Garment Draping
Garment Draping Week 1:
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| Fig 1. Introduction Presentation |
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| Fig 2: Indroduction to Draping |
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| Fig 3: Sample of Garment Draping from Pintrest |
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| Fig 4: Armhole Princess Line |
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| Fig 5: Classic Princess Line |
One of the first things we learned in Draping was something that seems super simple but ended up being way more important than I expected — marking our mannequins with tape. At first, it felt like just setting up the form, but Miss Melina really emphasized how precise you need to be when placing those tapes. Every line we mark (like the center front, princess line, bust, waist, hip, etc.) basically becomes the foundation for everything we drape on top — and even the tiniest shift can change the entire outcome of the garment.
What stood out the most was when she told us about the 0.3 cm tape width. It might sound small, but that difference can seriously affect your final pattern. She told us to always make sure we’re draping up to the outside edge of the tape — not just stopping somewhere in the middle — otherwise, we could accidentally make a garment that’s too small or just off-balance.
It made me realize that in draping, it’s not just about being creative — it’s also about being accurate and intentional with every single move. That tiny 0.3 cm made me look at my mannequin differently — like it’s not just a model to work on, but a guide I have to respect and follow carefully if I want to get the results I envision.
Grament Draping Week 2:
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| Fig 6: Aligning and Adjusting Panels |
After transferring all markings onto the fabric panels, I began by checking for any alignment or adjustment issues. This included correcting any wobbly lines or misalignments along key reference points such as the bust line, waistline, and shoulder blade line. I also made sure the side seams aligned properly to ensure a balanced fit.
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| Fig 7: Checking for Accurate Shoulder Seam Alignment |
Next, I checked whether the shoulder seams matched up correctly — a crucial step before hand-stitching the panels together. Ensuring this alignment is essential for both the structural integrity and the overall appearance of the garment, especially before submission for our physical portfolios.
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| Fig 8: Classic Princess Line Front View |
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| Fig 9: Classic Princess Line Side View |
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| Fig 10: Classic Princess Line Back View |
The same process was repeated for the Armhole Princess Line as well, which resulted to this final look:
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| Fig 11: Armhole Princess Line Side View |
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| Fig 12: Armhole Princess Line Front View |
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| Fig 13:Armhole Princess Line Back View |
Garment Draping Week 3:
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| Fig 1. Calculating Key Body's Measurements |
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| Fig 2: Drafting Kebaya |
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| Fig 3: Kebaya Master Plan |
Garment Draping Week 4
Drafting Dreams Into Patterns – Beginning the Final Garment Construction
After weeks of concept exploration, revisions, feedback, and overthinking, Week 4 marked a pivotal shift in my Fashion Project 1 journey. This was the week we started bringing our final designs to life through pattern drafting and draping—and it honestly felt like the beginning of something real.
Up until this point, everything was in sketches, fabric samples, and mental pictures. But in our Garment Draping class, we were now asked to take our finalized garment ideas to Ms. Melina and begin the actual construction planning—starting with pattern drafting.
A Design with 3 Key Elements
My final look has three distinct components that come together to tell my design story of merging tradition with fantasy, inspired by the theme of OPPO x UNESCO—blending technology with heritage. My concept is rooted in a reimagined kebaya, infused with oceanic elements like corals and mermaids.
Here are the main components of my design:
A Mermaid Skirt
A Corset with an Attached Voluminous Skirt
A Kebaya Top (drafted in a previous class)
1. Drafting the Mermaid Skirt – Elegance in Curves
The mermaid skirt was the first component I began drafting. The silhouette hugs the body and flares at the knees—symbolizing both the elegance of the kebaya and the fluidity of a mermaid tail.
Steps I Took to Draft the Mermaid Skirt:
Step 1: Start with the Basic Skirt Block
I traced out a fitted skirt block on paper, extending from waist to ankle.
Measured carefully around waist, hip, and knee for a snug fit.
Step 2: Determine Flare Start Point
For a true mermaid effect, I marked the flare to start around 5 inches above the knee line.
This creates the illusion of length and elegance without restricting leg movement.
Step 3: Add Vertical Style Lines
I divided the skirt into six panels for smoother shaping.
I drew style lines from waist to flare points to control where I would later add volume.
Step 4: Slash and Spread
I cut along the flare lines and spread them to create volume at the bottom.
