Draping on the stand:
One of the main advantages of the technique is that by experimenting in
draping material on to the stand, you can build up a desired effect before
cutting in to the fabric.
The
illustrative stage of design can be delayed until after the experimental stage,
the illustration in effect, being a record, of the artistry displayed on the
stand.
Stage 1:
Drape the uncut length of dress fabric over the stand. If the garment is
for an individual client or yourself, first drape the uncut length of your
fabric on the figure. This will enable you to evaluate the coloring and posture
of the individual with the fabric and the line of the drapes.
Drape the fabric on the stand for the overall effect. Observe its
natural characteristics, i.e. the ways it falls, its handle, texture and weight
etc. Experimentation can now take place.
Do not cut
into the fabric, but pin to hold where necessary. Aim for the overall effect,
details, can be worked later. Note, first of all, the silhouette, since each
fabric drapes in a different way, this in turn alters the silhouette. Drapery
is best continuing inline rather than as a separator piece, although this is
not easily achieved. Alternative ideas may develop at this experimental stage. Evaluate
your details. For example, cheeks or stripes placed on various grains will give
different effects. Tucks may look better than gather in certain fabrics. If you
intend to use trimmings, place them onto the fabric to see how well they
co-ordinate.
Stage 2:
Substitute dress fabrics; To model the entire garments in the actual
fabric is ideal, but unfortunately it makes experimentation expensive. For this
reason, professional designer may use a fabric with similar properties which
has been left over from a previous collection. Alternatively, the non-draped
parts of the garment can be modeled in muslin with just the draped sections
made in the actual fabric. When draped designs for checks or stripes, mark in
the position of the lines on the muslin to get the effect of the fabric and to
match the lines along the seams.
Stage 3:
Tape your stand: centre front, centre back shoulders, seam lines, style
line, neck lines, waist, hip and bust line and position and direction of
drapes. (The horizontal and vertical balance lines help the drapes to hang
correctly)
If the fabric is not transparent, we may not be able to see the taped
lines, below it, therefore sink pins along the taped lines, the pin heads below
the fabric being your guide.
Stage 4:
Select and prepare the
material: Prepare the garment material and since the whole garment is cut, allow enough material
to cover both sides of the stand for each section.
When
estimating the amount needed for draped styles, bear in mind the extra fabric
will be requires for the drawing up of folds from the bottom down from they top
and the depth of the fold itself. The draping quality of the warp and weft
grain should be the same in order to match both sides of a drape. Allow plenty
of excess material beyond the outer edges of the stand and mark in the centre
vertical line and the warp grain with a contrasting thread.
Stage 5:
Place and pin material onto the stand in the following way: A full toile
is required, but you need to model one side only, except for asymmetric designs
where both sides must be modeled. If translating and draped styles from a
sketch observe where both sides must be modeled. If translating and draped
styles from a sketch observe where the folds are coming from and going to and
the amount involved at either end.
Line up the vertical central thread with the centre front line of the
stand, and pin. To avoid injury to the fabric, use very fine pins, e.g. silk
pins, and keep pinning to a minimum. Temporarily pin the surplus fabric to the
side of the stand you are not modeling. Mould the fabric around the stand as
desired, allowing the excess fabric to fall freely into the area where you wish
the fullness of the drape to be placed. Use drapes in place of darts. The
drapes can be continuing along the out edges of the stand and be allowed to
fall forwards or back wards into a cascade of drapery or be caught up into a
seam line etc., use the grain to experiment for the best effect, numbering that
fabric drapes best on the bias. It is some times necessary to control drapes
e.g. on a wide neckline could fall off the shoulder or in the case of side
panel, where billows might occurs. The following methods are used to control
drapes.
By mounting the drapes on a fitted section, in
this case, the fitting section should be modeled first:
By weights places inside the drapes
By taping.
Stage 6:
Indicate all details: All the details should be indicated with pins
rather than chalk and pins should follow the direction of any darts, tucks,
seams etc.,
Stage 7:
Remove from stand.
Stage 8:
Press: Do not press over pins as they will leave an impression in the
fabric.
Stage 9:
True all lines of check details. The rough design now needs to be trued
in order to establish the correct grain line and to ensure that the armhole,
underarm sears and shoulder are the same length. Both sides although perhaps
not the same shape on the left and right side if the design is asymmetric.
When a symmetric full toile is modeled, the left and right side will not
be exactly the same. Therefore, choose the better side and fold that side over
on the centre line on the double to transfer shape and details. Transfer all
markings with thread.
Stage 10:
Check seam allowances.
Stage 11:
Make up and press
Stage 12:
Places on stand are model and check for any discrepancies.
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