Draping [7 The Complete Course Includes DVD TYAN) Molly Karolyn KiiselDrapingPublished! in 2019" ‘byLauitetite King Publishing td 361373 City Road eS LondoneCIVALR United Ringtlom Tel: +44-207841 6900 Fax-+48 207841 6910 E-mail enquiries @laurenceking cory ‘wr/laurenceking.com Text © 2013 Katolyn Kiisel, Karolyn Kilsel hasvasserted) All rights reserved) Noparto® this publication may be teproduced at transmitted in any form or by any means, electron at mechanical, including photocopy, recording, of any information storage and retrieval system, without prior permission in writing from the publisher. Accatalog record for this book is available from. the British Library ISBN 978 1 78067 093 5 Design by The Urban Ant Ltd Piature research by Heather Vickers Photography by Sia Aryai Photography, www siaaryai.com Line art by Briana Boyko Technical diagrams and Photoshop enhancement by Mikiela Salgado Printed in China areneDraping The Complete Course Karolyn Kiisel Laurence King PublishingContents >Draingis en at > Toos and prenaaton > Teminoagy LDeping te WovenPenel O18 Nistor, me Exercises wo > Pepaing the musin rt) > Draping tha too grains ws >Vsvliingmusins.fabies 2 > Dance ic ws Draping project oo Diana ot Versailles garment ‘adresses History Exercises ations > Glass bxico with ust dart > Bodice with French cat > Swing dss with no darts AudeyHepbun's dessin eatastat Tas Variations > Sag pense ino yoke Joinngtvo ds tooeste te piresstne > Bie wih aol presse 23 Fans History Exercises > Draping and ting pnts > Harem pnt > Hkama > Wideley trouser wih font us > Easy pant att Draping project Nannie epee cropped pont Zaknis 1a 186 te > Coton int op with bed nectne. 183 > Suapless init top 0 rojo 182 Nana Lecore hater neck nit top Variations 198 > Top wih kimono sleves 12 > Understanding shoulders > Dhanel syle acket > The two pat sleeve > Easy tape sleoe daft Draping project Dole & Gatana uxedo jacket Vasiations > Fagen jacket >Tenchooat > Swng cot wt shale > Doatwihegystaped hovers 28 218 Fa m213hes oe || ats o® | 2B 1 Wiston istry om sory 1m — mm —eaercses oz Execees 1% > op for aig ven Otani tae ne tebe mo || 3 irsinowtes om | Samat ne > prin bic anise 2 Sian o% | Shee 2 ferpebte on | | atmos de Stan senveaet te >see a | | tench sit © Shuster tnceger shaped Draping project ts Draping projet ne BiGosepna itonbse Draping m jsp i tanh — Veviatons = Vataons tm) Seana sone 1 Moiedatwihgxbesanifac 0 | Mingancaie i tr Paar oe > rent pon a casebanp sear ‘0 j | ik rs I 4 \ £3 32The anion 2 33eprpene ae 2AM mpovstc Onpng Histo 20 Histon mt story xe ries a me cxacees = Siping esi 2 Sbarspeteanie Bi Styne dapetecine SH Sones mH | SBischemsewihpircesiia 20 ae os Doping project = an set i peat iad Draping project a ‘Vivienne Westwood dress Draping projet zo lesen i Corda et om Sarr Ep Variations 2 seetinggn 7 Blosay 314 | Rosouces 316 | Indox 316 | Cres 219 | Abst the DVD 320, tay nihelIntroduction Draping is an art “Draping” is the term for using fabric to create a design directly on a mannequin or dress form. It is an essential skill for a fashion designer. The French word for draping is moulage, meaning “to mold or sculpt.” Fashion designers are artists, giving physical expression to concepts as they work with form, space, and energy flow. Impact and emotion enter withthe use of color and surface detail, but frst a silhouette must be sculpted. Learning to drape involves traning the eye to recognize balance, symmetry, and a graceful line, and training the hand to dexterity in cutting, pinning, and joining complex curves. Uttimately, success for designers and artists lies in finding their own unique style of expression. Draping is a skill that helps the individuality of the designer's creative vision to emerge. In this book, you will be draping ancient forms of clothing, historical garments from art works, costumes from movies, contemporary designer pieces, and styles from past decades. At the beginning of each chapter are examples of early forms of clothing, often simple woven panels of cloth ‘wrapped, tied, or draped over the body. Understanding how a modem blouse or jacket evolved from these basie shapes makes it easier to conceptualize how to drape one. tis less intimidating when you understand that, for thousands of years, people have created beautiful, practical, transformational shapes from a simple length of woven cloth. ‘Many of the designs in the book are taken from the “Goldon Age of Draping,” From the late 1930s through the 1960s, Hollywood costume designers had unlimited resources from the studios to clothe their stars. After World War I, in Europe and New York, the couture ateliers were blossoming. Balenciaga, Dior, Givenchy, and, later, Yves Saint Laurent were only a few of the many dasigners using new fabrics and techniquas to produce beautifully draped and impeccably tailored couture