Added paper in between to maintain structure.
I made sure not to overdo the flare to keep the silhouette elegant and controlled.
Step 5: Add Seam Allowances
I added 1cm seam allowance all around the panels.
Marked notches and grainlines to maintain balance during cutting.
📝 Tip: Keep the flare symmetrical to maintain balance when sewing both sides. And always make a calico test—mermaid skirts can be tricky in motion.
2. Draping the Corset + Creating a Voluminous Skirt Extension
The corset in my design is the central sculptural piece. It’s firm and body-contouring—but with an added element of soft, voluminous fantasy through a frilled overskirt that fans out dramatically from the waist. Think underwater royalty meets wearable tradition.
Draping the Corset:
Step 1: Prep the Mannequin
I tightly wrapped the torso with style tape to mark center front, princess lines, bust point, and waistline.
Step 2: Drape Muslin Over the Bust and Waist
Using soft muslin, I started draping one panel at a time, forming clean lines around the bust and waist.
I pinned along the curves carefully, making small darts and seam lines where needed.
Step 3: Mark Seam Lines and Transfer to Paper
Once one half was done, I traced all seam lines and cut it off the mannequin.
I flattened it out, traced it onto paper, and mirrored the other half.
Step 4: Add Paneling for Shape
I divided the corset into multiple panels (eventually 13 in the final version).
This allowed me to control fit and insert boning inside later.
📝 Tip: Always test boning placement in calico before transferring to final fabric. Each curve matters.
Creating the Voluminous Skirt (Corset Attachment):
I wanted this lower skirt to feel airy, flowy, and coral-like—so I used a cut-and-slash technique to create panels that ripple outwards.
Step 1: Draft One Skirt Panel
I drew a basic half-circle panel, measured to fall from the waist down.
Step 2: Cut and Slash
I drew 5 vertical lines from top to bottom on the panel.
Slashed along those lines and spread them to add volume at the hem, forming a soft frill shape.
Step 3: Multiply Panels (x6)
I duplicated the panel six times to create a full circle-like flow.
Each panel was placed around the corset, forming a dramatic overskirt that still kept the structure of the look.
📝 Tip: Place heavier interfacing near the top of each panel so it holds shape when sewn to the corset.
3. Kebaya Top – Already Drafted
The kebaya was drafted earlier in our class sessions. I reimagined the traditional "lida" by moving it to the outer layer, creating a layered kebaya design that floats over the corset structure. The kebaya maintains modesty, but adds a more dynamic visual rhythm through the use of glitter net, sheer layers, and volume.
I didn’t need to re-draft this from scratch, but it was exciting to finally see it start to take shape as part of the full garment.
Self-Reflection: Trusting the Process
Looking back at Week 4, what stood out to me most was how empowering it felt to finally be in control of my own patterning. This was the first time I drafted something fully on my own, relying on knowledge I’ve learned through the semester and trusting my intuition as a designer.
I realized that designing isn’t just about creativity—it’s about knowing when to apply structure, where to cut, how to contour, and how to edit.
There were many moments I wanted to rush or guess. But what helped most was slowing down, visualizing the movement of each piece, and remembering that every line tells a story.
Garment Draping Week 5:
Correcting Patterns, Adding Seam Allowance & Respecting the Blueprint
Coming into Week 5, I thought most of the technical work was behind me. My design was finalized, the base patterns for my mermaid skirt, corset, and kebaya were drafted, and I had a clear direction for where everything was heading. But this week, I learned just how important it is to slow down and refine—because in garment construction, the smallest corrections can make the biggest difference.
This was the week we brought our drafted patterns to class and worked with Ms. Melina to go through them one by one—checking curves, balance lines, dart positions, and overall construction flow. After correction, we moved on to adding seam allowances, which may sound simple but honestly, it taught me so much more than I expected.
Pattern Corrections: Shaping with Intention
I started with the mermaid skirt panels. During review, I noticed that some of my flare placements were slightly uneven—one side had more volume than the other, which would’ve thrown off the movement. Ms. Melina helped me realign the flare distribution and reminded me to always check balance between front and back panels by measuring the hip and knee widths carefully.
