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20Patternmaking
for Bias-CutDresses
chapter
426
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427NATURE OF BIAS-CUT FABRIC . . . . . . . . . . . . . . . . . . 427PATTERNMAKING FOR BIAS-CUT GARMENTS . . . . . .427TWO METHODS FOR REDUCING BIAS STRETCH . . . .427FABRIC SUGGESTIONS FOR BIAS-CUTGARMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427SLIP DRESS WITH A SLINKY SKIRT . . . . . . . . . . . . . . . .428TWIST BODICE WITH A SLINKY SKIRT . . . . . . . . . . . . .434ALL-IN-ONE BIAS DRESSES . . . . . . . . . . . . . . . . . . . . . 437DESIGN VARIATIONS . . . . . . . . . . . . . . . . . . . . . . . . . 439
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PATTERNMAKING FOR BIAS-CUT DRESSES 427
INTRODUCTIONBefore the advent of bias-cut dresses, fashion gar-ments required the use of girdles to harness thebody. Then, the late designer Madeleine Vionnet
(18761975), called the Euclid of fashion, createdbias-cut dresses that clung to the natural curves of thefigure. As the bias fell from the hip to the hem, flareswere formed at the hemline. The beauty of the biasdress was in the graceful swing of its hemline as thebody was in motion. Vionnets designs revolution-ized the way women wore their clothes, and the gir-dle was discarded. Bias-cut dresses are timeless in styleand continue to influence designers today. To repli-cate the essence of the Vionnet look, a system thatcombines drafting and draping must be considered.
NATURE OF BIAS-CUT FABRIC1. As bias stretches in length, its width
decreases.
2. The lengthwise grain and crossgrain run inopposite directions from the center of true bias.
3. The crossgrain fibers are not twisted as tightlyas the fibers of the lengthwise grain and fallmore easily on the bias.
4. Where the crossgrain and lengthwise grainintersect at true bias, the crossgrain sidehangs longer.
5. After the bias has stretched, it does not returnexactly to its original shape.
The nature of bias-cut fabric poses problems forthe patternmaker. All garments cut on the bias shouldbe test fitted to eliminate excess created by the stretchof the bias. Chapter 12 addresses this problem.
PATTERNMAKINGFOR BIAS-CUT GARMENTSDesigns that are cut totally on the bias or partiallyon the bias are discussed in this chapter.
Foundation patterns that are chosen as a base todevelop bias-cut garments are not reliable, but theydo serve the purpose of creating pattern shapes of the design. The garment is cut and joined either by
using the long stitch by machine, by basting, or bypinning in preparation for hanging overnight. Thebias part of the garment will stretch beyond its orig-inal shape in fitting to the curves of the form. Thegarment is chalk-marked around the seamline of theform. The differences between the original lines of the pattern and the adjusted markings are trimmedfrom the patterns where they occur. New patternshapes emerge from the corrections that are smallerand shorter than the originals. When cut again forthe final test fit, the bias will again stretch naturallyto fit the shape of the form. The instructions includetwo methods for managing bias and adjusting thepattern.
TWO METHODS FORREDUCING BIAS STRETCH
Method 1The garment is cut from the design pat-tern and allowed to stretch to determine the patterncorrections. The slip dress illustrates the methodand management of the cutting process.Method 2The stretch of the fabric is determinedfirst and the pattern is adjusted before the designpatterns are developed. The all-in-one dress illustratesthis method.
FABRIC SELECTIONSFOR BIAS-CUT GARMENTS
Light-Weight FabricsCrepeFlat crepeCrepe de chineSilkRayon blendsChiffon
Medium-Weight FabricsSatin-back crepeCharmeuseGeorgette
Stretch knits can also be used for the designs thatfollow.
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428 Chapter 20
SLIP DRESS WITHA SLINKY SKIRT
Design 1 is the prototype for designs with flaredhemlines. Additional width is added to the sideseams for adjustment after the bias has stretched.(Suggestion: Pin drapery weights along the hemlineto encourage the greatest amount of stretch.)
