Fashion Feasibility

Guide C-312
Revised past Nicole Lujan
College of Agricultural, Consumer and Environmental Sciences, New Mexico State University

Author: Extension Home Economist/4-H Agent, Sandoval County Extension Office, New Mexico State University. (Print Friendly PDF)

Selecting fashions that present y'all at your all-time is non difficult if you apply a few basic principles of pattern. Merely in guild to apply design principles correctly, you must know your effigy type. Which are you lot?

Illustrartion showing figure types.

Or, possibly both your peak and body blazon are average. Whatsoever your effigy type, the fashions y'all wear volition be flattering or unflattering depending on their designs.

To help y'all select the designs best suited for your figure type, consider the following blueprint principles.

Line

The wise choice of line in style design can create optical illusions to flatter your advent.

Line in mode is seen in garment details and in the garment silhouette. Details include seamlines and garment features such equally pockets, collars, belts, and openings. Silhouette refers to the shape of the garment. A silhouette in way is dependant on the design of the garment and the textile used. Both the detail lines and the silhouette influence the optical illusion created when a garment is worn.

Look at these examples of optical illusion:

Illustration showing vertical and horizontal lines are the same length.

Would you believe the vertical lines are the aforementioned length? The horizontal lines are the same length also. The eye follows each line until it meets a line that turns downwardly or upward. The lines look shorter when lines turn downward and longer when lines proceed upward.

Illustration of rectangles. Vertical or horizontal lines creates an illusion of varied sizes.

Now, look at the rectangles. The iv rectangles are the aforementioned size, but the use of a vertical or horizontal line within each rectangle creates an illusion of varied size. When two or more vertical or horizontal lines are used, the spacing betwixt the lines will affect the illusion created.

Illustration of vertical lines that carry the eye up the figure without interruption will give a taller, more slender illusion.

Generally, vertical lines that carry the eye up the figure without interruption will give a taller, more slender illusion. Lines that end the eye from traveling upward by moving the center from side to side or back down volition create a shorter and heavier illusion.

Consider these examples:

Female dress figure with single vertical line. Female dress figure with Y-shaped lines. Female dress figure with single horizontal line at the figures waist. Female dress figure with two vertical lines spaced close together.
The unmarried vertical line moves the eye upwardly, with null to interrupt its motion. The magic "Y" creates a feeling of height as the eye is guided upward, with nothing to impede its vertical motion. The longer your middle tin can travel upwards without existence interrupted past a horizontal line, the taller the figure volition appear. 2 vertical lines spaced close together form a narrow panel that moves the eye up the figure.
Female dress figure with a T-shaped vertical line. The horizontal line is at the waist. Female dress figure with vertical arrow shaped lines. Female dress figure with a single horizontal line located near the base of the dress. Female dress figure with two vertical lines spaced far apart.
A vertical illusion becomes a horizontal illusion when a vertical line is topped with a horizontal line, causing the centre to move from side to side. A vertical line suddenly appears shorter when the eye is forced downward. The sooner the eye encounters a horizontal line, the shorter the effigy volition appear. Two vertical lines spaced far apart grade iii wide panels that motility the middle across the effigy.

Colour

Colour is i of the beginning things people detect about vesture. The use of color can create illusions of the figure size in the same manner line does. Select colors based on your complexionS—hair, skin, eyes—as well equally your effigy size.

Colors should complement your complexion. A complexion that tends to be sallow (yellow tones) should article of clothing colors that bring out the pinkish/red tones of the pare. A complexion that is florid (cherry-red/blue tones) should avert colors that emphasize the redness of the skin.

Matching color to complexion is a very personal matter. Old adages like "redheads should never wear pink" are not e'er valid. Careful selection of the value and intensity of a color, its placement, and the complements used with the colour tin can allow almost everyone to employ it.

Colors are classified every bit warm (reds, yellows, and oranges) or absurd (blues and greens). Warm colors tend to create an illusion of greater size. Cool colors tend to create an illusion of reduced size.

The brightness or dullness and the lightness or darkness of colors also affect the illusion created. Dull and dark colors seem to recede and make the figure appear smaller. Brilliant and light colors have the reverse effect.

In addition to these general characteristics of colors, how they are used volition also influence the illusion created. Contrasting colors in tops and bottoms create a horizontal line where they meet and tend to shorten the figure. A single-color outfit gives a vertical feeling and creates an illusion of height and slimness.

When several colors are used in a single outfit, the corporeality, placement, and dissimilarity between the colors used will determine the effect. If the color is printed in the material design, the size of the design, as well as the colors used, must be considered. Mostly, the size of print should be selected in relation to your figure size: small-scale figures look best in fabrics with modest designs, while big figures look all-time in fabrics with large designs. These guidelines are particularly truthful if the colors are bright and dissimilarity strongly.

