A wonderful new space for my patternmaking and draping classes. Clean, airy, natural light, fabulous big tables and LATTES, YES! LATTES right next door! Could not be better, really.

My raspberry wool coat and mini are underway, slowly but surely. Progress on my work and the students work will be shared as the weeks go by. Enjoy your every creative moment!

It is the first really cold day, it feels like winter. Does that mean I can start to make some great cold weather clothes?? YES!!!! I of coarse should have started in July, but somehow I can't really get into it until the weather gets cold. Soooooo, I am making a great deep berry colored short coat and mini to match. Mini? well not mini like I did in the 70's, but something that I can wear with tights and boots.
Keep you posted!

It seems fitting that with spring on the way, I am changing the template of my blog to "honeysuckle" this year's color from Pantone. It has also been one of my favorite colors having called it watermelon for years and years.

New Year, new color, new business!!

Months later, my work with Rebecca has borne fruit. Paste the following into your browser and enter Michigan Fashion Proto in the search box.
Let me know what you think!!


http://www.lansingstatejournal.com

It is a stunningly beautiful sunny fall Sunday morning. I'll take the morning for myself and the afternoon to help my friend and colleague Rebecca set up the workroom of her newly established company. We plan to put together all the machines, mannequins and other equipment she bought in New York last week. We will plan the space, mark out where the cutting tables, sewing machines and fabric storage will go. It is REALLY an exciting moment for this company and for our collaboration. The enthusiasm, professionalism and incredible common sense she brings to the table is beyond refreshing. Those qualities and attitudes open doors of possibility that support and nurture the success of her endeavor, and create an atmosphere of trust and dedication between her and those with whom she works. VERY POSITIVE BEGINNING!!!

I cannot seem to move forward on the arm construction, I keep putting that off. It means I am not committed to it at this moment. I am committed to something else. Many other things at the moment. I am very involved with Detroit Fashion Week. I know, sounds too local. It is and it isn't. It is in the preliminary stages of great success. Why do I know this? The Design Director is Rebecca Clark, a Michigan re-plant from New York. Incredible energy, incredible business woman, incredibly professional. She has asked me to collaborate not only on Detroit Fashion Week, created by Brian Heath, but in the future for many many projects. It is the first time I have been excited in years and years about my work and my craft which has laid fallow for years and years. Not that I have not done work, I have, but MY work. The kind of work in which one is lost because of commitment, and desire. The kind of work that feeds ones soul in a way which nothing can feed the soul. It's a birth and I am crying because it is so beautiful, and it was such a long time coming.

I am always inspired by the work of others. The fact that someone connects to what impassions them, and I love the way someone else sees what we are both looking at differently than I do.

I came across this blog a couple of months ago. http://wkdesigner.wordpress.com/ I LOVED his approach, his perspective. He gives tools and teaches how to use them with a kind of clarity that this world needs. You can still view the entries and you should. Just reading them opens the door to possibilities you thought were not yours.

Unfortunately he closed this blog. He felt that he had shared all he could on this particular subject. I was very sad but I completely understood. These were his parting words.........

"You do not have to be an expert to be your own designer. With simple pattern modifications and some common sense ( sometimes a bit of trial and error too), you can create your own design details. When combined with the ideal fabrications you can realize your own creative visions.

You’ve probably discovered many sources of inspiration from the Weekend Designer. Here are some design tips and advice to help you turn that inspiration into creativity.

* Be Disciplined – Pattern-making can be hard work and takes concentration. A defined work-space and a preplanned time frame are often helpful. Try to plan creative time every day, or whatever time is available to your lifestyle. Planning a time frame in a space where you can concentrate will help slow down your ideas so you can actually be productive with them. If you’re in a hurry or if the ideas come too fast, it’s difficult to convert them into a design.

