Clothing design. Books on sewing
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Hello dear readers!
Without a competent cut, any clothes look unsightly - a poor fit on the figure, creases or fabric tension - all this spoils appearance sewn product.
Therefore, in the process of creating clothes, the leading role is played by the design of clothes, the main task of which is to ensure the correct fit of the product on the figure.
Clothing design- this is the development of drawings of details (lacala) of clothing for an individual or typical figure. The connected parts of the product are called construction
. For example: the shelf, back and sleeves are the details,
and a blouse is a construction of connected parts of the front, back and sleeves.
Clothing design arose with the advent of tailored clothing. The simplest design was considered to be the clothes of the ancient Greeks and Romans, which consisted of pieces of fabric of various lengths and widths.
The development of the cut began with the creation of tight-fitting clothing to distinguish between male and female beauty. The garment has side seams and a center seam on the back.
With the development of man and society, the forms and styles of clothing improved, systems and methods of cutting arose in design. Today, in the clothing industry, there are dozens of design methods that can be roughly divided into three categories:
Settlement-graphic method
engineering method.
Fake method is a way of creating clothes by laying out fabric on a human figure or on a mannequin. A product is formed from a piece of fabric (often this muslin fabric) according to an artistic design, giving the product a shape due to folds or tucks, cutting off excess fabric, marking the position of constructive lines and thus obtaining patterns. This technique allows you to build cut details for a specific human figure, taking into account all its features.
The dummy method is considered costly, as a large amount of tissue is cut off.
At the core engineering method lies the principle of unfolding volumetric surfaces onto a plane, i.e., a drawing of a clothing design is an unfolded shell of a future product. To give you an idea of what a surface unfolding is, look at the picture of unfolded geometric surfaces.
But not all surfaces can be turned onto a plane, so they resort to the method of folds and tearing the surface - in the design of clothes, these are tucks, seams, bracing or sutyuzhka of fabric. There are several clothing engineering techniques that differ in how the surfaces are deployed. Engineering techniques are used in the three-dimensional design of clothing, which allows you to unfold surfaces on the monitor screen and get ready-made drawings of clothing details.
The engineering design method is mainly used for scientific research, solving problems of existing methods and for developing designs for mass-produced products.
All methods of designing clothes differ in the accuracy of the cut, engineering methods are among the most accurate. Clothing designs are developed by designers who have knowledge of anatomy and anthropometry, clothing design methods, understand the physical and mechanical properties of fabrics, and much more. As a rule, professional designers work in mass-produced clothing factories, fashion houses, ateliers and author's workshops.
AT individual tailoring most often, the design of clothing is not developed due to the fact that many clothing models do not have significant differences in the design of the main details, cut, they differ only in model features.
And a large number of clothing models can be represented by a limited number of basic designs. Therefore, in individual tailoring, the calculation-graphic method is most often used, in which many methods have been developed for creating basic structures. And already the basic patterns are modeled in accordance with the model features of the future product.
clothing modeling- this is a change in the design lines of the basic drawing of the product under new model any complexity.
Construction lines- these are the contour lines of parts (mainly seams), dividing the surface of clothing into separate parts (parts), creating its three-dimensional shape and characterizing its appearance.
The essential difference between designing and modeling clothes is that in modeling, the design drawing is not built, but modified. I will give as an example my modeling experience using a drawing and the laws of modeling, I received three completely different dresses.
Summing up the above, I would like to add that, of course, having a special education in the design of clothes gives a big plus, but for beginners to sew and for those who just sew for themselves, it is more convenient and easier to use existing calculation and graphic methods - take measurements and substitute them into formulas on the basis of which to build a drawing. But a natural question arises: what method to choose to build the basic structure? Any experienced seamstress will tell you that it is best to use several techniques. For example, many use the EMKO method for sewing shoulder products, and “Muller and Son” for waist products, while someone even combines several methods to build one design. But I found the best answer to this question in Oksana Tsareva's blog, where she talked about her thesis, in which one of the points was a comparative analysis of various clothing design methods. Having selected the five most popular methods, Oksana used them to build the design of the same model of clothing and sew it on the same person. In the end, it was impossible to distinguish the finished clothing models by what method they were cut, and the fit in all cases was almost the same. Therefore, it is not so important by which method you will build the basic patterns, it is much more important - take measurements correctly, determine the type of figure and make the right allowances for loose fit.
As the blog fills up, I will try to consider several methods for building various basic structures, but for now you can use Tatyana Roslyakova's method to build.
The client's boyfriend is Othello. You see, he doesn’t like that the dress he bought shows through, he forced him to put the dress on a lining. She came to me upset with a piece of lining fabric. And then I remembered Elena Vasilievna's dress. The back of the dress is open, and this style suits our needs very well.
It looks a little like a lining, I'll call it an underdress.
My aunt is a little overweight for this dress, but I'm not sure that the girl will agree to be photographed in a negligee, so she pulled it on a mannequin. The back is not sewn up yet, it may have to be adjusted, it has not yet been measured. 
At first, the client wanted something that would be sewn on the shoulders, but when she saw this dress, she decided to sew an independent product.
