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Constructing Clothes: Put it Together

Lesson 23 from: Fashion Design: Start to Finish

Jay Calderin

Constructing Clothes: Put it Together

Lesson 23 from: Fashion Design: Start to Finish

Jay Calderin

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Lesson Info

23. Constructing Clothes: Put it Together


Class Trailer

Fashion Design Inspiration: Where to Begin


Intro to Fashion Design Inspiration: Where to Begin


Why Create a Moodboard?


Student Mood Boards


Fashion Inspiration Resources


Learn from the Masters of Fashion


Explore New Fashion Frontiers


Why Narrow Your Focus?


Find a Fashion Specialty


Craft a Collection


Learn to Edit


Making Fashion: Draw, Draft and Sew


Intro to Making Fashion: Draw, Draft and Sew


Why Start with a Sketch?


Drawing: Draw Your Muse


Drawing: Sketch a Figure and Define a Silhouette


Drawing: Render Color


Drawing: Add Texture, Patterns, and Details


Pattern Draping: Working with Muslin


Pattern Draping: Drape a Basic Form


Pattern Draping: Drape Folds


Pattern Draping: Experiment with Style Lines


Pattern Flat: Create and True a Pattern


Draping and Patterning Recap


Constructing Clothes: Put it Together


Constructing Clothes: Make it Special and Finish Well


Fashion Marketing and Branding


Intro to Fashion Marketing and Branding


Explore Your Audience


Display, Data and Design


Share Your Work


Find Your Following


Inform Your Brand


Build Your Business Model


Why Tell Your Fashion Story?


Establish Relationships


Be Ready for Change


Produce a Fashion Show


Intro to Produce a Fashion Show


The Fashion Show: Why? When? How?


Pre-Show: Develop a Fashion Show Concept


Pre-Show: Build a Team


Pre-Show: Create a Timeline and Checklist


Day of Show: Backstage Strategy


Show: Working with Front of House


Show: Scheduling Run of Show


Show: Breaking Down the Event


Post-Show: Increasing Your Audience


Post-Show: PR for Fashion Shows


Post-Show: Dealing with Downtime


Fashion Design: Start to Finish - Wrap Up


Lesson Info

Constructing Clothes: Put it Together

So let's talk about putting it together? Um, the when it comes to sewing, you want to think about the basic basic things we'll need. A lot of people will take this for granted where, where you're talking about notions like threads and closures and trim, we talked a little bit about collecting those sources of inspiration from your mood board, but here you need the actual physical, you know, tool, I mean, the physical of notions, so the difference between taking a white garment and finishing it in white versus red is going to be a design decision, and you might not think of doing red thread, you know, on a white shirt, but that could be in a certain place or as a detailed outline, the shape of it where you're doing contrast stitching all around it and you've defined this little red outline over a white shirt could be a beautiful detail, so don't forget that there's a lot of power in the simple little things a zipper, you know, doing an invisible zipper zipper versus doing a zipper that ...

