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Dossier.F

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Emma Parke-WolfeThe Flou AtelierYear 2Fashion Atelier

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3Emma Parke-WolfeThe Flou AtelierYear 2Fashion Atelier

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Contents8

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Garment One

Garment Two

Draping & Flat Pattern

Manipulation

Toile

Draping & Toile

Final Construction

Final Construction

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DesignBias Cut

Design one is a soft bias cut jacket. Inspired by the dif-

ferent tears, levels and over lapping drape of chande-

liers. The fabric used for de-sign one has a good weight, yet delicate fabric with nice

drape; this decision was made to echo, the heavy look of draping chande-

liers, while at the same time hanging very gracefully.

The colour is a dark green, inspired by Chihuly organic chandeliers and sculptures.

100%

poly

este

r

One.

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Draping & Flat Pattern.

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CF

Bust Line Bias

Bias

Straight

Straight

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Draping Under Bodice

Design one is made up of two main bodices; the Un-der bodice and Outer bodice. The under bodice is the first to be draped. It is cut on the bias to create soft drape around the body, and good fit at the waist.

Cutting fabric on the bias allows the fab-ric to sit around the bodies contours without hav-ing to add darts or other methods of suppression.

The under bodice has no side seams to allow for a clean drape around the waist. This piece is draped with one piece of fabric, with a seam at the shoulder. It is placed at the shoulder because it will be hidden by the top bodice.

This diagram is the draft of the under bodice . The aim of this garment is to use the bias and keep the main elements of the cut on the true grains.

The diagram on the opposite page, is an indication of the shape and grain angles of the fabric used to drape the bodice.

CFBi

as

Bust lineBias

Straight

CB

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CF

Bust Line

Bias

Straight

Straight

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Bust lineStraight

Stra

ight

CFCB

Fold line

Draping Outer Bodice

The outer bodice is draped much like the under, how-ever it does not hang on the bias. The bodice hangs on the straight, to give a non-fitted silhouette, that will hang over the top of the fitted under bodice. The bias is located at the front edge. The edge, cut on the bias, creates a soft sweep-ing line across the body. The edge folds back on itself at the neck, and the fabric shifted slightly to reveal both layers.

The Outer bodice draft be-low clearly shows that this part of the jacket keeps on the true straight at centre front, and the true bias at the front edge.

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CFBi

as

Bust lineBias

Straight

CB Bust lineStraight

Stra

ight

CFCB

Fold line

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Red = Outer bodice

Blue = Under bodice

Draft Both Bodices

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Draping The Sleeve

Only half of this sleeve can be drafted on pa-per. This is because to get a perfectly draped pleat at the shoulder, it must be done by eye.

Once the armhole shape has been drafted, the un-der arm can then be traced onto the sleeve draft.

The top of the sleeve, where the pleat will be, has been left with a large area of fabric to drape with, as can be seen in the diagram below.

FB

Bias

Bias

FB

The sleeve is cut on the bias to get a soft drape from the pleat. This way, the pleat will fall nicely over the arm when the garment is worn.

Large area of fabric left to drape the pleat.

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FB

The pictures opposite show the draped sleeve with the pleat. While the draped sleeve is pinned into the bodice, the width of the sleeve is falling where is naturally wants to. This is marked and looks like the diagram below.

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Toile

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Sewing Under Bodice

The two bodices are assembled separately. The photographs oppo-site show the under bodice attached at the shoulder seam.

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Sewing Outer Bodice

To sit over the top of the under bodice, the outer bodice is attached at the seam behind the shoulder, as can be seen in the photographs op-posite.

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Finishing Neckline

The majority of the nackline is finished by the two bodices sewn right sides together and bagged out. However the one side of the neckline that over laps the rest must be finished speratly.

The part of fabric across the cheast that folds back on itself can also bagg the rest out the rest of the nackline. as can be seen in the images below.

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Sewing The Sleeves

The sleeves are carefully sewn into both layers of the under and outer bodices. The pleat has been sewn to slightly overlap by 2mm at the shoul-der. This is for strength; to ensure the weight of the pleat does not pull at the fabric where the pleat divides.

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Adjustments To the Toile

Before the final construction, a few adjust-ments must be made to the pattern of this garment.

The over all length of the under bodice is increased by 4cm.

4cm is also added onto the CF. This piece will fold back on itself along the front edge and finish the edge of the garment.

This is because it is on the bias and therefore frays very easily. Using this method of finishing eliminated the risk of stretching and fraying.

