This refers to previous postings, the complete list appears at close.
Re: 24001. I’ve sewn my first dummy out of this green rayon I forgot I had. Here you can see it on the mannequin.
And here’s a picture of me wearing it and vainly trying to get a decent photo. I must get a tripod.
Fit-wise I’d say it works okay (it’s based on a known block 21702). Style interpretation seems pretty close with two exceptions: I think the hem edge style line of the longer side could be shortened a bit and I want to move that flange over a hair, moving towards the center of the chest. Engineering-wise, I’m very dissatisfied with the finish of the top (neckline) of the flange and I’m dissatisfied with the look/body of the flange itself. I don’t know how to describe what I mean. I want the flange to have more form and definition; the word corpulence comes to mind. In real life, it looks like it’s sagging and sad. I’ve fixed all these things in the corrected pattern. You recall the first pattern (from a draft) looked like this:
Well now that I have a prototype (the green thing above), I can make corrections to this first draft, rendering my second pattern shown here:
Since this picture is too small to see any marking details (to make production ready, conforming to all conventions patterns) I’ve uploaded the full size file of this photo. It’s 831 kb and you can get it here. As a matter of fact, I’ve uploaded full size photo files of the block front (806kb), the block back (836 kb) if you’re trying to learn about industrial pattern conventions. If you have any questions about the color coding, schematics or markings that is not explained below, please leave a comment.
Now I’m not very happy with the flange, I do like the side panel gusset detail that feeds the flange as shown here. This should be soft looking rather than abrupt.
Regarding the flange that I’m unhappy with. Obviously a stay is needed but the one in the proto isn’t good enough. I’ve decided to cut it out of horsehair canvas on grain -canvas should nearly always be cut bias if you can afford it, like the whole fronts of jackets and suits. Now that’s a couture secret none of those experts seem to know to mention. It’s so much lovelier. Things roll in a gentle way that lacks definition. Back to cutting the canvas on grain and why. I need the greatest amount of rigid under structure I can get, with the lightest load possible. Here you can see that the new stay pattern is smaller than its inset area.
Here you can get the full size file (812kb).
The pattern piece I’ve made to show you here isn’t the one I’ll actually use myself -although this is most definitely text-book correct- but I’m not going to bother with an explanation of why mine will be different if nobody’s gotten at least this far. It’s rather complex and if you haven’t gone to the bother of working up the sample, why should I? People are always saying nobody will give them “industry secrets” but they fail to realize they have to prepare themselves in steps preceding, otherwise they won’t understand the whats, whys and hows of the “secret”. It’s only a secret if you don’t commit to the investment of getting to the point to appreciate it.
Now, considering the collapsing of the flange itself -as a design effect- this just looks a little too limp for my taste. I’m going to fuse or otherwise stabilize the flange area of the shell piece itself. Tomorrow I’ll be cutting my second prototype out of the new pattern I’ve shown here.