* Be Prepared – Pattern-making is a skill. However to make that skill work to its best advantage, you need the proper tools and supplies. Take precise and accurate measurements. It does not matter whether amounts are in imperial or metric but be consistent with whichever you choose. The applied math is basic but if you cannot convert fractions then use a calculator as an aid. Get a long straight ruler (yardstick) to draw lines, a set square to make 90° and 45° angles, a French curve to draw curved lines and a tracing wheel. You are only as good as your tools you use. Get a good sewing reference book. The more you know about sewing construction, the more you can expand on your pattern-making.

* Set Goals – Channel your creativity by setting goals. Let your goals grow as you grow in your knowledge of pattern drafting. Perhaps your goal is to resolve a particular design challenge or to redesign a fashion detail and integrate it into your next design. Know that pattern drafting will eventually free you of “cookie-cutter” fashion and develop a personal made-to-measure style. One technique that I always use is to begin each project with a list of “what do I see”. This will set up your thinking as to how to proceed with your pattern-making.

* Value Mistakes – Believe it or not, mistakes can be beneficial. They cause us to search for a different and often better way. They facilitate experimentation with new materials, techniques, or styles. Mistakes or challenges are an important part of the design process because they provide unique opportunities for creativity. Always make a toile or muslin fitting to test your pattern before cutting into your fashion fabric. Don’t be disappointed if it does not ‘turn out ‘ on the first attempt as planned; that is what toiles are for. These mock-ups allow you to modify the end result, correct the pattern, and work out the sewing/assembly process.

* Temporarily Let Go – When you have a creative block or cannot find a resolution to a design problem, there comes a time when it may be more productive to stop working on the pattern drafting. Let it go; do something else. While you have consciously stopped thinking about the problem, your mind is still working on it. Sometime we get too close to see the answer; however when we step back there is room for clarity.

* Enjoy the Process – don’t forget the reason why you’re doing this. Is this your hobby, your career, your creative release, your personal time for indulgence? Even if your concentration is on the end product, don’t forget to have fun with the process of pattern drafting.

Lastly, I would like to thank all the readers of Weekend Designer for their interest, comments, compliments, and encouragement. Many of you have set up links to this blog and made referrals to it in your sewing groups. Thank you for your support. Imagine my surprise and delight when I made the Top 100 Blogs on WordPress; it was all your doing.

Thank you again.

Wishing you many a creative weekend.

Don"

Don is doing a new blog, here is the link. Bag’n-telle DON'T miss him!!!

paris street chic

paris street chic
http://www.dia.org/

I grew up with the photography of Richard Avedon gracing the covers of Vogue in the era of Diana Vreeland, Twiggy, Verushka, Jean Shrimpton, (called the Shrimp), and Peggy Moffit in her Rudy Gernreich topless bathing suit. A swirl of magazines, shopping at The Style Shop, where I discovered Cabochard by Grés when I was 16. Amazing moment. I was able to visit that once again, a rush of memories at Detroit Institute of Arts last weekend where we three; my mother, my sister and I visited the Avedon exihibit of Fashion photography from 1944-2000.











The exhibit was incredible enough. The beginning was filled with photographs taken in Paris on Rue de la Paix, at Trocadero, on Fauberg St Honoré, at les Deux Magot, every place I have been, know well, walked. I found myself explaining the way the light hit the garments and how one could tell which kind of fabric it was and on which grain it was cut. The fit, the handwork, the telltale padded hems of peau de soie gowns designed by Givenchy.

BUT, the film! An hour and a half of the life the people and the experiences which shaped this artist, and the way he worked. I was truly transported. The photographs I have included are pirated from the film. I have always loved Kathryn Hepburn. My camera is pretty rudementary and I happened to snap between two of my favorite photos of her. The photo to the left is the result, one I could not have orchestrated better. The other is the entrance of the show; iconic metal dress which Paco Rabanne created to protect women from the elements, just when the guard had lowered his head.

I had to share them...