For my corset, the correction process was more detailed. Since it’s made up of 13 individual panels, even a small misalignment in one seam meant the final silhouette would be distorted. We corrected:
Some seam lines that didn’t meet perfectly at the bust and waist
A few inconsistent panel widths that would’ve affected symmetry
Curve placements where boning would later sit, making sure they would contour the body and not create tension
When we moved on to the voluminous overskirt panels attached to the corset, we realized I had added a bit too much flare through my cut-and-slash technique. It looked beautiful on paper, but would’ve resulted in excess bulk. I trimmed some of the added volume, making it more intentional rather than overwhelming.
These corrections felt technical at first, but what I learned was this:
Pattern correction isn’t just about accuracy—it’s about honoring your design.
It’s about ensuring that your final garment reflects the story and silhouette you envisioned. There’s no point in having a strong concept if the base structure doesn’t support it.
Adding Seam Allowance: The Unsung Hero of Patternmaking
Once our patterns were corrected, we moved on to adding seam allowance—and I’ll admit, I used to think this step was just “drawing an extra line.” But this week made me realize it’s so much more than that.
Seam allowance is the space between the stitching line and the edge of the fabric—it gives you room to construct, shape, adjust, and sometimes even rescue your garment. Adding the right seam allowance is about being strategic.
Here’s what I learned while adding seam allowance to each component:
🔹 Mermaid Skirt:
I added 1.5 cm seam allowance to the side seams to give myself room for adjustments if needed, especially at the hips and knees.
At the hem, I gave 3 cm for a clean folded finish. Since the skirt has flare, the hem has a curved shape—so I made sure to smooth out the seam allowance with a ruler to avoid any jagged edges.
Around the waistband, I only added 1 cm, since it would be sewn directly into the waistband cleanly.
📝 Tip: Curved hems should have seam allowances that flow smoothly—use a French curve or blend the line softly to prevent puckering when sewing.
🔹 Corset :
This part required the most attention. Seam allowances here had to be:
1 cm on every vertical seam where panels meet—too much would create bulk, and too little would be risky.
On the center front, I added 2 cm to allow flexibility for adjusting the peek-through cup shape during sewing.
At the top and bottom edges, I added 2.5 cm for a clean finish and to give enough space for inserting horsehair braid and turning the lining.
📝 Tip: When adding boning inside the lining, it’s important to avoid unnecessary thickness. Keep seam allowances clean and flat, especially near the bust.
🔹 Frill Overskirt (Corset Attachment):
These 6 dramatic panels were each given 1.5 cm seam allowance on the sides.
At the top edge, which attaches to the corset, I added 2 cm, in case I needed to reshape or reposition the gathers.
The hem had a very generous 4 cm allowance, allowing me to adjust the length and maintain volume.
📝 Tip: For flared panels, never cut corners on hem allowances—especially when you're still unsure how much the final fabric will stretch or drape.
🔹 Kebaya:
Since this was already drafted in our previous class, I just reviewed the existing seam allowances, smoothing out any uneven lines and making sure my double-layer netting could be sewn cleanly without extra bulk.
Results:
Self-Reflection: Why This Step Matters
At first, this week felt like “admin work.” Lots of rulers, measuring tapes, blending curves, and drawing outer lines. But by the end of it, I started to understand how seam allowance is the silent structure behind every garment. Without it, no beautiful sketch, fabric, or drape could come together properly.
It taught me patience. Precision. And most importantly, how to respect the blueprint of my own design.
When we take the time to correct patterns and add thoughtful seam allowances, we’re giving ourselves room not just to construct—but to evolve the garment naturally as we sew. It’s one of the most underappreciated parts of the process, but it’s truly where control begins.
Garment Draping Week 6: Spirals, Texture Sampling & Starting the Kebaya Draft
Coming into Week 6, I started moving from base construction toward texture development and surface exploration—basically the part of the process where creativity and technique finally begin to merge.
My goal this week was to begin texture sampling for my final garment, but before jumping into fabrics, I decided to explore spiral forms—a key visual in my design concept inspired by underwater coral formations and natural motion.
Spiral Studies: Testing Density & Flow
I began with two versions of a basic spiral pattern. In both cases, I drew continuous spirals from a central point, gradually expanding outward. The difference was in spacing:
🔹 The first had 2 cm spacing between each spiral line.
🔹 The second had 3 cm spacing between lines.
Technically, this was like drafting circular growth rings. I measured the distance between each pass using a compass method or ruler, increasing the radius in consistent increments (either 2 cm or 3 cm). The closer spacing created a denser spiral with tighter compression, while the wider spacing allowed for a more open, flowing structure. This helped me understand how spacing directly affects both the form and the behavior of fabric once it’s cut or sewn in that pattern.