is very, you know, utilitarian and you can see and very heavy, and I'm seeing more and more there was a couple of seasons ago where dresses all had these exposed dippers. You know where you saw that they were actually kind of looked like they were slapped onto the dress and I was a little surprised at first but then I thought cool you know that first of all the zippers really hard to put in so someone found an easy out but but it became this design detail it became this spine almost to a lot of dresses, which is a cool thing to call think way to look at it um with structure we're building the body into the garment we want to make sure that that is at the core no matter what the relationships of the relationship of the closes where, whether it's loose or very fitted um and the sequins as we mentioned when we're talking about the dark, we actually covered all this, which is good in different ways uh which a sequence when we're doing those intersections we want to ask ourselves, which lines do we do first, like when piecing things together I'll give you the example of a sleeve so you might have ernest back in front I think so so you'll have a sequence so you'll decide this is the front and back of a bodice you're going to join the shoulders right? You could do that first and then you can insert the class of the cap of the sleeve and then so this leaves closed and finished the the side seam that yes, I see a shaking of the head that is not that is a really kind of quick way to do it. The more that's, more special way to do it is to close the garment shoulder and the side seam and closed the sleeve and set in the sleeve. And one of the nice reasons for that is you can set the angle a little bit, you can play it, make sure the arms till for a little bit and you can have these in the cab. So those are all things that are important to the sequence, but but but that is another strategy. You know, if you're doing if you're closing something up and you don't want to worry about these, and to be honest with you, if it's a real flat garment like very sort of loose and, uh, drapey, that other route could be a quick fix. But again, it also depends on the quality of the government and the level you're working at. Um, inside out, I think it's really important that our garments look as pretty inside as they do out. One of the worst things is especially, and is something like evening where when you see inside of the dress and it's just ugly, you know their threads, you know, everything's, you know, just really messy things aren't clipped on dh you want to figure out how you can make that user feel special because there's stuff inside that they only they know about, you know, and I have a great shot coming up that I could show you an example, that and then innovations we cut off the bottom of this, but innovations knitting and weaving machines that can actually we've or knit the entire garment um, without any, uh, sewing involved and a shining example of that. So this is some of the examples of the inside of the garment we have the boning we have, you know, this all this is going out on the outside, but I just thought it was really amazing to see all the structure inside that's all giving that that dress support and this is what I was talking about this is actually see me, aki is called a poc, a piece of cloth and there's a machine where comes out on the roll like this and you cut it out and it's where you just slip into it and I don't know how it works. It's like a magic trick, but to me but it's beautiful how a computer khun generate a pattern that's producing so that it interlocks in such a way that it's a finnish car and the nice thing is, you can customize it here you see a couple of examples of pt people cut turning that neckline into a collar, cutting it off completely shortening the sleeves. So those are all things you can do by actually just cutting it off and it and it finishes itself. It doesn't pray, doesn't fall apart. We have this sewing machine here on dh, maybe you could you could give us some of your top like sewing techniques, or did we have something that that we were time to dio? I don't think we have time to actually like so something together, but I think talking about the machine is really important as well is talking it's about hand sewing? Um, I think a couple of things that are really issues when you're sewing on a machine are things like the tension of the stitch. If it's a very tight stitch, you want to make sure that it's loose enough for the fabric you're working with because you can get seems that kind of scrunch up thie other thing is the size of the stitch ran had just asked me a question about you know, working with a basting stitch on a machine, which is a much bigger stitch, and then, you know, reinforce I mean, and actually putting in the stitch, which is tighter and stronger, you know? And those are things that you want to get to know your machine, one of the things that I think that takes the most time when you're working with sewing is really getting to know your machine were also discussing earlier how a lot of the new machines have these really cool computerized things you could do with them, which is a lot of fun, but I'm I'm of the school thought that you should be able to produce almost any technique either by hand or by machine without all the bells and whistles, but there's, no fighting technology, I mean, sometimes it is just easier and couldn't be justice beautiful. So again, I don't want to discount that, but really tried to, I would say, master, you know, the the assembly and the details with with your machine basting, and I do have one question when you were talking about basting earlier before you sewed, we talked about hand basting, they're doing it on the machine you mean some machines if you have a large enough stitch, like usually on my machine is like a five and it's a pretty big stitch that it would be easy to pull out the whole idea behind basting is that it's temporary or usually is and you can do it with a machine but most basting if it's something you know that isn't just a straight line you really want to do by hand andi again it's usually about I do them about a half an inch stitch half an inch under half an inch over and it just makes it, uh gives it it holds things together. A good example is I was sewing this satin dress and I had this really long seemed on the side, right? And I said, I don't need basting and two things happened one it started to stretch on me one one side started to stretch, not the other one so all of a sudden that ended up wrong and one time the second time I did it again, not basting the one side underneath completely slipped away so I was just doing stitched on one half of it. So those are little things that you want to remember that it's worth the slightly extra time to, you know, to kind of put into it so and then again with hand sewing uh, hand sewing is an important part of the process for those temporary stitches and then for doing really delicate work and I know we actually have some sewing classes here and some some, some machine specific classes here on creative live, but where are some additional places? Would you recommend you go and take a sewing class in person or what? What is it something that's? I mean, you can go through every step I could talk someone through it, but until you've done it and to be honest with you messed it up. Yeah, I can't emphasize when it comes to selling until you figured out what not to do sometimes it's really hard to kind of go smoothly from their own because a lot of times, that mistake can help you anticipate things and that's really key. When you're putting stuff together, the pattern making is a little bit clearer, but there's every fabric has a different nature. Every needle is different, you know, it's like, you know, different sizes of needles for different fabrics, the threads are all going to be react differently with different fabrics, so you don't really know that until you've actually done it. So I definitely recommend even if you're not thinking of becoming a full time stitcher, even a simple, you know, basic class that that gives you the steps on dh, then you get to actually play for for a good amount of time is really great.

Class Materials

Bonus Materials

Mood Board Checklist
Styling and Fashion Show Gear Guide

Bonus Materials with Purchase

Body Measurements Chart
Care and Feeding of a Garment
Change Agents
Copy Rights and Copy Culture
Dissemination - FashionArt
Fashion Equations.pdf
Fashion Show Checklists
Question Charts
Specializations - The Players
Starter Questions Chart
Pattern Making Gear Guide
Sketching Gear Guide
Sewing Gear Guide

Ratings and Reviews


Jay is a rare gem in the world of instructors. He has the perfect balance of information, examples, and hands on visuals. He included his students in the teaching process. They were not just the audience. Even the viewers were encouraged to participate! I loved his teaching style and enthusiasm as well as the content of information he shared with us. He covered a vast amount of information and led us at a pace that was very easy to follow. It reaffirmed my love of fashion as well as designing new ideas. This class was inspiring and motivating. If you are even the slightest bit curious about Fashion Design, constructing patterns, or even drawing models, this class is for you. It was all encompassing for an overview of Fashion Design from start to finish. Jay has an easygoing manner that you will want to watch him again and again. A great resource for your library. I can't wait to see him again in the Creative Live classroom!. Good luck to Jay and all his endeavors! Thank you Creative Live for providing yet another great learning opportunity for an international audience.

Michelle B

This is day one of Jays class and I am already hooked and purchased this class. Jay is an awesome instructor. He explains everything in easy to understand terms. He explained things that I have bought books to learn and didn't in one easy lesson. I recommend this class for anyone that has a interest in Fashion design or even learning to draw models for anything you need to sketch out. I hope Creative Live will bring Jay back for more classes. Jay is a instructor also worth having in your tool box of CL classes to refer back to for learning and inspiration! Thank You Jay for sharing your knowledge with us!!


I agree with everything that michelle-b said in her review of this class, and will add that I can tell that he is an instructor who not only knows his subject matter, but has excellent teaching skills. He is very engaged with his students, and focused on making sure that they get what he is telling/showing them. He also has the rare gift of distilling a complex subject down to its essence and teaching it in a simplified form that gives the student a good overview of the basics, and somehow also gives the student insight into more of the subject’s depth than he actually says in words. This broader understanding of the subject empowers the student to proceed on a much higher level than would be possible after taking any other course overview. Even more amazing is that the lessons covered in this way could be (and are) full courses in themselves elsewhere, but were merely segments of this two-day CL class. For this reason, if I ever got a chance to take one of Jay’s classes at the School of Fashion Design, I would take it in an instant. I too bought this class by the end of Day 1. For me, the segments on sketching and drafting alone were worth the $69, and the rest is bonus.

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