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Pattern Draping
Sculpting With Fabric Draping on the Dressform
• About
How To Use this Web Site.
October 1st, 2010 § Leave a Comment
To return to the root of the web site, click on the red colored “Pattern Drafting” link on the left
side of your screen. This will bring up a series of Topics including the Course Outline,
Assignment and Project List and supplimentary notes for Lessons 1-12.
Course Outline
September 14th, 2010 § 1 Comment
Topical coverage and learning activities
Week 1 Lecture/Lab: Introduction to Draping
• Review of the course syllabus,
instructor’s expectations, and evaluation
breakdown.
• Intro to Draping - Draping addresses 3 areas
of pattern making
• 1) Dart Equivalent
• 2) Contouring
• 3) Added Fullness
• These steps are planned after a design is
translated into a Draping Plan (p. 25 in text)
• Demonstrate taping the dress form
• Students then tape their dress forms
Due: Next Week
• Assignment #1: Bring a picture of a draped
fashion design to class. Be prepared to
describe and discuss the design (2% of your
final grade).
• Purchase Tools and Supplies Needed for
Draping: Pins, Pin Cushion, Fabric Scissors,
Paper Scissors, Pencils and Pencil Sharpener,
Square Ruler, Fashion Ruler, Pattern Notcher,
Tracing Wheel, Measuring Tape
• Students must bring their draping supplies to
each class (too much time is wasted if students
do not have the proper draping tools and
supplies) Note that draping fabric and pattern
paper are provided
• Read Chapter 1-4, pp 1-43: In Draping for
Apparel Design. Note that Students are not
required to read all of Chapter 4.
Week 2 Lecture/Lab: Draping the Basic Dress Foundation
• Assignment #1 – bring pictures of draped
designs from magazines or the internet –
students must be prepared to discuss their
example
• Discuss the Draping Plan as it is applied to
examples of draped styles brought to class by
students
• Demonstrate draping the basic dress
foundation, Ch. 4, p. 29-64, Assignment# 2.
• Methods for joining seams and marking, p. 23
Due: Next Week
• Assignment #2, Bodice and Skirt drape
(muslin only)
• Read Chapter 4, p. 39 – 52
• Basic Sleeve, p. 53-64 *Note that a basic
sleeve is provided
• Read Chapter 5, Facings
Week 3 Lecture/Lab: Trueing Patterns and Transferring
the Draped pattern to Paper
• Review Assignment #2, Basic Dress
Foundation
• Discuss transferring pattern from muslin to
paper, Chapter 4, pp. 39-52
• Introduce the Basic Sleeve p. 53-64 (a
commercial pattern, a drafted sleeve or a
draped sleeve can all be combined with
draping to produce a final design)
Due: Next Week
• Assignment #3, Skirt and bodice drape and
trued paper pattern due, all pattern making
conventions followed and pattern labeled
correctly *this assignment forms the basis of
our pattern making standards conventions for
this class
• Introduce Original Drape Project #1 – This
project is linked to student’s individual Final
Collections
• Read Chapter 6, pp. 69-101, Manipulating
Dart Excess
Heads Up – Due: Week 7
• Project #1: Bodice drape or drape detail such
as a collar or neckline- related to Final
Collections (collar, bodice, neckline, etc.)
Note that the draped design or design detail
for Project #1, needs to be approved by the
draping instructor.
Week 4 Lecture/Lab: Manipulating Dart Excess
• Assignment #3 student presentations, taking
the drape from muslin to paper pattern
-review neatness, accuracy, pattern making
techniques and conventions
• Discuss Manipulating Dart Excess, Chapter 6
p. 69-101
