The Cutting Class

Proenza Schouler, SS12.

Sleeve shapes and panelling are a subtle yet directional way that designers are controlling the feel of their collections. The raglan sleeve in particular has enjoyed a renaissance over the past few seasons as both a reference to the couture and the athletic. Raglan variations have been visible on broad kimono style sleeves as well as on raglan sleeve styles that cut in close over the curve of the shoulder, often using a seam up the outside of the arm to take in the shaping over the sleeve head, where a traditional set-in sleeve would look more square.

For the Proenza Schouler Spring-Summer 2012 collection, the raglan sleeve panel was made more jagged and angular, and this was then carried through into the panels in the torsos of the tailored garments. This angular use of panels was then also reflected in geometric prints, and picked up in angled seams, folds and pocket angles on other garments.

More examples of raglan sleeves can be seen here: Raglan Sleeves at Richard Nicholl».

Below is an overly simplified version of a set-in sleeve pattern being turned into a raglan pattern. This is purely to show how the sections of the front and back patterns become joined onto the top of the sleeve head. The dart section that appears at the top of the raglan is to shape the sleeve over the shoulder - but this line can also be split all the way down to the sleeve hem to split the sleeve into two pieces. This will allow for closer fitting across the curve of the shoulder.

Visualising patterns in a basic way like this can often help you to understand the fundamentals of a pattern change, before following more detailed instructions in a pattern reference book. If you can understand and picture what the end pattern pieces will roughly look like, it will help you to make all the steps in between. 

Catwalk Images from Vogue.co.uk». Technical images by The Cutting Class.

Proenza Schouler, AW11.

There are many different design elements at play in the Autumn-Winter 2011 collection from Proenza Schouler. There are geometric patterns, unusual colours, velvets, complicated cut outs, detailed accessories, and complex knitwear pieces. For many other designers, on paper this would have sounded like too much, but for designers Lazaro Hernandez and Jack McCullogh, when the elements are all about serving the same concept it somehow manages to work. And work incredibly successfully.

The end result is that once you get past the enjoyment of the colours and accessories, you are able to appreciate the interesting pattern making that has been used to create garments that spiral around the body. Once you can see the diagonal lines at work, they seem to suddenly appear in every garment in one form or another.

Part of the challenge in working with fabrics at these angles is to retain a nice seamline, even when fabrics are used on the bias. Care must be taken so that seamlines at these angles do not stretch and pucker creating unflattering fit problems and making the garments look altogether unprofessional. At times this may mean reinforcing the fabric with a line of fusing or stay stitching first, before attaching to the adjoining panel.

Catwalk images from Vogue.co.uk». 

There have been times in the past where a theme of hand crafts running through the collections can be a little too dowdy and kitsch. This time around at the New York Autumn/Winter 2011 shows, the American craftsmanship coming through is focused and comes in sophisticated colour combinations. Some of the looks seem to have stemmed from the colour blocking ideas of recent times but has morphed into an obsession with patchwork and a new confidence in throwing unexpected textile combinations together. It has also resulted in some amazing knitwear and textile patterns that seem to fall somewhere between pixels and tiny quilting squares.

Proenza Schouler, AW11.

Rodarte, AW11.

Catwalk images from Vogue.co.uk - ProenzaSchoeler and Rodarte.