Draping The Complete Course Includes DVD with 32 video aOlIr1y NICO AMINADrapingPublishedig 2010° ‘ipLauiertre King Publishi ‘361-373 City Road London eCiV UR. United Kingdasn Tel, +44. 2078918900 Fox +44 207841 Og10 E-mail enquities@laurebceking or ‘wuvov laurenegking cor Text © 2013 Katolyn Kise arolyn Kiisal has\asseyted! be reproduced orransinifed in any form or by any means, elactromeit mechanical, including photocopy, recording, or any information storage and retrieval system, witholttprior permission in writin from the publisher. ‘Accatalog record for this book is available from the British Library ISBN 978 1 78067 093 5 Design by The Urban Ant Lid Picture research by Heather Vickers Photography by Sia Aryai Photography, wwrw.siaaryai.com Line art by Briana Boyko Technical diagrams and Photoshop enhancement. by Mikiela Salgado Printed in ChinaDraping The Complete Course Karolyn Kiisel Laurence King PublishingContents > Dopmi an ut Tools and ceperaion Steennocgy ag8 1 Dieina te WovenFenal O16 History one Exercises ze >Popairg te msin ro >Digpng he toe gas ons >Visuelzingmusins. abies 02 5 Dance tunic m6 Draping projest oe Diana of Veraless garment 12 Dem History Exercises > Dat vations > Casi bose with bust eet > Becice with French dat > Swing ress wit dats Draping prejoot ‘Auge Hepsi es in Breaks 9 Tarys Vevietions > Satigte prossine to ake >bringtandarstoreste the pies Baio anemle incest geeeee 8s Be 88 iS 23Pans History Brorcises > Draping an ting ants >Hetempant Salata > Widolog user with ont ks > Exsy pata Draping project Nenette epee cropped pont 82 170 m 16 2a Kas ae History 16 Exercises um > Cotten it tp with ted nosing 138 > Sverlesskt top 130 Draping projest 192 Naneite Lepore talternecaitop Variations 1 > Too with kimono slaves 196 ‘3.1 Dots Jackets History Exercises > Underctanting cheuldre 2 Chanel sive ashe 5 The twcpioce seve > Easy wo eco leva dat Draping peje: eee & Gabane tuo jst Variations > Raganpoat > Yerchoat 5 Swing cet ih Sawletar 5 tration taped stone1 dusters 0 21 Sits owe 22oune i story oss isiory ro History 1m Exerenas on Exereiaes ong Exerises 16 > Frepting the fem depieg >kit ot > Deira te se 18 rebuster mo > Shesinvtes oot 3 React buss um > roping the ers nd metris > Sesh 8 > Giion Gi bose iz for thetusier om 5 Mine stit 8 > sy slr diet 1 > Fnees estos om Sha ele ste 0 > Busta gant Reaglog enet o Busi with Gooigan shape O74 Draping project 12 ll Biss organ ribkon Bouse: Draping project om Bin Bass paged st ‘igistiee si Suita areas erations 10 > nicwith bal shove we > Yet sith ahessandfare 110 > Manda lar 16 S eeerFeneaar 18 > Blas with ppm and elas ishep ere 130 \ / | + | A 32 The GemiGawn 288 33 Daping onthe Bias mm ‘34 inproisatina Ding am History 0 History Ey History am ercisas ma Brercises as bxere 30 >Sigoating he ait 2m > Biae-dapodcanile 26 Aeynmetital aged necting 204 oases 24 ‘Bias chemise wih princess tne 230, Gown wit peticoat 266 . meaeg Bets ™ Draping project mm ‘Viviane Wer nse ress Draping project 20 sean Halowscessin (scare a Fenia gown Dimer at Eg Variations a0 > Royals gown 200 Glossary 314 | Resouces 315 | Indox 316 | Cedis 318 | Abou the OVD 20,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 moulage, meaning “to mold or sculpt.” Fashion desianors are artists, giving ‘physical expression to concepts as they work with form, space, and energy flow. Impact and emotion center with the use of color and surface detail, but first a silhouette must be sculpted Learning to drape involves taining the eye to recognize balance, symmetry, and a graceful ine, and training the hand to dexterity in cutting, pinning, and joining complex curves. Untimately, success for designers and artists lies in finding their own unique style of expression, Draping is a skill that helps the individuality of the designer's creative vision to emerge. In this book, you will be draping ancient forms of clothing, historical garments from art works, costumes from movies, contemporary designer piaces, and styles ‘from past decades. {At the beginning of each chapter are examples of early forms of clothing, often simple waven panels of cloth wrapped, tied, or draped over the body. Understanding how a modem biouse or jacket evolved from these basic shapes makes it easier to conceptualize how to drape one. It is less intimidating whan you understand that, for thousands of years, people have created beautiful, practical, transformational shapes from a simple length of woven cloth. Many of the 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 Wer I, in Europe and New York, the couture ateliors were blossoming, Balenciaga, Dior, Givenchy, and, later, Yves Saint Laurent were only a few of the many designers using new fabrics and techniques to, produce beautifully draped and impeccably tailored couture clothing. Learning to drape these iconic styles ‘teaches important basic techniques and hones observational skills. Studying modern and contemporary clothing 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. The value of learning to drape When draping, the muslin, oF “toile,” is a work in progress, continuing to evolve until itis taken off the form and tuned into a pattern for a garment. Draping a new design, rather than drafting a flat pattem for itis, 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 during the draping process, it eliminates some of the guesswork involved with pattern drafting, When drafting, its not until the pattern is finished and the garment is cut and sewn that one can see the three-dimensional result. Becoming proficient at pattern drafting takes a lot of experience. With 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 silhouettes. Clothes are marketed today less by their fit and finesse than by a “designers statement.” In fashion, itis crucial for a designer to develop their ov 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 ft 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, 2 woman needs her clothes to help her excel in the corporate orld, relax into a yoga posture, or feel glamorous for a special event. ‘The first step in creating @ 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. 3if you have the skills to execute your creative vision, your personal flair becomes apparent, driven by your. decisions on proportion and line, scale and volume, subtletias of shape, and placament of details Refining the drape and adjusting the final proportion becomes very personal, you work on it until you ative 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 ovin style inevitably emerges. Form follows function “Form follows function” is basic design theory. f the designer is clear on the function or purpose of their design, the many choices to be made during the draping process will flow more naturally. Clothing hes many functions, from basic warmth and protection to attraction and seduction. It is important to understand the garment’s physical as wall as ‘non-physical purpose, How a garment makes a woman feel is as important as how it will make her look crucial draping sills understanding graintine placement. A simple tunic cut on the bias wil have a totally different faal to one cut with lengthrains placed vertically. The designer must be able to control the deeper energetic flow ofthe form they are creating and how it wil 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. yield tne Dra g today Basic draping techniques have remeined constant since the development ofthe padded dress form and its continued popularization by the Wolf Form Company in 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 fit and sizing. These are usad to produce ‘neve collections in which the width of a pant or the scale of a jacket is changed by simply manipulating these blocks. Digital pattemmaking allows companies to. chum out dozens of variations in short order. So what, then, isthe enduring value of draping by hand in this brave new world of digital fashion? The challenge is for designers to go beyond the rote procass 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 tovrard an innovative silhouette, they need to experiment with focal points to create 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, muslin, and dress form is invaluable in facilitating the expression of the designer's personal vision It is now possible to have the best of both worlds: the inspiration that comes trom the purity ofthe simple draped panels together with the classic draping skills that were perfected in the Parisian ateliers. Both serve to turn the art of sculptural draping into something magical and new © Wrenjuse sian ert EV that scons ‘book for video demonstrations Gersng eavesTools and