“Creative Pattern Making”

By:

Rajesh Ligal

Reg. No: LIM/IEC/200142

A thesis report submitted in partial fulfillment of the requirements for the

degree of

BA.(Hons) in Fashion and Retailing

Thesis Supervisor

Mr. Pratik Kumar

Department of Fashion & Retailing

Limkokwing University of Creative Technology, Malaysia

IEC College of Art and Fashion

Mandikhatar-Kathmandu

Date: 13th September, 2020

 Date: 13th September, 2020

CERTIFICATE

This is to certify that the thesis report entitled

“Creative Pattern Making”

Submitted by

Mr. Rajesh Ligal

Has been examined by us and accepted for the award of

Degree of

BA.(Hons) in Fashion and Retailing

Mrs.Shailaja Adhikary
(Managing Director)

FD Pratik Kumar FD Teyang

(Thesis Supervisor) (Thesis Guide)

​2
 TABLE OF CONTENTS

Abstract 5

Acknowledgement 6

CHAPTER ONE: INTRODUCTION 7

AIM OF STUDY 8
WORK STRUCTURE AND OBJECTIVES 9

CHAPTER TWO: LITERATURE REVIEW 11

PATTERN MAKING 11
HISTORY 12
First Generation 15
Competition and Mergers 16
The New Generation 17
Fashion Periodicals 18
Technology and Pattern Production 19
Making a Pattern 19
Fitting Everyone 21
Realignment: 1960-2003 23
EXPERIMENTAL FASHION DESIGN 23
Experimentality in garment’s shape 24
Contemporary Avant-Garde Fashion 26
Experimental & Gender Fluid 27
Monochrome Black Avant Garde Fashion 27
Structured and Volumized Avant Garde Clothing 27
Street Avant-Garde 28
JAPANESE SUBCULTURE 28
Lolita 29
Visual Kei 30
Gyaru 31

CHAPTER THREE: RESEARCH AND FINDINGS 33

RESEARCH ON EXPERIMENTAL FASHION DESIGNERS AND BRANDS 33
132 5. By Issey Miyake 33
Balenciaga 38
Yohji Yamamoto 41
Georgia Hardinge 44
Rick Owens 47

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 threeASFOUR 50
CREATIVE PATTERN MAKING TECHNIQUES 53
Draping 53
Origami 56
Dart manipulation 58
Subtraction pattern cutting 61
The tunnel technique 63
The plug technique 65
Displacement technique 66
Zero Waste Pattern Cutting 67
One-piece Cutting 69

CONCLUSION 75

References 78

Figure References 85

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 Abstract

The aim of this thesis was to research and build knowledge on experimental fashion

design and its techniques focusing on innovative shape creation and therefore creative

pattern cutting. The subject reflects the interests and knowledge accumulated by the

author.

In this thesis experimental fashion design is examined as a term and through the

themes surrounding innovative shape creation and pattern cutting in fashion. Selected

fashion design companies are researched which are designing innovatively shaped

garments and are utilizing creative pattern cutting techniques in their work. The focus

is on creative pattern cutting using draping, origami, dart manipulation, subtraction

techniques, one piece cutting and different other techniques.

The outcome of this thesis is theoretical and practical knowledge acquired on

experimental fashion, its techniques and processes as well as creative pattern cutting

techniques.

Keywords: innovative, draping, origami, dart, subtraction techniques, one

piece cutting

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 Acknowledgement

I am indebted to all those individuals who helped me in gaining knowledge and

insight into various aspects of “Creative Pattern Making”. The source of learning has

been one too many and a complete list of individual references would become

encyclopedic.

My deepest appreciation will also extend to Mr.​ Pratik Kumar​ and Ms.​ Teyang

faculty of IEC College of Art & Fashion, who critically reviewed my project report

and provided suggestions.

Finally, I would also like to thank Mrs.​ Shailaja Adhikari​, Director, IEC College of

Art & Fashion for her constant support and encouragement.

Name: Rajesh Ligal

Reg. No: LIM/IEC/200142

​6
 CHAPTER ONE: INTRODUCTION

Many designers and scholars agree that fashion design as an industry is not a

process of creating art; even though new notions such as “wearable art” and

“conceptual design” emerged in the 1980's. The clothing design process must

certainly be done creatively, but it also has to offer producible, wearable and saleable

products in the fashion market. Related to this point, Stroescu and Hawley argue that

“creatively harnessing the zeitgeist, or spirit of the times, and translating its influence

into unique, timely, and marketable merchandise has been the key to survival of

fashion-focused companies since the dawn of the twentieth century”. Pattern cutting is

the most important step in this process of production, which enables design to be

realized because the pattern establishes the product’s structure by combining wearable

and saleable design aesthetic with functionality and manufacturability. There are

many different clothing design construction methods to realize design ideas. For

instance, “someone begins with a sketch, another begins 2D flat pattern, whereas

others prefer to begin work with fabric by using 3D draping techniques”.

Additionally, “clothing design is a demanding process which must address both

aesthetic and technical issues. Achieving both visual allure and a precise fit are

essential to the creation of successful apparel products. Many famous designers thus

work closely with talented pattern makers because the pattern is invaluable to the

fashion designer. It is as a plan to the architect”. Since it allows creation of garment

shapes by forming and pinning fabric directly on a dress form, draping is a very

common method among the famous fashion designers. This technique allows

designers to quickly create or change the model on the dress form, because they can

​7
see how the model interacts with the body. As stated by John Galliano: “It’s more like

engineering than anything else. It’s finding the limits of what you can do when

wrapping the body in fabric. Everything evolves. Nothing is strictly defined”

(http://stylecaster.com/ fashion-quotes/). Designers, pattern-makers, and scholars

generally go through a similar process during draping. The process consists mainly of

three phases: preliminary study, development process and finishing (Armstrong,

2013; Kiisel, 2013; Crawford, 2012).

AIM OF STUDY

The aim of this thesis is to research and build knowledge on experimental

fashion design and its techniques, focusing on innovative shape creation and therefore

creative pattern cutting. The subject is being researched through experimental fashion

as a term and the themes surrounding it, experimental fashion design companies and

four creative pattern cutting techniques which are also tried out during this research.

Creative pattern cutting is designing while cutting the garment. It is a new way of

thinking in constructing garments and pattern cutting.

The subject of this thesis reflects the interests and acquired knowledge of the author.

Pattern cutting and garment construction are the most inspiring parts of fashion design

for me as a designer. Pattern cutting is the process that enables the garment design

idea to be made into a usable product. It is transferring ideas of clothing to 2D forms

which are then constructed in 3D. During the design process, I focus on drafting out

the shape of the garment and construction before considering color and materials.

Constructing the garment and drawing the pattern are a natural way for me to

​8
illustrate my designs. I have always wanted to research in depth creative pattern

cutting techniques and see what more they would bring to my work and design

process. In addition, I am intrigued by a more organic and impulsive design process

and the motives of experimentality in fashion. Therefore, I am interested to build

knowledge on experimental fashion companies’ processes and motives of being

experimental and the phenomena surrounding the theme of experimentality in fashion,

especially silhouettes.

Important aspects in design for me are ecological materials, ethical production,

wearability and story of garments without forgetting the aesthetics. The researched

information is therefore examined with these aspects as well as how I would utilize

the processes and techniques in the future. This thesis is thus moulding my designer

identity and future plans.

WORK STRUCTURE AND OBJECTIVES

The second chapter of this thesis explores the history of pattern making and

how it evolved through the history, and origin of experimental fashion design and its

impact on the fashion industry, and explores the japanese subculture.

The third chapter researchers experimental fashion companies that utilise creative

pattern making techniques and design innovatively shaped garments. The focus is on

the processes and techniques used and motives behind designing experimental

clothing.

During the research process, conclusions are made on the suitability of the techniques

​9
and process to be utilised in the future. The creative pattern cutting techniques are

evaluated through a criteria that examines the wearability of the design, required time,

material usage and the possibility of replicating the design in production. The result of

this thesis is new information and knowledge on processes and creative pattern cutting

techniques which are shaping the future plans and designer identity of the author.

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 CHAPTER TWO: LITERATURE REVIEW

In sewing and fashion design, a pattern is the template from which the parts of

a garment are traced onto fabric before being cut out and assembled. Patterns are

usually made of paper, and are sometimes made of sturdier materials like paperboard

or cardboard if they need to be more robust to withstand repeated use. The process of

making or cutting patterns is sometimes condensed to the one-word Patternmaking,

but it can also be written pattern making or pattern cutting.

A sloper pattern (home sewing) or block pattern (industrial production) is a

custom-fitted, basic pattern from which patterns for many different styles can be

developed. The process of changing the size of a finished pattern is called grading.

Several companies, like Butterick and Simplicity, specialize in selling pre-graded

patterns directly to consumers who will sew the patterns at home. Commercial

clothing manufacturers make their own patterns in-house as part of their design and

production process, usually employing at least one specialized patternmaker. In

bespoke clothing, slopers and patterns must be developed for each client, while for

commercial production, patterns will be made to fit several standard body sizes.

PATTERN MAKING

Patternmaking is the process of creating patterns. A patternmaker typically

employs one of two methods to create a pattern. The flat-pattern method is where the

entire pattern is drafted on a flat surface from measurements, using rulers, curves and

​11
straight-edges. A pattern maker would also use various tools such as a notcher, drill

and awl to mark the pattern. Usually, flat patterning begins with the creation of a

sloper or block pattern, a simple, fitted garment made to the wearer's measurements.

