In order to create the design, I first needed to draft a pattern for Crushed Can A based on the following instructions from the book:
The first step in the book was to draft the pattern with a center front length of 36.5 cm (73 cm full scale) with the width top of the pattern = the bust measurement divided by 4 minus 1 cm (2 cm full scale) and the width of the bottom 5 cms (10 cm full scale) = the hip measurement divided by 4 minus .75 cm (1.5 cm full scale)
The first step in the book was to draft the pattern with a center front length of 36.5 cm (73 cm full scale) with the width top of the pattern = the bust measurement divided by 4 minus 1 cm (2 cm full scale) and the width of the bottom 5 cms (10 cm full scale) = the hip measurement divided by 4 minus .75 cm (1.5 cm full scale)
Draw perpendicular lines to divide up the centerfront length at 5cm, then, 11.5, and 5cm from the bottom. Square off lower and upper sections. Connect upper and lower sections at side seam
Contour as book suggests, curve in .75 cm at top edge and 1.5 cm at middle line (waist)
Use as pattern for front and back, so cut 2 out of stretch knit fabric, sew together side seams To wear scrunch at side seams, the fit seemed too loose to get the full crushed can so for the next sample crushed can B I modified the base pattern by taking in .5 cm at CF line
Now on to Crushed Can B, trace off base pattern after fit alteration so you have a full bodice front (which actually works as the back BUT YOU NEED TO USE THE INVERSE)1) Again, going by the measurements in the book mark the placement for the triangle extensions. Rather than measure along the side seam I ticked off the measurements along the CK and drew perpendicular lines across the full bodice piece, allowing for more accurate placement of the shapes.
The other step I did was to create a template for the triangle shape that way I was sure the shape was consistent and the process was efficient. The key to working with the triangle shape was to make sure it was perpendicular to the side seam, NOT perpendicular to the guide lines drawn in for placement.
Cut 2 pieces either by keeping right sides of the fabric together and cutting 2 at once or trace off one and flip the pattern to trace off the other. Very important step as the triangle are asymmetrical. Stitch with strong pivots, clip and turn
The fit on this sample worked much better, however the knit fabric itself had more structure which contributed to the success of the crushed can appearance
Analysis:
The Challenge: Study this pattern to discover what you can learn and apply to future work. Start with these questions and include any additional insights.
Q. 1: What type of flat patternmaking is this: Dart manipulation? Added fullness? Contouring? Something else? A combination
Crushed Can is a technique achieved in two different ways. Crushed Can A uses added fullness, if flat patterned using steps it would be slash and spread after creating a knit sloper however the book has you skip these traditional steps by having you draft a pattern and placing the landmarks bust and hips further apart to achieve the slash and spread result. You also use contouring to allow for the difference in fabrication (knit rather than woven). Crushed Can B comes from the Crushed Can A technique but adds asymmetrically placed extra geometric shapes along the seam lines
Q. 2: What are the basic principles of this pattern?
1. create a base pattern based on measurements to incorporate stretch and fullness
2. add extra shape by redrawing seamlines
3. garment must be worn to achieve crushed effect
Q. 3: What are the basic rules of this pattern?
1. Add desired extra fullness to create amount of crush
2. When adding extra geometric shape (triangles) make sure they are perpendicular to the seam lines
3. I suggest making a template for the triangle shape for accuracy
4. Stitch and pivot at strong angles to enhance effect
5. Be sure to clip corners and transition point to get sharp slean flods
Q. 4: Are these rules and principles always true?
Yes, I think the principles always true
Q. 5: What rules of traditional patternmaking are “broken” in this pattern?
The tradition rule of slash and spread is not apparent in the drafting of the base pattern nor is the adjustments for knit fabric but it does make sense that this is what is going on in the draft.
The Challenge: Study this pattern to discover what you can learn and apply to future work. Start with these questions and include any additional insights.
