TECHNIQUE
45. Body Mapping
The leg bone's connected to the knee bone,
the knee bone's connected to the thigh bone,
the thigh bone's connected to the hipbone, and
so on and so forth. These are the roads to the
cartography of couture. A step further than
anatomy, body mapping is about understand
ing the relationships between different areas of
the body, the experience of the wearer, and the
garment itself. The concept of body mapping
relies on self-observation and self-inquiry. The
designer has to gather the same kind of insight
by communicating with his client.
Similar to using a road map, a body map antici
pates needs to build in the structure, function,
and size. Does a strapless dress have enough
structural support to keep it from slipping down
the body as the wearer moves? In the case of
garments being used in active situations, do the
garments allow for full articulations of joints,
muscle reflexes, and/or how the body expands
as it breathes? Is there enough ease in the seat
of a garment that is worn by someone who sits
most of the day? If the answer to any of these
questions is "no," the designer can make course
corrections while developing the garment that
allo w for efficient, elegant movement and
comfort in any situation. These are all physical
realities, but there are also abstract boundaries
influenced by society and a designer's sensibili
ties, such as how Iow a neckline on a blouse can
and should go.
96 Fashion Design Essentials
CD Designing a neckline close
to the base of the neck
should take into consider
ation that the neck natu
rally leans forward so as
not to constrict the throat.
The height of a collar may
interfere with the head's
range of motion.
@The shoulder is a pivot
point for the arm. When
engineering an arm-
hole, the designer must
consider how much ease
will allow for full or limited
rotation of the arm. The
depth and breadth of the
armhole will also be a
contributing factor to fit.
® The fit at the bustline
must take into consid
eration not only the
measurement and the cup
size, but also the contrac
tion and expansion of the
lungs-which also affects
the back. The back of the
garment is subject to ad
ditional stress across the
shoulder blades due to the
natural tendency of the
arms to reach forward.
@) The elbow is a primary
stress point for a sleeve.
A small dart at the elbow
will allow the arm to bend
without putting undue
wearandtearon the
sleeve while still retaining
a snug fit. Adding volume
to the sleeve at this point
will also allow for freedom
of movement, but alters
the silhouette.
® The height and shape of
the rise in a pant must
allow for any extension of
the abdomen, the fullness
and shape of the backside,
and the fact that the body
bends at this point. When
the figure bends or sits,
the seat spreads.
® The knee is a primary
stress point for the pant
leg. The pant leg may be
designed with a generous
amount of ease to main
tain a smooth silhouette
or be intentionally lacking
ease in order to create a
shape that bunches up
and grabs at the knee.
® A pleat, a slit, or a wrap
detail will allow for a full
stride in a skirt with a
narrow silhouette. The
designer may limit move
ment by design to bring
about a very specific way
to move in the garment.
Some examples include
the traditional kimono or
Pa ul Poi ret's hobble skirt
of the 1910s.
