Half girths (we divide girth measurements in half and get half girths):

Rice. 1

Ssh - half neck circumference
Сг1 - half chest circumference first
Сr2 - half chest circumference second
Сг3 - half chest circumference third
St - half waist circumference
Sat - half hip circumference

Lengths:

Rice. 2

Di - product length
DP - shoulder length
Lts - back length to waist
Accident - shelf length to waist

Rice. 3

Widths:

Shp - shoulder width
Shg - chest width
Shs - back width

Rice. 4

Heights:

Vpkg - shoulder height oblique chest

Rice. 5

Vpks - shoulder height oblique back

Rice. 6

Vg - chest height

We take measurements from the figure according to Figures 1−4. When taking measurements of the chest, waist, and hips, you need to pay special attention to the fact that the measuring tape should be positioned strictly horizontally at the narrowest/widest point (depending on the measurement). When removing the girths, you do not need to tighten the tape, as this may lead to narrowing of the product. The most difficult task at this stage is to correctly measure the height of the back and front, as well as determine the designed line of the shoulder seam.

Increases in looseness of fit

The increases depend on the type of fabric, its elasticity, as well as the desired freedom of the product, and this must be taken into account when constructing. For example, we will take average values. We also need to take into account that we use increments to build half of the product.

For an example of how to build a dress, we will take size 48 (this is size 96.0 cm across the chest) for height 164.

Measurements:

Sh = 18.5 cm
Сг1 =45.9 cm
Cr2 = 50.4 cm
Cr3 = 48.0 cm
St = 38.0 cm
Sat =52.0 cm
Di = 90.0 cm
Dts = 42.9 cm
Accident = 44.4 cm
Shp = 13.3 cm
W = 17.3 cm
Shs = 18.3 cm
Vpx =43.2 cm
Vprz = 21.5 cm
Bg = 27.5 cm

Increases:

Pg = 6.0 cm
Fri = 3.0 cm
Pb = 2.5 cm
Pshs = 0.8 cm
Pshp 0.3 cm
Psh pr = 4.9 cm
Pdts = 0.5 cm
Pdtp = 1.0 cm
Pshgor = 1.0 cm
Pspr = 2.0 cm

Calculation for creating a mesh:

Mesh width (A0a1) = Cr3+Pg=48.0+6.0= 54.0 cm
Back width (A0a) = Shs+Pshs=18.3+0.8=19.1 cm
Shelf width (a1a2)= Шг+(Сг2-Сг1)+Пшп=17.3+(50.4−45.9)+0.3=22.1 cm
Armhole width (aa2)= Shpr=Shset-(Shsp+Shpol)= 54.0-(19.1+22.1)=12.8 cm
Armhole depth (A0G) = Vprz + Pspr 0.5*Pdts =21.5+2.0+0.5*0.5 = 23.8 cm
Waist line position (A0T) = Dts+Pdts = 42.9+0.5 cm = 43.4 cm
Hip line position (A0B) = Dts/2−2 = 42.9/2−2 = 19.5 cm
The position of the bottom line of the product (A"H1) = Di + Dts = 90.0 + 0.5 cm = 90.5 cm (the length of the back should be set aside after constructing the neck of the back), but at this stage we will set aside the length of the product from point A1.

Meshing

Step 1

Rice. 7

The first construction point is point A0 and from it we set the width of the grid to the right - 54.0 cm, draw a line and put point a1 at the end of the segment.

To the right of point A0 on line A0a1 we set aside the width of the backrest and get point a.

To the left of point a1 on line A0a1 we set aside the width of the shelf and get point a2.
Segment aa2 is the width of the armhole.

Down from point A0 we set aside the height of the mesh and put point H at the end of the segment - the length of the product. Corresponds to the bottom line of the product (at this stage).

From point A0 downwards we plot the position of the chest line on line A0G and get point G.
Also, from point A0 on segment A0G, the position of the waist line is plotted and we obtain point T.
And we postpone the position of the hip line from point T on the segment A0G and get point B.

From point a1 down we also set off the height of the grid and get point H3. We close the rectangle.

From points G, T and B we draw horizontal lines and get points G3, T3 and B3 at the intersection with line a1H3.
In turn, from points a and a2 we lower the vertical to the chest line GG3 and get points G1 and G4.
The first and important stage of creating a mesh should look like shown in Fig. 7.

Drawing the backrest

Step 2

Rice. 8

From point A0 we put it to the left on a line of 0.5 cm - this is the outlet of the center of the back at the top. We get point A0".

From point A0" down along the line A0H we plot the level of the shoulder blades, which is 0.4*Dts = 0.4*42.9 = 17.2 cm and we get point Y. We connect point Y to point A0" with a time line.

We build the depth of the neck of the back A0"A = A2A1 = 7.2/3 = 2.4 down from point A0" on the line A0"U. We complete the rectangle and draw the line of the neck of the back with a pattern curve.
This construction stage should look like shown in Fig. 8.

Step 3

Rice. 9

From point T to the left on the waist line TT3 we set aside a bend along the waist line = 1.5 cm, for semi-adjacent products. We get point T1.

To construct the middle seam of the back, we put a bend from point H to the right equal to the bend along the waist line of 1.5 cm and get point H1. We draw the middle back seam through points A-U-T1-H1.

From the neck of the back, along the middle seam, we put the length of the back down and get point H (the correct length).

This construction stage should look like shown in Fig. 9.

Step 4

Rice. 10

We build the end point of the shoulder, for this we build a radius from point A2 equal to Шп + tuck opening = 13.3+2.0 = 15.3 cm, where the dart opening is equal to 2.0 cm. And also the second radius from point T1 equal to Vpk+ Pvpk, where Ppvk = Pdts + Ppn (increase on the shoulder pad, in this case = 0), and we get 43.2 + 0.5 = 43.7 cm.