For women, this will usually be a jewel-neck bodice and narrow skirt, and for men an

upper sloper and a pants sloper. The final sloper pattern is usually made of cardboard

or paperboard, without seam allowances or style details (thicker paper or cardboard

allows repeated tracing and pattern development from the original sloper). Once the

shape of the sloper has been refined by making a series of mock-up garments called

toiles (UK) or muslins (US), the final sloper can be used in turn to create patterns for

many styles of garments with varying necklines, sleeves, dart placements, and so on.

The flat pattern drafting method is the most commonly used method in menswear;

menswear rarely involves draping. You can learn pattern drafting on many fashion

design courses either on a short further education course or as part of a Fashion

degree at a university.

The draping method involves creating a muslin mock-up pattern by pinning fabric

directly on a form, then transferring the muslin outline and markings onto a paper

pattern or using the muslin as the pattern itself. Designers drafting an evening gown

or a sculpted dress which uses a lot of fabric, typically cut on the bias, will use the

draping technique, as it is very difficult to produce with a flat pattern.

HISTORY

Clothing production was originally the responsibility of women. After the

advent of form-fitting clothing in the thirteenth century, the responsibility expanded to

​12
include professional tailors and dressmakers. From the mid-fourteenth century, tailors

authored published works on methods for cutting and constructing clothing.

"How-To" books for the home dressmaker were published by the late eighteenth

century and by the 1830s, small diagrams of pattern shapes appeared in various

professional journals and women's magazines. Full-size patterns as free supplements

with fashion periodicals emerged in the 1840s in Germany and France. In the United

States, fashion periodicals introduced full-size pattern supplements by 1854. Unlike

their European contemporaries, American pattern manufacturers produced patterns for

the retail and mail-order market, thereby establishing the commercial pattern industry.

The earliest surviving tailors' patterns appeared in Juan de Alcega's Libro de

Geometria pratica y trac a para (1580). Garasault's Descriptions des arts et mètiers

(1769), and Diderot's L'Encyclopédie Diderot et D'Alembert: arts de l'habillement

(1776), played a crucial role during the Enlightenment to disseminate practical

knowledge. Intended for the professional tailor, the pattern drafts were the first that

were generally available to the public. A number of publications, such as the

American The Tailors' Instructor by Queen and Lapsley (1809), and other journals

specifically for the professional tailor proliferated in the nineteenth century. These

included tailored garments for both sexes.

For the home dressmaker, manuals with full-size patterns and pattern drafts written

for charitable ladies sewing for the poor included Instructions for Cutting out Apparel

for the Poor (1789) and The Lady's Economical Assistant (1808). These featured

full-size patterns for caps, baby linen, and men's shirts. The Workwoman's Guide

​13
(1838) contains pattern drafts,drawings of the finished piece, and pattern drafting

instructions.

Small pattern diagrams became a popular method of promoting the latest women's

and children's fashions. Appearing in Godey's Lady's Book and Peterson's Magazine

in the early 1850s, these were unsized with no scale given for enlarging the diagram.

Full-scale, foldout patterns were issued as supplements in periodicals as early as 1841

in France and Germany, and in England in The World of Fashions (1850).

Figure 1. Juan de Alcega's Libro de Geometria pratica y trac a para (1580)

​14
Figure 2. Fig. The Workwoman's Guide (1838)

First Generation

In the United States, Godey's sold full-scale patterns by Mme Demorest

through mail order in 1854. Frank Leslie's Gazette of Fashions included full-scale,

foldout Demorest patterns in the monthly periodical as well as offering patterns by

mail. The patterns were one size only. Because they were offered through retail or

mail order, Demorest patterns were the first commercial patterns in the United States

(Emery, p. 1999). They offered a wide range of ladies, children's, and men's

tissue-paper patterns, either plain or trimmed.

Ebenezer Butterick began to make patterns for children's clothing and men's shirts in

1863. He expanded the line to include ladies' garments in 1866 and incorporated

Butterick & Company in 1867. A former tailor, he was familiar with graded sizes and

offered patterns in a range of sizes from the beginning. The competition expanded in

1873 when James McCall began to manufacture McCall's Patterns, offering a range of

sizes for all patterns.

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Even though varying sizes had a strong appeal, two imports-German and French-were

competing for the market. Harper's Bazaar, an American version of Der Bazar of

Berlin, introduced a weekly periodical with a pull-out pattern supplement sheet with

24 or more patterns printed on two sides. The one-size-only patterns are defined by

different line codes for each piece superimposed on each other. By 1871, Harper's was

offering cut-paper patterns, although they continued the overlay pattern sheets until

the early 1900s. From France, S. T. Taylor Company imported and marketed

full-scale tissue patterns as supplements to each issue of Le Bon Ton, beginning in

1868. Taylor also offered made-to-measure patterns.

Two more companies joined the competition in 1873, Domestic and A. Burdette

Smith. Domestic was a subsidiary of the Domestic Sewing Machine Company, and

their patterns were available in a variety of sizes. Smith's patterns offered a cloth

model to facilitate the fitting process.

Competition and Mergers

The success of the pattern industry encouraged new competitors. In 1887

Frank Keowing, a former Butterick employee, formed Standard Fashion Company

and sold Standard Designer patterns through leading department stores. Between 1894

and 1900 several noteworthy pattern companies were formed: New Idea (1894),

Royal (1895), Elite (1897), Pictorial Review (1899), and Vogue (1899).

Subsequently, these were joined by Ladies' Home Journal (1901), May Manton

​16
(1903), and Peerless (1904). Competition was keen, and each company touted the

superiority of their patterns and the excellence of fit.

Demorest was the first to go out of business after Mme Demorest, née Ellen Curtis,

retired in 1887. Domestic ceased pattern production in 1895; Smith in 1897, Le Bon

Ton in 1907 and Harper's in 1913. Further realignment of the companies occurred

through mergers. For example, Butterick acquired Standard Fashion in 1900 and New

Idea in 1902, although each retained its identity until 1926. Royal merged with Vogue

in 1924.

The New Generation

Joseph M. Shapiro formed the Simplicity Pattern Company in 1927.

Depending on the pattern manufacturer, patterns in 1927 sold for 25¢ to $1.00.

Shapiro's approach was to produce a less expensive pattern. Simplicity patterns sold

for 15¢. In 1931 Simplicity formed a partnership with the F. W. Woolworth Company

to produce DuBarry patterns, initially selling for 10¢. The company thrived and in

1936 acquired Pictorial Review and Excella, founded in 1922.

Condé Nast, publisher of Vogue patterns, introduced Hollywood patterns for 15¢ in

1932 to appeal to the mass market and the national fascination with the movies.

Hollywood patterns ended production in 1947. Advance Pattern Company produced

another 15¢ pattern. Established in 1932, evidence suggests Advance was affiliated

with J.C. Penney Company (Emery 2001). Advance ceased production in 1964.

​17
Syndicated pattern services such as Famous Features and Reader's Mail flourished in

the 1920s. These companies produced inexpensive patterns for sale through

newspapers. Mail-order patterns were a popular editorial feature, drawing the

homemaker's attention to the paper's advertising pages. Patterns such as Anne Adams,

Sue Brunett, and Marion Martin continued to be sold outright to the newspaper as a

loss leader. Designs were targeted specifically for families in the middle-income and

lower brackets.

Fashion Periodicals

Patterns were first advertised in existing periodicals such as Godey's Lady's

Book and Peterson's Magazine. In 1860, Demorest introduced its own publication,

The Mirror of Fashion. It was first offered as a quarterly and later was incorporated in

Demorest's Monthly Magazine, which established publication practices for

subsequent pattern manufactures. The history of U.S. fashion magazines is

inextricably linked to the history of the U.S. pattern companies. The advantage of

owning and publishing their own periodical was economically sound. Subscriptions

were profitable. Extensive portions of the magazines offered ample coverage of the

patterns available as well as articles extolling the virtues of the pattern styles. Further

in-house production of give-away flyers and pattern catalogs were cost-efficient.

Such periodicals as Butterick's Delineator, McCall's Queen of Fashion, and Standard's

Designer were house organs to promote the patterns with additional editorial features,

short stories, and essays on various women's issues. Other established periodicals

such as Ladies' Home Journal and Vogue incorporated sections on their patterns when

​18
these lines were established. Pattern companies produced fashion periodicals until the

1930s. These were gradually phased out or purchased by other publishers and the

companies concentrated on catalogs to promote their fashions.

Technology and Pattern Production

Four key factors supported the development of the pattern industry: the inch tape

measure, c. 1820; the availability of the sewing machine by the 1850s; the expansion

of the U.S. Postal Service in 1845; and availability of dress forms for the home sewer

by the 1860s. These elements were essential components for the proliferation of

pattern sales.

Making a Pattern

The pattern-making process is virtually unchanged from that developed by

Demorest. Once approved, the designer's sketch is drafted to size by the pattern maker

in muslin and fitted for an average size-usually size 36 for women. The line and fit of

the mock-up is checked before being sent to the grading department for translation to

various sizes and transferred to master pattern blocks. The blocks include darts,

seams, notches, and other pertinent information. Until McCall introduced the printed

pattern in 1921, tissue-paper patterns were made with a series of perforations cut into

each piece. The perforation system was partially derived from tailor's markings. The

process for making cut and punched patterns remained unchanged and was still

practiced by Famous Features Pattern Company until 1996. When McCall's patent for

all-printed patterns expired in 1938, other companies converted to printing, although

Vogue retained perforated patterns until 1956. With the introduction of

​19
computerized-design systems, the time for a new pattern to reach the market has been

reduced from 2.5 months to as little as four weeks.