At the back there was not enough fabric, i.e. The layout did not fit, so I sewed a crease in a step
And here are the manipulations with the cut. The blue outline is this dress. 
By the way, we forgot about this dress in vain. It's summer now, and this is one of those masterpieces that can be sewn in minutes, depending on the finish. One seam, four tucks, the rest is processing.
Is there an ideal technique for designing clothes?
Let's figure it out.
Dear guests of my blog, thank you for your letters with questions. It is interesting for me to communicate with you, alive and not indifferent.
I received several questions about the choice of clothing design methodology:
“... Now there are a lot of them, and I would like to hear the answer of a professional - using what technique you can achieve a perfect fit, so that you can correct as few errors as possible when trying on. The books are very hard to learn, I don't know if it's worth studying them further.”
“... I really like watching your work, you always inspire me to new feats! Thank you for this! I really want to learn how to build all my models in the same way, please advise which method is better to use, what do you use?”
In no way do I pretend to be a guru, but I will answer based on my experience.
Which design method to choose?
- Don't look for the perfect method. The search for a methodology without errors is doomed to failure, like the search for philosopher's stone. With any technique, designing a round to a flat one will have errors.
- Choose any method. All techniques are based on the same principle: measure the figure and put constructive segments on paper. They differ only in the sequence of drawing these segments on the drawing, by and large. In other words, if you look at the drawing and understand that any pencil segment corresponds to a specific measurement on the body, then you will build easily and naturally.
Why beginners give in to learning design.
The fact is that the textbooks are written in heavy condo language. Beginners are deterred by textbook dry presentation, long formulas and terrible graphics in textbooks. You need to sit with a pencil in your hands and slowly, paragraph by paragraph, flipping back and forth from text to picture, losing the thread of presentation, etc.
I earnestly ask you not to complicate the process of creating a pattern.
Everything is simple, in fact, everything is very simple. Much easier than unbending integrals, and than it is seen at the start of mastering the material.
Sit yourself at the table and, slowly, with a “millimeter”, a scale ruler and a calculator in your hands, go through the construction from start to finish. First on a draft, and then go to a Whatman sheet and build in life size.
Sew off the probe, make adjustments - and they will certainly be.
Build 2-3 times, after which you will remember the technique, understand and love this one, your own. And you will tell beginners that it is your LinJacs or Mullers that give the coolest results.
The ideal technique is the one you are used to. Start with a simple "lining", without any increase in freedom of movement.
Why are there many errors in the construction.
It is not the design system that is to blame, but your mistakes when taking measurements.
Start learning the technique with the rules for measuring a figure.
how to measure the figure correctly?
You need to understand that each measurement is a certain segment in the future drawing. And vice versa: each segment in the drawing is a specific physical measure of your figure.
In other words, you can’t thoughtlessly measure a figure, guided by a cold description in the methodology and without understanding the physical meaning.
The most basic measurements in which novice designers are mistaken.
Failure #1:
1. These are measurements of the width of the back (SHS), the width of the chest (SHG) and the width of the armhole (SHPr) - the so-called horizontal balance of the product.
It would seem that these are the simplest basic measurements, but beginners make mistakes in 90% of cases.
Take two pieces of string or elastic band. Tie them around your chest.
One - above the chest (measuring OG 1), and the second - exactly at the most convex points of the chest. The so-called measurement of OG 3 according to the EMKO SEV system.
The names of the measures may vary in different methods, but their essence is unchanged.
Now look at the ropes with the designer's eye and mark on them with a marker where the armhole ends and the width of the back and chest begins. I suggest: where the axillary folds, there are the borders of the armhole.
Now measure:
1) (SHS) back width
2) (Whg) chest width along the upper rope (for Og1)
3) ShGk. chest width control (according to Og3). Even if this measurement is not in your method, take it anyway.
4) SPR - the width of the armhole. Even if there is no measurement according to the method, take pictures. The ruler clamped under the arm will help you.
Now add up the values: SHGcontrol + SHS + Shpr + Shpr. You should get a full size measurement of the chest girth of OG3. Did the formula fit? Excellent.
Didn't agree? Measure again and look for the error.
When you build a drawing, use control measurements, correct the drawing, and you will be happy in the form of a product balanced in width.
½ SHK + ½ SH + Shpr - This is the width of the base grid of your drawing. For now, we are talking about building a “skinny”, i.e. the base base of the bodice without allowances for a loose fit.
Failure #2
Measurements of the front-back balance of the product are taken incorrectly. There are more mistakes here.
Waist Front Length (DTP) and Back Waist Length (DTS1 and DTS 2).
What will help to make the measurements correctly correctly: mentally draw the shoulder seam on the figure. Evaluate like a designer, not like a novice designer.
You can put a strip of paper under your bra strap and mark the base of the neck not to get lost.
Tie an elastic band around your waist and let it lie on the anatomical line, and not on the principle of "I love a low waist." If you move and twist, then the elastic will find a comfortable position for it.
Measure TPA and RTA in the same way: from the bottom of the elastic band or from the top and exactly to the point of the base of the neck, which you marked with a marker.
