Pattern Making for Fashion Design - PART 3 - Collars, Necklines, Bias Necklines, Facing, Button Ext. | Nino Via | Skillshare

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Pattern Making for Fashion Design - PART 3 - Collars, Necklines, Bias Necklines, Facing, Button Ext.

teacher avatar Nino Via, Fashion Design, Instructor & Consultant

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      Drafting the Mandarin Collar


    • 3.

      Drafting the Peter Pan Collar


    • 4.

      Drafting the Sailor Collar


    • 5.

      Convertible Collar + Facings + Buttons & Extensions


    • 6.

      Convertible Collar (continued from previous lesson #5)


    • 7.

      Buttons + Button Extensions + Buttonholes


    • 8.

      Cowl Neckline


    • 9.

      Yoke Necklines (Part 1)


    • 10.

      Yoke Necklines (Part 2)


    • 11.

      Clean-finish edge: Facings + Interfacings + Understitch


    • 12.

      Clean-finish edge: Bias-Binding + Piping


    • 13.

      Asymmetrical Designs + Boat Neck + Sweetheart


    • 14.

      Ruffles. Cascades. Conclusion.


    • 15.

      Bonus Lecture: FAQs, and other "goodies", etc.


    • 16.

      What's NEXT? Pattern Making-Part 4


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About This Class

Want to learn Pattern Making in fashion designing? This Course is 'PART 3' of Pattern Making for Fashion Design

It shows you how to draft Collars and Necklines.  It shows the drafting of Button Extensions and Buttonholes

It explains the use of Bias grain lines as used in the Cowl Neckline. And how to finish the edge of a neckline using Bias-Binding, and Piping. 

Also, you will learn how to draft: Facings, using Interfacings, and Under-stitch.

I suggest you view Pattern Making Part 1 and Part 2, but it's not necessary, if you have some pattern making experience, you'll be ok.

The Course will show you how to draft Collars and Necklines:

  • Mandarin collar

  • Peter Pan collar

  • Sailor collar

  • Convertible collar

And: how to draft a:

  • Cowl neckline

  • Scoop neck and Facing

  • V-neck with Facing

  • Boat neck and facing

  • A-symmetrical necklines

  • Facings

  • Interfacings

  • Under-stitch

  • Bias-Binding

  • Piping

Feel free to visit my website if you have any questions:

Pattern Drafting is a very important aspect of the design process, it takes years of practice to perfect the craft. If you've taken PART 1 and PART 2 and you gained knowledge, then this PART 3 will build on top of that, and will definitely increase your skills necessary to perfect the art of pattern-making.

Included in this Part 3, there will be some DRAPING involved as you will see in the making of the COWL neckline, which is very beautiful (if I may say so myself).  You will also see how to use BIAS Grain Line, which is how we create the Cowl Neckline.

Working on half the dress form is standard (and normal) in the industry except when creating A-symmetrical designs, in which case we have to work with an "open" pattern, meaning including the left side AND the right side of the pattern.

I will be demonstrating using the Dress Form and the White Board and Dotted Paper, so you will definitely learn how to create all these ideas.

We will cover the drafting of a Facing, and an Inter-facing, and the use of an Under-stitch when finishing the edge of a neckline.

We will review the TOOLS used in Pattern Drafting, such as: Hip Curve and French Curve and Notcher. And of course scissors and Dotted Paper for drafting purposes.

We will be combining what was covered in Pattern Making PART 2, such as YOKES, bringing Yokes into the picture and adding fullness to a garment an adding a Yoke to it to create a new idea/design.

Check out my other Classes/Courses on Fashion Design:


Pattern Making (Part 1):

Pattern Making (Part 2):


Collection Development & Launching Your Brand:

Business of Fashion:

Fashion Branding & Marketing:

