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Pattern of a straight women's shirt. Pattern of a women's cotton shirt. We sew a women's shirt. Detailed master class. Do not forget that on the patterns in the magazine, the marking of the loops is given for the smallest size! Keep this in mind when cutting


Hello.
In this article, we will learn how to build a shirt design.
Clothes of a shirt cut primarily differ in the parameters and configuration of the armhole. The dimensions of the shirt armhole are larger than the dimensions of the armhole of the basic design of the dress, and the configuration of the shirt armhole is more expanded and deepened. Therefore, the details of the shirt pattern - the back and the shelf also differ in their parameters and configuration.
There are two ways to build a shirt design: apply constructive modeling of a basic dress pattern, or use the developed methodology to build a shirt design. In this article, we'll look at the second option.
To build a shirt pattern, we need the following measurements:

Name of measurements and symbols

cm

Half neck (Ssh)

Bust (Cg)

40,5

Waist (St)

Half hips (Sat)

44,8

Back length to waist (Dts)

Chest Height (Hg)

Shoulder length (Dp)

Product length (Di)
(how to measure a figure correctly, you can see in the article on taking measurements). The table shows my measurements as an example, so do not forget to substitute your parameters in the formulas.

In this cutting technique, we will consider two shirt silhouettes: semi-adjacent And straight. The shirt of a semi-adjacent silhouette assumes the presence of chest and tackle darts, while the product is quite free and dynamic. The shirt of a straight silhouette has no tucks, and the product itself is looser. As a result, the cut of these two silhouettes differs not only in the allowance for free fit, but also in some constructions. To build a pattern for a shirt with a straight and semi-adjacent silhouette, we will use the following allowances for a loose fit:

The increase along the chest line between the details of the structure is distributed as follows:
Let's prepare a blank sheet of paper, the length of which is 5-10 cm longer than the measurement of the length of the product.

Drawing grid
Product length and width. Stepping back from the top edge of a sheet of paper 5 cm, draw a rectangle AA 1 H 1 H, where the sides AH and A 1 H 1 are equal to the measure of the length of the product, and the sides AA 1 and HH 1 are the measure of the half-girth of the chest with an increase in free fit (AH = A 1 H 1 \u003d Di \u003d 68 cm; AA 1 \u003d HH 1 \u003d Cr + CO \u003d 40.5 + 5.5 \u003d 46 cm). note, in this example I used an increase for a semi-adjacent silhouette, if you draw a straight silhouette, then do not forget to substitute the appropriate allowances for a loose fit into the formulas (see table above).

Armhole depth. From point A, down in a straight line, lay off 1/3 measurements of the half-girth of the chest + CO (see the table of increments) and put the point G (segment AG \u003d 1 / 3Сg + CO \u003d 40.5: 3 + 9 \u003d 22.5 cm). From the point Г to the right we draw a horizontal straight line to the intersection with the segment A 1 H 1, we denote the intersection point Г 1.


Back Width. From the point G we set aside 1/3 of the measurements of the half-girth of the chest + CO (see the table of the distribution of the increase along the chest line) and get the point G 2 (segment GG 2 \u003d 1 / 3Сg + CO \u003d 40.5: 3 + 3 cm \u003d 16.5 cm) . From the point G 2 upwards, we construct a perpendicular to the intersection with the side AA 1, we denote the intersection point by P.


Armhole Width. From G 2 to the right, set aside 1/4 measurements of the half-girth of the chest + CO (see the table of the distribution of the increase along the chest line) and mark the point G 3 (G 2 G 3 \u003d 1 / 4Sg + CO \u003d 40.5 / 4 + 0.5 \u003d 10.6cm). From the point G 3 upwards, draw a perpendicular to the intersection with the side AA 1, and denote the intersection point P 1.


Waistline. From point A down, set aside the measurement of the length of the back to the waist and put the point T (AT \u003d Dts \u003d 40 cm). From point T we draw a horizontal straight line to the intersection with the side A 1 H 1 and denote the intersection point T 1.


hip line. From point T down, set aside half the measurement 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 horizontal line from point B to the intersection with the segment A 1 H 1, mark the intersection point B 1.


side line. Divide the segment G 2 G 3 in half, denote the intersection point G 4 (G 2 G 4 \u003d G 4 G 3), and lower the perpendicular down from this point to the intersection with the bottom lines, denote the intersection point H 2, and the intersection points with the waist lines and hips - T 2 and B 2.


Auxiliary armhole points. Let's divide the segments G 2 P and G 3 P 1 into three equal parts, denote the lower division points P 2 and P 3 (see Fig.).


Back construction
Back neck cut. From point A to the right, set aside 1/3 measurements of the half-girth of the neck + 0.5 cm (for all silhouettes) and get point A 2 (AA 2 \u003d 1 / 3Ssh + CO \u003d 15: 3 + 0.5 \u003d 5.5 cm). Up from point A 2 set aside 3 cm (for all silhouettes) and mark point A 3 (A 2 A 3 \u003d 3 cm). Let's draw the neck line with a smooth line, observing a right angle at point A.


Shoulder cut back. From the point P down we set aside 3 cm (for all silhouettes) and put the point P 4 (PP 4 \u003d 3 cm). Now let's connect the points A 3 and P4, and on the resulting straight line from the point A 3 we set aside the measure of the length of the shoulder + CO (see the increase table) and put the point P 5 (A 3 P 5 \u003d Dp + CO \u003d 13 + 1.5 \u003d 14 .5cm).


Back armhole cut. We connect the points P 2 and G 4 with a dotted line and divide this segment in half, and from the division point we set aside 2 cm at a right angle and put the point P 6.


Let's make a cut of the armhole with a smooth concave line, connecting the points P 5, P 2, P 6 and G 4.


Back yoke. Down from point A, set aside 8cm and put point K (AK = 8cm). Draw a horizontal line from point K to the right until it intersects with the back armhole line, and denote the intersection point as K 1.


Down from the point K 1 along the line of the armhole, set aside 1 cm and put the point K 2 (K 1 K 2 \u003d 1 cm). Connect point K 2 with a smooth line to the coquette line.


Building a shirt shelf with a straight silhouette
Shelf neck cut. From the point G 1 upwards, set aside half the measurement of the half-girth of the chest and put the point P (G 1 P \u003d 1 / 2Sg \u003d 40.5: 2 \u003d 20.3 cm). Draw a horizontal line of arbitrary length from the point P to the left.


Now from the point P to the left and down we set aside 1/3 measurements of the half-girth of the neck + 0.5 cm and mark the points P 1 and P 2 (PP 1 = PP 2 = 1 / 3Ssh + CO = 15: 5 + 0.5 = 5.5 cm ). We connect the points P 1 and P 2 with a dotted line, which we divide in half and from the point P through this division point we set aside 1/3 measurements of the half-girth of the neck + 0.5 cm and get the point P 3 (PP 3 \u003d 1 / 3Ssh + CO \u003d 15: 5 +0.5=5.5cm).
Let's make a smooth line cut the neck through the points P 1, P 3 and P 2, observing a right angle at the point P 2.


Shoulder section of the shelf. Let's build an auxiliary line by connecting the point P 1 with the upper point of dividing the segment PG 2 (see figure), on this line from the point P 1 to the left we set aside the measure of the length of the arm + CO and put the point P 7 (P 1 P 7 \u003d Dp + CO =13+2=15cm). Please note that now we are considering building a shelf for a straight silhouette shirt, so the increase in the formula corresponds to the increase for a straight silhouette.


Shelf armhole cut. Let us connect the points P 3 and G 4 with a dotted line, divide this segment in half, drop a perpendicular of 2 cm from the division point and mark the point P 8.


Let's make a cut of the armhole with a smooth line, connecting the points P 7, P 3, P 8 and G 4.


This completes the construction of the straight silhouette shirt design.


Our pattern is ready!


Building a semi-adjacent silhouette shirt shelf
Shelf neck cut. From the point G 1 upwards, set aside half the measurement of the half-girth of the chest + 0.5 cm and put the point P (G 1 P \u003d 1 / 2Sg + CO \u003d 40.5: 2 + 0.5 \u003d 20.8 cm). Draw a horizontal line of arbitrary length from the point P to the left.


Down and to the left of the point P, set aside 1/3 measurements of the half-girth of the neck + 0.5 cm and mark the points P 1 and P 2 (PP 1 = PP 2 = 1/3Ssh + CO = 15: 5 + 0.5 = 5.5 cm) . We connect the points P 1 and P 2 with a dotted line, which we divide in half and from the point P through this division point we set aside 1/3 measurements of the half-girth of the neck + 0.5 cm and get the point P 3 (PP 3 \u003d 13 / Csh + CO \u003d 15: 5 +0.5=5.5cm). Let's make a smooth line cut the neck through the points P 1, P 3 and P 2, observing a right angle at the point P 2.


Shoulder cut and chest tuck. To the left of the point P 1 set aside 4cm and put the point B (P 1 B \u003d 4cm), down from the point B set aside 1cm, we get the point B 1 (BB ​​1 \u003d 1cm). Connect the points P 1 and B 1.


We add the lengths of the segments PP 1 and R 1 B (5.5 + 4 \u003d 9.5 cm), subtract 1 cm from this sum (9.5-1 \u003d 8.5 cm), put the resulting value to the left of the point G 1 and put the point G 5 (G 1 G 5 \u003d PP 1 + R 1 V-1 \u003d 8.5 cm). Let's connect the points G 5 and B 1, the segment G 5 B 1 is the right side of the chest tuck.


Now let's build an auxiliary line by connecting point B with the upper point of dividing the segment PG 2. Up from the point G 4 we draw a vertical straight line to the intersection with the auxiliary line, we denote the intersection point as O.


To the right of point O, we plot the length of the shoulder on the auxiliary line with an increase in free fit minus the length of the segment P 1 B and put the point B 2 (OB 2 \u003d Dp + CO-R 1 B \u003d 13 + 1.5-4 \u003d 10.5 cm) . Further, from point G 5 upward through point B 2 we draw a segment, the length of which is equal to the right side of the tuck and we get point B 3 (G 5 B 3 \u003d G 5 B 1).


Down from the point O, set aside 3 cm and put the point O 1 (OO 1 \u003d 3 cm). Let's connect the points O 1 and B 3 with a thin line.


From point B 3 to the left along a thin line, we set aside the length of the shoulder with an increase in free fit minus the length of the segment P 1 B and put the point P 7 (B 3 P 7 \u003d Dp + CO-R 1 B \u003d 13 + 1.5-4 \u003d 10 .5cm).


Shelf armhole cut. Let us connect the points P 3 and G 4 with a dotted line, divide this segment in half, drop a perpendicular of 2 cm from the division point and mark the point P 8. Let's make a cut of the armhole with a smooth line, connecting the points P 7, P 3, P 8 and G 4.


Calculation of the solution of tucks along the waistline. From the width of the product, we subtract the measure of the half-circumference of the waist with an increase in free fit (AA 1 - (St + CO) \u003d 46- (30 + 3) \u003d 13 cm), the result is the sum of the solution of all darts along the waist line, where
the size of the solution of the front tuck = 0.25 of the total solution of the darts (13 x 0.25 = 3.3 cm),
the size of the side tuck solution = 0.45 of the total solution (13 x 0.45 = 5.8 cm),
the size of the back tuck solution = 0.3 of the total solution (13 x 0.3 = 3.9 cm).

Determination of the width of the shirt along the hip line. Now, from the measurement of the half-girth of the hips with an increase in the free fit, we subtract the width of our product (Sb + CO-AA 1 \u003d 44.8 + 4-46 \u003d 2.8 cm), the result is the value of the expansion of the product along the hip line.

Side cut. From the point T 2 along the waistline to the right and left, set aside half of the solution of the side tuck (we calculated its value a little higher) and mark the points that we will connect with straight lines to the point G 4.


From point B 2 along the hip line to the right and to the left, set aside half the expansion of the product along the hip line and put points that we will connect with smooth convex lines to the solution points of the side tuck at the waist and extend these lines to the intersection with the bottom line.


Construction of a traveling tuck on the back. To the right of the point T, we set aside 1/3 measurements of the half-girth of the neck + 0.5 cm and put the point T 3 (TT 3 \u003d 1 / 3Ssh + CO \u003d 15: 3 + 0.5 \u003d 5.5). From the point T 3 to the right, we set aside the value of the entire back tuck solution and get the point T 4 (T 3 T 4 \u003d 3.9 cm).


We divide the segment T 3 T 4 in half, and draw a perpendicular through the division point, not bringing it to the chest line 6 cm, and to the hip line 12 cm, this perpendicular is the middle line of the tuck. Let's connect points 6 and 12 with the points of the solution of the tuck T 3 and T 4.


