Garment Draping (DST64204)
Contents
Week 1
Week 2
Week 3
Week 4
Week 5
Week 6
Week 7
Week 8
Week 9
Week 10
Week 11
Week 12
Week 13
Week 14
Week 15
Week 01
The first session of our Garment Draping module, was an exciting introduction to the world of 3D fashion construction. Our lecturer, Ms. Melina, began the class by briefing us on the module information booklet and the assignment brief, giving us a clear picture of what to expect throughout the semester. It was helpful to go through the course objectives and outcomes as it allowed us to mentally prepare for this practical subject.
After the briefing, we moved into a more hands-on part of the session. Ms. Melina conducted a live demonstration on how to tape the guidelines on the mannequin, a foundational step in draping. She carefully explained the different parts of the body where the tape should be placed—like the center front, bust line, princess line, and side seams—while also introducing us to the industry terms and terminologies we would need to be familiar with.
The 1st task of this semester was learning to drape the classic princess line on the mannequin. Seeing the fabric take form directly on the body felt so different from working with flat patterns—it was more instinctive and visual. Due to the limited number of mannequins, we were divided into groups of three, which encouraged teamwork and collaboration as we each got a turn to practice what was taught.
This week in our Garment Draping class, I began working on Task 01, which requires us to create two basic tops, one using the Classical Princess Line and the other using the Armhole Princess Line. I had already completed the Classical Princess Line, so my focus this week shifted to starting the Armhole Princess Line drape on the mannequin.
Working on both princess lines allowed me to observe how each technique reshapes and contours the bodice differently. The classical princess line flows from the shoulder through the bust, offering a very elegant and structured fit, while the armhole princess line starts from the armhole, giving a more modern and relaxed silhouette. Draping these lines directly on the mannequin helped me understand how seam lines can dramatically influence the design and fit of a garment.
Once the draping process was complete, I transferred the fabric pieces onto mahjong paper, which is essential for pattern drafting. This step required careful handling to ensure that all curves, grainlines, and seam allowances were accurate.
Another exciting part of this week’s session was when Ms. Melina brought in a few kebayas to show us. She walked us through the structure, design elements, and cultural significance of the kebaya, which was both inspiring and educational. She also did a demonstration on how to draft a basic kebaya, giving us a glimpse of the traditional techniques that we’ll eventually incorporate into our final projects.
Reflection:
This week was both challenging and rewarding. Draping requires a lot of patience, precision, and visualization, and I found myself becoming more comfortable with handling the fabric on the mannequin. Seeing how a flat piece of fabric transforms into a structured bodice was really fulfilling. I also enjoyed the kebaya demonstration it reminded me of how fashion is not just technical, but deeply connected to culture and identity. I'm excited to continue developing both the technical skills and cultural appreciation needed for this module.
This week marked a productive step forward in our Garment Draping journey. I completed the transferring of the Armhole Princess Line draped pieces onto mahjong paper, ensuring all the markings were precise and aligned. After double-checking the accuracy of the paper patterns, I moved on to the sewing process, assembling the basic top and seeing the draped design come together in its final form. It was satisfying to see the structure and shaping take form from something that initially started as a simple drape.
However, I wasn’t able to start on drafting the kebaya yet, as my final design from Fashion Project 1 was still in progress. Instead of letting that slow me down, I chose to focus on revisiting the basic kebaya drafting from last week’s session. This gave me more time to properly understand the construction and layout of the kebaya structure, which I know will be crucial when it's time to work on my final garment.
Alongside this, I also took the time to finalize my design sketches for the kebaya. Refining my ideas helped me visualize how the final piece would come together, and it felt good to take a moment to creatively connect the technical aspects with the overall aesthetic direction of my design.
Reflection:
Even though I faced a slight delay in moving forward with my kebaya due to pending design confirmation, this week still felt productive. Completing the armhole princess line top gave me more confidence in my technical sewing and draping skills. Revisiting the basic kebaya draft helped reinforce my foundation before moving on to the actual design, and finalizing my sketches allowed me to stay on track creatively. I’m learning that flexibility and proper time management are just as important as technical skill in this module.
This week was an exciting one as I finally finalized my kebaya design after receiving feedback and approval from Mr. Jr. With a clearer vision, I was finally able to begin drafting my Kebaya Kota Bharu, a traditional silhouette known for its elegance and fitted structure.
I started by draping the kebaya test fit on the mannequin using calico, carefully shaping the fabric to match my design. It was a meticulous process, especially aligning the front opening, darts, and curves while ensuring it retained the classic features of the Kota Bharu kebaya. Once I was satisfied with the drape, I transferred the patterns onto mahjong paper to prepare for test fitting.
