Module - DRAPING

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 UNIT 1 – BASICS OF DRAPING

1.1 TOOLS AND EQUIPMENT

1.2 UNDERSTANDING GRAINLINE AND CROSS GRAIN
1.3 FABRIC PREPARATION
1.4 DRAPING TERMINOLOGY
1.5 BODY MEASUREMENT

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 Tools and Equipment

Grainline and Cross

grainline

Basics of Draping Fabric preparation

Draping Terminology

Body Measurement

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Introduction
1. Draping is modelling or shaping a piece of fabric on a mannequin (also called a model-
stand, dress form or dummy) or a life model. It is a three-dimensional process of
designing, the designer, working from a design, gives 3-dimensional form to an idea for
a design, Proportions of design details can be related to the human body.

2. Draping fabric helps the design student understand the shape of the form and how
fabric can be moulded to enhance a woman's body. This in turn empowers the designer
with more design possibilities for placing line in the design.

3. Madeleine Vionnet (in the 1920s) and Madame Alix Gres (1930s) were the first couture
designers to devote their talent and time to the art of draping. To this day, designers
look back on their achievements and recreate their techniques.

4. For the designer who is looking for a more exciting cut and who is prepared for the
unexpected, draping is an excellent way of approaching design and pattern
development. Let yourself be inspired by the texture, color and fall of the fabric and see
the design evolve before your eyes.

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 1.1 TOOLS AND EQUIPMENT

DRESSFORM

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Material Required –

A few basic supplies are needed for any draping project. Draping tools are necessary to drape,
measure, mark, and draft designs. Keep all necessary supplies on hand and keep them neatly
together to use at any time.

1. 18-lnch Clear Plastic Ruler - A two-inch wide ruler divided into 1/8 inch grids. It is clear
and perfect for truing and adding seam allowances.

2. French curve Ruler an irregular curve with an edge describing a spiral curve used to
shape and curve edges of curved collars, necklines crotch seams, and armholes.

3. Hip Curve Ruler A 24-inch ruler with a long, slightly shaped curve that finishes with a
strong circular shape. This hip curve ruler is marked in both inches and centimetres,
along with fractional measurements. It is used to shape lapels, seams, flares, godets,
princess lines, and pant crotch seams.
4. Iron A steam-and-dry iron used to smooth and aid in blocking muslin.

5. Ironing Board A flat, adjustable board about 54-inches long by 15- inches wide that
tapers to 6 inches at one end to provide a stable, soft surface on which to iron or press.

6. L-Square A metal or plastic ruler with two arms of different lengths meeting at right
angles. These rulers are marked in both inches and centimetres, along with fractional
measurements.

7. Muslin An inexpensive fabric, on which the grain and cross grain are quite visible, used
to drape garments made of woven goods. The quality and hand of the muslin should
represent the texture and characteristics of the actual fabric chosen for the garment
design. Soft muslin will simulate the draping quality of natural or synthetic silk, lingerie
fabric, and fine cottons

8. Notches A punching tool used to mark the edge of a sloper or paper pattern.

9. Pin Cushion or Pin Dispenser a sewing tool that keeps pins organized in a convenient
place. The most common pin cushion is in the shape of a tomato.
10. Scissors and Shears are usually four-to-eight inches long and made of steel. Difference
between shears and scissors is that one handle on a pair of shears is larger than the
other. The handles on a pair of scissors are the same size.
11. Style Tape A narrow, woven tape that is used to delineate style lines on the dress form.
12. Tape Measure A flexible, narrow, firmly woven, 60-inch reversible tape marked with
measurements indicating both inches and metric terms used to take dress form, muslin,
and body measurements.
13. Tracing Wheel A sharp, spike edged circular wheel with a handle that is used to transfer
markings from the drape to the patter and paper.

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 Muslin Farbic

Pearl Pins Hip Curve

Tracing Wheel

Scissor

L Scale

French Curve

Tailor Chalk Measuring

Tape

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 1.2 UNDERSTANDING GRAIN LINE AND CROSS GRAIN

Draping skills are acquired with patience and practice. Practice smoothing the fabric over the
dress form with a light and skilful touch of the hand. Avoid stretching the fabric. The fabric
must be pre-measured and have correct grain line and cross grain drawn on the fabric piece.

1. Lengthwise Grain (Straight of Grain)

The lengthwise grain of the fabric is always parallel to the

selvage of the fabric goods and is also sometimes referred as
the warp. The selvage is the firmly woven edge running the
length of the fabric on both sides.

Strongest threads run in the lengthwise direction and have the least stretch.