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Nino Via

Fashion Design, Instructor & Consultant


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1. Introduction: Hello everyone and welcome back. I say welcome back because I have a feeling that most of you have already enrolled in at least one of my other courses in fashion design. So welcome back. This one is on pattern-making. Why pattern-making? Well, because my best selling courses are pattern-making n draping. And many of you have been emailing me and requesting it. So here it is. This particular course we will focus on nullclines, included the Mandarin color and a convertible color and a Peter Pan color seller color, as well as creating different neck lines, different shapes like with gathers and sharing and please and a yoke with gathers and how neck line and the different shapes of a next line like a sweetheart and decline and a V, Neck and Neck and scoop neck and so on, will get creative and I'll show you how you can take part of one color and combine it with another to create a new idea. And you design will talk about how to finish a neck line, the edge of an outline, you can leave it R4. So we'll talk about facings, have created a facing. And if you have buttons, you will need a button extension. And I'll show you how to do that. So I'm really excited to show you a lot of new fun and creative techniques. We'll start with the Mandarin colour. It is simple and it'll be the foundation for other college to be built on. So let's get started. 2. Drafting the Mandarin Collar: We'll start with the Mandarin colour. It is a simple and it'll be the foundation for other colors to be built on. So let's get started. So the way I'm going to structure this class is that I'll be going back and forth between the form, the dress form, and the white board. I will need measurements. I'll need the measurement of the neck line. We're dealing with neck lines, we need the measurement of the neckline. So either we measure the dress form or we measure the neck line of your panic. But we need some measurements is we're going to start with two lines perpendicular to each other. And we're going to label one CB for center back. We're going to measure the measurement from the center back on the neck line to your shoulder scene. We'll put a little notch right there and then continue measuring the neck line to center front. Again, we're going to measure from center back to your shoulder, put a little nudge and then continue to your center front and put another notch. That is the beginning of the drafting process. Now I'm gonna take it to data paper and I'll show you exactly how we, I have this. Okay? So we're going to start by drawing two lines perpendicular to each other. And that means that this corner right here is a 90 degree angle. Okay? We're going to label this C, B for center back. This will be our central back, and this will be our neck line. Now we know we've measured the form or the pattern. And we know that from center back to the shoulder is three inches. So we measure three inches and we put a little cross mark, little notch. And then from the shoulder to center front is 33 quarters. So we measure 33 quarters and we put all cross mark right there. And that's our center front. Next, from our center front cross mark, we're going to measure up half h and put all cross mark. So we're gonna go up half inch and put a little cross mark just like that, up half inch by their pro cross mark. Next with our French clerk or hip curve or any kind of curve. We're going to place the curve, the ruler right at that half-inch cross mark, blending into the shoulder, neck line, cross mark. Just lie. This next from this new cross mark right here, we're going to create a 90 degree line going in this direction. And in case you forgot, 90 degree line looks like this is a 90 degree angle. So I, if I place my ruler here and go in this direction for by an ancient inch and a half. So we are going to shape it in a minute. So I've just created a 90 degree angle right there. See that? Next, we're going to figure out the size of our Mandarin column. In other words, how big is this color right here, but it's this measurement. I'm going to make my one inch. So therefore, from this line right here, I'm going to measure one-inch. Ok. Again, I'm going to measure from the neck line up one inch, all the way up just like that, most Mandarin colors had a rounded shape right at the center front, right here. So we're going to round out this corner right here. So sorry, I won't be a 90-degree angle, it will be a rounded corner. And you can do it by hand, creating a round shape right here. Or if you want to use, say, the inside of your French curve. Like So. Just to create a nice smooth curve right there. Now when you look at the Mandarin color, you'll notice that there is this outside piece, but there's also an insite piece. So it's actually covet twice, right? You must put this unfold obviously and cut it twice. Which means that you have two pieces, one for the inside part and one for the cloud. And when we're all done with demand during a color looks like on the floor today. 3. Drafting the Peter Pan Collar : Okay, in this lesson we're going to learn how to draft a Peter Pan cower. Appear.append color looks like this. And it's very easy to draft, super easy to draft. All you need is a front and a back. Let's do it. Okay, so we'll use our back slope over. Here is our center back. Place our center back with, aligned with one of these numbers are dots. If you do have this kind of data paper, if you don't, that's okay. And I'm going to line it up like this. And then I'll take the front slipper. And I'm gonna take the shoulder seam of the front, matching it with the shoulder seam of my back. See, the two shoulders meet up right here. And now I'm going to trace my neck line. I'm going to start by tracing my center back. Maybe 456 inches, just a small section. Just like this. Trace your center back, trace your back neck line. Moving on to the front neck line and to center front. And just a little bit of the center front section, just like that. So you have basically that. So this is our center back, and this is our