Texture

Because garments have combined design elements of texture, color, and line, each must be selected in relation to your effigy and how they affect each of the other elements. The effects of texture in fashion influence how colors appear and how design lines function.

Texture describes the body and surface of cloth. Textures may be rough or polish, coarse or fine, crisp or clingy, soft or stiff, thin or bulky, opaque or sheer, shiny or dull, heavy or light, or whatsoever combination of these characteristics. Because textures take many characteristics, they tin raise or detract from a garment's design. They also affect the illusions of size and shape of the figure.

Here are some general guidelines for selecting appropriate textures for garments:

  • Soft or clingy textures reveal the effigy and emphasize figure irregularities.
  • Potent or crisp textures stand abroad from the torso and hide figure irregularities. Very stiff fabrics announced to add weight and dwarf pocket-sized figures. Moderately stiff fabrics are expert on nearly figures.
  • Bulky textures seem to add book to the figure. Minor figures are overpowered by these textures, just they are good for tall, slender figures. They tin can be used to balance an irregular effigy. Case: Bulky sweater for figure with small bust and full hips.
  • Tedious finishes blot light and by and large make the effigy await smaller. They are suitable for all figures.
  • Shiny fabrics make the figure appear larger and reveal figure irregularities. Shiny fabrics are all-time for average to slim figures that have regular proportions.
  • Coarse or rough fabrics are expert choices for boilerplate to slim figures. They add book to large figures and overpower small figures.
  • Smoothen (not shiny) fabrics hibernate effigy irregularities and are attractive on most effigy types.

Tips on Selecting Fashions For Yous

Almost women have special figure problems that they want to de-emphasize. The post-obit suggestions are designed to aid you lot select fashions that volition mostly cover-up issues and flatter your effigy.

To look shorter or heavier select:

Photo of model wearing beige and blue dolman sleeved knit top and shiny blue trouser pants.

  • Details extending across the silhouette
  • Bulky, bunchy silhouette lines
  • Curved rather than straight lines
  • Crosswise blueprint lines
  • Horizontally striped fabrics
  • Short, broken vertical lines • Short diagonal lines
  • Combinations of vertical and horizontal lines, equally in a plaid cloth
  • Total, horizontal drapery beyond the bustline or hipline
  • Soft fullness
  • Bloused waistline
  • Flaring or contrasting cuffs and collars
  • Wide, bulky collars
  • Capes
  • Separates, two piece effects, overblouses
  • Flounces
  • Yokes and insets
  • Patch pockets
  • Off-the-shoulder furnishings
  • Wide belts and cummerbunds
  • Dolman sleeves
  • Long, total sleeves
  • Wide, flowing sleeves
  • Three-quarter sleeves
  • Gathered, pleated, and flared skirts
  • Short skirts
  • Curt coats
  • Long jackets
  • Double-breasted styles
  • Peplums and tunics

To look taller or thinner select:

Photo of model wearing red scoop-neck knee length dress with white vertical piping detail.

  • Details within the silhouette
  • Straight rather than curved lines
  • Long, vertical lines, peculiarly near eye of figure
  • Vertically striped fabrics
  • Elementary, uncluttered lines
  • Long diagonal lines
  • Slim, shine silhouette lines
  • Narrow panels or gores
  • Narrow, standing collars
  • Loftier necklines
  • Long, narrow, pointed collars
  • Long, narrow 5- or U-necklines
  • Narrow vest openings
  • Narrow belts, preferably to friction match garment
  • Long, straight sleeves
  • Raglan sleeves
  • Sleeveless garments
  • Decoration loftier on the shoulder or near the neck
  • Slim skirts
  • Skirts equally long as possible to be fashionable
  • Boleros or curt jackets
  • Full-length coats
  • Coat with button-down-the-front fashion
  • Princess lines and beltless 1 piece dresses

To make your curt waist look longer select:

Photo of model wearing gray plaid-printed, V-neck, sleeveless knee-length dress.

  • V-necklines
  • Center front closing with collarless neckline
  • Narrow center console in bodice
  • Long trunk lines
  • Overblouses
  • Short skirts (inside fashion limits)
  • Narrow or no chugalug

To brand your long waist seem shorter select:

Photo of model wearing a wide belted blouse and sweater combo with gray trouser pants.

  • Broad belts and cummerbunds
  • Vertical lines in skirts
  • Wide midriffs
  • Skirts as long as possible to exist fashionable
  • Shoulder yokes
  • Boleros and short jackets
  • Raised waistlines

To conceal a flat chest select:

Photo of model wearing coral, bust-detailed bow blouse, gray suit jacket, and wide-leg trouser pants.

