Because the pattern piece is cut-on-fold my fabric had to be at least 58'' wide. It almost took up the whole width when folded. I cut the first pattern on fold and I decided to make it more fabric-yield-friendly to cut the back piece with a center back seam. This let me use the fabric fairly efficiently. I had a lot less waste than I initially thought I would have.
This week in Pattern Magic: Stretch Fabrics, I attempted Whac-A-Mole. The idea of this garment it to have versatility through optional arm and neck holes. The patterning directions were fairly simple and straightforward. Nackamichi provided almost all of the measurements needed to make this garment. The garment laid flat looks exactly like the picture to the left. It is a fairly large pattern piece and is cut on fold. The width of the fabric needs to be at least 58'' wide in order for this pattern to fit. The rectangular extension on the sides of the skirt are what creates the drape effect of the dress at the side seams. What I discovered when I created this pattern is that the armholes and the neck holes are too small to fit a person's head. In my modification of the design I increased the size of the arm and neck holes so someone could wear the garment. In the patterning directions Nackamichi has you start with a knit sloper block. You make modifications to the sloper block such as taking out all of the darts so it becomes a straight dress. Once you have the torso adjusted to the specifications you make slash lines from the mid-armhole down to the hem parallel to the side seam. One slash line is made from the top of the new armhole(d) to 1.5 cm down from the center front neckline(c). The third slash lines is made starting 2cm down from the neckline on the shoulder seam down perpendicular to the 2nd slash line creating right angle. Once the lines are drawn the are cut as the directions show and either opened up or in the 2nd slash line's cash completely cut off from the bottom of the torso and spread upwards 25cm. This lengthened your pattern quite a bit. There a lot of measurements involved with making this pattern and when you are all finished it really does not look like a torso sloper at all. I had to look at the finished picture and the pattern quite a bit before determining what seams to sew. Because the pattern piece is cut-on-fold my fabric had to be at least 58'' wide. It almost took up the whole width when folded. I cut the first pattern on fold and I decided to make it more fabric-yield-friendly to cut the back piece with a center back seam. This let me use the fabric fairly efficiently. I had a lot less waste than I initially thought I would have. This application had many different element to it from start to finish. All darts were ignored in this application to create a non fitted silhouette in the end. The slash and spread method was used to create fullness in the skirt, but was later ignored by drawing a rectangular extension on the skirt. The slash and spread method at the skirt was primarily needed for the curve created at the armhole when it was spread open. This is easy to see in in Nackamichi's instructions. The 2nd slash line that is completely cut from the original pattern and moved up is an interesting added fullness method. Nackamichi completely ignores traditional patternmaking methods in this application. The idea behind this application is creating versatility though using already established holes of the pattern(armhole and neck hole). She demonstrates the different ways this application can be worn by putting your arms and neck through the different holes created in the pattern. These are three replications of what she included in her text. For my application I could not think of another area on the body this would work and still be wearable. I decided to create a similar pattern with two more holes. The holes I included were in the front above the chest and in the back. I wanted to create a cowl effect with my hole. Incorporating a cowl cut-out was challenging for a cut-on-fold pattern piece. I determined the only way it would work would be if the skirt was cut on fold and the top half of the dress pattern had a seam at center front and center back. You can see from the picture above, on the right, the bottom half of the dress is on fold and the top half(past the slash) will be cut on fold. The slash looks similar to a dart but it will act as a cut out cowl piece. The hole could be worn as is, with it sitting above the chest or you could put your head thought it. This will make a mini cowl at the neck as well as an interesting drape down the center front. It will put all of the top half of the dress towards the back of the wearer, acting as what looks like a cape. There front and back piece will be cut the same creating this cowl shape in the back as well. In the modified pattern I increased the size of the top arm and neck holes because I found it difficult to get your head though the initial holes. Here again, this pattern application was difficult to establish traditional patternmaking principles. Because my modification was fairly minimal the same results Nackamichi's vs traditional patternmaking principles apply. The modification I incorporated was a slash and spread with some added fullness. The slash was made in a non traditional area and it was not dart manipulation because the dart shape is never closed. I chose to keep the rectangular extension that Nackamichi incorporated into the skirt of this application because I think with a lot of her applications she incorporates an extension and creates 3d shape with simple rectangular extension in a non-traditional area. This dress incorporated a lot of versatility, but I am curious on the wearability of the garment. I would like to try this garment leaving out the initial armholes and just have the cowls in the front and back. I think it might create a hood effect that would be more aesthetically pleasing and practical to wear in different ways.
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The Challenge: Draft & Muslin: Create the assigned pattern in half scale. Sew a 1st sample. Document your process with notes and photographs. The Pattern: Step 2: Draft the upper circle.
The "Muslin" 1st Sample: Here it is on the half-scale dress form. It's interesting . . . . The Challenge: Analysis: Study this pattern to discover what you can learn and apply to future work. Start with these questions and include any additional insights.
