Construction of the drawing sundress detachable at the waist. dress modeling. We translate the tuck into the folds of the neck

Looking at glossy magazines, sometimes there is a feeling of regret that a dress you like very much from a fashion show or from the red carpet, if you can try it on in a boutique, then you can only wear it to a party in your dreams. Unfortunately, this dress will remain an impossible dream unless you arm yourself with a base pattern and model the exact same model.

Stages and rules of modeling

The design process begins with a technical drawing and modification of the top or bottom of the main pattern:

the selected model is divided into correctly constructed parts according to the most accurately taken measurements;
physique features are taken into account;
allowances are made for seams or for a loose fit, depending on the chosen style and material.

Modeling ends with cutting and sewing.

Modeling the bodice by transferring darts

The first step towards modifying the dress is the transfer of the upper chest tuck. There are many ways to transfer, for example, to the cut of the armhole, to the waist or neck, to the middle of the front or to the drapery.

To do this, you need to outline her new position so that she is directed to the highest point of the chest. Further along the lines, the pattern is cut and the old recess is closed, opening a new one.

The following are common options for transferring a chest tuck.

To transfer the tuck in the shoulder seam into two soft folds, draw two lines on the pattern (indicated by a dotted line in the example) at a distance of 2 cm. Connect the top of the tuck with the drawn lines. Close the tuck by cutting the pattern along the lines.

Here is an example of a dress with a cutout on the shoulders, where the undercut is transferred to the neck. Then the sleeve is drawn and the skirt is lengthened.

Creating draperies

A little more difficult with the transfer of the tuck to the drapery. It is done like this:

On wallpaper or a sheet of paper with a pencil, circle the outline of the expanded pattern of the front bodice.
From the tops of the two lower and upper right tucks, draw lines to the left shoulder. Close the darts, leaving only the left chest open.
Having parted the darts, circle the new contour of the bodice, smoothly connecting the upper points of the left shoulder.

You can translate both tucks at once:

On the expanded front bodice, apply shaped bold lines and drapery direction lines.
On the left half of the top of the tucks, move to the top end of the hemline (ie. F) and circle their new position.
On the right half, lift the top of the second waist tuck to the top of the chest.
First, cut the pattern along the contour, then cut it along the drawn lines.

The shaded places on the pattern are fabric allowances when cutting, which are needed to create draperies.

Collar "swing"

Beautiful drapery at the neckline can be created in many ways, but they start with closing the tuck.

Measure the length of the shoulder seam, then draw the shaped lines. Cut them, leaving 1 cm uncut along the shoulder line.
Expand the resulting details, draw a horizontal line from the highest point of the shoulder line.
Make a one-piece lapel.

A few more examples of swing collar modeling.

Modeling a puffy dress

A short dress with a voluminous skirt and an asymmetrical neckline on the bodice will allow you to be a queen at any celebration.

On the front of the bodice, transfer the left breast tuck to the side seam, and the right one to the waist line.
Move the left tuck at the waist 2 cm to the center.
Reduce the length of the shoulder to 7 cm, and make the neckline higher.
Make the armholes 2 cm deeper.
Draw a petal-shaped cutout and cut the pattern along the modeled lines.
On the back, as well as on the front, shorten the shoulder and deepen the armhole.
Draw a triangular cutout, setting aside 23 cm along the middle line.

For the skirt, draw a rectangle of the desired length, which will be equal in width to two hips. If the width of the fabric is not enough, cut the skirt out of two pieces.

The petticoat consists of two parts:

1st - top, 25 cm long and one and a half waist circumference wide;
2nd - bottom, with a width equal to two girths of the hips.

The entire length of the petticoat is made 2 cm shorter than the skirt.

Construction of free dress patterns

A free-cut dress is an option that is created in haste, because a beginner in sewing can do it. It does not require a zipper, just an unstitched area is left on the back for sewing on a button.

Mark the back with a dotted line and move it apart by 12-14 cm. It is from the angle of inclination that the splendor of the folds will depend.
Round the bottom line, and make the armhole and neckline deeper.
On the front of the dress, transfer the chest tuck to the waist. The front should be a little more flared, so 4 cm are added to the bottom line of the back and front.
The side lines of the two parts are straight segments.

If you want a dress that is short in front and long in back, on the back pattern created above, measure the desired length in the middle of the fold and draw rounded lines to the side seams.

Modeling a short dress - the sun is similar to a real flower, because it allows you to create volume with many tails.

Having drawn a rectangle, build a pattern for the front and back with a shoulder length of about 5 cm. Details with a fold are cut out.

Dior dress

An unusual fitted dress from the catwalk, decorated with a cord and with two pockets, will appeal to many.

When modeling this dress, you need to take into account some of the nuances:

The relief from the neck smoothly goes to the back through the side seam.
A zipper is inserted in the side sections.
The sleeve is made double-seam, one of them will hide the cord.
Lapels of sleeves stitched. If the fabric is very dense, the lapel of the sleeve on the inside can be made of lining fabric.
Overhead pockets.
If the fabric frays, immediately process the sections, for example, with an overlock.
The cord is sewn by hand, with hidden stitches, on both sides.

Clothing modeling is the process of creating new wardrobe details that differ in style, finish and other parameters. This is creativity, backed up by special knowledge that allows you to implement the most daring ideas of both professional and novice fashion designers. Modeling clothes is possible even for those who do not have many years of experience, but strive to create not just things, but something new, interesting and unusual.

Modeling is actually not as difficult as it might seem at first glance. A model of any complexity can be obtained by competently changing the design lines of the base pattern or base pattern. It is only important to have a good basic pattern and understand the purpose and principle of "action" of each constructive line.

The creation of new models is not cumbersome, incomprehensible formulas for beginners, but pure creativity, which is based on a set of basic techniques. Understanding the basics of modeling opens up fundamentally new possibilities in tailoring, allows you to turn the boring drawing of lines into an exciting process of designing original models.

