unnatural, to say the least, poses? And why do we see those poses in fashion magazines? Would it

capture the imagination of someone to see endless models simply standing still, with straight arms,

and no kind of expression on their face, all the time?

Fashion doesn’t always demand objective functionality. There are accessories, many accessories. If

this weren’t the case, we could all dress in exactly the same way. But human beings have an acute

sense of individuality (even within communities), and they put thought into their appearance in order to

please or to transmit certain values.

Fashion demands a certain dramatic quality in order to arouse emotions. This is why there are haute

couture catwalks, this is why there are people like Ferran Adrià, and this is why there are museums—

because we need emotions.

we want to apply to our design, we also provide our models with a soul. It isn’t necessary for

our representation to be realistic, since there are many valid artistic languages, but, whatever the

language we are going to use, it is important to be familiar with the items of clothing which we are

drawing and how they react to the movement of the human body. If we manage to master the wrinkle,

we will be able to achieve more attractive fi nal results.

In this book, we offer you 1,000 poses, presenting just as many problems (resolved in synthesized

fi gures) and allowing us to easily see how an item of clothing reacts to any movement. This is a useful

sourcebook for designers and illustrators alike.