It is then opened to create more fullness and rape at the front.

The original under bodice is slashed into front the neck to the hem.1

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CFBi

as

Bust lineBias

Straight

CFBi

as

Bust lineBias

Straight

CBCF

Bias

Bust lineBias

Straight

CFBi

as

Bust lineBias

Straight

CB

CFBi

as

Bust lineBias

Straight

CB

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Construction

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Final Construction

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Fabric Testing

This fabric is 100% Polyester, therefore there is a danger of the fabric melting or distorting under heat. This is a test to see how the durable the fabric will be under heat.

Fabric under iron for a few seconds without steam.

Fabric under iron for a few seconds with steam.

Fabric under iron about 5 seconds without steam.

Fabric under iron about 5 seconds with steam.

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Fabric ConclusionThe fabric is absolutely fine under a few seconds of heat with and without steam. However when the fabric is under the iron without steam for 5 seconds, it turns slightly darker. It also burn slightly on ridges and bumps on the fabric surface. When the fabric is under the iron for five seconds with steam, it creates darker patches where the steam has melted the fabric. Whilst making this garment, the iron must not be on the fabric for longer than three seconds, especially if steam is used.

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Layplan.

Fold 110cm

150c

m

(3m

in to

tal l

engt

h)

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Under Bodice

The under bodice is assembled at shoulder seams with wrong sides to-gether. This is because the raw edges of the seams will hide underneath the outer bodice.

The centre back seam is finished as a french seam because both sides will be visible at times.

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Outer Bodice

The outer bodice is assembled at the back shoulder seam. All hems on the

bias are finised by hand pin hem-ming. This is a neat finish that works

well with the cut of the hem.

To allow the fabric to sit neatly across the shoulders, and hand well at the back, a dart has been placed

at centre back.

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Both Bodices

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The two bodices are placed together and aligned at the armholes. The neck-line is finished with both bodices sewn right sides together, and bagged out.

Instead of closing the two layers completely, the end had been left open for a nicer roll at the fold.

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Sleeves And Armholes

The sleeve is first basted pinned into the armhole, and the correct size of pleat is basted in place. The pleats overlaps slightly to reinforce the join.

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The soft fabric always shifts. To make sure the arm hangs correctly, the excess is pinned away and marked at the under arm seam. It may not hang the same if the pattern was fol-lowed without checking.

The sleeves are stitched into both layers of bodices, match-ing shoulder and under arm notches. The armholes are then bound on the inside for a clean finish. The thickness of the binding adds a nice soft structure to the shoulders for the fabric to hand from.

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FasteningsThis garment fastens in three places around the neck and chest area. To fasten the layers, small bagged out tabs and poppers have been places at the correct points. The garment fabric is placed between the poppers and tabs. The tabs give strength to the poppers and distribute the tension.

The photographs opposite show the order in which the layers and poppers are assembled.

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1 2 3

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Final Garment

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DesignFabric Manipulation

Design two is a soft dress exhibiting the use of fabric

manipulation. The ma-nipulation is inspired by the

round owls and free form sculptures by Chihuly. The

fabric is light and bouncy for the manipulation to

drape correctly. The back of the dress utilises the bias,

the corners are picked up and attached further up

the dress to create a heavy sweeping effect, much like

Barlas Baylar.’s chain chan-deliers. The colour of this design is a dark navy blue with a violet edge. This is

inspired by Chihuly’s natu-ral chandeliers and sculp-

tures of water and skies.

100%

pol

yest

er

Two.

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Manipulation

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Manipulating The Fabric

This manipulation has its best effect on a large area of fabric. It is made up of three gathered semi circles, that attach to each other in the middle.

First steps in creating the manipulation:

The fabric is first folded over. Sand-wiched together, a stitch it run through both layers in the shape of a semi circle.

The stitch is then pulled, allowing the fabric to gather up into a small round manipulation.

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2

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Once the perfect size of manipulation in step 1 and 2 was found, the accurate dimensions could be traced onto paper. This enables the manipulation to be replicat-ed, identically, many times.

Stitch line

St

itch line

Stitch line

Fold line

Fold

line

Fold line

Manipulation Pattern

This diagram shows the perfect distance between each manipulation, in order to cre-ate the full manipulation.

The diagram also indicates where the fabric should be folded in red, and where the fabric should be stitched in green. The light grey areas indicate the amount of sup-pression of fabric caused by this manipulation.