• 2 styles in Chapter 6 will be demonstrated
• Students will choose either of these two styles
for their class draping assignment
(Assignment #4)
Due: Next Week
• Draping Assignment #4, Manipulating Dart
Excess, Front Bodice – muslin only
• Read Chapter 6 and 7 in preparation for
Project #1 (a design that incorporates a draped
bodice or a bodice detail approved by the
instructor)
Week 5 Lecture/Lab: Draped Bodice Styles
• Review Assignment #4, Manipulating Dart
Excess
• Bodice Styles, Chapter 7 p. 103-140
• Demonstration of Draped Bodice Styles,
Chapter 7
• Students complete one of the bodice drapes
demonstrated in class
• Discussion of sketches and drafting plan due
next week: Assignment #5
Due: Next Week
• Mid Term Exam: Open Book Chapters 1-7
• Design Sketches and Draping Plan for
Original Bodice Designs – Assignment #5
• Designs need to be approved by the draping
instructor (approval ensures an appropriate
level of difficulty for the first project – it also
helps the instructor anticipate the level of
student support needed for an individual
draping project).
Week 6 Lecture/Lab: Midterm Exam
• Mid-term exam (Ch 1 – 7) Open Book
• Presentation and discussion of Sketches for
Draping Project #1, (Assignment #5)
• Demonstration of bodice drapes from Chapter
7 (the drape examples demonstrated in class
will be influenced by student collections)
• Review individual draping plans for Project #1
prior to individual lab time
• Lab time for Original Bodice Design Project
#1
Due Next Week:
• Project #1, Original Bodice Drape
Due: Lesson 9
• Rough sketches for final Project #2,
Assignment #8 (2%)
Week 7 Lecture/Lab: Cowls Plan for Individualized
Draping Projects related to Student Collections
• Class discussion and presentation of Project
#1 including sketches and draping plans
• Discussion and Demonstration of Cowl Styles,
Chapter 11, pp. 239-270
• Cowl Drape Class Project (easy project) to be
done in class, Assignment #6 (short)
Due: Next Week:
• Assignment #6, Cowl Drape (muslin only)
• Read Chapter 9, pp. 205-228, Draping Collars
Week 8 Lecture/Lab: CollarsDesign Problems Related to
Final Collections – Class demonstration/individual
coaching
• Cowl Drape Assignments #6 Due (muslin
only)
• Review collar design principles , Ch. 9, pp
205-228
• Various collar design will be demonstrated in
class – the instructor will relate the collar
demonstrations to final collection rough
sketches collected in Lesson 6
• Students complete a collar drape (muslin only)
Assignment #8
• Lab time for students to work on their
collection patterns (individualized plans)
Due: Next Week
• Collar drape (muslin only), Assignment #7
• Read Chapter 13, pp 301-348, Strapless
Foundation (Contour Draping)
○ Rough sketches and Draping Plan for
Project #2 are due next week
Due: Week 12
• Project #2 Collection Development Draped
Project – Sketch, Draping Plan, Muslin and
Trued Pattern
Week 9 Lecture/Lab: Final project Sketches Skirts,
Strapless Foundation, Contour Draping
• Final Project Sketches and Draping Plans Due,
Assignment #8
• Class discussion and presentation of Final
Project sketches
• Review Assignment #7, Collar Drapes
• Draping Skirts, Chapter 8, pp. 141-203
• Contour Draping Demonstrated, Chapter 13,
pp. 301-348
• Lab time for skirt and contour drapes
Due: Next Week
• skirt drapes – muslin only, Assignment #9
• Contour drape- muslin only Assignment #10
• Read Chapter 14: Bias Draping
Week 10 *To be revised to include draping dresses and dartless
styles
Lecture/Lab: Draping for Individual Collections
Bias Drape