center front right here. Okay. You should know the size of our Peter Pan colored. Maybe it's 23 inches. And so from center back we're gonna measure maybe 23 inches, whatever the size you want, your Peter Pan color. And then watch this. I'm gonna do it with one sweep from center back here. I'm going to create our center front meets bike over here. And there's our Peter Pan color. Now, if you don't feel confident to do it with one freehand sweep, you can always use good ol hip curve, a French curve. And you can trace your French curve to create a beautiful shaped Peter Pan color. And if you wanted to cut it out and staple it to Manila to create a manila pattern, you staple it, cut it out. And just like we did in demand during Carlo In the previous Mender and color, we cut it twice. C, there's two, there's two pieces, one for the top color and one for the under color. And when you remove the dotted paper, you have two pieces. Is your Peter Pan. And on the forum a looks like this. 4. Drafting the Sailor Collar : Okay, next I'm going to show you how to draft the sailor color, which looks like this in the front and like that in the back. There are variations, obviously. Another words, if you make this area wider here, it will affect the shoulder area and coming down to the front. The front can come to a single point at center front. Like this. Or you could have an embellishment than a front like a bow for example. The drafting process is similar to the Peter Pan Carlo. We just finished where the we take the front and the back sleepers and we put it together with the shoulder seem right. And then we started drafting you. So let's do it. Okay, so here's my back slope or its center back. Play center back on your data paper. And like I said, we're gonna take our front bodies and connect the two shoulder seams together. And I'm going to trace my center back, my neck line. Both back and front and back line. Come down center front. So you have that. Okay. So I decided to make my center bat length eight inches. So I'm going to measure eight inches and put all cross mark. And I'm going to square a line. Square, meaning we're creating a 90 degree angle, like so. And the width of it, It's eight inches, but we're working on half of it, so it's four inches. So I'm going to measure four inches is right here. Flow cross mark. Next. I decided to have my center front lower to six inches. Next, I'm going to use my hip curve to connect my center front cross mark to my back. And so from center, from cross smart, come across to the back cross mark. And now we're going to create one final line from your neck line to my center front cross mark. Some are take my ruler and line it up from my center front cross mark to my neck line right there and draw one straight line. Ok, this will disappear, there'll be gone. That will become my cellar color. Center back will be cut on the fold so that it looks like this. There you have it. And just like we did in the PDP-1 color and the Mandarin colour, we will cut this twice, one for the top color, one for the undercover Silly of two layers together to create several color. Just a little note here. These are video classes. So which means that you can pause the video, rewind it, and watch the lesson. Again. If you don't understand something, if I'm going too fast, I did have a student who emailed me and she said that I was going too fast, which is possible. But I want to remind you that because there are videos, you can always pause the video, rewind it, watch the material against you really get it down. So I encourage you to do that if necessary. Okay, great. Let's move on. 5. Convertible Collar + Facings + Buttons & Extensions : Next, I wanna show you how to draft a convertible color. There's a few variations. This one is one example. And this particular one happens to have what is known as a stand. This piece right here is a stand. And then we add the color attached to the stand. And as always, there's two pieces, is the inside and the outside as well as two pieces to the column is a top color and under color. I'm going to show you how to do it in both ways with the two pis and all in one piece without the state. And I'm gonna show you how to do both variations. If you notice this piece right here that I'm referring to as sustained, looks familiar. And that's because it looks just like the Mandarin color that we drafted a ready. In fact, it's so similar that we're going to go back to our rendering colour and then create a colour to attach to the stand. Okay, before we get to it, up until now, the colors that we've made so far, they come and meet at center front. In other words, they do not overlap the first time. Now we're looking at a blouse, for example, that has buttons, so that front, the two fronts overlap to create a button extension. So we can have buttons. So we'll talk about buttons and button extensions, which will affect our stand, our colors stand, and therefore the whole color. Whenever you have a garment with buttons, you must have a button extension. The center of your button is center front. Remember center front. So this is my center front. The buttons are lining up with center front. Anything past center front is known as a button extension or button hold extension. And how do we know the size of the extension? The general rule in industry is that the extension equals the size of the button. In other words, if I have a one-inch button, I have a one inch extension. Also, whenever you have buttons and a closure, you also have a facing. This is a facing. I'm going to show you how to draft a facing. I've traced my front. Here's my center front. If I want to have buttons, I need a button extension. And let's just say that I have one inch button would give me a one-inch extension. So I'm going to measure one inch. And this is my extension. My buttons theoretically would go right in the middle of Central Front. And this is my extension. After I've created my extension with the buttons and all that, I'm gonna create a facing for the front. And obviously we're going to sew it to the front. So whenever we're sowing something We need was seam allowance. We need seam allowance. So editor coordinate, similar ones and the edge, quarter of an inch at the neck line and half-inch at the shoulder. I'm going to trace my front. And since the facing is only going to be in this section is airy right here. I don't have to trace the arm hole in the side seam. And all that I'm gonna do is trace my shoulder, neck line, and center front. Okay? So since I am, I've traced a pattern that has similar ones already. Therefore, there is already seam allowance. In this piece that I just created is facing is a quarter of an HTML on see here, there's a quarter of an inch around the neck line. There's a half-inch at the shoulder. And using hip curve, I'm going to create my facing just like this. There is no set specific measurements. It could be two inches, 2.53 inches. So you can measure maybe two inches or so. It's about two inches right there. And we'll do three inch waist. And that is are facing. To be continued in the next class. 