Dean R. & Jean C.

Dennison
4 110 So. Cloudberry Circle
». » Prescott, AZ 86303-5706
cor

Helen Joseph-Armstrong

FOR
APPARE
DSceln fi

Ng
Mr.and Mrs. Dean R. Dennison
110 S. Cloudberry Circle
Prescott, AZ 86303-5706
 Digitized by the Internet Archive
in 2022 with funding from
Kahle/Austin Foundation

https://archive.org/details/drapingforappareOO00O0jose_r2y7
Draping for

Apparel Design
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Draping for
Apparel
Design
Helen Joseph-Armstrong

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New York
 To all who find pleasure in the art of draping beautiful garments.

The author wishes to thank all the people who willingly gave of their time to help make the draping text a useful tool to
the beginner and professional patternmaker. Special thanks go to Yuki Hatashita for her encouragement and helpful sug-
gestions; Shelia Wert for sharing her knowledge as a draper in the garment industry; Michelle Lettinger for grading the
basic sleeve and for the printed size measurements; Mia Carpenter, whose fashion sketches give the draping text its flare;
Jovita Chow, along with Vincent James Maruzzi, who rendered the draping and technical sketches clearly; Sharon Tate for
offering computer prints from her text, Inside Fashion Design; and to my students, who helped hone draping instructions
for difficult design projects.
Other readers selected by the publisher were also very helpful. They include Susan Baker, Otis College of Art and
Design; Bonnie D. Belleau, Louisiana State University; Elizabeth K. Davic, Kent State University; Penny Greene Draves,
Minneapolis Community and Technical College; Janet Hethorn, University of Delaware; Jacqueline Keuler, Fashion Insti-
tute of Technology; Kathy Mullet, Radford University; Elaine Zarse, Mount Mary College.
The author appreciates the assistance given by Olga Kontzias, Mary Siener, and Joann Muscolo at Fairchild Publica-
tions.
Authors note: Where errors may occur it is hoped that they do not interfere with the completion of the drape
project. Please fax (310) 322-6542 to notify the author of possible errors, and to offer suggestions that will improve the text.

Helen Joseph-Armstrong
The Fashion Center
Los Angeles Trade Technical College
Los Angeles, CA 1999
Fax: (310) 322-6542

Executive Editor: Olga Kontzias Text Design: Rebecca Lemna

Production Editor: Joann Muscolo Cover Design: Marisa Gentile
Editorial Assistant: Beth Applebome
Art Director: Mary Siener Full Editorial & Production Services: Chernow Editorial Services, Inc.
Production Manager: Priscilla Taguer Agnew’s, Inc.

Copyright © 2000
Fairchild Publications, Inc.

All rights reserved. No part of this book covered by the

copyright hereon may be reproduced or used in any form
or by any means—graphic, electronic, or mechanical,
including photocopying, recording, taping, or infor-
mation storage and retrieval systems—without written
permission of the publisher.

Library of Congress Catalog Card Number 99-71391

ISBN: 1-56367-102-6

GST R 133004424

Printed in the United States of America

EE
TS AT Oar Een ae ee

raping for Apparel Design was written to give

aspiring and professional draper/designers a reliable
source for creating garments through draping.
Among the available patternmaking methods, draping is
unique. It is the only patternmaking system that relies on
fabric in creating designs. The fabric is manipulated, molded,
and shaped through the skillful use of the draper/designer’s
"hand, until the design is replicated in three-dimensional form.
Draping also allows for an evaluation of the design at each of
the incremental steps of the drape. Draping does not rely on
the aid of a pattern to create designs, although a draper may
choose to incorporate part(s) of an existing pattern in the
preparation of the muslin to assist in the drape. It is also true
- that those using the flat patternmaking method may
“s incorporate some aspects of draping in creating specific
designs. This does not minimize the value of either
" patternmaking method, but it does enhance the pattern-
maker’s ability to create design patterns accurately and within
time constraints. The basic sleeve is not draped, although it
| could be, but the results would be dubious. It is drafted and
utilized for the development of other designs.
The strength of Draping for Apparel Design is based
on its clear explanation of the three principles of pattern-
making. Application of the principles with the techniques of
draping allows the draper to move confidently from design to
design. The instructions are easy to follow and the drape
illustrations are as realistic as possible. Other strengths of this
book are the draping plans that accompany each design
a> Preface

project. The planning involves design analysis. design projects in Chapter 6. Outside contour
Through analysis, the draper identifies which draping is illustrated for strapless tops. Fitting
draping technique(s) to apply in the creation problems and corrections are addressed. Instruc-
of a specific design. This will be a guide to the tions include the development for the support
draper/designer through the draping steps. of this type of garment. Bias draping is intro-
The book emphasizes the drape of foundation duced in Chapter 14. The problems that may be
garments as a base for building more complex encountered in handling bias are discussed and
designs. Prototypes of popular designs are illus- suggestions are offered in the preparation for
trated and are to be referred to for designs the drape.
closely associated with the project. As knowledge The basic sleeve is used in the muslin prepa-
and confidence is gained, the draper/designer ration of the drape of the kimono, raglan, and
will be able to move easily from the less compli- drop shoulder designs in Chapter 15. Shirts and
cated to more advanced projects. blouses in Chapter 16 are based on the drape of
Draping for Apparel Design is divided into six the torso foundation, with design features
sections. The contents reveals the extent of the added. The shirt foundations include the basic
information covered. Chapters 1 through 3 pro- yoke and the oversized shirt. The jackets and
vide the initial information that prepares the coats in Chapter 17 are also based on the drape
draper/designer for the following projects of the of the torso foundation, with added instructions
text. In Chapter 4 the fundamentals of draping for enlarging the drape for jackets and coats. The
are discussed as part of the drape of the basic draper/designer is free to choose the styleline of
dress foundation. The complete project includes the jacket or coat.
instruction for muslin preparation, grainline Chapter 18 covers the pant drape. Muslin
placements, draping steps, trueing the muslin preparation is taken from the instructions for
pattern, fitting analysis and correction, and drafting pants. The reason is to avoid the diffi-
making the final paper pattern, including pat- culty of draping between the crotch and to be
tern information. Chapters 5 and 6 introduce able to control the location of the straight grain
the draping principles and manipulating tech- (creaseline) when marked on the muslin. The
niques for changing the location and creative use advantage of draping is controlling the design of
of the dart excess and for adding fullness. Bodice the pant throughout the drape. The characteris-
stylelines complete this group of chapters. tics of different types of knits is discussed in
In Chapters 7 through 11, the knowledge Chapter 19. This information will assist the
gained from the previous bodice design are draper in selecting the correct knit suitable for
applied to skirt projects. Designs in Chapters 8 the design. A knit foundation is illustrated for
through 10 (collars, built-up necklines, and use in expediting other knit designs. Several knit
cowls) are based on the fundamentals of draping designs are based on this foundation, if desired.
with additional instructions for their special fea- Bodysuits, and swimwear can be draped or can
tures. Facings in Chapter 11 are for reference in be based on the drape of the knit foundation.
deciding the type of facing that may be needed. Again, the preparation of the fabric is based on
Chapters 12 through 13 introduce the torso drafting instruction.
drape for the development of the one-piece
dress. The draping instructions of the Princess,
panel, empire, and tent designs and foundations
are based on knowledge gained from the bodice Helen Joseph-Armstrong
 Preface v

1 Fabric Characteristics and Terms 4

ge Model Form: Preparation, Measurement, and Tools

5 Draping Principles and Techniques 19

A Basic Dress Foundation 25

5 Manipulating Dart Excess 61

6 Bodice Styles 89

[{ Skirts 127

8 Collars 193

O Built-Up Necklines 217

10 Cowls 225

a] Facings 259

12 Dress Foundations and Designs 263

13 Strapless Dress Foundations and Designs: The Principle of Contour Draping 293

7 1A Bias Cut Dresses 325

“A5 Kimono, Raglan, and Drop Shoulder 349

\ 16 Shirts and Blouses 373

| | a Jackets and Coats 391

18 Pants 425

\
\\1 9 Knit Characteristics 457
Lech
4

a" \ . Ag Bodysuit and Swimsuit Foundations 469

Index 491
 ee masteusil diy
ey rametsooee oe
 ANUS

acteristics

’7 fietechniques for draping fabric correctly require an

awareness of the fabric’s characteristics. Knowledge of
‘thedistinctions ajnong fabrics enables designers/
drapersto select the most appropriate fabric for the flow and
e of each design. ie addition to reading books devoted to
textiles, drapers/designers
should collect swatches while shop-

Fabrics are classified according to quality, structure

(weave, knitted, fused, nonwoven-fused, or plain), texture,

weight, and hand (how fabric feels to the touch). They are
contrasted by being either crisp or soft, thick or thin, heavy-

weight or lightweight, loosely or firmly woven, flat or textured,

silky or rough, transparent or opaque, and sleazy or luxurious.

When evaluating a fabric, see how it drapes when raised at one -
i ene Hen ste ——
Ge Chapter 1 Fabric Characteristics and Terms

For example, woven fabrics are judged by the Selvage The narrow, firmly woven finished edge
number of threads per inch. The closeness of the on both sides of the fabric length.
weave, or the thread count, is determined by
True bias A diagonal line that intersects with the
adding the number of warp threads per inch by
length and crosswise grains at a 45° angle. True
the number of filling (weft) threads. High-qual-
bias has maximum give and stretch, easily con-
ity percales have 220 threads per inch, while in-
forming to the contour of the figure. Flares and
expensive muslin has only 128 threads per inch
cowls drape best when on true bias.
or 80 square. Knitted fabrics are created differ-
ently and will be discussed in later chapters.
Muslin
Fabric Terms Figure 1.2
Figure 1.1 Muslin is a plain woven fabric made from
Bias A diagonal, or angle, line that is cut or sewn bleached or unbleached yarns in a variety of
across the weave of the fabric. weights, including:

Crossgrain (weft) Yarns woven across the fabric Coarse weave Best for draping and test fitting a
from selvage to selvage. It is the filling yarn of finished garment. .
woven fabric. Crosswise grain yields to tension.
Lightweight
weave For softly draped garments.
Grain The direction in which a fiber is woven or
knitted. Firmly woven fabric used tc
drape tailored garments, coats, and suits.
Lengthwise grain (warp) Yarns parallel with the
selvage; it is twisted more tightly than the cross- To release the tension clip along the selvage edge;
wise grain. the selvage may be cut away.

juBIO1s
ulni6
~<—
—~—
Selvage
(dum)
esimuj6ue7)
ulos6

Crosswise grain (Weft)

i Crossgrdin| =.
=

Figure 1.1 Figure 1.2

 Finding the Crossgrain

Bowing and Skewing on the Grain Bowing

LH. fa

Figure 1.3
Bowing and skewing is characterized as being
“off grain.” That means the weft grain(cross-
grain) is not at a right angle to the warp grain
(straight grain). This occurs during the weaving
and finishing process. Rip the fabric to deter-
mine if there is bowing, or skewing, or a combi-
nation of both. If too severe, skewing can cause
the garment to twist after washing. Figure 1.3

Pull a thread

Aligning Grainlines

Figure 1.4
Pick’a thread with apin at one side of the —
_selvage and pullitthrough theselvage to the
easierlace
the pulled yarn. French drapers often use this Figure 1.4
method.

Figure 1.5
Pull diagonally at opposite ends of the fabric un-
til the crossgrain is at a right angle to the straight
grain. The draper can follow this procedure to
prepare the muslin for draping. However, retail
garments will most likely be cut in fabrics that
bow, or skew, unless corrected at the request
of the manufacturer at the time the fabric is
ordered. Figure 1.5
 oa - ¢

=
we A os “iy
M odel Form
‘Preparation,
Measurement,

he model form represents the dimensions of the man-

ufacturer’s sample size. Terms define key landmarks
‘for measuring the form. Measurements, including
personal arm measurements, are taken with draper’s tools and
recorded on the Measurement Chart (page 15).
{iThe configuration of the various forms were developed by
i

| using measurements closely representing those of the human

figure within each size. Model forms are available in all standard
sizes and shapes for both males and females. Forms can be pur-
chased with attachable arms and attachable legs for draping or
drafting pants. Forms can also be ordered to specifications to
satisfy the manufacturer’s target market or for individual figures.
Industrial forms are partially made by hand; therefore,
they are subject to error. A form may differ slightly from side
seam to the center front and/or to center back. The shoulder-
lines and/or side seams may be out of alignment, causing fit-
ting problems in the hang of the sleeve. The model form
 Chapter 2. Model Form: Preparation, Measurement, and Tools

should be checked for accuracy at the time the

sleeve is set. The correction(s) may require that Symbol Key
the side seams and/or shoulderlines be reposi- Use these symbols on the model form if
tioned, and the new locations drawn on the form. necessary.
The silhouette of the form can be changed or
CF = Center front
modified to adapt to figure differences with the
CB = Center back
use of padding for special designs (for example,
SS = Side seam
to enlarge the bust, waist, or hips). The padding
SW = Side waist
is covered with a soft gauze or muslin fabric.
BP = Bust Point
Shoulder pads are added to the form for gar-
SH = Shoulder
ments requiring them. (See later in this chapter
SH-Tip = Shoulder Tip
for instructions on creating the relaxed arm and
HBL = Horizontal Balance Line
the straight arm for specific types of garments.)
Reference points on the form are identified
by the same names as on the human figure.
. Center front neck
These reference points are guides when measur-
i

Center back neck

ing the form.
2. Center front waist
Reference Points of the Model Center back waist
Form
Oo . Bust points
The numbers refer to both the front and back
form. Areas of the form are identified by the fol- ws. Center front bust level
lowing terms (Figure 2.1): 5. Side front (Princess)
Side back (Princess)

Back view Front view Side view

6. Mid-armhole front
Mid-armhole back
(at level with plate screw)
7. Shoulder tip
8. Shoulder at neck
9. Armhole ridge or roll line
10. Plate screw
11. Armhole

Height pedal ‘roller wheels

Figure 2.1
 Model Form: Preparation, Measurement, and Tools

Preparing the Model Form

for Measurements
Figure 2.2
Waistline Replace the waistline tape if damaged.
Bust bridge Cut a strip of cloth 1 1/2” x 26”, fold
edges to the center, and then fold again. Press.
Place folded strip across bust points, ending just
beyond side seams and pin. Mark center line of
Pinhead
the form on the bust bridge. Thrust pins at bust points.

through bust point.

(fe- Shoulder tip
Figure 2.3 pinhead
AS
\ 3/8"
Figure 2.2 \ NN
Additional pinhead guides Thrust pins through *Mid-armhole pinhedd
‘.7 (FandB)
the ridge line of the armhole at the shoulder tip,
the mid-armhole at a point level with the plate
screw, and 3/8” below neck at the center front. Figure 2.3

Figure 2.4
Armhole depth From the chart below, choose the
measurement that applies to the form size, and
measure down from the plate to determine the
armhole depth. Thrust a pin through the form at
the location.

Size Inches
Armhole depth
5 1/2
5 5/8
5 3/4
5 7/8 Figure 2.4

6
6 1/8
6 1/4

Figure 2.5
3/4"
Personal fit Mark 3/4” down from the armhole at
the side seam of the leotard. Figure 2.5
 Chapter 2. Model Form: Preparation, Measurement, and Tools

Additional Form Preparation

Figure 2.6
Attachable arms are useful to draper/designers.
If unavailable, construct them by following the
directions given on pages 9-12.

Figure 2.6

Materials needed

Wadding or poly filler for stuffing

Cotton fabric for cover

Steps (Figure 2.7)

To enlarge the bust, place layers of padding over
the bust mound to the desired cup size (a bra
with the correct bust cup size can be placed on
the form filled with padding).
To enlarge the waist and hip, place strips of
padding around the waist and/or hipline until
the desired dimensions are reached. The
Figure 2.7 padding should blend well (avoid lumps).
To secure the padding temporarily, drape a cot-
ton fabric over the padded section(s) and pin.
For a permanent padding, drape and stitch a ba-
sic bodice or torso cover for the form.
 Preparing Attachable Arms

Shoulder Pads Style Marking the Form

Place the shoulder pads to the form for designs Place style tape or pins on the form in order to
requiring them (jackets, coats, dresses) and for outline the desired stylelines as a guide for the
personal fit correct shoulder slope difference. drape (Figure 2.7a,b).

Attachable arms can be ordered from the model

form company. However, the following instruc-
tions are useful to create the relaxed arm for fit-
ting garments and the straight arm for draping
kimono and raglan sleeves.

Relaxed Attachable Arm

Figure 2.8
Trace the basic sleeve. If seamless, add seams af-
ter the modification.

Mark 3/8” in from the underarms. Draw new

underseams.

Raise the biceps 1/2”, lower the cap 1/4”, and

blend.

Measure capline and record.

3/8"
Measure wrist and record. (Adjust wrist mea-
surement to whole numbers. For example, 8 1/4” Figure 2.8

should be recorded as 8”.)

Figure 2.9 (wrist circle with 1/2” seams included)

Use the radius measurement of the wrist level:
Radius: Tawtist— 15/87
8” wrist = 1 3/4”
Fold paper in half, and fold in half again. Corner
is A.
Draw a circle with the compass from A using the
desired radius measurement. Figure 2.9
 Chapter 2. Model Form: Preparation, Measurement, and Tools

Figure 2.10 (armhole pad with 1/2” seams Draw a line from A to C. Mark center and square
included) up 5/8”. Draw a smooth curved line from A to C.
Fold paper in half, and fold in half again. Corner Measure up 5/8” from B and draw a curved line
is (A). tore
Measure up and out from A using measure- Cut from paper.
ments given. Mark.
Figure 2.12 (finished sleeve)
Square lines up and out from each mark.
Machine stitch the marked sleeve part way down
At the intersection, draw a line to A. Mark 5/8” from the top and up from the bottom of the un-
down. derseam.
Draw a smooth curved line touching this mark. Stitch wrist pad to hem of sleeve, and the arm-
hole pad with the stitched shoulder support to
Figure 2.11 (shoulder support with 1/2” seams
the armhole.
included)
Fold paper in half. Stuff filler through the opening. Hand stitch to
close opening.
A-B = 5”. Mark on foldline.
B-C = 4”. Square a line from B to C.
SSS
SS
Shoulder support

\¢ i
Armhole pad —>

ea

Figure 2.10

Shoulder Support

Wrist pad —»'s=>

Figure 2.11 Figure 2.12

 Preparing Attachable Arms

Straight Attachable Arm A-C = 3 1/2”. Mark and square a line 7 1/2”, D.
A straight attachable arm is an excellent tool for C-E = 23”. Mark and square a line 4”, F.
draping a kimono or other extended sleeve
Fold paper on E-F line.
design.
Draw one line from F to D and another 1” from
Figure 2.13 the F-D line.
Cut a rectangle, 30” x 20” from stiff paper and
Draw a slightly curved line from D to B.
fold the paper in half lengthwise.
Cut arm from paper.
Measure 6” down and fold the paper. Corner is A.
A-B = 1”. Mark on foldline.
Figure 2.14
Unfold on vertical line and trim 1” of the under-
seam on the right side.
Staple the folded sections.
Sas nena see eee ee Seer Add strips of tape as shown.

Figure 2.13 Figure 2.14

<> Chapter 2 Model Form: Preparation, Measurement, and Tools

Sor

Figure 2.16

Figure 2.15
Lap the right underseam to the D-F line, and
tape.

Figure 2.16 .
Figure 2.15 Place arm on the form and adjust to the desired
angle. Tape to the shoulder or use pins to secure
to the shoulder.
To store, lay flat or make a hole at wrist level for
hanging.

Measuring the Model Form

mame Piuimianrigure! ke
Measurements of the form are important to the form. The stitched, or draped garment is placed
designer/draper, who uses them as a reference on the same side of the form that was measured.
when trueing the draped or paper pattern. Mea- When measuring the form, place the metal-
surements are a time-saving device only when tipped end of the measuring tape at one refer-
taken accurately. It requires concentration and ence point and extend it to the other reference
patience to measure the form or the human fig- point. Numbers in parentheses correspond to
ure. Record the measurements on the Model those on the Model Form Measurement Chart.
Form Measurement Chart (page 15).
For personal fit, the model should wear a Note: Arc measurements refer to measurements
bodysuit that defines neckline, shoulder, and side taken from the centerlines of the form to the
seams. With the exception of the circumference side seam.
measurements of the bust/back level, waist, ab-
domen, and hip, only one half of the form will be Measure to the mid-tape or bottom of the waist-
measured, and it is always the same half of the line tape. Once established be consistent.
 Measuring the Model Form and the Human Figure

Figure 2.17 (circumference measurements) ee

}
Record all of the following measurements on the
\ |
Model Form Measurement Chart.

Bust/back level (1): Measure with tape over the

bust point and across the back. Tape is held par-
allel to the floor.

Waistline (2): Measure with tape around the

waistline.
Abdomen (3): Measure with tape held 3” below Pin-mark
X-point
the waist and parallel to the floor.
Figure 2.17
Hip level (4): Measure around the widest part
of the hips with tape held parallel to floor.
Pin-mark center front at hip level. This is
referred to as the X point.
Draw line
Figure 2.18 (horizontal balance line) (Represent
Measure from pin-mark (X) to the floor. the horizontal
balance line
below waist)
Using this measurement, measure up from
the floor and pin-mark locations at the
center back and at the right and left sides of
the form.
Recheck the measurements for accuracy.
Draw a line around the hip level using a flex
ruler and crossing over the pin-marks to estab-
lish the horizontal balance line (HBL).

Figures 2.19 and 2.20 (vertical measurements)

Side length (11): Pin-mark below armplate at

side seam to waist.
Shoulder length (13): Shoulder tip to neck.
Side hip depth (26): Side waist to HBL, on side
of form being measured.
Bust radius (9): Measure from bust point ending
under bust mound.

Figure 2.19 Figure 2.20

 Chapter 2. Model Form: Preparation, Measurement, and Tools

Figure 2.21 (front bodice) and Figure 2.22

(back bodice)
Center length (5): Neck to waist (over bust
bridge). |
Full length (6): Waist to shoulder at neck, paral-
lel with center lines.
Shoulder slope (7): Center of waist to shoulder
tip (pin-head mark). |
Bust depth (9): Shoulder tip to bust point.

Figure 2.23 (horizontal measurements:

Figure 2.21
front bodice)
Across shoulder (14): Shoulder tip to center
front neck.
Across chest (15): Genter front to mid-armhole
(pinhead mark), plus 1/4”.
Bust arc (17): Center front over the bust point,
ending 2” below the armplate at the side seam.
Bust span (10): Place tape across bust points and
divide in half for measurement.
Waist arc (19): Center front waist to side waist
seam.
Dart placement (20): Center front to side front
Figure 2.22 (Princess line).
Abdomen arc (22): Center front to side seam,
starting 3” down from the waist.
Hip arc (23): Center front to side seam on HBL.
Hip depth (25): Center front to HBL.

Figure 2.24 (horizontal measurements: back bodice)

Back neck (12): Center back neck to shoulder at
neck.
Across shoulder (14): Shoulder tip to center
back neck.
Across back (16): Center front to mid-armhole
at ridge (pinhead mark).
Back arc (18): Center back to bottom of arm-
Figure 2.23 Figure 2.24 plate.
 Measuring the Model Form and the Human Figure

Waist arc (19): Center back waist to side waist Hip arc (23): Center back to side seam on HBL.
seam.
Arm measurements for personal fit (see page 50).
Dart placement (20): Center back waist to side Standard measurements for sleeve draft (see
back (Princess line). page 51).
Abdomen arc (22): Center back to side seam, This chart can be duplicated without permission
starting 3” down from the waist. from the publisher.

Measurement
Chart
CIRCUMFERENCE MEASUREMENTS LOWER TORSO (SKIRT/PANT)
1. Bust: 5s pllls:2. case 22. Abdomen arc: Pees
2. Waist: Dts ease.eae 23. Hip arc: F a
3.Abdomen: ____ 24. Crotch depth:
4. Hip: pas plus.2 *casen—eas 25. Hip depth: CR. =¥¢Bea
26. Side hip depth: er
27. Waist to ankle: een
UPPER TORSO (BODICE) Waist to knee: sein Pe
5. Center length: F ,B Waist to floor: — <<
6. Full length: F ,B 28. Upper thigh: viol!
7. Shoulder slope: poe a 29. Knee: ee
8. Bust radius: Ei ae 30, Calf: ws as
9. Bust depth: ERaiee 31. Ankle: a
10. Bust span: pe
11. Side length: meet
12. Back neck: ——
13. Shoulder length: an PERSONAL ARM MEASUREMENTS
14. Across shoulder: ] eee Dee sem Standard measurements on page 50
15. Across chest: fe 32. Overarm length:
16. Across back: cae 33. Elbow length: |
l7 Bust are =e 34. Biceps: eler™
18. Back arc: a 35. Wrist: om
19. Waist arc: awe bes: 36. Around hand: wie.
20. Dart placement: eeee al) . 37. Cap height: ian
21. Omit

Set form at desired height and measure the following length:

C.E. waist to floor , C.B. waist to floor , C.B. neck to floor
<7 Chapter 2. Model Form: Preparation, Measurement, and Tools

Tools and Supplies for Draping

The designer/draper needs tools and supplies to __Hip curve rule: shapes hipline, hem, and
work efficiently. It is important to know the lapels.
names and the function of each. Tools may be __Vary form curve: blends and shapes arm-
purchased from apparel supply companies or hole necklines.
from art, fabric, or student bookstores. Space is
7. Measuring tape
provided to check off each tool as it is pur-
__Metal-tipped, linen or plastic for measur-
chased.
ing form and figure (not very accurate).
1. Straight pins __ Metal tape: 1/4” width in a dispenser.
__Dressmaker silk # 17 for draping and Convenient and flexible for measuring
fittings. form or figure (very accurate).
2. Straight pin holder . 8. Hanger hooks or ringers
s_Pincushion, or magnetic holder for wrist __Hold sets of patterns on hooks or rods.
or table.
* 9, Pushpins
3, Scissors
10. Notcher
\_Paper scissors
__Cuts 1/4” x 1/16” from pattern’s edge to
_’ Fabric scissors
indicate seam allowance, centerlines, and
4. Pencils and pens ease notches to identify the front and back
__ Mechanical pencil and sharpener pattern parts.
(use # 4-H lead for patternwork). \11. Tracing wheels
__Red and blue colored pencils to identify __ Pointed wheel that transfers muslin
pattern changes. Black, green, red, pattern to paper.
and blue felt tip markers for pattern __ Blunted wheel, which is used with carbon
information. paper.
5. Rulers 412. Awl
__Flex general ruler: 1/2” x 12” (very accu- __Pierces a small hole within the legs of a
rate). dart indicating how much further the
__ 36” ruler seamstress should sew to dart point. Other
__18” x 2” plastic ruler (flexible for measur- uses are to indicate pocket and trim place-
ing curves). ments and for buttonhole locations.
~_Tailor’s square: 24” x 14” metal ruler with
two arms that form a 90° angle (measures, 13. Tracing paper
rules, and squares simultaneously). __ Transfer muslin pattern to fabric or to the
__ Triangle with measurements for square other side of the pattern.
lines. 14. Stapler and remover
6. Curved rulers __ Prevents pattern slippage when cutting
__French curve: Deitzgen # 17 is one of sev- several thicknesses of paper.
eral curves used for shaping armhole and 15. Scotch Magic Tape
neckline. \ ___To mend pattern work.
 Tools and Supplies for Draping

16. Black and white twill tape Pattern Paper

__To indicate placement of stylelines on the
Pattern paper is available through suppliers in —
form.
a variety of weights and colors for special pur-
17. Tailor’s chalk poses. Heavy pattern papers are commonly
__Clay, chalk, chalk wheel, or chalk marking referred to as tag board, manila, or hard paper,
pencils in black and white. Use a disap- whereas lighter weights are called marking
pearing chalk suitable for fabrics. Wax paper. If a supplier is not available, use butcher
chalk leaves decrease marks, but can be paper or any other paper suitable for making
used for marking woolens. patterns.
18. Elastic
__ 3/8” wide for the control excess in the leg-
line, cutout neckline, armhole of the
Draping fabric
bodysuit and leotard. Also used to define
the waistline of the human figure. Purchase as required.
 abric is often the source of inspiration for the creation
of designs, but it is the draper’s skillful hands that ma-
nipulate shapeless pieces of cloth into beautiful
garments.
The first version of most garments is draped in muslin,

“because it is an economical fabric. Ideally, a garment should

be draped in the design fabric or a substitute that is closely
related in texture and weight. Although this may be too expen-
sive for the manufacturer, it may be appropriate when draping
for private clientele. At completion, the drape should be
critiqued for styleline placement, proportion, balance, and

fit before removing it from the form or model.

After the critique, the pins are removed from the draped
design. The marked stylelines and seams are trued. Trueing a
draped garment requires that all markings placed on the
muslin indicating stylelines and seams be straightened and
curved lines blended. Measurements should be compared
 Chapter 3 Draping Pinciples and Techniques

with those on the measurement chart. These Designers who create one-of-a-kind gar-
steps are necessary if an accurate outline of the ments for private clientele often drape in the de-
pattern shapes is to be achieved. The cloth pat- sign fabric. In some cases after the drape has
terns can be stitched and placed on the form, or been completed, the garment is removed and
model, for a test fit, or transferred to paper, cut, basted for a fitting. Adjustments are made, and
and stitched in the design fabric for fitting. the garment is stitched. It is ready for wear with-
The beginning draper is often surprised to out the creation of a pattern for the design be-
learn that the pinned drape that looked near cause it will not be made again.
perfect on the form can still have fitting prob-
lems when cut and stitched in the design fabric. Draping Pian
This is to be expected for two reasons: A draping plan assists the draper in achieving a
1. The design fabric, which has a different texture successful drape. Without establishing a plan,
and weight from that of draped muslin, can re- the draper would not know where to begin or
sult in a garment that hangs differently on the how to proceed.
figure, thereby creating fitting problems. The plan begins with an accurate analysis of
2. Inaccurate marking and trueing of muslin the design. This process involves the identifica-
patterns that were then transferred to paper tion of the creative elements of the design and
also cause fitting problems. the draping technique(s) required to achieve
the drape. Next the information should be
Beginning drapers are greatly tempted to put recorded on the fashion drawing. It becomes the
fabric on the form to create wonderful designs, schematic, which offers a visual guide to the
but draping is not that simple. Every accom- draper by providing the following information:
plished artist knows that it takes hard work and
determination to achieve perfection. Draping 1. Planned sequence of the drape.
depends on controlling the straight and cross- 2. Location of stylelines on the form.
wise grainlines when manipulating the fabric on
3. An estimate of fabric required.
the form to create the desired design effect, and
the balance of the garment. It also involves an 4. Grainline placement for proper hang of the
understanding of the principles that guide the garment.
draper in choosing the correct draping tech-
5. The draping techniques required.
niques required by the design. Finally, the draper
must have knowledge of the characteristics of Three Draping Techniques
fabrics and the ability to choose a fabric that will
be compatible with the design. The identifica- Manipulating Dart Excess
tion of fitting problems and their solution is an Moving the dart excess to designated places on
ongoing learning experience. To go forward, re- the drape and using the excess to create varying
member that perseverance is the key, as is the design effects.
love for draping beautiful garments.
Garments that are designed for the retail Adding Fullness (not to be confused with
market require production patterns. The gar- ease added for comfort)
ment may go through several test samples to as- Adding fullness to a design in greater amounts
sure that the fit and patterns are perfect before than the dart excess can provide—within the gar-
being released for production. ment and/or to the outer dimension of the figure.
 Design Analysis

Contour Draping will be introduced in design projects throughout

Fabric is draped to the contour of the figure the text. The following is an example of a drap-
above, below, and in between the bust and other ing plan.
mounds of the figure. These draping techniques

® e

Preparing a Design Schematic

Figure 3.1
With knowledge of the basic dress foundation,
the draper will be able to identify the root on
which designs are based. The creative elements
and identification of the draping technique(s) to
be applied are noted on the sketch. The draping
plan should be applied to all draped designs.
To establish a schematic of the fashion drawing,
the following questions need to be asked and
answered.

Manipulating Dart Excess

Question: Where is the dart excess located and
how is it used—as a dart(s), gathers, pleats, flare,
cowl, drape, styleline (over the bust), or to en-
large the armhole of casual garments?
Answer: Princess styleline above an empire
styleline.

Adding Fullness f Figure 3.1

Question: Is the fullness indicated by the sketch

greater than the fullness provided by the dart? If
so, where is the fullness located? What type of
fullness—gathers, flare, pleats? What is the ratio Contour Draping
of fullness? Does the garment extend beyond the Question: Does the design reveal the contour
outer dimensions of the form? shape of the figure? Where—below, above, be-
tween the bust mound, other mounds?
Answer: Yes. Five tuck darts emanate from the
empire styleline and end with fullness 3” below Answer: Yes, under the bust, above the bust, at
the waist. A flared sleeve with a “puff” gathered the cutout neckline and at the tapered hemline
at the cap (based on the flat pattern system). of the skirt.
 Chapter 3 Draping Pinciples and Techniques

Draping Short Cuts

Figure 3.2
The following information may not be appropri-
ate for the beginning draper because it is impor-
tant that they have practice in draping to perfect
their skills in manipulating fabric. The informa-
tion will be relevant later in their development,
when there is demand for fast turnover of de-
signs in industry. It is also useful for the designer
who creates garments for private clientele—
especially if personal fit patterns have been pre-
viously developed. Tracing parts of an existing
pattern that closely relate to certain elements of
the design can help to develop patterns that
must be generated quickly. The related
pattern(s) are traced on muslin in preparation of
the drape. Draping and flat patternmaking are
often combined in industry to produce designs.

Figure 3.2

Figure 3.3
Muslin Through design analysis it was determined that
Front the basic pattern could be traced from the neck-
bodice
line to the armhole. The prepared muslin is cut
and placed on the form or figure to be draped in
completing the design.

Figure 3.3
 Methods for Joining Seams

Bade eee in6

Several pinning methods can be used to join the
seams of a drape. Pins not only connect two
joining seams, but also provide a guide for pencil
or chalk markings to outline the pattern shape.

Lapped Seams
Figure 3.4
A folded seam is lapped to the marked line of
the joining seam. Excess folds toward the center-
lines. Pins are placed perpendicular to the seam,
or at an angle to it.

Raw Seams Out

Figure 3.5 and Figure 3.6
The raw seams are pinned right side out. This
method may be preferred when draping to the
contour of the bust. Pins are placed parallel with
the seamline. The seams are marked, trued,
turned, and then stitched or pinned to check
the fit.

Not Recommended
Avoid pinning each fold of the seam to the form,
rather than to the joining seams. It will interfere
with the hang, fit, and critique of the drape. Figure 3.5 Figure 3.6
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 y
n introduction to draping begins with the drape of
the basic dress foundation (Figure 4.1). It is draped
to replicate the shape and dimension of the form, or
model dglitiease added for comfort. Although the basic dress
has no particular style or design, it is related to every garment
in your clothing collection, to every design created, and to
every pattern developed. It represents the very foundation on
which design, patternmaking, and fit is based. After you have
mastered the procedures and techniques, other chapters will
build on these applications to illustrate variations and the
draping of more complex garments.
The basic dress fits the outer lines of the figure, bridging
the hollow areas around the bust, abdomen, buttocks, and be-
tween the shoulder blades. The garment has sufficient ease for
comfortable movement without the appearance of stress. The
sleeve hangs in perfect alignment with the relaxed arm and has
the correct amount of looseness and cap ease. The skirt hangs
 Chapter 4 Basic Dress Foundation

in the introduction to draping, a waist/shoulder

dart (illustrated on page 70), and a waist/side
dart (illustrated on page 68). The choice of
which bodice to drape for the foundation is left
to the instructor, or the designer/drapet.
At the completion of the drape of the dress
foundation there will be five pattern parts: (a)
front and back bodice, (b) front and back
straight skirt, and (c) basic mounted sleeve. The
pattern shapes have straight and curved lines
with wedges (darts) that lead into the patterns
from the cut edges (Figure 4.2).

‘as
Back bodice Sfeeve Front bodice
Figure 4.1

in ,

straight from the hipline with the hem parallel

to the floor. The fit of the dress is controlled by
darts. Darts take up excess while gradually re-
ne
leasing fullness where it is needed. The drape of
the basic dress foundation introduces the rele-
Back skirt Front skirt
vant information about balance, ease, and fit.
The following illustrations show the bodice
with a single dart (the location where the origi-
nal fullness hangs below the bust) as illustrated Figure 4.2

The bodice may be draped with a single waist

dart, as illustrated, or with a waist and side dart
(page 69) or shoulder dart (page 70).

Preparing Muslin
Figure 4.3
Measure the front length and width as illus-
trated, or use #6 and #17 from the Model Form
Measurement Chart. (Measurements also apply
Figure 4.3 to the back form.)
 Basic Dress Drape

se, WY

Pid hy saves

Bust depth
| Crossgrain

BACK

Crossgrain

FRONT

front
center
grain
Straight 1yBIous
ulniB
=—

sed) o F

Figure 4.4

Add 4” to the length and width. From (X), mark measurements given and square
a crossgrain line across the muslin at bust level
Measure bust level. Record. and across the back.

Cut muslin for the front and back bodice

using length and width measurements. Refer Front Bodice Drape
to Chapter 1 for instructions on correcting To establish an accurate outline of a draped
the bowing and skewing of the fabric, if garment, mark the muslin clearly and accurately
necessary. pl a4 with pencil or tailor’s chalk in the form of dots,
crossmarks, or solid lines. These marks are
Figure 4.4a and Figure 4.4b yw» 7 essential guides for trueing the cloth pattern
Fold muslin 1” along the length of the straight and transferring the drape to paper. Slashes
grain, and press without steam! along the neckline and waistline are necessary
to release tension in the fabric. Slashes should
Draw temporary necklines with a French never extend past the outline of the form or
curve, using the measurements given. Cut they will affect the shape and fit of the draped
excess away. garment. Be sure that the pinhead indicating
the armhole depth is marked on the form
Mark 1/2” down from front and back neck (X). (see page 7, Figure 2.4).
 Chapter 4 Basic Dress Foundation

Figure 4.5
Place the fold of the muslin at center front and

Smooth muslin up from the bust and over the

shoulder. Pin. '
The crossgrain of the side falls downward creat-
ing a flare under the bust.

Figure 4.6
Figure 4.5 Smooth muslin upward from the bust and along
the neckline, slashing to the shoulder/neck. Pin.
Smooth muslin up, from the bust and along
shoulder from neck to shoulder tip. Slash 1”
from neck. Pin.

Figure 4.7 and Figure 4.8

Smooth muslin from shoulder tip down along
roll line of the armhole to the pinhead of mid-
shoulder. Allow the fabric to bridge
thehollaw _
area between the shoulder and the bust (Figure
4.7). If stress folds are noticed (Figure 4.8), un-
pin and relax the fabric. Repin.
Figure 4.6 Smooth and slash muslin along the waist to
Princess line. Crossmark Princess at bottom of
waist tape for dart leg.
Mark the following:
Bust point
3/8” below CF neck
Mid-neckline curve
Shoulder/neck intersection
Shoulder tip
Mid-armhole at
_ pinhead mark
CF at bottom of waist tape
Trim excess to within 1/4” at neck, 1” at shoul-
derline, and 1/2” or more around armhole and
Figure 4.7 waist, ending at Princess line.
 Basic Dress Drape

Figure 4.9
Ease is added at the curve of the armhole be-
tween the mid-armhole and the side seam. Ease
allows room for the muscle and fleshy connect
between the body and the arm when the arm is
in forward motion.

Remove holding pin from the side. Lift fabric

upward pivoting from bust point and pin a 1/4 Mu

ease tuck (1/8” on the fold). Direct ease tuck Pencil}

toward the bust point. rub}
\

Smooth muslin around armhole just past the

side seam. Pin.

Smooth muslin downward along side seam to

bottom of the tape. Pin.
Figure 4.9
‘Pencil rub side seam with the lead end.

Remove pin from the ease tuck.

Figure 4.10 (armhole depth and side ease)

Draw a short, curved line of the bottom armhole
plate.

Draw a line down from the armhole plate to the

pinhead indicating the armhole depth on side
seam. W2e Ease
Pinhead

Measure out 1/2” for side seam ease.

Optional: Draw side seam with ruler.

Smooth, slash, and trim muslin from side waist
to Princess line, and pin a 1/4” ease tuck (1/8” on
the fold) between the waist and the Princess line. Figure 4.10
1/4" Ease tuck -

Crossmark the Princess line at the bottom of

tape for the location of the other dart leg.

Dart Excess a mound exists. In the basic garment, the excess

The excess left hanging as flare from the bust is stitched as a dart, but can also be used as flare
mound (its natural location) is the result of the gathers, pleats, and cowls, or as stylelines that
difference in measurement between the circum- cross over the bust mound. The result of using
ference around the bust/back and that around the dart excess creatively is referred to as dart
waist. The excess is a part of any design in which equivalents, because they function as darts.
 Chapter 4 Basic Dress Foundation

Figure 4.11 Figure 4.13

Fold the dart excess toward the center front. If Fold the seam allowance (with thumbnail) along
the dart excess overlaps the centerline as illus- the shoulderline and side seam using guide
trated by broken lines, trim excess to within 1” marks.
of the dart legs.
Figure 4.14
Figure 4.12 The front drape may be removed or peeled back.
Crease-fold seam of the dart inward, and lap to Pin the shoulder and side seam, making room
other dart leg. Place pins perpendicular to the for the back bodice drape. |
foldline of the dart legs. Do not pin to the form!
Trim excess from waistline of the dart.

For accuracy, recheck all marks and measure-

ments with those recorded on the Model Form
Measurement Chart.

Figure 4.13

i
i

Figure 4.14
Figure 4.11

Figure 4.12
 Basic Dress Drape

Back Bodice Drape

Figure 4.15
Place the fold of the muslin at center back and
pin the neck, crossgrain line, and waist (mid-
tape).

Smooth muslin along the crossgrain from center

back to the pinhead location of the mid-arm-
hole.
Smooth muslin over shoulder and pin.

Figure 4.16
Smooth and slash muslin along the neckline. Pin
at shoulder/neck.

Smooth muslin along the shoulder to the Figure 4.15

Princess line, and mark for dart leg.

Draw a 3” line along the Princess line to direct

the angle of the dart leg.

Dot mark 1/2” from Princess line for dart intake.

Slash 1” from neck.

Figure 4.17
To form the shoulder dart, fold fabric from
crossmark to meet dot mark with excess toward
centerline. Pin perpendicular to fold. Do not pin
to the form.
Figure 4.16
Smooth muslin to shoulder tip. Mark and pin.
Smooth muslin along roll line of the armhole to
the crossgrain pin. Release pin to adjust if loose-
ness or tightness appears.

Mark the following:

Center back neck Line across shoulder dart
Curve of the mid-neckline Shoulder tip
Shoulder/neck intersection | Mid-armhole pin-mark
Trim excess approximately to within 1/4” of the
neckline, 1” or more of the shoulderline and
armhole to the crossgrain. Figure 4.17
C2 Chapter 4 Basic Dress Foundation

Figure 4.18 Figure 4.19

Smooth, slash, and trim muslin from center back Fold waist dart from crossmark to dot mark
waist to Princess line. Crossmark at bottom of with excess toward centerline.
tape for dart leg.
Place pins perpendicular to foldline. Do not pin
Dot mark 1 1/2” from Princess line for dart in- to the form.

aera as FOL JUnIOE Size); Smooth, slash, and trim muslin along waist, pin-
ning a 1/4” ease tuck (1/8” on the fold).
Smooth muslin beyond side seam. Pin.
Pencil rub along the side seam.
Mark bottom of waist tape at: Side waist
Midwaist
Across dart
CB waist

Figure 4.20
Release holding pins. Lap front shoulder and
side seam over back seams matching guide
marks very carefully. Place pins perpendicular to
the foldlines. Do not pin to the form.
Pi/2"
(1" for Juniors)

Figure 4.18

F?
3/4" Ease Ue
Pinhead

Figure 4.19 : Figure 4.20

 Fit Analysis of the Bodice Drape

Armhole Depth and Side Ease Optional: Draw the line for the side seam with a
Draw a short, curved line of the bottom armhole ruler.
plate. Trim excess to within 1/2” of the armhole and
Draw a line down from the armhole plate to 1” or more of the side seam.
pinhead, indicating the armhole depth on side Make a final check for marks and of the length
seam. of the shoulder, side seam, waistline, and center-
Measure out 3/4” for side ease (guide for shap- line with those recorded on the Model Form
ing the armhole). Measurement Chart (Table 2.1).

A well-fitting drape aligns with the form when Gap above Mid-Armhole
the holding pins are removed from the center- Figure 4.2]
lines of the front and back drape. There should
Release pins and smooth excess over the shoul-
not be any appearance of stress lines, gapping, or
der of the front and/or back bodice.
looseness around the neck, armhole, or body of
the garment except for the ease added. Adjust Re-mark shoulder tip. Repin.
the garment if fitting problems are noticed and
mark the adjusted area with red pencil for
blending later. If, after analyzing the fit of the
bodice drape by comparing it with the following
illustrations, and there are too many fitting
problems, redrape the garment.

Armhole

A well-shaped armhole fits smoothly over the

shoulder without the appearance of stress lines
or gapping, and it moves away evenly from the
side seam of the form. If stress or gaps appear
anywhere around the armhole, as illustrated in
the examples, follow instructions to correct the
problem.
A well-balanced sleeve depends on the accu-
rate shape of the armhole and correct placement
of the shoulder and side seam of the form. All
adjustments should be marked on the muslin c d

with a red pencil. Figure 4.21

Ca) Chapter 4 Basic Dress Foundation

Gap below Mid-armhole

Figure 4.22
Release pins, and smooth excess past the side
seam of the front or back bodice.

Re-mark armhole depth and side waist loca-

tions. Repin.

Gap below Mid-Armhole at Front

and Back
Figure 4.23
Release pins and smooth excess past the side of
the front and back bodice.

Re-mark armhole depth, side ease, and side

waist. Repin.

Center Alignment of the Bodice

Figure 4.24 (perfect alignment)
No other fitting problems noticed. No correc-
tion required.

Figure 4.25 (imperfect alignment)

Front or back garment swings inside the center-
line of the form.

Figure 4.23

Unpin

Dart pinned
at, or beyond
bust point?

Figure 4.24 Figure 4.25

 Trueing Front and Back Bodice

Possible causes:
Careless marking or handling of the drape.
Dart pinned beyond the bust point. Lift shoulder
Soa
\
Possible solution:
Repin dart leg.
Release pins at shoulder and align to center.
Redrape and mark shoulder tip. Pin.

Figure 4.26 (imperfect alignment)

Front or back bodice overlaps the centerline of
the form. Check
waist, dart
Possible cause intake, and
side seam

Careless marking or handling of the drape.

Possible solution
Raise shoulder tip.
Figure 4.26

| peace
The basic bodice is corrected and stitched (to determine their shape. The French curve is
check the fit) before the skirt is attached. An un- used for shaping the neckline, armholes, and
balanced bodice or skirt affects the hang of the waistline.
garment. To prepare the drape for trueing, un- Verify all bodice measurements using the
pin (except for pins holding darts) and draw Model Form Measurement Chart (page 15)
connecting lines around the pattern. Cup the and correct any errors. Muslin patterns can be
patterns when drawing the darted waist and stitched for the fitting or be transferred to paper.
shoulderlines. (Remember that the excess of the To transfer muslin patterns to paper, either use
darts is folded toward the center front and back pushpins thrust through the center of each
of the bodice.) While pinned, all folded darts mark (as illustrated) or use a tracing wheel
are traced across with the tracing wheel to help crossing each corner.
<> Chapter 4 Basic Dress Foundation

cup Pattern Cup pattern

front
Center Cup pattern
JajUsD
yong back
Center

Draw a
blending
line across
waistline
Direction Direction of excess Direction of excess
of excess

Figure 4.27 Figure 4.28 Figure 4.29

Figure 4.27 and Figure 4.28 (waist darts)

Folded darts are traced after a blending curved
line is drawn across the front and back waistline.
Unpin darts.

Bust Point Figure 4.29 (back/shoulder dart)

me Draw a line across the shoulderline with the dart
1/2"
Dart Point
folded, and trace. Unpin dart.

Figure 4.30 (back)

Draw the side seam line.

Draw shoulder dart (follows Princess line) 3” to

Figure 4.30 Figure 4.31
3 1/2” long.
Center a straight grainline through waist dart
parallel with center back, ending 1/2” below the
armhole depth level.
Mark 1/4” out from mid-armhole pin-mark.

Figure 4.31 (front)

Draw the side seam line.
Draw dart legs to bust point first. Mark dart
point centered 1/2” down from bust point, and
draw dart legs to dart point.

Figure 4.32 (back)

Draw the neckline and armhole curves touching
marks with the French curve.
Figure 4.32
Figure 4.33 (front)
Draw the neckline and armhole curves touching
marks with the French curve.

At this point the muslin may be stitched for a fit-

Figure 4.33 ting, if preferred.
 Trueing Front and Back Bodice

Transferring Front and Back Figure 4.36 (back) and Figure 4.37 (front)
Bodice to Paper Draw shoulderline 1/16” above shoulder.
Figures 4.34 (back) and Figure 4.35 (front) Draw side seams and square a short line at
Draw a line 2” from edge of paper. each end.
Place center back on line and front on fold. Square short lines at shoulder ends, center lines,
Place pushpins where indicated. and waist. Square a line at armhole depth. Draw
dart legs to dart points.
Remove pins and muslin from paper.

Bust point

g |
Dart point

ff

Figure 4.35

Paper

a
1/16"

FRONT

x Bust point

Figure 4.36 Figure 4.37

 Chapter 4 Basic Dress Foundation

Paper Paper

Do not curve
beyond
square line

Curve to end
at side waist

Figure 4.38 Figure 4.39

Figure 4.38 (back) and Figure 4.39 (front)

Back: Draw neckline and armhole touching the
three guidemarks with the French curve. Draw
waistline curves.
Front: Repeat steps.

Blend Waistline and Shoulderline

Figure 4.40 Bey

seamless
Figure 4.40 and Figure 4.41
Cut patterns allowing the excess paper at the
waistline and armhole area for blending, if
necessary.
To blend, match the seams and draw blending
curve lines across the waistline and shoulder.
After blending is completed, trim away excess.
BACK
seamless

ee Seamless and Seamed Patterns

It is suggested that two sets of basic patterns
be completed. Use the seamless pattern set
when making patterns through the flat pattern-
Figure 4.41
making method; use the seamed pattern for
draping projects quickly.
 Basic Skirt Drape

Seamless Patterns
Figure 4.42 and Figure 4.43
< Punch hole
Cut a short distance up each of the dart legs.
With the awl, place a hole at the dart point and pick FRONT
mark bust point seamless sage

Seamed Patterns te cee Pipcnnote =)

Figure 4.44, Figure 4.45, and Figure 4.46

Two front bodice patterns are illustrated: one
with a cutout dart and one with a full dart. L
Seam allowance: 1/4” at the neckline, 1/2” at Figure 4.42 Figure 4.43
shoulder and waist. The side seam and centerline
can vary from 1/2” to 1”.
Notches: All seams and dart legs. No notches in-
dicating seam allowance around the neck, arm-
hole, or waistline.

1/4"Ac
FRONT
| Punch/circle FRONT BODICE
}+—++ BODICE
| BACK
BODICE Bust Point

W2"¥
| 1/4" Punch/circle

Punch/circle

Y
fh

Figure 4.44 Figure 4.45 Figure 4.46

peas
The key to a balanced skirt lies in the accurate the muslin or form are inaccurate, fitting prob-
placement of the horizontal balance line (HBL) lems will occur. The basic skirt can function as
on the form and on the muslin (crossgrain) in an attachment to the bodice as a dress or, with a
preparation for the drape. If the HBL placed on waistband, as a separate skirt.
C40 > Chapter 4 Basic Dress Foundation

Preparing Muslin
Figure 4.47
Use the Model Form Measurement Chart #23
F B A Doe a B , or measure the
front and back form.

Figure 4.48 and Figure 4.49

Width: Hip arc, plus 2 1/2”.
Length: As desired.
Fold muslin 1” on straight grain. Press (without
steam).

Hip depth: Plus 1/2” measured down on fold-

line. Mark and square a line across the muslin
Figure 4.47 (HBL—the crossgrain).

Hip arc: Measure from center front across HBL,

and crossmark.
Mark 1/2” for ease, and draw lines through the
straight grain for the side seam.

=
xe)
Q
O)
re}
3
+
FRONT = BACK

Crossgrain ,
di
ujdep
|<—
+ | Crossgrain

Stitch line Stitch line

—< Seam allowance Seam allowance

Figure 4.48 Figure 4.49

 Basic Skirt Drape

Front Skirt Drape

Figure 4.50
Place fold of muslin to center front aligning
HBL (crossgrain). Pin to the HBL of the form.

Pin at center front waist and below waist on the

centerline.

Smooth muslin on crossgrain from center front

to side seam, aligned with the HBL.
Smooth and slash muslin from center front waist
to Princess line. Crossmark at bottom of the
waistline tape at Princess line (dart leg location)
and at the center front waist.
side waist —

With your hand on the hip and your fingers on

the crossgrain of the HBL at the side seam, Crossgrain a4

smooth muslin upward to side waist. Crossmark

i

at side waist.

Figure 4.51
Smooth and slash muslin along waistline. Pin an
ease tuck 1/4” (1/8” on fold) between side seam
and Princess line.
Crossmark Princess line at bottom of waist tape
(dart leg) and mark mid-waistline.

Figure 4.51

Figure 4.52
Remove pin at crossgrain of the side hip and
move muslin to the stitchline for ease allowance.
Repin on the stitch line.
Smooth muslin upward along side seam to
waist, and pencil rub muslin as a reference when
pinning front to back hiplines.
Move to
Trim side seam to within 1” of the pencil-rub seam
allowance |

line. Figure 4.52

 Chapter 4 Basic Dress Foundation

Dart mee |
Figure 4.53
Measure the distance between crossmarks
(Figure 4.53a). (The excess will be divided be-
tween two 3” to 3 1/2” long darts.)
Measure
space
Mark intake of the first dart (Figure 4.53b).
Fold the dart at Princess line, with excess toward
the center front. Pin.
a b ‘
Mark dart space 1 1/4” (1” for juniors) (Figure
\ een 4.53c). (The second dart takes up remaining
excess.)
Fold second dart and pin.
bor intake Mark at center front and across darts at bottom
of tape. Trim excess to within 1/2” of waistline
(Figure 4.53d).

Figure 4.53

Back Skirt Drape

Figure 4.54
Place the fold of the muslin to center back align-
ing HBL (crossgrain). Pin to the HBL of the
form.
Pin at center back waist and below waist on the
centerline.

Smooth muslin on crossgrain from center back

to side seam aligned with the HBL. Pin.
Smooth and slash muslin from center back
waist to Princess line. Crossmark at bottom
of the waistline tape at Princess line (dart
leg location), and mark the center back at the
waist.
With your hand on the hip and your fingers on
the crossgrain of the HBL at the side seam,
smooth muslin upward to side waist. Crossmark
Figure 4.54 at side waist.
 Basic Skirt Drape

Figure 4.55 \ | |
Mark princess 1/4" Ease
Smooth and slash muslin along waistline. Pin an
ease tuck 1/4” (1/8” on fold) between side seam
and Princess line.

Crossmark Princess line at bottom of waist tape

(dart leg) and mark mid-waistline.

Figure 4.56
Remove pin at the crossgrain of the side hip and
move muslin to the stitchline for ease allowance. Figure 4.55

Repin on stitch line. [2

+
; 4
Pencil rub» 4
Smooth muslin upward along seam line to side
waist and pencil rub muslin as a reference when
pinning front to back hiplines.

allowance
Figure 4.56

Darts
Darts can be arranged in the following two ways:
1. Darts of equal intake and length, as shown.
Space /4
2. Darts of unequal intake and length.
First dart intake, 1/2” and length 3”.
Second dart takes up remaining excess and %

Dart 7
is placed at the Princess line, with a length intake7

of 5 1/25
z
7
y

Do not pin darts to form!

Figure 4.57
Mark across
Measure the distance between crossmarks and
divide the excess between two darts.

Mark intake of first dart out from Princess line

(Figure 4.57a).
Fold dart excess toward the center back. Pin.
Space the second dart 1 1/4” from first dart
(Figure 4.57b). Fold second dart excess toward
the center back. Pin. Trim excess to within 1/2”
or more of the waistline (Figure 4.57c). Figure 4.57
 Chapter 4 Basic Dress Foundation

Figure 4.58
Fold side seam along rub line of the front skirt
and place on top of rub line of the back skirt
and pin.
Pin from HBL to hemline.

Fit Analysis of the Draped Skirt

dus To allow the skirt to hang freely from the waist,
remove all holding pins at the HBL and below.
Which example applies to the hang of your
r draped skirt? The fit of the skirt resulting from
the drape accompanies each drape. Make appro-
(eon priate adjustments to the drape.
Figure 4.58

The Hang of a Balanced Skirt

Figure 4.59
Pin for pivot
SS The skirt aligns with the centerlines of the
form and hangs straight from the hip to hem-
line, indicating that the crossgrain is parallel
with the floor (Figure 4.59a). Figure 4.59b
illustrates a well-balanced skirt. If the skirt is
misaligned, the following problems will occur
and need to be corrected. Mark adjustments
with a red pencil.

Be deaot Figure 4.60 (imperfect alignment)

Figure 4.59 Skirt overlaps center, resulting in a stitched skirt
that will flare at the centerline.
Possible causes:
Insufficient dart intake and/or the side
waist incorrectly marked.
HBL not marked horizontal to the floor.

Possible solution:
Unpin side seam and lift the side waist
until the skirt aligns with the centerline
of the form.
Mark new side waist location.
If required increase dart intake.
a
Check location HBL of the form and
Figure 4.60 muslin when trueing.
 Basic Skirt Drape

Figure 4.61 (imperfect alignment)

Skirt swings away from the center. As a result,
the stitched skirt will press against the thigh of
the model and will move up the legline when
walking.
Possible causes: |
Too much dart intake and/or side waist io
incorrectly marked.
HBL not marked parallel to the floor.
alee b
Possible solutions:
Figure 4.61
Unpin side seam and lower the side waist
until the skirt aligns with the centerline
of the form.
Mark new side waist location.
Decrease dart intake.
Recheck location of the HBL of the form and
muslin when trueing.