• Review skirt and Contour Draping,


Assignment #9 and 10 (muslin only)
• Review principles of transferring muslin drape
to paper patterns
• Demonstration of the bias drape, Chapter 14,
p. 349-376
• Lab time to complete bias drape, Assignment
#10, and work on individual designs for
Project #2
Handout: Final Exam Review Checklist
Due: Next Week
• Assignment #10, Bias drape project
demonstrated in class or bias drape project
approved by the instructor (muslin only) some
flexibility is allowed here because students
final collections may or may not feature bias
designs
• Review text and notes in preparation for final
exam, refer to Handout: Final Exam Review
Checklist
*To be revised to include Bias draping examples,
Week 11 exercises and projects
Lecture/Lab: Work Individual Collections
Draping Projects

• Review and critique of class bias drape


Assignment #10
• Review for the Final Exam, see Handout:
Pattern Draping Final Exam Checklist
• Lab time to work on Project #2, Original
Draped Design
Due: Next Week
• Final Collections Project #2 (15%) – due next
week (includes sketch, draping plan, muslin
and paper pattern) due next week
• Final Portfolios (5%) – include all muslin
drapes from the class and paper patterns of
some of the designs, all labeled and organized
for easy reference
Week 12 *To be revised to include a practical final draping
exam, the presentation of final projects and a draping
portfolio (muslin designs organized and labeled for
easy reference).
Lecture/Lab: Review of Draping Principles and
Techniques

• Pattern Draping Course Review


• Final Exam –Open Book
• Draping Portfolio of muslin and corresponding
patterns due – 10 Draping Assignments, this
should be neat, well organized and patterns
should be easy to find and identify
• Presentation of 2 Draped projects related to
the student’s final collections
• Peer review of draping portfolios and projects
with special emphasis on Project #2

Assignments and Projects List


September 13th, 2010 § Leave a Comment
Pattern Draping is a “Hands On” Course. There are 11 Assignments and 2 Original Draping
Projects. This course also has an Open book Midterm (Lesson 6) and Practical Final Exam
(Lesson 12).
The Assignments are related to Draping Examples from the class text, Draping for Apparel
Design, Second Edition, by Helen Joseph-Armstrong. These examples are chosen to give
students exposure to many draping techniques. Assignments will be demonstrated in class and
instructor support is provided so that each assignment is broken down into a series of smaller
draping steps. These assignments have been chosen to increase the students’ draping design
repertoire. Many designs are easier to drape successfully than they are to draft. The assignments
are structured so that most students will be able to complete draping assignments during class lab
time.
This class has two Original Draping Projects that are related to individual student’s Final
Collections.
Project #1: Original bodice or bodice detail – to be approved by the pattern draping instructor.
Due Lesson 7
Project #2: Original Draped Design including: Sketch, Draping Plan and Muslin. Due Lesson 12
There is a Midterm and a Practical Final Exam in this course.
Assignment # Pattern Draping Assignment and Project List Lesson Due
Assignment #1 Picture example of a draped Design (2%) Lesson 2
Assignment #2 Basic Draped Dress Foundation, Chapter 2-3 (5%) Lesson 3
Assignment #3 Pattern Making Conventions for Draped Garments, Paper Lesson 4
Pattern for the Basic Dress Foundation, Chapter 4 (5%)
Assignment #4 Manipulating Dart Excess, Chapter 6 (5%) Lesson 5
Midterm Open Book Exam (10%) Lesson 6
Assignment #5 Design Sketches for Project #1 – A Bodice design Lesson 6
Involving dart manipulation (5%)
Project #1 Original Bodice Drape Design (10%) Lesson 7
Assignment #6 Cowl Drape, Chapter 11 (3%) Lesson 8
Assignment #7 Collar Drape, Chapter 9 (5%) Lesson 9
Assignment #8 Design Sketches and Draping Plan for Project #2 (5%) Lesson 9
Assignment #9 Skirt drapes (5%) Lesson 10
Assignment #10 Contour Drape, Chapter 13 (5%) Lesson 10
Assignment #11 Dress Drapes, Chapter 12 (5%) Lesson 11
Assignment #12 Bias Drape, Chapter 14 (5%) Lesson 12
Project #2 Original Draped Design, FINAL PROJECT (20%) Lesson 12
Final Exam Open Book Exam (5%) Lesson 12