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Basics of modeling

If you immediately accept the fact that any thing can be sewn on the basis of a basic pattern, the widest horizons will open. Many beginners believe that separate patterns are needed for dresses of different styles. Of course, such a task will seem difficult and time-consuming. Each time it is difficult to make a new pattern even for an experienced seamstress. Therefore, it is so important to understand that absolutely all models, for example, dresses, are modeled on the basis of a base pattern.

Built in accordance with individual parameters, it becomes a kind of imprint of the body. This means that every thing sewn according to such a pattern will have a perfect fit. A simple example clearly demonstrates how different models of dresses are created from one basic pattern.

Different lengths of the sleeve or its complete absence, a modified neckline, additional elements, various finishes and materials - and no one can reproach you for being monotonous. If you wish, you can experiment with the length of the product, choose a different silhouette, add asymmetry and much more. All this allows you to get new dresses that exactly match the features of the figure.

Pattern-base

It is important for a novice fashion designer to know what lines the basic pattern consists of and on what principle they “work”. Understanding these basics allows you to give complete freedom of imagination and create an original, wearable wardrobe. So you can delve into the essence of the construction of even an intricately tailored thing. To get a closer look at the elements of the base pattern, for greater clarity, it is better to use the drawing of the dress.

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The figure shows the shelves or halves of the details of the front and back. Each structural element of the shelves has its own purpose.

Armhole

The basic pattern should contain the maximum armhole size. That is, you need to create the size and bend of the armhole, based on the parameters of the body. Ideally, the armhole should not cut into the armpit, warp, pull. Then you can change its configuration and size as you like, but it should not be less than the base value.

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Beginner Modeling Tips for Armholes

The armhole line is lowered exactly to the chest line (LG).
The height is ¼ POG + 7 cm.
The extreme point is located in the middle of the entire armhole (on the LG).
The lower third of the armhole goes in an arc to the midpoint.

Building an armhole in front

The height is ¼ POG + 5 cm.
It has an upper (deviates to the side by 0.1 POG measurements) and a lower bend (at the level of the lower third).

Darts

In the picture below, 2 waist and 2 shoulder darts are marked in red. They help to accurately "plant" the product and form an attractive silhouette.

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When sewing a dress from stretch fabrics, the use of darts is optional. Stretch material conforms well to curves and compresses at the waist and shoulders.

In many models, you cannot find such a shoulder tuck on the front shelf. For greater convenience and attractiveness, it is often transferred in one of the ways shown below.

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At the stage of creating a basic pattern, the chest tuck is indicated on the shoulder for a more convenient drawing. Then it can be easily transferred (to the waist line, to the side cut), based on the characteristics of the chosen style.

The point of the chest tuck should always be located at the top of the chest. This will avoid distortion in this area and provide the necessary fit.

Back darts

When building a shoulder tuck on the back, it is important to know that:

the distance of the tuck from the edge of the neckline is 4 cm;
the sidewalls of the tuck are of equal length (6 cm each), although one of them is inclined and the other is perpendicular;
constant width - 1.6 cm.

chest line

The chest line is one of the main lines that fashion designers rely on when creating products of various styles. When constructing many elements of the pattern, it is enough to focus on the LG, and not draw them through complex calculations.

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Dress design features

The waist tuck of the front shelf is drawn 4 cm before the LG.
The front shoulder tuck ends on this line.
The lower points of the armhole also lie on the chest line.

Waistline

This line is of decisive importance in the construction of waist darts on both shelves. It is removed from the cervical vertebra by a measurement equal to the length of the back. The point of intersection with the LT is the place of the greatest expansion of the tuck.

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The waist line, like the hip line, is straight on the back shelf, and has a slight deflection on the front. It allows you to take into account the roundness in the abdomen, which is due to the physiology of the female body (it is present even in the most slender young ladies).

hip line

Along the line of the hips (LB), an extension of the hem is drawn (an average of 1.5 cm on each side). With an increase in the difference between the volume of the chest and the circumference of the hips, this figure also increases. The expansion is necessary in order to ensure a good fit and avoid distortion while walking.

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When stretch materials are taken for tailoring dresses, such an expansion is also necessary. Otherwise, you will have to constantly pull up the hem, tending to the waist. It is inconvenient to move around in such an outfit, and his appearance will not be very aesthetic.

The LB is removed from the LB by half the measurement of the length of the back.

The easy way to model

Armed with the pattern-base of the dress, knowledge of the purpose of its design lines, and also taking into account the properties of the selected material, you can safely proceed to modeling. It is better to start simple and experiment with the silhouette.

Progress

The tight-fitting silhouette will emphasize the attractive curves of the body. For sewing such dresses, you should choose fabrics with elastic fibers. The fabric should only stretch a little (not like stretch). In this case, an increase in freedom of fitting is not necessary. The width of the pattern and the POG of the chest will be equal.
A dress with an adjacent silhouette can be cut from ordinary non-stretch fabrics. Allowance for freedom of fit is 3 cm.
The semi-adjacent silhouette allows you to carefully hide some figure flaws without turning the product into something shapeless. Therefore, such styles are especially popular among women of different ages. When sewing a semi-adjacent silhouette, an allowance is made for freedom of fit equal to 4-5 cm (1 cm on the back, 1.5 cm on the armholes, the rest on the chest area).
A straight silhouette implies an allowance of 6-7 cm.

If you can go further in modeling clothes and create more complex elements of the wardrobe, you should get to know the model method more closely. It is also called the tattooing method and clothing layout. With the help of this technique, fashion designers create conceived images directly on a mannequin or person. There is enough fabric cut according to the basic pattern (one piece or individual cuts) and pins to create a new product with a perfect fit.