To complete the look, I used last semester’s skirt block to draft a mermaid-style skirt that complements the kebaya. I also spent time in class working on the sleeve drafting, focusing on a fitted shape that would match the structure and flow of the kebaya top.
Getting consultation from Ms. Melina proved a little tricky this week, as everyone needed help with their own drafts, making the wait quite long. However, I eventually managed to show her my patterns, and after her feedback and corrections, I felt confident and ready to proceed with cutting the test fit.
Reflection:
This week challenged my patience and tested my focus, especially while waiting for guidance. Still, it reminded me of how important it is to be self-reliant, resourceful, and precise during the drafting phase. Draping the kebaya gave me a deeper appreciation for traditional garment construction, and I’m especially proud of how my understanding of form and fit is improving. The journey from design to test fit is not always smooth, but every step has taught me something valuable about timing, planning, and the importance of details in fashion construction.
This week brought an unexpected twist to our workflow. Mr. Jr informed us that Chagee will no longer be part of the competition, meaning we now have to revise our designs to align solely with Oppo’s ocean theme. The announcement definitely shifted the direction of my project, and I had to take a step back and reassess my design and color palette.
Because of this sudden change, I found myself falling slightly behind on cutting the test fit for the kebaya top. I had already invested time and effort into sourcing fabrics and had even bought 1-meter samples for texture manipulation based on the previous Chagee-inspired palette. Now, I’ll need to go fabric hunting all over again to find materials that reflect the new oceanic theme and still complement my revised design.
Despite the setback, I made progress by cutting and sewing the calico test fit for the mermaid skirt. It felt good to keep some momentum going even while handling the redesign. This also gave me some time to think practically about how the skirt structure and silhouette will flow with the updated kebaya design.
Reflection:
This week, I was finally able to finalize my new colour palette and subject matter inspiration after the earlier change in competition direction. For the revised Oppo ocean theme, I chose underwater sand ripples as my main source of inspiration. The textures and organic patterns found beneath the sea really stood out to me, and I wanted to translate that softness and flow into my kebaya design.
For the updated color palette, I selected a teal sea blue as the base fabric, capturing the depth and calmness of the ocean. To add contrast and texture, I picked purple cording, purple and white trims, and white-silver wavy lace for the fabric manipulation. These elements not only highlight the underwater theme but also provide dynamic movement and contrast to the garment.
However, as I moved forward with sewing the kebaya test fit, I ran into some unexpected trouble. While attaching the bodice, I noticed that the shoulders didn’t align properly. It was frustrating, and I suspect something may have gone wrong during the transfer of my draped fabric pieces onto the mahjong paper—maybe a slight misalignment. I’m not entirely sure yet, but I might have to revisit the drafting stage to correct the issue before it causes more problems later on.
Adding to the pressure, we were reminded that in just three weeks, we will be having a garment viewing session with kebaya experts, and we’re expected to have 80% of the garment completed by then. This means I’ll need to push forward, correct the draft, and pick up the pace to stay on track.
Reflection:
This week was a mix of creative excitement and technical frustration. Finalizing the colours and subject matter gave me new energy and a clear direction, but the drafting error was a reminder that precision is everything in garment construction. Still, mistakes are part of the learning process. I’m learning to identify and fix issues on my own while balancing creativity with technical discipline. With the expert viewing just around the corner, I’m more motivated than ever to refine my kebaya and bring my ocean-inspired vision to life.
This week marked a major milestone in my garment draping journey—I finally completed both the kebaya and the skirt. Looking back at last week’s struggles with the ill-fitting calico test fit, I decided to start fresh. Over the weekend, I bought my actual fabric and found some spare fabric similar to my actual fabric and re-draped the kebaya, this time carefully correcting the earlier mistakes, especially around the shoulders and armhole. Thankfully, the fit turned out much better this time.
Although I didn’t have time to transfer the new drape onto mahjong paper, I decided to work directly from the re-draped fabric to cut into the actual fabric. I also took the chance to re-draft the sleeves, ensuring they were more in line with the refined fit and flow of the new drape.
After discussing with Mr. Jr, I realized that my original plan for manipulation using wavy lace trims and cording wasn’t making enough of an impact. So, I went ahead and bought some beaded lace fabric to elevate the look of the kebaya. I'm now planning to combine the two materials—the trims and the beaded lace—for a more striking and textured manipulation effect, though I haven’t decided exactly how I’ll integrate them yet.
As for the skirt, cutting into the actual brocade fabric revealed a challenge I hadn’t anticipated. My initial design included a mermaid flare with the border running along the hem, but the fabric I bought wasn’t wide enough to cut a full circle flare. This was an oversight on my part—I didn’t fully consider the fabric width and placement of the border when I first purchased the material. Now I’ll have to get creative with how I work the flare while still maintaining the design integrity.
