Draping The Complete Course Ute e (S88) with 32 video ieTholit-|h9 Leto AN MINDrapingPublished in 20105 > ‘byLaurerte King Publishing 361-373 City Road > VondoneG3V UR 2 United Ringtlom: > Tel, +44. 20°7841 6900 Fax s4a 207841 690 i E-mail eniguitis@lauredceking.com > wos laurencaking cory : Copyright, Designs, andi identified as the Author nig All rights reserved Nojpattab this publication may be (eproduced Gt transmitted in any form or by any means, eleetromeop mechanical, including photocopy, recording, of any information storage and retrieval ‘system, WithaUt prior permission in writing from the publisher. A catalog record for this book is available from ‘the British Liorary ISBN 978 1 78067 093 5 Design by The Urbian Ant Ltd Picture research by Heather Vickers Photography by Sia Aryai Photography, www siaaryai.com Line art by Briana Boyko Technical diagrams and Photoshop enhancement by Mikiela Salgado Printed in China aeDraping The Complete Course Karolyn Kiisel Laurence King Publishing> Draping isanat Tals and preparation > Teminlay 6 ong og LADepingthe Wovenarel O16 History oe Exercises eo > Propaing the musin wo » Deein te tee grins ws > Viilningmusins. abies (24 > Danco nic wh Draping project oo Diana Versa’ garment 12 bresses History Exercises > Dat vations > Glass tice with bust dart > Boze wth Fench dart > Swing dass wih no darts project ‘AueyHepbum ess in rats Das Variations > Satin to proach >aieg wo das toe the iss tne > ar wth an cenbilecesine Pity ose i ce et 23Pans History Exercises > Draping and tig pants > Hote pat Hakama > Widedey trouser with ont tucks > Easy pant dat Draping project Nanette Lepore cropped pant 16 158 160 180 1 186 70 m 176 2akois ta History 186 Exercises 18 > Caton top with ites neclne 188 > Stops kit top 90 Draping project 12 Nanette Lepore tater neck knit op Variations 18 > Top with kimona sleeves 198 | PART: Aone Draping ‘34 Coat and Jackets History Exercises >Unkstanding shaders > Chane sty jacket > Te topic sleeve > Easy worpiece lee dat Draping project Dole 8 Gatana tej Variations > Fenland >Trewhont > Suing cost wth shawl clr > Coat without tap iho 204 208 a0 25 26 8 Reese138i oe || 2astis om) Bales m2 son ot | isary om) stay ne reries om) | exercises oe xrises 16 eng feet see be | Stray tebe i fener om | | >Sttsinmenes tot | Saamtince > Frma ef anders 3 aati tat | ter ite te fem or | | Sains oe | Seay seme te > Fein bor om | | Seances ‘ ieeewiencnion 9h Dena pis Draping project we | boss tae tobias Draping project m ie pened Chen ber a Vataios 1a Years te | Mnemthoatsane e Miata wihnherantéae 10 | Shanta 6 2 Poor a i > Sew nd cassie omens = | . ‘ C 32h Gn Sm 25) 28Lhngen te Bas 2 | MimpoiaicaOosg stn 30 try mt istry m eres we arcaes 2 arcses mm > ipig kin Shas aped cami me | SA dating 30 Some Zi Sbasdemtowihpcasine SSonmitatedpescet 2 . Draping jet = Draping project an rae ars es Draping ret meatal Ctr doe gon Tier ti Vavaons = > og ueinggom mm Glossary 314 | Resources 315 | Index 316 | Celts 318 | About the OVD 320,Introduction Draping is an art “Draping” is the term for using fabric to create a design directly on a mannequin or dress form. It is an essential skill for a fashion designer. The French word for draping is moutlage, meaning “to mold of sculpt." Fashion designers are artists, giving physical expression to concepts as they work with form, space, and energy flow. Impact and emotion enter with the use of color and surface detail, but first a silhouette must ba sculpted. Leaming to drape involves training the eye to recognize balance, symmetry, and a graceful line, and training the hhand to dexterity in cutting, pinning, and joining complex curves. Ultimately, success for designers and artists lies in finding their own unique style of expression. Draping is a skill that helps the individuality of the designers creative vision to emerge. Inthis book, you will be draping ancient forms of clothing, historical garments from art works, costumes ‘rom movies, contemporary designer pieces, and styles ‘rom past decades. ‘Atthe beginning of each chapter are examples of early forms of clothing, often simple woven panels of cloth wrapped, tied, or draped aver the body. Understanding how a madern biouse or jacket evolved from these basic shapes makes it easier to conceptualize how to Grape one. itis less intimidating when you understand that, for thousands of years, people have created beautiful, practical, transformational shapes from a simple length of woven cloth Many ofthe designs in the book are taken from the “Golden Age of Draping,” From the late 1930s through the 1960s, Hollywood costume designers had unlimited resources from the studios to clothe their stars. After World War Il, in Europe and New York, the couture ateliers were blossoming. Balenciaga, Dior, Givenchy, and, later, Yves Saint Laurent were only a few of the ‘many designers using new fabries and techniques to produce beautifully draped and impeccably tailored couture clothing. Leaming to drape these iconic styles teaches important basic techniques and hones observational skills ‘Studying modern and contemporary clathing helps to focus on the subtleties of shape and form. To create a silhouette that is truly new, one must know what has come before. he value of learning to drape When draping, the muslin, or “toile,” is a work in progress, continuing to evolve until itis taken off the form and tumed into a pattern fora garment. Draping a new design, rather than drafting a flat pattern fori, is, for many, an easier way to develop the important skill of visualizing how a two-dimensional sketch moves into a three-dimensional form. As the contours of the garment can be seen taking shape uring the draping process, it eliminates some of the quesswork involved with pattern drafting When drafting, itis not until the pattern is finished and the garment is cut and sewn that one can see the three-dimensional result. Becoming proficient at pattem drafting takes a lot of experience. With a few basic skills, draping can be done by anyone, even as our ancestors did with their simple tunics and robes.The ultimate goal of training in the skills of draping is to strengthen original expression while creating new sihouettes Clothes are marketed today less by thei fit and finesse than by a “designers statement.” In fashion, itis crucial far a designer to develop their own style Having this "signature look” sets a designer apart. Further, it helps the women who wear it define their own personal styles. Today's woman wants clothes that not only fit comfortably but that help her express her attitudes and sensibilities. She wants her clothing to say something to the world about who she is. Like the actress who can‘t get into character without her costume, a woman naeds her clothes to help her excel in the corporate world, relax into a yoga posture, or feel glamorous for a spacial event. ‘The first step in creating a signature look is to anchor a creative vision before beginning to drape. The inspiration can come from a sunset, a painting, a photograph of another design, or simply a feeling or attitude that you want to expressIF you have the skills to execute your creative vision, your personal fair becomes apparent, driven by your decisions on proportion and line, scale and volume, subtleties of shape, and placement of details Refining the drape and adjusting the final proportion becomes very personal; you work on it until you arrive ata balance that you like. When it pleases your eye, it is done. When you continue to pursue and express the looks you connect with and that attract you, your own style inevitably emerges. Form follows function “Form follows function” is basic design theory Ifthe designer is clear on the function or purpose of their design, the many choices to be made during the draping process will low more naturally, Clothing has many functions, from basic warmth and protection to attraction and seduction. It is important to understand the garment’s physical as well as non-physical purpose. How a garment makes a wornan feel is as important as how it will make her look. crucial draping skill is understanding grainline placement. A simple tunic cut on the bias will have a totally different feel to one cut with lengtharains placed vertically. The designer must be able to control the deeper energetic flow of the form they are ereating and how it will affect the wearer. In this book, you will practice discerning the emotional tenor of @ design and explore ways of making sure that mood or tone is present in the finished garment. Inte sinrosras tytn Draping today Basic draping techniques have remained constant since the development ofthe padded dress form and its continued popularization by the Wolf Form Company im the early 1900s, However, in design studios around the world, technology is embraced to save time and money. Design firms have master pattern “blocks” that reflect their specific At and sizing. These are used to produce new collections in which the width of a pant or the scale of a jacket is changed by simply manipulating these blocks. Digital patternmaking allows companies to churn out dozens of variations in short order. So what, then, is the enduring value of draping by hand in this brave new world of digital fashion? The challenge is for designers to go beyond the rote process of developing a pattern that fits well and to use the basic concepts of darting and seaming as a springboard for creating new and unique forms. ‘Much of contemporary design is not about the perfection of the classic couture of the 1960s. It's about twisting, wrapping, tucking, and cutting asymmetrically, reminding us sometimes of early forms of clothing, When a designer is aspiring toward an innovative silhouette, they need to experiment with focal points tocreate emphasis and attitude, and work with proportions and scale to sculpt a shape that evokes a specific emotion. To create something truly fresh and new, the intimate, hands-on relationship between designer, mustin, and dress form is invaluable in facilitating the expression of the designer's personal vision, ttis now possible to have the best of both worlds: the inspiration that comes from the purity of the simple draped panels together with the classic draping skills that were perfected in the Parisian ateliers. Both serve totuin the art of sculptural draping into something magical and nev. © ‘rer satis tert theOW bat uci be bk dane st eagha sensTools and preparation Draping, as with any artisans’ skill, has its tools of the trade. It is @ worthwhile investment to find tools that are of good quality and that fit your physical size Having the right tools increases efficiency and will help the skills to become second nature so you can focus on the creative rather than the technical. The pray piece of equipment needed to begin draping is the dess| feim, Many variations ae availble, Choosing the right one will depend on your circumstances and needs. The bet ofthese covered forms are solidly mounted on heavy motal stands, Be careful of forms that are covared in fabri that is toa tight woven, as ins will not asly ponatrate Standard dress forms usually follow the measurement speciations of commercial siding, In a professional design studio, salto ‘medium seis ten used, When the clothing is ished, ‘tcan easly be graded up ar down fr lager or smaller sizes. ‘The Wolf Form Company forms pictured inthis book are high-quality linen covered “cocktail dress” forms, which have more bust and hip definton than standard dress forms. They are adjustable, meaning thay are easy to move up and down, and the shoulders collapsa inward to allow garments o ba put on aver th top. They ell and tum easily Before using the fxm, you wil ned to define the bust, waist and hips. The best way isto use a cotton til tape, (0.5-1.5 em) wide, and pn it around the fom as folios: lust tape Start ata sie soar and wrap the tape around tl fullest gat of the bust (the “bust point’), pining every few inches (75-10 em) al the way into the form. Allow the ape to follow the form at the center front, Keep the tape high inthe back, parallel to the floor * Waist tape The waistline will usually havea seam in the fri, ‘making iteasy to identity, but if not, simply find the smallest part ‘and wrap the tape tightly around the waistine, pining as you go. ip tapo Hip moasurements ao usally taken 7° (18cm) below the ‘waist, Starting at sda seam, pin the tape harzontaly keeping it patalll to the for, at 7" 18 cm) bolow the waist Preparatory skills To make flue of he information in this book ts ecommended that you have masttes some basic sewing sks se Tein’ ed have some experince ith gti eating whch is sod in tha Marking and Tung” sections of ach chapter to create the pattern foc te guments rape onesdespurs sacerpenying your farm's measurements Measure your form and keep the measurements at hand, That way, if you ae working ona garmant fora spac size, or customizing it foran individual, you can datermina how you may need to adjust your farm. f you ara draping something fora larger size than your form, it is possible to pad the form to reach the dested measurements. The best way todo this is to simply cut sts of cotton felt approximately 5° (12.5 em) wide and wrap and shape the form unt itresches the measurements you need, I the size you need is smaller than your form, you must allow for that by draping the form more tightly of make the adjustment ater in the wing stage he bifurcated neck-to-ankle form ‘The bifurcated nec-to-ankle farm is necessary for draping pants, Some forms are available with only ane lag, which makes ita litle easier to crap the crotch area, but harder ultimately to see the full cape, This style of frm is also useful fo full-length designs where the shana of ho lep needs tobe considered Muslins ‘Maslin isthe traditional garment industry standard used for “tiles, 1 fitng protoypes. drapes diferent from the fra abies of mast ofthe garments being mada inthis book, ut it has other vary postive qualities. Firstand forenost, it has stable gainline that can be easily seen \Where more loosely woven fabrics wl stvetch and pullout of shape vwhen draping, the musi’ grantnes will remain perpendicular fis light and supple, easy for cutting and folding and creasing with your hands Th crispness makes itclar to see hour the paces ae fting together and when they are balanced. Faicly inexgensive, itis youratists’ medium, itis god to think of it as paper. Its not to preious—don't get too attached tt, or worry about ruining i. You can tear itand mark itand experiment wth it Have enough on hand so tha if somethings just not working, you can discard it and start over Animportant skil fora designer to master is the bility to visualize, This means being able to see what a sketch wil look like asa fished Draping infront ofa mirror leis very sel a dtae in tt of amino: As you lean taw to ‘tut your sinouste an shape, tbecoesingotant to sei from ‘acistanee With ami. t e350 lance up and obser your ape ttm 48 about 1m) away. ts good pepo check, ling you to view your dope with fresh yes ad agin compare itt the tech er gotgap you a waking fon, gatment, and what a mustin drape wil ook like inthe final fbr, Sik carmeuse has a lovely, sot hand, fr example, yet eifiultto handle in craping the design is fist raped in muslin, the balance can ba achioved mare easily. With some practice, youwil earn to visualize how tha garment wil lok nthe charmeuse after itis raped in muslin, ‘There are four diferent types of musin used throughout this book \While tis not necessary to work wih such avarey iis helpful to understand thir cifferent qualities, Where possibla, use a muslin ‘ypa tha will rapa as closely as pssibla ta the way you fal garment fabric wil drape.