, maintaining proportions with the upper body. The feet obviously follow the extension of the body in length.
Here below, the pose has been rendered even more abstract, reducing the figure to a few essential lines which exaggerate the structure.
Another system for obtaining a convincing fashion plate is that of reducing a real figure without making it any taller, leaving almost unaltered its basic proportions.
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The diagram clearly shows the variations that we have intro duced. We have made the waist thinner as well as the flank, the pubic region has been raised, the legs and arms are equally long but have been made thinner, the neck is slimmer, while the head and the feet remain unchanged from their original size.
Now that we have established the correct basis for designing a fashion plate, let us analyse in detail the errors that can be made when it comes to personal interpretation
It is opportune m this respect to keep a file of poses used by professional fashion designers; this will be extremely useful for copy-practice and for examples of interpretation.
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When the legs are too long in comparison with the rest of the body it is difficult to make out exactly the height of the head. An upper body that is short or narrow impedes the clarity of the line.
When the neck is loo long and the head is too small in comparison with the rest of the body, a giraffelike effect results.
Large and clumsy feet burden a figure, but if you still want to draw them, confine them to the casual style only.
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Poses that are too static, relaxed or generic make the fashion plate wooden and dull. Artistic techniques that are too illustrative are of no use in the planning stage, even if they are pleasing in the execution. Remember that you are fashion designers and not illustrators, therefore your task is to conceive of the collection in considerable detail and as quickly as possible.
Suggest that you use only a few key poses and that you transform them as we show you in this chapter's illustrations. Take a simple and striking fashion pose, such as the one in the diagram.
Often a fashion designer when he is setting out thinks that he has to Commit to memory so many positions that he can use for his projects, and this creates in some people a real crisis of memory. To simplify the initial work we
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Keeping the upper body fixed, move only the arms and legs of the model. If you want to you can move the head: you will obtain from a single position various fashion plates portrayed in different positions.
Using this technique of multiple poses with a fixed upper body, you will obtain various fashion plates from a few basic original positions.is no longer supporting older versions of your web browser in order to ensure that user data remains secure. Please update to the latest version.
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