The 1950s 1950s
Pauline Trigère
A French-born, New York-based designer known for precise draping and cutting, and one of relatively few women running her own American fashion house at the time.
Trigère worked without draping on a dress form the way a lot of her contemporaries did - she cut and draped directly, often without a written pattern at all, which is a genuinely different (and harder) way to design.
Her reversible coats and capes are the clearest showcase of what draping-without-a-pattern actually made possible. A reversible garment has to be fully finished and presentable on both faces of the fabric at once - no hidden interfacing, no visible seam allowances, no lining doing the structural work a single-sided coat could get away with - which is a far more demanding construction problem than it sounds like from the outside. Trigère's method of working directly on a model or dress form, pinning and adjusting the drape by eye rather than following a flat pattern, let her solve that problem in three dimensions as she went, rather than trying to reverse-engineer a flat pattern that would behave correctly from both sides once sewn. The technique became enough of a house signature that a Trigère cape or coat was recognizable on sight, and it's a good demonstration of how a specific working method - cutting directly, without an intermediate paper pattern - can produce a genuinely distinct design vocabulary rather than just a different production process.
I think what deserves real emphasis here, beyond the technique itself, is how unusual her position was structurally. Trigère founded and ran her own house in New York starting in 1942, staying independent and financially self-sufficient through decades when the American fashion industry, like Paris couture, was overwhelmingly directed by men even when the actual construction labor behind the clothes was performed largely by women. A designer working directly on the form, without a written pattern an assistant could later interpret, also had to be present and hands-on for essentially every garment leaving her studio - which meant her house's identity was inseparable from her own physical, daily involvement in the work, in a way that's genuinely rare for a business operating at commercial scale.