Pattern Making AND Advanced Draping PART 5: Bias, Asymmetrical, Peg Skirt, Cowl Skirt, Pattern Sizes | Nino Via | Skillshare

Pattern Making AND Advanced Draping PART 5: Bias, Asymmetrical, Peg Skirt, Cowl Skirt, Pattern Sizes

Nino Via, Fashion Design, Instructor & Consultant

Pattern Making AND Advanced Draping PART 5: Bias, Asymmetrical, Peg Skirt, Cowl Skirt, Pattern Sizes

Nino Via, Fashion Design, Instructor & Consultant

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9 Lessons (1h 1m)
    • 1. Pattern Making PART 5 #1 - Introduction. Course content.

    • 2. Pattern Making PART 5 #2 - Bias grainlines. Properties of Bias-cut dress. Making a Bias-cut Top.

    • 3. Pattern Making PART 5 #3 - Asymmetrical Designs. One-shoulder Dress. R.S.U./Right Side Up.

    • 4. Pattern Making PART 5 #4 - Peg Skirt: Part 1 - Draping a Peg Skirt, and "Truing" pleats.

    • 5. Pattern Making PART 5 #5 - Peg Skirt: Part 2 - Using pattern making to draft a Peg Skirt.

    • 6. Pattern Making PART 5 #6 - Cowl Skirt. Skirt with a Cowl on Side Seam.

    • 7. Pattern Making PART 5 #7 - Adjusting and modifying pattern measurements to fit a specific size/b

    • 8. Pattern Making PART 5 #8 - Inspirational guidance and advice. Words of wisdom for the artist wit

    • 9. Pattern Making PART 5 #9 -- Conclusion.

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About This Class

This Course is PART 5 of: Pattern Making for Fashion Design AND Advanced Draping,… It is a combination of Pattern Making AND Advanced Draping.

If you have not taken any previous Courses, such as Pattern Making 1, 2, 3, 4, and Draping, and you know nothing about pattern making…. this course might be challenging for you…. So, I encourage you to enroll in some Pattern Making/Draping Courses…

This Course will cover:

  • Bias. Bias cut Designs

  • Asymmetrical Designs. One Shoulder Dress

  • Peg Skirt, with Pleats

  • Cowl Skirt on Side Seam

  • Adjusting and modifying pattern measurements

  • Spaghetti straps

  • Bias Binding

  • Bias Piping

  • Bias Grainlines

  • "Truing" pleats

  • Inspirational advice and direction

In this course you will learn about Bias. Bias grainline. Cutting garments on the Bias. Properties of Bias-cut dresses. Designer Madeleine Vionnet. Bias tape. Bias piping. Spaghetti straps. Loop turner. And we’ll design a Bias Top.

You will also learn about: Asymmetrical Designs. I will demo and drape a One Shoulder Dress. CF on Bias. R.S.U./Right-Side-Up.

And I will show you how to make a: Peg Skirt with Pleats- a 2-Part Demo. I will first Drape a Peg Skirt, then I will show you how create one using Patten Drafting. “Truing” the muslin drape accurately in order to achieve accurate patterns.

I will demo how to Drape a Skirt with a Cowl on the side seam, and side seam on the bias — a unique and dramatic design.

We will cover adjusting and modifying a pattern to fit specific measurements, whether you’re making garments for yourself or designing something for a specific customer.

You should have some previous knowledge of Pattern Drafting and/or Draping before enrolling in this Course. Please review my previous Courses so that you can understand and absorb the material in a supportive and empowering way.

You should have the proper TOOLS necessary to draft patterns and draping, such as scissors, pins, measuring tape and ruler(s), muslin or similar fabric, pencils, pattern paper would be helpful, tape, etc.

Having a Dress Form would be very helpful, as the draping part of this Course will be demoed on a Dress Form (but if you only want to learn the theory behind these designs and these techniques, that’s fine too, that’s up to you).

