Draping work by the student of Dezyne E'cole College

1. FASHION DRAPING
By Mamta Manwani
2nd Year Diploma In Fashion Design
Confirming To NSQF Level 6 Of NSDC
Dezyne E’cole College

2. On
Fashion Draping
At
Dezyne E’cole College
Submitted Towards
The Partial Fulfillment Of The
Two Year Diploma In Fashion Design
Confirming To NSQF Level 6 Of NSDC
By
Mamta Manwani
Dezyne E’cole College
106/10,civil Lines ,Ajmer
Tel:0145-2624679
www.dezyneecole.Com
2016-17
Project Report

3. Dezyne E’cole College
Civil Lines, Ajmer
www.dezyneecole.com
This Project Of Ms. Mamta Manwani Student Of 2nd Year Advance Diploma In Fashion Design, Confirming To NSQF
Level 6 Of NSDC Has Been Checked And Graded As ______________________________________________________
Thanking You
Principal
[Seal & Signature]

4. I take this opportunity to express my profound gratitude and deep regards to Dezyne E’cole College for their
exemplary guidance, monitoring and constant encouragement throughout the course of this project.
I also take this opportunity to express a deep sense of gratitude to the mentors of Dezyne E’cole College for their
cardinal support, valuable information and guidance, which helped me in completing this task through various stages.
MAMTA MANWANI
ACKNOWLEDGEMENT

5. CONTENT
1. Draping Of Collars
The Mandarin Collar
The Band Collar
The Convertible Collar
The Shirt Collar
The Peter Pan Collar
The Shawl Collar
The Tailored Notched Collar
2. Draping Of Sleeves
The Dolman Sleeve
Long Fitted Dolman Sleeve
The Semi Mounted Sleeve
The Raglan Sleeve
Kimono Sleeve With A Gusset
3. Draping Of The Shift
The Shift
The Sheath
The Tent
The Bias Slip Dress
The Smock
The Fundamental Dress
4. Draping Of A Tailored Garment
The Tailored Garment
5. Draping Of Pants
The Pants
The Divided Skirt
The Jump Suit

6. DRAPING : AN INTRODUCTION
Many a times it is not possible for a designer to directly
create a draft of a design when the designer wants to
see the look of a outfit on a dummy. Then there is the
need of an art of draping, in which one can directly
drapes a fabric on a dress form.
It’s a technique used by designers to create garments
by draping fabric on dress from. A pattern is then cut
from the designer’s sample garment. The garment is
made of unstitched cloth that is held to the body by
means of pins, fibulae, or clasps, sashes or belts tying,
or frictional gravity alone. Many draped garments are
one piece.
Even when there is a need to give some natural falls to
the garment according to the design through draping it
is done.. Also there are so many arts of draping
includes, vertex and origami lets a designer to create
something that is out of reach from the mind of
common people.

7. DRAPING OF COLLARS

8. As collars are draped, the designer has complete
freedom to experiment. The shape and size of the
collar can be controlled and evaluated in proportion
to the rest of the garment in the process of
development. The completed or partially completed
bodice muslin must be placed onto the dress form
before draping the collar. The collar should always
be draped over the neckline of the garment.
COLLARS

9. THE MANDARIN COLLAR
The mandarin collar derived from the traditional
Chinese costumes, provides a neat and tailored
finish for the neckline. Basically, it is a fitted, raised
band with two rounded sides that meet at center
front. The sides of the collar may be straight, spaced
apart, or overlapped for closing. Although the true
mandarin may be as high as 3 ½ inches, modern
versions rarely exceed 2 ½ inches in height and may
be much narrower.

10. MAKING OF THE MANDARIN COLLAR

11. FRONT, SIDE AND BACK VIEW OF THE MANDARIN COLLAR

12. THE BAND COLLAR
The band collar is very similar to the mandarin collar
except that it is cut on the fold at the centre front.
Edged with Lace the band collar is typical of the
Victoria look. Untrimmed it provides a smooth finish
for the neckline.

