The Fashion Design Toolkit: 18 Patternmaking Techniques for Creative Practice 9781350101562, 9781350101593, 9781350101579

Table of contents :
Cover
Contents
0 Introduction
1 Darts
2 Slash and Spread
3 Seaming
4 Insets
5 Gathers
6 Ruffles
7 Pleats
8 Tucks
9 Arcs
10 Flounces
11 Drapes
12 Twists
13 Textile Designs
14 Contouring
15 Structure
16 Reduction
17 Adaptations
18 Zero Waste (and Less Waste)
Appendix
References
Index
Acknowledgments

Citation preview

The Fashion Design Toolkit

The Fashion Design Toolkit 18 Patternmaking Techniques for Creative Practice Tracy Jennings

BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2022 Copyright © Tracy Jennings, 2022 Tracy Jennings has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this work. Cover design: Dani Leigh Design Cover images: [top left] © Liv Bjorholm/EyeEm; [top right] © Unite Images/Stocksy; [bottom] © Retan/Adobe Stock All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third-party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes. ­A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress. ISBN: PB: 978-1-3501-0156-2 ePDF: 978-1-3501-0157-9 eBook: 978-1-3501-0158-6 Typeset by Integra Software Service Pvt. Ltd. To find out more about our authors and books visit www.bloomsbury.com and sign up for our newsletters.

Online resources to accompany this book are available at bloomsburyonlineresources.com/ fashion-design-toolkit. If you experience any problems, please contact Bloomsbury at: [email protected]

Contents 0

Introduction  1

10

Flounces  125

1

Darts  17

11

Drapes  135

2

Slash and Spread  29

12

Twists  147

3

Seaming  41

13

Textile Designs  157

4

Insets  53

14

Contouring  169

5

Gathers  63

15

Structure  179

6

Ruffles  77

16

Reduction  193

7

Pleats  89

17

Adaptations  207

8

Tucks  101

18

9

Arcs  113

Zero Waste (and Less Waste)  219  

Appendix 230 References 235 Index 236 Acknowledgments

 

 

  240 v

Introduction: Anatomy of a Technique

Welcome to The Fashion Design Toolkit! This text is divided into an introduction and eighteen essential techniques. This Introduction discusses the technique approach, noting that techniques are tools for designers to creatively employ in their collections. Each technique serves a specific purpose. Discovering and manipulating them inspires design. This book is of intermediate difficulty. It assumes that you have had previous experience with basic pattern drafting tools and practices, such as those required for patterning a front and back skirt, pant and bodice with sleeves. With this prior patterning experience, you are not expected to use the book in sequential order. Each technique is self-contained and independent of the others, so you are encouraged to jump to the one that best helps you reach your design goals. However, if you would like to review your patterning skills, the Darts and Slash and Spread techniques are a good place to start.

The illustration opposite shows how the Ruffle technique is used to reimagine a basic silhouette (far left) into a variety of contemporary looks. Throughout the rest of the book you’ll learn how to modify a foundation pattern into exciting fashions that invigorate your collections.

1

2  The Fashion Design Toolkit

Your Fashion Design Toolkit contains eighteen essential techniques placed in five defining categories:

Engineering Fabric and Form

Fashioning the Fluid and Unstructured

Channeling Fullness

Establishing Fit and Flare

CATEGORY

THE TECHNIQUE

USE THIS TECHNIQUE TO:

Darts

•• Fit fabric close to the body •• Fit in excess fullness •• Create pointed or conical 3D shapes

Slash and Spread

•• Add fullness that releases within the shape or to the hem •• Add to the hem sweep •• Add the fullness required to create darts, gathers, or pleats

Seaming

•• Use line to focus attention •• Fit specific areas without affecting the rest of the garment •• Incorporate curves

Insets

•• Release a fitted area or create a fit and flare silhouette •• Add focused flare •• Add blocks of color, pattern, or open areas

Gathers

•• Add fullness within a shape •• Soften the silhouette •• Act as a supple equivalent to a dart

Ruffles

•• Add layers of fullness •• Add robust embellishment •• Create extravagance

Pleats

•• Add controlled fullness •• Add texture •• Add crisp folds

Tucks

•• Include placed and sewn folds •• Add texture to a focused area •• Use line to direct the eye

Arcs

•• Add flowing fullness •• Incorporate volume •• Add fullness without adding bulk to the seamline

Flounces

•• Add lively fabric embellishment •• Add frills to a silhouette •• Engulf the body in swirls of fabric

Drapes

•• Use bias to mold fabric to body curves •• Create drama through falling and placed material •• Swathe the body in fabric

Twists

•• Add ties or tie closures •• Create interest by rotating, turning, and coiling fabric •• Include an organic alternative to fit darts and seams

Textile Designs

•• Allow the fabric pattern to guide the design •• Work creatively with stripes, plaids, and prints •• Design using indigenous textiles

Contouring

•• Design strapless, one-shoulder, halter, and wrap silhouettes •• Create snugly fitted garments that will stay in position •• Eliminate the ease from a pattern piece

Structure

•• Design period pieces, cosplay, and theatrical costume •• Use the body as a foundation for 3D forms •• Construct fabric edifices

Introduction 3

Focusing on Concepts

CATEGORY

THE TECHNIQUE

USE THIS TECHNIQUE TO:

Reduction

•• Create sustainable fashion •• Portray the essence of a concept/remove gender stereotypes •• Minimalize or deconstruct a silhouette

Adaptations

•• Design for individuals with unique needs •• Create a collection for a specific niche market •• Create inclusive and accessible fashion

Zero Waste

•• Design garments that yield no fabric waste •• Create environmentally friendly design •• Alter patterns to create less fabric waste

The techniques are presented in a consistent order for easy accessibility and quick retention. The presentation of each technique follows this format: •• Inspiration: Each technique begins with an inspiration that can be realized through patterning with the technique. •• Explanation of the technique: Most explanations are given outside of any specific genre or design direction. Techniques are intended to be inspirational and ­applicable for any designer’s collection. While the technique is described, contemplate how you can apply it to your own designs. •• Technique in Context: Designers do not produce in a vacuum. Their collections are informed by prior developments and related technologies. Relevant innovation comes from building upon the pillars of what came before. This section highlights a designer using the technique. •• Technique in Practice: A thorough understanding of the techniques requires practice. Each technique in Practice includes two different examples of how to apply the technique. As you complete the exercises envision how the technique can work for you. Although the techniques are intended to be applicable to any design direction, for clarity and consistency pattern exercises are shown as women’s wear. •• Eco Option: Eco Option exercises present a variety of environmentally friendly practices. From using organic materials and creating less waste to recycling and upcycling, every designer can contribute to more sustainable practices in the fashion industry.

The Design Toolkit The eighteen patternmaking techniques are fashion designers’ tools. They are flexible and adaptable to your fashion style. They provide the skills you need to pattern your original designs. Do you want to engulf your fashion in ruffles? The Ruffles technique gives you the information to make it happen. Do you want to create a no-waste design? The Zero Waste technique will get you started! This book provides pattern drafting context; you apply the design direction. The techniques use both divergent and convergent tactics for a single design challenge. They provide inspiration and ideas for fashion design and the pattern drafting tools needed to create that fashion design. The level of creativity is not in the technique itself, but, rather, in how you employ it. The level of difficulty is not within the technique. It is embedded in your own design. Fashion designers and pattern drafters are this book’s intended audience. The book is a patternmaking text but is labeled as a “designer’s toolkit.” This is not a contradiction. The association recognizes the synergy that results from an alliance of these two fields. In some product development settings, the designer, thought to be the creative force, is removed from the patterning process. Patterning in that context is considered a technical skill involving algorithms and formulas used to bring the designer’s creative vision into reality. The techniques approach asserts that patterning tactics can inspire design and that designers are more innovative and effective when they are skilled in pattern drafting. “Designers” in the context of this book have an understanding of both design and pattern drafting.

Two designers (left: Christian Siriano, right: Valentino) interpret ruffles in their 2019 collections. The creativity and difficulty is up to you. Apply the technique in a way that best meets your fashion goals and represents your design voice. [Left: Victor VIRGILE/ Gamma-Rapho via Getty Images; Right: Pascal Le Segretain/Getty Images]

Introduction 5

Techniques are Neutral The eighteen techniques provide a generalized foundation that can be applied in any number of specific design situations. They are neutral tools. When practicable, techniques are presented here independent of any genre and outside of any particular fashion sense in order to circumvent preconceived notions. You decide how to use the tool. Many of the visuals introducing the techniques are of fashion flats, which give detailed information without alluding to a specific genre. The techniques are equally applicable to every fashion category, including bridal, children’s wear, eveningwear, maternity, men’s wear, non-gender specific clothing, petite, plus size, women’s wear, and the list goes on. Even so, for clarity and consistency it is necessary that this text center on a single genre for contextual and patterning information. By definition, contextual information has a point of view, and by necessity patterning examples focus on a particular genre. The contextual and patterning information for each technique is presented at the end of each unit after you have had an opportunity to form your own vision of how to employ the technique in your fashion market.

Flat Patterning There are several ways to pattern fashion. Designers explore these methods and utilize the one or more that allows them to reach their goals. Flat pattern d ­ rafting is the defining of shapes on a flat surface, or on the computer, using measurements and computations. Draping is the positioning and pinning of fabric on a dress form or person. After achieving the desired look, the fabric is removed from the form and a pattern is created from the shapes. Rissanen and McQuillan (2016) detail additional creative pattern cutting techniques in their book, Zero Waste Fashion Design. They include Swedish designer Rickard Lindquist’s description of patterning derived from body movement and historic wrapping techniques (60). Transformational Reconstruction, practiced by Shingo Sato, involves placing fabric on the form and drawing in style lines directly on fabric (60). Julian Robert’s innovative Subtraction Cutting method is a departure from conventional patterning. It is a near zero

waste process in which garments are created by removing fabric so the body can pass through the “negative spaces.” The process circumvents the darts and seams of conventional garment patterns (62). Pattern or design hacking is the practice of altering a tested original garment pattern (or pattern block) to make unique new versions. This book takes cues from pattern hacking while using the flat patterning method. Flat patterning is a decidedly Western development. Some practitioners prefer a more open-ended process, such as draping, rather than flat pattern’s uniform methods. However, flat patterning proves to be efficient in a manufacturing setting. New styles are built upon the block, or another appropriately fitted garment, so fit is consistent. It is easy for beginner patternmakers to see an evolution in style and the steps needed to take a fashion from one look to another. Flat patterning is consistent with computerized patterning, so it is a universal language in industry. The technique approach is uniquely suited to flat patterning.

Sustainability Sustainability and environmental awareness feature prominently here. The fashion industry has been guilty of polluting practices; however, times are changing rapidly. Companies, such as Eileen Fisher and Stella McCartney, assert that fashion can transition from the old

Designers and pattern drafters create their fashions using the tools that work best for them, including draping, computerized pattern drafting, and flat patterning. [LWA/ Stone/Getty Images]

6  The Fashion Design Toolkit

Using the Techniques There are two main ways to use the techniques found in your Toolkit: 1) as inspiration for design and 2) as a means to pattern a design inspiration that you already have. Both processes begin with the pattern block.

Techniques as Inspiration for Design Eileen Fisher envisions a circular fashion economy that reuses and replenishes the resources involved. “It means adopting a manufacturing process that eliminates waste by using old clothes as the raw material for new ones” (Fisher).

“take-make-waste” manufacturing model to a circular economy that is restorative and regenerative. A circular economy “aims to redefine growth, focusing on positive society-wide benefits. It is based on three principles: 1) design out waste and pollution; 2) keep products and materials in use; and 3) regenerate natural systems” (Fisher; McCartney). Each Eco Option patterning exercise furthers at least one of the three principles. In an expansive global industry, it may seem that we cannot make an impact. The Eco Option exercises suggest that each of us has a part to play. Our combined individual efforts can contribute toward the bigger picture of making a circular economy a reality.

1985

Let the techniques provide your fashion inspiration! Each technique unit begins with an inspiration. And, when you become competent in the skills of the technique you will find that the technique itself is inspirational. Once you have uncovered the patterning processes of a particular technique, possibilities arise for their use in your own collections! You can build a collection on a single technique. Continue to develop the technique and it will continue to provide inspiration for seasons to come. Fashion designer Issey Miyake’s work provides an example. Stripes (part of the Textile Designs technique) were highlighted in his 1984 collection. Over the subsequent ten plus years, stripes continued to inspire his work. His style evolved, but so did the stripes that remained dominant in his collections.

1986

Introduction 7

1988

1990

1993 Issey Miyake experimented with stripes and plaids throughout the 1980s and 1990s. He featured the patterns in both his men’s and women’s wear lines. Over the years his collections demonstrate an evolution of style through the consistent use of the stripe/ plaid (in the Textile Designs) technique.  [Bloomsbury Photography Archive]

1994

1996

8  The Fashion Design Toolkit

This design features a fitted, cut-out bodice and a pant with a softly gathered waistband. The designer reviews the list of techniques and their uses and matches them to the needs of the design. They decide to use the Contouring technique to pattern a snug fit for the top and the Gathers technique to transition fit darts on the pant into gathers.  [Illustration by Aileen Moreno]

Actually, designers have built careers by simply manipulating a single technique to an extreme degree. Consider Alexander McQueen’s extensive use of ruffles and Issey Miyake’s encompassing Pleats Please enterprise for examples of how a technique has featured prominently in the designers’ careers. (See the Ruffles (page 77) and Pleats (page 89) techniques for details on these designers’ work.) You are encouraged to exploit the techniques to the fullest. The creativity-enhancing exercise SCAMPER provides an example of how to get the most from each technique. SCAMPER, originated by Alex Osborn and refined into the mnemonic by Bob Eberle, suggests that new ideas can be generated by modifying something that already exists (Michalko 2001: 95). In his book, Cracking Creativity, Michalko reminds us that “all ideas are in a state of flux” (2001: 99). Designers recognize that there is no final, best design, but, rather, that all ideas build upon one another. Each letter in the word SCAMPER suggests a creativity-inducing action to be performed. Substitute (replace one component on your design with a newly developed skill from a technique) Combine (connect two techniques in a single design) Adapt (change a feature on an existing design using a new technique from your design arsenal) Modify, magnify, minify, or carry to a dramatic extreme (make the large small and the small large to put a different spin on the design) Put to another use (create coordinated accessories) Eliminate (delete details and embellishments) Reverse or rearrange the components (make the front the back and the up the down)

Using the Techniques to Pattern Your Original Designs Do you already have the fashion inspiration? Have you sketched or illustrated a design concept? Are you ready to draft the pattern, but do not know where to begin? The Fashion Design Toolkit can help! Each technique has an exclusive purpose. Refer to the list of techniques in this introduction. Review the specific tasks each performs and match them with the features

found on your design. Translate the information in the techniques to draft the pattern for your design.

The Basic Pattern Block The basic block is a group of patterns in which the fit has been tested and the lines are trued. Patterns are trued to ensure that they are accurate and complete. An infinite number of styles can evolve from the basic block. With initial fit determined by the block pattern, the fashion designer has freedom to explore aspects of style and line. Actually, any pattern that has been fitted and trued can serve as a block, or starting point for a new design. But a basic block is most often recognized to include the front and back skirt, pant, and bodice with set-in sleeves. The basic pattern block provides the foundation for exercises herein, but you are encouraged to use your own patterns as well. The techniques

Introduction 9

Components of the basic block include the bodice back, bodice front, sleeve, skirt back, skirt front, pant back, and pant front. One half of the symmetrical pattern is shown. The block is your starting point for the pattern exercises in this book.

are equally compatible with your tried and “trued” patterns. Think of the pattern block as a computer and the techniques as applications that you can plug in and exchange according to your design goals. The basic block included with this text is “a” block (one of many) and not “the” block (the ultimate standard pattern). There is no universal body type, so there is no such thing as a universal pattern block. Before beginning the exercises, you are encouraged to review the Size Chart that corresponds with the block pattern to determine the size you want to use. Sew the pattern block from a stable woven fabric and make any necessary adjustments to the pattern before you begin the practice exercises. If alterations are

required, please refer to Measurements and Fit on page 209 for information on common pattern modifications. The pattern drafting instructions describe the necessary steps if you are working with a physical pattern, drafting shapes with a pencil, and cutting lines with shears. Note that the techniques and exercises are equally applicable to computerized pattern drafting and a digital version of the basic block is also included with this text. The pattern block is available in US sizes 4–18 as a printable Adobe pdf file and software-compatible Adobe Illustrator and Optitex files at bloomsburyonlineresources.com/ fashion-design-toolkit.

10  The Fashion Design Toolkit

SIZE CHART: THIS SIZING CORRESPONDS WITH THE BLOCK PATTERN THAT ACCOMPANIES THE FASHION DESIGN TOOLKIT. THE BLOCK PATTERN CAN BE FOUND AT BLOOMSBURYONLINERESOURCES.COM/FASHION-DESIGN-TOOLKIT. (PATTERN EASE NOT INCLUDED IN THE MEASUREMENTS.) Key

Body Measurement

4

6

8

1

Bust Level across apex and back

34 86.4

35 88.9

36 91.4

2

Waist Around natural waist

24 ½ 62.2

25 ½ 64.8

26 ½ 67.3

3

High Hip 4 in (10.16 cm) below waistline

32 81.2

33 83.8

34 86.4

4

Hip 8 in (20.32 cm) below waistline

34 ½ 87.6

35 ½ 90.2

36 ½ 92.7

5

Across Back Armhole to armhole, shoulder blade level

13 ½ 34.3

13 ¾ 34.9

14 35.6

6

Center Back Length Nape to waistline

16 ¼ 41.3

16 ½ 41.9

16 ¾ 42.5

7

Center Front Length Crook to waistline

14 ¼ 36.2

14 ½ 36.8

14 ¾ 37.5

8

Bicep Midpoint between shoulder and elbow

10 ¼ 26

10 ⅝ 27

11 28

9

Sleeve Length Center back neck to wrist (bent arm)

29 73.6

29 ¼ 74.3

29 ½ 74.9

10

Crotch Depth Waistline to crotch curve

10 25.4

10 ¼ 26

10 ½ 26.7

11

Pant Inseam Crotch curve to ankle

28 ½ 72.4

28 ¾ 73

29 73.7

12

Pant length Waistline to ankle

39 99.1

39 ¼ 99.7

39 ½ 100.3

Introduction 11

INCHES CENTIMETERS

10

12

14

16

18

37 94

38 ½ 97.8

40 101.6

41 ½ 105.4

43 ½ 110.5

27 ½ 69.9

29 73.6

30 ½ 77.5

32 81.28

34 86.4

35 88.9

36 ½ 92.7

38 96.5

39 ½ 100.3

41 ½ 105.4

37 ½ 95.3

39 99.1

40 ½ 102 9

42 106.7

44 111.8

14 ¼ 36.2

14 ½ 36.8

14 ¾ 37.5

15 38.1

15 ½ 39.4

17 43.2

17 ¼ 43.8

17 ½ 44.5

17 ¾ 45.1

18 ¼ 47

15 38.1

15 ¼ 38.7

15 ½ 39.4

15 ¾ 40

16 ⅛ 41

11 ⅜ 28.9

11 ¾ 29.8

12 ⅛ 30.8

12 ½ 31.8

13 33

29 ¾ 75.6

30 76.2

30 ¼ 76.8

30 ½ 77.5

31 78.7

10 ¾ 27.3

11 28

11 ¼ 28.6

11 ½ 29.21

12 30.5

29 ¼ 74.3

29 ½ 74.9

29 ¾ 75.6

30 76.2

30 ½ 77.5

39 ¾ 100.1

40 101.6

40 ¼ 102.2

40 ½ 102.9

41 104.1

9781350101562_txt_print.indd 11

17-02-2022 17:32:13

12  The Fashion Design Toolkit

Guidelines for how to measure for the Size Chart.

Connecting the Block and the Techniques The pattern exercises begin with components of the basic pattern block included with this text. Unless otherwise labeled, all pattern pieces are positioned on the lengthwise grainline, which is placed parallel to the fabric’s selvage. Maintain the pattern’s grainline as you transition the block into your own version of the pattern. Seam allowances are not included in the instructions, examples, or pattern block. All seam allowances, except those noted, should be added after the pattern is complete but before cutting the pieces in fabric. Unless working with an asymmetrical

style, one half of the front and one half of the back pattern is shown. Whatever variations are made on one half will automatically apply to the other half of the pair of pattern pieces. This eliminates redundancy of steps and assures that both the left and right side of the pattern are equal. The half patterns are then either cut on the fold (as noted by the “on the fold” symbol) or cut double with face sides of the fabric facing inward. In a manufacturing setting, all final pattern pieces, both left and right sides, are laid out in full to be cut. Follow these steps as you

Introduction 13

incorporate the eighteen techniques into your pattern design: 1. Review the basic block you are using to ensure the fit and sizing is correct for your line. Cut a sample and make any necessary pattern adjustments. 2. Focus on a single technique. Become familiar with it by completing some of the example exercises. 3. Determine how the technique corresponds with your design voice. Sketch a variety of fashions using the technique in unique ways. 4. Pattern the technique. Experiment. See where the technique takes you without being hindered by procedure in this idea-gathering stage.

Always add seam allowances before cutting your pattern in fabric. A: Lengthwise grainline; B: Crosswise grainline; C: Bias grainline.

5. Apply the technique in a specific location on the block pattern. For example, apply rows of ruffles down the center of a sleeve or to the hemline of a skirt. 6. Expand upon the technique by altering the block to create a new silhouette, then apply the technique, making it a focal point of the design. 7. Submerge the design in the technique. Use the SCAMPER exercise to stretch your thinking beyond ordinary uses. 8. Consider adopting a particular technique as your “brand,” always incorporating some aspect of it in your designs. 9. Continue concept development by combining techniques.

The Design Challenge: Use the Ruffle technique to reimagine the basic block. Even the most basic silhouette comes alive when ruffles are part of the design. Almost no patterning was needed for ruffles to transform the basic pattern into these fashionable designs. Creativity is the only requirement. Imagine how you can transform your design direction through ruffles!

14  The Fashion Design Toolkit

You Decide! Good fit and proportion is essential in fashion design. The pattern block, along with certain measurements given in the pattern exercises, ensure that calculations are precise. However, the designer/patternmaker should not become too reliant on following step-by-step instructions, because what they ultimately design will be different from the example. Since each fashion is unique, designing and patternmaking are largely problem solving exercises, and the techniques in practice exercises at the end of each unit encourage independent critical thinking. They require you to make decisions about length, width, and other dimensions that do not affect the overall successful completion of the pattern. Bust darts must be directed toward the apex. That is a rule. But you decide where on the perimeter you want that dart to rest. A midriff style rests under the bustline and above the waistline. That is the definition. But you decide if a patterned midriff section will be 2 in. (5.08 cm) or 3 in. (7.62 cm) wide. You will soon rely more on your own decision making and less on measurements given in any particular pattern exercise. You are encouraged to take ownership of the exercises so they are relevant to you. Sew the first draft of your patterns in muslin. Muslin is a stable woven cotton fabric. It is comparatively inexpensive, so use it to experiment with your design before you cut into actual material. Mark your revisions directly on the muslin so you can visualize the design as it takes shape.

bends, such as on a skirt hipline. The fashion curve is a general use tool. It transitions from a tight curve to a gentle curve. •• Scissors and shears: Scissors are usually less than 6 in. (15.24 cm) in length. They have two equally sized holes for fingers. Patternmakers and sewers alike use shears. Shears have an asymmetric handle with blade lengths longer than 6 in. (15.24 cm). Keep one pair of shears for fabric and another for paper goods. Cutting paper can dull the blades of fabric shears. •• Pattern notcher: This tool makes a small cut out in the pattern seam allowance to indicate where pattern pieces are sewn together. •• Pattern drill: Drills are used to mark important information for sewing including the end of darts, pocket placements, and buttons and buttonholes. •• Awl: An awl has a sharp point used to hold a stable position when rotating a pattern, such as when “walking” a sleeve around an armhole, and to mark drill holes in fabric.

Pattern Adjustments for Stretch Although the basic block is a reliable base for patterning, adjustments are required when using stretch fabrics. The pattern that accompanies this book is made to be cut from woven fabrics with no inherent stretch. Ease is built into the pattern to allow for comfort and movement. If

Patterning Tools An assortment of tools is necessary to draft precise patterns: •• Rulers and measuring tapes: Metal rulers of at least one yard (meter) help in drawing long seam lines. A clear plastic ruler allows the drafter to see a line in two perpendicular directions. It is great for marking in a seam allowance parallel to the seam line. Measuring tapes are used on the body and dress form because they are flexible and will follow body contours. •• Curves: Curved rulers are used to draft arcs of many different radii. The French curve, usually made of clear plastic, is used for drafting tight arcs, such as the armhole and neckline. The hip curve is used for slight

Pattern drafters use an assortment of helpful tools, including shears, rulers, and curves. [Eileen Molony]

Introduction 15

Symbols Several symbols and short cuts are used in the patterning exercises. SYMBOLS Symbol

Description

C

Center

CF

Center Front

CB

Center Back

SS

Side Seam Grainline Cut on Line Pattern on Fold Sew Here Exact Point

you are working with fabrics that have stretch, such as knits, this ease may not be necessary. A knit garment made from the basic block could be ill-fitting in areas. Since the amount of give

varies with each stretch fabric, a version of the block pattern should be made for each kind of knit used. Cut the basic block in the desired fabric, fit on the dress form or body, and make the required adjustments to the pattern. Then proceed to use the revised block with the techniques as directed.

Techniques Continuing to Work for You We are a community of designers who thrive on inspiration from countless sources. Our work informs others and the creativity, knowledge, skills, and technological advances of others enlighten us. Innovation thrives on information, and creating relevant design requires that we are part of the zeitgeist (spirit of the times). For clarity, each of the eighteen techniques is presented independently of the others. However, you are encouraged to combine two or more techniques. Doing so will provide endless new avenues for your fashions. Imagine exploring the options created by combining techniques three and two, then three and four, and so on. Then progress by connecting techniques four and six, four and seven, and so on. The design possibilities grow exponentially and provide inspiration for your collections indefinitely! Enjoy the possibilities!

16

1

Darts

What is your fashion inspiration? Do ancient pyramids, the Eiffel Tower, or geodesic domes stimulate your creativity? Do you look to mountain tops, roof lines, and tall pines to guide your design silhouette? Use the Darts technique to provide shape through triangles, stars, points, diamonds, and peaks.

[Gina Djumlija/EyeEm/Getty Images]

17

18  The Fashion Design Toolkit

Darts are the workhorse of pattern drafting. It is remarkable that darts accomplish so much with so little fanfare. They most often rest in the background and quietly provide fit. However, when pivoted, exposed, or placed in clusters, they can be an exciting focus of a design. Use darts to create three-dimensional shapes in two-dimensional materials. Darts are triangular-shaped with a single point or diamond-shaped with double points. The point of a dart rests on or near the apex of the shape. The center of the dart contains surplus fabric called the intake, sometimes called the excess. Most often, the dart intake is folded to one side and pressed flat. However, if the intake is large, it is trimmed to the width of the seam allowance and pressed open to eliminate bulk. Curved darts add additional contouring and styling detail. The French dart, for example, is placed on the side seam and angles upward toward the bust apex. It can be made longer to encompass both the bustline and waistline darts.

To aid in sewing the curve, the intake is cut away leaving only enough fabric for a seam allowance that transitions into a dart point. Double-ended darts add shaping between the bust, waist, and hips. In flat patterning, a dart is created through measurements. See formulas.

Note that the point of the finished dart does not always extend all of the way to the apex of the shape. The closer the dart is sewn to the apex, the more pointed the dart shape. For a smooth, rounded fit, the vanishing point for the dart is located a distance away from the apex. Although the vanishing point measurement can vary between ½ in. (1.27 cm) and 1 ½ in. (3.81 cm) from the apex, depending on the size and purpose of the dart, 1 in. (2.54 cm) is common.

Know the parts of a dart. YELLOW: Dart intake; RED: Dart legs; BROWN X: Apex of bulge; BLUE: Dart edges that are sewn into the seam; ARROW: Vanishing point. There are several kinds of darts. A: Straight dart; B: Double-ended dart; C: Curved French dart with seam allowance; D: Dart incorporating both bust and waist fit darts.

Darts 19

The basic block uses darts to create fit. The darker shaded areas show dart shapes that form when the block is sewn.

Darts that create the garment fit are incorporated into the basic block (see page 9). They accommodate curves created by the bust, waist, hips, and shoulder blades. A fitted sleeve might have darts at the elbow. Other, less obvious, darts also are present in the block. Side seams, shoulder seams, and sleeve seams create dart shapes when sewn to their companion pattern pieces. A seam acts as a dart when it moves a pattern from a larger to a smaller measurement.

Dart Manipulation Use darts as an unobtrusive fitting tool or incorporate them into the garment styling. When used for fitting, they do not detract from stylelines. They are rarely noticed when other details are the focus. But with creative manipulation, darts can provide both the fit and the style. A dart can be positioned at any point on the pattern perimeter. The garment fit will remain constant regardless of where the dart is positioned as long as the dart revolves around a consistent apex and the angle of the original dart remains the same. To transfer a dart to another location, draw a line from the new perimeter location to the apex. Cut along that line. Close the original dart by cutting through the center of the dart and bringing the dart legs together. This action will cause the new dart to open. Draw the intake of the new dart by backing the dart vanishing point 1 in. (2.54 cm) from the apex. The dart end at seam line should follow the contour of the pattern piece when the dart is folded to one side. When sewn, the intake of horizontal darts folds toward the hem and the intake of vertical darts folds toward the center front or center back.

Existing darts can be rotated to any point on the perimeter, such as those locations shown here, and the original fit remains. To reduce bulky seam intersections, avoid placing darts in the corners of a pattern unless that placement is integral to the design.

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A: Original pattern. B: Shoulder dart repositioned to the side seam. C: Side seam dart combined with the waist dart. D: After transferring the dart to the desired location, back the dart point away from the apex (orange line). E: Determine the shape of the dart end by folding the dart along the dart legs. Use a tracing wheel to trace the cut line of the pattern.

There are many dart variations. A single dart can be transferred into clusters of darts that have the same total intake as the original dart. Or, create an asymmetrical pattern by transferring one dart to one location and another dart to another location on the perimeter of the pattern.

The style is enhanced, but the fit remains the same. If a dart is left unsewn, the excess fabric can add flare to the design, as when a skirt’s waist darts are transferred to the hemline and released.

Darts 21

A: Single waistline dart distributed among three neckline darts. Each dart contains one-third of the total waist dart intake. B: Single waistline dart distributed among three neckline darts, but two of the darts are directed close to, but not to, the apex. Note that fit remains if dart points in a dart cluster rest within a circle encompassing the mound. In general, that relates to a circle with a radius of 1 in. (2.54 cm) or less. C: Darts can be rotated to create an asymmetric pattern. Even though the darts are different lengths, the angle of the darts remain the same. D: The darts on the skirt create fullness when transferred to the hemline and left unsewn. E: Darts can be created most any place where there is excess fabric. These sleeve darts add style and create a close fit at the sleeve hem.

Pivoting the Dart You can transfer a dart to a new location using the pivot method. Rather than cutting into the pattern and closing one area to open another area, the pattern is pivoted to create the new dart opening. Pivoting is accurate and fast.

Pivot the shoulder dart to the side seam: A: Determine the location of the new dart on the side seam. Trace around the pattern from one leg of the original dart to the new dart location. Mark the beginning and ending point of your line. B: Place the point of an awl, or other sharp instrument, into the apex of the dart to hold the pattern in place. Pivot the pattern by rotating the original dart closed and making a second mark on the perimeter at the new dart leg location. Complete the pattern perimeter by tracing from the new dart leg location to the original dart mark. C: True the new dart end by closing the dart and folding the dart intake toward the waistline. Use a tracing wheel to trace the side seam and determine the shape of the dart intake at the seamline. Back the dart vanishing point 1 in. (2.54 cm) away from the apex.

22  The Fashion Design Toolkit

Sewing the Dart

The Invisible Dart

To sew the dart, fold the dart in the center with right sides of fabric together. Match up the dart legs of the top and bottom layers. Stitch on the wrong side from the broad end of the dart to the vanishing point. Backstitch at the dart end but do not backstitch the point. Backstitching the point can cause puckering. Rather, sew off the end of the point leaving long thread tails. Hand knot the tie ends and clip the threads at ¼ in (6.35 mm). Always press darts over a pressing ham to avoid puckers and maintain the three-­ dimensional shape. To fill in the fabric dimple that sometimes appears at the point, place a small square of fabric at the dart point and sew the dart through all thicknesses.