Grading the mannequin arm is as follows:

a.At each of the lines pointing out from the original arm pattern piece at the top portion, (line marked 3) extend out by .03 mm per size, mark that point with a dot.

b.At each of the lines pointing out from the original arm pattern piece at the bottom portion, (line marked 2) extend out by .02 mm. Mark that point with a dot.

c. At top center of upper arm pattern piece (line marked 4), extend up by .04 mm. Mark that point with a dot as well.

d.Using a see-thru ruler and measuring from your new graded point mark a point on either side of the center grain line at .07 mm. This area is designated by a circle. Connect these points. This creates a plateau at the very top of the upper arm piece as indicated in the previous post.


Continued................

WOW! What a year! I have been on a huge project for quite some time and will post again starting September 10th. Thank you for your continued interest, See you in September!

GRADING THE ARM PATTERN

At right are the main pattern pieces for the mannequin arm. The arm pattern which comes from the class in Ann Arbor and the guests who visited Paris, is a size 38.

To grade the pieces; draw a long center perpendicular line for each piece on a fresh piece of pattern paper.

Shift the pattern pieces the indicated amount from center line; nb 4 millimeters up at cap, 3 millimeters at left and at right side at cross cap on large piece and 3 millimeters at left and at right side on corresponding under arm piece,and 2 millimeters at left and at right side at wrist point. These increments grade the pattern by one size.

NOTE:that for the underarm piece you must maintain the platitude of 1.5 centimeters at the curve from the center line toward the concave seam (inside seam) to avoid a peak at underarm.

Mannequin Fitting Arm

The following are the written instructions for the mannequin fitting arm used in draping.

The posts will be in segments as follows;

1.introduction and assembling of materials,

2.grading,

3.cutting

4,5,6,7,steps of construction

8. placing of arm on the mannequin

Assemble the following:

1 yard of muslin

polyfil

oak tag or heavy folder paper

red, blue and black pens

strong cotton thread

hand-sewing needle

scissors

pins

tracing paper and tracing wheel

arm pattern pattern pieces (upper arm, under arm, wrist piece, arm socket piece, shoulder rectangle

It is one of the most elegant pieces at the Musee D'Orsay. This speaks to me because of its movement, form, expression. It is the essence of what we are as women, it is that which we clothe with our creativity. I believe the feminine form is one of the most elegant beautiful artisic forms in the universe.

Le Mannequin!

Entry no.2

For this entry I have uploaded photos of mannequins that I think would be possible choices. These are photos from ebay once again, so many of them may not be available now, but these are the ones I see the most frequently advertised on ebay, so if they are not available now, they may be at a later date.


This one is a new form, adjustable, and not a bad choice for fitting and sharpening your eye for shape and movement, but it would not be easy to use as a draping mannequin.



The draping mannequin must be a solid form so that you may build and shape her to yourself or to your client. (photos of that type of mannequin to follow)















This is once again an adjustable form. She is older, but what I like about this possibility is that she has the above bust adjustment, below bust adjustment, and the torso length adjustment plus all the other regular adjustments.


The problem may arise from the age of the form. It may need a new cover and that may take some work. I do like her adjustment possibilities and she may be worth the work, plus she may be lesser expensive than the newer ones. The base of this one might be a bit unstable however.





This form is a true professional draping fitting form. As you can see, she is shaped correctly front and back. She is a solid form and she could be built up easily. You cannot see that base but it is stable and easy to control as one is draping. She is new, and she is not too expensive and is available from an ebay store. My only complaint is that she is a dark color and I would prefer to recover her with a light colored heavy muslin as I have done with my own mannequin in a previous post. (process photos included)







This is the most expensive model. She is from the same ebay store as the previous mannequin. She is perfect except for only one thing and it is my personal complaint in general about professional forms. She has a heavy metal cage at the bottom which makes it very difficult to lift and to place on a table, step back and get a perspective. BUT!!! She's really pretty!!















