Two weeks before the Student Apparel Design Association's annual fashion show, Aaron Anderson still had six outfits to finish before his 1970s St. Tropez-themed collection would be complete.

The apparel and textile design and advertising senior was planning on designing nine vibrant and bold outfits but decided it was too stressful. He settled for eight.

Like Anderson, 37 other caffeine-frenzied members of the Student Apparel Design Association, or SADA, have been endlessly stitching, pinning and fitting at all hours of the night. They have been furiously hovering over sewing machines to perfect their outfits that will debut at SADA's "Global Glamour" fashion show at 7 p.m. Friday in the Auditorium. With 140 outfits total, it is their biggest show to date.

"There's a lot of preparation involved," Anderson said. "Making the patterns, pre-washing the fabric — even getting the fabric is a big step because it's hard to get the stuff you're looking for. Then you have to start cutting out everything and finish the edges. It's definitely a big chunk of time, more than people think."

Lauren Walsh, an apparel and textile design and advertising senior, began brainstorming for her British mod collection as soon as last year's fashion show ended.

"I can't even begin to estimate the amount of time it has taken," she said. "Even last year we were shopping for shoes and accessories. I chose everything — accessories, shoes, hair, makeup — even down to the walk and the attitude. The most fun thing by far is looking back at your sketches and seeing your garments come to life."

Designers were required to pick an era and region for their collections. Settings range from France in the 1700s and Spain in 1850 to Havana in the 1950s and Egypt in the year 2410.

"My collection is French inspired, summery and fun, with the bright colors of the '70s," Anderson said. "I was trying to think of rendezvous locations, and I thought St. Tropez would be fun for a weekend trip. For this collection I looked at a lot of old Vogues from 1970 to get silhouette ideas and update it for my collection."

All of the designers had to choose a theme and turn in envelopes describing their collections by Jan. 31. A minimum of three garments constituted a collection.

"I'm doing three outfits this year," said Shaheen Rajabi, an apparel and textile design senior. "I would say the average amount people do is three outfits. I would've liked to do more but time was just not allowed."

A significant part of this time is devoted to the dreaded pattern-making process.

"Making patterns is the most tedious in my eyes," Rajabi said.

Before starting to sew, a designer must measure the model and make a copy of the pattern on a plain-woven, less expensive fabric called muslin. The model then tries on this pattern. If it fits, the designer recreates the pattern with the real fabric. If the pattern doesn't fit, the designer adjusts it accordingly. More often than not, the designer must resize the pattern several times.

But audience members will not see this less glamorous aspect of design. They will only watch the final stage, as Rajabi's models sashay down the runway in her eighth-century Arabian night ensembles.

"I find that a lot of inspiration comes from my heritage," she said. "I'm half Persian, so a lot of times I'll use a Middle Eastern theme. But you can get inspiration from anywhere. One of my collections I based on Roy Lichtenstein's artwork. Everything around you is an inspiration."

SADA President Molly Miller, an apparel and textile design and merchandising management senior, found motivation for her collection while studying abroad last summer in Russia.

"I am doing a collection of jackets and high necklines based on true Russian colors like red, deep blue and black, but with more modern styling," she said. "I was inspired by Russia's architecture and style of clothing."

Along with making the clothes, the designers created an entire mood for their collection. Like Walsh, all designers chose the models, their hair, makeup and accessories, their runway walk and the background music.

"All of my models are tan, so that was something that I looked for," Anderson said. "When I look for models, I look for personality. My clothes are fun and flirty, so that's what I looked for — energetic and fun."

Designers typically use their friends as models, but if they cannot find enough volunteers, SADA organizes an open model casting call.

"Friends are more special," Walsh said. "It means more to have your friends model your clothes."

The hair and makeup teams and stage crew are also volunteers. Professionals from Douglas J and surrounding salons usually primp models for the show.

At the fashion show, awards will be given in the categories of most creative, best accessories, best ensemble, best collection, outstanding model, best construction and the judges' award, which goes to the judges' favorite collection.

Four apparel and textile design staffers along with Stephanie Gunther, the women's team leader at Urban Outfitters, judged the collections at last Sunday's dress rehearsal.

"I'm impressed," Gunther said. "I couldn't make half the stuff they make. You can tell a lot of people work very hard. Some ideas could probably be used at Urban Outfitters because Urban thrives on modernizing styles."

After the collections have had their few minutes in the limelight, many of the garments that designers slaved away creating will never be worn again. Some designers will give the clothes to models, others will donate the clothes to the apparel and textile design department to use as examples next year, but most designers will keep the clothes for their portfolios.

"I don't let my models keep them," Anderson said. "It's kind of hard to let them go after (the show). I'm going to keep them for my reference to apply for a job, if they wanted to see an actual piece of my work."

Rajabi keeps her clothes too because seeing the finished product is her favorite part of the design process.

"I love seeing it on stage and knowing that you were able to do something that actually fits something," she said. "I'm amazed every time I do it."

Tickets are $10 for students and $15 for adults. They can be purchased at the Wharton Center Box Office or at the door. Doors open at 6:30 p.m.