You can create a nearly invisible dart when working with lace. Lace does not ravel, so it can be cut and repositioned without detection. The dart intake is cut out of the lace and the cut edges are brought together and stitched following the motif of the lace. Follow these steps:

Dart Equivalents Manipulating and rotating darts allow the designer great flexibility. However, darts are not the only option a designer has for creating fit. A number of other techniques can eliminate the excess fabric taken up by darts. These dart equivalents, such as gathers, tucks, pleats, and seams, provide the fit of a dart but offer further variety in styling. For example, the intake fabric in a waistline dart can be gathered for a softer look and the original fit will remain. Dart equivalents are covered in detail in the Gathers, Tucks, Pleats, and Seams techniques.

The amount of the dart intake on this front torso is cut away following the natural contours of the lace motif. Bring one leg of the dart to meet the other leg and carefully topstitch in place to create this invisible dart shaping. The stitching path is highlighted in the image on the far right.

A. Use thread basting to mark the location of the dart on the lace fabric. B. Cut the pattern of the lace motif as close as possible along one dart leg. Be sure to follow the uneven edges of the motif, not the straight edge of the dart leg. Cut the length of the dart leg. C. Place the lace over a pressing ham and move the cut edge until it reaches the position of the other, uncut, dart leg. Pin and baste in place. The lace should lie smoothly with no pulls. Following the raised outlines on the lace motif, sew the cut edge of the lace in place over the dart leg basting. A narrow, tight zigzag stitch is nearly undetectable for most laces. The stitch resembles the fine cords running through the lace fabric. D. Closely trim the remaining dart excess from the underside.

Darts 23

DARTS IN CONTEXT: THE DIOR DART Darts are found on clothing from most eras, but look to the silhouettes of the 1940s and 1950s to find clear examples of their utilitarian nature. In reviewing Sears catalogs from the era, you will find shirtdresses with bodices fitted with shoulder, waistline, and side seam darts and jackets fitted with neckline, bust, and French darts. Christian Dior garnered worldwide attention with his first collection in 1947. He was a disciplined designer focused on fit and fine tailoring, and darts were part of his design toolbox. One construction detail, in particular, is attributed to Dior. His designs often featured a short bustline dart emanating from a side panel seam that, over time, became known as the Dior dart. This technique allows more flexibility in design by enabling the princess seam (normally placed directly over the bustline) to be moved away from the bust apex. The House of Dior continues to pattern with the Dior dart. The Spring/Summer 2015 collection featured semi-fitted bodices with Dior darts emanating from side panels. Wide topstitching highlights the dart position.

The House of Dior Spring/Summer 2015 collection makes use of the Dior dart. [Francois Guillot/Staff AFP Collection Getty Images]

Darts in Practice How will you incorporate darts into your designs? You can use them to provide fit for curves created by the bust, waist, hips, and shoulders, or to create decorative accents for necklines, sleeves, and other parts of a garment. Sewn with the intake to the inside of the garment, darts are almost invisible, But, consider exposing the intake on the outside of the garment for a fresh design focus. The Torso pattern is an extension of the block pattern; it joins the bodice and skirt and eliminates the waist seam. Use the versatile torso to create blouses, dresses, jackets, and other garments that do not include a waistline seam. The Building Shape exercise allows you to create shape where none exists. In the 1950s, the Evan-Picone company pioneered a way to use darts to shape pockets. The darts were strategically placed to keep pockets open and accessible. This reduced the chance of tearing at the corners. Considering the proliferation of smart phones today, Evan-Picone’s innovation is particularly welcome for those of us looking for functional pockets in which to place our phones. Place darts anywhere you want to create a three-dimensional shape from a two-dimensional surface.

24  The Fashion Design Toolkit

The Torso

The Torso begins with the BODICE and SKIRT BLOCK. A. Position the bodice patterns above the skirt patterns. Note the position of the two skirt darts on the F and B bodices. On the back bodice, move the side seam line outward equal to the measurement of the second skirt dart. The back bodice and skirt are now the same width at the waist. On the front bodice, divide the waistline dart intake into two to create two darts that correspond in width with the two skirt darts. Reconcile any difference in measurement at the side seam so the front bodice and skirt are the same width at the waist seam. Pattern check: after these adjustments, the total waistline measurement should measure the same as the original block.

B. Square off the waistline of the bodices and skirts at the side seam level (dotted line) and connect the bodices and skirts at the waist. True the darts so that they meet at the waist. Draw in the new double-ended dart shape. The front bodice vanishing points should end 1 in. (2.54 cm) below the apex. The back bodice dart points should end 1 in. (2.54 cm) below the armhole height. C. Note that the basic block bodice and skirt patterns have a closely fitted waistline. Relax the fit of the torso by lessening the intake of the darts at the waistline by 1/8 in. (3.17 mm) on each dart leg and by adding ¼ in. (6.35 mm) to the side seam at the waist. Blend the side seam line. If desired, shorten the pattern to just below the dart ends of the skirt.

Darts 25

Darts for Building Shape

Darts for Building Shape begins with a rectangular pocket shape. A. Since the pocket is symmetrical, pattern the pocket on the fold and open when complete. Divide the pocket length measurement in half and mark at pocket center fold. Draw a diagonal line from the mark to the lower corner opposite the fold. Round the lower edges of the pocket. Draw in the dart legs 1 in. (2.54 cm) long and measuring ¼ in. (6.35 mm) on both sides of the diagonal line at the

rounded edge. Add a 1 ¼ in. (3.175 cm) fold over facing to the top of the pocket. B. Unfold the pattern and complete markings on the opened pattern. C. The pocket will draw inward at the lower edge when the darts are sewn. When sewing the pocket to the garment, move the upper side edges inward so the side edge is entirely straight. This will cause a slight gap to form along the top edge of the pocket allowing greater ease of use.

26  The Fashion Design Toolkit

Eco Option: Dart It In Rather than using a new fabric resource, find a gently used, men’s dress shirt at a thrift store. Using darts, it can be easily converted into a fitted blouse or shirt. Choose a shirt that fits across the shoulder and hipline. • Trace the Torso block on a sheet of pattern paper. Draw in the desired hemline with hem allowance added. • Cut out the paper torso shape and remove the dart intake from the paper.

• Smooth out the shirt on a flat surface, and align the Torso pattern with the center front and neck/shoulder point of the shirt. With chalk, mark in the two waistline darts. (Ignore the shoulder darts on the F and B torso. The unfitted and slightly dropped armhole of the man’s shirt will compensate for those darts.) Repeat on the back. • Mark the hemline and trim away the excess. Sew in the darts and check the fit. If a closer fit is desired, taper in the side seam at the waist as shown by the arrow on the illustration.

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2

Slash and Spread Butterfly wings, tropical flowers, and blooming nature are potent muses for design, as are ship sails, windblown dunes, and giant squids. Use the Slash and Spread technique to develop the sweeping hemlines, full sleeves, and flowing fabrics inspired by these graceful sources!

[ZenRial/Moment/Getty Images]

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30  The Fashion Design Toolkit

You can add fullness to one side of the pattern, to both sides of the pattern equally, or to both sides of the pattern in unequal amounts. You might find it quicker to pivot the pattern rather than cut and spread it open. To pivot, mark slash and pivot points on your pattern. Trace the portion of the pattern that does not need fullness on another sheet of pattern paper. Place an awl or other sharp object at a pivot point, shift the slash line so additional space is added, and trace the pattern until the next pivot point. Repeat through all of the pivot points and slash lines, then trace the remainder of the pattern. For additional information on pivoting, please see ‘Pivoting the Dart’ under the Dart technique (page 21). The illustration demonstrates adding fullness using the Slash and Spread technique. To subtract fullness, overlap the shapes, rather than spreading them open.

For an even distribution of fullness, slash in regularly spaced increments (A). To concentrate fullness in one particular area, slash and open the pattern in only that location (B). Unless the design specifically calls for a drape on a seam, avoid adding fullness by extending the seam outward. This will cause fabric to collapse at the seam without adding fullness elsewhere (C).

Use the Slash and Spread technique to incorporate fullness into your fashions. Slash and spread is the process of cutting into a pattern and expanding it open in order to introduce more fabric. It is easy and intuitive! To perform the technique, mark a number of evenly distributed slash points on the pattern perimeter where you want added fullness. The number of slash points corresponds with the amount of fullness desired. The greater the fullness, the more points needed to evenly distribute the fabric. Mark pivot points on the opposing side of the pattern perimeter. Draw straight lines from the slash points to the pivot points. Place the pattern on top of another, larger, sheet of pattern paper. Cut the line starting at the slash point. Do not cut all of the way through the pivot point at the opposite end. Leave just a bit connected to use as a pivot. Repeat on all of the lines. Taking care to maintain a centered grainline, spread the pattern open to achieve the desired fullness. Arrange the pattern pieces so they are spaced evenly and tape in place to the lower pattern paper. Blend and true the lines of the new pattern.

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How Much Fullness? There is no magic formula for determining how much fullness to add for any particular pattern. Consider styling, fabric type, and fabric cost in your calculations. In general, the thinner and more lightweight the fabric, the more fullness needed. Even inexpensive fabrics can look luxurious when utilized in generous proportions. The amount of fullness is given in the form of a ratio, which reveals the number of times the fullness measurement is contained within the original measurement. A ratio of 2:1 indicates that the amount of fullness is double the original measurement. Please see the table below for guidelines for adding fullness.

GUIDE TO ADDING FULLNESS Ratio of fullness Suggested fabrics to original measurement

A: On the pattern perimeter, divide the area needing extra fullness into equal increments. B: Fullness added to one side of the pattern. C: Fullness added to both sides of the pattern in unequal amounts. D: Fullness added to both sides of the pattern in equal amounts.

Less than 1.5: 1

This is not recommended. Too little fullness appears as though the designer has not committed to the process.

1.5: 1

Medium-heavy or tightly woven fabrics such as denim, twill, corduroy, brocade, and wool coating (8–10 oz. [270 g/m2–340 g/m2])

2: 1

Medium weight fabrics, such as linen, cottons, flannel, satin, jersey knit (6–8 oz. [200 g/m2–270 g/m2])

3: 1

Light and very light weight fabrics, such as gauze, chiffon, lawn and organza (4–6 oz. [135 g/m2–200 g/m2])

Greater than 3: 1

Very light weight fabrics, such as cheesecloth ( 4 x pattern measurement

Drawing up the Fullness When two to three times fullness, or more, is added to a pattern piece, there is a lot of fabric to draw up into gathers. There are several ways to gather fullness: •• Basting stitch: Place a double row of basting stitches within the seam allowance. A basting stitch is a long, running stitch. Use a setting of 5 on your sewing machine. Two rows of stitching create even gathers and protect in case one stitch breaks. Secure the stitches on one end and pull the threads on the other end to draw the fabric to the required length. Tack the pull threads to lock in the gathering. Adjust the gathers so they are evenly distributed between the notches. The basting thread method works well for shorter lengths of gathering, such as on a sleeve cap. The gathers must be spread evenly by hand so it is a time consuming method for longer stretches of sewing. •• Elastic: Narrow elastic works well for shorter lengths of gathering. Cut ¼ in. (6.35 mm) wide elastic the length of the finished pattern measurement. Divide the

elastic and the piece to be gathered into quarters and mark. Secure one end of the elastic to one end of the larger piece. Sew, stretching the elastic to meet each quarter mark until the entire length is gathered. The benefit of using elastic for gathering is that the sewn line stretches and allows for additional movement in athletic and leisurewear. •• Shirring foot: Use a shirring foot, also called a gathering attachment, on your sewing machine. The shirring foot creates fast and even gathers. Insert the foot on your machine and increase the stitch length to 4 or 5. The larger the stitch, the tighter the ruffling. Sew normally. The shirring foot produces evenly spaced gathers, which are stitched in place. The method works well for long lengths of gathering, but the amount of gathering is fixed and cannot be adjusted once sewn. The shirring foot works best on lightweight and medium weight fabrics. •• Zigzag stitch over cord: A zigzag stitch centered over a thin cord is a good way to gather heavy fabrics and long lengths of fabric. Within the seam allowance, secure a thin cord to one end of the piece to be gathered. Encapsulate the cord within a wide zigzag stitch being careful to not catch any part of the cord in the stitch. Pull the cord to draw up the fabric. Adjust the gathers so they are even throughout. •• Elastic thread: Sew rows of elastic gathering to give comfortable areas of stretch to woven fabrics. Hand wind the thread onto the bobbin by holding it taut, but not stretching it as you wind. Thread the sewing machine as you normally do. Increase the stitch length to about 4 to start. Many factors, such as fabric weight and number of rows of stitching, will affect the amount of gathering you achieve with elastic thread, so stitch a sample before you begin patterning. Measure a test length of fabric and then sew three practice rows of elastic stitching ½ in (1.27 cm) apart. Measure the finished length. Divide the original length by the finished length to determine the amount of gathering provided by the elastic thread. If the design requires more gathering, adjust the amount by lengthening the stitch or turning the screw on the bobbin to tighten the tension.

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Gathering using an A: Basting stitch; B: Narrow elastic; C: Shirring foot; D: Zigzag stitch with cord; E: Elastic thread.

A

C

B

D

E

GATHERS IN CONTEXT: TRACY REESE’S RETRO-INFLUENCED STYLING Tracy Reese is known for nostalgic touches, feminine details, and floating fabrics, all concepts that lend themselves to soft gathering. Reese often employs the technique in her designs. Never the focal point, the gathers in her collections make gentle statements through flowing skirts and ruched waists. Many of the sleeves in recent collections are gathered at the cap or cuff, creating a retro feel. Beauty and romanticism feature prominently in Reese’s recently launched Hope for Flowers initiative. Her new collections are about slowing down the fashion production cycle. She focuses on styles that are flexible and suitable for more sizes and body types. Reese states, the line “is designed for women who are inspired by beauty. There are a number of simple things we can do to change some of our habits. When it comes to clothing, we can select items that we need, that really bring us joy that we will keep and wear for a long time” (Hope for Flowers).

Tracy Reese shows a gently gathered shoulder and waistline in Spring 2015. [Neilson Barnard/ Getty Images]

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Gathers in Practice The Gathering technique introduces extra fabric into a design, sometimes a lot of extra fabric. Although gathers control the fullness to a degree, extra yards (meters) can easily overwhelm a silhouette. Many designers confront this by creating fashions that are full in some areas but fitted to the body in other areas. This concentrates and controls the fullness so it does not overtake the wearer. The Gathered Neckline Dress follows this principle. Although the dress is very full, the bared arms and shoulders and close fitting neckline serve to counterbalance the extra yardage. How will you apply gathers in your designs? The gathers on the Gathered Princess Seam Dress begin at the princess seam not the side seam. This allows a close fit through the torso even though additional fabric is added in the front. When gathers are placed horizontally, or diagonally, a snug fit prevents the fabric from drooping. To eliminate bulky layers of fabric, the left wrap front, which is under the right front, controls the fit and is not gathered. The Gathered Neckline Dress transforms the basic trapeze shape into an easy fit dress. Slash and spread fullness is gathered at the neckline and also released at the hemline. The relaxed bow collar connects the front to the back. The side tie opening eliminates the need for a zipper. Consider cutting the collar in a contrast fabric, or shorten the pattern to transition the look into a dressy top.

Gathered Princess Seam Dress The Gathered Princess Seam Dress begins with the ARMHOLE PRINCESS TORSO BLOCK (see page 48). A. Abut the center back torso to the back side panel at the armhole. Draft a new cut-in armhole that extends through both pieces. Repeat on the front. a. Open the center front torso section and draw the complete pattern piece. Draft a new neckline that extends beyond the center front and ends at the princess line. b. Pin the paper pattern to a dress form to confirm the desired placement of the cut-in armhole and neckline depth. B. Draft the front and back neckline facings.

[Illustration by Aileen Moreno]

C. Return the side panels to the original grainline. The center back, side back, and side front panels are complete. a. Mark in slash lines for gathering between the neckline and hipline. b. Draft the left center front panel by reflecting the right front. Mark notches (red) where the gathering starts and stops. To eliminate bulk, cut off the left front pattern below the gathering. D. Slash and spread the right center panel keeping the pattern below the gathering on grain. Blend the new pattern perimeter. E. In sewing, connect the front to the back at the shoulder seam and finish the F and B neckline with the facing before you sew the princess seams. The front princess seams will have three layers: the side panel, the right center front panel, and the left center front half panel. Finish the armhole with bias binding. Set an invisible zipper in the center back seam.

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Gathered Neckline Dress

The Gathered Neckline Dress begins with the BODICE AND SKIRT BLOCK. A. Subtract ½ in. (1.27 cm) from the neckline all around and then note the following: a. “shoulder/neckline point” b. Distance from the shoulder/neckline point to center back as “back neckline measurement.” c. Distance from the shoulder/neckline point to center front as “front neckline measurement.” d. Measure 1 in. (2.54 cm) from the shoulder/ neckline point on the F and B. Mark a notch (red) and note as “back neckline/armhole” and “front neckline/armhole.” e. Measure from center back to the back neckline/armhole notch and note as “finished back gathering.” f. Measure from center front to the front neckline/armhole notch and note as “finished front gathering.” B. Shift the back shoulder dart to the center of the back neckline. Shift the front shoulder dart to the center of the front neckline by slashing through the center of the dart to the apex. Close the original dart and open in the new location. a. Align the skirt with the bodice F and B to determine the desired dress length. (The block has been shortened 2 in. (5.08 cm) in the example.) Delete the waistline dart markings on the skirt and bodices. b. Raise the armhole/sideseam point up and in ½ in. (1.27 cm). Draft a straight line from the new armhole/sideseam position to the hem.

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Gathers 73

C. On F and B, draft a cut-in armhole from the armhole notch to the “neckline/armhole” notch at the neckline. Discard the unused shoulder piece. a. Mark evenly spaced slash lines on the F and B. One slash line should emanate from the dart point F and B. D. Decide the amount of gathering fullness you want at the neckline and the amount of flare you want at the hem (1 ½, double, or triple the measurement, for example). Double the measurement is given in this example. Refer to the “finished back gathering” measure and multiply the measure by 2. Repeat on the front with the “finished front gathering” and multiply it by 2. Measure the F and B at hemline

and multiply each measurement by 2. Slash the pattern and spread the pieces to meet the doubled measurements. Incorporate the F and B dart intake into the total measurements. Add some of the additional hem fullness outward from the F and B side seams. E. Create the tie pattern. 70 in. (177 cm) x 4 in. (10.16 cm) makes a generous tie. Consider shaping the tie ends wider and angled. (Cut the tie pattern double to clean finish the edges.) Begin marking the tie notches with the right shoulder notch at the center of the tie length. Measuring from the right shoulder, mark the tie with notches corresponding to measurements found in A: a–f.

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Eco Option: Broomstick Skirt This skirt is made from untreated muslin and colored with natural dyes. It makes use of the entire fabric width, so there is almost no fabric waste. Muslin is a woven cotton fabric that has not been treated with chemical dyes and finishes. Without a fabric finish, it is often thought to be too plain to be made into a garment. It wrinkles easily. But, with broomstick pleating and natural dye coloring, such as from berries, teas, and roots, the plain fabric becomes fashionable. A broomstick skirt is a skirt that has been deliberately wrinkled. To achieve the characteristic crinkles, thoroughly dampen a finished skirt, twist it vertically around a broomstick handle, and tie in place. Leave it in position until it is completely dry. There is no need to iron, so this skirt is great for travel!

Dye the fabric before cutting and sewing. Dyeing the muslin before cutting preshrinks the fabric. (Recipes for dyeing cottons with natural dyes abound online.) • Determine the desired length and add hem and waistline seam allowances. • For the skirt circumference, use one width of natural dyed 45 in. (1.14 m) muslin for hip measurements of 33–38 in. (83–96.5 cm). Use 1 ½ widths for hip measurements of 38–46 in. (96–117 cm). (If you cut two skirts, each requiring 1 ½ widths of fabric, there will be no fabric waste using 3 total widths of fabric.) • Sew the skirt seam (or seams if using 1 ½ widths) forming a tube.

• Cut a separate, foldover, waistband 3.5 in. (8.89 cm) wide x the finished hip measurement including seam allowances. A 3.5 in. (8.89 cm) width includes seam allowances and will allow for 1 in. (2.54 cm) elastic to be inserted. Join the short ends of the waistband to form a continuous loop. • Fold the waistband width in half and press. Gather the skirt to the waistband measurement and sew the skirt to the doubled waistband. Insert elastic in the waistband to fit the waist, hem, and finish the skirt with broomstick pleating. The broomstick pleating brings in the gathered fullness so the skirt hugs the body.

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6

Ruffles

The possibilities of layers and levels! Investigate terraced fields, strata rock, and tiered arena seating. Peel an onion. Ponder ripples caused by a raindrop. Build fashion as you would a favorite layered dessert: wedding cake, tiramisu, or puff pastry. Unwind these design labyrinths with the help of the Ruffles technique.

[Michel RENAUDEAU/Gamma-Rapho via Getty Images]

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78  The Fashion Design Toolkit

Lose yourself in ruffles! Ruffles are playful and lively. Ruffles are created from (often straight) lengths of fabric that are drawn up on one edge, resulting in a rippled effect on the opposite edge. They are easy to employ and yield an abundance of style! A key feature of ruffles is their flexibility. They are equally at home on the hem of children’s play clothes as they are on the front of a menswear tuxedo shirt. Ruffles are a subset of gathers, and the process for adding fullness is the same. Please refer to the Gathers technique on page 63 for information on methods for drawing up fabric. A single ruffle can follow the contour of a winding seam or rows of ruffles can engulf an entire pattern piece. Ruffles made from soft fabrics, such as chiffon, are wispy and drapey. When made from stiff fabrics, such as

organza, ruffles are perky, with enough body to hold their shape in an upward, diagonal, or horizontal direction. Use the formulas to pattern a ruffle: Total width of ruffle pattern = width of ruffle + seam allowance + hem allowance (or other seam allowance) Total length of ruffle pattern = length of pattern at ruffle insertion point × desired fullness

The Flexible Ruffle There are several ways to create and apply ruffles. The following ruffles are all made with straight lengths of fabric.

RUFFLE VARIATIONS Single ruffle

The single ruffle is sewn into a seam and hangs freely at the hem. It can be wide or narrow, an even width throughout, or the width can vary depending on the placement on the garment. For example, a ruffle following a princess seamline could be narrow near the neckline and wider as it nears the hem of the garment.

Double-edged ruffle

The double-edged ruffle has an edge finishing on both sides. It is drawn up in the center and stitched on top of the fabric rather than being set into a seam. The two sides of the double edged ruffle do not have to be the same width. For example, the upper portion of the ruffle could be narrow, so it stands upright. The lower portion of the ruffle could be wide and hang downward toward the hem. A double edged ruffle can be added after other garment finishing is completed. Consider adding double edged ruffles to a thrift store find to give it new life.

Ruffle following a directional curve

Single ruffles are flexible and can be inserted into most seams. With curved seams, consider whether the ruffle is inserted into a convex or concave curve. The ruffle fans out at the hem on an outward facing curve. Ensure that the fullness is substantial enough so the ruffle does not lie flat at the hem of a convex curve. The ruffle collapses upon itself on an inward facing curve, such as a “C-shaped” seam. A ruffled seam that doubles back upon itself can be bulky.

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Puffing

Puffing is technically not a ruffle, but it is patterned the same way. Both edges of the ruffle length are gathered and sewn into opposing seams, adding a raised, puffy texture to the garment.

Pleated ruffle

The finished measurement of a pleated ruffle is achieved by folding out the fullness rather than gathering it. See the Pleats technique on page 89 for details on pleating.

Multiple ruffles set into spaced seams

Spacing measurements are key when setting ruffles into multiple seams. Take both the width of the finished ruffle and the space between ruffles into consideration when planning their location on a garment. Also consider that the ruffle will fall downward when placed in a horizontal or vertical seam.

Multiple ruffles stitched on a base layer

Rather than being inserted into a seam, the gathered edge of the ruffle is serged and zigzag stitched on top of a base fabric. The zigzag edge is hidden under the ruffle above it. Be sure to overlap the layers at least 1 in. (2.54 cm) so the stitching does not show when the ruffle moves. Stitching on top of a base layer eliminates the need for multiple pattern pieces and confusing seams. A densely woven fabric forms a stable base. If more support is needed, consider interfacing the base fabric.

Ruffles sewn to other ruffles

Ruffles do not have to hang freely. Another ruffle can be sewn to the edge opposite the gathers. Be sure to use a consistent fullness percentage for each layer. If the top layer is 2 times the seam measurement, the subsequent layer should be 2 times the measurement of the first layer, and so on. This is the formula for the classic peasant skirt.

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The shape of this ruffle follows the contour of the seamline. The fullness for the ruffle was added evenly throughout the pattern piece, rather than at one end, so the ruffle resumes the original contour after gathering.

Shaped Ruffles

Sewing the Ruffle

Ruffles do not have to be made using straight lengths of fabric. They can be shaped so they grow wider and narrower to mimic the shape of a contoured pattern piece. Fullness for the shapedwidth ruffle should be added in even increments throughout the pattern so the seam shape is maintained when the ruffle is gathered. Note that ruffles can also have a curved shape. Curved ruffles have more fabric fullness at the free edge than at the gathered seamline.

Ruffles can be created with gathers or pleating. The method depends on the desired finished look. Please refer to the Gathers technique on page 63 and the Pleats technique on page 89 for multiple ways draw up a ruffle’s fullness. You will want to finish the raw edge of the ruffle before sewing it into the garment. The undulations of the ruffle make it very difficult to hem after it is sewn. There are several ways to finish the edge, and each method affects how the ruffle will lie. An unfinished edge allows the ruffle to collapse into natural folds. An edge finished with

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a hem or binding will be buoyant and rolling. Consider the following edge finishes (see the Appendix on page 230 for sewing edge finishes): •• Natural finished edge. Ribbons and other trims have a prefinished edge, which is an advantage if the garment contains yards and yards of ruffles that are too time-consuming to hem. •• Raw edge or stitched and raw edge. Allow the material to fray naturally for a deconstructed look. •• Pinked edge. This method arrests fraying but allows the fabric to hang naturally. •• Serged or satin stitched hem. These stitches add body to the hem so the ruffles perk up. •• Roll hem or bound edge. These methods add extra weight to the hem. Ruffles will roll in large, rounded folds. •• Doubled ruffle placed on the fold. The doubled ruffle is buoyant and alert. The hem is placed on the fold to clean finish both sides of the ruffle. This is a good method to use if the back side of the fabric is evident, such as with rows of tightly

gathered ruffles. Use the doubled ruffle on light and medium weight fabrics. It is not suggested for heavy weight fabrics because it creates bulk at the seamline. The folded edge can be pressed flat or unpressed for a rounded look. Create a two-tone ruffle by seaming, rather than folding the hem edge.

The Ruffler What better way to make ruffles than with a device known as the ruffler! A ruffler attaches to your sewing machine like a presser foot but it has an additional arm that hooks over the needle clamp. The up and down motion of the needle drives the gathering action of the ruffler. The attachment creates the look of uniform gathers, which are actually evenly spaced pleats. A regulator spaces the pleat with every stitch, every sixth stitch or every twelfth stitch. An adjusting screw allows you to select the depth of the pleats. And, to save time, the ruffler foot can create the gather effect while simultaneously stitching the ruffle to a flat piece of fabric!

The ruffler makes quick work of gathering long strips of fabric. [EuToch/ Getty Images]

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RUFFLES IN CONTEXT: ALEXANDER MCQUEEN’S RUFFLED OSTENTATION Alexander McQueen (1969–2010) was known for extravagance. He was a British avant-garde designer who created an abundance of notable fashions. The “bumster” featured skirts and pants that revealed the lowest part of the spine. His controversial “Highland Rape” collection included garments made of scraps of fabric and torn lace. One of his most iconic designs was the 11 in. (30 cm) high “Armadillo” shoe, popularized by Lady Gaga. It created a seamless transition from leg to foot, thus elongating the leg. Ruffles, too, were a part of McQueen’s ostentatious design repertoire. And, when he employed ruffles, he did not do so sparingly! This is exemplified by his 2006 Autumn/Winter collection. Styles featured copious ruffling, which appeared to be applied without method or reason. Ruffles were stacked and layered. They cascaded down fronts of dresses and wound round torsos. They popped as ruffs and jabots at the neckline and floated freely on the hems of sleeves and skirts. Ruffles helped cement McQueen’s reputation as one of the industry’s most creative and prolific ­designers.

A ruffled silk dress from Alexander McQueen’s Autumn/Winter 2006 collection was shown in the “Savage Beauty” exhibition at the Victoria and Albert Museum in 2015. [LEON NEAL/AFP via Getty Images]

Ruffles in Practice Gathering should be evenly distributed throughout the ruffle, so apply the same fullness percentage to all pieces to be gathered. Notches are of prime importance in keeping the gathering consistent throughout. Place notches at center front, center back, and side seams, or at consistent intervals on irregular shaped pieces. Mark the corresponding increments on the gathered piece, and gather the ruffles so that notches match. The practice exercises include one pattern with the ruffles set into strategically placed seams and one pattern with ruffles stitched on top of a fabric base. Which process works best for you? A dramatic spiraling ruffle adorns the pull-up Ruffled Spiral Jumpsuit. To correspond with the inherent softness of the ruffle, all fit darts have been transformed into ease controlled with elastic above the bustline and at the waist. For additional comfort, choose a woven fabric with spandex, which provides stretch when moving and sitting. One ruffle rests above the bustline and another spirals from the waist around the left leg. The Free Form Ruffle Skirt features ruffles applied in an organic fashion. Stitching tiers on top of a base allows for dense rows of winding ruffles without the need for labor-intensive seams. Drawing the free form design and stitching lines on a tear-away stabilizer makes the application process even easier. Get creative with the materials used. Consider a mix of lace, satin, and decorative trims with prefinished edges.

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Ruffled Spiral Jumpsuit The Ruffled Spiral Jumpsuit begins with the BODICE and PANT BLOCK. A. To accommodate a jumpsuit fit, lower and extend outward the F and B crotch/inseam point ½ in. (1.27 cm) and raise the back crotch seam ½ in. (1.27 cm) at the waist seam. Blend the new point to the waist side seam. a. Delete the waistline dart markings from the bodice and pant. They are transformed into ease. b. At pant side seam F and B, draw a line straight up and slightly outward from hip to waist so the pant waist measurement is equal to the pant hip measurement. Taper the pant leg to the desired width from hip to hem. c. Add 2 in. (5.08 cm) to F and B bodice length for blouson. Extend the F and B bodice side seam width at waist to match the pant waist. Square a line up from the waist to the height of the armhole. Extend the armhole/sideseam point to meet the width of the new line. This will create the ease for the bustline elastic. d. On the F bodice, mark the bust style line 3 in. (7.62 cm) above the apex. Square a line from the mark to center front. Curve and blend the line from the mark, touching the armhole notch, to the new underarm/ sideseam point. On the B bodice, draw a slightly curved line from the new underarm/sideseam point to the center back. B. With the above changes to the block pant pattern in place, use both the left and right sides of the pant back to align the center back crotch seams so that they are parallel. Draw a diagonal line for the back ruffle placement from left waist/sideseam to right sideside at high hip. Separate the pieces. Join the separated upper left and right back pant pieces at CB. Place lower pant pieces back on straight grain. C. Select left F and B pant leg. Using the angle of the back pant at ruffle seam as a guide, draw three evenly spaced, diagonal lines on the front pant and two on the back pant. Ensure that the lines meet F and B at inseams and side seams. (See dotted horizontal lines.) Curve the back diagonal lines slightly, if

necessary, for an even flow from front to back. Separate shapes. D. Measure the spiraling seam around the waist and down the pant leg. Create a ruffle that is 2 ½ times this length and the desired width. Seam this ruffle pattern as needed to allow for the best fabric utilization. E. To finish the garment, measure the front and back bodice at bustline. Create a separate 1 ½ in. (3.81 cm) wide casing (includes seam allowance) for ½ in. (1.27 cm) elastic. Pattern a ruffle that is 2 ½ times the measurement and the desired width. Sew the gathered ruffle and the casing to the bodice (not shown).

