Cutting and Draping Party and Eveningwear E-Book

Dawn Cloake

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

Seitenzahl: 80

Veröffentlichungsjahr: 2016

Beschreibung

This is the complete guide to pattern cutting for special occasion clothes: party dresses and eveningwear. With step-by-step instructions and clear, informative diagrams, Dawn Cloake shows how to develop the basic design blocks to create a wide range of designs, encouraging you to 'mix and match' elements to create your own unique garments. Special features include tips on combining pattern cutting with modelling techniques and advice on using stretch fabrics. Design elements include: sleeveless bodices, backless bodices, wrapover bodices, ruched bodices, flare skirts, full skirts, set-in sleeves, yoked trousers, jersey dresses, Empire line dresses, low necklines, wide necklines, draped bodices, close-fit skirts, godets, close-fitting sleeves, short sleeves, tapered trousers, bias-cut dresses, strapless dresses, hipsters, plunge necklines, asymmetrical bodices, strapless bodices, draped necklines, fishtail skirts, separate sleeves, jackets, high-waisted trousers, panelled dresses, backless dresses and waistbands.

Leseprobe

CONTENTS

INTRODUCTION

BASIC BLOCKS

SECONDARY BODICE BLOCKS

SECONDARY DRESS BLOCKS

WORKING ON THE DRESS STAND

SECONDARY SLEEVE BLOCKS

SECONDARY SKIRT BLOCKS

SECONDARY JACKET BLOCKS

SECONDARY TROUSER BLOCKS

SECONDARY STRETCH BLOCKS

CAPSULE WARDROBE

GLOSSARY

SUPPLIERS LIST

INTRODUCTION

Cutting and Draping Party and Eveningwear concentrates on the construction of blocks and patterns for very close-fitting bodices and other dramatic style features found in evening and partywear. Instructions cover developing basic blocks into dress and jacket blocks and also into blocks for stretch fabrics; styles include strapless and draped bodices, low necklines, tight-fitting sleeves, fishtail skirts and godets, Princess- and Empire-line dresses, bustiers with and without sleeves, halter and cowl neck bodices, wrapover skirts and trousers with shaped and raised waistlines.

The book begins with a summary of dart manipulation, showing how to achieve curved and angled darts by the pivoting method, and follows with a section on blocks (basic patterns), explaining how and why these basic blocks and commercial pattern shells need to be adjusted for many special occasion clothing designs.

The book need not be worked through chronologically, but should be dipped in to for the answers to specific problems.

Where a number of similar garment designs may be required (for instance, when working in a design room) a good investment would be to make starter blocks for advanced styles for permanent use. Bypassing the basic block in this way avoids pattern cutting decisions and extra construction stages, allowing you to work faster and more efficiently. Strapless bodices need overall adjustment to achieve a close fit which will keep them in place during wear; low, wide necklines need tightening to prevent gaping; sleeveless styles need a tightened front armhole, even for low underarm styles, and stretch fabrics require block adjustment to reduce considerably (and sometimes eliminate altogether) the tolerance allowed in basic blocks for normal body movement. These adjustments, instead of being made individually for each separate design, need be done once only, the alterations marked on the new block, and the tightened shape recorded as a new secondary block specifically for a certain type of garment.

Flat pattern cutting and draping on the stand are two quite different techniques, but they can be combined to great advantage in the design room. A frequent problem for pattern cutters is to know how to construct a pattern for a part of a garment which is obviously easier to do on the dress stand. The technique of outlining the draped section on the dress stand, whether it be a whole bodice or simply a part of one, and checking it against the partly completed paper pattern, is covered on here. Ruched panels, bust shaping, cowl necklines and a draped party top are all demonstrated as part flat cut and part modelled designs.

The capsule wardrobe at the end of the book brings together the basic elements of a wardrobe for special occasions, mixing and matching classic garments in beautiful fabrics to cover a variety of occasions for day and evening.

One of the aims of this book is to dispel the belief that every design must be developed from the basic daywear block and to nurture the idea of having appropriate starter blocks to hand for specific styles. All the adjustments suggested for blocks can be applied to commercial patterns. In addition, by introducing small elements of draping into flat pattern cutting, I hope to stimulate interest in the art of modelling directly on the stand.

This book is intended for teachers and students at all levels from Foundation up to post graduate degree levels on design and manufacturing courses; up to A level in school; practising designers and pattern makers in the clothing industry, including those working in film and theatre, home dressmakers and designer dressmakers working from their own studios.