preparation Draping, as with any artisans’ skill, has its tools of the trade. It is a worthwhile investment to find tools that are of good quality and that ft 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 primary piece of equipment naoded to bogin draping isthe dass form, Mary variations are avilable. Choosing the right one will «depend on your circumstances and neods. The bet ofthese covered forms are solidly mounted an heavy metal stands, Be crefil of forms, that are covered in fabric thats too tightly woven, 2s pins wil ct easily penetite Standard dress forms usually follow the measurement specifications ‘of commercial sizing. ina professional daign studio, a smal ‘medium seis often usee. When the clothing i fished, it can casily bo grad up or down fr lrgor ox small 208 ‘The Wol! Form Compe fore pctwred inthis book are high-quality liner-covered “coca cress” ferms, which have mare bust are hip DONOT press on the as SS 90g peeguon ea Bueig tyne ° &022 ‘Marking graintines ‘Tete tvatindssn isbck ‘ore gainer + Nets meson sot el ils anéayarsikardgaph | ruler to crew the ines onthe ual, _ _ en nis metiod is recommended = aor ou wl 0 por symbol ~y seo @ Now you ate ready to mack the aainines f= Mare witya"tweat trace Ihyouvart on the musiin On the frst piace, use toreunethemasiniecs,erewerking —_ soft pencil or talo’s chalk to mark wih fi tht wil ater be sev the longgran, which is parallel to int gamer, or preter wring wh ‘the selveges On the second, mar the ee ees rete ‘rossgrain, which runs across the wth eer of fabric When this method i rocemmanded, ‘= Mate two or three small marks onthe you wil se the needl-and teed ‘muslin using the given dimensions, sym ‘measuring in rom the left-hand edge. * Lineup the raph ruler or yardstick with the marks, and draw te ine needed Use this metho forthe fist to pisces ‘Mask oni ins othe fare—no measurements of ter ntue 30 ezessay. Be accurate and predse iter ‘taping, your pater wit be rade with ‘thes mucin pieces Neaness cpr when eaping is esa tobe abe tocncertiate on the shapes you ne creatra Superucus lines and mers wl be istacing Thon racing ° * Festlocate the gine. Measure in orn the ses ofthe musa pec and mat witha Pine cr tate tacks. Place he irs perpen ta hese ine, and use the enty pt ofthe pn as yur fna domarcaton ' Lay to gaph rer or yarstcan even Y-1[15-25 em) rom he pin or talertak re Leaving the usin onthe ible pul the peal and ted tough the fbi, using ery lage sites = iteanhelptplece weiahts on the nde cr yarstick tokeep the fbi om moving wile You sic it ‘Step 5 ‘On the thir piece of muslin, draw the bias line, The “ue bias” ofthe fabrics the 45° ‘angle tothe length: and cossarains, The bias lina is traitonally marked with double perl ines. * Find the tu bias using ight-anged ‘uler anda graph ruler Position tha ig ‘angled ruler against one ofthe egos of the fabric and mak equal distances from the angle point. For exemple, mark 8° (20 om) from the point, going along the rossorain and along te lengthgrain. * Line the araph ruler up withthe two points ‘and craw inthe bias in, a 45° angle, * For bias lines, two parallel ines ae used, ¥ (050m) apart The muslin preparation diagrams onthe {allowing pages all certain moacuroments that will help you postion the usin on ‘tho form. Tho pieeos ar all orient wth the lengharain going up and down, and the ‘rossarain going from side to sie. Arathor metho to ak th io wth 2 “Gseppeaig nk ibe pe. Test to ale sire tarts st stud, antalso ‘hati ats ong aneugh for yout isn ‘the dep ad tans ito gape.Draping the three grains This exercise will train your eve to sae the difference in the three grainlines. Use the three pieces of muslin that you prepared for pages 20-22. As you work, try to feel the difference in how the muslin drapes, even as You first pin the pieces to the form. I you do not have three forms, pin the three prepared pieces of muslin to anything you have available so you can study all of them atthe same time. @ Lenothgrain Crossgrain + Holding lengthorain pave of muslin in * Grasp ge of erosscrain piece of muslin two places atthe top, canter granine by with tho 1 (2.5m) ongthgrain umning aligning it with center font ine of form, hocgontally ar the eossgrain ln falling vertically, and align crossqrain ine with canter front of fam = Pin musi every at two areas above the bustline and smooth out drape with your hands, studyinghow fabric is fang» Finaveas above bust and observe how azross fom. fabric is draping, Trelenatayzingiece forms wo suong tapes isbecause the storge:uthgain is ring eines utfcm tho busta tho hip tke oro arc wants to push he fbe cu, tual rae of balance sear. Theses The msn eaten th bias gain as he mast Seite ogee sire and soformsdranes that ee soter and Trecrossrainpace appear sight weer at oss dined tha tose onthe nga or thehipand doesnt seemtoallaiteas easily cossrain. The brie ert fxes cut the resid icos econ tostand outers. Ths sles, creating cascade ao. Make sie you have a god supply firs reat crovauristeushion, “Tops ar mot placed at 90° ere 10 ‘he fom, bat aten ene ttn uowar. ‘shld fab securely npace liyeuare suppring aheaver weight offabic, sretmesirsactons ae gent “anchor,” of place tno pins inaV postion, which hls the fabsic rere sere, Bias grain * Drape the bas piece of muslin onthe fom, withthe double bis ne lined up ‘along the center front of the form and ‘hanging vertical, From th stength ofthe lengthran tothe set ‘rape of the bas, hese front qualities vil translate into garments as you dape, Learning to uso tase gainlnes to your advantage wil help yout achieve speci looks. fpeeguowoyaeua sig thayVisualizing muslin vs. fabrics ‘Mashion designer’ skill of visualization comes from familiarity with all types of fabrics and how they drape. When selecting fabrics, a designer will pil, stretch and smooth the fabric; pin it onto a form to see how it falls; and hold a length to the body in the miror to see how it moves. Train your eye to see how different fabrics drape, and how they drape differently from muslin, with this exercise. Drape several types of fabric onto a form using as inspiration this contemporary dress by Michae! Kors. First, drape each fabric over your hand, taking a moment to study its qualities. * Align CF line of muslin with CF of form. Fin at shoulders about rmidny between necline and outer shoulder point Find the spot where inthe potogien te snakeskin eater piece sits atthe shoulder ina ‘= Nour ty pining fabric 1-2" (25-5 em) further ward side of muslin piace but at the same point of the shoulder. allowing fabric to cape in CF "= Continue moving fabric toward centr, watch how drape fos as Yyoupin further ang further toward sides of fabric: * Look forthe optimum spot whore CFnacline dapeis lon, abn the photograph, but you stil hae enough fabric lft onthe sides to creat tho protycrapo that hangs at tho armboles. Fin or toa tl tape atthe hips, if helps you to find the vght drapeDraping in Using the mstin-preparation diagram, ‘repare these adcitional fabrics: nen sik crape da china, cifon, and anit. If you do not have these easly at hand use whatever you have—evon silk car il do! Do not worry about making the drape look exactly Ike the garmert inthe photograph. This isan exercise in observing how diferent fabrics dope ‘Why drape with mustin? ‘Miusin sir and rapes quite iteronty rom other fabrics, why ue t for caping? The aes is that min nasa stale panna is easy to work, ls, ts absence of clor eats 2 neutalty tt helps you see the susie you ae suting ering ablankearvasapen which terete design. As you opararc the quates of diferent ars, you wil te instneavety sree row etre behave incomparzen othe rus, Linen The linen drapes most simialy to the ‘muslin. has a loosely woven iain and so a softer drape than the must, but stil has a lotof body. Both musinand nen tnd to “breat’ atthe center font, making @ sharp bend or crease instead of fowing evenly around the cuve ofthe drape Chiffon The chiffon i even softer than the crepe e china, but its @ bouncy quality. Although ithangs beautifully, ts more ditfcut 1 handle Crepe de chine The eepe de chin falls very differently. The emtarron depe has a softer lok and falls into more folds than th linen or musin, “The drapes atte side armhole area tnd to utter rather than jst si. The knit drapes te closest in Look tothe Michael Kors cess. Knits tand to hang ine heavier way. The sense of gravity ruling the fabric down eeato tho sonsual ook that Kors seems to have intended pveguonyDance tunic This tunic—a dance costume for an opera— is based on a Greek chiton, It is made from two rectangles, held together atthe shoulders by metal brooches. Traditionally, the tunie wauld