The Challenge: Application: Create your own half scale pattern by applying the rules and principles of this pattern in a different location of the garment. Sew a 1st sample. The Pattern: I thought it would be interesting to try to apply these patternmaking principles to a skirt.
Skirt Front, Side, and Back Notice how the location of the volume changes from front to back, due to the placement of the waist opening near the edge of the upper circle. The Challenge: Evaluation: Study your pattern to discover what you can learn and apply to future work. Start with these questions and include any additional insights.
Challenge: Bonus: Identify a designer and a picture of their work that uses this pattern technique.
I did not find any garments utilizing this pattern technique. Have you? I think this technique could be a lot of fun to use in children's wear. Where would you use it? Draft & Muslin The Magic is in the Wearing: The Challenge: Create the assigned pattern in half scale. Sew a 1st sample. This pattern was created in ½ scale. To create The Magic is in the Wearing, the process is quite simple. The pattern is intended to be created in a stretch knit. The Magic is in the Wearing is a versatile dress that can be worn several different ways. The Pattern Magic book gives one simple direction in the patternmaking for this design. 1. Draw a rectangle. The width of the rectangle is ½ of the hip measurement of your body or dress form, divided by 2, minus 2 or 3 inches. (H/2 -2~3) 2. Draw the rectangle 140cm long. 3. From the hem, make a notch 50 cm up. This is now your stitching line 4. The left hand side of the pattern is your center back; the right side is your center front. The waist will be cut on fold. 5. This is your entire pattern 6. Cut the pattern out of a knit fabric on fold 7. Sew the CF and CB to the notched point. Sew using a safety stitch machine 8. The seams will go down the center front and center back of the body. The long unattached piece that looks a giant strap is the piece that can twisted around the body to form different dresses. 9. Here are examples of dress styles: Analysis: Q1: What type of flat patternmaking is this: Dart manipulation? Added Fullness? Contouring? Something else? A combination? I would consider this a “something else”. No darts were manipulated, nothing was manipulated to add extra fullness, the pattern piece is simply a rectangle. This would be “drafting” a new pattern. Q2: What are the basic principles of this pattern? Make sure the hip measurement is accurately calculated. Make sure the rectangle has 90 degree angles. Q3: What are the basic rules of this pattern? There are really no rules for this pattern. As long as the hip measurement is correct all other measurements can be altered to the designers preference. Q4: Are these rules and principles always true? Yes the hip measurement must be correct or else the garment will not fit tight enough and fall off. Q5: What rules of traditional patternmaking are broken in this pattern? This pattern does not follow traditional patternmaking what so ever. Application: The Challenge: Create your own half scale pattern by applying the rules and principles of this pattern in a different location of the garment. Sew a 1st sample. I continued The Magic is in the Wearing to a sleeve variation where the continuation of the sleeves actually wrap around to the shirt. 1. I drew a rectangle 6” wide by 90 cm long. 2. Notch at 30cm up from the bottom, this will be your stopping point for sewing. 3. Cut 2 pattern pieces for each sleeve, a front sleeve and a back sleeve. 4. Using the safety stitch machine sew to the notched point. 5. Using the extra straps wrap them around the bust and body to your desire! Evaluation:
Q1: Did you stay true to the basic principles of the original pattern? The hip measurement did not apply to the sleeve variation, the rectangle lines were parallel to one another and corners were 90 degrees, but no there were no basic principles. Q2: Where did you move the pattern manipulation and how well did that work? I move the pattern to the sleeve. This worked out very well, almost better than the dress. It provided more coverage of the bust and it was more secure. There was less gapping and many ways you could twist the straps to create different top designs! Q3: Do all the same rules still apply? Did the need for new rules appear when you made this change? There were no rules applied to this patternmaking design. In the industry: A popular bridesmaid dress this season is the convertible dress that can be worn multiple different ways. This was bridesmaids are able to all buy the same dress but where it to a style of their choice. Here are just a few examples! These were found on Belle the Magazine, a blog for the Sophisticated Bride. They're available at dessy.com http://www.bellethemagazine.com/2012/06/convertible-bridesmaid-dresses.html Draft & Muslin: Create the assigned pattern in half scale. Sew a 1st sample. Document your process with notes and photographs. In the example in Pattern Magic 2, the front bodice is divided into eight sections, for a total of 4 strips that overlap at the center front. I completed the pattern in 1/2 scale. I decided to seam the strips together for 2 inches from the perimeter, before allowing them to float free across the center. Adjacent strips must share the connecting seam line, but the part of the line across the center can be any shape the designer envisions. It just has to connect back to the share line on the other side of the piece. The pieces should be drawn one-at-a-time, pivoting closed any crossed darts before the line is drawn. Helpful hint: tape those closed darts lightly, as you will need to open them back up again. After you draw each piece, you will need to trace it off onto another piece of pattern paper. Be sure to notch where the pieces stop sewing together and diverge. It is also helpful if you can draw each piece in its own color. Piece 1 Piece 2 Piece 3 Piece 4
See, the pieces fit together much better on the 3D form than they do on the 2D table.
