Types of Necklines in Women's Clothing Part 2 - Collars, Revers & Lapels

A collar encircles the neck and frames the neck. Collars may be developed close to or away from the neckline. They may be wide, narrow, flat, or high and with or with out an attached stand. The collar edge may be stylized or may follow a basic shape. I t may be round, curved, scalloped, square or pointed in any direction. A collar is different from revers or lapels where, as it is made from a separate piece of fabric, rather than a folded or cut part of the same piece of fabric used for the main body of the garment. 

Types of Collar- Collars can be broadly categorized as:

• Standing or Standup- fitting up around the neck and not lying around the shoulders.
• Turnover- standing around the neck and then folded or rolled over.
• Flat or Falling- lying on the shoulders

Some specific collar styles include:

Basic Shirt collar- This collar is most commonly seen in formirts formal shirts for men.

Various parts of the collar are

1.  Collar Points - The tips of the collar.

2.  Collar Point Length – The distance from the Collar Points to where they meet the Collar Band.

3.  Collar Band- the piece of fabric that wraps around the neck.

4.  Collar Height- The height of a folded collar as it fits on the neck.

5.  Tie Space – The distance between the top of the folded collar parts when the shirt is buttoned.

6.  Spread – The distance between Collar Points.

Ascot collar- It is a very tall standing collar with the points turned up over the chin, to be worn with an Ascot tie.

Victorian Bertha collar- A Bertha collar is a wide, round, flat, cape-like collar fitted to a low scooping neckline, designed to accent a woman's shoulders. It has a long history stretching back to Victorian fashion. It can be worn as an accessory to a dress or a top, and it is sometimes removable like a shawl. It was adapted in the 1940s but generally attached to a V-neckline. Over the years, the Bertha collar, sometimes called a cape collar because of its size, has morphed into an actual cape. Often made of lace or with frilly accents, the cape collar can be easily removed to transition from day time to evening wear. It can also be worn as an accessory for many different outfits.Square collars and Peter Pan collars evolved from this trend.

Peter Pan collar- It is a is a flat, round-cornered clothing collar and is particularly associated with little girls' dresses..

Chelsea collar- A woman's collar for a low V-neckline, with a stand and long points, popular in the 1960s and 1970s.

Fichu Collar- It is an oversized collar. The collar employs a triangular piece draped over the shoulders and is styled like an 18th century fichu, a large neckerchief folded into a triangular shape and worn with the point in the back and the front corners tied over the chest.

Imperial/Poke collar- It is a stiff standing collar for men's formal wear, differentiated from other tall styles by the lack of tabs at the front.

Band collar- is a standing band-shaped collar that encircles the neck without a full turndown or a collar "cape". It can be any height or "stand", but is usually under 2" at the front, so as not to push up into the chin. Variations of the Band Collar are: Clerical Collar, Mandarin Collar and Cadet Collar.

Mandarin or Chinese collar- It is a short unfolded stand-up collar style on a shirt or jacket. Mandarin collars start at the neckline and typically rise vertically two to five centimeters.

Sailor collar- It is a collar with a deep V-neck in front, no stand, and a square back, based on traditional sailor's uniforms.


Jabot collar- It is a standing collar with a pleated, ruffled, or lace-trimmed frill down the front.

Collaret- A collaret is a collar provided with pleats or puckers.

A revers or rever is a garment or part of a garmeJacket lapels are the folded flaps of cloth on the front of a jacket or coat, and are most commonly found on formal clothing and suit jackets.nt that is reversed to display the lining or facing outside.

Lapels are the folded flaps of cloth on the front of a jacket or coat, and are most commonly found on formal clothing and suit jackets.

Types of Lapels-There are three basic forms of lapels: notched, peaked and shawl. 

• Notched lapels,also known as step lapels or step collar, are the most common, are usually seen on business suit jackets, sports jackets,blazers. They are sewn to collar at an angle, creating a step effect. A small notch is called a fishmouth.
• Peaked lapels, also known as pointed lapels, are more formal, and nearly always used on double breasted jackets or coats.
• Shawl lapels (or roll collars) are usually carried by dinner jackets. It is a continuous curve.
• Traditional Indian jackets, like Nehru jackets, Achkans or Sherwanis dont have lapels. Rather they have Chinese/Mandarin collars. This "Bandh Gale ka Coat" has been popular since the 1940s.