have a belt, but because this is a modern dance costume, the Waistline can be drawn in with elastic. The lines are angular and vertical, so both pieces wil be cut on the lengthgrain. The flat sketch indicates the waistline construction, shoulder closures, and the proportion of the omamentation at the neckline Visualizing the voli After the dat shetch s done, the next step is to map cut tho muslin proparaton diagram, deciding the approxinate sie ofeach of the pieces. ry using a muse for ths procass. Visualiza Isadora Duncan dancing in is tunic, imagine the volume of fabric she needs to give her {ul feedom of movement, but once that too many gathers atthe waist will tend to widen the sihousta and weight her dovm visually, Feanilirie youselt withthe fal fbi by draping somo of it onthe form a5 shown, The Lyra chiffon used here is ght and ai, yet the smal percentage of Lycra (a heavy Ser gives it some weight and dant, «Pin the fabric to the frm atthe shoulders ‘and at it ape tothe foo. 1 Te a poce of twil tape or elas around the waist imitate the constuction * Study the proportions ofthe sketch ond ‘ate doan some taiget length and wiih measurements forthe tuneFont Step! © * Pin musa to CF of frm, ining up OF pencil line with CF of form, and aligning ‘np cressarain with bus tape an lower cross ain with waist tape Fin fo just ‘above waist. Anchorpin at top OF * Pin actos shoulder areas about 3° (7.5 cm) blow neckline Bak = i Step2 * Pinback piece to back of form, ning up (CB pencil fine with 08 seam of form, and aligning crossarains with bust and waist {apes of frm, in to just above waist (not Shown). Anchorpin a top CB. * Finaztoss shoulder a fw inches (about 7-10-cn) below necking, keeping crosserain lines horzontl Step 3 * Tie anenowlenath of elastic or twill tape ‘around the waist. The penciled waist ‘rossarain shouldbe right under elasticStep 4 + Koooing penciled eosstain pall to vases gates of musinby grasping fabric above and below elastic an lira * Repeat for bock Step 5 * Acé blouson effect by pulng up top font anvdback wast ossy aint few inches (about 10cm) above wis elastic and Ioting excoss fabric fal ver waist elastic. sips @ = Pin side seams togethe Side seam allowances ae 1 (25 em, so fist gonty crease 1" (25 cn) unde on font section and ay it ontop of back section, about Y(2senbin * Ifyou need to, Fhtiy chal the 1°(2.50m) line to mate iteases. * Start atmatching waistline crossgrains, {umming ront over back, working down toward hem. Pinning wo piocos of muslin togethor ‘When piming twa pieces of usin togetay yt crete the sot look posse, by seca the ons spends tothe seanline |Whan staying te shape of he ‘whole garment, yous rat wane beistaced by clumsy ping and ‘wines searsstep? @ = Tum up em of tunic by leveling it against ‘one of tho bars on the cago of tho for. 1 Place pins perpenicular to eye of hem. * Check drape against sketch fox proportion. ‘Steps + Release CF pins and experiment with hw the CF drapes by moving shouldor ‘area toward neck and then ward shoulder, Observe the difference inthe way the CF drapes. # Now compare your muslin with the photograph. The mein, of couso, ‘raping much were tf, but you should be abe to ze cleat rom the muslin Whether or no: the balance and proportion are conoct += Firaliz tho position ofthe shouldor placement and pn. Atthis point cre yurset a perspective thee Lock yur ape oe io ot from adstance, tty te snout, ant dustit ur you felts come. ppeeguonoynDraping project This statue is known as Diana of Versailles, a Roman copy of a Greek statue of Artemis, goddess of the hunt. She is an archer, running through the woods with wild animals. Her garment has a comfortable, relaxed, utilitarian feel, its short length giving her freedom of movement for her hunt. In the photograph, Diana appears to be wearing either a single garment folded up or @ top and skirt. Based on research of garments from this era, it would be an ankle-length garment, pulled up to knee length, ‘The waist has an odd double wrap in the front, which indicates the waist and shoulder sash may have been ‘one piece. However, you can simplify your drape into three basic pieces: tunic, waist wrap, and shoulder sash. The hypothetical purpose of the garment is a costume, not an authentic reproduction First, dravra sketch of the finished look ofthe garment. to get the proportions right. Then make another set of skotehes determining the numbor of elements: front, back. waist wrap, and shoulder sas. if se | / / /The actual fabric depicted in the sculpture is either ihtweight linen or woo. It has alot fines and flds, which mans a substantial amount of width in the rectangles. Estimate ‘the maximum amount of fabric you tink you will eed Blocking the must ‘repre te misin, and drt get to Hlodkand preston ago 21 Fer. ack Step 1 * Pin muslin to CF ofthe form, lining up CF pencil ine with CF of form, and aligning poor crossarsin with bust tape and lower rossgrain wth wast tape. Pin tout above vast ct shown). Anchor pin at top CE Pin acoss ust area and to side seam below exmplate. Noto tat length grainlnes havea strong vertical loo, Motce inthe photo how the vortcal Ings ofthe fabie fois support this strong graintine, iat wrap Shoulder sesh Step 2 * Fin the backpiece to the beck of the foi, ining up the CB panc line withthe CB seam oft for, and aligning the crossyains withthe bust and wals! rapes cf the form. int just above the waist Anchocpin a op CB. + Pin across shoulder afew inches (about 7-10 em) below neckline, keeping crossgain nes horizontal aré wrapping ‘muslin over shoulder.Pinning smoothly ‘Tate the tine topin accurately erd ‘sro, ps prpendcuir to te soane tt ater than peat) ‘You went your tals to ecde 0 ‘that youcan fous an the shape you ‘ ‘0 tating. 1 : sep? @ Step 4 Step 5 * Pin side seams together wrong sides cut Liotiychanin ine on both backend Remove ins few ata ine, uring font fom wast erssgain to ham fron peces witha bicken ine the back at sie sea and epting * Topinfrontseam alowance oer backat__ + Crosraketery 10 (25 on so The amine eon boron the sid seam, ist in smoothly (with pins rosmark is ahorzontl ine thats drawn vertical rom waist o her enbath font and back pices to hp hen realigning two soctons aftr thoy ae sepaStep 5 * Tie anarow length of elastic o twill ‘ape around the waist. Panciled waist cossorain should be right under elastic Step7 * Aron below bust and at sce seams to hod firmly in place and remove pins fiom below waist. * Pull upto create a blouson ees uni esited proportion i reached and hem cof gamer isparalll oars an the cage of the fom, Step 8 * Drape waist wrap at waistline, scunching in folds 6 in the photograph ard wrapping ‘one of the ends over into the waist * Drape baice by unpining front and bringing sido aroa toward CF. Adjust fiont and shoulder drape ara pin ft to erouler,* Drape shoulder sash by sipong long rectangle under front and back waist wrap ‘and folcing into pleas + Now chosk agar the fat sketoh on p90 Holding th ft, step back toa distance Where the lines ofthe ft mato te nes ofthe drape and check your proportions. Marking and truing ‘There are various ways to mack your masin befor taking it apart and making the pattem, One isto simply mark witha pene ‘or chalk al the seams and intersections; another isto tead-race” line. To thread-trace means to stich along runing baste along a fabric area t indicate alin cn the muslin. The tread treceis done on both sides ofa soamine so hat when the musi is akon apes, te lines evident on cach poze, Step! *= Pencil o: chalomark inned areas: shoulders and side seams * Crossmatk one or ie at shoulder ard evary 4-5" (10-125 cm) at side seam, Step 19 *= The drape proportions look the same, except perhaps inthe width isnot as full as inthe photoaran, * Since there is extra fabric a CF. try shifting this toward the side and note the citference it mokes inthe front drape and the volume below the wait Stop? * Poncil or chall-rark lines made by elastic atthe waist,036 ‘Step 3 = Tivead-trace the sash vere ithits the waist iron and back. 1 Tvead-trac the new CFand new C8 (not shown). '= Trea trace tho waist wrap along the ‘edge where it folds to the inside, ' Remove the shoulder sash and waist wrap lift the folded piace, and mark the new waistine where itis hitting theolaste, ' Carefully remove te pices irom the form ‘and press gently to faten out ‘Since this frished piece isthe pattem the ‘onl lines that reed 1 be markes are the sie seams and thenew waistline * Side seams wil be totally straight with 1" (25em) seam allowance, 4 1 hice, a ks Mit WW li = Teron er ‘from the hemline, Preparation B. = Sys weno i ln (before the biouson} and the shoulder seams, then