Draping 101, The circle part 2

              

Draping 101, The circle part 2

https://www.dezeen.com/2016/07/07/

In Draping, part 2, I want to look at the flounce. Also look at what happens when you cut a circles into your fabric.

Starting with the flounce and the image from Viktor and Rolf's use of recycled garments for their 2016 couture show. Recycling is not something we are used to seeing in couture but I think with the push to sustainability we will be seeing a lot more recycling of garments.

https://www.vogue.fr/fashion/article/alexander-mcqueen-

You have the circle skirt drape, so lets start to play- the flounce can be wide or narrow or a mix of both in that is begins wide and drapes down the body to disappear at the hem or visa versa.

The flounce is 

Place the circle skirt on the dress form as an off the shoulder collar. Now think of a collar.

Start with a circle; mark the center of the circle by drawing a vertical and horizontal line matching the fabric grain crossing at the center of the circle. Draw a small 2 inch circle out from the center mark. Cut this 2 inch circle out. Decide the width of the flounce, mark this around the out side edge of your circle and cut around these marks. Cut though one of the lines that match the fabric grain. You how have a flounce. You can also cut away one quarter of the circle as shown in the diagram. Repeat and join together. 

A ball sleeve from Victoria times is made from a circle. This sleeve is also called a puff sleeve. 

I copied this page from The art of modelling, Lily Silberberg and Martin Shoben, pg. 82.

Think also of a full flutter sleeve by leaving the hem edge free. Finish with a small rolled hem.

Also from the same book, pg. 74, adding a godet.

Godets are used to add fullness at the hemline. They can be added to all weights of fabric including leather. They can also be added to a collar and sleeve cuff. 

Depending on the fullness at the hem line you are looking for will decide if the godet is going to be cut half circle or reduced in size as shown here B-A and D-E. If you are working with a chiffon  or other sheer fabric and you want the hem line to be over full use a half circle. 

Remember when making godets before inserting hem the godet with a small rolled hem.Also strengthen the top of the cut line where you are going to insert the godet with a fusible interfacing  a suitable weight for your fabric. Add interest to your garment by adding contrast color/fabric godets. You can also vary the length of the godets so that they zig zag around the garment or add them so that they create a diagonal line. 

 The Dooti, is an ethnic pant that originated in the Middle east. 

Cut from a half circle the forms shape within a shape. The choice of fabric will alter the shape. 

They pull on so have an elasticized waist. 

More circles

Take a piece of fabric and fold it back on itself. Draw a circle on the fabric approximately 2-3 inches (5-7.5cm) back from the fold. 

Fold the circle in half and mark at both sides of the circle, repeat in the other direction so that the circle is divided into four equal sections.

Pin around the circle and cut the circle out. Stitch around the circle. It is now ready to place on the dress form. Holding one end of the fabric you will see fabric  draping down behind the circle. Angle and move the drape around the dress form.

Invaluable.com, brand Kerry Taylor auctions, John Galliano',
Circle cut, polka dot blouse, Spring/Summer, 1987

John Galliano talks about circle cutting. 

I will be honest, I had started to cut things on the circle—circular sleeves, circular bodies—to cause some sort of disruption or cowling. It was one of my tutors who said, “Oh, that fabric is on the bias.” I had no idea, and then I was introduced to Madeleine Vionnet and I was just blown away. . . . [Bias] teaches you so much, it’s like liquid mercurial. It’s a dialogue, it stretches, it shrinks, it’s chaotic, you know, but it teaches you so much. It’s a real challenge. It’s just the most beautiful way of cutting, I think. And I think it’s been very gendered, too. I’m going to try doing it for menswear.The idea of producing a bias-cut men’s suit, can you imagine it? That illustrative line. . . but so comfortable to wear.

And when I did put [the bias] to the side, actually. I did. I thought I’d become quite known for the bias cuts, and when I went to Maison Margiela. . . I just wasn’t there yet. But, having a bit more freedom at Margiela, I realized that it didn’t have to be over-polished or overbalanced or any of those over- things, so I started playing with the bias again. I thought, “How can I do it? I do want to do it, it’s me—it’s part of me—but I want to do it in a way that is relevant for Maison Margiela.” So I started to play with tweeds on the bias and they would unravel. A tweed dress for day (for day!) on the bias. . . . And then I started playing—mixing tweeds with satin-backed crepe—and there was this kind of disruption, which normally, we’d have to fix, but I went with it. I rather liked the disruption that the two fabrics were causing and I thought it was really beautiful. So that’s kind of how the bias has now developed at Maison Margiela and I’m really happy. I embrace it, but it just took me a little bit of time to cleanse and to take it on board again, and I’m really happy I have.