Types of Necklines in Women's Clothing Part 1

The neckline is the top edge of a garment that surrounds the neck, especially from the front view. Neckline also refers to the overall line between all the layers of clothing and the neck and shoulders of a person, ignoring the unseen undergarments.

Necklines can be grouped into categories according to their shape and where they cut across the body:

Polo or Turtle Neck

These are high, close-fitting collars that fold over and wrap around the neck itself. They are also called turtlenecks.They make the torso appear elongated, accentuate the bust and shorten the neck.They are most common for sweaters (also called jumpers) or jerseys. 

Polo neck shirt with collar.

Cowl Neckline

This is a loose fitting turnover collar (specially at the front) which hangs down.

Crew Neck or Jewel Neckline 

Its a round neckline that sits at the base of the neck and is also called the T-shirt neckline. This type of neckline is suggested for women with smaller chests.

Scoop Neckline

These have a curved U shape, with the arms of the U hanging on the shoulders. The depth of the U can vary, ranging from demure styles to plunging. This type of neckline works for most figures.

V-neckline

This is formed by two diagonal lines from the shoulders that meet on the chest creating a V shape. The depth of the V can vary, ranging from demure styles to plunging. This neckline lengthens the neck. A wide "V" makes shoulders look broader and a narrow "V" does the opposite. The surplice & portrait versions of this neckline  are alternatives. The V may also be truncated by a small bottom edge, forming a trapezoid.

Square Neckline

This is characterized by three linear edges, the bottom edge meeting the side edges at right angles. The bottom edge cuts across the figure horizontally and the side edges pass over the shoulders. A special case of this is the slot neckline, in which the side edges are very close (roughly the width of the collar-bone points), forming a narrow slot.

Deep or Plunging Neckline

This is a low necklines, in either V, U or square shape, that reveals various amounts of cleavage.

Boat Neckline (Bateau or Sabrina)

This neckline has a high, wide, slightly curved neckline that pass past the collarbones and hang on both shoulders. This neckline shows off the collar bones, makes the shoulders appear broader, accentuates the bust, gives roundness to the face, elongates the torso and shortens the appearance of the neck. It is also called Bateau neckline or Sabrina neckline. 

Portrait Neckline

It is a variation of the boat neck or off-the-shoulder.In this the fabric is folded in a shawl like manner, which frames the shoulders. It is suggested for short waisted women with well defined collar bones and fuller arms.

Off-the-shoulders

This is similar to boat neckline but is significantly lower, below the shoulders and collar bone. Usually these pass over the arms but, in the strapless neckline style, may pass under the arms. These necklines accentuate the shoulders and neck of the wearer. 

Strapless

As the name suggests, there are no straps. Here the fabric passes under the arms. This is suggested for women who are full figures, are petite or have an hourglass figure. Should be avoided bu women with smaller chests.

One-shoulder

This is an asymmetrical linear neckline that cuts across the torso diagonally, usually from one shoulder to under the other arm.

 

Halter Neckline

This is a sleeveless style which features a V-neck or scoop front neckline with straps which wrap around and connect at the nape of the neck and leaves the shoulders (and sometimes the back) bare. This is suggested for short waisted or broad shouldered women.

Sweetheart Neckline

This has a curved bottom edge over the bust line that is concave down and usually doubly scalloped to resemble the top half of a heart. The side edges often converge on the neck, similar to halter necklines. Sweetheart neckline accentuates the bosom. 

Queen Anne Neckline

This type of neckline has a high standing collar in the back and high sides that curve down in a low, open sweetheart-like neckline.

Keyhole Neckline

This is similar to halter neckline, but the converging diagonal lines meet in front of the neck, forming a "keyhole". More generally, this features a central hole, usually just below the collar bones. This neckline is seen infrequently.

Surplice Neckline

This neckline is sometimes thought of as a "faux wrap" style which creates a deep "V". It is similar to how a bathrobe's neckline is formed by one side of the garment overlapping the other. For a dress, the lower layer is usually sewn to the top layer just under the bust.

