The idea, and then the sketch, have to walk hand in hand with the technical aspect, which is the modelling and, therefore, the size development. From the creativity and study of material phases, we pass on to the pattern makers that are about 13: Maddalena, the head pattern maker, handles exclusively the samples, while all the others work on the custom-made gowns (which are many more).
When the sketch passes from the designer to practice, Maddalena and Lucia work in front of a computer, set on a size development program, and analyze what can actually be done and what cannot. The importance of Maddalena’s figure is to know how to use both the languages of a designer and of a seamstress. Once the style is loaded in the computer, it is realized in paper and mounted on a mannequin: at this phase the first defects are visible, and they are highlighted by a marker.
The gown will then be realized in cloth (a poor fabric that is used for these types of trials), mounted on a mannequin and defected again. Drapings made of fabric or embroidered trimmings are placed on the cloth… the fundamental aspect is the contact with the materials and how they mould on the body.