Then, I created a third spiral using a different approach. I started by drawing a series of concentric circles, each spaced 3 cm apart. After cutting out the innermost circle, I made a clean incision from one point outward, allowing the flat disc to unravel into a more dimensional spiral strip. This cut spiral gave me more control over shaping and allowed for a framing effect when layered over the body.
After creating these three spiral types, I combined them into a layered structure—overlapping and twisting them to build a fuller, more organic spiral texture. This was where the coral inspiration started becoming tangible. The combination of tight and loose spirals, layered together, created an uneven but intentional form that could eventually be sewn onto the garment or used as a detachable texture element.
Coral Cutouts: Organic Improv
Next, I began making coral-inspired cutouts. Unlike the spirals, these were entirely freeform, created without patterns or templates. I simply cut irregular shapes by hand, mimicking how real coral grows—imperfect, abstract, and branching. The aim here was not symmetry, but fluidity.
These shapes will be used in my sampling next week to see how they interact with various fabrics—how they lay flat, how they fold, and whether they should be stitched, tacked, or fused.
Beginning My Kebaya Draft
Once my texture exploration was underway, I started drafting the base structure of my Kebaya, which ties into our final project. This was a shift back into technical territory—clean lines, proper fit, and foundational draping. Although it’s still in its early stage, it felt grounding to return to the form and start thinking about how all these spirals and cutouts could live on the actual garment.
I revisited the basic panel structure from earlier weeks and began planning how the decorative textures could be worked into the Kebaya silhouette, rather than sitting on top of it. My plan is to let the spiral flow from the shoulder or side seam and let it guide the movement of the garment itself.
Self-Reflection: Trusting Creative Experiments
This week taught me that not every experiment needs to have a clear outcome immediately. A spiral may look too flat at first, or a coral cutout may seem awkward—but that doesn’t mean they’re failures. It just means they’re part of the process.
I also learned that technical accuracy and creative play are not opposing forces—they feed off each other. My ability to measure precisely is what allowed me to break structure confidently. I’m learning to trust the process more, and to let go of needing a polished result right away. Week 6 reminded me that innovation often begins where precision meets play.
I’m excited to test these spirals and coral forms on fabric next week—and see how they can become part of my Kebaya’s story.
Week 7: From Draping to Construction – Where Fabric and Form Start Speaking
This week marked a significant shift in my journey—not just conceptually, but technically. The focus moved from exploratory draping and fabric manipulation into the early stages of real garment construction, guided heavily by the foundation laid in our draping classes. It was finally time to translate my calico trials, surface sampling, and silhouette studies into final fabrics.
Draping the Skirt: Fabric Behavior and Layering Logic
I began with the skirt, which I envisioned as fluid and flowing—an echo of my coral and mermaid-inspired theme. To bring that vision to life, I used satin as my structural base layer, draped first to establish volume and grain alignment, then overlaid with glitter net to capture a delicate, aquatic shimmer.
Initially, I considered using a French seam to enclose the side seams cleanly. However, after testing, it became clear that the glitter net’s stiffness and fragility made it highly resistant to folding neatly—it puckered, shifted under pressure, and wouldn’t behave well within enclosed seams. From a draping standpoint, this was a fabric behavior issue: two materials with different drape weights, hand feel, and memory were being forced to behave as one, and it simply didn’t work.
Instead, I re-evaluated my draping approach. I chose to treat the satin and net separately, draping and constructing them independently to allow natural movement. This gave the skirt duality in motion—one layer controlling structure and opacity, the other providing lightness and visual interest. The resulting flow mirrored water movement, and it reminded me how understanding fabric grain, weight, and texture is just as critical as the form itself.
To finish, I added a clean-finished waistband, keeping the waist fitted and structured without visually interrupting the movement below.
Corset Draping: Sculptural Volume Meets Structured Support
The corset was where my draping training really became indispensable. I began by revisiting my calico muslin, checking seam shaping and bust contouring on the form. Then, I began layering technical materials to build up volume and reinforce the silhouette.
To support the sculptural shaping, I integrated:
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Plastic boning, inserted into vertical seam channels, to maintain contour and body definition while allowing flexibility.
