Physician professional publications 

Designing for beginners: how to build a sheath dress. Retraction of the center line of the back

Construction of the midline of the back drawing of a pattern of shoulder products.

For straight products

Carries a constructive load in the upper part of the back, a tuck is created to fit the bulge of the shoulder blades.

from point BUT the top of the midline deviates to the right by 0.5 cm for typical figures and by 1 cm for stooped figures, denoted by a dot BUT*.

Deviation from the vertical at the waistline T T1 = 1 cm.

points A* U T1 connect with a smooth line. point T1 connect with a straight line with a dot B1 and continue down. The point of intersection of this line with the bottom line is denoted H1.

For products of semi-adjacent and fitted forms

1) The middle line does not carry a structural load T T1 = 2-2.5 cm.

points BUT And T1 connect with a straight line, which we continue down to the point H1.

2) The middle cut line carries the structural load

A A* = (from 0.5-1 cm)

T T1 = 1.5 cm

T1 T11 = (from 0.7-1.5 cm) tuck solution at the waist.

We draw the line of the middle cut of the back through the points A* Y r T11 B1 H1

through dots T11 And B1 draw a straight line, continuing it down to the intersection with the horizontal from the point H. The point of intersection is denoted H11. We draw the line of the middle cut through the points A* Y r T11 B1 H11.

For products of free forms and expanded from top to bottom

We reject the middle line in the drawing to the left H H1 \u003d (from 6 to 10) cm.

point BUT or another point that determines the level of the beginning of the expansion, we connect with the point H1.

Construction of side cut lines

The side seam can be located in the extreme left position - pass through the point G1 or even go on the back by 0.5-1 cm. It can be located both to the right and to the left of the point G1 to 0.5 G1 G4.

The position of the side seam line on the waist line in products of a straight silhouette with a deflection in the side seams and a semi-adjacent silhouette is not determined by calculation, but is found graphically. To do this, we connect the points that determine the position of the side seam on the line of the chest and on the line of the hips (or bottom) with straight lines, and then with concave ones, the degree of concavity of which determines the back value of the opening of the darts.

In fitted products, the position of the side sections of the back and shelves on the waist line is found as follows: we determine the difference between the width of the product on the chest line and the waist line. The difference is:

(Cr2 + Pg) - (St + Fri) - T T1.

The resulting value is the sum of the solutions of tucks and side seams and is denoted ΣB. We distribute it between tucks and side cuts.

In the side cut of the back, as well as in the side cut of the shelf, we design 1/5 of the total solution of tucks (Σ V) or 1/4 ΣB in both side cuts.

In the drawing, the size of the solution of the tuck projected in the side section of the back is measured along the waist line from the vertical drawn down from the point G5 to the left, and the size of the solution of the tuck projected in the side section of the shelf - to the right.

To determine the position of the side sections on the hip line, we find the difference between the width of the finished product along the hip line and the chest line. The difference is:

(Sb + Pb) - (Sg2 + Pg) + B B1.

When constructing a drawing, the width of the product on the hip line must be increased by the obtained value, which is evenly distributed between the shelf and the backrest relative to the vertical G5 H2. Or, to a lesser extent, the resulting value is related to the back and to a greater extent - to the shelf. This applies to products with a seam open from the back side, the smooth design of which is given great attention.

B2 B4 \u003d B2 B5 \u003d ((Sb + Pb) - (Cr2 + P1) + B B1) : 2

Then we find the width of the back and the shelves below. In products with a straight silhouette, the width of the back at the bottom should be equal to the width under the armhole or 1-2 cm more; the width of the shelf at the bottom should be equal to or greater than the width under the armhole by 1-2 cm for dresses and more than the width under the armhole by 3-5 cm for coats. For free-form products, the expansion at the bottom is much larger.

The width of the back and the shelves below in products of semi-adjacent and fitted silhouettes is determined by adding 3-10 cm to the width of the product at the hip line.

From the waist line to the hip line, the side sections, as a rule, are drawn up with a convex line.

From the line of the hips to the bottom, we draw the side sections with straight lines.

In the drawing of products of a direct silhouette of a large and medium volume, we draw the side sections with straight lines, connecting the points G51 H4 H5

After drawing the lines of the side cuts, they are aligned: G51 H5 = G51 H4 or G5 H5 = G5 H4

In products of a semi-adjacent and fitted form, the side sections are aligned in sections: up from the waist line, and then down from the waist line.

Bottom line.

The line of the bottom of the back in its middle part is always perpendicular to the line of the middle of the back. In products that are significantly expanded towards the bottom, it is necessary to align the side cut of the back from the waist down in length with the middle cut of the back, so we draw the bottom line in the side part with a smooth convex line.

We draw the bottom line of the shelf (front) with a smooth convex line, connecting the points H3 H5.

To build this drawing, we take conditional measurements of the 48th size:

back drawing

Armhole depth.

Length to waist. From point A we set aside 40 cm down (a measure of the length of the back to the waistline plus 1 cm; 39 + 1 = 40 cm) and set the point T.

Hip line. From the point T down we set aside 17.5 cm (1/2 measurements of the length to the waist minus 2 cm; 19.5-2 \u003d 17.5 cm) and set the point B.

Dress length. From point A down we set aside 100 cm (measurement of the length of the dress) and put point H.

From points A, D, T, B, H to the right, we draw horizontal lines of arbitrary length, then we connect these points, drawing the middle line of the back.

Rostock. From point A to the right, set aside the width of the sprout 6.5 cm (1/3 measurements of the half-girth of the neck plus 0.5 cm; 6 + 0.5 \u003d 6.5 cm) and set point A 1. From it we set aside 2.2 cm upwards (1/3 of the width of the sprout; 6.5: 3 \u003d 2.2 cm) and set the point A 2. We connect points A, A 2 with a smooth curve, drawing a line of a sprout.

Back width. From the point G to the right, set aside 19.8 cm (a measure of the width of the back plus 1.8 cm for a free fit; 18 + 1.8 = 19.8 cm) and set the point G 1. From it we draw a vertical line upwards and at the intersection from point A 1 we put point A 3.