Lesson 1
September 12th, 2010 § Leave a Comment
In lesson 1, we will review the Course Outline and Assignments.
The basic princlples of pattern draping will be introduced.
We will discuss some examples of draped patterns and decide if they are an example of: 1)
Moving Dart Excess 2) Adding Fullness or 3) Contouring, Text p. 30
Taping the dress form will be demonstrated and students will complete taping their dress forms
for next week. The method for taping the dress form will be demonstrated in class. Students
will duplicate the technique shown with their own forms. This hands on task. Students duplicate
the method demonstrated by the instructor. The finished taped dress form is to be used as a
reference for any of the students who do not finish this task in class time.
Review Questions for Lesson 1:
1) What are the three draping techniques used to create a draped design? 1) Moving Dart
Excess 2) Adding Fullness 3) Contouring, text p. 30
2) What are the major horizontal reference lines on the dress form? Bust, waist and hip
3) Why is the front neckline lowered slightly at the centre front neckline? For a better fit. The
neck sits forward slightly at the front of the body.
4) What two methods are used to pin a drape to the dress form? 1) raw seams out 2) lapped
seams, text p. 23
5) Define grain lines and bias. Grain lines are always parallel to the selvage. The straight grain
or warp runs parallel with the selvage, The straight grain is strong and stable. The cross grain
runs perpendicular to the straight grain. The cross grain is less stable. Bias is ideal for designs
that cling to the body. Text p. 22 .
Due next week. – complete taping the dress form and bring an example of a draped design to
class. Be prepared to discuss your example with as much detail as possible. I have included an
outline of this assignment below. Supplies are due needed for next week.
Text books are due to arrive for next week. There will be assigned reading in the text prior to
each class. The assigned reading is just as much about “looking” at illustrations of the drape to
be completed in class as it is about “reading”.
The assignment due for next week is as follows:
Assignment #1, Report on a draped design
Due Lesson 2 at the beginning of class.
Answer the following questions in writing. The completed assignment consists of approximately
1 page of written material plus a picture of the draped design. Be prepared to give a 3-5 minute
oral presentation to the class about the draped design that you chose.
Obtain a picture reference of a draped design that you admire or find interesting. The picture can
be a photocopy from a book, a cutting from a magazine or a printed photo from the Internet.
Questions to consider in your written and oral report:
1. State where you obtained the photo and make note of the designer and collection. Examples
of draped designs can be contemporary or historical but you must state when and who created the
the design.
2. What draping techniques do you think are used to create the design? (Moving dart excess,
adding fullness or contouring) Note that many draped designs involve a combination of these
techniques.
3. What makes the design unique?
4. Why is it inspiring or of design interest to you?
You will be marked on both the written and oral reports.
Lesson 2
September 11th, 2010 § Leave a Comment
In Lesson 2, members of the class will show examples of draped designs found in magazines or
on the internet. We will decide if the example is created by 1) moving dart excess
2) added fullness, 3) contouring or a combination of these draping techniques.
Students will answer the following review questions. Questions for the midterm and final exam
will be selected from these review questions posted at the beginning of the class every week.
Review Questions:
1. How much ease is added to the front draped bodice? Where is the ease located?
Ease is added in two places when draping the front bodice. 0.6cm is added at the lower armhole
and 1cm at the waistline between the princess seam and the side seam.
2. How much ease is added to the back draped bodice pattern? Where is this ease located?
The back bodice has 1.2 cm (1/2”) ease at the shoulder seam princess line location. 2 cm of ease
(3/4”) is added at the side seam armhole location.
3. What is the usual order used to drape a fitted bodice (dart manipulation draped style)?
1) establish grainlines - length and crossgrain
2) smooth areas one section at a time
3) release tension (fabric wrinkles) by clipping seam allowances
4) add ease and darts
5) trace off and true the pattern
4. How is the fabric prepared for a fitted front bodice drape?
The front bodice has a crease ironed 26cm down from the neckline/shoulder. This crease will be
used as the crossgrain over the bustline. The front neckline is shaped 4.5cm at the side shoulder
and 9 cm downwards at the centre front.
5. How is the fabric prepared for the back bodice drape?
The back bodice has a crease ironed 10 cm down from the shoulder/neckline edge. The back
neckline is shaped 4.5cm out from the centre back at the shoulder and down 4 cm at the centre
back.
6. Why is the fabric prepared prior to draping?
The fabric is cut so that there is enough fabric to drape the style but not too much fabric to get in
the way. Length and crossgrain are located on the form. These grainlines are crucial to the
“flow,” balance and symmetry of a garment. Once grainline reference lines are established, the
style is completed through draping on the form.
Planning for Creativity
Students are reminded that their two draping projects in this class are due lesson 7 and 12.
Please refer to the Assignments List posted as a separate item in this blog roll. Students are
encouraged to coordinate projects in this Draping Class with their Final Collections. Creativity,
design inspiration and the need to reference garments for style details are ongoing for fashion
designers. I am recommending several sources that may be helpful for design references and
research.