Reflection:
This past week has been one of the most intense and emotionally challenging weeks of the semester. With the 80% garment completion requirement approaching, I was working non-stop to get everything done in time for the garment viewing session with the kebaya experts and our Head of School.
The main challenge this week was the skirt flare issue. I had previously consulted Ms. Melina about adding panels to increase the flare, but I wasn’t satisfied with the result—it disrupted the brocade design flow, which I had been trying to preserve. Desperate for a better solution, I called my aunt, and after a long back-and-forth conversation, she came up with the idea to cut the skirt straight and add pleats to create volume. To add structure, she suggested using interfacing and horsehair braid.
Over the weekend, I struggled with this new approach. I managed to get hard interfacing, but it was extremely stiff and hard to pleat or sew. I couldn’t get it stitched in time, so I used safety pins just to hold everything together for presentation. Unfortunately, when I showed it to Ms. Melina on the day of the viewing, she immediately asked if I had tested the interfacing beforehand—which I hadn’t. She advised me to remove it as soon as possible, and thankfully, it came off without damaging the fabric.
As for the kebaya, I had spent the week sewing the main structure, but I had left the lining partially unsewn so I could still adjust or unpick it if needed to fix the manipulation. During the garment viewing, I only had the kebaya to present. I pinned the manipulation pieces in place—the purple cording and the beaded lace—as I hadn’t had the time to sew them on properly.Unfortunately, the feedback I received from the experts was heartbreaking. They said the beaded lace looked cheap, and the combination with the cording wasn’t working. I had spent RM250 on that beaded lace, so hearing those words was really difficult and brought me to tears. After the session, I talked to Mr. Jr, and he advised me to simplify the manipulation for now and only use the wavy lace trims, which were more harmonious with the overall design.
Reflection:
For me, this meant changing my entire manipulation plan. I took a step back and started thinking of new ways to incorporate manipulation that reflected my subject matter inspiration—underwater sand ripples. After several rounds of sketches and brainstorming, I finally decided on a new approach. I planned to:
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Use the wavy lace trims in a ripple-like pattern that mimicked my original cording design on the center panel of the kebaya.
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For the double-layered bell sleeves, I placed the trims in a V-shape on the sleeve shoulder, another around the elbow area, and again around the larger bell circle at the hem.
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On the skirt, I decided to place the lace manipulation just above the flare, enhancing the movement and drawing the eye downward in a wave-like motion.
Once I finalized the new design, I unpicked the sleeves and lining of the kebaya to begin attaching the lace trims—carefully, to avoid damaging the now-delicate fabric.
For the skirt structure, I realized I needed a better option than the stiff interfacing I had used before. I bought a lighter interfacing and consulted Ms. Melina about it. Although she mentioned it was a bit too soft, she suggested doubling it up to create more body. I immediately began implementing that solution.
Then, two days before prejudging, Mr. Jr noticed the back of the kebaya and suggested that I add more manipulation there to balance the design. I was hesitant—I had already sewn in the lining, and the fabric had grown fragile from repeated unpicking. I told him it might be risky. But after going home and thinking it through, I decided to go for it. I carefully added a wide V-shaped trim design to the back, inspired by the sleeve pattern, making it look like the trims were connecting both sleeves from behind—a subtle but meaningful detail.
Mr. Jr also reminded us to prepare our presentation slides for the prejudging, but on the day itself, we didn’t have to present. The Oppo team was present with a film crew to record footage for their upcoming TV commercial. The whole atmosphere felt surreal and a little nerve-wracking.
After my slot, Ms. Maria approached us with a copyright agreement to review and sign for the usage rights of our designs.
As the day settled, I couldn’t help but feel like my design still looked flat and plain compared to others. I knew I had followed my concept and improved a lot from where I started, but something still felt missing visually. That night, an idea came to me—to embellish the kebaya with hotfix rhinestones to bring out more shine and dimension, especially under lighting. I quickly consulted Mr. Jr, and after getting the green light, I rushed to buy rhinestones to apply in the following days.
Reflection:
This week was exhausting but incredibly eye-opening. I learned that design is never really finished—there’s always room to refine, adjust, and respond to how the garment looks off-paper and on-body. I’m proud that I pushed myself to rethink my manipulation, respond to last-minute feedback, and adapt creatively under pressure. While I still feel like my design might not stand out as boldly as some others, I know that it tells my story—from oceanic sand ripples to structured silhouettes—and I’m determined to bring out its best in the final moments ahead.
Besides that, I also hand-sewed the clip buttons onto the kebaya panel and attached the trouser hook to the skirt waistband, making sure all the fastenings were secure and cleanly finished. Every small detail mattered now, and I didn’t want to leave anything unfinished with the showcase so close.