‘Standard mustin This modivm- weight and fail cisp muslin works| wal far mast garmants. tis ight enaugh to manipulate aati and holds shape as you work with bodies, skit shapes, and sleeves. (Observe how in the center of the flds there are lite “breaks” n the fold where it makes a sharp tur rather than a smooth ol. softer muslin might act do tat, but han it will at alle you to achiove as defi a souste as this erispar muslin, Cotton twill This softer but weighrior til reacts quite diferanty foma standard muslin. Diserve how the folded edges areoling ‘move smootly and te enti piece looks more substantial. I does not have the crispness thatthe standard muslin has, but because it ‘sheaviet, twill bold a large sihoueti, This is a perfect musin fr (garments such as coats and jackets. Cotton voila The ighastof tho musi usd in tho book, this wile is loosely woven, semi-transparent, and as a very crisp and, Used in Chapter 22: Blouses, itis the perfect weight forthe lrgeputfed sleeve. Thin and light, has enough body to hol shape and works Wal where mute layers of fabric are being used Sitk/homp mustin This muslin, while sight heavier than the cotton til has a softer, smoother crap, whic is evident in the way the folds do not “break” at all. Its loosely woven and perfect for garments where the grainline needs tobe visile, such asthe bustars in Chapter 13. In Chaprer3.: Draping on the Bias, it smoot and shapes over the cures ofthe form very easily because it has such @ heavy drape. toveadepue ni sacerpenyGeneral supplies “Tape measure spl to use invisualzng volume for musin pieces and aso t chock measurements of tha mustn while draping. Scissors Your mostimpartant too. Choos carauly: you wanta scissor thats ght nough tobe comfortable, ot heavy enought deft cut ‘trough te muslin as youcrape. Yardstick inporant for nding and marking the graininas Right-anglod rufa Necessary fr checking that the longth- and ‘rossgain reat right angles. Clear graph ruler Te ansparency and dso his ue te heptl \when arking tilings end seam allwanees on the musi Softlead pencil est the pen onthe musin you are using an choose ‘ono that is sot enough ta make clea vsibtagrainkine, yo nts sft that smudges the fbr ‘Marking and truing supplies (Chalk —two colors Used for marking soams whn turning fonts ‘vor backs, hams, etc. Having two colors wil halp you to color if ‘yu adjust fit and e-mark a seam Pencils—regular, red, and blue Used for deaing onthe muslin ater itis taken apart. Tha first ine draw is with regular pencil. carection ine wil ben 4, anda further coreion wil bein ue Carbon paper Usod in ting up when lines need to be traced through toa second pice of muslin or onto the raversa sida of temusin, ‘Tracing whee! For use with carbon paper to trex lines onto a setond pia of muslin ar onto the reverse side ofthe musi, Needle and thread When marking a muslin, sometimes a penis not enough and a based line needs to be made using a needle and thread tallow for a more precise marking Draping supplies Pins and wrist cushion 4 generous supply of pins will increase efficiency, and a wrist cushion is he|pful in keeping the pins athand rather than aching fc thm while you are holding ono tha usin ‘will tapo—black and white Used for marking nollie, ambols, stllins, et Sticky tape—black and red Usad as above, but with a more ‘temporary use. Red is used for correction lines. Elastic Having elastic on hand in a fow diffront widths —%, ¥, and 1"(05, 15, and 26 cm}—will help when gathering sections of musin, Hem gauge For measuring has in lation to the age of the des form, and for checking sections of a garment that call for uniform sizo. Additional rulers ‘Small graph rulers Useful for marking seam allowances. Their ‘wansparency makes i easy to see these ies as you mark the cat nes. (oar Fronch curve Bocauso this cuva goes frm convex to concave, itis essential for areas, such asthe waistline, tat fllow ‘that tojetory, This cue is also useful fr tung up armholes and small curves, Hip curve Taitonaly used to follow the curve from tho wast along the hiplne its universal shapes useful in many oar areas. Hem curve This cuv is the general shape of a sit hem as it wavels fom the cate front ia soft curve up toward the side seamTerminology The following are terms used throughout the book. Brief definitions are given here, and many will be explained further elsewhere in the book Abbe GF center font (0B = conter back Diagrams Flat sketches The twostinersional ine ravings that are made from photographs as. blueprint for constuction and grainine configuration ‘Muslin-preparation diagrams The charts atthe beginning ofeach project with the measuramonts ofthe pieces of ruslin tobe cut Ifthe measurements af the form you at using are diferent fom the standard form usedhere, simply adjust the dimension of the musin piaces up or down, The measurements ofthe piacas have an allowance of soveral extra inches, so unless your form is (75cm diferent, the pieces will work and figure Ease The extra fabric allowed inthe fit of ‘a garment For example ifthe waistine measurement is 2/36 om) and the skit waisthand measurements 27" (685 em), than thar is 1° (25 em) aase inthe skit waist fit Bust point The fullest part ofthe bust Waistline Tho narcwest pat of tha waist area onthe form, Hiplin The fullest par ofthe hip, usually ‘onsidored tobe 7" 18 em) dow from thewaist High hiptine This measurement i taken about 2-3" (6-75 em) dawn fam the waist a the hipbone where casual pans, such as jeans, often sit Princess line The vical ine that tivides te torso inal frm contr font to side seam, Usully it begins atthe center ofthe shoulder, butt ean also curve out ‘tom the armhole. Must Grainlines Those refer tothe direction of the treads, Woven fabri consist of -wo threes interlaced at right angles. ‘The vertical or “warp” threads run parallel ‘nthe selvage. Tha horizontal or “weft” ‘road runs erosewisa, Lengthgrain Ths warp thread lreation, sometimes alld tho straight gran Crossgrain The wet thread irection jas Fine This runs at 45° tothe lengthrain and isthe part of tho fabric that has tho mast give Selvage edge The bound edges on ether side ofthe fabri, Most fries are woven at 45-40" (115-150 em) wid, Blocking tho muslin To stretch, pull, and press the muslin unl the warp/ertcal and weltotzantal threads ofthe weave are perpendicular andthe adges are straight. Stitching ‘Sew line This is referred to in draping and in tuing up, and is simply the stitching line that will be used to join the seams. ae ste To hand-sew a stitch ine to hold 2 seam together temporal AS Thread trace Ahand senn stright stitch line used to mark seams or eges during taping othe marking and tuing- process oe Catch stitch A useful stitch for holding {ngethor two piecas of muslin during draping in areas that may have some pressure pulling on then. Tailor tack A stitch used to mark single Point on the fabric during draping and the marking and tung-up process. CF NoyBeginning Draping 1.1 Draping the Woven Panel 1.2 Dresses 1.3 Bustiers Section 1 works to develop your skills of observation as each fashion design is studied in terms of its composition —the specific balance of silhouette and proportion. Photographs of the draping projects will be analyzed in terms of grainline placement and construction, then translated into working “blueprints” — flat sketches from which to drape Basic draping skills are introduced, such as preparing the form and muslin, pinning, trimming, clipping, marking and truing, and presenting a finished ‘ile or muslin. You will learn to identify a designer's intended mood and tone and further define the attitude of a garment by using a muse to place the design in a social context.History The earliest clothing was probably made from leaves, grasses, and bark or, in colder climates, animal skins and furs. ‘The development of weaving must have heralded a Giant leap in the sophistication of a civilization. As the techniques developed, woven panels were wrapped, draped, and tied over the body. Simply creating the fabrics would have required so much time and effort that cutting the cloth was unrealistic. Since few ancient fabrics have survived to the present day, only the artistic renderings of garments on pottery fragments and murals suggest what early clothing ‘might actually have looked like. Some of the oldest garments that we can see and study are those depicted ‘on ancient Greek and Roman sculptures and vases.These early garment forms—the chiton and peplos of the Greeks, and the toga worn in Rome—were simple basic shapes; many were woven panels of varying sizes. However, the draping was sometimes elaborate. Itis ‘thought that a nobleman in full dress would have been: accompanied by a servant to help keep the drapes properly adjusted. In all their variety, these garments appear to be very comfortable, their relaxed, elegant style echoing the Greek ideal of freedom. The fabrics of flax (linen) and wool must have been very fine to drape with the beautiful folds seen in sculptures and paintings technology developed and new fabrics became available, Yet fram time to time there has been a retumn to simplicity, a refreshing revival of this more natural style. In the modem era, garments made from draped square-cut panels appear in the artwork of Alphonse Mucha and Maxfield Parrish. Isadora Duncan, the founder of modem dance, was famous for wearing her version ofa tunic. In the first half of the twentieth century, the great Italian textile and clothing designer Mariano Fortuny made exquisite, timeless garments from ‘wo rectangles of pleated silk. The draping projects in this chapter are variations of these classic tic forms and, because of their simplicity, are excellent exercises for developing an eye for proportion and balance. Finding the symmetry and adjusting the gathers of these pieces teaches sensitivity to handling fabric, Gatments became inereasingly ‘askl that takes practice, complicated as craftsmanship and nt eae e (rae Mee aoe ‘Goat te spa020 Exercises Preparing the muslin All woven fabrics consist of two threads interlaced at right angles. The vertical (warp) threads run parallel to ‘the selvage edge and are called the “lengthgrain,” or sometimes the “straight grain." The horizontal (weft) ‘thread runs crosswise on the fabric and is called the “crossgrain.” In the weaving process, the warp threads are usually set up tightly on the loom first and then the wert threads criss-cross back and forth, filling in the fabric The warp threads, therefore, are usually stronger, and the fabric has the strongest drape when hung vertically. musi Ta pepe the musin fr cping, the pieces ae tan to ‘retained measurements. Tearing tha masini move arcuate ‘than measuring nd cng wth csr because te ori] erpendiuar grid ofthe war and eft tread ofthe usin often ‘baomas distorted curing shipping, Evan whan maasuing om he “liage aes itso posse tobe cars tat the teats re ‘unig pati! othe ees ft fab Lenathsin RaQE RZ 7275 weweie, NR ae wee eee * PAPE Rat a Laas eee per PAR weep Rese ee TS WS ao ge on * eres wa Wht i kahwpies wae] Peealn?=* Step3 * Estimate hem citumterence,C ‘Agproximata ameunt of fllnss at hem ge and drow horizontal line centered al the bottom ofthe vertieal enatharain lin. Label this horizontal ine “C” Gibson Gil blouse: C=14" (855 en) Stop 4 = Determine underarm creumference, . Todo tis, set points online B to create angle of cap height to underarm line. The ‘ratitional matheds to caleulata half of the armbole measurement and kaw the agonal ine ofthat length between the ‘op of ina A tothe point where meats line Bo th left and right. Labal these new points “D.” ' An alternative method isto simply aporoximate the volume of the sleeve you want at the bight ofthe underarm lin, which sth bicop lina for a high armbole, or 1*|25 on) ors below that for a lower armhole, Cente this measurement ‘on fne A and mark points to the let and right on in B. Draw diagonal nes ‘tho lft and right rom the topo ina Ato ‘moet the points o ina B * Draw lines from both points D to each end oflinec, Gibson Git blouse: D = 11" (28 en) Stop 6 * Draw S.curve from top of ina A through pivot point to undorarm lina B = Study the shape ofthe sieve. It halos ‘obe abi o visualize the eventual shape ‘of your pattem piese when you are raping, ovon if tis only a starting point forthe sleeve, ‘StopS * Now create Secure o sleeve cap, + Mak front and back of slaave Front is usually on right and back olf 1 Divide the lines from Ato D into this. * nthe font, mark point "(2 cm) out ‘rom the mark signifying the top tid. * On the back, mark a point" (15em) out from the mark signifying tha top thi * Drawa ine fromthe above points through tha lower tid point. Ths intersection at ‘the lower third point is called the “pivot point” iis the place where the sioeve oes fom following the top ofthe arbole ‘with a convex cure to falling toward the lower armhole in a concave cuve. The shape ofthe sleove cap “The upper tir of he ont pact he sleeve is lager than te beck ofthe sleeve to asornadat the bony pat oth Souler taut a chor to [25-Se below the tp of he shoul Tha spe atthe back of ta lane i Softer and widerta create exta oon forthe am tombe fora. ZsadengMeasuring the cap height * Observe what hapnens when a simple ‘quae shape sued to