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The dummy method favorably differs in visibility and simplicity of execution. Therefore, not only professionals, but also beginners in the sewing business resort to it. The tattoo method provides complete freedom for imagination and the embodiment of ideas. By laying out the fabric on the mannequin, you can create complex models without disturbing the design of the main lines.

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Layout methods

Separate cuts of fabric of a square or rectangular shape are chipped off. Advantages - less fabric consumption, simple construction of a detailed pattern.
Connection with pins of various elements of the future product. Sleeves, back, bodice, collar are cut off directly on the model.
Modeling is performed using a single piece of fabric, from which the fashion designer forms complex designs.

Conclusion

When modeling clothes of different styles, there is no need to create an individual pattern each time. It is enough to design a base pattern once in order to use it in various variations in the future. This will be your base for a design of any complexity. Model it for the chosen style, without wasting time on unnecessary drawing work.

If you have a basic pattern for shoulder products, you can easily model various products with minimal design changes, namely, a dress, top, vest, blouse, jacket and much more. You yourself will choose models, type of material, length of products, sleeve shape, neckline.

With the help of a basic pattern, a variety of clothes are created, even if there is no professional knowledge in the field of modeling and tailoring. You can forget about the atelier and buying new clothes in stores. So it becomes possible to independently create stylish things for your wardrobe.

23:36 unknown 69 Comments

Hello dear readers!
When sewing simple clothes, you can do without a pattern; for clothes of complex styles, you will already need a pattern - a paper template, according to which fabric details are cut out. If you choose between a finished pattern and a design drawing, then I will advise the second option.
Even if you are new to sewing, building a pattern will help you quickly understand and master the principles of designing clothes. In addition, the pattern is built according to your individual measurements, which means that the future product will fit the figure well, ready-made patterns do not guarantee such a result, since each of us has our own anatomical features of the figure. And finally, building a pattern is an interesting and exciting process!
In this article, we will learn how to build a basic pattern for a dress according to the method of Tatyana Roslyakova.
In the last article, we learned how to take the measurements that we need to make a dress pattern. Let me remind you that the drawing of structures is carried out only on half of the figure, therefore, measurements of volumes and width are recorded in half size. Below is a table in which I wrote my measurements as an example. By these standards, I will make calculations, and you must substitute your data.

Name of measurements and symbols	cm
Half neck (Ssh)
Bust (Cg)	40,5
Waist (St)
Half hips (Sat)	44.5
Back length to waist (Dts)
Back Width (W)	16,5
Front length to waist (dtp)
Chest Height (Hg)
Center of the chest (Cg)
Shoulder length (Dp)
Product length (Di)

In addition to measurements, we will need allowances for free fit (CO). These additions are added to almost all measurements in the design drawing, they are needed for freedom of movement and breathing. Depending on the silhouette of the product, the allowance for free fitting differs in size. The allowances for clothing styles also differ (trousers, jackets, coats, etc.), moreover, there are separate allowances for different types of fabrics. Different methods for constructing patterns indicate different increments for the same silhouettes and styles, so it is very important to pay attention to the increments indicated in the methodology. But for now, we are learning to build the base of the dress, so I offer you two silhouettes: adjacent and semi-adjacent with the following additions:

Please note that the increments indicated in the table are added in full to the half measure. That is, if the measurement of chest circumference is 81 cm, then the semi-circumference of the chest = 40.5 cm, for an adjacent silhouette, an increase in free fit of 3 cm is added to 40.5 cm, which means that the future product along the chest line will be 6 cm more. In addition, the increase along the chest line is distributed among the details of the pattern in the following ratio:
back width - 30%
shelf width - 20%
armhole width - 50%.

distribution of gain along the chest line

I will indicate all the allowances for free fit to these and other measurements in the formulas when constructing a pattern. In this article, we will build a dress with an adjacent silhouette.
Let's start drawing . It is necessary to prepare a sheet of paper, the length of which should be 10-15 cm longer than the length of the future dress. If you have never built patterns before, then I advise you to do all the drawings on millimeter paper in a roll, it can be purchased at an office supply store. Drawing on such paper is a pleasure! Drawings are accurate and even. Dress length . In the upper left corner of a sheet of paper, draw a right angle with a vertex at point P, stepping back from the top edge of 5cm. From the point P down in a straight line, set aside a value equal to the length of the dress and put the point H (segment PH \u003d Di \u003d 85 cm).

Dress Width. From the point P to the right, set aside the half-girth of the chest + 3 cm (increase in free fit), and put the point P 1 (segment PP 1 \u003d Cr + CO \u003d 40.5 + 3 \u003d 43.5 cm). From point H to the right, set aside a segment equal to PP 1 and put a point H 1 (segment HH 1 = PP 1 = 43.5 cm). Connect the points P 1 and H 1

Waistline . From the point P down, we set aside the measurement of the length of the back to the waist + 0.5 cm and set the point T (RT = Dts + CO = 40 + 0.5 = 40.5 cm). Draw a straight line from the point T to the right until it intersects with the line P 1 H 1 and denote the intersection point as T 1 .

hip line . From point T downwards, set aside 1/2 measurements of the length of the back to the waist and put point B (TB \u003d 1 / 2Dts \u003d 40: 2 \u003d 20 cm). Draw a straight line from point B to the right until it intersects with the line P 1 H 1, and denote the intersection point B 1.

Back Width . From the point P to the right, set aside the width of the back + 0.9 cm and put the point P 2 (PP 2 \u003d Shs + CO \u003d 16.5 + 0.9 \u003d 17.4 cm). Draw a straight line of arbitrary length from this point

Armhole Width . From the point P 2 we set aside 1/4 of the half-girth of the chest + 1.5 cm and put the point P 3 (P 2 P 3 \u003d 1 / 4 Cr + CO \u003d 40.5: 4 + 1.5 \u003d 11.6 cm). Attention! The segment R 2 R 3 is the width of the armhole, therefore, the resulting value of this segment must be distinguished for yourself, in the future we will use this value. Draw a straight line of arbitrary length down from the point P 3.