recrapeon form, fllwing ‘Stops 1 trough 10. }o0sing a fabric to chock the pattorn ‘Wher checkin are, ll ms, ten a fabrics csen that is esr an misin to the crpe of re ntende fal eo: this ‘cas, the "voi" rustn wl be uot ithas boon nase tomitate ‘mor Cosel the oo ofthe cement inthe petogaph. SQ Mastin gre Fett eat ‘Shoals fast ‘elt wa Analysis, Comparing the photograph on page 31 with the drape reveal a fail accurate match, The propertions are vty sil, th lines of the diagonal érapes above the wast have the same angle, and the gonaral volume of fabrics about the same, although it isa lite hard to tal fom the sculpture because ‘ofthe movement of the shirt and shoulder adh [tis algo dificult to know how much the atist idealized te drape ofthe atic itrmust have been an extremely thin, ne «quality abies drape with such fow The west sash ofthe drape isnot as wide as the statue’, porhapssueeumbing to that ‘mode fashion inpertve, the desire for ‘a narrow waist. The conte front neck area ‘on the drape is lager than the crap inthe statue, and tho right bodice ofthe statu is ‘pulled mare tighuy Itmay be that Diena’s ‘quiver stapis pulling the garment toward the bade The sense of freom and ease andthe lock of auiltaren hunting garment have been achioved I weuid be interesting to construct ‘the garment with a very fe silk mesh, to ‘ee if that locked clase tothe fine fds in the marble statu,tgBYa DressesHistory The majestic draped panels worn in ancient cultures evolved into more fitted garments for various practical reasons. Clothing that was more fitted offered expanded mobility for activities such as riding horses, getting in and out of carriages, and dancing. In colder climates, people needed to wrap themselves mote tightly for warmth, and also to allow for layering of additional pieces. Northern cultures crafted sleeves, and pants by wrapping and tying fabrics to keep out the cold Eventually, woven panels were cut to fit over the head, and one was gathered onto another for fullness. By the Leeioarte ot igo hry a time of the Italian Renaissance, the cutting and shaping of fabrie was in full swing, as seen in the elaborate, colorful, and close-fiting clothing of that era, The shapes of many of our modern garments evolved through developments in tailoring from the fourteenth century onward. For hundreds of years, dresses wom by women in Wester cultures consisted of bodices (often tight-fitting for support) ful skirts, and sleeves either attached or belonging toa separate garment worn under the bodice, This basic dress structure also existed in Eastern cultures, in garments such as the chuba, which originated in the cold Himalayan mountains of Tibet. In the modern version ofthe traditional cut shown here, the structure consists of two rectangles for the skirt and two panels lightly shaped into a fited bodice, ‘As with many historical dresses, the sleeves are part of the undergarment‘Tho oreating of volume and shape with techniques such as darting, seaming, and gathering continued to evolve in both men’s and women’s clothing For centuries, women’s dresses were constructed around the corset and petticoat. That fashion paradigm finally began to shift in the late ninateenth century, as dress reform movements emerged. The Rational Dress Society founded in 1861, objected to the tightly laced corset for health reasons and championed looser-fting clothing, In the early 1900s, the famous couturier Paul Poiret continued this trend by designing clothing that was roomy and comfortable, with no corsots. His designs ere so radically different that seeing women wearing his creations was said to have caused people to faint. In modem fashion, we have found a balance: existing alongside voluminous shapes, darting and seaming are used to create subtlety in contour and fit. By studying the dress bodices in this chapter, we will see how various types of darts and seams create specific silhouettes,Exercises Dart variations Observe what happens when a perfect square of ‘muslin is draped over the female form. The cbvicus challenge is to work with the curve of the bust and waist. Various types of darts can be used to different effect to fit the bodice. Three are shown here. As you work, train the eye to see subtle differences in silhouette; look closely at how the ‘muslin falls and what happens to the grainlines.sh de it * Pin usin down CF and at necktie * Keeping crossarin horizontal flé ina dart with excass formed at shoulda area, = Pin dart and sty the sihowett created Creating subtle darts Toe deeper the dat, the more ‘exaggerate the pinta te end ot will, Unlos tis a styl: design decison, drs need tobe subtle and as Inisbe as posible ‘Tretaping llth above dats lessening he tale en cbse the iereres ide bust dart. + Fin mustin down CF and at neckline + Now soncoth mustn over the shoulder, lating it fall downwards, and pin se dar by folding excess muslin upat side seam, * in dart. ending itust before bust point, and study he sihovete Waist dart + Pin muslin down OF and at neckline + Now smooth muslin over the shoulder, armhole, ard sie seam, allowing cass ‘muslin fll toverd fot. ‘Pina dar at the princes ine, ebout halfway between side seam and CEClassic bodice with bust dart This sleeveless bodice with a side bust dar illustrates the very straight drape this dart creates. Note how the lines of the plaid remain vertical and horizontal with the help of that dart. The sides drop vertically, with only slight shaping out at the bust and in at the waist, This classic, utilitarian darting is used for blouses and dresses where taking the flare out of the front part of the garment is needed. without ft at the waist. Notice how the faitly high tie-front neckline and classic armhole shape support the quietly conservative nature of this bodice, Disappearing darts Dats used to eats shape, and are not nora aed asstlelnes. Therefore, te iteais tomate ten as inisinle2s fostle. When coosng which dato use erbus shaping, conser ‘ot only the sihowet ou want to aeete,butalso ho tht dat il Took nie alfa Rembe to ick tect of metas pak ‘nd kop it = chao as your style wil alow.step! @ sep? @ 1 Pin down CE aligning eossgrain|ine with Form side bust dart by folding lower fabric bustin tpo, Leave the (1.5 em) or up. Chock the silhouette inthe photograph: so of eas that i created between bust side seam shoud be falling quit strait points and lt muslin fal free at curve Tha dart ands about "(1.5 em) before of waistline, bust point and wil be about (2 cm) wide on tho doubl. If tho darts too doop 4 fahooe co cartes too fr toward the canter font 1 Tim and clip neckline area and shoulder itwil create avery pointed look; you goal excess until musi lis snoothly in this is to letit disappear and create a rounded look without a pucker. * Finat sido soam to hod in placo and check the shoyete again. The crssgrain should be paralle! to the lor, andthe lack fom the font sould he stncoth an boy. Note the silhouette in the photoaraph, Tim away artholo oxcess, loaving ‘approximately 1" (25cm) seam allowance Step 4 + Chock to sihoutt in the photograph and aust if necessary by ining roe ght er loocly until you achive tho lok, 1 Mac necting ac amtole with til tape Note thatthe necktie you are matings without te bias cota pice = sieps @ = Pin down CB, leaving space at waistline to ‘hang freely, aligning crossgrain ine with bust tae. * Create hack neckine dat holting ‘abvicgantl at shoulda blade area and folding excess fab toward CB. The dat ita shoud be about 0.5 on) wide onthe donb. ‘Trim and clip back neckne and shoulder nt fabric ies smeathly, Tim armbele ‘area to about I” [25.0n) seam allowance, ‘Pin wrong sides together at side seam alongside seam of des form. Tim sear allowance down to about 1" 2.5 on) and liga few times at waist, which wilallow ‘seam allowances to tum more sooth ‘Tur rant over back at sido soa and shoulder areas. At te shoulder, pn fimly ateither side of seam so fabric does not ‘move, then fod front ver back. At sda seams, because you ae dening avay from the frm, chal apn ine light, with a crossmark of two along the seem then fold front over back. Clipping tals rcv. The oa so cip ‘igh for tert tli sty ‘Wharthe fies ete, ri and dl, lating the fai fl whore tants bm. sore0ig zhangBodice with French dart ‘The French darts a side bust dart similar to that shown on pages 42-43, but it is angled quite severely from the side waist to the bust. This type of dart \widely used in the 1950s, removes fullness from the front part of the bodice and provides a closer fit to the tunderbust area. It allows the waist to be pulled in to ‘match the fitted skirt. The neckline is not extremely low or tight. The bodice