Modeling: behind the scenes of getting well

Backed by know-how of more than 35 years, it is therefore as a model-making prodigy that Agnès Plantegenest excels alongside Brigitte and François for ARTIST.

She is the one who creates the patterns for the clothes they have imagined. To bring the idea and the sketch to life, you need to know how to translate the look, proportions, volumes and details of a model.

It is quite an art to interpret a flat sketched design so that it becomes a fitted, straight or darted outfit.

Agnès Plantegenest (in red) checks her patronage.

Each Ready-to-Wear brand has its own bases for each type of clothing. ARTIST relies on its existing specific templates and constantly creates new ones. And so on, each time the last copy will be added to the archives.

In fact, there are no rules. Each house defines them according to its style and its clientele. A 38 in a range designed for a 15-25 year old target is not cut like it would be for a 30-50 year old woman. Morphology varies according to age, countries, lifestyles…

Having a broad knowledge of materials, their composition and therefore their behavior is a sine qua non condition. Only solid textile experience allows you to integrate all the technical parameters. Knits and wovens react differently. It is essential to take this into account from the sponsorship stage, to anticipate their withdrawals in one direction or the other for example.

From there, the “plans” for the next pair of pants, the next jacket can be made.

Agnès Plantegenest always begins her “pattern or template” with the lines of the back, and on a 38, the reference size at ARTIST. All cutouts are installed in their pre-established place according to the desired shape. It is from the back that we adapt the front.

Paper output of a piece of patronage

Several techniques are used: that of “casting” on a bust with a canvas; that of flat cutting (construction by geometric tracing) and finally in digital, that of modeling or design on screen (3D). This work is done on “Lectra”, a dedicated and world-leading software. At this stage, all the essential information for assembly will be specified: seams, neckline, sleeves, position of pockets, buttons, openings, etc.

A seamstress then makes the very first prototype in the conforming fabric. It is during the fitting on a “live” model that the whole team consults. Together, they consider modifications or simplifications. This is the moment when we detect problems with the fit. If necessary, there are touch-ups. It happens to cancel if the development turns out to be too disappointing... And we start again...

This step requires a lot of demands to adjust and perfect. Each dress, skirt, cardigan reveals its complexity through its fantasy, its placed printed patterns, its collar, or even its zip.

When a specimen is finally validated, it is subjected to washing tests.

To move on to the manufacturing phase, it is necessary to make the smallest size, 34, as well as the largest, 48, in order to be able to approve the gradation.

Let's add technical sheets and all the questions of efficiency (when we optimize 75% use of fabric, it's a good result). These studies and methods have a direct impact on costs.

Her role is decisive but Agnès does not seem to feel any weight on her shoulders. “We are constantly focused on precise gestures. I like working with my hands.”.

ARTIST attaches great importance to the size and perfects its fit from session to session, in search of the best compromise between aesthetics and comfort.