Free Form Ruffle Skirt

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The Free Form Ruffle Skirt begins with the SKIRT BLOCK. A. Utilize both the left and right sides of the skirt pattern. Join the F and B at the side seam hiplines to create one continuous pattern, which will make it easy to apply rows of ruffles. When the front and back pattern pieces are joined at the hipline, a gap will form at the waist. Transition this space into waistline darts on the side seam line. (See orange dotted line.) Cut the pattern in a stable fabric such as broadcloth. B. Transfer all pattern markings to a tear away stabilizer/interfacing. Use one that will easily tear away in all directions. Draw in the ruffle

design on the stabilizer, marking changes in colors or materials. Note that left side and right side design lines should meet at the center back seam line and across dart intakes to form a consistent pattern when sewn. Carefully baste the tear away to the skirt fabric. Self-adhesive stabilizer and adhesive pattern spray are also available. C. Sew all darts. Create yards (meters) of evenly gathered ruffles from an assortment of trims with prefinished edges. After gathering, serge the ruffle at the gathered edge to compact the stitched edge. With a zigzag stitch, sew the ruffles to the fabric/stabilizer base according to the markings. Be careful to tuck each row at least ½ in. (1.27 cm) under the row above it. Fold back the ruffle edge and stop the ruffle application at the center back seam line to eliminate bulk in the seam and allow room to insert a zipper. Remove the tear away and finish the skirt waist with a facing or waistband. (Note the photo example includes a flared band seamed at the hemline, which is not included in this pattern description.)

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ECO OPTION: REMNANT MIX PEASANT SKIRT You do not have to purchase new fabric to create this skirt. Fabric remnants of similar weight are particularly suited to the peasant skirt, and the more eclectic, the better! The skirt is created by joining tiers of ruffles. The number of tiers and the width of each tier is up to you. Tiers can be pieced and seamed together to make the best use of your mix of remnant fabrics. Start with the finished skirt length. Divide the length by the number of desired tiers. To give balance to the lower tiers, reconfigure the width of the tiers so each tier is 1 in. (2.54 cm) longer than the tier above it. Add fullness by patterning each tier a minimum of 1 ½ times longer than the tier above it and gather. A foldover extension is added for

an elastic waist. This skirt has a slim fit from the waist to hip – no additional girth beyond what is provided for on the block has been added. For additional ease, add width to the hip measurement before starting the pattern. The Remnant Mix Peasant Skirt begins with the SKIRT BLOCK to make this 30 in. (76.2 cm) long skirt. A. On the front skirt, mark the skirt length at 30 in. (76.2 cm). Mark the length and width of each tier as follows: a. 1st tier = 6 in. (15.25 cm) long and the width of the skirt block. Add a 2 in. (5.08 cm) extension above the waistline to create the foldover casing for a 1 in. (2.54 cm) wide elastic.

b. 2nd tier = 7 in. (17.78 cm) long and 1 ½ times the width of tier 1. c. 3rd tier = 8 in. (20.32 cm) long and 1 ½ times the width of tier 2. d. 4th tier = 9 in. (22.86 cm) long and 1 ½ times the width of tier 3. B. Repeat on the back skirt. C. Mark CF, CB, and side seams on all tiers. Match notches when sewing to ensure gathering is evenly distributed. D. Add seam allowances, top and bottom, to each tier length. Split the width of the tiers as needed to accommodate the size of available remnant fabrics. Add seam allowances for each pattern split.

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Pleats

Do your fashions feature the crisp creases of a Japanese sensu fan and origami? Imagine using creative patterning to emulate the texture of striated seashells! Do you find inspiration in the knife edges and accordion folds of ordinary objects like Venetian blinds and crimped lampshades? Explore the Pleats technique for limitless ways to incorporate fabric folds into your designs.

[Christina Smith/FOAP/Getty Images]

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A pleat is a type of fold formed by doubling fabric back upon itself and securing it with stitching. Pleats are used in fashion to control or add fullness as they add style. They can be crisp and pressed or soft and rolling. They are versatile and used in combination with nearly every pattern piece including bodices, sleeves, skirts, pants, collars and pockets. Where will you place pleats in your designs?

Pleating Terminology There are many kinds of pleats and specific terminology is associated with each one. For efficient communication between the designer, pattern drafter, and other members of the design team, be sure to use the appropriate terminology. Definitions include:

A: Mountain fold; B: Valley fold; C: Pick up (or intake); D. Pleat depth.

•• Kick pleat: A single pleat placed in the back of a slim skirt, jacket, or coat to allow freedom of movement. •• Mountain: Raised area of the pleat fold. •• Pick up: Amount of fabric inside a pleat. Also known as the intake. •• Pleat depth: Width of pleat on the face. •• Pressed pleat: Pleat which has been pressed the entire length of the piece. •• Thermoplastic fiber: Synthetic fiber, such as polyester, which can be heat-set into permanent pleats. •• Unpressed pleat: Pleats that are not pressed into crisp folds. •• Valley: Recessed area of a pleat.

Systematic Pleating Most any fabric can be pleated, but not all fabrics can hold a permanent crease. A characteristic of pleating is that it must be heat set to maintain a crease. Heat setting fixes the pleat so it can be wetted, worn, and laundered. Natural fibers (in their normal state), such as wool and cotton, are not able to hold a permanent crease. Thermoplastic fibers, such as polyester and nylon, can be molded into shape with heat, so they are good candidates for pleating. There are three main methods of folding fabric to create pleating: accordion, knife, and box. All other uniform pleating are variations and combinations of these folding methods. The mountains and valleys on accordion folds are centered, and the mountains stand upright away from the base. The mountains on knife folds are pressed to one side with the valleys tucked under the pleat width. A box fold looks like a mirrored pair of knife pleats. The mountains move apart and the valleys come together.

A: Accordion fold; B: Knife fold; C: Box fold.

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Pleating Variations

PLEATING VARIATIONS

Pattern

Garment

Accordion pleating: a narrow permanent fold done by a commercial pleater. The symmetrical pleat forms a threedimensional zigzag pattern.

Box pleating: Formed from two knife pleats facing away from each other, creating a wide vertical pleat in the center.

Crystal pleating: A compact pleat, usually no larger than 1/8 in (3.17 mm) done at a commercial pleater. The narrow pleats makes it an excellent candidate for lettuce edging, which creates a fluted effect when the fabric is hemmed after pleating.

Inverted pleating: The reverse of a box pleat. The fabric is folded inward, rather than outward as a box pleat.

Knife pleating: Directional and pressed to one side. Variations of knife pleating come from how the pleats are spaced or pressed.

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Sunburst pleating: A type of accordion pleat that graduates in size from narrow to wide. It is an excellent choice for circular pattern pieces because the pleat grows in unison with the shape of the circle.

The pleats on this capelet increase in size toward the hem. To pattern, identify the pleat paths. Pivot the shoulder dart to a pleat path and delete the markings for the waistline dart. Slash the pattern on the paths, adding graduated fullness toward the hem edge. Fold the pleats and trace the neckline contour to reveal the shape of the pick up at the neckline.

The Pick Up

Patterning Pleats

A pleat can be shallow or deep depending on the amount of volume you want. For general purposes, create a pick up that is double the pleat depth. Pleating with a pick up that is double the pleat depth will fold back completely under the pleat and meet the pleat behind it. This fills in any void under the pleat. Double pick up creates a 2:1 ratio, which adds generous fullness to most patterns. A more than double pick up will overlap the previous pleat, which creates extra thickness and bulk. However, more fullness may be desired with thin, sheer fabrics or when recreating historical garments. Look to Elizabethan times to find folds stacked three, even four pleats deep! Pick up that is less than a 2:1 ratio may be suitable for heavy fabrics, but pleats that are too shallow will not stay tucked under the pleat depth and will spring out from the fold.

Pleats can be “allover” or “placed.” Allover pleating covers the entire garment. Folds are stitched in a seam at one edge of the pattern, and they remain intact to the opposite edge where they hang freely or are stitched into an opposing seam. Many school uniforms feature a skirt with allover pleating. Placed pleating is located in a specific spot on the perimeter of a pattern. The four-word patterning guideline— path, slash, fold, trace—will help you achieve successful pleats every time. 1. Path: Determine the path you want the pleats to take as they emerge from the seam. Will they be perpendicular to the seamline, perpendicular to the floor, angled? 2. Slash: Cut on the path to the opposing edge of the pattern. Open the slash and insert the desired pick up amount. 3. Fold: Crease the pattern on the mountain lines in the direction of the pleat and fold the pattern back to its original position. 4. Trace: Use a spoked tracing wheel to trace the perimeter of the pattern over the folds. Unfold the pattern and follow the trace marks to reveal the contour of the pick up.

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Pleats as Dart Equivalents

Hem First!

Darts enable fabric to smooth over the contours of the body. They are wide at the seamline and finish in a point within the pattern shape. Pleats can be used as equivalents of darts. They take up the fullness at the dart width and, rather than coming to a point, they release smoothly over the body’s convex curves. Many times, dart equivalents are camouflaged within a group of pleats. Fullness in addition to what the dart provides is added to the pattern by slashing it and spreading it open.

Carefully plan the finished length of your design so you can hem the patterned pieces before they are pleated. Stitching the hem first will ensure that the crisp line of the pleat will carry all the way to the hem. A simple turned up hem with a width of 1–2 in. (2.54–5.08 cm) is suggested. Smaller hems, such as roll hems, do not press completely flat, causing the pleat to pop open. A lettuce hem is an exception to the hem first rule. Hemming with a satin stitch after pleating creates an attractive rippled effect that looks like the edge of a lettuce leaf. Lettuce edging is a great way to hem crystal pleating.

A: Draft three pleat paths. Redirect the skirt darts to the paths. Add fullness to the two dart paths and create a third pleat. B: Draft the yoke neckline and separate it from the bodice. Space pleat paths evenly on the neckline and mark. Pivot the waistline and shoulder darts to the pleat paths. Create additional pleats by spreading the pattern open on the paths. Note the pleat paths for the bust darts are shifted from the apex but near enough, within 1 in. (2.54 cm), to retain the original fit.

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Designer Eileen Moreno experiments with origamilike folding to add detail and interest to a streamlined silhouette.

Origami Folding Origami is the Japanese art of paper folding. Traditionalists assert that the challenge comes from creating a sculpture from a single sheet of paper using no glue or cuts. Since beginning origami folds are the same kinds of folds that create pleats, origami presents inspiration for fashion designers as well. A crisp fabric, such as taffeta, will form a sharp crease. Consider interfacing softer fabrics so they will hold a three dimensional shape. Begin folding with a square or rectangle and make cuts only when necessary to form the shape. Fashionable origami-type folds are found on hats, handbags, skirts, shirts, allover designs, and trim details.

Organic-style Pleating Not all pleating is uniformly folded in a predictable sequence. Some processes produce a more organic appearance. Much of this type of pleating is formed by hand, so it appears natural. In the early 1900s, Mariano Fortuny pioneered a pleating process that produced compact, somewhat irregular, pleats on silk fabric. The pleats were handstitched in soft rows by a proprietary process that is still not completely understood. The garments were returned to the couturier periodically so the pleating could be refreshed. Mushroom pleating is similar to Fortuny pleating in that it contains areas of tighter and looser pleating. Broomstick pleating is a handcrafted technique, which produces soft random folds when fabric is wetted and twisted. The traditional practice of shibori uses a type of free form pleating to create certain dyeing effects. Itajime shibori is created by sandwiching accordion

pleats between two solid objects. The fabric is then dyed, resulting in a striped effect.

You Can Make Your Own Pleater Board Most garment manufacturers do not do allover pleating in house. They send fabric to companies that have dedicated pleating equipment. But, you can make your own pressed pleats with a pleater board. A pleater board is comprised of a series of evenly spaced louvers. Fabric is tucked into the louvers and steam pressed into position. Follow the steps to make your own pleater board for 1 in. (2.54 cm) pleating. Note that 3 in. (7.62 cm) of fabric are needed for a single 1 in. (2.54 cm) pleat. You will need a large sheet of heavy card stock or manila paper, metal ruler, blade, muslin, and strong spray glue. 1. Cut a manila sheet the length of the desired pleating × 45 in. (114 cm) wide. 2. Pencil mark the top and bottom of the sheet every 1 in. (2.54 cm) 3. Using a sharp blade, score the manila lengthwise in a repeating pattern. In inches: 1, 1, 2, 1, 1, 2 . . . (in centimeters: 2.54, 2.54, 5.08, 2.54, 2.54, 5.08 . . .). Apply a light touch. Do not cut through the paper. 4. Fold the paper on the first 1 in. (2.54 cm) line, to create a mountain. Fold the paper on the second 1 in. (2.54 cm) line to form the valley. Meet the mountain fold to the next mark. Repeat until the entire sheet is folded. Press in place using an iron on light setting. 5. Turn the sheet over. Cut a piece of muslin the size of the folded paper. Using a strong spray glue, as directed on the can, affix the muslin to the folded paper.

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6. To form the fabric pleats, tuck fabric into each of the louvers. Use a metal ruler to pack the fabric tightly and evenly into each louver. Press while in place.

PLEATS IN CONTEXT: MIYAKE’S PLEATS PLEASE Issey Miyake is known for cutting-edge technology. In 1993, he patented a pleating process that upended traditional cut, sew, then pleat practices. The Pleats Please concept features basic silhouettes that are cut and sewn first. The pieces, initially created three times their final size, are then pleated. The process transforms an over-sized formless shape of material into an animated fashion that moves with the body. The knife-edge pleated fabric is made of polyester jersey and is machine washable. Pleats Please fashions are “light, ageless, trans-seasonal, and ambisexual.” They are cross-cultural and defy “East” and “West” labeling (Blanchard 2016). The vibrant pleats allow freedom of movement and give definition to an otherwise simple shape.

The pleater board will create crisp, even folds on this striped fabric. Issey Miyake’s Minaret dress from Spring/Summer 1995 is cut from simple shapes, sewn, and then pleated. [Bloomsbury Photography Archive]

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Pleats in Practice The iron is an important tool when pleating. For crisp pleats, use the hottest temperature that the fabric will allow. Use caution, though. Carefully align the pleats before pressing. Once a pleat is set, it might not be possible to remove the crease. Use a press cloth if the hot iron causes a shine on the fabric. A press cloth is a plain fabric, such as muslin, used as a barrier between the iron and the garment fabric. Iron in an up and down, rather than side to side motion. Allow the fabric to cool before moving it off the board. Experiment pleating on various fabrics. Which material works best for you? The Classic Pleated Skirt features allover knife pleats stitched from the waist to the hip line. The pleats serve as dart equivalents so are shaped to fit the waist and hip measurements. An invisible zipper is hidden under the pleat, so the pleats travel around the skirt uninterrupted. If possible, cut the fabric panel on the crosswise grain for a single seam skirt. If the skirt is placed on the lengthwise grain, split the panels in the middle of a pleat pick up to hide the seam. The Pleat Paths Pant makes use of paths to target pleating to a specific area. The pant is inspired by the jodhpur. The jodhpur, originating in India, is traditionally worn for horseback riding. Early versions of the pant were very full through the hip to provide comfort while riding. Contemporary styles are made from stretch fabric so have a slimmer silhouette. Designers, including Coco Chanel and Ralph Lauren, have featured versions of jodhpurs in their collections.

Classic Pleated Skirt The Classic Pleated Skirt begins with the SKIRT BLOCK measurements and pleating formulas. Pattern Measurement: This is the width and length of the actual fabric needed for a ratio of 2:1 fullness. Fabric width measure = hipline measure + 2 × hip measure + seam allowance Skirt length = skirt length + waistline seam allowance + hem allowance Number of Pleats: You decide how wide or narrow you want the pleats to be.

Amount to subtract from pleat depth to fit waistline (C): Since the skirt is fitted throughout the waist and hip, subtract the difference between the waistline and hip measurement from the waistline pleat depths.

Example: The example is for a 30 in. (76.2 cm) waistline and 40 in. (101.6 cm) hip measurement. •• Fabric width: 121 = 40 in. (101.6 cm) + 80 in. (203.2 cm) + ½ + ½ in. (1.27 + 1.27 cm) •• Number of pleats: 20 = 40 in. (101.6 cm) ÷ 2 in. (5.08 cm) •• Subtract from pleat depth to fit waist: 0.5 in. (1.27 cm) = 10 in. (25.4 cm) ÷ 20

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seams and the zipper inside the pleat. Subtract from the pleat depth at waist according to the formula so the pleat will shape to fit the waist. D. Draft a fold over waistband from the waistline measurement. Add one-half of a pleat pick up to the back waistband. Set an invisible zipper into the skirt seam and finish the waistband with a button.

Pleat Paths Pant The Pleat Paths Pant begins with the PANT BLOCK. Pattern the skirt: A and B. Note the finished hipline and waistline measurements. Use the formulas to get the number of pleats, pleat depth (A), and pleat pick up (B) measurements. C. Draft the markings on paper, beginning and ending with one-half of the pleat pick up and then seam allowance. This will place the

A. On the front pant, determine the yoke line and the paths for the pleats. If needed, shorten the darts to the new yoke line. B. Separate the yoke from the pant. Fold out the dart intake and place the yoke on the fold. Use the path, slash, fold, and trace guideline to add the pick up and create the pleats. (See ‘Patterning Pleats’ on page 92.) If desired, repeat the pleating on the back and set a side seam zipper.

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Eco Option: Ribbon Pleated Skirt This fun and flirty skirt is made from leftover and remnant ribbons sewn onto a lace base fabric. An eclectic assortment of widths and patterns adds visual appeal. The ribbons sit side by side at the waistline, but, unlike the stitched pleats on the Classic Pleated Skirt, the pleats are allowed to open gently over the hips. To lend a generous quality to the thin, sheer lace, a wide, 4 in. (10.16 cm) pick up is used. The skirt length is cut on the crosswise grain of the lace. Split the fabric down the center and seam the pieces together to make use of the scalloped edge lace selvage as a hem finish on the skirt. There is little to no fabric waste on a

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42 in. (106.6 cm) wide fabric if the skirt is about 20 in. (50.8 cm) long. The Ribbon Pleated Skirt begins with the BLOCK SKIRT WAIST MEASUREMENT. A. Determine the length of the skirt. Add ½ in. (1.27 cm) for seam allowance. If you use the scallop edge of the lace as a hem finish, no hem allowance is needed. B. Lay ribbons of varying widths side by side to reach the waist measurement. Count the number of pleats that will fall between the ribbons. C. Multiple the number of pleats × 4 in. (10.16 cm) for the pick up. Add this measurement to

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the waistline measurement to get the total width measurement needed. D. For ribbon length, add a ½ in. (1.27 cm) seam allowance for the waist and a 1 in. (2.54 cm) hem allowance. Cut the ribbons to the length. E. Begin with the seam allowance and one-half (2 in. [5.08

cm]) of the pleat pick of lace, then begin alternating ribbon and pick up until the waistline measurement is met. End the with one-half of the pick up and seam allowance in lace. F. Sew the lace seam, which will be inside the pleat pick up, leaving a 6 in. (15.24 cm) slit as the skirt opening.

G. Draft a fold over waistband. Extend the back waistband one-half of a pick up measurement to meet the slit opening inside the pick up. Finish the waistband with trim.

 

8

Tucks

Rhythms like the pulse of a heart, the beat of a drum, and the tick of a clock can spring an inspiration to life! Do you find potential in louvered shutters, pangolin scales, fencerows, and railroad tracks? If they conjure images of furrowed silks, grooved wools, and channeled linens, then consider the Tucks technique for your next collection.

[Mitch Diamond/Photodisc/Getty Images]

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Tucks are folds of fabric that have been stitched in place. They are usually straight and narrow and give the illusion of length. They are most often presented in multiple rows, adding texture to plain fabric and definition to an otherwise streamlined silhouette. All tucks are fashioned the same way. Fabric is folded and secured with a stitch that runs parallel to the fold. Even so, a large number of variations are possible making tucking a favorite method for adding surface interest to a garment.

Tucking Variations Tucks are modified in one of two ways: by changing the width of the tuck or the spacing between the tucks. Tuck variations include the following: •• Pintuck: This is a very narrow tuck. Pintuck stitching is 1/8 in. (3.17 mm) or less from the folded edge resulting in a delicate embellishment.

Sewn tucking variations: 1) Pintucks; 2) Spaced tuck; 3) Blind tuck; 4) Graduated tuck. Patterning tucks A–D: The pattern is slashed on the stitching line and excess fabric is added. When sewn, the tuck excess is folded to one side. This can create the illusion that the pattern is off-center. Depending on the desired look, the stitching line may have to be adjusted to create a centered design.

•• Spaced tuck: Even or uneven spacing is placed between the tucks. •• Blind tuck: The fold of the blind tuck covers the stitching of the tuck next to it. There is no spacing between blind tucks. •• Graduated tuck: Tucks increase in width or spacing throughout the area. •• Dart tuck: As its name suggests, the dart tuck is a combination of a dart and a tuck. Begin with the wide part of a dart, but stop sewing midway so the excess fabric is released from the dart stitching. Dart tucks are often used on the torso where they provide fit through the waist and ease for the bust or hips. •• Cartridge pleats. While technically in a category of their own, cartridge pleats look like very small tucks. When made with stitches close together, they resemble gathering. This unique stitching technique, common in the mid-nineteenth century, creates a small roll of fabric. To make the stitch, run two rows of evenly spaced basting the width of the piece. Pull the threads and tack the resulting folds in place.

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The dart tuck releases to provide extra fullness. The dart tucks shown began as darts from the block pattern, but you can place dart tucks anywhere you want fit and flare styling.

This mid-1840s dress features very fine dressmaking details. The tightly fitted sleeve is tucked at the inner elbow to provide movement. Very fine cartridge pleating draws up yards of fabric at the waistline.  [Album/Alamy Stock Photo]

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The two patterns show the curved edge of the neckline before and after tuck fullness was added. When the tucks are folded and sewn in fabric, the intake follows the contour of the curve. The tucks on both patterns fold away from the center. If the tucks folded toward the center, the contour pattern edge would be different than shown.

Patterning Tucks

Embellished Tucks

Tucks are created by adding a space, or gap, at specified locations on the pattern. The space, called the pickup, is pinched together and stitched, returning the pattern to its original size. Place tucks on the straight grain of the fabric so they do not stretch or twist. Tapered tucks and random tucks do not follow the grainline, so select a stable fabric and take extra care in sewing those versions. When adding tucks to pattern pieces with curved edges, such as a neckline, sleeve cap, or armhole, the pickup of the tuck must follow the curve of the pattern piece. This ensures that the tuck lies flat and the cut edge is included into the seam. First, create the pattern with the tucking allowance. Then, carefully fold the tuck in the direction it will lie on the garment. Use a spoked tracing wheel to trace the curve and create indentations of the curve on the folded pattern. Unfold the pattern to discover the correct outline of the tuck intake. The shaped edge of the tuck pickup is created automatically when drafting with patternmaking software.

Embellish your tucks by altering their path or adding stitching to the folded edge. This breaks their uniform appearance and adds your creative flare to the technique. (see page 105, opposite). Consider these variations of the straight-stitched tuck: A. Released tuck: These tucks are not sewn the length of the fabric. They stop short of the hem and release their fullness for a softer finish. B. Pinched tuck: Pinch alternate rows of closely spaced tucks together with an evenly spaced handstitch. C. Reverse tuck: This tuck is stitched the traditional way, but the excess material in the tuck faces the inside of the garment. These tucks look like seams on the right side of the garment. D. Cross-stitched pintucks: Pintuck an area, then pintuck again with rows perpendicular to the first rows. Experiment with a cross-stitched pintuck design using curved lines. E. Wave tucks: Create waves of tucks by stitching the pick up down in alternating directions. Stitch a field of tucks the length of the fabric. Divide the length into even sections and mark. Press the tucks to the left and stitch perpendicular to the tucks at the first interval. Press the tucks to the right and stitch across at the second interval. Continue the pattern the length of the tuck creating a back and forth waved design.

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There are multiple ways to put a professional finish on your tucks.

Sewn Edge Tucks Tucks have a reputation for being rigid and uniform, but they have their playful side. The edge of the tuck can be stitched, which allows curved, irregular, and asymmetrical lines to take shape. Seam the tuck edge, rather than fold it, to create angled, pointed, and rounded edges. For a seamed treatment, tucks are first stitched

with right sides together, then turned right side out and inserted onto the garment individually, either in a seam or under another tuck (A). For curved edges, create the tuck edge as normal, but use a satin stitch to sew in the curved edge (B). Prepare and stitch each tuck individually and layer them as a grouping to achieve the design.

A: Create an individual tuck the desired size, folded in half lengthwise with right sides together. Draw in the desired design, add seam allowances, sew, clip corners, and turn out to the right side. Press. Apply to the garment either in a seam or under an existing tuck. B: Draft individual tucks so there is room to sew off the folded edge in the desired shape. Create the shape using a satin stitch. C: Layer each tuck in a design sequence and insert them into the garment as a group.

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TUCKS IN CONTEXT: CHANEL’S SURFACE DESIGNS Karl Lagerfeld was the creative director for Chanel until his death in 2019. He reinvigorated the label with exquisite detailing and fresh interpretations of couture workmanship and surface design techniques. Surface design is artisanship used to alter a fabric’s natural facade. Tucking is a surface design technique, and it was seen in abundance in Lagerfeld’s collection for Chanel in 2008. Reverse tucks, or tucks shown with the tucked side facing inward,

created corset-like waistlines on dresses and jackets. Sleeves were encircled with vertical tucks, which opened upward at the cap. A shimmering dress featured rows and rows of diagonal tucks, which were fitted through the torso but released to accommodate the bustline. Embroidery, applique, cartridge pleating, tucking, and all manner of surface design gave texture and volume to the collection’s traditional grey suiting and satins.

Variations of tucking were featured in Chanel’s 2008 Autumn/Winter couture collection. [Left: Michel Dufour/Contributor/ Getty Images; Right: Stephane Cardinale – Corbis Contributor/Getty Images]

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Tucks in Practice All tucks require straight and even patterning and sewing. Taking time at the beginning to carefully measure and mark your pattern and fabric will yield professional results. This starts with the proper tools. Use a clear 2 in. × 18 in. (5.08 cm × 45.72 cm) ruler to draft the tucks on your pattern. The transparent measure allows you to check horizontal and vertical lines concurrently. Tailor’s chalk, disappearing ink pens, and a needle and thread are reliable ways to mark tuck lines on fabric. Do no use a tracing wheel and tracing paper. The paper has a tendency to shift when marking long lines, and some tracing powder is difficult to remove from fabric. A magnetic guide placed on the sewing machine’s throat plate will facilitate straight sewing. Complete the pattern exercises and then use tucking to embellish your designs. The fit and flare silhouette of the Release-tuck Smock Dress comes from the tucking detail. The bodice area is fitted with a bust dart hidden under the last tuck. The tucks, released just above the waistline, provide a roomy fit through the hipline. The dress has a tab front for a button opening and the neckline and armholes are finished with binding the width of the tucks. Add flourish with cording detail zigzag stitched on top of the tucks to hold the folds in place. While patterning tucks using computer software is fast and easy, drafting tucks with a paper and pencil can be time consuming, requiring exact lines and measures that follow the shape of the pattern piece. Bypass this patterning step by tucking a square of fabric first and cutting your pattern from the pretucked square. Create a tucked version of a Sleeve for the Smocked Dress. Draft your sleeve pattern, center it on the pretucked fabric, and cut out the shape. Consider vertical, horizontal, and released tucks for the sleeve design.

Release-tuck Smock Dress The Release-tuck Smock Dress begins with the BODICE and SKIRT BLOCK. A. Join the front bodice and skirt at the waistline. Delete the waistline dart markings. Identify the level in the midriff area where the tuck stitching will be released and mark. Draft a new side seam below the midriff line by smoothing the line at the waist, skimming

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over the hip, and flaring a slightly at the hem. Repeat on the back. a. On the front, pivot the shoulder/bust dart so the dart leg closest to center is parallel to the center front. b. On back, subtract the shoulder dart measurement from the armhole edge, and delete the dart markings.

c. Draft the desired neckline d. Remove ½ in. (1.27 cm) from the center front to allow for a 1 in. (2.54 cm) button tab. B. On the front, determine the placement for the tucks by measuring the width between the front cut line and the shoulder dart. Draft lines for a grouping of ½ in. (1.27 cm) tucks so

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that the last tuck will cover the shoulder dart line when folded and pressed to the side. The tucks should face away from the center when folded. Repeat the lines on the back. C. Cut open the F and B pattern to add a tuck intake of 1 ¼ in. (3.17 cm) per tuck. This measurement creates about a 1/8 in. (3.17 mm) overlap on each tuck, which will hide the tuck stitching under the row above it. Fold the tucks in place and use a tracing wheel to copy the neckline shape onto the tuck pickup. (Note: to sew the center back tuck, stitch the left and right side together as one large tuck on the center back line. Press so the fold line remains in the center on top. This will form a pleat double the width of one tuck.)

A

Tucking Options for Sleeves of the Smock Dress Tucking Options for the Sleeve begin with the SLEEVE BLOCK. Rather than finish the smock dress armhole with bias binding, consider adding a sleeve with tucking embellishment. Pretuck a square of fabric with the desired tucking. Cut the sleeve pattern from the pretucked block.

D

B

A: Shortened sleeve block B: Fabric with presewn vertical tucks C: Fabric with presewn horizontal tucks D: Fabric with presewn released tucks.

D. Create the fold over button tab 2 in. (5.08 cm) wide × the length of the dress and add seam allowance. Cut bias to create binding to finish the neckline and sleeves 1 ¾ in (4.44 cm) wide, which includes seam allowance.

C

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Eco Option: Eclectic Tucking Mix with Selvages Selvages are usually the first thing we cut away and discard from the fabrics we use. But, they can be salvaged to make one-of-a-kind pattern mixes on our garments. Selvages (also selvedges) are the tightly interlaced edges found on all woven fabrics. This readymade finish makes them ideal for layering in an eclectic mix of tucking. Be sure to incorporate the selvages with lettering and slightly frayed edges to add interest and texture to the assortment. The tucks in the example are inserted in the center back of a

denim jacket, but you could place tucks on shoulder yokes, pockets, or anywhere you want to add texture. A. This example assumes your selvages are 1 in. (2.54 cm) wide. Determine the location for the tucking on a denim jacket. B. Cut away the area from the garment that will have the tucking, keeping a 1 in. (2.54 cm) seam allowance all around. Fold the seam allowance to the inside of the garment leaving a neat,

uniform opening. Clip when necessary so the seam allowance lies flat to the inside. C. Cut a strip of muslin the width of the opening plus 2 in. (5.08 cm) by 3 times the length of the opening plus 2 in. (5.08 cm). D. Place marks on the long edge of the muslin piece at 1 in. (2.54 cm) intervals. Beginning 1 in. (2.54 cm) from the top edge, place a selvage and stitch it to the muslin across its upper edge. Continue stitching strips of selvages to

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the muslin inset every 3 in. (7.62 cm). E. To create the tuck, bring the 1 in. (2.54 cm) mark below the lower edge of the selvage up

behind the selvage so it meets the stitched line. Stitch across completing the tuck. Repeat on the entire piece so the selvages line up in tucked rows.

F. Place the new denim opening on top of the tucked piece. Pin, adjust, then topstitch it in place. Trim the excess from the inside of the garment.

 

9

Arcs

Circular, whole and harmonious. Curved, gentle and sensual. How do you describe your designs? Are they inspired by O’Keeffe’s abstract florals, Van Gogh’s Sunflowers, and Warhol’s flowers? If Saturn’s rings, arced rainbows, rounded cupolas, and nautilus shells provide themes for your collections, allow the Arcs technique to bring your looks full circle.

[Xefstock/E+/Getty Images]

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An arc refers to any part of the circumference of a circle. Circular shapes intensify volume, allowing fabric to fall in generous folds. Complete circles add fullness to soft fabrics. Quarter and half circles add flare without adding bulk at the seam line. The arced pattern piece will have an inner edge and outer edge. The inner edge is sewn in a seam and the outer edge usually falls freely in folds.

Geometry of a Circle It is beneficial to understand the geometry of a circle. The center is the point from which all points on the circle are equidistant. The diameter is a straight line that passes through the center of a circle with endpoints that rest on the circle. The radius is equal to one-half of the diameter. A circle consists of 360° and angles within a circle range from 0° to 360°. Arced pattern pieces can be made using any angle but often increments of a quarter circle are used: 360° = full circle, 270° = three quarter circle, 180° = half circle, and 90° = one quarter circle. Determine the size of circle needed for your design using the following formula:

For example, the radius is 2 ¼ in. (5.72 cm) for a circle sewn in a seam measuring 14 in. (35.56 cm) and the radius is 4 in. (10.2 cm) for a circle sewn into a seam measuring 25 in. (63.5 cm). When patterning arcs you will want to know 1) the seam measurement, 2) the amount of flare desired, and 3) the width of the fabric you are using. The seam measurement is the length of the seam where the arc is sewn into the garment. Desired fullness determines whether to use a full circle or some portion of a circle as shown in the figure on the right. Full circular pattern shapes are often too large to fit on the fabric width so seams that split the pattern in strategic places may be needed.