Early patterns had scant information on how to cut the garment and little instruction

on how to make it.

Initially patterns were folded and pinned together with an attached label to identify

the garment and the number of its pieces. Demorest introduced pattern envelopes in

1872. By 1906, pattern layouts were included on the envelopes by many pattern

companies. Instructions for making up the garment were introduced by Butterick in

1916. The instruction sheet was called the Deltor, named for the first and last three

letters from Butterick's magazine, The Delineator. Both the pattern layouts and

instruction sheets, which are now standard practice, were done by hand for each

pattern style. Today layouts and instruction sheets are done on the computer. For the

latter, templates such as how to insert a zipper or set in a sleeve, are plugged into the

instructions. Most illustrations, which were originally done by hand, are now done on

computer, as are the paste-ups for counter catalogs and other promotional materials

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 Table 1: Typical Sizing

Years Size 14 Size 18

1920s Bust 32”, Waist 27”, Hip Bust 36”, Waist 28”, Hip
35” 39”

1940s Bust 32”, Waist 26.5”, Bust 36”, Waist 30”, Hip
Hip 35” 39”

Late 1950s Bust 34”, Waist 26”, Hip Bust 38’, Waist 30”, Hip
36” 40”

1967 (new sizing) Bust 36”, Waist 27”, Hip Bust 38”, Waist 31”, Hip
38” 42”

1970s Bust 36”, Waist 28”, Hip Bust 38”, Waist 32”, Hip
38” 42”

1980s-2000 Bust 36”, Waist 28”, Hip Bust 40”, Waist 32”, Hip
38” 42”

Table 1. Typical Sizing in different eras.

Fitting Everyone

Proportional systems based on bust or chest measurements combined with

height for adults or age (girls and boys) are the foundation for sizing patterns.

Developed by tailors, the systems assume that all human bodies are shaped according

to common geometric or proportional rules. Thus, the patterns are made for an

idealized figure. Early pattern diagrams and full-size patterns such as Mme Demorest

and Harper's Bazar in the 1850s and 1860s, and Vogue as late as 1905, were not

available in a range of sizes. Women's patterns were usually made for an idealized

figure of 5' 5" with a 36" bust. Fitting was done by pinning the pattern on the body or

form to adjust it to the individual's proportions. Alternatively, the customer could

​21
send in detailed measurements to special order a pattern made-to-measure from the

pattern company. (Butterick still offers this service.)

Current fashions and undergarments influence proportional systems. As explained in

Butterick's The Metropolitan in 1871, a lady with a bust measure of 32" usually has a

waist of 24", or 8" less than the bust; but a girl of 10 years usually has a bust measure

of 27", with the waist usually 24". By 1905 when the flat-front corset was in vogue,

the proportion for the 32" bust changed to a 22" waist.

Each company uses its own proportional system; they are similar but not

standardized. By the 1920s, sizes for misses generally dropped the age reference and

kept the sizes. Data compiled from the Commercial Pattern Archive digital database

(CoPA) illustrate the shifts in typical sizing for size 14 and 18 from the 1920s through

2000 (see Table 1).

Each company continues to offer a wide range of sizes including misses, women's,

half-size, petite, junior petite, maternity, toddler, girl/boy, child, men, and infant.

Teenage fashions were introduced by Simplicity in the 1940s. In the 1980s Butterick

instituted letter-coded sizes called Today's Fit, which are designed for the changing

proportions of today's figure of about 5'5" with slightly larger waist and hips than

misses' sizes. A full range of current size charts can be found in the catalogs and the

Web sites of the pattern companies.

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Realignment: 1960-2003

Four major companies currently produce patterns. Butterick acquired Vogue in

1961 producing patterns under both signatures. McCall acquired Butterick and Vogue

in 2001 but is producing patterns under all three imprimaturs. Simplicity joined Conso

Products Company in 1998.

Diversity is a major incentive. The companies have developed global markets,

producing patterns in multiple languages. African American models were included in

promotional materials in the 1960s. The style lines have been expanded to include

more emphasis on crafts, patterns for period costumes, children's costumes, and

vintage reproductions of previous eras.

Patterns are a valuable historical reference for everyday clothing, American ingenuity,

entrepreneurship, and the democratization of fashion.

EXPERIMENTAL FASHION DESIGN

Experimental fashion is not a genre of fashion that can be categorized easily.

Experimentally in fashion is not tied to a certain style or time-period and the term

itself is subjective to many. In my research, I have encountered experimentality being

linked to the anti-fashion movement from the 1980s onwards, avant-garde fashion of

the runways of today and radical fashion that in many cases has political undertones

that comment the happenings of the world of a certain time-period.

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Fashion has a tendency to look forward and yearn to create something that has not

been seen before; this is a feature that is pronounced in experimental fashion. Even

though focusing on new is in the center of this kind of design, the garments are not

usually produced in fast pace and created for the sake of creating but experimental

nature of fashion especially, is linked to discovering new things within the industry;

creating new technology in manufacturing and innovations in materials and pattern

cutting. Since I am interested in creative pattern cutting, in this thesis I am focusing

on fashion that is experimental in shape creation and silhouettes.

The term avant-garde is most often used to describe the artistic genres of music,

literature, film and dance, and can easily be extended to fashion as well. Avant-garde

challenges established notions of art and society as a whole. In fashion, avant-garde

translates to a rejection of mainstream beauty conventions such as displayed in haute

couture while taking an innovative approach in design and material use. Hence, the

avant-garde approach is often seen as “anti-fashion”, an artistic movement or a

philosophy (or all of these). Recurring but not exclusive themes are clean and simple

(to the eye) designs, sober colors such as black, white or earthy tones, biomimicry,

minimalism, deconstructivism, challenging beauty standards, technology-driven. It

resonates a shift in modernity when art was no longer required to be “beautiful” but

rather interesting and thought-provoking.

Experimentality in garment’s shape

Experimentality in fashion design can be shown in materials, construction,

silhouette and presentation and usually has an underlying motive or objective behind

​24
the work, either to raise questions of the norms of a society or create new innovations

in the industry. Experimentality is appreciating deeply old techniques and

manufacturing of clothing, but is embracing new technology, researching on all topics

of interest profoundly. Innovations in the industry require years of hard work to come

together. This kind of fashion is not concerned with the time and trends of its time but

making clothing to fit to their own aesthetic. Experimental fashion has a characteristic

of valuing collaboration with other designers and creatives to better the ideas and

share knowledge.

Experimentality in fashion is questioning the existing norms comparing itself to the

current society, asking questions of ‘what if?’ from its spectators. By using tools of

disorder, exaggeration and performance experimentality is testing what could be

accepted behavior in this society and how the future’s society would look like.

Experimental fashion is challenging people to look at things differently not caring

about limitations, but still trying to find the balance between the opposites of

eccentricity versus acceptable and functionality versus decorative. Experimentality in

shape creation in clothing comments on the areas of normative bodies, feminism and

gender, challenging the standards of beauty and masculinity.

There is power in the clothing we wear; either showing the natural shape of the body

or reshaping it, functioning to fit our lives or restricting our movement, being

accessible to all or remaining obscure. Shapes and proportions in clothing are

connected to the cultural and social change in society. Clothing is interpreted in

relation to the body which is carrying it and therefore the questions of normative

bodies surface when exaggerated, oversized or otherwise out of the norm shapes are

​25
being worn. The shape of a garment may be referred to as the silhouette which is

changing in fashion with the overall ideal body admired during a certain period in

history. Exaggerated shapes in clothing can be linked to extreme situations in history.

For example, it could be argued that Dior’s post war womanly hourglass silhouette

rebelled against the lack of glamour and fabric rationing during war years while

showing the female form’s full hips implying the need of repopulation.

Contemporary Avant-Garde Fashion

Today’s contemporary style is very different, quite opposite to what was being

made in the "old" days.While the roots and pioneering designs are still respected,

there is “an extreme clash/paradox between the extreme overdrive of colours/styling

and mainly basic items.” Barbara Í Gongini explains that the current style can be

viewed as “confrontational in a specific manner, not in form but in how the ordinary

clothing is perceived and how it is styled.”

Avant-garde fashion started around the 1960’s and it was quite a controversial topic at

the time. The style can also be controversial if it needs to - drawing up on

contemporary social context as a source of inspiration, it can result in a forward

pushing manifestations that define our times. “The garments should have a

provocative grip whilst still being sensitive to the times we’re living in. Grasping

topics of the current society means understanding the idea of layers - what lies

beneath the surface. There is always a layer that hides something to explore and

something to surprise us.”

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Experimental & Gender Fluid

The specific construction process is aimed at crafting garments eloquently

suitable for both men and women. Structural forms are challenged and experimental

pattern-making shape a solemn backdrop for contemporary tailoring. However, the

downside of this contemporary age is that a large number of young brands flood the

market with designs where expressiveness is boiled down into something very

sellable and wearable - commercial. Pushing this very independent trend into the

mainstream only spells lack of taste and commercialization for all those involved.