Q. 1: What type of flat patternmaking is this: Dart manipulation? Added fullness? Contouring? Something else? A combination
Crushed Can is a technique achieved in two different ways. Crushed Can A uses added fullness, if flat patterned using steps it would be slash and spread after creating a knit sloper however the book has you skip these traditional steps by having you draft a pattern and placing the landmarks bust and hips further apart to achieve the slash and spread result. You also use contouring to allow for the difference in fabrication (knit rather than woven). Crushed Can B comes from the Crushed Can A technique but adds asymmetrically placed extra geometric shapes along the seam lines
Q. 2: What are the basic principles of this pattern?
1. create a base pattern based on measurements to incorporate stretch and fullness
2. add extra shape by redrawing seamlines
3. garment must be worn to achieve crushed effect
Q. 3: What are the basic rules of this pattern?
1. Add desired extra fullness to create amount of crush
2. When adding extra geometric shape (triangles) make sure they are perpendicular to the seam lines
3. I suggest making a template for the triangle shape for accuracy
4. Stitch and pivot at strong angles to enhance effect
5. Be sure to clip corners and transition point to get sharp slean flods
Q. 4: Are these rules and principles always true?
Yes, I think the principles always true
Q. 5: What rules of traditional patternmaking are “broken” in this pattern?
The tradition rule of slash and spread is not apparent in the drafting of the base pattern nor is the adjustments for knit fabric but it does make sense that this is what is going on in the draft.
Crushed Can Application
I decided to apply the rules and principles of Crushed Can B to a skirt but wanted to complicate the design by adding more seamlines
I drafted the quarter skirt pattern by the same methods as the book for the bodice, by taking measurements dividing by 4 and subtracting for use knit fabric. Similar to my method of drawing in placement line perpendicular to the center line of the pattern and using the triangle template to alternate placement of extra shape along seamline Cut 4 pieces out of fabric making sure to reflect the pattern piece. I used two different colored fabrics to see the design easier.
I drafted the quarter skirt pattern by the same methods as the book for the bodice, by taking measurements dividing by 4 and subtracting for use knit fabric. Similar to my method of drawing in placement line perpendicular to the center line of the pattern and using the triangle template to alternate placement of extra shape along seamline Cut 4 pieces out of fabric making sure to reflect the pattern piece. I used two different colored fabrics to see the design easier.
Evaluation:
The Challenge: Study your pattern to discover what you can learn and apply to future work. Start with these questions and include any additional insights.
Q.1: Did you stay true to the basic principles of the original pattern?
I did stay true to the basic principles of the original pattern, drafting the pattern in the short cut method described by the book and adding geometric fullness to emphasize the crushed can effect.
Q. 2: Where did you move the pattern manipulation and how well did that work?
I moved it to the skirt and I think it works well. I was concerned with the placement of the “spikes” and was pleased with the placement on the princess seams
Q. 3: Do all the same rules still apply? Did the need for new rules appear when you made this change?
In general, the same rules apply.
Bonus:
The Challenge: Identify a designer and a picture of their work that uses this pattern technique.
I find a modified example of this one: one triangle piece added in the side seam and folded and stitiched
YSL
The Challenge: Study your pattern to discover what you can learn and apply to future work. Start with these questions and include any additional insights.
Q.1: Did you stay true to the basic principles of the original pattern?
I did stay true to the basic principles of the original pattern, drafting the pattern in the short cut method described by the book and adding geometric fullness to emphasize the crushed can effect.
Q. 2: Where did you move the pattern manipulation and how well did that work?
I moved it to the skirt and I think it works well. I was concerned with the placement of the “spikes” and was pleased with the placement on the princess seams
Q. 3: Do all the same rules still apply? Did the need for new rules appear when you made this change?
In general, the same rules apply.
Bonus:
The Challenge: Identify a designer and a picture of their work that uses this pattern technique.
I find a modified example of this one: one triangle piece added in the side seam and folded and stitiched
YSL