00:49 Unknown 11 Comments
Hello, dear readers!
In this article we will look at additional bust darts that affect the fit of the dress bodice.
In the article about, we learned that support areas are areas of contact between clothing and the human body; for shoulder clothing, the supporting areas are the neckline, armhole and protruding points of the chest and shoulder blades. All basic designs of shoulder clothing are built from the calculation of these supporting areas, even if when constructing the pattern, allowances for a loose fit were used for the adjacent silhouette, we will still get a design that is in contact with the human body at the neckline, armhole and protruding points of the shoulder blades and chest. That is, we will not get a tight fit of the tissue on other parts of the body.
A natural question arises: why can’t we achieve complete adherence of the fabric in the areas we need? The answer is very simple: for a tight fit of the fabric to the body, it is necessary to take into account additional parameters of the figure - all concavities and convexities.
We looked at some additional parameters and learned how to measure them; now we will use these measurements when constructing additional darts:
Name of measurements | cm |
|---|---|
Breast radius (R) | |
Dart No. 1 | |
Dart No. 2 | |
Dart No. 3 | |
Dart No. 4 | |
Dart No. 5 | |
Dart No. 6 |
Dart No. 1
There is a slight concavity in the area from the jugular cavity to the protruding point of the chest. This concavity occurs in women of any body type and with any breast size. The magnitude of this concavity is taken into account when sewing folded clothes or products with a deep neckline, when the upper cut of the bodice is built on the bias. If, when constructing a bodice pattern, you do not take into account the amount of concavity, then the product will have a defect, the so-called “lagging” neckline. (This defect is very clearly visible in the photo).
A tuck will help eliminate the defect, the solution of which is equal to the size of the concavity in the area from the jugular cavity to the VTG. The tops of the dart are directed towards the neckline and the protruding point of the chest.
: on the front of the bodice (from the basic design of the dress, built) draw a circle with a radius equal to the radius of the chest, the center of which is the protruding point of the chest (point C).
Now let’s connect the protruding point of the chest and the top of the neck angle (point P 3) with a straight line.
the resulting segment CR 3 will intersect our circle at a point. From this point to the right and left along the circle, we will set aside half the concavity value we measured (in my example, the concavity value is 1.3 cm, which means that from the point of intersection of the segment with the circle I need to set aside 0.6 cm in both directions along the circumference). We connect the resulting points with points P 3 and C, and our dart is ready.
Dart No. 2
If a person has a stooped figure, then his shoulders are slightly turned forward, which creates tension in the fabric, which is especially noticeable in the design of a dress with a close-fitting silhouette.
To remove this defect in the product, it is necessary to lay a dart, the vertices of which are directed to the end shoulder point and the protruding point of the chest, having previously measured the concavity of the body at the level of the chest radius.
In the drawing, the dart is constructed in this way: a circle is again drawn with a radius equal to the radius of the chest and with a center at the VTG point. Connect the straight protruding point of the chest and the end shoulder point.
This straight line will intersect the circle at the point from which we will plot to the right and left on the circle by half the value of the measured concavity. We connect the resulting points with point C and the end shoulder point. Our tuck is ready.
Dart No. 3
The basic design of the dress, built using any calculation and graphic method, includes an allowance for sewing in sleeves. If the model of our product does not have sleeves and if we model the armhole: deepen and widen it, then due to this increase we will not get a complete fit of the product along the armhole, the product will again “lag behind” the body,
this will cause small creases to appear in the armhole area.
This problem is also solved by introducing an additional dart, the solution of which is equal to the measured value of the concavity of the body at the level of the chest radius.
In the drawing, the dart is built in this way: on the front of the bodice, draw a circle with a radius equal to the radius of the chest, and then connect the protruding point of the chest with the control point of the armhole (in the TsOTLSH method, this point is O 5).
This line will intersect the circle at the point from which half the concavity is plotted to the right and left along the circle. Through the obtained points, straight lines are drawn from the protruding point of the chest and extended until they intersect with the armhole line. And the tuck is ready.
Dart No. 4
To achieve a fit for the bodice of the dress under the base of the bust, it is necessary to take into account the concavity in this area. And as in previous cases, this concavity is decorated with a tuck.