Clarification of the waist line and the line of the bottom of the shelf. From point T 1 we set aside 1 cm down, connect the resulting point with a notch along the waist line along the side cut, observing a right angle at the point 1 cm. Down from the point H 1, we will also set aside 1 cm and connect it with a smooth line to the point of the bottom line along the side cut, while the angle at the 1 cm point should be straight.


Building a traveling tuck on a shelf. From the value of the segment G 1 G 5 we subtract 1.5 cm, put the resulting value to the left of the point 1 cm along the new waist line and put the point T 5 (1T 5 \u003d G 1 G 5 -1.5 \u003d 8.5-1.5 \u003d 7 cm ). Connect the points T 5 and G 5.


On the new waistline to the left of the point T 5, set aside the value of the solution of the front tuck and put the point T 6 (T 5 T 6 \u003d 3.3 cm). On the line G 5 T 5 down from the point G 5 we set aside 6 cm, we connect the resulting point with T 6.


We divide the segment T 5 T 6 in half, and from the division point we lower the perpendicular, without bringing 12 cm to the waist line. Now let's connect point 12 with points T 5 and T 6.


This completes the construction of the shirt design.


If a button fastener is provided in the shirt model, then the shelf must be extended along the neck line and the bottom line by the same distance - 1.5-2 cm and draw a new cut line for the shelf. The resulting line is a half-skid line, and on the middle line there are buttons on one part of the shelf and buttonholes on the second part.
Fastener sections can be processed in several ways:
Stitched bar ,

The width of which is twice the width of the semi-skid, the length of the plank is equal to the length of the shelf along the line of the semi-skid, while the upper cut of the plank repeats the cut of the neck of the shelf along the entire width of the plank.


One-Piece Plank ,

Its configuration is completed by extending the line of the bottom of the shelf by twice the width of the half-skid, and then drawing a vertical line upwards from the resulting point. The neck line on the bar is drawn symmetrically to the neck of the shelf relative to the half-skid line. When sewing a shirt with a one-piece placket, the placket itself is folded along the half-sliding line to the wrong side of the product.

Slipper clasp

It is a secret fastener, the buttons in such a fastener are hidden and are not visible from the front side of the product. The configuration of such a fastener is completed from a one-piece strap, extending the bottom line of the product by a length equal to twice the width of the strap. As a result, three bar widths are obtained along the bottom line, a vertical straight line is drawn upwards from each width. The neck line of the fastener is drawn symmetrically with respect to the line of the first bar. Along the half-skid line of the shirt, the fastener is folded to the wrong side, along the next vertical line, the fastener is bent, and along the next vertical line, the fastener is again folded to the wrong side and the cut line of the shelf (on the fastener) is sewn from the wrong side of the product. The slip fastener is built on only one part of the shelf, on which buttonholes are located, and only a one-piece bar is built on the part with buttons.

A white shirt is refreshing and looks elegant. She never goes out of fashion. Along with the little black dress, the classic women's shirt has a cult status.

Ideally, it repeats a men's shirt and looks a little larger in size, which makes its owner fragile. They sew a women's shirt, as a rule, without darts, but options are possible: it can be more tight-fitting, with darts or reliefs, made of cambric, good quality cotton or silk. If you sew a women's shirt with your own hands from checkered fabric, you get a cowboy shirt, from fabric with a large floral pattern - Hawaiian.

What are the main details of a shirt?

This is a turn-down collar on the stand, a placket, a lowered armhole, sewn seams, a double yoke and sleeves with cuffs and slits, as in a men's shirt. But in a women's shirt, the straps can be narrower or wider than standard ones (for a men's shirt it is 3 cm), collars and cuffs are not so rigid, buttons can already be with two holes (it is believed that in men's shirts buttons are used with only four holes for sewing) . Also, in women's shirts, instead of stitching, there can be ordinary seams processed with an overlock and without stitching.

Pattern:

Blouse-shirt. You will need: Blouse A. Cotton 1.80-1.80-1.85-1.85-2.10-2.10-2.10 m with a width ...


Pattern:

The crinkled batiste shirt goes well with the shorts. Size 34-42 You will need: Baptiste ...


Burda catalog autumn-winter/2015/2016

Pattern:

Fitted denim shirt in a classic style. You will need: Shirt A, B and C. Cotton rub…

: Master Class

In order not to repeat yourself and teach you something new, in the master class "How to sew a women's shirt" the processing of some knots has been changed.

For the basis on which we sew a women's shirt with our own hands, we take a pattern of model 120 from:

Pattern:

A loose shirt blouse with low armholes, as if borrowed from a men's wardrobe, pr…


With my size 38, I took the pattern for a size smaller - 36 size. The shirt model turned out to be quite voluminous, especially in the shoulder girdle. It doesn’t matter which pattern to take, all shirts are generally sewn the same way.

You will need:

Shirt fabric - 1.5 m with a width of 140 cm;
Interlining - 30 cm;
Buttons - 10 pcs.;
Tailor's scissors ();
Bias trim for finishing;
Threads and a needle for sewing;
Tailor's pins ();
calca();
Pencil or felt-tip pen for marking ();
Ruler ()

Step 1. Preparing a women's shirt pattern

I had to shorten the pattern in length.

Since the bottom of the shirt is curly, I laid a transverse fold on the pattern above the bottom line so as not to change it.

The sleeve is shortened in the middle of the sleeve, again in order not to change the bottom line with markings, because the bottom of the sleeve is designed for the length of the cuff.

Often a stitched bar is given in the magazine. When possible, I replace it with a one-piece, this greatly simplifies its processing.

To do this, the paper part of the plank must be glued to the part of the shelf and add one more of its width to get a double plank (a plank with two gates). The second turn of the bar replaces the adhesive pad, which, again, simplifies the work.

Step 2: Cut


We cut out the details of the shirt with the same allowances for all sections of 1.5 cm.

Important! Planks are cut out without allowances.

There are many small details in the shirt that strengthen the adhesive, so it is better to first mark the location of these details on the fabric (stands, collars and cuffs), then cut this piece of fabric and strengthen it with adhesive. And only then cut out all the small details from the glued fabric. So the work is accelerated, and the cut is more accurate.

In a women's shirt, you need to strengthen with thin glue all the paired parts of the stand, collar and cuffs, along with allowances.

Glue G785 is perfect for these purposes, as well as interlining H180 and their analogues. The duplicating material should be thin and plastic, unlike a man's shirt.
Then, on the glue mark all the allowances on small parts.

, read the site

Step 3. Processing the planks

Planks are processed first after cutting, even before the first fitting, because they do not affect the fit of the product.

To do this, you need to chop off or bend a paper plank on the pattern and with an iron, without chipping off the pattern, iron the bar twice on the wrong side of the shelf, first on one part, then turn the shelves over and iron the bar on the other part. Pin the planks onto the shelf.

Then stitch the strips on the shelf 1 mm from the fold (to the edge) and mark loops and buttons on them with an aquamarker. This is required for sampling. The loops go along the bar and in the middle of it.

Do not forget that on the patterns in the magazine, the marking of the loops is given for the smallest size! Keep this in mind when removing the pattern.

Step 4


Lay the pleat on the back and stitch it along the allowance. This will fix her. Baste the shirt for the first fitting. For her, it is enough to baste only one detail of the coquette. The second yoke is sewn on after trying on. Try on a shirt, fit it to your figure.

Step 5. Processing coquettes

In order to sew on the second yoke, you will have to dissolve the basting on the sides after trying on.

Lay the shirt face up on the table.

Roll up the back detail on the yoke with a tube.

Roll up the details of the shelves on the yoke.

Lay the second yoke face down on top and pin with the bottom yoke. The twisted details of the shelves and back remain inside, between the coquettes.

Stitch details of coquettes. Trim allowances to 5-7 mm.

Unscrew the yokes, pull the details of the shelves and back out through the neck.
Iron the seams of the coquette. Sew them from the front of the shirt, if necessary according to the model.

Step 6. Processing the collar


Collar details fold face to face, chop them off and stitch along the markings. Cut out allowances in the corners up to 1 mm from the stitching and trim to 5 mm.

Iron the collar allowances on the block.

Turn the collar inside out, iron without a transitional piping and topstitch along the edge.

On one part of the rack, cut the bottom allowance.

Trim the trimmed bottom edge. To do this, apply an oblique trim from a finishing fabric (I use tie silk) and stitch it on the lower cut of the stand 5-6 mm from the edge.

Wrap the cut of the rack with inlay and iron it.

Lay a line exactly in the stitching seam of the inlay (immediately under the oblique inlay), grabbing the second cut of the inlay from the inside.

Prick a stand without trim with the face on the lower collar. Combine the cuts, the middle, check the symmetry of the ends of the stand by folding the collar with the pinned stand in half.

From the side of the upper collar, put the edged stand face down.

Stitch the racks, grabbing the collar between them. Cut allowances in roundings to 1 mm, in other areas to 7 mm.

Unscrew the racks, iron without transitional edge.

Important! We iron either the collar or the stand separately so that the collar does not lose its shape.

On the top stand, draw a line for attaching the collar.

Step 7. Stitching the Collar


Mark the middle of the stand and the middle of the collar. Prick the collar into the neck from the front of the shirt, combining the middle, ends of the collar and placket, also marks along the shoulder seams. Sew the collar into the neck, laying the line exactly along the marked line.

Cut out the seam allowances at the ends of the collar, iron the stand allowances.

Prick the second post over the seam so as to overlap the stitching.

Baste the stand so that the basting goes on one side along the edge of the oblique inlay, and on the other side into the seam for attaching the collar. It is better to leave pins in the corners of the collar for better fixation of the stand.

Lay the line exactly on the edge of the inlay. Finally iron the stand.

Step 8. Processing the curly bottom of the shirt

You can process the bottom of the shirt in the classic way by tucking the allowances twice and stitching them. But my bottom of the shelves is much shorter than the bottom of the back, so it’s better to process it separately at the shelves and back.

Fold two shelves, check the symmetry of the bottom, trim it in case of unevenness.
Fold the shelves with the back. Where the roundings of the bottom end, make notches 5-7 mm along the allowances. This will be the end of the side seam.

Turn around the bottom of the shelves and the backrest separately with an oblique inlay (just like the stand, you just need to tuck the second cut of the inlay). At the slats, bend the ends of the inlay inward.

Step 9. Sleeve slits


Cut the bottom of the sleeve along the markings.

Trim with a bias tape that side of the cut, which is closer to the seam of the sleeve.

Make a cutting plank. The width of the strap in the cut is 4 cm (2 cm in finished form).
The length of the strap is 3 cm longer than the length of the incision. The top of the bar can be made as a corner or straight.

Cut out strips with 1 cm allowances.

Fold the planks in half lengthwise, stitch the top corner along the markings (3 cm above the cut).
Allowances in the corners cut and cut to 5 mm. At the end of the line, make a notch on the allowance.

Unscrew the strips, iron. Lay the finishing line along the fold of the bar to the height of the cut.

On the front side of the sleeve, put on and stitch the bar on the second side of the cut. Notch the allowance above the line.

Iron the allowance inside the bar, prick the second fold of the bar over the stitching seam.

Prick the bar over the slit and topstitch over the slit along the edge and top corner.

Here's what happened.

Step 10: Stitching in the Sleeve


On the front side sleeves sweep the allowances of the okat to a width of 5-6 mm and iron them.

Poke the sleeve into the armhole so that the armhole allowance does not protrude beyond the fold of the sleeve allowance.

Stitch the sleeve into the armhole 6-7 mm from the fold of the sleeve allowance. Important! The line must be at the same distance from the fold of the allowance, otherwise the seam will not be even.

Press seam allowances into armholes, pin and baste.

Sew the armhole allowance exactly along the edge of the allowance fold.

View of the stitched-in sleeve from the face of the shirt.

Step 11 Side Seams


Fold the allowances of the side seam and the seam of the sleeve so that one allowance protrudes 6-7 mm behind the other, chop them off and sew 6-7 mm from the smaller cut.

You can fold the allowances evenly, but then you have to trim one allowance. The first way is easier and faster.

Iron the protruding allowance to a smaller one.

Then lay out the details of the shelf and back, iron the allowances, then pin them on the seam and stitch on the details of the sleeve and shelf.

On the front side, a seam with a stitching turned out. Back seam with two stitches.

Step 12 Finishing the cuff


On the outer cuff, iron the hem allowance inside out and stitch it 1 cm from the fold.

Fold the cuff pieces face to face and sew them along the markings. Cut allowances in roundings to 1 mm, the rest - up to 5-6 mm from the line.

Iron the allowances on the block, like at the collar. Turn the cuff inside out and iron without the transition band. Along the fold line of the outer part, draw a line for attaching the cuff.

Sew along the outer edge of the cuff, starting and ending at the bottom cross stitch!

Lay the pleats at the bottom of the sleeve. From the front side, the folds of the folds look at the cut of the sleeve.