At FoAt  forces of Fashion, André Leon Talley and John Galliano talk about bias-cuts and the joy of creativity.

BY LA   BY LAIRD BORRELLI-PERSSON

October         Oct 12, 2017

Don't just think of a skirt when you think of the circle. Experiment !Think what would happen if you join a straight length of fabric to the outer edge of a half circle. The fabric you use will alter the end effect. Mix a knit with a woven. Have fun. 

Draping 101 The circle, part one

                       

Draping 101,  The circle, part one

1950s Photo: Vintage Poodle Skirts from 1956.
Designed by Ryerson School of Fashion students in Toronto. 

The circle skirt is what most of us think of when we think of a circle been used in fashion.
Depending on the fabric and fullness you are wanting, the hem can be full circle, 360 degree or more or you can go down to half a circle.The back of the skirt can be fuller than the front.
The circle skirt was the fashion trend of the 1950's. Worn with lots of net petticoats under the skirt to make the skirt stand out and belted at the waist.

The circle skirt can full from the waist line or from a hip yoke.

Bonnie Cashin dress in leather. 1954.

Bonnie Cashin's cocktail dress is a great example of a circle skirt attached to a hip yoke. The yoke is following the drape of the skirt rather than sitting close to the body.

https://hermoments.com/ginger-scene-detail/?nogdprc=1

.

 I think of Ginger Rogers and Fred Astaire dancing together.
 The circle skirts moved and danced around her body following the their every move.

http://www.goldfieldsgirl.com/2016/11/25/
the-shared-maxi-skirt/

The circle skirt is also the base for sunray pleating. This form of pleating is fine accordion pleating that is very narrow at the top of the pleat but widen towards the hem line.

If you want to pleat your circle skirt before sending to the pleaters, cut your fabric into 2 half circles, let the fabric hang for a week, re-cut and hem the lower full raw edge using a narrow rolled machined hem.
Also it is better to use a man made fabric or blend. This will make the pleats permanent.

Draping the circle skirt 

Measure out a square of fabric and mark; add a 1 inch (2.5 cm) extension down one side; mark. Label the top line of the square  as the waist line; add 10 - 12 inches (   ) up from the waist line and mark. Measure down from the waist line 8 inches (  ) draw a line across the fabric and mark as the hip line. (optional)                                Cut and mark a second piece of fabric for the skirt back.

Fold the front extension under; matching the waist line of the dress stand to the waist line of the fabric at the center front line  pin down the center front line of the dress stand. Pin the top extension to the dress form. 

Working around the waist line place a pin approximately 1 inch (2.5 cm) over from the pin marking the waist on the center front line. Cut the extension fabric above the waist line down to the pin. Move the extension fabric so that it forms a V and the fabric below the waist line forms a drape. Move the fabric back and forward making a bigger and smaller V until you like the size of the drape formed on the skirt.

Place a pin at the bottom of the stand to hold the drape.

Repeat along the waist line until the side seam. Pin the fabric down the side seam. The fabric should be straight of grain or close to it.

Mark by making a dash at every pin holding the fabric to the stand. Also make around the bottom of the dress stand.

 Remove the fabric from the stand.

The fabric will look like this. I have measured down from the stand markings for the length of the skirt I want. You can also use the hip line or waist line. True or straighten the side seam so that it fulls on or close to the straight of gain of the fabric. Draw in a curved line at the waist line and hem line. Add seam allowances to the waistline and down the side seam and cut off the extra fabric.

Pin the front skirt back onto the stand before moving onto draping the back skirt.







Pin the second piece of fabric or back, onto the stand down the center back line starting at the waist line, pinning down the the bottom of the stand. Pin the extension up onto the center back line of the stand stand.

Pin on the waist line approximately 1 inch (2.5cm) over from the first pin on the waist line center back line. Cut down the extension fabric to the pin and spread to form a V shape. When you have the amount of drape in the skirt you want pin over again on the waist band. Pin at the bottom of the stand to hold the drape in place. Repeat until you come to the side seam.












Pin the back skirt fabric down the side seam matching the markings on the front skirt piece, Mark around the waist line, down the side seam, around the bottom of the dress stand. Remove from the dress stand and true up all your marking before adding seam allowance and removing extra fabric.

Place the back skirt back onto the stand. Pin the back to the front down the side seam. You now have half a circle skirt.

Add notch points down the side seam.