6. Convertible Collar (continued from previous lesson #5) : Okay. Thank you. Uncomfortable Color. The reason I was showing you all this other stuff with button extensions and so on, is because if you notice on the stand, we have a button. So we must have a button extension, which we do not have on-demand during collar C, This piece is the Mandarin is very, very similar to the stand of this convertible color. So I'm going to show you how you can take your Mandarin color, right, and turn it into a stand by adding an extension to the front section. We are an extension. And then from there we'll draft our color. Now, one more thing, since someone that note, notice one thing. Our, once we close our front, we button his shirt. Notice that the stand does cross over with the button extension. However, the color itself meets right at center front. Okay, you just trace the Mandarin color. However, when we get to center front, okay, number, we have to add an extension. So again, going let's say it's a one-inch extension, right? We have a one inch by one inch extension. So it looks like this. Again, this is my center front. Here is my, my button extension. And this little curve will just trace this shape and just blend. Ok, we now have a stand for the convertible color. And again, this is our center front. There's an extension. The button would go somewhere in here. This is your button, right? The size of this white blouse, the colors 2.5 inches. So I'm going to measure 2.5 inches right here. So from this line here, I'm going to measure 2.5 inches up and start developing and drafting the color part. And again, using our French curve and our tools, I'm going to blend this line and then decide on the shape of my color. Now, I could cut this all in one piece, pretending that this seem this line is not here. This would be one piece or I could separate the stand from the color and have two separate pieces, just like we have here on the white blouse. I have separated my color stand from the color. So I've cut the color. And as always, we've cut to pieces, one for the top color and one for the undercover. But in this case, we're going to make the top color slightly bigger than the under color. I'm going to remove 1 eighth of an inch, 1 eighth of an inch from the top to 0 at center front. I have removed 1 eighth of an inch from the top section to 0 at center front. So the smaller piece is my under color, and this is my top color. These two pieces look alike, but they're slightly different. So in a factory, the seamstress has to know which one is the top and which one is the under color. So the way we differentiate is the top color at center back, we put one Nutch right there, see it's center back, one notch, whereas the under color, right, a quarter of an inch away from center back, we put a notch, so when we open it, you have to notches. So two notches tells me it's the under color, whereas one notch is the top cover. Also, because we have a top color, n and under color, we could actually have fun and be playful and have a contrasting color for the under color. And if you wanted to keep the stand and the color all in one piece, you basically cut all around without separating stand from the color. And it wouldn't look like that. And the button would be right in the center here, center front. Okay. There's your button right there. Filter practice, you stand. And there is your Allen. Alright. 7. Buttons + Button Extensions + Buttonholes : Okay, so we've talked about buttons, extensions, facings. We haven't talked about the button hole itself. With a button it goes through. How do we figure out the size of the button Hall and where is it placed? Now? Generally speaking, the button Hall is the size of the button plus 1 eighth of an inch. Size of the button, plus 1 eighth of an inch. If we have a one-inch button, our button Hall is one inch and 1 eighth. Where do we place our button? Who? Some students think, well, we have an extension. So therefore, the button Hall must probably go in the extension. Wrong. That is not where it goes. Let me explain how that works. So we have 11 eighth. We have 11 eighth button. How right? So the way it works is 1 eighth of an h goes in the extension psi and the rest goes in the body, in the, in the body's side. This is where the button hole goes. In other words, it goes like this. So 1 eighth of an inch goes in extension and the rest goes in the body. Part. One final note on button holes. Most people do not have a button hole machine, right? I mean, do you have one? Probably not. So let me show you a trick on how you can create your own button Hall at home using your regular sewing machine. Okay. Follow me. Most sewing machines have a zig zag stitch, right? You know how to do this exam. If you take your zigzag machine and you do a little zigzag like this, zigzag like this, right? And then do the other side like this. Ok. So you have two rows of zigzag. Then you take your pair scissors and you put a cut, you slashing, put a hole in here. You will have homemade button. Okay. 8. Cowl Neckline : Okay, next we're going to create a cowl neck line. But before we get started with that, let's review some grain lines and you'll see why we need to review green lines. Okay, here's our fabric, is our role of