Believe me, it is very easy to go astray, and even an error of half a centimeter will upset the balance.
front length to waist, bust height
I start building drawings from the waist line, and not from the top corner. Yes, it does not matter, in fact, from what point to start building. But it is necessary to control the length of the back and the length of the front to the waist.
How to fix an incorrect product balance.
Creases in the side seams on the back or shelf are the wrong balance. The easiest fix and the most effective one is to open the side seam and let the product lie down as it asks. Connect, chop off the side seams right on the figure. Make sure that the half-skid lines of the shelf (middle front) are vertical to the floor and line up well.
Sometimes creases on the shelf are obtained due to insufficient solution chest tuck.
With a tattoo, you can easily fix any construction defect. Pin additional tucks on the layout where they are “asked”, and then make corrections to the drawing and unmodel.
Sew off samples while you feel insecure.
Failure #3.
Armhole depth. It is easy to deepen it, but if it is “plowed”, then it is more difficult to fix it. Try to make a control measurement not of the depth of the armhole, but of the length of the side - from the waist line to the armpit, taking into account 1-1.5 cm for freedom of movement.
Why study other methods?
Not to find the best school, but to "form" the head. Almost all experienced designers, having studied several building systems, stop at their "hodgepodge". In each of the methods there is something curious and rational.
I like the distribution of waist tucks in the Zlachevskaya school, taking into account personal anatomical curves, and not in an average way, as in other methods.
I really like Muller's beautiful shoulder girdle. European-style elegant, that's what I take as the basis for building in my practice.
I don’t like Muller’s wide shoulder line, so I don’t take the measurement of the SP, but the anatomical one, which I measured
If skirts, then Zlachevskaya, no options. Trousers - Muller, but other methods are also praised.
I never built according to Lin-Jacques, because I, as in that rhyme, “but he didn’t touch the penguin, he immediately came out well.” My method suits me just fine.
But I only heard positive reviews from practitioners Lin-Jacques.
What do you want to say old school methods.
Out of curiosity, I studied several notes from the series “we were given this at the school 40 years ago.”
By and large, the base-lining can be built according to any system, but real design begins when the model has allowances for free fit (and you need to build immediately with them in mind!)
So, according to the old Soviet methods, I get ... Soviet clothes.
It seems that “the suit is sitting”, the balance is in place, but it still pulls to “finish with a file” the tight uncomfortable clothes.
Using outdated methods, outdated patterns are obtained, but you want beautiful ones. The fact is that craftsmen with extensive experience design already "by eye", right on the fabric and the beauty of the future thing they see, without even touching the scissors.
But if you choose a methodology for yourself here and now, then I advise you not to take old Soviet textbooks, but to turn to modern schools. Fortunately, there is no shortage of them - for every taste and budget.
It is quite possible to go along the path of ready-made patterns. But how much wider are the possibilities when you know how to build basic structures!
I believe that I touched on a dangerous topic, in which many have something to say. Well, I'm ready to hear your opinion.
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this is called stealing from a colleague, although Grinshpan hardly considers Kryuchkova a colleague. I don’t know how it is customary for you, but rewriting methods without indicating the source or author seems to be not considered the norm anywhere. and it is good that in the person of Kryuchkova such people received a warning.
concept of the OFFICIAL technique does not exist. the book says "approved by the Ministry of Defense of the Russian Federation as a textbook," but this does not mean that this book will be taught.
now a new concept: the traditional method.
traditional methods (we have a tradition on December 31, we build according to the traditional method) is still unknown to me. if you take Grynszpan's technique, then he did it as a service assignment, the goal was to create a simplified technique for the cutters of the atelier so that they could build a design for an individual figure with a decent fit without a lot of calculations. those. This is a studio technique. there is a method of tsotshl, there are methods for extras.
discussion on the Methodology of another view:
"I began to measure SRs and SRs" does not describe how they are used. in the size of the SHPS there is a neck tap and a piece of the shoulder tuck, depending on the measurement line (the amount of cervical fat deposits, the angle of inclination at the cervical point, etc.). this size feature is not considered "reliable" and can be used as a control.
It would be nice to see how it is used in the technique.
take sleeve.
A math teacher with a university degree in theoretical physics is well aware that a theory built on wrong initial assumptions is usually wrong. the basis of reasoning is "A sleeve, this is a development of a cylinder cut off (mathematicians say - truncated) at a certain angle. (CUT ANGLE, this is the angle between the section plane and the axis of rotation of the cylinder).".
the sleeve is not a cylinder or other surface of revolution. the armhole is not a section of the sleeve surface (there is a sleeve fit and an armhole fit). the armhole is not an ellipse (imagine a size 60 armhole). you can not draw the sleeve sleeve in isolation from the armhole, and the armhole in isolation from the size and model features. a table for sleeves separate from the armhole is (sorry) nonsense.
I won't argue over paper cups.
but in the human body there is not a single surface of revolution. look at the horizontal sections of the body in the tutorials mentioned earlier.
by classification:
"the spine has the shape of a sinusoid and has four PHYSIOLOGICAL curvatures:"
All the same, a sinusoid, among other things, has a constant period and amplitude. and the spine does not look like it at all (but there are two humps ...).
we are waiting for the continuation