So here I am going to get a little bit more creative I'm gonna have a little bit more fun with with the drape and this is just to show you that you have freedom there's a lot of people go I don't want that perfect little tight top you know I want to drape and do something a little bit more dramatic so for instance, I'm gonna work uh with the bias and bring that over and one of the reasons I like the bias here is like notice what's happening it's not a flat fold its a little role and it gives you when we locked in in the historical pieces you know, the togas and the roman greco kind of clothing and that just is that has that soft roll which you don't get with just on grain, okay? S so here the other thing I like about this is that if I were to do start to create folds I got these beautiful rolling foals they're not hard, they don't crease and they start to drape around the body and we're just gonna do a rough of this but then I'm going to show you that the process afterwards is exactly ...
the same and we want to figure out what we wanted to do and a lot of times I will take my cues from the fabric so here this is naturally smoothing out but here it might turn into more of a fold that's controlled and then we can decide how loose is a little extra in there how loose the rest of it isthe and what you want to do here is the same exact thing you want to take whatever you sculpted and go back at corners an arm hole at the waistline wherever we're going to go and just have it be and do exactly the same thing but here we have something very sculpted and more three dimensional but it's the same process so don't feel like it everything has to be flat and right to the body you can kind of play with a shape so that you can do anything you want and getting back to when we talked about at the beginning think about the nature of the fabric that you're working with you really want to make sure that the fabric is doing what you wanted to do so just to show you a different a different thing with the same design idea that is a weird shot look at me from above okay, so we did that on the bias but what if we were to do that fold and again there's no writer wrong it's just a different effect but if we were to take the straight grain and do this right away it gets sharper and a little flatter and both can be really pretty but this is more uh this has less of a three dimensional quality it becomes almost more like pleading does everybody see the difference right so it's a different feel and that's why draping is such a great process because this you can do with numbers this you can do you don't have to have a dress form to do this you can do this by making sure you have every measurement length all that and do the actual math of it with something like this you could do it by numbers but you're not going to get the field that you want you know you wanna have I like that tactile quality not all designers drape some designer is depending on the sound of their clothes will go strictly pattern okay, so we're going to bring back to cover for our next the difference between dripping and patterning like is it is it one that you're just kind of free flow how did making kind of falls under the heading of draping even though it's a separate skill but the idea is you're creating a pattern but finish patterns are usually are not usually fabric because we could save that muslin but it can like we notice when we talked about the fabric it can get distorted it can warp and you say to get droopy and hanging so that is one of the reasons it's so important to transfer everything over to paper and initially we work with with a light dotted paper. But eventually for really important patterns for really important patterns, you will transfer them over to oak tag so that they have a longer life span. And you can always come back. And, you know, go to them and modified, which we're going to do a little bit of it. It's. Just a second.
The Boston Globe refers to Jay Calderin as a budding designer's best friend. He is the author of The Fashion Design Reference and Specification Book formerly Form, Fit, Fashion, which the LA Times called, a new fashion bible for designers, aspirers and the just plain curious, this tome contains all the secrets. It was followed by his second book, Fashion Design Essentials, and a collaboration on a third book entitled, Fashion Design, Referenced. The first two books have been translated into German and Chinese. He is also a contributor to Native Fashion Now, the book that accompanies the Peabody Essex Museum’s upcoming exhibit of the same name.
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.
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.