fabric. We pull out the fabric. This is our salvage right here. This is the edge of the fabric known as the salvage. And let the length grain, the left grain of the fabric, is parallel to the cell which has the length gray. Cross grain goes this way. And 45-degree angle is bias. Bias is important for a cowl neck line because the bias grain line will go on center front. You see almost always we take our length grain and we placed the length gray on center, front, right? Well, with cowl neck lines, the bias is why cows on center front. So to create the cowl neck line, I'm going to combine pattern-making and draping. I've folded my Muslim are 45-degree angle. This becomes my bias, right? I'm going to use my slope to start. So I'm going to pivot this dark arrow, the front, if you don't know what I'm talking about or what I'm about to do. Go back to Panama making one, my parents making one class. We'll show you how to manipulate darts using the apex as the pivoting point. Always the apex is the pivoting point. I'm going to start by tracing this portion of my waistline until I get to my first notch, first leg of the dark k, using the apex, the pivoting point, I'm going to close this dot by placing the second leg on top of the first leg like that and continue tracing the rest of the front Hadar and shoulder. When you get here, just continue going through the fold because this will become my drain in a minute. When I remove my pattern, I should have something like that. Okay, I'm going to cut this out and I'm going to leave about an inch extra fabric all the way around. So about an inch or so, go ahead and start cutting this out. So this is my bias. I'm going to crease my center front here so that when I open this up, I will add this crease, which will become my center from bias. Okay, now I'm ready to take my Muslim to the form. There is my bias center front and I'm going to pin it on my form. Most cowl neck lines work better with soft drapery fabric. And by folding it like this, will start creating our neck line. And now it's a matter of creating folds in the center front, which will become our cowl neck line. And I can manipulate the neckline so I can it come close to the neck or not or keep it more open like this, for example. And then we can always adjust the neckline and shrink some of these fabric of folded over. Our you can really get creative and have fun with it. You can always go back and release some of that tension by slashing into the waistline. So it's nice and smooth. Once you know the basic idea, the cowl neck line, you can adjust and modify the rest of it. You can skip some of this. For example, if I don't want all this fabric here, I can always trim some of these are and make it more like that, for example, and then continue on to the bank. Then you can always go back to your original data paper Patton and work on half, half of the Muslim, right? As we always do, we'll fold the center front in and then so that the left and the right side are the same. Okay. 9. Yoke Necklines (Part 1) : Okay, in this lesson, we're going to focus on net lines with jokes. Now in my pattern-making Part Two is a whole section on York's, York's with stripes and so on. So check it out if you haven't seen that yet. I'm going to start by using my wonder slipper. And I'll show you how to create this type of neck line. Okay. Now, this is a rounded shape yolk, but it could be a square. Neckline is square. E0 shape doesn't really matter. The principle is the same. So I'm going to start by tracing my pattern all the way around so that you have that. Next, we have to create the shape of our yoke line so we can use our tools, either the French curve or the hip curve, to help us create a nice, beautiful shape. So I'm going to create my yoke style line. You want to make sure that this point right here, this corner is a right angle, it's a 90 degree angle. Okay, so I mentioned that it's important to have a 90-degree angle with the neckline which center front or sent the back, that this be a 90-degree angle. If it's not, watch what happens. Okay, so I've traced a neck line on a piece of Mandela paper. And if I don't cut it at a 90-degree angle, if I go something like this, for example. And see this is not a 90-degree angle. If I open this up, guess what I have here. What a neckline networks like that, right? You know, and the same thing goes, if I'm, let's say I'm doing something like this. That's also not a 90 degree angle right there. And if you open this up, you'll get that. Ok. If it is a 90 degree angle, right? Air, when you open your pad up, you get a nice smooth neckline. This pattern has a dark, but I don't need a dark. I'm going to ignore the dark. We'll just pretend that this state, a smooth hemlines. Next I'm going to cut out the yolk. I'm going to separate the yolk from the rest of the body. Before I separate the yolk from the body, I'm going to put a couple of notches, like one here and say here. Check next. I'm going to add fullness at the neck line here at the yoke line. And the best way to do that is to slash and spread the pattern to add fullness. Okay? I have added some guidelines, some slash lines. I'm going to slash and spread the pattern in a minute. Before I do that, I'm going to put some notches. And you'll see why in a minute. There in important. I'm going to slash and separate these pieces. Going to slash n, spread the pattern, and see the purpose of these notches is to keep some kind of a consistency in the way that I place my pieces so that their own end up doing something like this, for example, serve. So I have slashed and spread my pieces to add fullness at the yoke line. I'm using these notches to keep some kind of a consistency with the pieces here. Now the tricky part is, this next line is all kind of crazy angles here. How do we create a smooth neck line, right? To be continued in the next class? 