Monochrome Black Avant Garde Fashion

Black is without a doubt the defining color of avant-garde fashion. Dark

fashion, how it is sometimes called, implies wearing heavy toned colors that serve to

emphasize the uncovered skin. All black garments or bicolor ones may lack in

chromatic but make up in style and simplicity. Especially asymmetric hemlines which

are cut to surprising shapes.

Structured and Volumized Avant Garde Clothing

More colorful garments are another part of avant-garde fashion. Prominent in

the works of designers such as Comme des Garçons for example, these alternative

fashion outfits feature volume. Daring ruffles, patterns, and colors are also a part of

the avant-garde fashion current. Forward thinking designers such as Rei Kawakubo

always surprise the runways with their designs.

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Street Avant-Garde

Some types of avant-garde fashion may also include specific avant-garde

street style - designers create predominantly for street wear. Avant-garde street style

is often regarded as extravagant and head turning, a way of making your presence

known.

JAPANESE SUBCULTURE

If fashion is cultural then fashion subcultures are groups organized around or

based upon certain features of costume, appearance, and adornment that render them

distinctive enough to be recognized or defined as a subset of the wider culture. In

other words, subculture fashion is a unique and innovative fashion group where

people wear garments as a means of symbol or a form of art. And, Japanese

subcultures are famous for their avant-garde looks.

In Japan there are various subcultures, the people who follow subcultures are the

people who shop around avant-garde shops and wear the garment as a form of art and

symbol. Tokyo is without question one of the key fashion capitals of the world along

with New York, Paris, and Milan, and has a large population of creative thinkers and

progressive fashion lovers willing to take risks and redefine movements entirely. Here

are some famous subcultures of Japan given below:

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Lolita

Figure 3. Lolita

Lolita is one of the most iconic of all the Japanese fashion subcultures. The

style is heavily influenced by an ultra-feminine take on the traditional Victorian and

Edwardian style of children's clothing. The style came into being in the early 2000s as

an offshoot from the gothic and aristocratic styles of the Visual Kei movement. While

the most mainstream of all the Lolita subcultures is the more girly 'cute' style,

dominated by pastel colors and pinky hues, there are several other Lolita style

subcultures. One of the most popular places to find Lolita clothing these days is at the

Shibuya 109 shopping center in Tokyo.

Lolita style is so wholly encompassing that within the movement are families of other

sub-movements. Some of the main subcultures within the Lolita movement include

​29
'gothic,' 'punk,' 'sailor,' and 'country' infused Lolita styles. The most notable of all the

Lolita subcultures has to be Goth-loli, aka Dark Lolita or Gothic Lolita. Like classic

Lolita fashion, its foundation lies within the Victorian era fashion style, but with

gothic overtones. Think black on black, heavy eye makeup, bows, and Beetlejuice

block stripes.

Visual Kei

Figure 4. Visual Kei

Without question, one of the most influential fashion movements of

contemporary Japanese culture is Visual Kei. The name Visual Kei is so wholly

encompassing that within it exists several smaller subsets of fashion movements,

which would require another article entirely to cover in great depth. As an overview,

however, the moment came into popularity during the 1980s with the rise of bands

like X Japan who blended heavy metal, glam rock, and punk ideologies in Japan.

​30
The style is defined by its elaborate makeup and hair styling, as well as its

gender-bending, almost gothic undertones. You could say that it was a Japanese

answer to Western glam rock bands which were also popular at the time of Visual

Kei's debut. By the mid-1990s, the popularity of the movement started to decline,

however during the 2000s, a modern incarnation of the movement known as

Neo-Visual Kei brought the style back onto the scene.

Gyaru

Figure 5. Gyaru

One of the more controversial and attention-commanding modern styles in

Japan has to be the Gyaru movement. The title 'Gyaru' comes from the Japanese

pronunciation of 'gal.' It's a play on what many assume to be popular American

teenage culture, featuring over-the-top makeup, fake eyelashes, typically blond hair, a

​31
dark tan, and extra-glamorous accessories (like glitter nail extensions). The movement

was most popular during the late 1990s and early 2000s when big hair, slogan

T-shirts, multi-colored plastic jewelry, and Euro-pop music was big.

The central hub of Gyaru culture was Shibuya, and similar to Lolita styles, it was

especially easy to spot around the Shibuya 109 shopping center, a towering

department store dedicated to Japanese subculture fashion. Within the Gyaru

movement formed a more over-the-top incarnation of Gyaru style known as Ganguro

Gal. It's similar to the Gyaru movement, but the defining features (tanned skin, heavy

makeup, and big hair) are pushed to the extremes. Other offshoots of the moment are

called banba, manba, and yamanba style; these styles combine typical Gyaru fashion

with cartoonish inspiration like candy-colored hair and wigs.

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 CHAPTER THREE: RESEARCH AND FINDINGS

RESEARCH ON EXPERIMENTAL FASHION DESIGNERS AND BRANDS

In this topic, I am researching various experimental fashion companies

focusing on ones that use innovative shapes and silhouettes and creative pattern

cutting techniques in their work. The companies are examined through the style,

design processes, experimental techniques used and the motives behind their

Experimentality. The research is concluded with examples and evaluations of the

companies’ work from their presentations and publications.

132 5. By Issey Miyake

Figure 6. Issey Miyake

Japanese fashion designer Issey Miyake has designed a range of clothing that

expand from two-dimensional geometric shapes into structured shirts, skirts, pants

and dresses. Ten basic two-dimensional patterns make up the collection, the eventual

garments being decided by the lines the patterns are cut along and their position.

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Many clothing variations can be created by utilising the patterns in various scales and

combinations. The project was inspired by the work of computer scientist Jun Mitani

who creates three-dimensional structures with smoothly curved surfaces by folding

flat materials. The designers used a computer modelling program designed by Mitani

to design the three dimensional forms of the garments, which are then modeled in

paper adding cuts and fold lines until the forms can be flattened. The project was

undertaken by Miyake's Reality Lab, a research and development team formed by

Miyake, textile engineer Manabu Kikuchi and pattern engineer Sachinko Yamamoto.

The team was formed in 2007, and currently has 8 members. The Reality Lab. is a

project based upon the principle of collaboration and teamwork. Their goal is, through

research, to explore the future of making things from clothing to industrial products.

The Reality Lab. always seeks to create products that reflect what people need and to

find new ways to stimulate creative production in Japan.

Issey Miyake has always made a point of visiting local material production areas &

factories spread all over the country, and developing close working relationships with

those working at each site. The exhibition which opened at 21_21 DESIGN SIGHT in

2008 was entitled “ XXIst Century Man” and was born from Miyake’s (who also

curated the exhibition) experiences (and incorporating research by the Reality Lab.).

It examined our way of life and the current global environmental crisis with an eye

toward new means by which to make things. In 2010, we will present a new project:

“132 5. ISSEY MIYAKE”, based upon one of the latest developments from the

Reality Lab. team’s ongoing research. “132 5. ISSEY MIYAKE” continues the

​34
exploration into the process of creation and production and offers a new process being

developed at the Miyake Design Studio.

A conversation with computer scientist Jun Mitani, a researcher of mathematical

methods by which to create three-dimensional structures through the folding of flat

paper. A single piece of cloth is folded into a square. When one grasps the top of the

folded square and pulls it upwards, a three-dimensional shape is revealed. The shape,

in this case, an item of clothing, is produced by the folds and determined by all acute

angles and triangles that make up the structure. A total of ten basic patterns (i.e. forms

when folded) become shirts, skirts, pants, and one-piece dresses depending on the

cut-lines in different positions. There are many other variations of the clothes created

by different sizes of the same shapes and different combinations of shapes. The

Reality Lab’.s team first met computer scientist Jun Mitani (Associate Professor at the

Graduate School of System and Information Engineering, University of Tsukuba)

who specialized in form modeling in computer graphics and were introduced to his

unique geometric shapes in 2008. Inspired by CG application* developed by Dr.

Mitani that creates a three-dimensional paper model with a smoothly curved surface

out of a single flat sheet of paper, the team embarked upon a new adventure in

research.

It is the CG software to create geometric shapes that contain three-dimensional forms

with symmetrical axes. Its characteristics are to create the shapes by folding a sheet

of paper. Dr. Mitani conducts mathematical research on the creation of

three-dimensional forms by folding a flat material. First, the Reality Lab. The team

​35
digitally designs three-dimensional shapes, using the CG application. Then, they use

the diagrams to make 3D shapes from paper; and study ways by which they can then

be returned into folded-flat shapes. In order to return them to flat, planar shapes, it is

necessary to incorporate “fold lines” and “cut lines”, which are not included in the

original CG diagrams. The Reality Lab.’s collective experience is critical to the

process, as they have to look at each piece of clothing from the standpoint of its

aesthetics and comfort. The beauty when folded, the elegance and gracefulness when

worn, “132 5. ISSEY MIYAKE” fuses the mathematics of folding and the art of

clothes making. It is an exploration of ways by which to make many different

products as well as to forge new relationships between clothing and the human form.

The name, 132 5. was born from the above-mentioned process. Each of the numerals

has a special significance. The numeral “1” refers to a single piece of cloth, while “3”

refers to its three-dimensional shape. The following “2” comes from the fact that a 3D

piece of material is folded into a two-dimensional shape, and the “5” separated by a

single space refers to the time between when the folded forms are made and people

actually put them on, giving birth to clothing. The numeral “5” also signifies our hope

that this idea will have many other permutations. The future of materials, resources

and making things.

