FSAD PRELIM #2

Representation

Creation of reality through visuals

Signifier

The visual element in communication

Signified

The meaning or idea behind a visual

Hegemony

When dominant cultural ideas feel normal or like common sense

Discourse

Ongoing cultural conversation that connects ideas and power

Design Thinking

Five steps: Empathize → Define → Ideate → Prototype → Test

Emotional Design

Focuses on how products make people feel: visceral (looks)

Human-Centered Design

Design approach that solves real problems based on user needs

Spinning

The process of twisting fibers together to make yarn

Warp

The vertical threads in weaving

Weft

The horizontal threads in weaving

Plain Weave

A simple over-under weave that makes even texture

Jacquard Loom

A compound weave that uses a programmable system of punchcards to lift specific warp threads and create extremely detailed designs.

Ikat

A weaving technique where threads are dyed before weaving to form patterns

Double Ikat

Both warp and weft threads are dyed before weaving for seamless patterns

Knit

Fabric made from interlocking loops of yarn

Weave

Fabric made by crossing threads at right angles

Weft Knit

Loops run vertically up and down the fabric

Warp Knit

Loops run horizontally across the fabric

Jersey Knit

Has a smooth front and a bumpy back

Printing Types

Relief (raised surface)

Resist Dye Methods

Techniques like batik (wax)

Patchwork

Joining pieces of fabric together to make a new design

Quilting

Layering fabrics and sewing them together for texture and warmth

Appliqué

Adding decorative shapes or fabric pieces on top

Reverse Appliqué

Cutting into fabric layers to reveal colors beneath

Embroidery

Decorative stitching on fabric

Form

The visible shape or appearance of a design

Function

The purpose or use of a design

Form Follows Function

The appearance reflects how the design works

Function Follows Form

The design’s look comes first and function adapts later

Good Design

Has clear purpose

Sumptuary Laws

Rules that controlled who could wear specific clothing

Origin

Developed in 15th–16th century Florence

Restricted Materials

Silk

Purpose

To display social status and control the use of luxury goods

Directoire & Empire (1789–1815)

Women have short hair and sheer white gowns; men wear trousers

Transition into Romantic Period (1815–1820)

Women have puffed shoulders; men wear white pants

Romantic Period (1820–1839)

Huge sleeves and floral interior designs

Early Victorian (1840–1870)

Hoop skirts

Late Victorian / Gilded Age / Aesthetic Movement / Arts & Crafts (1870–1890)

Bustle with dramatic back; “H” dresses; ornate furniture design

Art Nouveau (1890–1900)

Cinched waist with soft curves; floral

Edwardian (1901–1910)

Forward-pushed chest and narrow waist; soft hourglass silhouette; Monet-style art

Early Art Deco (1911–1929)

Hobble skirts

Late Art Deco (1930–1945)

Long slim gowns

Transition Style – WWII (1939–1945)

Plain

Post-War – The New Look (1946–1957)

Dior-inspired hourglass silhouette; classy elegance; men’s cowboy style; textiles resembling hieroglyphs

Transition to Modernity (1957–1963)

Minimal waistline; sack or cocoon-shaped dresses; Balenciaga and YSL; Audrey Hepburn-style rounded hats

Era of Youth & Change (1964–1970s)

Bold lines