weap he arm. When ‘mated athe una se sea the ‘vous missing she isthe angle needed tofilin te spac upto tw shuld. Tiss Calle the cap of te sleeve, * Mesut tha dtanea fom ha ago tha ‘Sauer am tothe tp ele of he atic as kmatches up wh tele eye of Be ‘amo. hs wil byt “cap ight * Sleeves ae east cage Ifyou ben with some tot meaureanis such 28 his oo Step5 Step 6 Step7 * Ifyou have used the Easy Sleeve Draft, * Setcapvolumby pinning in gathers unt» Stating at the waist, determine volume of lightly mark the lines onthe muslin to ‘the lock af the photograph is achiovod. lower edge. tooks inthe photograph as it use a reference. If you have draped from itmay be sight Hare, saratth, ake cap height measurement {see box above and mart onthe masta farraference = Pin wrong sides together about alway up toclbow area. * ign lenatharin with outer ine of tuted aun. Pin at bicep line and again toward wrist area * Allow sloove to ango slighty forward fallowing natural hang of am, indicated bythe bie neon the stuffed arm, * As the tangle of excess fabri folds back, you can se the shape of the sleeve starting to ematgeStop * Sot tha notch points, Stat by looking at the sleeve from the side and determine the volun around the arm at about the bicep level Chek sleove through 360° and adjust volume unt you feel thas ‘the look of he photo, Tha natch pint, (oF “pvot pon,” isthe point where the seve ined begins to fall tothe underside of the am. Expriment with moving notch point of sleeve piace up and down the armbole 1°25 em) ors, and notice haw ‘his changes the balance of the sleeve rape Find th postion that feels the most balanced and graceful * Pin fimly at front and back to about halfway down dopth of armhalo * Clip tothe pn, and tim off excess tangle above it not show, 29 | ae Zrindug nv pee}Pinning the underarm Ping th underarm san akan ‘roe that tates soa practi. Try ‘lng the sued am to suppr the stan a you pi Step 9 + Tum undoram ssam of sloove font oor tock rom wrist albow, checking hat crossrains are matching up. * Once itis tamed, tea piste of wll tape elastic at lower ade and begin to adjust gathers * Chuck drape from te side and make back slight longer han rant to allow ream fo celvow Tim the excess, leaving about 2 (1.5 cm) seam allowance not shown) Step 10 * Finish cap adjustment by checking the balance agin and tuming it under along armboa ine ‘= Turn tangles of excess fri blow notch to the inside and allow them to fall along acmbole line * Pin along lower cuve, raising and loworing stufad arm and studying the way the sleeve “braks." Helly, armhole seam should be covered by drape of sleeve. * Atematey, in daw underaim seam on sleeve and up underarm seam to armhole, * The lest few inches (about 7.5 em) will be dificult to fnesse; afar you hae fished ‘the colar drape itis acceptable to remove ‘the blouse fom tha frm and fish pinning ‘his area last (00 Stop 13).& Calas ges a nt Serer fotos ort Ts band colar vl sar fom he fo, The clos wl atthe Baek. Step 11 itollar at CF by aligning lengthgrains, Pin firmly and begin elipoing to neckline as you wrap band collar around 1 back Step 12 * Tum upper edge over to desired width * Tum ower edge under and pinto necting Stop 12 1 Mark sleeve and remave muslin from form, You can continue pining the underarm seam on the table {see Step 10) * Study shape of slave and oight of aur cap. The underarm pain f font ‘and back should be on the same ‘rosgrain, and the shape should look similar tothe fat sketch below.Draping project A modern version of the Gibson Girl blouse can be seen in this design from Bill Blass Bot blouses strike a balance between the masculine and the feminine. The tailored elements, the collar and cuffs, reference the feel of a strong, independent, working woman's blouse, while the shapes have a soft femininity. The convertible collar frames the face and the sleeves frame the torso; achieving the right proportions of these is key. In making construction decisions for the bust fit, the ribbon trim will work well to hide a princess-line seam. Visualizing the volume ‘The focal point o the blouse isthe exaggerate sleeve, Because the {fabric isa shear organza, the sleeve canbe large without soeming| to overhang. Visualza tha wearer andy to set a proportion forthe sleeve, Use tape measure to detemine an approximate circumference ‘As you bain to drape the blouse try to fel what it would be lke to \woar it, How much ease is therein the torso? How much puff dons ‘tho sleeve nad tobe a focal pont without boing out of proportion? anion’ ‘Sdefront. ——Centerback Stack Stevo athDraping the bodice Stop Step2 Step3 + Toil-tapostllina of tho pink ion, * Sot si front stony along *= Pin ont overback al shoulars, matching srossrain with bust tape, keeping priness lines ' Sot CF section by aligning CFs, rimming and clipping neckline and smoothing * Pin sides, frst wrong sides together, then muslin ver shoulder area. Tim shoulder Slice out ambole area to allow arm to ‘vim and clip and tur front over back, angle leaving "(25cm seam allowance, hang fea, tut eave as much saam allowance as possible. Clip at nctch paints, alowing mustin fr undotarm area toll toward side seam, Pinat side sean, trying to approximate the volume ofthe biouse, lenathorain vertical '= Pin at hem, asi louse were tucked inta ‘skit and cheek the silhouota. should have about the same amour of fullness at ‘the lowe edge (nat shown * Tepe armhole as a classic shape. should be about 4" [2 om) below armhole pate to Pin along princss lino. Tha lina on this ‘accommodate the fll leave [at shown) design's actual farther othe side 8m whan yoy el youhave the ght cunes than the actual princess lin: here you aed to keep the CF section as straight linhtly peel in the ine and retove tape. as possible The fabric required to ftthe = Tim seam allowance to about "(2 or shape ofthe bust wil be added tothe side frontpiece '= Tim CF sction along till tape tne, ‘leaving abou (25 em seam allowance Pin shoulder area. This isnot fted bodice lke that on p. 60-83; iis aloose-tng blouse, so eon granlne as vertical as pasibie and leave about 1 (2.5 em) ease in armbole, Repeat from Step 1 fr back Embellishing the princess line sso princess nes are cued; honeves as you are going to embelish the ness nes here wit ibn they net be stright so the rbbon wil al verily thon il not sen wel on {When daping tho ot pines sam, loop the CF ston as straight as posite so the ‘ison te wil fall artical, nto poy. To create th us he fer be shape, or curved ut, nthe se front section. 2and truing Before benining he sleeve, tue up tha bodice shape to ensure the armbol is smoathly dawn, Step * Unpin al piace and genty press them fat. * Look at GF piece and sie front section: note how the CF is almost steht ine and the shape ofthe side font section is quite curved. The same happens withthe (Band side back sections. ' Smooth out curves and check crassmatks, Stop? + Reassombla musinby pang front ta sido fron ane back to sie back, tuning undar the exoess or seam alonance on the line cha, Pin rst the princess seams and then the ses and shoulder seas. Step3 Mark amo wit ape *= Pin waist a if blause were tucked nto check sihauette and volume. Draping'he sleeve @ Review the Sloove Draping Order before beginning to drape te sleeve ‘Sleeve draping order ‘This eaping over wers on any sferet shes of sieve. Work alternately fom the cep ae 1 he wat a bak, woking down the armbole and wp the undete sean, ening atthe cera point, 1, Setconest angle of sleeve, with lengtgran sight tosad font 2 Pincapat shoulder, 2. Sot wrist and pn cieunfranco, Maoh ersarins. 4. Set photo points ‘5, Workurderam seam omit elbow. 6. Wimexcss and rein upper half of slave cap 7. Move wp the unetam sean, tring exces othe nse and alg sloevs with in bicep are. 8. Worktoner seve eas rn pct pons to underarm pin Finish underarm sean, jag it with underarm point of sleveSupt The natural hang of the arm + evow the Slave Draping Ore p. 130 en begin a slew sap fst ' Begin tha sleavedrapa by aligning Melee eae te seuigagatsanesetonutheast eS ube Societe + Alonso pe ange sy iow age io tr. ‘forward, following the blue line on the {ike the natura hang of the arm. This rans tha th od “Lngtheain” ofthe stufed am wl be along wih he side = Lftlonatharain up toward the elbow and sea of the fom, in again, starting to visualize the fullness of the sleeve taking shepe stuffed arm Step 6 Step7 * Sot cap volume by gathering in the upper Starting atthe wrist, determine volume of = Pin gathers at cap with the distribution ‘ecg at shoulder area. lower sleove edge. looks lik it maybo that you seein the photo slighty narower tthe elbow han atthe aa rane pertatesigitange, * Shek height fbr above shoulder ne is tas high as you would lke i to be? * Observe proportion of neck to shoulder seam, Set your sleeve wth the same ropoton. + Remember that erossgrains must match up at underarm, As you pin this area, match up the lover crosagtains ' Pin wrong sides together from wrist up to elbow areaStep 8 * Set natch pints. Looking at slaae fam the side, determine volume around the ‘arm, This step is made easier ty the sheemess of the fabri inthe blows, You can see thatthe slave with is ‘bout doubla tha width ofthe arm, ' Check the sleeve through 360° and adjust ntl you ae sue it's balanced and has the lok ofthe photo, *= Pin ily to about halfway dow depth of armbole * Clip to the pin, and tim off excess triangle of fbi auove i ' Ropoat for back Fabri vs. muslin When sting a sleeve, tis portant ‘cansder te fbi. kilt designer os or the atl lose ftie vwlteact teen fom the musin.n ‘hisease, when the louse i ea in crane, tl have sighy mor eight than te musi, as oganc is git ander fat Practice valng heb gathering = lent of orgarea as fra sleeve cap and pina olditnextta your musin slew to uty the diferent shoves ‘Stop * Clip to your pins onthe underarm seam, * Turn undorarm soam font aver back fom wrist to albow, checking that erossrains are matching up. * Once seam is tuned, tea piece of tail tape or elastic at lower edge and begin to adjust gathers * Check the photograph: ase the arm of your rape tothe same height and see if {he volume looks the same,‘Step 10 Step 11 * Chack drape from the sd; make back "= Finish cap adjustment by checking the slight longer than fant to alow room for balance of he line again and turing it theelbon, under along armhole ine Trim the excess, leaving about (1.8 em} = Continue pining front over back up seam allowance underarm seam, inalzing width of bicep area '= Whan you fool you have achived the look, rape a rectangular sloeva band piace, * Tur triangles below notch tothe insda and all them to fll along armhole fine ' Pin along lower cue, raising and lowering ‘the sttfed arm and studying the way the sloeve "breaks." lea, armhole seam shouldbe covored by drapa of sloovo, ‘Step 12 * Pin down the underarm seam on sleeve, alterately pinning up the underarm seam toarmbola, ' The last few inches (about 75 em) willbe cifiut to finesse after you have fished the crap it's acceptable to remove blouse fram frm and finish pinning this area last Finessing the sleeve drape Inst 12, ote haw he bak the stove is avn in along the anne This means hat more needs tobe taken fom th curve ofthe sieve See the ded Tne in his agra for amount oreo.Drapin convertible collar @) Step 13 * Light chalk nectine so that you have a bide for you colar drape * Begin collar drape by placing muslin piece at CB neckline and pining perpendicular tthe CB fr the fist inch [25 om) ors, ‘Stop 14 * Continue clipping as needed and pinning to the neckline as you pul call section ‘around to about 1” [25 om) in front of shoulder lina, * Now determine the stand of th eal. Keop CB of cll aligned to CB of form all the way up collar piece. Ata point 1" em) in front ofthe should no, keopaallar musin about a finger’ width from neck of form and experiment with moving lower edge of cola up and down on neckline, Note that f the lower edge isaimasta straight line, as in a band or manderin calla, the stand is vor igh at the back * You wil have to fip hem of alan upto allow ita le smooth, Stop 15 ‘Turn collar dow and chock hat there is space betiveen neck af form and collar for ease ‘Turn undar autor edge, flowing stylaine in the photographStep 16 = Tarn collar back up and make sure it is ving smoothly all tho way around, * Lookat the photograph and note area by shoulder where fabrics caving in, This indicates that it needs tobe cli in futher Step 18 + The cla should now being sn all the way around, Step 19 * Finish the blouse by determining the “break point” where the fst button will hold the fold ofthe blouse between front and ellMerting and ing the sleeve and collar ‘Step + Nasal seams with pec or chalk and crossmatk where nad + With a convertible cola twill twhavethe calla line andthe necking ‘raved un beh sides, Using cxbon ‘paper and a tracing wheel, mark along ‘tha neki 2athat th nis ecrded axouately onto undesdoas wal. 1 Tuo up calls using a clear graph ruler to make sure that CB engthgain is square with CB necktie forthe fist 1° (25cm) orso. * Then use a French curv to draw tho neeklne cue ast gs up slighty } towaad front area, Step3 * Simaoth out Hines on steve. The back * Side seams and shoulder seams sleeve curve shoud be flatter and broader; 5 (em) the font willbe deeper. Compare the «Font and back rinses seams: curve t the lassie steve shape #8 [1Sen) * Neckline and collar: 4° (1.0m) 1 Make sure underarm points af each sida Siem tse) ara on the same crossrain, * On the lower sleeve edge, the back will be Yonge andthe font shore, asthe back Step Slt needs me gt 86 RTS Baas the gat ofthe slo tha elbow. ‘twill be dificult to analyze your final + Using clear gar ec add sam resuiy pinning ora basting, emake allowances othe edges Thetoloning —__upa ll usin oth bus. Youwl are sugested seam allowances. yousre tee ned to cute miro image dingo be iting te lous on someone cf the pees Haro the sli Ingo sn to ad mois oop srevaration danram on p10 track of what you are adding by notching emesis aie * Block the new muslin pieces. Draw engt- and crossgrains as shown on the diagram, ‘Align length- and crossarains of draped pete onto the lines ofthe new musi pieces and pn or secure with weights * Cut the two pieces topethr along the Tinas you have tund and to which you have added seam allowances, * Clip nat rossmans, no more tan (05cm, * Forth prosentation, tho ibbon seen in the photograph will be bested onto the ‘seams in the same places and buttons wil be attached. | 08 Zrindog we