10. Yoke Necklines (Part 2) : So again, we're going to use our tools, hit curved French curve to create a new line, a smooth line, which will blend all these points here. And in this case, I'm going to use the inside part of the curve, of the hip curve because it actually gives me a better curvature. I better smooth line. And then just gonna blend it here. And now it's just a matter of carrying out the pattern. So when I cut this out in fabric or Muslim, it just a matter of gathering all this fabric here to create, gathers and sharing to fit back into the yellow. But what if I don't want gathers or sharing here? What if I want pleats instead? So to create pleats here, what I'm gonna do, I'm gonna take a piece of data paper, place it underneath this pattern right here. And I'm going to Scotch tape My yoke line to this piece of data paper. So I'm going to fold my paper over like this as if this was a plead for example, and I'll do the same thing for all the 0s. Now what happens is that we have to reshape our yoke line are neckline are yoke line right here because right now it's kinda crazy. Once again, I'm going to use my French Curve or hip curve to reshape this line right here. And then with the pleats folded, I'm going to read my new yoke line. So when I open this up, when we put a notch right here and here, telling me that this will be sewn to here like so. This will be sewn to this like that. And this notch will be sewn to here, like so. And one last time this one will be sewn to this one like that. The CME trust will know how to put all this together to create pleats instead of sharing and gathers. And once this is sewn together like that, it will fit nicely with our original yoke. And the notches will match right here, and everything will fall into place. 11. Clean-finish edge: Facings + Interfacings + Understitch : So I mentioned earlier, if we remove, if we remove the yolk from this design, I've pinned this Muslim on the form. It's not sewn. I just pinned it on the form to show you if I remove this yoke section, I have a new neck line, right? But I can't leave this raw edge like that. It's not finished. So in this lesson and the next one, I'm going to show you how to clean finish the edge of a neck line using two methods. One is facing, creating a facing. How to create a facing, what is facing. And the other is using a bias binding or biased tape. So I'm gonna show you, okay, let's look at a very simple, basic V neck, neck line. If I turn this over, this is my facing. It's a 2-inch facing. As you can see, it follows the same shape as the outline of the neck line. And basically to create the pattern, it's very simple. Just create a pattern that's two inches along the edge of the V neck, crew neck or Scoop Neck and doesn't really matter what the shape is. It's 2.52, maybe three inches at times. If I turn this over, we'll notice a couple of things. Number one, this white material is called interfacing. Interfacing is fused, glued to the facing to give the neck line a little bit of strength so it doesn't become too flimsy or fall apart. So usually along with the facing comes interfacing and it comes at different weights, meaning different thickness, so to speak. And you can purchase, interfacing your local fabric store. The other thing that you'll notice is this tiny little stitch right here on the edge of the neck line. This is called the under stage. This is an under stitch. And the way you do an understood, which is that when you're sewing the facing to the body, you press the seam allowance, which is usually about a quarter of an inch towards the facing. And you so you run a stitch right on the seam allowance, catching the seam allowance and the facing. Right there it is. This is the facing, similar allowance facing. But you don't see it on the right side of the fabric. You don't see on the right side of the fabric, right? This nice and clean. The interface, the defacing, the facing gets the understood. Okay, so let's go back, let's go back to this design. So if you have a pattern that has no sharing, no gathers, this is how we created facing. But if you have gatherers and sharing on Nightline, what you have to do, you have to go back to the original pattern before you slash and spread the air fullness and create a 2-inch T2 to an average pattern. They will become are facing. So the facing will not have sharing or gathers. The facing will be flat and clean like this without sharing. Okay, you got that. So the inside piece facing no Sheree clean 2F inch piece facing with interfacing maybe. And that's how you create the facing for something like this, decide to be continued in the next class. 12. Clean-finish edge: Bias-Binding + Piping : The other method that we can use to clean finished the edge of a nullcline is to use bias binding or bias tape. This is bias tape or bias binding. It comes in different colors, different widths, quarter of an inch, half-inch, three-quarters, all different kinds of sizes and colors. And what it is, it is a pre-made bias tape. And if I open this tape, you'll notice that it's folded already pre folded. It's folded in once, twice, and then one more time to create a bias tape. And the neckline, any neck line or any edge of the fabric basically is sandwiched inside the fold of the bias binding. I have pinned just a few inches of the neck line and pretend that the pin is actually the sewing machine running over the bias tape so that it's clean on both the outside and the inside. Both Nice, clean finish. Like I said, it comes in different colors and sizes. So here is a quarter of an inch white buys binding on a piece of denim. Looks really nice, nice and clean. And here it is. Black on black like tape on black fabric. I use the, I use white thread to show you how it's put on, but I fuse black thread. It would look nice and clean and invisible like that. Now, since we're on the subject of finishing neck lines, this is piping and again it comes already premade. And it's like bias binding. But what it is, is biased binding with a piece of, a small piece of rope really sewn inside. So it creates this, this effect. So imagine for example, this V neck. If you wanted to use this piping or bias tape in the neck line, it would look like that. You see, it's kinda cool. So basically what this tape does, it accentuates the neck line and it's very easy to, so if this is the outside of the government for example. And so let's say this is the outside and this is the facing k. This piping, this bias tape is sandwiched