Back neck cut . From point P to the right, set aside 1/3 measurements of the half-girth of the neck + 0.5 cm and put the point P 4 (PP 4 \u003d 1 / 3Ssh + CO \u003d 15: 3 + 0.5 \u003d 5.5 cm). From the point P 4 upwards, set aside 1/10 of the half-girth of the neck + 0.8 cm and put P 5 (P 4 P 5 \u003d 1 / 10Ssh + CO \u003d 15:10 + 0.8 \u003d 2.3 cm). Divide the angle with the top P 4 in half and draw a straight line, on this straight line we set aside 1/10 of the half-girth of the neck - 0.3 cm and put a point P 6 (P 4 P 6 \u003d 1/10Ssh-CO \u003d 15: 10-0.3 \u003d 1 ,2cm). Connect the points P, P 6 and P 5 with a smooth line, while the angle at the point P must be straight.

Shoulder cut back . From P 2 we set aside 2.5 cm down for normal shoulders, 3.5 cm for sloping, 1.5 cm for high and put a point P. Connect the points P 5 and P, and on this line we set aside from P 5 the length of the shoulder + 2 cm to the tuck and put P 1 (P 5 P 1 \u003d Dp + 2cm \u003d 13 + 2 \u003d 15cm). Again, on this line from the point P 5, set aside 4cm and put the point O (P 5 O \u003d 4cm). Down from the point O, set aside 8 cm and put the point O 1 (OO 1 \u003d 8 cm). Set aside 2 cm to the right of the point O and put the point O 2 (OO 2 \u003d 2 cm). Let's connect the points O 1 and O 2, on the straight line obtained from the point O 1 we set aside 8 cm and put the point O 3 (O 1 O 3 \u003d 8 cm). Now let's connect the points O 3 and P 1.

Armhole depth . From P down we set aside 1/4 of the half-girth of the chest plus 7 cm (for stooped figures plus 7.5 cm, for kinky figures plus 6.5 cm) and put the point G (PG = 1/4Cr + CO = 40.5: 4 + 7.5 = 17.6cm). Draw a line through the point Г to the intersection with the straight line РН, denoting the intersection point G 1, to the line P 1 H 1, denoting the intersection point Г 3, and the point of intersection with the straight line from the point Р 3 denote G 2.

Back armhole cut . From G upwards, set aside 1/3 of the distance PG + 2cm and put P 2 (GP 2 \u003d 1 / 3PG + CO \u003d 17.6: 3 + 2 \u003d 7.8 cm). Divide the angle at point G in half and set aside 1/10 of the armhole width + 1.5 cm and put the point P 3 (GP 3 \u003d 1 / 10 Shpr + CO \u003d 11.6: 10 + 1.5 \u003d 2.6 cm) we divide the GG 2 line in half and put G 4. Points P 1, P 2, P 3 and G 4 will be connected by a smooth line.

Shelf armhole cut . From G 2 upwards, set aside 1/4 of the half-girth of the chest + 5 cm (for stooped figures + 4.5 cm, for kinky figures + 5.5 cm) and put P 4 (G 2 P 4 \u003d 1 / 4Сg + CO \u003d 40.5: 4 + 4.5=14.6cm). From P 4 to the left, set aside 1/10 of the chest half-girth and put P 5 (P 4 P 5 \u003d 1 / 10Sg \u003d 40.5: 10 \u003d 4 cm). From G 2 upwards, set aside 1/3 of the segment G 2 P 4 and put P 6 (G 2 P 6 \u003d 1 / 3G 2 P 4 \u003d 14.6: 3 \u003d 4.8 cm). We connect the points P 5 and P 6 with a dotted line and divide it in half, from the division point to the right at a right angle we set aside 1 cm. Divide the angle at point G 2 in half and set aside 1/10 of the armhole width + 0.8 cm and mark the point P 7 (G 2 P 7 \u003d 1 / 10 Shpr + CO \u003d 11.6: 10 + 0.8 \u003d 1.9) . Let's connect with a smooth line the points P 5, 1, P 6, P 7, and G 4.

Shelf neck cut . From G 3 upwards, set aside 1/2 of the half-girth of the chest + 1.5 cm (for stooped figures + 1 cm, for kinky figures + 2 cm) and put R 7 (G 3 R 7 \u003d 1 / 2 Cr + CO \u003d 40.5: 2 + 1 \u003d 40.5: 2 + 1 \u003d 21.2cm). From G 2 we set aside the same value upwards and put a point P 8 (G 2 R 8 \u003d G 3 R 7 \u003d 21.2 cm). Let's connect the points P 7 and P 8. Now, from the point P 7 to the left, set aside 1/3 of the half-girth of the neck + 0.5 cm and put P 9 (P 7 P 9 \u003d 1 / 3Ssh + CO \u003d 15: 3 + 0.5 \u003d 5.5 cm). Down from the point P 7, set aside 1/3 of the half-girth of the neck + 2 cm and put the point P 10 (P 7 P 10 -1 / 3Ssh + CO \u003d 15: 3 + 2 \u003d 7 cm). We connect the points P 9 and P 10, and divide the resulting segment in half. From the point P 7 we draw a straight line through the division point of the segment P 9 P 10, and on this line we set aside 1/3 of the half-girth of the neck + 1cm and put the point P 11 (P 7 P 11 \u003d 1 / 3Ssh + CO \u003d 15: 3 + 1 \u003d 6 cm). Connect the points P 9, P 11, P 10 with a smooth line, observing a right angle at the point P 10.

