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 About the Author advocates for women’s rights in maternal how much I would love to teach—thank you for recognizing this in me! I
Laura Volpintesta was born in Mexico City had always dreamed of working in a “fashion laboratory.” You made this
healthcare, and spends the majority of
a reality. Pamela Trought-Klein, for your mentoring. Sistamama Kristie
and raised in Bethel, Connecticut, complet- her time writing, researching, and teaching Liotta, for your constant support, tea, passion, and affirmation.
ing her BFA at Parsons School of Design, from home. Pastor Jackson et al, for the year’s journey of prayer, hope, and
NYC, in 1995 with one amazing year in Paris encouragement. Gabby Bernstein for miracles (like this project), Marie
ACKNOWLEDGMENTS Forleo for supporting women like me in business. Bethel Homeschool-
surrounded by French couture, Japanese I never could have imagined the depth, breadth, and scope of the ing Meetup Group for reminding me I’m a mom first and keeping me
avant-garde, and African prints and tailoring. journey that this project has taken me on. When I started working on surrounded and inspired.
Born to gringo parents (in Mexico City) it, I created one little folder on my desktop called “dream” because I For every designer who contributed, and I lament that I couldn’t
didn’t want to forget, as the subfolders multiplied a hundredfold, that include every piece that I wanted. Thank you to every inspired and
and Italian immigrant grandparents, she has all of this work was truly born of a crazy, massive dream that brought beautiful student, past and future, who shared their dream with me over
always been curious about cultural cross- me to Parsons to study fashion design in the first place. Embarking fifteen weeks, I carry each one of you deep in my heart for sharing your
pollination as well as the immigrant experi- on this research created a single line of continuity from the deep love first steps, fears, beauty, and dreams, with me. To designers with coura-
of an aspiring young woman of twenty with that of a mother of three, geous hearts that bring about change through a vision with love. Thank
ence while growing up. Her parents’ love of accomplished teacher and artist/artisan at forty, connecting the dots you to Brazilian, African, Jazz, and Gospel artists who have fed my soul
classical, contemporary, and folkloric world in between. with your gifts. Thank you, dear God, for my gifts and the opportunities
music, literature, languages, and painting Thank you American Elle magazine, 1985–1995, (including Azzedine to use them and mothers and aunties everywhere, who quietly make
Alaia, Issey Miyake, Jean Paul Gaultier, Martin Margiela, Gilles Bensi- their ways to keep their families afloat, straddling family and work to
culminated in her landing at Parsons New mon, Irving Penn, and all others inside). You taught me the Language of care for their children, thank you. That fashion may remember to serve
York City in 1991. Fashion. Thank you, Grandma Angelina Serpe Volpintesta, for my first you in every way, more each day, including Mother Earth.
In 1997, leaving New York after a season subscription and never-ending love and support. Your love is woven into
the pages of this book. COLOPHON
at Old Navy and setting up her private Thank you, Mom and Howard, for always believing in me and The Language of Fashion Design was designed and typeset
studio alongside CT’s Brazilian commu- supporting me physically and emotionally, day to day, as needed, and for by Poulin + Morris Inc., New York, New York. Digital type
helping me to birth every one of my babies, including this one. Mom and composition, page layouts, and type design were originated
nity, which influenced her greatly, she was
Aunts Mary, Susan, and Maureen, who are each unique fashion icons, on Apple iMac computers, utilizing Adobe InDesign CS5.5, Version
invited by Marie Essex to teach patternmak- mothers, and artists like my grandma, Ines Tango Casey, each one of 7.5.3 software.
ing, draping, and construction methods in them. The text of the book was set in Verlag and Archer, two typefaces
Thank you, Dad and Nami, for your constant support of my dreams, designed and produced by Hoefler & Frere-Jones, New York, New York.
Parsons’ BFA program. Teaching illustration
and for sending me to Paris in spite of everything. Thank you Rob, Erin,
and concept-development classes part time Emily, Farrah, Rosie, Rocco. Bonnie, for your huge heart and visionary
turned into a full-time faculty position while community. David, Leila, Andy and Michelle, You are my family and my
freelancing as a sketch artist and technical inspiration.
My biggest inspirations: My children, Lua and Lorenzo ... as if having
designer/samplemaker in NYC’s garment little Angelina Volpintesta II come along wasn’t enough, and then comes
center at various design houses. this book! No one can quite imagine how patient you were, how intense
She has enthusiastically taught fashion the deadlines were, how many meals and dishes and toddler messes had
to pile up while I burned the day and midnight oil. Still, I’m so thankful
illustration, portfolio development, model that I was able to write it in your precious presence. Clara Domingas,
drawing, and concept development to over a Dinna Soliman, Eva Leticia Padilla, Silvia Merlin Lucente, Maria Jose 220
thousand international students from begin- Palmeira, Taty Tokas, Michele Nascimento-Kettner, Christianne Leite,
Kathy Maggio, Doo Ri Chung, Fernanda Yamamoto, Maria Bassaro-
ner to graduating level. In 2008, she created Delcampe, Emma “Mimi” Tetteh, and Joni Stone, women each with their
Parsons’ first entirely online fashion design own arts, songs, and stories tied into mine in a special, inextricable way.
221