At the intersection of the radii from points A2 and T1 we place point P1.

This construction stage should look like shown in Fig. 10.

Step 5

Rice. eleven

We begin the construction of the shoulder dart by determining the position of the dart along the shoulder seam. The dart should be located 1/3 - ¼ of the shoulder width: 1/3 * 13.3 - ¼ + 13.3 = 4.4 - 3.3, let's take the value 4.0 cm.

When constructing the shoulder seam, we took the tuck opening = 2.0 cm. We put point I1 on the shoulder from point A2 and point I2 in increments of 2.0 cm. Next, from points I1 and I2 we draw a radius equal to 7.0 cm and get point I. We connect points I and I1 and I2. To align the shoulder seam, it is necessary to increase the sides of the darts from the shoulder seam by 0.2 cm.

We connect the sides of the darts with the neck points A2 and the end of the shoulder seam P2. From point P2 to the vertical a1G1 we draw a perpendicular; we will need it to calculate the auxiliary lines of the armhole.

This construction stage should look like shown in Fig. eleven.

Step 6

Rice. 12

We build auxiliary points of the armhole based on the length of line P1G1 - the length of this section is 18.9 cm. To build point P3 = 18.9/3 + 2.0 cm = 8.3 cm. We set point P3 from point G1 from the chest line to segment G1a1.

From the corner G1 of the armhole we draw a bisector with length = Шр*0.2 + 0.5 cm = 12.8*0.2 + 0.5 = 3.1 cm.

Auxiliary point G2 is located in the middle of the armhole width, i.e. Шр/2 = 12.8/2 = 6.4 cm.

This construction stage should look like shown in Fig. 12.

Step 7

Rice. 13

The back armhole line is drawn with a smooth line, while point P2 should have a right angle.

This construction stage should look like shown in Fig. 13.

Building a drawing of a shelf

Step 8

Fig.14

To construct the chest center point, the distance G3G4/2 - 1.0 = 22.½ - 1.0 = 10.1 cm is set aside from point G3 to the right and we get point G6.

For products of the dress group, we draw up a descent of the waist line = 0.5 cm, for this we put 0.5 cm down from point T3 and get point T31. From this point we draw a horizontal line to the left with a length equal to the width of G3G6.

To construct the width of the neck of the shelf Ssh/3 + Pshgor = 18.5/3 + 1.0 = 7.2 cm, we move from point A3 to the left horizontally and get point A4. We calculate the depth of the neck using the formula A3A4 +1.0 = 8.2 cm and draw a radius from points A4 on the vertical A3T3 and get the neck point A5. In turn, from points A5 and A4 with a radius equal to the depth of the neck, we make serifs and obtain an auxiliary point A3" from which we draw the arc of the neck of the shelf.

This construction stage should look like shown in Fig. 14.

Step 9

Fig.15

The position of the highest point of the mammary glands is set aside from point A4 with a radius equal to Br = 27.5 cm and we obtain point G7.

At the intersection of two arcs with the radius of the chest height from point G7 and the radius of the dart opening from point A4, we find point A9.

We connect points A9 and A4 with point G7 and get a chest dart for the front.

This construction stage should look like shown in Fig. 15.

Step 10

Rice. 16

To determine the auxiliary points, it is necessary to calculate the position of point P4 on the segment a2G4. To do this, the distance P1G1 (from the drawing) - 1.0 cm = 18.9 - 1.0 = 17.9 cm, we get the distance P4G4. Next, this distance G4P4/3 = 6.0 cm and we put this distance from point G4 up and get point P6.

Point P5 is obtained at the intersection of arcs from point A9 - shoulder width = 13.3 cm and from point P6 equal to distance P6P4 = 11.9 cm.

We draw a shoulder line through points A9P5.

This construction stage should look like shown in Fig. 16.

Step 11

Fig.17

To construct the armhole of the shelf, draw an auxiliary line, in the middle of which we set a perpendicular 1.0 cm long.

From corner G4 to construct the armhole we draw a bisector Шр*0.2 = 12.8*0.2 = 2.6 cm.

Through points P5 - P6 - G2 and the constructed perpendiculars we draw the line of the armhole of the shelf.

This construction stage should look like shown in Fig. 17.

Construction of lateral lines

Step 12

Rice. 18

We will start constructing the side lines along the chest line from point G4 - this is the middle of the armhole. From point G4 downwards we draw a vertical line, this is the center line of the side seam.

At the intersection with the line of the waist, hips and bottom we get points T2-B2-H2, respectively.

To design the side seam, take 0.4*R-r outt waist = 0.4*11.5 = 4.6 and divide this amount by two, since this is a complete dart solution in the side seam. To do this, 4.6/2 = 2.3 cm and set aside in each direction from point T2. And we get points T21 and T22.

Next, we calculate the expansion along the hips, for this (Sb + Pb) - B1B3 = (52 + 2.5) - 52.5 = 2.0 cm. We also divide it in half 2/2 = 1.0 cm, in order postpone the expansion along the hips on both sides of point B2. And we get points B21 and B22.

In this example of construction, we will leave the dress with a straight silhouette at the bottom, so along the hem line along the side seam we set aside the same values ​​as along the hips. And we get points H21 and H22.

Through points G4-T21-B22-H22 and G4-T22-B21-H21 we draw the lines of the side seam of the front and back.

This construction stage should look like shown in Fig. 18.

Step 13

Rice. 19

To construct a dart along the back waist line, we determine the position of the dart along the waist line on the back, for this, the distance T1T21/2 = 21.8/2 = 10.9 cm and get point T4.

Next, we calculate the tuck solution along the waist line (R-r out waist - R-r out waist side) * 0.55 = (11.5 - 4.6) * 0.55 = 3.8 cm. We also divide this solution in half 3.8/2 =1.9 and set aside from point T4 and get points T41 and T42.