Shoulder section of the shelf and the line of the chest tuck . From G 3 to the left, set aside the measurement of the center of the chest and put G 6 (G 3 G 6 \u003d Tsg \u003d 9cm). From G 6 we draw a line up to the intersection with the line R 7 R 8, we denote the intersection point as R 12. From P 12 down, we set aside the measurement of the height of the chest and put a point G 7 (P 12 G 7 \u003d Vg \u003d 25 cm). From the point P 12 down, set aside 1 cm and put P 13 (P 12 P 13 \u003d 1 cm). We connect points P 9 and P 13. And we will connect the points P 13 and P 5 with a dotted line. On this line from point P5 to the right, set aside the length of the shoulder minus the value of the segment R 9 R 13 and minus 0.3 cm, put the point R 14 (P 5 R 14 \u003d Dp-R 9 R 13 -0.3 \u003d 13-3-0, 3=9cm). From the point G 7 through the point P 14 we draw a segment equal to the segment G 7 R 13 and put the point P 15 (G 7 R 15 \u003d G 7 R 13). We connect points P 5 and P 15.

Side seam line . From G to the right, set aside 1/3 of the width of the armhole and put a point G 5 (GG 5 \u003d 1 / 3Shpr \u003d 11.6: 3 \u003d 3.8 cm). Draw a vertical line through the point Г 5. At the intersection with the armhole line, we put point B, at the intersections with the lines of the waist, hips and bottom, we put points T 2, B 2, H 2.

Determining the solution of tucks along the waistline . We add 1 cm to the measure of the half-circumference of the waist (St + CO = 29 + 1 = 30 cm), subtract this value from the width of the dress along the line TT 1 (43.5-30 = 13.5 cm). Thus, we calculated the total amount of tuck solutions along the waist line, i.e. 13.5cm.

the size of the solution of the front tuck \u003d 0.25 of the total solution of the tucks (13.5 x 0.25 \u003d 3.4 cm),

the size of the side tuck solution = 0.45 of the total solution (13.5 x 0.45 = 6 cm),

the size of the back tuck solution = 0.3 of the total solution (13.5 x 0.3 \u003d 4.1 cm)

Determining the width of the dress along the hip line . We add 1 cm to the semi-girth of the hips (Sb + CO = 44.5 + 1 = 45.5 cm). From the obtained value, subtract the width of the dress along the line BB 1 (45.5-43.5 \u003d 2 cm). We will distribute the result equally between the shelf and the back (1 cm each). Side tuck . From B 2 to the left and right, set aside the resulting difference (in my example, 1cm) and put points B 3 and B 4. From T 2 to the left and to the right, set aside half the solution of the side tuck (6: 2 \u003d 3 cm) and put T 3 and T 4. We connect point B with points T 3 and T 4. We will connect the points T 3, B 4 and T 4, B 3 with a dotted line, divide these segments in half, from the division points to the side we set aside 0.5 cm each and connect now we will draw a side cut with smooth lines through the points T 3, 0.5 and B 3 and through the points T 4 , 0.5, B 4 . Shelf waist line . From the point P 7 down, we set aside the measurement of the length of the front to the waist + 0.5 cm and put T 5 (P 7 T 5 \u003d Dtp + CO \u003d 42 + 0.5 \u003d 42.5 cm). We will connect points T 4 and T 5 with a smooth line, observing a right angle at point T 5.

Shelf hip line . From B 1 down, set aside the value of the segment T 1 T 5 and put B 5 (B 1 B 5 \u003d T 1 T 5. We connect points B 3 and B 5 with a smooth line, observing a right angle at point B 5 Shelf tuck . Draw a straight line from G 6 down to the intersection with the line BB 1. Intersections with the lines of the waist and hips will be denoted by points T 9 and B 7. From T 9 to the left and right, set aside half the solution of the front tuck (3.4: 2 \u003d 1.7 cm) and put T 10 and T 11. From G 7 down, and from B 7 up we set aside 4 cm, put points and connect them with T 10 and T 11.

Back tuck . Let's divide the segment ГГ 1 in half, and denote the division point Г 8. From G 8 we lower the line down to the intersection with the line BB 1. At the intersections with the waist line and the hip line, we put points T 6 and B 6. From T 6 to the left and right, set aside half of the back tuck solution (4.1: 2 \u003d 2 cm) and put T 7 and T 8. Set aside 1 cm from G 8 down, set aside 3 cm from B 6 up. We connect these points with T 7 and T 8

Shelf bottom line . From B 3 and B 4 we will draw lines down to the intersection with the straight line HH 1 and denote the points H 3 and H 4. From H1 down, set aside the value of the segment T 1 T 5 and put a point H 5 (H 1 H 5 \u003d T 1 T 5). We will connect points H 3 and H 5 with a smooth line, observing a right angle at the point H 5.

shelf - the front of the product

Neck - neckline

Armhole - cutout for sleeves (cut from the shoulder to the side seams to connect the sleeves with the bodice)

tuck - excess fabric taken into the seam. With the help of darts, the necessary forms are given to the product.
In addition to the dress, you can build a pattern of a single-seam set-in sleeve.

Information prepared based on the materials of the author Valentina Nivina Internet resource

Ready-made patterns are useful, but sometimes it is difficult to implement an unusual idea, your own idea and sew a dress “like in a magazine” with them. In this case, it is necessary to model a new drawing, taking the base one as a basis. This will allow you to sew the product according to your parameters.

Modeling a dress is the process of changing a finished drawing or creating a new one based on the visual image of clothing (from a magazine, from a catwalk). The style is altered according to the features of the physique, so that the sewn thing sits well and fits the build and type of figure. A striking example is the modification of a straight dress or a classic "case". On their base pattern, you can expand the hem, add sleeves, move the waistline, make additional tucks if the difference between the waist and hips is large.

In all cases of modeling, the term “basic pattern” is used. This is a universal basis-pattern, according to which a new one is created that meets the requirements and wishes of the master.

Model individual products, following the sequence of steps:

model development - adjustment of the basic pattern or creation of a new one;
design of parts and the method of their connection;
taking measurements;
transferring measurements to paper, and then to matter.