Pinning Draped Bodice to the Skirt

Figure 4.62
Pin bodice to skirt along the waistline.
Recheck alignment of the center front and back
with the centerline of the form. Adjust if neces-
sary. The waist dart bridges the hollow between
bust and waist.
Note: A paper pattern or a trued-and-stitched
muslin prepares the basic dress for the sleeve.

Trueing Front and Back Skirt

Prepare the drape for trueing by drawing con-
necting lines around the pattern. Verify all skirt
measurements using the Model Form Measure-
ment Chart, correcting any errors. Muslin pat-
terns can be transferred to paper with pushpins
thrust through centers of each mark, as illus-
trated, or with a tracing wheel that crosses each
Figure 4.62
corner. Remove all pins so that the muslin skirt
pattern lays flat. If muslin is wrinkled, press with
warm iron (no steam).
 Chapter 4 Basic Dress Foundation

Skirt Drape on the Open Figure 4.64

Figure 4.63 Dart Legs and Hip Curve.
Verify that the intake of both darts is equal. If Draw front and back dart legs and hip curve.
not, correct dart intake. Verify the space between
the darts at 1 1/4”. Adjust side waist to preserve
the waist arc measurement, if necessary. Waistline and Dart Fold

Draw a line in the center of each dart that is par- Figure 4.65
allel to the centerline of the skirt ending at dart Run tracing wheel over the folded darts. The per-
point level. Re-mark dart intake to be equal and forated markings help to shape the dart when it is
of equal length down from the waist. open. Draw the waistline with a French curve.
Center Center

Parallel

Parallel

Crossgrain i | Crossgrain ;

BACK FRONT

Figure 4.63

Crossgrain | Crossgrain

BACK FRONT
Skirt Skirt

Figure 4.64

ore ter,
front
Center 18}ueD
yong

Figure 4.65
 Basic Skirt Drape

Preparing Paper for Front Transferring Front and Back

and Back Skirt Skirt to Paper
Figure 4.66 Figure 4.67
Width: Hip arc plus 5”. Place muslin on paper, with the center front
Length: As desired, plus 5”. and back matching the vertical line of the
paper and the HBL (crossgrain) on the square
Draw a vertical line 1” from the edge of the line.
paper equal to the skirt length and add 3”.
On the vertical line, measure the hip depth and Place pushpins through the HBL and the
add 3”. Square a line across equal to hip arc plus center. Smooth the muslin across the paper
1/2” for ease and 1/2”to 1” for seam allowance. and place the pushpins where indicated. It is
not necessary to pin the bottom part of the skirt
Square a line down from hip arc (side seam) to
skirt length. Square a line from side seam to because the outline has already been drawn.
centerline. Remove the pushpins.

Pushpin Pushpin

Horizontal balance line Horizontal balance line

Crossgrain

L Finished length i _Finished length a

i D b t t
Center back Center front Center back Center front

Figure 4.66 Figure 4.67

 Chapter 4 Basic Dress Foundation

Outlining Front and Back Skirt:

Seamless Pattern
ce Figure 4.68
| Punch holes

<a Draw the outline of the skirt, using the hip curve
Punch holes
ruler to shape the side hip.
BACK FRONT Cut partially into each dart leg and, with the awl,
penetrate the dart points.
Seamless Seamless
skirt skirt

Label the patterns.

Outlining Front and Back Skirt:

Seamed Pattern
Figure 4.69
Fold paper to cut front skirt.
Figure 4.68
Draw outline of the patterns.

+4 Add 1/2” seam allowance to waist, 1/2” to 1” at

side seam, and 1” for hem.

Center punch holes 1/4” to 1/2” up from dart

BACK FRONT
b Skirt Skirt points.
r Horizontal Balance Line Horizontal Balance Line
Place zipper notch at center back or the side
seam.
Place two notches at the center back. Identify the
pattern parts.

Finished length Finished length

‘= Ue lee !
) a b Center front
Center back

Figure 4.69

The basic sleeve, also referred to as a mounted The arm is one of the most efficient and mo-
sleeve, is drafted to fit the armhole of the basic bile parts of the human anatomy. It functions in
dress foundation. The basic sleeve is used to help a forward motion, but is capable of moving in
develop all other sleeves, which will be discussed every direction. This flexibility places a burden
in later chapters. on the sleeve, making it one of the most difficult
 Basic Sleeve

parts of the garment to fit. A well-balanced Sleeve cap

sleeve will hang at, or slightly forward of, the side

seam. The sleeve will have sufficient ease around
the biceps and the elbow area. The capline will height
Cap
be smooth without puckers or stress lines. Biceps level

In the basic sleeve, the front and back cap

are drafted with approximately the same
measurements. The hang of the sleeve can be
Grainline
affected if the shoulder and/or side seam of
the form is incorrectly placed or if the model
has slouched shoulders or an upright military Elbow dart
Elbow level

stance. It is best that the sleeve be rotated

until the centerline of the sleeve aligns with,
or is slightly forward of, the side seam of the
form. However, a sleeve should be in balance
with the model’s stance and with the angle of
the arm regardless of its alignment with the
side seam. Rotating a sleeve may require Wrist level

relocation of the shoulder and/or side seam

Figure 4.70
of the form.
Therefore developing the sleeve is accom-
plished by drafting. The draping of the basic
sleeve is time consuming and the results are
doubtful.

Sleeve Terms Sleeve ease Additional allowance at biceps,

elbow, and wrist levels accommodating the
Figure 4.70
circumference of the arm. Ease permits freedom
Communicating in terminology that is familiar
of movement.
to those in the design and production room
helps to avoid misunderstanding when problem Grainline Center of the sleeve from the top of
solving. The following terms clarify the parts of the cap to wrist level—straight grainline of the
the sleeve and the sleeve draft. sleeve.
Cap ease Difference between cap and armhole Notches One notch indicates the front part of
measurement (ranging from 1 1/4” to 1 1/2”). the sleeve, and two notches indicate the back
Cap height The distance from biceps to cap at
sleeve. Cap notch is often shifted to equalize the
cap ease.
center.

Biceps level The widest part of the sleeve dividing Sleeve cap The curved top of the sleeve from
cap from lower sleeve. front to back.

Elbow level The location of the dart at level with Wrist level The bottom (hemline) of the sleeve at
the elbow. level with the wrist.
eo) Chapter 4 Basic Dress Foundation

Measuring the Model’s Arm

for Personal Fit
Figure 4.71
Measurements are taken with the arm slightly
bent so that the sleeve will not appear too short
when the arm is fully bent or too long when the
arm is relaxed. Numbers in parentheses corre-
spond to those on the Model Form Measure-
ment chart (page 15).

Vertical Measurements
Figure 4.71a
Overarm length (32): Shoulder tip over elbow to
mid-wrist bone.

Elbow depth (33): Shoulder tip to elbow.

Circumference Medsurements
Figure 4.71b
Biceps (widest area) (34): Add 2” for ease. If bi-
ceps are very large, add 1 1/2” (to avoid too
much cap ease).

Cap height Wrist (35): Around wrist bone.

(37) Around hand (36): Place thumb across palm;
Bicep level measure around the knuckle and hand. Add 1”
(varies) for ease.

Cap Height
Figure 4.71c
Cap height (37): Place a measuring tape or a
piece of elastic around the biceps level with the
“emsiee,, Biceps
REGENS (3 7)
mark for armhole depth placed on the side seam
(see page 7). The tape should be parallel with the
floor or tabletop. Mark biceps level. Measure
from shoulder tip to top of the tape.
 Basic Sleeve

Sleeve Measurement Chart ese

Choose the measurements that apply to the form size (ease included):
iis iho ”
Grade
Sizes 6 8 10 ie 14 16 18
Overarm length 22 1/4 22 5/8 as) 23 3/8 23 3/4 24 1/8 24 1/2
Cap height 5 3/4 5 7/8 6 6 1/8 6 1/4 6 3/8 6 1/2
A-E measurement —s ite = ee eit oe ee!
Biceps 12 1/4 12 5/8 i, Leal 14 14 1/2 15 1/8
Wrist 8 1/4 8 5/8 9 9 1/2 10 10 1/2 11 1/8

Cap Ease
Measurements on forms vary among forms of
the same size and among the companies that de-
velop them. Because of these variations, it is dif- Use method for
locating front and back
ficult to determine which set of measurements notches on bodies

apply to the size of the form. Generally, the Figure 4.72

sleeve cap ease for size 12 and larger is 1 1/2”; for
size 10 and smaller, approximately 1 1/4”. Cap Measure and record on pattern
ease can be controlled by the A-E measurement
of the draft and is discussed below.
Use a flexible plastic ruler instead of a mea-
suring tape to measure the curve of the armholes.
Measure front and back bodice armholes.
Record the measurements on patterns. Add
them together, divide in half, add 1/4”, and
record the result in A-E space of the Sleeve Mea-
surement chart. Figure 4.73

The A-E Measurement Measure and record on pattern

Figure 4.72, Figure 4.73, and Figure 4.74

The A-E measurement is used as a guide for
FRONT
comparison of the biceps placement in the sleeve
draft. The adjustment of the biceps enables the
cap ease to be in better proportion to the arm-
hole of the bodice. Practice using a thin plastic
ruler to measure the curved lines of the armhole
and sleeve cap. Figure 4.74
 Chapter 4 Basic Dress Foundation

Sleeve Draft

Sleeve Frame
Figure 4.75
Biceps Draw a line on paper. Mark and label:
A-B = Overarm length.
A-C = Cap height. Mark.
C-D = One half of C-B, less 3/4”. Square lines
TOMAR Ge eb:
Elbow
A-E measurement

Place edge of ruler at A and pivot ruler until

A-E measurement touches biceps line. Place
temporary mark.
C-E = One half of biceps measurement. Com-
wrist pare placement of biceps with A-E mark. Re-
Figure 4.75 mark biceps between the two marks. Label (E).

B-O = One half of wrist measurement.

B-P = Same as B-O.

Draw a line from O to Eand P and Ek

Back and Front Sleeve

Figure 4.76
Divide A-E line into fourths.

Label G, H, K.
Divide A-E line into fourths for front sleeve.
Figure 4.76
Label L, M, N.
Square out from the following marks:
Back sleeve:

Ge= in3/8”
Hea oursil6-

Ke Out D/ Sc

Front sleeve:
L = out 3/4”
M = out 3/16”
IN| cae ahat as
 Basic Sleeve

Front and Back Caplines

Figure 4.77
Front capline:

Use the French curve to shape the capline

by touching A, L, and M. Draw curve
beyond M for blending.

Change position of the curve rule touching

F and N, blending with M line.
Back capline:

Place curve rule so that A, K, and H touch.

Draw curve past the H line for blending.

Change position of curve so that E and G Figure 4.77

touch. Draw curve blending with H line.

Finished Sleeve
Figure 4.78
Label elbow S, with R extended 1/4”. Draw a line
from R to E.

Elbow dart:
R-T = One half of R-D.
RoW
T-U =T-R
O-V = 3/4”
Draw a line from U through V equal to
R-O. Label W.

W-X = O-P, ending on line.

Draw a line ending at wrist level.

Figure 4.78
Draw line from X to S.

Ease control notches:

Back: Center notch between H-G with sec-

ond notch 1/2” below.

Front: Center notch between M-N (see in-

structions on page 54).
 Chapter 4 Basic Dress Foundation

Seamed and Seamless

Sleeve Patterns

oe A seamless sleeve, or a seamed pattern (as illus-

| trated), can be used to “walk” the sleeve around
the bodice armhole. Walking the sleeve has three
ae purposes: (1) to place the front and back arm-
hole notches, (2) to help determine the amount
Punch hole of cap ease, and (3) to determine if the center
+ ae,
cap notch must shift from its original location to
distribute the existing excess equally on both
sides of the front and back bodice armholes.

Seamless Sleeve Pattern

Figure 4.79
Figure 4.79 Cut the sleeve from,the paper as a seamless
pattern. The seamless pattern is useful as a base
for correcting the pattern before seams are
added. However, seams are added to the muslin
for the test fit when tracing the seamless pattern.
(This method is optional.) It is also useful for
generating patterns through the Flat Pattern-
making Method, as all illustrations are based on
a seamless pattern.
Cut a short wedge shape into the elbow dart legs.
Place a punch hole at dart point.

Seamed Sleeve Pattern

Figure 4.80
Trace a copy of the seamless pattern. Add the
following seam allowances:
1/2” around the sleeve

1” to 1 1/2” for hem turnback

Notches:

- Two notches for back sleeve

* One notch for front sleeve
* Seam allowance for underseams
* Hem foldback
Center cap notch may shift to equalize cap ease
Figure 4.80 on the front and back bodice armhole.
 Basic Sleeve

Sleeve Cap Ease and Notch

Placements
The amount of cap ease varies with the size of
the armhole and the style of the sleeve. Gener-
ally, cap ease of the basic sleeve is from 1 1/4”
for sizes 10 and smaller and 1 1/2” for sizes 12
and larger. Cap ease of the casual sleeve is about
1/2”. There are other sleeve designs with differ-
ing ease requirements. Cap ease should be
known before stitching the sleeve into the arm-
hole. To measure around the front and back
sleeve cap, use the flex rule (see page 51 for
guidance). Subtract the measurement from the
armhole or walk the sleeve cap around the front
and back armhole.

Walking the Sleeve Cap to the Armhole Figure 4.81

Figure 4.81, Figure 4.82, and Figure 4.83
The sleeve can be walked with or without seams.
It is best to use two pushpins, one to pivot the
pattern and one to hold the next location for
pivoting.

Front: Place the sleeve on the armhole aligning

with the side seam of the stitchlines. The sleeve
and armhole curves should have the same shape
for the first few inches. If not, redraw armhole
curve. Then, place a pushpin into the stitchline
of the sleeve every 1/8” marking the ease control
notch, as the sleeve is pivoted to the shoulder tip
of the armhole. Mark the location of the shoul-
der tip on the sleeve cap.
Repeat the process for the back sleeve and arm-
hole.

Placement of the Cap Notch

Measure the distance between the marks.

If cap ease is sufficient, go to page 57 for

instruction. If the excess is too much, or not
enough, see Figures 4.84 through 4.89 for sug-
gestions on how to correct the problem. Figure 4.83
 Chapter 4 Basic Dress Foundation

Increase and Decrease Cap Ease

f Cap ease creates room for the ball of the arm.
Add 1/8" ee
Add 1/8" However, too much cap ease causes puckers,
BACK and too little cap ease causes strain lines along
the cap of the sleeve. Both fitting problems
Add 1/8" ;
spoil the look of the garment. To help control
the cap ease, use one or more of the suggestions
given. J

Adjustment to the Armhole

Figure 4.84
Figure 4.84
To redistribute cap ease:
Lower the bodice notches from 1/8” to 1/4”. This
Add 1/8"
f 5 will redistribute cap ease above and below the
Add 1/8"
armhole.

Figure 4.85
To enlarge the armhole to allow room for
Cap Case:

Add 1/16” to 1/8” at shoulder tips and/or the

side seams to zero at the shoulder/neck, and
waistline.
Figure 4.85

Adjust Sleeve Cap to Decrease Ease

Blend Figure 4.86
Cut through the pattern from the center sleeve
1
oo 1;
1
1
Overlap {
grainline and out to each side along the
biceps up to, but not beyond, the underseam
corners.
Overlap the amount of cap ease to be removed.
Figure 4.86
Retrace the adjusted sleeve and blend the cap.
The biceps remain the same.

Adjust Sleeve Cap to Increase Ease

Figure 4.87
Repeat the cutting direction above.
Lift to spread cap Place on paper and spread the pattern to in-
crease cap ease. Tape and blend the cap. The
Figure 4.87 biceps remain the same.
 Basic Sleeve

Adjustment to Increase Biceps Width

Figure 4.88
Pivot yh
To increase biceps, trace sleeve and extend biceps upward Wie

to needed amount.
Pivot | | New biceps
downward mark
Place the sleeve at the extended line.

Place a pushpin at the corner stitchline and pivot

the pattern upward touching the traced sleeve.
Draw a blending line. Pivot the sleeve downward True dart legs

to edge of the hemline and trace. Repeat to the

other side.

Adjustment to Decrease Biceps Width

Figure 4.89 Figure 4.88
To decrease biceps, trace sleeve and mark a point
inside the corner of the biceps to needed
amount.

Place a pushpin at the corner of the sleeve to the

mark and pivot the pattern upward touching the Pivot
upward
isJ
74
traced sleeve. Draw a blending line. Pivot the
sleeve downward to edge of the hemline and Pivot }i New biceps
downward mark
trace. Repeat to the other side.

Rotate Sleeve for Alignment

The sleeve is ready to be placed into the armhole. True dart legs

What is not known is if the sleeve will align with,

or be slightly forward of, the side seam or the
angle of the arm. The sleeve can be stitched long
into the armhole for assessment or can be rotated
into the armhole before stitching to the armhole. Figure 4.89

Figure 4.90
To prepare the sleeve, cut in the fabric of choice.
Either crimp excess or place two rows of stitch-
ing—one on the stitchline and the other 1/4”
above (from notch to notch).

Pull the threads until the gathered section equals Gathering stitches

the same measurement as from notch to notch.

Figure 4.90
Sew the underseam (press) and steam mold cap
on sleeve.
 Chapter 4 _ Basic Dress Foundation

Evaluate the Hang of the Sleeve Imperfect alignment: Sleeve that hangs to the
back of the side seam.
Figure 4.91
If the sleeve hangs forward or backward of the Reverse the process illustrated in Figure 4.92,
side seam, remove the sleeve from the armhole, so that the cap ease is equalized (see Figure 4.93).
and rotate it until the center grain of the sleeve
Pattern Corrections
aligns with, or is slightly forward of, the side
seam. The instructions will help in this process. Correct the side seam and/or shoulder of the
front and back bodice patterns (Figure 4.92).
Imperfect alignment: Sleeve that hangs forward
of the side seam. Correct the side seam and/or shoulder of the
bodice patterns (Figure 4.93).
Move the underseam of the sleeve about 1/4”
toward the back armhole or until the centerline
of the sleeve aligns with, or is slightly forward of,
the side seam of the bodice (see Figure 4.92). Figure 4.92
Pin or baste the sleeve around the armhole
for evaluation.
The centerline of the cap is notched at a lo- 4
Subtract

cation that equalizes the cap ease between front

and back armhole.
Subtract < |

Se

Swings sleeve backward

Figure 4.93

\
Subtract

H > Subtract

Se ee

Swing forward of side seam Swings sleeve forward

———__—"

Swing back of side seam

Figure 4.91
 Seam Allowances of the Basic Pattern Set

Follow the suggested instructions for seam al- Add 1/2” to:
owance as a guide for all patterns.
lowan ore he eeee
Seam Allowance Waistlines
Figure 4.94 Centerlines (varies)
Stylelines
Seam allowance varies with each company. The
Side seams can vary from 1/2” to 1 1/4”
following measurements are general guidelines:
Seam for zipper varies from 1/2” to 1”
Add 1/4” to:
Overlock Seams:
All faced areas
3/8” seam allowances
Narrow spacing
Extreme curves
Sleeveless armholes

Figure 4.94
 Chapter 4 Basic Dress Foundation

Completing the Pattern Style Numbers

Information Each design is coded with a number. For exam-
After the pattern has been transferred to paper, it ple, #3363 may be broken down to mean a top
is important to add patternmaking symbols and (#33) and a type of fabric (#63). The significance
special marking to guarantee the smooth flow of of the numbers is determined by each company.
producing the desired garment. The general in-
Identify Pattern Parts
formation below should be used as a guide to
completing patterns. If the information differs Each pattern is a part of the whole and should
from that of a particular company, defer to com- be identified. For example, sleeve, front and back
pany standards. bodice, skirt, and pocket should be labeled.

Grainline Number of Pattern Pieces

Always draw the grainline through the length Mark the number of pattern pieces for each spe-
of the pattern. The grainline is finished with an cific pattern required to complete the desired
arrow at both ends (indicating that the fabric garment.
of choice does not have a nap) or at either end.
The latter indicates which end of the pattern is Markings
head up on the straight grain for those fabrics The “cut” symbol canbe indicated with a hori-
having a nap, such as velvet, corduroy, or sheen, zontal line drawn between the size and number
so that shading in the garment parts can be of cut pieces. The word “cut” can be written in-
prevented. stead of the drawn line. The number of pieces
can follow with the word “self” (circled).
Pattern Size Information can be centered on the pattern
The sample size is marked on all pattern pieces. part, or written on line with the grainline. Use a
When the pattern is graded, the sample size black felt tip pen to mark pattern information
is used as the basis for the grade. Each of the for self-fabric. Red, blue, and green are often
graded patterns is marked to appropriate used to identify which patterns are cut in special
size. fabrics for the lining and the interconstruction.
 Gy Ge:

Man

hapter 4 discussed the control of the excess through

darts when draping the basic dress. However, the
following bodice designs illustrate how this excess is
also used to create fashion features.
Dart manipulation begins with an understanding of the
underlying principles involved in creating and interpreting
designs. The principles state that a dart, or its equivalent, is
always directed to the bust from which it radiates and to which
it ends (Figure 5.1) and that the dart excess in one form or
another is a permanent part of the bodice design.
The dart excess that hangs as a flare from the bust can be
manipulated to any location of the form’s outline in creating
designs. The excess can be adapted and used as a dart equiva-
lent in the form of gathers, tuck dart(s) or pleat(s), flares,

flanges, and cowls, and for stylelines that pass over the bust
mound (or any mound). The excess is also used to enlarge the
armhole of casual garments.
 Chapter 5 Manipulating Dart Excess

The designer/draper is to identify the loca-

tion of the excess, and how the excess is utilized
before draping the project.
In a fashion sketch, the dart is identified as a
line directed to a mound (bust mound in the
following projects). In a garment, the dart is a
seamline directed to and ending near the bust.
Stripes are used in these drawings to illus-
trate the changes in the position of the grain-
lines as the dart excess is draped to various
locations of the garment. In preparing the
muslin, the straight and crossgrain is drawn to
show the rise and fall of the grain in manipulat-
ing the fabric.
Knowledge gained from draping the basic
bodice should be applied to the following proj-
Figure 5.1 ects. To complete the practice design projects,
drape or trace a copy of the basic back pattern.
Use the instruction on page 45 for trueing the
muslin pattern.

Design Analysis
Question: Where is the dart excess, and how is
the excess utilized?

Answer: The dart excess is draped to the

shoulder/Princess, and pinned as a dart
(Figure 5.2).

Preparing Muslin
See pages 26 and 27.
Figure 5.2
 Shoulder Dart

“i
Chemsmlene i —~
Se Crossmark Ne

x
Mae

Figure 5.3 Figure 5.4

Draping Steps
Figure 5.3
Pin muslin to the form.

Drape muslin to the Princess line of the shoul-

der and waist.
Crossmark dart leg at the shoulder. Trim excess.

Figure 5.4
The crossgrain is lifted as the muslin is draped
around the bust mound in the direction indi- Figure 5.5
cated by the arrow.
Continue until the excess reaches the Princess
line of the shoulder.

Crossmark the dart leg.

Figure 5.5
Fold dart with excess toward the center front.
Pin. Mark a line across the fold of the dart legs.
Remove and true the pattern.

Finished Pattern

Figure 5.6
Study pattern shape with that of the design. Figure 5.6
 Chapter 5 Manipulating Dart Excess

Design Analysis
Figure 5.7
Question: Where is the dart excess, and how is
the excess utilized?

Answer: The draper answers the question.

Preparing Muslin
See pages 26 and 27.

Draping Steps
Figure 5.8
Figure 5.7 Pin the muslin to the form. Smooth muslin
around neck and shoulder, ending at pinhead of
mid-armhole. Mark dart leg.

Figure 5.9
Crossgrain is lifted upward until the dart excess
reaches the pinhead of the armhole (mark arm
plate, and pin 1/4” ease). Mark the dart leg.

Figure 5.10
Fold dart excess toward the waistline. Pin. Mark
a line across the fold of the dart legs. Remove
Figure 5.8
and true the pattern with dart folded when
drawing armhole.

Finished Pattern
Figure 5.11
Compare pattern shape with that of the design.

ENG aS
\. Dart point

Figure 5.9 Figure 5.10 Figure 5.11

 French Dart

Design Analysis
Figure 5.12
Question: Where is the dart excess, and how is
the excess utilized?

Answer: The draper answers the question.

Preparing Muslin
See pages 26 and 27.

Draping Steps
Figure 5.13
Pin the muslin to the form. Figure 5.12

Drape the fabric in the direction indicated by Figure 5.13

the arrows, first around the neck and shoulder,

and then along the waist to Princess line.

Figure 5.14
Continue draping along waistline and side seam
to the location for the French dart. Mark the
dart leg.
Pin 1/4” ease at mid-armhole, and then mark
arm plate and side seam.
Continue the drape to the dart location. Mark
dart leg.

Figure 5.15
Fold dart excess toward the waistline. Pin. Pencil Figure 5.14 Figure 5.15
rub the side seam. Mark a line across the fold of
the dart legs. Remove and true the pattern.

Finished Pattern

Figure 5.16 Bust point

Dart point a
Compare pattern shape with that of the design.

Figure 5.16
 Chapter 5 Manipulating Dart Excess

Center Front (Bust Dart)

Design Analysis
Figure 5.17 and Figure 5.18
Design 1 illustrates one of two designs; design 2
is a thought problem.
Question: Of the two designs illustrated, which
does the pattern represent? What would the pat-
Design 1
tern shape of the other design look like?
Answer: The draper answers the question.

Preparing Muslin
See pages 26 and 27.
Do not cut out the neckline, as it is draped later
in the design. /

Draping Steps
Figure 5.19
Slash the extension (below bust level), and un-
fold. Excess is moved in the direction indicated
by the arrow.

Figure 5.18

Figure 5.19
 Center Front (Bust Dart)

Figure 5.20
Continue the drape around the bust mound
until the dart excess reaches the center front
bust level (mark arm plate, and pin 1/4” ease at
mid-armhole).

Figure 5.21
Fold dart with excess toward the waistline. Pin.
Marka line across the fold of the dart legs.
Remove and true the pattern.

Finished Pattern
1/4" |
Figure 5.22 Ease i

Compare pattern shape with that of the design. Figure 5.20 Figure 5.21

Figure 5.22

Design Analysis
Figure 5.23, Figure 5.24, and Figure 5.25
Question: Where is the dart excess, and how is
the excess utilized?

Figure 5.25 (Ss ; | } ion.

Answer: : The draper answers th the questio
< Chapter 5 Manipulating Dart Excess

ae
Dividing Dart Excess
Fullness released from two darts improves the between the waist and side seam or shoulder,
fit around the bust mound. Therefore, the ex- the crossgrain is at bust level from center front
cess is more often shared between two darts. to the side seam and parallel to the floor. By
Two popular bodice foundations that share the raising and lowering the crossgrain, the
dart excess are the waist/side and waist/shoulder excessed between the darts can be increased
combinations. Both are the basis of many or decreased.
design variations. When the excess is divided

Waist/Side
Draping Plan
Question: Where is the dart excess, and how is
the excess utilized.

Answer: The dart excess is shared between the

waist and side seam.

Crossgrain guidelines are needed at the bust

and waist level in the preparation of the muslin
to control the distribution of the dart excess
(Figure 5.26).

Figure 5.26
S/S:

Figure 5.27 {3/2

Bust depth

Preparing Muslin Crossgrain

Figure 5.27 FRONT

See pages 26 and 27. <

2
5
Add to the preparation a squared line across the ie
a)
Oo
muslin at the waistline.
Use #5 from the Model Form Measurement Waist level |

Chart or measure from center neck to waist.

 Waist/Side Dart

Draping Steps
Figure 5.28
Pin the muslin to the form.

Drape the neckline and shoulderline, ending at

the pinhead at the armhole, and trim.

Figure 5.29
Continue the drape around the armhole. Pin
ease and armhole depth. Pencil rule the cross-
grain line at the side seam. Pin.
Lift the crossgrain until the guideline of the
waist is level with the side waist. Pin.
Pin dart excess at waist. Adjust intake if guide- Figure 5.28

line is not at side waist.

Smooth the muslin upward at side seam. Pin.

Figure 5.30
Fold dart on the crossgrain with excess toward
the waistline. Pin. Pencil rub the side seam.
Mark a line across the fold of the dart legs.
Remove and true the drape. Make a pattern.

Finished Pattern

Figure 5.31
Compare the shape of the pattern with the
foundation.

fold
Cut
on

Figure 5.30 Figure 5.31

 Chapter5 Manipulating Dart Excess

DVaISt/ SOU lem) aiie = = ee

Design Analysis
Question: Where is the dart excess, and how is
the excess utilized?
Answer: The dart excess is shared between the
waist and shoulder at the Princess line; Cross-
grain guidelines are needed at the bust and waist
level in the preparation of the muslin to control
distribution of the dart excess (Figure 5.32).

Preparing Muslin
See pages 26 and 27.
Add to the preparation a squared line across the
Crossmark muslin at the bust and waistline. Use #5 from the
Model Form Measurement Chart or measure
from center front neck to waist.

Draping Steps
Figure 5.33
Pin muslin to form.

Drape neckline to shoulder at Princess, and

waist to Princess. Crossmark for dart legs.

Figure 5.34
Figure 5.33 Lift the crossgrain until the waist guideline is at
level with the side waist. Pin.
Smooth the excess to the shoulder tip. Pin.

Figure 5.34
 Waist/Shoulder Dart

Figure 5.35 Crossmark

princess
Continue the drape along the waist, side seam, ine
armhole, and shoulder.
Crossmark dart legs.

Figure 5.36
Fold dart with excess toward the centerline. Pin.

Pencil rub the side seam, and mark armhole

depth and ease. Mark bust point.
Mark a line across the fold of the dart legs.
Remove and true the drape and make the 1/4" Ease
“ Crossmark
pattern (see pages 35-39).
Figure 5.35

Finished Pattern

Figure 5.37

Compare the pattern shape with the

foundation.

Figure 5.36

Figure 5.37
 Chapter 5 Manipulating Dart Excess

The following examples are dart equivalents and fabric is placed on the form. Other dart equiva-
illustrate how the shared excess is adapted as lents are given in a later chapter. The finished
gathers, pleats, and tuck darts. Flare is already patterns are included.
known as the natural fall of the grain when the

Gainers
i.
Space allowance for shirring is marked Trueing and Marking the Pattern
between 3/4” and 1 1/4” out from each dart
Figure 5.39
leg. The gathers can be pinned or taped
with elastic across gathered section to the The guidelines are unevenly marked across the
form. gathered sections.

Draw a pencil line across the gathered sections Blend by drawing a line through the markings.
as a guide for blending (Figure 5.38). The drawn shape is rounded.

Mark 1" out from princess

Nea style tape or elastic

Figure 5.39
Figure 5.38
 Tuck Dart (or Half-Dart)

Finished Pattern

Figure 5.40
Dart equivalents are in the general shape of dart
legs.
Control notches are placed on the shoulderline ‘
of the joining pattern.
fpi Dio)
8
i Sie
rece Notch)
ST Notch
Blend

Figure 5.40

Ut vein ee ee UU
Notches are placed at the dart legs of the seam.
The fabric is folded as a dart without stitching
the dart legs (Figure 5.41).

Figure 5.41

Notches are placed at the dart legs. The dart is

folded and traced before marking its shape.
Follow the angle of the dart legs and mark a
point where the stitching ends. Place and punch
a circle 1/8” in from the dart leg, ending 1/2”
above the finished stitch (Figure 5.42).
Place another punch at the center of the dart Tuck dart
space. The unstitched part of the dart releases yires a2
fullness giving the appearance of a pleat.
 Chapter 5 Manipulating Dart Excess

Dart legs can be designed as curves, combined

with straight and curved legs, or jagged. Stylized
darts are cut to within seam allowance for easy
manipulation when being stitched. A curved
French dart is the prototype for stylized darts.
The front bodice is illustrated (Figure 5.43 and
Figure 5.44).

Design Analysis
N \ NS ' The French dart is placed approximately 3” up
Figure 5.43 Figure 5.44
from the side waist and directed to the bust
point. The neckline is scooped from a depth of
about 3” below the front, ending at the Princess
line of the shoulder. Drape a basic back bodice
with a higher scoop neckline.

Preparing Form
Figure 5.45
Pin-mark the shape of the scoop neckline.
Pin-mark the curve line of the French dart.

Preparing Muslin
See pages 26 and 27.
Figure 5.45

Draping Steps
Figure 5.46
Place fold of the straight grain to center of the
form. Pin.
Smooth, slash, and mark along the waistline, and
pin waist ease.
Smooth excess to side waist, and crossmark.

| 1/4" Ease Lift crossgrain upward along the side seam to

Figure 5.46 j the location of the French dart.
 Curved Dart

Pencil rub along pin-marks of the dart and trim

to allow 1/2” or more for seam. Slash along the
seam of the dart leg.
Smooth and slash muslin along scoop neckline.
Pencil rub pin-marks of the neckline. Pin.
Smooth, and mark shoulder tip, mid-armhole,
and arm plate/side seam.

Figure 5.47
Trim excess around the neckline, armhole, and
side seam.

Peel back the dart leg and pin.

The crossgrain drops as the dart excess is draped
to the location of the French dart. Figure 5.47

Pencil rub along the dart leg pin-marks.

Trim excess.

Figure 5.48
Fold lower dart leg on marked seamline.

Pin dart together, matching seamlines to within

1/2” of bust point.
Remove the drape and true. To complete the
pattern, see pages 35 to 39.

Finished Pattern

Figure 5.49
Cut a 1/16” slit to within 1/8” of the dart point.
Compare the pattern shape with that of the Figure 5.48

design.

Figure 5.49
 Chapter 5 Manipulating Dart Excess

Darts can be draped to intersect with one Answer: The excess of the right dart is draped to
another. Intersecting darts allow for greater the left side of the form, passing the centerline
flexibility in creating designs. The draping tech- and ending at the shoulder/Princess line. The
nique is also applied. The design is accompanied excess of the left dart is draped to intersect with
by a form prepared with pin-markings to guide the first dart at the centerline of the form. The
the draper (Figure 5.50 and Figure 5.51). dart excess is trimmed (Figure 5.52). /
The crossgrain is lifted as the darts are
draped at their new locations, but all other
Design Analysis
draping procedures remain the same.
Question: Where is the dart excess, and how is the Manipulating the dart excess creates a differ-
excess utilized in the development of the design? ent pattern shape from that of the basic pattern.

Figure 5.52

Figure 5.50 Figure 5.51

 Intersecting Darts

Preparing Muslin
Figure 5.53
4
See pages 26 and 27 for muslin required and Bust depth

double the width.

Draw straight grain in center of muslin, and fold.
Crossgrain
Mark 4” down. Measure down for bust level, and
square a line.
The neckline is not cut out. front
Center

Draping Steps Fold

line

Figure 5.54
2 Figure 5.53
Place straight grainline of the muslin on
the centerline of the form. Pin. The dart
excess is noted as A and B for clarity of
instruction.
Slash center front to waist.

Figure 5.55
Drape excess (A) upward around the bust
and along the stitchline of the form to the
shoulder/Princess on the right side. Pencil rub
the pin-marks to transfer the styleline to the
muslin. Trim 1/2” of the rub line.
Crossmark dart legs. The crossgrain is lifted in
the process.

Figure 5.54

Figure 5.55
 Chapter 5 Manipulating Dart Excess

Cut excess >

from drape £

~<— Fold crosses at center front

Figure 5.56 Figure 5.57

Figure 5.56
Slash to within 1/2” of the intersecting dart leg
(D), ending above the bust point.

Figure 5.57
Pee! back muslin from neck area.

Drape excess upward around the bust and along

the stitchline of the form to the shoulder
Princess line.
Fold excess into the intersecting dart (D), and
trim excess. The crossgrain is lifted in the
i process.
Figure 5.58
Figure 5.58
Fold dart (C). Pin to finish the drape.

Finished Pattern

Figure 5.59
Mark dart points 1/2” from bust points and
draw dart legs.
Compare the pattern shape with that of the de-
Center
front sign.
H+

Figure 5.59
 Asymmetric Darts

Designs that are created with seamlines that

cross the centerline of the garment are referred
to as asymmetric darts (garments that differ on
each side of center). The front drape is an exam-
ple of how the dart is utilized in creating asym-
metric designs (Figure 5.60).

Design Analysis
The squared neckline is pin-marked approxi-
mately 3” below neck and ends at the Princess
(can vary). Pin-marks are placed to form a
square armhole that is level with the armhole
depth at side seam.
Asymmetric designs require a full front
muslin.
The waist dart excess from both bust points
is draped to the side waist and completed as tuck
darts. An attached bow completes the bodice.

Preparing Form
Figure 5.61
Pin-mark the square neckline and armhole.

Preparing Muslin
See pages 26 and 27.
Cut the muslin twice the width to cover the
front form.

Draw straight grain at the centerline.

Figure 5.61
C80) Chapter 5 Manipulating Dart Excess

Draping Steps
Figure 5.62
Place the center straight grain at center of the
form and smooth muslin over both shoulders.
Pin centerline, bust points, and shoulders.

Slash up to waist at center. The waist dart excess

hangs from both bust points.

Figure 5.63
Instruction applies to both sides of center.
Pencil rub pin-marks of the square neckline.
Smooth and slash muslin along square neckline.
Pencil rub pin-marks at the square armhole.
‘Trim excess.
Smooth muslin along side seams. Crossmark
and pencil rub.
,

Waist Dart A
Drape the dart excess to the side waist.
Pin and mark the foldline of the dart and side
waist. Pin.

Waist Dart B
Figure 5.64
Smooth, slash, and mark along the waistline, as
the dart is draped across the form to the side
' waist corner.
Figure 5.63
Pin and mark the foldline of the dart.
Crossmark tuck lengths.
Trim excess from waistline.
Remove drape from the form and true.
To complete the design, drape a basic back with
Figure 5.64 squared neckline.
 Multiple Darts

Finished Pattern
Figure 5.65 ry

FRONT
The excess of the darts can be trimmed to within Right side up

1/2” seams to avoid the bulk when darts end at

one location. The fullness remains to form the
tuck dart.
1/2"
Rab
Compare the pattern shape with that of the Trim

design.

ae Figure 5.65

Multiple Darts” 2" a

The dart excess can be divided into multiples for
design variations (Figure 5.66). The excess can
be equally or unequally shared as stitched darts,
tuck darts, or pleats. Armhole ease is optional
for sleeveless designs.

Design Analysis
The excess from the waist dart is divided equally
among 3 tuck darts. The center dart is directed -
to the bust point. The first and third darts are
spaced about 1” from the bust point and 3/4”
apart at the waist.

Figure 5.66
Preparing Muslin
See pages 26 and 27.

Draping Steps
Figure 5.67
Pin the fold to centerline. Cross pin the bust
point.
Smooth muslin from center to the front waist
Princess line. Trim excess.

Smooth, mark, slash, and trim muslin around Mark foldline

of the dart
neck, shoulder, and mid-armhole and mark
armhole depth. Figure 5.67
 Chapter 5 Manipulating Dart Excess

Pencil rub side seam and crossmark side waist.

Pin.

Pin 1/4” ease at waistline.

Dot mark at Princess, and crossmark 3/4” out

from the dot for dart leg.

Figure 5.68
Dot mark at Princess line and crossmank Bye
out from the dot for dart leg.

Figure 5.69
Measure from crossmark to crossmark. Subtract
1 1/4” from this measurement (allowance for
dart space). The remaining excess is divided
Figure 5.68
among the three tuck darts.
To help direct the dart excess, place pins approx-
imately 1” out from each side of the bust point.
Center of fold

Figure 5.70
Figure 5.69
Pin the excess as normal darts in the direction of
the pin-marks.
Draw a guideline across each dart 4” to 5” up
from the waist and at waist.
Pencil rub each dart.
Remove from form. Do not unpin darts.
Trace across the pinned darts at waistline.

Figure 5.71
Figure 5.70 Remove from form, unpin the darts, and true
the dart legs. Return to form.

Figure 5.72
Center of fold Notch each dart leg.
Punch/circle 1/8” in from stitchline and 1/2”
Figure 5.71
down from the finish tuck.

Compare the shape of the pattern with that of

the design.

Figure 5.72
 Dart Excess Draped to Armhole Banding

A variety of insets were created using the excess

of the dart as dart equivalents (gathers, pleats,
and three radiating darts). Prototypes for related
designs are illustrated (Figure 5.73).

Design Analysis
The bodice is held by a banding that encircles
the front and back armhole. The depth at
center front and back neck is about 3”. The
excess is draped level with the mid-armhole
and is divided equally among three darts radiat-
ing toward and away from the bust mound.

Preparing Form
Figure 5.74
Pin-mark the inset banding a width of approxi-
mately 1 3/4”. The banding is parallel with the
curve of the front, and back armhole.
Pin-mark front and back necklines.
Figure 5.73 .

Preparing Muslin
Cut 2 pieces 12” x 16” for front and back bodice
and allow 1” for a foldback.
Cut 2 lengths 8” x 12” for front and back band-
ing. Draw straight grain through centers of each
length.

Draping Steps
Figure 5.75
Place the straight grain of the muslin to the
armhole allowing sufficient fabric at the shoul- Figure 5.75
der, and the side seam.
Smooth, slash, and pencil rub the pin-marking
of the front armhole banding. Figure 5.74
 Chapter 5 Manipulating Dart Excess

Repeat for the back drape.

Pin together to match seams.
Remove drape, and true seamlines.

Figure 5.76
Pin the fold of the muslin to the centerline 1” up
from the pin-marks of the neckline.
Smooth the muslin across the bust to the
armhole banding.
Smooth the muslin 1 1/4” down the armhole
band. Pin and mark for dart leg.
Smooth the muslin along the waist and side
Figure 5.76 seam and along the inset.
Pencil rub the outline of the design. Trim excess.
The excess is divided and pinned into three radi-
ating darts spaced approximately 3/8” apart at
the seam and 3/4” apart at dart points.

Figure 5.77
Pin the fold of the muslin 1” up from the pin-
marks of the neckline.
Drape the back to the pin-marks of the armhole
band and pencil rub.
(a)
Figure 5.77 Drape a back waist dart.
Pin the armhole banding to the front and back
(c) (6) bodice.
Cut 4

Remove drape and true patterns. For guide to

completing the patterns, see pages 35 to 39.

a Fold
ys Finished Pattern
(b) Cut 4
Figure 5.78
The banding should be self-faced. Cut four of
each.
Cut 4 of each

aol dala Compare the pattern shapes with that of the

Figure 5.78 design.
 Dart with Gathered Leg

Designs with fullness in greater amounts than

that which can be provided by the dart excess
will require added fabric when draping the gar-
ment. The dart excess is included with the added
fullness only if the excess is directed to the bust.
Fullness directed away from the bust will not in-
clude the dart excess (Figure 5.79).
Added fullness can be draped as gathers,
pleats, and flares. Fabric is also added when the
silhouette of the garment is designed beyond the
dimensions of the figure.
There are three distinct types of added:
(a) fullness draped on one side of the garment,
(b) fullness draped in equal amounts on both
sides of the garment, and (c) fullness draped in
unequal amounts on both sides of the garment.
Figure 5.79
Design Analysis
Question: Where is the dart excess located, and
how is the excess utilized?
Answer: The excess is utilized as a dart. The dart
is directed to the center front approximately 3”
to 4” below bust level.

Question: Does the design require added full-

ness?
Answer: Yes. Gathers are draped on one side of
the dart leg and at center front. The dart excess
is not a part of the added fullness.

Figure 5.80
Preparing Form
Figure 5.80
Pin-mark from bust point ending 3” up from
center front waist for the dart location.
Pin-mark V neckline so that the line is parallel
with the dart. Adjust dart leg if necessary.
 Chapter 5 Manipulating Dart Excess

. Preparing Muslin
See pages 26 and 27.
Add 8” to length and 5” to width.
Fold 1” on straight grain.

Draping Steps
Figure 5.81
Pin the fold to center front neck.

Pencil rub pin-marks of the V neckline, and the

pin-marks from bust to center front.
Trim neckline, and cut to bust point allowing
Figure 5.81
1/2” for seams.
Drape the shoulderline to mid-armhole.

Figure 5.82
Smooth, trim, and mark muslin to the armhole
depth, and about 4” down the side seam.
Peel back the front dart leg, and pin.
\ Slash to the seam, and pin.
Lift the crossgrain, and fold a 3/4” pleat (3/8” on
fold).
Pin past the pin-marks of the dart leg.

Figure 5.82 Repeat the process about every inch smoothing

the muslin along the side seam between the slash
points.

Figure 5.83
Continue the process to the waistline.
Pencil rub pin-marks from bust point to center-
line and trim.

Figure 5.84
Pin dart legs. At the same time distribute fullness
of the gathers as evenly as possible. For gathers
that join each other (the centerline below the
dart legs), it will be necessary to secure by stitch-
ing a tape to the seamline that is the length of
Figure 5.83 Figure 5.84 the section from point of dart legs to waistline.
 Dart with Gathered Leg

Draw a pencil line across the gathers on the pin-

marks of the dart leg. The line will be blended at
the time of trueing.
Remove the drape and true. To complete the
pattern, see pages 35 to 39.
Wize
FRONT “&

Finished Pattern

Figure 5.85 &

ae)

Compare the pattern shape with that of the

design. Figure 5.85
 aa ?

ie. whe iis) oes

1 weal pinly Wer th ea |

‘Seems th erred ag a

. nah form 7
 f the many bodice stylelines, four are prototypes:
the Princess, armhole Princess, the empire, and
panel stylelines. They are the foundations for re-
lated features. Each of the prototypes is also foundation for
the drape of the torso (dress), and jacket in later chapters.
Other bodice styles included in this chapter are the surplice,
off-shoulder, and halter. Bodice stylelines when attached to a
skirt create a dress, and when attached to pants create jump-
suits.
 Chapter 6 Bodice Styles

Design Analysis
Figure 6.1
The styleline follows the princess line over the
bust and shoulder blade of the front and back
form.

Question: Where is the dart excess, and how is

the excess utilized?
Answer: The dart excess is shared between the
waist and shoulder at the princess line. The dart
legs (excess trimmed) are the underlying control
of stylelines crossing over the bust point and
shoulder blade (dart equivalent). The straight
grain of the side pariels is perpendicular to the
waistline.
Figure 6.1
Preparing Muslin
Figure 6.2
Measure length, and add 3”.
Measure centerline to bust point, and add 3”.
Measure bust point to side seam, and add 3”.

TTT
TUTTI
Ty
Titi

Figure 6.2
 Classic Princess Drape

2"— > Back panel Side back Side front Front panel ae 3/4
et2” 4 | | 31/2

1/2”
Wi2he

c= &
SaD 9Oo)
3a 5© go E
ce
g= 7) a 5
(=
5 oO
oO O

PSS ieee Re Mn Enea Ne

Clip esClip
a b Cc d

Figure 6.3

Figure 6.3
Follow illustration for the cutout necklines. x

Draw straight grain in center of side panels.

Draw a line 1” up from bottom of side panels,
and slash.

Draping Steps
Figure 6.4
Place fold of straight grain to centerline. Pin.
Smooth, slash and mark around neckline,
shoulder, waist, and Princess line.

Mark notches 2” up and down from bust point.

Notches control distribution of bust ease. Figure 6.4
C92) Chapter 6 Bodice Styles

Figure 6.5
Peel back and pin or remove from form making
room for the side panel.

Figure 6.5

Side Front Panel

Figure 6.6
Place side panel on form so that straight grain is
centered and perpendicular to waistline. Pin.

Figure 6.7
Smooth, slash and mark muslin along the
Figure 6.6 Princess line, shoulder, and waist.

Excess will appear at bust point. Pin excess.

Mark 2” up and down from pinned excess for
ease distribution.
Smooth muslin around armhole, and pin 1/4”
ease (1/8” on fold).
Mark armhole depth.
Pencil rub side seam. Allow 1/2” for ease.

Pin 1/4” ease at waist, and mark side waist.

Figure 6.7
 Classic Princess Drape

Back
Figure 6.8
Place fold of straight grain at the centerline.
Pin.
Smooth, slash, and mark muslin around neck-
line, shoulder, waist, and Princess line. Pin.

Peel back or remove for side panel drape.

Side Back Panel

Figure 6.9
Place side panel on form so that straight grain is
centered and perpendicular to waistline.

Figure 6.8

j
Figure 6.10 1/4" Ease

Smooth muslin and mark along princess line, Figure 6.9

shoulder, and waist. Some excess may appear at

the shoulder blade area. It may be eased into the
back panel.
Mark princess line
Pin 1/4” ease at waist. Mark and pin.
Pencil rub along side seam. Mark armhole depth
and side seam ease (3/4” ease for sleeved gar-
ments and 1/2” ease for sleeveless designs).

Figure 6.10
 Chapter 6 Bodice Styles

Figure 6.11
Crease-fold the seam of the front panel and lap
over the side front Princess line.
Spread ease between the marks.
Repeat for back and side back panels.
Crease-fold shoulder and side seam of the front
panels. Lap and pin to back.
Check fit of the armhole and alignment of the
drape (see pages 33-35).
Remove from the form. True and stitch, or
transfer to paper first to recheck fit.
To complete the patterns, see pages 59 and 60.
Figure 6.11

Finished Pattern

Figure 6.12
Compare the pattern shape with that of the
design.
For facing guide, see Chapter 16.

rin
SS
is
< \

alee erie SS

Figure 6.12
 Armhole Princess

Design Variations
bust point). Apply the principle of dart manip-
Figure 6.13 ulation by transferring the dart excess and
The following design projects are based on sharing the excess among the locations. The
the princess foundation (styleline crossing the trimmed dart legs provide the styleline.

Figure 6.13

Design variations based on the draping proce-

dures of the armhole princess follow the drape
project.

Design Analysis
The styleline follows the princess line from waist
to bust point and curves up to the mid-armhole
(Figure 6.14). .
Question: Where is the dart excess, and how is
the excess utilized?

Answer: The dart excess is shared between the

waist at the princess line and the mid-armhole.
The dart legs (excess trimmed) are the underly- Figure 6.14
ing control of stylelines crossing over the bust
point (dart equivalent). The straight grain of the
side panels are perpendicular to the waistline.
 Chapter 6 Bodice Styles

Preparing Form
Figure 6.15
Place pins or style tape curved from the bust to
mid-armhole of the front and back form.

Measuring the Form

Figure 6.16
Length: Full length, plus 4”.
Width: Across shoulder, plus 3”.

Side panel:
Width: Bust point to side seam, plus 3”.
Length: Cut 4” less than full length.

Preparing Muslin
Figure 6.17
Cut muslin to measurements given.
Cut front and back necklines.
Draw straight grainlines through center of side
panels.
Fold 1” along straight grain. Press without
steam.

13/4" Back Panel Front Panel 13/4"

lo --eeS=s °°; | sy nF

US 1/20
Side Panel 1/2 ~]

oO _—
Oo (cai
=) c
g io aQ
g 2 e
= B|
ie}
5
a

LC ae Sa os

Figure 6.17 a b Cc
 Armbhole Princess

Draping Steps
Figure 6.18
Place fold of the straight grain at centerline of
the form, and pin.
Allow muslin to bridge the hollow between
shoulder tip and bust.
Smooth, mark, pin, and trim muslin.

Pencil rub pin-markings for the armhole

princess styleline and continue to waist.
Mark 2” up and down from bust point for notch
placement.
Trim excess from princess line to bust point.
Figure 6.18
Figure 6.19
Trim excess along styleline.
Mark 2” up and down from bust point for notch
placement.

Figure 6.20
Place side panel on the form with straight grain
centered and perpendicular to waistline.
Pencil rub side seam and mark armhole depth
and side ease.
Pin 1/4” (1/8” on the fold) ease at armhole and
waist.

Pencil rub pin-markings for styleline.

Pin ease at the bust mound. hoy Fase
Mark 2” up and down from bust point for notch Fares)
placement.

Figure 6.21
Crease-fold and slash seam allowance of the
front panel and lap over side panel. Pin. Excess
at bust point will be eased in to provide room
for the bust.
Peel back the drape, or remove.

Figure 6.21
Ces) Chapter 6 Bodice Styles

Figure 6.22

Shoulder
Place fold of the straight grain at centerline. Pin.
dart
Smooth, slash, mark, and pin muslin around
Excess from
shoulder dart neckline and shoulder.

Pencil rub pin-markings of the styleline.

Shoulder Dart
The excess at shoulderline can be distributed
among neck, armhole, and shoulder or
smoothed to the armhole (slight gap will ap-
pear). It can also be pinned as a dart.
Peel back the panel, or remove from the form for
the side panel drape.
i wee
Figure 6.22
~~

ie rub over pin-marks

Figure 6.23
Place side panel on the form with straight grain
centered and perpendicular with waist.
Pencil rub pin-marking of the styleline and side
seam.
Mark armhole depth and allow 3/4” ease for
sleeved garments or 1/2” for sleeveless designs.

Figure 6.24
Crease-fold and slash seam allowance of the
back panel and lap over side panel. Pin.

Figure 6.25
Crease-fold shoulder and side seam of front
bodice. Lap over the back panel and pin.
Check fit of the armhole and alignment of the
drape (see pages 33-35).

Figure 6.24 Figure 6.25

 Armbhole Princess

Figure 6.26 True and stitch the bodice or transfer to paper first
Remove drape from the form. before the fitting. To complete the pattern, see
page 60. For facing guide, see Chapter 16.
Unpin princess to approximately 2” of the front
and back armhole. Finished Patterns
Lay the garment flat before drawing the arm- Figure 6.27
holes. (Separated, the armhole would be too dif- Compare the patterns shape with that of the
ficult to draw.) design.

Out 1/4" for sleeved

garment only

Figure 6.26 D

Back Front

Side back Side front

ENG

a b c d

Figure 6.27 (a-d)

 100 Chapter 6 Bodice Styles

Design Variation on the Armhole Princess:

rm ° ®

The basic empire is a popular foundation and is Design Analysis

a prototype for empire design variations. Design
The styleline of the classic empire crosses under
variations follow the drape project. The empire
the bust sloping downward to the center back.
foundation introduces the technique of contour
The midriff part of the design fits to the body,
draping. Unlike draping garments that bridge
rather than bridging the hollow area from bust
the hollows of the figure, the designer/draper
point to waist. The dart excess below the bust
smoothes the fabric to fit into the contour of
can be stitched as a dart or be gathered (dart
the bust—under, above, and in between where
equivalent). The remaining dart excess of the
contouring most often occurs. Contouring
back is draped as darts at shoulder and above
emphasizes the silhouette of the figure. A care-
the midriff. The centerlines are straight grain.
ful analysis of designs will direct the draper to
areas of the figure requiring contour draping
(Figure 6.28 and Figure 6.29).

Figure 6.28

Figure 6.29
 Design Variation on the Armhole Princess: The Basic Empire

Measuring the Form oan

Figure 6.30
Use #6 and #17 from the Model Form Measure- fee tis @
ment Chart. = ‘O
Measure length, add 5”, o A \
Measure width, add 3”. Q
LE CARLO
[AAA
Place style tape from center front and gradually E
slope downward to the center back. it ene 2

Preparing Muslin
. |
|
a:
: E
Figure 6.31
Cut muslin and cut out front and back necklines Figure 6.30
using measurements given.
Fold 1”. Press without steam.
Separate muslin 7” up from the bottom.

PIO
2Uull
Crossgrain
Bust depth

oe EU
(use lower
section for midriff)

Figure 6.31
 Chapter 6 Bodice Styles

Draping Steps: Midriff Figures 6.33

Figure 6.32 Place fold of straight grain to centerline of form.
IPA:
Place fold of the straight grain at centerline. Pin.
Smooth, slash, mark, and trim muslin around
Smooth, slash, pin, and mark the muslin.
neckline, shoulder, and to mid-armhole.
Pin 1/4” ease at waist (1/8” on fold).
Pin 1/4” ease at the armhole. Smooth muslin
Draw empire styleline, and pencil rub side seam. along the side seam.
Mark armhole depth and pencil rub side seam.
Pin a tentative dart at princess line under bust.
The dart intake is greater than the basic dart;
this is a result of fitting into the hollow under
the bust rather than bridging it.
Draw the empire styleline and pencil rub side
seam (see Figure 6.33a).
The excess can be draped as a dart (see Figure
6.33b ) or as gathers. Mark 1” out from each side
of the pinned dart legs to allow space for gath-
ers, if desired (see Figure 6.34).

Figure 6.32

Figure 6.33
 Design Variation on the Armhole Princess: The Basic Empire

Draping Steps: Gathers

Figure 6.34
Distribute and pin excess as gathers in a space of
2” (more or less as desired).

Figure 6.35
Crease-fold on the marked styleline of the
midriff.
Pin empire styleline to midriff.
Mark for gather control notches

Draping Steps: Back Midriff

Figure 6.36 Seat
Place fold of straight grain to center back. Pin. Figure 6.34
Smooth, slash, trim, mark, and pin muslin
around the outline of the form.

Figure 6.37
Place fold of straight grain to center back. Pin.
Smooth muslin around the form. Slash, mark,
pin, and trim.

Pin shoulder and back darts.

Mark armhole depth.

Draw empire styleline and pencil rub side seam
ide seam. Figure 6.35

Figure 6.36 Figure 6.37

“ 404 Chapter 6 Bodice Styles

Figure 6.38
Crease-fold seam of the empire styleline and pin
to upper bodice.

Figure 6.39
Crease-fold side seam and shoulder of front
bodice and lap over seams of back bodice
matching empire stylelines.
Check fit of the armhole and the alignment of
the front and back drape (see pages 33-35).
Adjust if necessary.
Remove the drape from the form.

Figure 6.40
True the draped patterns and stitch, or transfer
to paper for the test fitting. To complete the
patterns, see page 60. For facing guide, see
Chapter 16.
Compare the pattern shape with that of the
design.

Front Empire Back Empire

Notch placement Gather control

notches

Back midrift

Figure 6.40 Midrift

 Panel Bodice

The styleline of a traditional panel design does design follow the drape project (Figure 6.41 and
not cross over the bust point. Therefore, excess Figure 6.42).
will radiate from the bust requiring a small dart.
The dart intersects with a panel styleline. The
Design Analysis
dart excess can be gathered or transferred to
other locations for design variation. The panel The front and back are connected by a side panel
design is a prototype for designs with similar that does not have a side seam. The panel style-
features. Design variations based on the panel line does not cross bust point. This leaves part of
the dart excess on the front panel.
Question: Where is the dart excess, and how is
the excess utilized?