Analysis: Study this pattern to discover what you can learn and apply to future work. Start with these questions and include any additional insights. Q1. What type of flat patternmaking is this: Dart manipulation? Added fullness? Contouring? Something else? A combination? A1. This is dart manipulation to create criss-crossing stylelines (see watch-face explanation below).
Q3. What are the basic rules of this pattern? A3. Based on my experience drafting the first pattern, here are my suggested rules:
Q4. Are these rules and principles always true? A4. I think the principles are always true, or it wouldn't really be a true version of the "like a jungle" pattern.
Q5. What rules of traditional patternmaking are “broken” in this pattern? A5. Style-lines traditionally continue across the entire piece. These style-lines, by contrast, start with connecting to one piece, then stop connecting, then reconnect with a different piece entirely on the other side of the piece. Application: Create your own half scale pattern by applying the rules and principles of this pattern in a different location of the garment. Sew a 1st sample.
Next, I decided to curve some of the lines to create strips of a minimum width. I drew the strips in different colors. The real challenge was in figuring out how to draw the parts of the lines that cross the side seam. I worked that out by folding the paper together. Green was one of the first ones I did and you can see I took me several tries to figure that out.
Here are all of the traced pieces. Here are the strips sewn together. I followed the same assembly process as with the bodice. Here is the completed dress. I put an invisible zipper in the left side seam and sewed the shoulders. Evaluation: Study your pattern to discover what you can learn and apply to future work. Start with these questions and include any additional insights.
How do you like "like a jungle"? Where would you use it in a design? I would love to hear your comments!
The “Vanishing Scarf” from Nackamichi’s Pattern Magic 2 was the application completed this week. From the pictures of the finished product, it is a blouse with a collar that incorporates a scarf that disappears in the opening at the top of the shirt. In the initial stages of this pattern Nackamichi had me manipulate darts in the front and back bodice to create this design. For the back bodice I simply slashed a line from the armhole to the top of the dart tip closest to the side seam. I closed the dart closest to the side seam. This opened up a small section at the armhole. This opening was ignored in the trueing process. The measurements that were manipulated at the shoulder seam were very self-explanatory. Nackamichi doesn’t clarify this in his book, but you will trace the front bodice sloper twice because the front of the garment will be asymmetrical in the end. After tracing the bodice front twice, you will make a slash line, for one of the bodice pieces, midway through the neckline. This will be label as piece B. The other bodice piece will have a slash line from center front to the dart tip closest to center front that is parallel to the waistline. This will be labeled as piece A. Again, the neckline manipulations of the front bodice piece were very self explanatory. Using piece A you will add a 4cm extension from the center front neckline to the top dart leg. This will be your Left Front pattern piece. Developing piece B was a littler more difficult. There was a lot less instruction in the creation of this piece. To create this piece you will need both piece A and piece B. Overlap the two pieces so the center front waist-line and the shoulder seam match up. Nackamichi does a good job illustrating the pattern piece you are making but there is not much explanation. You will draw the triangle shape that is shaded gray from A-B-C. Next, you will extend point B along the center front up 1cm. This will be point B1. Points B and B1 become the beginning of your dart legs. Continue tracing the center front of piece A from point B1 to the neckline and along the neckline until you meet the neckline of piece B. The extension that is used in piece A is ignored when creating piece B. You will extend the waistline 8.5 cm. This creates the overlap at center front. Draw this line upwards and parallel until you reach the neckline of piece B. From this point you will create the extension for the scarf. You will use the beginning of the dart leg closest to the center front on pattern piece B and the center front neckline (after the extension) and draw lines upward parallel to each other and 80 cm long. This is your right front pattern piece. Next you will draft your collar. These measurements were very self-explanatory. Nackamichi did not clarify whether she made a facing and upper collar, but in the picture there is clearly a facing and upper collar. I went ahead and created the facing and collar to assure my garment would had a finished look. The garment was relatively easy to sew in terms of construction steps. The only step that tripped me up was the make-shift dart that comes from the center front neckline and goes to the bust of the right front piece. I determined she meant to include that for contouring purposes. This pattern used some dart manipulation. Nackamichi wanted to make sure to include darts and contouring so that the scarf fullness would be emphasized. I think she has a different opinion on adding fullness. In the patterns I have completed she isn’t adding fullness to alter the silhouette, but she is adding fullness to create 3D shape. The extension she has added to this pattern is fullness but it does not alter the shape it is simply a rectangular extension that is wrapped around the neck to create the illusion of a scarf. Nackamichi keeps all dart rules in mind, although she does seem to slash and spread in pretty uncommon places, such as center front. No rules of traditional patternmaking are broken with this pattern and the finished garment has very good fit. For my perspective on this technique I contemplated different areas where I could incorporate this vanishing scarf. I was thinking about including it on the skirt and had the pattern started and realized that, functionally, this technique would not work in a skirt pattern unless something else was added, such as an invisible closure. The extension is meant to be a decorative element and by incorporating it into the skirt it would have to become a functional waistband. With the opening of the blouse that Nackamichi introduced at the center front it is ideal because the weight of the garment is carried on the shoulders. I tried to think of possible garments where the weight is carried another place other than the opening. I could not determine a garment other than one that opens that the neckline. I decided to make a cape/shawl that incorporated this vanishing scarf. It would be very handy for your overcoat or cape to incorporate a scarf on cold days. This pattern was relatively the same as the blouse. The dart at the center front neckline of piece A and the center front dart at piece B remained the same. I used a thicker material because I wanted to see what the drape would look like in a wool fabric with the bulk of the extension. I also manipulated the extension in length from 80cm to 120cm. The finished garment turned out extremely pleasing. The cape with the vanishing scarf is definitely something that could be appealing in a mass market. Although it has a very appealing finished look the pattern pieces are highly unreasonable on the mass production scale. With the extension taking up 120cm, not including the length of the cape it makes for a lot of surface area.