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Modeling techniques

There are several well-studied, "working" methods for creating individual things. Using one of them, you can easily model the product you need. The traditional way is "tatting". This is an old technique, according to which the product is modeled and sewn on a mannequin or directly on a human figure. Perform a tattoo with pins and "invisibles".

An equally simple way is a fake one. It allows you to process the shape of the finished product and display it in the desired size. For modeling, standardized patterns are used, they work according to a base pattern or build a design structure. The method is widely used when trying on things when sewing.

The most common method is computational modeling. According to it, on the basis of a conditionally typical drawing, a pattern of the desired size is created. The drawing is built according to geometric calculations. Within the method, there are several directions:

proportional-calculated;
settlement and analytical;
settlement and graphic;
customer-oriented.

First of all, the famous Muller method is considered. It involves tailoring things with a long back, medium chest and narrow hips. Also included in the calculation is the Lin Jacques technique for a conditionally standard figure with special tables for measurement. And a variant developed in the Russian Republican House of Models. It is simple - formulas and lengthy calculations are not needed to build patterns.

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Customer-oriented methods are based on the desire for individualization.

"Lubaks" - taking into account horizontal and vertical lines, setting the norm for figures of a certain type and choosing patterns, the value of which is adjusted according to body parameters.
"Unimex" is the simplest, fastest method of tailoring according to the characteristics of the body of a particular person.
"Genetics of the cut of G. Zlachevskaya" - tailoring of dresses according to the principle of "golden section".

Start of simulation

Before modeling a summer, warm or evening dress, you need to measure the body parameters as accurately as possible and calculate the numbers to refine the base drawing. We must not forget about the gains for freedom of fitting - they depend on the chosen silhouette, style and type of fabric (elastic, thin, dense).

If you are sewing a dress from a photo, you need to understand what kind of base you will need. Then transfer its details to tracing paper using the standard sequence of actions.
Draw the main axis on your drawing - this is the middle line of the shelf. To build it, they are guided by the jugular fossa on the torso, at the center between the most protruding points of the chest, at the midpoints between the vertical lines of the structure.
Draw perpendiculars along the constructive points - these are the lines of the chest, hips, shoulders and waist (plus the knee if the dress is elongated).
Design a basic grid that takes into account the depth of the neck, the height of the hip and chest, and the knee line.

Having created a grid, you can compare the conditional dimensions with the real "dimensions". The base frame is designed according to measurements taken from the body. The more accurate they are, the better the thing will sit. When measuring, you need to stand straight, do not slouch, do not pull in your stomach.

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Dart modeling options

Most often, in the process of changing the pattern, chest tucks are transferred. The shape of the shoulders and chest is very individual, and you need to determine the location of the point each time anew. The tuck is transferred to the lower side corner of the bodice - to the mark of the intersection of the side cut and the waist line. The top of this corner must be connected to the bottom corner on the tuck along the chest. You will get a line for "opening" the pattern. In this case, the initial tucks are closed and you can transfer an individual sketch to the fabric.

The tuck on the chest can be moved even lower. To do this, in the drawing of the bodice, the waist tuck (corner) is connected with the lower corner of the tuck on the chest (it is denoted by the top of G8). The top element closes, and the bottom element opens to the end. To transfer the tuck to a cut on the side, you need to divide the base in two or three, depending on the style. The set point will be the beginning of a new element. It must be connected with a line to the top of G8, cut and closed. A modified pattern for tucking a side cut should end 1.5-2 cm from G8.

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The basic chest tuck can also be moved to other locations.

In the cut of the armhole. It is divided in two or three, and the dividing point is connected to G8 - you can draw a curvilinear relief by outlining a smooth curve and closing the chest solution on a tuck or corner, lowering the line from G8 to the waist.
Shoulder cut. It is also divided into 2 or 3 parts, a straight line is drawn from the resulting point to the waist tuck, and the chest is cut and closed.
Neck cut. Its line is divided in two or three, the points are connected to G8. And the connecting axis is cut and transferred - the cutout will form soft assemblies.
The center of the front panel (on the bodice with gathers). From G8, you need to build a perpendicular to the middle of the front, make a cut along it and transfer the tuck, draping the assemblies.
Armhole cut. You will need to draw a perpendicular similar to the line from the previous paragraph, then fix the tuck at the waist and fix part of the top (for example, with pins), and form the remaining solution into small assemblies.
Under the yoke from the armhole. The upper part of the bodice is cut completely (and not part, as in the previous version) and a coquette is formed.

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Modeling dresses based on the "case" style

Often it is necessary to adjust the basis of a sheath dress with a strong difference in girths in the waist and hips. For a pear-shaped figure, you can narrow the bottom on the basic pattern (as when sewing a pencil skirt), accentuate the shoulders and top. Contrasting inserts, a boat-shaped neckline, a large, voluminous collar or a decorated neckline will do. A slightly high waist also visually corrects the figure, but you need to be careful when narrowing the skirt. If the difference between the chest and hips is significant, the bottom should be slightly expanded.

It should be remembered that:

model lines of reliefs run from the armholes to the very bottom along the darts at the waist;
the middle line of the back should fit well - transfer part of the solution to it;
if the difference between the hips and the waist is large, the solutions when fitting exceed 3.5 cm, the tucks are divided into two, otherwise there will be ugly creases in the waist.

The skirt can be changed by making a detachable waist. The “tulip” style is formed by two opposite folds along the front (from the end of the waist tucks, the part is cut vertically down), and a cut is made on the back of the panel. A detachable dress with an extended skirt can be modeled by redrawing the front neck line. Next, you need to transfer the waist tuck to the side, draw the skirt with a “semi-sun” and make a neckline and armhole on the back of the bodice, docking them with the front.