Design AnalysisDesign 1The dress is designed to resemble a slip. The bra isgathered under the bust, with a princess bra liningunderneath for support. The empire skirt is cut onthe true bias. Use the torso foundation for the design.
Pattern Plot and ManipulationFigure 1
If you are not using the contour guide pattern, follow the pattern plot and measurement (see Chapter 9).
Trace the front and back torso foundation. Transfer contour guidelines 4, 5, 6, and 7 (back). Draw a bust arc (3 inches) above and below the
bust. Connect the front and back contour guidelines. Draw the princess bra top 1/4 inch above bust arc. Continue with sloping lines to the center back.
Design 1
4
3/8 "3/8 "
3/16 " 3/16 "
5
3/8 "
3/8 "
6
BACK
HBL
FRONT
HBL
77/8 "
Figure 1
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PATTERNMAKING FOR BIAS-CUT DRESSES 429
Figure 2 Bra-Top Support Separate the bra-top at bust point. Make two copies. Use the patterns for Figures 3 and 4.
Figure 3 Gathered Bra-Top Close all darts except under the bust and trace. Extend the dart legs 1/4 inch below bust. Draw curved lines under the bust. Mark notches.
Figure 4 Princess Undersupport Close the side and center bust darts and trace. Add 1/8 inch at bust points and draw outward
curved lines.
Figure 5 Back Strapless Band Close darts and blend.
Figure 6 Front and Back Empire Skirts Measure intake of each dart, front and back. Add together, plus 1 inch. Record. Draw guidelines between the two darts, ending 7
or more inches below the waist. Mark one-fourth of the measurement out from
each side of the front and back guidelines. Connect to the dart points.
Figure 2
1/4 "1/4 "
Gathers
CloseFigure 3
Princess bra
1/8 "1/8 "
CloseClose
Figure 4
Blend
3/4 " ext.
Figure 5
MeasureMeasure
F o
l d
S l a s h
S l a s h
FRONTBACK
Figure 6
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430 Chapter 20
Figures 7a, b Front and Back Slinky Skirt Slash to dart points from waist down and hips up. Close the darts and trace the patterns, with the
front traced on the fold. C to D is twice the A toB measurement. Mark.
Draw side seams from the outermost part of thehip touching D and continuing to desiredlength. (Added length is marked parallel with thehip HBL.)
Grainline PlacementThe grainline of the bias skirt can be cut with the grains running in the same direction, as illustrated on thenext page. This placement allows the bias grain to fall equally at the side seams. If the back is cut with the grain-line running in opposite direction to the front, the back will hang at a different length. The hemline is trimmed,and the hem overhang fabric is laid on the pattern and cut. The joining seams will not true, but when stitched,the shorter, more bias, will stretch to the length of the other seam. The bra-tops are cut on the lengthwise grain.
Figure 7b
Figure 7a
HBL
Hem isparallelwith HBL
A
CD
B
Hem isparallelwith HBL
F o
l d
B A HBL
Measure
CD
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PATTERNMAKING FOR BIAS-CUT DRESSES 431
Preparing for CuttingFigure 8 Patterns for First FittingDraw bias grainlines (45) on front and back empire skirt patterns and mark the foldline (guideline). Marklengthwise grain on the bra-tops. Add seams only to bra-top patterns at this time.
Lay of Tissue and Fabric for First CutTo control the fabric while cutting, place tissue on the cutting table first. Place the fabric on top of the tissueand pin around the edges. Pin the patterns on the fabric, with grainlines parallel to selvage. Trace the skirtfirst, then add 1 inch seams and 1/2 inch at the empire line shown as broken lines. (The purpose is to see theamount of stretch caused by garments cut by bias.) Cut patterns and draw the center bias guideline on thefront and back skirt fabric.
Tissue
Fabric
F R O N T
BACK
BACK
" "
"1"
1"
1"
1"
1"
1"
Grainline
G u i d
e l i n e
Figure 8
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Figure 9
Pin mark hemline
Figure 10
432 Chapter 20
Preparing for the Test FitFigure 9 Sew the front and back bras. Pin skirt from center to side seams. Allow to
stretch; the bias will go beyond the sideseams. Stitch the bra-top to the front andback slinky skirt separately.