13. MAKING OF THE BAND COLLAR

14. FRONT, SIDE AND BACK VIEW OF THE BAND COLLAR

15. THE CONVERTIBLE COLLAR
The convertible collar may be worn open or closed.
Cut on the straight grain it has relatively high stand
and the stand is somewhat reduced when the collar
is cut on the bias. The straight grain convertible
collar is used to achieve a tailored look and is
specially popular for shirtwaist.

16. MAKING OF THE CONVERTIBLE COLLAR

17. FRONT, SIDE AND BACK VIEW OF THE CONVERTIBLE COLLAR

18. THE SHIRT COLLAR
The shirt collar is a combination of mandarin and the
convertible collar. The shirt collar is sandwich into
the upper edge of the mandarin/band. The lower
edge of the band and closes the neckline of the
shirt. Here the shirt collar is made with an inbuilt
necktie.

19. MAKING OF THE SHIRT COLLAR

20. FRONT, SIDE AND BACK VIEW OF THE SHIRT COLLAR

21. THE PETER PAN COLLAR
The Peter Pan style is a popular youthful collar that
fits gently around the neckline. It may rest relatively
flat on the shoulders or have a more decided roll.
The width may vary from very narrow to quite wide,
and the outer edge may assume various shapes.
The simplest way to create a Peter Pan collar is to
combine draping with pattern making. The necklines
of the front and back bodice patterns are used to
create the shape of the collar neckline. This is an
especially useful method for designing children's
wear. The second technique relaying only on
draping is somewhat more complicated to execute
but has the advantage of giving the designer better
control of the roll of the collar.

22. MAKING OF THE PETER PAN COLLAR

23. FRONT, SIDE AND BACK VIEW OF THE PETER PAN COLLAR

24. THE SHAWL COLLAR
The shawl collar was originally inspired by the
Tuxedo design of formal men's wear. Today this
Collar may be used on coats and jackets or any
garment with a front opening. Its width, length and
height of roll maybe it’s simple elegant shape. The
outer edge of the shawl collar may be notched to
simulate the two piece notched collar. The under
collar is always seamed at the centre back but the
upper collar cut in one piece with the front facing
maybe cut without a centre back seam.

25. MAKING OF THE SHAWL COLLAR

26. FRONT, SIDE AND BACK VIEW OF THE SHAWL COLLAR

27. THE TAILORED NOTCHED COLLAR
Frequently used on coats and jackets the notched
collar may also be used on tailored dresses and
blouses. This neckline treatment involves two pieces
the lapel cut in one piece with the front of the
garment and the corner cut separately. Infinite
variations may be achieved by changing the size and
shape of both the lapel and the collar. Both lapel and
the collar must be interfaced in order to achieve
smoothly tailored effect.

28. MAKING OF THE TAILORED NOTCHED COLLAR

29. FRONT, SIDE AND BACK VIEW OF THE TAILORED NOTCHED COLLAR

30. DRAPING OF SLEEVES

31. The dolman sleeve is the simplest of the unmounted
sleeves. In its elementary form, it is a loose sleeve
cut to any length in one piece with the body of the
garment. Historically, this cut has been used for the
traditional robes of the near and far east as well as
for the early tunics of western dress.
THE BASIC DOLMAN SLEEVE

32. FRONT, SIDE AND BACK VIEW OF THE BASIC DOLMAN SLEEVE

33. The dolman sleeve, fitted from elbow to wrist, is a
recurring feature in fashion. The pattern for this
sleeve is easily achieved by combining draping with
flat pattern drafting. The garment is draped, and the
sleeve is drafted.
THE LONG FITTED DOLMAN
SLEEVE

34. FRONT, SIDE AND BACK VIEW OF THE LONG FITTED DOLMAN SLEEVE

35. The semi mounted sleeve combines the smooth
shoulder line of the unmounted sleeve with the fit
of a set in sleeve at the underarm. This sleeve is cut
in one piece with the front and back of the garment
but for approximately 1 inch below the screw level
of the armpit, it is set into a separate piece of the
bodice. The bodies may assume various shapes and
seam arrangements. The design however must have
the seams originating at the front and at the back of
the armhole.
THE SEMI MOUNTED SLEEVE