One of the many goals that the Reality Lab. shares is to search for and develop

materials that do not depend on fossil fuels. One of the fruits of their research has

been PET, a material generated by Teijin Limited from chemical recycling by

pulverizing, melting and “spinning” threads out of polyethylene terephthalate. This is

​36
the polyester fiber used to make all “132 5. ISSEY MIYAKE” clothing. Using this

revolutionary recycled material (fibers), the Reality Lab. came up with original ideas

by which to further improve the fibers to yield more comfortable clothes. This work

was done in conjunction with the textile-producing factories that have long been

associated with ISSEY MIYAKE’s work.

Figure 7. Transformation of the garment.

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Balenciaga

Figure 8. Cristóbal Balenciaga

Balenciaga is a luxury fashion house founded in Spain by Cristóbal

Balenciaga, a designer born in Guetaria, Spain. The brand is now owned by the

French multinational Kering. Balenciaga had a reputation as a couturier of

uncompromising standards and was referred to as "the master of us all" by Christian

Dior. His bubble skirts and odd, feminine, yet "modernistic silhouettes" became the

trademarks of the house.

Figure 9. Nicolas Ghesquiere

In the Spring 2008 ready-to-wear collection of Balenciaga, Nicolas Ghesquiere

(Fashion Designer) created the whole innovative ready-to-wear collection using dart

manipulation and style-line techniques. By using dart manipulation and style-lines, he

​38
brought an innovative silhouette to the collection. We can see the extensive use of the

dart manipulation and style-lines in each design of the collection.

Figure 9. Look 3 of the Spring 2008 ready-to-wear collection of Balenciaga

Figure 10. Look 32 of the Spring 2008 ready-to-wear collection of Balenciaga

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Figure 11. Look 36 of the Spring 2008 ready-to-wear collection of Balenciaga

Figure 12. Look 30 of the Spring 2008 ready-to-wear collection of Balenciaga

​40
Yohji Yamamoto

Figure 13. Yohji Yamamoto

Yohji Yamamoto established his company called Y in 1972 and presented his

first fashion show in Tokyo 1977. In his work Yamamoto wants to bring feeling and

emotion into clothing. Classical and contemporary are in harmony in Yamamoto’s

work bursting with historical references used in new ways. Central in Yamamoto’s

work is combining the masculine and feminine aspects of clothing, creating garments

that are not showing any parts of the body but still stay provocative. Yamamoto works

mostly in black and has said that he is most concerned with the silhouette and

proportions of his clothing and the lack of color emphasizes these features. When he

is putting color in his work it is usually strong red and white which is comparable to

the black. Yamamoto’s clothing is usually oversized, wrapping the body in fabric as

opposed to revealing it, drawing inspiration from asymmetry and imperfection. Some

describe Yamamoto’s clothing as having a lived-in look, almost a second hand item

that is cherished by the owner. Yamamoto wants his garments to be timeless and have

​41
the ability to be worn for a long time. Since 2001 Yamamoto has had a growing

interest towards sportswear, adding these details to his clothing and has collaborated

with Adidas. Yamamoto starts with his designs with the feel and look of the fabric,

moving on from there to the shape.

Yamamoto is known for his drapery and usage of fabric, creating unseen shapes in

clothing. In fittings the garments are made of the actual fabric that is used for the final

samples, this way it is possible to see how the garment actually drapes and moves.

The fitting process is elaborate, so it is seen how the garments look like on the

customers. Yamamoto is appreciating tailoring and craftsmanship in making clothing,

finding it important to choose the right placements for details such as pockets and

buttons making the design comfortable for the wearer. Yamamoto is inspired by work

wear since it is similar all around the world and second hand clothing which is

showing the wear of time. Another big inspiration for Yamamoto has been the

photographs of August Sander who photographed the German people all around the

country showing people from all walks of life. Since the start of his career Yamamoto

wanted to make easy clothes for independent women that were claiming their own

life, not being dependent on men. From the start of 80s Yamamoto’s clothing was

worn mostly by intellectuals and arts people, drawing up on the mysteriousness of

black and different outlook on clothing.

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Figure 14. Yohji Yamamoto Fall 2017, asymmetrical draping.

When examining Yamamoto’s clothing in picture 6 it can be seen having in many

instances an oversized, relaxed and asymmetrical silhouette that builds on layering

and draping. There are also influences from tailored clothing, which are deconstructed

and assembled in new ways. Many times, his collections include totally black looks

varying in silhouettes showing skin in unusual places and mixing textiles. There are

also pieces that are completely opposite to this aesthetic, bright colored show pieces

including artistic details such as painted pictures and prints. It is easy to see the

handicraft of his clothing in the details and shapes created. The draped garments seem

to be constructed on the dress stand by inspecting the fabric or by using a fabric

manipulation technique prior to draping. These garments seem to be achieved during

a long process of trying different options and learning through the making and pattern

cutting process.

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Georgia Hardinge

Figure 15. Georgia Hardinge

Georgia Hardinge was born in London and attended Parsons School of Design

in Paris graduating in 2008 winning critical acclaim when she was awarded the best

designer award for her graduate collection. Hardinge established her own label in

2010 focusing on a sculptural aesthetic.

Her inspiration for design comes from a passion for architectural shapes and

sculpture, which can be seen throughout her work. She works closely with a pleat

specialist to develop pleating techniques from paper sculptures and new technological

fabrics and textile treatments. The Georgia Hardinge brand incorporates a strong

sculptural style with extensive use of fabric manipulation and strong print design.

In her 2015 Spring/Summer Ready-to-Wear collection, we can see extensive use of

origami techniques.

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Figure 16. 2015 Spring/Summer Ready-to-Wear collection, Georgia Hardinge.

In her 2017 Autumn/Winter collection, we can see her whose collection is based on

origami technique and has managed to implement the same origami pattern in almost

every design of the collection.

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Figure 17. 2017 Autumn/Winter collection, Georgia Hardinge.

In her 2019 Autumn/Winter collection, we can see how she has creatively used style

lines and dart manipulation.

Figure 18. 2019 AW collection, Georgia Hardinge.

​46
Rick Owens

Figure 19. Rick Owens

Rick Owens established his company in 1994 (Fury, 2017) and had his first fashion

show in New York in 2002. (Furniss, 2002, p.20-21; Fury, 2017) Rick Owens’

aesthetic is broken idealism, basing in his influences from art and design he

appreciates that usually has a decayed element to them. With his aesthetic he wants to

express emotion in clothing and bring a personal aspect to them. (Zahm, 2005,

114-115) Owens’ style is dirty chic (Furniss, 2002, p.20-21), he wants to make

clothes that are discreet and quiet in their aesthetic, and intends all his clothing to be

worn in people’s everyday lives. (Tchkonia, 2013)

In practice his style appears as precious fabrics and leather distressed, manipulated

and washed to give them texture and disturbing proportions exaggerated and draped

over the body. At first look the clothes can seem complicated and difficult to wear,

but with a closer look they prove to be seductive, wrapping the body in layers of

fabric. Owens experiments with fabric and silhouettes, often questioning the norms of

​47
clothing with sexuality and gender; his clothes for men are as bold and transgressive

as the ones for women, without sacrificing manliness. (Fury, 2017)

With his designs Owens is more concerned about how the garment feels rather than

looks. (Davies, 2007, p.89) The garment must physically wrap and shape the body;

the design is about the surface and texture it creates and the emotion of caressing it

brings to the wearer. Owens’ collections have usually muted colours, mainly black

and shades of grey and brown. He has said that he is more concerned about the shapes

of the clothes and sees great peacefulness and gentleness in muted colours. (Zahm,

2005, 114-115) Owens designs collections that are independent from the normative

fashion cycle (Fury, 2017), the collections have similar aesthetics from one to

another, creating a continuation of expression. Owens does not believe in

changing the aesthetic of the collection depending on the source of inspiration, rather

he appreciates the idea of continuation through one’s work. (Zahm, 2005, 114-115)

Inspiration Owens gets from architecture (Friedman, 2014), designers such as

Vionnet, Fortuny and Gres (Furniss, 2002, p.20-21), old black and white Hollywood

movies (Zahm, 2005, 114-115) among other cultural references, mixed with growing

up in Los Angeles and experiencing old Hollywood boulevard. (Zahm, 2005,

114-115) Classical references are therefore decomposed, distressed and translated to

fit to the everyday wardrobe. The basis in Owens’ work comes from his background

in pattern cutting (Furniss, 2002, p.20-21) and understanding how the body needs to

be dressed. Classical references from for example Vionnet are showing

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in his work with a lot of bias cut and draped garments. He sees the long-16 draped

silhouette classical and inspirational but does not want to make clothes that are too

cliché. (Zahm, 2005, 114-115)

Owens does not use mood boards to show what his collection is about or make

fashion illustrations of his clothing. (The Talks, 2014) He doesn't like having literal

references in front of him during the design process, this is resulting in having to be

forced to work using only a memory of the references. (Friedman, 2014) Owens

wants to work straight with the ma-

terial and shape. (The Talks, 2014) Owens is examining previous collections of his

more than anything else, making it possible to progress by studying the successes and

mistakes of the past. (Friedman, 2014)

Rick Owens has managed to design a customer for his clothing as well. Known as the

‘’Tribe’,’ these followers are finding wearing Owens’ clothing as a lifestyle and part

of their personality. (Foley, 2017) Owens himself expresses that he designs for

someone that might have had an extravagant phase in their life and afterwards wants

to focus on anonymity. (Davies, 2007, p.89)

Rick Owens clothing has its complete own aesthetic. His main technique is using

draping to create many of the garments, by using pieces of fabric or pre-made

garments and their details which can be seen in picture 9. To me it seems like the

draped garments have been achieved through a long process of working with the

shape and fabric, which is not possible through merely starting with a sketch. Jackets

​49
are deconstructed to be made into skirts and materials are combined and manipulated

to be added to one garment. His materials are natural and soft, and the body is layered

with them creating a cohesive yet profound mix of textures.