studio course, which still runs today. Alexandrino DuCarmo, Ronaldo Fraga (whom I’ve never met yet), and
Dona Nene Maria da Paixao Texeira in Belo Horizonte, Minas Gerais,
She now resides in Connecticut where Brazil, for helping me to experience high art in such pure forms.
she homeschools her three children and is Thank you Emily Potts, my editor, for inviting me repeatedly and
the founder of FashionIllustrationTribe.com, guiding me gently on this project that became a total revival and
redirection to my research and career in the world of fashion. Betsy
a growing online fashion design education Gammons, and Cora Hawks at Rockport Publishers, thank you for your
and research community. utmost patience, support, organization, and good cheer!
Also a doula and singer, she records The late Marie Essex for giving me the amazing freedom and sat-
isfaction that comes from sharing my gifts through teaching. You knew
and performs with jazz and Brazilian artists,

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 A collection, 208–215 E
t h e l a n g u a g e o f fa s h i o n d e s i g n

Adell, Manel, 179 color, 12–19, 142, 144 Elfassy, Eran, 99

Aganovish, Nana, 96, 122 color blocking, 54, 57, 58 embellishment, 168–175
Akaba, Edwin, 129 color wheel, 16 emotion, 13, 15, 17
Alaïa, Azzedine, 80, 103 complementary colors, 16 Escoté, María, 167, 205
Alcaide, Almudena, 82 Conde, Eva Soto, 113, 145
Almodóvar, Pedro, 15 construction, 60–67, 96, 139 F
Alvarez, Catalina, 89 contrast, 154–159 fabric, 21–22
Arora, Manish, 186–187, 212 Costa, Fabio, 136 fabric blocking, 54, 59
Arzuaga, Amaya, 67, 107 Costa, Francisco, 22, 26, 64 Fernandez, Kina, 58
Assi, Alina, 34 Cota, Christian, 59 Fisherman, Maria Ke, 112
asymmetry, 116–123 croquis book, 18, 56 fit, 86
Folarin-Coker, Folake, 182
B D Fournie, Julien, 89
Balboa, Ana, 122 Dahan, Elisa, 99 Fraga, Ronaldo, 165
Basharatyan, Veronica, 24 Dalakian, Julia, 194 function, 84–91
Benz, Chris, 139 Dalmau, Custo, 139, 191, 199, 205
bias, 44–51 Daneshi, Dona, 48 G
Bisani, Anuradhaa, 57, 198 Davila, Sergio, 111 Gabriel, Christian, 130
black, 17 deconstruction, 92–99, 174 Gaultier, Jean Paul, 23, 81
block, 52–59 Dekker, Nikki, 90 Gauser, Dasha, 58
Blue, Lily, 143 de la Prada, Agatha Ruiz, 15, 50, 54, 145 Gelot, Stephanie, 137
Borelli, Anne, 32, 210 Del Pozo, Jesus, 32 Gendler, Eleonora, 112, 207
Bowen, Anne, 106 Desigual, 179 Gilbey, Roxane, 40
Braddock, Greta, 189 de Souza, Victor, 130 Girotto, Karlla, 38
Broach, Zowie, 30 Devota, Luis, 212 Gn, Andrew, 43
direction, 160–167 Golets, Elena, 24
C Dolce and Gabbana, 150 gray, 17
Cahill, Leah, 153 Dolenko, Natalia, 19 Gregorina, Ines Zrnc, 65
Calter, Corey Lynn, 82, 166 Dolmat, Hatta, 74 Grès, Alix, 103
Calvin Klein, 64 drape, 68–75 Gurung, Prabal, 118, 172
Capeto, Isabela, 158, 203
Chee, Cheryl, 138
Cibani, Tia, 165