36. FRONT, SIDE AND BACK VIEW OF THE SEMI MOUNTED SLEEVE

37. The raglan sleeve is set in with a seam that extends
from the underarm to the front and back neckline.
This seam may be somewhat varied for different
design effects. The raglan combines a smooth
shoulder with a fit and hang of a set in sleeve. It may
be cut in one piece or split into two pieces with their
overall seam that extends from the neckline over the
shoulder to the wrist. A raglan with additional ease
at the underarm is very comfortable. It may have
used for tailored garments and it also works well for
dresses, sports wear and loungewear.
THE RAGLAN SLEEVE

38. FRONT, SIDE AND BACK VIEW OF THE RAGLAN SLEEVE

39. When a smooth unmounted sleeve is desired
without any of the bulk at the underarm of the
dolman sleeve, a gusset must be inserted at the
underarm to facilitate ease in movement. A gusset is
a diamond shape piece of the fabric that is set into a
slashed opening. The gusset opening, especially at
the point of the slash, must be reinforced in the
construction of the garment.
KIMONO SLEEVE WITH A GUSSET

40. FRONT, SIDE AND BACK VIEW OF KIMONO SLEEVE WITH A GUSSET

41. MAKING OF THE SLEEVES

42. DRAPING OF THE SHIFT

43. One of the most comfortable and flattering shapes
in fashion is the shift. Cut in one piece without
constraint at the waistline the shift allows freedom
of movement and camouflages the less than Perfect
figure. Never totally out of fashion the shift can be
draped to create many variations in silhouette
including the body skimming sheath the slightly
fitted shape, the straight shift and the flared tent.
When a defined waistline is desired the shift can be
belted. The basic technique used to drape the shift
also applies to draping the fitted torso, which is a hip
length version of the sheath. Smocks, blouses, and
dresses with a blouson silhouette are also developed
using shift draping methods.
THE SHIFT

44. MAKING OF THE SHIFT

45. FRONT, SIDE AND BACK VIEW OF THE SHIFT

46. When a shift is shaped and fitted close to the body,
it is a sheath, when a sheath is cut short, ending at
the hipline, it becomes a long torso. The same
draping technique is used for both the versions.
THE SHEATH

47. MAKING OF THE SHEATH

48. FRONT, SIDE AND BACK VIEW OF THE SHEATH

49. The tent is a shift with flare that usually originate
from the armhole. More extreme fullness can be
developed by adding flares from the apex, the back
neckline, or the shoulder seams.
THE TENT

50. MAKING OF THE TENT

51. FRONT, SIDE AND BACK VIEW OF THE TENT

52. When the shift is cut on the bias, it glides gracefully
over the body, resulting in a gentle fit. The true slip
dress is held up with narrow shoulder straps and is
often fitted without darts. The traditional slip, on
with the slip dress is based, can achieve a closer fit
with horizontal seams below the bust. Other slip
dresses achieve fit by shaping only the side seam.
The length of the slip dress can range from a
micromini to the full length of an elegant evening
gown.
THE BIAS SLIP DRESS

53. MAKING OF THE BIAS SLIP DRESS

54. FRONT, SIDE AND BACK VIEW OF THE BIAS SLIP DRESS

55. The smock silhouette is created by adding additional
fullness to the shift. This fullness is gathered or
pleated into a shoulder yoke, which may be cut with
or without a shoulder seam. When a deeper front
yoke is desired, the yoke is cut in two pieces. For a
classic shirt effect, the shoulder seam in its normal
place is eliminated.
THE SMOCK

