Garment Construction - Week 1

Cutting out a basic dress block in calico and sewing it together allowed me to work on the stand, seeing exactly where the seams would be and how the garment would look. I marked on the style lines using tape, following the lines on my design.  I altered them if I felt they did not look right or could be better positioned. I widened the diagonal panel across the bodice to allow the gathers to sit more comfortably and become a focal point. Pinning fabric (on grain) to the stand meant that I could trace the curved style line and gather it up. After gathering, I pinned it into position to decide whether there was enough or too much gathering.

Draping

For the draping exercise, I cut out a square of calico measuring 70x70cm on the bias. Cutting on the bias meant that the fabric had more stretch and would therefore be able to drape comfortably. I pinned the fabric to the stand, smoothing out the volume towards the neck. Snipping the fabric at the waist helped the fabric to lie flat. The fabric could be pinched at the shoulders and followed round the neck to produce a cowl. I repeated this until the cowl neck had as much volume as I desired and cut off the excess. Then I continued to experiment by producing different shaped necklines.

To construct a pattern using the stand, I started at the centre front, pinning on panels of calico. Pencil lines marked where I wanted the seams. I pinned the next panel to the last seam, and so on. It is a good method that shows exactly where the seams will be on a garment.

Transformational Reconstruction - Week 3

I transformed the darts on a skirt by closing the original ones and drawing on new curved lines. I cut into these as well as an extra seam I added towards the bottom of the skirt. Cutting along the seam left me with a panel which I decided to flare out; I divided the section into four, spreading them out and pinning them on to spot and cross paper. I added a seam allowance and bias grain lines. Doing this on the fold meant that I could open it up and have a full pattern piece.

Incorporating gathers into a design can add volume and alleviate any problems with overlapping patterns. I cut into one section, spreading it out, which alters the shape of the pattern.

I experimented further by designing a circular dart, ensuring it passed through both bust points. I gathered it up along the outside edge.

Transformational Reconstruction - Week 2

To transfer the dart, I started with a basic bodice pattern and drew on an alternative dart, adding a notch as it was curved. Next I cut open all three of the darts and taped the two original ones shut. This opened up my new dart. I placed the altered pattern piece on spot and cross paper, traced around it then added a 1cm seam allowance. I also moved the bust point down 2cm to avoid having a pointed bust. I experimented on another basic block by transferring the dart to a different position.

For an asymmetric design, a full bodice block must be used. Like before, I cut open the darts and taped the waist darts shut. I then drew my first dart from the waist to the opposite bust point. After cutting this open I taped the shoulder darts shut. My second dart went from the bust point to the armhole.

Transformational Reconstruction

Transforming a dart's shape and position has the ability to turn a garment with a boring cut into something exciting with an imaginative cut. After observing and creating some practice samples, we were able to create our own bodice front that pushed the boundaries of what we had just learnt.

 

 I started with pinning my basic bodice block to the stand, taping the darts shut. Now, providing that it went through the bust points, I could draw a line on to the bodice. I chose to experiment with a smooth curve and a sharp angle. Once I removed it from the stand and added in balance marks, I cut along the line. I realised that it overlapped when flat. To overcome this I cut into a straight edge, which would mean adding material – and therefore gathering material when it came to sewing it together. I think that this has enhanced my design of the dart by making it more aesthetically pleasing.

Garment - Deconstruction, Reconstruction

Pinning panels of the deconstructed shirt and jacket together on a table first proved effective; I stitched the shirt sleeve’s curved edge to one of the jacket’s straight edges and this gave an outlined three-dimensional shape on the mannequin. It fell from the shoulder quite comfortably so this is where I positioned it; however on reflection I feel that having a large amount of material at the waist is not very flattering.

The arched effect of the collar on the hem is successful and contrasts with the angles on the rest of the hem. I also like the turned-up part of the hem as it features an iconic part of the jacket, just in an alternative way. The downfall of this is that the panel does not look deconstructed enough and still resembles the jacket. If I were to make this again I would have simply used the folded detail for the hem as opposed to the entire jacket piece. The shoulder structure would have worked better if it were moulded around an armhole, too.