Insert the cuff into the sleeve from the wrong side! Stitch the cuff according to the markup. Trim the seam allowances at the ends of the cuff.

Iron the allowances into the cuff. Prick the folded edge of the cuff on the front side of the sleeve, overlapping the sewing line.

Sew the cuff along the edge of the fold. It turns out that on the front side the cuff has two parallel finishing lines along the bottom.

Step 13 Loops


Punch loops along the markup, sew on buttons. The loops on the bar go in the middle and along the bar, on the rack - along the rack, on the cuff - along the cuff and 5-7 mm from its short edge. The length of the buttonhole is equal to the diameter of the button plus 2 mm.

Buttons are sewn on a thread leg.

Svetlana Khatskevich
Svetlana graduated from the university with a degree in Sewing Production Technologist. She has been teaching sewing technology for over 20 years. He is a Senior Lecturer at the AcademyBurda. We know Svetlana from her work on the site since its inception. She generously shares her knowledge and infects with her love for sewing.
Sewing is creativity, fascinating and informative. Welcome to this bright and interesting world!

In this article, I have collected the entire process of tailoring a shirt, as they say from A to Z!
The author of this miracle: Elena Kucherova is a professional seamstress. So, I ask you not to praise me too much))

What does the post include:
First, the easiest shirt pattern I know of!!!
Next: sewing, transferring tucks, video fitting, fitting, as well as many little tricks!

I wish you creative inspiration and good luck in the implementation of your plans!!!

Fitting freedom for a shirt

To begin with, I decided to pay decent attention to the additions. Please note that now we are talking about tailoring a classic shirt from non-stretch fabric.

Actually, why should we make additions to the measurements?

People tend to move, especially active girls like you, my dear subscribers. Well, let's not move, at least breathe.

Therefore, we can determine the smallest increase in freedom by measuring our chest girth by taking a deep breath. I checked, cm 2 is added to the chest girth.

Here, it's been determined. The smallest increase in chest girth is 2 cm. With such an increase, you will get the same shirt as the girls from the post "Always fashionable shirt"

But, if you plan not only to breathe in this shirt, but also to move, then the allowance for freedom of fitting to the chest circumference should be increased to 6-8 cm. We get a semi-adjacent silhouette.

For a completely loose shirt, we give an increase of 8 cm.

Now to the thighs.

The increase in freedom of fit to the circumference of the hips (we do not move this place so intensively) is usually taken 0.5 of the increase in the chest. But at least 2 cm.

I don’t give an increase to the waist, because when building, we make the waist tucks minimal, and remove the excess when trying on.

The addition to the width of the back (Ws) and to the width of the chest (Wg) is also important.

To the width of the back, you need to add from 4 cm, to the width of the chest - 80% of the increase in the width of the back.

When you start drawing a drawing, you will understand how much to make an increase in the width of the back and chest. It should correspond to the length of the shoulder and the overall width of the product in the chest area.

We make additions to the lengths only if you are sewing a very loose shirt. Then we add 0.5 cm each to Dpt (Length of the front to the waist) and Dst (Length of the back to the waist).

We will increase the width and depth of the neck after construction.

Building a shirt pattern

1. Draw a horizontal line. This is the waistline. We sign so as not to get confused.
2. Stepping back from the right edge of the paper 5 cm, we put a point on the waist line through which we draw a perpendicular. This is the mid front line.
3. We set aside from the waist up along this line of the middle of the front the measurement of Dtp (Length of the waist in front). Let's call the resulting point O.
4. Draw a perpendicular to the point O to the left.
5. On this perpendicular, set aside the value Osh (Girth of the neck): 6. Let's call the resulting point W.
6. Down from point O, set aside the depth of the neck. It is 1 cm more than the width.
7. We set aside further to the left of the W point the measurement Dp (Shoulder length). We call the point P.
8. From point P down, set aside 4 cm for the bevel of the shoulder. Let's call the point P1.
9. We draw the line ShP1. Extend a little beyond point P1.
10. From the waist down along the line of the middle of the front, set aside the value of About (hip circumference): 5.
We draw a perpendicular from the resulting point to the left. This is the hip line. We sign.
That is, the distance from the waist line to the hip line is calculated by the formula Ob:5.

1. From the middle of the front along the line of the hips, set aside the value of Ob (Girth of the hips) plus an increase in the hips: 2.
Draw a perpendicular from the obtained point. This is the middle line of the back.
2. Along the line of the middle of the back up from the waist, we set aside the measurement Dst (Length of the back to the waist). We call the resulting point O1.
3. Draw a perpendicular from point O1 to the right. Set aside the value Osh (Girth of the neck): 6. Set the point Ш1.
4. Down from the point O1 set aside 2 cm. This is the depth of the neck.
5. From the point W1 to the right, we set aside the measurement Dp (Shoulder length) plus 1 cm for landing. Let's call the point P2.
6. From point P2 down, set aside 3 cm for the bevel of the shoulder. We get point P3.
7. We draw the line Ш1 П3. On it once again set aside the measurement of Dp + 1.
8. We check whether the measurement on the drawing corresponds to Vpk (oblique shoulder height). If more, leave until fitting. The main thing is not less. If less, then reduce the bevel of the shoulder (distance P2 P3).
9. From the waistline, we set aside the measurement Wb (Height of the side). We draw a line from the middle of the back to the middle of the front. Let's sign the "line of the chest."

We calculate the width of the shelf and back along the chest line.
Og2 (Chest girth 2) plus the increase in the chest divided by 4. Now add 2 cm to the shelf, and subtract 2 cm from the back.
For example, Og2 is 100 cm. Plus an increase in the chest of 8 cm.
It turns out (100+8):4=27. The shelf width will be 27+2=29. Back width 27−2=25.
We set aside the resulting values ​​along the line of the chest.
We will call the resulting point of the width of the shelf Bp, the back - Bs. They will still be useful to us.
On the waist line, we make the shelf and back 1-1.5 cm narrower than these details at chest level.
We set aside the resulting values ​​\u200b\u200bin the waist line.

We calculate the width of the shelf and back along the hip line.
It is calculated in the same way as for the chest.
About (Hip circumference) plus the increase in the hips divided by 4. Add 2 cm to the shelf, subtract 2 cm from the back.
We postpone the resulting values ​​along the line of the hips.
We draw the line of the side, connecting the corresponding points on the line of the chest, waist and hips.

Let's build a shelf.

1. From the line of the middle of the shelf we draw a parallel line at a distance Tg (Center of the chest): 2.
Let this line start from the hip line and end at the shoulder line.
At the intersection of this line with the shoulder line, let's put a point G1.
2. From point G1 down to the resulting line, set aside the measurement Vg (chest height). Let's call point G.
3. From the point Г1 we set aside to the left along the line of the shoulder the value (Ог2− Ог1) + 5. Let's call the point G2. We connect the points G2 and G. The result is a chest tuck.
4. Fold the paper, closing the tuck. With a closed tuck, we continue the line of the shoulder from point W through point G1.
5. Set aside the measure Dp (Shoulder length) on the new shoulder line.
6. With a closed tuck, we postpone the measurement of Wg (chest width) plus an increase. We draw a line for postponing this measurement in the middle between the depth of the neck and the line of the side height.
7. Draw a smooth line from the point of the end of the shoulder, through the width of the front to the point Bp. This is the armhole line. This is where we will sew the sleeve.
8. Check that the armhole line is at a right angle with the shoulder line. If not, correct without reducing the shoulder length.
9. Set aside 2 cm from point D down. This is the beginning of the waist tuck of the shelf. The end of this tuck will be on the line of the hips. Set aside 1 cm at the waist on both sides of this tuck. Draw a tuck.

Let's build the back.

1. Set aside in the middle between the depth of the neck and the line of the height of the side, the measurement of Shs (Width of the back) plus an increase.
2. We draw a smooth line through the points P3, the width of the back to the point Bs.
3. Parallel to the line of the middle of the back, at a distance equal to Cg (Center of the chest): 2 -1. draw a line. This is the line of the waist tuck on the back. It goes from the line of the hips to the line of the height of the side.
4. On the waistline from this line, set aside 1 cm in both directions. Before trying on, it’s enough. We connect all sides of the tuck.

The drawing is almost ready. It remains to make small adjustments specifically for the shirt.

1. We deepen and expand the neckline by 1 cm on the shelf and on the back. This is to avoid being strangled by the collar.
2. We draw another line parallel to the line of the middle of the shelf at a distance of 6 cm. Our shirt will be fastened to the bar.

Look like that's it.

Now important! We measure and check the drawing for compliance with the measurements.

We transfer the tuck

For a checkered shirt, we cannot leave the chest tuck on the shelf where it is - in the shoulder seam. It is necessary to transfer the tuck to the side seam. There, the displacement of the cell will be less noticeable.

This is done simply: draw a line from the side seam (we start 5-7 cm below the armhole) to the point where the tuck begins. We cut the pattern along this line, open a new tuck, while closing the old one. The only thing is to make a new tuck 2 cm shorter.

Here is a picture of my cut. The new tuck start point is marked with a pink dash.

If you want, you can carve coquettes on the shelves and / or back. Just draw the desired yoke line on the pattern and cut.

Everything else is in order, you can start cutting.

It is more convenient, of course, to use a full shirt pattern, and not a half. If not laziness, then draw the second half of the back.

When cutting checkered fabric, we will take into account the following rules:
We place the most noticeable equity stripes in the middle of the main parts, sleeves, yokes and collars.
We place the dominant transverse stripes at the bottom or along the sleeve.
Do not put bright stripes at the level of the chest, waist or hips - they expand the silhouette.
The transverse stripes must match at the seams. It is easier to combine cells if, when cutting, lay out adjacent parts side by side. You can navigate along the bottom, you can along the waist line.
Luxurious when the cells on the shoulder seams match.
The pattern on pockets, valves must match the pattern of the parts on which they are located. If you don’t want to suffer, cut out small details and coquettes at an angle of 45 degrees. By the way, this will decorate the shirt.
If you nevertheless cut the fabric by folding it in half, often-often pin it off with pins to avoid shifting.

Important!
Having pinned the details onto the fabric, once again check the coincidence of the cells, the direction of the share, the allowances for the seams.

Building a sleeve pattern

Now about the sleeve.

1. We draw two perpendicular lines. Let's call the point of intersection O
2. Calculate the height of the eye. Measure the length of the armholes of the front and back, fold and divide by 3. For a shirt, subtract 1 from this number. For a short wide sleeve - 2 cm.
3. Put the resulting value up from point O. We get point O1
4. We calculate the sleeve width: shoulder girth (Op) plus an increase in freedom of fitting. For a shirt, this is 6-8 cm.
5. The resulting value is set aside equally on both sides of the point O. We call the resulting points P and C
6. We connect P with O1, C with O1.
7. Divide PO1 in half, and the resulting segments in half again.
8. We divide CO1 in half, the resulting segments are still in half.
9. We draw a curve from point P to point O1 with a deflection in the first half of 1.5–2 cm, in the second “bent” 1.5 cm.
10. We draw a curve from point C to point O1 with a deflection in the first half of 1 cm, in the second “bent” 1.5 cm.

Look at the drawing. I marked all these deflections and “bends” in the drawing with the corresponding numbers.

11. Set aside the length of the sleeve from point O1 down. Let's call the point H
12. On both sides of H, we distribute the width of the sleeve at the bottom equally in half.
13. We connect the resulting points with P and C, respectively.
14. We measure the size of the front part of the sleeve. This is the PO1 curve. Compare with the size of the armhole of the shelf.
15. We measure the size of the back of the sleeve. This is the CO1 curve. Compare with the size of the armhole back.

If the hem of the sleeve of the back corresponds to the armhole of the back, and the front of the rim of the sleeve corresponds to the armhole of the shelf, then that's it, the sleeve is ready.

Most often, the armhole of the shelf is smaller than the armhole of the back. Therefore, the sleeves of the front part should also be smaller. We measure how many centimeters the difference is and cut off half of this difference from the front of the sleeve, and add it to the back of the sleeve. Look at the drawing. The new outline is turquoise.

When I build on paper, I take it directly and cut off a strip from the front of the sleeve, glue it to the back.

We cut, we sweep away the details

shirt fitting

Where to start sewing a shirt after trying on

After trying on, we make changes to the cut. First, in a pattern, it will most likely still be useful to you, and then in a cut.

Let's start sewing:

1. If there are coquettes, we sew them to the main details
2. We grind tucks (chest and waist)
3. We carry out the processing of the middle cut of the shelf with a bar
4. We grind the shoulder seams, combining the pattern, we process the cut

I'll tell you a little more about the plank.

Remember, we added 6 cm to the middle of the shelf?

The simplest thing is to tuck the middle cut inside out by 1 cm and tuck it 3.5 cm again. Baste, sew on the face. That's the whole plank. You can also stitch it around the edge.