Shoulder seam. From point A 3 we set aside 3.5 cm vertically down and set point P. From point A 2 through point P we set aside 15 cm (a measure of shoulder width plus 1 cm per suture; 14 + 1 \u003d 15 cm) and set point P 1.

Armhole. From the point G 1 to the right horizontally, set aside 5.8 cm (1/2 the width of the armhole) and set the point G 2. The width of the armhole of the dress is the difference between the width of the entire dress and the sum of the widths of the back and front, taking into account the allowance for a free fit.

From the point G 1 up vertically, lay off 8.2 cm (1/3 the length of the segment G 1 P plus 2 cm up) and set the point P 2. From the point G 1 we draw a bisector (a line dividing the angle in half) with a length of 2.5 cm and put the number 1. We connect the points P 1, P 2, 1, G 2, drawing the armhole line of the back.

Side seam. Draw a vertical line from point G 2 down and at the intersection with a horizontal line from point H put point H 1. We connect the points G 2, H 1, drawing a side seam.

Bottom. We connect the points H, H 1, drawing the bottom.

front drawing

We draw a right angle, the vertex is denoted by point A.

Armhole depth. From point A down the vertical lay off 22 cm (1 / 2 measurements of the half-girth of the chest of the second minus 2 cm; 24-2 \u003d 22 cm) and set point G.

Length to waist. From point A we set aside 40 cm down (a measure of the length of the back to the waist plus 1 cm; 39 + 1 \u003d 40 cm) and set the point T.

Hip line. From point T down we set aside 17.5 cm (1/2 measurements of the length of the back to the waist minus 2 cm; 19.5-2 \u003d 17.5) and set point B.

Dress length. From point A down we set aside 100 cm (measurement of the length of the dress) and put point H.

From points A, G, T, B, N to the left we draw horizontal lines of arbitrary length

The width of the front along the chest line. From point A to the left horizontally lay off 22.7 cm (a measure of the width of the chest, the difference between the second and first half-girth of the chest, an increase in the width of the front; 17.5 + 4 + 1.2 = 22.7 cm) and set point A 1. From it DOWN we lower the vertical, on the line of its intersection with the horizontal from the point G we put the point G 1.

The position of the chest tuck. From the point G to the left horizontally lay off 10.3 cm (1/2 the width of the front along the chest line - the segment GG 1 minus 1 cm; 11.3-1 \u003d 10.3 cm) and set the point G 2. From it upward we draw a vertical line of arbitrary length.

The top of the neck. From point T upward along a vertical line through points G, A, set aside 44 cm (a measure of the length of the front to the waist plus 1 cm; 43 + 1 \u003d 44 cm) and set point A 2. Draw a horizontal line from it to the left, set aside a neck width of 6.5 cm along it (1/3 of the half-girth of the neck plus 0.5 cm; 6 + 0.5 \u003d 6.5 cm) and set point A 3.

Neckline. From point A 2 downwards vertically, we set aside the depth of the neck 7.5 cm (the width of the neck plus 1 cm; 6.5 + 1 \u003d 7.5 cm) and set the point A 4. From points A 3 and A 4 we draw perpendiculars, at their intersection we put a point W. From it we draw a bisector 3 cm long and put a point W 1. We connect the points A 3, W 1 A 4 with a concave line, drawing a neckline.

Front line. We connect points A 4, D, T, B, H, drawing a line in the middle of the front, lengthen it from point H down by 1 cm and set point H1.

Chest tuck. From point A 3 with a radius equal to the measure of chest height (26 cm), we make a notch on a vertical line from point G 2 and set point G 3. From point A 3 to the left along a horizontal line, set aside 4.5 cm (1/3 measurements of shoulder width, 13.5: 3 \u003d 4.5 cm) and set point A 5.

From it to the left along the arc we set aside a tuck solution of 10 cm (the solution is equal to twice the difference between the measurements of the second and first half-girths of the chest plus 2 cm; 48-44=4x2=8+2=10 cm) and set point P. We connect this point with point G 3 thin line. From the point P to the right along the arc we set aside 4.5 cm (segment A 3 A 5, i.e. 1/3 measurements of the width of the shoulder) and set the point A 6.

The top of the armhole. From the point G 1 up the vertical, we set aside a distance equal to the length of the segment G 1 P (in the drawing of the back), and set the point P 1.

Armhole. From the point G 1 upwards vertically, we set aside 1/3 of the measurement of the segment G 1 P 1 and set the point P 2. From it with a radius P 2 P 1 we draw an arc to the left. On it, from point A 6, we make a notch with a radius equal to the measurement of the width of the shoulder (13.5 cm), and set the point P 3. From point G 1 we draw a bisector 2 cm long and put the number 2.

We connect the points P 2, P 3 with a thin line, divide it in half, designate the middle with the number 3. Set aside 1 cm to the right from it and put the number 4. We connect the points P 3, 4, P 2, 2, G 2, drawing the line of the armhole in front.

Side seam. Draw a vertical line from the point G 2 down and put the point H 2 at its intersection with the horizontal bottom. We connect the points G 2, H 2, drawing a side seam.

Bottom. We connect the points H, H 2, drawing the bottom.

Shoulder seam. We connect the points A 6, P 3 with a thin line, at the intersection of it with the line from the point P below, we put the point P 4. We connect the points P 3, P 4, drawing the shoulder seam.

From the point G 3 upwards along the vertical, we set aside a distance equal to the measurement of the segment P 4, G 3, and set the point A 7. We connect points A 7 and P 4 with point G 3, drawing a chest tuck. We connect the points A 3, A 7, drawing the rest of the shoulder seam.

After decorating the entire armhole of the dress, we connect the points P 1, P 3 with a dotted line, denote the middle with a point O. Draw a vertical line down from it and put a point O 1 at the intersection with the horizontal line of the armhole. Set aside 2.7 cm from the point O down and set the point O 2. The distance between the points O 1 O 2 determines the vertical diameter of the armhole used in the construction of the sleeve drawing.

