TECHNIQUE
63. A-Symmetry
Symmetry and balance are not necessarily the
same things. Symmetry is defined by sides that
mirror each other. In this case, the balance would
be considered formal. Symmetry can also be
achieved through radial balance where all ele
ments radiate from a central focal point.
An informal balance can be found in design that
is asymmetrical, like a one-shouldered gown.
When one side does not reflect the other, there
is an absence of symmetry and a designer must
rely on instinct and experience to find the right
harmony. With each side working independently,
it is important to build relationships between the
dissimilar-vibrant color and neutral color; dark,
light, and mid-tones; flat and three-dimensional;
small and large; a variety of shapes; position and
relative placement; or solid and pattern.
Whether through symmetry or asymmetry, the
designer can draw deliberate attention to an area
by directing the observer with arrow-shaped/
triangular objects. Zigzags are another way to
take command of the viewer. As a rule, the bias
can be a powerful tool because of the energy and
disruptive nature of the diagonal line.
A test of balance in symmetrical or asymmetrical
garments is to gauge how focused the observer's
attention is. If the viewer's eye travels around the
piece, taking in the whole, there is an indication
of balance. Even a seemingly chaotic dispersal of
details can achieve balance if there is an overall
sense of unity. Many balanced couture composi
tions, but not all, tend to be visually weighted or
stabilized at the bottom of the piece.
132 Fashion Design Essentials
Right: Pavlina Gilson layers
an asymmetrical design over
a symmetrical day dress.
Below: Maison Martin
Margiela vest featuring
leather straps, woven into an
asymmetrical pattern