Dart No. 5
If the product has a very deep neckline,
or the product contains breast cups,
or the spare part of the bodice passes through the hollow of the chest,
then it is necessary to take into account the concavity between the chest with the help of an additional chest dart, otherwise we will again get the defect of a “lagging” neckline.
In the drawing, this dart is constructed as follows: on the front of the bodice, from the point of intersection of the chest line and the midline, up and down along the midline, half the measured concavity value is laid down. The resulting points are connected to the protruding point of the chest and the dart is ready.
Dart No. 6
This dart is taken into account in corset-type products, in products with cups or with a rectangular neckline. Without taking this dart into account, it is not possible to achieve a complete fit of the product.
The dart itself is laid during the fitting of the product. On the drawing, the tuck solution is drawn on the bust circumference, and the midline of the dart is the midline of the bust dart in the shoulder seam.
So we've looked at six additional bust darts.
The opening of each of these darts is not that large, however, each dart has a significant impact on the shaping of the product. Depending on the clothing model, one or two or all six additional darts are introduced when modeling the basic design. Often, all six darts are used in bustier-type products and in corset-type clothing.
The tops of all six additional darts are directed towards the center of the bust, which means that any of the darts can be moved to any section of the bodice front, while the top must remain directed towards the center of the bust. Often, darts are transferred to reliefs, undercuts or waist darts.
If, when transferring additional darts to the waist, a dart that is too large is formed, then it is divided into several equal ones, and the tops of each dart are shifted from the center of the chest along the chest line at the same distance.
In conclusion, I will add that when modeling the bodice of a dress, changing the design lines, changing the degree of fit and moving the darts, it is necessary to sew a test model from inexpensive fabric in order to clearly see how additional darts affect the degree of fit of the product.
00:49 Unknown 11 Comments
Hello, dear readers!
In this article we will look at additional bust darts that affect the fit of the dress bodice.
In an article about clothing modeling you and I learned that support areas are areas of contact between clothing and the human body; for shoulder clothing, the supporting areas are the neckline, armhole and protruding points of the chest and shoulder blades. All basic designs of shoulder clothing are built from the calculation of these supporting areas, even if when constructing the pattern, allowances for a loose fit were used for the adjacent silhouette, we will still get a design that is in contact with the human body at the neckline, armhole and protruding points of the shoulder blades and chest. That is, we will not get a tight fit of the tissue on other parts of the body.
A natural question arises: why can’t we achieve complete adherence of the fabric in the areas we need? The answer is very simple: for a tight fit of the fabric to the body, it is necessary to take into account additional parameters of the figure - all concavities and convexities.
IN last article We looked at some additional parameters and learned how to measure them; now we will use these measurements when constructing additional darts:
Name of measurements | cm |
|---|---|
Breast radius (R) | |
Dart No. 1 | |
Dart No. 2 | |
Dart No. 3 | |
Dart No. 4 | |
Dart No. 5 | |
Dart No. 6 |
Dart No. 1
There is a slight concavity in the area from the jugular cavity to the protruding point of the chest. This concavity occurs in women of any body type and with any breast size. The magnitude of this concavity is taken into account when sewing folded clothes or products with a deep neckline, when the upper cut of the bodice is built on the bias. If, when constructing a bodice pattern, you do not take into account the amount of concavity, then the product will have a defect, the so-called “lagging” neckline. (This defect is very clearly visible in the photo).
A tuck will help eliminate the defect, the solution of which is equal to the size of the concavity in the area from the jugular cavity to the VTG. The tops of the dart are directed towards the neckline and the protruding point of the chest.
: on the shelf of the bodice (from the basic design of the dress, built according to the TsOTLSH method) draw a circle with a radius equal to the radius of the chest, the center of which is the protruding point of the chest (point C).
Now let’s connect the protruding point of the chest and the top of the neck angle (point P 3) with a straight line.
the resulting segment CR 3 will intersect our circle at a point. From this point to the right and left along the circle, we will set aside half the concavity value we measured (in my example, the concavity value is 1.3 cm, which means that from the point of intersection of the segment with the circle I need to set aside 0.6 cm in both directions along the circumference). We connect the resulting points with points P 3 and C, and our dart is ready.
Dart No. 2
If a person has a stooped figure, then his shoulders are slightly turned forward, which creates tension in the fabric, which is especially noticeable in the design of a dress with a close-fitting silhouette.