Parts of a circle: C (black): Circumference or outer edge: I (yellow): Inner edge: O (black): Center of circle: r (blue): Radius; and d (Orange): Diameter. When working with a fraction of a circle, the inner circle and outer circle grow outward to maintain the original seam measurement.

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Create the Arc Once the radius is known, there are many ways to create the inner circle, as shown in the figure on p. 116. When working with a complete circle, always account for seam allowance when cutting into the shape to gain access to the inner circle. Allow ½ in. (1.27 cm) for seam allowance on either side of the split. This means that the inner circle measurement will be 1 in. (2.54 cm) longer than the seam measurement.

A: The full circle pattern does not fit on the width of the fabric. B–D: Splitting the pattern in strategic places better utilizes the fabric. Always remember to add seam allowances when you split a pattern.

A. A compass works great when the radius is 8 in. (20.32 cm) or less. Place the point of the compass on center and the pencil at the radius measurement. B. You can also use the Slash and Spread patterning technique to create the circle. Draw a rectangular shape on paper with the length equal to the desired length of the piece and the width equal to the measurement of the inner, sewn edge of the arc. Divide the seam measurement into eighths and mark down the length of the piece. Cut each of the division lines but stop just short of cutting through one end. At the opposite end, spread each section open evenly until the shape’s outer edges meet to form the circle. C. A quick and easy way to draw a circle on paper or fabric is to fold the material into quarters. Measure from center and mark the radius at the folds and points in between. Draw a curve blending between the marks. On paper, use a serrated tracing wheel to trace the curve through all thicknesses. On fabric, cut on the curved line through all thicknesses to reveal the circle. Always add seam allowance before cutting directly on fabric. D. To draw a circle that is larger than a compass allows, a thumbtack, string, and pencil works well. Insert the thumbtack into the center of the circle. Measure the radius from the center of the circle and mark it. Tie the string around the thumbtack and pencil so that the pencil point draws at the radius distance. Move the pencil around the thumbtack to draw the circle.

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There are many ways to create a circle.

Consider Grainline

Style Variations

When a circular shape is cut from fabric, the shape will have areas on the lengthwise, crosswise, and bias grains. Areas on the straight grain will hold while areas on the bias will give and grow in measurement. To account for stretch in bias areas, pattern the inner curve shorter than the seam measurement. Compensate less for stable fabrics, such as gabardine and chambray, and more for fluid fabrics, such as rayon challis and jersey knits. For stable fabric, subtract approximately 3/8 in. (9.52 mm) for every 10 in. (25.4 cm) of seam measurement length. Pulling a circular shape taut at the seam line will help the draped fabric fall in consistent, robust folds at the hem. Bias areas of a circular piece will grow in length too. Before hemming, allow the fabric structure to relax by hanging the garment for twenty-four to forty-eight hours. Then, measure to the desired length all around, trim the excess fabric to even the hemline, and finish the hem.

The Arcs technique is a remarkably flexible design tool. Consider the style variations in the figure on page 117: A. Layer two or more full circles on top of one another. Alternate fabric colors and layer lengths. B. Lengthen or shorten portions of the circle to create high-low and undulating hemlines. C. Seam full circles together to create ­extraordinary fullness. This works well for thin and sheer fabrics such as chiffon and georgette. When using two circles, each inner circle should measure one-half the total seam measurement. D. Create a blouson by gathering and seaming the outer hem edge to a fitted underpanel. E. Create a tubular effect by seaming the outer edges of two arcs together. Differently sized partial circles can be seamed at the outer

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Variations of the circle provide many design options.

edge as long as they are the same measurement at the seam line. F. Seam or applique flat circles to an existing pattern piece to add surface interest. G. Add pleats or gathers to the inner circle for additional fullness at the seam line.

Hemming Arcs A circular pattern piece grows in size as it emanates toward the hemline. The circumference at the cut edge of a hem is greater than the area it folds up to meet, so a wide hem is bulky and hard to stitch flat. To avoid puckers at the hemline, use a narrow hem on circular pieces. For a smooth finish, serge the hemline, fold up a ¼ in. (6.35 mm) hem allowance, and stitch close to the edge. Sometimes the design requires additional body at the hemline. Horsehair braid is a type of netting that adds firmness to the flare. Historically, this braid was made of actual hair from horses’ manes. Today, the braid is made of polyester or nylon and comes in a variety of widths and colors. It includes a unique feature that makes it especially useful for circular hems. It has an extra thread on one edge that, when

pulled, shapes to the curved piece. (Note that some brands of narrower braids do not have this extra thread but they contain enough stretch to mold to a curved pattern piece.) To insert horsehair braid into a circular hem, place the edge without the extra gathering thread on the right side of the fabric even with the cut hem edge. Stitch at ¼ in. (6.35 mm). Fold in a ¼ in. (6.35 mm) fabric hem and the braid to the wrong side. Pull the extra thread on the braid so that the hem and braid lie flat. Finish with the desired hemstitch.

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ARCS IN CONTEXT: 1950s FASHION Since an arc adds volume, it is employed when a full silhouette is in fashion. During the Second World War (1939–45), fabric resources were diverted toward war efforts and fabric for the consumer was in short supply. The War Production Board monitored the amount of textiles used. Skirt lengths and widths were restricted and fabric embellishments, such as pleats and ruffles, were prohibited. When wartime fabric restrictions were lifted, there was a huge swing (figurative and literal!) in fashion. After years of rationing, consumers were ready for styling that made generous use of fabric. Christian Dior’s New Look exemplified new prosperity and ushered in an era of full skirts contrasted with narrow waists. This hourglass look continued into the 1950s with swing and shirtwaist dresses. One of the most iconic fashions of the 1950s was the poodle skirt. The skirt was most often cut from a full circle of wool felt. Popular with home sewers, it was easy to make and featured embroidery customized by the seamstress.

Arcs in Practice Fabric plays an important role when patterning with arcs. Circular shapes consume a generous amount of material, so cost must be considered. Alternatively, the volume created by circular shapes lends a luxurious quality to inexpensive fabrics. Whichever fabrics you use, indulge in circular shapes for your collections. Designers often pair circular pattern shapes with pattern pieces that fit close to the body. The contrast between flare and fitted accentuates both aspects. The fitted waistline of the Skirt with Yoke complements the fullness at the hem. A full circle is used to create the lower skirt. The overlap of the front wrap is incorporated into the circle of the pattern. One of the most enduring fashion items is the cape. In the Middle Ages and into the Victorian era, monks wore hooded capes of subdued hues and peasants wore ruff-hewn capes to ward off inclement weather. Royalty wore velvet capes trimmed in ermine to express their high station in society. What other article of clothing can aptly express both the humanity of Batman and Superman and the ruthlessness of Darth Vader, the villain of the Star Wars movies? This one-sizefits-most Enduring Cape is finished with binding all around. Add an optional bright lining for contrast.

Skirt with Yoke The Skirt with Yoke begins with the SKIRT BLOCK.

Russian fashion designer Vyacheslav Zaitsev’s 2004 pret-a-porter collection was inspired by the full skirts of the 1950s. [Anadolu/Anadolu Agency/Getty Images]

A. Measure evenly down from waist to the desired yoke depth. Draw the yoke line. B. Separate yoke from lower skirt at line. Fold the darts closed on the yoke. Mark the location of the darts on the lower edge of the front yoke piece. Place the center front yoke on the fold. Cut the back yoke in two pieces to accommodate a zipper. Use yoke patterns also as yoke facings to clean finish the waist seam. C. Open the front lower skirt pattern to reveal both the left and right sides. The front wrap will extend beyond center front and stop at the location of the second dart (closest to the side seam). Measure the F and B skirt circumference at yoke seam starting from center back, to center front, and beyond center front to the location of the second dart. (Do not include

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any dart intakes in the measurement.) Double the measurement for the full pattern circumference at the yoke seam. D. Use the full skirt circumference at yoke measurement to determine the circle radius. Draw the circle, then divide the circle in half. The skirt will be created by seaming the two half circles in center back. a. Walk the yoke pattern at seamline around the inner circle to mark match notches for the center back, side seam, and center front. b. Create the outer edge of the circle by adding 4 in. (10.16 cm) to the center back skirt length and subtracting 4 in. (10.16 cm) from the center front skirt length and extension. Blend length from back to front extension in an arc. (The dotted lines illustrate how the original skirt pattern is now situated within the circular pattern.)

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The Enduring Cape The Enduring Cape begins with the BODICE and SKIRT BLOCK. A. Align bodice center front and bodice center back on a straight line with neckline/shoulder points touching. Label the line as center. If front and back do not meet exactly at the neckline/shoulder point, blend the front and back necklines so they meet. Subtract ½ in. (1.27 cm) from the neckline all around. B. Determine center of the circle by drawing a line perpendicular from the center, through the

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F and B joined shoulder/neckline point. This is the shoulder line. a. Determine the desired length of the cape and draw a half circle around the center point at that distance. Lengthen the center back 2 in. (5.08 cm) for balance and shorten the shoulder line to the desired sleeve length. b. Refer to the SKIRT BLOCK and note the hip width measurement F and B. At waistline F and B, mark the hip width measurement. (Marking the hip width at waist will allow for ease when the cape is belted.) Draw a line 1 ½ in. (3.81 cm) above and 1 ½ in. (3.81 cm) below the waistline at the hip width mark and label “belt opening.” c. Open the pattern. The CB should remain in one piece and the CF is split for a front opening. C. Cut from fabric. (If desired, cut the pattern again in lining. Stitch the fabric and the lining together all around and treat as one layer.) On

the left front, use a tight zigzag stitch to affix a row of narrow trim in an oval around the belt opening. Repeat the step on the right front and left and right back. Slash open the center of the oval. a. Finish the cape all around the outer edge with fold over binding. b. Fold the cape on the shoulder line so the wrong sides of the front and back cape are facing together. Align the left front and left back at the belt opening and stitch through both thicknesses. Repeat on the right side. Finish with frog closures and a purchased belt. For a less full cut, make the entire cape from a half circle rather than a full circle. Draw lines at right angles, place the front bodice on the vertical line and the back bodice on the horizontal line with the shoulder/armhole points touching. Use the sleeve pattern as a guideline for sleeve length.

Half Circle Cape

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Eco Option: Skirt Blouson You can freshen the look of a vintage garment by upcycling it to have a blouson hemline. Most arcs are designed so that the outer curve falls free at the hem. The outer curve of this look is gathered and sewn to an underlining creating a blouson silhouette. A blouson is fabric gathered to a fitted base. Excess

material is allowed to drape over the gathers forming a billowed hem. Look for a recyclable skirt or dress that has a circular hem and a lining. The lining is cut shorter than the skirt, and the blouson is formed when the skirt edge is joined to the lining. Begin with a full length garment that has a circular skirt and a slim lining.

• Determine the desired finished length. Cut the lining 3 in. (7.62 cm) shorter than the desired length. Cut the skirt 4 in. (10.16 cm) longer than the desired length. (The hem seam allowance is included in the measurements.) Gather the hem all around and sew to the lining to create the blouson hemline.

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[Illustration by Joann Harling]

 

10

Flounces

Are your fashions light and lively? Do they have a dash of personality, a sense of humor? How do you capture the elusive qualities of wafts of smoke, rolling clouds, and summer storms? Do your collections have the passion and vibrancy of a Frida Kahlo painting? Do you look at a spiral staircase and envision a cascading frill? Consider the Flounces technique if embellished and animated describe your design direction.

[Yender Fonseca/EyeEm/Getty Images]

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Flounce is an expressive term. It suggests liveliness and motion. When used to describe people’s actions, it means to move in an exaggerated manner or to act with drama. These same characteristics accurately describe flounces used in fashion. Flounces are buoyant and peppy. Cut from curvilinear patterns, they flare from a smooth seam line into undulating waves at their outer edge. Flounces are sometimes confused with ruffles. The terms are often used interchangeably when describing the generic concept of added flourishes on a garment. However, in patternmaking the terms “ruffles” and “flounces” have specific meanings. A ruffle is made from a straight length of fabric that is gathered at the seam line. (See the Ruffles technique on page 77 for additional details.) A flounce, sometimes called a circular ruffle, is made from a donut-shaped pattern. The inner edge of the donut is sewn to the garment, either in a seam or on top of another layer of fabric. This inner edge is smooth and does not add bulk to the sewing line. Due to the circular shape of the pattern, the outer edge measures greater than the inner edge. This creates flare that hangs in rippling folds at the flounce hem. It is important that the designer’s sketch accurately reflects whether a style has ruffles or flounces so the patternmaker can create the desired look. When sketching, show ruffles with lines emanating from the seam line outward. Draw flounces using lines that extend from the outer edge inward.

Ruffles (A) are made from straight lengths of fabric. Flounces (B) are made from circular shapes. The outer edges of A and B are the same length, but the measurement at the seam line is different. Ruffles are gathered and flounces lie flat at the seam line. Adding further variety, flounces can be made to gather at the seam line by increasing the size of the inner circle. Regardless, a flounce pattern piece is always curved.

Making a Circular Flounce When creating flounces you need to know the width of the flounce and the amount of flare you want. A flounce can fall in shallow ripples or in generous folds. The amount of the flare is determined by the difference in circumference of the inner and outer circle. (Please also see the Arcs technique on page 113 for additional details on creating circles.) Calculate the amount of flare by dividing the outer circle circumference measurement by the inner circle circumference measurement. For example, if a circle has an inner circle with a radius of 4 in. (10.16 cm) and an outer circle with a radius of 8 in. (20.32 cm). You have a 4 in. (10.16 cm) wide flounce. The circumference of the outer circle is 48 in. (121.92 cm) and the circumference of the inner circle is 24 in. (60.96 cm). The amount of flare is twice the seam measurement, a ratio of 2:1. If the desired width is not the same as the inner circle radius, then the ratio of 2:1 will change accordingly. The size of the inner circle determines the amount of flare. The larger the inner circle, the less flare there will be. Use a partial circle to achieve less flare while maintaining the seam measurement. Note, too, that the wider the flounce, the greater the folds at the hemline.

Blue: The circle’s radius measured from the center. Yellow: The inner circle circumference. This line is sewn to the garment. Orange: The outer circle circumference. This edge falls freely. Black: Cut line that gives access to the inner circle. Dotted Line: Indicates seam and added seam allowances.

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Most seam allowances for patterns in this book are added after the pattern is complete. Working with full circles is one instance when the seam allowance on the cut line must be considered while making the pattern piece. The cut line passes through the donut shape to give access to the inner circle. If the inner circle is the exact measurement of a seam line, then there is no room for seaming the cut line. The seam allowance measurement must be added to the inner circle measurement at the time of making the circle.

Flounce Variations There are many options to consider when making flounces, as shown in the figure on page 128.

Note the red line is the same measurement in each illustration. The size of the inner circle determines the amount of flare for a flounce.

A. Since the flounce is made from a circular shape, it has grainlines in the lengthwise, crosswise, and bias directions. When cutting into the circle to access the inner curve, be sure to cut on the lengthwise or crosswise grain. A cut on the straight grain will be easier to finish and more stable when sewn to another pattern piece. B. If the measurement of the inner circle is not as long as the seam measurement, join two or more flounces. Keep the cut line placement the same on all circular pieces to ensure that the flounce undulates in consistent folds throughout. C. Make creative variations by altering the shape of the outer circle. D. Flounces can be set into vertical, horizontal, or diagonal seams, or they can be sewn into place on top of a base material. When set into horizontal seams, flounces fall downward and ripple at the outer edge. When set into vertical seams, flounces cascade in rolling folds. Note that the back (wrong) side of the fabric is often visible when inserting the piece vertically, so take care in selecting fabrics. Consider a piece-dyed fabric that is the same color on the face and back and avoid printed fabrics when the dye has not penetrated to the back side. E. Flounces do not have to be created independently of the garment. Integrate a circular shape into an existing pattern to give an organic flow to the piece.

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F. For longer length seam measurements, consider creating a pattern that spirals, mimicking the shell of a snail. As the concentric rings grow larger, the outer edge becomes less wavy. For

Flounce variations.

example, this design tactic can create a ruffle that travels down a garment, narrower at the neckline and growing larger at the hem.

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Hemming Flounces It is usually preferable to hem the flounce before inserting it into the garment. It is easier to rotate the hemstitch around the curves if other garment parts are out of the way. Due to the undulating nature of flounces, the hemming method shows on the outside when the garment is worn. Hems must be neat inside and out. Consider one of these finishes for the flounce (see the Appendix on page 230 for details): A. Faced flounce: A facing will enable you to use a fabric even when the back of the fabric is not the same as the face of the fabric. The flounce pattern doubles as the facing pattern. Consider using a contrast fabric as the facing for added interest. B. Rolled edge: Sewing rolled hems on curved pieces can be challenging because the stitching moves between straight and bias grains as it progresses around the curve. It takes

Add interest by lining your flounce in a contrast color.

practice to maneuver a rolled hem around the flounce, but the clean finish makes it worth the effort. C. Satin-stitched edge: No hem allowance is needed because the stitch sits on the outer edge of the flounce. D. Serged edge: This is a fast and effective way to finish flounces’ tight curves. E. Stitched and left raw: Note that fraying subtracts from the fabric, so compensate by adding extra width to the pattern.

Monofilament Edges To achieve a more robust and undulating roll to the hemmed edge, insert clear monofilament fishing line while satin stitching or tightly zigzagging the hem edge. A 60–80 lb. (27.21– 36.28 kg) weight line yields a firm rolling curve. If the machine is so equipped, insert the line into the hole or groove of the presser foot, which guides the line into the center of the stitch. Create a fabric flower with a flounce augmented with monofilament. Slightly gather the inner curve, then tightly roll the circle at the gathered edge. Secure with hand stitching to create a lively floral accessory.

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FLOUNCES IN CONTEXT: BALENCIAGA’S SPANISH INFLUENCE Spanish culture has long been an influence on fashion, and flounces have featured prominently in its many contributions to style. Flamenco is an art form based on Spanish folkloric traditions. It is more than music; it is more than dance; “it is a state of mind” (Seville Traveller/Flamenco). It is fitting that the extravagant flounce is used to embody the emotion expressed through the vibrant flamenco dance. Traditional flamenco styling features a long dress that hugs the waist and flares at the hem. It is most often made from bright red or polka dotted fabrics, but the most distinguishing feature of flamenco dress is the rows and rows of flounces on the skirt and sleeves. Many flamenco dresses have a train that extends the flounces beyond the The flamenco influence was apparent in Balenciaga’s Spring/Summer 2013 collection.  [Victor VIRGILE/ Gamma-Rapho via Getty Images]

hem. One of the most enduring Spanish fashion designers is Cristobal Balenciaga. His Spanish heritage influenced many of his iconic designs and flamenco and flounces were a common theme. He contended the flounce should not be heavy; it should be soft, light and “intelligent” (Walker 2006). The design house continues to look to Spanish culture, flamenco dress, and flounces for inspiration today. Flounces are also seen throughout the Americas on quinceañera dresses. A quinceañera is a religious and social event marking a girl’s fifteenth birthday. The dresses are often adorned with elaborate flounces that call attention to the significance of the day.

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Flounces in Practice Flounces make a dramatic impact on design whether sewn in a horizontal seam (as in the Tiered Flounces example), in a vertical seam (as in Graduated Circular Flounces example) or in a seam placed on the diagonal (as in the Seams Right Paperbag Waist Skirt on page 50). You can have flounces your way, set in any direction that works for you. Flounces have a tendency to settle together when placed in multiple rows. To maintain lofty layers, use crisp, buoyant fabrics such as organza and taffeta. The upper flounce of the Tiered Flounces example is seamed into the garment, forming a clean finish. The other flounces are stitched at even increments on top of a base fabric. The flounce above hides the stitching of inner circle of the flounce below it. Seam allowance on the inner circle is needed for the first tier. Subsequent tiers are finished with a satin stitch on the cut edge, so no seam allowance is needed. Note that the same patterning process is used whether on a skirt, pant, or sleeve. The Flounces Set in a Vertical Seam can be inserted in princess lines and gores. Use the block skirt to pattern the illustrated design or select a version of the gored skirt from the Seaming technique on page 43. Measure the seam line from waist to hem to find the measurement for the inner circle of the flounce. For a longer length seamline, seam circles together.

Tiered Flounces Tiered Flounces begins with the PANT, SLEEVE, or SKIRT BLOCK. A. Mark the seam line for the first flounce. Cut the lower portion of the pattern from the upper portion at the seam line. Add seam allowances. B. Divide the lower portion into 4 equal parts and mark (do not cut apart). Label sections 1, 2, 3, and 4. Cut off and discard section number 4. On sections 1, 2, and 3, mark 1 in. (2.54 cm) above the division lines. These are the flounce placement lines. C. Determine the inner circle circumference measurement for the flounces by noting the

seam measurement, one circle per tier for skirt front and one circle per tier for skirt back. Add ½ in. (1.27 cm) seam allowance on each side of the cut line. Divide this measurement by 6.28 to determine the radius of the inner circle. a. For tier width, measure the width of the tiers in Figure A. For tier 1, add ½ in. (1.27 cm) seam allowance and ½ in. (1.27 cm) hem allowance. For tiers 2, 3, and 4, add 1 in. (2.54 cm) to the width for tier overlap and ½ in. (1.27 cm) hem allowance. Note: tier 1 is set into a seam and tiers 2, 3, and 4 are laid above a base (B). D. To sew, join the F and B flounces for each tier and sew the side seam of the skirt above and below the hip seam. Finish the edges of the flounces and satin stitch the inner circle edges of tiers 2, 3, and 4. Set the first tier into the hip seam and topstitch close to the edge on the flounce placement line for tiers 2, 3, and 4. This edge will not show. It is hidden beneath the tier above it. Finish the skirt waist with a waistband or facing.

[Design by Audra Laird]

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[Illustration by Joann Harling]

Flounces Set in a Vertical Seam Flounces in a Vertical Seam begins with the SKIRT BLOCK. A. Add vertical seams to the skirt block. Seams can be spaced or placed close together. B. Flounce version A: Create a flounce that is even in width for the entire seam measurement. Straighten out the inner circle near the hem so it will not extend beyond the hem of the skirt. C. Flounce version B: Graduate the width of the flounce from narrow at waist to wide at the hem. Allow the tail of the flounce to extend beyond the hem of the skirt.

A

B

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Eco Option: Poet Shirt Origins of the poet shirt are traced to menswear styling of Regency England in the early 1800s. Poets of the day, including Lord Byron to whom the poet shirt is attributed (Calasibetta and Tortora 2008), were known to wear the style. Largely an androgynous look today, versions

of the poet shirt have been worn by everyone from 1980s rock bands to individuals of the Goth subculture. The poet shirt is typically loose-fitting with full sleeves and adorned with flounces at the cuff and front. Create your poet shirt by adding circles made from scraps of lace, sheers, and coor-

dinating fabrics to the front and sleeve of a preowned shirt. Finish the inner and outer edge of the flounces with a satin stitch. Stitch with the right side of the flounce facing the shirt, then fold back at stitch line and press so stitching does not show on the outside of the shirt.

 

11

Drapes

Do the terms flowing and luxurious describe your designs? Do the goddesses of Greek mythology inspire you? Are Athena’s message of wisdom and justice, Demeter’s embodiment of rich harvests, and Aphrodite’s expression of sensual beauty themes of your collections? If your fashions are more about dramatic cowls than understatement, investigate the drama of the Drapes technique!

[David Buffington/Digital Images/Getty Images]

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Drapes are fluid and sensual. Draped fabrics fall in rolling folds and rise in soft undulations as they follow the contours of the body. They flatter and harmonize with, rather than constrain, form. Drapes form when excess fabric falls from an anchor point, or anchor points. Anchor points are areas, such as the shoulder and waistline, which provide support for otherwise free flowing fabric. The term drape has many meanings. Used as a verb, it describes how a fabric performs, as in “it drapes beautifully.” Drape also refers to the action of a person pinning and arranging a fabric, as in “they drape the fabric on the dress form.” Alternatively, used as a noun, drape describes a fabric’s malleable characteristics. It is the extent to which a fabric falls in folds when it hangs, as in the sentence “the drape of that neckline is very dramatic.”

True bias (red) is 45° from the lengthwise (teal) and 45° from the crosswise (orange) grains. It is diagonal to the selvage (black). To find bias on a piece of fabric, fold the lengthwise edge to meet the crosswise edge (dotted line). True bias is located at the diagonal fold.

Fabric folds can break or crack when cut on the straight grain (A). Fabric cut on the true bias grainline forms smooth, rounded folds (B).

Keys to Successful Drapes Graceful drapes are achieved through attention to grainline and fabrication. Most woven fabrics do not give (stretch) on the lengthwise or crosswise grains. This is ideal in keeping patterned pieces from distorting. However, suppleness is required to form rounded fabric folds. The bias grainline offers the necessary elasticity, and maintaining true bias is a key to a patterning a successful drape. True bias is 45° from the lengthwise (warp) and 45° from the crosswise (weft) grainlines. When laid diagonal to the straight grain, fabric structure relaxes which facilitates drape. This forgiving nature of the bias grain is its strength but also its shortcoming. The instability of bias fabric can make it difficult to work with.

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Choose fabrics with a weave that is the same in both the warp and weft direction. When cut on the bias, fabric may lie askew if the lengthwise and crosswise weaves are very different in thread count or yarn structure. Georgette, charmeuse, and crepe-back satin all drape beautifully when cut on the bias as does rayon challis and crepe de chine. Avoid stiff fabrics such as canvas, taffeta, and organza. Look for a fabric that has a good dead weight. This is the tendency of a fabric to hang down, and stay down, in weighty folds. Knits have an inherent stretch due to their stitch structure. Knit yarns are looped, rather than interlaced as wovens are, which allows movement within the stitches. The majority of knits (weft knits) have the most stretch in the crosswise direction, but the amount of stretch can differ greatly between knits. Experimentation is needed to determine which grainline works best for any particular knit drape. To achieve controlled folds choose stable knits such as double knit, ponte de roma, and interlock knit. For fuller folds avoid rib knit, novelty knits, and jersey knit.

Creating the Classic Cowl A cowl is a specific kind of fabric drape. It forms when excess fabric falls between two anchor points. We can assign anthropomorphic characteristics to cowls. They are animated. Their folds move and adapt to the body. Some might say they are willful. Cowls cannot be forced into position. They will not lie contrary to the fabric’s intrinsic characteristics. They can be shallow with minimal drape, ponderous with folds that encompass the piece, or ethereal as in many bias-cut gowns of the 1930s. There are two main aspects to consider when creating a cowl: the placement of the anchor points and the depth of the cowl. The anchor points determine the cowl width. Folds form from excess fabric that collapses between the anchor points. A fold-over facing is a hallmark of most cowls. The facing fold line creates the first fold of the cowl. Unlike a seamline, which can be stiff

Components of a cowl. A: Anchor points and cowl depth. B: Adding excess fabric for drape. C: Fold over facing and bias orientation. D: Add pleats at anchor point seam line to create depth.

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Place bias seams on the same grainline to reduce seam puckering.

and interrupt the flow of the cowl, the fold-over facing allows for a smooth, continuous drape. The width of the facing should be generous so that it does not flip to the right side when worn. Even so, consider placing a small weight on the facing edge to keep it turned to the inside. For deeper folds, pleats are often added to the anchor point seamline. They also stabilize the folds so they are less likely to spring out of position. Figure Drapes 4 shows the components of a cowl added to a generic square of cloth.

Patterning for Bias Grainline The basic blocks that correspond with this book (details found on page 9) are sized to be cut from woven fabrics placed on the straight grain. Blocks used for bias grainline patterning must be resized in accordance with any growth that occurs. Cut the corresponding block pattern pieces on the bias grainline of the desired fabric. Fit the piece to determine the amount of distortion due to bias. Subtract (or add) to the basic block pattern to accommodate the stretch, then use the revised block when creating your bias patterned pieces. Sewn darts can sometimes ripple or interrupt drape on bias garments. If the pattern you are using has a dart, rotate the dart to a new location so that it will be on the straight grain when the pattern piece is placed on the bias. For example, for a front neckline cowl move the bodice waistline dart to the side seam, French dart position. Alternatively, when possible, eliminate the dart completely by transferring the dart pick up into the cowl excess. See Cowl Mix and Match on page 139 for an example. When cutting two bias pattern pieces that will seam together, place the patterns at right angles. The matching seams will be on the same grainline, which will minimize the problems of seam puckering or one side stretching more than the other one does. If two cowls are designed for the same garment, such as in a dress with both a front and back cowl, the excess fabric could cause the garment to slip off the shoulders. Additional under support may be needed to keep the garment in place when worn.

DRAPE IN CONTEXT: VIONNET BIAS CUT Bias grainline is a key to successfully draped fashions. Madeleine Vionnet became known for exploiting the bias grainline in her designs. She refined the practice to the extent that she was defined as the ‘Queen of the Bias Cut.’ In the 1920s, Vionnet helped usher women’s styling from constricting corsets to a more natural look. Her bias cut dresses eschewed darts and structure in favor of allowing the malleable bias grainline to fit fabric to the body. Sleek and flowing styling, incorporating drapes and cowls, was a hallmark of her designs. Her drapes were soft and relaxed, more fluid than fussy. Bias cut fabric can sometimes be tricky to handle, leading to puckering and stretched-out seams. However, Vionnet used the tactic with élan and her designs meshed as one with the body.

The bias cut was a secret of Madeleine Vionnet’s design aesthetic and drapes featured prominently in her collections. [Chicago History Museum/Getty Images]

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Drapes in Practice Given there is no single right way to fashion a cowl, over the years designers have taken license to create unlimited variations of the technique. Ranging from drapey slip dresses to chunky knitwear, a version of cowl styling is seen every decade and nearly every season. Abundant in the 1930s and revived in the 1980s, cowls have again made a notable reappearance on the runways. Miu Miu, Lorna Luxe, Eileen Fisher, and other designer collections recently featured the style. And, you can too with the Cowl Mix and Match patterns! Neckline cowls, which can drape on the front or back bodice, are perhaps the most prevalent, but draped folds can be placed most anywhere on a garment: under the arm, on the sleeve cap, on the side seam, or on a pant leg. The Side-draped Dress features drape similar to a cowl but the fabric folds are not anchored. The drapes form by shifting how the garment is usually patterned and worn. Part of what is commonly the left side seam becomes the leg opening. This, in turn, shifts fabric to the side creating the drape.

Cowl Mix and Match Front Cowl The Front Cowl begins with the BODICE BLOCK. When the cowl drape intersects with the bustline, some or all of the dart pick up can be incorporated into the cowl excess. A. Mark two lines on center front, one even with the apex and one 1 in. (2.54 cm) above. Transfer the shoulder and waistline darts to the center front marks. Mark the desired neckline width and depth. Draw in the neckline. Discard the neckline triangle. Draw two lines parallel to the new neckline. B. Slash and spread on the two lines, raising the new neckline to a right angle with the center front. Draw a straight line from bodice waist to neckline at center front. This is the new center front line. C. Draw a facing line on the bodice. Copy the line and fold up to form the foldover facing. D. Open the pattern and mark the bias grainline. E. Alter the back bodice neckline to match the front at shoulder. The back bodice remains on the straight grain. Draft a back neckline facing to match the front. [Illustration by Joann Harling]

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Back Cowl The Back Cowl begins with the BODICE BLOCK. Waistline and shoulder darts are eliminated with this low back cowl. A. Mark the desired neckline width and depth. Draw in the neckline. B. Place a mark equal to the waistline dart width on the waistline measuring from center back inward. Draw a vertical line upward from that point. Draw a horizontal line equal to the neckline depth measurement starting at the neckline/shoulder point and meeting the vertical line. The back pattern should now be positioned on the square with the new neck/ shoulder point meeting one end of the horizontal line and the vertical line passing through the waistline mark on the other end of the square. C. The square is now the outer edge of the back pattern. The vertical line is the pattern fold

at center back, the horizontal line is the new cowl neckline. Delete all internal markings. Blend line at the center back/waistline. Draw a facing line on the bodice. Copy the line and fold up to form the foldover facing. D. Open the pattern and mark the bias grainline. E. Pivot the front shoulder dart to the side seam and move the dart point in 1 in. (2.54 cm). Alter the front bodice neckline to match the back at shoulder. The front bodice remains on the straight grain. Create a front facing to match the back facing at shoulder. Sleeve Cowl The Sleeve Cowl begins with the SLEEVE BLOCK. This sleeve cowl has one large drape at the shoulder with additional drapes falling in place from excess fabric. An alternate version (D) shows pleats developed from some of the fabric excess.