Notes:

1. Dart - a constructive element. With its help, a three-dimensional form is created where necessary. For example, the chest tuck forms the volume of the chest. In modern designs of dresses, blouses, jackets, coats, tucks with a direction from the shoulder seam to the center of the chest are not made. They, as a rule, are located in the armhole, under the armhole, sometimes in the side cut, on the waist line, in the yoke line, in relief, etc. However, when building the basis of the drawing, the tuck is projected precisely from the shoulder seam and is the starting point for moving it to desired location.

In this example, on the drawing of the basis of the pattern, the place of the beginning of the new position of the tuck is marked - point B. It is connected to the lower end of the primary tuck - point G 3. The line between these points is cut, the solution of the primary tuck (points P 4 and A 7) is closed by chipping it with a pin. After that, a solution of a new tuck is formed, the beginning of which is indicated by the point B 1 and connected to the point G 3. In the drawing of the base of the dress with a straight silhouette, dotted lines show the contours of the new tuck and the new armhole and shoulder seam lines obtained after closing the initial tuck. In the same way, she moves to any other place on the bodice. Calculate the solution of a new tuck, regardless of its length, should not be, because its angle always corresponds to the angle of the solution obtained when calculating the primary tuck.

In all cases of moving the tuck, its end should be directed to the protruding point of the chest. The opening of the tuck ends at 1.5-2 cm to its end, which ensures smooth stitching and processing of the tuck.

For a figure with a large chest, the opening of the chest tuck is too wide. In this case, it is better to move it into two tucks - into the side and travel or into the neck and travel.

Sometimes the tuck is replaced by soft folds, drapery, gathers.

2. If the fabric is dry, not amenable to suture, a tuck is made in the shoulder section of the back. Its solution is 1.5-2.5 cm, depending on the structure of the tissue. Its length is 6-8 cm, and its location in the shoulder section depends on the features of the figure (protrusion of the shoulder blades, curvature of the back). But in all cases, the tuck is built parallel to the middle of the back.

In the drawing of the back, the shoulder width expands against the measurement, taking into account the tuck solution.

3. Based on the drawing of a straight silhouette dress, you can build a dress of adjacent and semi-adjacent silhouettes. To do this, it is necessary to place the top of the side seam - point G 2 at a distance of 1-5 cm from point G 1, that is, move the side seam from the middle of the armhole closer, towards the back armhole.

For example, from point 1 on the armhole line we draw a vertical line down, at its intersection with the lines of the waist, hips and bottom, we denote the points m 1, b 1, H 1, respectively.

Side cuts on the waistline of the dress are made with a deflection, and tucks are designed on the back and front. The size of the deflections, as well as the number of tucks, the location, length and size of their solutions depend on the silhouette, body type, fashion and are specified during the fitting.

The amount of tuck solutions is determined by the difference between the width of the dress along the chest line and the width along the waist line.

Let's take an example. The width of the dress along the chest line is equal to the measurement of the semi-circumference of the chest 48 cm plus 6 cm, that is, for a free fit = 54 cm. The width of the dress along the waist line is equal to the measurement of the semi-circumference of the waist 38 cm plus 2 cm, that is, for a free fit = 40 cm.

The difference is 14 cm. This excess is taken along the waist into the tucks and into the deflections of the side seams.

In the drawing of the base of the dress, dotted lines show an approximate layout of the darts and deflections of the side seams of the back and front. Since the grid of the basis of the drawing is based on the half-girth of the chest, which is usually smaller than the half-girth of the hips, you should check the compliance of the width of the product along the hip line in the drawing with the measure of the half-girth of the hips and the allowance for the loose fit provided for in the table, and make adjustments to the width of the hips along the back and in front.

The width of the dress at the bottom is determined by the silhouette of the model.

Dress straight sleeve drawing

The construction of the sleeve is carried out on the basis of measurements of some quantities taken from the drawing of the dress.

We draw a vertical line, the top is denoted by the point O.

The length of the sleeve. From the point O downwards vertically, lay off 53 cm (a measure of the length of the sleeve) and set the point H.

Eye height. From the point O downwards vertically, we set aside the measurement value of the segment O 1 O 2 (the vertical diameter of the armhole in the drawing of the dress) and set the point O 1.

From points O, O 1, H to the left and right, we draw horizontal lines of arbitrary length.

Sleeve width under armhole. From the point O 1 to the left and right horizontally, we set aside 17.5 cm in each direction (1/2 the sum of the size of the measurement of the girth of the arm and the increase in free fit; 29 + 6: 2 = 17.5 cm) and set the points to the left, respectively - P, right - P 1.

Anterior and elbow rolls.

From the point O 1 to the left and right horizontally, set aside 8.8 cm 1/2 of the sleeve width under the armhole; 17.5: 2 \u003d 8.8 cm) and set the points accordingly to the left - P 2, to the right - P 3. From these points we draw vertical lines upwards, at their intersection with a horizontal line from the point O to the right we put the point O 2, and to the left - the point O 3.

We divide the distance between the points O, O 2 in half, minus 1.5 cm and put the point O 4. The distance between the points O, O 3 is divided in half, the middle is denoted by the point O 5.

Eye line. The segment P 3 P 1 is divided in half, the middle is denoted by the number 1. From it we set aside 0.7 cm upwards and put the number 2.

From the point P 3 upwards vertically, we set aside a distance equal to the length of the segment G 1 P 2 (in the drawing of the front of the dress) minus 1 cm, and put the number 3. From it, set aside 0.5 cm to the right and put the number 4. We connect the point O 4 and number 4 with a thin line.

From the point O 4 down the oblique we set aside 2 cm and put the number 5.

From the point P 2 upwards vertically, we set aside a distance equal to the length of the segment G 1 P 2 (in the drawing of the back), and put the number 6. We connect the point O 5 and the number 6 with a thin line. From the point O 5 down the oblique we set aside 1.2 cm and put the number 7.

We connect the point P and the number 6 with a thin line, divide it in half, denote the middle with the number 8. From it down the oblique we set aside 1 cm and put the number 9.

