Fashion Design: Start to Finish

Lesson 24 of 47

Constructing Clothes: Make it Special and Finish Well

 

Fashion Design: Start to Finish

Lesson 24 of 47

Constructing Clothes: Make it Special and Finish Well

 

Lesson Info

Constructing Clothes: Make it Special and Finish Well

So this is this is the master shot I love this photograph this is actually the work of an incredible cafeteria in boston daniel o'shea and he's also our draping teacher at the school and inside this garment you just see the construction outside it just looks like this lacy dress this kind of work is almost invisible like you can't see it put together even though you see all that structure it's so delicate I always think it's like done by elves you know it's like so so delicate I call them the ladies I've worked for designers we have these these ladies who work magic and you have to have the touch you know it's a lot of experience in touch but then you also have visible where you want to see that top stitching and that construction and that's part of the design resurfacing is when you're changing the surface terra forming kind of the textile sculpture ending the shape and destruction actually breaking down fabrics if you want kind of raw quality and I have a couple of quick examples the...

se awesome surface treatment so adding sequins, adding embroidery beautiful beating this is a merry mcfadden fabrics and working with all different textiles and this is sculpting so you take a basic fabric and this is one piece of fabric that hat that's all being tucked by hand to create these beautiful structures and this is on a bigger scale. So this is a student who's sculpting with this shape as the top of the skirt and here almost like a peplum you know where? It's just at the hip and at the neckline these air, all former students who I'm very proud of. So and and this is the destruction this is sort of saying, you know, I don't want it all crisp and clean, and I wanted to fray. And yet look at how elegant actual dresses, simple little dress but adding that element of the same fabric and your rian inventing the fabric almost gives it a real unique quality. And then the finishing process is something that I like to reinforce with everybody because we we've made this beautiful dress, right? We worked on the pattern we made this beautiful dress, why not make sure that hem is working? You know, twisted hem or ahem where you can see stitches is something that's worth undoing and doing it again and my students hate hearing that, but it's so sochi because you have the most beautiful dress and if that hem line is horrible that's all you remember about the dress same thing is true for pressing and seeming garments, nothing worse than seeing something come down the runway or in an editorial shoot that has bad wrinkles in it you know that weren't planned. You can have cool wrinkles, but but it's really bad wrinkles because you, you know, you traveled with it and they got messed up. You don't want to do that. And then also thinking about these other areas of storing clothing, uh, how you store it, whether it's flat, uh, give you one historical example of the four tooni del foe stresses, which were pleaded they're stored in museums by being twisted and rolled into a coil so that they may they keep the integrity of their pleads. So that is one way to do it. Knits you wouldn't normally hanging on a hanger, you know, if it's a sweater because it will stretch out so things like that you want to consider, even with tailored garments that have real structure, you might want to fill them with tissue paper so that they have they retain their body because they could very easily be crushed and then delivering materials and methods. This is also very important you're not going to send a wedding gown in a cardboard box. You want to ask yourself what kind of box in my presenting in what kind of bag, how it's being delivered, you know, do you really want to send it ups, or do you want a hand deliver it? So things like that I know seemed like, you know, extras and not really a main concern, but they all are extensions of you as a designer and your brand and which will actually talking about next time, but but they're they're key, I think, and there are some bonus materials and included in this section which speak about the care of karen feeding of a garment and all that good stuff so that you can have almost a little checklist to say, am I making sure I'm serving this up in the best possible way? So these are some examples of the insides of garments let me go back to that one. This was a a ahem that has the horsehair to give it a little body here's hanging straps so that you can put a strapless dress on a hanger, right? And those are a little details we forget until we run into the issue of of actually having to do it all right. T j well, that was a lot crammed in. Does anyone have any quick final questions on that? Or do you have any sort of final thoughts about with these last two lessons about where to go from here or with sort of the importance of what we've just gone from the drawing and and then the draping and putting it all together? Well, I think I mean the drawing, I think, is the one place where hopefully now when you've seen all this, it can actually inform your drawing, you know, for instance, where you're putting that dart not just kind of do what you normally do but think about where do I really want that dart? How do you manipulate it? Since we've seen it actually done the the sketching is works hand in hand with this but it's that one thing you can do right now when you go home and and really experiment with and once you can take classes you know what you said, we have ah, creative life sewing classes. Once you have more time with that and have experimented and learned for mistakes and things like that, then you can start, I think spending more time actually physically producing what you create I mean what you've created on paper and that's for the draping um you, khun it's, hard to do draping on an actual person unless it's very freeform because he had a camp in the person so it's a little tricky. So you want to think about, you know, what would be best suit you in terms ofthe having ah baseline toe work from and one of the things that I might recommend e I always recommend doing your own butt there are pattern companies that offer sloper garments like, you know, a basic dress, a basic pant, a basic bodice. And you can use those if you transfer those onto a heavier paper and start to play and manipulate its a good baseline. If you don't have the resources, you know, to have a dress for him. And, you know, a lot of people will die. Downplay the use of commercial patterns because they are a little different than professional patterns. But those the sloper garments, you know, those basic garments. It's. A good way to get that that baseline for yourself that you can work from and it's only going to be a matter of practice.

Class Description

Interested in the world of fashion? Even if you're not an aspiring fashion designer, you’ll enjoy this class. Jay Calderin is the Director of Creative Marketing and an instructor at the School of Fashion Design. He is the author of three top-selling books on Fashion Design, and the founder and executive director of Boston Fashion Week. 


In Fashion Design: Start to Finish, Jay Calderin will get you started through hands-on demonstrations and step-by-step guidelines. 
Learn to navigate through the design process, from conceiving a garment to marketing it.

The various phases of fashion design will be covered, including:
  • research and mood boards, collections and trends
  • sketching, draping, pattern making, construction 
  • branding, marketing, and industry positioning
Fashion doesn’t have to be intimidating. This class is a beginners guide to the world of fashion design, led by an industry professional.

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