Patterning- Building The Foundation

Inspiration is the basis for all of our designs but that is only the start. In order to bring our designs into reality, it is necessary to have an extensive knowledge of just HOW garments are constructed (i.e. “put together”) and an essential part of this are patterns since they provide the “roadmap” for the actual construction process. In this post, we’ll be discussing the nature of our approach towards patterning. Enjoy! 🙂

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All garments, whether the are haute couture or bargain basement, start with a pattern and it’s that specific pattern that defines what that particular garment is ultimately going to be. Here at Lily Absinthe, our approach to patterning is a combination of methods that are referred to in the trade as “bespoke” and “made to measure (MTM).” These two terms are often used interchangeably in reality are two different methods. With the bespoke method, an individual pattern is created for a specific client based on their measurements and taking into account the various body characteristics of the client. With MTM, the garment is built on pre-existing pattern blocks that are modified on the basis of the client’s measurements (this is admittedly a bit of an over-simplification but it does convey the essence).

We maintain an extensive library of pattern blocks that we have drafted ourselves and in most instances, we will modify specific pattern blocks based on the individual client’s measurements. More importantly, these modifications also incorporate every nuance of the client’s body. In most instances, the MTM method works perfectly but in some instances, we will draft custom pattern pieces. However, no matter which of these two approaches we use, we guarantee a perfect fit every time and a garment that has been custom made to the client.

Patterning is often presented as a magic and mysterious process that requires the utilization of various arcane procedures to achieve results. And, in more recent years patterning has been presented as something that can be done quickly on a computer and paper patterns instantly printed out. In reality, while pattern drafting is a relatively simple and straight-forward in theory, it does require an attention to detail, precision, and a lot of patience (and we mean A LOT). For more complicated designs, it often requires a series trials rotating back and forth with muslin mock-ups (aka tolle) and revising the paper pattern to achieve the optimal result.

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Ultimately, whether a garment is “bespoke” or MTM, it’s critical that the fit be perfect, fabric/trim choices are suitable, and most importantly, that the garment is aesthetically pleasing. 🙂

Madame Demorest's Illustration Portfolio of the Fashions for 1880:



What’s On…

Alittle preview of just one current project we’re working on… 🙂

 

 


Some Late 1890s Daywear

Spring and Summer 1890s day dresses have always been of interest for us and we recently came across this interesting circa 1897 day dress that resides in the FIDM Museum collection:

P. Barroin, Day Dress, Paris, France, c. 1897; Printed dotted Swiss, silk chiffon, silk taffeta & cotton braid; FIDM Museum (2010.1098.3A-C)

The dress fabric is a red cotton dotted Swiss print with white silk chiffon and white silk taffeta trim. It’s too bad that we do not have a close-up picture of the fashion fabric; the idea of a printed dotted Swiss is interesting but unfortunately the effect is lost at a distance. However, in spite of this, we have a very sporty day dress that has a minimum of trim and embellishment and is definitely meant for being out and about town; the straw boater further reinforces this. The lines are classic 1890s although the wasp-waist, measuring 28 inches in diameter, is somewhat toned down compared to evening dresses and ball gowns of the period.

Interestingly enough, according to the FIDM Museum Blog, this dress was worn by a woman of about 5 feet 10 inches in height- this was a tall woman. The sleeves are indicative of the late 1890s- the leg-of-mutton sleeve style was diminishing. At the same time, we still see the faux shirtwaist style with the crimped silk chiffon in the middle. Finally, P. Barroin was not as prominent compared to the major designers such as Worth et al. but it still shows a sense of balance and proportion and the dress fabric is used to fairly good effect. This dress is representative of a more casual style of day wear that was coming into vogue during the late 1890s and could be considered to be a reflection fashion changing to reflect women’s shifting status in society (albeit, more gradual than what we’re used to today). We would say that this is definitely a worthy candidate for reproduction. 🙂


Bridal In Progress

Bridal gowns are my happiest of client work! Most of my detail work is done by hand…truly made with love. 🙂

 


Feeling Blue (In A Good Way)

Pulling out this jewel-toned turquoise silk ballgown for a bit of updating…it’s amazing how color can affect a mood, I’m always happy when I’m wearing shades of blue. What colors give you a lift?