Further:
You can already decide on the size of pockets, valves, cut them out.
The top of the pocket is processed with an overlog or a hem seam with a closed cut. The side and bottom sections of the pockets are tucked and tucked.
Glue the top flap of the pocket with interlining.
We fold the upper and lower valves face to face, we chop off or sweep away, as we are used to, we grind. Trim the seam allowances step by step, cut out the corners.
Try on the shirt and decide on the location of the pockets and flaps. Baste and stitch them.

How to sew a collar with a stand

We put the pattern of the collar and the stand on the fabric folded in half, observing the direction of the shared thread and, accordingly, the pattern of the fabric, circle it once along the contour, the second - with allowances for the seams. We cut out. We check that there are 2 parts of the collar and 2 parts of the stand.

Non-woven fabric duplicates the upper collar and the upper part of the stand.

First, fold the collar parts face to face
chipping off

We grind the details of the collar, we sew along the smaller bottom part
make a step cut to reduce the thickness of the seam allowances
trimming the corners
turn inside out
we sweep
fold the collar in half - check the "sameness" of the left and right corners
we sew on the edge or on the foot
ironing

Here is a photo where the roll of the front part to the inside is clearly visible.

Next stage:

We pin a stand to the collar, stitch it.
Please note: we apply the inner side of the stand to the front side of the collar, and the outer side to the wrong side. For accuracy, we start cleaving from the middle.

Stepwise trim the seam allowances of the rack

We turn inside out
we sweep
check for the "sameness" of the left and right sides

Here is my collar. I made the lower part of the collar and the stand from a different fabric.

We attach the collar stand with the outer side to the front of the shirt, pin it with pins, stitch it.
We pin the inner side of the rack to the wrong side of the shirt, carefully tack, stitch.

Consider a finished men's shirt. See how neatly the rack is sewn to the neck?
Do you think it's all about the professionalism of seamstresses? Not only. There is a little secret here. Now I will tell you.
Before attaching the stand to the collar, a turn is made on the inner part of the stand to the width of the allowance. The allowance is wrapped, with which the stand is attached to the neck. It needs to be swept or stitched on the wrong side. We begin to process the rack with the turn already made.
This will allow in the future to carefully and easily stitch the stand to the neck.

Finishing the shirt

If you have sleeves, then:

Pin and sew the sleeves, matching the mid-point of the sleeve and the shoulder seam.
Sew side seam and sleeve seam with one stitch.

I have a sleeveless shirt, and the armholes will be turned over.

If you also sew a shirt without a sleeve, then:

Cut out a rudder (oblique trim) 4 cm wide. Fold it in half, sweep it in this form to secure.

Pin, stitch the handlebar to the armhole in the face

Turn inside out, baste, stitch neatly along the edge of the roll

Iron on

Are your pockets ready?

No? Let's get ready.

Overlay the top of the pocket, turn inside out, stitch. Turn the remaining sides of the pocket inside out, sweep. Pin the finished pockets in place, baste, stitch.

Fold the cut flaps face to face. Chip, making a small overlap of the upper part of the valve on the lower one, so that later you get a pretty roll, grind.

Trim the seam allowances in steps, trim the corners.

In this material we will talk about modeling classic women's shirts. You will learn about the features of this type of product and the options for the execution of individual components. And we offer you to sew such a universal model of an adjacent silhouette!

It is no secret that we, women, borrowed many elements of the wardrobe from men - trousers, ties, T-shirts and shirts, a jacket as a variation on the theme of a man's jacket, a coat as an interpretation of a military overcoat and much more ... Many of us wear all this with pleasure, because who value convenience and comfort!

The prototype of a women's shirt-cut blouse is a classic men's top shirt. Distinctive features of this type of clothing are:

  • Symmetry of cut details
  • Fastening to the top on a detachable or one-piece placket with loops and buttons
  • The sleeve, as a rule, is of a shirt type - with an increased width in the upper part, and a reduced height of the eye (for tightly fitting models this is not always the case, but we will talk about this a little later)
  • The bottom of the sleeve is made with a slit and processed with a cuff with 1-2 loops and buttons.
  • Back with a yoke, while the shoulder seam is most often shifted towards the front
  • Stand-up collar with a detachable (less often - one-piece) stand

As for the shaping of the camp and the degree of fit, options are possible here.

It can be a shirt without the use of reliefs and darts, the so-called "flat cut" - a larger or smaller volume. To model such a shirt, you will need a pattern-base of a dress without darts, which you can website according to your own measurements. And you can read more about modeling such a shirt in our material about "".

In addition, it can be a shirt that follows the contours of a female figure, with darts or reliefs. And here, a variant less adjacent to the body is possible,


or a more tightly fitting product:

The shirt, on the basis of which we will comprehend the wisdom of modeling this type of product today, belongs to the second type - it has both waist darts and darts on the convex chest, due to which a rather tight fit is achieved. In more detail, you can see the model features of our shirt in the following figure.


It is clear that the appearance of the shirt is regulated in a rather rigid framework. However, small options in the form of designing the corners of the collar, the method of making the strap, the shape of the cuff and the technology for processing cuts for it are still possible here.

Let's begin to analyze the design of our shirt and, along the way, we will consider what other options for modeling this or that knot were possible, so that in the future you can adjust the model as you wish.

Mill Modeling

To model the shirt mill, we need pattern-basis of a dress of a semi-adjacent silhouette with an increase to the semicircle of the chest 5 cm.

You can build it yourself according to your own measurements, or get it online using this one. To do this, you will need to enter your measurements on this page. Instructions on how to remove them correctly can be found there. Your pattern will look something like the red and blue outlines in the following image.

Preparing the base pattern

Step 1 . If your pattern is longer than necessary, first of all, cut it to the desired length - this is about 20-22 cm from the waistline.

Step 2 . We will not take into account the tucks along the waist line and the side reliefs applied on the pattern - later we will distribute their solution in a slightly different way. However, we will need to write down the value of the quantity Ib , marked on the drawing - depending on the sign, it will be a surplus or a deficiency in the hips.

Step 3 . Expand the neck of the shelf and back by about 1 cm - they are shown in the drawing in green.

Step 4 . The tuck on the bulge of the chest on the shelf will be temporarily transferred to the neck.

Step 5 . We will close the tuck for the bulge of the shoulder blades on the back (you can simply extend the shoulder line from the neckline by a distance equal to the total length of the shoulder on the back pattern). We will not designate the new contours of the tuck, since its solution will partially go into the relief between the details of the yoke and the back, and due to the rest, the line of the armhole of the back will slightly lengthen.

Adjustment of shoulder and armhole lines

Step 6 . We deepen the armhole by 2 cm - for this we lower the line under the armhole by 2 cm down. Denoting the width of the armhole (vertical dotted tangents in the drawing), mark its middle (red dot in the drawing).

Step 7 . Raise the shoulder line of the back by about 1.5 cm and lengthen it by 1-1.5 cm. And lower the shoulder line of the shelf by about 1.5 cm and also lengthen it by 1-1.5 cm. The extreme shoulder points are marked in red in the drawing .

Step 8 . Let's draw a new armhole line (shown in green) through the points marked in red in the drawing. Later we will remove a small section of this line to create a small relief in the area of ​​​​the shoulder blades between the details of the yoke and back.

Back coquette modeling

Step 9 . Divide in half the line segment of the middle of the back between the neck line and the old line under the armhole (point a on the drawing).

Step 10 . From a point a draw a horizontal line to the intersection with the armhole line. This will be the bottom line of the coquette - the line connecting it with the back.

Step 11 . Divide the coquette line in half (dot b ) and set aside 1.5 cm horizontally from this point towards the armhole (point With ).

Step 12 . Set aside 0.5 cm down the armhole line from the point of its intersection with the yoke line (point d ).

Step 13 . Draw the top line of the back (the line of its connection with the yoke) through the dots a , With And d .

Bottom line styling

Step 14 . Mark the side line of the shirt - this is a vertical down from the point of the middle of the width of the armhole. On this line up from the line indicating the length of the shirt, set aside about 5 cm.

Step 15 . Draw a smooth line at the bottom of the shirt, making a rise at the side line to the point marked in the previous paragraph.

Step 16 . Now it's time to consider the magnitude Ib , which we measured and recorded in the second step of the mill simulation. There are 3 options here:

  • Value Ib zero. This option is shown in the previous drawing - in this case, the bottom line is continuous.
  • In case the value Ib positive surplus x And y A at the bottom.
  • In the event that the value Ib negative(in the width of the pattern grid along the hip line there is flaw), it will be necessary to postpone this value evenly on both sides of the side line along the bottom line (points x And y ) and draw the bottom lines again as shown in the diagram b at the bottom.

The design of the side lines and darts along the waistline

Step 17 . Draw a vertical from the point that bisects the line under the armhole between the line of the middle of the back and the line of the armhole - relative to this vertical we will draw the contours of the back tuck.

Step 18 . The vertical, relative to which we will draw the contours of the tail tuck of the shelf, will be lowered down from the point of the center of the chest.

Step 19 . Determine the total solution of tucks along the waist line. To do this, measure the width of the grid on the pattern and compare it with your half-waist measurement. St :

rtv = (Grid Width) – ( St + increase)

In our case, the increase along the waistline P \u003d 3 cm, and the total solution of thallium tucks will be equal to rtv \u003d 47 - (31.7 + 3) \u003d 12.3 cm.

Step 20 . Let's distribute the total solution of the tucks along the waist line as follows: 30% of the total solution will fall on the tuck of the back, 37% - on the tuck of the shelf, 13% - to the relief of the side line of the back and 20% - to the relief of the side line of the shelf. The distribution of the tuck is shown in the drawing below.

Important note : Perhaps, such a distribution of tucks may not be suitable for your figure - when most of the total solution is distributed on the shelf. You can learn about this only by experience, or you can judge by the features of the figure (for example, if the figure is kinky, with buttocks strongly protruding back). In this case, you can leave the distribution of the tucks the same as on the base pattern, only transfer the solution of the side reliefs to the new position of the side seam line.

Step 21 . Draw the contours of the tucks and side lines, as shown in the figure. In this case, the tuck on the back will end about 6 cm above the line of the bottom of the shirt, and on the shelf - on this very line.

Step 22 . Set aside the side seam of the shelves 5 cm down from the armhole line. Let's draw a line from this point to the top of the chest tuck. This will be the line along which we will cut the pattern in order to transfer the tuck to the bulge of the chest in the side seam.

Step 23 . We transfer the tuck to the bulge of the chest in the side seam and shorten it by about 2.5-3 cm.

Step 24 . The previous drawing shows a case where we did not have an excess or deficiency of the width of the mesh along the hip line.

  • If flaw there is along the hip line (and we already marked it at the 16th step of modeling), the contours of the side lines will look like this, as shown in the diagram b below.
  • In the event that there is surplus width along the hips, you can simply draw the contours of the side lines through the points X And at that we noted earlier. And you can do it as shown in the diagram A below: distribute part of the excess at the side line, and transfer part to the lower contour of the waist tuck on the shelf.

Clasp strap modeling

Step 25 . From the line of the middle of the front - the line of the half-skid, which is shown in the drawing below with a red dotted line - we set aside the width of the fastener strap evenly on both sides (about 2.5 cm) and draw parallel lines to the left and right of it through the points obtained. Thus, we outlined the fastener bar with a width of 2.5 centimeters.

Step 26 . Mark the position of the buttons (and, accordingly, the loops) on the half-skid line through uniform sections. There are 8 of them in this model and they are marked with crosses in the drawing.

Step 27 . Reflect the contours of the plank relative to the line of the edge of the bead.

There are two main types of fastener straps in shirts, depending on the method of their manufacture - these are stitched straps (shown in the figure A below) and one-piece (pictures b, V at the bottom):

  • In case of fulfillment sewn strap (A) the shelf part will need to be cut along the line indicated by the scissors sign in the previous drawing - in this way, a plank part will be obtained, the fold line of which will be the line of the edge of the side. Allowances are added to the cuts of this part when cutting out. The diagram of its connection with the shelf is shown in the figure. A, while the connecting line is line 1, and at a distance of 1-2 mm from the line of the edge of the board, finishing line 2 is laid.
  • In our model one-piece plank, that is, we will cut out the part of the shelf in its entirety together with the contours of the plank, without forgetting to add seam allowances. When performing the plank, it is bent along the line of the edge of the board to the wrong side (figure b) or on the front (figure V) side and adjust to the main part, after bending the seam allowance. Variant shown in the picture V it is possible to perform only in the case of using double-sided - the same on both sides - fabric.

It should also be noted that the part of the strap is usually glued with an adhesive lining only if the product is made of a very thin fabric, for example, chiffon.