Vancouver Fashion eZine. The magazine profiles local designers and always has an up to date
listing of local fashion events.
Vancouver Fashion eZine - http://vancouverfashionezine.com/
My next recommendation is a good source for International Fashion. Elle Collections, is an
economical bi-yearly publication that showcases International Fashion Collections. Ongoing
general internet designer fashion references from sites such as Vogue.com as helpful and timely.
Independent fashion blogs are becoming more important as print media, magazines and
newspapers is are in transition.
Elle Collections
Elle Collections can be purchased at local newsstands or through:
http://www.newsstand.co.uk/251-Glossy-Fashion-Magazines/216-Subscribe-to-ELLE-
COLLECTIONS-Magazine-Subscription.aspx
The remainder of Lesson 2, is taken up by a draping demonstration and lab time. The basic
bodice and skirt are draped on the dress form. The sequence of draping steps makes a big
difference when it comes to the time it takes and the level of difficulty experienced in this first
draping project. Because the sequence of draping steps was worked out prior to this class,
draping of the bodice and skirt went very smoothly and the class completed the project with no
difficulty.
Preparation of the fabric prior to draping saves time and increases accuracy as the grainlines can
be placed with precision. The sequence of draping steps for this first project was:
1) Fabric cutting and preparation.
2) Establish the length and cross grain on the form.
3) Drape smooth areas of the style.
4) Add ease if required.
5) Take up excess fabric with darts.
These steps will remain very similar for draping any style of garment that has darts.
The class consensus was that this first draping project was fun and easy!
We will be tracing off the pattern from the muslin fabric in lesson 3. Some basic principles of
trueing patterns will be demonstrated. These principles will be recycled again and again with all
your patterns. Learn about truing patterns once and you can apply the skill set forever! See you
in Lesson 3
Lesson 3
September 10th, 2010 § Leave a Comment
In Lesson 3, we learned 2 methods of creating a paper pattern from a muslin drape. 1) The push-
pin method and 2) the tracing wheel method. Students tried each method and made a decision
about which was easiest and most accurate for them. These methods are described in our Class
Draping Text (Armstrong’s Draping For Apparel Design, Second Edition) pp. 39 -43. Truing
darts, the shoulder seam, side seam and side waist were demonstrated. See text p. 39 for truing
darts, p. 42 for truing the shoulder and side waist.
Clarity and organization are important whether you are working for yourself or producing
patterns for a company. Different companies will have different pattern labeling
conventions that will make it easier to find a particular pattern. Our class standard for pattern
labeling includes the following: 1) your name 2) style name or number 3) piece name 4) pattern
size 5) grainline and 6) notches.
Homework Due Lesson 4:
1. Paper patterns of the bodice drape, correctly labeled.
2. French Dart muslin drape, see text pp. 70-71.
3. I will be checking on design sketches and materials related to Project #1 next class.
A note on size labelling of class patterns. It is preferable to relate size to a real world
measurement like hip size rather than a numerical size such as “Size 6.” Universal sizing
standards do not exist but company size standards do. If you know the hip, waist or bust that a
pattern is designed to fit, you will then be able to find where your pattern fits within any
company’s size standards. This is a more accurate place to start discussions about size than a
subjective interpretation of what is meant by a “Size 6.”
For example: When designing for a new Swimwear Company, I wasted much potentially
productive time as a result of unrealistic expectations regarding a “Size Small,” two piece
swimwear fit. In the end we defined “Size Small” as having a 36″ hip and 34B cup size. The
“Small” model that I started with actually had a 38″ hip and much larger cup size. Had the
swimwear company gone with this first unconventional interpretation of “Size Small,” they
would have confused customers and potentially lost sales. I now clarify sizing standards up
front and begin with a solid understanding of what is meant and expected from a sample or
standard size. This saves time and increases pattern accuracy right from the beginning.
Review Questions from Lesson 3:
1. Why is it important to plan preparing the fabric prior to draping? Preparation saves time and
increases accuracy. Cut a piece of fabric that is long enough and wide enough for the draped
style being created. If the fabric is prepared, the draper has much greater control of the
grainlines. The draping designer is able to produce a final product that is balanced and
symmetrical.
2. What is some dart Equivalents? Text p. 69-70 and p. 81 Some dart equivalents are: gathers,
pleats, tuck darts (half darts), style lines (over the bust point) flares (unstitched excess) stylized
darts (for example curved darts), multiple darts.
3. Convert the seam allowance chart p. 63 to metric from imperial measurements. Students
should be able to plan for and describe seam allowances. Curved areas often have smaller seam
allowances. Wider seams are left if the garment is to be fitted on a model. Seam allowances can
depend on the type of seam finish being used. Price point of the final garment can affect seam
allowances. Smaller hem allowances are used in lower priced garments. Custom garments
typically have larger seam allowances to facilitate fitting and alteration.
4. Where is the ease usually located in a front bodice drape that uses dart excess to develop a
style? The ease is often located at the side waist and side underarm.
5. How do you True darts? Text bodice dart truing p. 39, skirt dart truing p. 50. The dart is
folded closed in the direction that it will be sewn. The end of the dart is traced off using a
tracing wheel.

