Okay, I'll go over a brief overview of how the modelling technique works, though not too much detail and no figures, just text. First, sketch your outfit. This is the most important step, believe it or not. You have to have to have top know what you're making before you try and make it. I'm surprised by how many people skip this step. When you sketch your cloth, as Bloodsong said, Burne Hogarth's Dynamic Wrinkles and Drapery is a good reference. If you're duplicating clothing from a catalogue, you should still sketch in the back half that you cannot see in teh catalogue. If you are modelling from real life be sure to have pics from all angles and be prepared to draw on them. Next, if you're using sketches this is part of your sketching work, if you're using photos break out the market and prepare to draw on some of your prints. If you're using printed reference (a catalogue or whatever), or you only have one set of prints, be prepared with a copy you can draw on without destroying the visibility of the actual piece. Look closely at the cloth you're modelling for the anchor points (if you're doing it from scratch, Hogarth's book will explain how to determine these). Anchor points are the places drapery folds radiate from. For instance, on a man's shirt most of the drapery radiates from the armpits, and a little from the top of the shoulder (the real shoulder, not the Poser *Shldr). In my toga, above, the anchor point is the top of the right shoulder. Burne Hogarth's book focuses heavily on active figures and stresses the Direction of Thrust and how if influences the wrinkles of cloth. However, if we're making Poser clothing, we don't know the direction of thrust because we're starting with a zeroed-out figure. It doesn't hurt, however, to design it towards the most common directions of thrust so that your clothing will look as real as possible in the most common types of poses. Moreover, it's also a good idea to keep those angles in mind even if you don't actually put the folds in now, so that you can design the model around doing it that way. Open up your dummy figure (if you're making Poser clothes often, I assume you have a scene saved with the figure you want to make clothes around.). If you don't have one, import the geometry for the figure you're making clothes for, collapse it to a single mesh, weld its vertices, and optimise it. Add a very slight Push or Inflate modifier if your software has this to 'thicken' the figure up to give yourself some leeway in the skin-fitting department. Switch to create mode. Look at your reference and pick your first wrinkle line. You want to be paying attention to the peaks of the wrinkles, not the valleys, for this. In your front viewport, create a spline and trace the shape of the fold. Switch to the other viewports to put this shape into three dimensions, refining it with more vertices, if necessary, to trace aruond the outline of the figure. Clone this spline (or create a new one using the same number of vertices) and fit it to the next fold. Continue this until you have lines running across the tops of all the intended folds. Don't worry about the valleys. Those come free with the price of admission. Next, create one new, small spline, of a specific shape. Make something that looks ike an upside-down cursive V -- a hill shape. Make it out of only 7 vertices, so that you have one vertex at the peak, one either side of it to make the top of the hill, one at either side base, and one in between these to smooth out the curve of the slope a bit. Make this in the viewport that is most perpendicular to the starts of your curve splines for ease. Make sure that all the verticess are corners -- no beziers here or it will make your shape unweildy. Pick your first or favourite curve and make it into a loft path, using the little hill shape as the shape. Place the hill shape at least one at the beginning, one at the end, and one at 50% halfway. For mine, I did 0%, 25%, 50%, 75%, and 100%. Adjust your loft skin parametres so that you can easily see most of the facets in the loft, except perhaps the parts that curve away (which you should see in another viewport just fine. I dropped the path steps to 5 and had the shape steps at 0. Now, switch into the loft sub-object mode and adjust the shapes that make it up. In places where several folds come together tightly (the Anchor Points), scale down the local X size of the shape. In places where thery are far apart, scale down the local Y size of the shape. The local Z size of the shape should not make any difference, as your spline is flat, so leave it alone. Otherwise, simply scale so that everything looks right. Do this to all of your fold paths. Now, get rid of the pesky splines (hide or delete) and hide your base figure for now. Convert the first fold and second path lofts to editable polys. On the second one, in the view most parallel to the path (for instance, the front viewport on my toga) zoom in to a level where you can select individual vertices. Use soft selection and try to set it so that by selecing one vertex from the edge, you will get selection on the row of vertices across the hill, and as little else as possible. Grab the first vertex and, with your stylus or a dead pen place the top on a point on the screen halfway between the corresponding vertex on the next loft and it's starting position. Drag the vertex to this position. Go on to the next vertex and do the same. When you get all the edges halfway to their corresponding vertex in the next part, switch to the other loft and do the same back the other direction. Then, using the other viewports (it helps to have the perspective viewport in wireframe for this), position the vertices again this time in the remaming axis's direction. That you're doing here is interpolating the two lofts edges together. You could just attach and select the two corresponding vertices and weld them, but you wouldn't get the soft selection, and we want that. Next phase, by now you should have all your edge vertices matched up. Attach the second loft to the first and weld all those edge vertices together. I call it 'Zipping up the seams'. Do this to all the lofts you're going to attach. Tweak it to not be self-intersecting, or at least not too much, as you need to. If you have further areas that need to be filled in and they do not wrinkle, just add in some planes or 0-step patch grids and fit them. Now, unhide your 'sewing dummy' and start pulling out any parts of it that accidentally intersect its surface. Pull the outer open edges' vertices down flush with the surface. where they should rest against the skin of the figure. Scale down to Poser size if you need to and lay in materials for your groups. Colour the facets that go over the lShldr with a meterial called 'LShldr' and so on. Once you have your groups painted in, export the whole as an OBJect and you can convert the materials to groups in UVMapper to make it posable. Make it into a conforming figure as you normally would. If you don't have a way you normally would, read Bloodsong's tut on how to make conforming clothing and use those techniques.