  • Soft front fullness (gathers, pleats, frills)
  • Large collars
  • Bows at the cervix
  • Circular, soft details, such as in collars
  • Cowl necklines
  • Bolero jackets
  • Capes
  • Pockets and pocket flaps at bustline
  • Full sleeves
  • Cuffs on sleeves adjacent to the bust line

To conceal a big bust select:

  • Soft front fullness, either above or below the bustline
  • Jabot or soft total tie at the neck line
  • Softly draped bodices
  • Lines to broaden shoulders
  • Boxy jackets
  • Full skirts
  • Soft flare in skirts
  • Details in skirts

To brand narrow hips seem wider select:

  • Wide center console in skirts
  • Hip yokes
  • Pleated skirts, especially with wide pleats
  • Skirts with side pall, especially at hips
  • Wide or contrasting sleeve cuffs at hipline
  • Side-pleated skirts
  • Gathered skirts
  • Circular skirts
  • Large patch pockets, especially toward side of skirt

To make broad hips or big thighs seem more narrow select:

  • Soft fullness or gores in skirt
  • Narrow middle panels (attracts eye away from silhouette)
  • Widening effect at the waistline
  • Shallow brim yokes
  • Loose, brusque jackets
  • Bodice emphasis at the shoulders

To hide a swayback select:

Photo of model wearing a printed, necktie, A-line dress with a black sweater overlay.

  • Straight-line jackets
  • Short jackets ending beneath the waistline
  • Gathered skirts
  • Belts buckled at the back
  • Bloused bodices
  • Capes
  • Peplums
  • Crushed belts or cummerbunds
  • Lengthened, loose bodices

To hide a prominent abdomen select:

  • Details away from the center front
  • Styles without belts
  • Bodices with easy gathers at the waistline
  • String belts that tie to the side of the tum
  • Details above waistline
  • Overblouses
  • Dresses with a side-wrap
  • Narrow, self-fabric belts

To conceal round shoulders select:

  • Slightly bloused backs
  • Blouse gathered at waistline
  • Pocket-sized collars
  • Semi-fitted jackets
  • Bolero jackets
  • Fix-in sleeves

To make your broad shoulders seem more narrow select:

Photo of model wearing printed kimono-sleeved knee-length dress.

  • Oval or V-necklines
  • Narrow collars and lapels
  • Raglan sleeves
  • Kimono sleeves
  • Flared peplums
  • Horizontal lines in skirts
  • Total skirts

To make your narrow shoulders seem wider select:

Photo of model wearing a horizonatally striped long-sleeve button-up with a high-waisted pencil skirt.

  • Horizontal lines at breast
  • Shoulder yokes
  • Wide, cape-like collars
  • High pockets
  • Wide lapels
  • Diagonal lines to tip of shoulders
  • Bateau necklines

To brand a brusque, plump neck appear longer select:

  • Narrow, deep V-necklines
  • Narrow, flat, and pointed collars
  • Cardigan styles
  • Low necklines

To make a long, skinny neck appear shorter select:

Photo of model wearing loosefitted button-up jacket, scarf, and light wash skinny jeans.

  • Curved, high necklines
  • Standup collars
  • Soft, full, or deep collars
  • Scarves and ascots
  • Ruffled jabots

If you lot have a square confront select:

Photo of model wearing three-quarter sleeve round neckline knit T-shirt and belted blue straight leg pants.

  • Five-necklines
  • Deep, oval necklines
  • Sweetheart necklines
  • Soft, rounded collars

If you have a triangular face up select:

  • High, square, or circular necklines
  • High, draped necklines

If you have a long confront select:

  • High, round necklines
  • Softly rounded collars
  • High, rolled collars
  • Bows, scarves, and ascots

If you take a circular face up select:

  • Narrow, deep V-necklines
  • Narrow lapels
  • Small-scale, pointed collars
  • Low necklines
  • Long, narrow collars

Original author: Susan Wright, Extension Habiliment and Textiles Specialist

All photographs of models ©Andrey Atmyagov/Dreamstime.com. Used with permission.

Photo and bio of Nicole Lujan. Nicole Lujan is the Home Economist/4-H agent for Sandoval County. She earned her B.S. in family and consumer sciences, clothing, textiles, and fashion, merchandising and her M.A. in agricultural and Extension education from New Mexico State University. Her Extension goals are to educate youth and adults to make positive changes in their everyday lives.

To detect more resources for your business, home, or family unit, visit the College of Agronomical, Consumer and Environmental Sciences on the Globe Wide Web at aces.nmsu.edu

Contents of publications may be freely reproduced for educational purposes. All other rights reserved. For permission to use publications for other purposes, contact pubs@nmsu.edu or the authors listed on the publication.

New United mexican states State University is an equal opportunity/affirmative activity employer and educator. NMSU and the U.South. Department of Agriculture cooperating.

June 2013, Las Cruces, NM