Answer: The excess is draped to intersect with

the panel styleline and pinned as a dart. The
grain is straight at the centerlines and in the
center of the side panel.

aps — .
RS $
Figure 6.41 whe.

Figure 6.42
 Chapter 6 Bodice Styles

Preparing Form
Figure 6.43
Place style tape just below the mid-armhole of
the front and back form. Curve the tape slightly
outward from the armhole, then straight down-
ward to the waistline. (For design variation the
styleline can be of any shape providing that it
does not cross the bust point.)

Measuring the Form

Panel (Figure 6.43)
Length, as is.
Width, add 2”.
Figure 6.43
Figure 6.44
Length, add 3”.
| Width, add 3”.
i
|
!
Preparing Muslin
Figure 6.45
Cut muslin and the front and back necklines us-
Figure 6.44 ing measurements given.

Q"—> Back panel Front panel oF Gi

Ve" ta

Side panel

fae
(ea
2ee
oe
JajueD
0g jay
®
O

Figure 6.45 a b
 Panel Bodice

Draping Steps: Front

Figure 6.46
Place fold of straight grain to centerline. Pin.
Slash, mark, trim, and pin as muslin is smoothed
around the outline of the form. The excess hang-
ing from the bust mound is lifted raising the
Outline
crossgrain. The excess is draped to the side bust panel
styleline
and folded into a french dart with excess toward
the waistline.
Draw panel styleline.
Peel back or remove for back drape.

Draping Steps: Back

Figure 6.47
Place fold of straight grain to center back. Pin. Outline panel
styleline

Slash, mark, trim, and pin as muslin is draped to

the styleline.
Draw panel styleline.
Peel back or remove.

Draping Steps Figure 6.47

Figure 6.48
Place slit of the panel at bottom of the side seam
at waist, with straight grain pinned on side
seam.
Mark armhole depth, and measure out from Figure 6.48
straight grain for side ease—1/2” (front) and Match side seams
3/4” (back) or 1/2” if sleeveless. and fold to zero
at waist

Figure 6.49
Fold ease allowance marks together at the Outline
panel
straight grain guide. Pin. styleline Outline
panel
styleline
Pin 1/4” ease (1/8” on the fold) on each side of
centerline at waist.

Draw panel stylelines.

1/4" Ease

Figure 6.49
 Chapter 6 Bodice Styles

Figure 6.50
Crease-fold seam allowance of the front and
back panels. Lap over seamlines of the panels.
Check the fit of the armhole and the alignment
of the centerline (see pages 33-35).

Figure 6.51
Remove muslin and unpin the panel without
separating the panels around the armhole.
Draw the shape of the front armhole and neck-
line.

Figure 6.52
Figure 6.50 Draw the shape of the back armhole and neck-
line.
True remaining pattern and stitch, or transfer to
paper first for the test fitting.
To complete the pattern, see page 60.
For facing guide, see Chapter 16.

Figure 6.51 Figure 6.52

 Panel Bodice

Finished Pattern Design Variations

Figure 6.53 Figure 6.54
Compare the pattern shape with that of the Each design is based on the panel drape.
design.

Front panel

Back panel

Figure 6.53

Figure 6.54
 Chapter 6 Bodice Styles

Halter
a Stvielitiese =" 999
A halter style is described as having part of Design Analysis
the shoulder, and armhole cut away from the
As shown in Design 1, the’V neckline of the
garment exposing the shoulders of the figure.
halter is created when the centerline of the front
The halter is anchored around the neckline
is tied at the back neck. The halter styleline
with a variety of design options: as a jewel
crosses the side seam approximately 3” below
neckline, a V neck, built-up neck, banded,
the arm plate and ends approximately5” up
or with straps; and can be secured with but-
from the center back waist. Center back is
tons, hooks, ties, or drawstring. The dart
extended 3/4” for button/button- holes. The
excess can be used to create gathers, pleats,
dart excess is draped toward the side seam and
style darts, flare, or other combinations. The
stitched as a tuck dart. The back is cut low.
back can be designed to the neckline, or cut
Finishing options: Tie can be folded and stitched
low (Figures 6.55 and 6.56).
6” to finish the ends or trimmed and curved. To
finish, narrow facings can cover the remaining
raw edges, or the raw edges can be overlocked
and stitched back or lined.

Design 2

Figure 6.55

Figure 6,56
 Halter with V Neck

Hal n =
Preparing Form
Figure 6.57
Use style tape or pins to indicate the styleline of
the halter.

Preparing Muslin
Measure length at shoulder/neck to waist, and
add 13”.
Figure 6.57
Measure across bust, and add 3”.
Measure width and length of the back, and
add 5”. .

Front Front muslin 3 21/2"

Figure 6.58
Cut muslin and draw a straight grainline 1/2” in
from the straight grain at the muslin edge.
Follow measurements given for length of A,
width of B, and lengths of C and E. Mark. ! Discard
Square a 4 1/2” line from A to D. v
From D draw a line to E, and curve a line to C. :

Cut away unneeded fabric. Back muslin

Back
Draw a straight grain 3 1/4” in from muslin
edge.
Fold 2 1/2”, and press without steam. ©

1/2" 3/4
a b

Figure 6.58
 Chapter 6 Bodice Styles

Draping Steps
Figure 6.59
Pin the muslin on the form with the straight
grainline on center.
Pin D at shoulder tape.
0
Slash in at center front at bust level.

Mark center waist.

Slash

ove

Figure 6.59

Figure 6.60
Remove holding pin at center front neck at A,
and move the muslin to the style tape at neck
(gathers will appear). Pin.
Smooth, mark, and siash muslin along the halter
style tape. Pin.
Pencil rub side seam and mark the side waist.

Smooth, mark, slash, and add 1/4” ease at waist-

line.

The dart excess is draped to the center front

waist. The excess is folded toward the side seam,
marked, and pinned as a tuck dart.

Figure 6.60
 Halter with V Neck

Figure 6.61
Bring tie to the back. Pin.

Figure 6.61

Figure 6.62 (back)

Place the straight grainline 1” below the waist at
the center back, and pin.
Smooth, mark, slash, and add 1/4” ease to the
muslin along the waist.
Pencil rub side seam.

Mark styleline, and trim excess.

Mark locations for button and buttonholes.

Remove drape from the form, and true. Stitch

Mark locations
muslin, or transfer to paper first for the test pes eet pulfogncs

fitting. To complete the pattern, see page 60.

Figure 6.62

Finished Pattern

Figure 6.63
Mark for button/buttonhole placements.
Facing is noted by broken lines.
Compare the patterns shapes with that of the
design.

Figure 6.63
Chapter 6 Bodice Styles

Design Analysis
The halter design extends 5” below the waistline,
with a 4” opening at the sides. The dart excess is
shared with the neckline as gathers spaced ap-
proximately 2” apart. The opening for,the head
entry is approximately 5” made down the cen-
ter of the back neck. A banded turtle collar is
draped around the neckline. Loops and buttons
are suggested for closure. A separate tie gathers
the waist. The torso halter is based on the torso
foundation (see page 264).

Preparing Form ;
Figure 6.64
Pin-mark the halter styleline 1/2” from neck at
shoulder and 5” below the waist.

Figure 6.64
 Torso Halter

Preparing Muslin Figure 6.65

See page 27.
Add 6” to the length of the back and front
measurements.
Measure around neckline, and record.

Figure 6.65 (front and back)

Cut muslin to the measurement given.
Bust level 4
Square a line 6” up from muslin edge for
' (Line not needed on back)
waist level.
Press fold 1” on both front and back muslin.

Draping Steps: Turtle Neck Band

Figure 6.65
Use neck measurement, plus 2”.
Cut bias strip 3” wide for collar.
Cut bias for button loops.

Figure 6.66 (back)

Place fold of the straight grain at center back 1”
below pin-marks at hip. Pin and mark.
Smooth crossgrain along pin-marks at hip, and
pin 1/4” ease (1/8” on fold). Continue smooth-
ing muslin to side seam. Pin.
Mark 1/2” for ease at side hip.
Smooth muslin upward along side seam and
continue to the shoulder. Mark, and slash muslin
around the neckline.

Mark shoulder.

Pencil rub halter styleline to side seam.

Add 1/2” ease at armhole.

Trim excess.

Remove the drape from the form, and true.

Figure 6.66
 Chapter 6 Bodice Styles

Figure 6.67 (front)

Place fold of the straight grainline to the center-
line 1” below pin-marks. Pin and mark.
The crossgrain is draped along pin-marks at the
hipline. Pin 1/4” ease (1/8” on fold). Continue
smoothing muslin to side seam. Pin.
Mark 1/2” for ease at side hip.
The crossgrain is lifted as the dart excess is
draped to the neckline.
Pencil rub pin-marks of the halter styleline.
Add 1/2” for ease at the side seam. Trim excess.

Figure 6.68
Allow a 2” space for, gathering the excess. The
gathers start 1” from the center front neck mark.
Figure 6.67 Draw a guideline around the pinned gathers of
the neck.
Remove the drape from form and draw a blend-
Mark neckline ing line across the random markings (Figure
6.68b), and true.
Run two rows of gathering stitches; pull the
threads to gather. Stitch to back bodice drape.

Figure 6.69
Pin bias band around the neck stretching
slightly. Trim excess from the turtle collar allow-
ing for seams.
To complete the patterns, see page 60.

Figure 6.68

Blend

Figure 6.69
 Surplice

Finished Pattern

Figure 6.70
Allow 1/2” to 1” for the fold back of the side slit. Mark notches for loops.
Trace facing patterns as indicated by the broken Compare the pattern shape with that of the
lines. design.

Bias collar

Cc
Figure 6.70

Surplce.
A surplice design has two fronts that cross grain, with the rest of the design draped on the
each other on the way to the opposite side. bias. However, the garment can also be draped
The sides may be identical or different. The with the straight grain at the centerline of the
surplice can be designed to be attached to a form causing the styleline of the surplice to be
skirt, pant, or separate, as a top. The excess on the bias. A facing would be cut with the
from the waist dart can be utilized as gathers, straight grain running lengthwise to hold the
pleats, or as stylelines (Figure 6.71). bias from stretching. A variation is based on the
The surplice styleline can be cut on straight halter drape (see page 112).
 Chapter 6 Bodice Styles

Design Analysis
The right side drapes across the front to the
left side on the straight grain. The dart excess is
draped as a pleat first, and then gathers. The
left side crosses underneath to the right side on
the straight grain. The dart is pinned to follow
the contour of the bust, and the excess is cut
away. The neckline of the back bodice is cut
approximately 2” below the center back neck
(see Figure 6.71).

Preparing Form
Figure 6.72
Front
Esgucee:/) Remove bridge band to allow for contouring be-
tween the busts.
Place pinheads 1” from shoulder tips and 2” up
from the side waist on the opposite side of the form.

Back
Place pins from shoulder pin mark curving to
1 1/2” below center back.

Preparing Muslin
Front: Measure the princess at shoulder to pin-
head at side seam, and add 5”.
Measure the shoulder/neck to waist, and add 3”.

Back: Measure the shoulder/neck to waist, and

evalenS?

Measure across the back to side, and add 3”.

Figure 6.72
 Surplice

Front muslin 1"

iin Back muslin | WP

Po

2"

plo4 Fold

Cut 2
(Right, and left front sides)

taint ade
a b

Figure 6.73

Figure 6.73 (front and back)

Fold and press 1” on the straight grain.

Draping Steps: Front (Right to

Left side)
Figure 6.74
Pin the fold of the straight grain at
shoulder/princess (crossing just below the bust
point) to the pinhead at the side seam. A pleat is
folded at the pin-mark of the side seam.

Figure 6.74
“420 Chapter 6 Bodice Styles

Figure 6.75
Drape, mark, slash, and trim muslin along the
shoulder and around the armhole and side
seam.
Smooth muslin along the side seam and waist.
Drape dart excess toward the left side of the
form.
Pencil rub side seam and crossmark side/waist.

j Figure 6.76
Smooth the dart excess to the side seam.
Figure 6.75 Fold a 1” pleat (2” underlay) approximately 3/4”
down from the pinhead.
Gather the remaining excess with pins and draw
a line at the side seam along the gathers.
Remove the drape. Do not unpin the pleat.
Blend across the gather marks and run a tracing
wheel across the pleat to transfer the shape of
the inside fold.

Draping Steps: Front (Left to

Right)
Figure 6.77
Place fold of the straight grain on the left side of
the form at shoulder/princess (crossing just be-
low the bust point) to the pinhead of the right
side seam. Pin.
Drape, mark, slash, and trim muslin along the
shoulder, side seam, and waistline ending at the
princess line of the opposite side.
Figure 6.77
 Surplice

Figure 6.78 Finished Pattern

Drape, mark, slash, and trim the muslin along Figure 6.80
the armhole side seam and waist.
Front or back patterns that differ in shape on
Pin a contour dart at the princess line. Trim each side are labeled “right side up.” The label as-
excess. sists the marker maker in placing the patterns
correctly on the fabric for cutting.
Peel back or remove the drape from the form.
Compare the pattern shape with that of the
design.
Draping Steps: Back Drape
Figure 6.79
The back bodice is draped, with a scoop neckline
ending at the pinhead at shoulder.
Remove the drape from the form and true stitch,
or transfer to paper first for the test fitting. To
complete the pattern, see page 60.

Figure 6.78
FRONT

Right side up

Figure 6.79

FRONT
Right side up

Figure 6.80
(422 Chapter 6 Bodice Styles

Off-shoulder designs reveal part of the shoulder

on one side of the figure. The other side may be
designed with or without a sleeve, or draped as
a kimono (a possible influence by the traditional
Buddhist garment called the Kasaya). Off-
shoulder designs are created for the bodice, tops,
dresses, gowns, and jumpsuits (Figure 6.81).
Design 1 is illustrated. Figure 6.82 is a thought
problem.

Figure 6.81

Design Analysis
Figure 6.82
The straight grain of the fabric lies across the
form from the right shoulder to the underarm of
the left side, creating an off-shoulder garment.
The hemline falls at an angle parallel with the
neckline. Side seams are of equal length. The
dart on the right side follows the contour of the
princess line from under bust to the hemline.
Figure 6.82
The dart excess on the left side is controlled by a
double-ended tuck dart pinned at princess. Full-
ness is released from the inverted box pleat at
the waist, and under the bust. The back is but-
toned for entry. .
 Off-Shoulder Designs

Preparing Form 1 1/2" Placed at shoulder

—> Fold on straight grain
Place pinheads 2” from shoulder tip (right side)
and approximately 2” below armhole plate at the
side seam (left side).

Front muslin

Preparing Muslin
Figure 6.83
Front: Length, 32”. Width, 22”. |
Back: Length, 25”. Width, 26”.
a : ; Figure 6.83
Fold 1” on the straight grain.

Draping Steps
Figure 6.84
Pin fold of the straight grain 1/2” past pinhead
at right shoulder. Drape muslin across the form
to pinhead on left side.
Pin and mark at the center of the waist and hem.

Cross-pin bust points.

Smooth muslin over right shoulder. Mark and
pin at shoulder tip.

Figure 6.84
 Chapter 6 Bodice Styles

Figure 6.85
Drape, mark, and trim muslin around the arm-
hole. Mark at the pinhead of the armhole depth
and at the side seam. Pin.

Right and Left Side:

Smooth the muslin downward on the side seam
to the waist. At waist, slash to within 1/2” of the
form (fit adjusted later).
Pin 1/4” ease (1/8” on fold) at waist.
Smooth muslin over hipline and pencil rub side
seam. Allow 1/2” for ease at the hip.
Pin a contour dart along the princess line of the
form. Do not pin so close to the waistline as to
cause stress lines.
Pencil rub the pins that secure the dart. Trim to
within 1/2”.
Slash the dart leg at the waist level and under the
bust.
Pin the dart excess on the left side from under
bust to waist on the princess line. Pencil rub the
pin guides.

Draping Steps: Tuck Dart

Figure 6.86
Unpin the tuck dart on the left side.

Figure 6.86 Open the dart excess. The dart legs are labeled
(A) and (B); the center is labeled (C) for clarity.

Figure 6.87
Fold dart legs (A) and (B) to the center (C), and
pin each side to the centerline from waist to just
under bust.

Unpin the contour dart, and repin with excess

folded under.
Pin-mark desired length of the hemline.
Figure 6.87 Peel drape back, and pin, or remove from form.
 Off-Shoulder Designs

Draping Steps: Back Drape Tuck Dart Markings:

Figure 6.88 Put punch holes 1/8” in from dart stitchlines,
Drape the back as one piece, and separate at cen- ee
ter back when making the patterns. With excep- Place them 1/2” from the finish lengths at top
tion of the tuck dart, follow instructions given and bottom.
for the front drape.
Trim hemline to match with side seams of the
front drape.
Pin front to back, adjust ease allowance at waist,
and hip, if necessary.
Remove drape from the form, and true. Stitch or |
transfer to paper first to test fitting. To complete
the pattern, see page 60.
Separate back at centerline. When making the
patterns, add 3” to each side of the center back
and 3/4” for the extension. Fold back.

Finished Pattern

Figure 6.89
Trace facing noted by broken lines.
Compare the pattern shape with that of the Figure 6.88

design.

& Right side Up

Right side up

back
Center JeJUeD
yoog

oa 4
Foldline

Figure 6.89 b
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 X —
“

~ he slhpuettes of skirts (their outer shapes) are used

by designers to change the look and direction of fash-
jon. The silhouette of the basic straight line may be
_ Tadically altered by moving the skirt away from or closer to the
figure. The hemlines are constantly changing from mini length
tofloor length, with the waist at, above, or below the natural
waistline(Figure Tel

° Thee of a skirt is the amount of width at its hemline.

* The movement depends on the fullness of fabric in a skirt.

* The break point is the location where the flare of the skirt
breaks into fluid movement.
 Chapter 7 Skirts

The amount of deviation from the basic straight increasing the sweep (includes circular and flare
line skirt determines the new silhouette. The skirts).
four skirt prototypes are identified by their sil-
Peg, or inverted triangle, silhouette side seam
houettes and are the basis for an infinite number
tapers, or the waist area has fullness, creating a
of designs (Figure 7.2). peg silhouette.
Straight, or rectangular, silhouette fits around
Bell silhouette clings to the contour of the
the abdomen and buttocks to the widest area of
hipline at varying distances from the waist be-
the hip. From there, the skirt hangs straight from
fore breaking into fluid movement at the hem-
hip to hemline. line.
A-line, or triangle, silhouette fits around the ab-
domen and buttocks flaring out at the hemline
 Waistband

Straight

Figure 7.2

The waistline of a skirt (or pant) may be fin- the waistband. The extension can be pointed or
ished with an attached waistband, facing, or rounded. The waistband finishes 1/2” longer
belting. The waistband can be extended for a than the waist measurement, with 3/4” added for
button/buttonhole (standard 3/4”) or end flush the extension. The skirt is draped with 1” ease at
with the end of the waist of the skirt. In this in- the waistline, therefore 1/2” will be eased into
stance, the zipper could be stitched to the top of the waistband.
>

130 Chapter 7 Skirts

Preparing Muslin center of band. Continue for another 3/4” and

Measure the waist of the form, or use #2 from square up to fold.
the Form Measurement Chart. Add 1/2” for seam allowance.

Figure 7.3b
Drafting Steps Mark for button/buttonhole.
Figure 7.3a Cut waistband from paper.
Fold paper lengthwise.
Square a line 1 1/4” down from fold and square
a line that equals waist. Mark and mark again for

Fold of paper

Fold of paper

(Button and buttonhole can be reversed)

Figure 7.3
 Flare Skirts

Skirts designed with flare have an A-shaped sil-

houette. The silhouette is created by adding extra
fabric to the side of the skirt drape, thereby
changing the silhouette from a “straight line” to
an A-line. By manipulating the dart excess to the
hemline as flare (dart equivalents) and adding ad-
ditional flares, the sweep of the hemline will in-
crease (Figure 7.4). Within the silhouette, de-
signer/drapers can create many design variations.
The following A-silhouette skirt projects include
the modified A-line flare, the basic flare, the added
flare, and the circular skirt series.

Figure 7.4
 132 Chapter 7. Skirts

Design Analysis Preparing Muslin

The flare of an A-line skirt is created by draping Figure 7.5
half the original waist dart excess to the hemline Length: skirt length, plus 3” and 1” for hem.
for a modified hemline sweep. The crossgrain
Width: half of the fabric width for the front skirt
falls as the flare is formed. To create the A-sil-
and half for the back skirt drape.
houette, fabric is added to the side seam to bal-
ance the flare skirt. The A-silhouette starts at the Fold 1”. Press without steam.
outermost part of the hipline and ends at the
Mark 14” down from the top to mark the hip
hem. The A-line flare skirt can be converted to a
level and square the HBL crossgrain line for the
four-gore skirt by adding a seam at the front and
front and back skirt.
back.

Back Muslin Front Muslin

Crossgrain Crossgrain

Figure 7.5
 The A-Line Skirt with Modified Flare

Draping Steps: Front Skirt

Figure 7.6
Place fold to centerline of the form and pin the
}
following:
* HBL line (crossgrain): match to the HBL
of the form.
* Center front waist.
* Bottom of form base.
* Holding pins at side seam.

Smooth and trim muslin to Princess line at waist

and crossmark. Mark 1/2” for dart intake.

Figure 7.7
Fold and pin the dart intake.
pe |
Remove holding pins. (|
1/4" Ease
Slash, trim, and pin 1/4” ease along the waistline,
as the remaining excess is smooth across the
waist/abdominal area. Figure 7.6

The muslin is smoothed downward along the

side seam and as the crossgrain falls, a flare is
created at the hemline.
At the base of the form, pin the flare together
PICS
5x0)
and measure the width (A-B).
Equals A-B

Mark base of the form at side seam.

Dot mark A-B measurement out from the cross-

mark. (The other part of the flare is made up by
the back flare.)

Pencil rub side seam from waist to the HBL of

the hip.
Figure 7.7
Figure 7.8
Trim excess 1” from side seam approximately 3”
Foldline
down and clip to within 1/8” from the pencil rub.
Fold muslin touching the dot mark at side seam
for A-line flare.
Trim muslin to within 1 1/2” of the fold for ad-
justment, if needed when pinned to back skirt.
Peel back and pin. Figure 7.8
4134 Chapter 7 Skirts

Draping Steps: Back Skirt

Follow the instruction given for the drape of the
front skirt, except that the dart intake is 1”.

Figure 7.9
Crossmark at Princess and 1” for dart intake.

Figure 7.10
Fold and pin dart with 1/4” for ease. Smooth
muslin to side waist.
Smooth excess downward along side seam. Flare
is created as crossgrain falls. Measure flare as il-
lustrated.

Figure 7.11
Clip and fold muslin touching the dot mark.
Trim allowing 1 1/2”.
’

Figure 7.12
Figure 7.9
Unfold back flare and place the fold of the front
flare on top, pin.
Evaluate the hang and balance of the skirt. Ad-
just side flare, if needed.
Pin-mark for skirt length parallel with floor and
trim hem along the pinline.
Remove skirt and true the seams, stitch muslin
or transfer to paper before the test fit.
Equalize side seams.
Complete the pattern (see pages 35-39).

Figure 7.11 Figure 7.12

 The A-Line Skirt with Modified Flare

Draping Steps: Equalize the Figure 7.13 Front skirt

Hemline Sweep
Figure 7.13
To prevent the bias of the front and back side
seams from hanging unevenly, equalize the angle
Allow extra
of the flares. muslin at
side seam
Place the back skirt on top of the front skirt,
matching at the centerlines. (The even and un-
even broken lines indicate front and back side
seam.)

Center a mark between the front and back side

seam at hem and draw the new side seams
Equalize side
blending at hiplines. PlO4
seam

Finished Pattern
Figure 7.15
Figure 7.14 To create a four-gore skirt, place a seam at the
Finished patterns with front cut on fold and two center front. To drape this skirt on bias, see
backs (zipper opening). Chapter 14 for guidance.

Figure 7.14 Figure 7.15

 Chapter 7 Skirts

Design Analysis
The full flare skirt is created by draping all of the
original waist dart excess to the hemline, thereby
increasing the sweep of the skirt more than for
the A-line flare skirt. The crossgrain falls as the
flare is formed. To create the A-silhouette, fabric
is added to the side seam. The skirt can be con-
verted to a four-gore skirt by adding a seam at
the center front (Figure 7.16).

Preparing Muslin
Figure 7.17
Length: Skirt length, plus 5” and 3/4” for hem al-
lowance.
Width: Half of the fabric width. Cut to length
for front and back skirt.
Fold 1”. Press without steam.

Mark 5” down from the top and 9” from this

mark, square the HBL crossgrain line for front
and back skirt.

Figure 7.16

Crossgrain
J
$$$
$$

pecs
Scheie

Figure 7.17
 Full Flare Skirt

Draping Steps: Front Skirt

Figure 7.18
Place fold to centerline of the form and pin the
following:
* HBL line (crossgrain): match to HBL of
the form.
* Center front waist, at mid-tape.
* Bottom of form.
* Holding pins at side seam.

Smooth muslin to Princess line.

Slash and trim.

Figure 7.19
Release holding pins.

Slash, trim, and pin 1/4” ease along the waistline,

as excess is smoothed across the waist/abdomi-
nal area. The excess is directed downward along
Figure 7.18
the side seam creating a flare.
At the base of the form, pin the flare together
and measure the width of half (A-B).

Crossmark the base of the form at the side seam.

Dot mark A-B measurement out froin the cross-

mark. (The other part of the flare is made up by
the back flare.)

Pencil rub side seam to the HBL of the hip.

Trim to within 1 1/2” of side seam approxi-
mately 3” down.
Clip to within 1/8” from pencil rub.
Crease-fold to the dot mark at the side seam.

Figure 7.19
 Chapter 7 Skirts

Figure 7.20 | Draping Steps: Back Skirt

Follow the instruction given for the drape of the
front skirt.

Figure 7.20
Pin muslin to the form. Smooth muslin to
Princess and trim excess.

Figure 7.21
Smooth, trim, and slash muslin along waist/
abdomen to side seam.

Smooth excess downward as crossgrain falls to

create flare. Pinch and measure flare (A-B).

Trim excess, clip and fold muslin for flare touch-

ing the dot mark.

Figure 7.22
Unfold back flare and pin front side seam flare
to back flare.
Let the skirt hang overnight so that the bias can
stretch. Evaluate the fit and balance before
marking the hemline.
Pin-mark hemline parallel with the floor. Trim.

Measure
A-B

Figure 7.21 Figure 7.22

 Full Flare Skirt

Figure 7.23 To drape this skirt on bias, see Chapter 20, for
Remove the skirt drape and true. Stitch muslin guidance.
or transfer to paper first for the test fit.
Figure 7.24
Equalize the side seam (see page 135).
To create a four-gore skirt, add a seam at the
To complete the pattern, see pages 35 to 39. center front of the skirt.

Figure 7.23

Figure 7.24
 Chapter 7 Skirts

Design Analysis Preparing Muslin

Figure 7.25 Length: Skirt length plus 7” and 1/4” to 1/2” for
The skirt has a greater hemline sweep than does hem.
the basic flared skirt. To increase the hemline Width: Use one half the fabric width. Allow
sweep, the muslin is slashed along the waistline more for a wider sweep.
and the crossgrain is dropped to create flare.
Each flare increases the sweep of the hemline.
The back skirt can be draped or a copy of the
front skirt can be traced and adjusted.

i
Figure 7.25 &\&&#
 Flared Skirt with Increased Hemline Sweep

Draping Steps: Front Skirt

Figure 7.26
Place fold to the centerline of the form, and pin
the following:
* HBL line (crossgrain) at centerline.
* Center front, at mid-tape.
* Bottom of form.
Smooth muslin along waist to Princess line.
Trim excess to within 1/2” of the waist, and slash
where flare is placed.
Place holding pins at Princess and side seam.

Figure 7.27
Pivot muslin downward from the slash/pin-
mark, dropping the crossgrain to the desired
amount of flare. Smooth muslin flat against the
flare. Place holding pins at the side of the flare.
Pin to measure the flare (A-B). Release pin.

To control the width of each flare, repeat the

process.

Figure 7.28
Smooth muslin along the waist to the next flare.
Slash and pin.

Figure 7.29
Pivot muslin downward from the slash/pin-
mark, dropping the crossgrain until the flare
equals the A-B measurement (on fold). Place
holding pins at the side of the flare.
Crossmark at the base of the form at side seam.

Mark A-B measurement out from crossmark.

Pencil rub the side seam.

Figure 7.28 Figure 7.29

142 Chapter 7 Skirts

Figure 7.30
Fold excess passing through the A-B mark to the
waistline. The foldline establishes a temporary
side seam.
Trim excess to within 1 1/2” of the foldline.
To use front skirt for the back pattern, see
Figure 7.32, Figure 7.33, and Figure 7,34.

Foldline
for
side
seam

Figure 7.30

Draping Steps: Back Skirt

Drape the back skirt using the instructions given
for the front drape.

Figure 7.31
Pin front seam over back seam. The crossgrains
should meet at the flare of the side seam. If they
do not, refold the seams until they do. Pin.
Hang skirt overnight to allow bias to stretch.
Evaluate fit and balance before pin-marking
hemline and trim the excess.

Figure 7.31
 Flared Skirt with Increased Hemline Sweep

Draping Steps: Back Skirt Place the back skirt on the form, and adjust the
Developed from the Front Skirt location of center back waistline, ending at the
side waist.
Remove the front skirt drape. True all marked
lines, and blend the hemline. Trim excess to Place front skirt on the form and pin side seams
within 1” of the side seam. together. If the crossgrains do not match, take in
or let out the side seams until they do.
Preparing Muslin Let drape hang overnight.
Figure 7.32 Pin-mark hemline, measuring up from the floor.
Draw a line 1” in from muslin edge (to represent Make adjustments with a red pencil in trueing
the center back). the back pattern.
Square a crossgrain line 15” from the top. The front skirt can be cut on the fold or with a

Align the front skirt with the centerline and the seam for a four-gore skirt.
crossgrain. Pin to secure, and cut from the Add seam allowance and place notches. Cut
muslin. skirts from the paper and recut to test fit.

Muslin for the

adjusted back skirt

Crossgrain
Front skirt

Figure 7.32
 Chapter 7 Skirts

Kirts, Radius Chart

Circular skirts can be draped following the in- Grainlines, Bias, and Flare
structions given on pages 141 and 142, or the
fabric can be prepared so that the desired type of Figure 7.33 and Figure 7.34
circle is created by using the Circle/Skirt Radius Circular skirts have grainlines that are bias,
Chart. The chart provides measurements for the straight, and crosswise—all interacting within
radius when drawing the waist arc for specific the skirt. Flare falls along the side of the straight
types of circle skirts. The radius measurements grain, flaring out gracefully along its bias. The
are always drawn on the quarter section of a cir- designer/draper can control the location of flares
cle. It is the perfect shortcut for designing skirts at the hemline by changing the position of the
with circularity. grain on the fabric (pattern). The three grainline

Figure 7.33

1Grainline
front
Center

Figure 7.34
 Circle: Skirts, Radius Chart

placements (center, middle, or three-quarter line is re-marked by pins or chalk measuring

from center) illustrate the effect on the flares of up from the floor so that it will be parallel
the skirts. with it. The skirt is taken from the form, and
Grainline 1 (center front of pattern) has two
the pin-marks are pencil rubbed. Pins are re-
flares: one falls toward the side front, and one at
moved, and the rubbed or chalk lines are
the side. blended along the hemline. The hemline is
trimmed, and the skirt is placed on paper and
Grainline 2 (between front and side) has two traced. If a paper pattern was made, the skirt is
flares: one falls at the center front, and one placed on top of the pattern, and the corrected
toward the side. hemline is traced.
Grainline 3 (between side and grainline) has
three flares: front, side, and middle.
Parts of the Circle
Circular skirts tend to stretch on the bias
section of the hemline. The skirt should be left Figure 7.35
on the form or pinned on the straight bar of a Think of the circle skirt as having four quarter
hanger overnight. This allows the bias fibers to sections. Each quarter section helps make up the
stretch creating an uneven hemline. The hem- whole (a complete circle) (see Figure 7.35). Re-

Remove one-quarter Remove two quarter

section for 3/4” circle sections for 1/2” circle

3/4" Circle

Figure 7.35
 146 Chapter 7 Skirts

move one quarter section for a 3/4 circle skirt Sample Plan
(see Figure 7.36). Remove two quarter sections 264)
¢ Waist measurement:
for a 1/2 circle skirt (see Figure 7.37).
The measurement of the circle must always * Subtract 1” for stretch. 25”
equal the waist measurement. This measure- ¢ Add for 2 seams (varies) 2+
ment is the basis for selecting the radius for
Totale7~
each of the different circles. The radius is always
drawn on a quarter section of the whole. The Based on 27”, select the radius that applies to the
radius increases each time a quarter section is type of circle skirt desired. Seam allowance at
removed in order to retain the original waist waistline is provided by subtracting 1/2” from
measurement. the radius measurement.

* Radius for half circle 8 5/8-”

Circle/Skirt Radius Table * Radius for three-quarter circle 5 3/4-”
Table 7.1 provides the correct radius for estab- * Radius for full circle 4 3/8-”
lishing the waistline for the type of circle skirt
The (+) and (-) means add or subtract 1/16”.
desired. To select the radius, measure the waist-
line and modify as instructed. Select the type of ,

circle required by the design. Modifications are

given with preparation of the fabric or paper
*For loosely woven (chiffon) skirts, cut a
pattern.
sample of the radius and stretch it along a
Column 1 provides a selection of waist measure- ruler to measure the correct amount of
ments. stretch.

Columns 2, 3, and 4, provides the correct radius ** For measurements in between whole
measurements for each circle. Select the column numbers, use the whole number that is the
indicating the circle of choice. closest.
 Full Circle Skirt

Follow the steps and record the measurements in

preparing the muslin or paper for the full, three-
quarter, and one half circle skirts. A full circle
skirt is the sample given as a guide for using the
chart. Use the formula to develop a 3/4, and 1/2
circle skirts (page 148).

Formula

Waist measurement minus 1”.

* Example: Waist 26” minus 1” for stretch
equals 25”.
Number of seams. Examples:
* Two seams (1/2” allowance) equals 2”.
* Three seams (1/2” allowance) equals 3”.
* Four seams (1/2” allowance) equals 4”.
Total measurement:
* Column 1. Example: 25” plus 2” for seams
equals 27”—Locate in column.
Radius:
+ Example: Full circle using 27”. The radius
eee ee is 3 7/8” minus 1/2”, which equals 3 3/8”.
Length:
> Example: Skirt length and hem allowance
equals 25”.

1 Preparing Muslin or Paper

| Oo
=)
He CO)
ee

eae
=
Use measurement given, or use personal mea-
|<— Length, plus radius, plus 1" —>!
7c!
So
nn
surements for waist and skirt length.

—
ea
=
Q A half circle is drafted and traced to complete a
Q.
Cc
oe full circle skirt with 2 seams, using the technique
>
for,
Qo
discussed.
NO

Length: Twice the skirt length plus twice the ra-

dius plus 2”.
Width: Skirt length, plus the radius, plus 1”.
Fold in half and mark corner X.

Figure 7.37
 Table 7.1 CIRCLE/SKIRT RADIUS CHART

Column 1 Column 2 Column 3 Column 4

Waist Measurement 1/2 circle 3/4 circle Full circle
] 0 1/4+ 0 1/4- 0 1/8+
2 iC 05/8 0 1/2- 0 3/8-
3 0 7/8+ 05/8 0 1/2-
4 11/44 0 7/8- 05/8
5 1 5/8- 1 1/8- 0 3/4+
6 1 7/8+ 1 1/4+ 0 7/8+
7 21/42 1 1/2 ie as
8 2A 24 1 5/8+ 1 1/4+
| 9 27/8 1 7/8+ 1 3/8+
10 3 1/8+ 2 1/8 1 5/8-
ll 31/2 2 3/8- 1 3/4
12 3 3/4+ 2 1/2+ 1 7/8+
13 41/8 2 3/4 2 1/8- :
14 4 1/2- 2 7/8+ 2 1/4-
15 4 3/4+ 3 1/8+ 2 3/8
16 5 1/8- 3 3/8+ 2 1/2+
17 5 3/8+ 3 5/8- 2 2 3/4-
18 5 3/4+ 3 3/4+ 2 7/8
19 6 1/8 4 1/8- ; 3
20 6 3/8 41/4 3 1/8+
21 6 5/8+ 4 1/2- 3 3/8-
UP) i 4 5/8+ SaieZ
23 7 1/4+ 47/8 3 5/8+
24 7 5/8 5 1/8- 3 3/4+
D5 7 7/8+ 5 1/4+ SW Ste
26 8 1/4+ 5 1/2+ 41/8
Oe 8 5/8- 5 3/4- 4 3/8-
28 8 7/8+ 5 7/8+ 4 1/2-
29 9 1/4- 6 1/8+ 45/8
30 9 1/2+ 6 3/8 4 3/4+
31 97/8 6 5/8- 47/8+
| 32 10 7/8+ 6 3/4+ 5 1/8-
33 LOM 2 7 51/4
10 3/4+ 7 1/4- 5 3/8+
11 1/8 7 1/2- 5 1/2+
Ie /2= 7 5/8 5 3/4-
11 3/4+ 7 7/8- 57/8
12 1/8- 8 1/8- é 6 1/8-
12 3/8+ 8 1/4+ 6 1/4-
12 3/4- 8 1/2 6 3/8
13 1/8- 8 5/8+ 6 1/2+
13 3/8 8 7/8+ 6 5/8+
13 5/8+ 9 1/8 6 7/8-
14 9 3/8+ Ti
14 1/4+ 91/2 7 1/8+
14 5/8+ 9 3/4 7 3/8-
14 7/8+ 9 7/8+ FAjo2
15 1/4+ 10 1/8+ 7 5/8
15 5/8- 10 3/8+ 7 3/4+
15 7/8+ 10 5/8 7 7/8+
 Full Circle Skirt

Technique for Drawing Circles Measuring Tape

Use awl to make following tools:
Figure 7.38
wt
>

Use an awl to punch holes in an old measuring oO x

tape at the 1” mark (X).

Add 1” to the following: Y Radius

* (X) to (Y) = Radius measurement.

> (Y) to (Z) = Skirt length.

Figure 7.39a
With a pushpin through (X), place at the corner
(X) of the folded paper.
Place a pencil in the hole (Y) and draw an arc
for the waistline.

Figure 7.39b
With a pencil through hole (Z), draw the hem-
line of the circle skirt.
Z Length including hem

TTT
TTT
TST
TT Figure 7.38

Figure 7.39
 Chapter 7 Skirts

Figure 7.40 Hang skirt overnight. Mark hemline parallel to

Cut the skirt from the fabric or paper. the floor.

Trace a duplicate copy for the other half of the Variation: Circle Skirts with Uneven
circle. Notch for seams, hem, zipper, and grain- Hemlines ;
line placement.
Uneven hemlines create drama in fashion. The
hemlines can vary in a number of ways, some of
Option the most popular is the handkerchief (square cor-
Raise center front 1/4”, blending to the side ners), uneven hemlines caused by allowing the
seam line to flatten the center front of the skirt. bias to hang lower than the parts of the skirt that
Trim 1/4” at the center back blending to the side are on the straight and crossgrain, or the gradu-
to accommodate the slope of the back waist. ated hemlines created by an offset inner circle.

Lower 1/4"

Figure 7.40 -
 Circular Skirt with Offset Circle

Preparing Muslin or Paper |

<
Figure 7.41 ‘
Measure the waist and skirt length.
Compute the following:
* Waist, less stretch
* Seam allowance
Total
* Radius,
* Skirt lengths:
Longest
Shortest
Total

length and width: Twice the length plus twice

the radius.
Fold paper, and fold again.

Technique for Marking

Figure 7.42
The hemline is drawn before the waist arc.
Mark the following:
* Hem at fold (Z)
* (Z) to (Y) equals shortest hem length.
* (Y) to (X) equals radius.
Cut along the curved hemline.
2% Figure 7.41

=<

Plo

z_ Figure 7.42
 Chapter 7 Skirts

Figure 7.43 Variation: Circle Skirts with a

Refold paper on (X). Gathered Waistline

Draw waist arc from (Y). Gathers can be added to circular skirts by adding
to the waist measurement. The fullness should
Draw a cutaway line (broken lines).
be computed as a ratio of the whole measure-
Cut waist arc from paper. ment. For example, a waist of 26” can be in-
creased by 1 1/2 or more times its measurement
Figure 7.44
to provide for gathers.
Trim the new curved line.
Variation: Skirts with Two or More Circles
Open the pattern and separate along the fold-
line. Circle skirts cut in chiffon and other soft fabrics
often need more fullness. Increase the number of
For a tiered look trace and shorten lengths as
circles by dividing the waist measurement into
many times as tiers desired (broken lines).
the number of circles planned. To this measure-
ment, add for seam allowance. Locate the mea-
surement in column 1, and record the radius
Fold X
measurement, less 1/2”. See page 146 for fabric
or paper preparation,,.and page 149 for prepar-
ing the tape measure to draw the waist and hem-
line arc.

plod

Figure 7.43

back
Center

CO
Hemline for top skirt

SS

front
enter
c \ Ny

iy
\

SS
—o
Figure 7.44
 Skirts with Pleats

Variation: Skirt Lengths Wider are seen on gowns, loungewear, and wedding
Than the Width of Fabric dresses.

Long circular skirts may require a set-in piece Figure 7.45

when the fabric is not wide enough to accom- An example for adding a section of the pattern
modate the length of the skirt. The set-in pieces to complete the length of the garment.

Overhang_-
Notch
Add 1 "—* \
\ Hi~«- Notch SKIRT

H \

Notch
Skirt
Section front
Center

©
D
fo)
ee
©
wo

Figure 7.45

A pleat is a fold in the fabric that overlays itself. y Z

It is either stitched at one end releasing fullness X-Y-Pleat depth Y Z

1 X-Y-Z-Underlay
f
X
at the other, or confined at both ends for special Inside fold Y

design detailing (Figure 7.46). Pleats can be ~- Outside fold X

functional or can be used creatively on skirts, ~<- Space (between >

bodices, sleeves, dresses, and jackets. They can be pleats)
Z toX
equally or unequally spaced and can be pressed
or left unpressed, stitched or unstitched, Figure 7.46
grouped together or as single pleats. Skirt de-
signs in this section illustrate the versatility of
pleats.
154 Chapter 7 Skirts

Skirts with Pleats

Figure 7.46
Pleat depth The distance from the outside fold
of the pleat (labeled X) to the inside fold
Figure 7.47 (labeled Y). X to Y is the shaded area of the
first pleat.
Inside folds
JE Pleat marking Notches are placed from point X
(outside fold) to point Z to complete the under-
Outside folds >
lay of the pleat. Z to X is the distance between
the pleats.
Pleat spacing The distance between pleats.
Figure 7.48
Pleat underlay (forms the pleat) This measure-
ment is always twice the pleat depth (X to Y
SSN to Z). For example, a 2” pleat depth equals a 4”
underlay (lined area illustrated at second pleat).

Types of Pleats
Knife or side pleats (Figure 7.47).
Pleats grouped and facing in one direction.
Box pleats (Figure 7.48).
Figure 7.49
Pleats that fold away from each other on the
right side of the garment.
Inside folds

Accordion pleats (Figure 7.49).

Outside folds
Folded pleats that resemble the bellows of an ac-
Figure 7.50
cordion. Pleats are close and tend to overlap.
Inverted pleats (Figure 7.50).

Pleats folded to meet each other on the right

side of the garment.
Sunburst pleats (Figure 7.51).
Pleats that fan out and graduate from the waist.
Sunbursts are pleated on circular skirts. To sus-
tain the pleating, fabric should be either all
Figure 7.51
synthetic or a blend with more than 50 percent
synthetic fibers.
 All-Around Pleated Skirt

Eaeround Pleated Skirt. a

The all-around pleated skirt (Figure 7.52) can
be created by using the pleat formula or may be
pleated by professional pleaters. Generally, it is
less expensive for a manufacturer to send a skirt
out for pleating than to pleat it in the factory.
Professional pleaters will conform any pleating
arrangement to fit waist and hip measurements
for all graduated sizes and to any length desired.
Pleating services for garments designed for pri-
vate clientele and for personal fit should contact
yardage or notion departments for information.

Design Analysis
The skirt has 20 pleats that encircle the hips and
are stitched 7” from waist. The depth of the pleat
is determined at hip level (widest part of the hip)
and graduated to fit the waistline. This type of
pleated skirt is best planned on the fabric laid out
on the table rather than draped on the form.

Measurements Needed

* Waist (2) Example: 30”

* Hip (4) Example: 40”
- Length: Example: 29”
(include hem and waist seam).
Decide on the number of desired pleats. 7} Figure 7.52
Example: 20 pleats.
Determine the depth of pleat, which can be any
amount desired. Example: 1 1/2” x 2” = 3” pleat
underlay.
Determine the spacing between the pleats by
dividing the number of pleats (20) by the hip
circumference (40”). In the example, the pleats
are 2” apart.
456 Chapter 7 Skirts

Planning Pleats
A to B) ends with G to H, plus the seam al-
Figure 7.53
. lowance.
Start pleat series with seam allowance
(labeled A) and mark. Pleats should always be planned with the joining
seam connecting the pleat depth at each end of
Measure and mark pleat depth (labeled A to B), eur eaacth
which equals one half the pleat underlay. B to C
equals the space between pleats. Mark. After seam allowance trim excess fabric from the
skirt.
Measure and mark pleat underlay (labeled
C to D). Figure 7.54
Repeat the process until the last pleat. The Example of the joining seams of the pleated
last pleat (the other half of the pleat underlay panels. The underlays are notched.

Pleat depth Pleat underlay Pleat underlay Pleat depth

1/2" Seam

1/2" Seam

Discard

Figure 7.53

Notch
Notch
meen ci an, ie

Figure 7.54
 All-Around Pleated Skirt

Pleats Adjusted to the Waistline ment from hip measurement. For example, if the
Measurement _ waist is 30” and the hip is 40”, the difference is
Figiire 7.55 10”. Divide 10” by 20 pleats, and the result is
1/2” (1/4” out from X and Z).
Pleats are first formed to fit the circumference of
the widest part of the hip and then adjusted to Figure 7.56
fit the waist by subtracting the waist measure- Example of stitched pleat from waist to hip.

Pleat space Pleat space

fold
Inside fold
Inside fold
Inside

Pleat

Figure 7.55

Waist level

Stitch
pleats
to waist
marks

Figure 7.56
 Chapter 7 Skirts

Skirt yokes are the upper part of the skirt. They waistline darts or the dart excess will be draped
are connected to the bottom section by a seam- as flare at the yoke’s edge. Yokes can be designed
line. The connected section can be draped as a in many variations, being parallel with the waist-
fitted, gathered, or flared skirt. Yokes are fit close line to uneven levels below the waist. Yokes are
to the body and can be draped without the also used as a base to support overlays of gathers
waistline darts to a width of about 3 1/2” to 4”. (design 3) and pleats and connected to a bodice
Yokes that are wider will either be draped with (design 2) (Figure 7.57).

Design 1

Design 2

Design 3

Figure 7.57
 Stylized Yoke with Pleat and Flare

Design Analysis
The skirt has six flares in the front and back.
There is a box pleat at the center front which is
wider at the hemline than at the yokeline. (The
Circle Skirt Radius Chart is not used to draft a
circular skirt for stylized yokes. The flares at the
hemline would hang unevenly.)

Preparing Form
Figure 7.58
Pin-mark or use style tape to mark the front and
back yoke styleline.

Preparing Muslin Figure 7.58

The following measurements apply to both the

front and back skirt drape.
* Yoke: Front width at the widest plus 2”
and length from center front to side seam,
plus 2”.
- Skirt length: plus 9” and 3/4” for hem.
* Width: Three fourths of fabric width.

Preparing Muslin: Yoke

Figure 7.59 and Figure 7.60
Cut 2 muslins for front (Figure 7.59) and back Figure 7.59
(Figure 7.60) drape.
Fold 1” at the centerlines, and press without
steam.
Pin muslin to form and drape yoke. |
|
1/4" Ease
Smooth, slash, and trim muslin along the waist,
and pin 1/4” ease.
Pencil rub side seam.

Dot mark 1/8” for ease.

Repeat drape instruction for the back yoke.

Figure 7.60
Remove front and back yokes.
 Chapter 7 Skirts

3/4 Width offabric Preparing Muslin: Box Pleat

bet Figure 7.61
cot : ‘a Length, plus 11”.
ae Width of muslin.
| - Cut a 5 x 9 section from corner of muslin.
Square a line out 4” down from top.
Draw a line 1” in from muslin edge.
Measure and mark 6” space at hem.

Foldiine
front
Center

_
fold
------_Inside

Figure 7.61

Draping Steps

front
Center Figure 7.62
ae Fold pleat to centerline and pin.
Place pleat 1/2” above the yokeline with pleat at
the center front. Pin.
Smooth the muslin along the yokeline.

Figure 7.63
Slash where the first flare is to be placed. Pivot
the crossgrain downward to create the first flare.
Pin the flare together at the base of the form and
measure (A-B). Use this measurement for each
flare to balance sweep of the hemline.

Figure 7.62

Figure 7.63
 Stylized Yoke with Pleat and Flare

Figure 7.64
Smooth muslin along the yokeline and slash for
the second flare to equal (A-B) measurement.
Smooth muslin to the side seam.

At the base of the form, dot mark for A-B mea-

surement.

Pencil rub the side seam.

Crease-fold the side seam from yoke to hemline Equals A-B.

touching the A-B dot mark. The addition creates

half the flare and the A-silhouette. The back
drape will complete the flare.

Figure 7.65
Drape back skirt using front drape as a guide
(without box pleat). (A flare can be draped at
center back.)

Pin front over back skirt at side seams and eval-

uate flare placement. Allow skirt to hang
overnight.
Pin-mark the hemline by measuring up from the
floor.
Trim hemline along pin-marks. Figure 7.65

Transferring Muslin to Paper

Figure 7.66 and Figure 7.67
Place front yoke (Figure 7.66) on fold of the pa-
per, and trace.

If fabric is wide enough, place skirt on the center

of fold. If not, add seam allowance to the center-
line and cut two fronts (Figure 7.67).

aE
front
Center
..__Inside
fold

as Figure 7.67
Figure 7.66
 Chapter 7 Skirts

Ney 7.68 Figure 7.68

Trace back yoke and skirt.
BACK YOKE

ie Add seams and cut from paper.

2es
“Tame

(}

Skirts designed without a seamed waistline allow

for many creative variations. The top of a skirt
can be designed to heights above or depths
below the natural waistline. The high-waisted
skirt can serve as a prototype for such designs
(Figure 7.69 and Figure 7.70).

Figure 7.69 Figure 7.70

 High-Waisted Skirt

Design Analysis
The dart excess of the basic skirt is combined
and draped as a one-dart front and one-dart
back. The dart intake extends 2” above the waist.
Dart points end below the waistline as in the ba-
sic skirt. High-waisted skirts can be designed as
a yoke, with an attached bottom of any design
BACK
(see page 162).

Crossgrain

Preparing Muslin
1/2" Ease i)
Measure the form or take from the Model Form
Measurement Chart:

*Hipiarc (23)
Front
Back (yng?
Stitchline
* Hip depth 25). =
* Length: as desired plus 1 1/2” for hem plus
Seam allowance i.
3 1/2” extension above

Figure 7.71
Length: Cut two skirt lengths.
Width: Cut two widths
- Front: Hip measurement, plus 2”
* Back: Hip measurement, plus 2”

Press a 1” fold without steam.

Measure down at fold that equals hip depth plus FRONT

3 1/2”, and square a line across the muslin

Crossgrain
(crossgrain).

Crossmark for hip measurement. Measure out 41/2" Ease

1/2” for ease, and draw a line parallel to fold.

K<— Stitchline

~<— Seam allowance

Figure 7.71 \24)

 Chapter 7) Skirts

Draping Steps
Figure 7.72
Place fold of muslin to centerline matching
crossgrain with the HBL line of the form. Pin
the crossgrain, waistline at center, and top of the
extension. Smooth the crossgrain along the HBL
line to the side seam, and pin.

Smooth muslin up from the crossgrain to the

side waist. Slash and pin. Continue smoothing
muslin upward, and pin.
Slash
Ease Allowance at Hip
Move the pin to the ease line at the hip HBL.
Pin 1/4” ease at the waist.
me Crossgrain Yo.
Pin an outward dart at the Princess line taking
up the remaining excess. Dart point should end
approximately 3” below the waist.
/
Slash at an angle to within 1/8” of waist.
im Pencil rub the side seam, and mark dart intake
along pinning.
Figure 7.72
Figure 7.73
Unpin dart, fold excess under, and repin.
Peel skirt back or remove from form.

Figure 7.73
 High-Waisted Skirt

Figure 7.74
Place fold of muslin to center back matching
crossgrain with the HBL of the form. Pin the
crossgrain, waistline at center, and top of the
extension.
Continue with the drape, using the front drape
as a guide.
Dart length is approximately 5 1/2” below the
waist. 1/4" Ease

Figure 7.75
Fold dart under, and pin.

Figure 7.76
Pin front and back skirt along the side seam.
Allow ease at the extended side waist.
Mark hipline shape along the pin-marks.
Remove and true the pattern. Trim side seam to
within 1/2” or 3/4”. Stitch muslin, or transfer to
paper first for the test fit.

Figure 7.75 Figure 7.76

 166 Chapter 7 Skirts

Figure 7.77 Making the Facing Patterns

Complete the pattern. Place paper under the patterns and trace
Place punch/circles at the center fold of the dart ie Seauehinn ye Nee
Fe0en
at the waist at 1/8” in from stitchline and 1/4” ai
from dart point centered. Close darts and trace.

Hip level Hip level

JajueD
yong front
Center

a b

Close dart
Close dart

| 2"

Back facing Front facing

c
d

Figure 7.77
 Gore Skirts: Six-Gore and Eight-Gore Flare

Skirt gores are multiple panels that taper to the

waist. Gore panels can be designed in a variety
of ways—equally spaced or in clusters; hanging
straight or flared at any point along the way to
the hemline; pleated; with uneven hemlines; or
angled panels for interest (Figure 7.78). Because
gore panels tend to look alike, notches are
needed to identify the correct joining panels.
The four-gore skirts of the A-line and full flare
skirts are discussed on pages 135 and 139.

Design Analysis
The skirt has six flared gore panels, with the
front and back panels cut on the fold. To
convert the six-gore to an eight-gore skirt,
add seams and flare to the front and back
centerlines. The amount of flare is estimated
at 1 1/2” on each side of the gore panels, but
add an extra inch (2 1/2”) for experimentation.
The zipper is placed at the left side seam or at
the side back panel. .

Figure 7.78
 Chapter 7 Skirts

Preparing Muslin
Figure 7.79 and Figure 7.80
Measure the space between the Princess panels
of the front and back form at the HBL line.
Record for A, B, C, and D. These measurements
are the widths of the gore panels.
Length: As desired.

Figure 7.81
Cut skirt length plus 2 1/2” across half the width
of the fabric.

Draping Steps
Back and Front Gore Panels: A and D
Figure 7.79 Fold fabric to equat measurement A plus
Delile

Measure 2 1/2” in and draw a line parallel with

the foldline.
Draw a line from hem to 1” at waist.

Repeat for panel D of the front panel.

Side Back Side Front Front

Figure 7.80

panel)
(back
Fold jUOY)
(jeUOd
PjO4

— at
DMWi2e PAW PL fn” PW PIMP PD \WfPo

Figure 7.81
 Gore Skirts: Six-Gore and Eight-Gore Flare

Side Gore Panels: B and C

Cut two panels using measurements B, which is
the side back panel, and C, which is the side
front panel. Add 5”.
Measure 2 1/2” in from each side and draw lines
parallel with each other.
Draw lines from hem to 1” at waist.

Front Panel
Figure 7.82
Place the center of the unfolded gore panel to
the center line of the form 1” above the waist-
line. Pin to form.

Crossmark Princess at waist, and pencil rub

Princess line to 5” (can be higher or lower) be-
low waist.
Mark 1/8” out from this point and clip.
Peel back or remove for the drape of the side Figure 7.82
panel.

Front Side Panel

Figure 7.83
Center side panel to form 1” above waist.
Pin 1/4” ease at waist.
Smooth muslin along the Princess and side
seam. Pin.
Pencil rub Princess line and side seam from
waist to 5” below the waist.
Figure 7.83
Front Side Panel
Figure 7.84
Pin front gore panel to the side front gore panel
at the Princess line from waist to the 1/8” mark
of the slash line.
Fold front panel to the desired width of flare at
the hemline. Crease this line.
Pin to side front panel flare at an equal distance sine
hemline

from the gore line at hem.

Adjust the amount of flare until satisfied. Figure 7.84
 Chapter 7 Skirts

Back Panel
Figure 7.85
Drape back panel using instruction for the front
panel.

Side Back Panel

Figure 7.86
Drape side back panel using instruction for the
Clip Clip side front panel.

Figure 7.87
Pin side seam from waist to the 1/8” mark at the
slash line. Pin the flare at hemline equal to the
measurement of the front panel. Pin.
Check the silhouette from the front view. If nec-
essary, increase or decrease the side flare to im-
prove symmetry.
,

Finished Pattern
Figure 7.85 Figure 7.86
Figure 7.88
Remove panels from the form, and true the gore
seamlines. Stitch muslin, or transfer to paper
first for the fitting.
Place the gore panels on paper. Trace and add
seams and notches where shown.

Side Back Side Front

Paper
=

back
Center
fold
on fold
front
Center
on

Pin-mark
hemline a b

Figure 7.87 Figure 7.88

 Eight-Gore Inverted Box-Pleated Skirt

Side pleats, box pleats, or triple pleats can be

added to the gore lines for design variations (Fig-
ure 7.89). To review pleats, see pages 153 and 154.

Design Analysis
The skirt has eight gores with an A-line silhou-
ette. The length is above the knee or to the
length desired. The gore panels include box
pleats except at the A-line of the side seams. The
depth of each pleat is 1 1/2”. The box pleats are
stitched at an angle to prevent flopping. A zipper
is placed at the side seam. Muslin preparation
for the gore panels include pleats and a 1/2”
seam allowance. Ease of 1/8” is added when
draped at the hipline of the form.