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Modeling on straight dresses

On a straight or loose silhouette, you can simulate a style with an extension of the skirt along the bottom - A-shaped.

The side cuts are made straight, and the bust darts are transferred to the seam on the side. In detail, you need to outline the yoke in front. If the model does not have sleeves, you can make two lower one-sided folds and one counter, from the neck to the bottom. The tucks on the back are removed, and on the shelf it is necessary to complete the depth along the crease (12-15 cm are laid from the middle). Such models are most often sewn with a length above the knee, otherwise they turn out to be excessively narrowed at the bottom. Pockets are often cut into the side seams.

You can model individual dresses not only by transferring tucks. For example, replacing them with a relief, you can make a new thing from a basic pattern with long sleeves with cuffs, a “lowered” shoulder, straps or a yoke over the chest. Cutouts are also often changed - they make a V-shaped from a rounded neck. By changing the base, you can sew many beautiful and non-trivial dresses for all occasions.

Hardworking - a bright light burns through life, lazy - a dim candle

Building a base pattern - THE MOST CLEAR WAY (for beginners)

Good afternoon I would even say a beautiful day. Because we are finally starting a series of articles on tailoring for adults. We have already sewed a lot of things for little girls - both dresses and bodysuits are different - now we will sew for big girls. That is, for yourself. And since we have already practiced sewing, the fear of the pioneer has passed.

SO IT'S TIME TO TAKE A NEW FRONTIER. And by ourselves, with our own hands and our brains, master the wisdom of sewing according to real adult patterns. We will draw the base pattern ourselves - in a new easy way (I spent more than one week to create this lightweight method for constructing a base pattern). And then we will sew a bunch of all sorts of dresses, tops and tunics.

No- I will not give you a single ready-made pattern!

I am not Madame Burda. I am Madame Klishevskaya.))) And the main harmfulness of my character lies in the fact ... That I will make your head work and give birth to bright and clear discoveries in the field of sewing. The easiest and most understandable of all arts. Trust me, it is.

Yes- sewing by yourself is very easy and simple!

Right from scratch, you will get more and more beautiful and well-tailored things.

Moreover, you will do everything yourself, without a state of hypnosis, but in a sober mind and bright memory. YOU will DO it - moreover, you will UNDERSTAND what exactly you are doing.

I will reveal to you the secrets that I know. Moreover, I will teach you to discover more and more secrets of the world of sewing and modeling clothes yourself.

I will not lead you (blind and stupid) by the hand in the chaos of letters and numbers indicating the intricacies of the numerous lines of the pattern drawing. NO, I WON'T TAKE YOU HERE:

Well, you must admit, one such picture can catch fear and make a girl doubt her own abilities, who really wants to make a dress- But I was not very friendly in my school years with geometry and drawing. Even I - who loves both of these school subjects - beat around the bush for several years - not daring to start delving into the construction of such a drawing: “How long does it take to draw this, and you need to calculate everything correctly and not get confused in the letters ... ".

And, nevertheless, today we will draw a pattern.

We will draw a base pattern (you can see a piece of it from above.))))

But - do not rush to get scared - we will create our pattern a little differently. Away from the engineering and design method - and closer to human understanding.

We will draw one with you - only one and only- pattern.

And then from it we will create more and more new models of dresses. And it will be very easy and simple.

No obscure formulas
No messy calculations.
And without the letter-number cobweb.

Well, how? Have I removed a bit of your concerns?

I now relax - we will not start drawing right now. To begin with, we will take a pleasant walk through the pattern. The purpose of the walk is to get acquainted, make friends with the pattern and remove the last doubt that you can sew any dress.

So ... what is a pattern - the basis?

To put it figuratively, it is a cast from your body. This is your personal imprint. Any thing sewn according to YOUR base pattern will fit perfectly on YOUR figure.

Yes, you heard right - ANY THING can be sewn on the basis one single pattern. All-all models of dresses - are born, modeled, and sewn from one source - this is a base pattern.

I will now prove to you with an example. Even on three examples - in the form of photos and pictures.

Here is the first photo (below). Our base pattern is, in fact, your sheath dress (the one that fits perfectly on the figure). Dress made according to your pattern based, will repeat all the bends your his body. This simple sheath dress is sewn according to the usual pattern-base. You see, it's like a plaster cast of a girl's figure.

And today, having drawn a base pattern, you can safely cut on the fabric - and you will get such a dress. The only thing you can change the neckline is by giving it the shape that suits your face shape.

All other (any, any) dress models are just a modification of a sheath dress - fantasies on a free topic.

That's how it works in the fashion world.

One day the fashion designer thought...“But what if the bodice of the dress at the top is held on the shoulders by a round yoke (yellow outlines - fig. below), and the bodice itself is made in the form of overlapping opposite triangles (red outlines - fig. below). The result is what we see in the photo below.

Beautiful? Beautiful! What did the fashion designer base his fantasies on? On a base pattern. And you can come up with something of your own. We - women - just a lot of fantasy.

By the way - since we are talking about a round yoke here - this site already has one of my articles on creating and

And another fashion designer thought: “But what if you give the sheath dress a looser cut - make it wider. And make the line of the shoulder longer so that it hangs on the arm. And as a result, a new model is born (photo below) - also very beautiful. And very simple.

You can do that too. If you will UNDERSTAND what the base pattern consists of. And by what laws does it exist.

That is why I don't want to stupidly give you instructions on creating a base pattern (such as “draw a line from point P6 to point P5 and mark the place where it intersects with line X with the next point ...” - ugh!).

I want to wake up in you chuechka. I want you to feel the pattern, to know its soul. And learned to see what a simple drawing hides behind a photograph of any, even intricately tailored, dress.

Therefore, for the next 30 minutes we will not draw anything - we will walk along the pattern itself. Let's get acquainted with all its elements - find out what each line is for, and why it is located exactly here and drawn that way.