I have included this form because she is a used mannequin and you see these often. She is built like the previous form, she has the unfortunate cage but she is a good one. She would have to be recovered as she is a bit chewed up from use!!








I hope this has answered some of the questions that I have been asked. Please don't hesitate to contact me with questions or comments.

The Arm grading and consntruction will be the next post.

Le Mannequin!

Entry no.I

I have just returned from visiting my family in the U.S. and a doing a workshop in Ann Arbor Michigan for the Ann Arbor Fiber Arts Guild on the subject of mannequins, fitting and draping.

It is always such a pleasure to work with such creative, involved, open, extremely supportive women. I loved it!

I have received many requests for how to choose a mannequin, what to look for, which brand? I began discussing the shape of what one might look for and the questions then became more specific. I have taken photos of dressforms and sewing mannequins from <http://www.ebay.com/> I have used this site as I feel it is a good start in terms of price and selection.


My suggestions come from my personal experience. I speak about what I have learned along the way, and hope that what I share here will help direct you.



The number one question:

How do I know if a dressform is for display or for draping and fitting?

These followoing 4 photos are of display mannequins. The shoulders are extended, and the torso is long and thin. There is generally no shape for the derriere, nor are the proportions in general very realisitc. The stand is also an indication; it is made of wood and attractive to display in a window, (or sometimes made of round flat metal, not so easily to balance when draping a garment) A fitting mannequing will have a base of metal with feet or extentions which allow for balance. The material for the body is a type of hardened styrofoam. You can pin into it, but in fact, it becomes rather "chewed up" and is not covered with a muslin but a knit which makes it difficult to pin into correctly for draping. The ideal material is a heavy paper maché or cardboard type material which holds up through years of working with toile.

Early in my experience in France, a friend gave me one of these to use until I could afford a more professional one. I built her up, covered her with the proper material and then a muslin but the base was always the big problem.

As you can see with this body, once again, the shoulders are extended, and the base is for looks not for balance.










I am always happy to see mannequins that reflect reality and this might have been a good choice for a fuller figure, however, the shoulders are too extended for general fitting ( I have one which has very extended shoulders and it is for draping evening, off the shoulder garments) and the base is not balanced.





This one looks like a dream come true!! She has arms, she has a shaped backside, she is balanced in terms of shape and could be easily built up, she has the possibility of wearing pants!!!!!! Well, unfortunately all the elements I have already mentioned are also present here. Although you cannot see the base it is a display base, not a working "draping mannequin" style base. In fact you don't want this type of arm. If you look closely, our arms don't fall from our bodies in this way. These arms are bowed. It is much better to make your own arm after building your mannequin to fit your body, then grade the arm pattern to fit your shape. Although she has a snug muslin cover, she is still made of the styrofoam display mannequin material.


Let me say that if you get any one of the above for free, take it, and practice on it. Then save your $$ for a better one.

Please feel free to contact me at shermanefouche@hotmail.com for any querries or comments!

The next post will be to explain adjustable mannequins and professional forms, the differences and the possibilities.

It is always the most beautiful the most romantic and the most magical at night....................

I just bought this WAY FABULOUS mannequin on ebay.fr. Now I know it's rare to find something so cool, so I went for it. She was expensive. I don't care!!!!!! The reason I love her is that she has shoulders. One of the most essential fitting tools for a mannnequin is the arm, and she has the best part of the arm!

When you fit a jacket or a dress, you have a perfect point of reference for the fall of the sleeve and shoulder. I consulted with a client recently who sewed beautifully, better than I. Her choice of fabric was perfection, her fitting was clearly less than knowledgable because she had no mannequin. The lovely piece she created was lost in the ill-fitting end product.


When I came to Paris to go to Ecole de la Chambre Syndicale de la Haute Couture Parisiennne, I had no idea where it would take me. I let the experience dictate the future of my work. I didn't realize it but I fell in love with using a mannequin. I fell in love with draping, I fell in love with shape, movement, form, all of which I knew a bit before but then understood when I finished my experience at the school.