To remove this defect in the product, it is necessary to lay a dart, the vertices of which are directed to the end shoulder point and the protruding point of the chest, having previously measured the concavity of the body at the level of the chest radius.
In the drawing, the dart is constructed in this way: a circle is again drawn with a radius equal to the radius of the chest and with a center at the VTG point. Connect the straight protruding point of the chest and the end shoulder point.
This straight line will intersect the circle at the point from which we will plot to the right and left on the circle by half the value of the measured concavity. We connect the resulting points with point C and the end shoulder point. Our tuck is ready.
Dart No. 3
The basic design of the dress, built using any calculation and graphic method, includes an allowance for sewing in sleeves. If the model of our product does not have sleeves and if we model the armhole: deepen and widen it, then due to this increase we will not get a complete fit of the product along the armhole, the product will again “lag behind” the body,
this will cause small creases to appear in the armhole area.
This problem is also solved by introducing an additional dart, the solution of which is equal to the measured value of the concavity of the body at the level of the chest radius.
In the drawing, the dart is built in this way: on the front of the bodice, draw a circle with a radius equal to the radius of the chest, and then connect the protruding point of the chest with the control point of the armhole (in the TsOTLSH method, this point is O 5).
This line will intersect the circle at the point from which half the concavity is plotted to the right and left along the circle. Through the obtained points, straight lines are drawn from the protruding point of the chest and extended until they intersect with the armhole line. And the tuck is ready.
Dart No. 4
To achieve a fit for the bodice of the dress under the base of the bust, it is necessary to take into account the concavity in this area. And as in previous cases, this concavity is decorated with a tuck.
Dart No. 5
If the product has a very deep neckline,
or the product contains breast cups,
or the spare part of the bodice passes through the hollow of the chest,
then it is necessary to take into account the concavity between the chest with the help of an additional chest dart, otherwise we will again get the defect of a “lagging” neckline.
In the drawing, this dart is constructed as follows: on the front of the bodice, from the point of intersection of the chest line and the midline, up and down along the midline, half the measured concavity value is laid down. The resulting points are connected to the protruding point of the chest and the dart is ready.
Dart No. 6
This dart is taken into account in corset-type products, in products with cups or with a rectangular neckline. Without taking this dart into account, it is not possible to achieve a complete fit of the product.
The dart itself is laid during the fitting of the product. On the drawing, the tuck solution is drawn on the bust circumference, and the midline of the dart is the midline of the bust dart in the shoulder seam.
So we've looked at six additional bust darts.
The opening of each of these darts is not that large, however, each dart has a significant impact on the shaping of the product. Depending on the clothing model, one or two or all six additional darts are introduced when modeling the basic design. Often, all six darts are used in bustier-type products and in corset-type clothing.
The tops of all six additional darts are directed towards the center of the bust, which means that any of the darts can be moved to any section of the bodice front, while the top must remain directed towards the center of the bust. Often, darts are transferred to reliefs, undercuts or waist darts.
If, when transferring additional darts to the waist, a dart that is too large is formed, then it is divided into several equal ones, and the tops of each dart are shifted from the center of the chest along the chest line at the same distance.
In conclusion, I will add that when modeling the bodice of a dress, changing the design lines, changing the degree of fit and moving the darts, it is necessary to sew a test model from inexpensive fabric in order to clearly see how additional darts affect the degree of fit of the product.
Charming dress from the 2016 summer collection by American designer Ralph Lauren.
Dress with vertical lines extending from the armhole. The peculiarity of the location of the reliefs is that they extend far (3-4 cm) from the center of the chest. At the level of the waist line, the reliefs also run closer to the side seam and are located approximately 2-3 cm from the usual position of the waist darts. American armhole. Open, as a result of reducing the length of the shoulder.
This dress is suitable for women with small breasts.
Right-click on the image and select “Open image in new tab.” The picture will open in high resolution and you will be able to clearly see the details of the dress.
Modeling
We take a ready-made dress with a fitted silhouette.
We begin modeling by designing the armhole. In the photo we see that the length of the shoulder seam is approximately 3-4 cm. This is exactly the distance to the beginning of the shoulder dart A4A8.