It making a chiffon skirt use these draped pieces as your pattern. The chiffon will stick to the muslin making it easier to cut.

Why have the side seams on the straight of grain? The seam will sit better, will be easier to sew with no puckering.
Fabric not wide enough for the drape, join  a piece of fabric following the straight of grain.

Now you have a basic circle skirt its time to play!








  If you draw a circle, cut the circle in half then fold each half circle in half and press. place a half circle on the stand so that the fold line matching the center front line of the stand. Cut down the fold line to form a V neckline. Smooth the fabric up onto the shoulder line and pin to hold.

The fullness of the half circle is falling from the V.

     You can also work a skirt in the same way. This was one of Madeleine Vionnet's techniques.

Another technique of hers was the 'Barrel cut'.   This technique has become fashionable once more as we are seeing it as dresses, pants and skirts.

The barrel cut is when you put the rounded edges of the half circles together.


                                   

 Here I have copied Madeleine Vionnet's drape for the bodice of a dress. I finished the drape at the waist line where as she take the drape down to the high hip line and finished it with points and belted the waist line. Her drape was in light weight silk.

Illustration from the book, Madeleine Vionnet, Betty Kirk, pg. 95

Another of her drapes was to cut straight down either side of the half circle for both the front and the back.  In a soft crepe or knit fabric I think this drape would be interesting.  

https://www.metmuseum.org/art/collection/search/159000

Madeleine Vionnet in this image has worked the skirt drape over a pannier foundation. The sheer skirt has a slim under skirt.


John Galliano's very full circle skirt has layers of fabric, with the top layers spiraling around the body.

https://www.vogue.com/fashion-shows/
spring-2011-couture/christian-dior/slideshow/collection#19

I hope this has given you some ideas for a circle drape. Think of a pant, dress and sleeve. Try draping in different weights of fabric both woven and knit. 

Draping 101

Week one;   introduction to draping

Wikipedia Madeleine Vionnet era 1920

Draping also known moulage, modeling and more recently I saw draping referred to as fabric sketching. Draping is a technique used by designers, where designs are created on a dress form and then transferred onto paper to make a pattern.

The design development begins with a concept, producing sketches of designs, cutting patterns, making toiles or muslins, adjusting the pattern and design to fit on the body.

This class is about designing directly on the dress form, having made no prior sketches, no premeditated ideas as to what the final outcome will be.

You are used to sectioning the body into parts –

                                             bodice –   center front and back

                                                              Side seams and darts

                                             Skirt -      center front and back

                                                             Side seams and darts

You have the blocks!

Zac Posen draping pinterest

Also by experimenting with different weights of fabric both woven and knit. One design draped in a different fabric weight can look totally different as can mixing a knit with a woven. . (This is a good way to use up all those fabric stashes.)

Alexander McQueen-Plato's Atlantis-2010
Shape and scales

Draping is also used by designers to figure out a pattern or print placement. That check, stripe or over sized print, when placed on a dress stand at different angles, manipulated and reduced in size will look totally different to the original piece of fabric. 

So let’s take a look at a dress form.

PGM Pro 605A Womens Ladies Professional
Head to Toe Dress Form & Stand at AllBrands.com

There are both full and half scale stands available. ½ scale stands don’t have collapsible shoulders while most full scale stands do. Both can be raised and lowered.

When working on a full size stand lower it of raise it up so that your shoulder matches to the stand.

Tape can be used to mark the bust, waist and hip lines on the stand. Tape is used to mark style lines.

Tape or yarn is pinned or stuck to the dress form to mark the bust, waist and hip lines. It is also used to mark the style line. 

So how let’s have some fun and start to drape.

Creating drape from a straight piece of fabric, project 1

 Begin with a piece of fabric, if working full scale 36 inches by 18 inches and half    scale   20 inches by 10 inches, or just a square of fabric. The size of the fabric will change as you as you start to experiment with more designs start to develop.   Mark 2 notch points approximately 6 inches down from the raw edges on both ends of the fabric. The notch point is going to determine the length of the drape up to the waist

Fold the fabric in half matching the notch points; pin together, right side to right side.

Machine stitch up to the notch points, securing both ends of the stitching with a back tack.  Press the seam open and flat. The size and length of this drape is going to change with the size of the fabric you cut and your choice of fabric, muslin, crepe, knit jersey, stiff, e.g.

Now take your prepared fabric to the dress form and decide where you want the drape to fall.  This can be down the princess line, center front line or between these two lines on the dress form. Pin in place at the notch point where the stitching finishes on the waistline.