The height of the dart from the waistline up and down is 15.0 cm - we get points K1 and K2, respectively.

This construction stage should look like shown in Fig. 19.

Step 14

Rice. 20

To construct a dart along the waist line of the shelf, we use the position of the center of the chest on the shelf; to do this, down from the waist line from point T6, we lower the vertical to the hip line - we get point T5.

Next, we calculate the tuck solution along the waist line R-r out waist - R-r out waist side-R-r out sp = 11.5 - 4.6 - 3.8 = 3.1 cm. We also divide this solution in half 3, ½ = 1.55 and set aside from point T5 and get points T51 and T52.

The height of the dart from the waistline up and down is the same as on the back, 15.0 cm - we get points K3 and K4.

This construction stage should look like shown in Fig. 20.

Step 15

Rice. 21

To build relief lines, it is necessary to transfer part of the chest dart of the front. To do this, with a notch equal to the distance from the neckline to the back dart = 4.0 cm, set aside 4.0 cm on the shoulder line of the shelf and get point A81.

We connect point A81 and point G7 - this is the length of the transfer radius of the chest dart = 26.3 cm.

Now from point A4 we set aside the radius A4A8, equal to the section A9A81 = 4.0 cm, put the first notch, and from point G7 with a radius equal to the segment A81G7, we make the second notch. At the intersection of the radii we obtain point A8. Then we connect points A8 and G7, as well as points A8 and A4 - we get a shoulder line to the shelf relief line and a section of the shelf relief.

This construction stage should look like shown in Fig. 21.

Step 16

Rice. 22

To design the bottom line of the product, you need to lower the line of the center of the shelf - the descent of the bottom line H3H31 is 1.0 cm.

We lower the lines of the reliefs of the shelf and back to the bottom line and get points H4 and H5, respectively.

This construction stage should look like shown in Fig. 22.

Rice. 23

The construction of the dress has come to an end and our drawing should look as shown in Fig. 23.

Step 17

Rice. 24

Next, you need to transfer the main parts of the shelf, the side of the front, the back and the side of the back onto tracing paper and add seam allowances.

This construction stage should look like shown in Fig. 24.

If these are your first steps in design, then the design needs to be checked, that is, sew the dress from mock-up fabric and try it on to be sure that there are no errors in calculations and construction.

Also, after construction, it is necessary to add details of the facings of the neckline and armholes of the back and front. And also, if desired, decorative elements - yokes, flounces, piping, etc.

Photo: website
Text and illustrations: Olga Kuznetsova
Material prepared by Anna Soboleva

For the hardworking - a bright light burns through life, for the lazy - a dim candle

Constructing a base pattern - THE MOST CLEAR METHOD (for beginners)

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

THAT MEANS IT'S TIME TO TAKE A NEW FRONTIER. And master the wisdom of sewing using real adult patterns yourself, with your own hands and your own brains. We will draw the base pattern ourselves - in a new, easy way (I spent more than one week creating this lightweight method for creating a base pattern). And then we will sew a bunch of all kinds of dresses, tops and tunics.

No- I won’t give you a single finished pattern!

I'm not Madame Burda. I am Madame Klishevskaya.))) And the main harmfulness of my character is... That I will make your head work and give birth to bright and clear discoveries in the field of sewing. The easiest and most understandable of all types of art. Believe me, this is true.

Yes- sewing yourself is very easy and simple!

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

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

I will tell you the secrets that I know. Moreover, I will teach you to discover more and more secrets of the world of sewing and clothing design.

I will not lead you (blind and stupid) by the hand in the chaos of letters and numbers denoting the intricacy of numerous lines of the design drawing. NO, I WILL NOT TAKE YOU HERE:

Well, you must admit, one such picture can instill fear and make a girl who doubts her own abilities really, really wants to sew a dress- But I wasn’t very good with geometry and drawing during my school years. Even I, who adore both of these school subjects, beat around the bush for several years, not daring to start delving into the construction of such a drawing: “How long will it take to draw something like this, and after all, everything must be calculated correctly and not get confused in the letters...”.

And, nevertheless, today we will draw a pattern.

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

But - don’t be afraid - we will create our pattern a little differently. Away from the engineering design method - and closer to human understanding.

We will draw one for you - just one- pattern.

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

• No confusing formulas
• No confusing calculations.
• And without the letter-number cobweb.

So how? Have I already alleviated some of your concerns?

I'll relax now - we won't start drawing right now. First, we'll take a nice stroll through the pattern. The purpose of the walk is to get to know and become friends with the pattern and remove the last doubt that you can sew any dress.

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

To put it figuratively, this is a cast of your body. This is your individual imprint. Any item sewn according to YOUR base pattern will fit YOUR figure perfectly.

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

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

Here is the first photo (below). Our pattern base is essentially your sheath dress (the one that fits your body perfectly). Dress made by yours pattern base, will follow all the curves your his bodies. This simple sheath dress is sewn using a regular base pattern. You see, it’s like a plaster cast of a girl’s figure.

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

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

That's how it works in the fashion world.

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

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

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

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

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

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

I want to awaken you bitch. I want you to feel the pattern, to know its soul. Haven't learned to see what a simple drawing hides behind a photograph of any dress, even an intricately tailored one.

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

After such an “educational walk” you will feel a joyful clarity of understanding of everything, everything, everything. It's as if you've already drawn basic patterns many times. And you will take up the drawing with the feeling that this is a couple of trifles. Ha! Business!

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

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

Where does the base pattern come from?

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

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

We will also draw a similar drawing with you - only more simple and understandable.

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

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

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

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

First, let's get acquainted with two incomprehensible words: DOT And ARMHOLE.

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

So, meet - PROYMA

When drawing a base pattern, you will create exactly that bend and size armhole that suits you – when the armhole does not pull or dig into your arm.