oS140 Analysis * First, ook at the overall feeling ofthe blouse. The muslin, of course, lok heaviar, but use your dasignors eye to visualize how tha shapa woud ook in cai, sheer organza * Begin at the top ofthe piece and compare the elements, The collar and lapel are slighty wider onthe drape andthe shouldes slaty narrower. The princess lie ribbons are closer together an the rape than on the Bl Blass blouse, * lth blouso wore styled on a modal as on 131, with tho colar up, buttons aponed further down, and sleeves pushed una bithigher, thet artiude of feminine hie ‘would be more apparent | vy | fois Jee Side ont Front Analysis of the ensemble This blouse is paired withthe Bl Blass skin you draped in Chapter 2.1: Skits [soe p. 102), * The modal in the photograph is probably almost 6 feet(183 a) tl, so your fist impression when comparing the total look vill be that your muslin lonks wie. This ilustates another visualization challenge ‘designe faces: garments almost alvays look beter on runway models due to their elongated shapes, natron west, and broad shoulders, As a designer, you must ‘rain your ay ta visuliz how the work will look onan average woman | * Study the proportions of the blouse and skirt together: thay are synchronized, Tha wide bolt sooms to balznca cut the ‘wis ofthe collar and cuts. Te soft {ull rounded sleeves andthe sharp, curvy sillouete ofthe skirt eeate the balanced contrast of femininity and strength, Back Side backVariations Tunic with bell sleeve This contemporary design is reminiscent of the elemental tunic, combined here with a bell sleeve. While ancient tunics were often loose fitting, this modern version is fitted in the torso with darts. The bell sleeve is slim fitting from shoulder to elbow and then gently fares to the wrist in a bell shape. Using negative space to refine shape \nen depng train your yet ee the negative spe round the ‘tape instead of focusing only onthe musi For example, wi his. tol slope, you can ez sooth space bowecn ta secu ad the Side ofthe blouse Refaring i this lp you achive tert ure in te side seam and tne the stl shape othe sleeve: ‘naiow athe btep a widening toward te wis. seve Font ackStep Stop 2 * This sleeve willbe draped ona tunic with = Align lengtharain with outer ine of stufed ‘classic armhole. Fist teats a bodice arm and pin atbicep ine rot shown), ‘with a sido bust dart inthe front and a Yeast stieted * Allow sleeve to angle slightly forward, ‘allowing the bie line onthe stuffed arm, 1 Tape, then mark, a oassic egg-shaped . * Set cap volume by holding upper edge in arn withackopof atau? 2Sem) Saya slr ae Ths wl bola tha anmpat fot shown bo any gathering, but there will bo sight easing in ofthe muslin it helps vou, pin 4" [15cm on font and beck cap Classic slew pattems are mated nth single noch whee te sleeve matches the shoulder eam, Adoubenctchindeates ha back of the slave, angle nats te ont. ‘Accustom yous to his widely used system, © Starting at the ist, determine volume of lower eda, tis nartower atthe elbow ‘than atthe wrist, o bringin the soam at ‘an angle. + As you pin, remember Uat the erossgrains myst match up at underarm * Pin wrong sides togthor fom wrist to eloow ares clip to your pins. Step 4 * Set noch points. Looking at sleeve fom the side, detemnine volume around arm * It you nave not already dane so in Step 2, pin out "(1.5 om) or so ease on outside af arm. Eventhough tha sloava has avery sli fit wil stl ned somo ease, * Cheok the sleeve trough 360° and adjust until you ae sue iis balanced and has the look af the photo, ‘Pin firmly to about halfway dawn depth of armhole * Clip tothe pn, and tm off wiangle of ences fabric above it + fepeat fr back‘Stop Turn underarm seam front over back from wrist to elon, checking to see that crossgrains ara matching up. = Tan yp hem * Fish cap area by adjusting the ease and then tuning it under along armhole ine, Stopé 1 Tim away excess on lower sleeve ina cme that approximates the curve ofthe lower ambale Step7 * Allow tower sleeve to tun tothe ins, Note whee it fas against armhole line, + Fin the front awar curve* Observe how fabrics draping a the underarm, thas too many folds, which ‘means more fabric needs tobe taken out of the sleve atthe underam curve * Pinalong loner curve, raising and lowering the stuffed arm and studying the way the sleeve breaks, * Find the balance between being abt itt the aim fee, yet resulting in lots of folds atthe undararm, and having a smocth ft with no it Step 9 * Pin down the underarm seam en sleeve, alterately pinning up the underarm seam ‘armhole. * The last fw inches labout 7: om wil be dificult nose; aftr you hav finished ‘he dean, itis accoptable to ramova biuse from form and fish pinning tis arealast * Tape neckline ‘Maintaining a stable neckline Note tat he ncknes kept high and tent a, Unless itis cca to svn the sive, lea this re inlace to help main te stabiy of yur dapa_ Aut aut racine is usally bias, wich i pms t ttn, Tis 1s especialy impotant with a over reckless his neMandarin collar The mandarin collar in Western clothing probably dates from the 1930s, when there was a vogue for the Chinese cheongsam, a one-piece form-fitting dress that is till prominent in Asian fashion. The style originated with the mandarins (civil servants) of Imperial China. ‘The collar, usually %6-2 inches (1.5-5 cm) in height, frames the face as it follows the neckline around to the center front | Calculating ease for blouses ‘loses are lcser iting than busts ant often lacser sen than the \ i | ess bodies in Chapter 2 The amount of ease an blouses yates, \ | ‘tthe inimur average ose around tho bust fra confrabio tis | | about 75cm ta Font akStep Stop ‘Step * Set ront section by aligning CFs, pinning = Setback section by aligning CBs, pinning _* Check side view of cap slave area, ‘across bustine and shoulder. Cp and trim across bustin and shoulda. The “break” {where the mustn is folding) eeklne until lis smeathly against form, should bo larger and lowar in tha back ‘and higher and smaller inthe font ‘Tape armbiole. On a cap sleeve, the font ‘area is carved out allow the arto move freely The back armhole wil bo * Pindar as or front section in Stop 1. 1 Sinoothevoess eae toward waist and pin dar ear princess line with about 1” (2.5 cm dartimake. As dart continues below waist it should baccm staller to ' Pin shoulder seams front over back and allow them to extend over the stuffed arm To create the cap sleeve, ‘accorimodate high hip area. Notehow the = Pinsida seams tagathor, wang sidas full, to cover th underarm area rrusln shapes in atthe waist and back out together rst, then tum front over back, ‘again oer te high io. shaping in slighty at waist not shown, * Tim shoulder excess to approximate cap sioeve line * Tim side seam axcass allowing forthe shaping ofthe waist curve ‘Stop 4 * Begin colar drape by placing musin piece at CB neckline and pining perpendicular ‘the CB fr the fist ich [25 em) ors, ‘StopS * Continue clipping as needed and pinning to the neckine as you pull collar section ‘around ta CF At shoulder pint, ella pice should be our a fingars width from neck of for to allow for ease. ‘Stops * Turn undor neckline edgo of ella, then top edge of cola. *Tununder hem of sleevePeter Pan collar The Peter Pan collar made its appearance under that name in the mid-1900s, named after the costume worn by Maude Adams in the production of Peter Pan. Similar collars were named for Litle Lord Fauntleroy and Buster Brown. The flat, round-cornered collar has remained popular primarily in children’s clothing. but periodically in contemporary fashion as welt In this blouse from Louis Vuitton’s Fall/Winter 2012 collection, a classic Peter Pan collar contrasts with a tight and tough leather bodice Cali Ba ont Bev backStep1 * Prepare a classic bust dar bodice (se 4d), but smooth ust eas int a dar at Undobst aaa, Keopnactne high and ‘eat clipped an trimmed. Markit 48 (1m) down from CB seam on form, 4 (15cm) out rom seam at shoulder pi, "2c don at * Align CB of collar muslin paca with CB of bocce neckline allowing slashed area to lieat shoulder lin. * Tim and clip neckline to match neckline of bocce, Step 4 * Tum under outer edge of colar and neck ced, matching neck edge of bodice. * Tohelp you check propordons, ade finishing details suchas the buttons and armhole line. Stop3 inning an trimming as you * Tape the shape ofthe cola bring fabric around to ron. Allow itto lin smaothly on bie front ‘and proportion corrections oy close steno tothe font cll cue inthe phtoerap. Ton he comet shape, can thei to check tha negative sce Here, for exaple, the eave space etwean the two callarcunes athe center font fons an inverted Dupicatsthe looky focusing on that shape ‘ator tan tho stape of the musi enc Icon aleohelp connec reference pints. Hee ao animagrary ne rm the ont calla curve 1 the bust poi. Do te See forthe hetogaphand compare ne angles of ‘ose two tines|Blouse with eplum and classic ishop sleeve The elegant and sensual look ofthis wrap front blouse is Created by the full volume of the sleeve, the softy flared peplum, and the focal point, a bias-cut silk georgette neckline that finishes in a bow closure at the waist. The blouse is made of sik crepe georgette, a lightweight, semi-sheer fabric that has a beautiful, swingy, fluid drape, The fits achieved by released tucks at the waistline and side seams that angle in at the waist. A light shoulder pad supports the weight of the full “bishop” sleeve. The peplum skirt section is the same basic cut as the bias citcle skirt on pages 100-101 ] ‘Atrained eye comes with practice Fiont Seve The id tape ofa sk gorgata at mats thts pray an meesitcttiago rape wth Draping iin rsinakes ter to cio a ace patem Bef youbeg te dope ae tet sud the "Te of he gt th wa it mae rdf] 30a conve itl you we anak ens erat aw tes the usin‘Stop ' Prepare fom by setting a small shoulder pa to give the square shape tothe shoulder edge * Pin font section to form, aligning OF lengthgeain with CF of form. * Pin across bust and tim an clip until rockin is smoahly. * Allow axeess bust caso to drapo to tho waistline and pina tuck at about the princess ine. Keep it anglad toward the bust, where the extra fullness is needed Anglod tucks The angls of tho front and back tucks are important in determining ‘the fit and the look ofthe silhouette, It they ae angled 10 far tothe side, they will add width to the body and ‘maka tha wearer look bigger. They ned to angla toward tho areas that need more space. the bustin font and te shoulder blade in back Step2 * Repeat for back bodice allawing ease to fal to the waist, slightly angle tuck toward shoulder blade Step3 * Pin shoulder and side seams front over back ‘Tape armole as the classe shape, about 1°(25 em) below the anmpate‘Stop 4 ' Bagin dape of bias peplum pieve by aligning lengthgrain with engthgrain of front section at the princass lina. Stat 3-4 (75-10 cn) up taalow room forthe clipping and dropping ofthe ias piece (eee bias ctcle srt, pp. 100-101 Step 5 * Clip and ti, allowing fabric to alin folds at th hom, binging fabric around the side and ending at CB. The tue bias pencil ine shouldbe staight up and down ‘at about the side seam, ‘Stops * Cuthem excess to even it aut, but donot finalize uni resto blouse is ready. * Tepe nec and armholeSleeve draping order -Asyoubogin the love dap, remenbat ‘ofall the si raping order set out onp. 133: 1. Sot proper angle Pincay Setwvist ‘Setooieh pits Workin ram andra to thon “hm excss and werk loner sieeve 2. ish dar sam het it mete ‘he ambale pai. Step? Stop 8 = Align lenghgran of sleove piece with * Set cap volume by pinning in ease on cute line of stuffed arm and pint bicep upper edge at shoulder area Thre wil be lie foot shown ‘about [1.5 em) ease an both the font ‘and the back * Allow sleeve angle slightly forward as ‘he natural hang of the arm, following the blue ine onthe stuffed arm ‘Stop 10 * Set notch points. Looking at sleeve from the sida, deternine volume around arm, + Pin at notch pints. Not tat thea is ‘quite abit more fullness inthe bicep area than there was wih the ball sleve see pp. 1424}. The actual cap ease will til be (1 Sem at both front and back, but thre wil be mora as it ravels down tard note area, * Pin firay to about halfway down depth Step * Stating at ris, determine volume lower edge. Its narrower at the elbow than atthe wis, so bring inseam at an angle, keeping wrist eea as fll as posible 1 Remember to match erassgaine at tundoram as you pin this area, = Pin wrong sides together from wrist to elbow area, Clip to your pins of armhole, * Clipto tha pin, and trim off excess trianglo ‘ofmusin ove it. + Repeat for back‘Stop 11 Turn underarm seam front over back fom wrist elo, checking to see that cassqrains ara matching up. This isan ‘awkward procedure. To make it ease, lean the fabric against the stuffed am and smooth it out as you pn * Tie twill tape or elastic around the wrist and adjust gathers. * Choc tha pote for amount of bouson, * As youadjus the gathers, nate that in the photograph the back a the sleeve is longer than the font This creates mare ‘ease for tho movement ofthe elbow: also, a sleove thats shorter in the front and longer inthe back gives a more graceful, cassic lok * Finish cap area by asusting ease and ‘wining itunder along arnole line * Trim away excess below notches at front and beck, and tum 10 the inside, Step 14 * Pinunderarm seam up to armhole as you * Pin lowor front and back cuvs, raising altemately pin the lower sleeve area down and lower 19 the stuffed am and studying the way te sleeve “breaks.” dell, armbole seam should be covered by drape of slave, ax seen here,ran cll by fis folding bias section inal += Stating at CB naclno, pn to th halfway point. Fin taight forthe fst "(25 om, clip, then continue clipping as collar rls ‘around shoulder area, ' Bring it dovm along the taped tleline of the neckline ' When you se the volume you wart, init to the necking, folding excess under Draping bias fabrics Because the fabrics onthe bias ga, ity eth, Allow ito fall natally witht ying to steht Nie how ‘ha las grin ste fabri folow ‘hark uta witout aking orig Step 16 ' Use a smaller serpy of bias to create a tie piece thet wil begin at the lft side sean ceate a bow withthe piece that ends at ‘he ight waistline ' This is yout focal point, 0 look carefully at the proportion you ara creating and coordinate with the rest ofthe blouse. = Tumup thehem, * Check your drape from a distance to see if ‘ho fullnas ofthe sleeve fans well with ‘the amount of far