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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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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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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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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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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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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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DESIGN VARIATIONSThe designs illustrated are for further practice and for design inspiration.

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