My father was a musician. He played jazz and classical guitar and violin. I felt honored when he allowed me to graduate from being an onlooker to polishing his gorgeous black wing tips that he wore to go out on a job to play. My older sister had graduated from the shoe polishing to ironing his shirt. A job requiring much more finess. She's always been better at finess than I. My dad was an artist. A true artist. He did his work only for himself. He played and honored his guitar only for it's beauty, and the appreciation he had for the sound it made.

I attended Ecole de la Chambre Sydicale de La Haute Couture Parisienne, but I was taught by an artist. Music and clothing have the same movement, shape and sound. Those elements synchronistically achieved, often completely by chance, carry you away to a place of great respect and appreciation. It's all of that which I hope to share with you.

Hi Everyone!
I've just spent a great 8 days with some fabulous women on the Hidden Paris tour.
I learn so much from each tour, about myself, about Paris and about how to see Paris through the eyes of others. Each year the tour has fallen upon my birthday, and this year the girls gathered with a cake and champagne to wish me well. It was a fabulous surprise REALLY! We all laughed and had great fun. It was really a celebration of being together too. It was a moment I will cherish truly for a very very long time. All those generous faces before me was such a beautiful sight. I feel very very priviledged and year 58 will always be memorable.

Stockman French manufactued ready to wear mannequin

This mannequin I am describing is as I said is a Stockman ready to wear about 15-20 years old. The size is a 40 which in the U.S. corresponds to a size 8.
These mannequins are to drape and fit garmenst for ready to wear and so the shape is in fact a calculated average corresponding to the body shape average at the time the mannequin was manufactured. She is short in the torso with a fairly prnounced waist, and she has defined hips. Overall she is balanced.

From the side however you can see that she is very slim with a slight bust and no difinition for the dierierre. The front hip area is about the same as shape as the back.

When using this kind of mannequin one must remember that there is no room built in for curves, therefore, when buying garments from a compnay that uses herto desing and fit their garments, the ease that has been built into the garment will be taken up by the curves in your body and the balance will be wrong for your shape. Take a look at yourself in a leotard from the front and from the side to get a beat on where your curves are.

Check back in a oouple of days for the next mannequin post.

The Mannequin Delimma!

I have been asked so many times what kind of mannequin I use or which one I like. As I am doing a seminar on how to use a mannequin in Ann Arbor Michigan for the Fiber Arts Guild, I thought this would be a good place to start.

I have had many many wonderful and cherished mannequins in my life and each one has her own story

Within the following days covering 2 weeks, I'll talk about each one and my experience in working with them. I have not used all of the mannequins available so I have a couple of sites which I'll refer you to for advice, ones I trust, of course but your expeience will teach you something different than my experience has taught me about mannequins.

My writing is full of stories about myself and my experience as this is why this blog exists. I love writing it, having it and each time I write I am inspired to go to a new place, and I never know where that will be.
I'll speak about the above mannequin on wednesday. This particular one is a vintage stockman, a classic french ready to wear shape. There are also stockman Haute Couture manneqinns. More to be revealed............Welcome to this new journey!

I've returned from Michigan and it was the very best trip I have ever had there. My sister and I connected as never before and my mom, sister and I had one of those great "sit on the neighbors porch, and talk and laugh untill the wee hours" It was as I remember the most beautiful moments of my childhood, balmy, quiet, tender joyful.

I had a fabulous time teaching for The Ann Arbor Fiberarts Guild. I met wonderful creative women, from whom I was offered great inspiration for the continuation of my own work. My fiber arts aren't as evolved as my couture work, but I did finish this knitted top (so simple) after seeing the work of the women in Ann Arbor.