Lesson 4
September 9th, 2010 § Leave a Comment
Lesson 4 is dedicated to bodice designs involving dart manipulation.
This lesson continues to develop on the draping skills learned in Lesson 2 (draping a basic
bodice and skirt). We then added the French dart (text p. 70) in Lesson 3. Several new bodice
styles were demonstrated in class today. They included: 1) the armhole dart (p. 72), 2) the centre
front dart (p. 74), and 3) the waist/side dart (p. 76). The Curved dart (p. 83) and intersecting
darts (p. 85) were also demonstrated. The intersecting dart will be reviewed at the beginning of
Lesson 5.
Homework due for Lesson 5: the French dart drape and paper pattern plus 3 other bodice drapes
chosen from the ones demonstrated in class. A total of 4 different front bodice muslin drapes are
due along with their corresponding paper patterns. This is worth 5% of you mark.
Also due Lesson 5 and presented Lesson 6 – is the visual references and research for your
proposed design, Project #1, (the original design using dart manipulation). Be prepared to
present your design along with inspirational materials, research and a technical drawing. Project
#1 will be much easier to do if you are clear about what you are trying to achieve. You can adapt
the design when you are draping. However, starting a draped design without a plan is not as
successful as beginning a design with lots of imagination, inspiration and planning. Bring in
proof of your planning and be able to talk about and present your proposed design. This is
worth 5% of your mark.
Review Questions for Lesson 4:
1. After preparing your fabric for draping, what is the first step is draping a “dart
manipulation” bodice style? The draper aligns the lengthwise and crosswise grainlines. A
centre front grainline is established and then the bust point is marked and secured with pins. Any
dart manipulation style can be developed around the fixed bust point. This is similar to the
concept of dart rotation in pattern drafting.
2. Where is the ease typically placed in a bodice style developed using dart manipulation? The
ease is added at the lower armhole, at the armhole side seam and at the side waist.
3. What is the difference between a bodice style that is developed using dart manipulation and a
contour drape style? The contour drape has less ease and this closer fitting style follows the
curves of the body, Strapless styles are often developed through contour draping.
4. What can you do if you trim too much fabric when draping a bodice? You can ignore the
error and pin on another piece of fabric. Correct this error in the paper pattern.
5. What are our class pattern labeling standards? Include the following on a pattern: your
name, pattern style, piece name, grainline, size (a real world reference such as hip size is best),
notches. Make a note of seam allowance amounts if they vary throughout the pattern.
6. What seam allowance should be added to a pattern? This depends on what the pattern will be
used for. If the pattern is a sample pattern, subject to alteration, then wider seam allowances are
preferable. If the pattern is to be used for RTW mass production then the seam allowance is
most likely 1cm or an amount determined by the serged seam. Hem allowances vary. A circular
hem has less seam allowance than a straight hem. Mass market garments have less hem
allowance than higher end lines. Seam allowance depends on the garment, where the seam is
located and the end use of the garment pattern (custom, high end or mass market RTW).
7. What are some examples of dart equivalents? Dart equivalents include: gathers, tucks, dart
tucks and darts converted to seamlines.