Now decide where you want the end of the drape to be. This can be straight down from your first pin or angled. Pin the point of the drape to the dress stand.

From the pin on the waistline, smooth the fabric out with your hand towards the side seam and pin to hold.Repeat on the other side.  Play with the drape moving it around the body until you like the design.

Don’t cut anything at this point.

If you like what you have smooth the fabric around the waistline – pin and fabric onto the waistline approximately 1 inch (2.5cm) along from the first pin; clip the fabric above the waist line down onto the pin, smooth the fabric across the waistline and pin; clip down to the pin and smooth the fabric again …. Pin and mark down the side seam, center front and waist line.

But keep working this drape on the form

The drape has now become a sleeve.  The machine stitched seam has become the shoulder seam. The fabric has been pinned to the center back and front. It has been pinned to the side seam and down the under arm to form the sleeve and bodice. This has not been cut so I can keep experimenting with this drape. 
Take photos or sketch these experimental drapes as a reference, they could be something you want to revisit.

        

Back to the skirt again -

Evening ensemble House of Dior  
(French, founded 1947)
Designer: John Galliano 
(British, born Gibraltar, 1960)
Couture Line: House of Dior 
(French, founded 1947)
 Date: spring/summer 1998

This skirt is one piece of fabric. As it drapes around to the back the fabric at the waist has been pulled up so that the center back fabric grain is now on the full bias. It is also the some drape just a long piece of fabric folded back on itself and machine stitched together.
A crepe fabric would work perfectly for this skirt.

As you pull the fabric up smooth it around the waistline and pin in place and cut down to the pin.  Repeat until you come to the center back seam. The back will form a water fall effect.  This is the same drape as in the first image just continued around the body

photos from John Galliano Autumn/Winter 2017 Ready-To-Wear
 British Vogue . vogue.co/uk

Same drape, different fabric type and weight.  

Look at the drape from all angles as this is now we see garments. Make any adjustments to the drape. Now mark around the waistline, center front, side seams, hip line, around the bottom of the stand with a pencil. Add notch points. The drape is now ready to be removed from the stand and copied onto paper.

Charles James, evening dress, 1946. from the Brooklyn Museum Costume collection 

https://www.metmuseum.org/art/collection/search/80097100

Charles James draped a high waisted skirt with a built in hip yoke from the straight line drape. The yoke has dropped down onto the waist line as it extends around the body to the center back. Look at the pattern on the fabric, it is showing you all the different directions of the fabric grain .  The fabric James used is a woven metallic silk.

 Start the drape by marking up the dress form with the style lines.  (the red lines) Note that the position of the style line from the center front over towards the side is nearly on a 45% angle, so the fabric that drops down once you cut is going to be on the bias.

Decide the length of your skirt and the fullness of the draping. This is once again going to vary with your choice of fabric. Charles James used a soft silk fabric for this dress, and of drape.

Mark in a 1 inch (2.5cm) extension line down one side of your fabric that follows the straight of grain of the fabric. Mark as center front, and pin down the center front of your dress form with the first pin being placed about one inch down from the top of the fabric right on the waistline

Smooth the fabric across to the style line and pin. Cut or slash down onto the pin on the style line, adjust the fabric and pin to hold in place approximately 1 inch (2.5cm) down from the first pin.  The flare that is falling down from the pin can be made more or less by pulling the fabric back up  making the slash smaller or by opening the slash more which will let the fabric drop, creating a larger flare. Continue to work down to the end of the style line.

Fold the fabric back on itself up to the first pin. The length of fabric from the last pin at the end of the style line fold will affect the drape so experiment by lengthening and shortening until you like the drape that has formed.   

Smoothing with your hand pin from the fabric fold back along the style line to the top point above the waist

Cut and clip along the marked waistline to the side seam, smoothing the fabric across the hip to the waistline to form a yoke. Repeat around the stand. 

  Comme de garcon also draped the side of this pant back in the early 90's These would be amazing made in cotton gauze for summer or a knit fabric. 

Think of turning this drape into a dress

ixosofficial.com

Or make the drape into roses as in the now famous Alexander McQueen dress. Yes, you can use this drape to copy this dress.  To bodice of the McQueen dress is rows of tucks. This gives lots of fabric fullness to pull up to start manipulating the rose. There is also an under skirt to attach the rose too.

https://www.anothermag.com/fashion-beauty/12121/
this-new-exhibition-explores-alexander-mcqueens
-love-of-flowers-roses-2019-2020

I pleated or tucked the fabric onto the waist line of the dress form to get the fabric fallness needed for the rose.