We connect the points P, 9, 6, 7, O, 5, 4, 2, P 1 with a smooth line, drawing an okat line.

Point O is the place of the control notch, which coincides with the shoulder seam of the dress.

Sleeve seam. From the point H to the left and right horizontally, lay off 14 cm each (conditional width of the low sleeve) and set the points to the left - H 1, to the right - H 2, respectively. We connect the points P, H 1, then the points P 1, H 2, drawing the middle seam of the sleeve.

Bottom. The distance between the points H, H 1 is divided in half, the middle is denoted by the point H 3. We set aside 1.5 cm from it down and set the point H 4.

The distance between the points H, H 2 is divided in half, the middle is denoted by the point H 5. From it we set aside 1.5 cm upwards and put a point H 6.

We connect the points H 1, H 4, H, H 6, H 2 with a smooth curve, drawing the bottom of the sleeve.

Having received the base of the set-in straight sleeve, we can build a narrow sleeve on it. To do this, it is necessary to determine the line of the elbow and the width of the low - 11 cm. First of all, we lower the tops of the front and elbow sections by 0.5 - 0.7 cm, as shown by dotted lines on the horizontal PP 1, and set points A and A 1, respectively.

Elbow line. From the point O down the vertical lay off 33 cm (1 / 2 the length of the new sleeve plus 5 cm; 56: 2 = 28 + 5 = 33 cm) and set the point L.

The length of the sleeve. From point O, we set aside 56 cm down (a conditional measure of the length of the new sleeve) and set point B. From points L and H to the right and left, we draw horizontal lines of arbitrary length.

Middle line. From point B to the right horizontally, set aside 3 cm and set point B 1. We connect the points L, B 1, drawing the middle line.

Width at the bottom. From point B, to the left and right, set aside 5.5 cm each (1/2 of the sleeve width at the bottom) and set the points respectively to the left - B 2, to the right - B 3.

Front roll. We connect points P 3 and B 3 with a thin line, at the intersection of it with the horizontal line of the elbow we put a point L 1. Set aside 1 cm to the left of it and set the point L 2. We connect the points R 3, L 2, B 3, drawing the line of the front roll.

Elbow roll. From the point P 2 down we draw a vertical line to the horizontal line of the elbow, at the intersection we put the point L 3. Set aside 1 cm to the right from it and put a point L 4. We connect the points R 2, L 4, B 2 and outline the elbow roll. After that, we deploy the sleeve along the elbow line and below around the front and elbow rolls as follows.

Front cut. Along the line of the elbow from the point L 2 to the right horizontally, set aside a distance equal to the length of the segment LL 2, and set the point L 5.

On the bottom line from point B 3 to the right, we set aside a distance equal to the length of the segment B 1 B 3, and set point B 4.

We connect points A 1, L 5, B 4, drawing a line of the front cut.

Elbow tuck. Along the line of the elbow from the point L 4 to the left horizontally, we set aside a distance equal to the length of the segment LL 4 plus 1 cm, and set the point L 6. We connect the points L 3, B 2 with a thin line. From point L 6 down we draw a vertical line 2 cm long and put a point L 7. We connect the points L 3, L 6, then L 3, L 7, drawing a tuck. Its solution is 2 cm.

Elbow cut. Along the bottom line from point B 2 to the left horizontally, we set aside a distance equal to the length of the segment B 1 B 2, and set point B 5. From it down we draw a vertical line 2 cm long (equal to the solution of the tuck) and put point B 6.

We connect points A, L 6, then points L 7 and B 6, drawing an elbow cut.

Bottom. Set aside 1 cm from point B 3 upwards and set point B 7.

We connect points B 6, B 2, B 7, B 4 with a smooth curve, drawing the bottom of the sleeve.

Note. The length of the armhole of the sleeve, that is, its entire circumference, must exceed the length of the armhole of the dress at the rate of 5 to 10 percent for each centimeter of the armhole. This percentage is given for the fit of the sleeve and depends on how much the fabric lends itself to sutyuzhka. With dry fabrics that are not amenable to suture, the fit can be partially replaced by a tuck in the sleeve collar (at point O). The height of the eyelet, the total length of the armhole of the sleeve and the planned fit are finalized after trying on the product.

A pear-shaped figure is very feminine, but sometimes it brings some difficulties to the owner when choosing a finished dress due to the difference in the girths of the hips and chest. You shouldn't get upset. First, let's figure out which style to choose. We narrow the bottom and focus on the upper part: a boat-shaped neckline, a large collar, a neckline, a bright print in the upper part of the dress, the bottom can be slightly flared, do not forget about the use of contrasting inserts that run along the dress and visually model the figure, as well as a little high waist, heels and matching tights will make you slimmer. We try to avoid decor in the hips, patch pockets, draperies, transverse stripes and large prints.

photo from the site, http://www.chieflady.com/

For an example of modeling, we will choose a simple sheath dress created on a pattern-based adjoining silhouette. The style is interesting in that the model lines that form the silhouette demonstrate the female figure of just the lower type in the best and most advantageous way. Dark inserts running along the side seams will help to visually hide the width of the hips, and the white silhouette, expanding upwards, will bring to the fore the built silhouette. But, here you can’t be too smart with excessive narrowing of the skirt, and if the difference between the girths of the chest and hips is large, it is better to expand the skirt a little to the bottom.



photo from http://www.stylishwife.com/

Modeling. On the details of the back and front pattern, draw model lines of reliefs passing from the armholes to the bottom of the dress through the waist darts, on the back, transfer part of the solution to the middle line of the back, for the greatest fit in this area. Open the chest tuck in the armhole, read more about transferring the darts. It remains only to outline the allowance for the slot. If the difference between the circumferences of the waist and hips is large and the solutions of the tucks for fitting are more than 3-3.5 cm each, the tuck must be divided into two, otherwise ugly creases in the waist area will appear in the finished product.


In the second version of modeling, we propose to expand the skirt to the bottom, make it the so-called A-shaped silhouette, you can also make the dress cut off at the waist.