Enjoy!  :)

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Nino Via

Fashion Design, Instructor & Consultant


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1. Pattern Making PART 5 #1 - Introduction. Course content.: Hello everyone and welcome to pattern-making for fashion design, part 5. Actually, this is a combination of pattern-making and advanced draping. This is really exciting. If you have not taken any of my previous courses, such as pattern-making 1, 2, 3, 4 and draping. And, you know nothing about pattern-making. This will be very challenging for you. So I highly recommend and encourage you to enroll in my pattern making classes and draping, otherwise, you may get lost. Okay? In this course, we're going to cover so many things. We're going to start with bias, bias, grain lines cutting garments on the bias, the properties of bias cut dresses. I'm going to turn you into a really great fashion designer named Madeline Vionnet. She was the queen of bias cut dresses. We'll talk about bias tape bias piping spaghetti straps, loop turners, and we'll design a bias top, will work with asymmetrical designs a one shoulder dress, for example, and center front on the bias. We'll talk about right-side up. What does that mean? I will show you how to make a peg skirt with pleats and how to "true" those pleats. And I will show you how to drape it. And I will also show you how to make one using pattern drafting. I will show you how to drape a skirt with a cowl on the side. See, very unusual, very dramatic. We'll focus on adjusting a pattern, modifying the measurements of a pattern to fit yourself or a specific customer. So I'm looking forward to sharing this course with you. And it's very exciting because it's a combination of pattern-making and draping so, roll up your sleeves. Let's get to work. See you in class. 2. Pattern Making PART 5 #2 - Bias grainlines. Properties of Bias-cut dress. Making a Bias-cut Top.: In this lesson we're going to cover bias. What is bias? Why use bias? Why don't we cut fabric on the bias? So let's get started. So let's say that this is our fabric, here's our roll of fabric, we pull out the fabric. And by now we know that this is the selvage, right? These two ends right here. This is the selvage of the fabric. And this is the length grain. This is the cross grain. And 45-degree angle is bias. 45-degree angle is bias. So normally we take pattern and here's our grain line, right? The purpose of a grain line, by the way, is so that the factory knows how to lay the pattern onto the fabric correctly without a grainline If I have no grainline, like here, for example, I have no idea which way to lay the, the pattern unto the fabric. But now that I have a grainline, right, the grainline is always parallel to the selvage grainline, always parallel to the selvage. So it goes in this direction. How do we know it's parallel? Well, here's this line is the grainline. If I measure five inches from here to the selvage on one end, I have to measure five inches from here to the selvage here as well. That will give me a parallel line, parallel grainline. So let's look at it on a piece of muslin or fabric, and I'll show you what this all means. Okay, so here's muslin. If I take one corner of my muslin and I fold it like this, so that the selvage is now parallel to the roll, Okay? Here is my bias. This is a 45 degree angle. If I take my pattern and I lay the center front onto the fabric like this, this is now on the bias. I'm cutting a pattern on the bias. Now that's one way to cut it... is to fold the fabric like this. The other is to use the pattern open and lay down an angle but without a grainline. I don't know if it's like this or like this and we don't really, we're not really sure where the 45 degree angle it is for the bias. Let me show you how to create a grainline to make sure that it's on bias. Okay, one way to create a bias grainline is to create a little square in the middle of the pattern. Just take your ruler and measure. Say for example, like two inches by two inches by two inches by two inches, just like that. Now, these are 90 degree angles. So if I take my ruler and I go from one corner of the square. To the other, just like this, I now have a grain line. So going back to the original grainline being parallel to the selvage, if I measure my grainline, say for example, let's see, this is 15 inches right, right here from here to the selvage is 15 inches. If I go down here and I do the same thing, 15 inches, right? Make sure it's parallel. This is now a pattern that has been cut on perfect bias, true bias as it's known. And once again, if I take my fabric, one corner of my fabric and fold over this way, my pattern on the fold, for example, would go here. And you can see that the grain line again is parallel to the selvage. Okay, so now why do we cut something on the bias? Let's take a look. Okay, so I have marked