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4

As can be seen in Picture 3, the manipu-lation pattern has been marked onto the fabric, and is ready to be manipulated.

Here in picture 4 is what the manipula-tion looks like once the pattern has been followed

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300c

m L

ong

Selv

age

150cm Wide

Bus

t Lin

e

CF

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The manipulation is re-created three times across the fabric as shown below.

The top manipulation is located just below the bust at CF.

The side manipulations are located Below the lower hip at the side.

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Manipulation On a large scale

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Draping &Toile

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Firstly, the Front manipulation is pinned in place at CF.

The fabric is pulled around the body and anchored in the correct places.

The side manipulations are pulled around, towards the back of the body, until hey are positioned in the desired place. A short stitch holds the two sides together at CB.

Draping The Front

There are no zips in this dress because it would be too stiff against the fabric. The dress will be fastened in one point at the back.

Further construction details are explained in the ‘Final Construction’ section. This is because draping the toile is so loose and it is less about the steps of draping, and more about the preciseness of where it is draped.

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Draping The Back

The dress is anchored again at CB, this time at the bust line with ribbon. If the CB was sewn closed all the way to this point, there would be no room to get in and out of the dress.

The excess fabric at the back is picked up at the corners and crossed over to meet the opposite side. The corners at the front of the fabric are attached with the back corners, and the points are anchored within the folds of the draping excess.

At the shoulders, the back is pulled over the front, and then folded back on itself to create a sweeping cape-like effect.

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Construction

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Final Construction

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Manipulation Creating the Final

2

1 Once the manipulation pattern was chalked onto the fabric, the manipulations could be created. Firstly folding the fabric and running a stitch through the layers.

The thread is pulled, and the first gathered piece is made. For this main manipulation, the thread has been doubled up to ensure it does not snap, and the manipulation does not fall out.

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3

4

This is repeated for the second time.

And a third. Once all three groups of manipula-tions are complete, they can be attached in the middle, and draped across the body.

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1

2

3

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1

2

3

Steps Of Draping Front

Once the three manipulations are complete, the fabric is held to the mannequin and pinned in place at CF. The manipulation sits sym-metrically ether side of CF, and the top sits just below the bust line.

The two side manipulations are pulled around the bodice, to the sides of the mannequin, and temporarily pinned in place.

The excess fabric is pulled to the back, and anchored in two places (see image below). This holds the side manipulations in place and closes the dress.

This point will be fastened with a ribbon.

From this point, the fabric will be stitched about 10cm down. will be

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Shoulder Seam

1

2

The fabric at the front is pulled smoothly over the shoulder and marked.

The fabric at the back is pulled over the top of step 1. This part is stitched to the front fabric, however the seam is hidden when the back fab-ric folds over itself, creating the cape-like part.

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Fixing Front Manipulation

The final manipulation at the front of the dress is rather heavy. Therefore, the weight of the dress pulls on the joins between the gathers.

To add support and avoid this problem, a thick piece of thread has been threaded through each manipulation. When this thread is pulled it brings the heaviest parts of the manipula-tion together, in a way that does not pull on the unsupported parts. This can be seen in fig 2 above.

Now that the heaviest parts of the manipula-tion are secured, the final central join can be made to complete the manipulation as can be seen in fig 3.

1 2 3

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3

2

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Anchor points

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Steps Of Draping Back

1

2

3

Once the back of the dress is fastened with the ribbon, the two wing-like pieces fall to the floor.

Firstly, the two corners at the back of the fabric are picked up and crossed over. They are then anchored at the sides of the drapes. (Indicated by the arrows)

The two last corners at the front of the fabric are also picked up and anchored at the same points as the other corners.

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Finishing Neckline, Armholes and Hem

The Neckline on this dress is high, and fairly straight. Binding the neckline was the best solution. This way no stitching is seen from the outside. It adds strength to a delicate area and prevents it from stretching. The binding is hand fell stitched down so it is completely invisible.

The same finishing is used on the armholes, this is so they match. A facing would not be effective because the fabric is slightly see-through and would not look profes-sional.

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Zig Zag Stitch.

This garment uses the true edges of the fabric at the hem. It was more logical to finish the edges of the 3 me-tres of fabric, before draping it into a garment.

Here are some examples and ex-periments of the finishing used on all edges of the fabric, including the hem.

The Zig Zag stitch us created on a do-mestic machine. The fabric is folded over and stitched along the edge. One side of the zig zag stitch pierces the fabric, and the other does not. This creates a nice tiny finishing.

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Final Garment

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End