clothing. Learning to drape these iconic styles teaches important basic techniques and hones observational skills ‘Studying modem and contemporary clothing helps to focus on the subtleties of shape and form, To create a silhouette that is truly new, one must know what has come before ne value of learning to drape When draping, the musiin, or “toile,” is @ workin progress, continuing to evolve until itis taken off the {orm and turned into a pattern for a garment. Draping a new design, rather than drafting a flat pattern for itis, for many, an easier way to develop the important skill of visualizing how a two-dimensional sketch moves into a three-dimensional form. As the contours of the garment can be seen taking shape luring the draping process, it eliminates some of the ‘guesswork involved with pattern drafting. When drafting, itis not until the pattem is finished and the garment is cut and sewn that one can sae the three-dimensional result. Becoming proficient at pattem drafting takes a lot of experience. With a few basic skills, draping can be done by anyone, even as our ancestors did with their simple tunics and robes,The ultimate goal of training in the skills of draping is to strengthen original expression while creating new silhouettes. Clothes are marketed today less by their ft and finesse than by a “designer's statement.” In fashion, itis, crucial fora designer to develop their own style Having this “signature look" sets a designer apart Further, it helps the women who wear it define their own personal styles. Today's woman wants clothes that not only fit comfortably but that help her express her attitudes and sensibilities. She wants her clothing to say something to the world about who she is. Like the actress who can't get into character without her costume, a woman needs her clothes to help her excel in the corporate ‘world, relax into a yoga posture, o feel glamorous for a special event. The first step in creating a signature look is to anchor a creative vision before beginning to drape. The inspiration can come from a sunset, a painting, a photograph of another design, or simply a feeling or attitude that you want to express.It you have the skills to execute your creative vision, your personal flair becames apparent, driven by your decisions on proportion and line, scale and volume, subtleties of shape, and placement of details. Refining the drape and adjusting the final proportion becomes very personal; you work on it until you arrive at a balance that you like. When it pleases your eye, it is done, When you continue to pursue and express the looks you connect with and that attract you, your own style inevitably emerges. Form follows functian "Form follows function” is basic design theory. Ifthe dasigner is clear on the function or purpose of their dasign, the many choices to be made during the draping process will low more naturally. Clothing has many functions, from basic warmth and protection to attraction and seduction. It is important to understand the garment’ physical as well as non-physical purpose. How a garment makes a woman {eel is as important as how it will make her look A cucial draping skill is understanding grainline placement. A simple tunic cut on the bias will have a totaly different feel to one cut with lengthgrains placed vertically. The designer must ba able ta control the deeper energetic flow of the form they are creating and how it will affect the wearer. In this book, you will practice discerning the emotional tenor of a design and explore ways of making sure that maod ar tone is, present in the finished garment. Draping today Basic draping techniques have remained constant since the development of the padded dress form and its continued popularization by the Wolf Form Company in the early 1900s, However, in design studios around the world, technology is embraced to save time and monay. Design firms have master pattern “blocks” that reflect their specific fit and sizing. These are used to produce new collections in which the width of a pant or the scale of a jacket is changed by simply manipulating these blocks. Digital pattemmaking allows companies to chum out dozens of variations in shart order. ‘So what, then, is the enduring value of draping by hand in this brave naw world of digital fashion? The challenge is for designers to go beyond the rote process of developing a pattern that fits well and to use the basic concepts of darting and seaming as a springboard for creating new and unique forms ‘Much of contemporary design is nat about the perfection of the classic couture of the 1960s. Its about twisting, wrapping, tucking, and cutting asymmetrically, reminding Us sometimes of early forms of clothing When a designer is aspiring toward an innovative silhouette, they need to experiment with focal points to create emphasis and attitude, and work with