MODELING OF A DRESS FOR THE "INVERTED TRIANGLE" BODY TYPE

Your strong point is narrow hips and long slender legs. We focus on them. The whole decor, bright prints - down on the skirt. We reduce the width of the shoulders, raglan sleeves will help us here, or the absence of sleeves at all in summer clothes, a dress with a shoulder strap on one shoulder, a Greek silhouette, a loose tunic, a dress with a tulip skirt can become a lifesaver and be loved in your wardrobe. You can afford to wear puffy wide skirts, peplum skirts or trousers, straight-cut dresses, but not too voluminous and wide, with vertical seams or trim.


photo from sites http://refinedstylefashion.com/ https://ru.pinterest.com/pin/454089574910263523/ http://stylowi.pl/

As an example, let's analyze the modeling of a simple dress pattern suitable for a given type of figurus. It features a fitted, sleeveless bodice and a tulip skirt that adds volume to the hips. The dress is cut off along the waist line, on the front panel of the skirt there are two opposite folds, on the back panel of the skirt a cut is made.


photo from the site http://snowqueen.ru/

Let's start modeling by applying the basic pattern of the adjacent silhouette of embossed lines to the details of the back and shelves (if you want a better fit or knitted fabric is chosen, you can use the base pattern of the adjacent silhouette). Thallium tucks on the front panel of the skirt will be pleated - cut the skirt part from the end of the tucks vertically down, push the parts apart so that in the upper part we get a gap of approximately 6-8 cm to form deep counter folds. At the bottom, the volume of the skirt will be kept in its original form.


MODELING OF A DRESS FOR THE "HOURGLASS" BODY TYPE

The type of figure "hourglass" is the most feminine, it is he who is rightfully considered the standard to follow and we try to bring our figure closer to it, at least with the help of clothes. Lucky women with this type of physique. The main advice is to focus on the waist, so you will further emphasize your femininity and sexuality. Necklines, bows, pencil skirts, stilettos - this is your win-win look.


photo from sites http://www.asos.com/ https://ru.pinterest.com/NatalieYoung29/


Let's model such a simple dress, in two versions.

photo taken from websites

The model is quite simple at first glance, but with the right choice of fabric and accessories, it is very effective. For modeling, we need a pattern for the base of the adjacent silhouette and a sleeve pattern. The dress is detachable along the waist line, the skirt is expanded to the bottom. Darts for fitting the chest are transferred to the neck: in the first version - darts from the neck are stitched with an allowance outward, a small sleeve with a fold, in the second version - darts on the chest are distributed into folds coming from the neck, there are no sleeves.

Modeling. Step 1 - on the details of the back, the tuck for the roundness of the shoulder can be neglected, because. the neckline of the back is deep enough and widened, but the amount of the opening must be taken from the length of the shoulder so as not to upset the balance. For the convenience of modeling, we will translate the tuck on the shelf into an armhole. Cut the details of the skirt pattern lengthwise from the darts down.

Next, step 2 of the simulation. Let's outline a new neckline according to the sketch. We will transfer the thallium tuck on the shelf to the neck, and we will also transfer the tuck from the armhole there. Read more about the translation of tucks. When designing a detachable adjacent silhouette, the pattern of the shelf detail must be lowered by 1 cm around the waist, this will give a better fit and prevent it from pulling up when finished. Skirt. We connect the parts of the pattern, obtained after cutting the details of the skirt, so that the darts open to the bottom. We will correct the side sections and the bottom of the product.


Sleeve modeling. A pattern for the base of the sleeve can be taken on our website. First, shorten the length to the required. With the help of vertical cuts going from the edge to the bottom of the part, and the subsequent separation of the parts of the pattern, design an oncoming fold.


In the second version of the dress, the tucks on the shelf are translated into folds coming from the neck. Modeling will be discussed below.


MODELING OF A DRESS FOR THE "OVAL" BODY TYPE (APPLE)

Oval shape (apple). In the era of Rubens, women with this type of figure were the ideal of perfection. The silhouette is visually close in shape to the letter "o". The strategy in choosing the right clothes will be to emphasize, accentuate the waist, this can be done by choosing a dress that expands slightly towards the bottom, as well as using belts, decorative inserts that make the waist visually narrower, the top of the dress should be slightly expanded, for example, use a V-shaped neckline, collars . Sheath dresses, wraps, low waist, A-line dresses will suit you.


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Let's take this dress as an example. It is interesting because it has a contrasting decorative line running along the dress. Visually, this very stretches the silhouette and slims. In addition, the dress is loose at the waist and slightly expands towards the bottom, which is undoubtedly a plus for this type of figure. Clear cut lines and a choice of fabric that holds its shape create the right image and collect the figure as a whole. To model this model, we will use the basic pattern-base of the adjacent silhouette, for a better fit.


photo from the site

Rectangle female figure. For modern models is the most typical. Therefore, when buying ready-made clothes, there are usually no problems, but sometimes you really want something special! That's where our modeling tips and patterns can come in handy!)) Women with this body type do not need to try to look like Marilyn Monroe or Sophia Loren, this is not your style. Dresses and clothes in the image of Twiggy, Kate Moss, Nicole Kidman and Coco Chanel herself, that's what we are striving for.


photo from sites http://ouiliviamoraes.com/ http://my.goodhouse.com.

Modeling takes place on the basic pattern-basis of a dress with a straight silhouette, without tucks. To begin with, we will get rid of the tuck on the back, on the shelf we will complete the depth of the fold, setting aside a distance of 12-15 cm from the middle of the part. Please note that one counter fold is laid at the top of the dress, while at the bottom there are two of them - one-sided, the depths are laid towards the side seams. The lines of the side seams are designed in such a way that an oval silhouette is formed. This model should be long above the knee, otherwise there may be excessive narrowing at the bottom.

Well, our lesson has come to an end, we have learned how to create simple dress patterns based on a basic pattern, such that beginners can handle modeling and tailoring, we talked about the types of figures. I think now you can please yourself with a new thing. Good luck and be creative!