2. Crosswise Grain

The cross grain is easily recognized as the weave that runs

perpendicular to the lengthwise grain of the goods from
selvage to selvage. The cross grain yarns are sometimes
referred to as the "filling yarns" and are better known as weft.
The cross grain has slightly more give than the straight grain in
the fabrics. While draping, the cross grain usually lies parallel
to the floor.

3. True Bias

To find true bias easily, fold the grain of the goods to the cross
grain of the goods to create a perfect 45-degree fold line. Bias
fabric always gives and stretches a great deal design requires
draping contours over the body without using darts

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 1.3 FABRIC PREPARATION

Blocking

Before beginning the draping process, check the fabric to determine if the lengthwise and
crosswise threads have distorted from a 90 Degree alignment. Blocking is the process of
ensuring that the lengthwise and cross grain threads are at right angles to each other. If the
threads of the fabric are not at perfect right angles, the fabric must be realigned or put on grain
by a blocking Fabric grain can be straightened (or "blocked") by folding the fabric from selvage
to selvage. Clip the selvage about every two inches to relax the lengthwise grain. Pin all the
fabric edges together (excluding the folded side). Gently pull on the true bias for a few
moments.

Repeat this stretching process a few inches away until the fabric is straight, and the cross-grain
threads are at a 90-degree angle from the lengthwise threads.

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 1.4 DRAPING TERMINOLOGY

The following is a useful source of terms relating to draping garments. These terms should be
helpful to the educator as well as the student and design room professional in order to offer a
quick reference to achieve a desired draping technique.

1. Apex The highest point of a bust on a dress form or live model. In draping, the apex is a
reference point for establishing the cross grain position on the front bodice muslin.
2. Balance The matching of grains and adjacent pattern sections. When truing, lines on
patterns should correspond with lines and measurements on the figure. All patterns
have a definite relationship with the figure that enables the garment to hang straight up
and down (plumb) and be parallel to the floor. The garment will twist, drag, or pull when
worn if the pieces are not on the correct grain lines and cross grains.
3. Armhole Balance This allows a set-in-sleeve to hang slightly forward and follow the
curvature of the arm. To achieve this balance, the back armhole should measure 1/2-
inch larger than the front armhole and have a "horseshoe shape." This extra 1/2-inch
back armhole distance also keeps the back bodice distance extended to the front
shoulder seam, keeping the shoulder blade level at a perfect cross grain.
4. Perpendicular Line The front bust level of the body, the shoulder blade level on the
body, and the hip level on the body should be parallel to the floor. The cross grains of
garments should always be on these lines. Otherwise, the garment will drag and pull
downward or upwards.
5. Plumb Lines The centre front of the body and the centre back of the body should always
be vertical to the floor. Therefore, the grain line of the garment should be parallel to
these lines. Otherwise the garment will twist or pull.
6. Side Seam Balance The front and back side seams should be the same shape and
length. In a fitted bodice, side seams and flared skirt side seams should be the same
angle off of straight grain. To drape a torso, shift, or fitted skirt, the side seam should
be parallel to the centre front/back grain.

7. Waistline Balance The front waist measurement of garments is 1-inch larger than the
back waist measurement. This difference allows garments to hang correctly from side
seam to side seam.

8. Bias A line diagonally across the grain of the fabric that offers the greatest stretch
ability. True bias is at 45 degree angle.

9. Blend A technique that helps form a smooth, continuous line or smoothly shapes
discrepancies of marks or dots made on the muslin drape. Sleeve seams, princess lines,
waistlines, and skirt gores are the most common seams needing blending.

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10. Block A technique to shape the fabric by pulling and realigning it on grain while pressing
with steam.

11. Break Point The point of a controlled turn, roll, or flare usually relating to lapels, shawl
collars, revere collars, and notched collars.

12. Centre Back A defined place that indicates the exact centre of the pattern or garment in
relation to the true centre back of a figure.

13. Centre Front A defined place that indicates the exact centre of the pattern or garment
in relation to the true centre front of a figure.
14. Clip A small cut into the seam allowance that extends almost to the stitch line. It is used
on curved seams to release strain and help the seam line flat when turned, as in
necklines, or in corners of squared seams, as in collars, facings, and necklines.

15. Concave Curve An inside curved seam forming an inward arc, as in armholes and
necklines.

16. Convex Curve An outward curved seam forming a rounded curve, as on the outer edge
of scallops, cap lets, peter pan collars, and shawl collars.

17. Crease Folding and finger pressing the fabric along the grain or structural line.
18. Cross marks A mark or set of marks placed on a drape or pattern to Indicate the point at
which corresponding pieces or garment sections (style lines, shoulder, yokes, collars,
front, or back) are to be matched, shirred, or joined.