proportions and scale to sculpt a shape that evokes a specific emotion To create something truly fresh and new, the intimate, hands-on relationship between designer, musiin, and dress form is invaluable in facilitating the expression of the designer's personal vision Itis now possible to have the best of both worlds: the inspiration that comes from the purity ofthe simple raped panels together with the classic draping skills that were perfected in the Parisian ateliers. Both serve to tum the art of sculptural draping into something magical and new. © When you sae this ion, eferto the OVD that accompanis the trol for video demonstrations of deaping techniques.Tools and preparation Draping, as with any artisans” skill, has its tools of the trade. itis a worthwhila investment to find toals that are of good quality and that fit your physical size Having the right tools increases efficiency and will help the skills to become second nature so you can focus on the creative rather than the technical ‘The primary piece of equipment needed to begin draping isthe dress form. Many variations are avalable. Choosing the right one will depend on your circumstances and needs. The best ofthese covered forms are solidly mounted on heavy metal stands, Be careful of forms. ‘tha ae covered in fabric tat is on tightly woven, as pins will ot easly panetite Standard tess forms usually follow the measurement specifications ‘of commercial sizing. na professional design sti, a small medium sie i often used. When the eothing is fished, itcan easily be graded up or down for larger or sale sizes. ‘Tha Walt Form Company fxn pictured in this book are high-quality lnancovered “cocktail dress” forms, which have mare bust and hip definton than standard dress forms. They ae adjustable, meaning ‘thoy are easy to move up and down, and the shoulders collapse inward to allow garments to ba put on over the top. Tey roll and ‘urn easily Before using the form, you will ned to define the bust, was, ‘and his. The best way is to use @ cotton til ape, Ha" (0.51.5 cm) wide, and pin it around te form as follows * Bust tape Start at aside seam and wrap the tape around the {allest part of tha bust (“bust pint) pinning evar aw inches (75-10 em] all the way nto the fom. Allow the tap te fallow the fon at the canter front. Koop the tap high in the back, parallel to the foot = Waist tape The wast ine will usually havea seam i the fare, raking iteasyto dently, but nt, simpy find the smallest oat and wrap the tape tightly around the waistline, pining as you go * Hip tape Hip measuremonts are usually taken 7" (18 cr) blow the vals. Starting ata sie seam, pn tha apa horizontally keoping it paallol to tho fon, a 7" [18 cm) below the waist Preparatory skills To make fl use oft information nis bok tis reommended that you have mastered some baie eng sl (ee “Terminology an iat sre experince wh pate ating, whi sen te Mating nd Tung” sectors ofeach chapter create the patem forthe gements draped.Measure yout form and keep the measurements at hand. Thal way, if youre working ona garment fora specific siz, or eustamiing it for an individual, you can determine how you may need to aust your for. you ae draping something for a lager size than your for it ispossile to pad the frm to reach th desires measurements. The best way todo thsi o simply cut strips oF coton felt approximataly 5° (125 cm) wide and wrap and shape the form until it reaches tho ‘moasuromants you need, IF the size you need is smaller than your fom, you must allow fr that by draping the form more tightly or make the adjustments ater inthe tring stage ne bifurcated neck-to The bifurcated neck-to-ankle form is necessary fr draping pants, Some forms ae available with ony one eg, vich makes it litle easier to drape the ctotch area, but harder ultimately to see the full drape, This sy of form is also useful for fulLtongth dosigns where the shape of tha lag neads tobe considered Muslin isthe waditional garmant industry standard usad fr “tiles, or fitting prototypes. It rapes diffrent from tho final fabrics of most, of the garments being made inthis book, but it has other very positive sualites. Fist and foremost, thas a stable gainline that can be easly seen. ‘Where more losely woven fabrics wil stretch and pullout of shape when draping, the muslin’ grainlnes will remain perpendicular. Its light and suppl, easy for cutting and folding and creasing with your hands, The crispnass makes it clear to soe how the pieoes are fing together and hen they are balanced. Fail inexgensiv, itis your artists’ medium; iis good to think of it 25 paper tis not to precious—don't get too attached tot, or wory about ruining it. You can tear itand mark it and experiment with it Have enough on hand so that if something i ust not werking, you can discard it and start ove ‘An important sil fora designer to master is the