is form-fitting and feminine, and retains a sense of youthful innocence. personified here by Reese Witherspoon, Notice how the dart is slightly curved as it moves ‘toward the bust point, The lengthgrain runs straight down the center front and center back. The back bodice does not need a dart as the top edge is below the shoulder blade, the area that normally would need shaping. Font Bakstep! @ * Pin down C.ligning eassgrain ine with bustin tpo, Leave the (1.5 em) or so of eas that i created between bust points and pin at bust and waist. * Smoot musin over tp of bustto side ‘seam, allowing ease to fall toward front. += Pin down side s2am about 2 (5 cm). * Smaot and pin waistline fom CF Step 2 * Form French dart by folding fabric from conter upward toward side soam. Tho dart should begin atthe bust point and end about I" (2.5 en) above te waist. «Light chal the nas ofthe dar. toward princess line, trimming and bust area clipping as nooded. ‘Theupper edge of te sce tuts usually apt quits ih sors mare support for ft eres The bask wpe ede should ‘iedorg te tre, Step 3 * Now reopen dart end following chek lis, tm away oxcoss fri inside dart take, Leave about" (2c) seer allowance forth dart, Cutting out he dart wil allow you to covet therey achieving acoso ft * Folding lowe ode ove upper, fold in French dart, pullng inasmuch as possible ‘rom undorbust area to got a cose ft 1 Pin dwn sh Step 4 + Fin OB ines, aligning erossarain with ‘ust tape. * Sinooth mustin oer back bust area allowing erossrain to fat up natal, «Pin along waistine from CB towed sida ‘seam, trimming end clipping excess as ‘nacat say to alow tabi ofall smoothly * Check choto and create necking with ‘willor sticky tape,048 Swing dress with no darts ‘The draping of the “swing” (or tent/trapeze} dress will illustrate what happens when no darts are formed. All of the ease simply falls tothe front over the bust and creates fare in the front. ‘The mood of the dress is playful and flirty—it can be full and short. It is a day dress so the armholes will be ccut in at the back shoulder for a sporty, racerback style. Hor, he with of te pica con be lege 0: smal depending on now ‘ulyoa ars yourcress tobeStep 1 + Pin down CF. aligning eossarin ine with bustin tape and lower erssgrain line enealy at inn *= Tim and clip neckline as you smooth ease ‘var shouldar area, Note how the angle af the shoulder seam wil contol how much front face is erated Step? * Pin shoulder and upper halo armhole and tuim exoss to about 1" (2. em), carving tout armbole are all the way to bust! vossgraia ne ‘= Ropaat from Step | for he back Matching grainines isnot eral o mate the gains you have crawaon the must; thoy are gudoines hp -soeifthe arin ae belaced tis acceptable forthe Fon and back o sf shy up ‘don when thy ae pine Step3 * Pin font over back at shoulder, * Pin side seam at underarm, + Hold side seams together and chock tae (using mio if possible) * Pin sie seems int togetho. ‘Trim side seams te about 1° (25 on). Step 4 + Tur fon side sear over back ight chalk at tho pine if nocossay) * Using onw ofthe cess forms eage bars a guide, level the hem * Twilltape neckline and armole shape. ‘The arm has a sigtlyeut.n angle in the frntanda recerback feel inthe back, ‘outils maintan te classe armhole 20 shape, with the narrowest part being ¥ (25 em) toward tho front of tha sid seam, The arabe wll be about ‘alow tho plate, Step 5 * Leave necin high until marked fox stability, «= Chexcher, aml, and neckline step for attitude. Ths dress is young and playful Look atthe balance ofthe shapes and see ifithas the same ihthearted, fun Took a inthe photograph. «Ty letting doum the hem and raising he ‘neckline tape to see how this changes the look othe diess sore0igDraping project The famous bateau-neck sheath dress that Audrey Hepburn wore in Breakfast at Tiffany's defined an iconic look of the 1950s. Coco Chanel had already popularized the little black dress. Here, Hepburn epitomizes its modernity and elegant glamour. This dress will be draped in two pieces, front and back, creating the close fit with side bust darts and princess line vertical darts. The side seams will taper slightly, following the look of the dress in the photograph. Before beginning the drape, look at the photograph again, Study the sihouette with its sleek lines. It appears to be quite tight-fitting, so drape it with some ease in the fit. The actual dress worn by Hepburn in the film had a waist seam that would have allowed a slightly tighter fit at the waist. The design has been modified here so you can practice the long, vertical darts. The object is to capture the narrow, willowy look of the dress. Font BackStep 1 * Align CF lines and crossrain ne with boasting. Fin dawn CF to high hipine leaving the ease between bust point and at waist. Anchorpin at CF neckine, Pin at bust pont. * Smooth mustin ove shoulder area, trimming and clipping neckline. «Form side dart by fling fabric up so Waist erossgrain remains horzental. This darts potas severely angled as a French dart, but angiod down more than tho side dart on pp. 44-45. This allows the musin toll in atthe side, '= Pin side seam from underarm to high hipline and vim away excess at shoulder. ‘armhole, and sido soam above waist leaving about 2500) seam alwance ser? @ * Obsore the fullness atthe front ane how itnatally wens o be folded in, ' Foim font vertical dart. Start at waistline, folding fabric toward cde (dart willbe pressed tov cent), then taper towarc bust ending dart about (1.5 cm) before bust point Tapert hip area, ending dat about 4-5" (10-12.5 em) below wast ' Fin muslin to cide soam of frm, leaving ease, The ess wil be boy skimming, notskn tight. Tho typizal amount of ease is about (1 Sem) at bust, ying anay frem the form about "(5 em) at waist and atout "(2 cm) at hip ‘Step 3. * Fin back section down CB and enchorin ‘tnockine and pine + Formback neck dart by hoding muslin at shoulder bade area lat princess line, bout 7 {18 cm] botow CB nock point) ‘Then fold muslin tonard CB with 34° (2c) dart intake. Pin dar. 1 i and clip hack nektine ant shoulder ere, * Pn front shouldor ovor back * Startback vertical darby folding in at waist about (2c) onthe double, The single back dan wil have tobe very cept allow the ease you want inthe tip. To shape back more graceful split cars and form twa instead of eneStep 4 * Top end of dets will stop before shoulder ble atea, about 6-7" (15-18 em) adove waist. Loner ee of dats can go elmast to hipline; dats may be longer in back than in front. The dart closest to 08 shouldbe alia longr than tho one towa tho side seam * Now gn at sides, wrong sides together leaving ease tho samo as the front, and {vim away side seam exces, leaving abo T (25em) scam allowanco, Chack the skeic tomate sure you have the taper toward the hemlina, *= Tim seam allowances fo about 1°25 om) Step 5 ' Prepare to turn font over back at sie soams, Tate care not to dstu the drape you have created Ligttly mark every 3-4 (75-10 cm) with chak on both font and tack oft dress, Chal in a few ‘eossmatis for refornco so th pies do rot shift when you unpin the, * Clipe few times at the waist to make t casir to f'n Step 6 * Unpn side seems, placing pins a fear inches rom the seam to fold the mustin in place * Stating at waist, tum under front muslin ‘tomatch back musin at side scam of cress form. Work up towerd bust, then down from waist to her, Step7 * After pinning side sea, check that the seam is ying smoothly, Here at the waistline, on of the pins puling the fabric ioc tight. Observe the two ‘tinklespuiling diagonally from the pn Stop 8 ' The solution to this problem isto remove the pin and drape ina litle more fabric in that area Clip more atthe curves if isstillpuling soreoig zhongStep 9 * Notice how bere the seam has been smoothed out, Step 19 + Use a metal right angled nr ond etl to hemline before tuning it up Sept @ += Setormhole and neckline sylelnes using twil or sticky tape, Check the stetch to ‘spe whee to place the tape. Thisisa part the process thats painstaking at fretbut will ecomo easier ze you loam ‘more about how classic pattem stapes look It issomotines cifcutto tel whether @mavkon ‘he muslin isa suber of shaping in the cape, cor whethar tis serpy astray mark. Fa reat dstropancy apaars, youcan aways repn ane check thet sexton onthe form again Cutting the mustin Toeconerite on usin, you can xt nator hal front end sinoy seam the two fons topetet wi the astrting thatthe fal garment will cut eno lee, ler Fent Right BackStep! © * Using a pencil, mark around neckine end anmole on outside ey of til tape = Maik both edoes of the darts, mark upper and loner ond points, and erossmatk every 3-4" (75-10 om), ‘= Maik side sears on both ront and back soetions; use crossmarks about every 10" (25 cml, making sure to use one at the waistline fr easy retorence when ‘mung curves Step2 * Unpin the mustin and gonty prose with vey litle stean so that it doesnot shrink ortaist, "For this ress, check the full muslin. You will therefer, need to cut a reer muslin section for the fl ont and one atonal beck section forthe let hack * Block new font muslin, and draw length- and crossgrains as shown inthe musin- reparation diagram on p. 54 * Fold new musi in haf on CF, pinning at crassyain 1 ensue it is exaily aligned * Now align draped piece onto the folded ‘musi, aligning lngth- and crossgrains, and pin into place sier3 @ + With eloa graph rl, mark tho lin that vill be perfectly strait: CF necking will ‘square execly with OF ine for at least he fist @5 em) shoulder seas wl be straight side bust dartlogs and homlines vill be sai, * Fol inside bust dat to its original draped position and draw astiaight ine trom the ais to the underarm Step 4 * Using a clear hip curve, ea in beteau neckline and armhole. 