19. Crotch Seam The curved seam that is formed at the point where pant legs meet.

20. Cut in One Two or more pattern sections that are cut as one piece, such as an attached
front facing with the bodice or blouse front, or a sleeve with a bodice.

21. Dart To take up excess fabric of a specified width and taper it to nothing at one or
both ends. Used to aid in fitting the garment over the body curves.
22. Dart Legs The stitch line on both sides of the dart.

23. Dots - A pencil mark placed on a draped muslin or fabric to record the seam lines or
style lines. Used as guide mark for trueing.

24. Ease the even distribution of slight fullness when one section of a seam is joined to a
slightly shorter section without forming gathers or tucks. Used to shape set-in sleeves,
princess seams, and other areas.

25. Ease Allowance - The amount of excess fabric added to the draped pattern to make
garments more comfortable and allow for easier movement.

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26. Fabric Excess - The amount of extra fabric manipulated into designated areas (such as
shoulder, waist, side bust) to help create body shape and garment style lines.

27. Fold - A fabric ply that doubles back on itself, thereby forming an underlay to create darts,
pleats, tucks, or attached facings.

28. Gather- To draw up fabric fullness on a line of stitching.

29. Guidelines- On muslin directional lines and markings that indicate the grain, cross grain,
centre front, centre back, shoulder blade, bust level, apex, hip level, and side seam. These
lines are drawn on the prepared muslin to facilitate correct draping.

30. Master Pattern - Basic pattern made from specific measurements that are used as a
template for tracing rather than to cutting. It may be used to develop other patterns.
Match To bring notches or other construction markings on two pieces together.

31. Muslin Shell - A basic sample garment made from muslin fabric as an aid during the styling
and fitting processes.

32. Panels - A pre-measured piece of muslin used to drape a specific design. These pre-
measured pieces are usually 4 to 10 inches larger than the finished length and width of the
pattern piece. If a piece is too large, the weight of the fabric panel may cause an inaccurate
drape.

33. Pivot - The shifting or moving of a pattern from a marked position toward a designated
guide line.

34. Ply- One layer of fabric when laying out fabric to be cut. (Pl: Plies)

35. Princess Panel - The area of the dress form that extends from the princess seam to the
armhole and side seams.

36. Seam Allowance - The amount of fabric allowed for seams in joining together sections of a
garment. Seam allowances must be added to any edge that is to be joined to another. The
width of the seam allowance depends on the location of the seam and the price range of
the manufacturer.

a. Collars, Facings and Necklines, Armholes and Other Curves. These elements require
seam allowances ranging from 1/4 to 1/2 inch. This allowance saves time in trimming
these areas after sewing the seam.
b. Stitched Seam Garments that require a specially stitched seam, such as those made of
knit fabrics or sleepwear, require seam allowances of from 1/4 to 1/2 inch.
c. Traditional Seam Allowances Elements such as shoulder seams, style lines, and side
seams require an additional 1/2 to 1 inch seam allowance.
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 d. Zipped Seams – These seams, which require zippers and are used for fitting or
alterations, require a 1 inch seam allowance.

37. Seam - Two or more edges of fabric are held together and sewn using a variety of stitches.
Seams should be well constructed and appropriate for the fabric, the type of garment,
and the location on the garment.

38. Selvage - The narrow, firmly woven finished edge along both lengthwise edges of the fabric
that does not ravel.

39. Shirring - A technique to gather up fabric on the stitch line where fullness in the garment is
desired. Shirring is sometimes thought of as multiple rows of gathers.

40. Side Seam - A defined place on a pattern or garment that indicates the point at which the
front and back to a garment is sewn together.

41. Slash - A straight cut (longer than a clip) from the outer edge of the fabric into the style line
of the garment. A slash is made to relieve tension in the muslin, which allows the drape to
fit around the curves of the body.

42. Stitch Line - The line designated for stitching the seam, generally 5/8", 1/2", or 1/4" from
the cut edge of patterns.

43. Style Lines - Any seam line other than shoulder seams, armhole seams, or side seams. A
style line usually runs from one point of a garment to another point. For example, a yoke
runs from side seam to side seam; a shoulder princess seam runs from shoulder seam to
waistline seam.

44. Squared Line - A straight square ruler is usually line drawn perpendicular from another line.
L-used to create a perfect perpendicular line. Transferring the process of pinning and tracing
all the fabric markings onto the pattern paper. Some designers prefer to transfer and true
up muslin drapes on the dotted paper.

