The golden ratio is derived from the Fibonacci series, which is a series of numbers whereby each new number results from adding the two previous numbers. For example, in the following list of numbers:
0, 1, 1, 2, 3, 5, 8, 13, 21, 34, the sum of 3 + 5 is 8, the sum of 5 + 8 is 13, and the sum of 8 + 13 is 21 (Ericson, 2009, pp. 37–41). The principle is achieved by calculating the ratio between any two sequential numbers in the Fibonacci series. Select a number from the series and divide it by the number before it. The resulting decimal figure will always be close to 1.618 or roughly three parts to five parts.
A spiral is created when the Fibonacci sequence is visualized as squares on a grid. The sides of each square on the grid correspond with a Fibonacci number and the spiral is created by drawing arcs connecting the opposite corners of each square. This spiral is found repeatedly in nature, as in the distribution of seeds of a sunflower, the growth pattern of a pine cone, or the expanding curve of a nautilus shell, and it can also have interesting applications in fashion design. For example, the width of a flounce on a skirt could increase proportionately as it winds around the body.
A C T I V I T Y
1.4
Don’t hesitate to look to other disciplines, such as science and math, for inspiration.
How will you interpret this graceful curve in your fashion designs?
Basic mathematical formulas are discovered in familiar rhythms found in nature. The Fibonacci sequence is revealed in the growth of the nautilus shell, the scales of a pineapple, and the florets of a flower, and it can also be the impetus for the flowering of a fashion design.
© iStockphoto.com/
Michael Siu continued on page 30
Select the sunflower, pine cone, nautilus shell, butterfly, or another article from nature. Take a close look at how the Fibonacci sequence is characterized. Make use of the thumbnails below to sketch series of designs inspired by these natural arrangements and the golden ratio and/or spiral.
Sketches
A C T I V I T Y
1.4
continued from page 29
Common terms used to describe fabric texture include: crisp, dry, lofty, nubby, scratchy, smooth, silky, spongy, and rough. A fabric’s texture significantly influences its end use and should be considered prior beginning the design process.
shape
Shape refers to the form resultant from perceived boundaries external to or within a garment. Silhouette is used to describe a garment’s outer shape. Commonly encoun-tered garment silhouettes include: A-line, hourglass, wedge, and tube. Consistent shapes, created within a garment with style lines, trimming, and pattern pieces, such as pockets and collars, can contribute to an overall harmonious design.
Figure
1.13
How do the elements of design – line, color, shape, texture, and pattern – enhance the design of this creation by Alexander McQueen? Courtesy of WWD/Mauricio Miranda continued from page 28
patterns
Patterns are created by arranging shapes, lines, textures, prints, and/or design ele-ments. They can be scaled to be in proportion to the wearer and the shapes within a garment. Large prints are broken up and distorted by lots of seaming. Small prints are often used for children’s wear because they are compatible with a small body frame. In general, complicated prints complement simple shapes, and simple pat-terns are applied to garments with lots of seaming and detailing.
The principles of design are applications of the elements. They can be manipu-lated and combined to create unique and interesting fashions. Design principles include proportion, balance, emphasis, harmony, and repetition.
How can you apply the principles of design to make interesting and novel designs? Activity 1.5 asks you to investigate the individual principles.
proportion
Proportion refers to the scale of each of the garment’s elements in relation to each other, the garment as a whole, and to the body. Designers often modify proportions to achieve varying standards of beauty. The impact of proportion can be manipu-lated through the use of color, texture, and pattern. Pleasing proportions can be achieved by referring to the golden ratio.
balance
Balance is the distribution of visual weight within a garment. Every garment dis-plays one of two types of balance: formal (symmetrical) or informal (asymmetrical).
Formal balance can make a garment appear reserved and static because the entire composition is comprised of uniform, repeating units. Informal balance can create additional visual interest because a composition can contain a series of varied units.
emphasis
Emphasis refers to designating a focal point of a garment. A designer will emphasize certain aspects of design in an attempt to draw the eye to that location. All elements of the design should reinforce the chosen focal point. Too many focal points can confuse the viewer and make a design look busy and unprofessional. A design with no focal point can be uninteresting and lackluster.
harmony
Harmony and unity refer to the cohesion of all elements of a design. A harmonious design is one in which all component parts complement and reflect one another.
A garment is said to have unity when all elements and principles of design are in agreement.
repetition
Repetition refers to the frequency of use of a motif, a line, or an element in an apparel item. It can be used to create rhythm or movement within the garment. This rhythm can be either progressive or uniform. Progressive rhythm indicates grada-tion or sporadic variagrada-tion in size and/or placement of elements. Uniform rhythm is achieved through the exact repetition of a particular element. Care should be taken in the use of uniform rhythm as it can easily become monotonous.