Figure 20. Spring Summer 2017 collection, Rick Owens.​

threeASFOUR

In 1998 Gabriel Asfour, Angela Donhauser, Adi Gil and Kai Kühne founded a

fashion collective As Four in New York. From the start As Four focused on creative

construction techniques and unexpected cuts in their garments, showing their first

runway show in 2001. In 2005 Kühne left the collective and the remaining designers

formed the new company threeASFOUR the same year. (Stanfill, 2007, p.82) All the

three designers come from different backgrounds, Asfour was born in Lebanon,

Donhauser in U.S.S.R and Gil in Israel. ThreeASFOUR describes themselves as a

fashion collective of three artists, working in the field of fashion, creating garments

​50
which combine art and fashion together while mixing appreciation of traditional

garment making with new technology. (threeASFOUR, 2019)

In 2008 threeASFOUR decided to focus more on the conceptual fashion and art

aspect of clothing in order to have creativity within their brand. Taking a step back

from creating fashion to the market threeASFOUR had the opportunity to focus more

on their interest in technology, for example 3D-printing and laser cutting. (Coiro, n.d.)

In their work threeASFOUR wants to creatively investigate themes of awareness of

the world and cultural questions. (threeASFOUR, 2019) Their focus is on creating

unity between people and a sense of community, and as a result connecting with

people. (American Fashion Podcast, 2016) Making clothing is used as a medium for

this idea because garments are speaking and addressing everyone. Ideas of unity and

cultural coexistence behind threeASFOUR’s creations are resulting in garments that

have a special message in them, the designers are not wanting to create something

without meaning to a world with abundance of existing clothing. (American Fashion

Podcast, 2016)

Creativity and experimentality of threeASFOUR origins from adventurousness and

the rebellion of the designers, not wanting to follow how things have been done

previously. (American Fashion Podcast, 2016) The main inspiration in all

threeASFOUR garments is sacred geometry. Sacred geometry is meaning to

threeASFOUR the geometry and repetition that can be found all around us in the

world, in nature and our bodies. The circle is the most common of these shapes, but

does not limit to solely it, the shapes are uniting us all in for example plants and in our

​51
fingerprints. Nature has proportions that are present everywhere, threeASFOUR

believes. (Coiro, n.d.)

It has been important for threeASFOUR to explore new possibilities and technologies

within the industry, but they are also making complex patterns that originate from the

body. (American Fashion Podcast, 2016) The patterns have asymmetrical cuts and

curved seams that swirl around the body, described by the designers as so complex

that they need someone close to them to understand. (Stanfill, 2007, p.82)

When examining threeASFOUR’s garments in picture 10 it can be seen how their

clothes are relating to geometry that is fitted on and around the body. Laser cutting

and 3D-printing are used to create unusual textures and innovation but the shaping of

the garments is in the centre. ThreeASFOUR’s patterns have a certain organic flow

with them which makes them natural on the body and cohesive from one collection to

another.

Figure 21. Fall 2019 Ready-to-Wear Collection, threeASFOUR.

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CREATIVE PATTERN MAKING TECHNIQUES

Creative pattern cutting is new ways of thinking pattern cutting and making of

garments. Usually patterns are made with conventional pattern cutting which uses

basic blocks to create garments and works from the outside towards the body. This

method starts with straight lines drawn on paper and shapes from which unwanted

space is removed in the manner of for example darts. Basic blocks are flat

two-dimensional templates made using the measurements from the body. They are

showing parts of the body in their simplest form. The blocks cover different parts of

the body for example the bodice and sleeve. They are based on a specific size and in

conventional pattern cutting usually serve as an outline for the wanted garment

design. Basic blocks are also utilised in creative pattern cutting. There are many ways

of rethinking garment making and patterns, in the next section I am focusing on

various techniques.

Draping

Toils and modeling are another common term used to describe draping.

Draping is the manipulation of fabric in a three-dimensional form by a designer to

obtain perfect fit and harmony between the fabrics and design of the garment and the

silhouette of the individual. The material is modeled around a dress stand or human

body to see the fit. It is checked, marked and then cut and finally stitched.

Most of the designers choose to try out with the mode of fabric hangings but also

there are purpose-able ways to determine drape. Draping technique is generally used

in making garments but can also be used to develop skirts, blouses and pants.

​53
Draping at first started with a designer, taking a normal basic dress and putting it on a

dressmaker’s model. Already the garment was sewn before starting draping. While

stitching the garment, core shape and fit should be maintained properly to dress-up the

model perfect.

The next technique is, the designer takes pieces of fabric, pins and required material

before starting draping. Pin them to the garment where the drape is preferred, which

will provide the finished garment shape.

Most of the time, the pinned fabrics were not the same as the fabric which was used

on the final garment but they will be using comparable priceless materials. The reason

is that the fabric which was pinned on the garment will frequently be slashing or

marked on while the design process is going. It can be costly with well clothes.

After the designer has made the garment appear the way that the model requests it, the

model will create final marks on the fabrics to explain where the slashes and sewn

should be made on the concluded garment and then the fabric pieces will be removed.

Designer will take the pieces and trace them on the paper to create a pattern for the

final garment. This will be used to guide for making the garment, so it is so important

for the designer to make detailed marks on the fabric.

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Designers have to consider a lot of aspects when they are draping the fabrics. The

material and GSM of a fabric can significantly modify the way it drapes on a garment.

The materials like chiffon, satin and silk are rather usually considered in draped

clothing. Some other materials can also be used as well. More inflexible fabrics are

unsuitable for this draping effect.

However most of the designers would have a preference to experiment with fabrics to

check how they hang. There are some specific ways to check the fabric’s draping

mode. This can be over either by identifying the thickness and stiffness of a fabric

sample or the method of using a tool called a drape mater.

Drape meter was used to determine a drape coefficient. It contains a number from 0 to

100 in written format. For example, sateen and muslin cloths have better draping

property than twill hosieries.

Figure 21. Draping technique

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Origami

Origami (折り紙, Japanese pronunciation: [oɾiɡami] or [oɾi ɡami], from ori

meaning "folding", and kami meaning "paper" (kami changes to gami due to

rendaku)) is the art of paper folding, which is often associated with Japanese culture.

In modern usage, the word "origami" is used as an inclusive term for all folding

practices, regardless of their culture of origin. The goal is to transform a flat square

sheet of paper into a finished sculpture through folding and sculpting techniques.

Modern origami practitioners generally discourage the use of cuts, glue, or markings

on the paper. Origami folders often use the Japanese word kirigami to refer to designs

which use cuts.

The small number of basic origami folds can be combined in a variety of ways to

make intricate designs. The best-known origami model is the Japanese paper crane. In

general, these designs begin with a square sheet of paper whose sides may be of

different colors, prints, or patterns. Traditional Japanese origami, which has been

practiced since the Edo period (1603–1867), has often been less strict about these

conventions, sometimes cutting the paper or using no square shapes to start with.

Over the past few years, the fashion industry has taken a liking to origami, since the

technique is useful in creating new types of geometrical dresses. Origami folding

techniques can be used to make decorative fabric folds in blouses, pleats, and so on.

​56
Figure 23. Innovative origami inspired design

Some believe that silk is best suited for origami clothes. A thesis found that “dupioni

silk was lightweight with a texture like paper that could hold folds very well while

withstanding the heat of the iron. Silk organza gave designs a pleasant sheen and

folded well by hand because of the fabric’s good memory, but could not withstand a

hot iron.” (The Spruce Crafts)

Back in 2009, designer Andre Lima featured origami in his Spring collection, with

many of the dresses having strong geometric designs. The following year, designer

Georgina Chapman introduced origami-inspired dresses in the Spring/Summer 2010

collection. In 2012, Lea Freni showcased the “Fibonacci skirt,” which was modeled

after the folding patterns in origami. In 2016, Sid Neigum debuted his origami

collection at the London Fashion Week.

One of the famous fashion designers from Japan who incorporates origami in some of

his clothes is Junya Watanabe. His Autumn/Winter 2015 collection was full of

​57
3-dimensional forms. The 2016 Fall collection also included 3D cut origami-like

clothes that were made from industrial neoprene.

Issey Miyake is another famed Japanese designer known for his origami clothes. Back

in 2010, he launched the 132 5 collection, with number 1 referring to the use of a

single piece of cloth for each dress, 3 representing a dress’ three-dimensional shape, 2

reminding the fact that the dress can be folded into 2D, and 5 indicating the idea that

each dress can be worn in several ways.

Figure 24. Issey miyake 132.5

Dart manipulation

Darts are folds (tucks coming to a point) and sewn into fabric to take in ease

and provide shape to a garment, especially for a woman's bust. They are used

frequently in all sorts of clothing to tailor the garment to the wearer's shape, or to

​58
make an innovative shape in the garment. Fabric may be thought of as flat, and a dart

has the effect of removing a wedge-shaped piece and pulling the edges of that wedge

together to create a shallow cone. This effect can be seen quite easily with a paper

pattern by pulling together the edges of a dart intake as it would be sewn. Since fabric

is generally more flexible than paper the fabric will shift around the apex of the cone

and form a softer, but still curved, shape. In a garment a dart ends in a point at a full

area of the body.