Preparing Muslin
Figure 7.90
See page 168. Record A, B, C, and D.

Length: Cut a width of fabric equal to the de-

sired length, plus 2 1/2” for hem and waist seam.
Draw crossgrain 7” down from the top of the
muslin.
Panel widths: Cut each panel equal to the
recorded measurements for A, B, C, and D, Figure 7.89

1" 1" Side Back Side Front

back
Center JajueD
jUuOL

Figure 7.90 -—» 21/8" <—

 Chapter 7 Skirts

plus 4 1/4”. Panel A: Draw lines through length

of the panel 2 1/8” in from each side. Mark 1/8”
out from hip for ease. Mark at hem, as shown.
Repeat for panel D. Repeat for panels B and C,
except at side seam the line connects fiom hem
to waist for the A-line silhouette.
Trim the panels as indicated by the broken lines
on page 171.

Draping Steps
Front Panel
Figure 7.91
Fold center front of the muslin.
Place fold to the center front of the form 1”
above waistband. Pin at the centerline.

Smooth, slash, and mark muslin along waist to

Princess line.
Smooth muslin along the Princess line and
pencil rub to crossgrain line. Trim.
Peel back or remove from the form.

Side Front Panel

Figure 7.92
Center the side panel to the form 1” above
waistline. Pin.
Pin 1/4” ease at the waist.

Smooth, slash, and mark muslin along the waist.

Smooth muslin along the curve of the Princess

line and side seam to the crossgrain line. Pencil
rub, trim, and remove from the form.

Figure 7.92
 Eight-Gore Inverted Box-Pleated Skirt

Back and Side Back Panels Figure 7.95

Figure 7.93 and Figure 7.94 Use a curve rule to reshape the hipline from the
To drape the back and side back panels, waist, ending at the 1/8” mark at the crossgrain
follow the instructions given for the front line. All panels must line up with the crossgrain
skirt panels. line. If not, adjust the waistline so that they do.
Add 1/2” seams. Cut panels for a full skirt.

Figure 7.93 Figure 7.94

Back panel Side back panel Side front panel Front panel

| |

back
Center 10;U8D
jUOdj

Figure 7.95 Adjust A-Silhovette

 Chapter 7 Skirts

Pleat Backing
Figure 7.96a
Draw a line on paper equal to the length of the
pleat. Fold on this line.
Square a 2” line out from top and bottom of the
pleat, and connect.
<— >
2x Pleat depth Draw a line 1/2” out from the top, ending 1”
a down. Mark a 1/2” seam allowance at hemline
of backing.

Underside Cut backing for six pleats.

Figure 7.96b
Stitch seams and pleat backing to each panel.
Backing

Do not stitch side seams.

Finished Pattern
Figure 7.97
Place skirt on the form, and pin side seam allow-
Figure 7.96 ing sufficient ease at the hipline. If necessary,
raise the center back so that the hemline is paral-
lel with the floor. Pin side and adjust side flare, if
necessary, when viewing the front and back skirt
for fit and balance.
Side view Front view
\ Remove skirt and make paper patterns.
j|
y

Adjust side seam

if necessary to
improve the
A-silhouette,

Figure 7.97
 Skirts with Gathered Waistlines

Gathers are computed by ratio or by width of The ratio of gathers may be difficult to visualize.
the fabric. An example of the amount of fabric It is suggested that a gathered sample of each full-
gathered is shown in Figure 7.98: ness be stitched and used as a reference for added
* Width = 26” fullness. Cut and stitch a 5” sample of each.
* 1 1/2 times the width of the fabric = 39” ee Salant SOG gous Dy ue
(13 added to the width) ratio is shown in Figure 7.99, which illustrates
FS ee the iO Re eae sO? one-and-a-half widths, or two or more widths
(a6 addedtothe width) of fabric. Lightweight fabrics may require more
* 2 1/2 times the width of the fabric = 65” SAU CTL a EINECS TERS,
(39” added to the width)

meri Fl mio
Zain Ze | 2 ZiOul ,3tol , 4tol

La i

ae oT

| Inexpensive Average Chiffons and

garments fullness lightweight
fabrics

Figure 7.98

—_- __ Crossgrain >

width of the fabric

<
=
Do
ce
®
Selvage
endl |
EBDAIES
straight
grain

Figure 7.99
 Chapter 7 Skirts

Design Analysis Preparing Fabric or Paper

The dirndl skirt has as much fullness at the waist Cut the required panels to length.
as at the hemline. The fabric is cut into the num-
Measure hip depth (#25) using the Form Mea-
ber of widths required for fullness. The rectan-
surement Chart.
gular shape is cut to length—generally, two pan-
els of 36” widths, or from one-and-a-half to two Subtract front from the back hip depth to mark
panels of 45” widths of fabric. The waist gathers center back.
into the waistband (Figure 7.100).
Draping Steps
Figure 7.101
Use this measurement and mark at center back
drawing a curved line ending at the side seam.
Trim.

Optional ,

The center back can be cut on the fold or with a

center back seam. The zipper can be placed at
the center back or at the side seam.

Gathered skirts are sometimes cut to gather

along the selvage placing the straight grain
around the skirt.

[aU MRO lA,

1/4" 1 FRONT

Trim back waistline

BACK

back
Center

te Option:
Figure 7.100 Figure 7.101 Cut apart for center back seam
 Tiered Skirts

A tier is one of a series of rows placed one above Drape the full flare skirt and pin-mark tier
the other in the form of gathers, pleats, or flares locations.
(Figure 7.102). A tiered skirt can be designed Trace a copy of a basic skirt or flare skirt on
with the tiers stitched in rows that connect one marking or tissue paper. Place on the form and
row to the other, or stitched within the seams of pencil mark tier locations (see Figure 7.103 and
panels of a straight or flared skirt. Tiers may be
Figure 7.104).
the same width, graduated, stitched horizontally,
or on an angle for a skirt or dress. To determine Pin-mark or use style tape directly on the form
the proportion of tiers, the designer/draper has to mark tier locations.
several options:

Design I

Design 3 Design 2

Figure 7.102
 Chapter 7. Skirts

Separated Ti
This example is based on a draped front and 2. To establish a skirt frame to which the tiers
back basic skirt. will be stitched into seams. The seam of the un-
derlay is marked at least 1” up from each tier to
cover stitches. This measurement is added to the
Design Analysis
length of each tier after the first. Each of the tiers
The basic skirt is draped and used for two pur- has a 1/2” seam and hem allowance. The third
poses: panel (C) of the frame is discarded for Designs 1
1. To mark the visual location and underlay of and 2, but needed for Design 3, which is a
each tier to determine yardage. thought problem.

Tier Proportions
Figure 7.103
Drape the front and back skirt to the desired
length.
Pin-mark the level of each tier (A Brand GC).

Figure 7.104
Pencil mark (use a red pencil) 1” up from pin-
marks of panels B and C.
Measure the length of each tier
* Tier A: Length, plus 1/2” seam for waist
and hem. Record.
* Tiers B and C: Length, plus 1” for the un-
Figure 7.103 Figure 7.104 derlay plus 1/2” for seam and hem. Record.

Paper
Skirt Frame
Figure 7.105
Cut panels along the red lines of the underlay.
Te True panels A and B.
hija Discard panel C.
Trace on paper, adding seam and hem al-
lowances as indicated.

it ee

Repeat for back pattern

Figure 7.105
 Separated Tiers

Gathered Tiers: Design 1 Flared Tiers: Design 2

Figure 7.106 Figure 7.107
Yardage suggested for each tier: The flare of the first tier is created by
* Tier 1: Recorded length, plus full width of smoothing the excess of the waist (dart) to
fabric. the hem. For greater flare, slash and drop the
crossgrain.
* Tier 2: Recorded length, plus two widths of
fabric. Tiers 2 and 3 are created by dropping the cross-
- Tier 3: Recorded length, plus three widths wise grain and adding flare to the side seams.
of fabric.
Stitch the flared tiers to the frames of A and B.
Join and gather tiers 1, 2, and 3. Pin or stitch tiers
Critique flared tiers.
to panels A and B of the front and back skirt.
Critique fullness and proportion of the tiers. Pattern shapes accompany the draped skirt.

Tier 1

Tier 2

Tier 3
 Chapter7 Skirts

‘Tiered Rows'Stitched Tosether = aaa

Figure 7.108
 Tiered Rows Stitched Together

Design 4 is illustrated. It is a prototype for Tier Proportions

other tiered variations that are joined together
Figure 7.109
(Figure 7.108).
Length: 29”

Design Analysis
Note the length of each tier:
* Tier A:6 1/4” © Tier B: 6 3/4”
A copy of the basic skirt pattern is cut in mark-
«Tier C:7 W490 “Ter Das ols
ing paper (Figure 7.109), pinned, and placed on
the form and marked for tier placement. After To these measurements, add 1/2” seams.
the tiers are marked (use example given or mark
Add 1” for the hem to the last tier.
your own), the amount of fullness allotted for
each row should be determined. The first tier is Yardage suggested for each tier (Figure 7.110):
cut to the width of the fabric (36” or 45”), and * Tier 1: One width. Trim 3/8” at center back
each subsequent row will be from 1 1/2 to 2 waist to zero at side waist.
times the previous row. The waist of the first tier * Tier 2: Two widths.
is tapered from the side to the center back waist. ¢ Tier 3: Four widths.
This allows the skirt to hang parallel to the floor. * Tier 4: Eight widths.
Add 1/2” to tiers A, B, and C for seams and hem
allowance.

Cut the panels apart 1/2” and trim center back.

36"- 45" width =

poem
nnn a
eed
S.S. GCE SS:
Tier A - Cut 1 width
(Divide panel into fourths, Label as shown

Tier B - Cut 2 widths

Tier C - Cut 4 widths

Figure 7.109

8 3/4" Tier D - Cut 8 widths

Figure 7.110
 Chapter 7 Skirts

Wrap Skirt with Asymmetric Drape

Design Analysis
Figure 7.111

A four-pleat, asymmetric drape wraps a basic

skirt (and can also be attached to a bodice with a
zipper back). The front under the skirt continues
to the side seam, where it is secured with a tie
string or a hook and eye. The waistband is at-
tached to the draped section continuing around
the back, and front skirt ending at the location
where the front drape overlaps it. The waistband
is secured with a button or Velcro. The excess
from the waist dart is draped to the hemline as
flare and is then lifted, thereby providing excess
for the asymmetric pleats. This design is the pro-
totype for other designs with pleated drapes.
Follow the instructions for draping the basic
skirt on page 39 or trace a copy of the basic skirt
pattern. The right side seam is not stitched to the
back side seam. The back side seam is stitched to
the asymmetric drape.

Preparing Muslin
Figure 7.112
Figure 7.11 Measure as needed:

- Width: Across front hip or use double #23

on the Form Measurement Chart and
:| add 10”.
* Length: As desired, plus 5”.
Draw a grainline in the center of the muslin and
slash 3” down from this line.

Figure 7.112
 Wrap Skirt with Asymmetric Drape

Draping Steps Smooth, clip, and mark muslin 1” past the cen-
Figure 7.113 terline for placement of the first pleat. Pleats can

Place guideline to the center of the form,

beaefolded
cana Npinvet hercece
directiontn aadesireck
kr
pinning the slash line at bottom of waist tape. Figure 7.114

Pin down the centerline to secure. Trim to within 1” of the side seam.
To fold the first pleat, lift the crossgrain and fold
Smooth, clip, and mark the muslin along the
a pleat depth of approximately 1 1/2” (3” on the
waistline and abdomen to the side seam.
open). The fold of the pleat should not twist, but
Smooth the muslin along the side seam and should roll smoothly to the waist where it is
pencil rub. Pin. The flare will appear at the pinned. Fabric should lie smoothly below the
hemline. drape and be pinned temporarily.

Mark and pin

at center front

Figure 7.113 Figure 7.114

 Chapter 7 Skirts

Figure 7.115 Figure 7.116

The second pleat is placed 1/2” from the Repeat the process for the third pleat.
first pleat. Lift the crossgrain and fold a Kj 7117
pleat depth of approximately 2” (4” on the gost e
open). Pin. Smooth the side seam, and pin to the cage to secure.
Trim excess to within 1” of the side seam.

Figure 7.115 Figure 7.116 Figure 7.117

 Wrap Skirt with Asymmetric Drape

Figure 7.118 and Figure 7.119 Trim the curve line of the cascade to the desired
Repeat the process for the fourth pleat. length of the skirt.

Draw a continuous line across the pleated drape Clip the muslin 1” past the last pleat to establish
at the bottom of the waist tape. the drop of the cascade. Pin-mark at the waist
tape for button placement of the waistband,
Trim to 1/2” along the waistline. which will end 1” past the pin-mark. Repin
across the foldline to secure the angle of the un-
Continue trimming approximately 8” to 10”
derlay of each pleat or use masking tape.
beyond the last pleat to create a cascade of
folds. Remove the drape for trueing.

Figure 7.118 Figure 7.119

 186 Chapter 7 Skirts

Trace across waistline Figure 7.120

Lay the pinned drape on the table, allowing the
Mark each
pleats to lay flat.
leg of the
pleat With a curved ruler, draw the waistline with a
red pencil.
Mark the location of each pleat leg.
To transfer the shape of the pleat underlay, trace
across the waistline.

Figure 7.121
Unpin and draw the underlay of each pleat (bro-
Figure 7.120
ken lines are used for pleats folded downward;
the bold lines are for the shape of the pleat
Jog seam folded upward). Draw and true the line of the
side seam. Stitch muslin or transfer to paper first
for the test fit.
Transfer to paper, and notch each pleated drape
and side seam. Recut.
Fold and stitch across each pleat.
We Stitch the basic skirt together with the draped
overlay stitched to the back side seam. (The cas-
cade can be merrow edged, baby hemmed, or
faced.)

Types of Wrap Closure

Figure 7.122
Figure 7.121 The waistband starts at the cascade and extends
about 1” past the pin-mark on the waist tape of
the form for button placement.
Tie strings are placed at the side waist. At the
end of the wrap, hooks and eyes or Velcro can be
used. The belt can be buttoned or can use Velcro.
\

3. Tie Strings

Figure 7.122
 Side Cowl Draped Skirt

Re
Review the theory of the cowl drape given in back cowls will be greater than that of the
Chapter 12. Cowls drape best when on true bias front cowls. The front cowls will be draped
(Figure 7.123 and Figure 7.124). first, taking up all the excess so that the straight
grain of the center front aligns with that of the
form. The back cowls are draped in sequence
Design Analysis
with those of the front, with the center back
The four pleated cowls draped at the sides of the seam on the bias grain. (The center front may
skirt create a peg silhouette. The dart excess at be cut on fold if the fabric has sufficient width.)
the front and back waist are incorporated into The skirt should be draped in a softly woven
the pleats of the cowl. The pleat intake of the fabric, or knit.

Figure 7.123 Figure 1.124

 188 Chapter 7 Skirts

Preparing Muslin: Front and Selvage

Back Skirt
Figure 7.125
Measurements needed:

Width

Back Hip arc: #23

Length: 20 to 25”

Fold fabric so that the crossgrain aligns with

straight grain of the selvage. Mark the foldline
(true bias). Cut folded section from the fabric.
Pencil rub guidelines on bias fold.

Crosswise grain
Seawuorse svsceantimnnivar TsO
“Straight grain Cut A Selvage

Figure 7.125 /

Draping Steps
Front Drape
Figure 7.126
Square up from crossgrain equal to hip mea-
surement plus 3” and mark 2” down. Square a
4YUBIOIS
ulnIB
line from fold and draw a curved line that equals
hip arc plus 1/2” for hemline of the skirt (A-B).
Reena
eee
ee
eRea
RUS
NE
OUU
CH
LUUCUUHEERU Measure up from (B) for the skirt length,
; plus 1” for the hem (C). Add 1-1/2” (D).
Square an 8 1/2” line from the fold (E to F).
This is the first fold of the cowl (E) to (F).
Draw a soft curve line from (D) to (F) for the
Waistline —>
waistline. Measure this line. To determine the
pleat intake, subtract the front waist from (D-E).
Divide into the number of cowls desired.
Repeat for the back waist. The centerlines of the
Crossgrain
L
ii HENCE
L
front and back skirt are on the grain.
Figure 7.126 Cut skirt section from the fabric (darkened
section).
Draw guideline on bias fold.
 Side Cowl Draped Skirt

First Cowl Second Cowl

Figure 7.127 Figure 7.128
Unfold the fabric, and fold across the muslin Second cowl: Fold a cowl pleat and pin approxi-
(E-F). mately 3/4” from the first cowl. The bias guide-
line must align with the side seam of the form
Pin 1” down from the fold on each side of the
throughout the drape. Adjust the pleat to shift
side seam at the waistline.
the alignment, if necessary.
Place holding pins to secure the fabric as the
Mark across the pleat at waist and on each side
drape proceeds.
of the fold of the pleat.
Bring together the front points to form first
cowl.

Figure 7.127 Figure 7.128

 190 Chapter 7 Skirts

Third Cowl Back Drape

Figure 7.129 Figure 7.131
Repeat the instruction. Repeat the instructions for the front drape.
The center back line should be parallel to the
Fourth Cowl
center back of the form and extend 1” beyond.
Figure 7.130 Recheck so that the bias guideline is on the side
Pin center front with fabric extending 1” beyond seam of the form. Check for twisting of the
center front and parallel with it. Remaining ex- cowls by placing a finger at the guideline fold of
cess is folded for the last pleated cowl. (Excess each cowl and pressing down. If twist occurs,
should be shared about equally among the adjust the pleat intake. (See Chapter 12.)
pleated cowls if possible.) Adjust, if necessary.

Figure 7.129 Figure 7.130 Figure 7.131

 Side Cowl Draped Skirt

Finished Pattern Figure 7.133

Figure 7.132 Unpin pleats and pencil in the preferred pleat
Pin through each pleat to secure before remov- underlay of each cowl.
ing the drape from the form. True the remaining drape.
Lay the drape on the table and draw a blended Make the paper pattern. Cut and test fit. (A) to
front and back waistline. (B) can be stitched together or left unstitched.
Run the tracing wheel along the pinned waist- Side
line to transfer the exact shape of the pleat un-
derlay.
Trace across pleats

CB: Ce

Figure 7.132
Stitch A to B

Cowl #2

Cowl #4

skirt
of
Side

Paper
Pattern

Figure 7.133
 “erin Bartell
tM oA eS
E ade phaien We
2 al yalea
.
<y Os fra (Ge PL a
—
¥
a
-

0", EP % os 6k
‘ j 4

asnis Bova truly BS

 he draper/designer has freedom to create the design of
the collar’s width, length, height of stand, and direc-
tion in which it will lie (see Figure 8.1). This is the ad-
vantage of draping collars. The choice of collar design should
always compliment and enhance the style and purpose of the
garment. The shawl collar is illustrated in Chapter 17.
 Chapter 8 Collars

Collar Terminology
Figure 8.2
Collar edge: The design part of a collar.
Collar stand: The height at which a collar rolls
over itself. There are three basic stands:

* 1” stand, a full roll.

* 1/2” stand, a partial roll.
¢ 1/8” stand, a flat roll.
The height of the stand limits a collar’s width
from the center back to the shoulder. From the
shoulder to the front, a collar can be of any
width and shape.
Neckline edge: Stitches to the neckline of the
garment.

Roll line: The point at which a collar rolls over

itself, creating the collar stand.
Figure 8.1

Collar edge (collar style)

_____Rollline
tiene —
Neckline edge

Figure 8.2a

; . Basic collar
Two Basic Neckline Edges
Regardless of the collar design, the neckline edge
which controls the collar stand has one of two
basic shapes:
Fi :

* Contrary to the curved neckline of the

*
igure 8.2b
garment (unbuttoned, the collar springs
open) (see Figure 8.2b). Peter Pan collar
* Following closely to the curved neckline of
the garment (unbuttoned, the collar stays

\
in place) (see Figure 8.2c).

Figure 8.2c
 Basic Collar

Basic Collar
The basic collar ends at a point and is designed
for shirts and garments requiring a casual look.
The front collar can be of any shape providing
that it blends to the shoulderline. The collar will
open when unbuttoned rather than stay at its
original location (Figure 8.3).

Principle
The neckline edge of a collar, in opposition to
the curve of the form’s neckline, will cause the
collar to open when unbuttoned.

Design Analysis
The basic collar has a 1” collar stand (full roll).
However, a wider collar, will increase the height
of the stand.

Preparing Muslin Figure 8.3

Figure 8.4
Cut muslin as follows:

« Length: 12°
B
* Width: 3” O
Draw straight grain 1” from edge. | >=<
=

Draw crossgrain 1/2” up from muslin length. Figure 8.4

 196 Chapter 8 Collars

Draping Steps
Figure 8.5a
Place straight grain at the center back, with the
crossgrain guideline at the neckline.
Pin at neck, and from 1 to 1 1/2” (for higher
Figure 8.5a stand) up from neckline for collar stand.
Smooth the crossgrain guideline along the back
neckline to the shoulder/neck. Slash and pin.

Figure 8.5b
Pin 1/8” approximately 1” up from the shoulder/
neck.

Figure 8.6
Figure 8.5b
As the muslin is smoothed around the neck to
the center front, the crossgrain lowers.
Mark the neckline curve to the pinhead guide at
Figure 8.6 center front.
Slash to, but not past, the marked neckline. Pin.

Trim excess to within 1/4” of the front neckline.

Figure 8.7
Fold the back collar over from the pin-mark at
the stand.
Fold muslin upward approximately 1/4” below
Figure 8.7
the neckline of the form. Slash down to the
collar edge. Trim excess.

Figure 8.8
Draw the front basic collar (or any design) end-
ing at and blending with the shoulder/neck. The
broken lines show other possible designs. Add to
muslin preparation for design variations.
Figure 8.8 Remove draped collar and true.
 Mandarin Collars

Transfer Collar to Paper x Paper

Figure 8.9
PIO
Place collar on folded paper.
Use pushpins or a tracing wheel to transfer the
upper collar to paper. Figure 8.9

Remove traced collar.

Notch
Pencil the collar’s outline and add 1/4” seams. ySe
/
Upper collar
@n fold —
Finishing Pattern
Figure 8.10
4 x
Notch Notch
Mark notch placement at the center back and
shoulder. To complete the undercollar, trace and Figure 8.10a

trim 1/8” to zero at point of collar. Use also for

inner support.

Undercollar

Figure 8.10b

Mandarin Collars
Inspiration for the mandarin collar as a fashion collar (with exception of the collar/stand shirt
style is taken from traditional Chinese wear. The collar) and will not open to same extent as the
mandarin can be described as a standing band basic collar when unbuttoned.
that fits around the neckline at varying heights
(Figure 8.11). The center front of the mandarin
can be rounded, straight (military effect), or
winged for design variation. It can be extended
for button/buttonholes and be part of the stand
for the tailored shirt collar. The mandarin can
also be draped on fold at center front with the
opening in back. The collar can be draped at the
basic neckline or at a distance from it.

Principle
The neckline edge is the same as that of the basic
collar. The mandarin does not have a fold over Figure 8.11
 198 Chapter 8 Collars

Design Analysis Preparing Muslin

The mandarin collar has the traditional Figure 8.12

rounded shape. The basic height of a Cut muslin as follows:
mandarin collar is from 1 1/4” to 1 1/2”. > Length: 10”
It can be wider, but may be uncomfortable * Width: 2 1/4”
if the collar rubs against the turn in the Draw straight grain 1” from edge. Draw cross-
back neck. grain 1/2” up from muslin length.

ele:

Figure 8.12

Draping Steps
Figure 8.13
Place straight grain at the center back and cross-
grain at the neckline. Pin at the neck and 1 1/2”
up from the neckline.
Slash to, but not past, the neckline, as the muslin
is smooth to the shoulder/neck. Pin.

Figure 8.14
Pin 1/8” approximately 1” up at the shoulder/
neck.
Smooth fabric around the neck to the center
front, slashing to release tension. Pin.
Draw a neckline curve from the pinhead guide
to the shoulder/neck.
Figure 8.14 Trim excess to within 1/2”.
 Mandarin Collars

Figure 8.15
Draw style curve of the mandarin. (The broken
lines show the mandarin with a straight line for
a military effect.) e
Figure 8.16 \
Remove the collar, true, and transfer to paper.
The upper and undercollar can be the same size. Figure 8.15

ah Notch be
Finished Pattern a .b
ie)
Variation: Winged Mandarin ' | ? a
Figure 8.17 (the design), Figure 8.18, and Notch
Figure 8.19 Figure 8.16
Refer to Figure 8.13 and Figure 8.14 for draping
instruction.
The excess is cut to a point. The point is folded
and pressed to hold its position.

Finished Pattern Figure 8.18

Variation: Mandarin with Extension
Figure 8.20, Figure 8.21 (the design), and
Figure 8.22
Drape past the center front an amount equal to
the width of the extension of the garment. The
extended end is rounded. The back mandarin Figure 8.19

is stitched to the back neck of the vest. Mark for

button/buttonhole.

Finished Pattern

Figure 8.22

Figure 8.20
Figure 8.21

i 4\
Figure 8.22
 Chapter 8 Collars

The Peter Pan introduces the principle of the Principle

full roll, partial roll, and flat roll collars (illus-
The neckline edge of collars that stay in
trated as a sailor collar) (see Figure 8.23). Apply
place when unbuttoned must be simiar in
this principle to all designs in which the collar
shape to the curve of the form’s neckline.
is to stay in place when unbuttoned.
The closer the similarity, the lower the stand
of the collar; the less the similarity, the higher
the stand.
By applying a pivotal technique of the flat
patternmaking method, called the 4 to 1 rule,
the designer/draper will be able to drape a full
roll (1” stand), a partial roll (1/2” stand), or a
flat roll (1/8” stand). The degree to which the
neckline edge curves,controls the height of the
collar stand and the collar’s width.

Relationship of Neckline Stand,

and Width
Figure 8.24
Figure 8.23
Compare the curve of the neckline edge of each
collar to that of the basic neckline. Compare the
width of each collar to the height of the collar
stand.
* Full roll: 1” stand; 2 3/4” wide, example A.
* Partial roll: 1/2” stand; 3 1/2” wide,
example B.
- Flat roll: 1/8” stand; any width, example C.
By design, the Peter Pan has a rounded collar’s
edge. Figure 8.23 illustrates the three basic types
by the shape of the neckline, height of the stand
and width of the roll-over collar. The front part
of a collar can be designed to any length and
width, but must blend with the back collar at or
Figure 8.24 near the shoulder.
 Peter Pan Collar: Full Roll

Design Analysis
Figure 8.25
The collar has a 1” stand, and a finished width of
2 3/8”. The draping formula is to follow the back
neckline to shoulder. Pivot the back drape 4” to
the front to complete the collar. The collar edge
of the Peter Pan is drawn parallel with the neck-
line.

Preparing Muslin
. Figure 8.25
Figure 8.26
Cut*muslin212” < 12”. pte r

Fold muslin 1/2” for the center back.

| Trim
t

A-B = 3” for collar width. Mark.

B-C = 2” squared from B. Square up 1”, mark, |

and continue through the length of the fabric. | Wes
Draw a curve line from B to C. | c
Cut from B to C and continue through the B me —
length of the straight grain. -
A Y
Draping Steps ae
Figure 8.26
Figure 8.27
Place fold (B) 1/2” up at the center back neck.
Pin.
Slash to, but not past, the neckline as muslin is
being draped to the shoulder/neck, and cross-
mark.

Thrust a holding pin upright at the shoulder/ Crossmark

shoulder tip
neck.
i
Crossmark (x) shoulder-tip. Remove all pins |
except shoulder/neck to allow muslin to pivot
forward. Figure 8.27
 Chapter 8 Collars

Draping Steps: Pivoting

Collar Forward
Figure 8.28
Illustrates the muslin pivoted forward at the
shoulder/neck.
Continue with the instructions to complete the
full roll collar. To complete the partial roll collar,
see page 204, and the flat roll, page 206.
Figure 8.28
Figure 8.29
Pivot (x) 4” past the shoulder-tip. Pin at the
shoulder-tip.
Smooth muslin around the neck. Pin.

Draw the curve of the neckline to center front

pinhead.

1" Stand Figure 8.30

Slash to, but not past, the neck guideline.

Draw collar 2 1/2” wide and parallel to the neck-

line, rounding to the center front. (Any design
can be created.)

c/
Remove collar from the form and complete the
: shape of the back collar.
| Trim excess to within 1/4” around neckline.
Figure 8.30
4
AL
Repin Collar to Neckline
Figure 8.31
Pin at the back neck and 1” up for foldover.
Pin along neckline to the shoulder/neck.

Figure 8.31 Figure 8.32

Pin along the pin guide of the front neckline.

Figure 8.32
 Peter Pan Collar: Full Roll

Back
Figure 8.33
Roll collar over. Pin. i

Front
Figure 8.34
Roll collar to the center front. Adjust if neces-
sary.
Figure 8.33
Remove to complete the collar patterns.

Completing Pattern
Trueing and Transferring the Collar
Figure 8.35
Adjust the neckline edge of the collar using the
Figure 8.34
measurements given. (The point at shoulder/
neck is less noticeable on the partial and flat roll
collars.)

Mark notches at the shoulder and collar’s edge.

Secure back collar to the fold of the paper.
Transfer collar on stitchline with a tracing wheel,
and mark notches.

Remove paper tracing.

Figure 8.35
Upper Collar
Figure 8.36
Paper
Pencil in traced collar shape and notches.
1/4" Seams

The collar should be approximately 1/8” longer

than the neckline of the design pattern (that is,
1/16” on each side of the notch) to compensate
for the thickness of the collar construction.
Measure and mark the collar width from neck-
line edge. Figure 8.36
Add 1/4” seam around the collar.

Cut from paper and recheck fit by walking to the

neckline of the design pattern.
Cut from paper. Notch the center back, shoulder
and collar edge, as noted.
 Chapter 8 Collars

Undercollar and Interfacing Pattern If interfacing is fused by the yardage, the under-
Figure 8.37 collar pattern is used. If not, trace the undercol-
l for fusing.
Place back collar on fold. Trace neckline and lar and remove seam allowance for fusing
mark at the center back of the collar edge.
With a pushpin at the center front, pivot the
collar until the back collar is raised 1/8” from
the mark. Trace the collar and mark notches.
The undercollar is shorter in width and length
(along the stitchline). The bias stretches to
length when stitched.
Cut from paper, and double notch center back of
collar’s edge, and where noted. Figure 8.37

Design Analysis
Figure 8.38
The collar has a 1/2” stand, and a finished width
of 3 1/2”. The collar is draped to follow the back
neckline and pivots 2” to the front to complete
the drape. The collar edge is drawn parallel to
the neckline.

Figure 8.38 Preparing Musiin

To prepare the muslin, see the instructions on
page 201, Figure 8.26, using 4” for the A-B
measurement and the draping instructions in
Figure 8.28 and Figure 8.29.

/ Pivot 2"
Draping Steps
Figure 8.39
Pivot (x) 2” past shoulder-tip. Pin at shoulder-
tip.
Smooth muslin around the neck. Pin.

Figure 8.39 Draw guideline for the neckline shape.

 Peter Pan Collar: Partial Roll

Slash to, but not past, the neck guideline.

Draw the collar 3 1/2” wide parallel to the neck-

line and rounding to the center front neck. (Any
design can be created.)
Trim excess to within 1/4” around the neck.

Remove the collar from the form and complete

the shape of the back collar.
Trim collar edge.

Pin Collar to Neckline

Figure 8.40a
Pin at back neck and 1/2” up for foldover.
Pin along the neckline to the shoulder/neck.

Figure 8.40b
Pin along front neckline guide.

Back
Figure 8.41
Roll collar over. Pin.

Front
Figure 8.42
Roll collar over. Pin.
Remove collar. To complete the collar, see
the instructions on page 203, Figures 8.35
through 8.37. Figure 8.40b

Figure 8.41 Figure 8.42

206 Chapter 8 Collars

The traditional sailor collar is designed to be

stitched to a V-cut neckline on all types of gar-
ments. It is either cut on the fold or buttoned.
The collar is draped as a flat roll on the Peter
Pan principle (Figure 8.43 and Figure 8.44).

Design Analysis
A sailor collar has a long hanging back collar,
with the front part tapering from the shoulder,
ending at a depth below the center front of a
V-cut neckline. The garment can be draped be-
fore or after the collar has been completed. The
depth of the V-cut neckline and the length and
width of the back collar are noted to guide the
designer/draper.

Preparing Form
Figure 8.45 and Figure 8.46
Pin-mark for the back collar length and depth of
V-cut neckline.

Figure 8.44

Measure for
collar's length

|
|
Figure 8.45

Figure 8.46
 Sailor Collar

Preparing Muslin
Figure 8.47
Length: Measure from the back mark to the
shoulder/neck to the depth at the centerline.
Add 6”.
Width 2 12”:

Measure the back collar length and width. Add

1/2” (reference measurement).
‘yjBue7
snd
g/4
19
Cut muslin to equal length and width.
A-B equals the back collar length. Mark and
square in 2 1/2” and up 3/4” (C).
Cut a curve line from B to C. From C, cut to the
end of the muslin 1” in from the corner. collarlength
Back
>w
J
CS2 eee
Fold 1/2” on the straight grain. Figure 8.47

Draping Steps
Figure 8.48
Place fold of the straight grain to the center back Crossmark

1/4” above neck. Pin. Shoulder-tip

Smooth muslin across the back. Pin.

Slash to, but not past, the neckline as the muslin

is smoothed around the back neckline.

Trim the neckline to within 1/4” of the neckline.

Thrust a pin upright through the shoulder/neck.
Crossmark shoulder-tip.
/
Pivot 1/2"

Remove all pins except at the shoulder/neck.

Figure 8.49
Pivot 1/2” past shoulder-tip. Pin shoulder-tip.
Draw the V-cut line and collar edge of the sailor
(can be stylized for variations). Remove from the
form to true.

Figure 8.49
 Chapter 8 Collars

r
Collar width Trueing the Collar
Figure 8.50
Mark the width of the back collar and square a
jong
JajuaD line, blending with the front sailor at the shoul-
derline. Cut sailor collar from the muslin.

Shoulder/neck Figure 8.51

notch
Pin collar to the back neckline.

Pin 1/8” up from the back.

Figure 8.52
Center front
Fold collar over, and pin along the center back.

Figure 8.53
Fold under the seam allowance of the V-cut, and
pin at the depth of the collar.
Figure 8.50
Remove the collar and transfer to paper. True to
neckline of the garment.
For instructions for undercollar and interfacing,
see page 197.

|
Figure 8.51

Figure 8.52 Figure 8.53

 Cascade Collar

A cascade is created using the flat roll principle.

Other design variations follows this project
(Figure 8.54).

Design Analysis
The cascade collar is based on the flat roll prin-
ciple. The collar is stitched to the styleline of the
panel garment and falls as a cascade. The panel
garment to which the collar is stitched can be a
bodice or a dress, and it can be draped before
the collar. The panel will be illustrated as a com-
pleted drape. See page 107 for the draping guide.
A bishop’s sleeve completes the design.
Figure 8.54

Preparing Form
Figure 8.55
Use style tape or pins to establish the panel style-
line, using measurements given.

The shoulder/neck is labeled (x). Pin (y) at level

with the armhole depth.

Preparing Muslin
Figure 8.56a
Figure 8.55
For the panel dress or bodice panel, see
pages 26 and 27.
Cut muslin 12” x 12”.

A-B=5 1/2”. Square in 2 1/2”and up 3/4”. Mark

and continue line through the length of the
muslin.
Draw a curveline from B to C.

Cut unneeded section.

Fold 1/2” on the straight grain.

Figure 8.56a
 Chapter 8 Collars

Draping Steps
Figure 8.56b
=fia¥_V-V Shoulder/neck
Place fold 1/2” up from neck.
x,
Drape neckline to shoulder/neck. Thrust pin up-
right at this point.
Crossmark
shoulder tip
Draw a curve of the collar’s edge parallel to the
neckline.
Crossmark shoulder-tip. Remove all pins except
at the shoulder/neck.
Figure 8.56b

Figure 8.57
Pivot crossmark 1/2” past shoulder-tip. Pin
shoulder-tip.
Smooth and slash muslin around neck.

Crossmark center front neck (Z).

_ Mark center.
front neck

Figure 8.58
Pivot muslin downward from neck so that cross-
mark (Z) aligns with the X-Y styleline tape. Pin.
Figure 8.57
Draw styleline from X to Y. Pin and slash.

Figure 8.58
 Turtleneck Collar

Figure 8.59 2
Remove drape from the form and draw shape of
collars’s edge. Add 1/2” seam allowance X to Y.

Figure 8.60
Pin the collar to the garment from center back
neckline to the front, ending in the seam of the
panel line X to Y.

Figure 8.61
Front view of the drape.
; 5 Figure 8.59
Remove from form, true. Stitch muslin, or trans- 8
fer to paper first for the test fit. To complete the
collar, see pages 203 and 204. For facing instruc-
tions, see Chapter 14.

Design Variations
Through design analysis, the designer/draper
should be able to determine whether a collar is
based on the full roll, partial roll, or flat roll
principle.

Figure 8.60

Figure 8.61

The drape of the bias band follows the neckline pattern will measure less than the neckline of the
of the garment to which it will be stitched. The garment. An opening at the center back will be
bias band should stretch as it is pinned or necessary if the garment is not cut in a stretch-
stitched to the neckline of the garment. Stretch- able fabric. A zipper, button/buttonhole, or
ing the bias allows the band to fit closer to the loops and buttons are suggested for closures.
neckline and prevents puckering. The turtleneck
&® Chapter 8 Collars

Design Analysis
Figure 8.62
Single-fold Turtleneck (Figure 8.62a): Draped to
follow the basic neckline. The finished width is
illustrated as 1 1/2”; however, it may be of any
width.
Double-Fold Turtleneck (Figure 8.62b): Draped
to follow the basic neckline. Double the finished
width desired.

Wide Crush Neck (Figure 8.62c): Draped to

follow an open neckline. The wide turtleneck
falls in a crush-like effect around the neckline.
To avoid puckering, the bias band should be
stretched as it is being pinned or stitched to the
neckline. The banding pattern will measure less
than the neckline of the garment.

Figure 8.62

Preparing Muslin
Measure around the neckline. Add 1”.

Cut a 20” square for Figure 8.62a

(see Figure 8.63).
Cut a 22” square for Figure 8.62b (for foldover).
Fold straight grain to crossgrain for true bias.
JyUBIOWS
ulnj6B

Crossgrain

Figure 8.63
 Single-Fold and Double-Fold Turtlenecks

Figure 8.64
Square a line up from the fold equal to the band-
ing width.
Mark length from this line and square again.
Draw a connecting line.
Draw a 1/2” parallel line for seam.
Cut band from fabric ~<——— Neck measurement ———>
Figure 8.64

Draping Steps
Figure 8.65
Place fold side up. Pin center back and along the
neck to the shoulder, stretching slightly.

Figure 8.66
Slightly stretch the banding as the bias is draped Figure 8.65
around the front neck.
Pin the 1/2” seamline at the marked neckline.

Slash to, but not past, the neckline.

Figure 8.67
Pin banding together at the center back.

Remove the drape, true, and transfer to paper.

Figure 8.66

Bias Collar Pattern

Figure 8.67
Figure 8.68
Cut and stitch to garment.
If additional stretching occurs when stitching
the bias collar to the garment, adjust collar pat-
tern for notch locations and length. Figure 8.68
 Chapter 8 Collars

Wide Crush Turtleneck_

Design Analysis Preparing Form
The drape of the bias band follows an open Figure 8.69 and Figure 8.70
neckline. The wide turtleneck falls in a crush- Pin-mark 1” parallel to the front and back neck-
like effect around the neckline (see page 212, lines. The shape of the neckline can vary.
Figure 8.62c).
Measure pin-marks from front to back. Add 1”.

Preparing Muslin
Figure 8.71
Cut a 22” square and fold.
Square a 5” line. From this point, square a
5~ line: .
Draw a connecting line and a 1/2” seam al-
lowance line.

Draping Steps
Figure 8.72
SSS
Lenin
Drape back neck, stretching slightly.
Figure 8.71
Mark a notch at the shoulder.

Figure 8.73
Drape across the front neck, stretching slightly.
Mark a notch at the center front.

Figure 8.74
Pin back neck.
Remove, and make paper pattern.
Cut in fabric and stitch to garment.

Figure 8.74b
If additional stretching occurs when stitching
bias collar to the garment, adjust collar pattern
Figure 8.74 for notch placement and collar length.
 Wide Crush Turtleneck

Variation: Draped Banding Inset

Design Analysis
Figure 8.75
The bias band is pinned into a style neckline,
with a wrap at the center back to hold the excess
as folds. The drapery effect ends in a V-neckline.

Figure 8.75

Preparing Form
Figure 8.76
Remove tape across bust. Pin-mark style neck-
line. Measure the styleline to the center back
neck.

Figure 8.76

Preparing Muslin
Figure 8.77
Cut a 40” square, and fold cross grain to the
straight grain for a bias folsline.
Mark banding width, as desired, plus 1/2” for
seam guide.
~ Cut banding from muslin.

Figure 8.77
 Chapter 8 Collars

Draping Steps
Figure 8.78
Pin corner fold at the mark of the center front.

Slash and pin along the pin guide to the shoul-

der.

Figure 8.79
Pin across the back to the center neck.
Options: Continue draping to the other side or
remove the drape and fold at the center back.
Trim to the draped length.
Figure 8.80
Return drape to the form to check fit.

Figure 8.81
To control the folds at the center back, place a
1/2” folded band oveér the gathers. The band is
stitched to the design garment (on page 213).

Folded loop
or double
Row of gather-stitches

Figure 8.81

Figure 8.80
agit
8
is

age

-uilt-up necklines extend above the base of the neck

and should be draped to accommodate the (ona
position of the neck. There are two types: all-in-one
with the garment and set-in bands. Built-up necklines are de-
signed for blouses, shirts, jackets, and coats. Facings are in-
cluded because of their special features.
 Chapter 9 Built-Up Necklines

Stovepipe Neckline —
Design Analysis
Figure 9.1
The stovepipe extends to any height above the
neckline (comfort must be considered). Ease of
about 1/4” is draped at the front neck; the back
neck has a dart. |
The design is draped using the same instruc-
tions, but the stovepipe line is curved, thereby
blending into an extension for the button/
Figure 9.1 buttonholes.

Preparing Muslin
Add 4” to the length of the design garment.
Draw a center grainline 1” from the muslin edge.
SS i

Wrinkles

Draping Steps
Figure 9.2
Place the centerline of the muslin 4” up from the
center front neck.
Pin waist at and above bust level.

Move centerline 1/4” to 1/2” out in from the

centerline of the form and mark. Slash at 3” to
4” down and mark new centerline. Wrinkles will
appear in curve of the neckline.

Figure 9.3
Mark the neckline and trim 1” above the neck
(indicated by broken lines).

Pin a tuck to hold the wrinkle at the curve of the

neckline.

Figure 9.3
 Stovepipe Neckline

Figure 9.4
Smooth the muslin around the neck to the
shoulder.

Remove pin tuck at the neck.

Mark neckline and shoulder.
Mark 3/4” from the neck on the shoulderline.
Slash to this mark.
Mark 1/2” out from the shoulder/neck.
Trim excess.

Complete the drape of the front drape. Figure 9.4

Back
Figure 9.5
Place the straight grain 2” up from the center
back neck. Pin.
Pin 1/4” dart at the neckline.

Mark the neckline and shoulder

Mark 3/4” from the neck on the shoulderline.

Figure 9.5
Slash to this mark.

Figure 9.6
Mark 1/2” out from the shoulder/neck.
Trim excess to the height of the stovepipe.
Complete the drape of the back garment.

Figure 9.7
Pin the shoulders together from the slash to the
shoulder-tip. Figure 9.6
At slash point, pin out to the 1/2” mark to the
top of the stovepipe.
Remove, true, and allow 1/2” seam at center
front. Make pattern.

Figure 9.7
(220) Chapter 9 Built-Up Necklines

Front Facing
is Us
Figure 9.8
Notch H ; <P Place folded paper under the front pattern and
align with the center front.
b
Trace upper part of the stovepipe to 1” below the
notch.

Ts
BACK FACING

Back Facing
Cc Trace back facing to the center back to 1” below
the notch.

Figure 9.9 and Figure 9.10

The curveline of the stovepipe is blended into
S the front extension.
Figure 9.8 Mark for button/buttonhole placement.

] wW

Extension

Figure 9.10

Figure 9.9
 Bateau Neckline

motca Neckline. ..' "48. ~ +) us Sa

A bateau neckline extends beyond and away
from the neckline. Two styles of the bateau are
given: one with a tuck dart in front; the other
without a dart (Figure 9.11). Design 1

Design Analysis
Design 1: The dart excess is shared and draped
to the neckline and pinned as a tuck dart. The
back shoulder excess can be incorporated into
the bateau neckline, or the excess can be stitched
as a dart.
Design 2: Follow the draping instructions of
Design 1, but pin 1/2” of excess at the front
neckline. The excess is ease and not a dart.

Preparing Muslin
. Figure 9.11
Add 4” to length of the draped garment. Draw a
center grainline 1” from the muslin edge.

Draping Steps
Figure 9.12
Place the centerline of the muslin 3” up from the
center front neck. Pin.
Crosspin bust point.
Raise crossgrain parallel with floor pin at side.
Figure 9.12
Smooth excess to the neckline and pin a dart 2”
from the center neckline.
Mark both sides of the pinned dart.

Figure 9.13
Trim 1 1/4” above the neckline to dart location.

Mark 1/4” out from each dart leg at the neck and
1/8” out from each dart leg 2” down.
Trim to within 1/2” from both marks for the
seam allowance. Discard this section. Figure 9.13
 Chapter 9 Built-Up Necklines

Figure 9.14
Draw the shoulderline.
Slash on the shoulder princess line.
Mark 3/4” out from the shoulder/neck.
Pin on marks of the dart legs.
Trim the excess to within 1” of the shoulder and
trim bateau styleline.

Figure 9.15
Place straight grain 3” up from the center back
neck. Pin and mark the neckline.
Pin stress excess at the neck (not a dart).
Draw shoulderline.
Slash just to the princess line.
Figure 9.15
Mark 3/4” out from the shoulder/neck.
,

Figure 9.16
Remove pin that held excess.
Trim excess to within 1” of the shoulder and
bateau line (a temporary line).

Figure 9.17
Figure 9.16
Pin front shoulder over back shoulder.
Adjust bateau to a desired height, and distance
from neck.
Complete the drape, remove, true, and make the
patterns.

Figure 9.17
Finished Pattern

Figure 9.18

back
Center
Release dart |
i

a io”

Figure 9.18
 Set-In Bands

Set-in bands lift upward from stylelines of any

design.

Design Analysis
Regardless of the styleline to which a band is
draped, 1/4” ease is pinned at three locations on
the front and back neckline. At the
| Figure 9.19
shoulder/neck location 1/2” is added to help lift
the banding from the form (Figure 9.19).

Preparing Form
Figure 9.20
Pin-mark or use style tape to mark 1 1/4” at the
front to the princess line and to 1” down at the
center back neck.

—————— 10'————q~

AS
fe)
co)
—

ae
fe
2
5
aS
n

Crossgrain

Figure 9.20

Preparing Muslin
Cut muslin to the length and width required for
the design (example 10” x 5”).
Draw the center grainline 1” from the muslin
edge.
 Chapter 9 Built-Up Necklines

Draping Steps
Figure 9.21
Place the muslin 1 1/2” below the pin-mark and
the straight grain on the centerline.
Smooth muslin around the styleline.
Pin 1/4” tucks at three locations.
Mark the shoulderline and mark 1/2” out from
Figure 9.21
Mark shoulder
the shoulder/neck.

Figure 9.22
Repeat the draping procedure.

Figure 9.23
Add 1/2” to the shoulderline.
Release holding pins and trim to desired height.

Figure 9.24
Repeat the procedure for the back drape.

Figure 9.25
Pin the front shoulder to the back shoulder.

Figure 9.23
Adjust the neckline, if necessary.
Complete the drape. Remove, true, and make
pattern. The front set-in band is made on a fold.
Test fit and make adjustments to the band, if
necessary.

Finished Pattern

Figure 9.26
Figure 9.24

[>
Fold

Figure 9.25

1" Extension Paper

Figure 9.26
 LOE

<wueeeay

owls are folds created by allowing fabric to fall to

se
desired depths from secured ends of a bias triangle.
4 Cowls drape best on true bias, and when cut in soft,
loosely woven fabrics, such as crepe, silk, gauze, rayon, satin,

chiffon, and certain knits. The bodice cowl depends on excess

taken from the basic dart—the lower the depth of the cowl,

the greater the amount of excess needed—an application of

dart manipulation.
 Chapter 10 Cowls

Figure 10.1

Cowls can be draped with or without pleats/ the bias use more fabric than garments cut on
gathers and with few or many folds. They can the straight grain and are therefore more expen-
fall at varying depths, creating a soft look to any sive. The first three cowls that are illustrated are
garment. Cowls are designed to fall from the prototypes for variations.
shoulders, neckline, armholes, or waist of
dresses, gowns, blouses, pants, jackets, and coats.
; Bias: Location of the Straight
With the help of a brooch or clip, the cowl can
Grain and Crossgrain
be pulled in any direction to create interesting
design effects (see Figure 10.1). The fabric is folded so that the crossgrain is
Cowls are either draped in one with the gar- lying on the straight grain or is parallel with it.
ment or set in to save fabric. Garments cut on The foldine is marked with tailor’s chalk or hand-
 Types of Cowls

stitched to indicate “true bias.” The bias guideline

must align with the center of the form as the folds
of the cowl fall into place (Figure 10.2).
The straight and crossgrain run in opposite
directions when the cowl is pinned at its ends to
the shoulders of the form. The straight grain an-
gles downward, and the crossgrain angles up-
ward on the bias cut triangle. On one side of the
jYyBI04S
ulni6
drape, the fold of the cowl follows more closely
to the straight grain, and on the other side the
fold follows more closely to the crossgrain (Fig-
ure 10.3). The yarn of the straight grain is
twisted more firmly than the crossgrain. This
difference may cause the fold of the cowls to roll
differently, and often is the reason for twisting Figure 10.2
(Figure 10.4).
The alignment of the straight grain and
crossgrain become distorted as the bias fabric
stretches in creating the shape of the design pat-
terns. The grains do not completely align after
the drape is removed from the form. The pat-
terns that are made from the drape are cut in
fabric that has not yet been stretched. Therefore,
the fabric will stretch as it is being refitted. All
changes are marked on the fabric. The differ-
ences are removed from the patterns. The final
patterns will be smaller than the originals, which
allows the bias to stretch to shape when the final
garment is cut again.

Twisting Figure 10.3

Figure 10.4
A well-draped cowl will not twist along the fold-
line. Twisting occurs when the grain is out of
alignment with the location in which it has been
draped. To test for twisting, place a finger in the
center of the cowl drape and press downward
gently. If the fold of the cowl(s) twists even
slightly, unpin the twisting side, and redrape un-
til the grain allows the fold of the cowl to roll
smoothly. Recheck the fit of the garment and
cowl after it has been cut and stitched. As a result Figure 10.4
 R
“228 Chapter 10 Cowls

of this fitting, the corrected pattern may differ

on each side of center.
Facing of cowls are in one with the draped
garment; they are not a separate facing stitched
to it. The shape of the foldback facings vary
greatly—parallel to the foldline, rounded,
pointed, or as an all-in-one facing covering the
Fold drape over to
other side and cut.
shoulder and armhole area. A small weight can
also be attached to the end of a deep facing to
hold it in place.
Except for the drape of the cowl, one side of
the bodice may be draped (Figure 10.5). The
drape is marked along the shoulder, armhole,
side seam, and waist. It is removed from the
Cut form, and the seam markings trued. The drape is
folded on the bias guideline, pinned, and traced,
using carbon paper to transfer it to the other
side of the fabric. Return the drape to the form.
Figure 10.5
Pin and check the fit. This method is optional
and not illustrated in the cowls designs that fol-
low. For additional information, see Chapter 19.

Design Analysis
The cowl falls slightly relaxed 3/4” from the
shoulder/neck with very little excess taken from
the waist dart (Figure 10.6). The location of the
French darts should be on the grain directed to
bust, if possible. If draped in crepe, follow spe-
cial instructions. The basic back is draped on the
straight grain unless otherwise desired.

Figure 10.6
 High Relaxed Cowl

Preparing Form
Figure 10.7 Pinhead

Place a pinhead on each side of the shoulder

3/4” from shoulder/neck.
Measure from pinhead to center front neck.
Record (A-B). Add 4”.

Pin-mark at side waist for location of the French

dart.

Preparing Fabric
Figure 10.8
Fold the fabric so that the crossgrain meets, or is
Figure 10.7
parallel to, selvage.

Mark the fold as a guideline.

Square a line from the fold and mark using the
A-B measurement and continue the line an ad-
ditional 4”.
Draw a line 1 1/2” up from the A-B line (fold-
back facing).
Measure down 20” from (A) and square a line
across the fabric.
Cut away the excess where indicated (see page
236, Figure 10.27).
20"

Cut

Figure 10.8
230 Chapter 10 Cowls

Mark
B A
T

o
£
®
O

Figure 10.9

Figure 10.9
Unfold the fabric and fold facing on A-B line.
Mark location of (B) on other side of the center
guideline.

Draping Steps
Figure 10.10
Figure 10.10 Pin each end of the fabric to the pinhead loca-
tions (B). Guideline (A) aligns with center front.
(Approximately 1/2” of the dart excess is draped
into the fall of the relaxed cowl. The remaining
excess hangs as flare from the bust mound.)
Pin bust points and the waist at center.
Smooth fabric over both shoulders. Pin.

Figure 10.11
Drape and mark the garment from shoulder to
the French dart location.
Smooth fabric from the center front waist mov-
ing the excess beyond the side waist. Pin.
Smooth fabric upward along the side seam to
Figure 10.11 the French dart location and mark the dart leg.
 High Relaxed Cowl

Fold the dart excess in direction of bust point, Place the fabric’s straight grain and crossgrain at
preferably on grain. The dart on the other side the corner of the paper and pin along the paper’s
should also be on grain, or close to it. Mark both edge to control the bias.
sides of the folded dart.
Gently smooth the fabric toward the fold of the
Mark the shoulder, mid-armhole, arm plate/side paper. The center guideline may extend beyond
seam, armhole depth, side waist, and along the the fold of the paper because of the bias stretch. Let
waistline. Crossmark all corners. it. Pin the cowl to the paper carefully. Use push-
Pencil rub the side seam. Add 1/2” for ease. pins or a tracing wheel to transfer drape to paper.

If draped in muslin, trim the excess. Remove the Remove fabric from the paper and draw the cowl
drape from the form and true the muslin. Make pattern.

a paper pattern and cut in design fabric. Go to Facing Pattern

Figure 10.15 to complete the instructions.
Fold A-B line and trace the shoulder
If draped in crepe, do not trim excess. Remove (Figure 10.13).
and true. Continue with the following
Unfold, and cut pattern from the paper
instructions.
(Figure 10.14).
Figure 10.12 Cut in fabric, stitch, and check the fit. Thread
Paper: Measure 28” x 28”, cut, and fold a trian- line center as a guide.
gle. One side of the drape is transferred to paper. Continue instructions on page 232, Figure 10.15,
Figure 10.16, and Figure 10.18.

—» Allow to pass fold

os Trace
shoulder

Not traced

Figure 10.13
SUIISPING
J8}UsD

B
MS
Trace
shoulder

_ Figure 10.14

Figure 10.12
(232) Chapter 10 Cowls

Figure 10.15 The curved neckline ends at the pin-mark (B)

Pin cowl to the form to recheck fit. Mark the on the shoulder.
shoulder, mid-armhole, armhole depth, side After the back drape is completed, pencil rub the
seam, and waistline. side seam and add ease.
Remove from the form, true and measure the Remove the drape from the form, and true the
distance between the new marks and stitch line. drape. Make paper patterns.
Remove this amount to make corrections to the
paper pattern.
Finished Patterns
Back Bodice Figure 10.17 and Figure 10.18
Figure 10.16
Drape or trace a copy of the back bodice or
drape the back according to the instruction on :
Paper
|
page 31.

———
Figure 10.17

Figure 10.15

1/2" Ease

Figure 10.16 Figure 10.18

 Mid-Depth Cowl

Design Analysis
Figure 10.19
Two cowls and a fold will appear between the
busts when the bias is pinned to the shoulder.
The cowl will fall midway between neck and bust
level, indicating that half of the excess from the
waist dart is taken up by the cowl. The foldline of
the drape is the first cowl. To control the location
of the second cowl, a slash is made in the fabric at
the shoulder, and the grain is raised. The cut out
neckline of the back bodice ends at mid-shoulder
in line with the front cowl drape. The location of
the French dart should be on the grain that is Figure 10.19

directed to bust, if possible.

8 a
.

Preparing Form
Figure 10.20
Measure from the mid-shoulder to a point half
the distance between shoulder/neck and the bust
level. Record (A-B).
Pin-mark 1 1/2” up from the side waist for the NX Cut

location of the French dart. Seeee Facing

Pl
Preparing Fabric
Figure 10.20
Fold fabric so that crossgrain meets, or is parallel
to, selvage.
Mark the fold (true bias) for a guideline.

Figure 10.21
Fold 20"
Square a line from the fold using the A-B mea-
surement. Mark and continue the line for 4” to
selvage.
Draw a curved line 4” up from (A) and ending
past (B) for the foldback facing.
Measure down 20” from (A) and square a line
7s Cut
across the fabric.

Cut away the excess fabric where indicated. Figure 10.21

 Chapter 10 Cowls

Draping Steps
Figure 10.22
Unfold the fabric, and fold on the A-B line.

Mark B on other side of the center guideline.

Place fabric to form and pin (B) at each end of
the mid-shoulders and shoulder-tips.
Guideline (A) falls (and remains) at the center
front, as a mid-depth cowl, which takes up one
half of the dart excess. Pin at bust points and
waist. If draped in crepe, see page 231, where
there are also instructions for transferring the
pattern to paper.
|
Figure 10.23
Figure 10.22
Smooth the fabric over the shoulder, around the
armhole, side seam, and waistline. Mark arm-
Slash and raise grain.
Pin. Wi 4
hole depth. ,

To bring the second cowl closer to the shoulder,

slash and raise grain. Pin.
Check for twisting (see page 227, Figure 10.4).
If draping in crepe or equivalent, do not trim ex-
cess. Instructions for transferring drape to paper
are given in Figures 10.12 through 10.14 and in
Figure 10.25.

