Comments on: A question of thoracic shaping pt.2

By: jenny

jenny — Thu, 24 May 2007 16:46:09 +0000

has the change to a vertical cf something to do with figure changes brought about in part by changes in foundation garments? A circa 1900 dress form I have, has a very different shaped front to modern forms – more of a snaky curve (seen from side) than a triangle with bumps.

By: Lisa Bloodgood

Lisa Bloodgood — Thu, 24 May 2007 01:27:17 +0000

In draping class, we were taught to pin the fabric to the center front then spread it out over the form (yes, I know you hate forms) in the desired design. The CF was always straight and vertical. Wouldn’t this work on any chest or would it end up so distorted that you couldn’t keep the CF vertical?

I have seen the historical patterns with curved CF and CB and I’m all for whatever works.

By: J C Sprowls

J C Sprowls — Wed, 25 Oct 2006 01:43:10 +0000

Todd,

I have both of the Master Designer men’s series. They’re fine references; but, difficult to find. It’s only my opinion, but, I feel the “Modern Tailor, Outfitter and Clothier” to be the best and well-rounded reference. This is easier to find; but, very expensive. Well worth it, IMO.

By: Todd Hudson

Todd Hudson — Tue, 24 Oct 2006 22:22:55 +0000

Does anyone know where to get books in the Master Designer series? I can’t find any available for sale on the internet. I want the one on men’s tailoring and the one on drafting sports shirts. If they’re crap then I don’t care. Let me know if they are useful or not. Thanks.

By: J C Sprowls

J C Sprowls — Tue, 24 Oct 2006 16:13:49 +0000

I second Beverly’s motion. In school, even when draping, we were taught to true the CF line to absolute vertical. There we many times I was busted for changing it. Never mind that the model (i.e. actor) who would be wearing this garment required these adjustments and they would be proven during the muslin fitting.

Admittedly, during a class, one needs to learn the rules before breaking them. However, when an instructor has little real world exposure and is not equipped to take advantage when these scenarios crop up, they’re doing a huge disservice to the student.

The ability to recognize how the client’s or model’s body differs from the drafting system you use, in advance, will save fitting time. I say this because if you develop the rock of eye to incorporate these “pattern anomolies” into your first pattern, it will more closely resemble the body and require less fittings. But, this requires using a consistent patterning system until it becomes second nature, first – you need to understand the bodies from the inside of the garment.

I suspect that classes teach up to drafting for RTW and avoid being too specific simply as a matter of expediency. However, I estimate that the majority of the students in a design program go on to do custom work for many years. Regardless the career path after training, these technicians are doomed to unlearn a tremendous amount of misinformation before they can settle into an effective career.

By: Beverly

Beverly — Thu, 18 May 2006 23:48:25 +0000

You are not alone in your desire to keep the CF off the true vertical. I just bought a book, called Turn of the Century Fashion Patterns and Tailoring Techniques by S.S Gordon, and all of the drafts look remarkably like yours. That was the first book I had seen with that “strange” draft. In school (I am talking about the late 60s), I think we all learned not to mess with that CF line, and woe to the student that got “creative” with it.

By: jinjer

jinjer — Mon, 15 May 2006 03:52:47 +0000

tatterdemalion,

there’s actually an official place to post “extended comments,”–the Discussion Forum, under the category “discuss blog topics”

Kathleen has a link to it in the lefthand sidebar titled “Admin.”

By: Tatterdemalion

Tatterdemalion — Fri, 12 May 2006 20:32:57 +0000

I wanted to interact with this post, but I couldn't figure out a way to express myself without sketches. So instead of commenting here, I wrote a post about it over here on my blog. Think of it as an extended comment! http://houseoftatterdemalion.blogspot.com/2006/05/in-response-to-kathleen-fasanella.html

By: Regan

Regan — Fri, 12 May 2006 19:48:39 +0000

“One way or another, you’ll either need a neckline dart or a princess line in which to pivot the dart out.”

I often take a small dart in the neckline as you’ve illustrated to get a neckline to lie flat, but I generally pivot it out into the bust dart. Is there something I’m missing about why I shouldn’t do this, or another method would be better?

By: Mimi

Mimi — Fri, 12 May 2006 17:19:14 +0000

I agree with Janyce Engan, with some points to add.

This is just my personal opinion, although there may be others who may disagree. When I design garments, my aim is to create something that flatters the body and allows for movement. Most of my private clients do not want a garment that conforms to the body like a second-skin. The profile appearance of a nearly flat back, balanced by a gently rounded bustline is considered attractive by most, and the extra room that affords allows for easy movement, bending, stretching, etc. is a plus. “Back fat”, rounded shoulders and dowagers humps are very common among women these days, and they would rather not have those areas highlighted.

Also, the great insecurities women have about rounded tummies, large or flat derrieres, etc. make them reluctant to fit anything too closely, unless they have invested in very strong undergarments!

Even the custom swimsuits I am commissioned to make now require a strong powernet lining to make the client feel secure about wearing such a fitted garment.

I think it is partially about body confidence, and satisfying the large numbers of body types and lifestyles ready-to-wear needs to satisfy.

-Mimi Jackson
Collaborative custom designer