Sleeve construction

This model has a shirt cut of the sleeve, which is characterized, first of all, by a reduced collar height. It is clear that in order to keep the length of the arm sleeve unchanged when its height decreases, it is necessary to increase some other parameter of it - and this is the width of the sleeve at the top. A strong deformation of the eyelet requires a corresponding change in the armhole - its deepening, increasing the length of the shoulder.

Such a sleeve is built with a minimum fit along the collar and is sewn into an open armhole. This means that the shoulder seams are first connected, then the sleeve is sewn into the armhole, and only then the side seams of the camp and the sleeve are connected in one step.

Below are the options for changing the parameters of the prime-sleeve:

  • On the image A we see a model with a sleeve with a standard, not reduced eye height, the armhole is not deepened. In such a product, with the hands down, there are no folds on the sleeves in the upper part.
  • On the image b we see a sleeve with a reduced eye height, but the armhole is slightly deepened. As a result, such a product has free folds-creases in the armhole area, when the arms are raised in a horizontal position, the folds straighten out. This is normal for a shirt-type sleeve, because it is due to this that freedom of movement is achieved.
  • On the image V we see a loose shirt without darts with a sleeve in which the size of the collar is reduced to almost nothing. This is achieved by a significant lengthening of the shoulder; in fact, a design like a baby's undershirt is obtained.

For more close-fitting shirt models, the height of the eyelet will vary within 1/3 - 1/4 of the size of the armhole. We will consider the construction of just such a sleeve further.

The initial data for constructing a drawing of a shirt sleeve are:

  • Armhole length DP measured on the drawing of the mill. In our case, it consists of the lengths of the following curves: the armhole of the front, the section of the armhole of the yoke of the back, and the section of the armhole of the back itself. (In my example DP = 44.2 cm)
  • wrist circumference Ozap - a measure taken from the figure for which the pattern is being built. (In my example Ozap = 15.2 cm)
  • Arm length DRzap - a measure taken from the figure for which the pattern is being built. Measured from the shoulder point to the girth line of the wrist. (In my example DRzap = 57.8 cm)

Step 1 . mark a point t0 and from it down vertically set aside a distance equal to DRzap minus the cuff width plus 1.5 cm. The cuff width in our model will be equal to Shmanzh = 5.5 cm. Mark a point t1 . An increase of 1.5 cm is necessary so that the sleeve does not sit tight.

So, in our example: /t0;t1/ = DRzap – Shmanzh + 1.5 cm = 57.8 - 5.5 + 1.5 = 53.8 cm.

Step 2 . On the segment /t0;t1/ from the point t0 down, set aside a distance equal to the height of the eye of the sleeve THIEF and mark with a dot t2 . The sleeve height in this model will be equal to a quarter of the armhole length plus an increase:

/t1;t2/ = THIEF = DP /4 + P

The increase for a chest half-girth up to 42 cm inclusive will be 1 cm, for a chest half-girth from 42 to 44 cm - 2 cm, up to 46 cm - 3 cm, up to 50 cm - 4 cm and so on. So, for our example, the sleeve height will be equal to THIEF \u003d 44.2 / 4 + 1 cm \u003d 12 cm.

Step 3 . through the dot t2 draw a horizontal line. From a point t0 set aside to this horizontal distance equal to half the length of the armhole and mark the points t3 And t4 . Line segment between points t3 And t4 called sleeve width at the top.

In our example: /t0;t3/ = /t0;t4/ = DP /2 = 44.2/2 = 22.1 cm.

Step 4 . Divide the segments /t0;t3/ and /t0;t4/ into 4 sections each. At the points obtained, lay off the segments along the perpendiculars to the lines /t0;t3/ and /t0;t4/ (up or down from them) in accordance with the drawing below. Through the points obtained, draw the line of the sleeves.

Step 5 . from point t2 set aside horizontally to the left and right along half the girth of the wrist, plus an increase. Mark these places t5 And t6 . In our model, we will take an increase in the girth of the wrist of 6 cm, so the value of the segments in our example will be equal to:

/t1;t5/ = /t1;t6/ = 1/2 ( Ozap + P) \u003d (15.2 + 6) / 2 \u003d 10.6 cm.

Step 6 . Draw the side lines of the sleeve between the points t3 And t5 , and t4 And t6 slightly curved lines.

Step 7 . Draw a cuff sewing line between the points t5 And t6 , bending it slightly (by about 0.7 cm) at the point t1 .

Step 8 . Divide the section of the cuff sewing line, located on the half of the sleeve facing the back, in half. Set aside 10-15 cm from the obtained point up perpendicular to the stitching line - this will be the cut line of the sleeve. From the beginning of the cut, the stitching of the cuff begins and ends, the construction of the drawing of which we will consider further.

cuff construction

The cuffs may have variations in their width and the design of the corners. With a cuff width of 8 cm or more, two loops (and, accordingly, buttons) are made on it. The cuff should fit fairly snugly, but there should still be enough space between the arm and the cuff. Approximately enough so that at least a couple of fingers can be inserted under the cuff when buttoned up.

The picture above shows the different types of cuffs:

  • Cuffs with right angle (drawing b) are cut out in one piece with a fold
  • For each cuff rounded (drawings V,G) or truncated angle (Figure A) you will need to cut out two parts

The incision under the cuff can also be designed in different ways:

  • Cut, processed plank (drawings A, b)
  • In the case of a two-seam sleeve, processing is possible slit in the seam of the sleeve
  • Cut, processed by edging type (drawing G). You can find more information about this processing method in the material on the sewing technology of the shirt in question.

So, the construction of a cuff drawing includes the following steps:

Step 1 . Measure the cuff sewing line on the sleeve drawing. Construct a rectangle with a length equal to the length of the cuff sewing line on the sleeve plus 2 cm. The width of the rectangle is equal to the width of the cuff - in our case it is 5.5 cm.

Step 2 . Finish the outer edge of the cuff with rounded corners. To do this, mark points at a distance of approximately 1.5 cm vertically and horizontally from the upper corners of the rectangle. Through these points, fill out the rounding of the corners of the cuff.

Step 3 . Mark the lines of skidding of the sides of the cuff on top of each other when fastening. In the drawing, they are shown by dotted lines located at a distance of 1 cm from both edges of the cuff. At the midpoints of these segments, mark the position of the button and the corresponding buttonhole. On the left cuff, the button will be on the right side, and on the right - on the left side.

Collar construction

The collar in a shirt can be of two types:

  • Stand-up with one-piece rack(drawing A), the construction of which we have already discussed in the article on modeling
  • Stand-up with cutting stand(drawings b-d), this is the collar of our shirt model and we will consider it today

The height of the stand can vary in the collar (in the figure b shows a high rack, on V, G- racks of medium height). The higher the collar stand, the tighter it should fit around the neck. Collars with low stands and stands of medium size may lag behind the neck in a larger one (figure G), or to a lesser extent (figure V) degrees.

The degree of fit of the collar to the neck depends on the curvature of the lines of the stand. A straighter line of the stand will cause the collar to lag behind the neck, and a more concave line will ensure the collar fits snugly to the neck.

The option of a stand-up collar with a detachable stand has already been considered by us in the lesson on modeling a shirt dress, you can see it at.

The collar, the construction of which we will consider, is shown in the figure. V. Let's start by building a rack.

Rack building:

Step 1 . The basis for the construction is a rectangle with a length equal to the length of the neck, measured in the drawing, and a width equal to the height of the rack.

  • Neck length Dgor will consist of the length of the neck of the back and the length of the neck of the shelf on the drawing . That is, in fact, this is half the length of the neck of the finished product.
  • Rack Height in the classical version can be taken equal to Sun \u003d 3 - 3.5 cm. Or you can roughly calculate it using the formula Sun = Height/50. So, for a height of 170 cm, as in our example, the height of the rack will be 3.4 cm.

Step 2 . Mark a point on the long side of the rectangle a , which bisects it. And on a short one - mark the point b , which divides the side in a ratio of 4 to 3 (as an option, you can mark the middle of the segment, and then lower this point 0.5 cm down).

Step 3 . through dots a And b we will build a line for stitching a rack into the neck. To do this, through the points a And b draw a smooth line and extend it for such a distance to the point c so that the stand stitching line (shown in dark blue in the drawing) is equal in length to the length of the neck Dgor plus half the width of the strap of the clasp.

Step 4 . through the dot With let's draw a perpendicular to the stitching line of the stand. On this perpendicular, we set aside the height of the rack and draw through the points d And f a smooth line, similar to the stitching line of the stand.

Step 5 . Line segment cd divide in proportion 2 to 1, and from the point d to the left, you need to set aside at least half the width of the fastener bar (plus 0.1 - 0.3 cm), in this place we put a dot e . Through the received points from the point With to the point e let's draw a smooth ledge line of the rack.

Distance between points d And e can vary from half to the full width of the strap of the clasp. In the first case, the collar will look like in the picture V with the image of collars above and a photo of a white collar below, and in the second - as in the picture G and a photo of the black collar below.

​

Step 6 . Let's outline the line of the middle of the fastener - this is a segment that runs parallel to the segment cd at a distance of half the width of the strap of the fastener (shown in the drawing by a dotted line). In the middle of this segment, mark the position of the button (and, accordingly, the loop) with a cross.

Thus, the construction of the collar stand is completed! Line fe is the line for stitching the collar into the rack. Let's proceed to the construction of the collar itself.

Building the actual collar

Step 7 . Draw from a point e horizontal (shown in the drawing by a dotted line) and reflect the line of stitching the collar into the rack relative to it fe – received line f1 e .

Step 8 . from point f1 up we set aside the width of the departure of the collar, mark the point g . In the classic version, it is usually 5 - 6 cm. In our model, we will take the departure width 2 cm more than the height of the rack: Sho = Sun + 2 cm = 3.4 + 2 = 5.4 cm.

Step 9 . At the intersection of the horizontal from the point g and vertical from point e mark the point e1 . Set aside from it to the right horizontally about 1 cm and mark the point g1 .

Step 10 . Let's draw the lines of the end and departure of the collar. In the general case, this is done arbitrarily, based on the features of the model - the corner may be more pointed or completely rounded, the ends of the collar may be longer, etc. In our model, we will draw the collar lines as follows: connect the dots e And g1 and along this line from the point e set aside a distance equal to the departure width plus 1 cm. We mark a point in this place h . Connect the dots g And h concave smooth (almost straight) line - the collar fly-off line is obtained.

Your shirt is closer to your body. It is a staple in a women's wardrobe. No wonder this versatile top for trousers and skirts is always included in professional uniforms. A fashionable women's shirt can be fitted or loose, of any color, with a pattern you like, completely repeat the men's cut or be its diametrical opposite. The style is limited only by the imagination of the hostess or the requirements of the dress code.

It remains only to sew a shirt with your own hands and wear it with pleasure!

Step one - choose a model and fabric

Women's shirt is much freer in the choice of model, fabrics and patterns than men's. But still, it is better to sew it from natural or mixed fabrics (a little synthetic is always added to shirting fabrics so that the product retains its appearance longer and does not wrinkle). Poplin is the best choice.

If you are going to use another fabric, then pay attention to its wrinkling, you can check this by tightly squeezing the fabric in your fist for a few seconds. If the folds are quickly straightened, then this is your option. Crepes wrinkle the least.

The pattern also matters: on plain fabrics, small elements and beautiful stitching are better visible, ornaments look more advantageous in laconic models and on large figures. A classic plaid or stripe can be used not only traditionally, but also boldly combined with other prints or creatively arranged in a shirt cut.

Any silhouettes are suitable for slender ones, for a full figure it is better to choose a semi-adjacent silhouette and opaque fabrics. Just remember that satins and shiny fabrics treacherously emphasize volumes.

For office options, classic shirt fabrics (plain or with a soft pattern) and muted tones are best suited. Silhouettes are semi-adjacent or moderately loose with a minimum amount of detail and decoration. These shirts will best fit into the wardrobe of a business lady. By the way, even for the most boring office shirt, you can sew a removable frill, tie or bow tie from the same fabric and change the image depending on the situation. Women's shirts made of silk can be used as clothing for special occasions.

If the dress code is not a decree for you, then the field for experiments is not limited by anything!

Step two - pattern of a women's shirt

The most relevant thing is to sew a classic shirt with a semi-adjacent silhouette with a stand-up collar, a yoke on the back and long sleeves with cuffs. You will need a proven foundation for an adjacent silhouette. All modeling is the transfer of the chest tuck into the side seam and the modeling of the coquette by transferring the tuck into the armhole on the back.

You can find a suitable pattern in the Burda 2015-2016 Autumn-Winter magazine.

Step three - cutting and sewing

A sewing machine with a straight stitch (or elastic if the fabric is elastane), an overlock stitch (or a zigzag stitch), a good mood - that's all you need!