Figure 10.24
Drape, or trace, a copy of the back bodice. The
neckline is about 1 1/4” at center back neck and
Figure 10.23 ends at pin-mark (B).

Figure 10.24
 Low Cowl

Finished Pattern :
Figure 10.25
The French dart may be cut to within seam al-
lowance, as shown, or it may not, as shown on
the high cowl on page 231.

FRONT
Test for Fit \
Cut a sample of the cowl from the design fabric ]
for the test fit.
Make corrections to the drape following instruc-
tions on page 232, Figure 10.15 and make the
pattern.

Paper Fold

Figure 10.25

Design Analysis
Figure 10.26
Two cowls and a fold appear between the busts
when the bias is pinned to the shoulders 1” from
the princess line. The cowls will fall to a depth of
bust level indicating that all of the excess from
the waist dart is draped into the cowls. The cut-
out neckline of the back ends at the drape of the
front cowl. The front fold-back facing includes
the armhole. The back armhole is faced or the
back bodice can be fully lined.
 236 Chapter 10 Cowls

Preparing Fabric
Piece Figure 10.27
Measure from the center of the bust bridge to 1”
past mid-shoulder. Record (A-B).

Fold fabric so that crossgrain meets, or is parallel

to, selvage.
Mark the fold (true bias) for a guideline.

Figure 10.28
Square a line from the fold at the point of the
A-B measurement, and continue the line an ad-
Figure 10.27 ditional 2”, touching the selvage. Mark (B) on
the line.
| Draw a parallel line 1 1/2” up from the A-B line
for the facing.
Measure down 15” from A, and square a line
across the fabric. ’
Figure 10.28 : Pe
15" Cut away the excess fabric where indicated.

Draping Steps
Figure 10.29
| Unfold the fabric and fold on A-B line.
Cut
Place the fabric to the form and pin each end of
(B). Guideline (A) falls (and remains) at center
front, using all the dart excess. Pin at the bust
point and waist.
Smooth, slash, and mark fabric along the waist-
line.

Figure 10.29
 Low Cowl

Figure 10.30 Test for twist. If draping in crepe, do not trim

Continue to drape up from the side seam along excess. For instructions on transferring the
the armhole to the shoulder. If excess is left over, drape to paper, see page 231, Figure 10.12
smooth the excess along the shoulder and fold through Figure 10.14.
under with the facing at pinhead mark. To bring Figure 10.31
the second fold closer to the shoulder, clip and
Drape the back bodice, with the neckline ending
raise the grain.
in line with the front drape.
Mark the shoulder, mid-armhole, armhole
Remove, true, and make the pattern.
depth, and side waist.
Finished Pattern
Figure 10.32
The facing is traced on the fold to include the
armhole.

Test for Fit

Cut a sample of the cowl from the design fabric

and pin (or baste) the armhole facing to the gar-
ment for the test fit.
Make corrections to the drape and make the
pattern using the instruction on page 232,
Figure 10.15.

Trace
facing

L
Figure 10.31 Figure 10.32
 Chapter 10 Cowls

Deep Cowl with Bistrer — saaeaeiae Babeie as eee

Design Analysis
Figure 10.33
The cowl falls below the bust level. A Princess
bustier shows above the cowls. The bustier is
attached to the side seams of the bodice and
stitched to the back. The back is draped with a
cutout neckline. This design is for a short or
long evening dress.

Preparing Form
Figure 10.34
Pin-mark or use tape to outline the bustier
location.
Pin mark 1” from shoulder-tip.
’

Preparing Fabric
Measure for depth of the cowl 3” below the bust
level, ending 1” from the shoulder-tip. Record
(A-B).

Figure 10.33

Pinhead

Figure 10.34
 Deep Cowl with Bustier

Figure 10.35
Fold fabric so that crossgrain meets, or is parallel
to the selvage.
Mark the fold (true bias) for a guideline.
Draw a square line from the fold at the point
where the A-B measurement, plus 4” touches the Cut
Temporary facing
selvage. Mark (B) on the line.
Draw a parallel line 1 1/2” up from the A-B line,
a temporary facing.
Measure down 18” from A, and square a line Figure 10.35
across the fabric.
Trim the excess fabric where indicated. Use dis-
carded fabric to drape bustier.

Draping Steps: Bustier

Cut
For instructions to drape the front Princess
bustier, see page 294. Drape to waist. For ae
instructions on the choices of inner support
for the bustier, see page 313. BACK

Figure 10.36
fold
Cut
on
After the drape, true, and make the pattern.
Stitch, and pin to the form. Cut four front
and side panels (self-lined).

Figure 10.37 Figure 10.36

Pin cowl drape (B) 1” in from shoulder-tips.
Guideline (A) will fall to (and remain at) the
centerline of the form. Adjust depth, if required.
Pin waist.

Smooth fabric along the armhole and side seam.

Slash along the waist.
Mark the shoulder, mid-armhole, armhole
depth, side waist to match bustier, and waistline
of one or both sides.

Remove the cowl drape from the form and true.

(If draping in crepe or equivalent, do not trim
excess. For instructions on transferring the
drape to paper, see page 231.)
Figure 10.37
 Chapter 10 Cowls

Back Drape Figure 10.39

Figure 10.38 Place the cowl drape on the garment pin and
Drape back or trace a copy of the basic back pat- check fit.
tern (cut on straight grain). The neckline depth Make the adjustments to the drape.
is 2” below the center neck and 1 1/2” from
Remove from the form. True and correct pattern
shoulder-tip.
using instructions on page 232, Figure 10.15.
Complete the back drape, and pin to bustier to Make the patterns.
check fit.

Finished Patterns

Front Cowl
Figure 10.40
One side is traced when transferring pattern to
folded paper. The front facing on fold includes
the armhole.
Fold back facing includes the armhole.

Back Pattern
Figure 10.41
If lined, mark Cut 4” or trace a facing (see
Chapter 11).

Figure 10.38 Figure 10.39

BACK

Figure 10.41

7 Trace facing

Paper

Figure 10.40
 Pleated Cowls

a
iMeated lee
Cowls
Two versions of pleated cowls are illustrated.
Design 1 is draped with three pleated cowls, with
French darts taking up the remaining excess.
Design 2 is draped with pleated cowls and contin-
ues with pleating to the waistline (Figure 10.42).
Both designs are draped with the same instruc- Design 1 (| il
tions for the first three pleated cowls. The exam-
ples given are prototypes for pleated cowls of
skirts, back cowls, and armhole cowls. Both
designs are for evening wear with short or long
skirts.

Design Analysis
Design 1: Three pleated cowls are draped to
mid-depth. The first cowl is placed 1/2” past the Design 2
princess line of the shoulder. The pleat depth is
from 3/4 to 1”. The back is draped with a cut-
out neckline ending at the shoulder of the front
cowl. The back drape is the same for both de-
signs.
Design 2: The three pleated cowls at the shoul-
der are draped by the same method as in Design Figure 10.42 t
1. Pleating continues around the armholes, side
seams, and ends at the waist. A lining (draped as
a princess style) supports pleats and finishes the Princess line
raw edges of the seams. B
4 ay a

Preparing Form
Figure 10.43
Measure for cowl depth from mid-shoulder to a
point half the distance between the neck and
bust point. Record (A-B).

The location of the French darts should be on

grain directed to bust, if possible.
Styleline for the undersupport is marked 1” be-
low the center front. Mark with pins or use style a b
tape. Figure 10.43
 Chapter 10 Cowls

Figure 10.44
Fold fabric so that crossgrain meets, or is parallel
with straight grain.
Draw a square line from the fold at the point
Facing < cot where the A-B measurement, plus 25 touches
B r the selvage. Mark (B) on the line.
Mark fold and cut excess from the fabric where
& indicated.
eS
oe Figure 10.45
Figure 10.44 Open muslin and fold facing back. Mark (B) on
other side.
or g : :
5 £ Pin (B) to pin-marks at each shoulder. Fold
©2 pleats 3/4” to 1” depth. Pleats are placed approx-
imately 1/2” apart. Pin through the pleats to
hold. Place other pins to secure at shoulders.
Drape pleats from shoulder to shoulder, with the
guideline remaining at the center of the form
throughout the drape.
Drape to shoulder-tip and trim excess.
Check twist of each cowl.
Mark each side of the pleat fold.
Draw a line across the shoulder.
For Design 1, continue the drape.
For Design 2, continue on page 245.

Figure 10.45
 Three-Pleated Cowl

Figure 10.46 Run tracing wheel across shoulderline to trans-

Drape from the shoulder-tip, around the mid- fer the underlay of the pleats (Figure 10.47a).
armhole to about 2” above waist at the side Unpin and pencil the perforated lines (Figure
seam. 10.47b). If draping in crepe, see page 231 for in-
Move the excess along the waist to the side seam. structions on transferring the drape to paper.
Mark.
Move the excess upward along side seam and pin
excess. Find the grain leading to bust. Change
dart location at side seam if necessary. Mark and
fold dart excess, pinning in direction of the bust.
Crossmark dart point.

Pencil rub along the side seam. Mark armhole

depth and add 1/2” ease (ease not required if de-
signed as a sleeveless evening dress).
If draping in muslin, trim excess; if draping in
crepe or equivalent, do not trim excess.

Figure 10.47
Remove drape from the form.
Remove pins from only the French darts. Figure 10.46
Lay pleats flat on the table.

Mark each
side of the
pleats

Figure 10.47
 Chapter 10 Cowls

Figure 10.48
Complete the back drape with the cutout neck-
line ending at the shoulder mark of the front
drape as illustrated.
Remove from the form, and true. Stitch muslin,
or transfer to paper for a test fit.

Finished Patterns

Figure 10.49 and Figure 10.50

Secure patterns to paper with one side of the
front on fold (see page 231).
Use pushpins or tracing wheel to transfer pat-
terns to paper.

Figure 10.48 For facing instructions, see Chapter 11.

FRONT

Figure 10.49 Figure 10.50

 Multiple Cowls and Pleats

macotiple @owls and Pleats 2 oh Ss ee

Draping Steps

The drape continues from the instructions on

page 242, Figure 10.44, and Figure 10.45. For
instructions for the back drape, see page 244,
Figure 10.48. Pleat to include
dart excess

Figure 10.51
If draping in crepe or equivalent, do not trim
excess throughout the drape. After marking
pleats, see pages 231 and 232, Figures 10.13
through 10.15, to transfer to paper.
Trim excess to within 1/2” of the shoulders.

Continue the pleats along both sides of the arm-

hole and side seams to just below the armplate.
Trim excess to within 1/2” of seam allowance.
The excess of the waist dart is lifted and taken up Figure 10.51
with the pleat that crosses nearest to the level of
the bust point. This increases the pleat underlay.
It is suggested that pleats of equal intake and in-
tervals be pinned along the centerline to the
waist to help simplify the drape.
Test for twisting.

Figure 10.52
Pin through the pleats, and mark each side of
the folded pleats at the seamline. Place other
pins to secure to the form.
Pencil rub the side seam or use the ruler. Side
ease is not needed for bodices that fit close to the
body. Remove drape from the form.
Figure 10.52
Figure 10.53
Before unpinning, lay the pleats flat on the table.
Run the tracing wheel across the penciled lines
on one side of the drape at the shoulder, arm-
hole, and side seam. The tracing wheel transfers
the pleat underlay for trueing, when using
carbon paper. The other side will be duplicated
when the pattern is transferred to paper. Figure 10.53
 Chapter 10 Cowls

Figure 10.54 Do not include the pleat underlay. Add 1/2”

Unpin, true, and pencil the perforated lines. seam allowance, and trim the excess from the
dart legs. The stitchline of the dart should lie at
Press the drape without steam.
the turn of the pleat underlay, concealing the
Place the guideline center on the folded paper stitches. Add seams, and cut from paper.
and pin to secure.
Use pushpins or tracing wheel to transfer pat- Finished Back Pattern
tern to paper. Figure 10.55
Pencil in the shape of the patterns.

Removing Dart Excess

Mark the center of the pleat underlay that has
the dart excess. Draw the legs of the dart intake.

BACK

Paper

Figure 10.55

FRONT

[ones
Pleat x

_
includes see —
dart intake <ar LT

Fold

Figure 10.54
 Multiple Cowls and Pleats

Undersupport Remove draped garment from the form and

true.
Figure 10.56
The undersupport is a base for tacking pleats
and covering the raw seams of sleeveless gar- Finished Pattern
ments.
Figure 10.57
Princess Styleline Make two copies of the princess paper patterns.

For instructions on the Princess drape, see Trace two copies of the back pattern. The second
page 270. If available, trace the front princess copies are for lining of the front and back gar-
pattern, allowing extra fabric at the top for a ment.

style change, if necessary. Dh: }

4 ‘ The lining patterns are trimmed 1/8” from the
Back front and back armholes and neckline.
Use the copy of the back pattern to complete the For facing instructions, see Chapter 11.
drape.

Z a
g o
Z =

Z =>
g fe)
Z =
+
Z

SS ee ee

Side front
a b C

Figure 10.56 Figure 10.57

 Chapter 10 Cowls

Arr

Cowls are very flexible and can be draped from

any styleline for design variations (Figure 10.58).

Design Analysis
The built-up neckline curves around the neck
and above the bust mound ending at the side
seam at bust level. The shoulderline extends ap-
proximately 2” beyond the shoulder-tip. Shoul-
der pads are an option and should be placed on
the form when convenient to the drape. If pads
are not desired and shoulderlines extend past the
shoulder-tip, 1/2” ease is draped into the front
mid-armhole. Ease allows forward mobility of
the arm and eliminates stress at the armhole of
the garment. The cowl falls to about 1” above
bust level. A French dart takes up the remaining
dart excess. The built-up neckline of the back
garment is controlled by placing a shaped dart
from the shoulder dart excess.

Preparing Form
Figure 10.59
Pin-mark or use style tape to establish the style-
line.
Pin-mark 1” above the bust level (A).
Pin-mark at intersection of princess and style-
line (B).

Measure the cowl depth. Record (A-B).

Shoulder pad, if desired, is attached to the shoul-
der as shown in Figure 10.63. Ease at the front
armhole allows room for the shoulder pad.

a b

Figure 10.59
 Draped Cowls from Stylelines

Preparing Fabric
Figure 10.60
Cowl Drape
Fold fabric so that the crossgrain is parallel with
the straight grain. Mark foldline for guide. Facing

Draw a square line at the point where the A-B

measurement, plus 2”, touches the selvage. Mark
(B) on the line.

Square a line 1 1/2” parallel with the A-B line or

a curved line for facing.
Square a line from the fold 18” down from (A).

Drop Shoulder Yoke

Width: 12”
Length: 18”. Not cut on bias.
Cut

Back Bodice

Width and length on straight grain for the back

plus 5” (not illustrated).
Or
Figure 10.60
See page 31 for muslin preparation, and add 5”
to length.

Draping Steps
Figure 10.61
Drape the first cowl from the pin-mark at the
princess line. Drape two more cowls. The guide-
line must remain at the centerline through the
drape. Pin bust points.

Figure 10.61
 Chapter 10 Cowls

Figure 10.62
Complete the drape by pinning remaining excess
as a French dart (on grain to bust, if possible).

Figure 10.63
Pin shoulder pads to shoulder.

1/2" Ease
Drop Shoulder Yoke
Figure 10.64
Place fabric on the form 2” up from shoulder at
neckline. Slash at the shoulder/neck, and pin.

Smooth fabric along the shoulder. Mark and pin.

Smooth fabric along the neck, smoothing fabric to
the princess line.

ies: Smooth fabric around the bust and armhole.

Figure 10.62

ae Pencil rub styline and side seam. Mark armhole

depth 3” below the plate. Remove from the form.
Back Drape
Figure 10.65
Place fabric 1 1/2” up the center back neck.
Pin at the center back and smooth fabric across
the shoulder. Pin.
Figure 10.63

1/2" Ease

Figure 10.64

Figure 10.65
 Draped Cowls from Stylelines

Smooth fabric along the waist. Fold and pin

waist dart with intake from 1” to 1 1/2”.
Smooth fabric along the side seam. Pencil rub
styleline.
Smooth fabric along shoulderline, moving excess
to the neckline. Slash at the shoulder/neck.
Pin the dart excess to fit to the neck.

Mark waist, dart, side seam, and shoulder. Trim

excess to within seam allowance.

Front and Back

Figure 10.66
Option: True the fabric patterns and duplicate
before pinning the sections together.
Pin the front drape to the back at the shoulder Figure 10.66
and side, and along the styleline. Evaluate the fit.

Finished Pattern

Figure 10.67, Figure 10.68, and Figure 10.69

True and correct patterns, using instructions on
page 232, Figure 10.15, and transfer to paper. Figure 10.67

Close dart
es
ie os Facing
acing

Figure 10.68 Figure 10.69

 Chapter 10 Cowls

Fuller cowls can also be achieved with the use of Preparing Fabric
gathers rather than pleats (see Figure 10.70). Figure 10.71 .
Measure full back length from shoulder/neck to
Design Analysis center back.
A series of cowls fall from gathers that start at Measure back waist and add 3”, or use #6 and
the princess line and end 3/4” in from the shoul- #19 of the Form Measurement Chart.
der-tip. The guideline of the fold (true bias)
aligns with the side seam of the form. Fabric
preparation is similar to other cowls drapes.
Gathers pass over the bust point and along the
waistline of the front and back bodice. Elastic se-
cures the distribution of the gathers for marking
waistline. A banding covers the seamline of the
gathers at the shoulder. The neckline is a V-cut
in front and a curved cutout neckline in back.

Figure 10.70
 Armhole Cowls: Gathered

Figure 10.72 Figure 10.73

Fold fabric so that the crossgrain meets, or is Fold the facing and gather to a width of 2”. Pin
parallel with, the selvage. the shoulders together to help control the drape
Mark the foldline as a guide for aligning bias when it is placed on the form.
grain with the side seam of the form or model.
Square a line from the selvage that is equal to Draping Steps: Front
twice the waist measurement (A). Place drape on the form with the center of the
(A) to (B) is equal to the back length measure- gathers on the princess line at the shoulder, and
ment, plus 2”. pin. The guideline must align to the side seam.
Adjust shoulders, if necessary.
Square a line from (B) to equal (A), labeled D.
Slash 1/2” up the guideline from the waist at the
Square a line from fold (C) touching (D). (C) to side seam.
(D) is the armhole part of the drape.
Smooth fabric from bust to center front. Pin.
Draw a line 1 1/2” for foldback facing.
Figure 10.74
Cut from the fabric.
Smooth fabric at the center back. Pin.
Sew 6” of gathering stitches from (D) on the
front and back shoulders. Waistline can also be
stitched for gathers. 1 1/2" Fold back facing

Straight grain

Crossgrain

Arm entry

Center back length

plus 2"

Figure 10.72

Figure 10.73 Figure 10.74

 Chapter 10 Cowls

Draping Steps: Securing the

Waistline
Figure 10.75
Place a 1/4” elastic around the waist to hold the
excess while the gathers are arranged along the
waistline of the front and back bodice. Avoid di-
agonal pulls when distributing gathers. The cen-
ter front and back should be on straight and
crossgrain at the completion of the drape.
Mark the waistline over the gathers. The mark-
ings will be irregular, but will blend when the
garment is trued.
Mark the V-neckline and center front. Trim excess.

Back
Figure 10.75
Figure 10.76
Follow the same instruction for the back, except
that the neckline is curved.

Finished Pattern

Figure 10.77
Remove drape from the form. True the
pattern, and transfer to paper. The front
facing is indicated by broken lines.
Add seams and pattern information.

Back Front
shoulder shoulder

Figure 10.76

Facing

Figure 10.77
 Back Cowls

mock.Cowls:Cyael
| we) eae
The low cowl is the example to follow for the The crossgrain of the fabric is folded on line
high and low cowl designs. The front can be of with, or parallel to, the straight grain.
any design (Figure 10.78).
A foldback facing is part of the fabric prepara-
tion. The foldback can be extended to include
the armhole as a facing when the paper pattern
Design Analysis is made (see page 237).
The following instructions apply to all three Both sides are draped, but one side is traced on
cowl designs, which are measured for high, mid, folded paper.
and low depths (see Figure 10.79).
The pattern is trued, and a paper pattern is made.
Measure from the shoulder of the cowl place-
The garment is cut and stitched for a test fit.
ment to the depths at the center back. Record
Remember that the fabric is bias and has
A-B measurement for Designs 1, 2, and 3.
stretched to fit the form. The recut is from
If draping in crepe or equivalent, see page 231, the paper patterns and cut from fabric that
Figure 10.12 through Figure 10.14, for transfer- has not yet been stretched to fit, so expect
ring the pattern to paper. adjustments (see page 232, Figure 10.15) .

Figure 10.78

Figure 10.79
 Chapter 10 Cowls

Low-Depth Cowl
Record the A-B measurement.

Figure 10.80 and Figure 10.81

Slash and raise grain.
Pin
Draw a square line at the point at which the A-B
measurement meets the selvage. Mark (B) on the
line.
Unfold and mark (B) on the other side.

Draping Steps
Figure 10.82
Pin points (B) at shoulder locations.

The guideline remains at the center back

throughout the drape.

Figure 10.80

Fold

Trace
facing

Figure 10.82

Figure 10.81
 Mid-Depth Cowl

Mid-Depth Cowl
Preparing Fabric Draping Steps
Record A-B measurement. - Pin points (B) at shoulder locations.

Figure 10.83 Smooth fabric along the shoulder. Drape the

Draw a square line at the point at which the A-B waistline, side seam, and armhole.
measurement, plus 2”, touches the selvage. Mark Slash, mark, and trim excess to within 1/2” of
(B) on the line. marked seamlines.

Unfold and mark (B) on the other side. Remove the drape and true.
Make the paper pattern.

Finished Pattern

Figure 10.84
Facing is indicated by broken lines and is on the
Slash raise folded paper.
grain. Pin
LKR

Figure 10.83

facing

Figure 10.84
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Py exytthey <9

ft a {a}. :

P { : ¢ ( 7 ay ih Lio

heyres, S Poe is Be Yat’

 a
«

: :i
*% eee
;
# 4 j
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ES
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ny :
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» & 4a
: § ‘ 4
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acings are shaped pieces of fabric stitched to the raw

edge of necklines and/or armholes providing support
and giving a clean finish to the garment. The following
instructions apply only to necklines and armholes. Foldback
facings for hemlines and sleeves are part of the draped
garment. Facings for shirts area special category. The many
variations will not be covered in this book.
 Chapter 11 Facings

Separate facing: Individual facings for armhole depth than the front neckline for hanger appeal.
and/or neckline. The facing pattern is created by tracing the fac-
ing from the completed pattern or the trued
Combined facing: All-in-one for armhole and
neckline.
muslin. |

The general width of facings is from 1” to 2”.

The back neck facing often extends to a lower

Bd Vice ACIUS ee eS ae pw ee
Draping Steps
Figure 11.1
Traced to follow the outline of the armhole and
neckline.

The facing is trimmed at the shoulder area and

armhole to offset stretching as noted.

V-Necklines
Figure 11.2
Figure 11.1 Facings for V-necklines are often cut on the
straight grain to help prevent the bias from
stretching.
Wes
The shoulder area is trimmed as noted.

Add
he seam
or
cut on
fold

Figure 11.2
 All-in-One Facing

Front
Figure 11.3
The facing is trimmed 1/8” at the armhole and
neckline from the shoulder to zero midway.
Trim at the side seam.

Back
Figure 11.4
The facing is traced with the shoulder dart and
Figure 11.3
trimmed at neck and armhole (see Figure 11.4a).
Cut from paper.
Extension
The dart is closed, and the shoulderline is
straight from the shoulder-tip to the neckline
(see Figure 11.4b).

Styleline Intercepting an Armhole

or Neckline
Figure 11.5
Place the stitchlines on top of each other. Secure
and trace the armhole and neckline area.
Trim 1/8” at neckline and armhole from shoul-
: Cl jose dart, and draw
dart, and d a line
der to zero at midway. yi across shoulder

Trim 1/8” at the side seam of the facing.

CB

Figure 11.4
Match seams

1/8 '"—>
%

Figure 11.5
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264 Chapter 12 Dress Foundations and Designs

The principle of the torso foundation is applied

to garments that are designed with the bodice
and skirt all-in-one, without the interruption of
a waistline seam (Figure 12.1). To apply this
principle, the crossgrain is held parallel with the
floor at the hip level of the form and at the hem-
line of the garment. When the crossgrain is par-
allel to the floor, there will be excess above the
waist at the side seam and looseness around the
waist. The excess at the side seam is taken up
with a side dart, but the excess can also be de-
signed as a dart equivalent—stylized darts, gath-
ers, tucks, pleats, or cowls—or as a styleline
crossing over the bust. Looseness at the waistline
is taken up by darts for a fitted dress; for a semi-
fitted dress, half the excess is taken up by darts;
and for a box silhouette, the looseness remains.
The principle of the torso foundation is il-
lustrated in the drape of all-in-one dresses. The
tent, Princess, and empire dresses are based on
this foundation. Dresses that are based on the
shirt, knit, and kimono foundations will be dis-
cussed in later chapters. The draping principles
of the torso ends at the hip level (HBL). The
length is added beyond the torso to complete the
dresses.
Fashion magazines and other sources have
many designs based on these foundations. The
addition of collars, pockets, sleeves, tapering
hems, or an A-line change the silhouettes and
bring variety to these very basic foundations.
 Fitted Basic Dress: Sheath

Design Analysis Preparing Muslin

The dress silhouette hangs straight from hip to Figure 12.2
hem. It is fitted, but not too closely, so that the Measurements apply to front and back:
crossgrain at the hip does not pull upward and
unbalance the garment. Double-ended darts take * Length: Measure from shoulder/neck to
up the excess at the waistline to control the fit: length of the dress. Add 3”.
+ Width: Measure across bust. Add 3”.
Suggested Dart Intake Cut two lengths of muslin.
* Front: Two darts equal 1/2” to 5/8”.
* Back: Two darts equal 1” to 1 1/8”. Figure 12.3
Fold 1” on the straight grain.
The hip guideline (crossgrain) must remain at
the HBL of the form throughout the drape and Draw a temporary neckline following the mea-
when pinning dart intake. surement given.

Back Front

E
=
he
Q.
©
xe}
2
ae diq
yidep

TTT
TTT
TET
L Hip (#23) + 1/2" ease Hip (#23) + 1/2" ease ,

Desired
length

Figure 12.2 Figure 12.3

_266 Chapter 12 Dress Foundations and Designs

Mark center length (#5), and hip depth (#25)

from the Form Measurement Chart. Square
crossgrain lines across muslin.
Mark hip arc (#23). Add 1/2” ease and square
down and up from this mark (stitchline).

Trim from hem to waist.

Draping Steps: Front

Figure 12.4
Place fold of the straight grain on center with
hip crossgrain guideline on the HBL of the form.
Pin to secure.
Smooth across the hip, and pin stitchline at side
seam of the HBL..Smooth ease away and pin on
stitchline.
Stitchline ->}
Smooth muslin upward along curve of the hip to
\
the waist. The curve is now on bias, whereas the
Figure 12.4 straight grain veers off. Pin and pencil rub.
Slash at waist to within 1/4” of rub line.

Smooth muslin along 5” of the side seam. Pin

and pencil rub.
Drape upper part of the drape. Pin, slash, and
mark key locations.

Figure 12.5
Fold the excess of the side dart downward. Pin.

Use two doubled-ended darts to take up loose-

ness at the waist. The center fold of each dart is
on the straight grain, and the darts are of equal
intake. The darts can be corrected at the time of
trueing.
Place the first dart at the Princess line. The sec-
ond dart is spaced 1 1/4” away.
Mark and pin dart excess outward. Slash at
waist. The bust of some forms are small in shape
and allow for one dart front. However, if the end
of the dart indicates too much fullness, put in
Figure 12.5 two darts.
 Fitted Basic Dress: Sheath

Draping Steps: Back

Figure 12.6
Pin muslin to the form following the instruc-
tions given in Figure 12.14 of the lower torso.
Drape back bodice.
Mark dart excess at shoulder at the Princess line
for dart legs.
Note: If the garment is designed for a sleeve, add
1/4” out from pin-mark at the mid-armhole and
3/4” for ease at the armhole depth mark.

Figure 12.7 -
Pin fold of the shoulder dart toward center.
Stitchline
Looseness at waist is taken up by two double-
ended darts.
Place first dart at the Princess line. The second
dart is spaced 1 1/4” away.
Figure 12.6
Mark pin dart excess outward. Slash at waist.

Figure 12.8
Unpin darts and fold under toward center. Re-
pin.
Pin front shoulder over the back.

Pin front side seam over the back seam.

Check fit. Does the crossgrain of the hip align Figure 12.7
with the HBL line of the form? If not, release
pins at the side seam and/or decrease dart in-
take. For filling armhole, see pages 33 to 35.
Check fit for strain or looseness at waist.

Remove the drape from the form and true. The

center of each dart should be parallel with cen-
terline on the straight grain. Adjust. Stitch
muslin, or transfer to paper first for a test fit. To
complete the pattern, see the instructions on
pages 35 to 39. Figure 12.8
 Chapter 12 Dress Foundations and Designs

i
Finished Pattern

Figure 12.9
The punch/circles are placed in center of each
dart intake at waist level and 1/8” in from the
stitchline. Mark 1/2” down and up from the dart
FRONT ends, shoulder, and side dart (see Figure 12.9c).

{ 172"

Fold

Optional

<— 1/8"

Torso line
L Torso line

y Extended for length Extended for length Y

Figure 12.9

Draping Steps
Figure 12.10
Follow instructions for the fitted dress with the
exceptions that half of the excess is taken in by
dart front and back.

Figure 12.10
 Loose Fitted Dress: Box Silhouette

Finished Pattern

Figure 12.11
Make pattern with half of the excess taken in by
BACK FRONT
dart front and back.

ie}
2

Torso line Torso line

Extended for length Extended for length ¥

a b

Figure 12.11

Draping Steps
Figure 12.12
Follow instruction for the fitted dress with the
exceptions that the looseness remains.
Allow additional ease at the side seam for
a straight or slightly curved silhouette.

Finished Pattern
BACK FRONT

Figure 12.13

xe)
2

Torso line Torso line

—————
Y Extended for length Extended for length ¥

a b

Figure 12.12 Figure 12.13

ndations and Dexgas

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 Princess Dress with Flare

Preparing Form Preparing Muslin

Figure 12.15 Figure 12.16

Measurements apply to front and back: Cut two center panels for the front and back.

* Length: Measure from the shoulder/neck Cut two side panels for the front and back.
to the waist. Record and continue to dress Prepare muslin using the illustrations below as a
length. guide.
* Width across the shoulder: Use (#14) from
the Form Measurement Chart. Add 2”. Draw a line through the center of the side panels
- Width at the side panels: 14”. indicating the straight grain.
Draw the crossgrain at waist level.

Side Panel
Back Panel Front Panel

31/2"

cael
Of
|SIDM

waist
To
oe
|
oe
a
|
Je}ueD
jong front
Center grain
Straight

To dress length
plus 3"

2"
plus
length,
Total “YGHus|
SNC
|OJOL
1%

Figure 12.15
———_——

Figure 12.16
 Chapter 12 Dress Foundations and Designs

Draping Steps
Figure 12.17
Place fold of the straight grain at the centerline.
Pin at neck, bust bridge, waist, hip, and down
the centerline. Drape the front panel to the
waist, and slash. Pin and trim excess. Mark for
ease control notches.
Smooth and mark muslin along Princess line to
approximately 5” below waist. Mark 1/8” out
from Princess for ease, and slash.

Mark the Princess line at the base of form, and

mark equal width at the hem (guide for flare).
Flare: Measure from the Princess mark at the
hem to the width of the flare desired. Crease a
Break point fold in the musliri from hem to break point.
Trim to within 1” of the fold.

Uke atl Measure

Princess

Fold to
desired Distance equals
flare Princess

Figure 12.17
 Princess Dress with Flare

Side Panel (Figure 12.18) Mark the break point for flare 5” below waist to
match front panel. Measure out 1/8” for ease. Slash.
Pin straight grain at the center of the side
Princess panel and crossgrain at waist. At the hem, measure the flare of equal width at
the Princess and side panel as that of the front.
Pin 1/4” ease (1/8” on the fold) at the waist. Crease, and trim. Pin panel together.
Drape Princess bodice section. Slash to within
Figure 12.19
1/4” of the marked waistline.
Drape back panels using instructions for the
Smooth and mark Princess line and side seam at front panel as a guide.
the base of the form. Pin back panels to the side panels.
Mark the hem to equal panel width. Mark the hemline parallel to the floor.

Figure 12.18 Figure 12.19

 Chapter 12 Dress Foundations and Designs

Fit Analysis At the completion of the drape, remove and

true. Stitch muslin or transfer to paper first for a
Repin the waist if looseness or stress appears
test fit. To complete the pattern, see the instruc-
along the waistline. Adjust flare if necessary.
tions on pages 35 to 39.
Pin the hemline guide parallel to the floor. If
fabric is soft, allow it to settle overnight before
Finished Pattern
marking the hemline.
Figure 12.20

front
Center
JajueD
ong

Fold

SIDEJBACK

Figure 12.20
 The Panel Dress

The Panel Dress

The basic panel style is a prototype for designs
with similar features. Design variations follow
the project (Figure 12.21).

Design Analysis
The panel styleline is placed at side of the bust at
or just below mid-armhole to hemline. The
styleline does not pass over the bust point. The
excess is controlled by a French dart or gathers
(dart equivalent) intersecting with the front
panel styleline. The panel dress is generally semi-
fitted. The side panel connects front and back
panels and does not have a side seam. All panels
are on the straight grain.

Figure 12.21
276 Chapter 12 Dress Foundations and Designs

{ Preparing Form
Figure 12.22
A Place style tape from the armhole of the front
Ai ~\ Qs fue and back form (b), graduating to the waist and
| outward over the hip to the HBL line of the
form (a). Place pinheads of equal width at the
base of the form.

TITTTTT
—

Preparing Muslin
Front and back form:

* Length: Add 3”
* Width: Add 3”
Panel:

* Length: Add 3”
A
AA
AAAA * Width: Add 2”
To dress length -—
plus 3"

.
%
:
.

’' WU
y i|

Figure 12.22a | \
|
|
|
TF TUTTI
Ty

atey
ess

ect

ui
To dress length

ee
—<———

Figure 12.22b
 The Panel Dress

Figure 12.23 Smooth, slash, mark, trim, and pin as muslin is

Cut panels, and use measurements given for draped from the center to the panel styleline.
front and back necklines. Drape the excess hanging from the bust mound
Fold 1” on the straight grain. to the side bust and fold into a French dart with
excess toward the waistline.
Draw the straight grain in the center of the side
Slash waist to within 1/4” of the Princess line.
panel.
Pin.
Square a line for hip HBL.
Pencil mark panel styleline.

Draping Steps
Front
Figure 12.24
Place the fold of the straight grain at the center
front. Pin.

Front panel
Mark
panel
styleline

Side panel

Center
front
Ong
JeluaD Straight
grain

Figure 12.24

a b

Figure 12.23
 Chapter 12 Dress Foundations and Designs

Back Mark armhole, side seam, armhole depth, and

Figure 12.25 ease allowance.

Pin the shoulder dart, or share its excess with Pin 1/4” ease on each side of the grain at the
neck, shoulder, and armhole as ease. (If a sleeve waist.
is desired, shift center cap 1/8”.) Pencil mark panel styleline from waist to hip.
Continue with the drape, as illustrated.
Figure 12.27
Side Panel Mark hem to equal hip width.
Figure 12.26 Unpin upper part of the panel to just below the
Place the straight grain on the side seam and waist.
crossgrain at hip. Pin along this line.

Match side seams

and fold to zero
at waist
Mark styleline
panel

Mark
panel Mark
styleline an
panel
styleline

V2" V2

ia| |2
Oe

Figure 12.25
Figure 12.26 Le ae i
Wes We

Figure 12.27
 The Panel Dress

At armhole, pin ease allowance together (1/2” At completion of the drape, remove, true. Stitch
for front ease, and 3/4” for back ease) to zero at muslin, or transfer to paper first for a test fit.
the waist. Panels should square from hip to hem on the
straight grain. To complete the pattern, see the
Mark 1/2” ease on each side of the hip depth and
instructions on pages 35 to 39.
hemline.

Figure 12.28
Finished Patterns
Check that the hem is parallel to the floor. If not,
Figure 12.29
adjust the drape of the panels.
Crease-fold seam allowance of the front and
back seams and place over the seams of center
panel. Pin.

FRONT PANEL
BACK PANEL

SIDE PANEL

ae se

Figure12.28

Figure 12.29
 Chapter 12 Dress Foundations and Designs

E e L

The classic empire styleline crosses under the

bust from the center line and gradually slopes to
the center back. For design variations, the style-
line can be directed anywhere, as long as it
crosses under the bust. The empire styleline is
generally associated with contour draping.
However, the amount of fitting under the bust
varies to adapt to current fashion trends. The
lower part of the dress that joins to the empire
styleline can be draped as fitted, flared, circular,
or with panels. The draping procedure for the
empire top is based on the empire bodice
(Figure 12.30 and Figure 12.31).

Design Analysis
The design has a classic empire styleline. Gathers
under the bust are spaced at 1 1/2” (3/4” out
from each side of the Princess line). The depth
of the neckline is as desired and ends at the
Princess line of the shoulder. The fit of the dress
is controlled by darts.

Figure 12.30

Figure 12.31
 Empire Dress

Preparing Form Preparing Muslin

Figure 12.32 Measurements apply to front and back:
Pin-mark the scoop neckline front and back. * Length: Measure from shoulder/neck
Place style tape for empire styleline from to length of dress. Record bust depth
center front crossing under the bust and plus 4”.
sloping downward past side seam to approxi- * Width for bust arc: Use #17 from the Form
mately 4” up from center back waist. Mesaurement Chart. Add 3”.
Cut two pieces of muslin equal to length and
width.

ETT
TTP
T

TT
TTT

To dress length + 3"

et
A

Figure 12.32
 Chapter 12 Dress Foundations and Designs

Figure 12.33 Mark 5” below the bust depth and square across
Fold 1” on the straight grain. muslin.
Draw and cut temporary front and back neck- Repeat this line on back muslin.
lines following the measurements given. Cut along this line for front and back.
Mark the bust depth plus 1” down from X and Mark hip depth using #25 from the Form Mea-
square across muslin. surement Chart. Add 5”. Square across muslin.

Front Back

Crossgrain
Bust depth + 1"

Cut Cut

Hip crossgrain Hip crossgrain

Hip depth + 5" Hip depth + 5"
(#25) (#25)

Figure 12.33
 Empire Dress

Mark hip arc using #23 from the Form Measure-

ment Chart. Add 1/2” ease on this line.
Draw lines up and down on the straight grain
from each mark.

Draping Steps
Figure 12.34
Place the fold of the straight grain to the center
front. Pin. Hold excess for dart
or gathers, (1 " out from each dart leg)
Smooth, mark, and slash muslin along the scoop
neckline.
The crossgrain falls as the excess is draped to the
Princess line under the bust.
Pin excess together at the Princess line and mark
1” from each side of pinned dart (gather control
notches).

Figure 12.35
Trim excess from the scoop neckline.
Spread dart excess between the two marks and
hold with pins. Draw a line across the gathers.
The markings are blended at the time the drape
is trued. Mark gathers and control notches
H

Peel back or remove from the form.

Figure 12.36
}

Place the fold of the straight grain at center

a

back. Pin. Figure 12.35

Smooth, mark, and slash muslin along the scoop

neckline and shoulder.

Pin 1/2” dart at Princess line.

Smooth muslin at shoulder, armhole depth, and

side seam. Pencil rub.
Pencil rub
Mark empire styleline line. Trim excess. side seam

Peel back or remove from form.

Figure 12.36
284 Chapter 12 Dress Foundations and Designs

Lower Garment

Front
Figure 12.37
Place the fold of the straight grain at the center-
line and hip guideline (crossgrain) on the HBL
of the form.
Pin at empire style tape, waist, hip, and below.
Place hip guideline at the side seam matching
the HBL. Pin at the stitchline and smooth ease
allowance away from the side seam. Pin.
Smooth muslin along the curve of the hip to the
waist. Pencil rub and slash at waist to within
1/4” of rub mark.

Continue smoothing muslin upward to the style

tape. Pin and pencil rub the side seam.

Darts
The looseness at the waist is taken up by two
long darts with ease equally divided. The first
dart is placed at the Princess line; the second
dart is spaced 1 1/4” at the waist. The dart length
below the waist is approximately 3”. Mark the
dart intake.
err Pin excess outward. Slash at waist level.
Figure 12.37
Back
Figure 12.38
Drape the back according to the instructions for
the front drape.
Each dart ends approximately 5 1/2” below
waist.
Slash at waistline.

Figure 12.38
 Empire Dress

Figure 12.39 At completion of the drape, remove and true.

Unpin each dart. Fold excess under and repin. The centers of each dart should be parallel to the
centerlines. Stitch muslin or transfer to paper
Pin the side seams together, but not so close as first for a test fit. To complete the pattern, see the
to cause stresslines at the waist or cause a guide-
instructions on pages 35 to 39.
line at the HBL to rise. This would unbalance
the hang of the hemline.

Figure 12.40 Finished Pattern

Repin side seam. Join the upper front and back Figure 12.41
SOMES ESN ET Ta To mark long darts, see the instructions on
Recheck for stress. Unpin and adjust if necessary. page 268.

BACK FRONT

Fold

Fold

FOSS \

BACK FRONT
HH

Figure 12.40 x b

Figure 12.39 Figure 12.41

286 Chapter 12 Dress Foundations and Designs

The basic tent foundation has an A-silhouette

and a sweeping hemline (Figure 12.42). The
flare, hanging freely from the shoulder blade and
bust, and the additional fabric at the sides create
the silhouette and hemline. The sweep of the
hemline can be increased by lowering the cross-
grain at the curve of the armhole or decreased
by raising the crossgrain at the side seam by tak-
ing up part of the original flare into a side dart.
Tent foundations 2 and 3 illustrate the prin-
ciple of increasing or decreasing the flare at the
hemline of the basic tent foundation. The tent
foundations can be draped to any length and
adapted to a variety of uses, including as a blou-
son, blouse, crop top, and beach cover-up.

Figure 12.42
 Tent Foundation 1

Design Analysis
Figure 12.43
The tent foundation has a basic neckline and
armhole. The flare hangs from the bust and
shoulder blades, providing a sweeping hemline.
The excess at the shoulder is draped around the
armhole and hangs with the back flare. To create
an A-silhouette, add fabric to the side seams half
the width of front flare. At completion of the
drape, the side seam may need to be adjusted for
correct alignment.

Preparing Muslin
Figure 12.44
Length: Measure from shoulder/neck to dress
length. Add 3”.
Width: 25” for street length. Add 1/4” for every
additional inch of length.

Figure 12.43

Figure 12.44
288 Chapter 12 Dress Foundations and Designs

Crossgrain
FRONT

Hip crossgrain Hip crossgrain

|Extend for length

Figure 12.45

Figure 12.45
Fold 1” on the straight grain. Follow illustration
for front and back necklines.
Mark the bust level down from (X). Square a
line.

Mark the waist depth.

Mark the hip depth down from waist. Square a
line.

Draping Steps
Figure 12.46
Place the fold of the straight grain on the center
of the form at the neck with the crossgrain guide
Figure 12.46 on the HBL line of the form. Pin the neck, bust
level, waist, hip, and down the center front.
 Tent Foundation 1

Smooth, slash, and drape the neckline, shoulder,

and armhole. Pin 1/8” (1/4” on the open) for
ease. Mark armhole depth and 1/2” ease. Trim
eXCess.
Smooth muslin downward from the side bust to
the base of the form, and pin. The crossgrain
drops, as a flare hangs from the bust (the origi-
nal dart excess).

Add to the Side Seam for A-silhouette

Pin the flare together at the Princess line. Mea-
Figure 12.47
sure width (A-B) at the hip guideline.
Mark the side seam, and dot mark the width
(A-B) for the flare at the side of the drape.
‘Measure —s Equalls\A-B

Trim side excess to within 1 1/2”, and crease-fold

on guide marks.
Peel drape back, and pin.

Figure 12.47
Place the fold of the straight grain to the center,
and pin.
Smooth, and slash muslin around neckline,
shoulder, and armhole. Pin.

Pin the flare together at the Princess of the hip

guideline equal to the A-B measurement of the
front flare. Mark an equal amount to the side
seam.

Figure 12.48
Pin the front shoulder over the back shoulder. Figure 12.48

Crease-fold the side seam from the armhole to

the hem, touching flare allowance marks. If the
side seam does not align with that of the form,
repin. Pencil mark the side seams.
After hanging overnight, mark the hemline
parallel to the floor. Trim excess.
At completion of the drape, remove and true.
Stitch muslin or transfer to paper first for
the test fit. To complete the pattern, see the
instructions on pages 35 to 39.
 Chapter 12 Dress Foundations and Designs

Finished Pattern

Figure 12.49
For facing instructions, see Chapter 11.

BACK

Figure 12.49
 Tent with Added Flare: Tent Foundation 2

Design Analysis
Figure 12.50 and Figure 12.51
To increase the hemline sweep of the basic tent
foundation, slash the muslin just below mid-
armhole and allow the crossgrain to drop,
thereby creating additional flare at hemline.

Preparing Muslin
For instructions on measuring and preparing
the muslin, see page 287, Figure 12.44.

Figure 12.50

Figure 12.51
 Chapter 12 Dress Foundations and Designs

Draping Steps
Figure 12.52
Place the fold of the straight grain to the center,
and pin.
Slash and
drop grain Smooth, slash, mark, and pin the muslin around
the neck, shoulder, and just below the mid-arm-
hole.

Measure fold of flare A-B.

Slash at the mid-armhole and allow the grain to

fall until the flare when folded equals no more
(but may be less) than the A-B measurement.
Add equal amounts to side seam.
Repeat instructions for the back drape using the
A-B measurement to control the amount of flare
oe and addition to the side seam.
U
A-B

Figure 12.52
S@rapless Dress
Foundations
and Designs:

' o reveal the contour shapes of the figure, fabric is

draped to the hollow areas above, below, and in be-

tween the bust or buttocks rather than bridging them

as does the basic garment. The bust having hollow areas un-
der, above, and in between exemplifies this principle. Three
strapless foundations were selected as prototypes for creating
designs and constructing an undersupport for special gar-
ments (see Figure 13.1). The strapless foundations that intro-
duce the principle of contour draping are:

* Princess torso (Figure 13.1b): Contoured under, between,

and over the bust.
* Princess bodice (Figure 13.1c): Contoured under and over

the bust (not between the bust).

- Bra-top empire torso (Figure 13.1a): Contoured under,
between, and over the bust.

The strapless foundation can be draped to extend to any

length.
 Chapter 13 Strapless Dress Foundations and Designs: The Principle of Contour Draping

Figure 13.1 b

The Princess can be draped to the waist or torso

(as illustrated) or to any length below (Figure
13.2). For design suggestions using the gore pan-
els, see Skirts, Chapter 7. For instructions on
constructing an undersupport, see page 313.

Princess Torso Foundation

Remove the bridge band. Drape to fit the hol-

lows above, under, and in between the bust. The
fit under the bust should not be snug (unless
the panels are cut on bias), but should be close
enough to give the appearance that it does. The
style follows the Princess lines of the form. The
centerlines have seams. The torso line can be of
any distance below the waist, but 5” is suggested.
Outside draping may be preferred when draping
the contour of the bust. The torso styleline can
be created in a variety of styles, and the gore
panels can be extended to desired lengths for
other variations.

Figure 13.2
 Strapless Princess Torso

Preparing Form
Figure 13.3
Use pins or style tape for strapless and torso line.

Preparing Muslin
Front and back:

* Length and width: Add 3”.

* Side length and width: Add 4”.
Cut panels for front.
Add back measurements together and cut one
panel.

Figure 13.4 Figure 13.3

Draw a crossgrain line 1” from hem.

Back
Mark the center back length and draw a line to
the top at the other end. Cut along this line and Front
cut the panel in half (a).
Draw a straight grainline 1” from the fabric
Fold 1” at the center back panel. edge (c).
Draw a straight grainline through the center of Draw a straight grainline in the center of the
the side back panel. side front panel (bias grain is an option) (b).

Side Back Side Front Front. sale

Cut

CB
Length

Figure 13.4
 Chapter 13 Strapless Dress Foundations and Designs: The Principle of Contour Draping

Draping Steps
Front Panel
Figure 13.5
Pin straight grainline at the center and 1” below
the torso style tape. Slash at the waist and bust
level.
Pin 1/16” for ease at waist (1/8” on the open).
Smooth muslin upward from the center front at
the bust level to the Princess line, draping to the
shape of the bust.
Pin, slash, and mark strapless style tape.
Smooth across the torso line to the waist. Slash,
mark, and pin.
Smooth muslin under the bust. Slash and drape
Figure 13.5
closely to the bust shape along Princess line.
Mark the Princess line, and trim excess.

Mark 2” up and down from the bust point for

ease control notches.
Remove panel or peel back, and pin.

Side Front Panel

Figure 13.6
Pin a straight grainline at the center of the side
panel and 1” below the style tape.
Pin 1/8” ease (1/4 on the open) at the waistline.
Smooth muslin draping to shape of the bust.
Slash and pin under the bust mound.
A small amount of excess will appear as the
muslin is draped over the bust point at the
t Zg |
Princess line.
1/4" Pin remaining excess, and mark 2” up and down
Figure 13.6 from the bust point at the Princess line for ease
control notches.
Smooth muslin up from the torso to the waist-
line. Slash and pin both sides.
Mark the Princess line and side seam.
 Strapless Princess Torso

Pin panels together along the Princess line.

Slash ease control marks.
Add 1/4” at torso line for ease.
Remove panel or peel back, and pin.

Back Side Panel

Figure 13.7
A straight grainline is placed at the center of the
side back panel and 1” below style tape.
Drape both sides and slash at waist. Mark the
torso and strapless line.

Back Panel
Pin a straight grainline at the center back of the
form and 1” below the torso style tape. Drape
both sides. Slash, pin, and mark stylelines.
Figure 13.7
Pin the front to the back. Check the fit and bal-
ance of the drape. Remove the drape from the
form.

Mark Inside Seams /)

Figure 13.8

Turn the drape over, and pencil rub each side of

the inside pinned seams. Unpin and true all
seamlines. Blend curved lines. Walk the pattern
from the top down and bottom up to true ease
control notches.
: , Figure 13.8
Stitch muslin or transfer the drape to paper first
for a test fit. To complete the pattern, see the in-
structions on pages 35-39.
 Chapter 13 Strapless Dress Foundations and Designs: The Principle of Contour Draping

; BACK SIDE BACK SIDE FRONT FRONT

Figure 13.9

Finished Pattern
Figure 13.9

Fit Analysis
Figure 13.10
Cut and stitch a full garment. Place on the form
and evaluate the fit using the criteria given.

Good Fit
1. The bust cups fit the contour of the bust with-
out stress and without the cups falling away at
the centerline.
2. The garment has a smooth fit around the
waist and torso.
3. There is sufficient ease at the torso and waist.
Figure 13.10
 Strapless Princess Torso

Poor Fit
Figure 13.11 and Figure 13.12
Problem: Stresslines appear above, at, or below
the bust mound (see Figure 13.11]a).
Cause: Insufficient room for the bust mound.
Ponft

Solution: Release stitching from above to under

the bust. The bust will push through. Measure
the open space and correct the pattern (see
Figure 13.12).

Poor Fit
Figure 13.13 and Figure 13.14
Problem: Bra cups fall away from the form.
Cause: Insufficient cup room for the larger
bust size.
Solution: Release the stitches over the bust
mound. Cut through the muslin from the bust
point to the side seam and center front (see Fig-
ure 13.13). The mound of the bust will push Figure 13.11
through. Measure the open space and correct the
pattern (see Figure 13.14).

Side Front Front

a is) 2

Figure 13.13 Figure 13.14

Figure 13,12
 Chapter 13 Strapless Dress Foundations and Designs: The Principle of Contour Draping

Poor Fit
Figure 13.15
Problem: Top falls away from the bust.
Cause: Insufficient bust cup room.
Pull away
Solution: Same corrections given in Figure 13.12
and Figure 13.14 or trim, as illustrated in Figure
15216:

Poor Fit
Figure 13.16
Problem: Too tight or too loose along the strap-
less line or the waist/hip.
Cause: Draped too tightly or too loosely.
Figure 13.15 Solution: If too tight, release the Princess seams
the needed amount to release tension. If more
room is needed at the strapless line, add to the
Subtract
or
center front. If loose, pin in closer. Correct the
xo
add
patterns by adding to the seams or trimming the
excess.
Add

Additional Information
To tighten the garment, collapse the shoulders
and take in looseness at the center back or side
seam. Correct the pattern. However, if the gar-
ment is to have a constructed undersupport, it is
best to wait until the garment is complete before
Side Front Front
determining if the garment should fit closer.
a b Complete the design. For information on select-
Figure 13.16 ing the required type of innerconstruction, see
page 313.
 Princess with Gathered Overlays

The design is based on the Princess torso foun-

dation (Figure 13.17). For instructions on the
constructed undersupport, see page 313. The
methods are prototypes for other designs with
gathered overlays.

Design Analysis
The Princess panels are traced and trimmed to
offset the bias stretch of the gathered overlay.
The panels are sectioned, numbered, cut apart,
and spread to equal the ratio of fullness desired
(chiffon: 2 to 3 times the panel length). The
front panel illustrates the process. Repeat for the
remaining panels. The gathered panels are
stitched to each panel and then joined together.
The gathered panels lie over the constructed un- Figure 13.17
dergarment and are stitched across the strapless
styleline.

3/4"
Draping Steps: Preparing the
Princess Panels
Figure 13.18 and Figure 13.19
Modify the front Princess panels, as illustrated.
Two methods are illustrated for adding gathers
Y
to the Princess panels.
Back Side Back Side Front Front

Trace two copies of the modified Princess pan- a b @ d

els. One set is for slash and spreading; the other Figure 13.18
set serves as the foundation for searching the
gathered panels.

Side Front

a b

Figure 13.19
 Chapter 13 Strapless Dress Foundations and Designs: The Principle of Contour Draping

Trim for stretch Method 1

Figure 13.20
One of the two sets will be marked into sections
and numbered. The front panel is illustrated.
Mark the sections to be spread for gathers.
Draw a guideline through the pattern parallel to
the center front.

Figure 13.21
Draw a line through the paper.
Figure 13.20 Cut the numbered panel apart. Space and align
with the line on paper. Secure to the paper. Trace
and blend.
Cut the pattern from the paper.
Draw a grainline at the top of the pattern.
Cut in the fabric and place the grainline to the
top of the panel. Pin and gather (gathers will
be on an angle) and stitch to the panel (Figure
13.22). Trim excess.

Repeat the process for all the panels.

Figure 13.22
The gathered panels can be stitched to each
panel of the undersupport, or joined to the
panels and placed over the constructed under-
support for a test fit.
Figure 13.21
Complete the design.

Method 2
The side front panel is illustrated. Repeat the
process for the remaining panels.
Center

Figure 13.22
 Princess with Gathered Overlays

Preparing Paper and Fabric Figure 13.25

Width: Cut the fabric on the straight grain equal Place the top of the pattern to the top of the
to the widest part of each Princess panel. Add 2”. gathered fabric.

Length: Desired fullness (ratio: 2 to 1, 2 1/2 to 1, Angle the fabric to match the center guidelines
etc.). Add 3” (crossgrain). (straight grain).

Cut paper to the same dimensions. Hold the center with a pushpin.
Pin through the center and around the pattern
Draping Steps outline.

Figure 13.23 Cut around the pattern. Unpin and remove pat-
tern. Pull the gather threads from the fabric, and
Cut length and width for all panels.
press.
Draw a guideline through centers of the fabric.
True the ragged edges around each panel.
Gather stitch through the centers and 1” in from
each side. Place each panel on the paper, aligning the
guidelines. Pin to secure, and trace.
Start gathers 1” from the top and finish so that the
panel is 2” longer than the pattern (Figure 13.24). Recut, gather, and stitch to the Princess panels.

Paper Fabric
Straight grain

Guideline
eA!

Guideline
ee
(Crossgrain)
Guideline

a b

Figure 13.23 Figure 13.24 Figure 13.25

 Chapter 13 Strapless Dress Foundations and Designs: The Principle of Contour Draping

The design for layering several plies of fabric Preparing Paper and Fabric for
over the Princess panels is a prototype for other the Princess Panels
foundations. Three methods are illustrated.
Figure 13.19 (page 301)
Trace the Princess patterns.
Add 3/4” to the top of each pattern.
Design Analysis
Add 1/8” at the bust points, and blend lines. The
Layers of lightweight fabric, usually chiffon, cre- layers will be stitched to it.
ate different effects by changing the color of each
Figure 13.26
layer. Layers can also add interest to the basic
stylelines by laying cutout fabrics (eyelet) over Trace another copy and add 1/16” to each seam.
other fabric(s) of a different color. Layering re- Cut the layers from these patterns.
quires that the pattern be made slightly larger to
prevent the overlay from buckling the frame to Figure 13.27
which it is stitched. Examples of layers cut from the patterns.

BACK ie Lacx| \ [nat

a b

Figure 13.26
IN
Zi
ao/
ao
ee

Back Side Back Side Front Front

a b c d

Figure 13.27
 Strapless Princess Bodice

| ee
Design Analysis: Foundation
Figure 13.28 and Figure 13.29
Do not remove the bust tape. The front panel is
draped over the bust tape, bridging the hollow
between the bust mounds. The stylelines follows
the Princess line of the form, contouring above
and under the bust mound. The fit under the
bust will not be snug (unless the panels are cut
on the bias), but will be close enough to give the
appearance that it is. The excess of the waist dart
is removed at the Princess stylelines (dart equiv-
alent). Outside draping may be preferred when
draping the contour of the bust mound. The
design can be draped as a torso or to different
lengths for design variations. The designer/
draper can create the skirt to complete the de-
sign or refer to Chapter 7 for suggestions.