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A. Divide the sleeve from the shoulder notch to the center of the sleeve hem. Draw in three evenly spaced lines from underarm seam to below the cap. B. Use the Slash and Spread technique to open the center sleeve 2 in. (5.08 cm) at each slash line. C. Join the front and back sleeve patterns at center. Blend a line from front sleeve cap to back sleeve cap to contain the excess fabric. Draw a facing line on the sleeve. Copy the line and fold up to form the foldover facing. D. Create an alternate look by turning some or all of the excess fabric at the sleeve cap into pleats. Skirt with Cowl The Skirt with Cowl begins with the SKIRT BLOCK. The cowl is placed on the side seam of the skirt for this pattern. It will work just as well on

the side seam of a pant. This exercise features a high/low skirt hemline. A. Mark three evenly spaced slash lines on the skirt F and B side seams starting at the hip line. Close the two waistline darts by transferring the dart to the first and second mark on the side seam. Open the third slash line at the side seam a measurement equivalent to the two darts. B. Draw a new side seam from the skirt hem to the top slash mark. C. Join the F and B new side seam below the top mark. (The curved lines above the first mark will be sewn as a dart.) Contour a new hemline shape from front to back.

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Side-draped Dress The Side-draped Dress begins with the BODICE, SKIRT, and PANT BLOCK. A. This is an asymmetric pattern, so create the F and B patterns on the fold at center so you can unfold the pattern. Transfer the front bodice shoulder dart to the side seam and move the dart point 1 in. (2.54 cm) from the apex. On front and back, draw a new straight side seam from sideseam/underarm point to ankle length. Mark the knee location. (Use the pant block to determine ankle and knee location.) B. Create the desired neckline. The back shoulder dart will disappear with a wide, lowered neckline. a. Add fullness to the side seam at knee height equal to the width of the hip measurement. Add one-half of the measurement

[Illustration by Aileen Moreno]

by pivoting the pattern outward from the shoulder/armhole point and add one half of the measurement by extending a line from the armhole/side seam point. C. Open the pattern. On the front left side (as one is wearing it), draw a straight line from the extended side seam to the ankle length. Draw a straight line from the left side ankle length to the right side knee length. Repeat on the back. D. The leg opening is formed on the left side from knee to ankle. The right side seam is sewn from the left ankle point, across the bottom, to the right side corner at knee and on to the underarm. When worn, tuck in the corner on the right side seam to help form the drape.

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Eco Option: The In-Set Cowl This Eco Option design focuses on the fabric savings of the in-set cowl. For the basic cowl dress shown here, the in-set cowl version (A) required 7 fewer inches (17.78 fewer centimeters), or 12 percent less fabric, than the version with the integrated cowl (B). In a manufacturing setting with a planned production of 100 pieces, over 19 yards (17.37 meters) of fabric would be saved using the in-set version of the design. Consider, too, that the fabric savings is yardage that would not need to be dyed,

finished, and shipped, resulting in additional resource and energy savings. The In-set Cowl begins with the BODICE and SKIRT BLOCK. A. At shoulder, mark the location of the in-set and pivot the shoulder dart to the mark. Transfer one skirt dart to the hem for flare. For a relaxed fit, the remaining skirt dart and the bodice waistline dart will not be sewn. Join the bodice and skirt at waistline. Follow the same to create the back pattern.

B. Draw in the front in-set line following the shoulder dart line and crossing the apex. Separate the shape from the body. Draw in the neckline from shoulder to neckline depth. Discard the extra piece. C. Pivot the cowl piece at the neckline/shoulder point upward so a right angle is formed by meeting the shoulder and center front. Create a foldover facing, open the cowl pattern, and place on the bias grainline.

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A B

B

C A

C

Facing

Sleeve

Sleeve

Facing Dress Front

Sleeve Sleeve

Dress Front

Facing Dress Back

Dress Back Cowl

Dress Back

Dress Back Facing

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12

Twists

Are your fashions mysterious and enigmatic? Do you incorporate the complexities of spider webs, nautical rigging and gnarled roots into your design process? Are you proficient in tying the square knot, the bowline, and the figure eight? Look to the Twists technique to solve your knotty design challenges.

[Rosley Majid/EyeEm/Getty Images]

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Vivid descriptors are needed to define the Twist technique. It encompasses styling in which fabric is crunched, rotated, twisted, knotted, and tied. Twisted fabric responds spontaneously. It is not arranged. Twists can incorporate darts and other fullness resulting in a relaxed, easy fit. Ties, a subset of the technique, often do triple duty creating fit and style as well as providing the garment closure. Designing with twists and ties is all about fabric. Look for fabric that is supple and flexible because twists contort the material. Both the face and the back of the fabric is visible on most twist designs. Choose fabrics that look the same on both sides, such as piece-dyed solids and yarn-dyed checks, and avoid prints that look faded on the back side. Also, note that fabric patterns become distorted near the twist. Sometimes the change in direction can be an interesting design tactic, as when designing with stripes. However, many prints and napped fabrics are intended only for the lengthwise grain, so they may be unsuitable for a design with a twist. Smaller, even prints, such as polka dots, look attractive in every direction so are appropriate for the twist technique. See the figure below.

Patterning twists can alter the grainline on portions of the garment. Choose fabrics that are attractive on the face, the back, and in all directions.

Patterning Twists Twists can be integrated into the pattern piece or placed on top of other patterned pieces. They are an excellent way to fit two-dimensional fabric to a three-dimensional form because fitting techniques, such as dart fullness, can be hidden within the styling. Many twists look best when pulled taut on the body, so the pattern might need to be fitted more closely in the area of the twist. Or, create the garment from a knit fabric. Twists are particularly compatible with knits. Their stretch allows for smooth draping without bulkiness. And, garments can be fitted tightly but still allow for movement. When creating twists, there should be enough excess fabric to allow the piece to make a one-half or a complete rotation without distorting the rest of the garment. After the fabric is twisted, the garment should be taut without straining. Heavy fabric will consume fabric in the turn. The thickness of the fabric determines how much allowance is needed. When using very light materials, you may need to subtract fabric from the pattern so the twist remains taut on the body. Since each fabric reacts differently, adjust the twist pattern by fitting it on the body. There are nearly endless possibilities for patterning and placing twists. One classic variation uses two lengths of fabric looped around each other. The width of each length is one-half the total width of one side. Each length is wrapped around the other, folded back on itself, and seamed to create the full width.

A twist can be placed on top of another fabric or integrated into the pattern.

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Two lengths of fabric are intertwined to make the classic twist.

Wrap, Twist, and Tie Twisted and tied lengths of fabric form common modes of dress in many cultures. For example, the area in and around Southeast Asia is characterized by lush greenery and temperate weather. The warm climate negates the need for tailored layers of clothing so unstructured garments, such as the pareo and sarong, became the primary mode of dress. The pareo is made from a straight length of material about 2 yards (180 cm) long and 1 yard (90 cm) wide. There are many variations of the pareo. Women wear it wrapped at the bustline or the waist and sometimes tied around

the neck to keep it in place. Men wear it wrapped at the waist. Fabric ends are either tucked in the wrap or tied. Often likened to the pareo, the sarong is a wrapped and draped length of cloth about 3 ¼ ft. (1 m) by 6 ½ ft. (2 m). Worn by both men and women, it is not stitched but folded and twisted so that it fits tightly to the body. Interaction with the West has influenced this traditional garb. Hollywood movies of the 1940s and 1950s featured stars wearing sensationalized and sexualized versions of the sarong and it has developed to include these Western concepts. Today, we most often recognize the sarong to be a wrapped garment made of bright colors and florals, which twists or ties at the bustline, waist, or hip. There are many ways to twist and tie fabric to hug the body. [Illustration by Joann Harling]

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Ties A tie is a twist that has the ends released from the garment. Dart fullness can be incorporated into a tie as it can be with a twist. Ties can be placed anywhere, but they are often placed strategically to provide the closure for the garment and eliminate the need for buttons or a zipper. A tie can be made functional or nonfunctional. A nonfunctional tie is used when the fabric is too delicate to be knotted or when the designer designates that the tie should be tied a certain way. Just as there are many ways to tie shoelaces, every wearer will loop a tie differently, so the designer should consider how the tie will look when tied by different customers. You can pattern your design so that it is tied in a knot or tied in a bow. On average, a medium weight fabric will require 8 in. (20.32 cm) length for each side of a knotted tie and 18 in. (45.72 cm) for each side of a bow. Repeated tying and untying can be stressful on fabric. Select a stable fabric that can hold up to frequent knotting. Reinforce the tie by doubling the fabric and adding interfacing. Create attractive color combinations by lining the tie with a contrast fabric. If using heavy fabric, shape the tie channels so that there is less fabric in the knot and more at the ends. See the figure below.

Shape the tie ends according to the thickness of the fabric. Narrow the channel for thicker fabric. Contrast fabric adds interest to the tie.

TWISTS IN CONTEXT: HALSTON’S EVENINGWEAR Halston was the “quintessential” designer of the 1970s and 1980s. In the style of American fashion designers of the day, his look was simple, sophisticated, and characterized by “nonchalant elegance,” (Martin 1997). Halston used tactics such as bias grainline, twists, and ties, rather than fussy tailoring, to create his body skimming designs. Draped silk jersey featured prominently in his collections. Eveningwear was often gathered or tied at one shoulder or twisted at the neckline or waistline. Several looks are drawn up and tied at the bustline. Halston frequented Studio 54 and the social scene of the day, which underscored his belief that “people make fashion.” He acknowledged there was an inherent partnership between the designer and the wearer. He believed that designers only suggest fashion, and it is the woman wearing it who makes the statement (Martin 1997).

Halston label presentation during 2008 Mercedes-Benz Fashion Week in New York City. Models lounged on sofas in designs reminiscent of Halston’s signature looks of the 1970s. [Slaven Vlasic/Stringer/GettyEntertainment]

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Twists in Practice Twists add a relaxed vibe to your designs. Although twists are patterned, the fabric is not specifically arranged. The look is natural, not forced or convoluted. The flexible technique adapts equally well for sportswear as it does for evening wear, for active wear as it does for bridal wear. Twists and ties are used to add fit as well as styling, as on the Dolman-sleeved Twist Dress. The front bust darts are incorporated into the twist fullness. The waistline dart on the back can be eliminated for a less fitted garment. The center back seam can be shaped at the waistline for a more fitted garment. Consider solid fabrics or multi-directional prints for this design. The Tie-front Blouse conjures thoughts of the 1960s, flower power, bell bottoms, and love-ins. The tie gives this top an adjustable fit. As with the twist dress, bust darts are incorporated into the tie. The center front tie is all-in-one with the bodice pattern, but the sleeve ties are separate and optional. For added interest, cut the front tie facings and sleeve ties in contrast fabric.

Dolman-sleeved Twist Dress The Dolman-sleeved Twist Dress begins with the BODICE and SKIRT BLOCK. A. On back, transfer the shoulder dart to the armhole. Create the dolman sleeve by overlapping the back sleeve on the bodice by ½ in. (1.27 cm) at the shoulder/armhole point. Keep the existing slope of the shoulder. Mark the desired length and blend the under arm to the desired depth. B. Combine the B bodice and the skirt at waistline and create a single two-sided dart the size of the bodice waistline dart through the waistline. This requires that one half of the intake of skirt dart nearest the side seam will be added to the other dart and one half of the intake will be subtracted from the side seam. C. Combine the F bodice and skirt at waistline. Delete the waistline dart markings and blend the side seam at waist. Transfer the shoulder dart to the armhole. The center front dress is seamed, not on the fold. D. Reflect the new back pattern on the vertical axis. Place the front pattern on top of the back

pattern at the shoulder/neckline point and draw in the front shoulder line. Place the front pattern on top of the back at the waistline and draw in the new front under arm dolman so it corresponds with the back. The back sleeve raglan will be wider than the front. Reflect the back to its original orientation. E. Create the desired front and back neckline width and front neckline depth. a. Slash and spread apart the front at the side waistline 2 in. (5.08 cm) by cutting through the waistline and rotating the skirt hem toward the center. F. Close the new waistline opening so that only a 4 in. (10.16 cm) long horizontal dart emanating from the side seam remains. Place a notch 1 ½ in. (3.81 cm) above and 1 ½ in. (3.81 cm) below the waistline seamline at CF. G. To sew, seam the center front from the center/ neckline point to the first waistline notch. To form the twist, bring the lower left front over and around the lower right front. Sew left and right horizontal waistline darts and the lower center front seam after the twist from the notch to hemline. Sew side seams, set a center back zipper, and finish the neckline with facings.

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Tie-front Blouse The Tie-front Blouse begins with the BODICE BLOCK. A. Temporarily transfer the F shoulder dart to the side seam. Draft the desired neckline F and B. Shorten the back bodice 3 in. (7.62 cm). Eliminate the back shoulder dart by moving in the shoulder/armhole point the equivalent of the shoulder dart intake. Blend the armhole line. Make a mark on CF on level with the apex. Call this the “apex line”. Mark on CF 1 ½ in. (3.81 cm) above and 1 ½ in. (3.81 cm) below the apex line. B. Transfer the F side dart to the mark above the apex line. Allow the dart transfer to move the upper bodice in a counterclockwise direction. Transfer the waistline dart to the apex line. Allow the dart transfer to move the lower bodice in a clockwise direction. Mark the grainline parallel to the center front between the apex line and the mark above it. C. Draw the hemline from the mark below the apex line to 3 in. (7.62 cm) above the waistline on the side seam. Curve the line so there is a minimum of 3 in. (7.62 cm) below the bust apex. Draw the tie, perpendicular to the

grainline, extending from the neckline/CF and hemline/CF. The length and shape of the tie varies according to desired look. A 12 in. (30.48 cm) extension will allow for a knot and short tie ends. D and E.  Mark the sleeve seam 1 in. (2.54 cm) below the elbow and draw a line. Separate the upper and lower sleeve portions. Add the desired amount of flare to the lower sleeve portion. F. Create the sleeve tie length 3 times the sleeve seam measurement x the desired width of the tie.

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Eco Option: Multi-purpose Dressing The low cost and easy availability of today’s fashions have helped create a throwaway fashion culture wherein items are worn for one season and then discarded. One way to address the wasteful practice and keep clothing out of landfills is to produce single garments that are versatile. They can satisfy consumers’ desire for variability without their having to purchase multiple items. This multi-purpose garment can be worn three ways: 1) as a skirt with a tie belt, paired with a simple t-shirt to create a casual day look; 2) as a halter dress for work or cocktail hour; and 3) as a dramatic, one-shoulder or caped version for evenings out. The tie is generous and long so it can be wrapped any number of ways (in front or back, twisted, or tied) and

one multi-purpose garment can fill in for several traditionally-styled pieces. Multi-purpose Dressing begins with the BODICE and SKIRT BLOCK. A. Make the waistband from the front and back bodice patterns. On the B bodice, draw a line 2 in. (5.08 cm) above the waist. On the F bodice, draw a line 2 in. (5.08 cm) above the sideseam/ waistline point and 3 in. (7.62 cm) above center front waistline. Blend the line. Separate the shapes F and B. Fold out the dart excess on the F and B waistbands. B. Transfer the F and B skirt waistline darts to the hem for the hemline flare by cutting

through the center of the waistline darts. Use the dart point as a pivot and close the waistline darts to open the flare at the hem. C. Create the ties 72 in. (182.88cm) long × 9 in. (22.86 cm) wide. At one end mimic the shape of the front waistband. Add gathers to the shaped end by extending the width so it is 1 ½ times the width of the F waistband. Gently taper the wide end back to 9 in. (22.86 cm). To sew, clean finish or double the ties. Use the waistband pattern as the waistband facing pattern. Interface the waistband. Gather the ties at the wide end to fit the front waistband. Insert a zipper in the center back through the waistband.

[Illustration by Joann Harling]

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13

Textile Designs

Does your design process begin with the look and feel of the materials? Do you find inspiration in fabric patterns derived from zebras, leopards, and giraffes? Do you value the artisanship of indigenous textiles and respect the traditions that built them? If you favor prints over solids, jacquards over plain weaves, and pattern mixes over monochromes, refer to the Textile Designs technique to maximize your fabrics’ potential.

[Chantal/Moment/Getty Images]

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The Textile Design technique comprises any fabric that is not a solid color, including patterns that are woven, such as a herringbone, knitted, such as a jersey flamestitch, and printed, such as florals. The technique offers guidelines for maximizing the impact of these fabrics, allowing them to sustain a design on their own merit. Fashion designs do not have to be complicated. Even the most basic silhouettes can be exciting if you let the fabric patterns do the design work for you. Their innate appeal negates the need for fussy, complex styling. There are all kinds of textile designs to consider, including animal prints, border prints, checks, chevrons, geometrics, harlequins, herringbones, houndstooths, fleurde-lis, florals, paisleys, panel prints, plaids, polka dots, and stripes. They are all ready to be artfully arranged through your creative designing.

Textile patterns provide design possibilities. Consider a fashion usage for A: Even stripe; B: Uneven stripe; C: Woven plaid; D: Printed plaid; E: Herringbone; F: Houndstooth; G: Printed chevron pattern; H: Woven gingham pattern.

Indigenous Textiles Many cultures have developed weaving and printing techniques unique to their community, such as the African adire, Indonesian ikat, and Japanese shibori resist dyeing processes. These practices most often rise out of resources available to the local artisans, and the materials are rich in tradition and heritage. Indigenous textiles can provide a meaningful source of inspiration when the experience is an exchange that benefits both parties. Designers referencing indigenous textiles respect time-honored customs, attribute credit to the local community, and provide fair compensation to the craftspersons.

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This mola by a Kuna Indian artist is an example of the intricate artistry that can be found in indigenous textiles. Molas are handmade using a reverse applique technique. Multiple layers of mostly cotton cloth are sewn together, and a design is formed by cutting away and stitching parts of each layer. The mola is a part of traditional Panamanian dress. Women often wear the pattern stitched to blouses. [Desmond Morris Collection/ Universal Images Group/Getty Images]

Prints A characteristic of a woven textile design is that it is the same on the face and the back side of the fabric. Many of these fabrics are reversible which create opportunities for unlined jackets, reversible pieces, and fold over finishes. Printed designs generally do not penetrate to the back of the fabric so only the face side of the fabric is usable. Some printed fabrics are so well known that we form a mental picture of their usage just from the name. Companies have built their brand on a specific fabric pattern. Pucci’s abstract geometric prints are instantly recognizable. Liberty prints are intricate floral patterns printed on cotton by Liberty of London. Burberry is well known for its tan, black, red, and white plaid seen on coats, scarves, umbrellas, and handbags. Bold Merimekko and tropical Lilly Pulitzer prints have been popular on and off since the 1960s. While many of these textile designs are timeless, others, such as camouflage, animal prints, and pinstripes appear in fashion as a reflection of economic, political, and social times. Consider the print on the Milly dress by Michelle Smith

that First Lady Michelle Obama chose for her official portrait. It is hard to imagine this bold print worn for an official portrait any time before the twenty-first century. Why do you think that is so? Designers no longer feel compelled to follow old categorizations when creating with prints. Florals are not gender-specific and petite frames need not be confined to diminutive patterns. Today, designers consider the unique characteristics of their audience. Styling for Obama, Smith stated she “wanted to create a dress that reflected Mrs. Obama’s personality – bold and confident, yet approachable and relatable” (Elle/ Smith). So, while few rules apply, designers can consider these factors when using prints: •• Seams and sewn lines break up a print design. Seamed interruptions are not as noticeable with small prints, but keeping stylelines simple will help preserve the integrity of larger prints. •• Use print placement to draw the eye to specific areas of the pattern or body. •• Consider the layout of the flat pattern on the fabric. Some larger motifs look askew if

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Common prints include A: Animal print; B: Harlequin; C: Fleur-de-lis; D: Geometric; E: Polka dot; F: Batik border print; G: Panel print; H: Paisley; and I: Floral.

Former First Lady Michelle Obama wore a boldly printed dress for her official portrait painted by Amy Sherald.  [“Michelle LaVaughn Robinson Obama” by Amy Sherald, oil on linen, 2018. National Portrait Gallery, Smithsonian Institution. The National Portrait Gallery is grateful to the following lead donors for their support of the Obama portraits: Kate Capshaw and Steven Spielberg; Judith Kern and Kent Whealy; Tommie L. Pegues and Donald A. Capoccia. Courtesy of the Smithsonian’s National Portrait Gallery]

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Examine each print to determine if the motif should be placed at random or in a planned way.

not placed on the same horizontal and vertical plane on both the left and right sides of the garment. On the contrary, other prints look too planned or unnatural if positioned. Those motifs are better placed randomly. Draw the focal point of the motif directly on the flat pattern and hold it up to the body to determine the best placement.  Border prints and panel prints run parallel or perpendicular to the selvage, so a flat pattern with straight edges is better able to show the entire print than one with curved edges. Since border prints run parallel to the selvage, pattern pieces placed on these prints will be cut on the crosswise, rather than usual lengthwise grainline.

placement of the fabric design. This is especially important with unbalanced stripes to ensure that the pattern continues uninterrupted. Interesting effects can be created by mitering stripes and plaids. Mitering is the seaming of two materials cut on an angle. This creates an exciting chevron design. To match at the seamline, stripes and plaids must be cut on the same angle.

Stripes and Plaids Stripes and plaids can be balanced or unbalanced (even or uneven). A balanced pattern emanates the same repeat in both directions. An unbalanced pattern is asymmetrical. The direction of the textile design has implications for fabric layout and cutting. Cut stripe and plaid pattern pieces on an opened pattern piece, rather than on the fold, so you can control the

The shirt on the left is cut from a balanced stripe. The sleeves are paired on the same vertical stripe. The shirt on the right was cut from an unbalanced stripe. The left and right sides were cut at random. In contrast, the sleeves and the front tab were cut on the crossgrain. Consider the sleeves. Would the garment be improved if the sleeves were paired to hem on the same stripe?

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A: Stripes cut at a 45° form a right angle when sewn. B and C: Stripes cut at the same angle will match at the seam line. D: Stripes cut at different angles will not match at the seam line.

Matching Textile Designs This butterfly motif is repeated every 24 in. (60.96 cm) in the lengthwise direction (black line) and every 32 in. (81.28 cm) in the crosswise direction. Individual motifs do not stand out on this print, so the print would not need to be matched at seamlines when sewing.

To match or not to match, that is the question! Many materials have repeats or areas within the fabric length that are duplicated at equal intervals. Horizontal stripes and plaids have recurring lines, groups of lines, or weave patterns. On prints, the motif, or patterned design, replicates. The repeat often blends into the overall textile design and is not always apparent. Designers must assess whether a fabric pattern should be matched at the seams when sewn in a garment. Matching refers to aligning a textile design in the horizontal and/or vertical direction across various flat pattern pieces. The advantage of matching is that the integrity of the textile

design is preserved even when seams interrupt the pattern. Matching is a mark of a quality garment created with care and intention. It generally requires more fabric to match a textile design though, so it can be costly and result in more fabric waste. There are several things to consider when matching textile designs: •• It is usually not possible to match fabric patterns at every seam line. Match focal points, such as center fronts, center backs, and armhole seams first. Side seams and sleeve seams are not as obvious so, if you have to choose, elect to not match those seams. •• If it is not possible to match two seams, such as with curved seamlines, consider rotating the orientation of the pattern piece to the opposite or bias direction. This creates an intentional, but interesting, mismatch. •• When cutting, always match pattern pieces at the seam line, rather than at the seam allowance edge. •• Allow extra fabric for matching. Since every flat pattern, fabric width, and garment size is different, there is no one-size-fits-all formula for calculating how much extra fabric is needed. In general, allow one extra repeat for each of the main pieces (or large pieces) in a pattern. For matching purposes, the main pieces of a basic shirt are the back bodice, front bodice, and sleeves (left and right pairs are counted as one). A minimum of 15 extra inches (38 cm) is suggested for a fabric with a 5 in. (12.7 cm) repeat for that shirt.

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The lines of this even plaid are repeated every 6 ½ in. (16.51 cm) in the lengthwise direction (red line) and 5.5 in. (13.97 cm) (white line) in the crosswise direction. The bold lines of the plaid make it obvious when the pattern is mismatched. A: The plaid is matched in the vertical and horizontal direction. B: The plaid is not matched.

Examining Selvages A selvage (or selvedge) is the tightly finished edge on woven fabrics. Valuable information is often printed on the selvage, such as the manufacturer’s name, title of the fabric series, and the fabric content. The small colored circles found on the selvage indicate the number of colors in that particular print. (The numbers within the circles denote the order in which the colors are printed.) This is a helpful resource when matching solid colors to the print. For a perfect color match, select coordinating colors that are represented in the circles. If attempting to coordinate two or more prints, look for prints that have the same colored circles on the selvage. Note that these circles repeat on the selvage at the same interval as the motif repeat within the print. To get a quick idea of the size of a repeat within a fabric, measure the distance between circles of the same color on the selvage.

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TEXTILE DESIGNS IN CONTEXT: MARC JACOB’S STRIKING STRIPES Stripes were one of the biggest trends in 2013. Horizontal, vertical, chevron, and all manner of stripes were seen on the European (Moschino, Dolce and Gabbana, Dior) and New York (Kors, Hilfiger, Lauren) runways. Perhaps the most arresting were Marc Jacob’s 1960s inspired black and whites. His silhouettes were streamlined, but

the design impact was powerful. Bold stripes were paired with houndstooth and checkerboard patterns. Some morphed into curves around the torso. Bright reds and yellows were interspersed throughout for a pop of color. Regardless of how they were engineered, stripes united the striking collection!

Stripes and bold patterns were on display in Marc Jacob’s Spring/ Summer 2013 collection. [Emmanuel Dunand/AFP via Getty Images]

Textile Designs in Practice Most fashion designers say their design process starts with the fabric. This is particularly true when using materials with unique textile designs. The fabric itself is the inspiration! Select an interesting fabric and allow the printed or woven-in design guide the placement of stylelines, lengths, and fullness of your garment. There is no limit to the printed textile design possibilities with digital printing. Digital textile printing is printing directly from the computer onto fabric. The method provides opportunities for designers cutting small runs and one-of-a-kind fashions. Unlike the large minimums required to print commercially manufactured fabric, digital printing has few minimums. The only limit is the designer’s imagination. The print design of the Petal-sleeved Mock Wrap Dress is placed directly on each pattern piece, allowing for an all-over print edged with a coordinating pattern that follows the curves of the wrap and petal sleeves. During printing, only the patterned pieces are filled with the print design to save on ink. Companies like Spoonflower (spoonflower.com) make digital printing accessible to everyone.

Although many fabric patterns can stand alone, mixing and matching prints adds excitement to basic stripes, checks, and florals! The Fabric Pattern Mix Reversible Dress is completely lined in coordinating fabrics so it is reversible and versatile. The panels wrap around the body; there are no side seams. Layer the front panel over the back or the back panel over the front at the sides. Extend the ties and the belt will wrap around for a cinched waist.

Petal-sleeved Mock Wrap Dress (with Digital Print) The Petal-sleeve Mock Wrap Dress begins with the BODICE, SKIRT, and SLEEVE BLOCK. A. Copy a pair of sleeves. On the front sleeve cap, draw a curved-petal styleline from mid-cap to 1 ½ in. (3.81 cm) on the underarm sleeve seam. Subtract 3/8 in. (9.52 mm) from the width of the sleeve hem. Repeat of the back sleeve cap. B. Join the two sleeves at the underarm seam. Make the join line the new grainline. In sewing, finish the sleeve with a self facing. Overlap the sleeve caps, front over back, matching the center notches. Ease the cap into the armhole.

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C. This is a mock-wrap dress. The front bodices are sewn into the waistline with the skirt and skirt overskirt. The back has a zipper through the waistline. Open the front bodice and skirt patterns to reveal both the right and left sides. Draft the neckline and front styleline of the

bodice. Extend the bodice wrap to the first waistline dart leg. The left and right bodices are paired. Draft the overskirt for the skirt. The overskirt is an additional panel placed on top of the original skirt pattern. Finish the extension edges of the bodices and skirt with facings.

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D. If digital printing, upload the pattern and apply the print using software such as Adobe Illustrator. The complete pattern layout, ready for printing, is shown.

Fabric Pattern Mix Reversible Dress Begin the Fabric Pattern Mix Reversible Dress with the BODICE and SKIRT BLOCK. A. On back, align the back bodice and skirt at waist. Delete all waistline darts. Determine the desired length and mark. Extend the skirt side seam from the hipline to the mark. Subtract 1 in. (2.54 cm) from skirt width at the hem/sideseam point. Repeat on front. a. Move the B shoulder dart by redrawing the intake at the armhole. Draft the desired neckline. b. Align a copy of the skirt back next to the existing skirt back—center back touching the existing skirt side seam and on level with the waistline—and draw a vertical line through the center of the dart farthest from center back. Extend the line 2 ½ in. (6.35 cm) above the waistline and label as “tie insert.” c. Mark a new shoulder/armhole point by subtracting 1 in. (2.54 cm) from the shoulder length. Draft an armhole curve that begins at the new shoulder/armhole point,

touches the armhole notch, and extends to the top of the tie insert line. Angle a line from the tie insert point at the waistline to the sideseam/hemline point. B. On front, pivot the shoulder dart to the armhole at notch and draw the dart point 1 in. (2.54 cm) from the apex. Draw in the desired neckline. Refer to the instructions for drafting the back (A: b and c) to draw in the new front armhole curve and side shape while touching the curve to the armhole dart. a. Create the tie 2 ½ in. (6.35 cm) wide. Determine the length by measuring from center front to the tie insert line. Shape the tie ends outward and cut ends on the diagonal. Double the tie to finish the edges. If desired, extend the tie length so it wraps one or more times around the body. C. Place both front and back patterns on the fold. However, seam the center back for a mitered stripe, as in the example. Cut both front and back patterns twice in coordinating fabrics. In sewing, insert the ties, then finish all edges except the shoulder and neckline by seaming the two backs face sides together and the two fronts face sides together. Turn right side out and press. Join the shoulder seams with a French seam so the seam is finished inside and out. Finish the neckline with binding.

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Eco Option: The Split Shirt This repurposed shirt was inspired by Virgil Abloh’s Off White collection of split print cotton shirtings. Refresh the look of any two similar shirts by splitting them in half and joining the two opposite halves. Don’t be concerned if the two shirts are not identical in length, collar shape, etc. Those contrasted features make these shirts all the more unique! • Unbutton the front of two button down shirts. Carefully split the backs through the collar and down the center back. Exchange garment pieces and sew the center backs together again, using a ¼ in. (6.35 mm) seam

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allowance, from the collar neck seam to the hem. This will make the shirt ½ in. (1.27 cm) smaller across the back shoulder. (If this is a concern on a fitted garment, cut a ribbon 1 in. (2.54 cm) wide of contrast fabric and insert it down the center back using ¼ in. (6.35 mm) seams on each side. This will return the shirt to the original measurement.) • If desired, cut away a portion of the lower center back from the waist to the hem. Clean finish the edges for an open slit. • Clip the center back seam at the collar/neckline intersection and move the seam allowance to the underside of the collar

so the seam allowance does not show when the collar is folded over. • Remove and resew the buttons so they fit the spacing of the other shirt front. • If desired, remove the cuffs and resew them on the counterpart’s sleeve. • For other unique split shirts, divide two similar shirts in various other locations such as horizontally at the yoke line. Split sports team or classic rock band t-shirts side to side or front to back and rejoin.

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14

Contouring

What inspires your designs? Is it the shiny sports car, glossy metal, and glistening technology of the future or is it the bustiers, corsets, and exaggerated figures of historic costume? Either way, it is the contour that catches the eye! If your silhouettes are fitted and flattering, sleek and stylistic, look to the Contouring technique to sculpt your fashions.

