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Pattern Draping: Experiment with Style Lines

Lesson 20 from: Fashion Design: Start to Finish

Jay Calderin

Pattern Draping: Experiment with Style Lines

Lesson 20 from: Fashion Design: Start to Finish

Jay Calderin

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Lesson Info

20. Pattern Draping: Experiment with Style Lines


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

Pattern Draping: Experiment with Style Lines

Want to put this spot is back on and go back to something we said earlier about style lines and show how different this very simple little bodice khun b when we think about the stat lines if you notice I'm here um what we're really doing is subdividing a silhouette we've created the silhouette that forms the body but here we can start to really come up with a plan for what we're going to do with this so I can get very strategic and use this however I want because the pins are the placeholders and now if I had made this pattern I can take this pattern to another version of it and add these style lines and I have another version of this bodice but all the work is kind of like with the sketches that foundation is under there if you have done all the work with that pattern then you are good actually is pulling over a little I want to put it on to the fabric you're experimenting with where the cuts that you might make right how I might transform because I know I want to fit in but that's ri...

ght like if they were doing a great dress and we want it tight little bodice and a big skirt what do I want to do up here in terms of framing her face and cutting up that silhouette so that it does something different cause I could very easily with the same bodice do this and cut all that away and then I have a halter right but everything else doesn't mean doesn't change because it's fitting this particular size that fits this particular client so you want to you want to do this first step so you get the baseline and then you can really play the style lines like these like right? This is how I would break this up so you know, for instance I could say I wanted to go here and then I wanted to do that or do that you know, I mean, this is where you could kind of play on and, you know, experiment with it kind of like how you were playing on paper but now playing in this three d form exactly on dh then are those things that is not just the style but with color as well or you're kind of breaking that well, yeah, because when you do that it could be a solid, solid thing right with the whole dress just has thes style lines but you can start to break things up so if I said I want this to happen maybe this and this oh, what was I gonna say? Oh, never right hold on um if I did this but then created another style and that cut across I could decide to get rid of this part and I could decide to cut this part into two pieces that meet up, but I can do this and read this in blue. So this is this is that process that I think is key and taking that basic shape, because, again, there are only so many garments, and so many shapes weaken, do and start to put our creative input into the shape. So we have those cameras, and they were breaking it up except of the campus. Yeah, thank you. Yes. So, how limited are you in terms of the actual construction of that by where you do your style lines? Good question. So, basically, I would take this pattern transferred over, and then I would cut it up, and that seem longs to this side going this way, and two that side going that way, and then join those together. So because you worked from a single pattern, you can break it up in a much easier way. If you had tried to drape this piece by itself, and then drake the other one separately, it's going to be a little harder, but if you break up on existing piece on dh, then add the sea balance you need and all that kind of stuff is that kind of what you're saying, or I'm thinking, structurally, just the logistics of, you know, cutting it up or sewing it back together, I think the key, like we'll talk about a little bit when we get to the construction. Part of it is the order that you do it in. So for instance, what I would do with this, this is a real tricky area right here. So if I were cutting across a dart, my first job would be to join this piece to this piece that peace to that piece. And then I closed the dart normally, whereas if you try to close the dark on this one and then joined this ones, then you have this seam going across here and that that could be something you want. But I mean, I'd be more concerned with the dart looking good and matching up. So those intersections that's? Why, when you get to the flat pattern making stage, you wanted to be as clear as possible mechanics of it? Yes, we'll talk a little bit about that in a minute. We'll you know, when we talk about actually sewing it because we can go crazy with pattern making, right? But then we got to make it, so we need to figure out how we're going to make it and put it together, okay, all right, okay, yes, yeah can I use this for, like, with what ideo like, first you the, you know, like, do the pattern, and then because there's so many different. But I've always wondered, I have always wanted to know how to do that. You do, yeah, I mean, you have your existing patterns, and you want to ask yourself, how do you want to cut it up, and you also have to figure out again the process. So if I was doing, of course it is. I would do the outside of the course it, you know, the fabric of the course. It split it up, however I want join all those together so that their fabric again, you know, so that they're complete peace and then go the additional process of the structure inside. So the case, things for the boning and all that kind of stuff you would do after that, yeah.

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.

Student Work