That is, the pattern base contains minimum armhole size allowed. You can model the armhole to your taste, in any configuration. But your fantasy armhole should not be smaller than on the base pattern. That is, the armhole is based on a pattern - These are the boundaries beyond which your imagination should not cross.

Your model armhole can be as large as you like - but it cannot be smaller than on the base pattern. More - yes, less - no - otherwise it will dig into the armpit. This is the rule in modeling designer armholes.

Now let's get acquainted with the darts.

DARTS ON THE BACK – shoulder dart + waist dart

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

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

Also, darts are not necessary if you sew from stretch fabric - it itself follows the curves of your body and shrinks both in the shoulder and waist areas.

Let's get to know each other next... DARTS ON HALF FRONT

Oh, I could write a whole poem about her.

I spent a long time wondering how to explain more clearly - why it is needed and by what laws it lives. I thought and thought... and came up with an idea.

The fact is that a woman has breasts.))) That is, from the front, an adult girl is no longer flat. This means that the dress should be convex in the chest area. The dart on the front shoulder gives the dress that same bulge in the bust area. Now I’ll show you everything in pictures. How does this happen.

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

And here's how a bust dart creates a bulge on the front detail

You will notice that the top of the convexity (that is, the peak of our round pyramid) is at the tip of the dart. Pay attention to this. Because when we draw the bust dart, the point of our dart will be at the top of the chest(where the nipple or bra cup is usually located).

Remember that sometimes you tried on a dress in your size in a store, which somehow strangely skewed on the chest - this is because the dart in the dress with its point was directed by the tops of your chest. So the breasts did not fit perfectly into the bulge of the dress. This product was not cut at the factory to suit your breast shape.

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

The fact is that in almost all dresses this chest dart is located not on the shoulder- A on the side just below the armpit. This is done for beauty. The dart on the shoulder catches the eye more, but on the side, and even covered by the hand, it is not noticeable.

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

And after the drawing of the base pattern is ready, we very easily and simply transfer the dart from the shoulder area to the armpit area. Don’t think that you need to make new drawings for this. Nope, everything is simple here - like opening a carton of milk - one minute and that’s it.

Here, in the picture below I schematically depicted transferring the bust dart from the shoulder to the side seam under the arm.

Well, do you already feel how wiser you have become in these 15 minutes?))) Or there will be more... Let's continue our walk through the pattern and now let's get acquainted with the lines. Horizontal lines

CHEST LINE

The first acquaintance is the chest line. (It’s a beautiful dress, isn’t it? We’ll make it for you. Don’t even hesitate)

The bust line is the most remarkable line on the pattern. It is so convenient to focus on it when drawing a base pattern because:

• We know that we finish drawing the back waist dart at the bust line.
• We know that we finish drawing the front waist dart not reaching 4 cm from the chest line.
• We know that the shoulder dart is in the front - we finish drawing it at the chest line.
• We know that the lower edges of the armholes also follow the bust line.

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

As you can see, there’s a lot of everything!! Therefore, go ahead - study, sew and enjoy life)))

WHAT TO DO NEXT - WITH THE PATTERN BASE? - you ask

And we will start sewing according to the base pattern of the TOP. Namely tops, T-shirts, tunics and then dresses.

You might ask, “Hey, why not just dresses?” I give the answer to this question in the first article of the series. So to be continued)))

Happy sewing!

Design is the process of developing model drawings of product parts and making patterns (patterns). Patterns are called patterns of clothing parts, according to which materials are cut; they can be made of paper, cardboard, metal.

Design is the structure of a product from individual parts connected into a single harmonious whole.

The problem of shaping, which is solved when designing clothes, is to create a complex volumetric shape of the product in flat materials - fabrics, knitwear, etc. When developing a design, the volumetric shape of the product must be unfolded on a plane; to obtain developments, the surface of the clothing is first cut into parts. The division lines of clothing into parts are located along lines of symmetry, the boundaries of areas with different surface characteristics. Thus, a vertical line of symmetry divides the figure into left and right halves, the lines of the shoulder and side seams separate the chest area of ​​the body from the back, the lines of the neckline and armholes of the body from the neck and arms.,

Clothing created industrially must have properties that satisfy the highest consumer requirements placed on it as an item of personal use. At the same time, clothing is subject to requirements as an object of mass production - its shape must be rational from the point of view of the possibility of using engineering methods for its design and advanced industrial methods for its manufacture.

Therefore, when designing clothing, we proceed from the following most important requirements for its design.

1. The design must ensure the reproduction of the product in exact accordance with the primary sample. The correspondence of products to the model in shape, silhouette, design lines, finishing depends on the accuracy of the patterns, therefore special attention is paid to their shape and size during design.

2. The design should contribute to the creation of the most important functional properties of clothing - compliance with the shape and size of the human body, ease of use, providing comfortable conditions for the human body, increasing its wear resistance, increasing service life, etc.

In order to ensure that clothing sizes correspond to the measurements of people’s figures, when developing the design, the dimensional characteristics of the most common typical figures are used. Dimensional characteristics of typical figures of men, women, boys and girls used in the design of clothing are given in industry standards. Good fit of the product on the figure is included in the design drawings and depends on the correctness of the relevant calculations.

Ease of use of the product and the creation of comfortable conditions for the human body depend on the correct development of clothing designs - taking into account body measurements, choosing allowances for a loose fit, shape, size and relative position of parts, location of fasteners, pockets, taking into account the most important hygienic properties of clothing materials

When developing a design, external loads are taken into account that act on individual components and parts of clothing and cause distortion of its shape. Therefore, in each case, such a design scheme of the product is chosen, such a division of it into parts under which the “working” conditions of the parts and materials in all areas of the clothing are most favorable. To increase the wear resistance of clothing, the designer must provide various additional parts that absorb part of the external loads (side padding in the fronts of coats, jackets, jackets, lining of the front halves of trousers, padding or braid along the edges of products and in the folds of parts - the edges of the sides, the bottoms of trousers and etc.).