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 index
H L motif, 15, 180, 183, 200–207
Hackett, James, 196 Lamothe, Martin, 164 movement, 192–199
Halston, 48 language, 6, 8, 11 Mugler, Thierry, 26, 78
Helbig, Teresa, 131 Laroche, Guy, 104 Muñoz, Aitor, 182
Heloise, Jacqueline, 83, 180 Lars, Byron, 26, 71 Muñoz, Inaki, 182
Herchcovitch, Alexandre, 66 layer, 41, 132–139 Murt, Sita, 207
Herrera, Carolina, 62, 167, 173 Lemoniez, Fernando, 42
high-low fashion, 23, 99, 139 Leo, Lionel, 121 N
Hilfiger, Tommy, 27, 150, 164 Leo, Tina Tan, 121 negative shape, 100–107
Hill, Alannah, 183 Leonovich, Katya, 97, 106, 119, 190 Nkosi, Nkhensani, 213
Hinestroza, Mariana, 89 Lhuillier, Monique, 47 Nneji, Uche, 26
line, 36–43 Norsoyan, Lyudmila, 188
I line drawings, 42–43
inspiration boards, 19 line weight, 41, 42 O
Ivan, Tandaric, 115 Liptawattana, Nissara, 41 Obradovic, Marina, 51
Locking, Ana, 158, 195 Ohara, Hall, 35
J Lomba, Devota y, 27 Okwuboyejo, Adeniyi, 41
Jabour, Juliana, 65 Oliva, Juanjo, 183
Jacobs, Marc, 49 M Olowu, Duro, 49, 128, 157
Jain, Amrit, 17, 148 Madrileña scene, 15
James, Charles, 96 Magalhães, Ana, 49 P
Johnson, Betsey, 31, 88 Margiela, Martin, 94, 97 Pakdisuk, Chamnan, 33
Matilde Cano Bridal, 198 Parfionova, Tatiana, 75, 207
K McCardell, Claire, 42, 48, 51, 163 pastel tones, 17
Kawakubo, Rei, 95, 97 McCartney, Stella, 87 pattern, 35, 142, 147–148, 162, 176–183
Kelly, Patrick, 170–171 McQueen, Alexander, 26 pattern shapes, 22, 24–26
Khan, Naeem Rei, 43 Meyer, Thomas, 179 Perezutti, Gabriela, 98
Kirby, Brian, 30 Miele, Carlos, 79 planned obsoletion, 17, 19
Klûk, Malcolm, 130 Miller, Nicole, 180 Popouks, Iggy Giorgos, 159
Kokosolaki, Sophia, 137 Minkoff, Rebecca, 214 Posen, Zac, 151
Koma, David, 14 Miyake, Issey, 134–135 primary colors, 16
Koo, Cheryl, 104 Mongo, Carol, 102 print, 146–153
Kritharioti, Celia, 129 Montesinos, Francis, 166 Pugh, Gareth, 66
Moo, Melissa, 86

222
223

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 R T W
t h e l a n g u a g e o f fa s h i o n d e s i g n

Reese, Tracy, 55, 175 Tan-Leo, Tina, 26 Wang, Vera, 39

repetition, 205 Tayama, Asturo, 91 Watanabe, Junya, 95
Rhodes, Zandra, 96–97, 127 Taylor, Brooke, 96 Weremczuk, Arkadius, 199
Ricci, Nina, 128 tertiary colors, 16 Westwood, Vivienne, 96
Robustella, Krizia, 181 texture, 35, 140–145 white, 16–17
Rossignol, Caroline, 129, 215 Tfank, Barbara, 25 Wilkins, Julie, 106
Rykiel, Sonia, 23, 97 tints, 17 written language, 8
Tlale, David, 64, 197
S Toi, Zang, 70, 174 Y
Sanchez, Angel, 134 Toledo, Isabel, 10, 14, 62, 63 Yamamoto, Fernanda, 152
Sant’anna, Marcella, 105 Toledo, Ruben, 63 Yee, Ann, 181
Saufi, Tom Abang, 121 tones, 17 Yosawadee and Busardi, 72
seams, 29–30 transparency, 18, 19, 124–131 Young, Bonnie, 98
secondary colors, 16 trends, 19
Sekulijica, Aleksander, 115 Triumph, 91 Z
shades, 17 true grain, 161–162 Zaitsev, Slava, 114
shape, 20–27 Zajar, Hernan, 16
negative, 100–107 V Zilberman, Maayan, 90
silhouette, 20–22, 27–35 Vela, Celia, 51, 186 Zoe, Rachel, 57
sheer fabrics, 125–126, 129–131 verbal language, 8
Shoji, Tadashi, 170 Verdu, Joaquin, 206
silhouette, 20–22, 27–35 Verino, Roberto, 126
Simonelli, Patrizia, 105 viewer, 8, 14
Siriphon, Wuthigrai, 144 Villaventura, Lino, 17
slopers, 22, 24 Vionnet, Madeleine, 48
Sorakraikitikul, Disaya, 156 Virgen, Paulina, 18, 56
Stern, Kati, 46 Volpintesta, Laura, 19, 105, 144, 153, 178
straight grain, 45–46, 48, 49, 50 volume, 76–83
Sui, Anna, 162, 211 von Furstenberg, Diane, 149
surface, 184–191
sustainable fashion, 19, 91
Swarovski, Atelier, 118
symmetry, 108–115

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