: “Where on the back will the shared thread pass, along which line, along the vertical line of the grid or along the branch line?”.
The answer was so obvious that it did not "pull" for a long article. Of course, it is the vertical lines of the grid that need to be placed in accordance with the shared direction of the threads of matter so that there are no distortions in the overall fit of the dress.
Arguments:

  • Both the axes of the tucks and the relief seams in the classic case run parallel to the grid of the drawing.
  • The vertical of the basis of matter allows you to beautifully wrap around the figure without distortions and creases. This is in the general case, but there are also special Dysaneir tricks that we are not talking about today.

But - "word for word" - we started talking and found out that the question was not asked from scratch and the answer is not so unambiguous. I propose to deal with an interesting design technique

What is the retraction of the midline of the back? What is it for?

When we sew clothes with a solid back, for example, a blouse, shirt or jacket, then everything is simple: the middle line is strictly vertical and coincides with the warp thread.

But jackets, jackets, coats and dresses of fitted silhouettes require a more precise fit and a beautiful fit on the back. Here the middle seam comes to the rescue, and it is by no means cut vertically. The middle seam helps to model clothes in the area of ​​the shoulder blades, waist and hips. It follows the natural curve of the spine, which is different for everyone. Often, waist darts on the back are not enough for a perfect fit, but more deflection and lengthening of the back are required.

The abduction of the midline of the back (the bevel from the point of the 7th cervical vertebra to the waist line) is done at 1-2 cm for female figures and 1.5-2.5 cm for male figures. And even 3.5 cm for men's jackets.

The posture of people is different, including the deflection of the lower back and the protrusion of the buttocks, therefore, the removal of the midline must be “made” for a specific figure. See what it might look like:


Design techniques, as a rule, unify and average the constructed patterns, but in custom-tailoring there is a lifeline - fitting.

I looked through my design library and found a difference in the authors' approaches to the middle back seam. Not all of them offer to withdraw.

Here is an overview of the most popular methods:

EMKO SEV - there is a branch
Muller - yes
Lin Jacques
Zlachevskaya G.M. - no in the general case, but there are exceptions for non-standard figures with a large deflection along the back.


in many good techniques, there is no median suture retraction.

More options:
Kryuchkova G.A. - abduction is
Roslyakova T.A. -eat.

The question was asked to me just according to the method of Roslyakova. Look carefully at the construction scheme: Yes, there is a midline abduction. But along with the shift in the direction of the midline, the waist and bottom lines are also corrected: they make a right angle with the allotted back line. The axes of the tucks are drawn parallel to the allotted line of the back.

So the correct answer would be: the warp thread (share) when cutting out the back will coincide with the middle line, and not with the grid of the drawing.

The fact is that when applying one or another design technique, it is necessary to adhere to the philosophy and logic of a particular author. All construction nodes are interconnected and you need to be able to see the forest for the trees, that is, to understand the purpose of each constructive line in a particular technique. Roslyakova "shifts" the direction of the back, thereby shortening the line of the side. I personally did not make constructions using this method, so I will not undertake to analyze in depth.

To do or not to do back abduction?

And what about this middle seam and a bunch of smart techniques, if they weren't right?

Let's get closer to practice, to sewing jackets, coats and well-fitting dresses. Stop at the method that is clear and close to you. Remember that this is a myth.

I always make the middle seam on the back allotted (except for shirts, of course). I make a standard withdrawal along the waist line of 2 cm (like Muller), and then I look at the figure:

  • There may be protruding buttocks (I add a positive lead along the hip line), there may be fat deposits in the cervical vertebrae (I add a positive lead along the neck line).
  • There may be a strong deflection in the lower back (I make a larger bend along the waistline)
  • I leave a sufficient allowance along the midline of the back and, when trying on, I stab the middle back to get a beautiful posture. Obviously, this line will not be straight, as in the drawing. Be careful here: you can’t take all the excess volumes and simply “capture” into the middle seam. The balance of the width and the distribution of excess allowances for CO must be harmonious.
  • I outline the line for sewing zippers in dresses at the last fitting, when I am completely satisfied with the fit of the product.

Before you start sewing any product, you should first build a basic pattern.

The basic dress pattern we're going to look at today can be used to model all kinds of dresses, blouses, jackets, and even coats.

As an example, the calculation and construction of a basic dress pattern will be made on a figure with the following measurements:

Dimensional sign Designation Size (cm)
Semicircumference of the neck US 17,5
Half bust first SG 1 44,5
Half bust second SG 2 43
Half bust third SG 3 42,5
Waist circumference ST 34
Semicircumference of the hips Sat 47
hip height WB 18
back waist length DTS 39,5
Length of the product Diz 100
Back Width ShS 16,5
armhole height VP 19
Shoulder length DPL 12
back shoulder slope NPS 40
chest height VG 25
First chest width SHG 1 18
Second chest width SHG 2 16,5
Distance between the centers of the mammary glands RC 9
Dart solution level urv 7,5
Shoulder slope in front NPP 23,5
Front waist length car accident 43

The measurements taken from the figure are not yet the dimensions of the product details, especially since they are taken the same way for all types of clothing. Therefore, when constructing a drawing of the base, in addition to the measurements taken, allowances for free fit are taken into account, by which it is necessary to expand the details of the product in certain areas of measurements.

The increase is not a constant value, it does not depend on the size of the figure and changes in accordance with the direction of fashion, the purpose of clothing, the property of the fabric, etc.

The increase provides freedom of breath, movement or serves to create a silhouette of clothing.

The adjacent (fitted) silhouette emphasizes the waist line, the straight one - hides the shape of the figure, the semi-flying one - slightly emphasizes them, the free one - creates a flying shape, expanded from the shoulder line or armhole, with the formation of a coattail.