3. The design of clothing must ensure the economic feasibility of the product in mass production; the design of clothing must be economical and technologically advanced.

Since the share of materials in the cost of clothing is at least 85-90%, the problem of reducing the material intensity of products becomes important. This product design is economical, providing for both minimal consumption and minimal waste of materials.

A technologically advanced design of clothing is one that provides for minimal labor costs for the manufacture of the product through the use of the most advanced technology with high labor productivity and high quality products. The manufacturability of the design depends on the continuity of models, typification, unification, standardization of structural elements, improvement of design, etc. Continuity of models consists in the use of previously developed variants of part designs in new models. It is implemented by developing a “family” of models on the same constructive basis. Typification is the replacement of the variety of design solutions for products with the minimum required number of standard designs. The use of standard designs helps to improve clothing technology and save materials. The standard design can be unified without compromising the appearance and quality of the product, i.e. bring individual components and parts to uniformity, for example, parts of pockets, gaskets, etc. Normalization and standardization - the establishment of uniform standards for sizes for standardized parts. The design is usually improved by eliminating some seams, for example, along the edges of the sides, collar, and front seam of the sleeves.

Currently, there are many clothing design systems. Existing design methods, which are decisive in the product design process, are divided into approximate and engineering.

TO approximate design methods include calculation-graphical and other methods. All these methods, based on the use of anthropological measurements of the figure and allowances, do not provide high accuracy and manufacturability in accordance with the requirements of modern clothing production.

Engineering methods for designing part developments clothes are more advanced and accurate. They are based on measurements of the surface of a clothing reference sample, as well as taking into account the dressing ability of clothing materials. Using engineering methods, it is possible to obtain developments of clothing parts of complex shapes, without resorting to a large number of seams, darts, or forced wet-heat treatment of fabrics.

The most common are calculation and graphic methods, the essence of which boils down to performing simple calculations to determine the dimensions of patterns and constructing design drawings based on the obtained values. Each system is distinguished by a certain number of formulas and their structure (the first group includes formulas with the help of which the size of a part is determined taking into account the dimensional characteristic and the increase; the second group includes formulas with the help of which the dimensions of parts are determined by dimensional characteristics not related to this area, by establishing a relationship between the size of a given section of a part and one or two dimensions of the figure; the third group includes formulas by which the dimensions of individual sections of a part are determined by the dimensions of other sections previously found in the drawing).

The Unified Methodology for Clothing Design (UMKO CMEA) was created by the joint efforts of specialists from the CMEA member countries. It reflects optimal constructive solutions from the experience of socialist and advanced capitalist countries. The scientific basis of this technique is the results of joint anthropometric studies, calculation and analytical methods for constructing clothing patterns and a set of scientifically based allowances. This technique is universal, as it can be used to develop the design of clothing of any type, cut, purpose, from various materials.

In addition to computational and graphic methods, there are a number of engineering methods for designing clothing, more accurate and convenient, based on solving the geometric problem of dressing curved surfaces with flat materials. These methods, which take into account changes in the geometric structure of clothing materials when they fit the surface, contribute to improving the design and automation of clothing design using a computer.

Improving product design methods is impossible without detailed information about the shape and surface dimensions of both typical figures and clothing. The standards provide quantitative indicators (dimensional characteristics) of typical figures. But they do not give an idea of ​​the plastic patterns of the selected typical figures, or of the curvature of individual parts of the body. For example, two figures of the same gender and age group, having the same chest girth, may have a different shape of the body surface in this area, different posture. And information about the shape of the surface of the figures is decisive for the development of the design of high-quality products.

Therefore, improving the quality of products should be carried out by restructuring the process of their design, reviewing the principles of shaping. A comprehensive solution to this problem is possible with layout-model method of clothing design. This method is based on the use of sculptural models of the shape of the clothing surface, which eliminates labor-intensive operations to depict the surface on paper and the production of a large number of drawings. It allows you to significantly reduce the time required for designing clothing and opens up wide opportunities for the use of mathematical design methods using a computer.

The use of computers in clothing design is very effective at its final stages (drawing and technical reproduction of patterns, performing complex engineering calculations, etc.). In recent years, when designing clothing using computers, a transition has been made from performing individual engineering calculations to creating complex computer-aided design (CAD) systems.

The internal shape of clothing and its linear measurements are determined by the shape and size of the human body. As a rule, any measurement of clothing is larger than the corresponding dimensional characteristic of the figure by a certain amount, called an allowance. An allowance is given for a loose fit and decorative design of clothing. The shape of the clothing, silhouette, and compliance with the sample largely depend on how correctly the allowance values ​​are selected and set when developing its design.

Corsetry (belt, bra, etc.) must fit very tightly to the body. The shape and size of such products are equal to the corresponding body measurements, and sometimes smaller than them, as a result of which these products deform certain areas of the figure (stomach, chest), giving it greater harmony.

The rest of the products fit unevenly to the body: in some areas it is more or less tight, and in others it is loose. Thus, shoulder products fit tightly in the upper part, on the so-called supporting surface of the body (shoulders, upper chest and back to the most protruding points of the chest and shoulder blades); in these areas, clothing most closely matches the shape and size of the body. Below the supporting surface, the clothing is located freely, forming an air gap necessary for freedom of human movement, regulation of heat transfer and creation of shape and silhouette in accordance with the model.

Allowances for a loose fit are provided both in the width of the product (along the lines of the neck, chest, waist, hips, armhole, neckline, etc.) and along the length. The allowances for loose fitting in different areas of clothing are not the same and depend on the type of clothing, model (silhouette, shape, decoration), properties of materials (stretchability, elasticity, molding properties), etc. The allowances for loose fitting in different areas of clothing are given in design techniques.

