Toile construction and further adaptations

Once all adaptations had been made to the bodice pattern it was then time manufacture a toile. This let the production process be tested and allowed all mistakes to be made at this stage. Meaning the final garment manufacture should run smoothly. Once the toile was complete the fit of the garment tested and any alterations needed were changed on the pattern pieces.

The toile was made out of Scuba fabric which has similar properties and handle to neoprene which will be used for the final bodice. The sucuba was block fused with interfacing to thicken the fabric.   

Lay Plan

The above lay plan was produced in order to find the most efficient/ cost saving way of cutting out the pattern pieces. On reflection of this process the pattern pieces should have been placed on the fabric as above and then drawn around with tailors chalk. They could then have been flipped and pinned next to this leaving a more accurate lay plan image. And giving a more accurate measurement as to how much fabric is needed for one bodice.  

Toile Manufacture

Creating the 3D Bodice pattern

The  basic bodice block from the book by Martin Shoben and Janet Ward 'Pattern cutting and making up Voloume 1', was adapted to fit the size 12 Kennet and Lindsel concept 2008 mannequin. The steps taken to adapt this were discussed in the previous post ( http://fashiongarmentandconstruction.blogspot.co.uk/2014/10/fitting-basic-block-to-mannequin.html ). The block was finalised by the course tutor in order for students to adapt in order to produce the individual designs. 

The following steps were followed to adapt the pattern.
1. The strapless bodice pattern was traced onto pattern paper including all markings and seam allowance. 

12.      Firstly 3.5cm were taken from either side of the centre front line. Allowing for the gap in which the 3D panel will sit. This created one pattern piece which should then be cut in a pair rather than one front piece which should be cut to the fold.

23.      The seam allowance and 0.5cm was taken from the CB line. Allowing for the insertion of a visible zip leaving the fabric with a raw edge. The 0.5cm allows for the fabric to sit either side of the zip teeth on the tape.

34.      The paper pattern was then pinned together with the seam allowance on the outside and pinned to the mannequin allowing further adjustments to be made.

45.      13.5cm was marked on the CB for the dropped back. 

However having not sourced an open zip this length the trimmings business Arc Traders was called in order to find the smallest length zip they provide with a black zip tape and silver metal teeth. The smallest zip they provide with these requirements was 6” or 15.3cm. 

16.      The CB was then marked at 15.3cm instead of 13.5cm in order to accommodate for the correct zip length.

77. The top of the bodice was redrawn onto the pattern. Lowering the back to the marked point ensuring it was a smooth line. 

18.      The pattern was then unpinned from the mannequin and the new pattern traced off including all adaptations made. The seam allowance was also removed from the top and bottom of the pattern due to the final bodice having raw edges. The neoprene does not fray therefore there is no need to double over the fabric and hem, this would just produce bulk. 

Using the mannequin to adapt the pattern is an easy way to produce a close fitted garment. Enabling any changes to be drawn directly onto a pattern piece whilst being able to see how the shape/fit would look when manufactured in material. 

Open ended zip insertions

http://www.royalfashionist.com/look-book/#.
VGd85fmsWSo

Having chosen upon the final bodice design a open ended zip has been decided as the fastening. This is due to the ease in getting in and out of the bodice. Originally rouleau loops were going to be used however this is a more delicate method which didn't match the heavy neoprene material. Open ended zips are used for garments which open up completely for example the centre front of a jacket or coat. As well as the centre back of a bodice or corset allowing it to be wrapped around the body and then zipped with ease.

Double sided neoprene will be used to construct the bodice. Specifically black and white in colour. One of the samples was made from the neoprene fabric however due to the cost of the fabric scuba was used for the others. Scuba has similar properties to neoprene and was fused to add thickness before using for the samples. 

3D experimentation towards the final design

Working towards the final bodice design 3D structures were made in order to see how they may be constructed. Looking at the scale of the shoulder piece and the centre geometric panel. These two elements will later be experimented with in the 3D design workshop in order to get a more professional finish and using materials more suited to the final bodice. 

Developing my chosen design 7/10/14

The above design was chosen due to its abstract shape. The structure will bring a bold statement when taken to the catwalk due to being worn on the shoulder and standing close to the face, the place where eyes are usually drawn to. 

Working out how to make the structure stand on the shoulder was the first step. Online research was undertook to find images of similar structures of which could be the basics of my design. Ice hockey safety wear and police gun holsters were just some of the techniques found. 

Furthur 3D design ideas 7/10/14

During the previous activity of working on the stand, a 3D structure that would be attached to the bodice was made. Finding this task challenging it was decided a 3D structure would be made to accompany the final bodice rather than be something attached to it. The structure could then be removed leaving a 2D bodice however when added to the overall look it would draw the attention of viewers at a catwalk show therefore drawing the needed attention to the bodice itself.