We need to reduce the length of the armhole by this distance and then close the shoulder dart and transfer it to the armhole. To do this, take a figured pattern and draw a new armhole line with a smooth curve through point P7 and nullify this line to point P6. And cut off the armhole along the new line.
And the same on the back. We connect point I to point G2 with a smooth curve. The back for this dress can initially be built without a dart along the shoulder seam.
Just below point P6, about 1-1.5 cm, mark a new point on the armhole. This will be the starting point of the relief on the front half of the dress. Connect this point to the center of the dart with a straight line. And cut the shelf pattern along this line.
Then we close the opening of the chest dart from the shoulder seam and get a new dart coming from the armhole line.
Now we need to draw the first relief line on the shelf and back. On the shelf, the first (right) relief line begins at the end of the right side of the dart. At the waist line, the relief extends to the left 2-3 cm from the edge of the dart and then goes down horizontally.
On the back, a relief line begins at the armhole, at a distance of 15-2 cm from point P3 down. At the level of the waist line, the relief, just like on the shelf, runs at a distance of 2-3 cm from the edge of the dart.
The second cut of the relief line on the front starts from the end of the left side of the chest dart. At the waist line, this line is located at the distance of the waist dart opening of the front. But you can make this solution smaller than the original one, and then fit the dress a little along the middle seam.
And we also draw a second relief line on the back, retreating from the first along the waist line by the amount of the back waist dart opening. Or a slightly smaller value. And you can also make a fitted fit along the middle back seam.
And now we cut out the pattern along the outlined relief lines.
We cross out or seal all the initial darts. We don't need them. We only have relief lines left. 
And now we can make the bottom flare. The flare can be done from the hip line or from the waist line. In my diagram the flare is small, because... There wasn't enough drawing space)).
At the beginning of the article, I wrote that this dress is suitable for girls with small breasts, because... the relief line runs far from the center of the chest. But it doesn’t matter if your breasts are large and you really like the dress. Just make the relief closer to the center.
If you are sewing this dress with a lining, then cut out the lining in the same way, i.e. with reliefs.
© Olga Marizina
Do you ever have situations when you want to create something that is not related to generally accepted standards? For example, have you dreamed of sewing clothes not according to ready-made patterns from a popular women's magazine, but according to your own pattern? If you have ever had such thoughts, it means that you are an extraordinary, creative person and it’s time for you to start modeling. What it is and how, for example, dress modeling happens, we will tell you in this article.
general information
Modeling is a process that allows you to modify the finished pattern at your own request. This also includes creating a pattern based on a photo or visual image, taking into account the replacement of some parts.
For example, you really liked the dress that your favorite movie star wore during the next awards ceremony. However, you know that the parameters of your figure are far from ideal, therefore, you need to model the dress. This means that the clothing model you like can be modified to your liking or modeled taking into account your own physiological characteristics.
Basic concepts in modeling
When using modeling techniques, you can often come across the term “basic pattern”. What it is? This concept implies a universal pattern-pattern, on the basis of which you can create a new one that meets your requirements and figure. There are also such common and already familiar concepts to many as “joint”, “darts”, “seams”, “side cut”, “hip line”, etc.
Along with these concepts, new ones arise. For example, “tighten”, which involves removing excess edges and creating a kind of convex shape through wet-heat treatment. The word “stitch” means joining two pieces of suitable size using a machine stitch. All these concepts are worth knowing for those who are planning to sew or sew for children.
What are the main stages of modeling?
The entire modeling process can be divided into stages such as assessment and development of a future project, transfer of basic elements to fabric and joining of parts. This means that during the evaluation process, you must mentally divide the chosen model into separate parts, think about how to construct them together, taking into account the characteristics of your body. Then, you need to take measurements and correctly transfer them onto paper and fabric.
What methods of clothing modeling exist?
Currently, there are several methods for modeling clothing:
- fake;
- tattooing methods;
- settlement;
- proportional-calculated;
- andropocentric and client-oriented.
Dummy method for modeling clothes
When designing and modeling clothes, one cannot help but remember such a wonderful method as the fake one. This is an excellent option for processing the selected shape of a product to display it in real size. At the same time, to create a form, you can use a variety of standard patterns and patterns, as well as an option with the construction of a design structure.
In addition, the dummy method is relevant for routine fittings during tailoring.
