The Cutting Class

Comme des Garçons, AW12.

For her Autumn-Winter 2012 collection for Comme des Garçons, Rei Kawakubo presented a very flat collection that called into question the very nature of the way we view fashion. As a comment on the way that we generally view collections as endless catwalk thumbnail images the garments were made out of very thick felt, giving the appearance of paperdolls playing dress-up, and making the garments perfectly suited to only being viewed front on. The collection also appeared in fashions most clichéd prints - the floral, the polka dot, the camouflage, the leopard print.

The garments presented in this way provide a perfect example of seam allowance - a section of fabric that is usually unseen in garment images. Seam allowance is effectively like a border of free space on the fabric. If you imagine the finished edge of a garment when it is on the body, following the stitching line that joins the pieces of fabric together, then the seam allowance is the extra margin that runs parallel to this finished edge.

Basically because you can’t join fabric edge to edge as it will fray away, there must always be some sort of margin of spare fabric on either side of the stitching line so that the stitches have something to grip into.

In the case of the Comme des Garçons collection, the seam allowance has been left visible along the top shoulder edges of the first garments to allow us to see this element that would normally be hidden inside the garment.

The below explains the basic process of sewing a seam in a garment. As you can see in some of the garments above, the seam allowance on the shoulders is not turned to the inside so it is as though the machinist has only sewn the first 3 steps, but with the wrong sides of the fabric together:

The amount of seam allowance that is added to the pattern of a garment, and therefore the margin for when you sew the garment, will depend on the type of fabric you are sewing and how you intend on finishing the seam. For example, some garments may take just 6mm (essentially the width of a sewing machine foot), 1.2cm or 1.5cm or as wide as your require.

Understanding seam allowance is extremely important in pattern making and sewing, as sewing along the stitching line must be exact. If you leave the wrong seam allowance when you are pattern making then your machinist may not be able to sew the pieces together correctly. If you are sewing and take more or less seam allowance than you should then you will effectively be shrinking or growing the size of the entire garment.

If you are pattern making a garment and are unsure how much seam allowance to add to your finished outline then the best practice is to do a small test of the seam finish that you want for that seam, in the correct or similar weight fabric wherever possible. Then you will be able to ensure that you have left enough space.

Read more about seams and seam allowance in Fundamentals of Sewing: Seams» and Fundamentals of Patternmaking: Seam Allowance»

Images from Vogue.co.uk»

Balmain, AW12, Paris.

To create an opulent collection in his second season at the head of Balmain, Olivier Rousteing drew on an array of techniques to create multi layered fabrics with an intense level of detailing. Leather was used as embossed and laser cut panels layered over velvet, or quilted with lines of stitching. Velvet was used as an under cloth, or heavily embossed for fitted trousers. Velvet was also used with a burnt out devoré effect, revealing sheer lines of fabric in the base cloth beneath the velvet pile.

There was also an incredible level of beading that was used in an impressive way to reinforce boxy silhouettes, or in elaborate panels to flatter the curves of the body. Rather than appearing as though the embellishments were a heavily applied decoration, they were cleverly engineered as part of the garments.

Also of note were the tapestry panels that proved a vibrant flash of colour in amongst the pearly pastel pinks and pistachios, and rich teal leather.

All in all the techniques chosen worked as complements of each other, creating 2D and 3D versions to reinforce similar linework details and to echo historical references. It was with interesting effect that Rousteing used one of the most simple and everyday pieces of the collection to ground the otherwise very regal techniques. The very opulent and detailed designs were nicely offset by the simple shape of a fully fashioned knit sweater. 

Images from Vogue.co.uk»

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.

Valentino, SS12.

There are some designers who can take an idea or a technique that has been used time and time again, and can bring their own freshness to them to use the techniques in new and beautiful ways. Grazia Chiuri and Pier Paolo Piccioli, as the creative directors at Valentino, are finding ever more intricate ways to work with lace, and lace-like effects to build ethereal collections.

The garments manage to balance prettiness with substance, largely due to the obvious care, thought and attention to detail that goes into crafting these garments. Additional edge is given to the collections through the intelligent colour combinations that contrast the most subtle of neutral pinks, lemons and mints with pops of cornflower blue, vibrant red or even layers of stark black.

Half of the beauty in these collections is hidden in the details - the careful finish given to a near invisible fastening, or the way that the leather is molded and tucked to form a perfect and yet understated sleeve head shape. Sometimes embellishment can be used as evidence of labour and effort but in the Valentino collection it is all about subtle and deft handiwork. 

Images from Vogue.co.uk».

Miu Miu, SS12.