[Mevans/E+/Getty Images]

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Patterns made for woven fabrics contain an allowance that enables wearers to bend, reach, sit and walk comfortably in their clothes. Ease is the amount of extra fabric added to the pattern to allow for movement. This relaxed fit is necessary for woven fabrics that do not give or stretch. However, many fashion silhouettes, such as strapless bodices and surplus necklines, require a body-hugging fit with little to no ease. A snug fit eliminates gaping and holds the garment in position. It is for these situations that the Contouring technique comes to the rescue! Contouring is a patterning method that compensates, in specified areas, for the differences between the body and the pattern’s usual measurements. On women’s wear, contouring is focused on the bodice front and back. Ease allowance is a response to the type of fabric used, fashion trends, and personal preference. Woven fabrics that contain spandex will stretch to allow movement, so patterns require less ease. More ease is allotted for jackets and coats so they can be worn comfortably over other articles of clothing. (Patterns for knitted fabrics do not follow the same guidelines, because the stretch in the fabric provides room for movement.) Heavy and stiff fabrics require more ease to feel comfortable than do soft, drapey fabrics. Bias cut garments move with the body and may not require additional ease. General guidelines, for a woven fabric without stretch, are given here, and the measurements correspond with the

Hollow areas, created by the bust, shoulder blades, and side seam ease are accounted for on the contour pattern (A). The bust radius is the distance from the apex to the flat area surrounding the bust mound (B, C).

amount of ease incorporated on the block pattern included with this text (see page 9). A minimum of 2 in. (5.08 cm) of ease is added to the total measurement for the bust circumference. A minimum of 1 in. (2.54 cm) for the waist and 1 ½ in. (3.18 cm) for the hip is added to the body measurement for ease. Ease is built-in to the pattern and generally not included in sizing charts. Some commercial pattern companies provide body and finished garment measurements, so you can calculate the amount of ease by subtracting the body measurements from the finished garment measurements. Most of the exercises in this book ask you to refer to a block pattern measurement, rather than a body measurement, so ease is already included in your patterning calculations. The basic block (see page 9) touches on the high points of the body and bridges the hollow areas created by the bust in front and shoulder blades in back. A contoured pattern subtracts ease and hugs the areas around the bust, armhole, and neckline. Note that the ease on the basic block allows for a more generalized fit. Custom measurements are needed when contouring because garments fit so closely to the body. This is especially true when identifying the bust radius, which is the measurement from the bust apex to the flat area under the bust mound. The basic block provides for a 3 in. (7.62 cm) radius and a B cup, but this measurement varies with each individual.

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The Contour Block A contour block is the basic block with areas of contouring fit marked in. To use the contour block, draft your pattern. If a styleline crosses a contour area, identified by the orange color in the figure below, subtract the corresponding measurement from your pattern. This is done by either adding the amount to an existing dart intake or overlapping that amount out of the pattern at the styleline. For full coverage and fit without gaping, the perimeter (outer cut edge) of the pattern should not rest inside the bust radius circle. Contouring measurements for the block accompanying this book are: A: 3 in. (7.62 cm) bust radius. The bust radius is the flat area surrounding the bust mound. The distance is measured from the apex to the flat area and relates to bra cup size. 3 in. (7.62 cm) corresponds to a B cup. The measurement may need to be increased or decreased depending on cup size. B: ½ in. (1.27 cm) ease at the armhole/underarm point to 0 at the waist. C: 3/8 in. (9.52 mm) ease at notch on armhole. Use either the C or D measurement, but not both, on a single pattern.

D: 3/8 in. (9.52 mm) measured at bust radius to 0 in. (cm) at the shoulder/armhole point. Use either C or D, but not both, on a single pattern. E: 3/8 in. (9.52 mm) measured at bust radius to 0 in. (cm) at neckline. F: ½ in. (1.27 cm) at center front, parallel to the apex. G: 3/8 in. (9.52 mm) from each dart leg at bust radius to 0 in. (cm) at waistline dart leg. H: Measured from 0 in. (cm) at waistline dart legs to 0 in. (cm) at shoulder line. Use contour guidelines if you are patterning the following styling (see the figure on page 172): 1. Cut out or cut-in armholes (contouring above the bust). 2. Cut out necklines (contouring above the bust). 3. Empire and midriff styles (contouring under the bust and side seams). 4. Strapless looks (contouring around the bust and side seams). 5. Front wraps (contouring at bust level). 6. Styles with an open or cut out back (contouring under and between the shoulder blades).

The contour block provides guidelines for closely fitted garments.

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Subtract the amount shown by either transferring it into an existing dart or folding out the excess.

Ease in Sewing Ease is the difference in measurement between the body and the pattern. Ease can also refer to the difference in measurement between two pattern pieces that sew together. Ease is added to a seamline to draw additional fullness to an area, such as a princess seam, sleeve cap, or shoulder seam. The more fitted the garment, the more ease is needed in these areas. Extra fullness is added between two strategically placed notches. These notches match the corresponding

seam when the fullness is drawn up. This ease should be undetectable when sewn. If puckers result at the seamline, too much fullness was added to the pattern. Lofty fabrics, such as wool, readily accept ease. Crisp fabrics, such as muslin, are hard to ease without puckering. There are several ways to ease fabric in sewing: 1) Sew two rows of basting stitches within the seam allowance and between the notches. Draw up the fabric by pulling on the basting threads until the notches match the corresponding seam. 2) On the piece that requires ease, place your finger behind the

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Ease in the sleeve cap enables flat fabric to follow the shoulder/arm curve. Ease is drawn up using a basting stitch within the seam allowance. Sew the sleeve so no gathers are visible on the outside of the garment.

presser foot and sew with a regular stitch within the seam allowance. Apply pressure on the fabric while it moves under the presser foot from match notch to match notch. The pressure hinders the fabric from moving under the presser foot and gently draws up the excess fabric. 3) Cut a length

of bias tape the measurement between the notches of the seam without the ease. Sew the strip to the seam with the ease by anchoring it at the notch and then pulling tightly while stitching on the seam allowance until you reach the other notch.

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CONTOURING IN CONTEXT: JEAN PAUL GAULTIER’S CORSET The corset is a distinctive example of contouring. It hugs the torso and exaggerates both its concave and convex curves. The Victorian era, mid- to late nineteenth century, is known for producing some of the most elaborate of the structures. Corsets defined the hourglass, and later the “S” shaped silhouettes that characterized that time. A century later, Jean Paul Gaultier reinvented the corset. His corset, however, “rebelled against the narrow definition of the female body that, for so many centuries, had been dictated by corsetry’s body-morphing strictures” (Vogue/ Madonna). Rather than a structure that suggests submission, Gaultier’s version was “defiant, aggressive” and embodied female power. Madonna wore this new, bold version of the corset on her Blond Ambition tour, which helped personify her as a strong, independent woman. Although Gaultier was not the only designer to feature innerwear as outerwear, his designs are possibly the most dramatic. He continues to incorporate the corset into both his menswear and women’s wear collections today.

Contouring in Practice Ease in relation to fit is a matter of personal preference and a component of the prevailing silhouette of the day. Some might feel comfortable with a 2 in. (5.08 cm) ease allowance provided in the bust circumference. Others might feel that amount is too restrictive. For example, fashions of the 1980s were oversized and consumers grew accustomed to the generous fit. Those consumers would undoubtedly feel confined in the snug fit found in skinny jeans and slim dresses of the current decade. Do your designs have a close or generous fit? Revisit the fit of your basic block from time to time to ensure it still meets the expectations of the consumer. Princess seams augmented by contouring gives this Strapless Dress a snug fit that will keep the bodice in place even while dancing. For added appeal, follow the curve of the bust radius at center front to pattern a sweetheart décolletage or lower the center back neckline for a dramatic exit. The fabric for the Kimono-inspired Surplus Wrap was cut from disassembled kimonos. To stay true to the fabric’s origin, the dress draws its styling inspiration from the kimono. The dress features a kimono sleeve, which is in one piece with the body of the garment. The wrap closure resembles the closure of the kimono and the fitted midriff is a salute to the kimono’s obi belt. The style utilizes contour guidelines for the close fit of the midriff waist and the line of the front wrap so it does not gap open. This is a mock wrap dress, which has a zipper opening in the back through the waistline.

Strapless Dress The Strapless Dress begins with the FRONT AND BACK BODICE AND SKIRT BLOCK.

Madonna confronted themes of sexuality and power as she paired Jean Paul Gaultier’s conical bra corset with a tailored pin stripe suit on her Blond Ambition tour in 1990. [Gie Knaeps/Getty Images]

A. Draft the desired front and back neckline over a bodice pattern with contour markings, noting that the new front neckline does not cross into the bust radius circle. B. On the front and back bodice, trim away the contouring excess from the side seams, the excess pattern above the new neckline, and the original intake from all of the darts.

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C. On the back bodice, remove the contouring excess from the dart legs and join the two parts of the back bodice into one. On the front bodice, fold out the contouring excess above the apex and remove the contouring excess from the dart legs. Blend the curves of the new seamlines and add match notches. D. Lengthen the block skirt front and back to the desired length.

The Kimono-inspired Surplus Wrap with Fitted Midriff The Kimono-inspired Surplus Wrap with Fitted Midriff begins with the CONTOUR FRONT AND BACK BODICE BLOCK AND BLOCK SKIRT. A. Draft the line of the midriff. B. Move the back dart intake to the armhole. Draft the front and back neckline. Extend the front wrap past center to meet the dart line at the midriff seam line. Draft the kimono sleeve by extending the shoulder line and midriff seam line to elbow length. C. Subtract the contouring measurements from the midriff at side seam and dart legs. On front, place match notches on the midriff and body pieces 2 in. (5.08 cm) from each waistline dart leg. On back, place a notch 2 in. (5.08 cm) from the waistline dart leg closest to the side seam. Separate the midriff pieces from the body of the garment. Join the midriff pieces at the dart line front and back.

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D. Close out the contour guideline amount at the center front wrap by transferring the fullness to the waistline dart. Delete the markings for the waistline dart on the front and back bodice. In sewing, gather the extra fullness between the notches to meet the notches on the midriff. a. On the back, make two marks on the waistline seam between the dart and center back. Draw lines from the marks to the neckline. Slash on the lines and open the pattern 1 ½ in. (3.81 cm) on each line

to add fullness to the center back. Delete the B dart markings. In sewing, gather the extra fullness between the notch and center back to meet the notch on the midriff pattern. E. On the front and back skirt, draw a line from waist to hem on either side and between the waist darts. Delete the markings for the dart. F. Slash the pattern on the lines from the waistline to the hem. Add 1 in. (2.54 cm) to each line at the waist and 2 in. (5.08 cm) to each line at the skirt hem. In sewing, gather the waistline to meet the midriff pattern.

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Eco Option: A Symbiotic Relationship with Interior Design Designers looking to conserve resources can form relationships with other design fields. For example, some fabrics used for interiors are also suitable for fashion garments. Since the interiors field often works with large-scale items, such as upholstery and drapery, sizable cuts of fabric can fallout as waste during the construction of those pieces. Fashion designers can make use of these remnants, confirming that one person’s waste is another person’s treasure! The patterned pieces of this stylized corset are cut from color-coordinated samples found

 

in a retro interior design swatch book. The style has an exposed front separating zipper. The Stylized Corset begins with the BLOCK FRONT AND BACK BODICE AND SKIRT. A. Draft the neckline and cut-in armhole. Subtract ¼ in. (.635 cm) from the center front to accommodate the exposed zipper. B. On the skirt pattern, draft the styleline for the lower portion of the corset. C. Delete the intake of the darts on the skirt and cut out the shapes. Join the shapes to

the bodice at the waistline by aligning dart legs. Reconcile gaps at the waistline by blending the pieces. D. Refer to the contour block and subtract the contour amount at dart lines and side seams. Fold out the contouring on the front neckline. Draft a back facing. Create a front facing to finish the front and neckline by cutting the center pieces double. Insert a separating zipper between the body and the facing.

 

15

Structure

Do you describe your designs as architectural and sculptural? Are they inspired by medieval castles, flying buttresses, Gothic archways, and expansion bridges? Do Giacometti’s thin figures, Moore’s clean lines, and LeWitt’s conceptual pieces nurture your creativity? Fashion designers can draw inspiration from infinite sources, but a look to architectural elements is sure to Structure your fashions!

[DEA/W. BUSS/DeAgostini/Getty Images]

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The Structure technique is building, constructing, and fabricating. Structural fashion includes exaggerated proportions, architectural angles, and form extending outward from the body. The structure cannot be separated from the design; the structure itself comprises the design. Fashion has a long history of building three-dimensional fashion. From the panniers and crinolines of past centuries to contemporary wearable art and architectural 3D printed design, designers have augmented the human physique through clothing. Pattern drafting skills are key to the success of these edifices. This includes good spatial sense, which is a combination of an innate feel for form and a recognition of geometric shapes.

Structures in Historic Costume We look to historic periods of Western culture for some of the most complex and exaggerated fashion structures. Clothiers for the upper class of the Victorian and Elizabethan eras were masters at building foundations, such as the corset and cage crinoline, that supported fabric upward and outward from the body. Whale bone, cane, and steel stays were often used to form the following support systems (Calasibetta and Tortora 2008):

Building through Shapes Patterning shapes. A: pyramid (cut two for a diamond shape); B: baseball-inspired sphere (cut two); C: beachballinspired sphere (cut 6); D: cone; and E: box.

Structure is engineering, problem solving, and a knowledge of construction materials. Pattern drafters can add structure through basic three-dimensional shapes and shape variations. Dress created before the advent of intricate patternmaking tactics often began with simple shapes. Consider the rectangular bodies and tubular sleeves of ancient tunics. Pattern drafters today utilize basic shapes to build the exoskeletons of their structural designs.

American cage crinoline, 1868–70. [Heritage Art/Heritage Images/Alamy Stock Photo]

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Hip length cage crinoline, 1858.  [Artokoloro/Alamy Stock Photo]

Corset with boning, 1861–3. [Historical Views / Alamy Stock Photo]

•• Bustle: Padding or rigid support projecting from the back of a garment. •• Bum roll: Padded roll worn around the hips. •• Cage crinoline: Support used to hold a full skirt away from the body made with tapes, which allow flexibility in movement. •• Corset: Strapless garment fitted through the torso with confining stays. •• Crinoline: Underskirt that has been stiffened, often with horsehair, or infused with hoops. •• Farthingale: Undergarment with hoops made to enlarge the lower half of the body. •• Hoop skirt: Underskirt with round or oval hoops to support a full skirt. •• Pannier: Structure of metal, wire, or cane that extends a woman’s dress out from the sides at hip level. •• Petticoat: Woman’s undergarment extending from the waist, which can be full or narrow at the hem.

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Structural Materials Designers, such as Balenciaga, created sculptural forms with nothing more than fabric and artistry. Others extend fabrics’ capabilities through pleating, gathering, and layering. Sometimes fabric alone cannot provide the desired shape, and supplemental materials are necessary.

Interfacing Interfacing is used to stiffen, reinforce, and add body to fabrics. It comes in different weights, and is available in woven, nonwoven, fusible and sew-in varieties. In general, use an interfacing that is lighter in weight than the fabric. The interfacing should complement, not overpower, the fabric’s inherent characteristics. Interfacing on bespoke garments is applied with handstitching. Machine-stitched and fusible interfacing are common in contemporary fashions. Interfacing is often placed on the front body between the shoulder and bustline, across the back shoulder blades, on front and back facings, hems, vents, sleeve caps, and pockets. Interfacing applied with hand stitching is tacked in place throughout the piece or at the seam line. It is kept out of the seam allowance. Fusible interfacing is sewn in the seam. The fusible pattern piece should be a minimum of 1/8 in. (3.17 mm) smaller than the fabric pattern piece to ensure that the glue does not get on the iron or ironing surface. There are many kinds of interfacings, each serving a specific purpose. Woven interfacing has a grainline. It is cut on the bias when a slight stretch or fabric roll is needed. Non-woven interfacing does not have a grainline so it can be cut in any direction. Knit interfacing, such as tricot, has stretch and works well for knit fabrics.

Shoulder Pads Shoulder pads are a standard feature on most jackets, but their usage increases and decreases in other garments according to fashion trends. When fashions are trim, shoulder pads give definition to the shoulder area and support the weight of the garment so it hangs cleanly. When fashions are oversized, the shoulder pad ­coverage increases to correspond with the volume of the garment. Adjustments should be made to the block pattern to accommodate the depth of the shoulder pad. To incorporate shoulder pads into your pattern, measure the thickness of the shoulder pad at its widest part. Raise the front and back shoulder line at the armhole that amount. To adjust the sleeve cap to meet the new armhole length, cut the sleeve on the bicep line and down the center of the cap to the bicep line. Using the underarm/ sleeve cap point as a pivot, rotate the front and back sections upward and outward until the new sleeve cap measurement is the same as the front and back armhole measurement including ease.

Add height at the shoulder to accommodate the width of the shoulder pad.

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Boning Boning is used to support fabric and give it shape. There are several kinds of boning. Plastic boning is durable, but flexible. Steel boning is strong and rigid. Boning can be placed wherever support is needed, but is usually placed on or next to seams. The seams provide a guide for the casing placement. Although some boning, such as Rigilene, can be sewn directly onto fabric, most boning is inserted into a channel.

Soft and Rigid Structures

Boning is placed into channels on the seamline, which will give this corset form when worn. Boning can stop under the bustline or continue over it for enhanced shaping. Cut the boning and the casing short of the seamline. Finish the corset opening with a busk closure.

There are many products available to create both soft and rigid structures. A review of historic garments reveals that whale bone was a common reinforcement material. Contemporary costume, such as cosplay, also makes use of specialized materials. They include: •• Buckram is a cotton fabric that has been soaked in a sizing agent to make it stiff. It comes in a variety of weights. It can be sewn and creased. Fusible buckram can be ironed to another fabric. When wetted and shaped over a mold, such as those used in millinery, buckram can be molded to shape. Do not wash buckram otherwise the sizing will wash out. •• A busk is hardware used in corset making. It consists of two metal pieces, one with loops and the other with pegs. A busk enables the wearer to remove the corset without disturbing the laces. Or, it can take the place of laces. •• Fosshape is a moldable material. It becomes flexible when exposed to heat, so it can be molded into shapes. It is used to create masks, props, head pieces, and ornaments.

Buckram (white) gives this soft woolen fabric (red) structure so it can stand upright, but its stiff hand causes the fabric to lose its draping capabilities.

•• Hair canvas, also referred to as hymo, is a heavy woven interfacing. Sometimes made from goat or horse hair (horsehair canvas), it is most commonly made of synthetic materials. It is sturdy and coarse so excellent in providing crisp detail and firm control. •• Fiber fill is a polyester material used for padding and stuffing soft shapes. •• Rigilene is a lightweight, flexible boning that provides movement. It has an open structure so it can be sewn directly on to the fabric without need for a casing.

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•• Steel boning is coated with nylon to prevent rusting. It is very rigid, and ends must be capped so they will not cut through the fabric. •• Wonderflex is a plastic-like material that can be molded and formed when exposed to heat from a hot air gun. It is used to make models, 3D figures, headpieces, and masks.

Architectural Inspirations The field of fashion is closely related to architecture. While the cement and glass of architecture differs from the mostly soft materials of fashion, both genres consider the design elements line,

color, texture and form and principles, such as balance and proportion. In a conversation with Interview Magazine, Martin Margiela suggests that fashion and architecture use the human body as a starting point. “Both disciplines have a function of protecting – if not sheltering – the body, the flesh, and skin, itself” (Interview Magazine/Margiela). It follows that fashion can draw inspiration from architectural designs, and there have been many architecture/fashion collaborations. Well-known architect Zaha Hadid designed for Louis Vuitton and Fendi and created a line of shoes for Adidas. Virgil Abloh, a prolific streetwear designer, held degrees in civil engineering and architecture. Hussein Chalayan’s designs often blur the line between architecture, industrial design, and fashion. His Airplane Dress, which transformed materials used to build airplanes into a futuristic fashion, is a prime example.

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Architectural elements are rich resources for fashion design inspiration. [Lyndon Wilhelms/Pietro Savarino]

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STRUCTURE IN CONTEXT: REI KAWAKUBO’S UNIQUE FORMS Rei Kawakubo, the creative force behind the Comme des Garcon fashion label, is notoriously averse to explaining her designs. She prefers to let her designs speak for themselves. And, speak they do! Her collections have featured oversized, outsized, and outlandish silhouettes. Designs appear as clouds on the runway; fabric is layered in bizarre juxtapositions. Her designs abstract the human form more than enhance it. Her 1997 Bumps collection exhibited soft protrusions emanating from the body. In 2014, she presented the Not Making Clothes collection. She explained, “I had come to the point where I

was feeling that I couldn’t create anything new without radically changing my thinking. I felt that the only way to make something new was to not set out to make clothes” (New York Times/ Kawakubo). After more than twenty years in the business, she wanted to look with fresh eyes at what it is to design. The line featured circular cut outs, unique proportions, and various configurations of scaffolding. Kawakubo eschews aspects of traditional garment fit, proportion, and mobility, so the customary fashion descriptions of wearability and practicality are not always relevant here.

Kawakubo/Comme des Garcons fashions on display at the Art Of The In-Between exhibit at the Metropolitan Museum of Art in 2017. [Noam Galai/ WireImage Collection/Getty]

Structure in Practice The structure in wearable art and dramatic costume is often flamboyant and exaggerated, but, structure can be subtle, too. In reviewing classic designers’ work, such as fashions by Yves Saint Laurent, we find structural elements working behind the scenes of deceptively simple evening dresses, strapless gowns, and tailored suits. Lines of boning and

waistline tapes hold up bodices. Layers of interfacing, interlining, and shoulder pads give jackets a life of their own. What is structure’s place in your designs? The Structured Peplum Your Way is a great way to experiment with creating and engineering form. The peplum can be streamlined or exaggerated. Interface the peplum for a firm, but flexible shape. Add boning, buckram, or a cage to achieve a rigid structure. Use any bodice with a fitted waist to augment a peplum look. (See the Contour technique on page 169 to pattern the strapless bodice shown.)

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Steel boning provides the horizontal structure of this Cage Crinoline. Twill tape supplies the vertical supports. The pliable twill tape allows the cage to fully collapse for storage. The instructions create a cage that is equal in circumference all the way around. Cut each steel hoop and bone casing a few inches longer than the measurement. This allows room to adjust each rung to create the perfect contour. The cage crinoline is not encased in fabric, but the lower tiers are often covered on floor length cages so the wearer does not trip on the open rungs.

The Structured Peplum Your Way Each of the Structured Peplum Your Way Designs begins with the SKIRT BLOCK. A: Illustration. Measure the front skirt waistline, without the dart intakes. Repeat on the back. Add the two measurements and note as “waistline measurement.” B: Illustration. Multiply the back hip width by .333 and add the amount to the hip width measurement. Determine the desired peplum length. Draft the back peplum as the desired length by the back hip width measurement. Repeat on

the front. Temporarily join the F and B peplums at the side seam. Mark the location as side seam and label the piece as “peplum.” C: Illustration. Fit the combined front and back peplum pattern to the waistline measurement by subtracting the waistline measurement from the peplum measurement. Divide this number by 5 to determine how much to subtract from each of five “locations” on the pattern. Label as “excess.” The examples show locations near the side seam, keeping the center front and center back flat. For a more tubular effect, space the five locations evenly throughout the peplum. A: Pattern. This peplum has a sharp fold at one-third of the length. To remove the excess, create five waistline darts at the locations that are short and wide. One of the darts at the side seam location in place of a seam. Fold the darts to blend and true the waistline seamline. B: Pattern. This peplum has a rounded contour. The excess fabric is removed from each of the locations with five gently curved seams. C: Pattern. The excess fabric is slashed out of two locations on the front and two locations on the back (keeping a side seam) to achieve the cone shape. Blend the finished waistline curve.

The Cage Crinoline The Cage Crinoline begins with the WAISTLINE MEASUREMENT. •• You will need these formulas:

•• You will need these materials: ½ in. (1.27 cm) flat steel boning, ¾ in. (1.905 cm) bone casing, ¾ in. (1.905 cm) twill tape, and cotton yardage for the waistband. A. Create the foldover waistband 2 in. (5.08 cm) short of the waist measurement. Reinforce it with interfacing. (Leave the long edge open to insert the twill tape.) Cut two 12 in. (30.48 cm) foldover ties and sew them to each short end of the waistband. B. Mark the waistband at center front, mid fronts, side seam, and mid backs. Measure the twill tape the finished length of the crinoline plus 10 in. (25.4 cm). Cut eight lengths and insert them into the waistband at the marks. Place one of the lengths on the back waistband before the tie.

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C. On the opposite side of the back, insert a 6 in. (15.25 cm) length so the longer length and shorter length twill tapes converge into one at the center back hipline. D. With measuring tapes, create a circle on the floor the desired size of the largest hoop. This will be the measurement (circumference) of the lowest rung. Use the formula to determine the radius. E. On graph paper, with each square equaling 1 in. (or 0.5 cm) (or on pattern drafting paper for a full size rendering), draw a straight line the length of the cage from waist to lower edge. F. At lower edge mark the radius of the last hoop from center outward. G. Measure for the first hoop 6 in. (15.24 cm) below the waist. Mark the measurement on all of the twill tapes. Determine the circumference for this hoop by clipping or taping a length of steel boning to the twill tape at the mark. Adjust until the desired circumference of the top hoop is achieved. Use the formula to determine the radius. H. Mark the radius of the first hoop on the graph 6 in. (15.25 cm) below the waist.

I. (Orange) Draw the desired contour of the silhouette on the graph, creating a domed, rather than triangular shape. J. (Blue) Determine the placement for the intermediate hoops, narrowing the spacing where more support is needed, such as at the hipline and hemline.

Transfer Markings to Twill Tape 1. On the vertical contour line (orange, line I), measure the distance between each hoop and mark the distances on each of the twill tapes. 2. Using the radius measurement from lines J (blue lines), use the formula to determine the circumference of each hoop. 3. Cut bone casing the circumference of each hoop plus 5 in. (12.7 cm). Affix the casing to the twill tape at the marks by hand or machine sewing. 4. Insert the steel boning into the casing. Adjust the measurement as needed and trim any excess. Use a punch to make a hole in the boning where the ends overlap. Secure the boning through the holes with wire ties.

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Eco Option: 3D Printed Structures 3D printing is taking on the fashion world’s traditional cut and sew practices. Accessories, patterned components, and entire garments can be printed in three dimensions. And, many 3D prints are sustainable and biodegradable. 3D printed fashions have the potential to be eco-friendly for several reasons: • The most popular printer media is polylactic acid, or PLA. Most plastics are made from non-renewable petroleum resources, but PLA is made from renewable sources, such

• • •

•

as corn, tapioca, and sugar cane. PLA is biodegradable, but only under industrial conditions. It should not be recycled with other plastics in household waste. 3D printed items are long lasting and durable. PLA products can be recycled and some can be reused. 3D printed items do not require polluting laundry processes. They can be wiped clean. Depending on the design, it can be a zero waste production.

3D printers are readily available and competitively priced for personal use, but many libraries and schools have the printers available too. Commercial companies, such as Shapeways, provide both printing and design services. Although large-scale printers exist, there are size limitations on prints from desktop printers, which can print objects up to about 13 in. (33 cm) square. Consider printing a component of your design, such as a cage, yoke, or collar, or include the assembly of multiple printed pieces in your patterning plan.

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[Anadolu Agency/Getty Images]

 

16

Reduction

Less is more! Do you investigate the leaf rather than the tree, the wing rather than the insect as you seek out core elements? Does your design process call you to subtract, rather than embellish? Are your fashions sustainable? Are you inspired by the streamlined simplicity of the minimalist art movement? Get to the essence of the concept with the Reduction technique.

[Savin Madeleine/EyeEm/Getty Images]

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The fashion industry as a whole is looking for ways to reduce—reduce the use of natural resources, reduce the use of chemicals in the growth and production of fibers, and reduce waste. Streamlined fashion designs can reduce steps in the production process. Innovative pattern drafters question the traditional placement of darts and seams to better utilize fabric yardage. Less is definitely more with the Reduction technique! It looks to concepts such as simplicity, minimalism, androgyny, and deconstructionism for guidance and inspiration. Sustainability is an inherent component of each. Designers interested in reduction ask, “Will simplifying the fashion lead to less fabric waste?” “Will my minimalist designs have longevity?” “Are the androgynous garments made from organic materials using fewer chemicals?” “Are my deconstructed garments made of recyclable and renewable materials so they cause no harm to the environment at the end of their life cycle?”

Simplicity The Reduction technique borrows from the old US Navy principle of KISS—keep it simple, stupid. The adage maintains that most things work best if they are uncomplicated. Esteemed individuals, in a variety of disciplines, such as William Shakespeare, Albert Einstein, and Mies

All silhouettes, such as the sheath dress (rectangle), T-shirt (square), and A-line skirt (triangle), derive from basic shapes.

Van Der Rohe, have repeated the sentiment that unnecessary complexity should be avoided. Every aspect of a design should contribute to the garment’s raison d’etre (reason for being). Frills beyond that are a distraction. Simplifying is not the same as making it simple. It is communicating a complex story in as efficient means possible. One way to simplify is to pare the design to its elements. Review the elements of design that are present in every garment, line, color, texture, and form, to get to the essence of the design. •• Line. The eye follows the lines of a garment. They create illusions of height and width. Lines are expressive. A curved line suggests fluidity and softness, whereas a straight line is more formal. Diagonal lines suggest movement. Darts and seams create lines on the garment that can convey concepts such as power, femininity, and sensuality. •• Color. We all have innate and learned reactions to color. It quickly and efficiently sends a message about the design. Compare the difference in your reactions to seeing an orange suit jacket and a navy suit jacket. Recently, there has been a rejection of fast fashion in favor of a wardrobe with fewer, but more meaningful, pieces. A color coordinated selection of mix and match pieces is essential in consolidating a wardrobe.

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Get back to basics and allow the parameters of the material point to how it is utilized. Early dress consisted of uncut animal hides (A) or lengths of cloth. Elaborate weaves, border, and panel prints (B) further suggest how a fabric is treated. Modern patternmaking techniques contort fabric into complex forms (C).

•• Texture. Fabric provides the fashion’s texture. With a goal of simplicity, the texture should clearly telegraph the design’s message. For example, a rough-hewn fabric, such as home spun, communicates ruggedness, and a lustrous fabric, such as charmeuse, suggests luxury. The designer chooses carefully between raw silk, which is nubby and natural, and cultivated silk, which is smooth and satiny. •• Form. All silhouettes are variations and combinations of the basic shapes: rectangle, circle, square, and triangle. When simplifying design, keep those sewn elements, which give the garment its structure, and eliminate those which are extraneous to the form. Consider the materials, too, when simplifying the design. Allow the shape of the fabric to guide its usage. The earliest shapes used as body covering were animal skins. Although irregular in contour, animal skins provided (and continue to provide) efficient dress for ages. The introduction of looms and weaving technology ushered in body covering fashioned from various lengths of rectangular shapes. Ancient Greeks devised several ways of draping uncut fabric lengths on the body. Some garments were pinned or tied at the shoulders. Others were folded over at the top and belted at the waist or hip. Ancient Romans developed their own way of dress—the toga. It usually consisted of a very long semicircular-shaped cloth worn draped around the body, under the right arm, and over the left shoulder.

There were many variations of the toga. Some featured intricate embroidered borders that could be removed and transferred to new materials. [Bildagentur/Universal Images Group/Getty Images]

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Minimalism The term minimalism originated from an art movement of the 1960s characterized by extreme simplicity and the elimination of non-essential elements. Minimalist artist Donald Judd referred to his work as “the simple expression of complex thought.” This aesthetic applies to fashion as well (Utopiast). Reduction can make a bold statement, exemplified by fashions with no opening for the arms (Rei Kawakubo) and designs that leave private body parts exposed (Rick Owens). Calvin Klein and Jil Sander suggest that minimalistic fashion is about streamlining resources, silhouettes, colors, and construction. Calvin Klein’s design aesthetic emphasizes sparseness Jil Sander’s streamlined design aesthetic from Spring/ Summer 2020. [Estrop/ Getty Images]

and inherent sensuality, rather than external messages. Jil Sander has been described as the “Queen of Less.” The design house features timeless styling and quality construction. Extraneous embellishments, such as ruffles, tucks, and flounces, are traded for quality fabrications. Timeless styling is favored over fashion fads. Minimalist pattern drafters ask, what is the essential form, function, and aesthetic of the piece? Remember, too, the skill of designers, such as Balenciaga, Poiret, and Madame Grés, who craft a design’s intricate inner workings in such a way that makes the exterior appear minimal and effortless.

