In today’s live session, I took a closer look at the DDM (Direct Design Method) demonstrations from last week, providing detailed measurements and explanations for the “Harper” tunic/jacket and the “Lydia” one-shoulder dress, as well as the elegant draped gown. I also addressed student questions, particularly focusing on how to approach a multi-panel “gored” skirt using my method, offering an alternative to potentially confusing textbook instructions. The main focus was to deconstruct the seemingly complex DDM designs to show how straightforward they can be once you understand the core principles and step-by-step construction.
Demonstration Steps:
Deconstructing the “Harper” Tunic/Jacket (Right Angle & Geometric Folds):
Fabric Layout: I emphasized that the starting point is a rectangular piece of fabric, and I explained how the provided measurements (160cm length, 120cm width for the example, but adjustable) relate to the final garment’s length and sleeve.
Key Seam: The first crucial step is folding the fabric in half lengthwise and stitching a specific section along one of the selvage edges, leaving an opening at the top (which will become the back neck and part of the shoulder/sleeve). This creates the foundational “right angle” seam.
Armhole/Sleeve Creation: I showed how slashing the fabric at specific points (center of the top folded edge and the opposite bottom folded edge) creates the openings that will form the armholes and the unique sleeve drape.
Folding & Pinning: The magic happens when you fold specific sections of the slashed fabric to meet other designated points. I clarified which edges meet and are pinned together (e.g., the slashed center front edges meet the back shoulder/sleeve slashed edges). I suggested using different colored threads for marking if working with dark fabric to avoid confusion.
Stitching Order: I explained the order of sewing: first the main right-angle seam, then the pinned sections that form the armholes and front drape. The center front opening can be stitched last after fitting and deciding on the neckline depth.
Understanding the Drape: I put the pinned (and partially sewn) garment on myself and a dress form to demonstrate how the geometric folds and seams translate into the final draped silhouette, including the back drape, the sleeve shape, and the front opening.
Customization: I highlighted how adjusting the initial fabric dimensions (length and width) will affect the final garment’s length, sleeve length, and overall volume, making it adaptable to different body types and style preferences.
Explaining the “Lydia” One-Shoulder Dress (Three-Quarter Fold Technique):
I recapped that this dress starts with a long piece of fabric folded in half.
The key is an L-shaped cut-out from one corner of the fabric.
A section of the inner edge of this “L” is sewn, leaving an opening.
A small snip is made at the corner of the “L.”
A separate waistband/tie is threaded through this snip and tied around the waist to create the one-shoulder drape.
I emphasized that the length of the fabric and the size of the L-cut will determine the final drape and fit.
Touching on the Elegant Draped Gown (Form & Flow Technique):
I reiterated that this technique involves minimal cutting.
The process starts by folding a length of fabric and making a small center back cut.
The fabric is then wrapped around the body, with the top corners brought to the front to form the neckline and the rest draped and secured at the waist.
I mentioned that the back can be simply draped or twisted for different effects, and a zipper can be added for closure.
Clarifying the Gored Skirt Approach:
Standard Darts vs. Gores: Instead of strictly following textbook methods that might not suit individual body shapes, I suggested an alternative.
Dart Allowance: Take the total dart allowance needed for the front (and separately for the back) of a standard skirt block.
Panel Division: Divide the skirt (from the hip line down, not the waist) into the desired number of panels (e.g., three for a six-gore front).
Distributing Dart Allowance: Distribute the original dart allowance (potentially increased by 1cm as suggested in the book, though I often skip this for my method) evenly among the new gore seam lines at the waist. For example, if the front dart allowance was 4cm, and you have two new gore lines (creating three panels), you’d shape 1cm in on each side of each gore line at the waist.
Shaping the Gores: Curve these new gore lines smoothly from the adjusted waist points down to the end of where the original longest dart leg would have been, and then continue straight to the hem, adding flare as desired.
Checking Measurements: Crucially, after separating the panels (and adding seam allowances), measure the total waist and hip circumferences of the new gored pattern pieces to ensure they match the original body measurements (or desired ease). Adjust the curves on each panel slightly if needed to achieve the correct fit, especially where the front and back panels meet at the side.
Questions & Answers:
Q: What is the book you are using?
A: I use “Metric Pattern Cutting for Women’s Wear” by Winifred Aldrich (6th edition is what I currently have) for flat pattern drafting when I’m not draping. It’s good for basics, but modifications often need a more intuitive approach.
Q: Regarding the Harper Tunic/Jacket, my fabric is 144cm wide (salvage to salvage) and 160cm long. The video mentioned 151cm wide and 120cm long. My confusion starts when folding the fabric. Do you sew through two layers of fabric? I don’t understand the second fold and stitching.
A: Your fabric dimensions will still work. The 160cm length (your selvage to selvage) will become the width across the shoulders/sleeves. Since it’s longer than my 120cm, your sleeves will be longer, potentially to the wrist, and the jacket will also be longer. The 144cm width (your cut edge to cut edge) will be the length of the jacket from the center back neck down; this is a bit shorter than my 160cm, so your jacket will be slightly shorter overall, which is fine.
Yes, the initial long seam (A-B in my diagram) is sewn through two layers after folding the fabric in half. The “second fold” refers to when you bring the slashed center front edges to meet the slashed back shoulder/sleeve edges (C-D and E-F in the diagram) – these are then pinned and sewn through two layers on each side to form the armhole/sleeve.
Q: Could you explain section 8 under the back and front section [of the gored skirt in the Aldrich book]? “Increase the dart allowance by one centimeter. Divide the increased dart allowance into two darts. Place on gore lines.”
A: My method simplifies this. Essentially, the book is saying to take your existing dart intake, add 1cm to it, and then divide that new total among the new seam lines you’re creating for the gores. I prefer to work with the original total dart allowance and distribute that across the new gore lines at the waist, ensuring the final waist measurement of the combined panels is correct. The key is shaping those gore lines smoothly from the waist to the hip and then to the hem.
Q: Would this work [Harper Tunic] in a very lightweight merino knit?
A: Yes, lightweight, drapey knits like merino would be gorgeous for the Harper tunic. The slinkier the fabric, the more fluid the drape will be. If you use a fabric with more body (like organza, taffeta, or crisp cotton shirting), you’ll get a more voluminous, sculptural look, which could also be very interesting, perhaps as a shorter, bomber-style jacket.
This session aimed to empower you by breaking down these creative techniques into understandable steps, showing that high-fashion design is accessible and fun!