Table of allowances for loose fit (CO)

Silhouette SG 1 ShS SHG 1 ST Sat VP
Adjoined 0,5-1 0,6-0,8 0 1-1,5 0,5-1 1,5
semi-adjacent 1,5-2 0,8-1 0-0,3 2-3 1-1,5 2
Straight 2,5-3 1-1,5 0,5-0,8 4-5 2-3 2,5
Free 3,5 1,5-2 0,8-1,5 by model

Building the back of the dress

1. Construct a right angle with a vertex at point P, from which to lay down vertically:

Armhole depth level: RG = measure VPr + CO = 19 cm + 2 cm = 21 cm

Waist line position: RT = measurement DTS = 39.5 cm

Product length: PH = measure DIz = 100 cm

Hip position: TB = WB measurement = 18 cm

Through all the obtained points draw horizontal lines to the left.

2. Back neck width: RR 1 \u003d 1/3 measurements SS + 0.5 cm \u003d 1/3 17.5 cm + 0.5 cm \u003d 6.3 cm

For figures with fat deposits in the region of the seventh cervical vertebra or developed muscles in the region of the shoulder girdle: PP 1 = 1/3 of the SS measurement + 1-1.5 cm.

3. Neck depth: PP 2 \u003d 1/3 Neck width \u003d 1/3 6.3 cm \u003d 2 cm.

Or the depth of the neck is equal to the difference between the measurements DTS - DTS 1,

where DTS is a measure of the length of the waist of the back, measured from the point of the base of the neck to the waist along the back, and DTS 1 is from the 7th cervical vertebra.

At point P 2, draw the neck at a right angle.

4. Back width: GG 1 = measure SS + CO = 16.5 cm + 1 cm = 17.5 cm.

5. Whole armhole width: ShPr \u003d (SG 1 + CO) - (SHS + CO) - (SHG 1 + CO) \u003d (44.5 cm + 1.5 cm) - (16.5 cm + 1 cm) - (18 cm + 0, 3 cm) = 10.2 cm.

6. Side seam position: G 1 G 2 \u003d 1/2 ShPr \u003d 1/2 10.2 cm \u003d 5.1 cm.

In products adjacent and semi-adjacent silhouettes the side seam is located in the middle of the armhole.

Also, the side seam can be located 1/3 of the width of the armhole from G 1 to the left.

For complete figures the position of the side seam is at a distance of 1/2 of the entire width of the armhole minus 1 cm.

In products of raglan cut, shirt, kimono, the side seam is always located in the middle of the armhole.

From G 2 we lower the vertical down, we get T 1, B 1.

7. Building a shoulder cut

From R 1 with a radius equal to the measure of DPL + the size of the tuck solution, an arc is drawn. From T with a radius equal to the measure of the NPS, a notch is made on the first arc. At the intersection of these arcs, we get the point P.

R 1 P \u003d DPL measure + tuck solution \u003d 12 cm + 2 cm \u003d 14 cm.

TP \u003d measurement of NPS \u003d 40 cm.

The solution of the shoulder tuck is determined depending on the posture of the figure and the structure of the fabric.

From P up to draw a vertical to the intersection with the horizontal, we get P 1. Divide the segment PP 1 in half and connect the division point with a thin line with R 1. On a thin line from R 1, set aside 1/3 of the measurements of DPL, we get a point in.

R 1 in= 1/3 12 cm = 4 cm.

Note. For figures with protruding shoulder blades, the tuck is placed closer to the middle of the shoulder; for figures with a curvature of the back in the region of the spine, they are moved towards the neck of the back or placed in it.

From in mark the depth of the groove along a thin line: centuries 1 = 2 cm.

The direction of the darts depends on the model, but they are usually placed parallel to the middle of the back. The length of the tuck is 7-10 cm, depending on the depth: the deeper the tuck, the longer it is.

The sides of the undercut are equalized along the larger side: centuries 2 = in 1 in 2 = 8 cm.

Connect a straight point in 1 with P.

8. Back armhole

Draw a horizontal line from the point P to the right and at the intersection with the vertical from G 1, we get P 2.

Armhole reference point: G 1 O \u003d G 1 P 2 / 3 + 2 cm = 16.5 cm / 3 + 2 cm = 7.5 cm.

Set aside along the bisector of the angle G 1: G 1 O 1 \u003d 0.2 Armhole width + 0.5 cm \u003d 0.2 10.2 cm + 0.5 cm \u003d 2.5 cm.

Note. For a stooped figure, this segment is increased by 0.5 cm, for a kinky figure, it is reduced by 0.5 cm.

Draw the armhole of the back with a smooth line through the points P, O, O 1, G 2.

9. Building a waist line

Deflection at the waist along the side cut: T 1 T 2 \u003d 2 cm.

Increasing the waist line on the side: T 2 T 3 \u003d 1 cm.

For products cut off at the waist, the increase is 0 cm, and the waist line of the bodice runs horizontally TT 2.

10. Design the side seam of the back with a concavity of 0.3-0.5-0.7 cm through the points G 2 T 3.

11. Hip extension:(SB + CO) - (SG 1 + CO) \u003d (47 cm + 1.5 cm) - (44.5 cm + 1.5 cm) \u003d 2.5 cm

If the line of the side seam divides the armhole in half, then the total expansion along the hips, equal to 2.5 cm, is also divided in half. If the width of the back armhole was taken as 1/3 of the entire armhole, then the expansion along the hips of the back is also equal to 1/3 of the total expansion.

B 1 B 2 = 1/2 2.5 cm = 1.3 cm.

12. Bottom back width: HH 1 = BB 2 + 1 cm

Or, from point B 2, lower the vertical (for a narrowed product) and expand by the desired amount.

For a stooped figure, the width along the bottom line is equal to the width along the hips: HH 1 = BB 2

13. Draw a smooth line of the thigh with a bulge of 0.5-0.7-1 cm through the points T 3, B 2, H 1.

14. The depth of the solution of tucks at the waist and their number depends on the silhouette of the product and the characteristics of the physique. In products of straight and extended silhouettes, tucks at the waist are not provided.

The total solution of tucks: (SG 1 + CO) - (ST + CO) \u003d (44.5 cm + 1.5 cm) - (34 cm + 2 cm) \u003d 10 cm.