Analysis of Pattern Application #3:
According to Nakamichi (2011, p. 62), this bodice pattern allows a knot to “become a natural part of the garment.” Therefore, I replicated “inserting a knot into the bodice” just as Nakamichi did (2011, p. 62). Applying the “knots” technique NOTE: I found that all the measurements that Nakamichi gave in her book (2011, p. 62) need to be divided in half in order to create the half scale pattern. The given measurements are evidently for a full scale pattern. Step 1: Create the “knots” pattern using a Nakamichi bodice front right sloper with one armhole dart and two waist darts. Step 2: Mark the center point of the shoulder seam. Mark a point ½ cm below the HBL on the center front line. Mark another point ½ cm below the HBL and 3 cm over from the center front (vertical) line. Mark a point 1 cm above the HBL on the center front line and mark it as point “b.” Mark a point 1 ½ cm above point “b” and call this point “a.” Mark the center point between point “a” and point “b.” Step 3: Draw a line from the center point of the shoulder to the 1 cm mark to the left of the center front line and level with point “a.” Draw a line connecting the ½ cm mark on the center front line below the HBL and the ½ cm mark ½ cm down from the HBL and 3 cm to the left of the center front line. Next draw a line extending from the point of the 3 cm end point mentioned above and through the top of the nearest waist dart continuing on to the side seam. (NOTE: the top of the waist dart is literally the top, which is ¼” above the drill hole in this case.) Step 4: Continue the line (that goes through the dart and down through the side seam) upwards to the 1 cm mark up from the HBL and 1 cm to the left of the center front line. Then connect (with a line) this same point to point “b.” Make a mark approximately 2/3 of the way down the line extending from the center of the shoulder. Measure ½ cm to the left of this line at this mark. Use this new mark and a hip curve to reshape the line extending from the shoulder. Step 5: Extend the curve of the above line from the 1 cm point to the left of the center front point until it meets point “a.” Using a hip curve, draw a slightly curved line from the armhole dart top to the point marked on the center line between points “a” and “b.” NOTE: I had previously backed the dart point away from the bust point, so for this exercise, I had to find the center of my dart and extend is once again to the bust point. Notice the “end of seam point.” This is where the pattern gets cut for separating the bodice into two pieces. Mark a notch on either side of the “end of seam point” for matching/construction purposes later. The cut line continues on the downward diagonal line extending (left) to the side seam. “End of seam point” Step 6: Extend the point on the waist dart on the lower bodice until it touches the cut line. Extend the point of the waist dart next to the side seam until it touches the lower (nearest) dart leg of the armhole. Step 7: For the lower bodice:
For the upper bodice:
Step 1 of Upper Bodice Step 2 of Upper Bodice Step 3 of Upper Bodice Step 4 of Upper Bodice Step 5 of Upper Bodice Step 5 Completed To pattern the center front knot:
Completed Upper Bodice with Knot Extension Sewing the “knot” bodice:
Step 1 of Sewing Upper Bodice Step 1 of Sewing Upper Bodice - Completed Step 2 of Sewing Lower Bodice Step 2 of Sewing Lower Bodice - Completed Step 3 of Tying a Knot in the Upper Bodice Step 4 Completing Sewing the Upper Bodice Step 4 Completed “Knots” Bodice Adapting the “knots” technique In order to adapt my own version of Nakamichi’s “knot” design, I used her “knots” dress design as a reference (2011, pp. 64 – 67). Step 1: I chose to adapt this technique as a skirt design. I used a one-dart skirt front sloper and drafted a complete skirt front pattern. I folded the pattern in half and used a French curve to draw an arc from the hem of the skirt pattern up to the center front line. I traced the arc onto the other side of the skirt pattern so that the arc is a complete arc. Step 2: Draw stylelines on the skirt front from the place of your own choice down to the top of the arc. I chose to draw mine one from the right side of the skirt and the other two from both dart points. Step 3: Trace off the individual pattern pieces and add notches for construction purposed; add grainlines. NOTE: I eliminated the arc are from my pattern pieces when I traced them off because this is where me “knots” will be located as part of the completed design. Step 4: Add an extension of paper at the location of the arc area of each individual pattern piece and draft an extension/length of pattern, which will form the “knots.” Also, make notches at the top of each extension (to distinguish the skirt panels from the beginning of the extensions). I made my extensions 15” long. Add seam allowances to each pattern piece…I added seam allowances of ¼” on mine. Step 5: Cut out the paper pattern