Preparing Form
Figure 13.30
Use pins or style tape to establish the strapless
line.

Preparing Muslin
Front and back panels:
* Width: Measure and add 4”.
- Length: Measure and add 3”.

Figure 13.30
 Chapter 13 Strapless Dress Foundations and Designs: The Principle of Contour Draping

£
9
oSfo)
a
2
5
ae
”

Back Side Front Front

Figure 13.31

Figure 13.31
Draw straight grain in center of the front panel
and center of the side front.

Fold 1” at the center back.

Draping Steps
Front Panel
Figure 13.32
The straight grain is placed at the center front
and pinned to secure the front (pin other side).
Smooth muslin along the waistline. Pin, and
mark waistline and Princess line.

Smooth muslin under the bust at the Princess

Figure 13.32
line. Slash and smooth to the shape of the bust
fitting closely from the Princess line to the bust
point.
Slash under the bust and mark Princess style-
lines. Pin and trim excess.
Mark 2” up and down from the bust point.
Peel back or remove drape from the form.

Front Side Panel

Figure 13.33
Pin the straight grain in the center of the side
Figure 13.33 panel and side seam.
 Strapless Princess Bodice

Pin 1/8” ease (1/4” on the open) at waist. the curved lines. To true notch placements, walk
Smooth muslin to the Princess line, draping the the pattern down from the top (adjust) and up
from the bottom (adjust).
shape above and below the bust. Slash under the
bust. For instructions on transferring the drape to pa-
pel, see pages: 55, tony,
Pin the remaining excess at the bust point and
mark 2” up and down on the Princess line for Cut in fabric and stitch. Recheck fit.
notches to control ease.
To solve fitting problems, see pages 299 and 300.
Smooth, slash, and mark waistline.
Mark the Princess and strapless stylelines. Pin. Finished Pattern

Trim excess. Figure 13.36

Back
Figure 13.34
Pin the fold of the straight grain to the center
back.
Smooth muslin to the side seam. Pin. A waist
dart is not needed.

Smooth, slash, and mark waistline.

Pin 1/8” ease (1/4” on open).
Mark side seam and strapless styleline.

Figure 13.35
Pin panels together. Check fit. Remove drape to
mark seams.
Mark seams. Turn drape over and pencil mark
both sides of all pinned seams (see page 297,
Figure 13.8). Unpin and true seams, blending
Figure 13.35

Back Side Front Front

Figure 13.36
 Chapter 13 Strapless Dress Foundations and Designs: The Principle of Contour Draping

The bra and torso part of the strapless empire

can be designed in a variety of ways (Figure
13.37, the foundation, and Figure 13.38, the
design). The styleline crossing bust points from
center front to side seams (illustrated) and the
Princess empire are among the most popular.
The empire styleline crosses under the bust
mound. From there, the styleline may be draped
to any point along the side seam and center
front. The empire styleline allows a contour fit
that is closer to the hollows under the bust than
that of the Princess styleline. The skirt part of
the garment is the designer/draper’s choice. For
inspiration, see Chapter 7. To construct an
inner support for the design, see page 313.
’

Empire Bra-Top Foundation

The bust tape is removed. The bra cup fits the
hollows above, under, and in between the bust
mound. Each bra panel is of equal width—
approximately 1 1/2” at the side seam and 1” at
the center front. The empire styleline follows
along the bottom bra cup of the front. The torso
line is 5” below the waist at the center front,
graduating to 3” below the waist at the side seam
to the back.

Figure 13.38
 Strapless Empire Bra-Top Torso

Preparing Form
Figure 13.39
Use pins or style tape for strapless, empire, and
torso stylelines.

Preparing Muslin
Measure each side of the front and back as indi-
cated by arrows:
Front
* Length: Add 6”.
* Width: Add 4”.
Back
* Length: Add 4”.
* Width: Add 4”.
Figure 13.40
Figure 13.39
Draw straight and crossgrains using measure-
ments given.
Cut muslin to the measurements.

Divide the front and back in half. Cut apart and

fold on the straight grain 1” at the centerlines.
Front Muslin es

3) Upper bra
1" Back Muslin Cut

Back Side} back

UIIPIO4

Cut

Figure 13.40
 Chapter 13 Strapless Dress Foundations and Designs: The Principle of Contour Draping

Draping Steps
Front Torso
Figure 13.41
Pin fold of straight grain at center and 1” below
torso style tape.
Smooth, slash, and mark muslin under the bust.

Slash at waist, and mark torso style tape.

Draw styleline
Trim excess.
Draw styleline

Side Panel

Draw styleline
Figure 13.42
Pin straight grain guideline in the center of the
side front panel and 1” below torso style tape.
Figure 13.41
Pin 1/8” ease (1/4” on the open) at the waist.
Smooth muslin to the empire styleline, side
seam, and Princess line. Slash, and pin.
Mark stylelines.

Back Panel
Draw Figure 13.43
styleline
Pin fold of the straight grain at the center back
and 1” below torso style tape. Pin.
Smooth across waist. Slash and pin at the
Princess line. Smooth muslin, and mark all style-
lines.
Figure 13.42 Peel back or remove drape from form.

Side Back Panel

Pin straight grain in the center of the side panel
and 1” below torso style tape.
Pin 1/8” ease (1/4” on the open) at the waist.
~ Smooth muslin to the strapless styleline, side
seam, and Princess line. Slash, and pin.

Mark stylelines.
Figure 13.43 Pin back panels together, and trim excess.
 Strapless Empire Bra-Top Torso

Upper Bust Cup

Figure 13.44
Pin straight grain of the muslin at the center
front and 1” above the strapless styleline. Pin.
Smooth muslin from the center front over the
bust to the side seam, draping to the shape of the
bust.
Slash, pin, and mark stylelines. Trim excess.
Peel the drape upward and pin or remove from
the form.

Lower Bust Cup Figure 13.44

Figure 13.45
Pin straight grain of the muslin at the center
front and 1” below the empire line.
Smooth muslin upward, draping to the shape of
the bust. Slash, and pin.
Mark empire and bra styleline. Pin, and trim
excess.
Remove drape from the form.

Mark Seams
Reverse the drape and pencil rub the pinned
seams of the drape. For instructions, see page 297,
Figure 13.8.
True and blend curved seams. Figure 13.45

Repin (or stitch) and place on the form.

To analyze and correct the fit, see pages 298
and 299.

Front Drape Pinned Together

Figure 13.46
Pin (or stitch) front drape together.

Figure 13.46
 Chapter 13 Strapless Dress Foundations and Designs: The Principle of Contour Draping

Front Pinned to Back

Figure 13.47
Pin side seams with the front folded over the
back.

Remove ease pin at waist.

Check fit of the bust cups. If stressed, add to up-
per and under bust cup (see Figure 13.48).
Remove drape from the form and true, stitch
muslin or make the paper pattern first for the
test fit. For instructions on constructing the
undersupport, see page 313.

Finished Pattern

Figure 13.47 Figure 13.49

\
Upper bust Upper bust

eae
a

<— — >
a Cc

<->

(ee oe yong
JejuaD

ee
Lower bust Lower bust
b d
Back Side back
Figure 13.48
b

(Cle

eal
— Fold,
or seam

i
Side front Front

c d

Figure 13.49
 Support for Strapless Garments

Support for strapless garments ranges from * Boning (optional) and twill tape.
minimal to extensive. Selection of the type of
A separate lining depends on which side of the
constructed undersupport depends on the char-
support garment faces the underside of the de-
acteristics of the design and the cost factor.
sign overlay.

Types of Support
Supplies: Heavyweight
Minimal Support Construction
Minimal support might include the use of Undersupport
shoulder straps and/or boning stitched over se-
* Fabric: medium weight canvas, drill,
lected seams (for example, bust and side seams).
poplin, a weighty satin or a sturdy
The strapless design could also have facings or a
(nonstretchy), preshrunk linen or a heavy
lining. A fused or nonfusible interlining would
satin Lycra.
add additional support, and should be lined.
If boning and raw seams of the constructed un-
Constructed Undersupport dergarment face the design overlay, a lining is
An undersupport functions as a corset (a second not required, but an underlining is. If boning
garment) and is made of heavy fabric, boning, and seams do not face the design overlay, a lin-
underlining—often with a lining. Extensive con- ing is required to cover the raw seams.
struction is required for designs that are heavily
beaded or with overlays consisting of several plies Underlining
of fabrics, multiple gatherings, or radiating drap- Underlining is the backing for the design over-
ery. After considering all factors, the designer/ lay, which shields the garment from the boning
draper selects the appropriate support for the de- and raw seams of the constructed undersupport
sign. A lightweight construction of cotton netting, that faces it.
organza, or lightweight cotton may be appropri-
* Fabrics: wool felt or a blend (not less than
ate for certain designs, particularly if the garment
50%), cotton flannel, or batiste.
is featherweight and generally unlined. A heavily
constructed undersupport provides the necessary Bust Padding
security for design garments that overlay it.
Bust padding is attached to the undersupport
garment.
Supplies: Lightweight Construction
* Fabrics: thick fiber-filled batting, 2 to 3 ply
Undersupport of a stiff fabric (canvas or Belgian linen) or
* Fabrics: Cotton net, organdy, lightweight fuse several plies of interconstruction to
cottons for the base. the bust area.
 Chapter 13 Strapless Dress Foundations and Designs: The Principle of Contour Draping

Lining
* Fabrics: Rayon, China silk, silk crepe, or
use the design fabric.

Other Items
Grosgrain ribbon or twill tape (1/4”) for holding
ease at the top of the strapless garment.
Grosgrain or elastic (3/4” to 1” wide) for secur-
ing the garment to the waist. Closure of choice.

The Princess torso pattern is the prototype for

the following instructions, but the information
can be applied to,other foundations. For the
drape of the Princess torso, see page 295.
,

Lining and Underlining Patterns

3/4" Trace two copies of the Princess torso patterns

and add 3/4” to the top of each pattern to allow
for adjustments.

First Copy
Figure 13.50
Y The first copy is for the lining, if required.
Back Side Back Side Front

a b Cc
Second Copy
Figure 13.50 Figure 13.51
Add 1/8” on each side of the bust mound to al-
low for boning and/or padding; to serve as an
underlining for the design garment; and as a
base for generating the design garment.
Cut in fabric of choice and stitch.

Press seams open.

-If bra padding is not desired, go to Figure 15.36.

Side Front Front

Figure 13.51
 Preparing Patterns for the Undergarment

Paper
ON i>

% & me | &
ea rent yile—)

ee aN eet
jee

_ Saas SS

Back Side Back Side Front Front

a b Cc d

Figure 13.52

Padded Bra
Figure 13.52
Place the upper part of the basic Princess on ea
paper. ine
Trace bust area and 2” across the upper back Back Side Back Side Front Front
patterns (indicated by shaded areas). a b c d

Bra Cup Seamless Pattern

Figure 13.53
Mark notches and cut from paper removing
seam allowances.

Prepare Fabric
Figure 13.54
Choose fabric for padding (see page 313).
Cut fabric 9” x 20”.

Top stitch 1/4” rows vertically through the fabric.

Place bra patterns on the padding. Trace and cut.
Mark notches, but do not slash notch locations.

Join Bra Padding

Figure 13.55 Center
| front

Join raw edges by hand stitching or zigzagged by

machine. Figure 13.55
 316 Chapter 13 Strapless Dress Foundations and Designs: The Principle of Contour Draping

Figure 13.56

Figure 13.56 Types of Boning

Fit padding snug to the garment 1” from the top. Rigilene
Pin to hold.
Figure 13.57
Stitch around the outer edges to secure padding This type of boning is made of webbed plastic
to undergarment. through which needles pass easily. It can be used
with or without a casing. The cut ends are cov-
ered with twill.
Boning
Flexible Wire Boning
Boning provides a lightweight skeletal frame This type of boning is cut to length with a metal
that supports the garment. A variety of boning cutting device. The rounded caps are then at-
types are available through sourcing companies tached with pliers. Wire boning requires a casing.
and fabric stores. They range from firm, ridged,
or webbed plastic called Rigilene to a flexible
wire boning with caps. Boning can be purchased Rigilene Flexible coil boning
(webbed plastic)
with or without a casing. When needed, casings
can be made. Placement of the boning depends Fy
Attached cap

on the type of support required. For example,

boning may extend through the length of the
torso (theatrical and show costumes) or end
sgusasagnGaanEawasaun
1/2” from the waistline. It can also be placed in
between seams or can be stitched over a padded
bust. Boning should not end at a point level with
the ends of the seams or it may poke the figure.
Boning generally finishes 1/2” from each end of
the selected seams. Figure 13.57
 Preparing Patterns for the Undergarment

Casing for Boning

b

Figure 13.58
a \

Slip boning
Cut strips of cotton to length of each seam and in casing

double the width of the boning. Add 1/2” (a).

Fold and stitch, using 1/8” seam (b).
Turn. Slip boning in. Fold 1/2” at the ends (c).

Figure 13.58
a c
it b
Encased Boning fa Trim 1/2"
Cut | Fold
Figure 13.59 to || over
length
Cut boning to the length of the selected
seams (a).

Push casing down at each end. Trim 1/2”

from each end of the boning (b) or remove
:_|Trim 1/2"
boning and trim 1” put boning back (review
Figure 13.56). Figure 13.59

Fold 1/2” and stitch to seam (c).

Attaching the Boning

Cased Boning
Figure 13.60
Casing of the boning is stitched at each side and
through to the constructed support garment.
(Boning over the bust is optional).

Uncased Boning (Rigilene)

Figure 13.61 a\\

Boning is stitched in the ditch of the seam.

The constructed side of the support garment ean
SLED
PSPS
BZA

faces the underlining of the design garment.

The raw seams are inside and do not require a
separate lining, which may, however, be desired.
An optional feature is to catch stitch the boning a b

to the seams. Figure 13.61

 Chapter 13 Strapless Dress Foundations and Designs: The Principle of Contour Draping

Attaching
Winderoarment
the =a. rr
The constructed undersupport is attached to the Lining Required
design garment in one of two ways—with or A lining is required when the finished side of the
without a lining. If there is a lining, the design undersupport faces the underside of the design
garment is placed in between the undersupport overlay. The lining covers the raw seams, boning,
and the lining. All three are joined by stitching and padded bra to clean finish the garment.
1/8” above the strapless line. If the design gar-
ment is beaded or has several plies of fabric, the
stitchline may be more than 1/8”. Controlling Ease
Figure 13.62
Lining Not Required Stitch twill or grosgrain 1/16” above the stitch-
line of the strapless, starting at the center back to
A lining is not required when the raw seams,
the side seam (Figure 13.62).
boning, and padded bra face the underside of
the design overlay. In these cases, the finished Hold 1/8” ease from the side to the Princess line
side of the undersupport serves as the lining. and 1/8” to the center front. Repeat to other side
This type of construction requires that the de- to help secure the strapless top to the figure.
sign overlay be backed by an underlining. If a
Trim the top to within a 1/4” seam allowance.
lightweight construction is chosen, an underlin-
ing is not required. Edge stitch when garment is turned.
A 3/4” to 1/2” grosgrain can be placed along the
waistline and tacked at the center and sides and
into the center back. It can be either caught in
with the zipper or allow a 1” opening in the fold
of the lining at the center back. Pull though the
grosgrain ribbon and secure with hook and eye
across the inside of the zipper (see Figure 13.60
and Figure 13.61).

Fit Analysis

Constructed If the bust cup pulls away from the bust or does
Undersupport
not fit into the cleavage (between the bust) com-
fortably, see pages 299 and 300.

Design overlay
Lining

Figure 13.62
 Underskirt

An underskirt, or lining, stitched to the torso

foundation may be required. It may be a
straight, flared, or gathered skirt. Hoop or petti-
coat skirts can also be attached to give shape to
the overskirt (Figure 16.63).

Figure 13.63
320 Chapter 13° Strapless Dress Foundations and Designs: The Principle of Contour Draping

Design Analysis
Figure 13.64
The constructed undersupport has an asymmet-
ric style cut same as the gown. The undersup-
port is developed first. The side seams are
basted—to be opened to include raw seams at
completion of the drape. The skirt part of the
design has a slit and can be draped to the under-
support before the overlay is draped. The back
torso is draped to follow the shape of the under-
garment. It extends 1” below and allows for a 1”
turnback.
The left side of the strapless is draped over
the bust with gathers directed to the center
front. The gathers are pinned and tacked. The
right side is draped over the bust and from side
to side. Added fullness radiates from the right
seam and held as pleats (gathers if preferred) on
the left side. The pointed hemline of the overlay
hangs freely (except at the side seams)and covers
the joining seam of the skirt.
The pattern shapes of the back constructed
undersupport are also cut in design fabric
and stitched as the design overlay. Skirt can be
draped before or after the Princess torso drape.
For a guide to constructing the undersupport,
see pages 314 to 318.

Preparing Form
Pin-mark or use style tape to mark strapless
Figure 13.64 styleline (not illustrated).

Fabric Needed
Constructed Undersupport
To measure for the constructed undersupport
and the back drape, see page 295, Figure 13.4.
 Gown with Radiating Drapery

Skirt
- Length: Cut to desired length. Add 2”.
* Width: For hip F/B arc, multiply #23 from
the Model Form Measurement Chart by 2
and add 3”,

Radiating Draped Overlay

Cut bias 24” x 28”.
Fall-out fabric can be used for bra drape.

Draping Steps
Construct the undersupport following the
instruction starting on page 309. Use these
patterns for the back drape overlay. Allow 2” at
the hemline.

Figure 13.65
Drape over the bust with the dart excess pinned
as pleats (gathered later when tacked to the un-
Figure 13.65
dersupport).
Slash and trim excess.

Figure 13.66
Place bias fabric over the right bust, allowing ap-
proximately 1” to extend the left side of the
form.
Smooth fabric over the right bust and under the
left bust to the side seam. Fold fabric 1” under,
and pin to the left side seam.
Crosspin bust point.

Figure 13.66
 Chapter 13 Strapless Dress Foundations and Designs: The Principle of Contour Draping

Figure 13.67 and Figure 13.68

Flare (dart excess) hanging below the bust is
draped as pleats to the left side (see Figure
13.67).
Mark the side seam approximately 3” down
from the plate/side seam (see Figure 13.68).

Adding Fullness
Figure 13.69
Trim excess 3” down.

On the right side, slash to the side seam. Pin and

lift fabric as a pleat to side seam of the left side.
Repeat the process.
Mark the side seam. Trim excess.

Figure 13.67

Figure 13.68 Figure 13.69 nt

 Gown with Radiating Drapery

Figure 13.70
Pin pleats and mark the side seam.

Figure 13.71 and Figure 13.72

Continue to slash and lift the fabric for pleats
pinned to the other side.
End the pleats 1” above the finished seam of the
undergarment.
Extend fabric beyond the seam of the undersup-
port. Allow for hem and turnback.
Mark the hemline to point over the Princess line
(see Figure 13.71).
Complete pinning with the side seam marked
(see Figure 13.72).

Figure 13.70

Figure 13.72

Figure 13.71
 Chapter 13 Strapless Dress Foundations and Designs: The Principle of Contour Draping

Check fit.

Make the patterns after removing and trueing

the draped garment. The pleated side can be
marked as pleats or the uneven marks can be
blended for gathers.

Figure 13.73 and Figure 13.74

The garment is cut in the design fabric unless
the original fabric has already been used in the
drape. The garment is stitched for a final fit
check.

Slit ends at
mid-thigh

Figure 13.73

Figure 13.74
 efore the advent of the bias cut dress, fashion gar-

ments used girdles to harness the body. Then, the late

designer Madeleine Vionnet (1876-1975), called the
“Euclid of Fashion,” created the bias cut dress that clung to the

natural curves of the figure. As the bias fell from the hip, it cre-

ated flares at the hemline. The beauty of the bias dress was the
graceful swing of its hemline as the body was in motion (see
Figure 14.1 and Figure 14.2). Vionnet’s designs revolutionized
the way women wore clothes. Her bias dresses are timeless in
style and have influenced the work of many other designers.
 Chapter 14 Bias Cut Dresses

a
£ Figure 14.2

Vionnet worked bias in very creative and ingen- around the narrow part of the dress as it was
ious ways, so that many of her bias cut dresses slipped over the shoulders or hip and then
could be slipped over the head—they did not re- found its way back when the garment settled on
quire zippers or any other closures. This was the figure.
achieved through bias cuts, set-in gussets at Another amazing characteristic was that the
strategic locations, low backs, halters, cowls, bias hemlines remained parallel to the floor even
twists, and with the use of circles (Figure 14.3, after having been on hangers for years. Although
Figure 14.4, and Figure 14.5). The bias stretched there is speculation as to her method for con-
 Madeleine Vionnet

trolling bias, she never confided her technique to able parts. Once satisfied with the design, she
anyone. If her method were known, it might not would then drape the garment to life size.
have been adaptable to mass production of gar- Vionnet experimented with many of her cre-
ments by the fashion industry. ations allowing the grain to fall as she worked
Vionnet also designed other types of wearing the fabric, or toile (muslin). If she saw an inter-
apparel, including loosely fit garments and esting effect, she continued until a beautiful de-
lounge pants, most often in bias, but not always. sign emerged. You are encouraged to do the
Vionnet experimented and created her designs same as you venture into the following projects.
on a half-size wooden mannequin with move-

Figure 14.5

Figure 14.4

Figure 14.3
 Chapter 14 _ Bias Cut Dresses

N: pean erabiG
The straight grain and crossgrain run in oppo- the draped pattern parts becomes distorted and
site directions from the center of true bias as the unruly, making it difficult to create the paper
draped garment is pinned to the form. The pattern. Special instructions are given to help
crossgrain, which is less firmly twisted than the eliminate the problem. These instructions are
straight grain, falls more easily on the bias. not required if the garment is draped in muslin
When the straight grain and crossgrain meet at a or a medium-weight fabric, or if a pattern
seamline, one hangs longer than the other and closely related to the design is traced before the
may skew the balance of the garment. To help drape begins (see page 334).
solve this problem, see the one example of a pat-
tern layout on page 357. It may be necessary for
a pattern to have two sides that differ in shape. Light- and Medium-Weight Fabrics
All woven fabrics stretch on the bias. The
PaCrepe
amount of stretch depends on the weave and
Flat crepe
weight of the fabric. Garments cut in bias should
* Crepe-de-chine
be draped in lightweight muslin, or lightweight
* Satin-back crepe
to medium-weight fabrics.
Charmeuse
Although draping in design fabrics is desir-
Georgette
able, it still can present problems. Lightweight
* Chiffon
fabrics cut on the bias stretch as they are being
draped. The draped garment also stretches Stretchy knits can also be used for the selections
when removed from the form. The shape of of designs that follow.

OID aS se ee et oe
The slip dress clings to and moves with the figure. Design Analysis
To encourage freedom of movement, the skirt part
The dress looks like and fits the figure as a slip
of the dress is generally not lined. The bra top can
(see Figure 14.6). It is somewhat loose through
be self-lined. Use a fabric that drapes well—
the waistline, slinking over the waist and hip
lightweight crepe or its equivalent, a stretchy knit,
before falling into a series of flares at the hem-
or muslin suitable for draping in bias. Some fabrics
line. The dart excess of the slip top is darted
stretch more readily than others and may require
under the bust; it can also be gathered. The bra
the use of the special instruction for establishing
top has spaghetti straps to hold the dress in
a pattern before the completion of the drape.
place. An opening for entry should not be
The bias stretch of a fabric should be noted at
needed The dress can be of any length. Draping
the time of the drape. Read “Making A Paper in lightweight crepe or its equivalent rather than
Pattern: Special Instructions” page 334. Ifa pattern in muslin or a medium-weight fabric requires
relating to the general shape of the skirt part of the special instructions guide. Use the cut-away
the design is available, trace and use it as a base
fabric to drape the bra top of the design.
for the drape. This will save one step in correcting
the final pattern (Figure 14.1).
 Slip Dress

Preparing Form
Figure 14.7
Remove bridge tape.
Use style tape for marking the empire styleline
and bra-top design.

Preparing Fabric and Paper

Cut two 45” squares of fabric for a full length
skirt.
Cut two 45” squares of paper for the paper pat-
terns.

Figure 14.6

a b
1)
Measure for spaghetti straps

Figure 14.7
 Chapter 14 _ Bias Cut Dresses

l itd Preparing the Front Drape

Figure 14.8a
Draw and mark guidelines for straight and cross-
grains. Draw a line from point to point marking
the true bias on fabric and paper. Use tailor’s
chalk or handstitch guidelines in different color
oa Straight grain threads. The designer/draper may choose which
grain to run upward at the time of draping the
garment.

Preparing the Back Drape

ulniBssalD
Figure 14.8b
- Draw one line through the center of the true
bias, and another line 4” out from the bias line.
Figure 14.8a
Cut and separate.
Use the excess fabric for the bra-top drape.

Draping Steps: Bra-Top Drape

Figure 14.9a
ee a The bra top can be draped on the straight grain
parallel to the centerline or placed on the V-cut
of the bra top.
Options: The bra top can be draped with a dart
ulosJBssous or gathered. If gathered, the lining should have a
dart to eliminate thickness under the bust.
Mark empire and bra-top stylelines.
Figure 14.8b
Figure 14.9b
Drape the back bra top.

cry)
Mark empire and bra-top stylelines.
Peel back the drape or remove it from the form,
and true.

Vy

Figure 14.9a Figure 14.9b

 Slip Dress

Figure 14.10
Place corner of bias at the center and raise until
ae
nig "S33
sides of the square are at least 1” above the em- \

pire line at the side seam.

Pin bias guideline to the center of the form.
Smooth fullness away from centerline of the
form directing excess to the side seam. The fab-
ric should slightly bridge the waistline, and not
fit to it. Pin.
Smooth fabric upward beyond the empire style-
line. Slash and pin.
Smooth fabric across the hipline. Pin.
Raise the form to allow room at the end of fabric
for flare(s).

Pin on both sides of each flare for control.

The other side of center can be draped or left

undraped. It will not be the side that is traced in
making the pattern.
Mark the empire styleline and side seam to the
base of the form.
Mark waist, hip (HBL), and base of the form at
side seam.
If draping in crepe or equivalent remove the
drape from the form. Drape the back (page 332,
Figure 14.12). For instructions on transferring
the drape to a paper pattern, see page 334.

Figure 14.10
=> Chapter 14 Bias Cut Dresses

Figure 14.11 Trim gradually to the waist, graduating outward

Trim excess to within 1” of the empire styleline to the end of fabric (see Figure 14.11).
and side seam to the waist. Slash to within 1/8” of the waist and hip. Pin.
Add 4” out from the base of the form. Trim overhang for a temporary hemline.
Extra fabric is needed for the A-silhouette be- Peel back the drape or remove it from the form.
cause the bias has a tendency to shift forward af- Pin and true.
ter hanging overnight.

Figure 14.11 Figure 14.12 Figure 14.13

 Slip Dress

Figure 14.12 Pin-mark hemline up from the floor and parallel

Apply the same instruction for the back drape as to it.
for the front drape (see Figure 14.10). Remove drape and true. Stitch muslin or trans-
Figure 14. 13 fer to paper first for the test fit. To cut for a test
fit, see Figure 14.19 and Figure 14.20. If the pa-
Apply same instruction as for the front drape
per pattern is already made, correct as needed
(see Figure 14.11).
and cut for a test fit.
Peel back the drape or remove it from the form.
Pin and true.

Figure 14.14
Pin side seams together from the empire line to
the hip (HBL). The remaining seam is left un-
pinned to allow the bias to fall freely or with the
help of drapery weights (single or chained)
placed around the hemline.

Figure 14.15
After hanging, pin bra top to the garment and
check the drape for fit.
Adjust the side seam adding flare to an amount
that balances the silhouette of front and back
skirt. Mark and pin.

Es

ee

ee
Q

Zi
WG
\

Figure 14.14 Figure 14.15

 Chapter 14 Bias Cut Dresses

This procedure is used when draping in light- centerlines of the paper. Let it. The cut garment
weight crepe or its equivalent. It is advisable to from these patterns will stretch to fit when
have a pattern of the bias drape before trimming draped on the form. Further corrections are
the excess from around the garment. To trim made to the paper patterns (see page 232,
first causes the shape of the bias garment to be- Figure 10.15).
come distorted after removal from the form,
making it difficult to establish the original shape
when tracing for a paper pattern. By aligning the Preparing the Patterns
straight and crosswise markings of the fabric
Front
with the markings of the paper underneath, the
shape of the draped garment is more easily con- Figure 14.16
trolled. The stretch that took place on the form Place fabric on paper and pin edges together
may cause the centerline of the drape to pass the matching the grainline markings.

[FARO oe rer) ery rer) =F a ]/A] an ary

a
] T b/if
el! [p

5fe Ya :
i e oo
Xo

if
i

A I
]
Due to stretch
allow center to
A pass C.F. of the YY
i paper.
ane oe Straight grain _,,
sadace ee ae rs Pe
d xy

Na ‘
ZL

Ve -
Do not
trace this side
Hh

Berry

Figure 14.16
 Making a Paper Pattern: Special Instructions

Smooth fabric across the paper. Some rippling Remove paper underneath. Fold on center and
may occur from the bias stretch. pencil in shape of the pattern.
Pin along the grainline markings
Back
Allow centerline of the drape to pass the center-
Figure 14.17
line parallel with the paper underneath.
Apply the procedures given for the front drape.
Pin the outline of the drape. See Figure 14.18 for adding seams to the traced
Trace through with a tracing wheel. Do not trace patterns.
the centerline.

—iM
a
Straight grain

Figure 14.17
 Chapter 14 Bias Cut Dresses

Add Seams Preparing to Cut the Patterns

Figure 14.18 To help control the fabric when cutting the pat-
1/2” at the top. terns, place tissue down first, the fabric next, and

3/4” at the sides to the hip (HBL). the marker of the traced pattern pieces on top.
Two layout methods are given. (The author
4” out from the base mark of the pattern. would like feedback describing the results
From the hip seam, draw a line passing through achieved using each of the layout configurations
the 4” mark, ending at the hem. with different fabrics.) Only the skirt part of the
dress is illustrated; other design patterns are
Cut from fabric (see Figure 14.19 and Figure
drawn on the open spaces.
14.20).

Return to Figure 14.14 to complete the drape

and for fit analysis.

Paper pattern

Figure 14.18
 Making a Paper Pattern: Special Instructions

Layout1 around to join the side of the one-piece front

Figure 14. 19 having an opposing grain. Each front and back
The tops of each pattern are marked to lie in the seam on that side of the garment will hang dif-
same direction. The grain falls downward ferently. The difference will be noticed after the
equally on each of the joining seams. garment has hung overnight. The two seams,
when corrected, may not true, but will hang to
Layout2 correct length when stitched. A two-piece front
Figure 14.20 would also be placed in the opposite direction,
with the same results.
The top of the back patterns lie in opposite di-
rections. One of the back patterns will be turned

Tissue

Design
fabric

Marker
paper

Figure 14.19

Figure 14.20
338 Chapter 14 _ Bias Cut Dresses

™ ‘ |
The twist top dress is an interpretation of a
Madeleine Vionnet creation (Figure 14.21).
The part of the dress that twisted was of chiffon.
However, crepe, stretchy knits, and other
fabrics can be used. The cowl design is another
Vionnet favorite for the designs of dresses.
(See Chapter 10 to develop this design.)

Design Analysis
The twist top creates a V neck and an empire
styleline. The dart excess is absorbed in the
twisting of the fabric. The right side is draped,
and the fullness at center is folded in a series of
pleats. The pleats are held as the fabric is twisted
and brought to the-left side. Tack stitch through
the pleats for control, if necessary. To drape the
lower part of the slip top dress, see pages 330
through 333 as a guide. The front is modified to
show flesh below the empire by draping from
Princess to Princess under the bust to a V at the
center back.

Figure 14.21
 Bias Dress with a Twist Top

iy =

Sena amyerese Soe ars ins

a b Cc

Figure 14.22

Preparing Form ae Center

Figure 14.22
Pin-mark form for the stylelines.
Length: Measure from shoulder/neck to under
the bust. Add 3”.
Width: Measure from side to side over the bust.
Ada? =

Figure 14.23
Cut a bias strip of fabric for the twist top front
and one half the amount cut on the straight
grain for the back drape.
Prepare fabric and paper, as shown on pages 329
to 330. To drape the lower garment, see pages
Straight
So Fae ieee)

Back

Figure 14.23
 Chapter 14 Bias Cut Dresses

Draping Steps
Right Side
Figure 14.24
Place fabric on the form, with the fabric 1” be-
low the empire styleline.
Drape from the shoulder, armhole, and side
seam. Pin. ;

Bring fullness together at the center. Fold into

narrow pleats and hold to prepare for twisting.

Twist
Figure 14.24
Figure 14.25
Twist under and bring right side of the fabric up
to the left shoulder. Pin.

Left Side
Figure 14.26
Smooth and mark fabric from empire styleline
to side seam and upward around the armhole to
the shoulder. Trim excess.

Back
Figure 14.27
Place fabric on the form with the straight grain
placed on the V neck styleline of the back.
Drape, mark, trim, and pin to the front.

Figure 14.26 Figure 14.27

 Bias Dress with a Twist Top

Figure 14.28 Finished Pattern

Drape the bias skirt and pin to the twist. Check Figure 14.30
fit. Remove and true. Stitch the drape or transfer
Stitching suggestions for the raw edges: merrow
to paper for the test fit. |
edged, top-stitched, or zigzagged.
Figure 14.29
Complete the pattern.

Figure 14.28
Figure 14.29

Vl NN

LL /
BACK

a b

Figure 14.30
 Chapter 14 Bias Cut Dresses

The bias dress is draped to any length and unin- Mark a guideline on the fold with chalk or hand-
terrupted by stylelines, except for design above stitch with a color thread. Repeat 4” from the
the bust. The seams of the center front and back centerfold on both sides. Cut through the
allow for additional flare to the skirt part of the centerfold of the bias. One side is for front
design. The dart excess shown above the bust drape; the other is for back drape.
level can be used in a number of creative ways.
The designer/draper should explore other
creative possibilities using the dart excess. If the
fabric is not wide enough to cover the full length
of the dress, additional fabric will be needed to
compensate.

Design Analysis
The bias dress clings to the figure, slinking over
the hipline or below the hip, where the flares
start (Figure 14.30). They end at the hemline (of
any length). Extra flares are draped at the center-
lines of the front and back seams. The fabric
should not be draped too closely to the contour
of the figure, but should slightly bridge the hol-
low areas under the bust and around the waist.
The drape is the same for all three designs, with
the exception of the design above the bust. The
dress should be draped in lightweight fabrics,
such as crepe or its equivalent, muslin, or
stretchy knits. For transferring the drape to
paper, see pages 334 to 335. This process is
optional if the pattern is draped in muslin or a
fabric of a firmer weave. Add a basic or leg-of-
mutton sleeve to complete this design.

Preparing Fabric
Use a 45” to 60” square (depending on fabric
width). Cut the paper and fabric to the same
width and length.
Draw straight and crossgrain on the fabric and
paper (see pages 329-330).
Fold so that the crossgrain is parallel to the
selvage. Figure 14.30
 Bias Dress with Center Seams

Draping Steps
Figure 14.31
Place center bias guideline to the center of the
form raising the fabric approximately 2” past the
shoulder/neck. Pin. Crosspin the bust point.
Smooth fabric across the hip (HBL) and up-
ward, moving the dart excess along the side
seams around the armhole and across the shoul-
der. Pin. The dart excess is moved past the cen-
terline. Pin.
Mark armhole and side seams to the base of the
form.

Smooth fabric outward from the center at the

waist.

Pin and mark new centerline.

If draping in crepe or its equivalent, remove

drape from the form. Drape the back (see Figure Dart excess

14.12). For instructions on transferring the

drape to paper, see pages 334 to 335.

Figure 14.32 Figure 14.31

Trim excess around the armhole and side seam

to the hip (HBL).
Allow 4” at the base of the side seam.
Slash to within 1/8” of waist, hip, and centerline.
Trim excess below the hip, graduating to the
hemline.
Raise form so that the flares have room to hang
freely.
Trim excess 1” out from centerline starting from
bust level.
Fold excess as a temporary dart and trim excess
from the shoulder. Figure 14,32
344 Chapter 14 Bias Cut Dresses

Gathers
Figure 14.33
Place gathers when back is pinned or stitched to
the back (see Figure 14.33).
Peel back the drape or remove it from the form.

Back Drape
Figure 14.34a
Drape the back following the instructions for
Figure 14.33
the front drape, except that the shoulder dart ex-
cess is draped with some excess at the armhole,
neckline, and shoulder (tape shoulder to control
ease and gathers).
Pencil back neck shape.
Mark shoulder, armhole, and side seam to form
base.

Figure 14.34b
Trim excess, allowing 4” at base of the side seam.
Slash to within 1/8” at the center back and hip
(HBL).
Remove drape from the form to true. Stitch
drape (full) or transfer to paper first for the test
fit (unless pattern has already been made).

Figure 14.34a

Figure 14.34b
 Bias Dress with Center Seams

Finished Patterns

4
Figure 14.35 through Figure 14.38 Loops / Buttons = Mark center
back neck and
trim excess
The patterns are given for the short skirt along
with an example of a long dress with added
sections to complete the length of the garment.

Figure 14.36

Figure 14.38
Figure 14,37
 Chapter 14 Bias Cut Dresses

Design Analysis to the shoulder/neck and may tie at the back

neck or be directed over the shoulder, continu-
Figure 14.39, Figure 14.40, and Figure 14.41 ing down the back to meet at the center back of
The dart excess is used as gathers above the bust the low cut back. Follow the instructions for the
and knotted for control. The tie may be directed bias dress on pages 342 to 344.

Direct to neck
(broken lines)

Figure 14.40

Figure 14.4]

Figure 14.39
 Crisscross Bias Dress

7 Bias T
Design Analysis neck of the other side of the garment. Loops
Figure 14.42, Figure 14.43, and Figure 14.44 and buttons are added for the closure. Follow
the instructions for the bias dress on pages 342
The dart excess is used as gathers above the
to 344.
bust and passes the center to the center back

Add fabric to
preparation

Slash and
cut out

Figure 14.43

[Figure 14.42

Figure 14.44
sOEt ergy jasiel
wa
 He kimono, raglan, and drop shoulders are the

foundations “ie prototypes on which other popular

designs are based (Figure 15.1). Their common charac-
teristic is the combining of the bodice and sleeve in special ways
to complete the design. The kimono, for example, is draped in
one with the length of the sleeve. The armhole of the bodice and
sleeve are not visible in the design. In comparison, the raglan
and drop shoulder designs are draped so that part of the curve
of the bodice armhole and the lower curve of the sleeve form
part of the drape. Many other stylelines can be created from the
point of the drape where the armhole and sleeve converge.
The kimono, raglan, and drop shoulder foundations are

usually designed for casual wear. They are appropriate for many
types of garments including bodices, tops, shirts, blouses, active-
wear, jackets, and coats. The basic armhole depth is lowered and

extra ease is added to the side seams for comfort in a casual

garment. The sleeve is modified to adjust to the changes made
to the drape.
 Chapter 15 Kimono, Raglan, and Drop Shoulder

Figure 15.1

The kimono sleeve is in-one with the bodice and

draped to follow the slope of the shoulder. The
sleeve part of the kimono has an overarm sleeve
with the underseams joining the front and back
at varying distances below the armhole. The
sleeve part of the foundation can be draped to
any length and can be designed as a flared sleeve,
a gathered sleeve, or as a lowered shoulder. The
kimono is draped as a bodice, but by adding
length, it can be draped as a batwing dress or be
adapted to a caftan (Figure 15.2).

Figure 15.2 -
 Basic Kimono

Design Analysis adding length to the floor, a caftan is created

(Figure 15.3).
The basic principle of a kimono is that the
sleeve and bodice are combined as one to com-
plete the garment. The underarm depth of the Preparing Form
kimono can vary, as can the length of the sleeve.
Figure 15.4
Pin a shoulder pad to the form, if desired. In-
Place straight arm to the form and adjust to the
cluded in the project is the batwing dress, which
desired angle. Tape to secure.
illustrates that by lowering the underarm seam,
the silhouette changes the look of a garment. By

Figure 15.3

Figure 15.4
 Chapter 15 Kimono, Raglan, and Drop Shoulder

Preparing Muslin Mark front and back neckline and trim.

Figure 15.5 To drape a kimono dress, cut the muslin to the

Front and back: desired length. Drape fabric with full width, as
for the batwing dress (see Figure 15.10).
* Length: As desired.
* Width: 30”

30" 13/4

S/o

O
m
OD
>}
Q
=F

30)2

Back
£
D
=
ov
faa]
O

Figure 15.5
 Basic Kimono

Draping Steps
Figure 15.6
Place straight grain to the center of the form and the bust to side seam. Pin. The muslin is
crossgrain at the front waist. Pin. Drape the ex- smoothed downward along the side seam.
cess over the extended arm, raising the cross-
Pencil rub 4” to 5”, and slash 1” from mark.
grain to be level with the floor. Crosspin at bust
point. Pin at extended arm temporarily. Smooth, mark, and slash along the waist. Pin
1/4” ease, with remaining dart excess pinned at
Smooth, mark, and slash the muslin at the neck-
the Princess line.
line and along the shoulder to the Princess line
at the waist. Pin. Mark overarm seam.

Slash muslin about 12” out from center front. Trim to within 2” of marked seams at the side
and over the arm. Peel back or remove for back
Figure 15.7 drape.
Remove the temporary pin on the arm to allow
the fabric to fall as the muslin is smoothed over

Crossgrain

/ Remaining
Figure 15.6 _ dart excess

Guideline

overarm.
seam

Figure 15.7
 Chapter 15 Kimono, Raglan, and Drop Shoulder

Figure 15.8
Repeat process for back kimono drape. Shoulder
excess is draped to the armhole.

Figure 15.9
Pin front to back overarm seams together.
Pin underseams curving to a desired shape.
Remove drape. Mark seams, and true. It may be
Guideline for
overarm
necessary to adjust angle of the overarm and/or
seam
underarm seams to true front and back arm and
side seams (see Figure 15.11 and Figure 15.12).

Dart intake
Kimono Dress Drape
Ltoumy/25
i
Figure 15.10
Figure 15.8 To prepare muslin square at bust level and hip
fetee

These two versions of the kimono dress shown

an underseam draped out from the waist level

Figure 15.9

Figure 15.10
 Basic Kimono

and a batwing dress (broken lines). The sleeve True the lengths of the overarm and underarm
can be draped for gathers or flare and to any sleeve by equalizing the differences or correcting
length down from the shoulder. the sleeve angles by following the instructions
given with Figure 15.12.
Pin the fold of the straight grain to the center-
line of the form.
Figure 15.12
Pin the crossgrain guideline to the HBL guide- To correct the angles of the front and back
line of the form at the side seam for a waist-fit- sleeves, slash the front and/or back from the un-
ted kimono dress, or pin away from the side derseams to the stitchline of the shoulder-tips.
waist, gradually pinning to the hem, for a loosely Overlap or spread until the arms are at the same
fitted dress. angle. Tape and mend or make new patterns.
The curves of the underseam curves should be
Adjusting Patterns notched in three places to release tension.

Figure 15.11
Place pushpin at the front and back side waists.
Swing front muslin so that the front and back Align shoulder-tips and
shoulder-tips align. Shoulder-tips can be equal- Equalize shoulder height
Back
ized if the heights vary. va
Broken line
indicates back drape

Equalize angle
of the sleeve

Equalize curve
of the underseam

Figure 15.11

Align shoulder-tips

y, Back

To raise spread and mend

To lower overlap and mend

Figure 15.12
 356 Chapter 15 Kimono, Raglan, and Drop Shoulder

The basic raglan is a prototype for designs relat-

ing to it. The raglan can be adapted to many
variations, deeper armhole, to any type of gar-
ment bodice, blouse, shirt, jacket, and coats. The
sleeve can be tapered, flared, gathered, and to
any lengths (Figure 15.13 and Figure 15.14).
The underarm seams of the raglan sleeve is
extended to increase lift when the armhole of
the garment is lowered beyond its basic depth.
The modification creates folds under the arm-
hole when the arm is relaxed. As a general rule,
the amount that an armhole is lowered from the
armhole plate is the same for the adjustment of
the sleeve and for the sleeve lift. After draping
the basic raglan, drape a raglan with an armhole
depth of 3” or more. Add 2” outside ease. Mod-
ify the sleeve.

Design Analysis
The basic raglan is draped to wrist length with a
basic neckline. The bodice is draped with a waist
and a side dart. Apply the principle of the raglan
for increasing the underarm seam of the raglan
sleeve.

= ,
: ee

: Soc =

Figure 15.14
 Basic Raglan Sleeve

Preparing Form
Figure 15,15 ~ Armhole depth
1/2" below plate
Front and back: Pin-mark or use tape 1” down
from the shoulder/neck to the mid-armhole \
pinhead, which will be referred to as X. This line
is a convex curve.
Use the pinhead to mark the armhole depth
1 1/2” below the plate, ending at the mid-arm.
Sempre geeneanene =
Sleeve Modification : .
Figure 15.16
Figure 15.15
The basic sleeve is modified to correspond to the
changes in the depth of the armhole and to the
additional ease added to the side seam of the
drape. For example, if the armhole depth is low-
ered an additional 3/4” (total 1 1/2” from the ;
plate), the biceps of the basic sleeve is lowered " =
an additional 3/4”. The additional ease that is }
SLEEVE
added to the side seam of the garment is the
same amount added to the underseam of
the sleeve. The sleeve is further modified in
Figure 15.20.
Figure 15.16

Preparing Muslin
Front and back bodice: See pages 26 and 27.
Sleeve:
- Length: Sleeve length, plus 7”
- Width: biceps, plus 12”

Draping Instructions
Figure 15.17 and Figure 15.18
Drape the front and back bodice following in- Figure 15.17
struction for the basic waist-side dart bodice.
Pin 1/2” ease at mid-armhole. The back shoul-
der dart excess is draped to the back armhole.
Draw or pencil rub the raglan styleline on the
muslin. Mark X for reference.
Figure 15.18
358 Chapter 15 Kimono, Raglan, and Drop Shoulder

Figure 15.19
Remove drape from the form and true (use a
French curve to draw the under armholes).
Mark X and trim to the seam allowance.

Pin or baste side seams.

Sleeve Marking
Walk the seamless sleeve from the side seam to
X. Mark sleeve X.

Repeat for the front sleeve.

Preparing Muslin
Figure 15.20
Mark the center of the muslin C on the top and
bottom.
Draw a straight grain 1/2” out from each side of
C to allow ease around the biceps.
Draw a line 8” down from the top.

Drafting Steps: Placing the Sleeve

Place sleeve grain on guideline A, with sleeve cap
touching the line.
Trace the wrist to the elbow.

Draw a guideline 1” up from biceps line of the

sleeve (lift line).

Figure 15.20
i Center grain of sleeve
 Basic Raglan Sleeve

Figure 15.21
Place a pushpin 1” from the center cap and pivot
sleeve up to meet the lift guideline.
Draw sleeve from the underseam to X mark. The
broken lines indicate the position of the sleeve [- ee
when pivoted and is not traced. :
i x
Shift the grainline of the sleeve to the B guide- i
line and repeat the process.

Figure 15.22 @
Add seam allowance and cut sleeve preparation
from muslin to X mark. Slash at X.
Pin, stitch, or baste the underseam and join to \ ulni6
JopuaD

the curve of the bodice armhole meeting at the

X marks.
Return drape to the form.

Figure 15.21
Slash to
seam

Figure 15.22
360 Chapter 15 Kimono, Raglan, and Drop Shoulder

Figure 15.23
Lace the sleeve cap mark 1/4” out from the
shoulder-tip of the form.
Smooth the muslin along the shoulder with the
fabric lying smooth. Mark raglan styleline.
Repeat for the back drape.

Figure 15.24
Pin muslin together following the shoulderline,
and pin 1/4” above the shoulder-tip curving
several inches over the shoulder. Blend the pin-
ning out to the center of the guidelines. Ease
may occur along the shoulderline. This can be
remedied by smoothing the excess to the neck-
line. From there, smooth the muslin to the un-
pinned raglan line: Redraw the raglan line.
Remove the finished drape. True the raglan
Figure 15.23
sleeve. Stitch the muslin or make the pattern first
for the test fit.
 Basic Raglan Sleeve

Finished Pattern

Figure 15.25
The one-piece sleeve.

Figure 15.26
The bodice and divided sleeve. Mark desired
grain.
RAGLAN SLEEVE

Figure 15.25

Figure 15.26
 Chapter 15 Kimono, Raglan, and Drop Shoulder

Drop Shoulder Sleeve 9 eee

The drop shoulder foundation can be draped the upper part of the sleeve attached or a puff
with or without a sleeve. It is also very versatile. sleeve (Figure 15.27b). These are but a few design
It is the prototype for designs illustrated on variations based on the drop shoulder founda-
page 365. Figure 15.27b is draped as an off-the- tion. You may want to design other variations.
shoulder bodice, with the drop shoulder The drape of the drop shoulder foundation
trimmed to expose part of the upper arm. It can is different from that of the raglan. The similar-
also be draped as a strapless bodice with only the ity is that the styleline converges at the mid-
lower sleeve attached (Figure 15.27a), or with armhole (X).

Figure 15.27
 Drop Shoulder Sleeve

Design Analysis
Figure 15.28
The cap part of the sleeve is draped with the
bodice to create the drop shoulder effect. The
lower sleeve is seamed to it. The armhole depth
is 1 1/2” below the plate, but may be draped
lower or higher. The sleeve must be modified
when the armhole depth is lower than 3/4”. Fol-
low the instructions given for the raglan on
pages 359 and 360 for marking the armhole
depth and for the sleeve modification.
The drop shoulder styleline starts at mid-
armhole (X) and continues around the sleeve.
The styleline of the drop shoulder is basic, but
can be designed in many other ways. Pin shoul-
der pads to the form, if desired.

Figure 15.28
Preparing Muslin
For muslin preparation, see page 357.

Draping Steps: Preparing the

Sleeve (Method 1)
Figure 15:29
Follow the instructions on page 358,
Figure 15.20 and Figure 15.21.
After the sleeve modification has been com-
pleted, draw a line down 2” from the cap and cut
across to trim.
Back
Pin underseams of the sleeve.

Figure 15.29
364 Chapter 15 Kimono, Raglan, and Drop Shoulder

Drop Shoulder Bodice

Figure 15.30a
Place the muslin on the form. Drape the neck-
line, waist, and side seam. Mark 3/4” ease at the
side seam.

Pin waist and side dart.

Pencil rub pins from the armhole depth to mid-

armhole (X).

Drape the shoulder and trim excess, allowing 5”

of muslin to extend past the shoulder-tip.
Mark 4” down from the shoulder-tip.
Slash to mid-armhole (X).

Figure 15.30a
Remove the drape to true.

Figure 15.30b
Drape the basic back following the
instructions given for the front drape, except
add 1” ease.

Figure 15.31
Remove the drape from the form and true.
Draw front and back drop shoulder styleline
as shown.

Figure 15.30b

Drop shoulder
styleline

Figure 15.31
 Drop Shoulder Sleeve

Figure 15.32
Pin front and back drapes together and pin the
underseam of the sleeve to the armhole of the
garment.
Place the garment on the form.
Fold and pin the drop shoulder styleline to the
lower sleeve.
If the sleeve hangs too far from the form, release
the pins, lower the sleeve, and repin. The style-
line should be smooth and even around the
sleeve.
} 1/4"
Ease

Finished Pattern Figure 15.32

Figure 15.33

BACK FRONT

Fold

sleeve

Figure 15.33
 Chapter 15 Kimono, Raglan, and Drop Shoulder

The yoke is based on the principle of the basic Design Analysis

raglan. The difference is the location of the style- The yoke styleline is oneofmany stylelines
line from point X (the intersecting point of the
based on the raglan principle. The styleline is
sleeve and bodice). squared from the centerline to point X. The
sleeve is based on the same preparation. The
sleeve can be draped, tapered, full, or exagger-
ated. Shoulder pads may be pinned to the shoul-
der, if desired.

Preparing Form
Pin-mark a point at the centerline that squares
to point X.

Preparing Muslin
For muslin preparation, see page 352.
Prepare the sleeve following the drape procedure
for the basic raglan, except that the yoke styleline
will be pinned instead of the raglan styleline (see
pages 357-359).
Note: If the design is a flare sleeve, the sleeve lift
is not required.

Shoulder excess
in armhole
Draping Steps
Late 7. Figure 15.34 and Figure 15.35
> =—_ Drape the front and back as for the basic waist
and side dart bodice.
Mark the yoke stylelines. Square from the center.

Figure 15.35
 Yoke-In-One with the Sleeve

Completing the Drape

Figure 15.36

Pin the sleeve underarm to the armhole of the

bodice.

Place drape on the form. Smooth muslin and

pin to yokeline, keeping straight grain at the
center. Drape the neckline. Pin shoulders and
overarm seam.
Remove the drape from the form and true.
Stitch the muslin or make the pattern first for
the test fit.

Figure 15.36

Finished Pattern
Figure 15.37 and Figure 15.38
The broken lines are the basic sleeve. The
basic sleeve can be modified for a flared sleeve
or a tapered sleeve and can be designed to any
length.
YOKE FRONT |
plos
N,
N. s
‘. \.
‘‘
‘, ‘. .
i ‘.
%,
.= %
\,a

FRONT YOKE

Figure 15.37

Figure 15.38
 368 Chapter 15 Kimono, Raglan, and Drop Shoulder

The Princess styleline curves into the armhole at

X. The drape is prepared differently from the
raglan. The similarity is that the styleline con-
verges at the mid-armhole (X). The styleline can
be designed on dresses, blouses, shirts, jackets,
coats, and capes (Figure 15.39).

Design Analysis
The Princess raglan is draped as a bodice. The
sleeve pattern can be developed with or without
an overarm seam. The sleeve can be tapered,
loose, or gathered, and designed to any length.
The drape is based on the armhole Princess. To
modify sleeve, see page 357, Figure 15.16.

i fj
=

“SS Preparing Form

Figure 15.39
For guidance in placing straight arm to form,
see page 351.

Preparing Muslin
Side Panel Side Panel
For muslin preparation, see page 352.

Figure 15.40
Follow instructions for the measurements given
in preparing muslin. Disregard crossgrain at
bust level.
Cut 2 panelsi150< 20%
grain
Straight grain
Straight

Figure 15.40
 Princess-In-One with the Sleeve

Draping Steps Walk the underseams of the modified sleeve to

Figure 15.41 and Figure 15.42 X points. Mark locations on the front and back
sleeve (see page 358, Figure 15.19).
Drape side Princess panels for front and back.
Princess ends at the mid-armhole (X) or slightly Figure 15.44
lower, if preferred. Place muslin on the form and drape the Princess
styleline to the mid-armhole (X). Mark neck and
Figure 15.43
shoulder, and draw Princess line. Remove drape
Remove panels. With a French curve, draw the
from the form and true.
under armhole curve.
Repeat the process for the back Princess.

Pau
? Ease

Figure 15.41 Figure 15.42

Side back Side front

a b

Figure 15.43 Figure 15.44

370 Chapter 15 Kimono, Raglan, and Drop Shoulder

Raise 1/4" Front

Lower 1/4"
Figure 15.45
Mark guidelines 1/4” up and out from the
shoulder-tip of the drape..
Touch (X) points of sleeve (half sleeve is shown
for clarity), Princess, and sleeve cap 1/4” from
the shoulder-tip mark. Pin.
Trace the curve of the sleeve from X to Y. Mark a
line 1” down from Y, lableled Z to provide lift.

Figure 15.45

Figure 15.46
With a pushpin at the guideline of the shoulder,
pivot the sleeve until the corner of the sleeve is
at level or touches the Z mark.
Trace from the underseam of the elbow to the
wrist and the center grainline.
Remove the sleeve and draw a slight inward
curved line from Y to the elbow to complete the
underseam.
Repeat the process for back sleeve.

Figure 15.46
 Princess-In-One with the Sleeve

Figure 15.47
Add seams around the tracing. Allow 1” to
1 1/2” of seam allowance at the overarm for
design variations. x Slash

Draw a curved line over shoulder.

Repeat the process for back drape.

Figure 15.48
Pin, or stitch all seams except the overarm seam.
Pin front and back at the center.

Pin front and back overarm muslin from the

shoulder/neck to the 1/4” mark at shoulder-tip.
Pin up from the sleeve hem 1/2” out from the Figure 15.47
sleeve grainline (for ease). Continue pinning,
gradually curving a rounded shape to the
shoulder-tip.

Figure 15.49
If the excess at the joining of the pins is more
than 1/4”, mark 1” up on the shoulder and 2”
down below the shoulder for ease. Pin the excess
flat to the muslin. Remove the drape from the
form, true, and make paper patterns.

Figure 15.48

Figure 15.49
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hirts and blouses, although different by design, are

both worn with skirts and pants (Figure 16.1).
Shirts have a tailored mannish look and blouses have
a feminine touch, but there are similarities. The armhole of
shirts and blouses are placed at varying depths below the
armhole plate and made larger by draping the excess to the
armhole. The larger armhole requires changes to the dartless
sleeve to accommodate the new armhole.
Shirt and blouse designs are based on draping principles of
the torso foundation. Stylelines, yokes, tucks, added fullness,
collars, pockets, cutout necklines, and a variety of sleeve de-

signs (especially those for blouses) give variety to the founda-

tion. Separate blouse designs are not included in this chapter.
Shirts and blouses become dresses by extending the length
when preparing the muslin.
 Chapter 16 Shirts and Blouses

Figure 16.1

There are three shirt foundations—the classic

shirt with yoke, the casual dartless shirt, and the
oversized dartless shirt—each with distinctive
draping procedures (Figure 16.2) The differences
are based on the amount of fullness of the
shirt/blouse, the depth and enlargement of the
armhole, and the modification to the basic sleeve.

Casual shirt fit

sOs -¢

Oversized shirt fit

Figure 16.2
 Dartless Sleeve Pattern

Martlessislesveeatterh
ver eo srl ius eA
Design Analysis
The dartless sleeve is derived from the basic
sleeve. It simplifies the development of shirt
sleeves that do not require an elbow dart. It is a Bcer
useful pattern for drafting other sleeve designs
given in patternmaking books.