ability to visualize This maa being able to sop what askotch wil ook Tike asa fnished Ieisvery useful te dope nto ofa mito. As youleam ow to Stud your stoueta and shape, tbecomes portant see it rom ‘stance. With a miro tiem to lance up and obsere your tape ion 45 about 15m) ancy. is a good perspective check, Blowing you to view your rape wth rsh yes and again compare ittothe seth or photateh you are working on, garment, and what a muslin drape wil lok ike inte ina fabric Silk charmouse has a lavoly soft hand for example, yes difcut to handloin draping, If the dsign is fst drape in musi, the balanco can be achieved more easy. With some prectice, you wil eer to visualize how te garment wil ook in the charmeuse afer it (raped in muslin, ete are four diferent types of muslin used throughout this book. While tis rot necessary to wack with such a vay, tis helpful to undorstand ther diffrent qualities, Wher possible, uso a muslin ‘ype that wil rape a closely as possible to tha way your final gatment fabric wil drape.‘Standard muslin This medium-weight an fait crisp muslin works ol for most garmonts tis light enough to manipula easly and hos shape as you work with bodies, skit shapes, and sleeves, Observe ow inthe center of the fos there ae litle “reeks” inthe fold where it mates a sharp turn rates than a smoot ral. A soter ‘muslin might nat do that, but then it will ot allow you to achieve as dofinod a silhouette as this crisper mustin, Cotton voila The ightost of tho musi usd inthe book, this oie is loosely woven, semi-transparent, and has a very csp hard. Used in Chapter 22: Blouses, its the perfect weight forthe lage puted sleeve. Thin and light, ithas enough body to hold shape and works ‘well where multiple ayers of fabric are being used Cotton twill This softer but wsiahter twill reacts quite differant ‘oma standard muslin, Observe how te folded edges are ling ‘move smaotly and the enti pieve looks more substantia. It does not have the crises thatthe standard muslin as, but because it 's heavier, til hold alge sihouete. This isa perfect usin for (gatments such as coats and jackets, Silk/homp mustin This muslin, whl slightly heavir than the cotton til has a softer, smoother drape, which is evident inthe ‘way the folds do nat “break” at ll. Its loosely woven and perfect for gatments tere the grailine needs to be visible, such as th busiers in Chapter 13.In Chapter 33: Draping onthe Bias, smoothes and shapes over the curves of the form very asi bocause it has sucha haw drape. once pu 0, [osGeneral suppl ‘Tape measure H!pfl io use in isualing volume for muslin pieces end also to check measurements ofthe musin wile draping. Scissors Your mostimoortant too. Choose careful. you wat scissor ‘hats ight encugh tobe comfartabl, yeteary enough to deftyeut ‘trough the musinas you rape Yaustick inportant for fnting and marking the grainlines Righ-angled ror Noxesary fr coring hat toon anc cerossrain att anlas Clear graph rte The tanspreny and iso this ep ‘wearing grains ent seam allowances on te musi. Soft load ponci Test the pencil n the musin you ae using andchuase ‘one that sft ennugh to make Cea isl gainine, yet so soft ‘hat itsmades theft Marking and truing supplies CChalk—two colors Used fr marking seams when turing fonts ver backs, hems, etc Having two colors wil help yout clor-cade it you adjust it and remark a seam, Pencils—regula, red, and blue Used or crawing onthe muslin after it is taken apart. he first line dravn is with regular pencil. A correction line wil a in red, an a further corection wil bein blue Carbon paper Use in ting up when lines need tobe traced ‘through ta sacond piece of muslin or onto the reverse side of ‘he muslin. ‘Tracing whee! For use with carbon paper to trace lines onta a second piace of muslin or onto the reverse side ofthe muslin Needle and thread When marking @ musi, somstines a pencil is not enough anda basted line needs to be made using a needle and ‘tread tallow fr a mare precise marking Draping supplies ins and wrist cushion A generous supply of pins will incease elcincy, and wrist cushion is helpful in keping the pins at hand rather than reaching fr them while you are holding onto the musi, Twill tape—black and white Used for marking necklines, acmols,stelines, ‘Sticky tape—black and red Usod as above, but with amore temporary us. dis used for correction lines Elastic Having oasticon hand ina faw ditforont widths —, 4, and 1°05, 15, and 25 cm}—will help when gathering sections of musi, Hem gauge For measuring hems in relation tothe cage of the dess| form, and for checking sections of a garment that call fr uniform 828, Additional rulers ‘Small graph rulers Useful for marking seam allowances. Their ‘wansparency makes i easy to see th sew lines as you matk the lear French curve Because tis curve goes fram convex to concave, ts essential for areas, such as the