pieces and the cut two of each pattern pieces out of fabric. Step 6: With right sides together, sew each panel together around the extensions only from notch to notch. Trim the corners off of the seam allowances at the ends of each extension. Turn the sewn pieces back to the right sides and press thoroughly. Step 7: Pin and sew the seams of the skit from the top of the stylelines down to the notches on each of the pieces until all the stylelines of the skirt are fully sewn together and an entire skirt front is completed. Step 8: Tie the extensions into multiple knots (tie the “knots” one after the other down the extensions until each of the entire extensions are knotted…my extensions resulted in three knots for each extension). Tack the “knots” into place as desired from the backside of the design. Tying Knots Completed Knots Knots Tacked into Position I really like the outcome of this design. I enjoyed my application of the design more than Nakamichi’s “knot” bodice simply because of the creation allowing for more “knots.” I really like the design detail that the “knots” create. By making my own adapting of Nakamichi’s pattern design, I also discovered that more “knots” in the design adds weight to the design. This is a factor to be considered when designing the placement of the “knots” as well as choosing fabrics appropriate for the design. Although I also really like the texture of the woven fabric that I chose for these pattern applications, it began to unravel very quickly and is not very fond of handling. The final result turned out nicely in spite of this fact…crisp, textured “knots.” It would be interesting to create these patterns out of other fabrics such as silk habotai to get a softer, dressier result.
Evaluation of Patternmaking Application #2
In order to create the design, I needed to draft a 2piece collar, I used the mandarin collar sloper (drafted for the previous sample wearing a balloon) as the stand and then lifted the upper collar off the stand using standard flat pattern techniques. The first step in the book was to draft the armhole dart only bodice front and the no dart bodice back. I traced off the basic sloper, eliminated the waist darts by using the dart as added fullness –in other words ignore the darts and redraw the waistline. Add the suggested intended length below the waistline to front and back and make adjustment at the sideseam. New side seam starts at original underarm, tapers in at waist and flares slightly at new hem line. Close out back shoulder dart and move to armhole by slash and spread. Draw in angled styline using the top leg of the armhole dart going through bust point and stopping at CF, Now draw in extension line for center front closure. (This step I did the same) The book does not easily define the need and placement of the extension difference for right and left side, the extra amount needed for the right side overlap part of the tie, and the separation of the pattern pieces. So here is the way I did it to start (and as you will see I would do it differently the next time) Draw in a buttonhole/closure extension beyond CF starting at the neckline and continuing beyond the newly drawn styleline and end close to the natural waistline. Be sure to angle the line connecting CF to edge of extension (in hopes to avoid seeing the extension under the tie. At this point I cut the pieces apart, trace off another lower bodice piece so you can work with the asymmetry. The left side is as it is but the right side needs the tie added. Tape paper under the right side at center front, extent the CF line and tick off where the neckline is on the CF line (guide for the length of your tie). Draw in shape of tie extension, the book has you hit the same mark as the extension (a) I think there will be a better way. Fold the pattern along CF and transfer tie extension to the other side of CF to where it meets the style line. (image sequence above) Create a bias strip pattern to be the part of the tie that goes around the neck and the part of the tie that ties. You will have to cut the length AFTER you tie the tie around the finished neckline. I was trying to plan for the construction and finishing so I added an attached facing to the extensions and created a full tie facing piece. The facing does end up working great except for the part where it is connected behind the tie. (In the future I reshape only this section) Now to construct. Forewarning, the sequence in the book IT DOES NOT WORK. Yes the opening in the back is important but it does not go all the way up the back and into the collar so therefore when you cut and tack, as the book says, the tie and knot with the lower part of the tie there is no way to get out of the neck. I stitched the tie facing right sides together only on the stitch lines seen below, you must stitch exactly and clip exactly to the corners. Trim other corner and turn right side out and press. This next step got complicated and ugly, mostly on the