In the past few seasons there have been some great examples of designers taking fairly old-fashioned and dated techniques and using them in the context of more contemporary collections. In the recent Spring-Summer 2012 collection for Miu Miu Miuccia Prada has reworked the smocking technique on cotton and satin dresses and capes and even extended the technique into the embellishment on hand bags.

The basic aesthetic of smocking may look familiar for its application on babies garments or on the traditional workers smocks that were the original application of the technique. Smocking would have been most important at a time before elastic, to allow fabric to be gathered and fitted around necklines and cuffs.

The process for smocking is based on a grid formation that is usually marked first on the fabric with small dots. These are then joined together with a loose running stitch and pulled to create tubes of regular gathers in the fabric. From there the true design takes place as the shape of the smocking design is sewn using small back stitches to create horizontal lines, or diamond shapes. Once the original running stitches are removed fabric in the gaps between the stitching will open out, whilst the stitched fabric will retain the shape of the design.

The accessories below show the use of smocking in velvets and satins, and in general smocking will work best in sturdy fabrics that will pleat easily into regular gathers. It is best to try small swatches of fabric first o see if your chosen fabric is suitable for smocking as some fabrics may be too slippery to easily hold the technique.

The image below shows a diagram from ChestofBooks.com» that shows the different stitches for smocking more clearly:

Below is a list of the basic stitches used to create smocking designs to match the letters on the photograph below. You can find this list and more information on the Wikipedia» page for smocking:

• A. Cable stitch: a tight stitch of double rows that joins alternating columns of gathers.
• B. Stem stitch: a tight stitch with minimum flexibility that joins two columns of gathers at a time in single overlapping rows with a downward slope. 
• C. Outline stitch: similar to the stem stitch but with an upward slope.
• D. Cable flowerette: a set of gathers worked in three rows of stitches across four columns of gathers. Often organized in diagonally arranged sets of flowerettes for loose smocking. 
• E. Wave stitch: a medium density pattern that alternately employs tight horizontal stitches and loose diagonal stitches. 
• F. Honeycomb stitch: a medium density variant on the cable stitch that double stitches each set of gathers and provides more spacing between them, with an intervening diagonal stitch concealed on the reverse side of the fabric. 
• G. Surface honeycomb stitch: a tight variant on the honeycomb stitch and the wave stitch with the diagonal stitch visible, but spanning only one gather instead of a gather and a space. 
• H. Trellis stitch: a medium density pattern that uses stem stitches and outine stitches to form diamond-shaped patterns. 
• I. Vandyke stitch: a tight variant on the surface honeycomb stitch that wraps diagonal stitches in the opposite direction. 
• J. Bullion stitch: a complex knotted stitch that joins several gathers in a single stitch. Organized similarly to cable flowerettes. 
• Smocker’s knot: (not depicted) a simple knotted stitch used to finish work with a thread or for decorative purposes.

Images from Vogue.co.uk».

Maria Parsons, MA Graduate Collection 2011.

The leap from concept to realised design can be one of the most difficult for student designers. Some students try to make entire labour intensive collections by themselves, and can feel frustrated that they do not have the specialist expertise, or the time, required to complete the work as they had envisioned. For others the learning curve is in how best to communicate their work so that a professional can help to construct their garments, make their fabric or embellish their designs.

In the images above and below, there are examples of the work of Maria Parsons, who recently completed her Masters Graduate collection “Back to Mystery City” at Kolding School of Design in Denmark. In the interview below, she shares with us details of her process and construction techniques, including the story of how she travelled to India for two weeks to produce her garments. It is also worth viewing the Tumblr (Back to Mystery City») she has created that tracks the progress of the collection. It is interesting to see the progression from the images that inspired her, through toiles, colour swatches, patterns, threads, beads, workshop images and finally into the finished garments.

CC: Can you describe your process for creating the pieces that are made from multiple panels? For example do you use any specific quilting techniques, do you prefer to create the designs by flat pattern making or by draping on a mannequin?

MP: The striped dress was made in a very ‘traditional’ quilting technique. We cut the different materials up in long strips (without measuring them in width, so that they are all different from each other). Then we sewed them all together after which we padded the whole thing. The dress is one big piece and is only sewn together in the sides and sleeves.

My approach to pattern making is very conceptual, meaning that I stay very true to the shapes that I choose to work with. For this collection I worked with geometrical shapes so that all the patterns/styles are two dimensional when laid down flat. The draped effect of the styles occur when they are worn on the body.

CC: What do you use to inspire your colour pallettes and fabric choices?

MP: I was inspired by an illustration on a metal tray. I worked in a very conceptual way which means that all the colours and shapes are taken directly from the illustration. The fabric choices were all about creating contrasts. Shiny textiles up against wooly ones or metallic materials together with furniture textiles. I love textiles that are ‘over the top’ and a bit too much. They challenge me as a designer.