waistline that follow that trajectory, This cures als useful for tuing up armholes and small curves Hip eure Teitonaly used to follow the cua rom the waist long tha hilne, ts universal shape is useful in many othr areas Hom curva This curs th genera shape ofa skirt ham ait travels fiom tha center front ina soft curve up toward the sia seam,Terminology The following are terms used throughout the book. Brief definitions are given here, and many will be explained further elsewhere in the book, Abbreviations (OF center front (CB = canter back Diagrams Flat skatchas The two-dimensional lina clawings that are mad fram photographs ‘8 abueprint for construetion and rainline configuration. Muslin-preparation diagrams The chars at the beginning of each project vith the measurements ofthe pieces of ‘muslin to be cut the measurements ofthe form you are using are ciffrent from the standard form used hee, simply ast the dimensions ofthe muslin pies up or down The measurements ofthe pices have an allowance of several extra inches, so unless your frm is 3"(75 cm diferent, the places wll work Fitand figure Ease The eva fabri allowed inte tof garment For example i the waste measurement is 25 (65 cn nd the ski waistband measurements 27" (68.5 cm, thon thre is 1/25.) ease in tho skit waist ft Bust point Te fullest par ofthe bust Waistline The arrones part ofthe waist ‘area on te frm, ina Th fullest part of tho hip, usually considered to bo 7” |18 em) dawn from ‘the waist High hipline This measurement i taken aout 2S" |5-7 5 em) down from the waist ‘atthe hipbone where casual pants, such as jan, often sit. Princess line The vertical line that dives the torso in haf fom center font tosside seam. Usually it bagin at tha cantar ofthe shoulda, but itcan also cure out ‘rom the armhole Muslin Grainlines Thase ofr tothe direction ofthe threads, Woven fabies consist of {wo threads intorlaced at right anglas. Tha vartcal or “warp” threads run patlll {athe salvage. Th horizontal or “weit” tread runs crosswise, Lengthgrain Te warp thread direction sometimes calle the straight grain Bias line Tis runs at 45° tothe lengthyrain and is tho part of th fai that has the ‘mast give 4 Selvage edge The bound eds on sith side ofthe fabric. Most fabrics ara woven at 45-60" (115-150 em) wid, Blocking tho muslin To stech, pul, and press the muslin unl the warp/vertical and ‘wet orzontal threads ofthe weave are perpendicular and the aces ae strait Stitching ‘Sew line This is referred 0 in draping anc intraing up, and is simpy the stitching ina ‘hat wil bo used to join the soams. x» Baste Tohand:-sew a stitch line toholda seam together temporal, AS ‘Thread trace A ant sewn sagt seh line used to mark seams or edges during raping ot the marking and vuing-up proves. AS Catch stiteh A useful stitch for holding together two pieces of muslin curing draping in ateas that may have some pressure piling on them. Tailor tack A stitch usad to marka single point on the fabri during draping andthe ‘marking and truing-up process ev sjouuy vorerponm oeBeginning Draping 1.1 Draping the Woven Panel 1.2 Dresses 1.3 Bustiers Section 1 works to develop your skills of observation as each fashion design is studied in terms of its composition—the specific balance of silhouette and proportion. Photographs of the draping projects will be analyzed in terms of grainline placement and construction, then translated into working “blueprints’— flat sketches from which to drape. Basie draping skis are introduced, such as preparing the form and muslin, pinning, trimming, clipping, marking and truing, and presenting a finished toile or musiin You will learn to identity a designer's intended mood and tone and further define the attitude of a garment by using a muse to place the design in a social contextHistory The earliest clothing was probably made from leaves, grasses, and bark or, in colder climates, animal skins and furs. The development of weaving must have heralded a iant leap in the sophistication of a civilization. As the techniques developed, woven panels were wrapped, raped, and tied over the body. Simply creating the fabrics would have required so much time and effort that cutting the cloth was unrealistic Since few ancient fabrics have survived to the present day, only the artistic renderings of garments on pottery fragments and murals suggest what early clothing might actualy have looked lke. Some of the oldest garments that we can see and study are those depicted on ancient Greek and Roman sculptures and vases. KFAThese early garment forms—the chiton and peplos of the Greeks, and the toga, ‘worn in Rome—were simple basic shapes; many were woven panels of varying sizes. However, the draping ‘was sometimes elaborate. ttis thought that a nobleman in full dress would have been ‘accompanied by a servant to help keep the drapes properly adjusted. In all their