The “tattoo” method for modeling
The most ancient method, which was used by our grandmothers and great-great-grandmothers many centuries ago, is considered to be “tattooing”. It involves modeling and sewing clothes directly on a mannequin or person. This is done using pins and bobby pins.
What is a computational modeling method?
The calculation method is conventionally divided into four subtypes: proportional-calculation, calculation-analytical, client-based and calculation-graphical. When using these methods, as practice shows, the values of a conventionally typical figure corresponding to certain dimensions are used. In the future, based on this type, you can create patterns of other sizes.
The calculation and analytical method is based on the principles of constructing a drawing using geometric calculations.
What is the proportional calculation method?
Modeling a dress is impossible without correct calculations. Therefore, when sewing clothes, a proportional calculation method is often used, which has several “ramifications” of its own. In particular, it includes the version with the German cut of “Müller and Son”. It involves tailoring clothes according to a pattern designed for a standard European figure. Let us remind you that the European body type is a long back, medium-sized breasts, small hips and buttocks.
The second option, related to the proportional-calculation method, is called the Lin Jacques technique. It involves the construction of a basic framework corresponding to a conventionally standard figure. In this case, all information about a particular measurement can be found in a special table, which contains approximate designations. Thus, the tuck size for women with a chest volume of 80 cm corresponds to 6.5 cm.
When modeling a women's dress, we should not forget about the third version of the proportional-calculation method, called the method of the Russian Republican Fashion House. The main advantage of this option is its simplicity. This means that complex calculations and formulas are not used when creating a pattern.
What are client-oriented and andropocentric techniques?
You can also find customer-oriented and andropocentric tailoring techniques. As can be seen from these names, they are based on an individual approach when creating a particular image. This group also includes such methods as “Lubax”, “Cutting Genetics of Galia Zlachevskaya” and “Unimex”.
When creating dress patterns using the Lyubax method, horizontal and vertical lines are taken into account, and a certain standard is established for different types of figures. In addition, when creating a pattern, it is customary to take a certain pattern as a basis, the values of which are adjusted in accordance with the parameters of your body.
The “Cut Genetics of Galia Zlachevskaya” method is based on the principles of the so-called golden section. With its help, you can quite accurately create a pattern for a skirt or dress. “Unimex” assumes the simplest cutting and sewing technique, aimed at speedy work and focused on the individual characteristics of each client.
What rules should be taken into account when modeling?
If you want to easily create any dress patterns, you must follow three simple modeling rules. First, try to take measurements as accurately as possible. Secondly, to create a basic pattern and modify it at your own request, use the most accurate calculations. And finally, thirdly, do not forget to allow for a loose fit when creating the base pattern in accordance with your chosen dress silhouette.
How to transfer an image from a photo or image?
Let's assume you have already decided what kind of clothing design and modeling you will do. You chose a photo, visually assessed it and mentally guessed what kind of base pattern you need. What's next? Next, you need to transfer the image of your model onto tracing paper. What is needed for this?
To do this, draw a main line corresponding to the so-called midline of the shelf. In this case, take the following indicators as a guide:
- jugular fossa;
- the size of the middle between the two protruding areas of the chest;
- the middle of the distance between the general details and the vertical decorative and structural lines of the selected image.
Then, when modeling the product, draw a transverse line on tracing paper that corresponds to the design marks of the drawn image. Let us remind you that these include the lines of the chest, hips, shoulders, knees and waist.
And it is with the help of these lines that when further designing the model, you can create a basic mesh, determine the depth of the neckline for the shelf, the height of the knee, chest and hips. Using the grid, you can then compare your actual dimensions and the dimensions of the image transferred to the tracing paper.
And of course, do not forget to write down all the data in a separate notebook or notepad.
Selecting and Creating a Basic Framework
Modeling a dress involves creating a basic pattern. We remind you that such a pattern is created according to taken measurements. Accordingly, the more accurate the measurements are, the better the dress will fit and fit your figure. Therefore, when taking measurements, do the following:
- straighten up, stand straight;
- take measurements taking into account the tummy (do not pull it in, as you will not be able to relax it in the finished product);
- do not underestimate or increase the size of your chest and hips (otherwise you simply will not be able to wear such an outfit);
- when creating dresses for plus-size people, take into account the increase in fit (it is better to take this data from the standard increase table);
- Recheck your calculations and measurements several times.