Lesson 5
September 8th, 2010 § Leave a Comment
Draping Lesson 5 is a transitional one. Students take the tools and techniques learned so far in
the course and apply them to their own designs. Our first draping project is one that uses the
technique of dart manipulation. All the exercises completed in class so far in class have involved
dart manipulation.
In Lesson 5, Students will be presenting their design ideas, research and inspiration. This
presentation and your design references are worth 5%. Advance planning is very likely to speed
up the draping design process and increase the quality of your work. Also due this week are
some samples of styles using dart manipulation (5%).
Dart manipulation is one of the three techniques used in draping. Adding fullness and
contouring are the other draping techniques that will be developed in future lessons. These
additional draping techniques will be available for students to use in their final draping projects.

Lesson 5 Review Questions:


1. Why are design references important? What things can be included when compiling design
references? Design references save time and help communication about a design. Design
references include pictures, sketches, fabric swatches color samples and so on.
2. What is meant by dart equivalents? Dart equivalents are gathers, tucks, dart tucks and darts
converted to seamlines.
3. Describe your Project #1 in 10 words or less. Answers will vary.
4. What should you do if you run out material when draping an original design? You can start
over or pin extra fabric where it is needed. You will correct the error when tracing off the paper
pattern.
5. What other pattern making methods can be combined with draping? Drafting, knock off
patterns, commercial patterns and existing stock patterns can be combined with draping.
Lesson 6
September 7th, 2010 § Leave a Comment
Today’s lesson will consist of a 20 minute midterm quiz. Questions for the quiz will be taken
from the review questions that accompany each lesson.
The remainder of the class is dedicated to lab time for the students to complete their Project #1
- an original draped design using dart manipulation techniques.
Assignment #1 is due Lesson 7.
This draping project concentrates on dart manipulation techniques. Students are encouraged to
apply this assignment to a design from their final collections. I have posted the before pictures
of Assignment #1 above. Photos of completed assigments will be posted next week.
I am posting the midterm quiz questions and answers. I will choose different questions for
subsequent classes but this version of the quiz is an example of what to expect.
Draping Midterm Quiz, Answer Key
1. What are the three draping techniques used to create a draped design? 1) Moving Dart
Excess 2) Adding Fullness 3) Contouring, text p. 30
2. What two pinning methods are used to attach a drape to the dress form? 1) raw seams out 2)
lapped seams, text p. 23
3-4. (2 Marks) What is the usual order used to drape a fitted bodice (dart manipulation draped
style)?
1) establish grainlines - length and crossgrain
2) smooth areas one section at a time
3) release tension (fabric wrinkles) by clipping seam allowances
4) add ease and darts
5) trace off and true the pattern
5. Why is it important to prepare the fabric prior to draping? Preparation saves time and
increases accuracy. Cut a piece of fabric that is long enough and wide enough for the draped
style being created. If the fabric is prepared, the draper has much greater control of the
grainlines. The draping designer is able to produce a final product that is balanced and
symmetrical.
6. What are some examples of dart Equivalents? Text p. 69-70 and p. 81 Some dart
equivalents are: gathers, pleats, tuck darts (half darts), style lines (over the bust point) flares
(unstitched excess) stylized darts (for example curved darts), multiple darts.
7. How do you True darts? Text bodice dart truing p. 39, skirt dart truing p. 50. The dart is
folded closed in the direction that it will be sewn. The end of the dart is traced off using a
tracing wheel.
8. What are our class pattern labeling standards? Include the following on a pattern: your
name, pattern style, piece name, grainline, size (a real world reference such as hip size is best),
notches. Make a note of seam allowance amounts if they vary throughout the pattern.
9. What should you do if you run out material when draping an original design? You can start
over or pin extra fabric where it is needed. You will correct the error when tracing off the paper
pattern.
10. What other pattern making methods can be combined with draping? Drafting, knock off
patterns, commercial patterns and existing stock patterns can be combined with draping.
Lesson 7
September 6th, 2010 § Leave a Comment
Students present their first projects. The projects are related to dart manipulation and control of
added ease. The projects are worth 10%.
Cowls and cowl draping are the focus of Lesson 7. The mid-depth cowl (Text ref. p. 247) is
demonstrated and draped by students during lab time. The problem of cowl twisting is
discussed. Twisting occurs if one side of the cowl is not balanced with the other side. Because
the length grain has slightly different characteristics from the cross grain, twisting can occur.
This is corrected at the shoulder by adjusting one side or the other until the cowl is balanced.
The Armhole cowl is demonstrated in class. (Text ref. p. 266)
Homework for this week is assigned reading of Chapter 9, (collars) and completion of the cowl
draping assignment.
Review Questions:
1. What causes “twist” when draping a cowl design? Twist occurs if the drape is not balanced.
This may be a problem stemming from incorrect draping of one side or the other. It can also be
cause because the characteristics of the lengthwise grain are slightly different from crosswise
grain.
2. What measurements are needed to prepare fro a cowl drape? You need to know how deep the
cowl is and the length of the finished garment. The width at the upper edge of a cowl style is
greater than the width at the hem. This extra fullness is taken up by the cowl drapery. Note that
the cowl style is cut on the bias.
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Draping the ramp
An innovative fashion show offered an insight into the home furnishings palette
IT HAD all the trappings of a fashion show — ramp, scanners and the mood. The only difference was the ensemble, which was made with upholstery. Well, if bamboo can go haute, so
can drapes. Sharon, Zainab, Vidya, Sridhar and other leading models in the twin cities sported raw silk stoles, cotton wrap-around skirts and poly jute pants - conventional furnishing
fabrics, with equal poise displaying the wealth of upholstery.

