188.8.131.52 Draping on the Stand
One of the main advantages of this method is building up a desired effect before cutting into the fabric through experimenting (Chen-Yoon and Jasper 1993; Cooklin 1999; Crawford 2005; Ashdow 2007; Anon 2015). The various stages of draping on the stand are given below.
Stage 1: Draping of uncut length of dress fabric over the stand – The fabric should be draped on the stand for analyzing the overall effect by observing its natural characteristics such as handle, texture, and weight and it has to be evaluated.
Stage 2: Substitution of dress fabrics – Modelling the whole garment using actual fabric is ideal but it makes experimentation more costly. Hence, it is advisable to utilize a fabric having similar properties as that of the actual fabric which has been left over from a previous collection.
Stage 3: Taping of stand – Centre front, center back shoulders, seam lines, style line, necklines, waist, hip and bust line and position and direction of drapes.
Stage 4: Selection and preparation of material – Prepare the garment material and since the whole garment is cut, allow enough material to cover both sides of the stand for each section. The draping quality of the warp and weft grain should be the same in order to match both sides of a drape. Allow plenty of excess material beyond the outer edges of the stand and mark in the center vertical line and the warp grain with a contrasting thread.
Stage 5: Placing and pinning of material onto the stand – A full toile or torso is normally required; however, one side only is needed to model, except for asymmetric designs. Pining of excess fabric has to be done temporarily to the side of the stand and then the fabric is molded around the stand as desired, allowing the extra fabric to fall freely into the area where the fullness is desired. The techniques used for controlling the drape are given below. • By mounting the drapes on a fitted section • By weights places inside the drapes • By taping
Stage 6: All the details should be indicated with pins rather than chalk and it should follow the direction of any darts, tucks, seams, etc.
Stage 7: The fabric should be removed from the stand. Stage 8: Then pressing of the fabric (except pins) has to be carried out.
Stage 9: Trueing of rough design needs to be carried out in order to establish the correct grain line and to ensure that the armhole, underarm seams, and shoulder are the same length.
Stage 10: Seam allowances have to be checked.
Stage 11: Makeup and press. Stage
12: The model has to be checked for any discrepancies.