CC: Can you explain what the small metallic gold rectangles are made out of and how you have attached them? Were these premade that you sourced from someone or were they a trim that you designed yourself?

MP: The metallic gold pieces/rectangles are made out of brass. They are a trim that I designed myself and had made while I was in India. I had a tiny hole drilled in them and attached a small ring  and my team hand sewed them on two items in the collection (the blue dress and the black pants). I also had pendants made in brass for all the zippers. These were all cut out by hand.

CC: Some of your garments appear to be beaded all over by hand - was this work that you completed yourself, or was it completed by someone sewing for you? Can you describe how many people were in the team that worked on the collection?

MP: Yes, two whole outfits are beaded by hand. A mini dress (front and back) and a jacket + mini skirt (which are only partly covered in beads). I went to New Delhi, India for 15 days in March 2011. I stayed at the factory the whole time sleeping in one of the flats situated immediately above the workplace (there were flats on top of the factory where I lived). I had a team of about 8 people working on my collection.

It was a ‘semi-production’ process meaning that I produced/created the finished patterns myself before going to India. I also brought over to India myself half of the textiles used in creating the garments.

CC: How did you go about finding the team that you worked with in India? Do you have any advice for other young designers about finding manufacturers to work with?

MP: The funny thing is that the company in India got in contact with me on Facebook. I think they were looking for clients in Scandinavia. It was just ‘meant to be’ that they contacted me, since I knew that I would love to use all the techniques that they are so good at in India in my collection such as beading, embroidery and so on.

So I just basically took a big chance going there since I did not know a lot about the company or production in general. But I am so happy that I took the risk. Going to India and having my collection produced has been the most educational fashion experience I have ever had. It taught me so many things that you simply cannot learn at school and my advice to other fashion students is to try it out in one way or another. 

If you do not know any production places yourself then ask other people within your fashion network. For instance the places where you have interned or a teacher might know somebody. Fashion is all about networking.

More information about the work of Maria Parsons on her own Tumblr Here».

Production images by Maria Parsons, Graduate collection images photographed by Rikke Kjaer, Interior images by artist Anna Maria Helgadottir. All images provided by Maria Parsons.

Jean Paul Gaultier, Couture, AW11.

There are some designers who create clothes that have a great sense of movement, often through the sheer volume of fabric used in the garment or the amount of space between the body and the garment, or even through the lightness of the fabric that enhances the movements of the models.

It is one thing for garments to react to the movement of the body but quite another to manipulate and guarantee the perfect effect. There is a certain craft in the way that some couturiers will not leave fashion moments to chance. Not content to wait for just the right puff of wind to blow a skirt or jacket hem into a memorable position, they pre-empt the moment, carefully draping and supporting the fabric to create shapes that will look good all the time.

There were examples of this control in the recent couture collection for Autumn-Winter 2011, by Jean Paul Gaultier. From the carefully nipped waist of a scarlet leather coat, to the swirls of tiny beads encrusting another jacket, Gaultier had a way of building movement into his collection so that the clothes would have still felt full of life even if the models had been standing perfectly still. One particularly labour intensive example would have to be the use of feathers in varying sizes that crept up a jacket like fish scales, increasing in size as they reached the shoulders.

Note that this was also the collection with the inventive ballet shoes as seen in the post En Pointe Accessories at Jean Paul Gaultier».

Images from Vogue.co.uk».

Armani Prive, Couture, AW11.

It is commonplace for designers to develop altered silhouettes and construction techniques that carry throughout their collections. The good designers (and those with teams of skilled crafts people) have the ability to take that detail and blend it away, so that the viewer isn’t distracted by the subtle change in silhouette. This allows for the viewer to absorb the other colours, prints and surface embellishments that become the focal points of the collection.

This was definitely the case at the Armani Prive AW11 Couture show, where the majority of the tailored jackets were given an upturned kick to their shoulders. Despite the fact that the Armani team have made this shape look effortless, it was probably actually a complex process to create such smooth curves, without the shoulders collapsing.

To create structure in the shoulder area there are a number of elements that can be brought together to create shape. These include the shoulder pad (that forms the basic foundation), the sleeve head roll (that fills out the ease in the top of the sleeve head) and any other padding, or additional pieces of wadding used to build up the shape.

Below are some examples of pre-made varieties, though for the couture garments the shoulder pads may have been formed by hand specifically for the purpose of the collection.

Armani images from Vogue.co.uk» .Shoulder pad and shoulder roll images from MacCulloch and Wallis.