my bias on this muslin because I'm going to place this bias on the center front of my form. Okay, So I've placed my bias on the center front of the form, placed a couple of pins here to hold it in place. You see the thing about bias is that when you have a woven fabric, here's my selvage, which... it doesn't give... the length grain doesn't give, cross grain doesn't give. But on the bias it does, it's slightly "flexible", if you will. So in fact, I invite you to take a piece of fabric and start draping something on the bias, you will see that it just hangs differently. And in fact, I'm going to continue with this in a minute and I'll show you what I'm talking about. Okay, you're going to start shaping this muslin, right now and get rid of the extra fabric that's not necessary. And I'm probably going to have a little have a dart right here. And again, get rid of the extra fabric that I don't need. So I'm beginning to slim the side seam and the waistline to give it a slim fit. So if I continue shaping, this muslin and see I can actually pull the Muslim and create a nice, beautiful fitted garment here. Without having, without having to, without having to have any fisheye darts to create the shape of your torso. Okay, For the back, It's very similar to what we just did in the front. I had a piece of muslin, right? I have drawn my bias, grainline, bias grainline, which will go on center back. Okay, What we're going to do now is add a spaghetti strap like this in front to back. And guess what? Spaghetti straps are cut on the bias. Let me show you. Yes, uh, spaghetti strap is cut on the bias. Here's my muslin. I've created my bias grain line. Right here. There it is. And I'm going to cut a one-inch strip. Okay, next I'm going to sew my bias strip like this, using an eighth of an inch seam allowance. And then using something known as a loop turner, this is a loop turner. it's got this little hook right here at the end. Okay? And I'm going to insert this in the spaghetti that I've just sewn and then turn it inside out so that the seam allowance is inside the loop and then use it for spaghetti strap. Also cut on bias is a bias tape. What is bias tape? It is pre-made tape on the bias, obviously, that is used to finish the edge of a fabric. Let's say I wanted to finish this edge right here, right? I am using a bias binding tape to clean finish both sides of my fabric. See, this is bias binding tape comes in different colors, different sizes. And along with that is piping. I've discussed all this in my previous classes. I'm not going to get into the hole thing.... But just so you know, there is tape also cut on bias. So when you're cutting fabric on the bias, the fabric behaves differently then when you cut it on straight grain, the fabric hugs the body, it clings to the body, it fits close to the body. So ultimately, it'll give you a different feeling and a different design. There was a famous French designer named Madeleine Vionnet. She was known, she was the queen. She was known as the queen of bias because everything that she designed was on the bias, almost every thing. Here's a great book on Madeleine Vionnet. She was very popular back in the 30s, 1930s. And because she was really insisting on cutting fabric on the bias, she was the first designer to eliminate things like buttons and zippers because it could be slipped over your head. Also, she started using crepe-de-chine, which back in those days, it was only used for lining coats for the, for the inside of the coat as lining. She also pioneered seems, you see when you cut something on the bias, sometimes the fabric is not wide enough. You have to insert certain seams, but instead of hiding the seams, she actually accentuate the seams and embellish them and became very decorative. One famous design she really was known for, was the cowl neckline, which by the way is something that I've demonstrated in my previous courses. So there you have it, bias. Now you know what it is, its properties, why we use it. Gainlines, ...get some fabric, start practicing. I will see you in the next class. Co vediamo in classe. Ciao. 3. Pattern Making PART 5 #3 - Asymmetrical Designs. One-shoulder Dress. R.S.U./Right Side Up.: Okay, In this lesson we're going to talk about asymmetrical designs. What is that? Have you noticed that most of the time, in fact, almost always when I'm draping something on the form, I am working on half of the form. Why is that? Well, again, most of the time, a design is symmetrical, which means that the left side and the right side are the same. Whether it's on the fold or cut 2. Right? Still there the same like the shirt I'm wearing, for example, there's 2 pieces, but they're the same, basically. But what if that's not the case? Asymmetrical designs means that the left side is not the same as the right side. Let's take a look. This is a symmetrical design. But what if you wanted to do