in the poplum. Tho size ofthe bow should complement the volume ofthe other elementsHistory Modern ethnic pants echo the traditional forms pictured here. The woven panels are cleverly engineered to allow for maximum movement and economic utilization of the fabric. These elemental designs have endured because of their purity of form, simplicity, and functionality. Early pants evolved over centuries and through many practical changes before arriving at what we consider today a well-itting trouser. The contrast between the basic cuts of these pants and the detail and finesse that go, for example, into the pattern for a modern designer jean is extreme, rensyta wearToday, pants are an indispensable part of a woman's wardrobe. However, in historical context, they are relatively new. The modern pant as we know it did not come to widespread use until the early nineteenth century. Before that time, in Western culture, well- dressed men wore knee breeches with long stockings to cover the rest oftheir legs. Knee breeches fist gave way to pantaloons araund 1792, These were made fram a light-colored cloth or cotton, covered the entite length ofthe lag, and were cut on the bias to achiave a close fit. The pant or {rouser, which evolved from a functional garment worn by sailors and was first adopted as seasice wear, gradually replaced pantaloons for daywear by the ‘mid-1820s. In the United States, it was not until around 1810 that long pants came into fashion. By 1850 Levi Ditforent pant types, cave Strauss was producing the first denim, a sturdy cotton with a blue warp thread and a white wert, the origin of what now is almost an intemational “uniform.” For women, wearing pants took much longer to become acceptable, due to social and cultural mores. One of the fist innovators in women's pants was the rebellious American Amelia Jenks Bloomer, a suffragette and champion of women's rights. Inthe 1850s she dasigned aloose-fitting pant, the “bloomer,” to be worn under a knge-length skirt. She and her followers were subjected to so much ridicule and harassment that it hecame apparent the world was not ready for women in pants. However, pants were beginning to be wom regularly in work situations. Women working in British coal mines were reported wearing trousers in the 1840s, and women wiorking the ranches of the American West needed the practicality of pants more than they needed or cared ta look stylish Marlene Dietrich was escorted off the streets af Munich for wearing pants in 1932, and when Katharine Hepburn insisted on wearing pants on her movie sets, there was no going back. nthe 1940s, while men went off to fight in World War I women began to take their jobs in factories and on assembly lines—wearing pants. Money and materials were in short supply, 50 Wives began to cress in their husbands’ clothes to save ‘wear an tear on their own. By the 1950s, pants were acceptable for gardening and beachwear. By the 1960s, they were fully accepted in society for any occasion. ‘The 1980s designer-jean trend brought pant ft to an exact science, with the smallest incremental changes in the curves of the pattern causing sales to rise and. fall as shoppers sought out the latest style and fit. ae zuneExercises Draping and fitting pants The modem pant is traditionally draped with the lengthgrain running vertically down the leg to achieve maximum strength and a fong, slimming line. The way the crotch area is cut away determines the fit ofthe pant. The goal is to create a well-balanced combination of curves at the hip, crotch, and inseams so that no matter how wide cornarrow the pant, it fits well and falls smoothiy Beginning a pant (Observa te shape thatisereated when a simple rectangle of fabric is wrapped around the lowar torso and la, Joining the inseams Note how the fabric wrinkles atthe oetch ‘whan te inseams a joined. Historically, this issue is addressed by adding more panels sin the ethnic pants on. 158Boginning the front crotch curve Torolease the tension and vninkling att Inseameroich area, slash in horizontally about 4-5" (10-12. cm allawing the fabri to ie smoothly ast wraps around the le, oginning the hack crotch curve For the back, a ater allowance is noadod forthe fullness ofthe back hip area Note inthe photograph the diferance between the front and bac; there isa greater distance 10 tavol at the ack of the crotch than atthe font Combination of curves ‘Ait ho jo ofthe sae an eal in Chapter 22. bare an isa camplecombiation of cures, hs ine equred tt pant legs together. ‘Thee an ite varity of eurbinaions tat create he fe ofa pant. The way these caves ave engineered aes the atthe hip tech and inseam areas General the wider nd flr the pat, the lenge the hoot” ot ttre ofthe coh enam exes For aaron coee ting par, the bak hook ually mosh Inge thn the fot, meets toward the font of the asi sear gor. eindeygHarem pant In 1910 the Russian painter and theatrical designer Leon Bakst created these harem pants, worn by Nijinsky in the Ballets Russes production of Scheherazade. This simply cut traditional pant is seen in many ancient cultures. twas revived by Yves Saint Laurent in the 1980s and continues to surface in designer collections periodically {tis also a staple of the madem belly-dancing costume. In preparing the flat sketch, try to capture the fullness and also the straight laok of the leg, Itis gathered at the top edge There is no side seam, so, opened up, the pattern was probably cut from a simple rectangle of cloth with shaping for the crotch, The lengthgrain would be straight down the side seam and the crassgrain perpendicular ‘Tho fab “The fina lok an snouts of this art wl ary scot a tho fac used cut chin, th thin, Hud qual fat ftic woul rape ver sight down he sie ofthe eg. heir sik ‘¥ coton vod tha volume of the pant wl ba fle, ‘Su uyCrotch depth Toestinate whet tora the rossran, which wil be at about te tro depth or‘is,* have the weater sin achat and measure fram te waist othe ota of he chai Visualizing ume \When preparing your muslin the amount of fabric aed will have tobe estimated Hold a tapo measure around tha hip aroa and ny to estimate how fll you want the pant tote, Stand ata distance before mira to ‘make it eases to sae how the proportions of the length and wid are working, Visualize [Nijnsky or your favorite dancer onstage and ‘ny to work out how much fabri they wuld lke to have around ther body as they extend their legs to leap and danceStep * Bocause you are using the full width ofthe fabric, inte inseam together fist. * Othe table, fold in 31.5 om or so seam allowance onthe front and pin ove back to about halfway up the leg I helps to place a graph ruler under the seam 19 ress against [act shown Stop2 * Align lengtharin with side seam of farm, then CF line with CF of form and C8 lengthatain with CB of form, * Tie length of elastic or til tape round the wast and adjust top edge s0 high hip cossqain is lvol with ground (not shown). Wil I ' | Muslin vs, fabric Ls yous of ealztonhe The asi i eat fey ram a ot Siar eae, fx emp trace { | te volun yur ape would 4 change when made pine thinner ec vith sth stop3 spt @ = As gathers are adjusted at the waist, = Clip straight to CF at high hipline, then under the elastic, the lengthgrain of ‘tape front crotchline, fallowing the curve CF and CB should tall quite straight, cof the form, pepeaae nether * Tiimaway excess fabric clip asthe fallin toward the inseam inct shown). * Cut ava curve forthe font crotch seam (not shown)Stop 5 * Repeat Step 4 for back, but note thatthe back hip area requires a deeper curveto be cut away than at tha front. 1 Trimeratch curve a litle at a ima unlit smoot follows the seam ofthe fom. * Pin the inseam above the knee Stop6 ‘Tie elastic o wil tape around ankle ‘and adjust gathars unt the look of the photograph is achieved Stop7 * Observe finished pant drape and compare itto the photograph, Notice how the snus fal; ll ba easy tose you ara off balance by looking closely atthe oraintines. Practice your visualization skills by imagining vat the pant would look like ina softs, ke a chtfon ora crepe de chine eindeygHakama The hakama is the traditional pant of the Japanese samurai, Originally, it was @ heavy outer garment worn to protect the legs while riding through brush, similar to the chaps worn by Western cowboys. Now it is worn by men and women for the practice of kyudo and other martial arts Made basically of four squares—two fronts and two backs—the hakama has deep pleats that attach to a wrap waistband and side openings that are very low. Musa proparation Y Front ackStep Step 2. * Align CF lina with CF of form, keeping ' Trim exoess at font eotch along til tape crossqrainhorizatal to foo. and tun into the inseam, clipping where Toa lngth of elastic or til tape around, ——_"Acassarytoallow fabric tia smth. ‘the waistline to hod inte area that will be pleated. *= Pin at sie seam to support pant * Tape crotch ina the photograph itis quite low, probably 6-8" (15-20.5 em) fiom the actual eratch ine Step 4 #= Trim excess from back crotch along ‘wil tape and turn into the inseam cliing where necessary to allow ‘abric to ie smooth, * Pin pant insoam, keaping soam straight and gainlinas heriontal Stop3 * Align CB ine with CB a frm, keeping crossgrain horizontal to fon, * Tie length of elastic or twill tape around the waistine to holdin the area that will be pleated * Pin at sido soam to suppor pant. ‘Tape th roth in, ending at tha sama depths the front. eindeygBalance ofthe inseam “ho tranas of tho sean ie cxcal in pans Ia pantistrqued itr tothe freee toe, te wil ret eight. It ‘simortant io develop your eet see \when this bare is achieved. Sua pants careful andchsene how moving ‘te inca toad the rant or bak ets the hag ofthe pant ‘Stop5 = Stuty the photograph and form the pleats ‘achieve the linear and geometic look of tha pant * Inthe front, the pleats fll vertically and ate not angled atall therefore te top edge shouldbe very straight. ‘Steps * The back pleat angles strongly toward (CB Note how back waist pleat must end ‘ove waistline to achieve the look, ' Asyou form this pleat and set the ‘waitin, check the inseam should be hanging stright down contr of inside leg itis angling toward the back back waists being pulled to high if it is fling toward the font, back waist is too low. Experiment with what happens to the inseam as you move the back up and down,Step7 * Pin sides so that seam hangs sight ‘along sie seam of form, Asin traitona foims ofthis pant, side seams willbe perfectly straight on the grain, * Not tha intresting silhouette ereated on the side by the angled back pleat and the straight front pleats. Th angle ofthe pleats fores the fabric out inthe back Step 8 '= Tum font over back side seam and gin * Tope side openings. * The sides of traditional hakama ate open ‘omidthigh. Ina moder version, this would be @ great lace to sot in a deep sida pocket * Pina tope or ribbon around the waist to help mark exact waistne * Borauso tho pantis voluminous andthe angled tucks ara important to the way the it hangs, this isa good tna to vaw your rape trom a cistancein front of a itor. Experiment with the balance ofthe pant by puling up fist the font waist, then ‘he hack Soo what happens when on is ropped andthe ather pulled up, eindeygWide-leg trouser with front tucks After Marlene Dietrich surprised the fashion world by wearing pants, called slacks, in her early movies, the style was embraced by Hollywood stars—most notably by Katharine Hepburn, who was seldom sean in a dress outside of the movies. Draw the pant, noticing how the proportion of details affects the look. The classic trouser will have some sort of pockets, a zipper, and often cuffed hems. oom Fun Back Ta trape the pat rom sac use Masi Preparation ad follow te stepson op. 174-75 The EanyPan Draft isa sila ay of \lng You can caleuat the kind of and ease you want by aniiping te masuanent sted on. 171 nd marking ‘em igh on tha usin before you begin Tha way, asthe ping proess goes Jord ference pits remarked othe asi toelp keep te pant ftoorect Hfyou want to ty using the at use Main Prorat Bip, 172), a follow tt sta or ‘the Ey Fat Draft at to reat the cafton the pant musi.Easy pant draft There are many methods available to draft pants by precise measurement rather than ay draping. With draping, however, you have the advantage of being able to see the silhouette as it is created and the flexibility to refine the subteties ofits shape. This particular method is intended to help you drape the pant. Having some measurements and a basic shape to follow is useful when starting the drape. tis ‘not intended to be a final patter, but rather a time- saving device to set the general parameters of the pants volume This draft can be done on paper and then transferred to ‘a muslin piece, or it can be drawn directly onto muslin. Arountotease \ Measurements Waistorhigh hip [26°168em) This s where you want the pant top edge to be Hip 40° 1015 on) This is probably the widest area of the pan patter Determine the ease. Fora tight-fitting pant, work with the exact hip measurement ofthe form. Fora standard, more loosely fitted modem pant, estimate 4” (10/cm) around the hip. Although tht sound ie lot more than the 26" 91.5 em) hip measurement of te form, it isonly2" Bom foreach sie, and ony 1” (2.5 cm) per front and back which will be about right fora nonstetch fabric (see ciagram above Crotch dept (23cm) Determine crotch depth using the method on p. 162, or measure down from the walst of the bifurcated form tothe crotch, Lenath 38 /965em) Determine an appraximate loath by estimating an outsaam maasurement. This isthe ‘measurement onthe se seam of the bifurcated form fram the waist tape tothe end of theleg. Front and back crotch curves. Drafting the pant hem measurement These two cunes at cial tate i of he pant ad hae an nite ‘are of seigs You wil have to hater eee rnine this ave by wong wth the pant on the ies fom. Itisa goad oxo to tuy the roth cures of fret ypas Of pnts. Noize how he shapes thas carvos affect the tot the pants ‘When adding woo dxeasng the pant hem measure good rules todo xual from bot the inseam and the outs, Erindeygy — ; a me Step! Stop2 * Drew a vertical ne the length of your = Dive your hip measurementin half-20" _* Now divide the measurement between the target pot lena an abel it “A This wil become your lengthy ine. Drew line at 0" tothe tp of his line to mark ‘ho wisfigh hiplne Papas fr back. * Maasua doth of rich down ha veal Draw ahociantal nea abi" Tis will become your crassgrain