An allowance for a loose fit can be conventionally represented as consisting of two parts: the minimum required allowance for a loose fit and a decorative and constructive one. The minimum required allowance for a loose fit, regardless of the degree of fit, should ensure freedom of breathing and human movement, minimal pressure of the product on the body, the presence of an air gap for skin breathing and regulation of heat transfer. The values ​​of this allowance were established on the basis of studies of changes in body size in dynamics and a study of the microclimate parameters of the underwear layer at various sizes of air gaps. So, this allowance along the chest line for a dress, jacket and jacket is 2.5 cm, for a coat - at least 5-6 cm. With the help of a decorative and constructive allowance, a certain silhouette and the necessary volume-spatial shape of clothing are created.

When developing a design, it is necessary to include an allowance for the thickness of clothing materials: basic, cushioning, heat-protective. Allowances for a loose fit along the lines of the chest, waist, hips are added to the allowance for the thickness of the materials and composite allowances are obtained. The values ​​of compositional allowances established for each type of clothing, depending on fashion.

In addition to compositional allowances, the design of clothing includes allowances for seams and for hemming the edges of clothing. When developing the design of products, it is necessary to take into account the possible shrinkage of the material during the manufacturing process of clothing. For this purpose, the length of the product and individual sections of the structure is increased by the size of the fabric allowance equal to 50% of the total shrinkage of the material. So, if the total shrinkage of the fabric is 2%, then the allowance for fabric processing is equal to 1% of the length of this section of the structure.

The general dimensions of the product and the dimensions of its parts in various areas (along the lines of the chest, waist, hips, bottom) are laid down in the basic grid of the base drawing. The most important lines of the grid are: horizontal - lines of the back neckline, chest (armhole depth); waist, hips, bottom of the product; vertical - the line of the middle of the back, the lines that determine the width of the back, shelves, and the half-skid line, which coincides with the axis of symmetry of the torso of the human figure. The distances between these lines in the drawing are determined depending on the measurements of the figure and the corresponding allowances. When constructing a drawing of the base, contour lines of parts, lines of darts, cuts, pockets, etc. are applied to the resulting mesh.

The upper contour lines are the back neckline (the line connecting the collar to the back of the product), the shoulder sections of the back and front, the armhole (the line connecting the sleeves With product), front neck (the line connecting the collar to the front). The fit of the product on the figure depends on the correct construction of these lines. The shape and dimensions of the upper contour lines must correspond to the shape and dimensions of the human body, since the upper part of the product must fit snugly to the supporting surface.

The parameters of the back neck line are calculated based on the measurement of the neck circumference. To fit the figure well, the upper part of the back of the product should have a shape that matches the convexity of the shoulder blades. Therefore, in the shoulder section of the back, it is necessary to create a convexity using a tuck or seating of the fabric by forced ironing.

The quality of the fit of the product on the figure is directly influenced by the relative position of the upper contours of the back and shelf. The ratio of the level of the back at the neck point and the level of the shelf at the top of the neck is the most important element of the design and is called balance, which characterizes the balance of the front and back parts of the product. Balance is calculated using formulas depending on the measurements of the figure: chest, neck, distance from the base of the neck to the waist in front and behind. Balance can be either a positive or negative value, and according to this, the apex point of the neck may be located above or below . If the balance is correctly calculated and provided for in the drawing, the product fits freely on the figure, its back and front do not pull each other.

The convex shape of the shelf in the chest area is given with the help of darts and wet-heat treatment. In women's clothing, a dart can be provided in the shoulder, side sections, armhole, and its inner end (top) is located at the protruding point of the chest. In men's clothing, the dart is placed in the cut of the neckline and the shelf is ironed along the edge of the side of the product.

The armhole line, its shape, size and location largely determine the quality of the garment's construction. The correct construction of this line ensures freedom of movement of the arms, ease of putting on and taking off clothes, as well as a beautiful pairing of the sleeve with the product.

The half-skid line in the shelves of women's clothing is usually vertical. In men's clothing, the shape of this line is different and depends on the intended wet-heat treatment to form the necessary convexity in the chest area, on the size and fullness of the figure. In the upper part, above the armhole depth line, the half-skid line is deviated towards the armhole due to the curvature of the chest contour of the figure and designed ironing of the shelf.

The shape of the midline of the back is designed depending on the type of clothing and the presence of a seam in the middle of the back. If the back of the product is whole, then the middle line of the back is vertical and straight, since it should coincide with the warp thread of the fabric. In products that should fit the figure in the area of ​​​​the shoulder blades, waist and hips, the middle line of the back is built with a bevel (sag) along the waist line.

The shape and location of the side seams in clothing are determined by its type, silhouette, the presence of darts, and the cut of the sleeves. Regardless of these factors, the side seams in the finished product must be vertical. In products of adjacent and semi-adjacent silhouettes, the shape of the side cuts of the shelf and back is curvilinear, corresponding to the contours of the figure, and in products of straight and free silhouettes, the side cuts are straight.

In clothes of close-fitting and semi-fitting silhouettes, the difference in the width of the product along the chest and waist lines is evenly distributed into the side seams and darts on the waist line of the product, the width of the product along the hips and hem lines is determined depending on the silhouette.