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Androgyny Reduction avoids gender stereotypes. Androgynous fashion is neither masculine nor feminine. It is gender-inclusive and non-binary. The body is covered up or revealed in new ways that challenge traditional perceptions (Utopiast). Pattern drafters creating androgynous fashion avoid the close fit of the basic pattern block. Darts are released and the hourglass shape is

minimized. Although there is no playbook for creating androgynous wear, some androgynous clothing is cut full to skim over the body. A perusal of fashion designers’ androgynous wear, including Toogood, Wildfang, Telfar and Uma Oath, finds instances of dropped shoulders, semi-tailored jackets, boxy tees, and full- or slim-legged trousers.

Androgynous wear shuns the distinction between masculine and feminine. Fit darts that cater to a specific gender are eliminated. This basic block is adapted with a dropped shoulder and full pant leg.

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Deconstructionism Deconstructionism, at its most conceptual, reduces a garment to its fundamental elements, to its essence. It is anti-fashion. Deconstructed garments are unfinished and dismantled. They are created from recycled and unconnected materials showing lining and raveled edges. Deconstruction is personal to the designer and germane to the garment. Deconstructionism Maison Margiela’s deconstructed shirt and trenchcoat from Fall 2018. [Peter White/Getty Images Entertainment]

does not lend itself to isolating guidelines for pattern drafting. However, individuals interested in the movement can find common mechanics, such as unfinished edges, raw materials, visible inner construction, and exposed seams, in the work of Martin Margiela, Yohji Yamamoto, and Ann Demeulemeester.

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REDUCTION IN CONTEXT: ISSEY MIYAKE Issey Miyake is a master at exploring complex concepts through basic shapes. Those shapes remain relevant season after season through technology, innovative materials, and creativity. Many of the silhouettes from his Pleats Please enterprise continue to be made from simple rectangles. Additional concepts include origami-like forms using 3D Steam Stretch technology and A-POC (A Piece of Cloth), which originates as a long tube of jersey and is cut and shaped by each individual customer. 132 5. Issey Miyake is a line of two-dimensional shapes, which unfold

into three-dimensional garments. The house of Miyake is known for flaunting the juxtaposition between the basic and the advanced. Vogue Runway described the Spring/Summer 2021 Miyake collection as “combining spatial economy with conceptual abundance” (Vogue/ Issey Miyake). Reducing a design to its essence through cutting-edge technology is Miyake’s solution to the age-old challenge of how to create form with two-dimensional materials.

Issey Miyake 132 5. Window Display, Tokyo, Japan, 2014.  [Ken Ishii/ Fashion Window/Getty Images]

Issey Miyake often disregards traditional patterning guidelines of fit and seam placement. Pieces from the 132 5. collection come to life as they unfold on the body. [Redrawn by author from https:// isseymiyake.com]

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Reduction in Practice Patterning using reduction tactics can help lessen the proliferation of fast fashion and save resources. An additional benefit is that it is fun! Reducing a complex design to a couple of seams, or a single seam, is a puzzle-like challenge. Balenciaga possibly did it best with his one-seam coat and dress. Try reduction by adjoining the seams of the basic block and splitting the pattern in different, unexpected ways, such as on the cross grain or bias. The stripe on the Single Seam Striped Skirt creates the interest for this basic circular skirt. The one-quarter circle pattern results in horizontal and vertical stripes meeting at the seamline. Choose fabric that is 54–58 in. (137–147 cm) wide so the entire pattern fits on the fabric width. Since the skirt is made with a single seam, that seam can be rotated around the body for a center front, side front, side, or back exposed zipper opening. The 1960s inspired Three-Armhole Dress is the ultimate in simplicity. With no buttons, zippers, or clasps to complicate production, the wearer just slips their arms through and goes. The number of seams is streamlined to just the shoulder seams. Cut edges are finished with binding. The dress can be worn with the wrap to the front or the back.

Single Seam Striped Skirt The Single Seam Striped Skirt begins with measuring the waist to determine the radius needed to create the circle. Refer to the chart. For more information on radius and circle circumference, please see the Arcs technique on page 113.

RADIUS REQUIRED FOR A ONE-QUARTERCIRCLE SKIRT (If the waistline measurement is between two numbers, select the larger radius and ease the skirt waistline into the facing.) Radius

Waistline measurement

15.5 in. 39.37 cm

23.5–25.5 in. 59.69–64.77 cm

17 in. 43.18 cm

25.5–28 in. 64.77–71.12 cm

18.5 in. 46.99 cm

28–30 in. 71.12–76.2 cm

20 in. 50.8 cm

30–32 in. 76.2–81.28 cm

21.5 in. 54.61 cm

32–34.5 in. 81.28–87.63 cm

A. Begin with the SKIRT BLOCK. Create waistline facings by measuring 2 ½ in. (6.35 cm) down from the waist all around. Cut on the line and close the dart intakes. Interface the facings. Discard the lower skirt pattern pieces. B. Refer to the chart and draw a circle with a radius that corresponds with the waistline circumference measurement. Divide the circle into quarters and keep one quarter circle for the pattern. Draw a parallel quarter circle at the desired length. Add seam allowances to the waistline circle, the two seams, and a narrow hem. a. Cut from a striped fabric. To sew, fold in the straight seam allowances and stitch on top of the zipper tape to expose the zipper. Below the zipper is clean finished for a slit opening at the hem. b. Finish the waistline with the facing. C. For a shaped, uneven hemline, square the pattern as the orange line at C.

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Three-Armhole Dress The Three-Armhole Dress begins with the BODICE and SKIRT BLOCKS. A. Adjoin the F and B bodices and skirts at the waistline. Delete the waistline dart markings. a. Pivot the F shoulder dart to the armhole by slashing through the center of the dart. Pivot on the dart apex to close the dart and open in the new location. Back the new dart from the apex 1 in. (2.54 cm). b. Draft the desired neckline F and B. c. Determine the desired length then extend the hemline width 2 ½ in. (6.35 cm) out from the sideseam/hem point. Draft a straight side seam from the armhole/side seam point to the new hem width.

B. Draft the front panel starting at the shoulder/neck point, extending the line down the front midway between center front and the apex. Round the line to meet the side seam/ hem point). Repeat on the back. (Front only is shown.) C. Join the side seams as follows: 1) back wrap side seam to front left; 2) front right side seam to back right side seam; 3) back left side seam to front wrap. If the fabric allows, cut on the cross grain. D. To sew, all raw edges with foldover bias (which does not require a seam allowance), then sew the shoulder seams.

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Eco Option: Classic Components of the Capsule Wardrobe Long before Steve Jobs, with his black turtleneck, and Mark Zuckerberg, with his gray T-shirt and dark jeans, Donna Karan introduced the world to the capsule wardrobe. Her Seven Easy Pieces collection (1985) exemplified that women could be fashionable with a wardrobe of seven basic pieces. She suggested that a wardrobe should work for the woman in power; the woman in power should not work to create an extensive wardrobe. A capsule wardrobe is a small, compact, and minimal wardrobe of versatile, timeless pieces that coordinate together. The antithesis of fast

fashion, capsule pieces are made of quality fabrics and classic styling. Welt pockets are one of the many hallmarks of quality construction found in classic design. A welt is a strip of fabric used to cover the opening for the pocket. There are single and double welt pockets. This single welt pocket is created from self fabric. Double welt pockets and bound buttonholes can be made using a variation of this method. The Classic Welt Pocket begins with the PANT BLOCK. The pocket is placed on the pant back in this example. The front pant is unchanged so not shown.

A. Cut the pant from fabric and chalk mark the placement of the welt on the face of the pant. Create the pocket bag pattern 2 in. (5.08 cm) wider than the width of the finished welt and double the length of the desired pocket bag plus 1 in. (2.54 cm). Divide the pocket bag in half lengthwise and mark with a line. Draw in the welt so that it is resting on top of the line. B. With the pant and pocket right sides together, stitch around the rectangle drawn on the pocket. Cut through all layers in the center of the rectangle

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stopping short ½ in. (1.27 cm) from each end. Carefully cut diagonally into all four corners. Cut to, but not through, the corner stitch. C. Turn pocket right sides out and press. D. Make a pleat to cover the pocket opening by folding the lower pocket section up. Check from the right side that the fold is even and covers the entire pocket opening.

Press. Baste to the upper part of the pant to hold the welt in place. E. Turn the pant right side up. Fold up the lower edge of the pant to reveal the lower pocket seam allowance. Stitch through the seam allowances and the pocket. F. Turn pant to the wrong side. Fold the upper pocket down to meet the lower pocket. Right sides of the pocket should be

facing together and the edges of the pocket should meet. Pin in place. Press the seam allowance open. G. Turn the pant right side up. Fold up the pant leg upward and out of the way to reveal the pocket bag. Stitch around the outer edge of the pocket making sure to stitch across the triangular ends as close as possible to the existing stitching.

 

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Adaptations

Who is your customer? Are your designs inclusive for those with unique fashion needs? Are you interested in designing for persons with disabilities? How can you adapt your aesthetic so it is accessible to a focused niche? Look to the Adaptations technique to provide function without sacrificing form.

[Ryan McVay/Photodisc/Getty Images]

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The French Junior minister for disabled people, Sophie Cluzel, wears a clear face mask. Opaque face masks limit communication for the hearing impaired and some people with autism. The clear face mask responds to the needs of individuals who rely on reading facial expressions to communicate.  [Ludovic Marin/ AFP/Getty Images]

All fashion responds to aesthetic, expressive, and functional needs, but with the Adaptations technique garments are specifically engineered to address the unique needs of an individual or group. Whereas the basic block can provide a pattern foundation on a macro level, Adaptations looks at design on a micro level. It involves direct interaction with groups and individuals and utilizes creative design to address their clothing needs. Not understanding how the consumer uses a product is a reason some designs fail. Consider the scarcity of pockets in women’s wear. Women have clearly asserted that they prefer pockets in their clothing, but some manufacturers fail to heed the recommendation. On the contrary, some of the greatest innovations in fashion today stem from designers taking a fresh look at how specific individuals interact with their surroundings.

Niche Markets The apparel field sections its products into categories, such as by age and price. These groups can be divided even further into niches. A niche market is a small, specific subset of a larger category. It has specialized needs that generally are not met by larger, mainstream businesses. Adaptive design focuses on groups with specialized clothing requirements. Groups include those individuals with a particular type of permanent disability or those with chronic or acute

conditions. Also, consider persons going through a developmental stage, such as nursing mothers and growing children. Adaptive design applies to anyone who requires adaptations in fit, style, and/or function. This creates unique opportunities for the designer, including in areas of: •• Activities, such as hiking, exercising, and beach going. •• Career wear, as in those who wear uniforms, work in a technical field, and work in health care. •• Motor skills, as with those on the ADHD and autism spectrum, with arthritis or ­nervous system disorders. •• Physical mobility, as in those with amputated limbs, using wheelchairs, and who are bedridden or paralyzed. •• Physical stature, as in the tall, petite, or those with a large physique. •• Safety, as in the gear worn by fire fighters, the police force, and laborers. •• Specialized dress, as in modest dress and gender-fluid dress. •• Costume, theatrical, and wearable art. •• Sports, such as golf, football and soccer.

Know your Niche When designing for a focused niche, it is essential to get to know the specific needs of your client. In fact, poorly designed adaptive clothing can be counterproductive and even dangerous to the wearer. For example, magnetic closures can be a choking hazard and be harmful to those with implanted medical devices. Do not assume that generalized measurements will respond to their requirements. Make use of interviews, focus groups, and research tools. Put yourself in their shoes. Ask questions such as: •• Is the garment easy to put on and take off? Can you dress independently? •• Can you open and close the garment with ease? •• Is it comfortable? Do you have a range of motion? •• Is the garment flattering? Does it meet aesthetic as well as functional needs?

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Designing with Purpose

Measurements and Fit

Persons wearing adaptive clothing do not want to be singled out. They want to have on-trend clothing at a reasonable price just as their peers do. Aesthetics should not be sacrificed for the sake of function. Fashion designers who design with purpose create inclusive design. Inclusive design is fashionable clothing that also meets the specific need of the individual. In other words, with inclusive design the general population of a certain age group would be as likely to wear an item as would be a person with special needs. We see the success of this concept with athletic wear and the general population wearing sports jerseys, shoes, and uniforms adapted specifically for a certain sport. Only recently have designers discovered the same design possibilities exist when designing for often marginalized groups. It is said that designers thrive when constraints are imposed to spur their creativity. Use the requirements of your niche as inspiration for innovative design.

To create successful adaptations, pattern drafters must be skilled in garment fit and measuring the body. There are generalized notions of “good fit.” They include no pulls or sags across the body, the ability to move with comfort, and lengths that are not too long or too short. Garment fit, however, is very closely associated with individual niches. For example, fire and safety apparel should have a streamlined fit. Loose sleeves and hanging hems pose a safety hazard. It is important to have discussions with the consumer to determine the functional and aesthetic parameters of fit for that niche. The pattern drafter, then, makes alterations according those guidelines. A. To increase or decrease the across the back measurement, slash between the shoulder and waistline dart legs to the shoulder blade height. Move the armhole side of the pattern piece inward or outward.

Alterations are made on the basic block to accommodate the measurements of the individual.

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B. To increase or decrease bust fullness, slash between the shoulder and waistline dart legs to the apex. Move the armhole side of the pattern inward or outward. C. To eliminate gaping at the armhole, slash from the armhole to the apex and fold out the excess at the armhole. Transfer the excess to the waistline dart. D. To increase or decrease the bicep, pivot the armhole/underarm point outward. Blend the line to 0 at the cap and sleeve hem. E. To add or subtract width from a pattern, slash the excess out evenly between pattern features. F. Increase or decrease the crotch extension by extending the crotch inseam point and blending. G. To lengthen or shorten a pattern, slash the pattern at even intervals. Extend or overlap and blend the pattern. On a pant, determine if the pant leg, crotch seam, or both needs to be altered. The figure on page 11 of the Introduction shows the location of common body measurements. Catering to a niche will undoubtedly require that you take additional measurements that pertain to the specific adaptation. Refer to these common guidelines when taking measurements: •• Measure circumference parallel to the floor. Be sure the measuring tape is even all the way around. •• When there are a pair of body parts, such as arms or legs, do not assume that they measure the same. Measure both. •• If the garment is to be worn mostly in a sitting, lying, or reaching position, take the measurements when the body is in that position. •• The body is fluid and movement can affect the measurement. Ask the individual to relax and stand/sit normally, not at attention. •• Measure over the undergarments that will be worn with your design. •• Since fashion changes where we situate the waistline of our clothing, we do not always recognize the location of the natural

waist. It is the narrowest spot between the rib cage and the hip bone. When bending to the side, it is where the crease in flesh forms.

Technology Technology is an important aspect of adaptive design. Often, an innovation in technology enables an advance in design. For example, the recent proliferation in 3D printing has spurred progress in prosthetics that are fully customizable to the wearer. Developments in electronic textiles are driving advancements in health monitoring. Biodegradable and recyclable textiles are making inroads in how we use and reuse our clothing. How can you implement technological advancements in your designs that will address the needs of your client?

Customization Today’s consumers are educated. They expect that their clothing will meet their individual needs. When buried under the pervasiveness of fast fashion, many of us long for a personalized touch. Whether it is a monogrammed cuff or a pair of individualized jeans, garment customization gives our clothing expression and meaning. It is perhaps fortunate for designers that most people do not want to design their own clothes. Candice Fragis, of Farfetch, suggests that designing from scratch is daunting for most consumers. They prefer to add their own spin to a brand they know (Glamour/Customized Fashion). Mass customization allows consumers to be both unique and on trend with the brands they love. Mass customization is mass producing product while still meeting certain needs of the individual. It can be achieved through allowing consumers to choose some aspect of the product, such as the color the product is made in, personalizing the item through words or initials, or tailoring a specific aspect of a garment to the individual’s measurement.

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Nordstrom allows you to customize your Levi’s to get that bespoke look. Choose the colorway and text of the graphic, personalize the text of embroidery, and select the color and pattern of laser-finished jeans. [Ben Gabbe/Getty Images Entertainment]

Openings and Closures It is common for people to struggle with the openings on their clothing. Individuals with arthritis, Parkinson’s disease, autism, and limited dexterity often have difficulty manipulating a button through a buttonhole and grasping a zipper pull. There are a number of viable alternatives for designers to consider (HCBS Provider): •• Sewing magnets can be purchased encased in a fabric pouch, so they are ready to insert into front button tabs and shirt cuffs. Keep the magnet stitching to the inside. Place a decorative button, with no buttonhole, on the outside of the piece for a traditional finished look. •• Velcro is adaptable to a variety of situations. It is strong enough to use as a closure for shoes in place of ties, but is also available in a soft and flexible version for lightweight clothing. •• Large snaps can be an option in certain circumstances. They press to close and pull open easily. •• Zippers, if used, should have large teeth and pulls. Consider a one-handed zipper, which uses a magnetic connection system to connect the two zipper sides. •• Inside pull loops help the consumer don the garment. •• Extended openings make it easier to pull a garment on and off. On a pant, lengthen

the front fly or extend the opening down the side of both legs. A wrap neckline on a bodice opens wide so both shoulders can pass through. •• A reverse opening opens in the back for those who have assistance in dressing. •• Shoulder openings completely open up the neckline for dressing. They can be closed with Velcro. •• Sleeve openings completely open the under arm and side seam. The garment is donned like a poncho, then the sides are zipped or Velcroed closed.

Jeans from Tommy Hilfiger’s Adaptive line utilize magnets and Velcro for the fly closure.  [Bergschratt/ Panther Media GmbH/Alamy]

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HILFIGER’S INCLUSIVE DESIGN Tommy Hilfiger is an American designer known for classic styling of lifestyle brands, which include men’s, women’s, and children’s athletic, casual, and denim wear. The company describes the looks as “preppy with a twist” (Hilfiger). In 2016, the Hilfiger brand branched into adaptive apparel. The collection was a natural progression from the company’s athletic lines, which prioritizes movement and performance. Even so, it was a bold step for the designer; few mainstream brands are attentive to the adaptive market. The Tommy Adaptive collection wants the wearer to not only look good but feel good. The brand’s innovative design features include easy-open necklines, magnetic closures, internal pull loops, one-handed zippers, and wide leg openings, all intended to deliver effortless dressing for people with disabilities. Fabrics are comfortable and “sensory-friendly” (Hilfiger). Hilfiger’s commitment to inclusivity extends to the shopping experience where e-commerce sites are designed for range of “visual, auditory, and cognitive experiences.” Design features are highlighted in videos, shopping is accessible through Amazon Alexa, and support staff are available. Hilfiger acknowledges that brick-andmortar stores are slow to meet the needs of the adaptive consumer, but the brand has committed to making its retail stores and showrooms inclusive to all shoppers by 2023 (Vogue Business/Hilfiger).

Adaptations in Practice A universal sentiment regarding adaptive clothing is that the wearer wants on-trend fashions that are functional but do not look utilitarian. Creativity is needed for the design of these garments because the functional element has obvious importance, but it should not overshadow aesthetic features. Just as a unique trait is only one part of an individual, a person’s clothing also should be multifaceted. How do you balance form and function in your inclusive designs? In preparation for patterning the Pant for Wheelchair Users, persons who make use of a wheelchair were interviewed. They identified several aspects that are specific to being seated for an extended time. Comfort is key. Seam allowances and tags have a tendency to rub. Pants often bunch in front but slide down in back. Users expressed a need for pockets but found side pockets hard to reach. The garment must be easy to put on and take off, but users do not want the baggy fit that usually accompanies it. An expectant mother was interviewed in preparation for patterning the Transitions: Maternity to Nursing Mother top. She stated that she wanted to be comfortable during her pregnancy. She looked for styles that transitioned from maternity to nursing so she did not have to buy a wardrobe for both. She required tops that would be accessible for nursing, yet appropriate for all settings from the office to shopping. She did not want her clothing to stand out as “maternity” or “nursing” wear.

Pant for Wheelchair Users The pattern drafter made the following adaptations to the basic pant to respond to the wheelchair users’ concerns: The Tommy Adaptive brand delivers effortless dressing. The button front shirt features a velcro back closure for ease in assisted dressing. The short in fashion colors features fit adapted for seated wear, a Velcro sidefront closure, pull up loops, and adjustable waistband elastic. [Author’s own photo; www.zappos.com/e/adaptive/ tommyadaptive]

•• Elastic is inserted into the sides of the waistband only. This gives stretch while keeping the front and back flat. •• The rise of the back pant was lengthened so the pant does not ride down, and the rise of the front pant was shortened to alleviate the bulk that forms when sitting. •• All of the pant seams are flat-felled, which are created with the seam allowance on the outside of the pant. This allows the inside seam to remain smooth.

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•• The pant waistband is lined with a soft flannel to lessen abrasion in the waistline area. •• The pant has a faux fly and decorative waistband button. They appear as a traditional pant opening on the outside. However, the pant and waistband close with Velcro stitched to the inside. The fly opening is lengthened to make the pant easier to slide on and off. •• An inset is zippered into the side leg from knee to hem. When unzipped, the pant leg is wide and the wearer can easily pull on the pant, even with shoes on. When zipped, the pant leg is slim and on fashion trend. •• Large, accessible pockets are placed on the front pant leg at thigh level. Only a seam/ slit shows on the outside of the pant, so the line of the front is not interrupted with a center patch pocket. The Pant for Wheelchair Users begins with the PANT BLOCK. A. Draft the pant legs to the desired width. a. To create fullness for the side waist elastic, delete the markings for the darts and add

1 in. (2.54 cm) to the front and back at side seam waist. Taper to the hip line. b. Slash the back crotch seam from crotch to the side seam. Raise the center back crotch line 1 in. (2.54 cm). Lower the front waist at center front ¾ in. (1.9 cm). Blend the lines to the side seam. c. Add an extension for the mock fly opening B. Draft an inset from knee to hem. The width of the inset at the hem should equal the measurement of the front hem. a. Add match notches to the waistline to identify the start of the side elastic. C. Draft the pocket on the front pant leg. The inside of the pocket should end at the knee. The outside line of the pocket should be 4 in. (10.16 cm) below the crotch/seam point. D. Follow the contour of the pant waistline to create the waistband. The right end of the waistband should be even with the center front of the pant. The left end should have an extension equal to the fly extension on the pant. (In sewing, close the fly and waistband with Velcro. Add an ornamental fly stitch and button to the waistband.) Add match notches.

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Transitions: Maternity to Nursing Mother The pattern drafter has made the following adaptations to the basic bodice to facilitate a transition from maternity to nursing: •• The garment is made from lightweight woven fabric, such as rayon challis, for comfort and drape. •• The flared design opens out during pregnancy and lies in soft folds after the baby is born. •• The inside panel has a low neckline for nursing. •• The outer panels provide accessible nursing but also privacy. The Transitions Top begins with the BODICE BLOCK and SKIRT BLOCK. A. Pivot the front shoulder dart to a side bust dart. On F and B, ignore the waistline dart

markings and extend the side seams to the desired hem length. B. On F and B, refer to the skirt block to determine the width of the hipline. Pivot the side seam slightly from the armhole/sideseam point by extending the seam outward to the width of the hipline. a. Widen the neckline F and B by subtracting 1 ¼ in. (3.175 cm) from the shoulder/neckline point. b. Draft a deep U-shaped neckline for the under front panel that ends 3 in. (7.62 cm) below the apex at center front. C. Copy the bodice front and draft the curve for the outer panels. Determine slash lines for adding fullness. One slash line meets the side bust dart. D. Close the side bust dart and transfer the dart to the front curve. Open the slash lines to achieve the desired fullness for the front drape.

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Eco Option: The Wrap Pant: Garment Customization for Longevity “Perhaps the most important step to tackle a culture of disposability is to create an environment where longevity is a desirable attribute of the product,” (Cooper et al. 2013). Customization can contribute to garment longevity when the consumer is involved in the design process and has an emotional stake in the product. When the wearer treasures the personalization, they are less likely to discard pieces that they had a hand in creating or

that were created for them. Personalized apparel can range from monogrammed shirts and made-to-order denim to specialized digitally printed textiles and customized fit. The Wrap Pant can be adapted for individuals with a variety of specialized needs because it features: • A tie waistband and wrap around closure for an adjustable fit for hard to fit body types.

• No zipper. Velcro can replace the tie for those who have difficulty with fine motor skills. • A generous silhouette to provide comfort in the seated position. • Easy access to the lower extremities for those in casts and braces. • A design that is easy to put on and take off for those who have difficulty dressing independently.

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The Wrap Pant begins with the PANT BLOCK. 1. To make the front pant, extend 2 in. (5.08 cm) outward from the widest part of the hip and mark. Draw a straight line from the mark to the hem and from the mark to the waist. Touch the back pant at hip to the new front pant side seam. Keep the back pant on grain. 2. Divide the back pant leg width distance at hem in half and draw a line straight up the center of the back pant leg. This line should parallel the new front pant line.

seams, and overlap amounts on the waistband. Extend an additional 12 in. (30.48 cm) on both ends for the ties. 6. In sewing, join the inseams on both pant legs. Sew the crotch seam. Draw in the waist to fit the notches on the tie waistband. To wear, place the front pant at waist, bring the tie to the back and knot. Pull the pant between the legs and up to the waist. Bring the tie to the front and knot. 7. For added styling, curve the pant hem (orange lines).

3. Extend the entire F and B waistline upward 1 in. (2.54 cm), thus dropping the crotch. Delete the dart markings. (Dart excess will be gathered into the waistband.) 4. Repeat the above process to create the back pant leg. 5. Create a fold over tie belt of the desired width for both the F and B waistlines by measuring the original pant block’s fitted waistline not including the dart intake. Using the original pant block waistline as a guide, notch the F and B centers, side

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Zero Waste (and Less Waste) Is sustainability as important an element in your collections as color and texture? The Zero Waste (and Less Waste) technique explores ways that you can conserve resources and lessen material consumption without compromising your design aesthetic. Do you like solving puzzles? If so, you will love designing no waste fashions!

[Songsak Paname/EyeEm/Getty Images]

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The Zero Waste technique encompasses the goal of creating no fabric waste as a by-product of the garment patterning and cutting process. Traditional production methods yield waste when shaped pattern pieces are cut from fabric. 10 to 15 percent, or more, of the required fabric yardage falls out as waste with a typical garment cutting. This waste is rarely recycled, and actually many kinds of textile scraps are not recyclable. To underscore this concept, imagine a production run requiring 100 total yards (91.44 m) of fabric. A possible 15 yards (13.72 m) of new fabric could be relegated directly to the waste bin! As part of a production team, it is important for designers to understand the marker. A marker is the layout of all of the pattern pieces in a single garment. It is laid on top of plies (layers) of fabric so that multiple garments of the same size can be cut at one time. Good fabric utilization is a priority. Pattern pieces are carefully adjoined, interlocked, and abutted for the best layout yielding the least amount of waste. The zero waste designer considers the marker layout when visualizing the design so that fabric

yardage and costs stay within allowed parameters. In pattern drafting, most symmetrical patterns are created using only one-half of the front and one-half of the back, but the entire pattern is needed to make a marker. Patterns created on the fold are laid open. Cost savings alone are an impetus to create an efficient marker. However, zero waste practices are holistic and focus on environmental and ethical aspects too. They save resources, keep fabric out of landfills, and lessen repercussions from polluting dyeing and finishing processes. This requires a symbiotic approach to design and patterning. The process encourages experimentation. In their book Zero Waste Fashion Design, Rissanen and McQuillan explain that “pattern cutting in zero waste fashion design is a highly creative activity: it is fashion design. Design ideas are generated, rather than reacted to . . . ” (2016: 42). They describe the process as “explorative and, even fun.” Their many examples illustrate the variety of design approaches that can be expressed through zero waste design.

S, M, and L sizes are combined on this blouse marker to maximize efficiency, yet the fabric utilization is only 85 percent. In typical garment mass manufacturing, 15 percent of the fabric cut from this marker (white areas) would be discarded.

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What Does Zero Waste Design and Patterning Look Like? Although the result of zero waste designing is fully utilized fabric, that may not be its primary purpose. Innovation and function remain the mission of good fashion design. Attention to body movement, fit, and aesthetics is as essential here as in any other design context, but no resultant waste is the very significant benefit of the process. As with much design, no waste design begins with a concept and a fabric. The concept contains the aspects that the designer has deemed necessary, such as long sleeves or a button front opening. The fabric constrains

certain elements, such as the maximum width of a single pattern piece and which grainline to use. Designers also consider how pattern pieces will interact with other pattern pieces on the marker. Straight lines abut next to other straight lines on the marker with no gap in between. Pattern pieces with right angles utilize rectangular-shaped fabric more efficiently than irregular-shaped pieces. Pattern pieces with curves, such as the armscye and neckline, create unwanted negative space that is likely to fall out as waste.

This design makes use of the entire fabric width including the selvage. The frayed selvage edge was cut from the fabric and dyed a deep shade for a homespun trim. Thought must be given to sizing on full utilization markers. In this example, a smaller size will have more gathers in the bodice and pleats in the skirt and a larger size will have fewer. The sleeve, waist, and skirt bands include generous seam allowances, which allow for custom alterations for sizes small through large.

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Guidelines for Less Waste Any designer, creating any genre of fashion, can practice the no waste technique. However, some styling is not conducive to the parameters of a zero waste marker. You can still conserve resources by designing for less waste. There are guidelines that will help you get started in the no waste/less waste process: •• Keep shapes simple. Basic geometric shapes, such as squares and rectangles, interlock easily on the marker. Curved and flared pattern pieces create open spaces in the marker. •• Be creative with the negative shapes and fallout pieces. Use them as pocket bags for inseam pockets or create an unusual applique on a jacket front.

•• Incorporate cut edges into your design. For example, contour the lapel edge to follow the cut edge of a shape found on the marker. •• Split the pattern in nontraditional places. Seams do not have to be placed at side seams or center back. Shift them to best utilize the fabric. •• Keep areas of required fit, but subvert areas where a close fit is not essential. For ­example, if a fitted armhole is not essential to the integrity of the piece, consider dropping the shoulder. This enables you to square the armhole and flatten the sleeve cap for better fabric utilization.

These block patterns (dotted lines) have been altered to achieve better fabric utilization. The squared shapes create a more efficient marker. The set-in sleeve has been revised into a dropped shoulder in Pattern A. The skirt in Pattern B has been changed from a flare skirt to a dirndl (gathered waist) skirt, which fully utilizes one width of fabric. The pant legs have been widened and the side seams joined in Pattern C.

Zero Waste (and Less Waste)   223

Sizing Incorporating the entire fabric width is not the only challenge for the no waste designer. Note that seam allowances must be included on all pattern pieces from the onset of the design. Since they add to the overall dimension of the pattern, they will affect how the pieces fit on the width of the fabric. Fabric width is measured from selvage to selvage. The selvage is the tightly woven area at the sides of a length of fabric. Zero waste design incorporates the selvage in creative ways. Rather than cutting it off, consider using the selvage to “finish” the hem of a skirt or the front of a shirt. Practitioners also consider grading and how variations in size will affect the layout. Grading is the process of turning one base size into additional sizes that correspond in proportion with the original pattern. When the entire fabric width is utilized for a single base size, there is no room for growth for larger sizes and cutting smaller sizes will leave waste. There could be as much as a 6 inch (15.24 cm) difference in the total hip measurement between an extra-small size and an extra-large size. This discrepancy can be accounted for in several ways. Perhaps the most expeditious means is to create an unfitted, one-size-fits-most garment. If that is not recommended, some sizing allowance can be

addressed when the garment is sewn. For example, if a style contains gathering or pleating that controls fullness, that fullness can be absorbed for smaller sizes or released for larger sizes. Selecting a fabric with an even weave, or nondescript print, allows pattern pieces to be placed on both the lengthwise and crosswise grainlines. In grading, most of the growth occurs in the width of the pattern, so placing the pattern on the crosswise grain would allow for growth in girth down the length of the fabric and not affect the utilization of the width. Consider a skirt pattern, for example. Adults do not grow taller as they increase in girth. It would not be necessary, then, to grade the length of a skirt pattern, so place it on the crossgrain to keep the marker width constant. In general, cutting patterns on the bias requires more fabric than cutting them on the straight grain. Patterns laid on the bias create angled openings in the marker, which can be difficult to fill with other pattern pieces. When bias is called for, consider isolating and seaming a bias section of the garment rather than placing the entire piece on the bias. Or, if multiple garments will be cut from the marker, create a bias-defined marker in which every ply is cut on the diagonal. See the figure below. This no waste marker is cut on the true bias. The first ply starts with a squared edge but is cut on the true bias at the other end. Both ends of the middle plies are cut on the bias. The last ply starts on the bias but ends with a squared edge. This allows pattern pieces to be cut on the bias while maintaining zero waste. The two triangular ends are used for ties for all of the cut garments.