ln. eet for back. (52 em) forthe haf pant you wil dra Now divide that in al forthe front and back sections: 10°26 em) each, Now divide that measuramant equally ether side ofthe lontngrai, and from ina A measure out (13cm) along line B to each side and mark two points ‘wo points into four, creating (05 cm) segment, and mavk the points elon the crossgrain ine B * Drawy tw vertical lines up fram the wo outside pint to tha waisthih iptina, Those two ines wil become the center ‘ont and back, respectively. * Label inseam and outseamsg f eee 3 | } Tow = | i i 5 \ \ \ | | | | | \ _ ‘Step 3 ‘Step 4 = To create front crotch curve, add one = Determine hem measurement. Its better ‘vertical lines you drew in Step 2 to create incomert—in tiscase, 24° (6S cm/—to ‘ota slarger neasuenentthanyou—_—_—thacutsoans Selatan: nal EOE AL ght oi = To create back crotch curve, add two ste nas tapating only 1° (2 Serie inseam lines, the waistline is yet to be incomens fase" 5m}—inthiseace, ‘Re inestapernginany |" (2Scn}on | geernind, Ths wil largely denon {S701 Se}—totha back inseam edga asin ard ast itfurer onthe form. poy yey are wating he ft at wast and and also matk it point °C. we aa ge near hip. You will need some sort of darting or pena ee toate ae tucking to create the fit at the waist: for + Keeping owercane ute stator the ark we pons, bling hen “0."Fom Ang Ince eft he aif fst inch (25 cm) or so inthe-font and 2° points D, daw lines upto the points C aa [Benbinth bck blend ne uptaa nthe inteam andthe bem fhe ‘Moasuromonts for the wide-tog trousor with font tucks Lengthorain [42 This sa looserfting trouser with pleats nthe front. so allow that much ease, line A (108em) Crotchdepth 11" Tthas a high waist anda waistband, typical ofthe 140s vintage look. This measurements, forpositio ot | (28cm) ‘therefor, taken ftom crotch to waist plus about 1 (25 em cossgrai ine B Paints ‘Won detarining these points allocate 7236 cm) fr the font pant, bacause ofthe fullnss cf the fron pleats, and 20 (52 cm) forthe beck pant. Points C, therefore, wil be: Front: 11°28 em) rossatain line, contre and vided into fourths = 25 (7 cm por increment += 24 (7 em) entra fr font xotch curve ‘Back 10° (20 om) crossrain ine, contared and divided int fourths = 24" 6:5 cm) por increment ‘Aad two increments, less)" 1.5 em) =" (11.5 cm] extra for back ertch cue, Cres styles from established patterns Df in he gare inst, basic lope bck, set create re ates A gant fim fr example, would have vious pes rearesenting thet diferent yes oft When 2 nasi is being coat, neo ho iors woul bused as. reteonce. That wey, io fesigness iow tat the pati, insean, ad och res ha ben tested and can use ‘at infrmation a sve tine wen coveloging the new seStep 1 * Align CF line with CF of for, keeping crssqrais horizontal to foo, * Agproximate pleat point and pin pleat * Pina side seam to support pant. Stop 4 * Fin inseam front over back. you havea ‘wo-laggod form it canbe dificult to Fld tudor and pn, so just pin the front oer back, ayng the two pieces fat on a table. f you have a one-legged form pin front over back on the form, Step2 * Repoat Step 1 for back, making sure ‘rossgrains are on same haizota level ' Note how much more fabric is needed in the back tan the front to create the back crotch cuve, Step 5 * Pin sid sams wrong sides tonethor and shoek th shout ofthe photograph * Chex that side seam s aling straight down side eam of form * Chek fullness of pat Tis touseris ot with very staat anguar lok, andthe caffonds at toto of he shos. ‘Step3 * Using the Easy Pant Draft to help nd ‘the right crotch depth, estimate hip ‘measurement of pant n this case, the front pant will be slight larger than the back because of the pleat. * Topo front crotch line and cipo CF inline about 4 {10 em| down from ‘waist. Continue clipping and timing away excess, following euve of frm al ‘the way to inseam. * Remove tape, * Ropoat Stop 3 for back of pant, as show. * The erote depth should end atthe same place asthe font orssgrains should ‘match atthe inseam) * Hf youfeel more comfortable draping the pant without the craft method, drape curve by trimming and clipping util erate ine lies smoothly along eoth ine of form, Fora classi et, remember tha the back cure wil baa litle loss than twin the copth ofthe font. * To halp determine a target moasuremant forthe cuf, study soma of your own pants ‘and familiarize youtsolf with wiat a 24" (61 on) aa hem looks lke compared with ‘an 18" (455 em hem, This one looks tab abou 20-24" (60-60 em] wide * Pin down sda seams and aust inseam ntl balanced‘Stops * Once yu fel you have achieved the look, pin front aver back at si sean Step7 * Once you hava corectad th width of th pant, ind the center of te front ‘and check how your font tckis angled Correct tif you naed to it should angle slightly outward to coordinate withthe croaso at CF of pant. * The tuckis stitched down 3-4 (75-10 sopin down to where tuck stitch wil fish Stop 8 * Determine width of waistband and wrap it snugly around the wait to make marking the waist easier. This isa 1940s-era pant, so the waist wl be high, Turn up the cut. eindeygDraping project This contemporary design from Nanette Lepore's Spring/Summer 2011 collection is a cropped pant with some flare at the hem. ‘The fabric in the photograph appears to be a Tencel, silk, or soft cotton twill, as ithas a gentle flow. The ease at the waist is taken in by small darts hidden at the flap-pocket line. Very litle fit is needed in the waistband, as it sits at the high hipline a few inches (about 7.5 cm) below the waist The attitude is of relaxed resortwear—casual, fun, and chic. The pant should have a modern fitted hip and fairly slim upper leg that flares just a bit at ‘the hem, For this style, use hemp/Silk muslin. It has a softer drape than the standard mustin and more closely, resembles the look of the pant in the photo, Also, because it has a looser weave, itis easier to see the grainlines, which is helpful in draping a pant. IF you use the Easy Pant Draft (pp. 171~73), the approximate crotch depth will be 1-2" (2.5-5 cm) shorter in the front than the back, similar to a jean cut. Calculate the hip measurement very close to the form. For this project, the ease at the waist will be taken in by just one dart. ay uslin preparation Cc ‘limiting styles (ten naan sive or stn pent, the bak eres etn ‘andthe font shortened fora close ft nthe Bachigh area.Stop 1 ' Set fron snugly around hip, Keeping lengthgrain vertical. ‘Fold in tho font dart, kaoping it as small ‘aspassible, just enough to take alte excess off the wait * Tape font crotch na * Set back section, keeping rainlne vertical below hi. Then, allow C8 grainine to fal to the left ofthe CB of for, smoothing ‘muslin to ft over back high hip. Angling this C8 grainine wil allw fara more fitted back hig aes, Als, because the CB 's thrown anto aight bias gai, this wil ive some stretch, allowing the piece to farm fit var te body. * Forme small dart of the top edges 1 Hold Fabre in at * Form back dart. igh tee Stop3 * Cut crote- depth line in ron and back note that, as yaufllow the rath ine, you wil be cliping beyond your taped ine. As tho pan is quta fein that roa and neads tobe drapad clase to tho form, its aeceptable todo this, Keep back thigh slim as you ul fabri around to inseam, Pin inseam ara to form. Again because this is fitted pant, th inseam ofton goos toward the front. this case, drape it about 1" /25 em! towaid the font, which should alow you to keep the it elase to the thigh in tha back ‘Make sure that your knae-line erossorains ace matched at tho inseam f you have a one-legged form, tis wil be easy todo. if you Have the to-eg for, itis more Aifcut, so just pin the mustin othe inside og ofthe form as smcothly aspossile Fitting the back thigh You car shape th upper igh by pling ror ss musi it the insean,Stop 4 * Check the photograph and start pinning side sears wong sides out, When you get ta th knoo aoa, bogin to faro out tha le. ‘Stop5 + Trimexoess at hip area and continue pinning tothe hem. * Pin the insoam a tha samo time, belancng the two fares and keeping ‘rainlne straight dow the center of pant front and hack Stop6 "Turn side seem rom over back and check sihovett, * HFyou have a single-eg form, you can pin the inseam front over back as wel Hf you have a twodeg fom, pin by laying the front ontop ofthe back. When working wth pant ao, the amount ne inseam ane ous Should be aii eaal inden‘Step7 Step 8 ‘Step * Determine set of waistband by rst taping Start draping waistband at CF with = Pulng fry thy, wrap waistband the postion ofthe top and bottom edge, ‘rossgrain cantred on tape area and around 1 CB, allowing granine to drop as lengthorain vrical to CF (8 of waistband becomes bias. This wil ' Drape pocket fap by creating a rectangle fom musin with the edges tured under. * Tape the ly stitching or Jstich, ' Chock the proportions of al the details callow band to it smugly around high ip, * Tr excess from both ses of waistband and tum edges under along the taped lines. You can rave the tape so that it is casir tose the actual ne + With sll scraps of muslin, determine proprton and placement of bat Ions * When positioning these detail, nota that ‘ven "(05 cm) argar or smaller makss aig difference in the lok ofthe pant. A 14" (cm) wasted has a completly different look toa 19 om waistband, Step 1 Tum up the hem.Marking and truing Correcting lines teu naw Liscebel marking. and tha two coor * Intuing up a pant, itis vary important that the long seamines ofthe outsearm and inseam are smooth. The long metal hip cure is peceot forthe job, Here is combined with tha mata ule ta creata the fine fom hip to hen * Observe the two side-seam curves. The fiont section appears quite a bit wider than the back. tis posible forthe bark to be slightly sll than tho front pant, but inthis ease it may have draped sight off balance t would therefore, be sensible to ever out the ares by taking a litle bitoth ‘the font and adsing tothe back Step? * At tho point wire the crotch seam fattons ‘out, the inseam wil usualy begin with conceve curve angling toward the knee. 1 Here you can see the pencil ines are quite cratic Drawa rd lin to start the corect Angle, but then sof twit the futher correction in blue. * Tue up the waistline ofthe pant fom the otto edge ofthe back waistband tape and align tha small front darts with the position ofthe pocket flap. dang | [ss FringAnaysis @ "= Coes your pant accomplish the look ofthe» Ifthe upper pant seems tobe sagging in photograph? Whar kindof atinude does ‘te font or back, ty puling up frst at 's eo overall? Doos tho upper pat look the font waisthand, than the back, and fitted and fattring? Aro the lags flared bsorve how it changes the tt and look of ‘enough to lok playful yet chic? the pant, * Look carefully atthe hip area, The inseam [tis questionable whether thre is enough 'spuling inthe front or back earch and fulness inthe pant leg, The fabric in the creating a “smile” affect. Thiswilloccurif photographed dsign nasa lightar drape your front or back crotch sean, ose,” than our berp/sik muslin, But sme ofthe ‘stuoshort Addto the coteh line where fullness here sin the back, unseen, while ‘Mfatens out whch means you wil aso the photograph has some moverment init have to widen your pant slighly at the top of tho inseam, Just blend tha lina as it ‘raves dawn toward tha knea, * Hf you want o alt or subtract from ‘the with of tha lags, remember to do itequaly onthe inseam and outseamn, 1 Ifthe back rote is euttng in too much unless there is a balance issue your back sue is probably not concave enough, Carve outa litle mor, staring about {10 cm) down from ta tp edge and dbsrve ta dferace. Just J" (15cm) ‘more out ofthat curve wil change the ft | [T] mW | Fp pcke ise Fyenension —Fyfacng 182 From sackHistory The beauty of knit is in its ability to stretch. Interlaced yarns comprise an entirely different structure than that of a woven fabric. The inherent give in the knit can create either a smooth, close fit or, when falling freely, a uniquely fluid drape. The earliest knitted fabric is attributed to the Egyptians. Their style of knitting however, was closer to the way fishnets are made than to what we know as knitting today. Beaded dresses of this fishnet construction, when worn over a sheathlike garment made from linen, would create a figure-hugging silhouette Knitting with two needles probably emerged as @ technique for making fabric around 1000 AD. Before that, textiles of similar structure were made using one needle. Evidence of kniting can be found in medieval paintings and in surviving garments—including jackets, caps, and gloves—from the sixteenth and seventeenth centuries The mechanization of knitting began in 1589 with the stocking frame by the Raverend William Lee. Successive generations built on the machine's foundations, through to the Industrial Revolution in the mid-nineteenth century, when the industry gained in stature.The frst designer to truly popularize the wearing of knits by women for daywear was the revolutionary fashion icon ovo Chanel. Early inher career, Chane! often borrowed garments from the men in her life with which to work. One of the frst garments she experimented with was said to bea polo shirt cast off by a stable boy, which she cut up and tailored to fit herself. After World War |, when textiles were in short supply, Chane'’s ingenuity served her well. She fashioned knits that were more commonly used for undergarments into modern and comfortable tops, skirts, and jackets, often with bright stripes and patterns, Technological advances in yarns and knitting in the fast half century rave brought us from those old polo shirts to the state-of-the-art fabrics used for legwear and hosiery, swimming, and shaping and slimming, with such amazing qualities as moisture wicking and thermoregulation.Exercises Cotton knit top with ribbed neckline Creating fitted garments from knit fabric is more commonly done by pattern drafting than draping, because itis difficult to pin the fabric to the forrn while stretching it IF the garment is tight, and the stretch of the knit is being utilized, such as in swimwear, itis better to draft the pattem. IF the knit fabric is intended to softly lie over the body, orto be draped in folds, then it works wall to drape it. Front Back A problem that sonatas aes when ping with its that the iit may vets oito tape ding he races. ‘ihe rng, tbo: ie tal at he nga mescurerent were arta ease, it's allt raw it tha faite draping wiht Tis nals cavmng atonal ghines ane fasico tat itn be eblecked Hock ito its nina maser ae raging Inthe folowing exercise, oa vl ee agi on thet stat it cane be ‘eblece. This ill male teaser to soe ler you a ting te stethas the gid moves ot of alge.Step3 * Repeat from Step 1 for back To drape the rib nailne pico, fst determine a width and fold apiece ofa fabri ia ha against the ib you dont have ri, a small pice of your erossgrain kit wll work as wall = Starting at CF, pull piace around neckline toward tha back, stretching slighty as you go. Oasare how, at ‘the shoulder, the cut edge needs to be stretched more until the folded edge lis fat. ing knitted garment ‘it ns, beso cape aul tan and back instead of hat tha garment, Tis wil hap kop that stable a ou are wong witht ‘Stop * Align GF of knit piece to CF of form; pin Front 190Stop + Seta veoven boice onthe form to use a a hase forthe gathers. ry using the boaice draped on pp. 46-47. Stop? * Pin CF to CF of form, and left side ofthe knitto side seam of form, * Start gathering up the sides, pulling fabric evenly over bust ‘Stop? 1 Tape top edge and hem. * Pin tohold gathers in place wy yesnderyDraping project This halter-neck knit top from Nanette Lepore’s Spring/Summer 2011 collection exhibits a sporty chic and whimsical attitude. The multiple neck straps are not necessary to hold up the top, but they serve well to keep the top edge even since there is no understructure to support the light knit. A halter-siyle neckline is created by the ring of knit that holds the straps. Front gid Neckian cantar tap b Sia straps eu two pines)Step * Set ron by pinning CF 10 CF of form, ' Smooth fabric equally toward both sides, * Pull slightly over the bust to determine how much of the stretch you need to utlize to eliminate te need for any darting or seaming ' Ropeat forthe back. Step 4 * Set side taps * Readjust neilne drape soit looks ike the photogtep!