Place the garment on the form. Pin thecenter guideline to the center front of theform and do not allow it to move from thatlocation when fitting the garment.
Raise the form to prevent the skirt fromtouching the floor.
Pin the side seam (not too closely at theside waist), ending 6 inches below thewaistline. Clip where shown.
The unpinned seamline will allow thebias to stretch freely overnight. ( Sug-
gestion: Pin weights along the hemline.See Chapter 13 for more information.)
Weights
Clip
Figure 10 After the garment has hung overnight,
Adjust, pin, and chalk-mark the new side seamsand hem.
The hemline is pin marked parallel with the floor. The garment is removed from the form. Release the bra section from the skirt. Unpin the side seam and true the new seam lines.
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PATTERNMAKING FOR BIAS-CUT DRESSES 433
Figure 11
FRONTEMPIRE SKIRT
PATTERN
1/2 "
Adjustedseamline
Paper
3/4 "
Trim
Figure 12
Adjusted Side SeamFigure 11 Measure the distance from the original seamless
pattern to the chalk line. Use measurement to pin mark the opposite side
of the chalk line at the side seam and hemline. Repeat for the back skirt (not shown). True and blend seamlines and match joining seams.
Figure 12 Fold paper and draw the bias grainline. Place one side of the draped skirt on paper, align-
ing grainlines and center line and secure. Trace on the new side seam and hem. Remove the drape, pencil in, and add 1/2-inch
seams at empire line, 3/4 inch at side seam
and hem. Cut from the paper.
Recut for Final FitFigure 13 Trace patterns on marking paper. Lay tissue first, fabric second, and marking paper
on top, as shown. Cut for second fit.
TissueFabricMarkingpaper
Figure 13
Measure stretch Mark equal amount
FRONT
Seamless pattern
Chalk line
Adjusted seam
A d j u s t e d h e m l i n e
Measureand pin mark hemline
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434 Chapter 20
TWIST BODICE WITH A SLINKY SKIRTThe bodice twist closely relates to a design by Vionnet. The dress slips over the shoulder without a closure.The cowl is also excellent for this purpose.
Design AnalysisThe bodice twist is cut on the true bias. The twist turns at bust level so that the other side ends right-side-up.An open space between the slinky and the bodice gives freedom for the turning of the twist. The twist designis plotted on the pattern. See page 436, Figure 8a, to vary the skirt design.
Pattern Plot and ManipulationFigures 1,2
Front Square a line from the center to bust point (X)
and follow the illustration to plot the design.
Back Mark (X) 2 inches up from the center back waist
and follow the illustration to plot the design. To complete the skirt, see page 429, Figure 6, and
page 430.
2 " 2 " 2 "X
Trim 1/2 "
1 1/2 " 1 1/2 "
X
3 "
Figure 1 Figure 2
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PATTERNMAKING FOR BIAS-CUT DRESSES 435
Figure 3 Twist Slash to bust point and close side dart. Trim the side ease and trace the pattern. Square to shoulder from fold at center front line. Cut front on the fold. Draw the bias grainline. Cut in fabric for a test fit.
Figure 4 Back Empire Top Remove the dart intake at center back and end at
the mark of the shoulder. Cut from the paper and trim side ease and shoulder. Draw the grainline parallel to the V-neckline.
Figure 5 Place the twist to the right shoulder and pin at
the shoulder and at the side seam. Fold pleats in the fabric (in line with the center
front) and twist the fabric under and over sothat the right side of the fabric is to the left sideof the form. Pin to the shoulder and side seamof the form.
3 "
F o
l d
Paper
Figure 3
Trim
Figure 4
Figure 5
Figure 6 If the twist is too loose, reduce the needed
amount from the center front of the pattern.Check the total fit and make any additional cor-rection where needed.
Hang skirt overnight (see Chapter 13) and adjust thepattern. Pin, baste, or stitch the skirt to the twist fora final test fit.