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Fusible interfacing, applied strategically to the inner shell, to support the shape of the bust curve and maintain the flatness of the princess seams.
Horsehair braid, sewn into the peplum extension’s hem, to encourage flare and lift—mimicking the fin of a mermaid without bulk.
From a draping perspective, these materials had to be mapped onto the dress form precisely. I used style tape to re-mark key points: apex, waistline, hip, and CF/CB, and manually shaped each panel to accommodate for negative space and directional stretch. Draping around the bust and waist in real time allowed me to balance tension and release—something that would’ve been difficult to achieve through flat pattern alone.
Kebaya Draping: Double-Layered Net and Precision Finishing
Next came the kebaya top, one of the most technically challenging parts due to the fabric selection: two layers of fine net, soft and sheer, with very little structure.
I first returned to the form and re-draped my initial kebaya block in calico. From there, I transferred those shapes to net fabric, taking extreme care to align the grainline consistently across both layers to avoid distortion.
Finishing edges cleanly was the next challenge. I used a turn-over edge finishing technique on both layers—folding and topstitching to encase raw edges. This required high precision: net has no inherent weight, so even with pins and pressing, it shifts, stretches, and distorts easily under a presser foot.
To solve this, I used tissue paper underneath the stitching area to stabilize the net while sewing, especially around curves like the neckline and sleeve heads. This helped prevent puckering and gave me much smoother stitch lines.
Draping the sleeve required both softness and directional control. I had to create enough ease for movement while still maintaining a slim, floaty silhouette. Even small misalignments were visibly disruptive due to the transparency, so clean grain alignment and seam placement were critical.
Reflection: Draping as a Dialogue Between Fabric and Form
What I’ve learned this week is that draping doesn’t stop once the muslin is done. It carries forward into construction—the grain choices, the layering of textures, how one fabric wants to move versus another. Each step is a negotiation: between design and practicality, softness and structure, control and spontaneity.
Seeing how spiral movement from my earlier sampling translated into fluid skirt layering, and how rigid shaping in the corset could still visually harmonize with softness in the kebaya, I now understand that good draping is about balance. It’s not just putting fabric on a mannequin—it’s listening to how that fabric behaves, and using your hands and eyes to guide it into a story.
Next week, I’ll start focusing on embellishment placement and final adjustments, ensuring that every structural decision supports the final visual experience.
Week 8: Draping to Redefine — When Fabric Speaks Louder Than Form
This week, my journey with garment draping took a major turn—one that made me confront not just the technicalities of silhouette building, but also the importance of restraint, balance, and narrative within drape-based design.
Where I Was: Structured, Layered, and Almost Done
My kebaya piece was 80% complete by the time of our review. Through draping, I had constructed a body of work that felt refined and aligned with my underwater coral theme. From hand-placed glitter net appliqués to layered organza and organdy coral-like manipulations, the textures created through surface and volume were meticulously draped onto the form.
But the focal point—the outer corset, which I had draped as a bold silhouette enhancer—began to overshadow the very essence of what I was meant to celebrate: the kebaya.
Draping Reveals What Flat Patterns Cannot
Draping, by nature, allows the designer to respond in real time to the fabric’s behavior and form. That’s why it was so clear, once placed on the mannequin during the review, that something felt off.
The corset, while beautifully shaped and constructed, disrupted the kebaya's flow. Through draping, I saw how it stiffened the otherwise soft lines of the traditional garment. This wasn’t a failure of sewing or finish—it was a failure of silhouette integration.
And that’s the power of draping: it tells the truth early on, if you’re willing to listen.
The Feedback: Redraping as Redesign
The critique I received pushed me back to the dress form. The judges suggested I remove the outer corset entirely—and instead, drape a new corset that functioned as an internal foundation, letting the kebaya regain its structure and voice.
Immediately, I began again.
I studied undergarment references, looked at traditional kebaya shaping, and then re-approached the mannequin with fresh muslin. This time, my drape wasn’t about commanding attention—it was about quiet support.
Internal Corset: Precision Through Paneling
The new corset was drafted entirely through draping—starting with a fitted bodice block directly on the form. Working with grainline accuracy and maintaining contour control, I shaped 13 panels with:
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Full bust definition through curved seaming,
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Boning channels hidden inside the lining,
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Controlled shaping that allowed the kebaya to flow naturally over it.