In a word, be careful and don’t be lazy to review all your notes. This will save you from possible problems in the future.
How does the modeling process work?
In order to understand exactly how the modeling process occurs, we will give a specific example. We will take the pattern of a simple dress with long sleeves as a basis. We replace the darts with reliefs, and make the sleeves shorter and add cuffs. The new style of dress with cuffs is ready.
In the second case, we shorten the sleeves again and lower them to the limits of the shoulders and add a yoke above the chest. The result was a new dress model with a yoke and short sleeves. In the third case, you can again work with the sleeves and expose the shoulders by adding straps. Here we will add a seam at the waist.
In the fourth option, you can change the neckline to a V-shaped one, and add additional horizontal divisions at the bottom of the dress. The new model is ready.
How to create a pattern for obese people?
At the next stage, as a rule, a pattern is built. Let's say you are interested in a dress model for plus size, classic size 54. In this case, the increase will be only 3 cm, of which 0.5 cm is an increase to the back (its width), 1.5 cm to the width of the front part of the product, and 1 cm to the armhole itself. Next, we take measurements and begin to build a pattern.
Take a pencil and tracing paper. From its top, make a small indent (about 10-15 cm) to the left and mark point “A”. From it, move the vertical to the right and place a point “H” equal to the conditional length of your product. Next, draw the depth of the armhole. This is done like this: draw a line from point “A” down (taking into account an allowance of 0.5 cm for a loose fit) and place point “D”. In this case, this distance will be equal to 21 + 0.5 = 21.5 cm (where 21 is the actual measurement of the armhole depth in centimeters).
Next, modeling the dress involves determining the length of the back of the product (to the very line of your waist). In this case, a distance equal to the previously taken measurement is set aside from the starting point. For us it was 39 cm. Let’s put a point “T”. From point “T” we set the height of the hips down (also according to the measurement you made) and place point “L”. Then, from the created point, draw a horizontal line to the side. After this, all that remains is to determine the width of the back (taking into account the 0.5 cm increase), the size of the armhole, the side line of the product, the shoulder, the neckline, mark the auxiliary points of the armhole and correctly mark the dart locations in the resulting drawing. The modeling of skirts, trousers, shorts and other wardrobe items is done in the same way.
Where can you learn the basics of modeling and design?
The basics of modeling can be learned by completing training in highly specialized higher educational institutions of cutting, sewing and design. For example, you can contact the Textile Moscow University named after A. N. Kosygin. The faculty of clothing design, modeling, design, and applied arts works here, and practical classes are held using real fabrics from the fund of the state university museum. The approximate duration of study at this university will be about 5-6 years.
Alternatively, you can enroll in training at the Moscow University of Design and Technology. Here you can gain knowledge regarding the basics of sewing technology, management and economics, and master the basics of industrial ecology and chemical technology. The full duration of study at this state university is 6 years.
An interesting option is the British Higher School of Design, founded in 2003. It is located in Moscow and allows its students to receive knowledge and a British diploma without leaving the Russian Federation. There are such faculties as “Illustration and Graphic Design”, “Fashion Design”, etc. The duration of study at this university is 3-5.5 years and depends on the faculty you choose and the level of workload.
Is it worth taking a fashion design course?
And finally, it will be much faster and easier to learn how to come up with new clothing models if you enroll in modeling courses. The benefits are obvious. The duration of such training ranges from 1 to 12 months. Upon completion of the courses, you can receive a certificate, and sometimes find a job immediately.
For example, you can enroll in similar courses at the School of Art and Design, the duration of which is only 10 months. Interestingly, after completing your training, you will have a real fashion show of the clothes you created.
In addition to stationary cutting and sewing courses, you can sign up for virtual ones and take training online. For example, this can be done at Osinka. This is where distance learning in the basics of the “Tattooing” technique is carried out. The training course consists of 14-16 lessons containing videos and photo files.
You can also learn modeling at the Moscow School of Fashion Design, located on Varshavskoye Shosse. Here you will learn how to sew children's clothes, evening dresses, model and design products, and you will be able to take a short course in cutting and sewing.
In a word, if you wish, you can learn how to create any clothes, even non-standard sizes. And then modeling a skirt, blouse, trousers and any other item of clothing will become available to you.