1st of July—Show Day at Heritage Valley—the day we had all been working so hard for finally arrived. But it didn’t come without challenges. The night before, I had a nosebleed, which I brushed off thinking it was due to sinus issues, but it got worse the next morning—so much so that it almost ruined my kebaya while I was packing it.
To make matters worse, I couldn’t pre-book a Grab, so I had to try my luck with a last-minute booking. It took almost an hour to get a driver, and the one who accepted was 19 minutes away. On top of that, traffic was terrible, and I ended up arriving two hours late to the venue. I was absolutely panicking—because the model fittings were scheduled before the show, and we were supposed to do any necessary adjustments on-site.
But to my huge relief, the fitting was still ongoing when I arrived, and even better, the kebaya fit the model perfectly—no alterations needed. We had a bit of time to breathe, eat lunch, and get ready. However, the weather took a turn and it began to rain heavily. Since the show was outdoors, we were all holding our breath, hoping the rain would stop in time.
Luckily, just before 6:00 PM, the skies cleared, and the fashion show went on smoothly. It was such a proud moment seeing our work walk down the runway. After the show, they announced the winners. While I didn’t win, I was genuinely happy for my classmates who did. The rest of us received participation certificates, which still felt like an acknowledgment of the months of effort we had put in.
After it all, the fatigue and stress hit me like a brick wall. I was drained emotionally and physically—but also proud that I pushed through every hurdle. As soon as we finished packing up, I headed straight home, ready to rest and reflect.
Reflection:
These last two weeks reminded me that perseverance, adaptability, and inner strength are just as important as creativity in fashion. I faced a series of unexpected hurdles, from health scares and transportation issues to last-minute design changes—but I didn’t give up. Seeing my kebaya come to life on the runway made all the chaos, sleepless nights, and emotional highs and lows completely worth it. This experience taught me how far I can go when I’m determined—and I’ll carry that lesson with me beyond this module.
After the hectic rush of the fashion show, we finally shifted our attention to the on-hold assignment: constructing a corset. It felt a bit strange at first to go from the fluidity of the kebaya to the structured and highly technical process of corset-making—but it was also exciting to explore a completely different garment form.
Over these two weeks, I focused entirely on building my corset from scratch. I began by draping the corset on the mannequin, making sure to mark out the seams, curves, and placements for boning. Once satisfied with the drape, I transferred the pattern onto mahjong paper, which helped me clean up the structure and prep for cutting.
From there, I moved on to the fabric preparation:
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I cut the actual outer layer of the corset,
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The construction layer that holds the boning channels, and
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The lining layer for a neat and comfortable inside finish.
Sewing the panels together was a meticulous process, especially aligning all the seams perfectly. The most challenging part for me, however, was attaching the zipper. Getting it to sit flat while maintaining the tight structure of the corset wasn’t easy, and I had to redo it a couple of times before getting it right.
Despite the technical challenges, I’m proud to say I managed to complete the corset within two weeks—a huge accomplishment given how new the process was to me.
Reflection:
These two weeks were a shift from creative expression to precision and construction discipline. Making a corset taught me the importance of internal structure in garment-making. It was also a reminder that small details—like seam alignment, boning placement, and zipper application—can make or break the final outcome. While I struggled with parts of the process, especially the zipper, I’m proud of the outcome and grateful for the hands-on experience. This project has definitely helped sharpen my technical skills and boosted my confidence in constructing more complex garments.
Week 14 marked the final presentation for our Garment Draping module. Compared to the chaos of previous weeks leading up to the fashion show and corset construction, this week was relatively calm and smooth. With all the sewing work completed, our main focus was on finalizing the presentation slides and getting ready to showcase our process, progress, and final outcomes.
I had initially asked Anoushka to model my kebaya for the presentation, but due to unforeseen circumstances, I had to switch to Jane at the last minute. Thankfully, Jane was very cooperative and carried the look well, which helped ease any last-minute nerves.
During the presentation, I felt quite confident sharing my journey—from the initial inspiration of underwater sand ripples to the multiple setbacks, adjustments, and finally, the completed kebaya and skirt. The lecturers responded positively, and it was a satisfying moment to see my work acknowledged after everything I had pushed through.
Reflection:
This final week felt like the calm after a storm. Looking back at the entire module—from the early draping exercises, the kebaya construction, unexpected challenges, and finishing with the corset—it’s been a tough but transformative journey. I’m proud of how much I’ve grown, not just in technical skill, but in problem-solving, time management, and creative adaptability. Seeing everything come together in the final presentation reminded me why I love this process, even when it gets overwhelming. It was a fulfilling end to a very intense but rewarding semester.
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