EQUIPMENT LIST

Pattern paper

Metre rule

Scissors: for cutting paper and card

Tape measure with both metric and imperial measures

Short ruler

Set square: essential for obtaining right angles on patterns and fabrics

Tracing wheel: for copying patterns and for transferring lines from modelled fabric

French curve: useful for drawing smooth neck and armhole lines and curved seams

Pencils: hard pencils are marked with an H and produce fine, clear lines for pattern making; soft pencils, marked HB, are best for drawing and marking fabric

Dress stand

Calico for making toiles

Shears for cutting fabric

Narrow black stay tape [maximum width 7mm]: for taping design lines on the stand

Small scissors: for snipping into seam allowances and trimming

Marking pen: a water soluble pen or soft pencil is useful for marking toiles

Pins: long, fine pins are available for modelling fine fabrics; lills, very short pins, are useful for taping design lines on the stand, sinking into the surface at an angle and easily removed by pulling the tape off the stand.

Pin cushion: strap to the wrist so you can use both hands to hold fabric in position on the stand during modelling

Weights: to hold down fabric, card or paper patterns and prevent their moving when being outlined

Stiletto or scriber: for puncturing small holes in card

Notcher: clips out a small, narrow rectangle [a notch] in fabric, blocks or patterns.

Notebook and file: for recording exercises

Needles and thread: for tacking up toiles

SET OF BASIC BLOCKS

TAKING MEASUREMENTS

The following measurements represent body size, not block size. The figures shown in the ‘movement tolerance’ column refer to the amounts already incorporated in the blocks to allow for normal body movement when wearing the garments. It is these amounts which will be changed when adapting the basic blocks to secondary blocks for developing close-fitting styles.

1    Neck girth

2    Shoulder length

3    Across shoulders

4    Across back

5    Across chest

6    Underarm level

7    Over bust girth

8    Bust level girth

9    Under bust girth

10  Bust separation

11  Armhole girth

12  Waistline

13  High hip line

14  Hip widest part

15  Bicep

16  Elbow

17  Wrist

18  Thigh

19  Knee

20  Ankle

21  Full height

22  Nape to back waist

23  Nape to ground

24  Waist to hip

25  Waist to knee

26  Waist to floor

27  Body rise

28  Crotch length

29  Outer sleeve

FABRICS

For all clothing, fabric is the essential ingredient. Deciding which fabric to use for special occasion clothes will mean considering the type of garment, when and where it will be worn, its structure – the design lines and fit – and the quality and characteristics of the desired fabric.

The dresses, long skirts, strapless bodices and bustiers in this book are mainly designed to be made in luxury fabrics. The jackets can be worn with skirts, trousers or dresses for both day and evening, the choice and quality of the fabric appropriate to the occasion.

When choosing fabrics, consider the pattern and texture as well as the fibre and weave. Printed fabrics obscure seamlines and darts, so are more appropriate in full-skirted dresses. Lace is more effective when not broken by seams and darts. Large patterns are lost in small garment areas and motifs interesting on the fabric roll are less so when broken by panel seams. Bustiers where the boned seams are the major focus are most effective when made in plain coloured but textured fabric.

Silk has always been considered the ultimate choice for special occasions. This ‘Queen of fabrics’ has many forms, from delicate, floaty chiffon and georgette to stiff and bouffant silks for full skirts and suit weight for skirts, jackets and coats. Many luxury fabrics now include elastomeric yarns which give varying degrees of stretch in woven as well as knitted fabrics. This allows us to reconsider previous design concepts: for instance, stretch lace removes the need for darts to shape the figure. The introduction of beads, sequins and other decoration into the weaving and knitting processes provides overall surface decoration which does not distract the eye in the way of many patterned fabrics.

Whatever the choice of fabric, due consideration must be given to the garment structure and the demands made on it in wear. ‘Special occasions’ may suggest fragile fabric but vigorous activities such as dancing require strongly made garments with seams that will withstand quite forceful body movements. Strapless bodices, however feminine, usually consist of several layers. A fragile outer layer should be underlined with a firm, but lightweight, closely-woven fabric strong enough to take the strain and to hold the boning in place.

The variety of luxury fabrics available provides designers with countless opportunities to combine more than one fabric in the visible, outer layer of many garment designs. Widely contrasting fabrics are teamed in the dresses shown on this page.

Far left The close-fitting dress with halter neck and bouffant frills uses taffeta for its crispness and ability to hold its shape, whether close to the body or gathered into frills. The gathered halter would be too stiff and bulky in the same fabric and a delicate chiffon adds a soft touch to the neckline. The otherwise simple style is enhanced by silk roses which disguise the horizontal seam in the skirt and emphasize the width of the frills.

Centre The satin of the skirt is teamed with a beaded stretch lace bodice, providing a stunning contrast. The dark top absorbs the light, whereas the satin fabric of the skirt catches it, giving off a lustrous sheen.

Far right A fitted plain silk bodice is enhanced by embroidery; beads at neckline and armhole catch the light and are scattered on the sides of the bodice. Ankle length, floating tulle echoes the beaded theme of the bodice in larger motifs scattered randomly through the skirt.

TRIMMINGS