a one-shoulder dress? Let's say you wanted to do something like this. Notice that the left side is different than the right side. However, when I close my pattern, my side seams are the same, my side seams are the same! So when you are drafting something and you balancing a pattern, only the, in this case, only the top section is asymmetrical, the rest remains the same! For example, let's say, let's say that you wanted to do a, a one shoulder design. Something like this. Okay. So maybe something like this. Notice that the left side is different than the right side. Okay? Also, let's say that the hemline was also uneven. Let's say that the hemline was like this... at an angle. Right? So what that means is that the top portion and the hemline is not even, it's asymmetrical. But again, when you fold the pattern, the side seams remain the same. They have to be the same. So keep that in mind when, whenever you're making anything that's asymmetrical. Okay. Usually the side seams remain the same. All right. I'm going to drape something right now and we'll see how it works out... before I gets started. There's 3 things that you must always remember. Number 1, when you have a new idea, a new design, maybe you're the assistant to a designer and your boss gives you a sketch. The question is, how am I going to make this pattern, meaning, am I going to drape it using the draping process or pattern-making, flat pattern, patent drafting. Which way am I going to execute this design, that' the first question you're going to think about. The second is, how does she get into it? We tend to get very creative and we design these wonderful ideas. And then we forget that. she has to get into it. Right? Is there a zipper... on the side seam, are there button somewhere? How does she get into it? That's an important question. And thirdly, is grainlines. Now, in this case, the grain line that I'm going to use, if you recall in the last lesson on bias, right? We have the selvage, right? And then we have the bias grainline. So if I go into, if, IF I'm going to drape this on straight grain, straight grain, this becomes bias, as you know, bias "gives". So what you might end up doing is that you're going to end up with this neckline going all "wavy", if you're familiar with bias, so what I'm going to do in this case is to put the straight grain, the selvage here. This is the selvage, this is a straight grain right here. So which means that now this is the bias. So I'm draping this dress on the bias. Let's get started. Okay, I'm going to start by pinning my muslin on the shoulder, put a couple of pins on the shoulder. I'm going to come across the bust here to the side seam. And I'm going to place a couple of pins in center front just to keep it straight. If I want this to be somewhat slim, I'm going to create my side seam, and I'm going to start getting rid of any excess muslin, that I don't need. And if I want this to be fitted here, chances are I'm going to have to have a little dart right in here. So I'm just going to pinch that for now. And eventually this will become a dart and start pinning my side. seam the same thing on this side my side seam, get rid of all this extra, extra muslin that's only going to get in your way. Okay. And mark your center front.... Because when we take this muslin, this drape ooff the form onto paper, we want to, again, we want to take your center front fold it so that the side seams are the same. Okay. So this is a very simple dress. I'll do the same thing for the back in a minute. If I wanted to do something a little more fancy, little more elaborate or more detail-oriented, such as that design, right? What I would have to do, okay, this, again, there's two ways of doing this. There is the draping process where your side seam, right, would not be close to the body, but actually you would have to start gathering your fabric. You can start by folding your muslin in such a way that it starts to create folds and pleats until you get the desired design, right. So that's one way to do it. The other way to do it is... once you have a pattern and you wanted to add a pleat, what is that? That's adding fullness. That's one of the principles of pattern-making. adding fullness. How do we do that? Slash and spread, slash and spread. So from the side seam, right, you would slash, slash, slash and spread the pattern to add your pleats. One more thing about asymmetrical designs... on the pattern... on the padding, right? You must write R. S. U. which stands for right side up. What that means is that I'm laying this pattern on the fabric with the face of the fabric up, right-side up. Right? Because if you don't, if you cut it this way, then the shoulder seam will end up being on this side instead of this side. So you must always write R. S. U. on every asymmetrical design: right side up. Got it. Good. There are other designs that fit the criteria, such