Silhouettes in Women's Apparel

A  silhouette in fashion terminology the overall shape of the garment. Shapes and silhouettes in fashion change over time. Many periods in  fashion even have a distinct silhouette that we automatically associate with the clothing of that decade or era. Most comm types of silhouettes are:

A-Line 

Th name 'A- Line' comes from the triangle (or "A" shape) between the narrow bodice and outer edges of the wide, ungathered skirt. The shape is a fitted chest and torso, however, the skirt is much less full. This creates a smoother, more flowing line from the torso to the floor, or an overall body shape like the letter "A." Suitable for a variety of fabrics, the A-line is versatile: It may or may not have a seam at the waist, which may be higher or lower than the natural waistline; and the close-fitting bodice may be strapless or have any type of neckline. A specialized variation of this cut is called the “princess” silhouette. Here, a single sheet of material is used to make the front of the dress from above the bust to the floor, creating a smooth flat shape at the front.This is great for short women because the seamlessness can give the illusion of height.

Ball Room 

Introduced by Queen Victoria, reimagined by Dior in the 1950s, and never long out of fashion, this is the most romantic of all bridal silhouettes. It features a small waist (natural or dropped) and a voluminous skirt with petticoats. This style of dress, associated with fairy tales, is most suited to a formal wedding setting. It terms of design, it is fitted in the chest and down the torso, and then flares at the waist into a very full, often multilayered, skirt. This style is flattering on almost any body type, but is especially flattering for petite women, or full-figured women. On a pear-shaped woman, the full skirt can do much to camouflage large hips.

Empire

After the French Revolution, Napoleon's wife Josephine popularized this neoclassical dress with a very high waist; the sheer materials she chose caused a sensation.This dress has a waist line which is raised to directly beneath the bust, with a skirt that may be straight, slightly flared, or even as wide as an A-line from the raised-waist down.The cropped bodice of the Empire style flatters the small-breasted woman but not a more buxom bride; the raised waist creates a long line, ideal for a petite bride. This dress is particularly recommended for women who do not have a defined waist, but is not recommended for women with a pronounced hourglass shape.

Sheath 

The sheath was popularized in the 1950s by Marilyn Monroe.This slyly constructed silhouette is used to refer to dresses that are form-fitting from the bust through the length of the thighs.This body-hugging profile is artfully sculpted with darts, tucks, and seams. The effect will differ depending on the weight and drape of the fabric. A great choice for a tall, slim-hipped woman, the sheath is equally becoming to a petite, slender bride. Avoid this style if you have wide hips but narrow shoulders.This is generally recommended for thin women who have gentle to no curves. Curvy, full-figured women or short women should avoid this silhouette because it hugs.

Trumpet or Mermaid 

A trumpet dress hugs the body at the top and through the hips but jets out into a fuller skirt at the bottom. This style is also referred to as mermaid.The mermaid silhouette is designed for women who have flattering curves that they want to accentuate. Because of its emphasis on leg and torso length, it is not recommended for women who are short.

Sources:

www.ehow.com

www.marthastewartweddings.com

Styling Features in Apparel

Silhouettes
Necklines
Collars
Waistlines and Waistbands
Sleeves
Cuffs
Yokes
Pleats
Pockets
Plackets

Principles of Design

• Unity/ Harmony

Unity is when all elements of design work together harmoniously to create a successful visual effect for a single concept, depicting a sense of completeness. Here all parts of a design are related in a regular, orderly arrangement to result in an overall pleasing visual. Unity may be achieved through:

1. Repetition- Repetition reemphasizes visual units, connecting parts and creating an area of attention.
2. Continuation-  Continuation means that something (a line, an edge, a curve, a direction) continues from one element to another. The viewer’s eye will follow the continuing line or edge smoothly from one element to other and the mind will group the elements because of this connection. Implied lines are one example of continuation.
3. Proximity- Proximity is based on grouping by closeness; the closer elements are to each other, the more likely we will see them as a group. It is one of the easiest ways to achieve unity.
4. Alignment - Alignment consists of arranging elements so that their edges are lined up. The common alignment allows the eye to group those elements together. A grid is often used to create unity through alignment, not just in a single design but also between related designs (the pages of a magazine or book, for example).

