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sketching, draping and fitting In refining the designs for this project I employed draping as a method for shaping out initial forms. Draped ideas were activated off the many sketches I created. Sketches however, were only broad-stroke approaches to concept development (see Fig. 6:1). 62
Fig. 6:1 Concept sketches for artworks (February 2006 to August 2007). These were generally pencil drawings with notes that allowed me to quickly capture passing ideas. They gave a sense of the potential look of a garment but did not seek to resolve any structural or technical issues. Often these sketches were used in meetings with supervisors when discussing conceptual approaches to abstract ideas. Draping as a method of design development in fashion may be understood as a thinking process that is driven by the shaping of a design on a dress form (rather than as an adaptation of existing patterns). In my process a mock were made in cheap material (calico). This is because in designing a solution to complex garments like those in this research, multiple mocks needed to be generated and the final fabrics I wanted to use were either in very short supply, or extremely expensive. While the draping of dress forms was useful, it did not resolve questions related to weight or the fall of specific garments. Fitting as a subsequent process involved modifying the draped garment to accommodate peculiarities of the design. This allowed me to make fine adjustments to how the cloth settled on the dress form using constraints and dynamic fields. For example, I could pull out wrinkles or pin portions of the garment to specific places on the dress form. During this process I was also able to assign different properties to the panels and set various attributes of the cloth to change the physical behaviour of the fabric. 63
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Page 42 and 43: cultural practice. This spiritual d
Page 44 and 45: Varanasi at the same time as the Na
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Page 54 and 55: artwork Fig. 5:4 Demise: integrated
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Page 78: Menon, M. (1999). Twilight zone for
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