as these, for example, these, these are asymmetrical because in one way or another, the right side and the left side are different. Okay, well, I hope you've enjoyed this lesson on asymmetrical design. They usually add a dramatic element to the side. So keep that in mind. Practice and I'll see you in the next class. Ci vediamo in classe. Ciao. 4. Pattern Making PART 5 #4 - Peg Skirt: Part 1 - Draping a Peg Skirt, and "Truing" pleats.: In today's lesson, we're going to learn about peg skirts. What is a peg skirt? Here is an example of a peg skirt with pleats in the waistline. This particular one happens to have three pleats, but you can have two or one. The technique is the same. It's narrow. It goes narrower towards the knees. And first I'm going to drape one how to drape a peg skirt on the form. using the draping process. And then I'll do the same thing using pattern-making, pattern drafting. Okay, so let's get started. Okay, I'm going to start with a piece of muslin, 12 inches across and about 24 in length. The length doesn't really matter. It's up to you, the length of the skirt. If you want to make a mini skirt or a long skirt, it's up to you. Now, before I start draping... these forms, the professional forms, go up and down. There's a reason for that... I've seen students that when they're draping a skirt, they start doing this, right? Don't do that. The whole idea of why these forms go up and down... You want the form to be at eye level with whatever you're working on. So if I'm doing a skirt, raise your form all the way up so you can see if you're on grain or off grain. So always work at eye level, raise your form and then you can start draping. Okay. Next, do not start like this with the muslin at the waistline. Don't do that. You have to go up about five inches or so. So you're gonna measure five inches, put a cross mark. That will be your waistline. I'm going to pin the muslin Pin your muslin at the bottom of the tape. And make sure you pin it correctly. If you remember from your previous draping classes. or pattern-making, this is the correct angle of the pin, see, because if I do it this way, if I pin in this direction, guess what, see the whole thing comes apart. It doesn't stay, so. Make sure you are pinning correctly. And the right way to do it, is to pin it at this angle. see, it anchors's not going anywhere. Now we can start draping. Okay. So five inches down, waistline, pin your center front onto the form. Next, we're going to create our first pleat, which will be at an angle towards the side seam. So if I want my first pleat to end up say around here at the side seam, pin, at the side seam where I want my first pleat. to end up, I'm going to take my muslin am going to fold my muslin. Fold my muslin to create my first pleat. Put a pin on your waistline and see all this tension is pulling right here. need to release the tension by cutting into it. into towards the waistline. This, we're going to get rid of all this. We don't need this piece hanging out here. So I'm going to get rid of that. And now we start creating our second pleat. Right next to the first fleet. Also going towards the side seam. Fold your muslin. And then again, whenever you see any kind of tension like this here, cut into, and slash towards the waistline to release the tension. Get rid of the extra fabric or muslin that you don't need. And we have room for one more pleat. So again, I'm going to fold your muslin and we'll put a pin right on the fold at the waistline. Let's get rid of all this we don't need anymore. And adjust your pleats to your desired length. Cause a pleat can be a very long pleat or very narrow, short pleat. So you need to readjust your pleats at the waistline. And I'm going to slash just a few more slashes in here to release any tension. So again, the bottom of the tape is the waistline. I'm going to mark my muslin. Mark your waistline. And you're going to mark where the fabric folds, where the fabric folds onto itself right here we'll put 2 cross marks. Mark side seam. Now, the next step is really important, because if I take this off the form right now and remove all these pins, the whole thing will fall apart. You will never be able to recreate this. So it is very important to do the following step. I'm going to pin the pleats through and through all the layers of the muslin, so it stays in place. And then I'm going to true the pleats. Just like you were "truing" a dart. If you don't know what I'm talking about, go back to pattern 1,2,3 etc. So I need to true the pleats so that when we fold the fabric, again, we'll be able to recreate exactly what we draped right now. It's unclear, or I'm going to put pins through and through. Each fold. We'll put several pins so that we end up with this. This is what you want to achieve... once you have this. Now I'm going to take this to the table, to the paper, pattern paper. I'm going to show