Fundamental Shift Dress

This is the first style I’m working on for my Fundamentals capsule collection. I’m kicking it all off with a perfect, essential, elegant shift dress.

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As a pattern cutter you need blocks. Blocks are the… uh… the building blocks of fashion *groan*. They’re the basic starting point from which you’ll begin to develop a pattern for a more specific, complicated design.

Blocks can come in all shapes and sizes, and every pattern maker will develop their own according to their own needs. Although you’ll update them and tweak them over time they stay pretty much true to their core function within the tool kit of your pattern repertoire.

For me as a dressmaker the most essential block is a shift dress. This is a pattern for a sleeveless, mid-length dress with a waist seam and as many darts as needed for a good fit. The beauty of this pattern is that I can manipulate it to create almost any other dress, top or skirt shape, as well as contour items like a corset or bustier. It’s a key piece of kit for me, which I know fits my mannequin perfectly and sews up like a dream every single time.

Usually I’d make a block pattern and keep it to myself, behind the scenes. Like a brilliant assistant who’s pretty much running the show but never gets any credit for it! Within this Fundamentals collection though I can refine this simple shift just a little bit further and give her a chance to shine on her own. A shape like this would be equally perfect for a sophisticated city bride, an elegant bridesmaid, or any guest looking for tailored and flattering simplicity. This look has to the first step towards my perfect capsule collection.

Where do we even start, I hear you cry?! Well, let me show you…

 

First, I geeked out with my nose in a book. I’ve already made a couple of blocks very similar to this one for my dressmaking stand, but I wanted to start again to have a go at the technique laid out in the book Draping.

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For those who don’t know, draping is the art of realising a design directly on the mannequin (aka stand, or dummy), as opposed to flat pattern cutting where you would take a more formulaic approach and calculate a shape based on measurements. Draping is more like sculpting: physically manipulating fabric to create the looks you want. Although you’ll get better results if you follow basic rules, the overall process feels quite free and can be a great way to get more energy and creativity into your patterns.

So, carefully following the instructions I made an initial drape, traced this off onto paper, added seam allowance and re-cut it.

This became my first toile (a mock-up made in calico to test out a pattern and update for better fit), which turned out a little tight and short in the body so needs some alterations. I’m not entirely surprised, for me the drawback of draping is that it’s too easy to pull the fabric tight on the surface of the stand, like a perfectly smooth second skin, which needs loosening up to be a wearable garment.

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So I chopped it about a bit, made some notes on the fabric, decided how to add and where… and at the same time I separated the dress out to have a waist seam, just to suit my own preferences 🙂

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From here I took the calico apart again, to draft out into a new paper pattern and then to make a full toile:

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You can see it’s still snug across the seat and there’s some tension between bust and waist which needs fixing. Just a little more tweaking and we should fix that:

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And that’s where we’re at! Now I need to make a real sample – a proper prototype in the right fabric with all the finishes and fastenings – and a human model to try it on. I’ll develop some more patterns up to this point and then move them all on to first sample stage together.

Sarah Barker bridalwear fundamentals

You can carry on scrolling down to catch up with an intro to this project below. See you soon for the story of a very different, much more gown-y gown!

/s.

Ruth’s dress, part 1; toile fitting

I’m super excited to introduce my first project of 2018! Ruth is lovely colleague of mine who will be getting married in a few months. Her wedding will be beautifully personal with loads of lovely DIY touches, so she’s looking for the perfect understated, hand made dress. We’ve drawn up this design and I’ve made our first and only toile for fitting:

This project is much more straight forward than a full-on bespoke gown. It’s an elegant, classic design, in a heavy off-white satin. And I love that this dress is an alternative to a big budget frock. I think there needs to be more options out there for people who want a personal, made to measure service, but without the price tag of a custom designed, complex outfit.

So to keep the process simple and fuss-free we’ll only do one toile fitting for this dress. I’ve draped it directly on the stand in calico, but then re-cut the top part in the correct fabric so that we can check the volume in gathers before we commit. Having seen it on the body and made a few adjustments we’ll go straight for the real thing.

I’m so thrilled that it looked good on Ruth from the get-go! With an un-fussy, clean design like this one there’s really nowhere to hide: the fit and finish need to be perfect. But this has been a great start, and the shape suits her so brilliantly – I’m happy that this is heading in the right direction.

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