45. Trueing - The process of blending the markings, dots, and cross marks made during the
draping process. Trueing establishes continuous seams, style lines, darts, or dart variations.
Some designers prefer to transfer and true up muslin drapes on the dotted paper. Others
prefer to true up directly onto muslin. See pages 40-49 for instructions on the process of
trueing.

46. Trim (Cut) - To cut away excess fabric and make the seam narrower after it has been
stitched. Also, to remove or eliminate bulk and excess fabric in corners at any point before
turning.

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47. Underlay - The underside of a draped design that is made when establishing darts, pleats,
and extensions.

48. Vanishing Point - The tapered, finished point of a dart.

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1.5 Body Measurements
1. Place the metal tip end of the tape measure at one reference point and Extend to the
next reference point when taking measurements.
2. Record measurements on the Model Measurement (Form or Chart or The Personal
Measurement Chart found at the back of the text).
3. Numbers in parentheses correspond with those on the chart.
4. Arc measurements are taken from center lines to the side seam.
5. The same half of the front and back of the form is measured.

HORIZONTAL BALANCE LINE

Figures 1, 2, and 3

1. Measure up from the

floor to the pin mark (X)
at center front (Figure 1).
2. Use this measurement to
measure up from the
floor and pin mark center
back and side seams. Pin
mark at princess lines.
Recheck measurements

(Figures 1 and 3)

3. Draw a line around the

hip touching each of the
pin marks, or use
adhesive tape to mark the
4. Hipline. The standard hip
depth is 6 to 7 inches
down from the center
front waist for juniors and
petites, 8 to 9 inches
down for missy size.

Personal fit. Follow the instructions very carefully and double check. If incorrect, the hemline of
the skirt will not hang parallel with the floor.

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CIRCUMFERENCE FOR FORM AND MODEL
MEASUREMENTS

Figures 4 and 5

1. Bust (1). Across bust points and back.

2. Waist (2). Around waist.
3. Abdomen (3). Three inches below waist.
4. Hip (4). Measure widest area with tape parallel
with floor. Pin to mark hip level at center front

Horizontal arc for form and model measurements

Front
Figure 6

1. Across shoulder (14). Shoulder tip to center front neck.

2. Across chest (15). Center front to 1 inch above mid-
armhole (pinhead mark).
3. Bust arc (17). Center front, over bust point, ending 2
inches below arm plate at side seam.
4. Bust span (10). Place tape across bust points; divide in
half for measurement.
5. Waist arc (19). Center front waist to side waist seam.
6. Dart placement (20). Center front to side front
(princess line).
7. Abdomen arc (22). Center front to side seam, starting 3
inches down from waist.
8. Hip arc (23). Center front to side seam on HBL line.
9. Hip depth (25). Center front to HBL line.

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Back
Figure 7
1. Back neck (12). Center back neck to shoulder at neck.
2. Across shoulder (14). Shoulder tip to center back neck.
3. Across back (16). Center back to 1 inch above the mid-armhole
at ridge of pinhead.
4. Back arc (18). Center back to bottom of arm plate.
5. Waist arc (19). Center back waist to side waist seam.
6. Dart placement (20). Center back waist to side back (princess
line).
7. Abdomen arc (22). Center back to side seam, starting 3 inches
down from waist.
8. Hip arc (23). Center back to side seam on HBL line.
9. Hip depth (25). Center back waist to HBL line.

VERTICAL MEASUREMENTS FOR FORM AND

MODEL
Figures 9 and 10

1. Side length (11). Pin mark below arm plate at

side seam to side waist.
2. Shoulder length (13). Shoulder tip to neck.
3. Side hip depth (26). Side waist to HBL, on side
of form being measured.
4. Bust radius (9). Measure from bust point ending
under bust mound to rib above. Front and
Back—Form and Model

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Figures 11, 12, 13, 14

1. Center length (5). Mark neck to

waist (over bridge).
2. Full length (6). Waist to shoulder
at neck, parallel with center lines.
3. Shoulder slope (7). Center line at
waist to the shoulder tip (mark).
4. Bust depth (9). Shoulder tip to
bust point.

Personal Fit: Asymmetric

Verification

1. Shoulder slope: Measure on right

and left sides. If the slope
measurements differ more than an
1/8 inch, the shoulders are
asymmetric.

2. Side hip: Measure both if

measurements differ more than 1/8
inch, the hip is asymmetric.

Figure 15 and 16: New Strap Measurement

Place metal tip of the measuring tape at

corner of shoulder/neck to bottom of the
waist band at the side seam and record

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