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272 pages

English

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';Designers, we're going to Mood!' More than 10 years ago, Tim Gunn and Project Runway introduced millions of viewers to New York's ultimate fabric mecca, Mood Fabrics. Now, the experts behind this fabric power- house bring their fabric and fashion know-howplus their behind-the-scenes storiesto the sewing public. The Mood Guide to Fabric and Fashion is the ultimate guide for home-sewers, fashion students, aspiring designers, and Project Runway fans who want to learn everything they need to know to choose and use quality fabric. Drawing upon the expertise of the Mood staff, the book teaches readers the fundamentalsfrom where fabric is produced to the ins and outs of its constructionand features a fabric-by-fabric guide to cottons and other plant fibers, wools, silks, knits, and other specialty fabrics.

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Publié par	ABRAMS BOOKS
Date de parution	01 septembre 2015
Nombre de lectures	0
EAN13	9781613128725
Langue	English
Poids de l'ouvrage	8 Mo

Informations légales : prix de location à la page 0,1144€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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Mood s store in NYC s Garment District boasts 3 floors worth of fabrics and trims. On a typical day, the store welcomes some 1,200 visitors, many of whom are personally greeted by founder Jack Sauma (previous bottom left), Swatch the dog, and Mood s team of fabric experts.
Published in 2015 by Stewart, Tabori Chang An imprint of ABRAMS
Text 2015 Mood Designer Fabrics Photographs 2015 Johnny Miller (unless otherwise noted on this page )
All rights reserved. No portion of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, mechanical, electronic, photocopying, recording, or otherwise, without written permission from the publisher.
Library of Congress Control Number: 2014959131 ISBN: 978-1-61769-088-4
Editor: MELANIE FALICK Designer: MARY JANE CALLISTER Production Manager: DENISE LACONGO
Stewart, Tabori Chang books are available at special discounts when purchased in quantity for premiums and promotions as well as fundraising or educational use. Special editions can also be created to specification. For details, contact special-sales@abramsbooks.com or the address below.

115 West 18th Street New York, NY 10011 www.abramsbooks.com
CONTENTS
FOREWORD / TIM GUNN
INTRODUCTION
1 / The Fabric of Their Lives
THE FASHIONABLE HISTORY OF MOOD
2 / Social Fabric
TEXTILES YESTERDAY, TODAY, AND TOMORROW
3 / Fabric 101
THE FUNDAMENTALS OF FABRIC FOR SEWERS AND DESIGNERS
4 / Fabric and Design
TRANSFORMING INSPIRATION INTO FASHION REALITY
5 / Cotton, Linen, and Hemp
6 / Wools
7 / Knits
8 / Silks
9 / Other Fabrics
PHOTO CREDITS
QUOTE SOURCES
INDEX OF SEARCHABLE TERMS
ACKNOWLEDGMENTS
Foreword
Going to Mood Fabrics is like going to the Library of Congress of textiles. Any fabric you could possibly want is there, along with many you probably never knew existed. And every bolt of material has an educational experience woven into it. There s simply no place like it.
I discovered Mood and its owners-Eric, Phil, and Jack Sauma-in the fall of 2000, when I became Chair of the Department of Fashion Design at Parsons The New School for Design in New York. I had been tasked with repositioning the program for a new century, but as an administrator, I had little firsthand experience with garment sourcing and production. So I took a textile tour of New York s Garment District, and when I walked into Mood, I was spellbound. The variety, intricacy, and quality of the fabrics were like nothing I d ever seen. Mood functions as a textile archive of sorts for the world s top designers-yet anyone can come in and buy a yard or two, and at a deep discount to boot. Why would you go anywhere else?
Believe it or not, when I arrived at Parsons, textile education wasn t part of the curriculum, which hadn t changed since the 1950s. Students made only prototype garments until their senior year, at which point they were placed under the tutelage of top New York designers. Those houses provided mentoring and leftover materials with which to make clothes (which were designed and evaluated according to the creative director s point of view). Frenzied scavenger hunts for the perfect novelty boucl ? Falling in love with a print and designing a collection around it? Not on the syllabus. And so, although the designer mentoring program was the crown jewel of the Parsons fashion department, one of my first actions as chair was to scrap it-I wanted to get students out into the world, learning about and sourcing fabric as hands-on creators.
I was terrified that my decision might get me fired, but the students were ecstatic. And Mood was (and still is) their best resource. When you re on a student budget and you re buying a three-ply cashmere that Michael Kors had ordered and didn t use all of, you re getting a bargain. And there s something quite thrilling about knowing that you re working with a fabric that was in the Marc Jacobs showroom, or Diane von Furstenberg s, or Oscar de la Renta s. As a young designer, you re embracing a legacy, so to speak. If you were a young filmmaker, it would be like filming on Steven Spielberg s set.
Anyone who wishes to create beautiful clothes-or wear them-owes it to him or herself to learn as much as he or she can about the world of fabric.
- TIM GUNN
Taking students to Mood to learn about and shop for fabric was part of my greater objective at Parsons: to help students cultivate their own creative visions. Fashion doesn t live on paper or as a muslin prototype; fabric is as essential as form in creating a cohesive, wearable, and desirable collection. Anyone who wishes to create beautiful clothes-or wear them-owes it to him or herself to learn as much as he or she can about the world of fabric. As for me, it was an honor to roll up my sleeves and give Parsons fashion students the skills they really needed-not just to get a job, but to lead an industry. And I will proudly tell you that the first graduating class of this new curriculum included Jack McCollough and Lazaro Hernandez of Proenza Schouler.
I d been taking my students to Mood for a few years when I was approached by the producers of a top-secret reality-TV pilot called Project Runway . None of us had any idea whether the show would even make it to the air, much less become the cultural touchstone it is today. We were all donating our time. My role was that of a consultant; there wasn t a me on the show. And no one believed it was possible when I suggested we give the contestants a design challenge to complete in one day. But then we did a test run using some Parsons students in place of contestants, and I took them to Mood to shop. The next thing I knew, I was going there with my campers and the cameras were rolling! But I have to tell you, the entire time we were taping that first season, I never dreamed I d end up in the cut of the show. Now, many years later, the show is in sixty countries, and people from all over the world flock to Mood-and sometimes not even to buy fabric, but to take tourist snapshots and catch a glimpse of Swatch the dog. We re big in Finland? Who knew?
One marvelous result of the Project Runway phenomenon-and the newfound fame of Mood-is an explosion of interest in fashion careers and sewing in general. When I took over the fashion program at Parsons, there were two hundred students. When I left in 2007, there were close to six hundred, and now there are more than 1,000. Fashion enrollments all over the nation have grown. And so, in turn, has Mood. I certainly have had a very ancillary role in its transformation from mom-and-pop fabric shop to renowned retail brand, but it s been wonderful to be a spectator. When I first started visiting Mood, the store had one floor; now it has three. It stocks notions and trims for one-stop shopping. It has opened a Los Angeles location that s become a tremendous educational resource for that community, as well as a terrific e-commerce site. It s been leading the way in offering new technologies in textiles. And one of the reasons it s such a delight to keep returning is that the team are so lovely to work with. The staffers are a tremendously knowledgeable resource, and many of them are designers themselves. The Saumas are sweethearts with entrepreneur-ship in their DNA (see Chapter 1 ), and with the ongoing development of Mood s web site, online and in-store education programs, and social media platforms-and now this book-I foresee total world domination!