Draping this way made the difference clear: instead of adding volume on top, the internal drape enhanced the fit from within. It reminded me that draping isn’t only for outer beauty—it’s about sculpting the foundation as well.
A Lesson in Subtlety
Sometimes in draping, the most impactful decisions are not what you add—but what you remove. I learned that silhouette should never fight the narrative. My previous drape over-designed the story. This time, my fabric placement followed the lines of tradition—respectfully enhancing rather than overwhelming.
Final Reflection: Draping is Dialogue
Week 8 taught me that garment draping isn’t just technique—it’s communication. Between the designer and the form, the fabric and the idea. When the drape feels right, the garment tells you. And when it doesn’t, it asks you to listen harder.
Redraping wasn’t failure—it was a second chance to have that conversation again, this time with more clarity, more humility, and a deeper understanding of how tradition and innovation can coexist in a single silhouette.
Week 9: Structured Below, Fluid Above – Constructing the Shoulder Drape
This week was all about balancing precision with softness. While I was deep in the technical trenches of corset-making—perfecting panels, stitching boning, and contouring cups—I also made a key design decision that completely shifted the visual and emotional weight of my garment: the construction of the shoulder attachment.
1. The Corset: Controlled Chaos
Before diving into the shoulder piece, I had to face the technical demands of building the inner corset. It was a 13-panel structure with carefully positioned boning to provide support without compromising comfort. Every seam needed to contour the form, especially with the added challenge of working in delicate lining fabric that warped easily under pressure. Boning channels were measured down to the millimeter. And ironing—yes, even ironing—became a sculpting technique, especially when shaping curved seams along the bias.
But just as I was getting lost in the structural engineering of it all, I realized something was missing: a sense of softness. A breath of movement.
2. Designing the Shoulder Drape – Where Structure Meets Flow
That’s when the idea of a shoulder drape came to life.
This wasn’t just fabric casually tossed over the shoulder. It was a carefully constructed shoulder extension, draped to create both visual drama and cohesion with the rest of the look. I wanted it to echo coral forms—fluid, organic, yet detailed.
Here’s how I constructed it:
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Base Pleating Technique:
I started with a rectangular piece of glitter net. To create movement, I hand-pleated it starting from the shoulder anchor point, forming narrow knife pleats that released gradually as the fabric flowed down. This created a graduated flare—tighter pleats at the top, releasing into soft ripples toward the bottom. -
Hidden Stitch Anchoring:
Once pleated, the net was anchored directly onto the shoulder seam using invisible stitching techniques to make the attachment seamless from the outside. This way, the drape wouldn’t weigh down the kebaya shoulder line but still felt secure. -
Tension Control:
Because the glitter net was slightly stiff and sparkly, it was important to shape it while keeping its natural fall. I lightly steamed it as I pinned, allowing the pleats to hold a subtle curve and cascade gently like flowing coral branches. -
Asymmetrical Framing:
Rather than matching it on both sides, I allowed the drape to fall diagonally across the bodice—creating an asymmetrical silhouette that added motion and drew the eye across the torso, enhancing the fluidity of the coral theme. -
Final Manipulation:
I incorporated textural coral cutouts onto the drape’s surface—this not only visually tied in with the other organza manipulations on the kebaya but made the shoulder piece feel like a living, breathing reef. These were hand-tacked in subtle layers to keep them weightless yet dimensional.
3. More Than Just an Add-On
What started as an experimental idea became a pivotal design feature. The shoulder drape softened the sharp architectural feel of the corset underneath. It added regality without overpowering, and it gave me a storytelling space—a canvas to project my coral reef inspiration in a poetic, literal form.
More importantly, it was a lesson in balance: between form and freedom, structure and softness, engineering and emotion.
Final Reflection: When Draping Takes the Lead
While the corset required me to measure, calculate, and perfect every step, the shoulder piece allowed me to trust the flow of the fabric. Yet both needed equal attention. Draping, I’ve realized, isn’t just about creating volume or decoration—it’s about guiding fabric to speak where words fall short.
And this week, that shoulder spoke volumes.
As I move toward the final touches, I’m seeing my kebaya not just as a garment, but as a complete composition—engineered through precision, elevated through pleats, and carried by story.
Onward to the final runway. The tide is rising.
