DRAPING
The French word for draping is moulage, meaning “to Mold or sculpt.” Fashion designers are artists,
giving physical expression to concepts as they work with form, space, and energy flow. Impact and
emotion enter with the use of colour and surface detail, but first a silhouette must be sculpted.
When draping, the muslin, or “toile,” is a work in progress, continuing to evolve until it is taken off
the form and turned into a pattern for a garment. Draping a new design, rather than drafting a fl at
pattern for it, is, for many, an easier way to develop the important skill of visualizing how a two-
dimensional sketch moves into a three-dimensional form. As the contours of the garment can be
seen taking shape during the draping process, it eliminates some of the guesswork involved with
pattern drafting.
Tools and preparation
The dress form
The primary piece of equipment needed to begin draping is the dress form. Many variations are
available. Choosing the right one will depend on your circumstances and needs. The best of these
covered forms are solidly mounted on heavy metal stands. Be careful of forms that are covered in
fabric that is too tightly woven, as pins will not easily penetrate. Standard dress forms usually follow
the measurement specifi cations of commercial sizing. In a professional design studio, a small to
medium size is often used. When the clothing is fi nished, it can easily be graded up or down for
larger or smaller sizes. Before using the form, you will need to defi ne the bust, waist, and hips. The
best way is to use a cotton twill tape, ¼–½" (0.5–1.5 cm) wide, and pin it around the form as follows:
Bust tape :
Start at a side seam and wrap the tape around the fullest part of the bust (the “bust point”), pinning
every few inches (7.5–10 cm) all the way into the form. Allow the tape to follow the form at the
center front. Keep the tape high in the back, parallel to the fl oor.
Waist tape :
The waistline will usually have a seam in the fabric, making it easy to identify; but if not, simply fi nd
the smallest part and wrap the tape tightly around the waistline, pinning as you go.
Hip tape:
Hip measurements are usually taken 7" (18 cm) below the waist. Starting at a side seam, pin the
tape horizontally keeping it parallel to the fl oor, at 7" (18 cm) below the waist.
Muslins
Muslin is the traditional garment industry standard used for “toiles,” or fitting prototypes. It drapes
differently from the fi nal fabrics of most of the garments being made in this book, but it has other
very positive qualities. First and foremost, it has a stable grainline that can be easily seen. Where
more loosely woven fabrics will stretch and pull out of shape when draping, the muslin’s grainlines
will remain perpendicular. It is light and supple, easy for cutting and folding and creasing with your
hands. The crispness makes it clear to see how the pieces are fitting together and when they are
balanced.
An important skill for a designer to master is the ability to visualize. This means being able to see
what a sketch will look like as a finished garment, and what a muslin drape will look like in the final
fabric. Silk charmeuse has a lovely, soft hand, for example, yet is difficult to handle in draping. If the
design is first draped in muslin, the balance can be achieved more easily. With some practice, you
will learn to visualize how the garment will look in the charmeuse after it is draped in muslin.
TERMINOLOGIES
Abbreviations CF = center front CB = center back
Diagrams Flat sketches :
The two-dimensional line drawings that are made from photographs as a blueprint for construction
and grainline confi guration.
Muslin-preparation diagrams:
The charts at the beginning of each project with the measurements of the pieces of muslin to be cut.
If the measurements of the form you are using are different from the standard form used here,
simply adjust the dimensions of the muslin pieces up or down. The measurements of the pieces have
an allowance of several extra inches, so unless your form is 3" (7.5 cm) different, the pieces will work.
Fit and figure Ease :
The extra fabric allowed in the fi t of a garment. For example, if the waistline measurement is 26" (66
cm) and the skirt waistband measurement is 27" (68.5 cm), then there is 1" (2.5 cm) ease in the skirt/
waist fi t.
Bust point :
The fullest part of the bust. Waistline The narrowest part of the waist area on the form. Hipline The
fullest part of the hip, usually considered to be 7" (18 cm) down from the waist.
High hipline:
This measurement is taken about 2–3" (5–7.5 cm) down from the waist at the hipbone where casual
pants, such as jeans, often sit.
Princess line :
The vertical line that divides the torso in half from center front to side seam. Usually it begins at the
center of the shoulder, but it can also curve out from the armhole.
Muslin Grainlines:
These refer to the direction of the threads. Woven fabrics consist of two threads interlaced at right
angles. The vertical or “warp” threads run parallel to the selvage. The horizontal or “weft” thread
runs crosswise.
Length grain:
The warp thread direction, sometimes called the straight grain.
Cross grain:
The weft thread direction.
Bias line:
This runs at 45° to the length grain and is the part of the fabric that has the most give. Selvage edge
The bound edges on either side of the fabric. Most fabrics are woven at 45–60" (115–150 cm) wide.
MUSLIN PREPARATION ;
Tearing the muslin :
To prepare the muslin for draping, the pieces are torn to predetermined measurements. Tearing the
muslin is more accurate than measuring and cutting with a scissor because the original perpendicular
grid of the warp and weft threads of the muslin often becomes distorted during shipping. Even when
measuring from the selvage edges, it is not possible to be certain that the threads are running
parallel to the edges of the fabric.
