Bias-Cut Dressmaking E-Book

Gillian Holman

• Herausgeber: Batsford
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 92

Veröffentlichungsjahr: 2015

Beschreibung

Bias-cut Dressmaking is the best easy-to-follow guide to bias-cut clothes. It provides step-by-step instructions and diagrams for making over 40 items of clothing that are cut on the bias. The bias-cut technique is used by designers for cutting clothing to utilize the greater stretch in the bias or diagonal direction of the fabric. This allows the fabric to accentuate body lines and curves and drape softly. Bias-cut garments were an important feature of the designs of Madeleine Vionnet in the 1920s and 1930s but are now timeless. This classic text on the subject includes making skirts, dresses, trousers, eveningwear and even lingerie. You can make a halterneck evening dress, a cowl-necked shift dress, palazzo pants, bias-cut culottes, a cowl camisole, a strapless evening dress or a slightly flared bias skirt. The text is clearly written and laid out, making the beauty and the comfort of bias-cut clothing accessible to those not overly familiar with this type of dressmaking, including fashion students and amateur dressmakers.

Leseprobe

Bias-cut Dressmaking

Bias-cut Dressmaking

Gillian Holman

Contents

Introduction

Basic Blocks for Pattern Cutting

Fitted Bodice Block

Bodice Draft

Hip Length Block

Lingerie Block

Basic Briefs Block

Camiknickers, Basic Block

Basic Block for a ‘Body’ or Teddy

Basic Skirt Block

Briefs and Knickers

High-leg Briefs

Hip Level Briefs

Cutaway Briefs

High-cut French Knickers

French Knickers – Method One

French Knickers – Method Two

Silk and Lace French Knickers

Simple French Knickers

Bodies and Camisoles

Straight Top Body with Trim

Classic Body with Seam Shaping

Lace-inset Body

Princess-line Body in Silk and Lace

Lace Petti-top Camiknickers

Princess-line Camiknickers

Bra-top Camiknickers

Lace-edged Camisole

Scoop-neck Camisole with Bound Edges

Lace Bib Camisole

Tucked Princess Camisole

Bustier

Skirts and Waist Slips

Gently Flared Bias Skirt

Semi-straight Bias Skirt

Skirt with Asymmetric Flounce

Layered Mini-skirt

Handkerchief-point Layered Skirt

Yoked Waist Slip

Petal-fronted Waist Slip

Four-gore Waist Slip

Trousers

Bias Culottes

Palazzo Pants

Slips and Dresses

Strappy Shift

Empire Line Mini Dress or Nightdress

Bra-topped Slip or Nightdress

Low-backed Evening Dress

Classic Princess-line Petticoat

Lace-topped Princess-line Evening Dress

Under-wired Bra-topped Slip or Dress

Bias-panelled Dress with Cap Sleeve

Halter-neck Evening Dress

Easy-to-wear Nightdress

Cowl-necked Evening Dress

Cowl-necked Shift Dress

Basque-waisted Evening Dress

Strapless Evening Dress with Bias-cut Skirt

Two-fabric Slip or Dress

Bra-topped Dress with Flounced Skirt

Equipment and Suppliers

Introduction

Bias-cut garments are surprisingly easy to cut and make, provided certain basic rules are followed in both the cut and construction.

The true bias is always 45 degrees from the straight grain of the fabric. One often sees a garment described as bias cut; strictly speaking this simply means that it is off grain. To hang properly it is essential that the true bias runs through the centre of the panel or in the case of some of the French knickers shown in the following pages, through the centre front and back of the garments.

In the instructions for some of the garments in this book, I have used the term true bias, and in other cases I have referred to the true bias as 45 degrees. This is done deliberately, in order to emphasize that the terms are interchangeable.

Sometimes one sees a bias-cut garment that does not hang properly This indicates either that it has not been cut with the true bias through the centre of the panels or that it has been stitched incorrectly The most obvious examples of the latter are found in men’s neckties: if one holds a tie up by one end it should hang straight; if the tie spirals then it has either been stretched when stitched or cut incorrectly. It is essential to experiment with stitching before putting a garment together. Many fabrics will accept the use of an overlocking stitch to make the seams, and this generally works well with bias garments, as overlocking allows the stitch to stretch with the fabric. If an overlocker is not available, or if the fabric frays too much, use a very slight zigzag, which will also give with the fabric.

Most stretch stitches on domestic machines are too extreme for this type of work.

It is wise to stitch a zip into a bias-cut garment by hand, as the seamstress is less likely to stretch the fabric on to the zipper tape this way.

If a bias-cut garment includes sleeves, it is usual to cut these on the straight. A bias-cut sleeve in a dress that is entirely cut on the bias makes the stitching extremely difficult to control. Any sleeve that fits the original block should work in a bias-cut dress. When inserting a sleeve into this type of garment, it is wise to tape the shoulder and armhole seams to prevent stretch.