It's a Kim Hargraves design using heathered raw silk yarn. It smells wonderful. I love the smell of silk, and wearing it is a joy, it has such life. The girl who sold me the yarn at Bon Marche has become a good friend. She is a fiberarts soul and she inspires me to work with lovely yarn, even if it takes me 2 years to finish a tank top!!! Oh, how embarassing, but I think we've all been there. I am in process with new entries starting next monday. Thanks for visiting.

This is the last post before I fly off to Michigan. Due to time constraints (crazed) the process photos of this finished arm will be posted when I return.
This first photo shows the finished arm draped with red bolduc, plus you can see the curve of the arm which is essential in fitting. (our arms are curved therefore the mannequin arm must be curved.





This side view of the arm simply shows how the bolduc is placed on the inside arm.












This last view of the arm shows the shield jutting out from the top of the arm which is how the arm is attached to the mannequin body.











This photo shows the arm after being attached, and the three dimples show how you must flatten the upper arm for the correct fall of the arm against the mannequin body.

















This is a great photo of the arm after being attached and it's fall against the body and the beauty of the sculpture.


















In this last photo, you can distinctly see the shield which attaches the arm to the body.

This has been such a great project to do and I love being able to share it with everyone. See you soon!!

Draping these ribbons on the mannequin is much like perspective when painting. This allows you to have great precision in interpreting your design from the drawing or photo. It's all very logical, but also requires sculpting finess and a keen understanding of body and fabric movement. There is a magic that happens when the toile takes the form of your design, when the drape of the toile speaks as beautifully as your minds eye spoke your original idea.

I have three photos of the ribboned mannequin. This is a good frontal view. There wil be many tiny adjustments as I pin the ribbons in place permanently. Pins are placed about 2cm apart to fix the ribbons permenantly.

This view is neck, center front, bust, waist, high hip, full hip, and princess line from the shoulder neck point.



This photo shows the armhole, which is flatter in the back, cut deeper in the front. The side seam is indicated starting with the shoulder line through the armhole directly to the base of the mannequin, then the side piece (petit cote).

This last photo shows the armhole flattened in the back and curved out for the front. I can see that the side piece really needs some adjustment. It's much too curved. The side piece is the place where we can give curve or not in relation to the garment design and the person. We can cheat, and shape the person even if she isn't with this piece! The lines in general on a size 38 mannequin are quite clean and straight, so I'll adjust this piece quite a bit.

The next two days will be dedicated to the creation of the mannequin arm.

I would like to mention that this series has been created for a class I am giving in Ann Arbor Michigan for the Fiber Arts Guild on the 18th and 19th of August. We are still taking inquiries for private sessions on the 20th.

I've got a P.S. on the last post! My little fingers became dirty while stretching the new cover over the old one (a little dirty she was!) I was able to use a drafting eraser to rid the cover of the dirty smudges! Then using packing tape to remove the eraser shavings, never brush them off. It will re-transfer the smudge back to the fabric. This little tape trick is also used on surface dirt in the ateliers of Haute Couture

There is something so elegant and beautiful about a mannequin just re covered. It is pure so pure. I learned from my draping teacher that toile (muslin) is truly pure. The smell after pressing and steaming, the life you give it when creating a garment. It's structure, it's form. It has it's own life and draw as you work it. I love to look at it when I'm finished; turning analyzing touching it. Is this cover perfect, not at all!! I made a bunch of mistakes. It's not the mistakes you make, it's what you learn.

I'll use a heavier, thicker muslin. The repairs I made to the base show through; the seam allowances aren't equal, not enough curve around the hip. I sadly ripped the back side a bit and had to repair it. The bottom is too large to fit snugly inside the base and the wooden bottom gathers it into tiny pleats. All that is just fine. She is still absolutely elegant to me.

The next stage is placing the "bol duc" a specific type of ribbon created expressly for a mannequin to delineate each section. Tomorrows photos will show the ribbon, and each placement explained. Compare with the photo below of the previous post.