The finished shape of the sleeve should correspond to the shape of the arm, and it is determined by the shape of the concave line of the front fold and the convex line of the elbow. The same sleeve shape can be obtained from one, two or three of its constituent parts. Single-seam sleeves (consisting of one piece) are typical for linen and light clothing; They have one seam designed - the front or ulnar. A two-seam sleeve consists of top and bottom or front and back parts and has front and elbow or top and bottom seams, respectively. This sleeve is most common in outerwear. Both parts of the sleeves are built on a 6-day drawing so that they match each other in shape and size. A three-seam sleeve has three seams - top, bottom and elbow. The most important part in the drawing of a sleeve is its upper part - the okat. The edge must match the shape and size of the armhole. To ensure a good fit of the sleeve at the junction of the arm and the torso along its edge, provision is made for planting the material, for which the perimeter of the edge must be larger than the perimeter of the armhole. The difference in the perimeter of the collar and armhole (fabric fit) depends on the shape of the collar and the model, as well as on the properties of the material.

Line connecting the collar to the product called the collar stand cut line. It is taken as the basis for constructing a drawing of the lower collar; its perimeter should be equal to the sum of the lengths of the neck of the back and the shelf. The position of the collar in the product depends on the shape of the stand-up cut line: the straighter it is, the closer the collar is to the neck (stand-up collar). If the shape of the cut of the stand coincides with the shape of the neck, the collar will be flat (lying). The width of the collar and the shape of its ends depend on the model. The shape and fold line of the collar of jackets should correspond to the shape of the neckline and the fold line of the lapel.

Patterns for the main parts are made according to their drawings, providing seam allowances and hems in accordance with the requirements of regulatory and technical documentation and the features of the model. In areas where wet-heat treatment of the fabric is necessary (pulling, ironing, etc.) or where folds and gathers are provided, appropriate signs are placed. Control marks are placed along the sections of parts at the places where they are connected, which must be aligned when connected. Based on the obtained patterns of the main parts, patterns of derivative parts are made (upper collar, hem, pocket details, lining, etc.) taking into account allowances for processing.

The developed design is checked by manufacturing a control sample of the product according to the obtained patterns. During the manufacturing process of the sample, the necessary refinements are made to the design in accordance with progressive methods of technological processing of the product and the figure of the model. Then, using the specified patterns of average size and height (length), patterns of all other sizes and lengths of products are made (technical reproduction of patterns). Patterns of all sizes and heights are obtained by proportionally decreasing or increasing the size of patterns of average size and height. During the technical reproduction of patterns for the transition from size to size or from height to height, sections of the patterns of parts of average size and height give certain inter-dimensional and inter-height increments.

The design of clothing ends with the development of technical descriptions (technical specifications) for the model. Technical descriptions include the following sections: sketch and description of the appearance of the product; recommended sizes and lengths; list of recommended materials, including finishing and fittings (specifications and configuration card); a table of measurements of the finished product, which shows the absolute values ​​for the main measurement locations of the finished product and the permissible deviations from them; recommended methods for processing individual complex components of the product; technical requirements for the quality of the product; tables characterizing processing complexity; rules for quality control, determination of product grade, packaging and transportation of the product (list of regulatory and technical documentation). In addition, the technical descriptions provide: the rate of material consumption for a product of medium size and length; specification of parts and patterns; pattern measurements table; area of ​​product patterns of medium size and length.

Technical descriptions, together with a set of patterns and a standard sample of the product, are sent to the enterprise for replication.

The design methods used in industry for knitted products are generally similar to the methods used to design fabric products. The main distinctive properties of knitwear are not only stretchability, but also great possibilities for shaping. Thanks to the movable loop structure, the fabric easily takes on a complex spatial shape in the product. Changes in the linear dimensions (longitudinal and transverse) of knitted fabrics (shrinkage) are caused by many factors related to the characteristics of the fabric itself (composition and quality of raw materials, structure of the fabric), with the technical modes of its production, finishing and storage, with the technological processes of preparing the fabric for production and directly with cutting and manufacturing of products. All these features must be taken into account when developing designs for knitwear products.

In conditions of mass production, issues related to the specific properties of knitted fabrics are resolved mainly on the basis of extensive practical experience. On the other hand, the knowledge accumulated as a result of scientific research and the wide capabilities of CAD create the prerequisites for the development of a process and methods for a typical multivariate design of outer knitted products.

Defects in the design of clothing primarily affect the appearance of the product and the quality of its fit on the figure. It is extremely difficult to eliminate such defects; sometimes it is remade into a product of smaller sizes or other types.

All possible defects in the design can be grouped as follows: non-compliance of the product with the approved sample; defects in the fit of the product on the figure; violation of the efficiency and manufacturability of the product.

Non-compliance of the product design with the approved sample manifests itself in constructive and decorative lines (location, direction, configuration, etc.), discrepancy between the linear dimensions of the product as a whole and its parts with the technical descriptions for the model.

Causes defects in the fit of the product on the figure is that the shape of the product does not correspond to the shape of the human body. In this case, wrinkles and folds are formed in the product - transverse, longitudinal, oblique.

Transverse folds occur when parts are too long or too wide. For example, transverse folds on the back of the product, along the hem of the sleeve, along the fastener and side seam of trousers - due to the excessive length and insufficient width of these parts.

If clothing parts are too wide or too long, longitudinal folds are formed. They most often appear on the back along the middle seam, at the armhole seam of the back and front, in raglan sleeves, in the back halves of the trousers at the side seams, in the area of ​​the trouser fastener, etc.

Sloping folds(creases) can occur along the side seams, in the armholes of products due to the excessive length of the corresponding sections of the parts. Creases also form along the hems, elbow seams of sleeves, inseams of trousers, etc. The cause of creases may also be insufficient ironing of volumetric parts (shelves, backrests).

Defects in the fit of clothing on the figure occur when the balance of the product is imbalanced. When the balance decreases, the back of the product “outweighs” the front, while the side seams move forward, the collar at the back lags behind the neck, the shelves overlap one another by an amount greater than that provided for in the model. As the balance increases, the front of the product “tightens”, the side seams are shifted back, the collar is too close to the back of the neck, the front of the product is close to the legs, the shelves at the bottom diverge.