After such a "cognitive walk" you will feel the joyful clarity of understanding of everything-everything-everything. It's as if you've already drawn basic patterns many times. And take up the drawing with the feeling that this is a couple of trifles. Ha! Delov something!

As the wise man said: “We are afraid only of what we cannot understand and explain logically. But as soon as the thing that frightens us becomes clear to us, it ceases to cause fear in us.

So let's go and tame this "terrible beast" - a base pattern. Tame and draw in 20 minutes. Yes, yes, in 20 minutes - because after a walk - the pattern drawing will seem to you an old and well-known simple pattern - like a grid for playing tic-tac-toe.

Where does the base pattern come from?

So where does the base pattern come from - usually it is obtained from such a drawing:

The drawing contains half of the back part + half of the front part.

We will also draw a similar drawing with you - only more simply and clearly.

And what are these halves for, and where to apply them - now I will clearly show everything.

Here (!) I dug up a wonderful sample - below - in the photograph of a black and white dress, our halves are very clearly visible - both half of the back and half of the front. So to speak - clearly and clearly.

Yes, in the Potnovsky language, the halves are called “shelves”. Today we will draw these very shelves of the front and back. But first, let's take a closer look at what elements each shelf consists of. And most importantly, I will tell you what each element is for, what it serves.

To make everything as clear as possible, I will illustrate each of the elements both in pictures and in photographs of real models of dresses.

First, let's get acquainted with two obscure words: TRUCK And ARMHOLE.

Of course, you may know them. Or maybe not. My job is to introduce you.

So, get acquainted - PROYMA

When drawing a base pattern, you will create exactly that bend and size an armhole that fits you—when the armhole doesn't pull or dig into your arm.

That is, the pattern base contains acceptable minimum armhole size. You can model the armhole to your taste, any configuration. But your fantasy armhole should not be less than on the base pattern. That is, an armhole on a pattern basis - These are the limits beyond which your imagination should not intercede.

Your model armhole can be arbitrarily larger - but it cannot be smaller than on the base pattern. More - yes, less - no - otherwise it will dig into the armpit. Here is a rule in modeling designer armholes.

Now let's get acquainted with the tucks.

BACK PATCHES - shoulder darts + waist darts

Here in the picture above, I wrote everything about the back darts - and in the photo of the dress you can find 2 waist darts - one to the right of the zipper, the other to the left of the zipper.

But you don’t see the shoulder tuck on this dress. And on many dresses, too, it is not. Because for convenience and beauty, this tuck is transferred from the middle of the shoulder to the zipper (or along the edge of the armhole, where the sleeve will be, a corner is simply cut off). That is, the excess fabric is not pinched at the middle of the shoulder and is not sewn inside the tuck. And the extra fabric cut off in a corner at the edge of the shelf, where the zipper is sewn in, or at the edge of the armhole - where the sleeve will be sewn in.

Also, darts are optional if you sew from stretch fabric - it itself repeats the curves of your body and shrinks both in the shoulder area and in the waist area.

Next, let's get to know… HALF FRONT darts

Oh, you could write a whole poem about her.

I thought for a long time how to explain it more clearly - what it is for and what laws it lives by. I thought and thought ... and came up with.

The fact is that a woman has breasts.))) That is, the front of an adult girl is no longer flat. This means that the dress in the chest area should be convex. The tuck on the shoulder of the front gives the dress this very bulge in the chest area. Now I will show everything in pictures. How does this happen.

For example, we have a flat piece of fabric, but we need to make a convex piece out of it. To do this, you need to make a tuck on it. For example - this flat circle of cardboard, with the help of a tuck, will now become convex.

And here is how the chest tuck creates a bulge on the front detail

You noticed that the top of the bulge (that is, the peak of our round pyramid) is at the point of the tuck. Pay attention to this. Because when we draw a tuck for the chest, the tip of our tuck will be at the top of the chest(where the nipple or dome of the bra is usually located).

Remember that sometimes you measured a dress in your size in a store, which somehow strangely warped on your chest - this is because the tuck in the dress was directed with its tip past top of your chest. Here the chest did not fit perfectly into the bulge of the dress. Not under your breast shape, this product was cut at the factory.

But that is not all, what I want to say about the chest tuck.

The fact is that in almost all dresses this chest tuck is located not on the shoulder- A on the side just below the armpit. It's made for beauty. The tuck on the shoulder is more conspicuous, but on the side, and even covered by the hand, it is not noticeable.

When creating a base pattern, we draw a chest tuck on the shoulder only because it is more convenient to draw it there from the point of view of building a drawing.

And after the drawing of the base pattern is ready, we very easily and simply transfer the tuck from the shoulder area to the axillary area. Do not think that for this you need to make new drawings. Nope, everything is simple here - how to open a carton of milk - one minute and that's it.

Here, in the picture below, I schematically depicted transfer of the chest tuck from the shoulder to the side seam at hand.

Well, do you already feel how you have grown wiser in these 15 minutes?))) Whether there will be more ... We continue our walk along the pattern and now we will get acquainted with the lines. horizontal lines

CHEST LINE

The first acquaintance is the line of the chest. (A beautiful dress, isn't it? We'll sew it with you. Don't even hesitate)

The chest line is the most wonderful line on the pattern. It is so convenient to navigate it when drawing a base pattern, because:

We know that we finish drawing the waist tuck of the back on the chest line.
We know that we finish drawing the waist tuck before reaching 4 cm to the chest line.
We know that the shoulder tuck is the front - we finish drawing on the chest line.
We know that the lower edges of the armholes also run along the chest line.

Well, no, of course, you don't know that yet. I will give all these simple rules when we start drawing. And for now, I just want you to know that when drawing many elements of the pattern, you can simply focus on the line of the chest (and there is no need to painstakingly put down these alphanumeric dots).

As you can see, there are a lot!! Therefore, go ahead - learn, sew and enjoy life)))