1 Now draw in waist-tobip curve as it changes fom a concave to aconvex cune. This too is especially useful fr this are, Step 5 * Using along metal hip curve, draw side seam from high hip to hem, * Use a long metal ruler to finish side soam, vic shouldbe vary straight from hip to hom. ‘Wher mang the musn on he form, wea dated ine made wit perl hall. Aes you ‘have unpine st ao sonttieg tho cane wh torus ase a Comnuns ne. Tat way t willbe casertoloep tek wich ines you hove toed. + Scmetmes when tuna nes thee are ‘marr tat do not seem tbe cempattle with ters. isimpartart in these cases to sepatten-tafing veining discern ‘hee tbe markings are purposeful and aking subtty to aio, oF ahothor toy ae say mars tht ned tobe smoothed ut nthe case the mars arecuving inbelo the pine but you knw that youwant your sie seam tofal stag, with alte of narowing atthe hen Thoefe, gore those few mags tht have stayed yond hat stag res, and simply ¢raw ine sooth cuved ine vl Bato sg zhang 055056 step + Using adearaohnie adds» Todas ny iar ines, ai altars eps sans peer an thao ne at od ‘© Neckiine and armholes: 14° (1.5 cm) ti sHecteandanile°18r) sea pp erat ped _ rl ad io dat es wih og, heel Sroyes a voing th ‘© Then cut through all layers on the double piece, you must also mark the naw ines ters pst per aaa underneath the folded piece and vecing Gla aternadanr thet etn imicintoapaperpaton ‘Once the msn mated ae we you may wart create ‘pape pate. 1. Draw lent ard eosin on dtd gap paper to conespont ‘oe gains on yout usin pecs 2, Rigrstin piece on te pape. main te ies he (granlines have tsteso ange enti redoxe he asin so ities withthe pane rains. 2. Use a trating wheel to tans all matings onthe mesin to ‘te paper: Using atbon pper makes tenes casio see. Far speci points suc a he alti dats, sean al {opunch trough te musin on the pape 4 Rernove the usin and dain ines sooty using th proper ‘ets for each ype of sealant or ued ine his steps dove ‘before ya repinor bast the rusln cd da fit, mae ure youatcutaiely arse ary covectons onc te pape patie. analysis @ * Compare your drape with the photog aph, First look a the overall impression. the ganoal shape tha same? Have you captured the essence ofthe design? * Begin atthe top and work cow: does the boateau necting have the sight height and ‘cue? Do the armholes have tho samo cutin angle? * Do the ste seams teperto the same cogyee? In the photograph, Hepburn has ‘ne login fant ofthe other andthe fabric cof tho cross may havo boon pulled back The actual dress canot be too slim or ‘movement wil bo rostrctod, * Ty visualizing the dress ina beautiful tack sik crepe. Does it evoke the modem, amorous look that Audrey Hepburn personifies?Variations Setting the princess line into a yoke In this contemporary design, the fit of the bodice is in ‘the yoke seam above the bust and in the princess line Tunning vertically from that yoke. The basic shape is similar to the Audrey Hepburn dress, but looser. Itis a strong, confident, almost aggressive look 77 4 felony pee ee ee Center front Siefont Cente bak Side bakStep2 * Pin GF section over side front section. * Slice out soam allowaneo of armhole leaving about 1 (25 cn) seam allowance the yoke ‘Tho pte is sod nar instar way to hom dartis used. Te ning ofthe two ‘iecesis stright unl the last 3 (75.ord ‘x sobe'e reammhoie A hp, ‘ach piec is cut sity, eating ‘aati shape tht ates ess {abric adallons closer i's the toa, Step * Alion CF lines and pin cossgrain at bust. * Contr side font soction betwoon Side seam and princess lin, aloaing lengtagain ofall straight ' Fin wrong sides togathar, ferming tho princess ine 1 Check the photo, Tiss a loose-iting cross and the princess line is quite wid, atleast 1" (25 cm) nider than te line onthe form, The OF shape is fairy bony, Step 3 * Set yoke piece by aligning GF ines and pining cossgain,cakng care to teep the ‘rain poral! to the tor. ‘Trim and lip ncktine unt ities smooth, ‘= Tum under yoke ing, following syeines of the ohotegranh, * The yoke line is straight to princess seam and then gonty folds up about (15cm) more at are to take up ease ard keep lin visually straight. ‘Any sharing you ive tothe boize at tis point, therefore, shoul come fom the side front section. The CF princess line shauld emainclmest straight, andthe side front section will curve out atthe bust ‘and slightly ina tho waist. I's dificult to ell from the photo how much shaping has teen coated atthe waist. tw be ‘possible, however, to keep the shape boxy ‘and stil havo a ita shaping at tho waist hich wll make it more Natering ‘Step 4 * Repeat fom Step 1 for bac section. Make ‘back yoe about same with as fot «Tur rot side seam over back side seam, + Tur front shoulder seam over back shoulder sean, ‘Twilltape armiole and necting. Note that the armhole inthis dress is sight more cconternporary than the elassic bocce on 1.44 Itiscutallitle bit lower—a good 1° (25cm) below the armplareJoining two darts to create the princess line Princess Alexandra of Denmark popularized the combining of skit and bodice into one garment, using along, vertical seam running from the mid-shoulder Point over the bust point, down past the hip, centered between the side seam and the center front. The see was named after het—the princess line, ‘The fit is comparable to that you would get from using a shoulder dart (see p. 43) and a long dart as in the ‘Audrey Hepburn dress. If the two darts are joined, You can see how the two pieces will look Cone oat Siotont Corer bask Sie backStep! * Align CF lines and exossqrain line with bustine, Pin down OF to high hplino, leaving the ease tht forms botwoon bust point and at waist. Anchor pin at CF neckline to old fly Pn at bust to hold crossyain in place. » Smaoti mustn over shoulder roa, timing and clipping neckline as needed = Following princess line of dress form, trim away oxcess musi, leaving about 1 (2.5 em) seam allowance ‘When to shape the nec When srping bots, is important to leave the musin act 9 the nayto the necking that itdoos not ft or tis. nce tha resins merked, wih wil sity ae, youcan im aay te exces fai Matching cross Itisrot rial or crosegrane te atch up, they are thereon for ‘uielines on sting the pete. his mre inprtant fer xan, ‘thatthe side ot engin s perpen to the for than that the cosas atch, Step 2 * Set side ron setion by centering legthgrain line at apnreximate conte of sido bust area, and align crossgran line with bust tape, The langthgran ine shoul mein paipendicla othe foor * Pin down lengthorain line and across cossoai i * Leave A" (05 em) or more ease on ambols area es you drape section across shoulder. = With wiong sides together, pin side front section to CF section along pincoss in, starting at bust ar pinning up, thon pinning down to high hipine Clipping or trimming seam allowances ‘Wherever yeu are dete topo tina sear allwance sn aprcsimate acu, coro stp and mess, us im any nigh tat ou can contnve ding without obs ction and the {avi ies smooth. While dang a general nde of tnd for seam alonances i: = Neklnes (15 en) * Pericles an side and shoulder seams: ° em) * Hers: 1" 25 cn) ninimun.Step 3 * Tim side front seam allowance and clip to pins irom underbus to waist, 1 Tin seam allowance of amhols and shoulder to about 1"|2.5em) ‘= Turn font section over side fant section ‘and pin you can either ightly chalk few places, of paca pins to tho side of tho Seam as you tum), ‘Ti side seam to about 1"|25 en, following side seam of dress form ' Ropaat for hack Align €B lines and crossrai line with busine. Pin down (CB to high hipine, allowing