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Other Zero Waste Processes The Zero Waste technique can be used for cut and sew knitwear as well as wovens. In cut and sew production, pattern pieces are cut from flat fabric, using a marker as a guide, and then sewn to create a three dimensional shape. The knitting process, however, provides additional options for zero waste design. In full fashion knitting, pattern pieces are knitted to shape by adding and subtracting stitches in a process called fashioning. The shaped pieces are then joined to form the garment. Since pieces are knitted to the exact shape, there is no yarn waste.

Whole-garment knitting is another zero waste technique. Pieces are knitted to create a fully three-dimensional garment. There is no waste of resources; even seam allowances are eliminated. An entire garment can be knitted to shape or the body can be knitted in tubular form and then finished with trim, such as at the neckline and wrist. Most of us do not have access to the expensive knitting machines used in manufacturing, but hand knitters have used fashioning, for sweaters, and whole-garment knitting techniques, for socks, for centuries.

ZERO WASTE IN CONTEXT: THE JAPANESE KIMONO Long before the phrase zero waste became a concept in the fashion industry, individuals around the globe were involved in no waste practices. When resources were scarce and weaving was a painstaking handcrafted process, every inch of fabric was valuable. The himation and chiton of ancient Greece, the drape of the Indian sari, and the Indonesian sarong all make use of the entirety of the material. Or, as in the case of the Japanese kimono, fabric is woven to a specific width then cut and joined. The kimono is a wrapped-front garment worn with an obi sash. It is made from fixed rectangular lengths of fabric approximately 14 in. (35 cm) wide and 12–13 yards (11–12 m) long. The yardage is cut into five panels, which are hand-stitched into the sleeves and body of the garment. One length is split again to create the collar and neckbands, so the entire fabric is utilized. Both men and women wear this traditional national dress of Japan. The twentieth century brought in a new era of design creating less waste. Fashion designers such as Madeleine Vionnet, Claire McCardell, and Zandra Rhodes enjoyed experimenting with grainline, minimalism, and geometric silhouettes and found those concepts lend themselves to good fabric utilization. Today, a host of ecologically minded designers, including Yeohlee Teng and Mark Liu, is stretching the limits of form with their zero waste designs. While saving resources is paramount, they are proving it is not at the expense of style or creativity.

Widths of narrow fabric are joined to make this twentieth-century kimono. The entire fabric is used; no excess is cut away. [Sepia Times/Universal Images Group/ Getty Images]

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Zero Waste in Practice Patterning for zero waste causes us to question the ways things are usually done. We ask, “what can be rotated, shifted, altered, or compromised in order to produce less waste?” There is no single right answer. Each designer does what they can to conserve valuable resources. It is through shared efforts that real inroads can be made into sustainable garment production. The Easy Fit Dress fully utilizes the fabric and creates no fabric waste. It can be cut to tunic or dress length. One half of the fabric width is used for the front and one half is used for the back. The shoulders are gathered to size, and the raised, drawstring waistline provides fit. A slit in the fabric creates the front and back necklines and slits at the hem allow for movement. Since the entire width is utilized, seam allowances are incorporated into the calculations. For sizes XS, S, and a slim fit M, use 45 in. (114 cm) wide fabric. For M, L, and XL, use 52 in. (132 cm) wide fabric. You can create the Cocoon Shrug pattern using only a few well-placed seams. One seam creates the opening for the arm and another finishes the cut edges all around. Experiment with the rectangular shape for the best fabric utilization. The example exercise will accommodate sizing S–L. No need to add seam allowances to this pattern. The seam allowances are configured into the measurements.

Easy Fit Dress or Tunic The Easy Fit Dress begins with the BODICE BLOCK, SKIRT BLOCK, and a full width of fabric. A. Draw the dimensions of the fabric width and desired garment length on pattern paper. Divide the width in half and quarters in the lengthwise direction and mark. The middle line denotes the side seam placement. The quarter lines denote the center back and center front. B. Lay the front and back bodice block on the paper on the center front and center back lines with the shoulder/neckline point of the back bodice at the upper edge of the paper. Align the F and B patterns at the underarm point and pencil in the shapes. Match the

skirt F and B to the bodice F and B at waist and pencil in the skirt shapes. Use the block patterns to guide decisions on the height of the skirt slit and the depth of the neckline. C. Mark 1 in. (2.54 cm) below the block armhole for the new armhole depth (orange line). Mark a line 2 in. (5.08 cm) above the waistline. This is the placement line for the casing (teal line). Mark the desired depth of the front and back neckline (red lines). Mark the position of the desired height of the hem slit (purple line). D. Draw the casing pattern 2 in. (5.08 cm) long by the width of the fabric. This allows for a 1 in. (2.54 cm) casing and a ½ in. (1.27 cm) seam allowance on either side. E. Cut the pattern from fabric and separate front panel from back panel at side seam. Stitch a ¾ in. (1.91 cm) vertical buttonhole 1 in. (2.54 cm) on either side of CF at casing line. Sew the side seams and then stitch the casing to the casing line on the inside. Gather the shoulders to the original shoulder width plus 1 in.

226  The Fashion Design Toolkit

(2.54 cm). Serge and edgestitch the neckline, hem, slits, and armholes. Run a cord through the casing and bring it to the outside through the buttonholes.

The Cocoon Shrug The Cocoon Shrug begins with a rectangle 36 in. (91.44 cm) wide 26 in. (66.04 cm) long. A. Divide the width into vertical sections measuring 13 in. (33.02 cm), 10 in. (25.40 cm), 13 in. (33.02 cm). Divide the length in half and label as line A. B. Place a notch on the middle point of the width and label it B. C. Draw perfect 13 in. (33.02 cm) squares, and triangles, in each corner. Label each corner C. Cut the shape from fabric and use chalk to place the pattern markings on the fabric. Bring the outer corners of the square together until they meet at the center line A. D. Using a ½ in. (1.27cm) seam allowance, seam the two edges together leaving a 6 in. (15.24 cm) slit opening measuring from the point

Zero Waste (and Less Waste)   227

inward for the sleeve (arm) opening. Fold back the sleeve opening seam allowance and topstitch. E. Pattern bands 36 in. (91.44 cm) 9 in. (22.86 cm). Cut the bands from fabric. With a ½ in. (1.27 cm) seam, join the bands together at the

short ends to form a continuous loop. Fold the band width in half and sew the doubled raw edges of the band to the outer edge of the cocoon. The seams of the band should match to points B on the cocoon when setting the band.

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Eco Option: Scarf Dress Madeline Vionnet created her “handkerchief dress” from four squares of fabric. It is elegant in its simplicity. The edges of the square are cut on the straight grain but the dress hangs on the bias. Belted or unbelted, it is flattering for a variety of body types. Its basic composition reveals that it would generate little, if

no, waste. You can make this dress even more environmentally friendly by creating it from vintage scarves, rather than cutting into new fabric. Draping the dress is easiest when done with a friend or on the dress form. Select four scarves of equal size, approximately 36–40 in. (90–100 cm) square. For addi-

tional interest, use scarves with different but coordinating print patterns! • Tie two scarf points together to create one shoulder and two for the other shoulder. You can seam them together rather than tie, if you prefer.

[Vionnet Bias/Sewyerown]

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• To create the side seams, place the tie on the shoulder, and hold the front and back squares to the side. Mark the hip width, allowing 1 in. (2.54 cm) ease, and armhole depth. Pin the pieces together from armhole depth to hemline. Repeat on the other side. Baste the side seams.

9781350101562_txt_print.indd 229

• To create the CF, place a tie on both shoulders and hold the two squares in front of you, keeping the side seams straight at the side. Mark the neckline depth and hip width, allowing 1 in. (2.54 cm) ease. Pin the two squares together from neckline depth to

hemline. Repeat for CB. Baste the front and back seams together. Make any necessary adjustments to the fit. Stitch through the thicknesses at the basted lines on side seams, front and back.

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Appendix Edge Finishes Edge finishes are used to prevent cut fabric from raveling and to give it a clean, professional appearance. They are used on hems, seams, and some, like facings and bias, are used on necklines, armholes, and other areas that require a polished look.

Bias Binding Bias binding is an efficient and versatile finishing tool. As its name implies, binding is most successful when the fabric is cut on the bias grainline. The stretch enables it to go around curves without twisting. With a binder sewing machine attachment, binding can be applied in a

single sewing operation, and it finishes both the outside and inside of the garment. Bias binding can be purchased, but it is also easy to make from left over yardage. For shorter lengths, simply cut the length needed times the width on the bias grainline of your fabric. Double fold bias requires a width folded in half, twice. For example, ½ in. (1.27 cm) finished bias requires a 2 in. (5.08 cm) wide strip. Folding and pressing the bias length by hand to create binding is a tedious job. Fortunately, many inexpensive tools are available to make the job quick and easy. The bias strip is pulled through a mechanism that double folds the bias. Iron the folds in place and the binding is ready to apply. To sew binding without an attachment, with right sides together stitch one edge of the binding to the edge of the garment. Stitch away from the cut edge the distance of the finished bias. Folding the cut edge of the bias in, turn the bias to the inside and stitch again on the folded edge. Continuous Length of Bias To create a long length of continuous bias: A. Begin with a square of fabric. Cut the square on the diagonal. B. Seam the two triangles together on the short sides making a parallelogram. C. Determine the width of bias needed. Draw lines parallel to the long edge the width of the bias. (For larger cuts of fabric, place parallel marks at the cut edges only.) D. Sew the sides with the bias width markings together, matching the lines but offset by one complete width. This creates a tube. Cut on the lines to create a continuous length of bias.

Facings Shaped facings are separate pattern pieces that are cut to have the same shape as the garment edge it will finish. Interfacing is often used to stabilize the facing and sewn area. Understitching, a row of stitching close to the sewn edge within the seam allowance, will help keep the facing from rolling to the outside of

Appendix 231

the garment. Draft the facing within the larger pattern it will finish. The sewn edge of the facing will be identical to the larger pattern. The free edge of the facing mimics the contour of the cut edge. A typical neckline facing is 2–3 in. (5.08–7.62 cm) wide. When a facing crosses dart legs, the intake of the dart can be folded out of the facing.

Rolled Edge With the rolled edge finish, the raw edge of the fabric is turned under a narrow row of stitching. Although the hem allowance is turned to the inside, the stitching looks nearly the same on the face and the back of the fabric, so it is a good choice for flounces and ruffles. A rolled hem can be finished by hand, but using a specialized roll hem foot for the sewing machine makes the task easier and the stitching even throughout. The rolled edge is a good choice for woven, stable, light to medium weight fabrics, such as chambray.

232 Appendix

Satin-stitched Edge A satin-stitched hem is an excellent way to finish circular pattern pieces. It looks the same on the face and the back of the fabric and many sergers are equipped to sew the stitch. Sometimes called baby hem or serger rolled hem, a satin-stitched hem is finished with narrow row of tightly compacted stitches. No hem allowance is needed because the stitch sits on the outer edge of the cut piece. A similar finish can be created on a standard sewing machine by folding up a very narrow hem, stitching on the folded edge with a tight, narrow zig zag stitch and closely trimming away any excess fabric beyond the stitching.

Unfinished Edge An unfinished edge may be appropriate for some garment styling. A smooth edge unfettered with noticeable stitching may offset the common predilection for traditional hem finishing. Sometimes a raw and unraveling edge compliments the rough-hewn look of the design. For example, denim is often seen with frayed edges. Knits, which do not ravel, are often “finished” with a raw edge as long as the knit edge does not roll. When leaving an outer edge raw and open to fraying, stitch ¼ in. (.635 cm) from the cut edge to control excess fraying. Note that fraying subtracts from the width, so compensate by adding a bit extra to the pattern.

Serged Edge Serging encases the cut fabric edge in an overcast stitch. It is fast, easy, and has a variety of applications. It is used extensively in industry. Serging is done on a serger, sometimes called an overlock machine. The serger can join fabrics as well as edge finish, and can perform the two operations simultaneously, if desired. If a separate serger is not available, many sewing machines can create stitches that appear similar to serging.

Seams There are several kinds of seams. Each serves a specific purpose. Many of the stitches also provide the finish for the seam. Apply a seam

finish to the cut edge to keep it from raveling and to provide a polished look to the inside of a garment. The table below identifies seven common seams and their uses.

Appendix 233

Seam Types Seam

Instruction

Uses

Plain

Usually sewn with right sides of fabric facing together. Stitch straight on seam line. Backstitch ends.

This seam is for general use and good for all weights of fabric. When used on fabrics that ravel easily, it will require an additional seam finish.

Double-stitched

Usually sewn with right sides of fabric facing together. Sew as a plain seam then sew another stitch, within the seam allowance, 1/8 in. (3.17 mm) from the first stitch.

The extra stitch is added to the plain seam for additional strength in stress areas such as the crotch seam.

French

This seam begins with wrong sides of the fabric together. Stitch ¼ in. (6.35 mm) from the seam line. Trim seam to 1/8 in. (3.17 mm) and turn so right sides are together enclosing the narrow seam allowance. Stitch again on the seam line.

The seam is good for delicate and lightweight fabrics, such as chiffon and georgette. Raw edges are encapsulated within the stitching so the seam is an excellent choice for transparent and sheer fabrics.

Bound

Make a plain seam and press the seam allowances open. Encase the raw edges of the seam allowance within self or contrast fabric.

The seam binding provides a clean finish for unlined coats and jackets as well as for high quality garments. It is used as a decorative as well as a functional finish.

234 Appendix

Flat-felled

With wrong sides of the fabric together, make a plain seam and press the seam allowances to one side. Trim one seam allowance to 1/8 in. (3.17 mm). Wrap the larger seam allowance over the smaller one and press. Stitch on top of the fold line.

This strong closed seam is often found on jeans and work wear.

Welt

Sew a plain seam and press both seam allowances to one side. Trim the seam allowance closest to the garment to 1 /8 in. (3.17 mm). On the right side of the fabric, edgestitch close to the seam line and again ¼ in. (6.35 mm) away.

This seam looks like a flat-felled seam but it is quicker and easier to sew. It is used on pant legs, children’s playwear and places that need extra reinforcement.

Lapped

Rather than right sides together, one fabric is laid on top of the other and stitched. Fold over the seam allowance on the top fabric and press. Place the folded fabric edge on the right side of the second fabric at the seam line. Stitch on the fold of the top fabric.

This seam is good for heavy fabrics, such as canvas and denim. If the fabric is very heavy and does not fray, such as leather and suede, do not fold the fabric over first. Simply place one fabric on top of the other and stitch on the seam line. Trim excess.

235

References Introduction

Textile Designs

Fisher: visit eileenfisher.com. McCartney: visit stellamccartney.com. Mikalko, M. (2001) Cracking creativity. The Secrets of Creative Genius. Berkeley: Ten Speed Press. Rissanen, T. and H. McQuillan (2016) Zero Waste Fashion Design. New York: Fairchild Publications.

Elle/Smith: search online for Elle fashion Michelle Smith.

Slash and Spread V&A Museum/Mary Quant: search online for V&A Museum/MaryQuant.

Seaming Guetermann: visit industry.guetermann.com.

Insets Halland Museum of Cultural History: search online for Halland Museum of Cultural History. Vogue/Christian Dior: visit vogue.com/fashion-shows/ spring-2014-ready-to-wear/christian-dior.

Gathers Hope for Flowers: visit https://hopeforflowers.com/pages/ sustainability. Tortora, P. and S. Keiser (2013) Dictionary of Fashion, 4th edn. New York: Fairchild Publications.

Pleats Blanchard, T. Issey Miyake: 45 Years at the Forefront of Fashion, Guardian, April 10, 2016. Available online: www.theguardian.com/fashion/2016/apr/10/ issey-miyake-45-years-at-the-forefront-of-fashion.

Flounces Calasibetta, C. and P. Tortora (2008). The Fairchild Dictionary of Fashion, 3rd edn. New York: Fairchild Publications. Seville Traveller/Flamenco: search online for Seville Traveller/Flamenco. Walker, M. (2006) Balenciaga and his Legacy. The Meadows Museum. New Haven, CT: Yale University Press.

Twists Martin, R. (1997) “Halston,” in R. Martin (ed.), Fashion Encyclopedia: A Survey of Style from 1945 to Present. Detroit: Visible Ink Press.

Contouring Vogue/Madonna: search online for Vogue article Madonna 30 anniversary.

Structure Calasibetta, C. and P. Tortora (2008) The Fairchild Dictionary of Fashion, 3rd edn. New York: Fairchild Publications. Interview Magazine/Margiela: visit www.interviewmagazine. com/fashion/maison-martin-margiela. New York Times/Kawakubo. visit www.nytimes. com/2017/05/04/t-magazine/fashion/rei-kawakubonot-making-clothes-oral-history.html.

Reduction Utopiast: visit www.utopiast.com/inspiration/ minimalism-in-fashion. Vogue/Issey Miyake: visit www.vogue.com/fashion-shows/ spring-2021-ready-to-wear/issey-miyake).

Adaptations Cooper, T., H. Hill, J. Kinmouth, K. Townsend, and M. Hughes (2013) “Design for Longevity: Guidance on Increasing the Active Life of Clothing. Waste & Resources Action Programme.” Available online: www.researchgate.net/ publication/313479112_Design_for_Longevity_ Guidance_on_Increasing_the_Active_Life_of_Clothing. See also www.wrap.org.uk. Glamour/Customized Fashion: visit www.glamour.com/ story/why-were-obsessed-with-customized-fashion.HCBS Provider: visit https://hcbsprovider.com/ adaptive-clothing-for-special-needs. Hilfiger: visit https://uk.tommy.com/tommy-adaptive. Vogue Business/Hilfiger: search online for Vogue business fashion Tommy Hilfiger Adaptive.

Zero Waste Rissanen, T. and H. McQuillan (2016) Zero Waste Fashion Design. New York: Fairchild Publicy.

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Index A-line mini 33 Abloh, Virgil 167, 184 accordion fold 90 accordion pleating 91 adaptations 3, 207–17 customization 210, 216 inclusive design 209 maternity to nursing mother top 212, 215 measurements and fit 209–10 niche markets 208 openings and closures 211 pant for wheelchair user 212–14 technology 210 wrap pant 216–17 allover pleating 92 anchor points 136 ­ancient Greeks 195 ancient Romans 195 androgynous fashion 197 animal skins 195 architectural inspirations 184 arcs 2, 113–22 circle geometry 114 creating the arc 115 enduring cape 118, 120–1 formula 114 grainline 116 hemming 117 inner edge 114 outer edge 114 seam measurement 114 skirt blouson 122 skirt with yoke 118–19 style variations 116–17 armhole princess pattern 46, 48 awl 14 Balenciaga, Cristobel 130 bandage dress 46 basic block 8–9 basting stitch 67 bias grainline 138 true bias 136 zero waste 223 bias binding 230 blind tuck 102 blouson 122 Bocksten’s man tunic 57 body beautiful pattern 46, 49 bodycon dress 46 boning 183, 184 border prints 161

bound edge 81 bound seam 233 box fold 90 box pleating 91 broomstick pleating 94 broomstick skirt 74 buckram 183 bum roll 181 busk 183 bust radius 170 bustle 181 caftan 34–6 cage crinoline 181, 188–9 cape 118, 120–1 capelet 34, 35 capsule wardrobe 204–5 cartridge pleats 102 center of a circle 114 Chalayan, Hussein 184 circle geometry 114 circular economy 6 classic pleated skirt 96–7 closures 211 cocoon shrug 225, 226–7 cold shoulder 56 color 194 contouring 2, 169–77 contour block 171 corsets 174, 177, 181 ease 170, 172–3 kimono-inspired surplus wrap 174, 175–6 strapless dress 174–5 corsets 174, 177, 181 cowl 137–8, 139–42, 144 crinoline 181, 188–9 cross-stitched tuck 104 crystal pleating 91 curves 14 customization 210, 216 cut and sew 224 cutouts 56 dart equivalents 22, 42, 64, 93 dart tuck 102 darts 2, 17–27 dart equivalents 22, 42, 64, 93 dart it in option 26–7 Dior dart 23 double-ended darts 18 drape on bias garments 138 for fit 19 formulas 18

French dart 18 invisible darts 22 in lace 22 manipulation 19–20 pivoting 21 seams as 19 sewing 22 ­shaping-building 23, 25 slash and spread 32 for styling 19–20 torso pattern 23, 24 vanishing point 18 dead weight 137 deconstructionism 198 design hacking 5 diameter of a circle 114 digital textile printing 164 Dior, Christian Dior dart 23 New Look 118 dolman-sleeved twist dress 151 double-ended dart 18 double-stitched seam 233 drapes 2, 135–44 anchor points 136 bias grainline 138 cowl 137–8, 139–42, 144 darts 138 fabric choice 137 knit fabrics 137 side-draped dress 139, 143 ­true bias 136 draping 5 ease 170, 172–3 easy fit dress 225–6 edge finishes 230–2 bias binding 230 bound edge 81 facings 230–1 flounces 129 monofilament edge 129 natural finished edge 81 pinked edge 81 raw edge 81 rolled edge 129, 231 ruffles 81 satin stitch edge 81, 129, 232 serged edge 81, 129, 232 stitched and raw edge 81, 129 understitching 230 unfinished edge 232 elastic and elastic thread 67 elements of design 194–5

Index 237

embellished tucks 104 Evan-Picone 23 extended openings 211 fabric insets 56 fabric pattern mix reversible dress 164, 166 facings 230–1 flounces 129 fold-over 137–8 farthingale 181 fashioning 224 fiber fill 183 Fisher, Eileen 6 ­fit and flare dress 58–60 flamenco dress 130 flare 34 calculation 126 flat-felled seam 234 flat pattern drafting 5 flats 5 flounces 2, 125–33 circular flounce 126–7 faced flounce 129 flare calculation 126 hemming 129 horizontal seams 127 monofilament edge 129 poet shirt 133 rolled edge flounce 129 satin stitch edge 129 serged edge 129 stitched and left raw 129 tiered flounces 131 variations 127–8 vertical seams 127, 131, 132 fold-over facing 137–8 form 195 formulas arcs 114 darts 18 ruffles 78 Fortuny, Mariano 94 fosshape 183 free form ruffle skirt 82, 85–6 French dart 18 French seam 233 full fashion knitting 224 fullness gathers 67 mid-pattern 32 ratio of fullness 31 fusible interfacing 182 gathers 2, 63–74 broomstick skirt 74 dart equivalents 64 drawing up the fullness 67 fullness 67 gathered neckline dress 69, 71–3

gathered princess seam dress 69–70 patterning for 64–5 slash and spread 65 Gaultier, Jean Paul 174 godets 54–6, 58–9 gores 43–4, 61 gothic window godet skirt 58 grading 223 graduated tuck 102 grainline arcs 116 bias 138 slash and spread 33 graphic T mini dress 38–9 gussets 57 Hadid, Zaha 184 hair canvas (hymo) 183 Halston 150 handkerchief dress 228–9 heat setting 90 hemming arcs 117 flounces 129 lettuce hem 93 pleats 93 roll hem 81 satin stitched hem 81 serged stitched hem 81 Hilfiger, Tommy 211, 212 hoop skirt 181 horsehair braid 117 hymo 183 inclusive design 209 indigenous textiles 158 insets 2, 53–61 cutouts 56 fabric choice 54 fabric insets 56 godets 54–6, 58–9 gothic window godet skirt 58 gussets 57 little black (fit and flare) dress 58–60 mock godets 56 repair and rewear 61 inside pull loops 211 intake (pick up) 90, 92 interfacing 182 interior design fabric remnants 177 inverted pleating 91 ­invisible darts 22 itajime shibori 94 Jacobs, Marc 164 jodhpur 97 Karan, Donna 204 Kawakubo, Rei 187, 196

kick pleat 90 kimono 224 kimono-inspired surplus wrap 174, 175–6 Klein, Calvin 196 knife fold 90 knife pleating 91 knits drapes 137 full fashion knitting 224 whole-garment knitting 224 lace darts 22 Lagerfeld, Karl 106 lapped seam 234 large snaps 211 less waste see zero waste lettuce hem 93 line 194 little black (fit and flare) dress 58–60 McCartney, Stella 46 McQueen, Alexander 8, 82 Madonna 174 magnet closures 211 Margiela, Martin 184, 198 marker 220 mass customization 210 matching textile designs 162 maternity to nursing mother top 212, 215 measuring tapes 14 mini dress 33, 38–9 minimalism 196 mitering 161 Miyake, Issey 6–7, 8, 95, 199 mock godets 56 mock wrap dress 164–6 monofilament edge 129 motif 162 mountain 90 multi-purpose dressing 154–5 mushroom pleating 94 muslin 14, 74 natural finished edge 81 New Look (Dior) 118 niche markets 208 notches 44 Obama, Michelle 159, 160 openings 211 organic-style pleating 94 origami folding 94 Owens, Rick 196 panel prints 161 pannier 181 paperbag waist skirt 50–1 pareo 149 path, slash, fold, trace 92 pattern drill 14

238 Index

pattern hacking 5 pattern notcher 14 patterning tools 14 peasant skirt 87 petal-sleeved mock wrap dress 164–6 petticoat 181 pick up pleats 90, 92 tucks 104 pinched tuck 104 pinked edge 81 pintuck 102 pivoting 21, 30 PLA (polyactic acid) 190 placed pleating 92 plaids 161 plain seam 233 pleats 2, 89–99 accordion fold 90 accordion pleating 91 allover pleating 92 box fold 90 box pleating 91 broomstick pleating 94 cartridge pleats 102 classic pleated skirt 96–7 crystal pleating 91 dart equivalents 93 folding fabric 90 Fortuny pleating 94 heat setting 90 hem first 93 inverted pleating 91 ­itajime shibori 94 kick pleat 90 knife fold 90 knife pleating 91 lettuce hem 93 mountain 90 mushroom pleating 94 organic-style pleating 94 origami folding 94 path, slash, fold, trace 92 patterning 92 pick up (intake) 90, 92 placed pleating 92 pleat depth 90 pleat paths pants 96, 97 pleater board 94–5 pressed pleat 90 pressing 96 ribbon pleated skirt 98–9 ruffles 79 shibori 94 sunburst pleating 92 systematic pleating 90 terminology 90 thermoplastic fiber 90 unpressed pleat 90 valley 90

pockets using darts 23, 25 welt pocket 204–5 poet shirt 133 polyactic acid (PLA) 190 pressed pleat 90 pressing pleats 96 press cloth 96 seams 46 princess seams 42 gathered princess seam dress 69–70 princess pattern 46–7 prints 159–61 puckering 45 puffing 79 Quant, Mary 33 radius of a circle 114 raw edge 81 reduction 3, 193–205 androgyny 197 capsule wardrobe 204–5 deconstructionism 198 minimalism 196 simplicity 194–5 single seam striped skirt 200–1 three-armhole dress 200, 202 Reese, Tracy 68 release-tuck smock dress 107–9 released tuck 104 remnant mix peasant skirt 87 repeats 162 reverse opening 211 reverse tuck 104 reversible dress, fabric pattern mix 164, 166 ribbon pleated skirt 98–9 rigilene 183 roll hem 81 rolled edge 129, 231 ruching 64 ruffles 2, 77–87 curved ruffles 80 directional curve 78 double-edged ruffle 78 double ruffle on fold 81 edge finishes 81 flexible 78–9 formulas 78 free form ruffle skirt 82, 85–6 multiple ruffles 79 pleated ruffle 79 puffing 79 remnant mix peasant skirt 87 ruffled spiral jumpsuit 82, 83–5 ruffler attachment 81 ruffles sewn to other ruffles 79 sewing the ruffle 80–1

shaped ruffles 80 single ruffle 78 rulers 14 Sander, Jil 196 sarong 149 satin stitch edge 81, 129, 232 SCAMPER 8 scarf dress 228–9 scissors 14 seaming 2, 41–51 armhole princess pattern 46, 48 body beautiful pattern 46, 49 bound seam 233 double-stitched seam 233 flat-felled seam 234 French seam 233 gores 43–4 lapped seam 234 no-pucker seam 45 notches 44 paperbag waist skirt 50–1 plain seam 233 pressing 46 princess pattern 46–7 princess seams 42 prints 159 seam allowances 45 seam finish 44–5, 232 seam pucker 45 seam width 44 seams as darts 19 styling 42 welt seam 234 selvages (selvedges) eclectic tucking mix with selvages pattern 110–11 information on 163 zero waste 223 serged edge 81, 129, 232 sewing magnets 211 sewn edge tucks 105 shapes 180 shears 14 shibori 94 shirring 64 shirring foot 64, 67 shoulder openings 211 shoulder pads 182 side-draped dress 139, 143 Simons, Raf 57 simplicity 194–5 single seam striped skirt 200–1 Siriano, Christian 4 size charts 10–11 measuring for 12 slash and spread 2, 29–39 arc creation 115 caftan 34–6 capelet 34, 35

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darts 32 fullness ratio 31 gathers 65 grainline maintenance 33 graphic T mini dress 38–9 mid-pattern fullness 32 pivoting 30 sleeve openings 211 Smith, Michele 159 smocking 64 spaced tuck 102 split shirt 167 steel boning 184 stitched and raw edge 81, 129 strapless dress 174–5 stretch, pattern adjustment 14–15 stripes 161 structure 2, 179–90 architectural inspirations 184 boning 183 buckram 183 busk 183 cage crinoline pattern 188–9 fiber fill 183 fosshape 183 hair canvas (hymo) 183 historic costume 180–1 interfacing 182 rigilene 183 shapes 180 shoulder pads 182 steel boning 184 structural materials 182–4 structured peplum your way 187, 188 3D printing 190 wonderflex 184 subtraction cutting 5 sunburst pleating 92 surface design 106 sustainability 5–6 symbols 15

textile designs 2, 157–67 digital textile printing 164 fabric pattern mix reversible dress 164, 166 indigenous textiles 158 matching 162 petal-sleeved mock wrap dress 164–6 plaids 161 prints 159–61 repeats 162 split shirt 167 stripes 161 texture 195 thermoplastic fiber 90 three-armhole dress 200, 202 3D printing 190 tie-front blouse 151, 152–3 ties 150 toga 195 torso pattern 23, 24 transformational reconstruction 5 true bias 136 trued patterns 8 tucks 2, 101–11 blind tuck 102 cartridge pleats 102 cross-stitched tuck 104 curved edges 104 dart tuck 102 eclectic tucking mix with selvages 110–11 embellished tucks 104 graduated tuck 102 patterning 104 pickup 104 pinched tuck 104 pintuck 102 release-tuck smock dress 107–9 released tuck 104 reverse tuck 104 sewn edge tucks 105

sleeve for smock dress 107, 109 spaced tuck 102 wave tuck 104 twists 2, 147–55 dolman-sleeved twist dress 151 fabric choice 148 multi-purpose dressing 154–5 patterning 148 tie-front blouse 151, 152–3 ties 150 wrap, twist, and tie 149 understitching 230 unfinished edge 232 unpressed pleat 90 Valentino 4 valley 90 vanishing point 18 Velcro 211 Vionnet, Madeleine 138, 228 waste reduction see zero waste wave tuck 104 welt (pocket) 204–5, 234 wheelchair user pant 212–14 whole-garment knitting 224 wonderflex 184 wrap pant 216–17 wrap, twist, and tie 149 zero waste 3, 219–29 cocoon shrug 225, 226–7 cut and sew 224 design and patterning 221 easy fit dress 225–6 knitting processes 224 scarf dress 228–9 sizing 223 zigzag stitch over cord 67 zippers 211

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Acknowledgments I am deeply indebted to the many people who enabled me to write this book. They include the team at Bloomsbury Visual Arts, especially Georgia Kennedy, editorial manager, who ushered the text from proposal to final edits and Faith Marsland, development editor, whose careful attention to detail kept the book on track.

her time and talents. Thank you for contributing illustrations and reviewing pattern projects. I wish to express gratitude to Vicki Oboikovitz for her expertise in reviewing many of the pattern exercises and Joann Harling for her artful illustrations. I also want to thank my family for their interminable support.

Special thanks go to my colleagues and inspiring students at Dominican University. Thank you to Audra Laird who assisted with the book proposal and offered ideas and illustrations. Aileen Moreno was especially generous with

I extend my appreciation to the readers and peer reviewers, selected by the publisher. Comments and feedback from these esteemed professionals were extremely helpful in focusing the content.

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