Be sure to wash natural fabrics before cutting, as they shrink! When buying fabrics made of cotton, silk, viscose, add 5-10 cm for an emergency. For fabrics with a pattern, another 10-15 cm will be required to be able to combine the pattern or its most successful location.

Allowances for seams and hem hem - 1.5 cm. Transfer all marks to the fabric (middle front, back, collar), mark the location of the pockets with hand stitches with contrasting threads (they are then removed).

We sew in this order:

  • we duplicate the selection, we perform tucks on the shelf;
  • we process the details of the pockets and sew them according to the markup to the shelf;
  • we connect the yoke and the detail of the back, we perform tucks;
  • we perform shoulder seams;
  • duplicate and assemble collar details;
  • we sew a collar or we make out a neck with a facing;
  • we sew sleeves;
  • we connect the lower seam of the sleeve and the side seam of the product with one seam;
  • we process and sew cuffs;
  • we perform the bending of the bottom of the product;
  • we sweep loops, sew on buttons.


Learning to sew. Nightgown (simple drawing and tailoring technology)

Hello my dear mothers of the Country of Mothers!

So, my dear mothers and grandmothers, we will learn how to sew a nightgown for our daughters, granddaughters and for ourselves!

We will need only six measurements (Fig. 1) and to help I will present an auxiliary card “The name of the measurements and how to take them correctly” (Fig. 2)

Fig.1 Table of measurements for a nightgown

Fig. 2 Name of measurements and how to take them correctly

P.S. Girls, everyone will have their own measurements, individual.

Fig. 3 Construction of a drawing, a shoulder product with one-piece sleeves

Now my dears, the easiest calculation begins to build a drawing for our future nightgown:

1) VN \u003d Di \u003d 90 (cm);
2) BB1 \u003d (Pog + Pg): 2 \u003d (35 + 7) : 2 \u003d 21 (cm);
3) HH1 = BB1;
4) BB2 \u003d (Psh: 3) + Psh \u003d (20: 3) + 1 \u003d 7.6 (cm);
5) BB3 = BB2: 3 = 7.6: 3 = 2.5 (cm);
6) BB4 = BB2 + 1 = 8.6 (cm);
7) V1G \u003d (Op: 2) + Pp \u003d 25: 2 + 6 \u003d 18.5 (cm);
B1B5 = 6 cm;
9) GG1 = B1B5 = 6 cm;
10) GG2 = GG1 = 6 cm;
11) G4 = G1G2: 2;
12) G3 = from point G4 up 1.5 cm;
13) H2H3 = 1.5 cm;
14) H1H2 = HH1: 2 = 11.5 (cm).

That's the whole calculation is easy and simple, like twice two!

Open nightgowns on fabric

Rice. 4 Open the nightgown on the fabric

My drawing completely lay down on the width of the fabric folded along the shared thread, so I decided that the nightgown would be without shoulder seams. To do this, I folded the fabric in four, i.e., first in two along the transverse thread, then again along the shared thread. I will clearly show the drawing of the structure of the fabric, so that you can understand.

The pattern is placed on the fabric folded along the front side inward with the middle to its fold and circled. Girls, don't forget about the seam allowances. I fasten the paper pattern with needles to the fabric and immediately cut it out with seam allowances along the side cut, sleeves and bottom of the shirt; I don’t make a seam allowance on the neck, because I process the neck with an oblique inlay, or as it is also called an oblique facing. If the neckline is trimmed with an undercut, then a seam allowance is needed. Both the sleeves and the bottom of the shirt can be trimmed with bias tape.

Seam allowance: bottom and sleeves - 2-3 cm; side seams - 0.5-0.7 cm; neck - 0.8-1 cm.

Girls, it is very important that the side seam allowance is 0.5-0.7 cm, no more! Otherwise, after you turn the nightgown right side out, the side seam will gather and shrink!

When opening my shirt, I cheated and saved time. I have one drawing for both the front and the back, I didn’t cut out the neck for the front on paper. I immediately put the drawing on the folded fabric, cut out the neckline of the back with seam allowances (without gaps in the seams), then laid out the cut shirt as in Fig. 4, marked point B4 with a pencil, connected the marked point with a smooth line to the neckline on the back, only then Cut out the neckline of the front of the shirt. It remains to process the sections and the nightgown is ready!

I talked about the slanting inlay and how to cut it here https://www.stranamam.ru/post/11199039/, so I’ll tell you about the undercut facing.

So, for starters, let's clarify the definitions of a sprout and a neck.

A sprout is a cutout for the neck from the shoulder sections to the middle of the back.
The neckline is a cutout for the neck from the shoulder cuts to the middle of the front.

Processing of the neck and sprout. On a sheet of paper, the neck and the sprout are circled exactly according to the pattern. From the marked lines lay 3.5-5 cm - the width of the facings and cut out the pattern. The facings cut out of the fabric are folded with the front sides inward, swept and grinded in the place of the shoulder sections with a seam 0.5-0.7 cm wide. The seams are ironed.

The finished facing is placed with the front side on the wrong side of the product so that their middles are aligned. The shoulder seams of the facing are cut off with pins with the shoulder seams of the product. The facing is basted, then attached to the product, the basting is removed. The facing is folded to the front side, sewn with running stitches to form a piping and ironed. The second cut of the facing is folded to the wrong side by 0.5 cm, basted and adjusted to the product.


We sew a shirt or blouse from A to Z.

What does the post include:
First, the easiest shirt pattern I know of.
Next: sewing, transferring tucks, video fitting, fitting, as well as many little tricks!

I wish you creative inspiration and good luck in realizing your plans.

Fitting freedom for a shirt

To begin with, I decided to pay decent attention to the additions. Please note that now we are talking about tailoring a classic shirt from non-stretch fabric.

Actually, why should we make additions to the measurements?

People tend to move, especially active girls like you, my dear subscribers. Well, let's not move, at least breathe.

Therefore, we can determine the smallest increase in freedom by measuring our chest girth by taking a deep breath. I checked, cm 2 is added to the chest girth.

Here, it's been determined. The smallest increase in chest girth is 2 cm. With such an increase, you will get the same shirt as the girls from the post "Always fashionable shirt"

But, if you plan not only to breathe in this shirt, but also to move, then the allowance for freedom of fitting to the chest circumference should be increased to 6-8 cm. We get a semi-adjacent silhouette.

For a completely loose shirt, we give an increase of 8 cm.

Now to the thighs.

The increase in freedom of fit to the circumference of the hips (we do not move this place so intensively) is usually taken 0.5 of the increase in the chest. But at least 2 cm.

I don’t give an increase to the waist, because when building, we make the waist tucks minimal, and remove the excess when trying on.

The addition to the width of the back (Ws) and to the width of the chest (Wg) is also important.

To the width of the back, you need to add from 4 cm, to the width of the chest - 80% of the increase in the width of the back.

When you start drawing a drawing, you will understand how much to make an increase in the width of the back and chest. It should correspond to the length of the shoulder and the overall width of the product in the chest area.

We make additions to the lengths only if you are sewing a very loose shirt. Then we add 0.5 cm each to Dpt (Length of the front to the waist) and Dst (Length of the back to the waist).

We will increase the width and depth of the neck after construction.

Building a shirt pattern

1. Draw a horizontal line. This is the waistline. We sign so as not to get confused.
2. Stepping back from the right edge of the paper 5 cm, we put a point on the waist line through which we draw a perpendicular. This is the mid front line.
3. We set aside from the waist up along this line of the middle of the front the measurement of Dtp (Length of the waist in front). Let's call the resulting point O.
4. Draw a perpendicular to the point O to the left.
5. On this perpendicular, set aside the value Osh (Girth of the neck): 6. Let's call the resulting point W.
6. Down from point O, set aside the depth of the neck. It is 1 cm more than the width.
7. We set aside further to the left of the W point the measurement Dp (Shoulder length). We call the point P.
8. From point P down, set aside 4 cm for the bevel of the shoulder. Let's call the point P1.
9. We draw the line ShP1. Extend a little beyond point P1.
10. From the waist down along the line of the middle of the front, set aside the value of About (hip circumference): 5.
We draw a perpendicular from the resulting point to the left. This is the hip line. We sign.
That is, the distance from the waist line to the hip line is calculated by the formula Ob:5.

1. From the middle of the front along the line of the hips, set aside the value of Ob (Girth of the hips) plus an increase in the hips: 2.
Draw a perpendicular from the obtained point. This is the middle line of the back.
2. Along the line of the middle of the back up from the waist, we set aside the measurement Dst (Length of the back to the waist). We call the resulting point O1.
3. Draw a perpendicular from point O1 to the right. Set aside the value Osh (Girth of the neck): 6. Set the point Ш1.
4. Down from the point O1 set aside 2 cm. This is the depth of the neck.
5. From the point W1 to the right, we set aside the measurement Dp (Shoulder length) plus 1 cm for landing. Let's call the point P2.
6. From point P2 down, set aside 3 cm for the bevel of the shoulder. We get point P3.
7. We draw the line Ш1 П3. On it once again set aside the measurement of Dp + 1.
8. We check whether the measurement on the drawing corresponds to Vpk (oblique shoulder height). If more, leave until fitting. The main thing is not less. If less, then reduce the bevel of the shoulder (distance P2 P3).
9. From the waistline, we set aside the measurement Wb (Height of the side). We draw a line from the middle of the back to the middle of the front. Let's sign the "line of the chest."

We calculate the width of the shelf and back along the chest line.
Og2 (Chest girth 2) plus the increase in the chest divided by 4. Now add 2 cm to the shelf, and subtract 2 cm from the back.
For example, Og2 is 100 cm. Plus an increase in the chest of 8 cm.
It turns out (100+8):4=27. The shelf width will be 27+2=29. Back width 27−2=25.
We set aside the resulting values ​​along the line of the chest.
We will call the resulting point of the width of the shelf Bp, the back - Bs. They will still be useful to us.
On the waist line, we make the shelf and back 1-1.5 cm narrower than these details at chest level.
We set aside the resulting values ​​\u200b\u200bin the waist line.

We calculate the width of the shelf and back along the hip line.
It is calculated in the same way as for the chest.
About (Hip circumference) plus the increase in the hips divided by 4. Add 2 cm to the shelf, subtract 2 cm from the back.
We postpone the resulting values ​​along the line of the hips.
We draw the line of the side, connecting the corresponding points on the line of the chest, waist and hips.

1. From the line of the middle of the shelf we draw a parallel line at a distance Tg (Center of the chest): 2.
Let this line start from the hip line and end at the shoulder line.
At the intersection of this line with the shoulder line, let's put a point G1.
2. From point G1 down to the resulting line, set aside the measurement Vg (chest height). Let's call point G.
3. From the point Г1 we set aside to the left along the line of the shoulder the value (Ог2− Ог1) + 5. Let's call the point G2. We connect the points G2 and G. The result is a chest tuck.
4. Fold the paper, closing the tuck. With a closed tuck, we continue the line of the shoulder from point W through point G1.
5. Set aside the measure Dp (Shoulder length) on the new shoulder line.
6. With a closed tuck, we postpone the measurement of Wg (chest width) plus an increase. We draw a line for postponing this measurement in the middle between the depth of the neck and the line of the side height.
7. Draw a smooth line from the point of the end of the shoulder, through the width of the front to the point Bp. This is the armhole line. This is where we will sew the sleeve.
8. Check that the armhole line is at a right angle with the shoulder line. If not, correct without reducing the shoulder length.
9. Set aside 2 cm from point D down. This is the beginning of the waist tuck of the shelf. The end of this tuck will be on the line of the hips. Set aside 1 cm at the waist on both sides of this tuck. Draw a tuck.

1. Set aside in the middle between the depth of the neck and the line of the height of the side, the measurement of Shs (Width of the back) plus an increase.
2. We draw a smooth line through the points P3, the width of the back to the point Bs.
3. Parallel to the line of the middle of the back, at a distance equal to Cg (Center of the chest): 2 -1. draw a line. This is the line of the waist tuck on the back. It goes from the line of the hips to the line of the height of the side.
4. On the waistline from this line, set aside 1 cm in both directions. Before trying on, it’s enough. We connect all sides of the tuck.

The drawing is almost ready. It remains to make small adjustments specifically for the shirt.

1. We deepen and expand the neckline by 1 cm on the shelf and on the back. This is to avoid being strangled by the collar.
2. We draw another line parallel to the line of the middle of the shelf at a distance of 6 cm. Our shirt will be fastened to the bar.

Now important! We measure and check the drawing for compliance with the measurements.

For a checkered shirt, we cannot leave the chest tuck on the shelf where it is - in the shoulder seam. It is necessary to transfer the tuck to the side seam. There, the displacement of the cell will be less noticeable.

This is done simply: draw a line from the side seam (we start 5-7 cm below the armhole) to the point where the tuck begins. We cut the pattern along this line, open a new tuck, while closing the old one. The only thing is to make a new tuck 2 cm shorter.