When one of my Project Runway designers has a question about fabric, I send him or her straight to the mother ship. Think of these pages as an extension of the legendary store. Like Mood itself, the book is more than a functional textile resource; it s a fount of inspiration and wisdom, full of fashion history, design ideas, and the sort of offhand, you-won t-learn-this-in-class tips that come from decades of experience on the front lines of fashion. I m thrilled that Mood and the Sauma family are leveraging their expertise to educate people and encourage them to dream and create. I look forward to watching a new generation of designers make it work.
- TIM GUNN
Introduction
The New York fashion industry may seem glamorous, but the neighborhood where it all comes together is surprisingly down to earth. Mere blocks from the glass-and-neon glow of Times Square, the Parisian elegance of Bryant Park, and the austere galleries and chic bo tes of Chelsea is the Garment District-the last bastion of manufacturing in gentrified modern-day Manhattan. Here, function trumps fuss and inspiration gets down to business.
Turn-of-the-century brick office towers, dusted by decades -worth of diesel smoke, house working garment factories stacked high in the sky. Scattered among them are showrooms, design studios, and tiny sample rooms, where patternmakers carve out and refine the shapes for next season s runways. At street level, look out! Young men wheel garment racks toward idling trucks and FedEx vans, ready to deliver the merch to Barneys or Bloomingdale s. Industrial storage bins, stuffed with disassembled mannequins or bolts of jersey, lurk in doorways. The shops are fantastically specific: Some sell only sewing machines, while others focus on zippers or ribbons. A few storefronts, peddling flashy clothing in curiously un-flashy atmospheres, read TO THE TRADE ONLY: Merchants from Eastern Europe or Africa might stop there to stock up on wholesale clothes for their boutiques, and curious visitors aren t allowed. You might catch a model or a particularly glamorous fashion student zipping by, but the atmosphere isn t quite that of a sidewalk fashion show. For one thing, everyone s in too much of a hurry.
The north side of 37th Street just west of Seventh Avenue seems especially bustling. A steady stream of visitors passes through the doorway of No. 225 and into two old-fashioned hand-cranked elevators, manned by uniformed operators just like in Mad Me