side without the tie extension. Pin and stitch top and bottom bodice together paying careful attention to where the extension placket line up. Right now it does not line up at the raw edge. Stitch the side with the tie extension only to the tie. Stitch bottom edge of placket shut and turn and press in place Stitch together right and left sides below the tie to hem, On back side of bodice,pin and stitch layers in to keep tie aligned. This is the part of the pattern I change in the future…nothing lines up and you can see the placket on the front more than I want to. I think there need to be different pieces for all four front bodice pieces. Looking at the instructions it is probably the that it is intended to be (just not clear) Collar construction is standard, stitch upper collar together along outer edge only, clip, turn, press. Place in between stand and stitch the non neckline edge, clip and turn Note: when I added the extension to the bodice pattern I made sure the extension of the mandarin/collar stand had the same amount of extension Stitch shoulder and side seams, stitch CB from neckline to about 2” down leaving most of the CB opening for closure Stitch one neckline edge of collar to bodice neckline, finish raw edge Put shirt on form and tie bias strip as a tie around the neckline. Cut excess off. (I still left a little length beyond the knot otherwise the knot comes undone. Now the book says to slip the lower part of the tie (you might need to trim off some extra here as well) and tack in place. So now how do you get out of it. I full scale I think you could add snaps strategically inside the knot or you could separate everything at the CB (upper collar, stand, tie, and full length of CB bodice) 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? Vanishing Tie is a technique to incorporate expanding pieces into other parts of a garment so they have the illusion of connecting in various spots. The darts are manipulated into added fullness and design stylines. As in many of these samples there is added geometric shapes not necessarily fullness or contouring Q. 2: What are the basic principles of this pattern? 1. Style lines were drawn to create the seam lines that manipulate the armhole darts 2. Added fullness was used as a way to eliminate the waist darts (almost adjusting to be a non-darted torso block) Q. 3: What are the basic rules of this pattern? 1. Place the stylelines to intersect bust point and dart legs 2. I would suggest in the future to use a base patter that has your stylines, overlap lines and shapes, as well as lines for facings and then trace off to avoid confusion 3. Once pattern pieces are cut apart tape onto another piece of paper to accommodate CF extention and width for tie shape 4. Notch, mark the transition and overlap spots accurately 5. Plan your stitching sequence to accommodate intersecting seams 6. Pin and stitch in sections 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? No traditional patternmaking rules are “broken” in this pattern, but traditional patternmaking rules for facings and extensions do not seem to be followed or used. There should be more accurate information on how to pattern facings in order to finish the garment. Vanishing Tie Application on SkirtThe Challenge: Create your own half scale pattern by applying the rules and principles of this pattern in a different location of the garment. Sew a 1st sample. I decided to apply the rules and principles of Vanishing Tie to a skirt back in hopes to work through some of the issues I had with the original location. I wanted to make sure the garment can be taken off, finished with facings, and yet still have the impressive illusion the Nakamichi example has. I traced of a full skirt back in order to plan for the asymmetry. I thought about using a side closure or a hidden one behind the tie. It ended up that I could do either and I will discuss at the end of the steps. I drew in stylines that wolld work with dart manipulation and cut the pieces apart. On the smaller yoke I was able to clip from the yoke line up to the dart point, close out the dart point and true up by drawing of the small dart on the princess seam. On the larger yoke I closed out both dart and had less truing up to do. I taped the larger lower skirt on paper to add tie extension. I did this the same way as the Vanishing tie sample. Extended princess seam line up and ticked off where there waistline is. I created the extension shape, folded on the pricess seam line and mirrored the extension to the part above the pattern piece. I traced off (more effectively because I transfer all seamlines) the facing for the tie Stitched facing to tie on seamlines, clipped exactly to corners, and turned and presses just like vanishing tie (above right photo) Stitched lower skirts together on princess seam catching the tie facing by matching up raw edges! Stitched yokes and lower skirts together on seam catching the tie facing by matching up raw edges!