Here is a picture of my cut. The new tuck start point is marked with a pink dash.

If you want, you can carve coquettes on the shelves and or back. Just draw the desired yoke line on the pattern and cut.

Everything else is in order, you can start cutting.

It is more convenient, of course, to use a full shirt pattern, and not a half. If not laziness, then draw the second half of the back.

When cutting checkered fabric, we will take into account the following rules:
We place the most noticeable equity stripes in the middle of the main parts, sleeves, yokes and collars.
We place the dominant transverse stripes at the bottom or along the sleeve.
Do not put bright stripes at the level of the chest, waist or hips - they expand the silhouette.
The transverse stripes must match at the seams. It is easier to combine cells if, when cutting, lay out adjacent parts side by side. You can navigate along the bottom, you can along the waist line.
Luxurious when the cells on the shoulder seams match.
The pattern on pockets, valves must match the pattern of the parts on which they are located. If you don’t want to suffer, cut out small details and coquettes at an angle of 45 degrees. By the way, this will decorate the shirt.
If you nevertheless cut the fabric by folding it in half, often-often pin it off with pins to avoid shifting.

Important!
Having pinned the details onto the fabric, once again check the coincidence of the cells, the direction of the share, the allowances for the seams.

Building a sleeve pattern

Now about the sleeve.

1. We draw two perpendicular lines. Let's call the point of intersection O
2. Calculate the height of the eye. Measure the length of the armholes of the front and back, fold and divide by 3. For a shirt, subtract 1 from this number. For a short wide sleeve - 2 cm.
3. Put the resulting value up from point O. We get point O1
4. We calculate the sleeve width: shoulder girth (Op) plus an increase in freedom of fitting. For a shirt, this is 6-8 cm.
5. The resulting value is set aside equally on both sides of the point O. We call the resulting points P and C
6. We connect P with O1, C with O1.
7. Divide PO1 in half, and the resulting segments in half again.
8. We divide CO1 in half, the resulting segments are still in half.
9. We draw a curve from point P to point O1 with a deflection in the first half of 1.5–2 cm, in the second “bent” 1.5 cm.
10. We draw a curve from point C to point O1 with a deflection in the first half of 1 cm, in the second “bent” 1.5 cm.

Look at the drawing. I marked all these deflections and “bends” in the drawing with the corresponding numbers.

11. Set aside the length of the sleeve from point O1 down. Let's call the point H
12. On both sides of H, we distribute the width of the sleeve at the bottom equally in half.
13. We connect the resulting points with P and C, respectively.
14. We measure the size of the front part of the sleeve. This is the PO1 curve. Compare with the size of the armhole of the shelf.
15. We measure the size of the back of the sleeve. This is the CO1 curve. Compare with the size of the armhole back.

If the hem of the sleeve of the back corresponds to the armhole of the back, and the front of the rim of the sleeve corresponds to the armhole of the shelf, then that's it, the sleeve is ready.

Most often, the armhole of the shelf is smaller than the armhole of the back. Therefore, the sleeves of the front part should also be smaller. We measure how many centimeters the difference is and cut off half of this difference from the front of the sleeve, and add it to the back of the sleeve. Look at the drawing. The new outline is turquoise.

When I build on paper, I take it directly and cut off a strip from the front of the sleeve, glue it to the back.

We cut, we sweep away the details

Where to start sewing a shirt after trying on

After trying on, we make changes to the cut. First, in a pattern, it will most likely still be useful to you, and then in a cut.

1. If there are coquettes, we sew them to the main details
2. We grind tucks (chest and waist)
3. We carry out the processing of the middle cut of the shelf with a bar
4. We grind the shoulder seams, combining the pattern, we process the cut

I'll tell you a little more about the plank.

Remember, we added 6 cm to the middle of the shelf?

The simplest thing is to tuck the middle cut inside out by 1 cm and tuck it 3.5 cm again. Baste, sew on the face. That's the whole plank. You can also stitch it around the edge.

Further:
You can already decide on the size of pockets, valves, cut them out.
The top of the pocket is processed with an overlog or a hem seam with a closed cut. The side and bottom sections of the pockets are tucked and tucked.
Glue the top flap of the pocket with interlining.
We fold the upper and lower valves face to face, we chop off or sweep away, as we are used to, we grind. Trim the seam allowances step by step, cut out the corners.
Try on the shirt and decide on the location of the pockets and flaps. Baste and stitch them.

How to sew a collar with a stand

We put the pattern of the collar and the stand on the fabric folded in half, observing the direction of the shared thread and, accordingly, the pattern of the fabric, circle it once along the contour, the second - with allowances for the seams. We cut out. We check that there are 2 parts of the collar and 2 parts of the stand.

Non-woven fabric duplicates the upper collar and the upper part of the stand.

First, fold the collar parts face to face
chipping off

To make a roll along the edge of the collar, you need to chip off the parts by slightly shifting the upper part relative to the lower one. It is convenient to do this by rounding the cut on the arm. Look at the photo below.

We grind the details of the collar, we sew along the smaller bottom part
make a step cut to reduce the thickness of the seam allowances
trimming the corners
turn inside out
we sweep
fold the collar in half - check the "sameness" of the left and right corners
we sew on the edge or on the foot
ironing

Here is a photo where the roll of the front part to the inside is clearly visible.

We pin a stand to the collar, stitch it.
Please note: we apply the inner side of the stand to the front side of the collar, and the outer side to the wrong side. For accuracy, we start cleaving from the middle.

Stepwise trim the seam allowances of the rack

We turn inside out
we sweep
check for the "sameness" of the left and right sides

Here is my collar. I made the lower part of the collar and the stand from a different fabric.

We attach the collar stand with the outer side to the front of the shirt, pin it with pins, stitch it.
We pin the inner side of the rack to the wrong side of the shirt, carefully tack, stitch.

Consider a finished men's shirt. See how neatly the rack is sewn to the neck?
Do you think it's all about the professionalism of seamstresses? Not only. There is a little secret here. Now I will tell you.
Before attaching the stand to the collar, a turn is made on the inner part of the stand to the width of the allowance. The allowance is wrapped, with which the stand is attached to the neck. It needs to be swept or stitched on the wrong side. We begin to process the rack with the turn already made.
This will allow in the future to carefully and easily stitch the stand to the neck.

Finishing the shirt

If you have sleeves, then:

Pin and sew the sleeves, matching the mid-point of the sleeve and the shoulder seam.
Sew side seam and sleeve seam with one stitch.

I have a sleeveless shirt, and the armholes will be turned over.

If you also sew a shirt without a sleeve, then:

Cut out a rudder (oblique trim) 4 cm wide. Fold it in half, sweep it in this form to secure.

Pin, stitch the handlebar to the armhole in the face

Turn inside out, baste, stitch neatly along the edge of the roll

Are your pockets ready?

No? Let's get ready.

Overlay the top of the pocket, turn inside out, stitch. Turn the remaining sides of the pocket inside out, sweep. Pin the finished pockets in place, baste, stitch.

Fold the cut flaps face to face. Chip, making a small overlap of the upper part of the valve on the lower one, so that later you get a pretty roll, grind.

Trim the seam allowances in steps, trim the corners.

Turn out, sweep out, making the roll of the upper part of the valve to the lower. Sew the flap of the pocket "to the edge" or "on the foot". Iron. Pin the valves in place, stitch.

Stitch side seams, overlay
Pin the seam allowance with a few stitches at the underarms towards the front.
Overlay the bottom of the shirt, tuck 1 cm, sweep, stitch.
Put loops, sew buttons.

The shirt is ready!

Shirt dress: patterns and description

A shirt dress is a very simple thing, but very necessary and multifunctional. In another way, it is also called a safari dress, however, in order for it to fully correspond to the safari style, you need to sew it from materials of sand, beige or khaki colors. In general, depending on the texture and color of the fabric, this product can become clothing for any occasion. Today I want to offer patterns of a shirt dress of the simplest style. Patterns can be downloaded at the end of the article.

How to sew a shirt dress

Here is a shirt dress we will sew today

What will be required:

  • 1.65 x 1.50 m of striped cotton,
  • 0.10 x 1.50 m of white cotton,
  • 13 buttons
  • Lightweight adhesive padding.

Cut out from the material in a strip:

  • Before - 2 parts(the allowance on the bottom, with the exception of the section of the curly slots, should be 4 cm)
  • Fastening strap on the right side of the front - 1 item
  • Back - 1 item(the fold runs in the middle, allowances along the bottom and along the edges of the slot should be 4 cm each)
  • Back yoke - 1 item with a fold in the midline
  • Collar - 2 parts with a fold
  • Collar stand - 2 parts with a fold
  • Sleeve - 2 parts
  • Facing curly slots front - 2 parts(copy from part 1)
  • 2 rectangle 12 x 17 cm plus allowances (for patch front pocket)
  • 2 rectangle 8 x 24 cm plus allowances (for cuffs)
  • 2 inlays 2 x 16 cm plus allowances

(for edging the fastener of the sleeve) Cut out from the material of white color:

  • Cut piece 2 along the line D-E and cut out 1 time (fastening strap of the left side of the front)
  • Two rectangles 4 x 20 cm plus allowances (for pat sleeves)

Sewing a shirt dress

Duplicate the fastener straps, cuffs half as wide, the sleeve pats also up to half as wide, and one detail each of the collar and collar stand with adhesive cushioning material.

Plan for gluing pattern sheets

Work on the chest darts.

Finish patch pockets on the front.

Lay and cover the folds along the upper cut of the back. Sew the back yoke to the upper cut, iron the seam on the yoke and stitch to the edge.

Work the bottom of the back and the edges of the vent with a folded seam with a closed cut, notch the allowances on the side. cuts at the end of the slot.

Process the curly slots in front: iron the transverse sections of the facing inside out. Place the facing on the faces. side of the front according to the markup down the faces. side and overstitch the front vent, sewing along the seam line. Trim the seam to 5 mm, notch the allowances at regular intervals in the figured area. Notch the seam allowance at the end of the side facing stitch. lines. Bend the facing inside out, straighten the turned edge. Iron the inside edge of the facing inside out and topstitch the fold while sewing the open section of the hem in front with a closed-side hem seam.

Work the right band of the hidden fastener and the stitched band of the left side of the fastener.

Process the shoulder seams, and then the side seams of the shirt dress. Perform cross bartacks at the top ends of the slots.

Work the pats of the sleeves: fold the part with the right side inward and cut one end of the pat in the form of an angle. Turn the longitudinal and one transverse (in the form of an angle) sections of the stalemate. Trim the seam to 5 mm, turn the part inside out. side, straighten the edges, fold the open cross. cut inward and sweep the folds. Sew along the perimeter of the stalemate the finishing line, stitching the swept folds. At the curly end of the stalemate, overcast the loop.

The next step is to stitch the pats on the inside of the sleeves. On the front side, sew a button on the sleeve at the place where the patty was attached.

Now process the longitudinal seams of the sleeves.

Proceed to the processing of sleeves with cuffs and fasteners: fasten on each sleeve: cut the sleeve along the marked line and process them with a piping seam (you can sew the sections of the fastener inside out). If necessary, according to the model, gather the sleeves along the lower sections or lay pleats along the lower sections of the sleeves. Fold each cuff right side in and overstitch the ends (or according to model: fold the pieces of each cuff right sides in and overstitch the underside and ends); turn out, straighten the seams, corners; iron The outer sides of the cuffs are sewn to the cuts of the sleeves, the cuts of the inner sides of the cuffs are folded inward and stitched into the stitching seams, ironed.

Sew sleeves into armholes.

Process a turn-down collar with a detachable stand (shirt type).

Overcast buttonholes at the right end of the collar stand (on the placket the buttonholes were overcast during processing), at the ends of the cuffs. Sew on the buttons according to the buttonholes.

Sew thread loops on the side seams of the product at the level of the waistline for a braided strap.

According to Patrones magazine 11-2016

Download shirt dress patterns:

The patterns are made in the RedCafe program, I wrote more about how to work with it in this article. Print the pattern at 100% scale.


Nightdress. Construction of a pattern. Step-by-step instruction.

In addition to its direct purpose, clothing should bring aesthetic pleasure, even if we are talking about a nightgown.
And in the bedroom you can feel queen, regardless of who is nearby. Even if today you fall asleep alone, what you are wearing should contribute to a good mood, and therefore to excellent health, which in turn nourishes a sense of self-confidence, gives strength and gives inspiration.

Continuing the theme of clothes for the house, let's create a nightgown. The style is simple, and we can achieve the splendor of appearance through the successful selection of fabric and finishing materials (lace, stitching, braid, contrasting inlay, etc.). Indeed, for this type of clothing, the main thing is to fulfill the requirement of comfort, which is achieved by using natural fabrics and a free cut.