An example of a separate 3D accessory used to draw attention to a collection or outfit is that used by Alexander McQueen in his Fall/Winter 2013-2014 catwalk show in Paris.
http://loveisspeed.blogspot.co.uk/2013/03/2013-14-fall-winter-alexander-mcqueen.html[Accessed - 7/10/14]

3D initial work on the stand 6/10/14

Following the secondary research of Barbra Hepworth and Henry Moore, three pictures were chosen from the Yorkshire Sculpture Park in order to create some initial design work and models on the stand.

The following pictures stood out as being inspirational due to the shapes within the sculptures, which could then be transformed into a fashion accessory or garment.

Tread Pad Pair 1 by James Capper

Lower Park by Oppenheim

by Serge Spitzer

Constructing Pin Tucks

http://www.shopbop.com/satin-pants-zac-posen/
vp/v=1/1536341031.htm?folderID=2534374302186861&
colorId=12688&extid=affprg-4441350 [18/10/14]

http://media-cache-ak0.pinimg.com/236x/d2/15/80/
d215803bd2e8983c782513529c99914d.jpg [18/10/14]

Pintucks are a decorative technique used on fashion garments. They are mainly used on bodices as shown in the picture. However can be used on all garments to add texture or a 3D feel to the fabric. The final pintucks can be pressed to one side or left to stand.

The best effects are produced on light weight fabric such as organza or silk, this is because the pintucks can be made very small. Whereas this may not be possible with thicker fabrics such as denim.

In industry pintucks can be made using a special foot on the sewing machine making it easier and faster to sew. This is extremely useful as tucks are produced in large numbers, it would be very rare to find one pintuck on a garment. 

Constructing Piped seams

Piping seams is a decorative technique that can be used in several different ways. It can be used on a plain seam, around corners, as a finished edge on the top of the bodice (joining lining or a facing with the outer fabric) and it is also used for furnishings such as cushion covers. 

Piped seams in contrasting colour.
http://media-cache-ak0.pinimg.com/236x/05/57/e8/0557e8a50781252d094911fbe46dda32.jpg [7/10/14]
Piped cushions. 
http://www.emmajohnston.com/product/contrast-piped-cushions-large/ [7/10/14]

Fitting a Basic Block to a Mannequin

Previously a basic block was drafted from the Martin Shoben and Janet Ward pattern cutting book. The instructions for this can be followed on my previous post. 

http://fashiongarmentandconstruction.blogspot. co.uk/2014/09/drafting-basic-bodice-block.html

This post will explain how the block was constructed and then altered to fit the mannequin. This final bodice for this module will be made to fit a size 12 Kennet and Lindsell Concept 2008 mannequin. However leaving some ease taking into account although people may be a size 12 they can still differ in measurements.

For this adaptation an full bodice block was constructed, although only half of the block was adapted to fit the mannequin. Therefore leaving half the garment in its original form showing the transition made.

Constructing Rouleau Loops

Rouleau loops are a common fastening used on bodices. Producing different samples will allow me to select the most appropriate method when designing my bodice. 

Rouleau loops are mainly sewn down the centre back opening and are often used with a facing of material behind due to the skin being exposed. They are extremely common in wedding dresses (as shown in the picture) and are made in light weight materials such as satin and silk. However for the purpose of my sample I have used lining material. Elastic can also used as a loop however the elastic is bought therefore achieving a similar look at a cheaper price. 

In Industry the loops may be pre bought on a thin strip of material which would then be sewn into place meaning less work for the machinists piecing together the garment. 

Methods of Boning

In preparation for the construction of my final strapless bodice, I produced samples of different boning methods in order to decide which method would suit my design at a later stage. It also allowed me to get a feel of how each method looks and what the construction entails. 

All of my samples were constructed on calico 20cm in length. All binding is cut to 17cm in length leaving 1.0cm seam allowance at each end of the seam along with 0.5cm ease to allow for any roll in the fabric. 

Equipment used - Scissors, 4 thread overlocker, single needle lock stitch industrial sewing machine, industrial press.

If you are conducting the methods at home a domestic sewing machine could be used along with an alternative overlock stitch depending on the fabric you are using. 

Drafting a Basic Bodice Block

Working towards creating a haute couture bodice, a basic bodice block was drafted in order to be adapted at a later stage. Following the Martin Shoben and Jannet Ward book 'Patter cutting and Making up Volume 1,' I drafted the basic bodice block onto card. 

Drafting onto card is something new to me however it saves time and also allows the card pattern to be traced and re-used with little damage. A good tip if you plan on adapting a block several times, which is what I plan on doing to achieve my design at the perfect fit.

Taping the mannequin

Taping a mannequin is how to begin any garment construction project, when making a garment to fit a mannequin. 

My brief for this semester is to produce a strapless bodice using boning. Therefore it is important for the garment to be fitted to the body. 

In order to get accurate measurements I practiced taping a size 12 Kennet & Lindsell Ltd Concept 2008 mannequin. Pinning tape in the areas where measurements are needed to begin bodice work. For example the waist line, top and bottom hip lines, center front and center back and also the bust line.