Draping 101, The circle part 2
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.
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.
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Invaluable.com, brand Kerry Taylor auctions, John Galliano',
Circle cut, polka dot blouse, Spring/Summer, 1987 |
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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.
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