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, the flat patterning principles were pretty straight forward, use style lines to cut apart the pattern and close out the darts. Then add geometric fullness to create the tie shape. 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 about the effect without the collar component but I actually like the way the waistband transforms into the tie. I think I could use this on a bodice that does not have a typical collar 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. I was much happier with the planning and execution of the facings Circular Jabara Pg. 47 Pattern Magic 2Draft & Muslin Circular Accordion (Jabara): The Challenge: Create the assigned pattern in half scale. Sew a 1st sample. This pattern was created in ½ scale. To create the circular jabara pattern, the first step is to trace the bodice back on fold on pattern paper, without transferring any of the darts. We will be transferring the entire dart intake to the center back where the jabara will fit. To start make a mark: 1. 5.5 cm down from center front 2. 3cm over from arm hole 3. Connect the two; this is your new neckline, removing the shoulder dart completely. 4. ½ cm down from shoulder at arm hole, connect to new neckline point. This is your new shoulder seam 5. Make a mark 7.5 cm up from center back bodice waist 6. Draw a line parallel and 4.5cm away from center back, this will be your slash line To slash and spread: 1. Slash the parallel line 4.5cm away from center back, open roughly 2 inches. 1. Next, make a mark 9 cm up from center back waist and side seam, draw a line. 2. The left leg of the line you just slashed now becomes the center of your dart. 3. Draw a 9cm long dart that touches the 9cm line and is 4cm wide, 2cm on each side of the slashed line. Transferring the new dart: Now we need to transfer the new dart that we just created to the side seam. 1. Slash open the 9cm line from the side seam all the way to the dart tip 2. Close the waist dart and move excess to the side seam 3. Extend the waist hem 1cm at the side seam Creating the circle templates: Now we need to create the space where the circle jabara will fit into. Make sure there is a center back line drawn. Connect the dart tips from both side seams. 1. Make a mark ½ cm to the left of center back on the line connecting the dart tips, label this A 2. With A as the center, draw a 10cm diameter circle 3. Make a mark B directly on Center back where the line connecting the dart tips runs through the center back line. 4. With B as the center, draw a 9cm circle 5. Make a mark 5/8cm to the right of B, label this C. 6. With C as the center, draw a 8cm diameter circle 7. Make a mark ¾ cm away from C, label D 8. With D as the center, draw a 7cm diameter circle. These now will serve as the circle templates for creating the accordion effect To remove the circle, make a mark 1.5cm away from the center back line at the neckline. Connect this mark to the edge of the circles at the right dart tip. Slash the line and cut around all of the circles. Label the bodice back piece as A. Your pattern should now look like this: Creating the Jabara Pieces A: Starting with circle A, trace the circle to pattern paper, extend 1.5cm from all edges of the circle. Cut away the inner circle, leaving just the 1.5cm border, label this A1. This will be the underside to A (which in this case is the bodice back) B: To create jabara B first trace circle B with the 9cm radius. From here you need to mark A in its original spot, which is 1/5 cm to the left of B. Using A as the center, draw a 7cm radius circle around B. The left side will be wider than the right. Cut away the inner circle B leaving only the outer edge, Label this B, this now replaces your B circle. To create B1, trace the original circle B and add 1.5 cm border along the edge. Cut away the inner circle leaving only the 1.5 cm border, label this B1. C&D: C and D are both created just like B. With C as the center, make the mark B, 5/8 cm to the left of C. Use this mark at the center mark when creating the new C outer edge with the left side being wider than the right. Draw a 5.5 cm radius circle around C. This border becomes your new C. For D, make a mark ¾ cm to the left of D and label C, this is the new mark used to create the outer border. Draw a 5 cm radius circle around circle D from mark C. This outer edge becomes your new D. To create C1 and D1, trace the original circles and extend 1.5cm, these new 1.5 cm wide borders become new C1 and D1. E: Draw a circle with the diameter equal to the outer edge of D, label this E. *Note: It is very important to have things properly labeled, or else sewing the pieces together will cause mass confusion. All of the pattern pieces: Cut 1 of everything. To sew: Sewing the garment sounds trickier than it actually is. First, sew the circle A1 to A (the bodice back). Then follow these guidelines: Sew the inner circles of: 1. B to B1 2. C to C1 3. D to D1 Next sew the outer edges of the circles together start with sewing: 1. A1 to B 2. B1 to C 3. C1 to D 4. D1 to E This should connect all the jabaras and look something like this Insert pic Sew the seam of the circles together and continue all the way up to the neckline, You now have a circle accordion (jabara) The jabara takes some playing with to get it to lie how you would like it to. Analysis: Q1: What type of flat patternmaking is this: Dart manipulation? Added Fullness? Contouring? Something else? A combination? A: Circular jabara is a combination of dart manipulation and added fullness 1. Added fullness is added by slashing and spreading 2. Dart manipulation is used by moving darts from the waist to the sideseam. Q2: What are the basic principles of this pattern? A: 1. All pattern pieces are cut 1 since it is asymmetrical 2. The circles must cross the bust point in order to effectively transfer fullness. Q3: What are the basic rules of this pattern? A: 1. The diameter of Circle A must equal the diameter of the opening on the bodice, sleeve, or wherever the circle is going to be placed 2. If darts are present all dart excess must be moved to the jabara opening 3. For every Circle i.e. A, B C, there needs to be an under-circle, i.e. A1, B1, C1 Q4: Are these rules and principles always true? A: Yes, the 3 rules stated above must be followed in order to make the jabara successful Q5: What rules of traditional patternmaking are broken in this pattern? A: None, to my knowledge. Application: The Challenge: Create your own half scale pattern by applying the rules and principles of this pattern in a different location of the garment. Sew a 1st sample. -I continued the Circular Jabara pattern