you how to true this and create a pattern in such a way that when you put it back together, we'll create that. Okay. Oh, one more thing. The back of the skirt, right, is a basic back of a skirt. So I'm not going to drape the back skirt. We've already done that. So I'm just going to true the front portion, okay. Okay, I've got my muslin on the table, but you notice this... is pulling... and tension right here. I'm going to fold my muslin in such a way that we're going to eliminate all that. And I have a nice clean, flat muslin with the pleats showing. Now you want to make sure that the pleats are clearly marked, meaning that this fold here is marked as well as this mark right here where the fold meets. Do that on all three, make sure your waistline is clearly marked. And I'm going to cut right on this waistline and by cutting on this waistline. I'm going to true my pleats. And you'll see in a minute how... what it looks like. Now. This means that this pattern has no seam allowance.. this pattern has no seam allowance. We'll do that later. So, and this is my side seam. Now watch, when I remove these pins. See, there is my pleats. There's no mistake there. And I'll do the same thing... remove all these pins. And there's my pleats. Now all I have to do now is really clearly mark with notches. Once I transfer this muslin to paper to create a paper pattern, these would be notches which tells me that this will end up being sewn to here. This will end up being sewn to here, and so on. So you put it back together. Either you or your seamstress will know that this goes like this. And you can see clearly that everything matches up accurately. Because this video is getting kind of long. I decided to cut it into two videos. This is the end of part 1. I will see you in part 2 in the next video to show you how to draft this peg skirt using pattern-making. See you then. 5. Pattern Making PART 5 #5 - Peg Skirt: Part 2 - Using pattern making to draft a Peg Skirt.: Okay, so we're adding pleats to a skirt. So that is adding fullness. How do we do that? Slash and spread, right? I've taken my pattern, traced my pattern all the way around to a piece of dotted paper, removed it, and I have drawn some slashed lines. I've used red ink to show you clearly what I'm doing. But obviously you can use a pencil and it'll go from the vanishing point of the dart. to the side seam, same thing with the second dart and then a third, third slash line from the waistline close to the center front to the bottom of the hemline, the side. cut your pattern out all the way around. Okay, I've cut my pattern out. I'm going to eliminate my darts. I'm going to cut those out as well. Next, I'm going to cut on these slash lines like this. Okay, notice that I slashed my, I've cut my slashed lines, but I've left a little bit of paper attached here at the side seam. Okay, so I have slashed and spread my pattern and added a few inches on each opening, each pleat, two inches, two inches, two inches right there. And next we're going to true each pleat by folding one leg until the other, crease and fold it over to meet The other leg, all the same thing with the second one. And then the third leg as well. So they end up coming together again. And I'm going to either scotch tape or pin, pin, pin, pin to keep it in place. And then "true" this one more time. Yeah. And once we remove the pins, you'll see that we have our pleats. This one goes on to this one. This one goes to this one, and this one gets to this on. Again, you put them together. And voila, this is your peg skirt with pleats, not darts!. These are pleats. Don't forget that. Just fold it and stitch it down. And there you have it. So there is a peg skirt. We please. Okay. See you next class. Ci vediamo in classe. Ciao. 6. Pattern Making PART 5 #6 - Cowl Skirt. Skirt with a Cowl on Side Seam.: Okay, in today's lesson, we're going to make a skirt with a cowl on the side seam. So why this particular design? Well, first of all, there is no side seam, no seam on the side. That's unusual. Secondly, as with all cowls, it's on the bias, side seam on the bias, very rare. And thirdly, this is very dramatic, right? This is red carpet designs. You can't go shopping at your local market for bananas dressed in red velvet, cowl skirt. Okay? Alright, let's do this. Okay, I'm going to start with a piece of muslin. The size doesn't really matter, depends on the size of the skirt. If it's a small skirt of a long skirt. But for the purpose of this exercise and music and 24 by 24 square, what is important is the bias grainline from corner to corner. We've done it previously so we know what that is. I'm going to fold my muslin so that one corner is folded over like that. And so that the bias grainline is on the side seam of the form away from the form like this. And let's put a pin right on the muslin on the form close to the princess seam of the form in the front, as well as the back. Make sure that your bias grainline is nice and straight. And then we'll start creating my folds by taking my muslin, folding it over like this, and pinning it front and back as well. So here's my 1, 2... 