Understanding grainlines:
It is important to understand how the set of the grainlines can affect the look of a garment. Their
direction determines the energy fl ow. The reason square-cut garments like tunics look so elegant
and regal is because the grainlines are perfectly balanced.
Step 1:
First the selvage edge must be removed. When the fabric is finished on the loom, the tighter weave
of the edges, while serving to keep it from unraveling, will sometimes restrict the drape of the fabric.
If the fabric is steamed and/or pressed, the edges pull in and cause the fabric to pucker. Tear selvage
edge off by clipping in about ½" (1.5 cm), grasping edge firmly and pulling it sharply down length of
fabric. Now mark desired measurements of the muslin, clip edge, and tear both the lengthgrain and
crossgrain directions. It is helpful to fi rst draw a small lengthgrain for reference so that you do not
lose track of the direction.
Step 2 :
After the fabric is torn to specific measurements, it must be “blocked.” Blocking the fabric is the
means by which the warp and weft threads are pulled back into their original shape, exactly
perpendicular to each other. Create a grid by drawing vertical and horizontal lines on graph paper.
You do not need to draw the exact size of the piece; a right angle will suffi ce to align the fabric and
check that it is square. Where the muslin does not form a 90° angle, grasp it fi rmly with both hands,
and pull and stretch it until it returns to its original shape.
Step 3:
Now the muslin must be pressed. When pressing muslin, it is important to handle it gently so that it
remains smooth and even. A bit of steam is fi ne; the muslin may also need to be steamed later
during the truing up process and it is preferable to let it shrink before you start draping. If you use
too much steam, however, the muslin will pucker and become unusable. Sponge any deep wrinkles
in the muslin with a damp cloth, rubbing out the creases. When pressing, move the iron in vertical
and horizontal directions only. If the muslin is pressed on the diagonal, or bias, grain, you will pull the
threads out of alignment and cause the fabric to stretch. After pressing, check the muslin again on
the grid paper to see if it has torqued; if so, pull and stretch it again until it goes back into right
angles at the corners.
Step 4:
Now you are ready to mark the grainlines on the muslin. On the fi rst piece, use a soft pencil or
tailor’s chalk to mark the lengthgrain, which is parallel to the selvages. On the second, mark the
crossgrain, which runs across the width of fabric. Make two or three small marks on the muslin using
the given dimensions, measuring in from the left-hand edge. Line up the graph ruler or yardstick with
the marks, and draw the line needed. Use this method for the fi rst two pieces. Step 5 On the third
piece of muslin, draw the bias line. The “true bias” of the fabric is the 45° angle to the length- and
crossgrains. The bias line is traditionally marked with double parallel lines. Find the true bias using a
right-angled ruler and a graph ruler. Position the rightangled ruler against one of the edges of the
fabric and mark equal distances from the angle point. For example, mark 8" (20 cm) from the point,
going along the crossgrain and along the lengthgrain. Line the graph ruler up with the two points and
draw in the bias line, a 45° angle. For bias lines, two parallel lines are used, 1 ⁄8" (0.5 cm) apart. The
muslin-preparation diagrams on the following pages all contain measurements that will help you
position the muslin on the form. The pieces are all oriented with the lengthgrain going up and down,
and the crossgrain going from side to side.
Double Dart Basic Bodice
Front Bodice
1. Center Front (CF): Mark the center front line on the dress form.
2. Bust Dart: Create a dart at the bust level, approximately 2-3 inches (5-7.5 cm) long.
3. Waist Dart: Create a second dart at the waist level, approximately 1-2 inches (2.5-5 cm) long.
4. Shoulder Slope: Mark the shoulder slope line on the dress form.
Back Bodice
1. Center Back (CB): Mark the center back line on the dress form.
2. Shoulder Dart: Create a dart at the shoulder level, approximately 1-2 inches (2.5-5 cm) long.
3. Waist Dart: Create a second dart at the waist level, approximately 1-2 inches (2.5-5 cm) long.
Double Dart Configuration
1. Dart Intersection: Ensure the darts intersect at the bust and waist levels.
2. Dart Length: Adjust the dart length to achieve a smooth, fitted silhouette.
Fitting and Adjustments
1. Check the Fit: Ensure the bodice fits smoothly over the dress form.
2. Adjust the Darts: Adjust the dart length and position as needed to achieve a perfect fit.
Single Dart Draping
Front Bodice
1. Center Front (CF): Mark the center front line on the dress form.
2. Bust Dart: Create a single dart at the bust level, approximately 2-3 inches (5-7.5 cm) long.
3. Dart Direction: Ensure the dart is directed towards the bust point.
4. Dart Width: Adjust the dart width to achieve a smooth, fitted silhouette.
Back Bodice
1. Center Back (CB): Mark the center back line on the dress form.
2. Shoulder Slope: Mark the shoulder slope line on the dress form.
Single Dart Configuration
1. Dart Placement: Place the dart at the bust level, approximately 1-2 inches (2.5-5 cm) below the
armhole.
2. Dart Length: Adjust the dart length to achieve a smooth, fitted silhouette.
Fitting and Adjustments
1. Check the Fit: Ensure the bodice fits smoothly over the dress form.
2. Adjust the Dart: Adjust the dart length, width, and direction as needed to achieve a perfect fit.