• Variety

Variety is the use of several elements of design to hold the viewer’s attention and to guide the viewer’s eye through the design. It could be thought of as a complement to unity and is needed to create visual interest. Without unity, an image is chaotic and "unreadable;" without variety it is dull and uninteresting. Good design is achieved through the balance of unity and variety; the elements need to be alike enough so we perceive them as belonging together and different enough to be interesting. 

• Emphasis /Focal Point

Emphasis id the quality that draws attention to a certain part of the design. It could be achieved through:

1. Contrast- Contrast of line, colour, texture or shape creates an emphasis on the design. Unusual shapes, lines, contrast colours arrest by the eye by virtue of their individuality.
2. Isolation
3. Placement- Emphasis may be achieved by placement of a focal point that draws one's attention, by leading the eye in the direction of the most important element on the garment.
4. Concentrating or Grouping-  Emphasis may be achieved by grouping of a certain design part in one area such as rows of stripes, tucks, gathers, ruffles, buttons or trim, etc.
5. Absence of focal point

• Balance

Balance is the distribution of elements across a design to achieve a visual equilibrium. It is the visual attribution of 'weight' from a central area to imply a sense of equilibrium. Large or bolder elements appear to be heavier while smaller elements appear lighter.

1. Symmetrical Balance - When the left and right (or upper and lower) halves of the garment are bilaterally symmetrical. The elements are placed in an even fashion in the design. These types of garments are least expensive for mass production, unlike others where every part of the garment has to be cut and handled differently.
2. Asymmetrical Balance -  When the left and right halves of the garment are not symmetrical.
3.  Radial Balance - When major parts of the garment design radiate from the central part of the garment, creating a sunburst.

• Proportion /Scale

Proportion refers to relative sizes or scale of the parts of the design. Garment designs should be related to the structure and proportion of the human body. The golden mean equations are used to produce garments that may be divided visually into 3:5, 5:8, 8:13 horizontal sections. This is because, the body proportions have 3/8 of total figure from the waist to top of the head and the remaining 5/8 of the body is from the waist to soles of the feet. A surprising aspect of proportion is the way ideal proportions can vary for the human body itself. Styles change in bodies as they do in clothing. Prior to the 16th century, for example, the female body ideally had large hips and belly. Only later was a small waistline stressed.

• Movement

Movement is the path the viewer’s eye takes through the design, often to focal areas. Such movement can be directed along lines edges, shape and color within the design.

• Rhythm/Pattern

Rhythm is used by repetition of one or more design elements to create a feeling of organized movement.When depicted in a visual, the design seems active. Pattern is the repetition of an object or symbol all over the design.Variety is essential to keep rhythm exciting and active, and moving the viewer around the design. Rhythm is broken when lines, trimmings, or fabric designs are not matched at the seams or at other construction points.  Fabric’s designs with widely placed motifs may lack rhythm. Rhythm could be depicted through:

1. Repetition- Rhythm 
could be achieved by repetition or regular repeats of motifs of design, shapes, buttons, tucks, pleats, laces, edgings, color, textures, fabric designs etc. This can be done with all parts having the same shaped edges.
2. Progression- Rhythm is also created by progression or by gradation. Gradation implies a gradual increase or decrease of similar design elements.The gradual changes provide continuity while giving a feeling of movement.Example: Colours can go from light to dark or textures from fine to coarse or vice versa,shapes may range from small to large, and lines may range from thin to thick.
3. Transition- Transition is a fluid rhythm created when a curved line leads the eye over an angle.The curved lines of transition cause the eye to change direction gradually rather than abruptly.Transitional lines and shapes sweep and glide over the figure in an undulating rhythm leading the eye gracefully and easily from one area or direction to another. It is found in dropped shoulder designs, puff sleeves and cap sleeves, etc.
4. Radiation- Rhythm by radiation creates a feeling of movement in different directions. This organized movement originates from a central point of gathers, folds, tucks, darts, pleats and lines. Direction of radiation may be in a similar or one direction, opposing direction or both the directions, several directions and all directions.
5. Continuous line movement- This type of rhythm is obtained by flowing lines of trims, bands of colour, fabric designs etc, which make the eye move in a continuous line.This movement also unifies the garment design bringing about harmony.

Elements of Design- Texture

Texture is the way a surface feels or is perceived to feel. Texture can be added to attract for repel interest to an element, depending on the pleasantness of the texture. Most textures have a natural feel but still seem to repeat a motif in some way. Regularly repeating a motif will result in a texture appearing as a pattern. 