Draping Steps ulnj6

1ajueD

Figure 16.3
Trace the basic sleeve pattern. Include all mark-
ings.
Square a line from the center grain to the corner
of the front wrist. Measure the length and con-
tinue a line across the back sleeve equal to the
measurement.
Equal <tL> Measure
Draw the underseam from the biceps to the a
wrist marks (see Figure 16.3a).
Cut the pattern from paper (see Figure 16.3b).

Biceps

O
2
g
@Q
o.
—)

Elbow

Wrist

b
Figure 16.3
 Chapter 16 Shirts and Blouses

The classic shirt fits closer to the figure than

does a casual or oversized shirt. However, the
slightly enlarged armhole requires an adjust-
ment to the basic sleeve. The back and/or front
yoke and lower part of the back shirt can be
designed in a number of creative ways
(Figure 16.4 and Figure 16.5).

Design Analysis
The shoulder excess is transferred to the back
armhole as the yoke extends 1/2” beyond the
shoulder-tip and ends 1” over the shoulder to
the front shirt. To balance the armholes, 1/2”
ease is added to the front armhole. The remain-
ing excess of the front drape is gathered into the
yoke (dart equivalent). In the illustrations, the
shirt is based on the draping torso principle, and
the sleeve is based on the dartless sleeve. To
Figure 16.4
drape the basic collar, see page 196. Three styles
for the back shirt are illustrated.

% Figure 16.5
 Yoke with Back Design Variations

Although Figure 16.1 illustrates the straight

yoke (a), any design can be created (b and c are
two examples). Draping instructions of several
designs are given for the lower back shirt.
Preparation of the muslin should include the
added measurements needed for each design
(Figure 16.6).

Preparing Form
Figure 16.7
Pin-mark front and back yokes stylelines.

= = Figure 16.6
Preparing Muslin
Yoke
Length: Measure from the longest point of the
back yoke design to the front yoke. Add 3”.
Width: Measure from the center back to the
shoulder-tip. Add 3”.

Lower Shirt: Front and Back

Length: Measure from the highest point of the
back yoke to the waist. Add 8”.
Width: Measure from the center front to the side
seam at the bust level. Add 3”. If gathers or an
action pleat is chosen, add 6” to the width.

Figure 16.7
“378 Chapter 16 Shirts and Blouses

Back

Guideline Guideline

ets
Figure 16.8

Yoke
Figure 16.8a
Mark 2 1/2” down and 1 1/2” out from the
muslin edge. Square out and up from marks.
Draw tentative neckline, and trim.

Ease Lower Shirt

from
shoulder dart
Figure 16.8b and 16.8c
Square a crossgrain line 7” up from the muslin
edge.

Draping Steps
Figure 16.9
Back Yoke
Figure 16.9
Place fold 1/2” above the back neck. Pin.
 Yoke with Back Design Variations

Smooth crossgrain to mid-armhole. Pin and

mark 1/4” beyond this point.
Drape neckline to the shoulder/neck. Pin.
Smooth muslin over the shoulder.
Mark shoulder-tip and 1/2” beyond. Pin (shoul-
der excess has been transferred to the armhole).

Front Yoke
Figure 16.10
Figure 16.10
Mark yokeline on muslin.
Mark gathers and control notches.
Remove yoke from the form and true.

Front Shirt
Figure 16.11
Pin the straight grain at the center front, and the
crossgrain at the waistline. Pin.
Raise the crossgrain until the hemline is parallel
with the hip HBL guideline. Pin and smooth to
armplate. Pin.
Mark armhole plate and pencil rub the side
seam. Armhole depth will be marked when
trueing.
Pin 1/2” ease at the armhole.

Drape the remaining excess to the yokeline, and

pin a pleat to hold.
Mark the mid-armhole and 1/4” beyond. Pin.

Figure 16.12 Figure 16.11

Pin the yoke to the front shirt, dispensing the ex-

cess as gathers between the notch marks.
Draw a line over the gathered area as a guide for
blending.
Remove drape from form.

Figure 16.12
 Chapter 16 Shirts and Blouses

Basic Back Shirt

Figure 16.13
See the section of three design variations
(Figure 16.14, Figure 16.15, action pleat, and
Figure 16.16, gather with box pleat). The draper
may choose one of them for the back. To drape a
basic back, use the following instructions.

Pin the straight grain at the center back, and the

crossgrain at the waistline. Pin.
Raise the crossgrain until the hemline is parallel
with the hip HBL guideline. Pin and smooth to
the armplate. Pin.
Mark armhole plate and pencil rub side seam
where shown.
Smooth muslin to-mid-armhole. Mark 1/4”
1"Space
beyond this point. Pin.
Smooth muslin past the side seam. Pin. To
continue the drape of the front shirt, see
Figure 16.11.
Figure 6.13

Action Pleat
Figure 16.14 and Figure 16.15
Repeat the instructions given in Figure 16.13
with the following changes (see Figure 16.14):
* Mark 1” in from the mid-armhole (X) and
out 3” from this mark.
* Pin at hem in line with X.

Fold a pleat that vanishes at the hemline

Figure 6.14 (see Figure 16.15). To continue the shirt drape,
see Figure 16.17.

Figure 6.15
 Yoke with Back Design Variations

Center Back Pleat with Gathers

Figure 16.16
Add 4” to the muslin preparation shown in
Figure 16.14.
Fold 1” for a box pleat at the center back. Gather
remaining excess. To continue the shirt drape,
see Figure 16.17.

Trueing Patterns
Figure 16.17

Front Shirt
Unpin the front yoke.
Draw a seamline blending over uneven pencil
marks of the gathered area.
Mark the armhole depth 1 1/4” below the arm-
hole plate.
Mark 1” ease at the side seam and draw a light
line to hem.
Figure 16.16
Mark 1/2” in from the waistline.

Draw a side seam from the armhole to the waist

mark to the hemline. Add 1/2” seam.

Draw hemline straight or curved. Trim excess.

Front
Center

Figure 16.17
(382) Chapter 16 Shirts and Blouses

Back Shirt
Figure 16.18
11/4" To complete side seam and hemline curve, fol-
Back Tha
>
low the instructions for completing the front,
except that the ease is 1/4”.

Yoke: Drawing Armhole

Figure 16.19 and Figure 16.20
True the neckline and shoulder. The armhole
will be drawn later.

Pin the front part of the yoke to the stitchline

Figure 16.18 just past the gather notch.
Lay the shirt flat. The curve rule touches the ex-
tended marks at the shoulder and mid-armhole
: yo and blends with the-armhole depth line.
(| Measure the front armhole, and record.

ed Yoke: Back
Figure 16.19 Figure 16.21

Unpin the yoke and pin to the back shirt.

Repeat the instructions. If curve rule does not
reach the shoulder, use vary curve.
Measure back armhole, and record.

AT
iSpy
Continue line

Figure 16.20 Figure 16.21

 Yoke with Back Design Variations

Sleeve Modification Pivot

Figure 16.22
Trace the dartless sleeve lightly on paper. Include
the biceps, elbow, and center grain. Biceps

Ve
Draw a parallel line 1/2” up from the biceps.
Pivot the back cap upward to meet this line and
draw the sleeve cap. (Broken lines indicate the
original sleeve.)
Repeat for the right side.

Figure 16.23
Square a line 1/2” below the cap height, and re-
draw the cap blending with the notches. Mea-
sure the capline. It should measure 1/2” more
than the front and back armhole. If not, add to Measure adjusted
capline. Record__
or subtract from the biceps line equally. Draw
the underarm seam.
Shorten length 2” (cuff width).
Mark a point between the underarm seam and
the center. Square down 3/4”. From this point,
continue a line up 2 1/4” for the slit opening.
Cut from paper.

Cuff
Figure 16.24
Fold the paper and draw the cuff to the mea-
surements given. For example, 9” plus 1” exten-
sion. Cuff width 2”.

Attaching Cuff to Sleeve

Figure 16.25
Add 1/4” seams at each end and 1/2” to attach to
the sleeve. The sleeve can be pleated, gathered, or Figure 16.24

tapered.

3/4"

Figure 16.25
 Chapter 16 Shirts and Blouses

Casual Shirt _
A casual shirt is characterized by the depth and ance the back armhole so that it equals the front,
enlargement of its armhole. Casual shirts can be the back shoulder is draped forward and addi-
designed with yokes, pockets, tucks, or stylelines tional ease is added to the back side seam. The
(Figure 16.26). armhole depth is 1 1/2” or more below the arm-
hole plate. The shoulderline overhangs the
shoulder-tip by 1/2”. The dartless sleeve is modi-
Design Analysis
fied to fit the larger armhole. For the basic collar,
The casual shirt is based on the draping princi- see page 196.
ple of the torso foundation. The front armhole is
made larger by draping the excess to it. To bal-
Preparing Form
Place a pinhead 1/2” forward of the shoulder-tip
toward the front.
Measure the form from side neck to HBL,
plus 4”.
Repeat for back.

Preparing Muslin
Figure 16.27
Cut muslin from measurements taken.

Trim neckline and square a line at waist.

w =S
<—

ao
ra
=2
—

2o
iS
o
length
Center O
~=———!
uj6ug|
eJuUepy

Figure 16.26 e
—— Wasit guideline
See
a

[ss

Figure 16.27
 Casual Shirt

Draping Steps
Figure 16.28
Pin the straight grain at the center front, and the
crossgrain at the hemline HBL. Pin.
Smooth, slash, and mark the neckline and shoul-
der to the pinhead. Extend the shoulder 1/2”.
Drape to the mid-armhole. Mark and extend
127. Pin,
Smooth the crossgrain upward along side seam.
Pin and smooth excess past the armhole plate.
Pin.
Drape the remaining excess at the mid-armhole
and pin as a pleat to secure.
Mark the armhole plate, pencil-rub the side
seam, and mark the armhole depth below the ty
3/4"
plate. Add side seam ease.
Figure 16.28
Figure 16.29
Repeat the instructions given in Figure 16.28.
The remaining excess from the shoulder area is Figure 16.29
draped to the back armhole.
Remove the drape from the form and true.

Figure 16.30
Draw the front and back armholes.
Draw a straight line at the side seam.
Indent 1/2” at the waist and redraw side seam.
Hemline can be straight or curved and of any
length.

a b

Figure 16.30
 386 Chapter 16 Shirts and Blouses

Figure 16.31 Figure 16.33

Measure armholes. Add measurements, divide in Draw a line from X to Y equal to the recorded
half, and add 1/4”. armhole measurement. Mark the
Record X-Y measurement. midpoint.

Figure 16.32
Draw cap curve, using the measurements given.

Trace the dartless sleeve and include all mark- Repeat to other side.
ings.
Finish the hemline of the sleeve with pleats or
Draw a parallel line 1 1/2” above the biceps. gathers.
Lower the cap 1/2” (X). To complete the cuff, see page 383, Figure 16.24
Mark 2” up from the wrist for the cuff. and Figure 16.25.

Measure armholes

Add together

Divide in half, add 1/4"

X - Y Record

Figure 16.31

Casual sleeve

Biceps

grain
Center

Figure 16.32 Figure 16.33

 Oversized Shirt

An oversized shirt is roomy and hangs over the

shoulder-tip by varying amounts. The armhole
depth is very low and enlarged by draping the
excess to it (Figure 16.34 and Figure 16.35).

Design Analysis
Follow the draping instructions given for the ca-
sual shirt. The difference is the extra muslin
needed for oversizing. The extra fullness is held
as a temporary pleat and is released at the com-
pletion of the drape. The armhole depth is 3” or
more below the armhole plate. The oversized
sleeve is based on the dartless sleeve.

Preparing Form
Figure 16.36
Add 2” or more to the width measurement for
oversizing.
Fold a 1” pleat (2” on the open) 4” in from the
center front and back.

Figure 16.35 \

’ Figure 16.34
back
Center front
Center

1" Pleat ( 2" on fold )

a b

Figure 16.36
 Chapter 16 Shirts and Blouses

Draping Steps
Figure 16.37
Pin the straight grain to centerline, and the
crossgrain at the waistline.
Drape the front shirt with the side excess pinned
at the mid-armhole.
. Armhole
\ 4 depth 3"
% ormore Mark armhole depth 3” or more down from the
armhole plate. No side ease is required.

Figure 16.38
Repeat the process for the back shirt. Remove
the drape from the form and true.

Figure 16.39 and Figure 16.40

Unfold pleat and true the drape.
Draw a straight line from the shoulder/neck to
the end of the shoulder.
Draw the front and back armholes.

The hem can be straight or curved.

Figure 16.38 Figure 16.39 Figure 16.40

 Oversized Shirt

Figure 16.41 Lower sleeve cap 2” (X).

Measure armholes. Add measurements, divide in From X, draw a line that intersects with biceps
half, and add 1/4”. Record X-Y measurement. line equal to the X-Y measurement.
Sleeve Modification From X, draw a line to Z.
Figure 16.42
Finished Pattern
Trace the dartless sleeve and include all markings.
Figure 16.43
Extend the biceps line. To complete sleeve, follow instructions for the
cuff on page 386, Figure 16.32 and Figure 16.33.
Sleeve Length Options
Cut 2” from the sleeve length for the cuff
or attach the cuff to the original sleeve
length for a longer sleeve.

Measure armholes

Add together
Back
Divide in half, add 1/4"

einsoSW X-Y Record ___

Figure 16.41

Biceps Biceps

ODee ap ile R/O

Cut 2" for cuff.
For long sleeve,
do not trim.
Figure 16.42 Figure 16.43
Seavevcees

ackets serve many fashion purposes. They are parts of

suits when designed to go with a specific skirt, but a
separate item when worn with skirts, pants, dresses,
and over other garments. Jackets can be designed with a tai-

lored, feminine, or sporty touch. The sleeve choices also vary,

from a basic one-piece sleeve, a two-piece sleeve to a raglan,

drop shoulder, or kimono sleeve. Additional design considera-
tions are the extended cap and the leg-of-mutton, which can
be found in patternmaking texts. The notched collar is basic to
a jacket with the low notch and portrait collars as options. The
shawl, other collars, and necklines give variety to the jacket.
Stylelines ranging from the Princess, armhole Princess, panel,

and empire are appropriate choices for jackets and coats. In-
terconstruction can be minimal or extensive, as is illustrated at
the end of this chapter. Jackets and coats are worn over other
garments, and they are draped larger than the size of the form.
 Chapter 17 Jackets and Coats

breakpoint

Figure 17.1

The draping of coats is not illustrated, but Lapel Fold over of the front of the jacket/coat.
instructions are given for that purpose.
Notch Space between the collar and the lapel that
creates a wedge (gorge).
Terms Rever (revers) Part of a lapel (not including the
Figure 17.1 collar) showing the reverse side (facing).
Breakpoint End of the lapel roll at the extension. Roll line Foldline of the lapel and collar.
Center front depth Designated point at which the Shawl Extended lapel that includes the collar
lapels cross each other. part.
Collar stand Height at which the back collar
folds over.
 Draping a Basic Jacket Foundation

Jacket and coats are worn over other garments, side seams. It is best to drape the garment on a
therefore they are draped to a larger size than form that is one size larger than the actual size of
the form. In enlarging a jacket or coat, ease is the model. Thus, for a size 10 model, drape the
added at the neckline and armhole areas. This garment on a size 12 form (requires less modifi-
allows room for interconstruction, lining, and cation). A basic jacket sleeve and two-piece tai-
shoulder pads. The shoulderline is extended past lored sleeve are illustrated.
the shoulder-tip, and greater ease is added to the

yeruinc ai ieer rananer

The basic jacket foundation is based on the torso Mark shoulderline (Figure 17.2c).
principle. Practicing the drape of the foundation Hold string in line with shoulderline and mark.
helps to establish a base for understanding fit
and balance when creating jacket designs. The Armhole Depth
jacket will not include a lapel or collar unless the Figure 17.2c
draper/designer makes that decision and follows
Mark 1 1/4” below the armhole plate.
instructions given for the classic notch or other
lapels that follow. To drape the classic notch
lapel, see page 400, at the completion of the
drape.
Extend 1/2"

Preparing Form
Neckline
Figure 17.2a and 17.2b
Place the pinhead 1/8” away from the back
neckline to shoulder, and gradually drop to
1/2” below center front neck.
Move the bust point 1/4” toward the side
seam. Pin-mark.
Pin-mark the location where the lapel
overlaps the chest at the center front.

Shoulder Pad
Figure 17.2b
Center the pad over the shoulderline and extend
1/2” past shoulder-tip. Pin to secure. Figure 17.2
 Chapter 17 Jackets and Coats

Preparing Form: Coat Pin-mark location where the lapel overlaps the
chest at the center front.
Place pinhead 1/4” from the back neckline and
gradually drop to 3/4” at the center front. Center the pad over the shoulderline and extend
1/2” past the shoulder-tip. Pin to secure.
Move the bust point 1/2” toward the side seam.
Pin-mark. Armhole depth should be at least 1 1/2” below
the armhole plate.

Preparing Muslin
Drape in a heavy weight muslin or fabric of its
equivalent.

Figure 17.3
Front Back - Length: desired length, plus 3”.
- Width: across bust, plus 5”.
- Examples: 28” (straight grain) x 14 (cross-
(#5)
length
front
Center grain).
Waist
(crossgrain)
Cut and prepare muslin, as illustrated.

Draping Steps
Front
Figure 17.4
Figure 17.3 Place the centerline to the form, and hem parallel
with the hip HBL guide. Pin.
Follow illustration as the muslin is draped.
Drape and slash the neckline, slash at center
neck (X).
Drape shoulder, and extend 1/4” to 1/2”. Drape
armhole pinning 1/2” ease.
Mark armhole depth 1 1/2”, and add 1” ease at
the side seam.

Back
Figure 17.5
Place the centerline to the form, and hem parallel
with the hip HBL guide. Pin.
Complete the drape foundation, as illustrated.
Pin front over back drape.
Remove from the form, and true.

Figure 17.4 Figure 17.5 Draw front and back armhole.

 Basic Jacket Sleeve

Armhole Measurements Measure the adjusted capline and subtract from

Figure 17.6 the armhole measurement. The difference is the
amount of cap ease.
Measure the front and back armholes.
C ap ease should
hould bebe bet
between 11 (1/4
1/4" -and
an Tie
Add together, and record.
Double all measurements for coat sleeves.

Sleeve Modification Stitch sleeve to armhole for the test fit.

Figure 17.7
Trace the basic sleeve. Lower the underarm 1/2”. Fitting
Add 1/2” to the underseams, graduating to 1/4” The jacket will tend to hang loosely until inter-
at hem. construction is added.
Raise the sleeve cap to the desired thickness of The jacket should hang straight from the shoul-
a shoulder pad (example, 1/4”) and blend the derline; if not, adjust the shoulder. Do not over-
capline. fit at this time.

Back

ainsoayw

Figure 17.6 Figure 17.7

“396 Chapter 17 Jackets and Coats

Paper Increasing Cap Ease: Slash/Spread

Blend Method
Figure 17.8
Place the sleeve on paper and draw the center,
biceps, and elbow lines. Remove and connect
lines.
Divide biceps of the sleeve into four equal parts.
Square up and down from each mark, and cut
on the lines.

Place sleeve sections on the prepared paper.

Align cut sections with the center, biceps, and
elbow lines.

Trim 1/4" Trim 1/4" 4

Spread each section equally to increase cap ease
as required.
Figure 17.8
Trace and cut from paper.

Grading the Jacket Sleeve

Grading Method and Terminology
The terms are in relation to the position of the
grader and to the guidelines placed on the paper.
* Out. Away from the grader (A).
* In. Toward the grader (y).
* Up. To the right of the grader (>).
Grainline * Down. To the left of the grader ~<).

The top pattern is to the right of the grader.

Figure 17.9
Draw a 25” guideline.
Figure 17.9
Square a line across 7” down from top.
Place the biceps and grainline of the sleeve on
the guidelines.
Draw the hemline extending 1/4” out from each
corner.
 Basic Jacket Sleeve

Figure 17.10 Front Sleeve Grade

Move the sleeve pattern in direction indicated by Figure 17.11
the arrows. Follow the numerical order and the The grainline and biceps must be parallel with
amounts given. Sections of the cap are drawn the guidelines as the pattern moves from grade
with each set of moves. to grade. Start grade with number 5 and end
with number 7.
Back Sleeve Grade
The grainline and biceps must be parallel with Back Underseam
the guidelines as the pattern moves from grade Figure 17.12
to grade. The back grade ends at number 3. Re-
Place the back underseam at points 4 and 3 and
turn the pattern to the guideline aligning biceps
draw the underseam.
and grainline.
Measurements apply to the jacket sleeve. Front Underseam
The following method can be simplified with
Place the back underseam at points 8 and 7 and
the use of the Hinged Ruler. Cap ease should
draw the underseam.
total 1 1/2” to 2”. The measurements are
doubled for a coat sleeve. Cap Line
Use the grading sleeve to help shape and blend
Mark corner
the capline and this completes the sleeve grade.
Measure the cap and subtract from the front
and back armholes. To increase, or decrease cap
ease, see page 51 to modify the sleeve.

Figure 17.10

: ® 41/8" @
< 1/2"
Mark corner i
Figure 17.11 ® |
'

Grainline i

Figure 17.12 @
398 Chapter 17 Jackets and Coats

Two-Piece Sleeve
Drafting Steps
X X
11/4" 11/4"
Figure 17.13 .
Trace—> 5 <Trace
Trace and cut the jacket sleeve.
Fold on biceps line touching at centerline.
Fold at cap is labeled X.
Trace the front and back underarm curved lines.
Overarm sleeve Square a line from the fold where the measure-
ment equals 1 1/4” to the curved line.
Trace across on this line. Label Y.

Overarm Sleeve
Figure 17.13
Figure 17.14
Unfold and draw the traced lines.

Divide the distance beaween the elbow and wrist

in half from the centerline. Mark.

Draw connecting lines from the wrist mark to

the elbow mark to X at the cap.
Mark out from X line using measurements given
for the elbow and wrist.
Figure 17.14 Underarm seam Draw connecting lines from the wrist mark to
Paper the elbow mark to Y at the cap. The lines should
x curve slightly outward on the back sleeve and
slightly inward on the front sleeve.
Cut unneeded sections (gray areas).

Undersleeve
Figure 17.15
Mark ease control notches 1 1/2” up and down
from the dart legs. Blend.
Mark in from X line using measurements given
for the elbow and wrist.
Draw connecting lines from the wrist mark to
the elbow mark to Z at the cap.
Trace shaded area

Place paper underneath, and trace a copy of the

Figure 17.15
undersleeve.
 Lapel Designs

Remove paper and draw the outline of the un-

dersleeve. The lines should curve slightly out-
ward on the back sleeve and slightly inward on
the front sleeve. ae
Cut from paper.
Mark ease control notches on the undersleeve by
measuring down from the seamline and up from
the wrist.
Blend the front seam at hemline.

Finished Pattern

Figure 17.16

Figure 17.17, Figure 17.18, and Figure 17.19

Lapel designs for the jacket projects in this
chapter are conventional, but can be more q
freely adapted as illustrated in Figure 7.17 to
Figure 7.19.

a b

Figure 7.17

a b

Figure 7.19
 Chapter 17 Jackets and Coats

1%, Design Analysis

. f& A classic lapel is notched.at level with the neck-

line and is the focus of the drape. The jacket
can be draped as a foundation, see page 394;
or as the example illustrates a Princess styleline
armhole with a front curved hemline.
(See Figure 17.20).

Preparing Muslin
Figure 17.21a
For muslin preparation, see the instructions
for the armhole Princess panel on page 96,
Figure 6.17.

Collar
Figure 17.21b
Cut muslin 12” x 5”, and mark as shown.

Figure 17.20

5/8"

11/27

front
Center
(#5)
length
he tC.B.

Waist Figure 17.21b

(crossgrain) |Te

Figure 17.21a
 Classic Notched Lapel Jacket

Draping Steps
Front Panel
Figure 17.22
Place the centerline to the form, and pin.
Mark neckline, slash, pin 1/4”, and mark at the
center front neck (X).

Complete the panel drape, and trim the neckline

to the seam allowance.

Lapel Shape
Figure 17.23
At 2” down from shoulder/neck, fold muslin and
cross over the chest at a desired depth.
Thumbnail the crease on the roll line.

Cut on the extension line to the crease-fold and

cut away excess (breakpoint of the lapel).
Draw a curved line starting at the neck area of
the fold and ending at the slash indicated as the
center front X.
Draw lapel out from X to a desired shape ending Figure 17.23

at the breakpoint of the extension.

Figure 17.24
Cut lapel from breakpoint to X.

Figure 17.24
402 Chapter 17 Jackets and Coats

C.B. neck Collar Drape

Figure 17.25
Pin the collar so that the angle line is at the cen-
ter back, and crossmark at the pinhead Jocation.

Slash and drape collar to the shoulder/neck at

the pinheads. Trim excess (see Figure 17.25a).

Figure 17.26
Figure 7.25 Move the center back collar to the straight line
and pin 1” up at the center back of the form.

Figure 17.27a
Pin the front panel drape.
Smooth, slash, and mark muslin around the
front neckline.

Figure 17.27b
Pin the collar to the front panel.

Figure 17.26

Figure 17.27
 Classic Notched Lapel Jacket

Figure 17.28
Fold the collar over and slash to allow the collar
to fall approximately 1/4” below the pinheads.

Figure 17.29
Draw the collar to the desired shape, blending to
the shoulder. Figure 17.28
Complete the armhole Princess drape and
true. Stitch muslin or make patterns first for the
test fit.
The jacket sleeve (page 395) or two-piece sleeve
(page 398) completes the drape.
For instructions for facings, lining, and inter-
construction, see Chapter 11.

Finished Patterns

Figure 17.30
Pattern shapes of draped part of the design.

Figure 17.29

Figure 17.30
 Chapter 17 Jackets and Coats

Design Analysis
Figure 17.31
The notch location of the lapel is placed at a
lower level than for the classic lapel. The loca-
tion, however, varies, as a lapel can be draped to
cross the chest at any depth below the center
front neck. The drape of the lapel is emphasized.
The jacket can be draped as a foundation,
see page 394, or as the Princess styleline as
illustrated. For a review of the Princess draping
instructions, see Chapter 6.

Preparing Muslin
Figure 17.32
For muslin preparation, see the instructions
for the armhole Princess panel on page 271,
Figure 12.16.

Collar
Figure 17.33
Figure 17.31
Cut muslin 15” x 5”, and mark as shown.

(#5)
length
front
Center

(crossgrain)

5/8"

Figure 17.32 11/2,

Mi tes.

Figure 17.33
 Low Notch Collar Jacket

Draping Steps
Front Panel
Figure 17.34
Place the centerline to the form, and pin.
Drape the neckline, and pin 1/4” ease.
Mark along pinheads of the neckline.
Complete the panel drape.

Lapel Shape
Figure 17.35
At 2” down from shoulder/neck, fold muslin and
cross over the chest at a desired depth.
Thumbnail the crease on the roll line.

Cut on the extension line to the crease-fold and vant

cut excess away (breakpoint of the lapel). Figure 17.34
Approximately one third of the way down from
the roll line, draw a curved line of 1 1/4” (X) for
neckline.
From X draw the desired shape of the lapel to
the breakpoint.

Figure 17.36
Cut the lapel from the breakpoint to X.
Trim to within 1/4” of the curved neckline.

ae
Figure 17.36
406 Chapter 17 Jackets and Coats

Neckline
Figure 17.37
Unfold and draw the neckline to the pin-mark at
the shoulder.
Add 1/4” seams.

Figure 17.38
Trim excess from neckline.

Slash to the seamline.

Collar
Figure 17.39 3s
Pin the collar so that the angle line is at the cen-
[ ter back, and the crossmark is at the pinhead.
ty Slash, smooth, and mark the collar at pinhead
Figure 17.37 locations of the neckline.

Trim excess to within 1/4”.

Remove holding pin at the center back.

Figure 17.40
Move the straight line on the muslin to the cen-
ter back of the form, and pin 1” up.

Fold over and slash to allow the collar to fall ap-

proximately 1/4” below the pinheads.

C.B. neck

/
Figure 17.38
a iN
/
| | Figure 17.40

Figure 17.39
 Low Notch Collar Jacket

Figure 17.41
Smooth muslin flat to the form and pin to the
neckline of the front jacket.
Pencil mark along the pin section of the collar.

Finishing the Lapel Drape

Figure 17.42
Make adjustments to the collar and lapel, if re-
quired.

Complete the Princess drape, remove and true.

Stitch muslin or complete patterns first for the
test fit. |
For the sleeve, use the basic sleeve (page 395) or
the two-piece sleeve draft (page 398).
For instructions
;
for facings lining, and intercon- Figure 17.41
struction, see Chapter 11.

Finished Pattern
\d.
Figure 17.43 2

Figure 17.42

Figure 17.43
 Chapter 17 Jackets and Coats

Design Analysis
Figure 17.44
The portrait collar begins at the mid-shoulder.
The lapel crosses the centerline 1” above the
bust level, but both locations can vary. The
drape of the lapel is emphasized. The jacket
can be draped as a foundation (see page 394, or
as a panel styleline as illustrated). For a review of
the panel draping instructions, see page 107.

Preparing Form
Figure 17.45
Pinhead 1” abové the bust level.

Pinhead mark the back neckline.

Measure the back neck, and record.

Figure 17.44 Preparing Muslin

For muslin preparation, see the instructions for
panels on page 275.

Pinhead
fold crossing

Figure 17.45
 Portrait Collar

Collar Draping Steps

Figure 17.46 and Figure 16.47 Front Panel
Cut muslin on true bias, 14” x 9” (lines indicate Figure 17.48
the direction of the straight grainline).
Place the centerline to the form, and pin.
Draw the collar using the measurement given
Drape the neckline, and pin 1/4” ease.
(see Figure 17.46).
Complete the front panel drape.
Cut from muslin, and slash at the neckline
(see Figure 17.47). Lapel
Figure 17.49
At the mid-shoulder, fold the front muslin over
the chest, crossing the center at the pinhead.
Thumbnail the crease on the roll line.

Cut the extension line to the crease-fold and cut

away the excess (breakpoint of the lapel).
Mark a point on the foldline that is 4” down
from the mid-shoulder.
1" From the mark, draw a curved line 1 1/4” from
fDraw grainline
Figure 17.46 the fold, X.
Draw the shape of the lapel from X to the break-
point.

Figure 17.47

Figure 17.48 Figure 17.49

410 Chapter 17 Jackets and Coats

Figure 17.50
Cut the lapel from the breakpoint to X.
Draw a 1/4” seam up from X and cut away
excess.

Neckline
Figure 17.51
Unfold and draw the neckline to tic shoulder,
allowing 1/4” for seam.

Figure 17.52
Figure 17.50 : :
Trim excess from the neckline.

Slash to the seamline.

Collar
Figure 17.53
Place the collar at the center back with the
guideline on the pinhead mark. Pin.

Place a pin 1/2” up at the center back for the lo-

cation of the collar foldover.
Smooth, slash, and mark muslin along the pin-
heads to the shoulder. Pin.
Figure 17.51

Figure 17.52

Figure 17.53
 Portrait Collar

Figure 17.54
Smooth the collar to the front.
et
Slash 1/4” past the collar guideline to form a
curved line when pinning the collar to the
jacket.
Fold the collar over, and pin at the center back.

Trim the collar to the desired shape.

Figure 17.55
Smooth the collar under the foldline, and pin
the collar to the lapel. Figure 17.54

Figure 17.56
Draw the shape of the collar.
Trim excess from the collar.
Complete the panel drape and true. Stitch
muslin or make the patterns first for the test fit.
For the sleeve, use the basic sleeve (page 395) or
the two-piece sleeve draft (page 398).
For instructions for facings, lining, and inter-
construction, see Chapter 11.

Finished Pattern

Figure 17.57
Pattern shapes of the draped part of the design.

FRONT Figure 17.56

|
Figure 17.57
 Chapter 17 Jackets and Coats

A double-breasted jacket has a wide extension

to accommodate two rows of buttons. The lapel
of a double-breasted jacket can be of any
design—basic notch, low notch, or portrait. The
jacket can be without a collar or have a built-up
neckline.

Design Analysis
The double-breasted jacket is draped with a ba-
sic notch collar. The jacket lapel overlaps high
on the chest. For a more relaxed lapel, an excess
of approximately 3/8” to 1/2” is draped into the
front lapel area. The width of the extension ac-
commodates two rows of buttons. Buttons are
placed equally from each other and equally out
from the centerline. Mark location of the break-
point—4” up from the waist on the edge of the
extension. The drape of the lapel is emphasized,
but the jacket can be of any style.

Preparing Muslin
For muslin preparation, see page 394.
~ 43/8 "foil /2"

Draping Steps
Breakpoint Figure 17.59
Place prepared muslin to the form, aligning the
centerlines. Pin.
Mark the neckline along the pinhead and pin
3/8” to 1/2” excess at the neckline.
Figure 17.59 Mark the breakpoint, and pin.
 Double-Breasted Jacket

Figure 17.60
Unpin excess of the neckline.
Fold the roll line for the lapel to the break-
point.
Draw lapel and trim excess.
Follow instructions for the basic notch collar.

Complete the drape and true. Stitch muslin or

make the patterns first for the test fit.
For the sleeve, use the basic sleeve (page 395)
or the two-piece sleeve draft (page 398). For
instructions for facings, lining, and intercon-
struction, see Chapter 11.

Finished Pattern Figure 17.60

Figure 17.61
Mark buttonhole placements. Buttons are placed
- 5
equidistant from each other and equidistant 9
from the centerline. (Back not shown.)

Figure 17.61
 Chapter 17 Jackets and Coats

Figure 17.62

Figure 17.63
 Basic Shawl Drape

A shawl is an all-in-one collar with the lapel. collar at back, leaving the stand with a design
Design | is an example of a basic shawl. The col- collar in front, Design 2. Shawl collars are
lar stand may be draped as a full roll (1” stand), designed for dresses, shirts, blouses, jackets,
partial roll (1/2”), or a flat roll (1/8” stand). The and coats (Figure 17.62 and Figure 17.63).
shawl can also be draped without a foldover

Design Analysis
Figure 17.64 and Figure 17.65
The collar stand is 1” and overlaps the center
front at a depth 2” above bust level. The lapel
part of the collar rounds to the breakpoint
(end of the extension). The shoulder shifts 1/4”
downward at shoulder/neck. The drape of the
shawl is illustrated. The jacket can be of any
style.

Figure 17.64

Figure 17.65
416 Chapter 17 Jackets and Coats

Preparing Form
Forward a4 | Figure LZ 66
Ze |
a an Pin-mark from shoulder-tip to 1/4” forward at

or
Yf Nee
neck.

\
/
x Place a pinhead approximately 2” above the bust
level at the center front (where the lapel crosses
the center front).

- Length: Measure from the shoulder/neck

over the bust to the length of the garment.
Add 8”.
* Width: Measure across the bust, and
add 4”.
brpeer
reer

To length plus 8"

Figure 17.66 Preparing Muslin

Figure 17.67
Mark 6” down (A) and square a line across
muslin. Mark center of the muslin at top, square
down to the line. Cut away.
Mark 5” out from A, and label B.

Cut to B.

Figure 17.67
 Basic Shawl Drape

Draping Steps Fish-eye Dart

Figure 17.68 Figure 17.70
Place muslin to form with slit at the forward The fold appearing from the pin at the shoulder
shoulder pin-mark. Pin and pivot muslin until is ignored if the shawl collar is designed for a
the front edge is parallel with the center front blouse, dress, or shirt. It is stitched for jackets,
at the bust level and with the bottom edge. Pin. as illustrated.
Stress folds will appear from the shoulder/neck
Smooth and pin muslin along the upper part of
area.
the neck.
Pin centerline, bustline, and below the waist.
Pin the excess as a double-ended dart ending ap-
Figure 17.69 proximately 1 1/2” from the center front to zero
Determine width of extension from centerline. at the shoulder. The intake is from 1/4” to 3/8”.
Mark and cut parallel with edge of the muslin, Drape the front jacket design or drape a straight
ending 2” from the depth mark. jacket.

A eae

\:Strainline

a,

\
\
|

Figure 17.68 Figure 17.69 Figure 17.70

 418 Chapter 17 Jackets and Coats

| Figure 17.71
Sie ee calct Smooth slash, and pin muslin collar to the
edge
center back.
Pin center back and 1” above for fold of the
collar.

Figure 17.72
Fold muslin over from pin-mark at the center
back. Allow excess muslin to flip upward from
just below the neckline. Run fingers in between
Figure 17.71 Figure 17.72
the fold to assure that the muslin is smooth
along the back neck.

Figure 17.73
Slash to Slash downward to the fold (collar edge).
collaredge

Trim to collar edge.

Figure 17.74
Trim front lapel to the desired shape. The fish-
eye dart should not be seen when the collar folds
back on the jacket.
Complete the drape design. Remove from the
Figure 17.73
form, and true. Stitch the muslin or complete
the patterns first for the test fit.

Finished Pattern
Figure 17.74
Figure 17.75
The fish-eye dart is stitched on the jacket, not on
the facing. The excess is trimmed from the lining
pattern instead.
For the sleeve, use the basic sleeve (page 395) or
the two-piece sleeve draft (page 398).
For facings, lining, and interconstruction guides,
see Chapter 11. (Back not shown.)

Figure 17.75
 Basic Shawl Drape

Variation: Portrait Shawl Collar

Figure 17.76
The portrait shawl can be draped at varying
distances from the shoulder/neck. It crosses the
center front at varying depths below the center
neck. The collar is wide and can be shaped to
any design. The portrait shawl gives a feminine
touch to all types of garments: blouse, day or
evening dress, jacket, coat, and cape.

Design Analysis
The design is draped 1 1/2” in from the shoul-
der-tip and crosses to a depth of 1” above the
bust level. The collar is as wide as desired, but
usually 5” to 6”. To help simplify the drape of
the portrait shawl, trace the neckline, and
shoulder, the armhole and side seam from the
basic front and back pattern.

Preparing Form
Figure 17.77
Pin-mark neck 2” down from the center back
neck. Pins curve upward, ending 1 1/2” from the
shoulder-tip.

Fabric Needed
See page 416, Figure 17.67. Add 2” to the length. Figure 17.77
 Chapter 17 Jackets and Coats

Preparing Muslin Place the center front of the pattern to the

straight grainline with the shoulder/neck touch-
Figure 17.78
ing the guideline. Trace the neckline, shoulder,
Draw a line through the straight grain 1” from and remaining pattern required by the design.
the muslin edge. Square a short guideline 8”
down from top of the muslin. Mark shoulder 1 1/2” in from the shoulder
tip (X). Draw a line across muslin on grain
from Y. Cut on line to Y.

Draping Steps
Figure 17.79
Place straight grain of the muslin at the center of
the form.

= Guideline
Pin center and align with the shoulder. Pin at Y.
Smooth muslin over shoulder. Pin at shoulder-
tip.
Pin the bust point and bridge at the centerline.

Figure 17.80
Fold muslin at Y and across the chest, passing at
the depth of the center front. Crease-fold.
Pin-mark the shape of the front collar and trim
along pin-marks, ending at the shoulder level.

front
Center

aires

] " extension
Figure 17.78

Figure 17.79

Figure 17.80
 Basic Shawl Drape

Figure 17.81 Figure 17.84

Flip front collar upward. The collar roll should be approximately 1” up
from the shoulder (Y) for a smooth transition to
Pin a fish-eye dart (intake from 1/2” to 1” at the
the back collar.
center), ending at least 1” from the center front
and zero at Y. Slash at the center fold. Increase the intake of the fish-eye dart if neces-
sary to prevent the front collar from lying flat to
Figure 17.82
the chest.
Lift collar and place the muslin 1/2” below the
Remove the drape and true. Stitch muslin, or
pin guide at the center back.
make the patterns first for a test fit.
Pin collar following the pin guides to zero at the
shoulder Y.
Finished Pattern
Figure 17.83 Figure 17.85
Fold over collar and pin-mark collar shape. Cut The broken lines indicate facing placement.
collar edge parallel to the center back. Pin-mark
the shape of the collar, and trim.

Pin fish-eye \.
dart 1/2"
(total 1“)

Figure 17.81 Figure 17.82

up 1"\
Roll collar

Parallel to C.B.
Figure 17.85
Figure 17.83

Figure 17.84
 Chapter 17 Jackets and Coats

Interconstruction,
Lining, and Facing —
Interconstruction Guide Use jacket patterns to develop fusible and
woven interconstruction parts. Seam allowances
The Princess line jacket is the prototype for all
may or may not be removed from fusible parts. A
designs illustrated. Fabric and cost determines
woven part may be trimmed to within 1/8” of the
type and amount of interconstruction consid-
seam. A bridle strip placed along the fold of the
ered for the jacket or coat. The illustrations,
lapel holds 1/4” ease and helps the roll line stay in
which are by Facemate® and the Frudenberg
place. The chest piece can be a single ply or layered,
Corporation-Vilene®, are to be used as a guide.
with a mix of fusible and woven parts. The chest
piece, which helps to bridge the hollow from the

|
shoulder-tip to the bust, extends 1” past the shoul-
der for a smooth transition over the seams.

Trace Patterns of the Design Jacket

Figure 17.86
Patterns are with seam allowance. Use as the
basis for developing lining and interconstruction
oo
©:
parts of the garment.

Variation: Facing for Curved Hemline

Figure 17.87
Add 1/8” to the lapel to zero at the breakpoint
and to the notch at the point where the collar
starts (see Figure 17.87a).
a b
Back Side back Place a notch 1/2” up from the stitchline at the
hem. This marks the location of the lining fold
(see Figure 17.87b).

| ~<—Facing 4p

Cc
Figure 17.86 Side front Front Figure 17.87
 Interconstruction, Lining, and Facing

Variation: Facing for a Squared Hemline Cut the facing section from the back pattern
A squared hemline is trimmed to 1” in from the mark (see Figure 17.88b).
width of the facing to secure the raw edge (see
Figure 17.87b). Lining Patterns: Side Front, Side Back,
Mark notch 1/2” up from the stitchline. This and Back
marks the foldline of the lining. Extend the shoulders 1/2”, raise the armholes
1/2”, and add 1/4” to the side seams.
Back Facing
Blend the adjusted armhole.
Figure 17.88
Place the folded paper at the center back and Lining hem is 1” less than the jacket hem.
trace the back facing. Mark 1/2” seam allowance Add 1 1/4” to the center back for the knife pleat
(see Figure 17.88a). (to the hem or to end at the waist).

Fold Lining

Paper

Facing

Trace

11/4"
Back pleat

Notch fold
for hem
b c d

Back Side back Side front

Figure 17.88
424 Chapter 17 Jackets and Coats

Trim 1/2" Sleeve Lining

Figure 17.89
Trace the sleeve.
2 Lower the cap 1/2”, raise the armhole 1/2”, and
add 1/4” to the underarm seam. Hem allowance:
SLEEVE LINING
1” less than the sleeve hem. Notch for the hem
allowance.

Notch for
lining hem

Figure 17.89

A Collars
UPPER COLLAR
Figure 17.90
Trace upper collar, and modify
(see Figure 17.89a).

Trim 1/8", or more

Trim 1/8” (more for thickly woven fabric) at the
center back to zero at the collar tip (or to the
UNDER COLLAR
end of the collar).

* One-piece under collar

(see Figure 17.89b).
* Two-piece under collar
Trim 1/8" or more
to edge of collar neckline (see Figure 17.89c).

Cut on bias for a smooth roll line.

Figure 17.90
 \ ants are designed for all occasions from sporting
events to formal dinners (see Figure 18.1). The styles
1 _ andsilhouettes of pants abound, allowing the con-
_ sumer to select those that flatter her figure. Pants are fashion
items. This places a demand on the draper/designer to know
how to develop them.
4 Pants are draped on a pant form, preferably one with a re-
‘movable leg. Draping pants can be difficult because the shap-
ing of the crotch takes place between the legs of the form or
model. To help simplify the pant drape, muslin preparation
will be based on a formula developed by the author. If a leg
form is unavailable, the pant should be drafted unless draped

for a private clientele. |

Four pant foundations are discussed and illustrated. They
are given the following names to identify the fit rather than
the style: trouser, slack, jean, and culotte. Each pant founda-
tion differs in looseness at the crotch level. The amount of
 Chapter 18 Pants

Figure 18.1

looseness is based on a percentage of the front tension establishes the pant foundations. Once
and back hip measurements. The measurement the formula for each foundation is understood
affects the length of the crotch extension, and and applied to the muslin preparation, the
the crotch extension affects the looseness of the draper/designer is free to create any pant design
pant. Differences in the length of the crotch ex- with balance and fit.
 Four Pant Foundations

Principle crotch extension, the looser the fit at the crotch

level. The shorter the crotch extension, the closer
Figure 18.2 the fit at the crotch level. The extensions are
The length of the crotch extension controls each based on a percentage of the back and front hip
pant foundation to be draped. The longer the arc measurements.

Culotte

Hangs away from

abdomen and
buttocks

Trouser

Hangs straight from

abdomen and
buttocks

Slack

Cups slightly under

abdomen and
buttocks

Jean

Contours
abdomen
and
buttocks

Figure 18.2
428 Chapter 18 Pants

Pants Terminology
Center Back
J\ Center Front
Figure 18.3
Se The following terms relate to the pant drape and
£
ao.
o the form.
xe}
Ree

BACK
2
fe) FRONT Crotch Base between the legs of the torso.
O
Crotch depth Length down from the waist to the
Crotch level Crotch level
Crotch ext. /\ Crotch ext. base of the torso.
Crotch extension Added fabric extending out
e gS from the center at the crotch depth to allow cov-
2 g 1B
2| & 3 erage of the inside leg. The amount of extension
determines the pant foundation.
Crotch level The length from the back crotch ex-
Figure 18.3 tension to the front crotch extension.
Hip Depth Length down from the waist at level
with the widest part of the hip.
Inseam Seam joining the pant between the legs.
=|
Waist

Outseam Side seam of the pant.

AlIRA
RSRRANARRYRRARRARNTE

Measurements Needed
CroiciileVe lies ee eer — Crotch depth All measurements (form or personal) are taken
from the bottom of the waist tape. Record all
measurements on the Measurement Chart in
space provided.
Figure 18.4
Crotch Depth
Figure 18.4 and Figure 18.5
* Form: Measure as illustrated
(see Figure 18.4).
Crotch depth * Model: Measure from the waist to the base
of the chair (see Figure 18.5).
Record measurements #24.
ALL
AL
Md
LK
1d
bl

Figure 18.5
 Four Pant Foundations

Horizontal Balance Line Hip Arc

Figure 18.6 and Figure 18.7 Measure from center front pin-mark to the side
Pin-mark 8” below the waist at the center front. seam. Record #23.
Measure up from the floor to the center front Measure from center back pin-mark to the side
pin-mark. Using this measurement, measure up seam. Record #23.
from the floor to the side seam and center back.
Pin-mark each location.

co)

|1D

Pin-mark, or
tape hip H.B.L.
Parallel with
floor. ay

:|
Removable leg |

Figure 18.7

Figure 18.6
 Chapter 18 Pants

Pant Length
Figure 18.8
Measure side length to ankle. Add 2” for floor
length. Record #27.
Measure side waist to knee. Record #27.

Waist

Knee

Ankle
add 2" for
floor length
Figure 18.8
 Basic Trouser

The trouser foundation is a base for the tradi-

tional pleated pant and the prototype for a
gathered or flared pant (illustrated later)
(Figure 18.9).

Figure 18.9

Basic VOuSer 8 Sens os

Design Analysis side pockets. The fly front can be placed on ei-
The traditional trouser pant has a two-pleat ther side of the center front. Front and back
front and two-dart back. The waist dart excess creaselines are on the straight grain. The foot en-
with additional fabric forms the pleats. A fabric trance can be of any measurement. An example
support is placed under the front to hold the is given. Always cut, stitch, and test fit the pant
pleats in place. The support is stitched to the for balance, fit, and comfort.
 Chapter 18 Pants

Preparing Muslin Square out from X for hip arc Y.

Figure 18.10 X to Z = one half of back hip measurement.

Back Mark center between Z and Y and square

through length of the muslin (creaseline).
Cut muslin to length, plus 3”.
Draw crotch curve from Z to crossmark.
Tear in half on straight grain.
Mark hemline to be adjusted to desired width at
Mark 7” from corner and square down to equal:
the time of draping.
* Crotch depth, plus 3” (X).
Repeat instructions for front muslin.
* Hip depth, 8”, plus 2”. Mark.
* Crossmark 2” up from hip mark. X to Z = one fourth of front of hip arc.

oe
Back

to» Hip depth

on ee Se SES GS EE |

[| -Hip-ate
Z t x ~ Y
Crotch
EXT: depth

Creaseline Creaseline

41/2"

Figure 18.10
 Basic Trouser

Draping Steps
Figure 18.11
Extend lines down from Z (inseam location). Trim excess allowing 1/2” along the crotch curve
Mu y

Mark foot entry using the suggested measure- ee

ments. Pin inseams together.

Back Front

a Trim
|
41/2" As Trim

Figure 18.11
(434) Chapter 18 Pants

Second pleat is at least 1 1/4”. Pleat terminates

approximately 7” below the waist. Pin the
pleat flat.
Pin 1/4” ease at the waist.
Mark waistline and each side of the pleat fold.
Pencil rub from the side seam to the hip.
Mark 1/4” to 1/2” for hip ease. |
Trim excess, allowing 1” at the side seams.

Back
Figure 18.13
Pin two darts, with an intake of 1” each.

Pin 1/4” ease.

Remaining excess is,ssmoothed out at center

back.
Draw center back to blend with crossmark.
Mark the waistline and fold of the darts.
Pencil rub the side seam.

Mark 1/4” to 1/2” for hip ease.

Pin the outseams from the waist to the hip, and
pin the straight seam to the guide marks at the
hem.
4

Trim excess to within 1/2” of the seam.

Figure 18.12 Figure 18.13

Draping Steps Fit Analysis

Figure 18.12 Check silhouette and adjust legline, if necessary.

Slip the pant up the leg, aligning center lines and Determine length and mark hemline.
HBL guidelines. Pin.
Remove the drape with pleats pinned in place.
Front Two Pleats With a curved rule, draw the waistline. Mark
1/2” for the seams and trim.
First pleat is at least 2 1/2”. Place at the Princess
line. Pleat decreases as it reaches the pant hem. True and blend the legs (see finished patterns
Pin the pleat flat. for guide).
 Basic Trouser

Pleat Support: Pocket Paper

Figure 18.14 and Figure 18.15

With pleats pinned in place, draw an outline of
the pocket/support pattern on the muslin drape.
Place paper behind the front drape
(Figure 18.14).
Trace the outline of the pocket/support and
pleat locations (Figure 18.15).

Pocket Backing
Figure 18.16
Figure 18.14
Trace and cut one pattern of the copy along A, B,
C, and D labels.

Pocket Facing
Trace and cut another pattern along A, E, C, and
F labels.

Sewing Guide
Cut pocket lining, facing, and backing in fabric.
Pocket backing is stitched on top of the lining
Figure 18.15
labeled A, B, C, and D (see Figure 18.15).
Pocket facing is stitched to the right side of the
the front pant and turned over to the under-
side. It is stitched to the lining from E to F
(see Figure 18.15).

The lining is stitched to the side seam, waist, and POCKET

POCKET
centerline. FACING
FACING

Figure 18.16
 Chapter 18 Pants

Finished Pattern

Figure 18.17
Add a fly front to either side.

BACK

line
Crease line
Crease

M alle

a b

Figure 18.17

PAC M sie Ne ee
The baggy pant is an extension of the design Design Variations
possibilities of the trouser pant, as are the other
Design 1: Elastic insert at waist and leg hem can
designs shown. It is suitable for activewear or
replace the cord and band.
evening wear (Figure 18.18).
Design 2: A waistband holds gathers, and the
legline is unconfined.
Design Analysis
Design 3: Legline can be of any length.
The baggy pant is based on the trouser founda-
tion. A baggy pant design with gathers at the
waist may require all of the fabric width. For less Preparing Muslin
fullness, pin closer to the side seam and trim the
For muslin preparation, see the trouser formula on
excess. A pull-cord at the waistline is part of the
pages 432 and 433, Figure 18.10 and Figure 18.11.
design, with a band at the hemline to hold the
gathers. Mark page and return.
 Baggy Pant

Design 2

si / Design3

Figure 18.18

Draping Steps
Figure 18.19
Pin a 1/2” seam down the inseam to the
hem for extra fullness.

Figure 8.19
 Chapter 18 Pants

Figure 18.20 and Figure 18.21

Place elastic around the waist and ankle.

Pull muslin under the elastic until the crossgrain

guideline aligns with the hip guide.
Align the front and back centerlines.
Arrange fullness evenly at the waist and ankle.
Taper to the hem to control the amount of
fullness.
Mark the waist and ankle.

Remove pant. True and blend.

Finishing the Pattern

Figure 18.22
Allow 2 1/4” above the waistline for foldover
(insertion for elastic).
If a pocket is desired, draw its shape (broken
line). Place paper underneath and trace the
pocket shape (see Figure 18.23).

Paper

Buttonhole

Taper and
trim excess
Figure 18.20
Figure 18.21 BACK

a b

Figure 18.22
 Slack Foundation: Basic Slack

Pocket Backing Lining

Figure 18.23a
Cut two copies for lining and backing.

Hem Band
Figure 18.23b 2
Follow the illustration.

Buttonholes and Cording

| Hem-band om
Figure 18.23c
Cc
Stitch vertical buttonholes 1” from each side of
the center front up from the waist level before
folding. Figure 18.23

Fold 1 1/4” over at the waist, and stitch.

Pull cording through buttonholes.

The slack foundation does not fit as loosely as the

trouser or as closely as the jean pant. It is a popu-
lar pant for most figures. It is a prototype for
many pant lengths and designs (Figure 18.24).

Design Analysis
The basic slack pant has one dart in front and
one in back. There will be a slight cupping under
the buttocks and abdomen because of the closer
crotch extensions. The creaseline is on the
straight grain.

Figure 18.24
Pore
440 Chapter 18 Pants

Preparing Muslin
Back Draw crotch curve from Z to crossmark.
Cut muslin to length, plus 3”. Mark suggested hemlines to be adjusted to de-
Tear in half on straight grain. sired width at the time of draping.

Mark 7” from corner and square down to equal: Repeat instructions for front muslin.
* Crotch depth, plus 3” (X). X to Z = one fourth of front of hip arc.
* Hip depth, 8” plus 2 1/2”. Mark.
* Crossmark 2” up from hip. Figure 18.25
Draw a temporary guideline for an inseam and
SEE MROME UO MPG aN18 & trim excess allowing 1” for adjustments if re-
X to Z = one third of back hip measurement. quired.
Mark center between Z and Y and square Trim excess to within 1/2” of seams at the crotch
through length of the muslin (creaseline). and remove 2” from the muslin.

Tear

Hip depth |

Hip arc. oy

Aa 31/2"

Figure 18.25
 Slack Foundation: Basic Slack

Draping Steps
Figure 18.26
Pin the inseams and slip up the leg of the
form aligning centerlines and HBL guidelines
(crossgrain). Pin.

Front
Move seam 1/2” from center front. Pin. Pin a
1/2” dart at the Princess of the front pant and
1/4” ease (see Figure 18.26).

Back
Figure 18.27
Pin 1” dart at the back of the Princess.
Smooth out remaining excess at center back and
draw centerline blending with cross mark.
Mark waistline and dart legs.

Pinning the Legline Remove

remaining
excess
The pant width at the knee is approximately 1/2”
wider on each side of creaseline than at the hem.

To balance the pant leg, pin equally out from

each side of the creaseline to crotch level.

The pant may have a fly front or a zipper back.

Pin.
Remove the drape. True and blend.

Figure 18.26

Figure 18.27
 Chapter 18 Pants

Finished Pattern

Figure 18.28

Zipper notch —»

FRONT

®
&
£
o
O Grainline

rt +| <— Hem — |

Figure 18.28

(SaMeROUMGati@iee
an 2
The jean foundation fits close to the contour stylelines on muslin and cut apart after draping
of the abdomen, buttocks, and legs. The pant leg the pant.
can be draped straight or flared, as bell-bottoms
(illustrated later). The pant leg and the waistline
can be raised or lowered. The jean can be draped Design Variations
without darts, as illustrated (Figure 18.29).
The jean drape is designed with a straight leg with
one dart in front and one in back. A dartless version
‘is also illustrated. The crotch depth is without ease.
Design Analysis The pant leg is draped as close as comfort allows.
The creaseline is on the straight grain and center of
The traditional jean has a back yoke, cutout
the finished pant legs.
pockets in front, and the front waist lowered at
the center. To make this type of jean, draw the For a jean with a flared hemline see page 446.
 Basic Pant Jean

Figure 18.29

Preparing Muslin X to Z = one fourth of back hip measurement,

plus 1/2”.
Back
Cut muslin to length, plus 3”. Mark center between Z and Y and square
through length of the muslin (creaseline).
Tear in half on straight grain.
Draw crotch curve from Z to crossmark.
Mark 7” from corner and square down to equal:
Mark suggested hemlines to be adjusted to de-
* Crotch depth, plus 3” (X).
sired width at the time of draping.
- Hip depth 8”, plus 3”. Mark.
* Crossmark 2” up from hip. Repeat instructions for front muslin.
Square out from X for hip arc Y. X01 s= le
 Aad Chapter 18 Pants

Tear

7" Back Front

2: Hip depth

Hiparc Y

Figure 18.30

Figure 18.30 Pin a 1/2” dart at the Princess line in front, and a
Trim excess to within 1” at inseam and 1/2” of 1” dart in back.
the seams at the crotch. Remove 2” from the Pin 1/4” ease at front and back waist.
muslin.
Smooth out remaining excess at center back and
draw line blending to crossmark.
Draping Steps: Darted Waistline
Mark waist, and pencil rub the side seam.
Figure 18.31 and Figure 18.32
Slip pant up the leg of the form aligning the cen- Pinning the Legline
ters and crossgrain with the hip guide. Pin.
Pin the pant legs together to the desired fit.
Move centerline 1/2” from center front. The pant widths at the crotch, knee level,
 Basic Pant Jean

and hem must measure equally out from each Draping Steps: Dartless Waistline
side of the creaseline to balance the hang of the Figure 18.33 and Figure 18.34
pant.
Smooth out excess to the center and side seams.
Remove and pencil mark along the pins of the
Mark waist, and pencil rub the side seams.
leglines. True and make the patterns. Refer to the
finished pattern shapes as a guide for shaping the To drape the legline of the pant, refer to Figure
leglines. 18.31 and Figure 18.32.