From the resulting difference, you need to subtract the amount of deflection along the side seam of the back equal to 2 cm (point 9) and along the side seam of the shelf 2 cm.

10 cm - 4 cm \u003d 6 cm - the sum of the tackle darts of the back and shelves.

For a proportional figure, the depth of the tail tuck along the shelf is greater than along the back, and then out of 6 cm, approximately 2/3 is taken to the shelf, and 1/3 to the back.

Note. For figures with protruding buttocks, the depth of the darts at the waist along the back should be increased.

For figures with protruding hips, the deflection at the waist should be increased along the side sections of the front and back.

For figures with a protruding belly, you can refuse to build a front tuck, and if it is necessary, then it should be made to the minimum size.

15.Back tuck position

We divide the distance GG 1 in half and from this point we draw a line of the center of the tuck parallel to the line of the middle of the back down to the hips.

Dart solution: T 4 T 5 \u003d 1/3 6 cm \u003d 2 cm.

The length of the tuck at the top is 3 cm below the level of the chest, at the bottom 3 cm above the hip line.

Building a dress shelf

It is better to build a drawing of a shelf of a dress opposite the drawing of the back.

16. Construct a right angle with a vertex at the point P 3, from which to lay down vertically: P 3 T 6 \u003d measure of the accident \u003d 43 cm.

17. Lowering the waistline: T 6 T 7 \u003d 1 cm (for products cut off at the waist).

For figures with a large protrusion of the abdomen, this segment increases by 1-1.5 cm.

If the product is not detachable at the waist, then the reduction is 0 cm.

18. Transfer from the drawing of the back:

  • chest line: T 6 G 3 = cut GT = 18.5 cm
  • hip line: T 6 B 3 \u003d segment TB \u003d measure WB \u003d 18 cm.
  • product length: T 6 H 2 (T 7 H 2) = TN = 60.5 cm

Through all the obtained points draw horizontal lines to the right.

19. The width of the neck of the shelf: R 3 R 4 \u003d 1/3 measurements of SS + 0.5 cm \u003d 1/3 17.5 cm + 0.5 cm \u003d 6.3 cm.

20. Neck depth: R 3 R 5 = Neck width + 1 cm = 6.3 cm + 1 cm = 7.3 cm.

21. Shelf width: D 3 D 4 \u003d measurement WH + CO \u003d 18 cm + 0.3 cm \u003d 18.3 cm.

22. Side seam position: G 4 G 5 \u003d 1/2 ShPr \u003d 1/2 10.2 cm \u003d 5.1 cm (item 5, 6).

From G 5 draw a vertical down, at the intersection we get T 8, B 4.

23. From G 3 to the right, horizontally set aside the distance to the center of the chest: G 3 G 6 \u003d measure RC \u003d 9 cm.

24. Construction of the chest tuck:

a) connect the straight line R 4 with G 6 and extend it down;

b) from R 4 in a straight line, set aside: R 4 C \u003d measure VG \u003d 25 cm (first side of the chest tuck);

c) from C up along the line, set aside the measure of the URV.

CU = 7.5 cm;

d) from Y to the right horizontally lay aside the solution of the chest tuck: YU 1 \u003d SG 1 - SG 2 \u003d 44.5 cm - 43 cm \u003d 1.5 cm.

e) from the point C through Y 1, draw up the second side of the tuck with a length equal to the length of the segment R 4 C.

25. Construction of the shoulder section of the shelf

From R 6 with a radius equal to the measure of the DPL, an arc is drawn. From C with a radius equal to the NPP measure, a notch is made on the first arc. At the intersection of these arcs we get the point П 3 .

R 6 P 3 \u003d measure DPL \u003d 12 cm.

CPU 3 = GMP measure = 23.5 cm.

Connect the straight line P 6 with P 3 - a shoulder section of the shelf is obtained.

26. Armhole shelves

Armhole reference point: G 4 O 2 \u003d 1/3 (G 1 P 2 - 0.5 cm) \u003d 1/3 (16.5 cm - 0.5 cm) \u003d 5.3 cm.

Set aside along the bisector of the angle G 4: G 4 O 3 \u003d 0.2 Armhole width \u003d 0.2 10.2 cm \u003d 2 cm.

Note. For a stooped figure, this segment is reduced by 0.5 cm, for a kinky figure, it is increased by 0.5 cm.

Connect the straight line P 3 with O 2, divide the segment in half and draw a perpendicular of 0.5-1 cm to the left.

Draw the armhole of the shelf through the points P 3, 0.5-1, O 2, O 3, G 5.

27. Building a waist line

Deflection at the waist along the side cut: T 8 T 9 \u003d 2 cm.

Increasing the waist line on the side: T 9 T 10 \u003d 1 cm.

If the product is detachable at the waist, then the increase is 0 cm, and the waist line of the bodice passes through T 7 T 9.

28. Draw up the side seam of the shelf with a concavity of 0.3-0.5-0.7 cm through the points G 5 T 10.

29. Hip extension: B 4 B 5 = B 1 B 2 = 1.3 cm

30. Bottom shelf width: H 2 H 3 \u003d B 3 B 5 + 1 cm

Or from point B 5 lower the vertical down and expand by the desired amount. The amount of expansion should be the same as on the back.

31. The position of the tuck on the shelf

The axis of the front tuck passes through the center of the chest.

Dart solution: T 11 T 12 \u003d 2/3 6 cm \u003d 4 cm (point 14).

The length of the tuck at the top is 3 cm below the C point, at the bottom 4-5 cm above the hips.

The tuck solution on the shelf should not exceed 3.5 cm (for dry fabric) or 4 cm (for soft fabric). If it turned out more, then a second additional tuck is introduced.

An additional tuck is placed in the middle of the segment G 6 G 5 and in its solution and length it is smaller than the main one, and then:

  • solution of the main tuck: T 11 T 12 \u003d 2/3 4 cm \u003d 2.5 cm
  • additional tuck solution: T 13 T 14 \u003d 1/3 4 \u003d 1.5 cm

The length of the additional tuck is 1-2 cm shorter than the main one.