Non-equilibrium position of the sleeves in the product, i.e. their deviation forward or backward may be a consequence of incorrect placement of control marks (notches) along the armhole and sleeve cap when developing the product design.

Balance imbalances in trousers appear when the length of some parts increases in relation to others. In this case, transverse folds are formed on the front and back of the trousers.

The development of uneconomical and low-tech designs leads to serious losses in the mass production of clothing. An uneconomical design causes a high consumption of materials and significant inter-pattern losses due to inconvenience in the layout of patterns, as a result of which the cost of products increases. If the manufacturability of the design is violated, the labor intensity of processing the product increases, labor productivity decreases, which leads to an increase in the cost of processing the product.

The process of making clothes is fascinating, and each of us can find a lot of interesting things in it for ourselves. To make wardrobe items, clothing design and modeling are used.

The process of creating clothes

First, the clothes are modeled, and the design of the clothes is the second stage in its creation. This process allows you to draw up a drawing of the future product and make patterns according to which cutting will take place. Patterns are templates for clothing parts that are made from cardboard, paper, film, wallpaper and other materials.

There are differences in the design of clothing for mass and individual tailoring. When mass tailoring, the following requirements are imposed: clothes must be made according to precise calculations, the patterns must be correct. The design of men's clothing assumes that the manufactured products will fit well on the body, will be comfortable to wear and will be easy to care for, and will fit well on the person's figure.

Modeling

The basis for the production of high-quality garments is modeling. This is an art that requires special knowledge, and many strive to master it.

The design and modeling of clothing works directly with the person. It's no secret that with the help of a properly selected suit you can significantly change the perception of a person.

Modeling begins with preparation. At this stage, the fashion designer decides who will wear this model of clothing, what it is intended for, and what materials will be used to make it. Having decided on the answers to these questions, the artist creates a sketch.

There are certain requirements for all sketches. This is clarity and completeness, the complete embodiment of the artistic concept. Also, if the model will be produced under conditions, it makes sense to find out how cost-effective it will be to produce it. And after that, the design of clothes begins. This is the sequence of the creative process.

Clothing construction methods

The creative process of creating clothes has deep roots. It is known that clothing design has a long history, and various methods have been developed over the centuries. There are two large groups of clothing design methods: approximate and engineering.

Approximate methods can also be different. The oldest of them are considered to be dummy ones, when measurements are made on a human figure or using a mannequin.

It must be said that the design of clothing in the usual sense began to take shape only in the twentieth century; before that, precise measurements for fit on the figure simply did not exist. Clothes were created using folds and folds.

Clothing design methods began to develop in the early nineteenth century, when the London cutter Michel came up with the first "grid" for clothing drawings. He applied the principle of scale: the original drawing was divided into cells with the same side, and it could be increased or decreased at will. In 1840, the famous cutting system of G. A. Muller arose, who used the principle of spherical trigonometry to construct a drawing.

In 1959, the design and modeling of clothing was studied by the central experimental-technical sewing laboratory, which applied it. Its disadvantage is that the graphic constructions in it are cumbersome, the accuracy of constructing the base is relative, and it is difficult to choose allowances for a loose fit.

Modern design methods

In recent years, engineering methods have become increasingly widespread. Many believe that in the future all measurements will be carried out using a 3D mannequin. This method will include the method of developable surfaces, the method of secant surfaces, and the triangulation method.

Computer-aided manufacturing (CAD) is now widely used to design clothing. It is based on techniques that were once developed by Michael Müller, a famous German tailor. Nowadays the Lyubax cutting system is also used, which involves visually measuring the figure before creating a pattern.

Designing children's clothing

Children's clothing is designed on the same principle as clothing for adults, but it requires knowledge of the physical and psychological development of the child. Not only artists and fashion designers, but also pediatricians, educators and teachers take part in the development of the concept of children's clothing.

When modeling and designing children's clothing, the ratio of different children is of great importance. Therefore, all children for whom clothes are created are divided into five groups.

This is a nursery group (up to 3 years old), a preschool group (up to six years old), a junior school group, which includes children from seven to eleven years old, a teenage group, which includes children from twelve to fifteen years old. There is also a youth group, which includes children from sixteen to eighteen years old.

There are a number of requirements for children's clothing. It should warm in the cold and cool in the heat, and protect from bad weather. Due to the fact that children wear out clothes quickly, it is recommended to sew them from inexpensive materials. Folk art is often used for creation; it is inexhaustible for master fashion designers.

Patterns as a unit of measurement

The main unit of measurement in modeling and design is the pattern. They come in the following types: original patterns, control and working patterns.

The basis for creating any costume is a basic pattern. An experienced specialist can identify the clothing manufacturer at first glance, taking into account the quality of the basic pattern. The patterns are created taking into account all the features of the human figure.

Nowadays, when creating patterns, specialists turn to modern technologies, especially computers. Using computers in pattern making has its advantages. So, this is an opportunity to accurately adapt the patterns to the characteristics of a particular opportunity to show the result of the work to the client at any stage. This type of pattern can be used much longer than paper ones; they do not wear out and cannot be replaced.

A pattern made electronically makes it possible to virtually lay out material on fabric, which can simplify the cutting process.

Modeling by Burda Moden

Various systems for modeling and designing clothing have not helped create clothing that is comfortable for the majority of the population. And then Burda Moden magazine came to the rescue.

The magazine has made a name for itself in the field of women's clothing design. He entered the fashion arena in the post-World War II period. At this time, not all women had the money to buy new beautiful clothes, but everyone wanted to look stylish.

In 1950, Burda Moden magazine was published and immediately attracted attention. Now it remains popular, this is due to the fact that the magazine reflects current trends in the fashion world. Moreover, all models are adapted to real life, and you can immediately sew a model and use it.