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Draping Principles and Skills

Connie Amaden-Crawford

Source: The Art of Fashion Draping, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Draping principles and skillsDraping is a technique in which DesignDesignersdesigners work with fabric, using a dress form or live model, draping and pinning the pieces together to develop the desired style. Draping is the oldest means of creating clothing. It is an art form in fabric. The techniques by which a designer works to develop a line may vary. Many designers prefer to use draping methods to create their original designs. This is because working with actual materials gives a designer gre

Draping on the Mannequin

Anette Fischer and Kiran Gobin

Source: Construction for Fashion Design, 2nd Edition, 2017, Fairchild Books Library

Book chapter

There is a vast range of mannequins available. It is vital before starting with the drape to have a close look at the model stand you are working on. Take measurements and analyze the general shape of the stand to work out if it covers the look and size you are after. In addition, you should have the following tools and equipment to hand before starting to drape.

Laying Out, Cutting, and Stitching Knits

Julie Cole

Source: Patternmaking with Stretch Knit Fabrics, 2016, Fairchild Books Library

Book chapter + STUDIO

An L-square ruler and a tape measure are required tools you need for laying out and cutting knits. The remaining tools you need are as follows (see also Figure 4.1):

Preparing Knits and Stretch Wovens for Stitching

Sharon Czachor

Source: Sewing with Knits and Stretch Fabrics, 2016, Fairchild Books Library

Book chapter + STUDIO

Whether the chosen fabric is a knit or a stretch woven, it’s important to identify the right side and wrong side of the fabric (Figure 4.1a and b). The wrong side of the fabric is where the markings are placed, where interfacing or stabilizers of any kind are placed, and where the construction stitches are sewn. Because of the diversity of fibers used in creating knit fabrics and stretch woven fabrics, the fibers react differently to marking pens, pencils, chalk, or wax marking utensils, even us

Fitting Standards in Apparel

Elizabeth Liechty, Judith Rasband and Della Pottberg-Steineckert

Source: Fitting & Pattern Alteration. A Multi-Method Approach to The Art of Style Selection, Fitting, and Alteration, 3rd Edition, 2016, Fairchild Books Library

Book chapter + STUDIO

Socio-cultural factors influence fit. One culture may teach that good fit means 2 inches of ease in the seat, while another demands 4 inches or more. Still another culture may ban body-conscious silhouettes altogether. Added to that is the fact that fashion trends change with time. Think about skirt hems, as they move from the ankle to mid-calf, to just under the knee, to middle of the knee, thigh high, and higher.

The Skill of Couture Draping

Zoya Nudelman

Source: The Art of Couture Sewing, 2nd Edition, 2016, Fairchild Books Library

Book chapter

Grainline refers to the orientation of the yarns in a woven fabric. The lengthwise grains run along the length of the fabric and are called the warp yarns. The yarns that are woven in and out perpendicular to the warp yarns are called the weft yarns. These run side to side forming the cross grain of the fabric. The weft yarns are woven to form selvage on both sides of the fabric. The selvage is a finished edge that is formed by the weft yarns being woven, rotating side to side. (Figure 5.2)

Identifying Fashion Fabrics

Connie Amaden-Crawford

Source: A Guide to Fashion Sewing, 6th Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

By studying the information in this chapter, the designer will be able to:

Fabric

Roberto Cabrera and Denis Antoine

Source: Classic Tailoring Techniques for Menswear. A Construction Guide, 2nd Edition, 2015, Fairchild Books Library

Book chapter

If you want the very finest fabric for classic tailoring, choose wool. There is an endless variety of beautiful fabrics available to us today, most of which will respond favorably to certain tailoring features. There is no reason to limit your wardrobe to one fabric. However, full tailoring procedures (canvas, haircloth, tape, etc.) will produce their best results for wool. Silk and linen are close seconds.

Garment Construction Details

Janace E. Bubonia

Source: Apparel Quality. A Guide To Evaluating Sewn Products, 2014, Fairchild Books Library

Book chapter + STUDIO

When it comes to purchasing apparel, consumers look for garments that are flattering on their figure. The way a garment fits is just as important as the styling of the design. Fit is the relationship between the body and the size and styling of a garment. A properly fitting garment should provide a smooth appearance that is free of wrinkling, bulging, or sagging and should effectively function for its intended use to provide comfort for the wearer. A poorly fitting garment can make any design und

Fabric Characteristics and Terms

Helen Joseph-Armstrong

Source: Draping for Apparel Design, 3rd Edition, 2013, Fairchild Books Library

Book chapter

Fabric is produced from natural fibers (animal or plant) and synthetic filaments, which are spun, twisted, cured, shrunk, bulked, or manipulated in other ways to achieve yarn for weaving. Fabric structure is the result of a process of being woven, knitted, knotted, or felted to produce yarns that become cloth. Three basic weaves are the basis for all other weaves: plain weave, satin weave, and twill weave.

Introduction to Patternmaking

Lori A. Knowles

Source: The Practical Guide to Patternmaking for Fashion Designers Menswear, 2005, Fairchild Books Library

Book chapter

This chapter will introduce students of fashion design and patternmaking to the industry’s terms, tools, and equipment. Basic information about the type of paper used for patternmaking, fabric grainlines, pattern labeling, seam allowance, hem allowance, pattern marking, grading a size range, and names of the body form parts will prepare students to proceed through the rest of the chapters. Students who have extensive knowledge of sewing using commercial patterns will find that the fashion manufac

Introduction to Patternmaking

Lori A. Knowles

Source: The Practical Guide to Patternmaking for Fashion Designers: Juniors, Misses, and Women, 2005, Fairchild Books Library

Book chapter

Patternmaking = pattern drafting, pattern draping, and flat patternmaking

Patterns for Fabric Used on the Bias Grainline

Lori A. Knowles

Source: The Practical Guide to Patternmaking for Fashion Designers: Juniors, Misses, and Women, 2005, Fairchild Books Library

Book chapter

True bias was introduced in Chapter 1. There, it was explained that the true bias grainline on fabric is at a 45-degree angle to the straight grain or the cross grain. When a garment is cut with the true bias grainline running up and down the body, the garment will stretch and cling to the body. This is one way to make garments fit a wider range of figure types, but it uses more fabric per garment. It may also be difficult to sew a bias-cut garment without producing ripples or stress lines on the

General Information

Injoo Kim and Mikyung Uh

Source: Apparel Making in Fashion Design, 2002, Fairchild Books Library

Book chapter

Grain lines are marked on pattern pieces to indicate how they are to be placed on the fabric from which they will be cut. By aligning the grain lines on a pattern piece with the straight grain of the fabric, the angle of the grain on that piece in the finished garment is determined. The angle of the grain line dictates how the fabric will hang when placed around the body. There are three possible angles for any given grain: straight, cross, and bias.

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