—nat too tight, not to loose Step2 ‘Step3 * Tur front over back and pin sie seams. Set neckline hater drape and CF straps += Tape neckline, Take vare to keop side bust area high before sloping dawn a the back, Tap edge of back should ever bra ine Cheok photograph to determine top edge of rot. Its litle bit lower in the centMarking and truing Step ‘= Mark knit top with pencil or chalk before: ‘removing it from the form (nat shown}. ‘Sometimes with knits, the pencil ar chalk does not give enough definition. I so, try @ fetta ge pen, taking are it des not eed through he fxm, * Clossmark mote reuenty with nits than with woven fabrics (not shown}. + Femove the tp nat show. "= Reblock onto paper grid to the original measurement. Step2 * Tru caves as marked, and cones apeinst ‘the potenaph += Mask seam allewareas, which on kits are often em} to allow for oelokng * Use V-notches, rather than cutting in on eit fbr. lod adeg Yeadon Ss a196 Analysis * Compare theft of your kit op with that inthe photograph Does ilie smooth cover tha fron tore? If sta ight, wll \ornkle atthe underbust or waist fit is {ao loose, itl ag slighty. = The right degre of uilization of setch takes some experience, Study tis by ‘making the top bath slighty smaller and large, ane observe the differences in theft * Visualize the top ona muse. stow ‘enaugh inthe necine ta be fun and firatious? Av the straps spaced in an interesting way? ' When looking tthe straps, pay attention to the negative spaces. ather than ‘ooking atthe straps themeselvas, focus onthe spaces botwoon thom, and then compare those shapes to those on the photogiap. This may help you determine ‘whether yau have spaced them correty. Font Back sis of the This top is paired withthe pants you draped in Chapter 23: Pants (se p. 176, + When vein wt nso, chalonois a connate te oa laokand sing ofthe pess. he pis too fitted and petite, oF the trousers too oversize, the proportion will look askew: hen pig tn ices be wom tetas mpotant oe them onthe atthe sane tine o make Surety look hy belong apt Here, the sizing is similar to that in the shetograp + The dts re inprtt Te seo the etka sho saps ms lat to pant details such as the belt and pocket flap. They do not need to be the same size, but if they are of the same level of vokire, they wil on tonether Be aware of details ta stand out to much fis ‘may signal that they are out of proportion within the ensemble, Anal Detailing such as topstitching is important hore, too, Romember thatthe dalcacy or boldness ofthe stitching ncods to match ‘tha tone ofthe garments. Wide bet lnops crete a brokering eect that is echoed inthe neckline straps The ‘gaps are not the same sie, but they te ‘the two piocestogthar, drawing the eye smoothly ve the ensemble. {tis alte hard wo tell from the photo exactly where the crotch depth ends, and ‘the lags onthe pants snem abit long. It coul ba thatthe modes very tall proportions are giving a mote elongated look to the leg. Also, the movement in ‘the pant is bringing the fare forward, inereas the eg here is static and the flare is party in tho back where you donot see it, Visualize the pant in movement to termine whether you have achieved the right amount of fare, Nectband Sie stap Cntr sap ‘ie sapVariations | Top with kimono sleeves ‘The knit used inthis blouse utilizes stretch only in the sleeve lift. The fabric isa rayon that has @ heavy drape, Which works well with the volume in the peplum, The “kimono sleeve” is named for an ancient form of Japanese garment, but the term is used today for a sleeve that is cut in one piece with the bodice For this drape you do not need grids on the peplum pieces, as you are not utilizing the stretch in those areas. The charactor of drapod knits This style shows off the beauty of draped i feb, wich tens toell an ow teviyand evel. isa good exerci to study ‘the many ferent weighs anders of kit fei nd faiaize yous with th itera ks hay rate Said ‘Drop pieceStep Stop Stop3 1 Set tont section by pinning down CF ® Determine depth of kimano sleeve Test The sleeve seta thst esuts in quite @ ‘timming and cing neckline as needed. the lif by craping high and then dropping ‘bit of fabric under the arm, + Pin across shoulder area and at bustine se urmthe amenatat bel underarm. inside and underarm seams. Tea length of til tape eround the wrist, (not shown). Set the stufad arm at a height you would consider optimal it Step 4 Stop 5 * Try testing tha lita a lower angle. * Tryto rive ata hight that sa0ms ike 3 * Set his ow tha slave has ft and wit comfortable compromisa ot be comfortableStep 6 1 Serthe sted am at desire height and pin shoulda area wong sides together Tim excess fabri, leaving about 1" (25cm) seam allowance. * Pin under cue wreng sides togethe, Tim ecess fae, leaving about 1" (25 cm) seam allawance * Tie length of wide elastic around waistine and check balance. ‘Step? * Setwide clase atthe wast, * Sot ower front rape. Statin CF with top edge of fabric a few inches (about 75 ca) ‘above the waist. rimand lip as you did with the bias skit to create the fare. Here you wil also gather in the fabric as you go ‘create mora fullness. * Set awe back drape inthe same way ' Join side seams of pelum drape (not shown). Sotting the sleeve angle “To go tha kinno seo dotumines uth ura dope ofthe uso wll loa. There is an inne aray af sages to hous om, ar tere ino ight or wor way tere Htdependsontelook you want and ‘he degre oti ou need* Tim hem of plum, following tha ine of the photograph asi stants dow fom fiont to back, * Tum waist edge under top edge and set wide elastic onto the ouside Step 9 * Drape shoulder piece by tucking it int the elastic and ooking at the shape itereates atthe waist. It should get fall over the laste, butt too much, ' Practica draping this piace while laking in ‘he mirror fom a distaneo unt you ava ata look with which you te sais. | Working withamior | Remeber that he minor is our sect ‘weapon! Desigets en oo at ter sat vey los ange, but cles ae not sual son hat way—oters 20 ta uta distanoe. Een fu contin with fonds, wo a often 5-55-21) any. THs the Despectveyouneed to conser when ou make th al acute to yur tapes Peston youse wtha mito 3 that you ean continually kup an get ‘hat ell prspecineAdvanced Draping 3.1 Coats and Jackets 3.2 The Grand Gown 3.3 Draping on the Bias 3.4 Improvisational Draping With these advanced draping exercises, your eye will become more highly ‘rained in recognizing subtleties in shape and form. Attention is given to 360° awareness of the drape, crucial to recognizing when a silhouette becomes new. ‘You will learn to map out the energetic flow of a garment, using grainline placement to support emotional content. You will practice the designer's skill of visualization, critical in maintaining ‘the essence of inspiration while draping larger shapes, such as a gown, or ‘while working with support elements such as shoulder pads, foundations, and petticoats You will continue to train your hand in the skills of sculpting through use of ‘more complex seaming and shaping, learning to understand the power of emphasis and focal point and how slight differences can shift the atmosphere and mood of a garment. Once you are able to focus more on the abstract, the ultimate goal of creating a signature look begins to be emerge, communicating not just a garment, but a consciousness.a Coats and Jackets Sa eeeHistory The inherently balanced drape of a simple square-cut panel of woven fabric can be easily seen in outerwear pieces such as cloaks, capes, and mantles. A classic example of the elegance of this elemental form can be seen in the royal robe. Throughout history, kings and queens were pictured with majestic lengths of fabric trailing behind them. The wealthier the family, the more fabric could be afforded, along with more elaborate embellishments, Because they needed to be large enough to cover cather garments, these panels of heavier fabries— woolens, linens, and, later, heavy velvets—often worked best when simply shaped, draped over or seamed at the shoulders,Garments recognizable as the ancestors of the coat and jacket began to evolve well before the Renaissance, The ancient Persians are credited with ddoveloping the first seamed coat with sleeves. For women, it was not until the mid-nineteenth century that coats and jackets were worn as fashionable cdaywear, as capes and mantles remained more practical for covering the voluminous garments worn for so many centuries. Many of the coats and jackets worn today are modem adaptations of cuts whose construction template has endured and evolved over long periods of time. The original trench coat, peacoat, Spencer jacket, and tailcoat are some examples of these classic coat styles When creating a coat that has older origins, be aware of references that may arise, For example, a woman's jacket with a fitted bodice and gathering in the cap of a fitted sleeve might remind one of the Victorian era, imparting to the garment the flavor of the posture, attitude, or sentiment of that time. Another example is that timeless lasso, the trench coat. Countlass versions have been designed, yet they always have a certain cachet. The collar with the high stand gives protection from rain, but also imparts a mysterious chic. The storm flap, deep packets, and shoulder epaulets remind one of Humphrey Bogart and hs unflappable cool. Collars and shoulders tend to be focal points for jackets and coats, The collar frames the face— from demure lace to fur collars to the huge ruffs of the seventeenth century. Since the working man’s frock coat was adopted into fashionable attire in the 1730s, the notched collar and lapel have become a timeless template, even as proportions constantly change with fashion trends, orkmersacetss — anmsmmeanpest remndongExercises Understanding shoulders ‘The shoulder as focal point dates back to the ancient Greeks, whose peploses and chitons were fastened at the shoulders, Historically, in the military, the shoulder held the rank—it is where epaulets are worn and where sashes and awards are hung, Coats and capes often have embellishments at the shoulders. Various types of padding have been used over time to give the shoulder area more strength and volume, as a strong shoulder tends to give one more stature, dignity, and even a sense of power. In the 1980s, the American television series Dynasty popularized women’s suits with huge shoulder pads, dubbed “power suits.” However, the curve of the shoulder line is important to ‘consider, as this is where the front and back fabric balance. If the shoulder line is off-balance, the front and back of the dress or jacket will kick out in the front ‘or back, pushing the drape ofthe fabric toward the canter front or back, Since many garments are supported by the shoulders, itis important to understand their structure. The outer shoulder is round, dips down in the center, and curves up at the neck. In simple clothing construction, this seam is often drawn as a straight line Study the shape and silhouette of clothing with different shoulder treatments, noticing the effect of a well-fiting shoulder The curved shoulder shape holds the balaneo and must suppor the wsight in many types of garments. ‘The decoratad shoulder imparts a sense of dignity,Kimono sleeve The Japanese kimono isan ample of a completely unstructured shoulder The construction is completaty geometi, the woven panels maintaining thei balanced putiy With this kimono sleeve constuction, the fabric falls over the natural shoulder Fina unsupported, creating many folds ard capes atthe underarm area. Because of the perfect balance ofthe front and back, ‘the looks graceful and relaxed Shouldor pads ‘Asa counterpoint tothe kimono, the shoulder here is at its most constructed With the help ofa fitted shoulder pad, the {abricis shapad and moked closely ver ‘the shoulder, eliminating all excass from the undaraim area. Tha aa no sof flds hare, the fines rim and crisp. The front ofthe garment ts smootly over the figue, The lage shoulder pad hae, typical ofthe 1840s, makes it an obvious focal pont. The boiaht and angular shouldr line create a strong and sexy lok for Lauren call, the ultimate modem woman of he time, both beautiful and powertl trata,Chanel-style jacket The famous fashion innovator Coco Chanel popularized the fitted tailored jacket for women. She distilled the modem jacket of her day into a timeless classic that became her signature look. The original Chanel jacket was short, with no collar, and typically boxy in shape. One of the key features of the tailored jacket is the three-panel construction. ‘op soee Front BakToday, Karl