In this week’s session, I focused on providing more detailed explanations and measurements for the DDM (Direct Design Method) projects we explored last week, specifically the “Harper” tunic/jacket and the “Lydia” one-shoulder dress.

I also addressed some excellent student questions, including a deep dive into my approach for creating a multi-panel “gored” skirt, offering an alternative to standard textbook methods that can sometimes be confusing.

My goal was to demystify these creative draping techniques and empower you to try them with confidence.

Deconstructing the “Harper” Tunic/Jacket (Right Angle & Geometric Folds):

1. Fabric & Measurements: I revisited the fabric layout, emphasizing that it starts with a rectangle. I provided specific measurements for the example (160cm length, 120cm width) but stressed that these are adjustable based on desired final length and sleeve length. I explained how these dimensions translate to the garment (e.g., the 120cm width becomes the shoulder/sleeve span).

2. Key Seam (A-B): The foundational “right angle” seam is created by folding the fabric in half lengthwise and stitching a specific section along one of the selvage edges, leaving an opening at the top for the back neck and part of the shoulder/sleeve.

3. Armhole/Sleeve & Front Opening (C-D, E-F, and bottom slash): I detailed where to slash the fabric:

   • At the center of the top folded edge (becomes back neck) outwards for the back shoulder/sleeve line.

   • Up from the bottom on the opposite folded edge (becomes center front opening).

4. Assembly Order & Notching: I clarified the folding and pinning process: the slashed center front edges are brought to meet the back shoulder/sleeve slashed edges. To avoid confusion, I recommended using different colored threads to mark corresponding points (e.g., green for A-B, blue for C-D, pink for E-F).

5. Stitching Sequence: The right-angle seam is sewn first. Then, the pinned sections forming the armholes and front drape are stitched. The center front opening can be decided upon and stitched during fitting.

6. Trying it On: I put the garment on myself to show how it drapes on a different body type than the dress form and discussed how to adjust the fit (e.g., opening up the back slash more for a wider fit around the body).

7. Customization & Fabric Choice: I reiterated that fabric choice significantly impacts the final look. Drapey knits (like the lamé I used or merino) will give a slinky look, while crisp fabrics (organza, taffeta, shirting) will create more volume and structure, suitable for a bomber-style jacket.

Deconstructing the “Lydia” One-Shoulder Dress (Three-Quarter Fold Technique):

• (No new demonstration, but I referred to it as one of the DDM projects we would be providing full patterns/instructions for). I reminded everyone that this design starts with a long piece of fabric folded in half, features an L-shaped cut-out, and uses a separate tie threaded through a snip to create the drape.

Explaining the Gored Skirt Construction (Neda’s Method):

1. Start with Your Skirt Block: Begin with a well-fitting basic skirt block (front and back).

2. Ignore Existing Darts (Initially): For this method, temporarily “erase” or ignore the existing darts on your pattern.

3. Determine Dart Allowance: Calculate the total dart allowance (intake) needed for your front waist and separately for your back waist based on your original block.

4. Divide Skirt into Panels: From the hipline (not the waistline), divide your front skirt pattern into the desired number of equal sections (e.g., three sections for a six-gore front). Do the same for the back. Draw lines straight up from these hip divisions to the waistline.

5. Distribute Dart Allowance at Waist: Take the total front dart allowance and divide it equally among the new vertical lines you’ve drawn on the front pattern at the waist. For example, if your total front dart allowance is 4cm and you have two new lines (creating three panels), you will shape 1cm inwards on each side of each new vertical line at the waist. Repeat for the back pattern with the back dart allowance.

6. Shape the Gore Lines: Draw smooth curves from these new waist shaping points down to where the original longest dart leg would have ended (your dart point). From that dart point level, draw the lines straight down to the hem, adding flare as desired for the skirt’s sweep.

7. True the Panels & Check Measurements: Once you’ve drawn all the gore lines, trace off each individual panel. Add seam allowances. Crucially, measure the waist and hip circumferences of all your new gored panels combined (minus seam allowances) to ensure they match your original body measurements plus desired ease. Adjust the curves of the individual panels slightly if necessary to get the perfect fit, especially where the front and back panels meet at the side seams.

Q&A:

• Q: The white gathered/pleated asymmetric top – how was the armhole and neck opening created?

  • A: This top was from the Masterclass and uses a geometric cutting technique. It starts with a folded piece of fabric. A specific curved/shaped cut is made, and then the sides are stitched. The “armhole” on one side and the “neck opening” are created by how these cut edges are manipulated and where openings are left. I will be making a full project video for this Ruby Top.

• Q: Where did the armhole on the right side of the pink draped dress (Ruby Top) come from, and the neck opening from the curved tube?

  • A: For the pink dress (Ruby Top), the right armhole and the neckline are formed by the way the draped fabric piece is manipulated and secured. The piece wraps around the body, and the openings are created by how it’s gathered and attached, particularly around the shoulder and bust area. The “curved tube” is essentially the main body of the draped fabric.

• Q: Could you explain how you did the shirt you wore during the session?

  • A: That shirt is a rectangular shape with a twist! The back is more drapey. If there’s interest, we can make it a Draping Society project.

• Q: Victoria Beckham twist dress – can we do that?

  • A: Yes, that’s a great candidate for a DDM project. It involves a specific twist draping technique. We can do a demo on that and the Leah dress (printed one-shoulder) in a future session.

This session was about going deeper into the “how-to” of these DDM techniques, providing the measurements and construction logic so you can recreate and adapt these designs. Remember, practice and play are key to mastering these creative methods!