Bias Shaping? Answering Sarah's Request

On a post a week ago, “Creative Technical Design Solutions, 1960 Bias Shape”, Sarah asked in a comment, “How do you stretch the bias? Are the skirt panels cut mirror image for symmetry?” I repeated the photo for everyone to see again. Note that the skirt of the dress I cut on the bias, and it is attached at the empire line. It is cut in four panels, a “pair” in the front, and a “pair” in the back, because the front and back, of necessity, are slightly different shaping. “Mirror image for symmetry” is a correct understanding, but we use the word “pair” in the industry. Also note that it “skims” the waist rather than revealing it, and it is an “A-Line” shape from hip bone to hem. That is, the flare of the hem is a straight line from hip bone to hem. All 3-D curvature is caused from the bias and the flare at the hem is caused by stretching the bias at the empire line.

I made three sketches to describe the process. These two words are emphasized because I want all to know this is not telling you how to make the pattern. They are rough sketches to help you see the process in your mind. The first is simply a 2D sketch of how the eyes sees 3D. So many beginners do not understand this, and call it 3D. The second sketch, please note has the same hem sweep, but is much narrower at the empire waist, and is stretched to the proper measure for matching the top. The third sketch is the lining, that has a dart to shape it. It is sewn totally free from the skirt shell. You need to develop the lining shape first, which then, on the dress form, is a base for stretching the bias of the shell in silk doupioni properly, by draping the pattern shape. Every different fabric has a different falling bias, and needs to be draped. This kind of shaping can never be accomplished flat on the table.

Interestingly, in one of Tess’s new shaped coats, I had her stretch the cross grain of wool at a high rise waist to accomplish something similar but much less sweep.

Let me know what you think, and if you can understand this in words. I’ve always done it by demo’s.

Inner Visualization of 3-D / 2-D Translations in Pattern Making

In 1980 I self-published a book, “Let’s Design A Dress”, and advertised it in Glamour Magazine. The book’s purpose was to present to young designers a new and far more efficient way to learn pattern making, especially for production. The system involved a set of nine Primitives (slopers) as a standardized base for all women’s clothing. For students, starting with a standard pattern with industry production information encoded, leaves the designer freer to create. In the late 1980’s these “primitives” became the basis of my National Science Foundation grants, and I took the book off the market.

The first graphic is a page from that book. The process of pattern making that I teach, as I taught myself as a teen, is first done by visualizing inside the mind, rather than follow a set of rules, drafting and measurements that stultify creativity. To train students to “see” in their minds, the 3D clothing style and translate to the 2D pattern pieces, I prepared various exercises. The chart of five everyday 3D objects, translated to their 2D pattern pieces, was one of those exercises. Study each one, then close your eyes, and visualize the 3D object unfolding to become the 2D pattern pieces. And then, start with the 2D pieces, close your eyes, and visualize how the pieces fold into the 3D shape. Do this over and over and its amazing how it trains the mind to begin making patterns inside, as great engineers are capable of.

About twice a year I teach a class, “Fashion/Pattern Design for Beginners” in which I use this chart, one of which I started last night. To my great surprise , the October 8th Boston Sunday Globe Magazine cover had a picture of the 5th object in the chart, a baseball unfolding. It was depicting the Red Sox falling apart. It is ideal for those that have difficulty with “spatial relations” of 3D – 2D translations.

(Note) Sarah, in a comment, asked about how I “stretched the bias” in “Creative Technical Solutions, 1960 Bias Shape”. In another day or two I will post a sketch explaining just how I did that. Remember, everyone who reads my posts, you can sign up to receive them in an email through FeedBlitz. And, I always love answering questions.