56. MAKING OF THE SMOCK

57. FRONT, SIDE AND BACK VIEW OF THE SMOCK

58. The Burkha style sloper (block) used as the base for
pattern making is fitted to the body with darts, back
shoulder darts, waist darts). Here three dimensional
form is created with no darts, but with design lines
inserted freely into the pattern of a basic torso.
THE FUNDAMENTAL DRESS

59. MAKING OF THE FUNDAMENTAL DRESS

60. FRONT, SIDE AND BACK VIEW OF THE FUNDAMENTAL DRESS

61. DRAPING OF A TAILORED GARMENT

62. Tailored Garments are designed to fit smoothly
giving the illusion of a trim body. This smooth fit is
achieved by designing the garment to fit with
enough ease so that figure flows are well hidden.
The tailored garment is then characteristically
constructed so that it can maintain its designed
silhouette regardless of the figure beneath.
Tailoring involves the use of shoulder pads of varying
thickness to suspend the garment smoothly from
the shoulders backing interfacing and lining impart
shape and body. Traditionally wool and hair was pad
stitched by hand into the front and the shoulder
area of the back of a jacket so that the fabric could
lie smoothly on the figure. A firmer cotton and hair
Canvas was hand stitched into the collar and lapels.
Today fusible interfacing a soft pliable open weave
fabric takes the place of the wool and hair Canvas. It
is fused, rather than stitched into place.
Toile muslin, heavy weight firmly woven fabric is
usually used to drape tailored garments this fabric
has a similar body to the actual fabrics that are used
for tailoring and helps in visualising the finished
product.
TAILORED GARMENT

63. MAKING OF THE TAILORED GARMENT

64. A COAT WITH A CONVERTIBLE COLLAR

65. FRONT, SIDE AND BACK VIEW OF THE TAILORED GARMENT
PART 1

66. FRONT, SIDE AND BACK VIEW OF THE TAILORED GARMENT
PART 2

67. DRAPING OF THE PANTS

68. Pants, trousers, slacks– whatever we call them are a
staple in virtually every woman’s wardrobe. Pants
may be long, or they may stop short at any length.
Cut off at the knee or above, they are shorts. Pants
are worn everywhere, at any time of the day or
night. They may cling to every curve of the body, or
they may be straight and tailored. For evening or
loungewear, they are often full and flowing. They
may be shaped like a skirt , pegged, tapered, or
flared.
PANTS

69. MAKING OF THE PANTS

70. FRONT, SIDE AND BACK VIEW OF THE PANTS

71. Pants that fit and fall like a skirt yet have the
convenience and comfort of pants are used for
evening, lounge, and sportswear. When the division
at the crotch is hidden with pleats, these pants are
called culottes.
DIVIDED SKIRT

72. MAKING OF THE DIVIDED SKIRT

73. FRONT, SIDE AND BACK VIEW OF THE DIVIDED SKIRT

74. All-in-one garments, combining bodice and trousers,
are a neat, easy, and comfortable dressing solution.
Jumpsuits are ideal protective clothing because they
cover the body completely. This is especially true
when the wrist and ankle openings of the jumpsuit
fit snugly and the closure consists of a zipper under
a flap. It is therefore no wonder that astronauts and
welders, as well as skiers, speed skaters, and divers,
wear jumpsuits.
There are two kinds of jumpsuits. Jumpsuits worn
for protection are usually designed to fit closely to
the body. These garments must be designed in a
stretchable fabric to fit and move like a second skin.
When jumpsuits are to be cut in a conventional
woven fabric, as in painter's and farm worker's
overalls, they must be designed with a considerable
amount of extra ease in all directions, so that they
permit comfortable movement. Because loosely
draped and/or elasticized jumpsuits are so
comfortable and easy to wear, they are also used for
lounge wear and play clothes.
THE JUMP SUIT

75. MAKING OF THE JUMP SUIT

76. FRONT, SIDE AND BACK VIEW OF THE JUMP SUIT

77. THANK YOU FOR WATCHING
By Mamta Manwani
Two Year Diploma In Fashion Design
Confirming To NSQF Level 6 Of NSDC
Dezyne E’cole College