fats to fallin ightly at weist Anchorgin at C8 neckline to hod firmly. Pin at bust to hole crossgrain in place. * Smooth muslin over neck ané should ‘area, vimning and clipping necking as needed, * Following back prinsess line of dress form, wim away exces usin, leaving about 1 (25 cm) seam allowance, | |b | | \ \ Step 4 * Set side back section by centering lengthngiain ne at approximate center of $de bust sea, and alin crosscrain ine vith bust tape. Lengihgrain ne should remain perperdicular to toot * Fin down longthgrain no and across ossgrain ine = Leave 4° (05 cm) or more ease on armiole area as you drape the section ss the shoulder ‘Argje he lengtgrain ona he ener ‘edo the soul, which wl give tho ease needed tthe anfole ae hep the an om maving urate bas atthe back ernhol, Rill ao ko he ‘gain fim siting to the bias, which vil ‘Weaken te sheulerine—the area at wil expert th veight of the garment.a sides togethe, inside back section to CB section along princ starting at bust and pining up, then pinning cov to igh iia, * Pin sie seams togetha, tim seam allowances, and clip cuves. * Turn conte saction ovr sie section Step 5 * Tur front shoulder over back, afustirg ‘rncase-line seams ta match at should Step7 ‘Tape arthole and neckline.Bodice with an armhole princess line Jacqueline Kennedy Onassis, widow of U.S. President John F Kennedy, was a sfyle icon in her own right. ‘As one of the youngest (and most beautifull of the ‘American First Ladies, she set the standard for stylish, fashion-forward dress. She chose as her primary designer Oleg Cassini, but she also wore Dior, Givenchy, and Chanel, Conte front Centr backStep * Align CF lines and ecssorain line with bustin Pin down CF to waist loving tho cease that forms betneen bust point and atwast * Anctvo-pinat CF necktie thoi fly, Pin at bust to hold crssatein in place, * Smooth must over shoulder area, ‘vimming ae eliping nacline as needed, * Pin alongth of til tapo along armolo princess line beginning where you feel itil ster and ending at waistline. nthe [Photograph i appears fo begin zbout two- thieds down from shoulder line and ond alia toward cancer ofthe princes ine * Tim away the musfin, leaving at least 1" (25¢m) scam allowance, Step 2 * Set se front section by centering the lengtngain ino 2t aproxinato conter of side bust aea, and ali cosscrain line with bust tape. Lengthrain ne should remain perpenticular ctor * Findonm lenathorain ne and across cossgaia ine. * Using the twill tape asa guide pin the ‘wo sections, cong sides together, baginning at bust point and working up toward amle, and then down to waist. * Trim and clip abate excess rincessline excess, and at waist to allow mosin tle smooth over form. Checking exse Fomonberthtthisie aches with sone ‘ase and shoul not be gh against te fxm, Soe arrnnee2s2— [15 em) r59—and sone oem in tho urdoitust ee isrecessay io alte febrew ta snooty, Step3 * Fepeat fom Step 1 for back sections * Pin front shouidr over back and font sie seam over back Se seam, Step ‘Study the photograph and set the amhole ‘and necking tapes to catch te attitude ofthe dress. Iti from the early 1960s: ‘armholes were cut very high and emai the neckline isa modest V with a gentle cave, ‘concave from shoulior to CF lending grazs = tothe style aeThe plethora of resources for corsets and bustiers today attest to the enduring appeal of this seemingly restrictive but surprisingly comfortable, timeless garment. The corset was developed originally to protect, support, Victorian corset had a voluptuous, Rubensian lock, and shape the female bust. While the basic structure ‘the seaming and boning sculpting the body into an has remained fairly constant, silhouettes changed to hourglass shape. In the twentieth century, a popular accommodate current fashion. look of the 1950s was the conical effect of the bust. In the Georgian era, corsets had a flattening effect Chapter 1.2: Dresses explored how different pushing the upper torso into a tubular form, while the silhouettes can be shaped through the use of dartingand seaming, Corsets and bustiers are draped closer to the form. but the same construction principles are applied to achieve specific fits and subtle sculpting of the female figure. Understanding and using grainlines correctly is vital to creating a corset that performs well. The graintines ‘need to work together with the boning to create support and shape. Its crucial for the lengthgrain and crossgrain to balance, otherwise the ring of tension around the body will be broken, the corset will twist, and support will be lost. It is useful to think of the grainlines as an architectural blueprint. As the steel structure of an architectural form creates the stable foundation of the building, the strength ofthe grainlines and positioning of the boning enable the corset to give suport and shape.Exercises Preparing the form for draping the bustier Study the measurements of your form. If you are draping the bustier or corset to ta specific person, compare the ‘two sets of measurements. Many forms do not have ‘much bust definition. Usvaly the upper bust ‘measurement—a few inches (about 7-10 cm) above the bust point—of an average female will be smaller than the form's, The measurement ofthe underbust. 2 few inches below the bust point, where the lower bra tine would fal, is also quite a bit smaller on a real person than on a form. Determine what shape and size of bustier you are Going to create. If desired, you can add a bra or bust pad to the form to give more defi Step 1 * Depending on the volmmeneeded,cutone tothe ayers per side of oor oa, folowing te pattem + Stith them together along the op edge an pul he head slightly co aase iin teilitfomse cove * Stoam oera ham until dostod capo isreached Stop2 * Sotto pad slightly unr tho bust and to the side and pinit into place. The Funan bustin wi bo fill than the form’ tora the bust poi * Check the silhouette that ou intend to creat ar detrmin the Dost way to axhiewsit withthe seaming Renerber thatthe closer your soams are tothe bust pant. the smoother your fabric wi ie hese ‘Draping busters an corsets bast done withthe shaders ote fom pushed int the ‘amples, creating asta softer Sage that na sey esenbles@ woman's boy fom tho uncer to Bus: pit.Preparing the fabric and materials for the bustier Pulling a thread o- (a poe pie ania i fs ota aera steal plein ete wna Peniceiin eomenmren iran: Seemed + Mat rnin ftp cn rd ea ‘anette en howd ete = fe feo fo eat ties hn rect tc ea ll red ee cere ener anes pin sick out nother thread, nd keop going. 'Tomark the gainine wt pon, sinpty sr along the “run” inthe Fetiowtere th tweadisrssira, Fabrics Contemporary tusiers and corsets ate made with a variety of fabrics, even sits or stretch panels containing Lyra. Fortunately forthe modern woman, this allows some text int and bxeathing ‘oom even when tight ited. However, for full contol and support, anda more precise fit using sity woven fabrics, is preferable Corsets are commoniy used as foundations for gowns. Thay ae ideally made ofa fat ‘weave fabric in which the lena end crosgrains have equal streath, such as 4 damask or fine cotcn Chiffon, ight vie and even sik tulle can alsobe used. They ‘are delicate and beautiful, but will only work it the geinines ae balanced and sficiont toning is used to keep the fabric tut Anterlining The muslin or fished fabric will often be fused or backed to create a fim panel Boning A careful detsion is neaded as to ‘whee the boning wil go. will pay a large pat in determining the sihouet2 and lok ofthe bustier tis usually placed in areas ‘whore most suppor is naaded, lke the sido front. This wil hold the bust tonard the enter rom. Traditionally itis alo placed in the enter front and the side beck. Boning placed in tho sides is ofton urcomtfortabe Boning comes in various forms; sometimes it cen be stitched cirectly onto te nin, ort may come in casing which canbe stitched ‘on before the boning i reinserted. Metal spiral boring will naada bias casing made foritora tunnel constructed between layers of fore, Potersham ribbon tis usoul to construct, the bustier wit a length of ribbon stitched atthe waistline, Petersham rbdonis stong, yetoaite steamed ino a cure This element serve a dual purpose. ist, anchoring the buster firmly at the weist wi he ehbon rakes iteasir to know enact the dstance fom bust point to waist, which is helpful whe fitting the more dificult bust area, ‘Secor, when putting ona busty, if he ‘waist bon is dane first, itis then easier tofastenthe oer closures, which can scmetimes be awhward to do without help. Closures Bustiers can be fastened ina vatety of ways: gpa, buttons, hooks and ‘eyes, or ahusk