1 more. Let's make it a 3 pleats cowl Just like we did in the previous video with the peg skirt, It's really important to pin all your pleats down firmly so that when we true these pleats onto paper, we can get an accurate drafting of the pattern so that when we put it back together, we'll be able to recreate this design. Okay? And now I'm going to mark my waistline and my pleats, just like we did in the peg skirt. And if you want to see what this looks like onto paper to create our pattern in the "truing" process. Just like we did in the peg skirt. This is my waistline. And once I remove all the pins, it's going to give me a pretty crazy shape. Right? But you know what to do, right? One thing goes to another and so on. Okay, now we've got this section here, that is sort of "empty", if you will. It's bear, right? So I'm going to put a piece of muslin, fabric inside here, like a facing really, so that it'll go from the waistline. And it will be attached to the initial triangular piece that we started off with. So this facing right here, this piece of muslin that I just put in, inside here will be sown, will be pinned and some to that triangular shape that I initially started with this muslin. And that will give me a facing. So I'm going to pin it and it will be stitched here into the initial section. Okay? And I think what we need to complete this design is a waistband ...a two inch waistband. I think. That'll do it. All right. See you next class. Ci vediamo in classe. 7. Pattern Making PART 5 #7 - Adjusting and modifying pattern measurements to fit a specific size/b: Okay, in today's lesson, we're going to talk about adjusting a pattern either for yourself or for a specific customer. How do we take a pattern, an existing patterns, maybe your, your basic sloper and how do we change these measurements to fit either yourself or a customer? Now, IF it's a matter of expanding, enlarging, or contracting, reducing a pattern. There's a process called grading. This is not about grading, okay? I'm just going to show you some techniques that we can use to modify and adjust your pattern. Grading. Grading is a very complex, intricate, an exact science, if you will, almost a science. It's really, ...I could spend weeks going over grading. So I'm just going to cut to the chase and show you what we can do to change some measurements of your existing pattern. Now, there are certain measurements for example, your shoulder. There are certain measurements that don't really change much. In other words, whether you are a short person, 4 foot 9 or five-foot 10, if your shoulder is you know, if your pattern is five inches, it might change a little bit, but not a lot. However, if you wanted to make your pattern longer, then, we've got a problem, right? So some students make the mistake of saying that, well, if I wanted to make this pattern five inches longer, all I have to do is just extend the side seam. five inches. And, there is my pattern... wrong. Why is it wrong? Well, because we have something called hips. You see how your body comes in into the waistline and then it goes out on your... in your hip area. So this will not work. What you have to do. You have your hips to take in consideration, right? So really ...what you have to do is... you have to come out from your side seam and then make it five inches longer, right? So you just cannot go in. You cannot extend your side seam because you've got your hips. So what do we do? One way, one way to do it is... you just make your side seam like this. And forget about that. And you've got five inches longer. But what if you say, well, you know, I really I don't want a boxy... don't want a boxy look. I want a nice fitted contour look. Then you're going to have to go back to your original side seam and work with darts. That's how we make your body's contour. So we've got something we have to work with this area. So what do we do? We create a dart... like this. Imagine a dart for the bodice and a dart from your skirt, for example, coming together. This is known as a fisheye dart, right? These are like two darks coming together. That's a fisheye dart. imagine if you take a bodice and a skirt and put it together, That's really what you will end up with you see. So you'd have to adjust your... this area with the waistline, adjust so it's nice and smooth. Right. And so that's how you would adjust this pattern for length purposes, okay? Okay, so we've looked at the length of a pattern. But what about the circumference of a pattern? Meaning, let's say you have two people that both five-foot five, for example, right? But one is a 110 pounds and the other is a 195 pounds. That's a big difference. So