Q ; j |

1/2 : I a
=e «—| Remove remaining
3 ; excess
ab § i] : [|

Zz : |
Z :
Z
Z 1
aeZ i

ag
T
ay ‘
I Figure 18.34
I
I
t Figure 18.33
T
I
|
ng
T

I
I
I
T
i
= 1

Figure 18.31 Figure 18.32

 Chapter 18 Pants

Finished Pattern

Figure 18.35 and Figure 18.36

With waist darts, see Figure 18.35.
Without darts, see Figure 18.36.

BACK FRONT

a b a b

Figure 18.35 Figure 18.36

Preparing Muslin Inseams and outseams are pinned equally out

from the creaseline.
For muslin preparation, using jean foundation
instructions. Remove pant and pencil mark along the pins.
True and blend. Make the patterns. Cut, stitch,
Figure 18.37
and test the fit.
Square down from the crotch level to the hem-
line to establish the hem width. From the marks,
Finished Pattern
flare may pinned to any width.
Figure 18.40
Draping Steps: Pinning the
Pant Leg
Figure 18.38 and Figure 18.39
Alternate the pinning between the inseams and
outseams from the crotch to the hemline. Taper
the pins to a point where the flare begins.
 Flared Pant Jean

| ue
Pe Starting a S Sa ee
Flare/Bell legline Flare/Bell legline

Figure 18.37

Figure 18.38
FRONT

a b

Figure 18.39 Figure 18.40

 Chapter 18 Pants

Culottes Foundation: Traditional

Culottes Drape. Us. \) Miah A
A culotte appears to be a skirt, but bifurcates Design Analysis
when the model is walking and becomes a pant.
Figure 18.41 and Figure 18.42
Any skirt (flared, gathered, pleated, or yoked)
The traditional culotte is draped with an in-
can be converted to culottes by adding crotch
verted box pleat that can be stitched 5” to 7”
extensions to the centerline of the front and
down, or left unstitched. Drape instructions are
back skirt. The extensions can also be based on
based on the basic A-line skirt. To drape long
the trouser foundation. Culottes can be a proto-
flowing pant legs, refer to Chapter 7. Add length
type for draping long full pants for evening
to the muslin preparation for long pants.
wear.

y
a

=e.
By

Figure 18.41 Figure 18.42

 Culottes Foundation: Traditional Culottes Drape

Preparing Muslin
Length: as desired, plus 7”. * Crotch extension.
Width: X-Z = one-half of the front hip arc,
Front= 30 < less 3/4”. Square down.
* Back =25". * Hip depth, plus 5”.
Mark and square across the muslin.
Front
Mark 5” down and square out 5” for pleat
Figure 18.43 allowance.
Mark 7” in from muslin edge and square down
Mark and continue the line for 2”.
equal to:
* Crotch depth, plus 6” (X). Draw the crotch curve with the French curve.
X-Y = Hip arc. Square a line. Trim excess allowing 1/2” seam.

5"
2
Eon 2" ioe 5" ae

— Midpoint

Hip depth:

Crotch depth
x -

Figure 18.43
 Chapter 18 Pants

Back
Figure 18.44
Repeat the instructions for the back muslin,
ee minus the pleat allowance. X-Z equals one half
of the back hip arc, plus 3/4”. Square down.
Back

Midpoint }— Draping Steps

Hip depth
Figure 18.45
Fold pleat to the seam allowance line.
Crotch depth Pin to hold the pleat throughout the drape.
z x Y Mark.
Pin the front and back inseams together.

Trim
Figure 18.44
yt Fold pleat

et I

FRONT

hai
i I|

T
I
: i}

T
i>

I
{| 1

I
7
eG) Ea
Figure 18.45
 Culottes Foundation: Traditional Culottes Drape

Figure 18.46 Figure 18.47

Slip muslin up the leg. Align the centerlines and Drape the back skirt following the front drape
crossgrain with the hip guide. Pin. instruction.
Smooth across abdomen and downward along Remove the drape from the form. True and
side seam. Pencil rub side seam, add side flare. make the patterns.
Mark waistline.
Finished Pattern

Figure 18.48

front
Center

BACK

Figure 18.47

Figure 18.46

LI 3

Figure 18.48
 Chapter 18 Pants

The drape of the pant part of the jumpsuit can

be based on the crotch extensions of the trouser,
slack, or culottes pant formulas (Figure 18.49).
The jumpsuit has three drape possibilities:
1. The top and pant are draped without a waist-
line seam. This example is illustrated.
2. A one-piece front, with the back draped with a
waistline seam.
3. The top and pant of the front and back are
joined together by a waistline seam (any top can
be stitched to any of the pant foundations to
create a jumpsuit). (See page 45).

Design Analysis
The looseness of the jumpsuit is as desired. The
following measurements are suggested for the
oversized jumpsuit. The top part of the jumpsuit
is based on one of the shirt foundations, with the
pant part based on the crotch extensions of the
culottes or trouser formula. Extend the shoulders
from 1” to 2”, and mark the armhole depth from
2” to 3”. The side seam ease is from 2” to 4”.
Figure 18.49 See the casual sleeve draft on pages 384 to 386.
A large pocket and buttons completes the gar-
ment. The pant hem can be rolled or finished to
length. The trouser foundation is illustrated.

Preparing Muslin
For measurement, see pages 428 to 430.
Length is from the shoulder/neck to the floor,
plus 5”.
Measure across the bust from the center front to
the side seam. Add 10”.

The measurements apply to the front and back.

Cut the length and width for the front and back
drape.
 Jumpsuit

Figure 18.50
Mark the pant length up from the hem. Add 2” line for the hip arc Y. X-Z equals one half of the
and square across the muslin for the waist level. back hip arc and one fourth of the front hip arc.
Mark 7” in from the top of muslin edge and Mark the hip depth, and square across the
square down to the waist. Continue the line to muslin.
equal the crotch depth, plus 1 1/2” (X). Square a Draw crotch curves.

Back Front

back
Center Center
back

Waist Waist

Hip Hip

a x Crotch y y Crotch K z
el (Ee

1/2 of back hip as -

ront hip

Figure 8.50
 Chapter 18 Pants

Figure 18.51 The excess from the side seam is draped to the
Draw a line 1” from the center front extending mid-armhole, enlarging the front armhole.
7” down from the waist. Mark the mid-armhole and extend to the
Cut 2” into the muslin, 1 1/2” down the the back amount allowed past the shoulder-tip.
and 3” down the front. Pencil rub the side seam and hip curve.
Draw lines from the crotch point to the hem. Mark the armhole depth 2” below the armhole
Trim excess to within 1/2”. plate.
Berelso2 Allow 2” ease along the side seam.

Pin the inseam from the crotch point, ending 2”

in from the inseam at the hemline.

Slip up the legline. Align centerline and hip

guideline with the form. Pin. ae Tro
Drape the bodice part of the jumpsuit. a=

Back Front ow eee

Li

<— Ett

2 |

Waist

Hip
Wee
Crotch

Figure 18.51

Figure 18.52
 Jumpsuit

Figure 18.53
Drape the bodice back and smooth the shoulder
excess to the armhole. Mark the shoulder-tip
and 1” to 2” beyond.
Mark the mid-armhole, and 1” past. BACK
Pin the inseam and outseams to the desired
width.
Remove the drape. True, and make the patterns.
Measure the front and back armhole and draft ue
oversize sleeve (see pages 387 to 389).

Finished Pattern , :
Figure 18.54 and Figure 18.55 /FsaD
K
Knee
[>
sy
ey

Q)
at
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Figure 18.54

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Figure 18.53 Figure 18.55

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 Set
>.

nits are one of the most versatile fabrics. They are

a popular choice with designers and consumers
because of their unique qualities:

* Structure: Knit fabrics are made of natural and synthetic

fibers:

* Versatility: Knits are suitable for evening wear, daytime wear,

and activewear.

* Stretchiness: Knits have the ability to stretch in length

and/or width and on the bias.
 ———

(458) Chapter 19 Knit Characteristics

Characteristics of Knit

Stretch and Recovery Factors Stable (firm) knits: 18% stretch from 5” to
Memory: The ability of a knit to return to its
5 7/8”. Stretch only on the crossgrain.
original length after being stretched. - Example: double-knit of any fiber similar
Recovery factor: The degree to which a stretched to woven fabrics and must have a bust
knit returns to its original measurement. dart.

Stretch factor: The amount of stretch per inch on Moderate-stretch knits: 25% stretch from 5” to
the lengthwise (wale) and crosswise (courses) 6 1/4”. Stretches only on the crosswise.
when stretched to its maximum length and width.
* Example: Nylon tricot, which combines
Stretch ranges from 18% to 100%, or more.
characteristics of stable and stretchy knits.
The degree of stretch varies among knits, as Used in sportswear.
does the degree of stretch between the length
Stretch knits: 50% stretch on the crosswise also
and crosswise of each specific knit. Knits that
18% to 50% on the straightwise. 5” stretches to
stretch in both directions have two-way stretch.
Some knits, such as Milliskin, stretch in all direc-
7 1/2”. It is lightweight. It stretches and drapes
well for garments that contour the figure. Excel-
tions. It is important to know the characteristics
lent for bodysuit, leotard, and swimwear.
of the different types of knits when making a
selection. Keep in mind what the garment is * Example: cotton/spandex, nylon/spandex,
expected to do. and any fabric containing the correct
amount of spandex or latex.
Classification of Knit Fabrics
Superstretch knits: 100% or more stretch in the
Knits may be composed of many fibers: includ- lengthwise and crosswise. 5” stretches to 10” or
ing cotton, and nylon. Fibers combined with more. Excellent for activewear, dance wear, and
Lycra®/spandex or Lycra®/latex will vary in swimwear.
weight, texture, direction, and degree of stretch
and shrinkage. - Example: any fabric containing correct
amount of spandex or latex.
Single- and double-knit
Rib knit: 100% stretch (1” x 1” ribs will stretch
They are generally classified as follows: less than 2” x 2”). Rib knits are designed for tops
Single knits (called plain knits or jersey): The and banding.
smooth right side has vertical ribs. The wrong * Example: “knit two, purl two” are used for
side, horizontal ones. the traditional wrist and neck bands. Rib-
Double knits: Two sets of yarns locked together. bing should be stretched when stitched to
A firm knit with minimal stretch. the neckline and hem of sleeves.
Direction of Stretch
Knits are also classified by direction of their
stretch:
Wales: Stretch yarns run lengthwise.
);
Characteristics of Knit Fabrics

Stable (firm) Knit: 18% Stretch

‘,
Courses: Stretch yarns run crosswise.
Two-way stretch: Stretch in both direction.
Moderate Stretch Knit: 25% Stretch
Four-way stretch: Stretch yarns run in all direc-
tions equally.
The maximum stretch is placed in the direction
going around the figure for swimwear, dresses,
jackets, and tops. The maximum stretch is
placed in the direction of the length of active-
wear (bodysuits, leotards, and jumpsuits) to Stretch Knit: 50% Cross, 50% Straight
allow greater flexibility.

Stretch and Recovery Guage

F
Figure 19.1
The gauge (Figure 19.2) is used to find the
degree of stretch and memory of the lengthwise
Super-Stretch Knit: 100%, or more
and crosswise of a knit. The findings help to
determine the appropriateness of a knit for a
specific design.
Caution: Do not overstretch a knit (appearance
of folds). If folds do appear, relax stretching un-
til they disappear. Record the distance beyond
the 5” point of the ruler. The example illustrates
Rib Knit: 100% Stretch
a knit marked for 5”, which has stretched 50%,
or 2 1/2”, crosswise. The knit is also stretched on
the straight to complete the test. Place swatch _
samples in box provided for each type of knit
noted.
Figure 19.1

Stable (firm) Knit: 18% Stretch

Moderate Stretch Knit: 25% Stretch
Stretch Knit: 50% Cross, 50% Straight
Super-Stretch Knit: 100%, or more, Stretch
Rib Knit: 100%, or more, Stretch
 460 Chapter 19 Knit Characteristics

Crosswise Stretch fabric will stretch to the percentage noted above

Figure 19.2 the ruler. Record the percentage of stretch and
the distance extended.
Fold on the crossgrain and place a pin several
inches in from the edge of the selvage. Straightwise Stretch
Place another pin 5” from first pin. Repeat process folding on the straight grain.
Put the fold and pin at the 1” mark on the ruler. Record the percentage of stretch and the dis-
Place a second pin at the 5” mark. tance extended.
Hold the fold down with palm of one hand and
smooth firmly across fold with other hand. The

Hold Knit Stretches 50%

all
Extends beyond —————>

Percent Stretch

Figure 19.2
 Knit Torso Foundation

orso Foundation
The knit torso foundation (draped in a one-, or
two-way stretch). It is a prototype for knit tops,
dresses, bodysuits, leotards, and maillots. It is a
simple foundation that fits close to the contour of
the figure without need of dart control. The foun-
dation should be draped in a moderate one-way
stretch knit having approximately a 25% stretch
(around the form) for tops and a two- or four-
way stretch of 50% or more for activewear, with
the greater stretch placed vertically on the form.
The torso foundation as a base for knit garments
may require adjustments if the characteristics of
the knit changes. However, their usage saves time
and simplifies the patternmaking process.
For other knit foundations, refer to the
dartless foundation of the casual shirt (page
384) to develop tops and dresses in a firm knit.
To drape an oversized knit top, refer to the over-
size shirt foundation (page 387). Knit informa-
tion can also be applied to the dress designs in
Chapters 12 and 14.

Notch Guide
Figure 19.3
Two types: Notch to a depth of 1/8” or cut a
pyramid 1/4” wide and 1/8” high.

Design Analysis
Figure 19.3
The torso foundation is draped to fit as close as
possible to the waist without stresslines. Allow
extra width to pin on the opposite side of the
form. This will help stabilize the knit while drap-
ing. Add additional length for draping a dress.
(462) Chapter 19 Knit Characteristics

Preparing Form
Figure 19.4
Measure form for length. Add 10”.
Full length
add 10" © Measure width. Add 8”.

Preparing Knit
Bust arc ©)
tPT
Figure 19.5
add 8"
Test knit on a stretch gauge to determine the
stretch (see page 460).
The greater stretch is placed on width of the
knit.
Draw a line on the length 5” from fabric edge.
Figure 19.4 Square from this line 3” up from the bottom
(applies to front and back).
,

5" Slash 1" Slash 3 1/2" 5"

N
back
Center front
Center

<———_ Greater stretch ———_—__—>

—— —m———— Greater stretch —-——_>
a = b

Figure 19.5
 Knit Torso Foundation

Draping Steps
Front Drape
Figure 19.6
Pin knit to the form with a straightline on the
center and horizontal line on the hip guideline.
Pin to hold knit fabric on both sides.

Smooth, but do not stretch the knit when drap-

ing the neckline to the shoulder-tip.
Smooth fullness from the centerline to the side
seam (some excess remains at the waistline).

Pin at and past the side seamline.

Lay knit over the armhole plate, smoothing all
excess from the armhole ridge. Pin.
Check to see that the knit lies smoothly along
the side seam, armhole shoulder, and neck.

Mark the following:

* Neckline
Shoulder/neck
Side seam (crossmark side waist)
Front and back waist
Armhole plate
Mid-armhole
Shoulder-tip
Neckline

Back Drape
Figure 19.7
Repeat draping instructions given for the front.
Remove the drape from the form.

Figure 19.7
 Chapter 19 Knit Characteristics

Paper True the Front and Back Drapes

Figure 19.8
Place drape on paper (front on fold).
Pin to secure to paper.

True side seams and shoulderlines.

If lengths differ, equalize at the armhole/side

seams and shoulder-tips.
Blend side seams.

Use a French curve to draw the armholes and

necklines. Armhole may be lowered 1/2”.
Trace pattern.
Remove and draw outline.

Finishing the Pattern

Figure 19.9 .
Add 3/8” for seam and hem allowances, as
desired.

Measure front and back armholes. Add together

and record for the knit sleeve.

Figure 19.8 a b

Figure 19.9
 Knit Torso Foundation

Knit Sleeve Draft Paper Paper

il

Figure 19.10
Measurement needed: individual elbow and
wrist, or the standard for company.
Fold paper. 1/2"
Place grainline of the front sleeve on the paper
fold.
Trace the sleeve cap and biceps. Mark elbow and
hem.
Square a line from the fold at each mark.

Figure 19.11
Mark 1/2” above biceps and square a line from
the fold.
Mark 1/2” in from the corner of the sleeve.

Draw the curve of the sleeve blending with the

cap.
ee
rd

Mark the wrist (example: 4” wide; it can vary).

Figure 19.10 Figure 19.11
Mark the elbow (example: 5”; it can vary).
Draw a curved line to the new biceps (under-
seam).

Adjust the elbow and wrist when testing the fit.

Measuring the Sleeve Cap (Figure 19.12)

The sleeve cap should measure 1/2” more than
the front and back armhole measurement.
Adjust by adding to or subtracting from the
biceps line.
Figure 19.12
Blend the capline if adjustments are made.

Figure 19.13
Add 3/8” seams and cut from paper.
Notch in 1/8” or cut a pyramid.

fr
Figure 19.13
 466 Chapter 19 Knit Characteristics

Design Analysis
Figure 19.14
Follow the draping instructions given for the
oversized shirt. The placket inset is 1 1/2” wide.
It is twice the length of the cutout. The collar is
of rib knit, which can be ordered, ors cut in a
self-knit. Fabric suggestion: use a cotton knit.

Finishing the Pattern

Figure 19.15
Placket Inset
Draw 3/4” from each side of the center and to a
length desired. Label A and B.
Draw 3/8” seams. Cut out the inset.
Draw inset band 1 1/2” wide and the length of
the A-B line. Cut two plackets.

Rib Collar
Length of neck measurement, less stretch.
Figure 19.14
Sleeve
Trace casual sleeve and shorten, allowing for the
hem.

PLACKET

Cut two
a

Figure 19.15
 Fitted Crop-Top with Muscle Sleeve

Design Analysis
Figure 19.16
The crop-top ends a few inches under the bust
and the scoop neck ends just above the bust. The
back neck is less scooped. The crop-top can be
made from an existing torso foundation by trac-
ing a copy and marking the stylelines on it (see
Figure 19.18) or it can be draped. The example
shows a knit foundation on the form, with the
neckline marked and cut to the desired length.

Draping Steps
Figure t947
Draw desired neckline.

Pin side seams for closer fit, if required.

Remove drape.

Figures 19.18 Figure 19.16

Transfer to a traced copy of the torso knit foun-
dation or make a copy of the draped top.

Cut to
desired Pin to
length fit close

a b

Figure 19.17 Figure 19.18

468 Chapter 19 Knit Characteristics

Short Muscle Sleeve

Figure 19.19
Trace knit sleeve.
Draw a line 2” up from the biceps.
At 3” down from cap, pivot the sleeve up to the
new biceps line. Trace capline.
Repeat on other side of the sleeve.
Blend the cap.
Draw underseams 1/2” in from original biceps.
Draw hemline curve 1/2” above the biceps
(see Figure 19.19a).
Figure 19.19 Cap should measure 1/2” more than the arm-
hole. If not, adjust the biceps (see page 465,
Figure 19.12). Mark with notch or pyramid
shape.
‘
Bodysuit
awd
Swimsuit 4 ah. i”

he bodysuit is a flexible garment that fits the contour

of the figure. It is as popular for exercising and
dancewear, as it is for street and evening wear. It can
be designed with or without sleeves. The bodysuit foundation
can be separated above the waist to develop tights or the foun-
dation can be separated into a top and bottom set.
Lycra®/spandex is a desirable fabric because of its excellent
recovery after being stretched. The bodysuit can be based on
the torso knit foundation or can be draped on the form
directly from the fabric. It is more convenient to use the knit
torso foundation because of the difficulties in draping
between legs of the form.
 Chapter 20 Bodysuit and Swimsuit Foundations

Remember that the bodysuit is cut with the patterns. The foundation is a base for all knits;
greater stretch going through the length of the however, changes in the fit may be required if
garment. Save the test fit garment for use later. the stretch and recovery factors change.
Place stylelines on it as a guide in making design

<a er
Design Analysis
Figure 20.1 and Figure 20.2
The bodysuit fits the contour of the figure. It is
based on the knit torso foundation. The front
and back pattern draft are developed together
and separated when finished. Seam allowances
are included with measurements given. Sug-
gested fabric: use a two- or four-way stretch
knit. Use the torso knit foundation if available
(see pages 461-465).

Figure 20.1

Figure 20.2
 Bodysuit Foundation

Preparing Fabric
To take and record measurements, see pages 428
and 430. Measurements below are from the
Model Form Measurement Chart. Personal Paper

measurements may also be used. gz loucn ai

stitchline
* Waist (#19) and hip (#18). “dl
* Crotch depth (#24).
* Length from waist to ankle (#27).
* Knee (#30).
Sleeves \\ Sleeveless
¢ Ankle (#32).
* Length: Center back neck to ankle.

Paper Preparation
Figure 20.3
Trace the front pattern. Mark the waist and bust
point.
Place the back pattern on top of the front, align-
ing the centerline and hip (HBL).
Shoulder/neck of the back may not match with
the front, but blend to it when drawing the
neckline. stretch
greatest
of
Direction

Draw a line parallel with the centerline, starting

from the shoulder/neck through the length of
the paper.
Mark the waist, less 1/2”, and hip, less 1/2”. Draw
a new side seam to zero at the armhole for a
sleeved garment. For a sleeveless garment, draw
the side seam to end 1/2” in at the armhole. Figure 20.3
 Chapter 20 Bodysuit and Swimsuit Foundations

Figure 20.4 * Ankle width: one fourth, less 1/4” each

Pant length, less 2”, measured down from side of the line.
waist (X). Draw lines from the ankle touching the knee
Mark ankle (Y). marks and beyond.

Mark the crotch depth, less 1 1/4” down from Figure 20.5
the waist and square from the centerline. Extend the line for crotch to one fourth of the
Mark the knee location half the length between hip, and mark. Add another 3/4” for the back
the crotch depth and ankle. Square from the crotch (broken lines). Draw the crotch curve.
guideline following these measurements: Outseam: Draw an outward curved line from the
* Knee width: one fourth, less 1/4” each side hip and an inward curve connecting with the
of the line. knee line.

A Paper underneath

Paper

Crotch Front crotch extension:

depth 1/4 of front hip
Back crotch: Add 3/4"

g3
=
©
=
D
S
g

7 1/4 knee
Wr each side

L_}1/4 ankle
Vf plus 1/4"
each side

Figure 20.4 Figure 20.5

 Bodysuit Foundation

Inseam: Draw inward curve from the crotch ex-

tensions blending with legline for the front
(solid line) and back (uneven broken line).
Place paper underneath. Secure with pins.
Cut from the paper following the back pattern.

Finishing the Pattern

Trim

Back Pattern
Figure 20.6
The center back waist can fit closer by draping to
the curves of the back. Use only when needed.

Front Pattern
Figure 20.7
Trim the front neckline.
of
Direction
stretch
greatest Trim
Trim the back crotch extension.

Mark the bust point and bust radius at the test

fitting.

Analyze Fit
Figure 20.6
If too loose around the figure, pin the excess
along the side seam and re-mark the armhole.
greatest
of
Direction
stretch
Correct the pattern.
If too loose in the length, pin the excess along
the waistline. Cut pattern across the waist, and
overlap.
Always make a traced copy when corrections
are required and save the original foundation Figure 20.7
pattern.
 Chapter 20 Bodysuit and Swimsuit Foundations

Bodysuit with Cutout Designee

ae

Figure 20.8

This is an example to follow in creating other with washable pen or pin-mark. Remove and
designs. Suggestion: Stylelines are drawn directly transfer stylelines to the pattern (do not cut the
on a traced copy of the bodysuit pattern or put garment apart) (Figure 20.8).
the test fit garment on the form. Draw stylelines
 Bodysuit with Cutout Design

Marking Stylelines Finished Pattern

Figure 20.9 Figure 20.10
To attach the elastic, see the instructions on Stylelines are transferred to the traced patterns.
pages 487 to 488.

Sen 28

Trim
*<— Cutout —>;

of
Direction
stretch
greatest stretch
greatest
of
Direction

a b

Figure 20.10

Figure 20.9
 Chapter 20 Bodysuit and Swimsuit Foundations

Draping Steps
i Wize Figure 20.11 and Figure 20.12
Trace from 1 1/2 to 2” up from the waist to the
desired pant length.
Elastic width, as desired and measuring 1” less
than the waistline is inserted in the foldover of
the waistline.

stretch
greatest
length variations

Cut to any length

of
Direction

Figure 20.11

Figure 20.12

beMiKGBROMUMGAOMss:.—
fe Be
The leotard has a cutout legline of varying The leotard can be based on the torso knit foun-
heights and can be designed with or without dation or can be draped directly from the fabric.
sleeves (consider the raglan, drop shoulder, or It is more convent to use the knit torso founda-
kimono sleeve). It is a versatile garment that can tion because of the difficulties in draping be-
be worn for exercising, as dancewear, and for tween legs of the form.
street wear under skirts and pants (Figure 20.13, Remember the leotard is cut with the greater
Figure 20.14, and Figure 20.15). stretch going through the length of the garment.
Lycra”/spandex is a desirable fabric because Save the test fit garment for use later. Place style-
of its excellent recovery after being stretched. lines on it as a guide in making design patterns.
 Leotard Foundation

Figure 20.13

Figure 20.14

Figure 20.15

The leotard foundation is a base for all knits, but pletion, the front and back patterns are sepa-
changes in the fit may be required if the stretch rated. The leotard foundation is the base for all
and recovery factors change. leotard designs.

Design Analysis Preparing Torso

If the knit torso foundation is not available, see Refer to the instructions for the bodysuit, but
pages 461 to 465. The crotch is drafted to the exclude the length line. Record crotch length by
torso foundation. The front and back draft leo- measuring from center front waist, under crotch,
tard patterns are developed together. After com- to center back.
 Chapter 20 Bodysuit and Swimsuit Foundations

Paper Draping Steps

Figure 20.16
Subtract 1 1/4” from crotch length and extend
the line down from the center front waist.

Square a 2” crotch line. Crossmark 3/8” from

this mark.

Figure 20.17
Square a line.
Measure down from the waist and mark half of
One-half of
crotch length
the crotch length. Square to the side seam.
less 1 1/4"
Draw a legline following the illustration and
crossmark 3/8”.

Back Leg Cut

Figure 20.18
Figure 20.16
Draw a straight line through the 3/8” marks.
Square out 1” at the midpoint. Draw the legline
following the illustration.

Paper Paper

Cross at 3/8 " mark

Figure 20.17 Figure 20.18

 Leotard Foundation

Finishing the Pattern Trim

Figure 20.19

Back
Trim /
Place paper under the pattern. Pin to secure and
cut from the paper. The undercopy is the back
pattern. For a tighter fit, draw a curved line as
shown at waist. 3/4"—>| |

Front
SoJOoIB
UYDISIIS
Jo
UOYOaIIG
Trim front neckline for front pattern
(see Figure 20.19b).

Higher Cut Legline

a b

Figure 20.20 Figure 20.19

Draw the legline higher, using the illustration as
a guide.

Analyze Fit
Place on form and check fit, adjusting as needed.
Remember that the fit applies to the fabric of the
drape. Knits having different stretch factors will
require another fitting. Always remember to make
a traced copy when corrections are required.
a b

Figure 20.20
480 Chapter 20 Bodysuit and Swimsuit Foundations

Design Analysis
Figure 20.21
Cut the garment from a traced copy of the leo-
tard foundation. For accuracy in marking de-
signs with many stylelines, place the stylelines
on the garment while stretched on the form.
Crossmark to identify joining sections. Remove
and cut stylelines. Make the pattern from the
separated sections. Use the muscle sleeve
(page 468) to complete the design.

Marking Stylelines
Figure 20.22
Mark stylelines (color blocking) and notches.
Remove and cut each section apart.

Finished Pattern

Figure 20.23
* Upper styleline (a and b).
* Front panel (e).
- Side front panel (c and d).
Figure 20.21 * Back (g).
* Sleeve (f).
 Leotard with Short Cap Sleeve

as
Front empire

oe
Side front panel Direction
of
stretch
greatest

Figure 20.22

Back

Figure 20.23
 Chapter 20 Bodysuit and Swimsuit Foundations

Swimsui 2

Two swimwear foundations are discussed in this tions of the leotard with the exception that the
chapter—the maillot and bikini. The swimsuit greater stretch goes around the figure instead of
can be based on the leotard foundation or the length.
draped in the fabric of choice. For multiple Bikini: Two-piece swimsuit—bra top and bot-
stylelines, follow the instructions given for the tom pant legcut at varying heights at the side.
leotard.
The swimsuit can be cut in stretchy knits or
Maillot: One-piece swimsuit with cutout legs at woven cottons and other fabrics.
varying heights at the side. The swimsuit is cut
in stretchy knit. It is based on the drape instruc-

e e

Design Analysis
Figure 20.24, Figure 20.25, and Figure 20.26
The tank top is a popular design for the maillot
and is developed from the leotard foundation. It
is cut in a stretch knit, with the greater stretch
going around the figure. Stitch and place on the
form. If loose, pin side seams for a closer fit.
Adjust the traced pattern. Mark stylelines (any
design) on the foundation while on the form.
Remove from the form, cut stylelines apart, and
make the pattern.

Figure 20.24

Figure 20.25 ~

Figure 20.26
 Maillot Foundation

Marking Stylelines
Figure 20.27
The back strap of low cut swimwear is marked
further in from the shoulder-tip than the front
strap when transferred to paper. The strap will
upright itself when worn and will help to secure
the strap on the shoulder

Finishing the Pattern

Figure 20.28
Trace the leotard pattern and pin the knit drape
on form. Mark stylelines and allow 3/8” seams.
Front pattern (Figure 20.28).
Mark the back shoulder strap 1” from the shoul-
der/neck (Figure 20.28).

Figure 20.27

LEOTARD

Figure 20.28
 Chapter 20 Bodysuit and Swimsuit Foundations

Design Analysis
Figure 20.29 through Figure 20.32
The bottom part of the maillot can be cut for
the bikini pant. The style of the bikini cut is as
desired. The bra-top design is a horizontal style-
line that crosses the bust point to the’ side or can
be draped as a Princess. The bra can have a bust
cup added to it. Other styles are also shown.

Figure 20.29

Figure 20.31

Figure 20.30

Figure 20.32
 Bikini: Bottom and Top

Draping Steps
Figure 20.33
Cut bikini bottom to a desired cut.

Bra top
The bra top should be draped in muslin, as it
should not be stretched to fit. The bra can be
cut in almost any fabric.
a b
Figure 20.34
Figure 20.33
Drape the upper bra (Figure 20.34). Mark above
and across the bust mound to the side seam. Re-
move.
Drape the lower bra (Figure 20.35). Mark below
the bust mound and across the bust to the side
seam

Figure 20.36 and Figure 20.37

Pin bra together and drape the back strap.

Figure 20.34

Figure 20.35 Figure 20.36 Figure 20.37

(486 ) Chapter 20 Bodysuit and Swimsuit Foundations

Bra Pattern
[ Upper bust F ;
Sear oe Figure 20.38
a Bra patterns can be self-lined or lined with
tricot.
| |
<< Draping Steps: Strap Variations
e Tie Strap
Figure 20.38 Figure 20.39

Cut strap on the fold, add 10”, and shape the

end of the tie.

(0)s a
Add 1/4” seams.

Button Control with Elastic

Figure 20.39 Figure 20.40

Trace strap on fold.
Extend 2 1/2” and mark 1” in label A.
Mark button/buttonhole placement.
Mark B 4” from A.
Strap frame

Ly 5" Cut elastic strips 3/4” wide and 4” long. The

elastic is attached at A and stretched to point B
Figure 20.40
between the folds.

Elastic and Hook Strap

Figure 20.41
Sn at | (EERE Nc&e The closure requires a bra design with
1/2” wide side seams.
Figure 20.41
Cut two strips 1 1/2” x 12”.
Cut two elastic strips 1/2” x 6”. (Stretch elastic as
it is inserted between the folds.) Fold strap to
make loop and stitch. The hook is inserted into
the loop to secure garment.
 Elastic, Tapes, and Bra Cups

The following information is a general guide in Elastic is attached to the garment with a zigzag,
completing actionwear garments. overlock, or straight stitch.
Elastic is placed on the wrong side of the gar-
Supplies Needed ment (shaded area, Figure 20.42). It is top
stitched when folded over. Stretch the elastic
Needles: Use ballpoint, sizes 9 to 11, and 10 to 12 evenly, as it is being stitched. Pin midway to
stitches per inch.
control stretching (back legline).
Thread: Core spun (nylon or polyester) or
cotton. Length of Elastic for Specific Areas
Figure 20.42
Bra cups: Purchase at fabric stores, notions
counter, or supply houses. Necklines:
Power Knit or nylon tricot: for bra cup frames ¢ Front: 1” less than measurement.
and crotch and/or swimsuit lining. * Back: 1:1 ratio (no stretch).
Elastic: 1/4” for necklines and 3/8” for the leg Cutout armhole: 1/2”.
cutout.
Legline: 2” (allows 1/2” overlap to connect the
ends).
Elastic Front: 1:1 ratio (no stretch).
Whether cut in rigid or knit fabrics, elastic is Remaining elastic is stretched across the back
stitched to all raw edges of the garment. The legline. Pin at the middle of the legline to help
elastic has two purposes: evenly distribute the excess.
1. Cut shorter than the raw seam, it is stretched
to hold excess under the bust, between the
bust, and under the buttocks (hollow areas).
2. Cut to the length of a raw seam. Do not
stretch.
The elastic prevents a raw seam from being
pulled out of shape.
View of View of
Elastic is attached to a bikini waistline and cut- front side underside
out areas.

Elastic Guidelines
The sample illustrates how elastic is attached
and the length needed at different areas of the
garment.

1:1 Ratio: Elastic is cut to the length of the seam

and is not stretched. Figure 20.42
 Chapter 20 Bodysuit and Swimsuit Foundations

Cutouts
Figure 20.43
Elastic should be 1” less. Stretch 1/2” under the
bust and 1/2” stretch for the rest of the styleline.

Bikini
— Figure 20.44
Cut elastic 1 1/2” less than the total. .

Crotch lining
1 1/2" less than total waist
Figure 20.45
Crotch lining is traced from the pattern
(see Figure 20.45a).
Pattern on fold. Lining is faced on the garment
and attached with the elastic (see Figure 20.45b).
Figure 20.43 Figure 20.44

Shoulder Tape ,
Figure 20.46
‘ee Paper Shoulder tape prevents the shoulder from
Crotch level > 6" stretching.
t

Bra Cups Attachment

a b
The maillot and bikini tops may or may not be
Figure 20.45 designed with bra cups. There are several ways
a bra is attached to the swim garment. One
method is illustrated.

Measurements Needed

Bust span (#10).

Figure 20.46

Fabric Needed

Tricot or power knit.

Draping Steps
iF (ones < Guideline
. Figure 20.47
Center Cut fabric equal to the length and width of the
Figure 20.47
top of the maillot pattern (see Figure 20.49).
 Elastic, Tapes, and Bra Cups

Draw a chalkline through the center and a hori-

zontal line 4” up.
Crossmark the bust span (bust point) out from
the center.
Place bust cups on the fabric, aligning bust
points on fabric with the cup.
Pin on fabric and trace.

Repeat on the other side of center.

Figure 20.48
Allow 1/2” for seams and cut out the centers for
each cup.
Place on the form and adjust the bust cup.
Re-mark, if necessary.
Figure 20.48
Pin the cup to the fabric. Remove from form and
stitch the cup to the fabric.

Figure 20.49
Stitch 1/4” wide elastic lace around the cups on
the underside.
Pin or stitch lining to the wrong side of the gar- Completed side

ment. Trim around garment.

Stitch a 1/2” wide elastic (felt-back) that is 1/2”

less than the width of the lining across the bot-
————}«— Feltback elastic
tom.

The lining, elastic, and garment are stitched to- Figure 20.49
gether. The elastic is folded over and zigzagged
or straight stitched.
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Sr Ae Per [eS aa eh

A off-shoulder design, 125 combining with the sleeve, special

Abdomen, measurement of the model Back arc, measuring, model form, 14 designs, 349
form, 13 Back cowls, 255 dart excess in design of, 61
Abdomen arc, measuring, model form, Back yoke, 378-379 empire, dress based on, 280-285
14 Baggy pant, 436-439 front, draping, 27-30
Accordion pleats, defined, 154 Banding kimono, 350
Action pleat, shirt, 380 armhole, dart excess draped to, panel, 105-109
Action wear, supplies for completing, 83-84 pinning to the skirt, 45
487-488 set-in, collars, 223-224 strapless Princess, 305-307
A-E measurement, sleeve, 51 turtle neck, torso halter, 115-116 styles of, 89-125
Alignment turtleneck collar, draped inset, Bodysuit, defined, 469
errors in, in industrial model, 5-6 215-216 Bodysuit foundation, 470-482
of grainlines, 3 Basic dress, 25-60 Boning, for strapless dress founda-
of sleeves, 57 Basic sleeve, modifying for a drop tions,
A-line shoulder sleeve, 363-365 316-317
the basic tent foundation, 286-292 Bateau neckline, 221-222 Bowing, on the grain, defined, 3
with bias-cut fabric, 332 Batwing dress, 351 Box pleats, 171-174
A-line skirt, 128, 131-143 Bell skirt, 128 defined, 154
eight-gored, with inverted box Bias inverted
pleats, 171-174 band for collars, 211 in culottes, 448
All-in-one dresses, torso foundation, band for a turtleneck collar, in off-shoulder design, 122
264-285 212-213 shirt, 381
All-in-one facing, 261 circular skirt, hanging to allow for skirt, 160-161
Arc measurements, defined, 12 stretching of, 145 Box silhouette, loose fitted dress, 269
Armhole for collars, jacket, 424 Bra, padded, 315-316
banding at, dart excess draped to, cowls draped on, 225, 242-244, 249, Bra cups, for maillot and bikini tops,
83-84 252-253 488
dart excess at, 64 defined, 2 Bra top
depth and side ease, basic dress, 33 dress, 342-345, 347 bikini, 485-486
facings for, 260-261 full flare skirt, hanging to allow for draping, 330
fit analysis, basic dress, 33-34 stretching, 138-139, 143 strapless Empire dress, 308-312
guides, preparing for measurement, location of the straight grain and Breakpoint
model form, 7 crossgrain, 226-227 double-breasted jacket, 412
Armhole cowls, gathered, 252-254 the nature of bias-cut fabrics, jacket, defined, 392
Armhole depth 328 lapel, 405
jacket, 393 strapless Princess torso, 295-300 portrait collar, 408-411
oversized shirt, 387 surplice bodice, 117 skirt, defined, 127
Arms, attachable Biceps level Bust
model form, 8 adjusting sleeve pattern at, 57 arc and span, measuring, model
measuring, 15 defined, 49 form, 14
preparing, 9-12 Bikini, 484-486 dart excess at center front, 66-67
Asymmetric style cut, for undersup- defined, 482 measurement of the model form, 13
port, strapless dress, 320-324 Blouses, 373-389 padding
Bodice for enlarging, 8
B adjusting to the sleeve pattern, 58 for strapless garments, 313-314
Back attached to a four-pleat asymmetric Bust bridge, preparing for measure-
design variations in the yoke, skirt, 182-186 ment, model form, 7
377-384 back, draping, 31-33 Bustier, draping, 239-240
 492 Index

Bust radius, measuring, model form, jacket, 406-407 manipulating excess in draping, 20,
Ie defined, 392 21-22
portrait, jacket, 408-411 measuring, model form, 15
CG Contour draping, 21, 22 Dart placement arc, measuring, model
Cap ease fit analysis, 298-300 form, 14
adjusting, 56-57 strapless designs, 293-324 Darts
basic jacket, 396 Corset, as undersupport for a strapless asymmetric, 79-81
defined, 49 garment, 313 back, trouser, 434
measuring, 51 Courses, knit fabric, 459 in a basic dress, 26
pattern, 55 Cowls, 225-257 double-ended, 265 ,
Cap height draped, from stylelines, 248-251 cowls as an application of, 225—
defined, 49 low cowl bodice, 235-237 226
measuring, 50 side, draped skirt, 187-191 curved, 74-75
Capline Criss-cross bias dress, 347 equivalent structures, 72—73
back and front, 53 Crop-top, fitted, knit fabrics, 467 fish-eye, shawl collar, 417-418
jacket, 397 Crossgrain with gathered leg, 85-87
Cap notch, placing on a pattern, 55 defined, 2 intake of, skirt, 41-42
Cap sleeve, for the leotard foundation, in dividing dart excess, bodice, 68, intersecting, 76—78
480-481 70 multiple, 81-82
Cascade collar, 209-211 hip, in a sheath, 265-266 shoulder, Princess armhole style,
Casing, for boning in a strapless sup- Crosswise stretch, knit fabrics, 460 98
port undergarment, 317 Crotch skirt back, 43-44
Casual shirt, 384—386 bodysuit foundation, 472-473 waistline, in skirts with yokes, 158
Center alignment, bodice, basic dress, defined, 428 Deep cowl with bustier, 238-240
34-35 leotard, 478 Dirndl skirt, 176
Center front depth, defined, 392 Crotch depth, defined, 428 Double-breasted jacket, 412-413
Center length, measuring, model Crotch extension Double-fold turtleneck, 212-214
form, 14 defined, 428 Double knits, 458
Charts pants, 425-426 Draped banding inset, turtleneck
for circle skirt radius, 147 Crotch level, defined, 428 collar, 215-216
for recording measurements, 15 Cuff, shirt sleeve, 383 Draped skirt, side cowl, 187-191
for sleeve measurements, 51 Culottes foundation, 448-451 Drapery weights, 333
Chest, measuring, model form, 14 Cut-out design, bodysuit with, Draping plan, 20
Circles 474-475 Dress, basic foundation, 25-60
off-set, for a circular skirt, 151— Drop shoulder, 362-365
153 D draping, 349
technique for drawing, 149-150 Dart excess, 61—87
Circular skirts, 144-153 absorbing in twisted fabric, 338 E
full circle, 148-150 armhole Princess style, 95 Ease, adding to the front armhole,
piecing at the hemline, 153 bodice, 29--30 376
sunburst pleats on, 154 classic Princess drape, 90-95 Edge, neckline, defined, 194
Coats, 391-424 in a high-waisted skirt, 163 Eight-gore skirts, 167-170
form preparation, 394 in intersecting darts, 76-78 with inverted box pleats, 171-174
Collar edge, defined, 194 removing Elastic, for action wear garments,
Collars, 193-216 multiple cowls with pleats, 246 487—489
basic, 195-197 relaxed cowl, 228-232 Elbow level, defined, 49
jacket, 392, 424 in skirts with yokes, 158 Empire dress, 280-285
notched lapel jacket, classic, from a waist dart, draping to cowls, bias dress with a twist top, 338
400-403 239 basic, 100-104
shawl, basic, 415-418 Dartless sleeve, 375 strapless bra-top, 308-312
Collar stand for a casual shirt, 386 Empire styleline foundation, varia-
basic collar, 195 Dart placement tions, 105-125
defined, 194 for a high-waisted skirt, 165 Evaluation, of fabrics, 1-2
 Index

F Frame, sleeve, 52 Grainline

Fabrics, 1-3, 19 French dart, 65, 74-75 circular skirts, 144-145
for bias-cut garments, 328 with draped cowls from stylelines, on the pattern, 60
for bodysuits, 469 248-251 sleeve, defined, 49
for cowls, 225 for excess with a pleated cowl, 241 strapless Princess torso, 295-300
design, fitting from draped muslin high relaxed cowl, 228 Guidelines, marking
patterns, 20 for a panel dress, 275 bias-cut fabric, 329, 342
for draping, slip dress, 328 Front elastic for actionwear garments,
for heavyweight strapless support, flare skirt with increased hemline 487-488
313-314 sweep, 140-143
knit, 457-468 gathering excess to a yoke, 376 H
for layering fabric over Princess shirt, 379 Halter
panels, 304 yoke, 379 torso, 114-117
for leotards, 476-479 Full flare skirt “Vv” neck, 111=114
for lightweight undersupport, strap- back, 138-139 Halter stylelines, 110
less garments, 313 front, 137 Hand, of fabrics, defined, 1
for side cowl draped skirts, 187 Full length, measuring, model form, 14 Hang
for a twist-top bias dress, 338 Fullness of a balanced skirt, 44-45
Facings, 259-261, 423-424 adding to a pattern, 20 of a sleeve, 58
all-in-one, 261 radiating draped overlay, 322-323 Hem band, baggy pant, 439
high relaxed cowl, 231-232 techniques for achieving, 21 Hemlines, uneven, drama from, 150
portrait shawl collar, 419-421 Full roll collar, 201-204 High relaxed cowl, 228-232
surplice on the bias, 117 characteristics of, 211 Hinged ruler, for sleeve design, jacket,
Fibers, for knit fabrics, 458 width to height comparison, 200 397
Fish-eye dart, shawl collar, 417-418 Hip, enlarging with padding, 8
Flare G Hip arc
bias dress with center seams, 342 Gathers extension based on, pants, 427, 430
full with armhole cowls, 252—254 measuring, model form, 14
A-line skirt, 136-139 basic Empire style, 103 Hip depth
with increased hemline sweep, dress, 283 measuring, model form, 14
140-143 bias dress with center seams, 343 for pants, defined, 428
gored skirts, 167-170 center back pleat with, shirt, 381 Hip level, measurement of the model
kimono sleeve, 350 as dart equivalents, 72—73 form, 13
location of, and grainline, circular kimono sleeves, 350 Horizontal balance line (HBL)
skirts, 144-145 leg, darts with, 85-87 for an A-Line skirt with modified
modified, for an A-line skirt, panel dress, 275 flare, 132
132-135 Princess torso overlays, 301-303 for a flared skirt with increased
Princess dress with, 270-274 at skirt waistlines, 175-191 hemline sweep, 141-142
skirt tiered skirt, 179 measuring
tiered, 179 torso halter, 116 for pants, 429-430
with stylized yoke, 159-162 waistline, of circular skirts, 152— model form, 13
yoke in-one with sleeve, 368 lis in a sheath, 265
Flat roll collar Gauge, stretch and recovery, for knit and skirt balance, 39
cascade, 209-211 fabrics, 459 in skirt patterns, 47-48
characteristics of, 211 Gored skirts, flare, 167-170
sailor, 206-208 Gown, with radiating drapery, I
width to height comparison, 200 320-324 Interconstruction, jacket, 422
Flexibility, from intersecting dart use, Grading, jacket sleeve, 396-397
76 Grain J
Four-gore skirt, 135 defined, 2 Jacket, 391-424
with full flare, 139 marking muslin to indicate, for dart Jacket foundation, 393-399
Four-pleat asymmetric skirt, 182-186 excess, 62 Jean foundation, 442
4 to 1 rule, for draping a collar, 200 for off-shoulder designs, 122 Jumpsuit, 452-455
 494 Index

K Model form, 5-17 width to height comparison, 200,

Kasaya, Buddhist garment, 122 Moderate-stretch knits, 458 204-205
Kimono Movement, of a skirt, defined, 127 Pattern paper, 17
basic, 351-355 Multiple cowls, and pleats, 245-247 Patterns
draping, 122, 349 Muscle sleeve, for a fitted crop top, for an asymmetric wrap skirt,
Kimono foundation, 350-355 467-468 186
Knife pleats, 154 Muslin, 19 correcting, bodice, 58
Knit fabrics, 457-468 characteristics of, 2 direction of tops, for bias-cut
Knit torso foundation, 461-468 for draping garments, 337
Knot-tie bias dress, 346 armhole dart, 64 foundation, modifying, 473
bodice, 26—27 from light-weight crepe draped
iD dart excess, waist/side, 68 fabric, 334—337
Lapel shoulder dart, 63 production, testing, 20
defined, 392 skirt, 40 seamed and seamless, sleeves, 54
design for jackets, 399-414 full front, for asymmetric designs, tracing a collar, 197
portrait collar, 409 79 transferring from muslin to paper,
Lapped seams, 23 37-38
Leg cut, leotard, 478 N skirt, 47-48
Legline, trouser, 441 Neck, measuring, model form, 14 Peg skirt, 128
Lengthwise grain (warp), 2 Neckline edge, defined, 194 side cow! draped, 187-191
Leotard foundation, 476-479 Necklines Personal fit
Lining built-up, 217-224 measuring arms for, 50-51
jacket sleeve, 422 facings for, 260-261 preparing for measurement, model
strapless garments, 313-314 jacket, 393, 406 form, 7
to support pleats Notched lapel jacket, classic, 399-403 Peter Pan collars, 200-209
pleated cowl, 241 Notches Placket, knit fabrics, 466
trouser, 435 jacket, defined, 392 Pleat depth
swimwear, 489 multiple darts at the waist, 82 defined, 154
undergarment supporting a strap- Princess drape, 91 skirt, determining, 155
less structure, 318-319 sleeve, defined, 49 Pleating services, 155
Low cowl, 235-237 Pleat marking, defined, 154
Low-depth cowl, 256 O Pleats, 73
Low notch collar jacket, 404-407 Off-shoulder designs, 122-125 action, for a shirt, 380
Outseam, defined, 428 box
M Overarm sleeve, jacket, 398 in culottes, 448
Maillot, defined, 482 Oversized shirt, 387-389 for a shirt, 381
Maillot foundation, 482—483 defined, 153
Mandarin collars, 197-199 P draping dart excess as, asymmetric
with extension, 199 Padding radiating overlay, 322
winged, 199 for altering model form silhouettes, front, trouser, 434
Measurements 6 inverse, 154
circumference, for sleeves, 50 bra, 315-316 and multiple cowls, 245-247
of the model form, 12-15 jacket shoulder, 393 pleated cowls, 241-244
for pleated skirts, 155 shoulder, 9 skirts with, 153-158
tier proportions, 181 for special designs, 8-9 in a stylized yoke, with flare, 159
vertical, for sleeves, 50 Panel dress, 275-279 types of, 154-155
See also Charts Pant jean underlay for, 154
Memory, of knit fabrics, 458 basic, 443-445 in a wrap skirt with asymmetric
Mid-depth cowl, 233-235, 257 flared, 446-447 drape, 182-186
Midriff Pant length, 430 Pleat spacing, defined, 154
back, draping for basic Empire style, Pants, 425-455 Pocket
back, 103-104 Partial roll collar baggy pant, 439
draping for basic Empire style, 102 characteristics of, 211 trouser, 435
 Index

Portrait collar Selvage, defined, 2 Sleeve cap

jacket, 408-411 Semi-fitted dress defined, 49
shawl, 419-424 panel dress, 275-279 for knit fabrics, 465
Princess bodice, strapless, 305-307 shift silhouette, 268—269 Sleeve ease, defined, 49
Princess bustier Set-in bands, collar, 223-224 Sleeves
above a deep cowl, 238-240 Shawl collar basic, 48-58
draping, 239-240 basic, 415-418 cap sleeve, for the leotard founda-
Princess drape jacket, defined, 392 tion, 480
armhole, 95-99 portrait, 419-421 dartless, 375
basic Empire variation, 100-104 Sheath, basic, 265-268 for a casual shirt, 386
classic, 90-95 Shift silhouette, 268-269 draft, 52-53
variations, 95 Shirts, 373-389 drop shoulder, 362-365
Princess dress, 270-274 Short cuts, in draping, 22, 26 extended design, straight attachable
Princess in-one with the sleeve, Shoulder arm for, 11-12
368-371 basic dress, 30 flare or tapered, 368
Princess panels dart excess at, 62-63 jacket, 395-397
layering fabric over, 304 panel dress, 278 knit, 465
skirt, 168-170 sheath, 267 lining for, jacket, 423-424
Princess styleline transferring to the back armhole, modifying
darts at, sheath, 266 376 for raglan sleeve, 357-361
manipulating darts at, 21 lowered, kimono sleeve, 350 for shirts and blouses, 383
Princess torso measuring, model form, 14 two-piece, jacket, 398-399
with gathered overlays, 301-303 Shoulder length, measuring, model Slip dress, 328-337
strapless, 294-300 form, 13 Stable knits, 458
basis for undergarment, 314 Shoulderline, draped cowls from style- Stand, collar, defined, 194
Principles, 19-23 lines, 248-251 See also Collar stand
Prototypes, skirt, 128 Shoulder pad, 9 Stovepipe neckline, 218-220
jacket, 393 Straight skirt, 128
R Shoulder slope, measuring, model Straightwise stretch, knit fabrics, 460
Radiating drapery, strapless gown form, 14 Strapless garments
with, 320-324 Side cowl draped skirt, 187-191 dress, 293-324
Raglan sleeve, 356-361 Side hip depth, measuring, model Empire dress, strapless bra-top,
draping, 349 form, 13 308-312
Princess, 368-371 Side length, measuring, model form, Princess bodice, 305-307
yoke styleline based on, 366-367 13} support for, 313-324
Raw seams, 23 Side pleats, 154 Straps, bikini top, 486
Recovery factor, knit fabrics, 458 Side seam, adjusting for an A-silhou- Stretch
Reference points, of the form, 6 ette, 289-290 of knit fabrics, direction of, 459
Revers, jacket, defined, 392 Single-fold turtleneck, 212-214 of woven fabrics, on the bias, 328
Rib knit, 458 Single knits, 458 Stretch factor, knit fabrics, defined, 458
collar from, 466 Six-gore skirts, 167-170 Stretch knits, 458
Roll line Size, pattern, marking, 60 Structure, of fabrics, defined, 1
collar, defined, 194 Skewing, on the grain, defined, 3 Style, coding on the pattern, 60
jacket, defined, 392 Skirt frame, for separated tiers, Style curve, mandarin collar, 199
178-179 Stylelines, classic empire, 280-285
S Skirts, 39-48, 127-191 strapless bra-top torso, 308-312
Sailor collar, 206-208 converting pattern to culottes, 448 Stylelines
Seam allowance, of the basic pattern ease at the waistband, 129-130 empire, 338
set, 59-60 front draping, 41-42 Empire foundation, 105-125
Seams full flare skirt, 137-140 halter, 110
basic pattern use of, 38-39 pleated, 153-158 Princess, 21, 266
skirts, 48 side cowl draped, 187-191 for raglan and drop shoulder sleeps,
methods for joining, 23 Slack foundation, basic, 439-441 362-365
 496 Index

Stylelines (continued) shirts and blouses based on, preserving, 46

for swimwear, 483 373-389 Waistband, skirt, 129-130
Style marking, on the model form, 9 Torso halter, 114-117 Waist excess, pleated, trouser, 431
Style tape, placing Trouser, basic, 431—436 Waist/waistline
halter with “V” neck, 111 Trouser foundation, 431—455 of a circular skirt, modifications,
panel style bodice, 106 True bias, defined, 2 145-146
Sunburst pleats, 154 Trueing, 19-20 dart excess shared with shoulder,
Superstretch knits, 458 front and back bodice, 35-39 70-71
Supplies, for completing swimwear, front and back skirt, 45-48 dartless, basic pant jean, 445-446
487-489 full flare skirt, 139 darts at
Support, for strapless garments, gathers, 72 basic pant jean, 444-446
313-324 Peter Pan collar, 203-204 Empire dress, 283
Surplice, 117-121 sailor collar, 208 enlarging with padding, 8
Sweep shirt design, 381-382 gathered, for skirts, 175-191
equalizing, for an A-line skirt, 135 Tuck darts, 73 high-waisted skirt, 162-166
hemline multiple, 81-82 measurement of the model form,
basic tent foundation, 286-292 in off-shoulder designs, 122 13
flared skirt with, 140-143 surplice, 124 measurement preparation, model
skirt, defined, 127 skirt, 41 form, 7
Swimsuit foundation, 482—489 Turtleneck, torso halter banding, measuring
Symbols, for identifying reference 115-116 to adjust skirt pleats, 157
points Turtleneck collar, 211-216 and waistband dimensions,
model form, 6 variations of, 214-216 129-130
patterns, 60 Twisting, in cowl collars, 228-229 securing, in draping for gathered
Twist top, bias dress with, 338-341 armhole cowls, 253
ip Two-piece sleeve, jacket, 398-399 trueing, 46
Tank top swimsuit, 482 Two-way stretch, knit fabrics, 459 Wales, in knit fabrics, 459
Tent foundation Walking a pattern, sleeve cap to arm-
with added flare, 291-292 U hole, 55
basic, 286-292 Jndercollar, completing, 197 Warp (lengthwise grain), defined, 2
Three-pleated cowl, 242-244 Jndergarment,
ee for a strapless dress, Wedge shape, from dart excess, 26
Tiered skirts, 177-181 attaching, 318-319 Wide crush turtleneck, 214-216
Tights, 476 Underskirt, for strapless undergar- Woven fabrics, thread count, 2
Tools, 16-17 ments, 319 Wrap skirt, with asymmetric drape,
Top, oversized, with short sleeve, 466 Undersleeve, jacket, 398-399 182-186
Torso foundation, 264—292 Undersupport, multiple cowls with Wrist level, defined, 49
basic jacket foundation based on, pleats, 247
393-399 Y
casual shirt based on, 384—386 Vv Yoke in-one with the sleeve, 366—
knit fabric garments based on, Vionnet, Madeleine, 326—327, 338 367
461-468 Yokes
knit fabrics model W classic shirts with, 376
for bodysuits, 469 Waist arc high-waisted skirts, 163
for leotards, 476 measuring, model form, 14, 15 skirts with, 158-162
 t a

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 Helen Joseph-Armstrong

POR

RESIGN
Best-selling author Helen Joseph-Armstrong

combines instructions with easy-to-follow technical

drawings to present the principles and methods

of

draping. This practical and thorough text incorpo-

rates three draping techniques-—manipulating dart

excess, adding fullness, and contour draping—in

design projects featured throughout the text. The

outstanding coverage includes methods on how to

measure the human figure and model form accu-

rately; illustrations and explanations on how to

manipulate the fabric on the form to develop all

designs; development of the basic dress and its rela-

tionship to every garment in a designer’s collection.

Armstrong's text is a source of inspiration for every

future professional in the fashion industry.

ISBN 1-5b3b7-102-b

i il
9"781563"671029