Buttons will gap unless the bustieris not too tight or thas an underayer ‘witha mere socure fastening Zippers ae cefcient but be careful ina fashion show or ‘costuming situation bcause they sometinos break ata critical moment. Hook-and-eye ‘tape ora bus is omen solution, Muslin Homp/sik muslin is used hera for the busters because itis so easy to see ‘the granlines. The busta are draped very tight ta the fom, are if you re able to see ‘he granlinescleary, you can tell ght away ‘when the pieces are tisting o pulling sp ogeng ctsooyg 071Princess-line bustier The lace-front princess-tine bustier showin here is a soft lingerie garment as opposed to a heavily structured corset. The princess line gives the shaping ‘over the bust. In this case, the lace overlay makes it easy to see the styleline, The bustier does not have a very tight fit, so the buttons on the front closure do not pull. As with the dress on pages 64-65, this is an armhole princess-line seam. The fitting seam begins at the armscye area. then extends over the bust point and down toward the waist enter back Sidebeck Sie font Contr ontStep * Align cossorain with bust line and pin CF lengtngrain along CF of fom, lpping at bustle to alow fabic tole smoot * Following the styleine you have created forthe princess lin, tim away excess muslin leaving about 1°25 cm) seam allowance, * Clip at urcerbust and waistine to stylatine toallow febricto ft srualy against the shape ofthe form, Step 2 * Set sie rot section by alioning ccssarein with bust tapo and contaringlongthgrain between princes ine and side seam, ke2ping ranline perpendicular to tar. * Pinang granlines and sido sams, * With wreng sides togetho pin side front at the princess line to CF section * Trim soamaliowanoo to about "(2 cm) and clip every 1" (25 cm) ot st pin lin, * The musin should be now fitting uite ‘sugly and grainlnes should be stable and holding thet vertical and hotzontal ines Check pene lines carefully i any are wary. twisting. paling. careful remove fins ono at a imo to dotomina how to cect them, * Tur front over sie font section er in. ‘omoving pins a fow inches ata tne and placing them tothe sie othe seam to ‘oop thom trom moving, Pinning ‘Wher raping avery ited gent, ‘emaner tht you nil neo pare he frsmer oselyasyouctape mee thy. Step 4 * Sct CB secton, aligning lenatharain with (CB and ciossyain with bust tape, 1 Pin down back princess line, angling sight in toward the waist. ‘Trin seams to about 1" (25 cand clip waist area. * Set side back seeton as side from, keeping grantne erica «Pin front over back at sido and (CB over side back ‘Tape hemline and necitneBustier with Georgian shape Contrast the mood ofthis bustier with the one on page 72. This Versace bustier has a tougher, edgier quality. The metal zipper and heavy topstitching add to the atmorlike quality. ‘The grainline placement creates a Georgian sithouett. ‘The center front lines are vertical, and the side panel rainlines slant toward the center front, causing the energy to focus toward the waistline with the bust- line receding ‘The multiseam front divides the fit of the bust into three panels instead of the two used in the princess- line bustier. The bust shape willbe softer and flatter ‘than the more defined silhoutte achieved with the single seam. emer tak Mi-back Side back ca font Side tont Mid ton,Step! * Create two sylelines on frm with black {wil ape in front and to sce of princess line fim armbote to waist. * Align crossorain with busine end pn OF lengthgain along CF of fon, lpn at bustin to allow fabric tole smoothly. + Folowing the styleine you have creat tum away excess musin leaving about 1 (2.5m) seam allowance, * Clip at undorbust and waistino to styling toallow faricw ft sragly against shape of for, + Pin across bustine, undebust, and wait Stop 2 * Set mi-ront section by aligning Ceossgrain with bust tape and waist ‘possrain with waist tape on the for, * The lenatharain here is angling toward CF allowing the strength of tha grain to run alonside the bust, Ths gives support here it 's needed onthe side bust. * Finonm lengthgrain and across bust and waistline, | Using bias for streteh ‘Noth the rile becomes as telow he was, allowing sre give whore itis nde forthe shape of the ig ip Step3 * Pin mid-sront and CF sections together ‘wrong sides out. They should the form cuit tight, ‘Trim seam allowances to about" (2 em). * Cipat waist and undorbust Trim away ‘seam allowance onthe exge toward the side to about 3 (2 om), os Rernembor thatthe eossgrains do not fave to mach ert wien yeujpn tao feces of rus. Toy ae ues forthe ropa plocomon of indivcual ection, ‘Te cossaasin te busi shed gene be aon te same ern, biti nota goal to have thom match at the sears, Cen they wl act ogeng tioongStep 4 * Set side ron secton by aligning bust crossy ans with bist ape and waist crossarains with weis tev. + Longthoran wil angle forward and run pall to granting of ion section ‘= Fin donn grainlines Step 5 * inside front section to mien sotion ane in acy seam allowances to about Rem * Clip whee needed * Observe hon at the side seam, te fabric. has run short A smal piece must be added. ses @ * Cute small piece that vil allow draping to continue Align gainlines ad crss-sich itinplace. * Continue to drape side panel by pinning dow sie seam of form and timing aay excess seam allowances. A ing sections of fabric ‘ha mai pice When tepig you can sinpiyadi oa ‘ecef fabric Fite inital mistn has ‘un het i, however that the sioce eel is of te sae genres fami place Step 7, ‘Thebes metas forms teresting ‘garment ite ake alin op on ie side of fe sean bat bong tuned Then afew tate, vapnand ‘pi, fling ont vo ack acing the piso te sides to ld the abi = Tum seams front over back.Step 8 * Stand back, hold up your fat sketch, and check the siyelnes. You can shift them at this point if necessary * Check fr twisting and pulling by stung the grains. They should ba running -smethly in steight lines down thei Note how, onthe mid-fert sation, the ‘ere line is cured in below the waist. ‘That means iis “off rain” and needs to be conected + Release any pulls inthe rznlnes and repin to straighten lines, + Repaat fom Step 1 for back Stop 9 * Mak top and lower edges with twill or sticky tape * Keen the top eae high athe font underarm ata to give ational support tothe bust.Draping project This bustier from Christian Lacroix’s Fall/Winter 1997 collection is a play of contrasts: the soft and sensual flowers and S-curve seaming with the hard structure and tight fit. The forward motion of the overflowing flowers is held back by the vertical lines that restrain and hold the body erect. The low and sexy top edge is covered by omamentation. ae The accompanying skirt supports this theme, with soft rae | folds spilling cut from beneath a hard leather belt ba which cuts across the front of the skirt, holding it in. ‘ Ny The tension of these two aspects creates energy— \¥\ a perfect balance of the magnetic and dynamic. This is a Victorian silhouette, evident in the bust definition and small waist. The upright quality of the bustier—the sense that it holds the wearer erect— indicates that the grainlines should be vertical, although the seaming is curved. The princess-line seam will give the bust definition. ‘The two seams of the mid-section, as in the Georgian- style bustier on pages 74-77, give additional ft to ‘the bust and waist. ‘The two boned seams curving forward help to hold the waistline in, The side-piece grainline becomes bias as it extends toward the front, giving stretch and, therefore, more shape to the front high hip area.Visualizing the voluma Before preparing he musin visualize the volume: the pieoes angle toward the front, 0 thoy wll need enough width to koop the inns vertical from top edge to hem The photograph shows the proportions of a ‘models body. The crass fons realistically proportioned, sonote that your styeines vl lok slightly fresboxened, ‘As you dape, ty to strike that balance between soft sensuality and 2 “held? quality Imagine how the woman inthis bustier foes: the boning is holing her ‘uptight The restaint is not negative; she feels supprted and cignted ‘wiaston: center fort ie oat Step 1 * Following the flat sketzh on p. 78, sot two pieces of tl tae on the form, * Set bust padin lace at underbust area, or putabra.on the form. Using wil tape, create tha two front searines, Do not relat to cured vertical lina next to CF line yet. That lines simply ‘anoverley and nota constuction sean, Step 2 * Sct OF section by aging lengt- ond exossyain with CF and bust tee in * Clipat CF bust to allow avi tie smocthly 1 tn excess along tl ape line, leaving bout 1 (25cm) seem allonence.