Week 10: Engineering Support in Delicate Structures — Resolving Drape Functionality in a Net-Based Kebaya
As I moved into the final stage of constructing my kebaya garment, Week 10 focused primarily on technical refinement—particularly resolving structural issues around the shoulder attachment, which was designed to support a cascading coral embellishment.
While the shoulder drape was conceived as a last-minute design extension to echo the fluidity of oceanic movement, its integration introduced unexpected construction challenges. The kebaya bodice had been built primarily using lightweight glitter net, chosen for its translucency and ethereal quality. However, I hadn’t initially accounted for how structurally weak this fabric would be when bearing additional weight, particularly from the coral manipulations embedded into the shoulder piece.
Once attached, the heavily embellished shoulder drape caused one side of the bodice to sag due to the inadequate tensile strength of the net. This created an imbalance in the garment silhouette—disrupting both the fit and visual harmony.
Addressing Load-Bearing Issues on Lightweight Fabric
After identifying this as a weight distribution issue, Ms. Melina suggested a constructional reinforcement approach. Instead of altering the aesthetic design, she proposed incorporating a reinforcement layer at the anchor point. We added a rectangular interfacing panel internally, stitched onto the underside of the shoulder seam where the drape attachment would be hooked.
The interfacing provided a rigid foundation without altering the external appearance of the garment. Technically, this transformed the shoulder seam from a decorative edge into a load-bearing zone, allowing the hook that held the drape to distribute weight more evenly across the interfaced area. The difference was immediate—the sagging stopped, the coral motifs maintained their vertical flow, and the kebaya shoulder regained its clean, upright posture.
Guiding Draped Movement with Discreet Anchoring
Another refinement involved the flow of the draped fabric itself. While the original design intended for the model to hold the drape elegantly across the forearm, this solution proved unreliable during fittings. If not held at the exact angle and height, the corals would misalign and disrupt the intended cascade.
To address this, I constructed a discreet S-shaped guide hook using malleable metal, concealed within the underside of the drape. This acted as a visual and physical cue for placement—ensuring the model could consistently position the drape over her elbow in the correct spot without compromising the appearance of effortless flow. It preserved both the illusion of fluidity and the accuracy of form during movement and photoshoots.
Finishing Techniques for Cohesion
Once the structure and anchoring were resolved, I proceeded to finalize the garment through reinforcement stitching at tension points, beadwork application around the shoulder edge to harmonize with the coral textures, and edge-cleaning techniques to control fraying along the net fabric.
Technical Reflection
This phase of construction solidified the importance of marrying aesthetic design choices with functional engineering, especially when working with lightweight, delicate textiles. The net kebaya offered movement and transparency, but required thoughtful reinforcement when introducing any added weight or structural extension.
Rather than compromising the design, the addition of a strategic interfacing support and a functional hook system ensured that the garment maintained its intended form during wear—without altering its visual softness. These problem-solving moments serve as a reminder that garment draping is not just an expressive technique, but also a structural dialogue between fabric behavior and design intent.
In retrospect, I’ve come to see construction not merely as the execution phase, but as an ongoing, evolving process—one that demands both anticipation and adaptability in every stitch.
Week 11: Final Showcase & Construction Reflections
Evaluating What Worked, What Could Be Better, and Where to Improve
The final presentation marked the culmination of weeks of intense development—from conceptualization and pattern-making to draping and finishing. Seeing the completed garments on the runway illuminated just how much detail and commitment each of us had invested in this journey. For me, this wasn’t just the conclusion of a project, but a pivotal moment to critically assess my own construction process.
My kebaya-inspired ensemble, while visually coherent in its silhouette and narrative, revealed areas where my technical decisions—particularly in garment construction and material handling—could have been pushed further for greater refinement and impact.
Bias-Cut Considerations: Shaping with Fluidity
One of the most important lessons I took from this experience involved the cutting direction of my corset panels. In retrospect, I recognized that had I cut the majority of my corset pieces on the bias, the structure would have offered a more sculpted, body-conforming fit—particularly around areas requiring softness and curvature, such as the bust and waist.
While I maintained stability by cutting most pieces on the straight grain, this restricted the natural stretch and adaptability of the fabric. Cutting on the bias would have allowed the fabric to contour more organically around the body, reducing visible panel tension and improving comfort without sacrificing structure. Moreover, it could have helped reduce seam puckering and facilitated smoother transitions between panels—especially at complex intersections like the side front or princess lines.