in-between the self, the body, and the facing. How do we do that? So here we go. So if this, let say this is the right side of the fabric, you put the right sides together. And this tape, this bias tape is sandwiched in between the facing and the body, the self. And with one stitch, right, with one stitch, you can so all three pieces together, the facing, the tape and the body all in one shot. So imagine the neck line with this accent, whether it's, whether it's red or black, is pretty cool. And black all different colors, right? And by the way, this particular tape can also be used. Let's say you were doing a princess line, a princess seem right. With that, we called the hat to use it as an accent. In, sandwiched in between a scene. I can print this line for example. So just keep that in mind for future reference. And going back to our original yoke design, if you wanted to insert this bias piping in between the yolk and the body. You could do that as well as the neck line so you can play around, have fun with it. Okay, so we've covered facings and bias binding and bias tail piping to clean finish the edge of neck lines, right? So let's move on. 13. Asymmetrical Designs + Boat Neck + Sweetheart : Okay, so up until now, we've been dealing with symmetrical neck lines, meaning that the left side and the right side are the same. But what if we have a neck line where the left side and the right side are not the same. This is known as a asymmetrical design. And you notice how I work on half the form. And that's because once you have half of the pattern, by placing it on the fold of your paper, right? We'll kind of get on the phone. You have a perfectly symmetrical design where both sides are precisely the same. But in a case of a neck line of asymmetrical design, we really have to work on a pad and it's open. Let me show you when working with asymmetrical designs, we have to work with it open, padded. We can't just work on half the four because the left side and the right side are not the same. So we have to figure out the shape of our neck line. And you can use your tools to help you. So let's say we want something like this. Okay? So, and then of course we cut this out. So we end up with a pattern that looks like this. What's important to keep in mind is that the rest of the pad and your sightseeing your arm, whole point of the shoulder is exactly the same. Exactly the same. Right. The only thing that's different is your neck line. Okay? And to create a facing for this neckline, we'll use the same technique, the same system as what we did for the V neck. We measure two inches all around. Were measured twins from the neck line and end up with a facing that looks somewhat like that. When it comes to Nick lines, there is endless possibilities, endless options. You can have any styling that you want, and you can use styling tape to help you figure out the shape of a neck line, right? Let's say you wanted to have a boat neck for example. You can have an ideal say you went to something like that. And then you can measure saved from neck line. You want to come down a half-inch and then from the shoulder, rage when I come in and inch and a half and then you use your hit curve to create that. So with your hip curve or you're French curve, you can create the shape of your neck line. And then you would cut it out. And there's your boating. And the same is true for, say, for example, a sweetheart neck line, which looks something like this. Again, there is no set measurements. You really have to decide on the shape. You as a designer, have the freedom to choose any style line, any neck line. You have it. 14. Ruffles. Cascades. Conclusion. : Alright, let's have some fun. We're going to end this course. Tricks. Watch this. Well, if you wanted to add some ruffles, fear or neck line to your colour. If it looks complicated with three not FU, cut that circle that spiral out, right? All you do. You so one edge to the center front and it will automatically fall into this caliber cascade. Well, I hope you have enjoyed the course. Check out my other classes on draping and pattern-making and sketching and branding and marketing and so on. And stay in touch. Email me, I answer all my emails. Let me know what you want to learn next. Check out my website, YouTube channel. So no Nino via chipping, y'know, in classic Ciao. 15. Bonus Lecture: FAQs, and other "goodies", etc.: Hello everyone. In this bonus video, I'm going to answer the most frequently asked questions that I get from you guys, like supplies. When do I get my supplies from whatever gets scissors and muslin paper and so on. How do I get addressed for them when we get to dress form? And what's a good textbook to use e.g. so I'm going to answer all those questions for you. So when it comes to supplies, the company that I use, and it's a great, great, great company, is called French European Inc. They have every supply, every item you can imagine for fashion designing, for draping, for pattern-making and so on. So check them out. Including forums, yes, including dress forums. When it comes to textbook, this is a great textbook for pattern-making. It's called pattern-making profession designed by Helen Joseph Armstrong. I highly recommend it. Okay. So that's that on supplies, dress forms, textbook. So, okay, moving right along, what is the first course that I should start with? What is the order that I should take your courses in? Or another way of saying it is, I love fashion designing. How do I start? Where do I start? Right? So I'm going to answer your question like this. You could divide the industry, the fashion industry, into two areas that co-exist. One is the creative aspects of the industry, and another is the business aspect. And the two have to work together. If you're in the creative aspect, meaning if you'd like to sketch and paint and draw, I would say start with sketching, sketching classes and the draping classes and the pattern-making classes, which there are quite a few, as well as the fabric course, which is really quite an intense course. But if you say, well, you know what, I'm not really very artistic. I liked the business part. I like to buy and sell fashion and social