Lagerfeld designs for the House of Chanel Many of hs jackets stil reflect the classic Chanel look—the boxy shape and short length with the three-panel construction. Other elements that reflect the look are the flap pockets, the bound edges, and the finishing touch, the signature strand of pearls AAs jackets are intended to be layered over other garments, they need to have a comfortable amount Of 2ase, which requires draping away from the dress form. The sculpting of the shape and sensitivity to the contour of the lines becomes more challenging and fever more important. The classic threa-pane|jackethas a side socton that liminatas tha side seam and sits between the princess lines in the fron ‘and back. The two-piece sleeve angles slightly forward forthe natural hang ofthe ‘ax, and has a close ft atthe inside of th ‘arm and mare raem at th elbow, Balancing th tres panos oquies 260 awvereness ofthe shape so that it looks flattering from every angle‘Shoulder pads Draping away from the form To pepe the fom forthe ape, ist, etermin te type of shoul paso bese They ae nt neces needed far ight bt to op suppor the ap, ones se ire jac are ofan Ioosely woven because so much of te \woigi of tha ace lb fling frm ‘te shoulders pac helps to suppor the fabric and keep it fom suettng wile smantainng the spect shape you ere ‘ing to iape. Step 1 * Bonin by draping without he stufed arm: itis much casiar to seo tha balance of the tree panels without the arm inthe way ' Pin shoulder pad fl in place atthe two lower corners and center of the shoulder area, Make sure the pins are stuck al the ‘way int the for so they da not interfere vith the drape of the muslin Toke are notin dap tn tty. You «a craping away from the form to mate jacket thatis nt vr fe. The tempat fo the begin ng stan is ‘lot shape ofthe form bt now isthe te toreak that habit, Hy to accustom yous to pining and sharing ‘he muslin howe suppetof he ‘om, bt justin space. Step2 * Set fron panel by aligning CF of muslin with CF af form, Tim and cia neckline ntl tts smacthy, * Pinacros bust and into shoulder area lightly, leaving a litle ease inthe armhole and taking care not opin too tight ' Pinat side to prepare forthe volume you want. Because this ist panel extends futher toward the side than a princess line, you will nad a dart opal inthe waist shape, Fold ina vertical dart with a fay small intake; 1.5 em) atthe waist is about standard ‘Step3. * Sot back panel by aligning CB of muslin with CB af form. ' Pin across back shoulder, keeping crossgrain orizontal by giving some ease atthe armhole and shoulder area, * Drape avery smal datintoshoulde-seam ‘12a, and also pull na litle extra ease ‘along that seam makes a better fall inthe back athe hem if the shoulder is propery draped with the crossgrain close ‘ohorizontal and somo ease an that seam. * This ease and shoulder dat may bo cemineted later depending on how the fabric reacts to shaping. Many weights of ‘woo! can be steamed and shaped 1 create ‘Foam over the shoulder badeArmhole ease Note tat you drape he eas in ‘te bodypiaces that you ned, tw ratwaliyresut in som amos ease Dar pin the tog ahs side panel oo lose alow about (25 on eta in te ronan back. Step 4 * Set side panel pice by centring the piece inthe side seam 1 First ay this panel on top ofthe font and back sections and ty to get fet forhow ‘much volun you would ke ta have * Pin down as you experimant withthe ‘anaunt of ease. Step 5 * Keeping crossgrain horizontal, pin wang sides ou long backend front, jning the seams, Trim aay excess leaving about 1° (25 mn) seam allowance swroer puescog adaStop6 '= Tun scans to tho insida, front ver sida and beck over side panel * Tape armhole and nectne * Position pocket to help you set the propertons. * Study the balance af the thre sections Doall tee pieces have an even lok? ‘What does the contour ofthe jacket look like? Is it similar tothe photograph? Does it no goad from avery angle? Studying through 360° Look tthe jcket tough 280", as youwoudi tere being ven ‘ba person. Te jacket nds to be wel shaped from every amg, ot st fo the font an back. Stop7 * Look lasely at the backside seam his forming a straighter ine than the front seam, which has mare ofthe contour of the body. * Try unpinning the hack waist area, then clip more at the waist and repin alittle tiger. ' Note how this corretion changes the ook ofthe jacket. The hack panel seam raw suly shapes out at tho shouldan blade where more roam is needed and gently shapes in atthe waistThe two-piece sleeve Another basic construction element of the classic tailored jacket is the two-piece sleeve. Imagine that you have a basic blouse sleeve on the form and you want it to be shaped more ergonomically to the arm. (One way to do that is to pin a dart from the front underarm area to the wrist, pinning out more at the elbow where the arm curves in, Then pin the back sleeve area in above the elbow, letting out at the elbow where you need the room and pinning in again ‘toward the wrist. Essentially, these darts made into seams are what form the two-piece sleeve The construction of two seams isa practical way to create a more comfortable shape to the sleeve by following the natural hang of the arm. Ideally, the seams should be minimally visible falling to the inside of the arm and hidden in the folds of the fabric. The seams traditionally do not match at the armhole. It is tempting to draw them that way when designing, because it makes sense for seams to match, However, in reality, four seams meeting at one point of the armhole would create too much bulk. @ Front swroer puescog ready Not th position of the connection of the buo-piecesleve seams a the armhole, Thay should NOT match the side-panel seams,Easy two-piece sleeve draft There are many methods for drafting sleeves using rather a time-saving device to set the general precise measurement rather than draping. With parameters of the sleeve's volume, draping, however, you have the advantage of being able to see the shape you are creating as it develops and the flexibility to further refine its subtletias. This draft can be done on paper and then transferred to ‘a muslin piece, or it can be drawn directly on muslin, This particular method is intended to help you drape the sleeve. Having some measurements and a basic shape to follow is useful when starting the drape. itis not, however, intended to be a final pattom, butis Step! Step2 Stop3 = Begin with Step 5 fam the Easy Sleeve = Divide hem nto quarters, and marknew __ Cut the sleeve pattem apart on dated Draft (sce pp. 124-25) point at the front” and new point fines from Fad B hei + Notch he cut nes onthe smaller pecss = Draw dotted ines om te ower marks to match with th larger pac an tho back and fram armhole down to tho now points Band Fon tho hr ' Notch the dotted fines to keep the fronts and backs from getting mixed up, with 170 notches onthe back and one onthe frat * Label the undoram lines “UL.”Step 4 * Tape the two salir pattem piaces together along the UL lines += Now you havo the two basic pattorn pieces forthe two-piece sleve: the smaller one is commonly called the “undersleeve: the larger one isthe top sleva. * Merk the remaining mas onthe back ‘armhole curve with a double notch and on ‘the font with single notch, Step7 * Then aud shape tothe bicep area. * Add a futher 44 (1.5-2em tothe bicep area ofthe top sleeve and litle Jess tothe undersieeve, * Blend line ito cuve, smacthing out the clbow lina * Itispreferabe thatthe front seam of the tuo pice sleeve snot to visible from te ant. Adjust pattem slighty by adding aninch a so (25-A cm] to lower front adoo of top sleeve; remove the coesponding amount from undersieeve ‘Steps * Now ad some shape tothe elbow area to follow the natural hang ofthe ar, + Draw an olbow lino about 7" (17.5 em) below the underam line on both paces * Slash and spread th elbow line ofboth pieces open about "(1 5em), Stop 5 ' Marthe taped UL lin asthe lengthgrain ofthat piace and the cantar ine of he ton leave asthe lengtgrain. 093 | proeppue veutStep 8 ‘Step «= Using the shape from the two-piece sleave "= Repoat Stop 8 for underslaeve daft, tac top sieeve paar paternity pate le suthchalk ont prepared musin pe. + Cut around the ine leaving about 1 (250m seam allowance. ‘Step 10 ‘Stop 11 + Pintopslaeve over undarsleeve on *= Use a clear graph ruler to help you pin seam nes, the second sean, as shown, | smperpueseay | relate‘Stop 8 * I ot already attached, gin the shoulder pad to the muslin, Gently remove the Jacket drapa with tha pad from the form, ' Attach the stuffed am, ' Replace the drape and pad inthe same Postion, pining again dowm CF and CB * Chalk armhole and remove tape so it is ‘asia ta pn onthe musin sloova, "Set the two-piece sleeve ono the shoulde, starting atthe cap and angling it slightly toward the rot, following the natural hang ofthe am, Step9 * Note how the sleeve puts out slighty at the cap atea. Ths indicates that there is significant wasa at th cap area It should bbe no mote than about "(2 en) per front and back, Because the final jacket abc wl be wool, this amount of ease can be steamed and shaped to ft the armhole, ' Now check the position ofthe two sloeve saams. Tay shoud bo fight hidden by the drape ofthe siaeve * Hore it looks as it the font undersea angling too farto te front; use tape if eassary to ro-mark the newlines ' adjust angle of sleeve drape and/or height of notch pont so seams are either hidden or hanging nan unobtrusive way opin if ncassary, Step 10 * Adjust and distribute ease of leave can, Finalize poston of notch points‘Stop 11 * Allow excess at lower armhole af sleeve to fll toward inside of armbole * Pint into a smooth curv, rising ‘and lowering amiole as you gota find the right balance aesthetically ‘and for moverent, Stop 12 * Repeat from Step 9 fo back, remembering that slave should be hanging slightly ‘award the font, follwing the rata all of the am therefore, there will be slightly more ease in the back f the slaeve anda Fite les fabric in the Font especially at the lower pats ofthe curves. Stop 12 * Complete the drape by acing the fishing details, taping the pocket las, buttons, ‘and sleeve vert Aesthetics vs, movement Thetis a hoppy main to be foun in thesleoe it te its vey tgh tre 's eda of movement, though mare fabric nde the am if the its low, nd al the ease hes been apd ot rising ‘hear lave teenie jake to rideDraping project This Dolce & Gabbana tuxedo jacket, worn by Rihanna, is a perfect balance of masculine and feminine. The body of the jacket is the epitome of classic menswear tailoring with its fitted shape, welt pockets, and peaked lapels, while the rounded, Victorian-style leg-o'-mutton sleeves are soft, light, and feminine. When preparing your flat sketch, try to capture the angular look of the body and the contrasting soft curves of the sleeves. To help you visualize the Volume, find @ sleeve as close as possible to this Cone, Studying this reference will help you decide how much larger or smaller your actual sleeve needs tobe. Calculate measurements for the largest sleeve You think you may want, so that you do not run short (on your muslin pieces while draping, For this drape, use a heavier muslin, such as a cotton twill or simply fuse your regular musiin, The weight will help the definition of the body shape and sleeves. Mastin proparaion sieveStep * Study the sihouetta of he jacket and determine which shoulder pad to use * Set shoulder pad onte shoulder, extending it about" (em beyond armplate ' Compare it tothe Chan-siye jacket on 1p. 212-13; noe that its look more square than tha softer Chana Step2 * Pin CE Tim and clip neck, but only exactly where ithits the form's neck, Leave CF high forthe peaked lane! Forma neckline dart that stars about 1125 en) from the shoulder line and paallels what wil be th ral in. This will halpkaepcrossqrainherizantal, and will transfer soma ofthe nackaasa to bustarea. itil alse help the lapel to curve a bitand oll more smooth Tim shoulder and armhole area, Fer font vatial dar. Check silhaueto: ifit sams thatthe dart needs tobe very deep to create the fted waist, form two dars instead. The second dat should be midway between fist dart and side seam, and shorter than main dat * Pinat the side, Step 4 * Clip cur of side seam al he way to sew line at he waist and tum front ver back. * Check the shape: the contour ofthe side seam is very important in achieving the look. ris lng and sim, gery curving in so that itis not too exaggerated or sharply hourglass in shape, * Remember to chk your drape in the minor from a distance, Look atthe side seam in tha phatograph it has a vay sleok look. Observe any difference between ‘Step3 * Forthe back, align erossqrain across shoulder blades and pin * Note the jong angular look necessary to ‘keep th jacket long and slim, += Pinavertical dart * Shapo CB seam inat waist and out at shoulder blades. * Wrap shoulder seam towatd front, ‘rimming and cipping neldne, and pin, * Thoe should be oso inthe back shoulder aoa (This wilbo shaped in during swing ll about (05 cm) fora satin and up 05% (18cm) foc loosely woven wool * necessary, fold ina small shoulder or back nec dart ta hold the ease, Your soam and that ofthe jacket nthe Photograph and aust if you need to ‘Add another dart atthe waist if itrings you clase othe look of the ahatogranh, * Ramember 10 lok at the jacket through ‘360° dagraas and even out tha ft betwean all tha darts and tho side seam,Stop * Determine rl line and break pont of lapel and cola, whichis the exact point where the front ofthe jacket tums ova to become the lapel. Check the photograph. ' Ancharpin the point at which the closure will sit at the waisting,Iis important to Finalize this beak point now, moving it later il affect the collar drape, 1 Tape ower harline to help determina propotions * Clip to wait and tun back lapel area, Stop6 1 Tope the armbole, ‘Tape the neckline. Start from C8 and bring ‘ape around to front ina fil straight line, than angle up forthe peak ofthe colar and lapel Stop7 * Turn fepal over at break pont and tape styeline + You will ned to ee the neckline from bot ses ofthe muslin, so retape from the underside as wel, making a smaoth connection withthe lapel and erating tho angle you want * you ned to aust the tape on the ther side ofthe muslin to match it, do so now. + Trimexcess muslin and tape the welt pocket ine, This data wil help you soe ‘whathr you have achioved tha right proposton * Study the silhouette. Compare it tothe photograph and check it ina mito.