This change wouldn’t just be functional; it could have subtly enhanced the visual flow of the corset and aligned more closely with my theme of ocean movement and coral formations. The bias naturally supports fluidity—a principle I had aimed to express through my drapes but could have echoed more intentionally in my internal structure.
Technical Detailing: Where Precision Could Advance
Beyond grainline choices, I also noticed opportunities in seam placement and internal finishing. For instance:
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A more deliberate boning layout could have distributed tension more evenly and provided firmer support to the side seams.
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The back panel shaping, while customized through draping and darting, might have benefited from cleaner seam transitions or an alternative closure method that reduced bulk.
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Some panel joins, due to fabric thickness and layering, began to slightly distort during movement—something that could have been mitigated by reducing seam allowances at key tension points or reinforcing with lightweight interfacing instead of standard types.
Small Adjustments, Big Impact
The shoulder drape—which served as both a decorative and narrative feature—was effective in storytelling, but in construction terms, its anchoring could have been more elegantly resolved through strategic pleating or subtle stitching into seam lines, rather than relying on a physical cue for the model to hold it. While my custom hook solution functioned well during the show, a more integrated solution could elevate both usability and craftsmanship.
Conclusion: Looking Beyond the Runway
Seeing the other garments on the runway helped frame my reflection: many of the most impactful designs combined structural clarity with subtle technical mastery. Winning or not, the greatest takeaway for me was learning how small technical choices accumulate into major visual outcomes.
As I continue developing my skills, I want to become more conscious of:
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Fabric behavior in relation to body movement and tension.
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Cutting direction to shape the garment in a way that supports both fit and theme.
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Construction methods that allow for both aesthetic finesse and structural soundness.
The show may be over, but my journey as a maker is only beginning. This experience clarified that good design doesn’t end at silhouette—it’s sustained through every stitch, cut, and seam decision made along the way.
Week 12: Diving into Corsetry
Understanding Structure, Layers, and Foundations
This week, we officially moved on to our next focus: corsetry. While corsets have always fascinated me visually, this was my first time truly exploring the technical foundation behind their construction.
🧵 What is Corsetry?
Corsetry is the art and technique of constructing a corset—a structured garment traditionally designed to shape and support the torso. Historically, corsets were used to create a specific silhouette, but modern corsetry has evolved into a craft that blends historical influence with contemporary design. It involves precision, control over fit, and structural engineering to ensure both aesthetics and comfort.
A corset typically includes:
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Multiple panel pieces to contour the body
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Boning channels to provide structure and shaping
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A combination of outer fabric (fashion layer), stabilizing middle layer, and lining
🧭 Design Exploration: Choosing My Look
We were given the freedom to design a corset of our choice, which gave me room to explore styles that aligned with my aesthetic. After scrolling through Pinterest for inspiration, I found what felt like my dream corset: a modern, elegant silhouette with defined panel lines and a flattering neckline. Excited, I began the draping process for the fashion layer using my chosen fabric.
🧩 Learning the 3-Layer Corset Construction
After I completed the drape of the outer layer, our lecturer introduced us to a more advanced corset construction method—a three-layer system. Up until this point, I had only been aware of the two-layer method: the outer (fashion) fabric and the inner lining. However, I learned that a third, internal foundation layer is often used in more refined corsetry to enhance both structure and finish.
This middle layer serves a critical function:
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It houses all the boning and supportive structures
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It holds elements like bra cups securely in place
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It allows both the fashion fabric and lining to remain smooth and clean, with no visible stitching or bulk from the boning channels
Since my corset design includes multiple narrow panels, replicating the full complexity across all three layers would have been unnecessary and inefficient. To simplify without compromising the silhouette, I used my original fashion fabric panels for the outer layer, and for the lining and inner foundation, I drafted a clean 8-panel corset that mirrored the overall shape and structure of the outer layer.
This method not only saved time but also allowed the garment to maintain internal consistency and balance across layers, improving overall wearability and finish.
Final Thought
This week deepened my respect for corsetry—not just as a stylistic element, but as a technical discipline rooted in structure and precision. Learning about the three-layer construction system reminded me that what lies beneath the surface is just as important as what’s seen.
Corsetry is not only about shaping the body; it’s about shaping the garment’s integrity. And as I continue this project, I look forward to refining the craftsmanship and problem-solving skills that make corsetry both challenging and rewarding.
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