When designing women's underwear, namely nightgowns, allowances for loose fit increase. For example, an increase along the chest line can reach 10 cm or more. Therefore, it is possible to build a new base pattern specifically for nightgowns, taking into account the increased increments. This base can still come in handy for modeling loose-fitting home dressing gowns.

But, there is another option. In our example, we will consider the average version and use dress pattern, and we will achieve freedom in fitting due to assemblies.
If you have not yet built a dress pattern for yourself, we recommend that you use our step-by-step instructions and do it. You will need this drawing in the future when mastering the modeling of various types and styles of clothing.

We copy on a blank sheet of paper separately the back and shelf.

Lateral line.
Since we are building a pattern for a loose-fitting nightgown, the side lines need to be aligned. To ensure freedom of movement, we will slightly expand the shirt along the bottom line.
Let's start from the back.
To do this, along the line of the bottom of the back from the point H4 to the right, set aside 6 - 10 cm and set the point H5. We connect points P and H5 with a straight line.
On the line of the middle of the backrest down from point H, set aside 1 - 2 cm, set point 1 and adjust the line of the bottom of the backrest by connecting points 1 and H5 with a smooth curve.

We will do the same manipulations with the shelf.
On the line of the bottom of the shelf from the point H3 to the left, set aside 6 - 10 cm and set H6. We connect points P and H6 with a straight line.
We also correct the line of the bottom of the shelf.

Neckline

We expand and deepen the neck of the shelf and back. The configuration of the neckline can be the most diverse. The choice is yours.
In our model, we will expand and deepen the neckline by 2cm.

To do this, we set aside 2 cm along the shoulder line and along the middle lines of the shelves and back and draw up a new neck line.

Armhole.

To ensure freedom, let's deepen the armhole a little.

From the point P down the side sections of the shelf and back, set aside 1-2 cm, put points P1 on the back and P2 on the shelf. We make a new armhole line.

Shelf.
At the time of building the coquette, we will transfer the chest tuck to the side line. To do this, we arbitrarily put a point on the side line, in the drawing this is point P3, connect it to the top of the chest tuck (G7) with a straight line and make a cut along this line. We close the chest tuck, opening it to the side line.

Shelf coquette.
Determine the location of the coquette line of the shelf.
You remember that our example is one of many possible options. You proceed from your desires and intentions.
The coquette line can be of different configurations and located at different heights.

From the neck, extending the line of the shoulder of the shelf, set aside 14 cm, set the point K. On the midline from the neck down, set aside 10 cm, set the point K1. Connecting the smooth curve of the points K and K1, we draw up the line of the coquette of the shelf.

At the intersection of the yoke line with the armhole line, we set a control point, denote it with the letter O. When cutting the yoke, we will definitely make a notch on the yoke at this point, thus marking the junction of the yoke with the shelf.


We return the chest tuck to its original position.

Parallel to the middle line of the shelf with an interval of 7 cm, we draw two auxiliary lines, along which we cut and push the shelf apart by the size of the assemblies. In our example, the total increase in assemblies is 10 cm. (Two cuts of 5 cm).

Glue paper inserts from below to fix all parts of the shelf.
You can lay out the pattern immediately on the fabric, observing the distance between the parts of the shelf, chalk and cut. Don't forget to add seam allowances.
We draw the upper cut of the shelf with a smooth line.

Back.
back yoke we build in the same way as on the shelf. From the neck, extending the shoulder line of the back, set aside 14 cm. Let's not forget to take into account the tuck 2cm, the total is 16cm and put the point K2.
On the midline of the back from the neck down, set aside 12 cm and set the point K3. We connect the points K2 and K3 with a smooth curve, thereby making out the line of the coquette of the back.

At the intersection of the yoke line with the armhole line, we put a control point, denote it by the letter O1. When cutting the yoke, be sure to make a notch on the yoke at this point, thus marking the junction of the yoke with the back.

Cut off the yoke and set aside.

For the formation of assemblies, we expand the back in the same way as the shelf.
Parallel to the middle line of the back, with an interval of 6 cm, we draw two auxiliary lines, along which we cut and push the back to the size of the assemblies. In our example, the total increase in assemblies is 8cm. (Two cuts of 4cm each).

Glue paper inserts from below to fix all parts of the back. Or immediately lay out the pattern on the fabric, observing the distance between the parts of the pattern. Don't forget to add seam allowances.
The upper cut of the backrest will be drawn with a smooth curve.

That, perhaps, is all. The main patterns of the nightgown are ready.

As a finish, you can add a frill or frill along the edge of the yoke and along the bottom of the shirt. With different frill widths, we get different models.
You can add lace, piping, embroidery, etc. Give free rein to your imagination. Create and enjoy the fruits of your labor.

There is a huge variety of styles of nightgowns. We will cover some of them in our next articles.

We are also preparing a separate section on the intricacies of cutting and the features of the technology for processing garments.

In the near future we will continue the theme of home clothes. Follow site news subscribe to our news feed and you will always be up to date.

Good luck! Valentina Nivina.

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Patterns of nightgowns for women

In bedding stores you can find a variety of models of bedding in all colors of the rainbow. Many women consider the most comfortable sleepwear not a drop of Chanel No. 5, as Marilyn Monroe once joked, but a night dress, that is, a shirt, or a shirt made of soft and cozy fabric.

Nightgowns, as you know, do not happen much. Warm, light, puritanical and sexy, bought for the occasion, given as a gift by a mother or a friend - they all meet, or at least should meet one common criterion - they must be comfortable.

What is a regular nightgown pattern?

A nightdress is a loose dress of a simple style, decorated with lace, braid, flounces or appliqués. The length can be different - from products to the floor to an extremely short mini. If you carefully study the patterns of nightgowns that are found in magazines, you will notice that they do not differ in the complexity of the cut. The main details that make up these wardrobe items are a shelf, a back and a sleeve.

Try to sew a nightgown with your own hands. Patterns of the most complex models with yokes, polo fasteners, collars, cuffs, various ruffles and frills do not really require special skills in modeling, however, the implementation of these details requires a lot of time, great experience and skill.

Model with adjustable straps

A very simple pattern of a nightgown with straps consists of only two parts - a shelf and a back. This model has many options. One of the most successful is two trapezoidal panels with drawstrings along the upper edge. A ribbon is threaded into these drawstrings. The photo clearly shows what a nightgown with long ribbon straps looks like. The length of such elements is easily adjustable, because they are not sewn, but tied near the shoulder. On the bottom of the product, you can sew flounces, like our models, or lace. If you sew from non-elastic fabric - chintz, calico or silk, then select the appropriate lace. Elastic lace is only suitable for knitted fabrics.

Universal pattern

The pattern of the simple sleeved nightgown you see above is a one-size-fits-all pattern for all sizes and body types. It consists of two parts with a fold. The sleeve is one-piece, with a straight line of the shoulder. Nightgown patterns like this one are very handy for modeling. On the pattern, you can draw a yoke of arbitrary shape, cut it off, and increase the shelf by 4-6 cm. The yoke, as well as the collar, clasp and cuffs, is always made double. In some cases, one of the parts on the inside is additionally duplicated with a thin non-woven lining. This is done for the reason that the yoke carries a double load - parts of increased width are sewn to it, that is, heavier ones. So that the yoke and connecting seams do not deform, it is always strengthened.

If you don’t want to mess around with a yoke, but like spacious nightwear, then simply place the line of the middle of the front not on the fold of the fabric, but stepping back 2-3 cm. Trim the neckline with a drawstring into which you thread the elastic band.

In the same way, you can increase the width of the sleeve by adding an overlap from under the yoke in the shoulder area. At the bottom of the sleeve, you can make a drawstring, thread a ribbon into it and pick it up like a flashlight. The puffy sleeve ending in a frill looks very nice. No less beautiful is the free wide sleeve, along the edge of which lace is sewn. This option is especially well obtained from thin and softly draped cotton or silk fabrics.

Taking measurements

Tailoring a nightgown is a simple matter, since this thing does not require an exact fit. With a standard physique, it is enough to take only two measurements - the circumference of the chest and the length of the product.

The length of the product is measured along the back from the seventh cervical vertebrae to the bottom of the shirt.

The circumference of the chest is measured with a centimeter tape along the most protruding points of the chest and shoulder blades. To build a pattern, you need to divide the value of the circumference of the chest in half. Let's say the circumference of the chest is 100 cm, which means that half is 50 cm. The width of the shirt is 50 cm plus an increase in loose fit and seams.

An additional measure to improve the pattern for a corpulent figure

The pattern of a nightgown for overweight women requires one more measurement - this is the circumference of the sleeve. The measurement is made with a centimeter tape around the widest part of the arm. When measuring, the measuring tape should fit snugly enough to the body, but not pinch it. Our grandmothers' nightgown patterns often contained small rectangular or diamond-shaped pieces. These are gussets. They were sewn under the arm so that the sleeve did not tear in this place, because there the fabric experiences the greatest tension and breaks first. The sewn-in gusset significantly extends the service life of the shirt. Generally speaking, a gusset under the arm, even for a slender woman, will serve as a detail that provides additional comfort.

Calculation of the amount of fabric

For sewing a shirt with one-piece sleeves with a fabric width of about one and a half meters, two lengths of the product are required. If you plan to decorate with frills or ruffles, then when calculating, you should keep in mind: the length of this part should be three times longer than the one on which it is sewn. In addition, allowances for seams and hem should be added, as well as possible shrinkage if the fabric is made of cotton or viscose.

Knitwear or textile?

Before buying fabric, think about what material you want to sew your own nightgown from. The patterns presented in our article are suitable for all sizes and types of figures, however, the allowance for free fit depends on the type of material from which the item will be sewn.

Knitted fabrics tend to warp. During operation, after several washes, your shirt can stretch a lot in width. Therefore, do not make it too loose and short. As for static cotton fabrics, they are very resistant to stretching, however, the shirt will bring discomfort and will quickly tear if it is cut according to a pattern intended for knitwear. Therefore, patterns of nightgowns for women, which can be found in fashion magazines, are always built taking into account this feature of the material. Never use a static woven fabric if the model description states that it is made of knitwear.

When choosing a style, the composition of the fabric is important

For nightwear, fabrics made from natural fibers are most suitable. Silk, due to the silky structure of the threads, is often fragile at the seams. Patterns of nightgowns made of this fabric should not be replete with complex set-in elements. It is most correct to opt for one of the models that are described in detail in this article as universal, that is, consisting of one or two parts. One piece shirt in front of you. It is done with only two seams. The linen seam is the most durable, so it is most suitable for sewing the front and back of a nightgown made of slippery silk.

Linen seam technology

This seam is performed in the same way as the French one. The two parts are folded with the wrong sides inward, and the front sides outward, and grinded. The seam is ironed. This is done in order to stabilize it. After the allowance is cut to a width of 3-4 mm. Then the part is laid out on the ironing board with the seam allowance up. Details are located on both sides of it. With the help of an iron, the seam is bent and ironed onto one of the parts. After completing this action, fold the part along the seam already with the front side inward, and the wrong side outward. Iron the seam. Lay a line, stepping back from the edge of 5 mm. Iron out the seam.

Linen seam for children's nightgown

This type of seam, made on the front side, was previously used when sewing children's clothing. It does not fray and looks very neat, and its main advantage is that it does not rub the delicate skin of the child. A nightgown for a girl (the pattern is suitable for one that has a one-piece sleeve), sewn with a linen seam outward, will be very comfortable, and the original seam will serve as an additional decoration for the shirt.

Instead of hemming along the bottom of the sleeves, you can make pseudo-cuffs and trim them with a piping from a finished cotton inlay, cut along an oblique thread and ironed along both sides. The hem of the shirt and the neck can be sheathed with the same inlay. A large neckline on a children's shirt is not a good option. It is better to make it almost under the neck, and to thread the head, leave a straight cut in the middle of the shelf. It should be processed with an oblique inlay. The same or contrasting trim should be sewn along the neckline, leaving the ends about 20 cm long to protrude. These are ties.

Flannel Exclusive

This fabric is a recognized leader among materials for home wear. Knitwear is currently the most popular fabric, but warm, soft and fluffy flannel will not leave the top positions in the ranking of options for pajamas and nightgowns. Bright colors and a variety of patterns allow you to choose the material for every taste.

When buying fabric, remember: it is most comfortable to sleep in linen made from natural material. Follow the recommendations given in our article, and your collection of nightwear bought in a specialized store will be replenished with an exclusive nightgown. With your own hands, make the patterns that you saw in our article in reserve, because they are considered the most suitable for making nightwear for both adult women and little girls.

Sewing a nightgown is very pleasant and interesting. Neither changeable fashion, nor the lack of special education can be an obstacle to the implementation of this venture, because the thing is not intended for prying eyes.