how do we expand the circumference around the bust area? Let's go to the table and find out. Okay, I've taken a very simple, simple, basic pattern and I divided it into four parts. This is your apex, the center. So why four parts? Well, because you see if you wanted to make something longer than you would expand this way. And if you wanted to make it wider, you will expand it this way. But what if you only wanted to make to add fullness in the bust area? In other words, the shoulder remains the same. We're not going to touch the shoulder. That remains fight inches. I'm only going to expand my pattern in the bust area. And if I'm going to add an inch or so an inch on one side and an inch on the other side, that's two inches before you know it, you've got a much bigger pattern. Now, what's happening here is that things get kind of "funky", so we have to readjust your side seam. In other words, if your original side seam was eight inches, for example, you have to go back to eight inches side seam, which means you might have to drop the armhole a little bit and reshaped the armhole. And same thing in the front. You see how it gets sort of "crooked". So you have to re-align and make your center front straight again. So by doing this, I'm only adding fullness around the bust circumference area. Now this is a very, very, very elementary technique. Okay? It'll take adjustments and fittings in order to get it right. So you get the idea how the pattern expands and contracts. It all starts from the apex. The apex is the center of your pattern. So everything comes from the apex. It expands and contracts from the apex. Now, if you wanted to make the opposite, you would overlap your patterns to reduce your bust circumference and then readjust your pattern. Okay? So back to the original pattern and really comes down to measurements, right? We have to know certain specific measurements. And the most important ones are, for example, your center front measurement from your neck line, from your neck line to your waistline, from your neck to your waist. What is that measurement? That's an important measurement, right? Your shoulder. What is that measurement? Find out what that is ...write it down. Another is from center front at the neck line to your arm. How rich, how do we know that? Well, it's from center front to where the armhole begins. Right on the edge there. Okay. Another is across the bust area from center front across to the side seam what is that measurement from the center front across the bust, to the side seam. Another important measurement. And then of course, the waistline. The waistline without the dart, measure your waist from center front to the side seam whatever that is, write it down. And then your, side seam. Another important measurement is from your shoulder at the arm hole across your bust to center front at waistline. That measurement is important, right? So from here across your apex to the center front, That's another important measurement to write down. And eventually you see a map appears, right? And then we take those measurements and we either adjust an existing pattern or you can start one from scratch if you're, if you're familiar with pattern-making enough to create a pattern from scratch. Okay? So these are a couple of techniques that will help you in adjusting patterns. Again, we could spend hours talking about grading a pattern, but that's a whole other chapter, maybe I'll do a class just on grading.... 8. Pattern Making PART 5 #8 - Inspirational guidance and advice. Words of wisdom for the artist wit: So I have taught you a lot of technical things, which is all necessary. But now that you have that, explore, have fun with it. Bring the whole of your attention and presence to the creative process. And don't be afraid to make mistakes. There are no mistakes, there are no mistakes. Watch old videos of Karl Lagerfeld sketching. He would do one, didn't like it, throw it away, boom, start all over again. You see sometimes when we have to rip something apart and do it again, that's when the magic happens. The inspiration... a new idea is born. Bring color and texture and balance to your work and reframe failure and mistakes as "failing forward" towards what you will ultimately arrive at in designing. You see "you get what you bring" So don't forget that along with all these technical things, it is essential to bring in the spirit of creativity, Lo Spirito della Creativita. Ci vediamo in classe. Ciao. 9. Pattern Making PART 5 #9 -- Conclusion.: Well, I hope you've enjoyed this course. We've covered a lot: bias, and asymmetrical designs and peg skirts and cowl on the side of a skirt. Check out my other courses and I hope to see you in the next one.... one final note, stay in touch. Email me, I answer all my e-mails and let me know what you want to learn next, I will do my best to satisfy your requests... Ci Vediamo in Classe,