variety, these garments appear to be very comfortable, their relaxed, elegant style echoing the Greek ideal of freedom, The fabrics of flax (linen) and wool must have been very fine to drape with the beautiful folds seen in sculptures and paintings. technology developed and new fabrics became available. Yet from time to time there has been a return to simplicity, a refreshing revival of this more natural style. Inthe modern era, garments made from draped ssquare-cut panels appear in the artwork of Aiphonse Mucha and Maxfield Parrish, Isadora Duncan, the founder of modem dance, was famous for wearing her version ofa tunic. In the first half ofthe twentieth century, the great Italian textile and clothing designer Mariana Fortuny made exquisite, timeless garments from two rectangles of pleated sik. The draping projects in this chapter are variations of these classic tunic forms and, because of their simplicity, ae excellent exercises for developing ‘an eye for proportion and balance. Finding the symmetry and adjusting the gathers ofthese pieces teaches sensitivity to handling fabric, Garments became increasingly ‘a skill that takes practice. complicated as craftsmanship and Sreciwiedired pottieltomt teoteiaby Keto tratando, ually ily, wer mace rh020 Exercises Preparing the muslin ‘All woven fabrics consist of two threads interlaced at right angles. The vertical (warp) threads run parallel to the selvage edge and are called the “lengthgrain,” or sometimes the “straight grain.” The horizontal (weft) thread runs crosswise on the fabric and is called the “crossgrain.” In the weaving process, the warp threads are usually set up tightly on the loom first and then the wett ‘threads criss-cross back and forth, filing in the fabric. ‘The warp threads, therefore, are usvally stronger, and. the fabric has the strongest drape when hung vertically, ing the musi To prep tne usin for dain, he pecs are tonto edetemined measurement. Tearing the msin is more crate ‘han measising and citing witha ser bora the ogral ependicular gid ofthe warp and wet threads ofthe musin often eeomas distort cutng shipping, Even when measutng for th salvage eos ts ot posite tbe certain hatha teas are running pati tothe eyes ft fab Lenten i weet by, ‘ee ewe gd 1 OR ow ae "Dee wa., rere rere wey eee! ere ren were ree ve f rf o * wee oor » ue ae me wer ae Aap ee Yous ® Bae ROR eee yee EOE * « ® ara " @ ® » ® oes ee Derers TS ee rere ew ve Pew Peewee + reese See re TEE falar heh eeni balaewher aetvabaeoe wes hte othe Tes Sen re eee baw ye Frab@wks seq, SEP eee pe agy tibgeeebmarat * ‘ ween ~ rere: xO eer ere bee ag ee E AE ae ret - * eX tesene ” 2 FR ot Re ee SERA Ren Understanding grainlines leisimprtant o understand how the set otha gisinines can aet the look af garment. Tei econ determines the energy flw The reason squte-cu gents ie tunes lok so elegat and egal is because the rainlins are precy blaredstop sup? @ First the solvago edga must be removed ‘to the fabrics tom to specific ‘When tha fabrics nishad on the loom, the maasurements, it must ba “biocked” lighter weave ofthe edges, wile serving _Blackng the fabri isthe means by which {okeep trom unraveling, will sometimes the warp and weit deeds are pulled restict the drape ofthe fabric. If the fabric back nto ther original shape, exactly is steamed and/or passed, the edges pullin gerpancular to each other. and caus th fabric ucla * Cheat a gid by awingvrcl and Tear salvage eda of by clipping in about orzontal nas on graph paper You donot (1 Sem), rasring edge frmiy and rood to craw the exact size ofthe piece; pulling it shrply dowm length of abi right angle wil sutice to ign the fabric 1 Now mark desired measurements of sel checkiet i oom the musin, clip edge, andar both the» Where the muslin des not form ¢S0° leoathrain anc crossgrain directions angle, grasp i fly with bath hands, and pull and sttch tun it retums tts * ris holpful wo fist raw a smal lengthqrain for oferance so that you do not lose track ofthe direction ‘iginal shape. sup @ pees emsinrcsarsn Now tho musin must ba prassed. When presing musi, ts impartant ohare it ‘piso that amin smoath nd evn, Aitot steam isn the msin may also | are neadto be steam ate during the ting- | : E —— up prooess and itis preferable to lat it shin befare you start draping If you use too much steam, however, the matin will pucker anc bocom unusable, Sponge any deep wrinkles in tho muslin with ‘damp cloth, rubbing out the creases. '= When pressing, move the ion in vertical <—$__—$— es —____> and horivontal directions ony Hf the muslin is pressed on the diagonal, or bias, rain, ‘you wl pull he thraads out of alignment ‘and cause the fabric to stretch, DONOT press on nebias * Aftor pressing, check tho musin again on ‘the grid pape to see if thas torqued if so, pull and stretch it again unt it goes back into right angles at te comers, xe