"We wanted to explain to our customers that upholstery fabric could be beautiful and rich enough to be worn. In fact today, there are seasonal forecasts for furnishings with light fabrics
in cool lemon yellow for summer and thicker option in warm tones for winters," says Pankaj Kaushik, of Skipper Furnishings, which was inaugurated with a ramp that gave an insight
into the product line the store retails.

The sequences featured hand-picked cotton in shades of blue, yellow and green for skirts and raw silk in deep blue and lilac for evening gowns, the palette and fabrics for the
forthcoming autumn-winter' 04. As also organza with Benarasi borders for stoles and embroidered taffeta silk and poly silk fabrics as saris with a raw silk bustier, a sheer ethnic concept
to inspire a living room setting. Jute blinds, the contemporary avatars of a traditional peek-a-boo chilman that donned many a veranda of the yesteryear havelis, also made their
presence felt in the form of chic skirts and drapes. If the collection comprised a plethora of furnishing options for homemakers, the presentation, tassels and rings used as accessories
and the various options for drapes, offered a few more ideas to embellish the study or lounge.

"We have worked with a lot of draping, including Roman drapes to highlight sheer fabrics such as glass nylon. The conventional chenille that is used in making sofas has been used to
design skirts that are, again, teamed with organza, a usual choice for curtains and drapes. It has been a challenging job to come up with the line especially working with rugged cotton
fabrics and jute blinds and styling the silhouettes," says designer Shikha Verma, a NIFT graduate.

Ditto observes Imran Khan who choreographed the show. "In my career of fifteen years, this is the first time I had to plan and choreograph a show that focused on upholstery," he says
. Make up and hair dos did not take away the focus from the collection and a trance Mediterranean score compiled by Iqbal Patni made the event a befitting ode to home furnishing and
the art of living.

SYEDA FARIDA