THE SCULPTURAL APPROACH

We provide methods and tools to aid in the development and production of new shapes in dressmaking. This component shows how to create individually basedcontemporary designs, enabling a more precise fit for natural bodies. By focusing on proportions and molding fa- bric directly on the body, James devised new ways to drape the silhouette and create significant designs with a perfect fit. His work was uniquely sculptural because he invented new techniques for turning twodimensional fabrics into threedimensional forms.

We invite you to get an understanding of what made James’ designs so spe- cial and how his innovative principles and technical achievements can be applied today.

One of the keys to Charles James’ work was his anatomical studies, including the development of specialized new tools, particularly an innovative dress form, enabling him to apply new shapes to the human body.

James reveres the arts of Constantin Brâncuși and Amedeo Modigliani. Like a sculptor, he prefers to shape directly on his clients’ bodies. In the mid-1930s, body-hugging, softly flowing, form-fitting draperies are created with the first sculptural shapes standing away from the body. For example his famous Eiderdown Jacket.

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The shoulder – how to start draping a silhouette: Working as a sculptor, Charles James used fabric and padding to mold extensions to his dress form that produced new and innovative tools. For his creations, the shoulder is the starting point in the development of a new silhouette. The weight and balance of a garment should sit on the shoulder, close to the neckline. The shoulder line was most often an important signature element of his creations. This node exposes one of Charles James’ most exciting work tools that he invented. The Shoulder Shell, placed on the man- nequin, shapes the upper part of the torso in a distinctive way. The Shoulder Shell is the foundation for any draping.

The Shoulder Shell from the original Charles James pattern is adapted to the Sarah dress form. This add-on is constructed from muslin fused with a stiff interfacing. The fabric of this shell is squared in a 2-inch grid. The cavity betweenthe form and the shell is stuffed with fiberfill to expand and hold the shape. A bias binding is sewn on to the neckline and bottom edge of the shell. The armhole template is constructed witha stiff cardboard between two layers ofthe prepared muslin and then inset withhand stitching. An invisible zipper is inserted upside down in the center back seam, starting 2 inches down from the top center back neck. The zippered center back seam,

which is not completely open, makes it easier to put the shell on and to take it off.

On the back cape bodice, instead of a vertical seam that is taken in 3⁄4 of an inch as it nears the waistline (the angle this would create in ordinary jackets), this excess fabric has been “worked” into the seams joining the skirt to the cape bodice.This angle, resulting in a dart, has been switched much as the hands of a clock are turned around a center point.

The center back triangle pattern piece at the neck is necessary to add width for movement of the head and neck. The upper rounded bias section of the front collar has to be stretched for the collar to fit the neck. The stretching allows the collar edge to stand away from the body.

An example: In 1936 Charles James designed his iconic Grosgrain Cape in Paris as part of a series of capes, coats, and jackets constructed from 18- inch millinery grosgrain. This evening cape wasmade from 22 yards of fabric and had features that distinguished

this design from his early career as typically Charles James. It has no lining or finished seam edges.The lack of a lining and unfinished seams allowan- ces, which were avantgarde at the time, gave a fluid movement to garments made from such a stiff fabric. An inside belt held the cape to the body, front and back, allowing the sides to have a flo- wing motion when worn. Instead of side sections to join the front to the back, a large skirted cape is attached. The skirt falls in carefully calculated godets. In the front, there are two slits in seams placed, at a particular convenient posi- tion to permit passage of the arms.

The 1972 Antonio Lopez drawing of Charles James’ Grosgrain Cape shows the cut more clearly than the original Cecil Beaton photographs.

The stylized drawing also reflects his researched idea that the posture chan- ges with the use of undergarments such as corsets. Turn-of-the-century posture forced the bust to be thrust forward and the derriere to be pushed backward. Late 20thcentury posture had discarded corsets, meaning that the pelvic area was thrust forward while the shoulder blades were held backwards.

Charles James created the Hip and Skirt Expander as tools to sculpt new silhouettes. He also used the Hip Ex- pander to aid in duplicating the shape of the client’s hips to his dress form.

Following the philosophy of a natural and unique body, create your Hip Ex- pander, adapt the measurements to your model or dress form to create a perfect fit.

The Hip Expander can be used to modify the waistline angle. It is placed around the client’s waist, and the over- lapping edges are pinned to the shape of the hips. When completed, the tool is placed on the dress form and positio- ned to replicate the client’s hip shape.

Creating a Magic Waistline, according to Charles James’ aesthetics, the waist should be dropped at the center front to give extra length from the neck to the waist section.

A second idea for the Hip Expander is used on the dress form to develop new silhouettes. It can be expanded equally all around, flat on the front and sides, or expanded only in the back as shown in Verison 2. To give firmness to the shape, use commercial shoulder pads or batting. Pictured here is the Hip Ex- pander showing a dropped front waist, a flat front, and back with flared sides.

The Hip Expander, flat at the front and sides, with an extended back and lowe- red front waist to create a late 19th-cen- tury bustle effect.

The Hip Expander is flexible, making it possible to create many different sha- pes and even more silhouettes. Here, we show a 19th-century bustle shape, favored by Charles James.

A mid-1960s version made out of mul- tiple layers of black fusible interfacing, bias to straight grains. To prepare the Hip Expander, use black or white ma- terial. After all sections for a complete Hip Expander have been cut, put small grommets where the waistline and vertical seamlines intersect on each side of a section. To complete it, join the sections with envelope pins. The Skirt Expander is just an extension of the Hip Expander to floor length, as seen in the photograph on the following page.

This exercise uses the Shoulder Shell in combination with the Hip Expander to demonstrate how a new silhouet-
te can be draped from one piece of muslin. Note that there are only darts
to mold the fabric to the dress form. It is one pattern piece. The muslin has to be mirrored to complete the left side. Depending on the width of the fabric, selvage seams may be necessary to obtain the desired length. Using this draped pattern, multiple new designs can be created by making the darts into seams and adding new sections for more fullness in the skirt. You may also use tapes to establish new seam lines for a new design.