Figure 6
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436 Chapter 20
Figure 7The completed patterns are illustrated. The rawedges of the twist can be merrow edged or can bestitched as a baby-roll hem.
FRONT TWIST
BACK
Figure 7
BACK FRONT
F o
l d
Additional InformationFigures 8a,bCreate designs with as few bias seams as possible.Styleline(s) should be placed on the lengthwise grainand crosswise grain to simplify sewing (Figure 8a).
Stylelines cut on the lengthwise grain or cross-wise grain can pass over the front and back sideseams by overlapping the seams, making the style-line one piece. Each section is cut separately.
Partial side seam: Overlap front and back sideseams until they merge. A side dart will remain in
the pattern for a closer fit (Figure 8b).
Long pattern pieces cut on the bias require wide fabrics. C
. F .
C r o s
s w i s e
S t r a i g h t g r a i n
C r o
s s w i s e C r o s s w i s
e
S t r a i g h t g r a i n C r
o s s w
i s e
Figure 8a
C.F.
Figure 8b
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PATTERNMAKING FOR BIAS-CUT DRESSES 437
ALL-IN-ONE BIAS DRESSESThe second method for handling garments cut on the bias is illustrated with the all-in-one dress. (However,any design cut on the bias can be adapted to this method.) The difference between this method and Method 1is that the stretch of the bias is determined first and then the pattern is modified before the design pattern is
developed. This does not mean that the garment will be a perfect fit. The garment must hang overnight andall seams must be checked for the amount of fit desired. Tab pages 431, 432, and 433 for guidance in handlingfabric, cutting, and adjusting the pattern.
Design AnalysisThe bias-cut dress has a flared skirt with center lineseams. The shoulderline is gathered and the necklinehas a V-cut. To develop the leg-o-mutton sleeve,see Chapter 14.
Determining the Bias StretchFigure 1
Measurement needed: Back hip arc (23). Example:9 inches for front and back patterns. Fold the fabric on true bias and pin mark the hip
arc measurement (A to B). Lay the fabric on the ruler with pin mark (A) se-
cured at the 1-inch point. Smooth the bias across the ruler. See Chapter 27
for additional information. Record the distancethat the fabric has stretched beyond the hipmeasurement. This amount is to be removedfrom the center lines of the pattern to offset thebias stretch.
The amount of bias stretch will vary according to thenature of the fabric. (For example, chiffon may stretchmore on the bias than satin-back crepe.)
1 10
100
10 20 30 40 50 60 70 80 90Percent Stretch
Hold Knit Stretches 50%Extends beyondB
0
A
5432
Figure 1
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438 Chapter 20
Pattern Plot and ManipulationFigure 2a, b, c,d Trace the torso patterns, transferring the side dart
1 inch from the shoulder tip. Draw a V-neckline 1 inch up from bust level and
ending 1 inch from the shoulder dart. (2a) Draw the back neckline. To eliminate remaining
dart excess, trim the shoulderline. (2b) Draw parallel lines at center front and back equal
to the amount of the bias stretch (indicated bythe broken lines).
Draw the front and back curved center lines, atthe adjusted center lines, as illustrated.
Adding Flare Extend skirt to the desired length. Add flare starting about 7 inches below waistline
of the center back, front, and side seams, andending 5 inches out from side seam at hem.
Add 1-inch seams to the patterns.See pages 431, 432, and 433 for guidance inpreparing the fabric, cutting, and draping.
Leg-o-mutton sleeve (2c, d).Follow illustration or see Chapter 14 for guide.
1 "
1 "3/8 "
3/8 "
1/2 "1/2 "
2 "
7 "
3 "
Length asdesired
Length asdesired B
2 " 2 "
7 "
A
3 "
3 " G r a i n l i n
e
A B4 "
E
Figure 2a Figure 2b Figure 2c
Figure 2d
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PATTERNMAKING FOR BIAS-CUT DRESSES 439
DESIGN VARIATIONSThe designs illustrated are for further practice and for design inspiration.