Metric and imperial measurements have been given with all instructions. It is easier to be more precise when working in millimetres and centimetres than in inches, and to avoid problems imperial measurements have been taken to the nearest ⅛ in.

Most of the designs for dresses and slips in the book are interchangeable and could serve either purpose. Where it is necessary to use neck and armhole facings, these should be traced off the final pattern and, apart from the cowl necks, cut on the straight grain, as this gives control to the garment

I have taught City and Guilds fashion students for many years and have often found that experienced dressmakers are frightened of cutting on the bias. As long as the rules are followed, the results are frequently stunning, and for lingerie and evening wear nothing is more effective or more comfortable than the combination of elegant drape and easy fit achieved by this method.

Basic Blocks for Pattern Cutting

Fitted Bodice Block

Personal measurements should be used for a bodice block. Those shown here are for a standard size 12. Add ease to all horizontal measurements before drawing out the pattern.

Bodice Draft

Back Bodice and Neck

For a semi-fitted back dart, mark a dart 1.5 cm (⅝ in) on each side of 19 and take off to nothing at 18.

Draw in the armhole from 7 to 12 to 17.

Front Bodice Shaping

Square across the block for 20 cm (7⅞ in) from 15.

13-20

Shoulder length + 4 cm (1⅝ in) dart

21

Half shoulder line 13-20

22

4 cm (1⅝ in) towards neckline from 21

14-23

Bust point level, measure down from centre front neck, which is usually approximately 3cm (1⅛ in) below armhole. Square out across bodice.

24

Half measurement 10-14

25

Square across from 24 to half cross-chest measurement including ease plus whatever the dart measures on this line.

26

Square down from 25 to line 9-10.

27

Half measurement of line 10-26 on line from 23. For the dart, rule back to 21 and 22 on the shoulder. Fold out the dart and correct shoulder line to incorporate the top of the dart.

28

Square down from 27 and mark out 1.5 cm (⅝ in) on each side for the dart. Mark in armhole from 20 to 25 to 17.

Side Shaping

For side shaping, mark up 1.5 cm (⅝ in) from 16 and curve back to front and back darts. Mark out 1.5 cm (⅝ in) on each side of 16 and rule back to nothing at 17 for a semi-fitted side seam.

For sleeveless styles, raise the underarm curve by approximately 1.5 (⅝ in) to prevent gape showing the edge of the bra.

Hip Length Block

1 Outline the front and back bodice blocks and extend at centre front and centre back lines by the hip depth.

2 From centre front and centre back lines, square across by a quarter of the hip measurement including ease.

3 Join waist to hip at the side seam (see dotted line). Soften the waist shaping from point A through the waist, and curve gently over the hip.

4 Extend the under-bust dart to approximately 3 cm (1⅛ in) above the hip level, and reduce the dart width by half. This prevents unsightly creasing caused by the garment being too tightly fitted through the waist.

Lingerie Block

1 Outline a fitted front and back bodice block and extend this to a hip block.

2 Extend back and front blocks to knee length.

Front

3 Mark cross-chest line on front block, fig 1. Mark parallel line 10 cm (4 in) down for top of block.

4 Draw in bust line through bust point.

5 Raise waist line at centre front block by 15 mm (⅝ in) and curve down to natural centre back point (dotted line, fig 1).

6 Adjust widest area of dart to new waistline.

7 Mark in top hip line, across hip bones – approximately 10 cm (4 in) below waist.

8 Lower armhole by 1.5 cm (⅝ in) on back and front blocks.

9 Reduce front and back blocks as follows (see dotted line):

at side seam underarm take off 6 mm (¼ in),

at bust line take off 5 mm (¼ in),

at waistline take off 6 mm (¼ in),

at hipline take off 3 mm (⅛ in).

10 Join new side seams without sharp angles and drop straight down from hip to hem.

11 Increase bust dart at shoulder by a third on each side and draw back to bust point (see dotted lines). If stitched down this will give closer fit across top of bust.

12 From centre front square out to dart line 1.5cm (⅝ in) below cross-chest line.

13 Measure the length of the dart stitching line from A to B.

14 Mark the other dart stitching line the same length from bust point (C), and angle down from A to C.

15 Gently curve from dart to underarm. Square off at top of dart and cut away along line.

Back

16 Lower the armhole to match front block at the side seam, fig 2. Curve down approximately 3 cm (⅛ in) from underarm line and then straight across to centre back. This usually cuts across the top point of the back dart. Cut away on this line.

17 If the back dart is longer and cutting away on this line removes the dart point, ignore the shaping and take off any excess width at the side seam.

18