Fig. 1 This is my treasured mannequin. They say in the ateliers of Haute Couture, that if a mannequin is torn and used, she has seen beauty and life. It is with great sadness that I am refurbishing her cover. I hope she will keep her past and her rich soul.














Fig. 2 I will give her a light colored heavy in weight muslin cover, the same which we will use for the arm

















Fig.3 Any garment including the cover of a mannequin is draped from the cf right first; leaving enough fabric to extend up and over covering the shoulderline, then side front, cb; side back; side. The seam allowances of the cf & cb remain flat, the side front & side back seam allowances are folded over the cf & cb pieces respectively. At the very last the side underarm piece is laid over the side front and side back pieces folding each seam allowance under.











Fig. 4 I smooth and drape the front piece clipping at the neck, smoothing over the shoulder, never pulling, placing over the bust and smoothing over to the armhole seam shaping with my fingers to smooth any wrinkles out. The cover will be steamed after it is made entirely and placed on the mannequin, but not steamed before. Pinning at the bust point and smoothing the muslin from the side toward the bust dart area, the side becomes bias and lays in elegantly. I then pin the bust dart leaving 4-5 cm for the seam allowance at this point. There is a full front piece and there is a cut at the waist for the side front. That manipulation and cut is shown in the next photo.







Fig.5 Notice in the left photo how the waist is cut to eliminate the lower side front. The photo on the right shows after the cut has been made and we have still not cut around the armhole, neck or side as yet. That will be done in the later stages.














Fig.6 A close-up of the afore mentioned manipulation.


















Fig. 7 At this point I'll mark the muslin with a no.2 lead penicl using a twist motion so as to not make large gash marks on the muslin. We might have to change those point marks and want to be able to distinguish each stage.















Fig. 8 In this photo, I have placed the lower side front piece with 4-5 cm overlapping the seam allowances of the first piece.
















Fig. 9 After placing this lower side front piece it is smoothed and pinned to matche the front piece below the waist, and then at the waist, then at the side meeting the top side of the center front peice.

At this point it is necessary to mark both pieces where the pins are place and to make relationship notches at the waist and side of both peices. At this point, the dart may have to be moved to match the stitching line of the lower side front. This is why we have not yet cut any of the seam allowances.









Fig. 10 After marking stitching lines of both pieces and the dart, you may now cut the seam allowances to 2cm, fold in the seam allownaces and check to verify that the lines are plumb.
As you can see, the waist must be adjusted to be perpendicular to the dart and lower side front stitching line....












Fig. 11 ...as has been done in this photo.


















Fig. 12 The center back peice is draped after the center and side front. This piece has the same shape as the front, that is, center back including cross back to armhole, then to waist, although the piece is less curvey therefore, it doesn't have the same dramatic angular cut at the waist, it is rather smooth to the armhole line. Smooth, pin mark, cut the seam allowances to 4-5 for security until you have draped the last two pieces.











Fig. 13 This second photo shows the refined peice smoothed and pinned before marking. Mark as the front pieces. You will see the in the next photo, I deceided to put a dart at the shoulder which would correspond to the lower side back stitching line.














Fig. 14 The back side pieces have beenl laid over the cb piece, lower side back first, upper side back second. Seam allowances will be turned on the back side pieces, over the cb piece where the seam allowances are flat.

Fig. 15 After completing the upper side back piece as all the other pieces, pinning smoothing marking, cutting the seam allowances and turning them uner, the pieces is taken off the mannequin, laid on a flat surface and marked more carfully, and stitiching lines are drawn as in the following photos.

Fig. 16 The dart seems strangely curved in this photo, but in fact it's to fit the mannequin very tightly, so the dart follows the curve of the bust. It's correct.

Fig. 17 Here, we are marking the long seams, using a paroquet, a long ruler shaped like an elegant parrot, then cutting the seam allowances down to about 2 cm.
















Fig. 18 In this last photo, you can see that the shoulderline dart matches the shoulder seam. It's elegantly pieced together. The next stages will be posted thursday.