Basically, dart manipulation means to move darts around the pattern block or slope

wherever you want them. This is done for both fit or design preference. Dart

manipulation in flat pattern making allows you to move a dart from its original

location to a new location. Moving a dart position is done by designating a pivot point

and shifting the dart excess (space between dart legs) to a new location.

There are two methods of dart manipulations;

Pin and pivotal method: ​In this method, the darts are moved by anchoring the pattern

with a pin and moving the pattern in, out, and around. The pattern swings back and

forth like the pendulum on an analogue clock. This method does not require the

working be slashed in order to change its original shape into a design pattern. It is a

transfer method and with experience, it is preferred.

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Figure 25. Pin and pivotal method

Slash and spread method: In this method, the moving of the dart fullness from one

position to another is done by closing (pinning out) the existing dart down to its

starting point and then cutting right up to the point, usually from another direction,

along a new line previously marked on the pattern. The pinning out of the original

dart causes the pattern to curve to the shape of the figure; cutting along a new line

makes it lie flat again. A gap appears indicating the position of the new dart and its

correct size or depth. The new dart will not usually be of the same size for depth as

the closed dart, though it will contain the same ‘dart fullness’.

​60
Figure 26. Slash and spread method

Subtraction pattern cutting

Subtraction cutting is a method of pattern cutting developed by Julian Roberts;

fashion designer, filmmaker and a teacher. (Royal College of Art, n.d.) Roberts used

subtraction cutting as a basis for his collections, and in 2002 published an online

source of his techniques called ‘’School of subtraction cutting’’. From 2006 onwards

Roberts started to teach the technique to others. (Roberts, 2013, p.4) The basic

principle of the technique is simple: the shapes on the garment are created by

subtracting material rather than adding it. By subtraction this method is creating space

for the body and giving the fabric an ability to drape on the body in forms otherwise

unimaginable. (Roberts, 2013,p.12) The technique is challenging the conventional

pattern cutting methods by an organic approach of handling the shape creation. Exact

measurements and sizing scales are exchanged to cut fast, embracing the chance and

progress by discovering. (Roberts, 2013, p.13)

​61
Figure 27. Subtraction cut garments by Julian Roberts

Roberts encourages design with patterns and embracing the risk in it, he wants people

to make mistakes and learn and discover new things from them. With

non-conventional techniques it is usually hard to know what the final outcome is,

(Roberts, 2013, p.15) this is why he advises not always thinking what the shape being

created is going to be as a result. This way it can be examined as it is on the dress

stand deciding the front, back or use of it. (Roberts, 2013, p.40-41) Roberts also

encourages to use other things as measurement than rulers and measuring tapes.

(Roberts, 2013, p.32) He wants people to think of patterns as non-static things but

rather having a moving person in them. The fabric is not static either, it goes down

with the logics of gravity. (Roberts, 2013, p31, p.27)

Subtraction cutting techniques include the tunnel technique, the plug technique and

displacement technique.

​62
When cutting with subtraction cutting it is important to know that the patterns

represent the negative spaces that create the area for the body to go through, instead of

the shape of the garment; the shape emerges when the garment is put together.

(Roberts, 2013, p.14) Roberts describes that negative space is apparent in all

garments, in fact the garment is simply put in a hollow tube through which the body

goes through. (Roberts, 2013, p.25)

The tunnel technique

The basic principle with this technique is to understand how the body can go

through the pattern multiple times. The pattern is a tube of fabric that has shapes cut

out for the body to occupy. The shapes cut out should be larger than the hip

measurement, since they are during construction sewn together to form a continuous

shape, a hollow space. (Roberts, 2013, p.34) The shapes can be sewn together, always

folding the fabric like an accordion (Roberts, 2013, p.36) or turned towards the next

shape like a spiral. (Roberts, 2013, p.49) The shapes can be cut in line with each other

so that the fold is symmetrical but also more arbitrary so the fabric is folding twisted

(Roberts, 2013, p.38-39)

​63
Figure 28. The shapes can be sewn together in various ways

There are two ways of using the tunnel technique. One can either create basic blocks

of front and back of a garment, then extend them by at least 3 metres (Roberts, 2013,

p.42-43) or sew a long piece of fabric from selvage to selvage together and one end of

the tube closed, afterwards placing blocks at the end of the tube. (Roberts, 2013,

p.45-46) In the first technique front and back pieces are separate and sewn together,

the cut shapes are added afterwards which are then sewn together to make the final

silhouette of the garment. (Roberts, 2013, p.44-43) In the second technique the blocks

of front and back can be arranged at any angle in relation to each other and the fabric.

(Roberts, 2013, p.65) After drawing the neckline, shoulder seams and part of the side

seam, the blocks are simply connected from the armhole with a line from front to

back. This negative space is then cut out in order to sew the shoulder seams together.

After this the holes can be added. (Roberts, 2013, p.46-47)

​64
Figure 29. Two ways of constructing a tunnel subtraction dress

The plug technique

The plug technique bases on the idea of creating mismatching shapes, a cut out

and a separate shape which are sewn together. One shape is cut out (on the pattern

piece) and another one is then sewn on the place of the cut out. The shapes can be

mismatching because of the same circumference of the hole and shape sewn on it,

only adding a double seam allowance at the edge of the shape that is sewn on. This

creates new three-dimensional volume because of conflicting shapes being forced to

be combined. (Roberts, 2013, p.52-54)

​65
Figure 30. In the plug technique a shape is cut on one fabric and a contrasting shape

is sewn along the cut line with the same circumference

Displacement technique

The displacement technique uses separate front and back pieces that are sewn

on a form with a shape cut out, for example a circle with a smaller circle cut out. The

other pattern piece has to then travel through the shape within the shape in order to be

sewn to the other pattern piece. (Roberts, 2013, p.66-67)

Figure 31. Displacement technique

​66
Zero Waste Pattern Cutting

Zero waste pattern cutting is a technique that utilizes the whole fabric or

material used, resulting in zero cutting waste. Zero waste designing is possible

through including pattern cutting into the design process of garments, and pattern

cutting therefore dictates the finished look of the design. (Rissanen & Mcquillan,

2016, p.11)

Figure 32. Timo Rissanen’s zero waste cut hoodie

The term zero waste in fashion emerged in 2008 but utilizing the whole piece of

material for a garment has been there from the start of wearing clothes. In the past

many garments were made without fabric waste simply because fabric was more

appreciated and cared for, there were not many materials available and making them

was slow. (Rissanen & Mcquillan, 2016, p.11) After woven fabric was discovered,

whole lengths of fabric were draped over the body, for example in ancient Greece and

in India where the draped sari is still being worn. Another example of zero waste

​67
pattern cutting in the past is the Japanese kimono. The kimono is created from a single

cloth which is cut in pieces, sewn by hand together and unpicked when cleaned.

(Rissanen & Mcquillan, 2016, p.12)

Pattern cutting in zero waste is fashion design, the process requires conversation

between cutting and designing. Pattern cutting is not a reaction to the design process

but an important part in the creation of the shape of the design. (Rissanen &

Mcquillan, 2016, p.42) On the other hand, pattern cutting being elaborate in zero

waste may result in some difficulties of manufacturing; the grading of garments and

cutting in factories. (Rissanen & Mcquillan, 2016, p.153, p.169)

The basic thought behind zero waste pattern cutting is the conversation of fabric

width and garment cut, both are influencing the other. (Rissanen & Mcquillan, 2016,

p.19) Holly McQuillan presents three common approaches to zero waste pattern

cutting. Planned Chaos uses conventional pattern blocks when starting the design,

Geo Cutting uses shapes and geometry and Cut and Drape uses the dress stand and

free form in order to make the design. The techniques are used individually or

combined to make the desired shapes. (Rissanen & Mcquillan, 2016, p.89)

Working with squares and rectangles is easiest in zero waste pattern cutting since the

fabric is shaped like one. It is possible to use curved lines, which is reasonable

considering the shapes and curves of our bodies. (Rissanen & Mcquillan, 2016, p.80)

It is important to look at the negative spaces in patterns since they are going to be in

the finished garment in

​68
zero waste pattern cutting. This might work so that you make the shape of one wanted

piece of pattern first and look at the negative spaces that are left on the piece of fabric

and how they could be utilized for the rest of the pieces. (Rissanen & Mcquillan,

2016, p.88) All the needed pattern pieces have to be included when the fabric is cut,

the facings and seam allowances have to be considered previous to this. (Rissanen &

Mcquillan, 2016, p.90) Working digitally or half-scale can be useful in figuring out

the outcomes of zero waste. (Rissanen & Mcquillan, 2016, p.130)

Figure 33. Holly Mcquillan’s embedded zero waste design where two garment’s

patterns are cut from a single piece of fabric

One-piece Cutting

Since it was extremely difficult to find literature or even internet resources on

one-piece pattern cutting’s history, theory and makers, in this research I am utilising

​69
Richard Lindqvist’s Kinetic garment construction book as a comprehensive resource

as well as my own experiences on one-piece pattern cutting. Lindqvist’s Kinetic

garment construction is basing on one-piece pattern cutting’s theory of making

clothing from a single piece of cloth, only developing it further on to his own way of

constructing clothing. Richard Lindqvist is a co-founder of Atacac and has been

trained as a men's tailor and graduated from the Swedish School of Textiles with a

PhD in fashion design. (Atacac, n.d.)