Textures are of two types- 

Tactile texture (3D): The actual three-dimension feel of a surface that can be touched. Painter can use impasto to build peaks and create texture

Visual texture (2D): The illusion of the surfaces peaks and valleys, like the tree pictured. Any texture shown in a photo is a visual texture, meaning the paper is smooth no matter how rough the image perceives it to be.

In fashion, texture plays the role of surface quality of garments (how it looks and feels) - Roughness, smoothness, dullness, glossiness, stiffness, softness.

¡  Bulky fabrics

Add visual size (make one look bigger)

Can disguise a flaw

Can overpower a small person

¡  Smooth, flat textures

Make one look smaller

¡  Shiny textures

Make one look bigger, as they reflect light

¡  Dull Textures

Make one look smaller, as they absorb light

Elements of Design- Colour

Colour is one of the most powerful elements of design. There are basically two theories that explain how colors work and interact. The light, or additive theory deals with radiated and filtered light. This theory’s principles suggest that the perceived color results from the mixing of different colors of light. Principles of color addition have important applications to color television, color computer monitors and on-stage lighting at the theaters. The pigment or subtractive theory deals with how white light is absorbed and reflected off of colored surfaces. A colored pigment, blue for instance, absorbs most of the frequencies of light that are not blue, reflecting only the blue light frequency. Because all colors other than the pigment colors are absorbed, this is also called the subtractive color theory. We will be investigating from the pigment theory perspective here.

Dimensions of Color

Hue is the name of the color (eg Red, Blue). Each hue is a different wavelength of light.

Value is the lightness or darkness of a hue (eg. Light blue, navy blue etc.). A lighter colour is also known as ‘tint’. To achieve this white has to be added. A darker colour or a ‘shade’ could be achieved by adding black to it.

Intensity is how bright or dull a colour is (eg: black and grey). Intensity is brightest at its full purity. To reduce intensity of hue with least alteration in value, a small amount of its complement is added.

Colour Wheel

One way of arranging the colours in the solar spectrum is the Colour wheel.

The primary colors are red, yellow, and blue. They are called primary because they are not mixtures of other colors. Rest all colours could be derived from mizing these three colours in different proportions.

Mixing any two primary colors results in a secondary color.

Tertiary colours- These are made by mixing a primary colour with an adjasant secondary colour. Example red-orange, red violet, yellow-green, yellow orange, blue-violet, and blue green.

Colour Schemes

Colour schemes are descriptions of color relationships. Some of them are:

Achromatic: Black, white and the grays in between. There are no possible color contrasts.

Monochromatic colour scheme is based on one hue. This is like achromatic, but with one dominant hue-a single spoke of the color wheel. Red, black and white is a common example.

Analogous are hues lying near each other on the colour wheel, red-orange, red-purple.

Complementary colours are placed directly across from each other on the colour wheel. Example: Orange & Blue, Yellow & Violet, Red & Green, etc. They are used together provide extreme contrast. More harmonious effects can be achieved by using colors that are close together on the color wheel.

Double complementary or Split complementary colour scheme is  two adjacent hues and their complements.

Triad is formed when three hues equally spaced on color wheel are taken together (eg: red, yellow and blue).


Discord is where opposite colours are together and one is a tint, so that the original tone of the hue is different.

Colour Temperature

Warm Colours & Cool Colours - Another way to organize color is by color "temperature." Colors are either "warm" or "cool." If we divide the color wheel vertically through the center, splitting yellow and violet, the red, orange side is warm and the blue green side is cool. 

Red, Orange and Yellow are considered 'warm colours'. They give a feeling of advancement. 

Blue , Green and Violet are considered 'cool colours'. They tend to recede.

Metamerism

Metamerism is the phenomenon that occurs when a color appears to change when viewed in different light sources. The colors that are most likely to have metameric problems include taupes, mauves, lilacs, tans, celadons, grey/blues, greys, etc.


Colour Standards

By standardizing the colours, different manufacturers in various locations can all reference a particular standard for colour, which is numbered. This makes sure that colours match without direct contact with one another. The most common colour standards in the fashion industry are by Scotdic, Colour Solutions, Pantone, etc.