media. Then the course is to take would be the business of fashion. That's the title of the course, which is, as the title says, it's about the business side, right? The financial aspect, buying and selling. Then there's also marketing and branding. Have you ever wanted to draft? A basic bar is basic pattern from scratch, using specific measurements to fit your form, to fit yourself, to fit a customer well. In this course, I'm going to show you how to do that. I'm going to show you how to measure a body so that you can create and draft a basic bodice, front and back, and a skirt as well. But there's one course which is how to create a fashion collection and launch your own brand. Which is really an overall picture of the whole process from beginning to end, meaning from the inception, from your ideas and mood boards and sketching and some pattern-making and draping onto production, manufacturing, some of the business of fascism, branding and marketing and so on. That will give you an overall picture of the industry runs. It'll give you a good idea, maybe which way to go, which way to start, how to start the process of taking these courses and learning about the fashion designing process. Okay. How did I get started in fashion design? I get asked that question many times. Well, let's start with the fact that I was born and raised in Rome, Italy. So I was surrounded by art and history and beauty. I mean, wherever you turn in Rome, There's beauty like fountains, e.g. such as the Trevi Fountain, where the famous movie like Dolce Vita by Federico Fellini was shot with Marcelo Master Yan. And the beautiful and either Egbert and of course, architectural wonders like the Colosseum and frescoes. Rama kept bell logic that I was always good in. I was drawing and sketching and painting. When I was 13 years old, my parents immigrated to New York and I eventually attended one of the best fashion design schools in the world, FIT Fashion Institute of Technology, fashioned by day and yes, music at night. I was in Iraq. After graduating from FIT, I worked at Ralph Lauren and we had the best Italian tailors in the world who share with me knowledge and skills and wisdom from the old school, which I incorporate in my classes. My mom was a seamstress. She was always working on some project or another, either making something for myself and my brother or working for a factory sewing clothes. So I looked at her sewing machine as a toy and I started playing around with it. When my mom passed away. She left me her fashion design homework notebook from when she went to school in Italy, something I will always treasure because it's full of inspiring information not available in any textbook or school. After working in the industry for many years and teaching at FID m, the Fashion Institute in Los Angeles. I decided to start sharing my knowledge and experience online, creating fashion premier Academy, where I teach courses on sketching and draping and pattern-making, branding and marketing, textiles and board. I also have a YouTube channel where I answer all my students questions. So I look forward to answering more of your questions or senior on Zoom. She been Yammer in classic Ciao. Fashion can be a form of self-expression, of fun and creativity and can be a vehicle for you to make a difference in the world. But what if you're lacking the resources to grow? Did you know that Samsung has a fashion division? Yep, they do. Their vision is to support and empower new designers and companies that want to grow and expand. As a consultant with Samsung, I am positioned to introduce new brands to Samsung's resources. The possibility to elevate your brand to a whole new level. When I was working at Ralph Lauren, we had weekly meetings and fitting on a model. Model would come in, we would try on the latest samples, jackets, dress. And so on. One day we had this new jacket and the model puts it on. And Ralph says that lapel should be an eighth of an inch smaller. I was so young and naive. I didn't know. I'm thinking, well, an eighth of an inch. Who's going to know the difference? An eighth of an inch, right? Anyway. So took notes, went back to the sample room till the tailors, seamstresses what to, what to do and so on. Fast-forward. Many, many years later, I am teaching at the Fashion Institute one day. In my classroom, I got my 17, 18 students around my, my table. I'm doing a demo and I'm telling them this story. And I told him that sometimes a little difference, like an eighth of an inch makes a difference between good and great. Anyway, so I do my demo, I tell the story, they go back to their desks and they continue with their work. And I'm walking around the classroom to see how they're doing. And one student, this one girl, was writing something on her hand. So she is writing something. What are you doing? And she showed it to me and it said, the difference between good and great is an eighth of an inch. Pay attention to details. Sometimes the difference between good and great, it's an eighth of an inch. And one more thing. For those of you who need one-on-one coaching and tutoring, I am available. That service is available. We can zoom, we can FaceTime. Or if you prefer, just a simple phone call, that'll work just as well. I would love to take you to the next level. So email me via and subscribe to my YouTube channel, you know, V01. 16. What's NEXT? Pattern Making-Part 4: All right, so you've taken pattern making part one, part two, part three is part four. It's all about sleeves. This is pretty amazing. Take a step, you've taken my other pattern making classes and draping, or sketching and branding and so on. Then this will really elevate your curriculum and your skills in the fashion designing process. In this course, we will focus on sleeves, well, sleeves and armholes because you know the two have to fit together, right? We will take the basic sloper and we'll use the techniques such as slash and spread for example. And we will add fullness to the sleeve. We'll make it long and make it short sleeve. A 34 sleep pup sleeves, bell sleeves. We'll do a cuff and so on. It's very creative, so I'm looking forward to seeing you in class chiamo in class O.