One-piece garments are made from a continuous single piece of cloth which is

resulting in a garment. Oldest one-piece garments originate from ancient dressing of

Ancient Greece and Roman Empire which were rectangular pieces of fabric that

wrapped around the body according to certain rules. (Lindqvist, 2016, chap. 2)

Richard Lindqvist started his research for Kinetic garment construction as practical

work and making remarks while working as a tailor at A.W. Bauer & Co. in

Stockholm, as a pattern cutter for Vivienne Westwood in London and visiting the

atelier of Geneviève Sevin-Doering in France. (Lindqvist, 2016, chap. 1)

French costume designer Geneviève Sevin-Doering is known for her method of

constructing clothing from a single piece of cloth. She has been developing her

method since the 1970s in which the design is reached on the wearer. Sevin-Doering

has researched clothing that was constructed before establishing the conventional

pattern cutting technique, for example clothing used in the Middle Ages.

(Sevin-Doering, 2004; Lindqvist, 2016, chap. 1.5)

​70
Figure 34. Geneviève Sevin-Doering’s patterns laying flat, pants and a top.

In Sevin-Doering’s patterns the starting point is the body on to which the fabric is

wrapped around. Block patterns and dress stands do not make any use since the

garment is made on the person who is meant to wear it while they move. According to

Sevin-Doering there is no need to cut fabric on the shoulders or on the side since the

fabric falls naturally by gravity, this was seen while working straight on the body.

(Lindqvist, 2016, chap. 1.6)

Lindqvist spent time at the Sevin-Doering studio getting to know her practices of

pattern cutting. From 2009 to 2011 he experimented with similar patterns trying to

make out his own by researching SevinDoering’s patterns and altering the shapes of

them. This time he called designing with patterns since the pattern and how it would

come together determined the overall look of the garment. Lindqvist tried also using

conventional pattern blocks in order to make one-piece patterns and therefore shifting

the usual seam placements. (Lindqvist, 2016, chap. 1.6)

​71
Lindqvist’s theory of Kinetic garment construction tries to answer questions on how

to make the body the centre of design and seeing how the fabric reacts to the body.

(Lindqvist, 2016, chap. 3.2)

By examining fabric being draped on the body Lindqvist created proposals of lines

where the fabric naturally falls, neither falling off it nor restraining its movements. He

also noticed certain points where cuts are needed in order for the body to move. These

are considered in this theory to enable natural movement. Kinetic garment

construction emphasises the biomechanical functions of the body rather than the

pattern (Lindqvist, 2016, chap. 3.2)

Figure 35. Kinetic garment construction’s theory of having lines on the body where

the fabric drapes and points where there is more movement in the body. One-piece

pattern made with this theory’s principles.​

​72
Lindqvist has executed experimentation in relation to this theory to see how it is

working in practice. The experiments start with a live body. Starting from the centre

back of the neck or the waist, a rectangular piece of fabric is placed on the shoulders

or around the waist and cuts are made to it according to where the fabric wants to

drape, taking into consideration the body’s movements and gravity. The cuts are made

in all directions and shapes to get a natural expression. Afterwards the lines are

compared to the muscle lines of the body and some alterations are made. (Lindqvist,

2016, chap. 3.3)

One-piece patterns can be achieved with Lindqvist’s and Sevin-Doering’s techniques

of first placing the fabric on the body and making cuts to it to fit and create shape.

There are more techniques to try within this method of pattern cutting, which I have

tried out during my exchange and internship. It is possible to utilize basic blocks to

create a design or pre-made patterns of a garment which can be made into a one-piece

design. This way new design lines are created when the pieces are forced to be

combined to one cohesive pattern.

Another technique is to make a pattern of a garment which is then taped together from

pattern paper to 3D. Then a style line is added as wanted on the design, the line has to

be continuous around the pattern so the design is one-piece. This line is best when it

cuts through the most curved parts of the pattern, for example the dart’s highest point,

making it easier to make the pattern flat. After the line is drawn the pattern is cut open

along it resulting in a one-piece pattern.

​73
The main aspects to consider when designing one-piece patterns are the lengths of

sleeves and hems and size of the fabric. All parts of the design have to be included in

one pattern, therefore long sleeves and hems are not always possible to arrange as

wanted. This may also result in having to use more fabric if the pattern becomes very

long and elaborate. The fabric width and length are in the centre of what kind of

design can be achieved, in many cases the pattern has to be placed on the fabric cross

grain or bias. The pattern will have this grainline on the back or front piece, but the

other parts of it will fall on the fabric according to the pattern shape created.

​74
 CONCLUSION

When researching experimental fashion, it was interesting to find all the

underlying themes and motives behind it, especially the commentary on normative

bodies and racing innovations in the industry. Experimentality in my thinking was

producing new things that are difficult to use as wearable clothing but finding the

meanings and processes behind the work made me appreciate the unexpected and

unseen in a new manner. When researching the experimental fashion designers and

companies, it was easy to see how some garments were made solely for show

purposes and the garments that were sold differed sometimes a lot from them. All the

experimental fashion designers and fashion companies had their own perception and

techniques of making garments, but there are also various similarities between them.

​75
Figure 36. Techniques, motives and processes of the companies

The whole process of this thesis was very interesting and challenging. The themes of

experimentality in fashion and creating pattern making techniques were vast and

compelling. Knowing to finish the research was difficult since all of the information

and aspects found were increasing my curiosity. I am happy with my research and it

gave me a broad insight on the topics.

​76
All of the techniques I wrote about gave me new perspectives and ideas in pattern

cutting, opened new perception to my views in designing clothing.

When starting this thesis I thought that silhouettes in clothing were most inspirational

for me, but it is now easy to see how big of a role the fabric and its qualities have in

the shape creation. All of the techniques were relying on the size and qualities of the

fabric, especially in zero waste pattern cutting and one-piece pattern cutting in which

the design had to be fitted to the fabric most carefully. In conventional pattern cutting

the fabric is not always as strictly considered, since the pattern pieces can be placed

differently or more material can be bought.

When evaluating the techniques it was easy to see how everything was not so

straightforward, some aspects were admirable in one technique and others in another,

there was not one technique that resulted in a perfect product. The techniques can be

used to create garments that are not resulting in wearable products, it is all to do with

the person who is using them and what kind of product is wanted to be made.

Combining the techniques and seeing what results in the best option for yourself may

be the answer. Another thing to consider is the value that creative pattern making

techniques are bringing to the clothing. If customers see increased value in garments

that are created with these techniques is still a question I would like to research.

​77
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Figure 22. Draping techniques. Retrieved from

https://www.thecuttingclass.com/wp-content/uploads/2014/07/593bf4351618e_drapin

g-and-moulage.jpg

Figure 23. Innovative origami inspired design. Retrieved from

https://scene360.com/wp-content/uploads/2015/12/innovative-fashion-33.jpg

Figure 24. Issey miyake 132.5. Retrieved from

https://i.pinimg.com/originals/84/f9/80/84f9809012975fb3914b90a0f3507028.jpg

Figure 25. Pin and pivotal method

Figure 26. Slash and spread method. Retrieved from

https://i.pinimg.com/originals/38/43/7c/38437c86b2cf3b594c86c6827e5b4684.png

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Figure 27. Subtraction cut garments by Julian Roberts. Retrieved from

https://runwaydreamblog.files.wordpress.com/2019/02/julian-roberts.jpg

Figure 28. The shapes can be sewn together in various ways, Free Cutting by Julin

Roberts. Retrieved from

https://researchonline.rca.ac.uk/3060/1/FREE-CUTTING-Julian-Roberts.pdf

Figure 29. Two ways of constructing a tunnel subtraction dress, Free Cutting by Julin

Roberts. Retrieved from

https://researchonline.rca.ac.uk/3060/1/FREE-CUTTING-Julian-Roberts.pdf

Figure 30. In the plug technique a shape is cut on one fabric and a contrasting shape is

sewn along the cut line with the same circumference, Free Cutting by Julin Roberts.

Retrieved from

https://researchonline.rca.ac.uk/3060/1/FREE-CUTTING-Julian-Roberts.pdf

Figure 31. Displacement technique, Free Cutting by Julin Roberts. Retrieved from

https://researchonline.rca.ac.uk/3060/1/FREE-CUTTING-Julian-Roberts.pdf

Figure 32. Timo Rissanen’s zero waste cut hoodie. Retrieved from

https://i.pinimg.com/originals/dc/0c/bc/dc0cbc698d4f611408662713fd8bdf9b.jpg

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Figure 33. Holly Mcquillan’s embedded zero waste design where two garment’s

patterns are cut from a single piece of fabric. Retrieved from

https://workexperiencefashion.com/wp-content/uploads/2019/11/Holly-McQuillan-fea

tured-scaled.jpg

Figure 34. Geneviève Sevin-Doering’s patterns laying flat, pants and a top. Retrieved

from

https://fashion-incubator.com/wp-content/uploads/2010/02/my_idea_pattern_puzzle.j

pg

Figure 35. Kinetic garment construction’s theory of having lines on the body where

the fabric drapes and points where there is more movement in the body. One-piece

pattern made with this theory’s principles. Retrieved from

https://atacac.com/book/images/3/13.jpg

Figure 36. Techniques, motives and processes of the companies

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