onto the sleeve. -I wanted to create the same effect on the outer edge of the sleeve creating the accordion affect in a different manner. I also chose the sleeve to use an already made circle without dart transfer, to see how that would work. The instructions are below describing the process more briefly than the original. -My sleeve diameter was 7cm. -I first created circle A with a 7cm diameter. I added a 2cm outer edge that will serve as the jabara, I labeled it as A1 cut 2. I wanted to see the effect of having the same shapes sewn together verses the previous pattern where the one piece was a different shape. I then created circle B with a 6cm diameter, again, extending the 2cm outer border edge and then circle C with a 5cm diameter and 2cm edge. These are now my pattern pieces Just like previous, the sleeve was labeled A. I sewed A1 to A and both B circles together and both C circles together, sewing the inner circles first. Then sewing the outer circles I sewed B to A1 and C to B1. This created an accordion effect at the opening of the sleeve, which I found quite interesting and fun. Evaluation:
Q1: Did you stay true to the basic principles of the original pattern? A: Yes, all the same rules and principles applied. Except this time I used an already made circle (sleeve opening) instead of manipulating darts and making my own. Q2: Where did you move the pattern manipulation and how well did that work? A: I moved the pattern to the sleeve opening where I tried to create the circular accordion on the exterior instead of on the interior. This used the same pattern application in a different manner. I think it created an aesthetically appealing sleeve detail. This time I played with the sizes of the circles and made them all 2 cm wide and also made A and A1 a cut 2 pattern instead of 2 different pieces. I wanted to see what kind of effect that would make and how it would different from the center back jabara. Q3: Do all the same rules still apply? Did the need for new rules appear when you made this change? Yes, all the same rules still applied I found no current or past designer incorporating this design! But the search still continues :) .... The overall concept of this pattern is to create accordion inserts in the side panels of the vest. The first steps was to create vest patterns(front and back) from your basic slopers. Creating the vest was the easy part and well described with a picture and measurements. You end up with four pieces for your vest(front, side-front, side-back, & back). The side panel is the pattern used to create the accordion extension. A rectangular horseshoe shape was drawn over the side panel(in red). This would be the base for each accodion piece. There are in total 4 accordion pattern pieces(A,B,C, & D). There was a little confusion in the book whether to make Jabara(rectangular horseshoe shaped accordion) A or not. I decided to go ahead and include that in accordion panel A. Each rectangular horseshoe has 3 different sections. These sections are all reflected about themselves to create the complete accordion panels. Nakamichi has you repeat the technique of creating 3 accordion pieces on the right front facing of the vest. After going through through the patternmaking process I had a lot of pattern pieces. After cutting out my fabric I started sewing the accordion pieces. It was a little difficult for me to understand how they would be sewn together by just looking at the pieces, but once I started manipulating the pattern in its fabric form it was very easy to understand. The finished individual accordion pieces looked like this. When the entire side panel was constructed I had to connect that side panel to the center front piece and side back piece. This part of the pattern was most difficult for me to figure out. You are connecting the side panel to the center front piece until you reach the accordion piece, and then its almost as if you have to shove the accordion seam allowances into that seam and you are no longer sewing to the side panel but you are sewing to Jabara piece A(the largest accordion piece). There is still some confusion on how it actually connects because I do not think I did it correctly, but with the vague sewing instructions it was hard to decipher. I am not sure that any of the patternamaking principles(dart manipulation, contouring or added fullness) are at work in this pattern. I am using a standard fisheye and armhole dart in the center front panel to create contouring but the accordion panels are extra pattern pieces that create the extension. For the Jabara(accordion) pieces I created the base and reflected it upon itself. This created a 3-d effect for each accordion piece. The accordion pieces can be use in any way really. I would like to experiment with different shaped accordion pieces. I think with this particular application the accordion has to have a seam to make the corners of the jabara disappear. As of right now I do not think that any traditional rules are broken in this pattern application. For my second application of this technique I used a little different perspective of the accordion. As I was making the accordion piece in the initial application I became inspired by the accordion panel in its stretched out state. I decided I wanted to create a sleeve using these accordion pattern pieces in its stretched out state. It was a little interested to try to determine the size of the jabara pieces, but I used a sleeve pattern that I had previously created and used that as my guide. I determined that one leg of the horseshoe pattern needed to equal half of the sleeve width. I wanted the accordion pieces to gradually get a lot smaller as the sleeve went from the cap to the wrist. The finished pattern has six accordion or jabara pieces in total. The sleeve from the bicep line to the top of the cap is the same as the original sleeve. I did have to make sure that the width of the sleeve, at the bicep line, matched the total length of the 3 inside lines of the 1st accordion piece. The finished product created a 3-d sleeve. It is a very interesting shape, but yet a functional sleeve. If I were to change something, I would try to make the accordion shape at the bicep line so there wasn't such a hard transition between the sleeve cap and the start to the accordion pieces. I found a dress that incorporates the jabara. Although it is not rectangular, I thought I would share.
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AuthorThis blog is written by graduate students studying the work of Tomoko Nakamichi as published in her "Pattern Magic" books. ArchivesCategories
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