Fitting Woes: Moulage Drafting

Wow, it appears I have not posted in months. Sometimes I go full Luddite and stay offline for everything but work and listen to wordless cello music while I sew buttonholes by hand, because the pileup of current events has me too depressed about everything to subject myself to the bombardment of information about the all the terrible things…but then Craftsy drags me back.

So I just lost about 10 hours of my life to attempting to draft a moulage. Never again. I took Suzy Furrer’s class on Craftsy, after a lot of reading on the subject and a lot of optimism about this maybe being the thing that finally gets the right armhole/shoulder/neck fit that has eluded me for a few years now. Having just drafted my basic moulage, I can see that it’s clearly a f-ing disaster and it’s going to take either remeasuring measurements I’m 97% sure are accurate, having taken them a gazillion times for a gazillion different drafting attempts, or this process will require a holy fuckton of muslin making iterations that I’m not willing to do, having already been there and done that so many times and have a trial/error based sloper that works already. Let’s call this one a total FAIL.

The problem isn’t the class, really–Suzy Furrer does a fine job of teaching something that seems incredibly complicated to convey via distance learning. She’s thorough and as clear can be expected when neck deep in the hell of applied geometry using fractions. But I have a feeling that the industry standards, basically the formulas and rules behind the drafting, are not going to work for my proportions. As with virtually every set of out of the envelope patterns.

And it seems to be a bit more complicated than simply doing a “forward shoulder adjustment” seen all over the web (see: here for example) and on Kathleen Cheetham’s “Fitting the Neck and Shoulders” Craftsy course, which I have *also* taken and found abysmally lacking in anything new or revelatory that can help with my weird body shape. I like her body positive framing of the adjustments, but it’s mostly what I’ve seen in any number of books on basic pattern alteration already.

I have a) forward shoulders b) a broad back and somewhat wide shoulders and c) a large rib cage and d) relatively thick, short waistline. In fashion column what-to-wear parlance, I’d be an apple body or an inverted triangle. Comparing my trial and error slopers has been interesting, because my back bodice is almost two sizes larger than the front. My shoulders are not only forward, but have something of a concave curve in the front. I’ve noticed this on family, too, almost as if being broad backed without our front proportions being equal causes the shoulder angle to shift slightly to arrange this mass on the frame. It seems as if having a forward shoulder takes the straight horizontal line of the back and makes it into two planes moving in different directions, also rotating the shoulder blade slightly out. I think this changes patternmaking for close fitting garments in a way I have yet to see explained. See exhibit A from some random Tailor and Cutter board I can’t find now which had no citation for the original source anyway:

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I think a lot of drafting assumes the figure alignment to the far right, while mine is basically the center one plus boobs and maybe a slight swayback. Le sigh.

There was a fantastic piece in Seamwork (here) talking about gender neutral or gender flexible fashion (a subject near and dear to my heart because some days I want to dress like a 18th century dandy and some days I want to be Scarlet O’hara and my taste ranges all over the place!) On the difference between menswear and womenswear:

“Fundamentally, womenswear and menswear are made for differently shaped bodies. Menswear proportions usually consist of more width in the shoulder, long legs, and a short torso. Womenswear is designed to accommodate someone who is the widest at the hip, and who has a shorter torso, a bust, and shorter arms.”

So, again, I’m wondering if simply adding bust definition to a sloper intended for male bodies wouldn’t be the easier way to get here. Full bust adjustment + waist darting on a menswear sloper? Maybe the usual seam shifting of most forward shoulder adjustments? The world may never know, because I’m irritated to the point of sewing knits for awhile.

 

Lol, just kidding. I’m actually working on a pair of stays with shoulder straps to work on my garbage posture because it’s probably easier than learning to draft for this sh*t.

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Current Sewing Projects: Knit Blouses and Victorian Blazers, Oh My

I want so many things on my sewing table. Impossible things. Impractical things.

Camiknickers.

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Black tulle tutus and sunglasses and spring cool.

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To draft the perfect catsuit.

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But more than anything this week, I have been working on a Victorian style blazer. Something like this, but sleeker, more vampirey. This is a Burda jacket from the Hills are Alive or something about the sound of music, but my brain is taking it to a dark nuclear post-apocalyptic place. I loathe the running stitches and the pockets and the boxy fit, and I don’t like the position of the front bust darts either. So like this but not really like this at all except the high shoulder and the high-ish back neckline. *shrug* I also have been irritated in the past by the lack of seam allowance on Burda patterns, so I definitely won’t be buying this one. Just eyecandy. Also: do you think that’s really her hair, or is that a weave? It’s a serious hunk of hair there.

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My partner hates poofey shoulders. So of course those have to happen. Because like Lady Gaga, I’m a free b***h, baby, and I LIKE a little old timey high sleeve cap if it doesn’t poof vertically. I’m thinking a single button closure in the front, a shawl collar, with a high back neck. I’ll probably give it a go in denim waste fabric for now, saving my red herringbone suiting for when I get the fit right.

I’ve actually had a good sewing week–I tried using  a vest pattern to draft a bodice for a jacket, and used my 1880s sleeve from the recent tailored jacket attempt. The fit is nearly perfect, except for the shoulders. When I move my arms forward, it pulls on the front of my shoulder and on the back, along the edge of the scye near my scapula. All my reading of historical tailoring stuff has me wanting to try a new approach on my next attempt. They talk about getting armholes TIGHT, which seems to be sort of the opposite of the slash and spread suggestions I’m used to seeing and trying and failing miserably with. The idea, as I understand, is that the better the fit of the bodice, even–and maybe especially–in the armscye area, the more independent the sleeve movement will be from the more stationary bodice. Instead of lowering the armhole or adding more back ease and sacrificing the hard earned fit, I’m going to try adding more fabric to the bodice armhole, but not only in my usual vertical direction–I’m going to shift the side seam outward and slightly up. With my back being broad and somewhat rounded at the shoulder/scapula line, as well as slightly hunched forward, my back is taking up fabric from the sleeve and my shoulders/back extend in this weird diagonal way compared to the standard form. What I want to do is cover my entire back with the bodice, so that the ease in the sleeve isn’t used up by my back mass. If that makes sense. We’ll see!

I took my jacket attempt #1 and chalk lined it all up trying to figure out where to add. I even bought some hook and eye tape, since I haven’t gotten over my buttonhole aversion just yet. So drafting and cutting attempt 2 is my project for tonight!

Another thing to consider is sleeve pitch. Sleeve pitch, as I understand very roughly, is the sort of rotation of the sleeve in the scye. Most of the time the center top of the sleeve is aligned with the shoulder seam in the usual high position on top of the shoulder. But with stooped posture or forward shoulders or very erect postures, tailors *seem* from my reading to rotate the sleeve slightly within the scye to accomodate. This keeps the grainline in the right position relative to the arm. So with my shoulder being rotated forward maybe 10-15 degrees from standard (this would be set “high” in the tailoring parlance, I think), I might try rotating my sleeve forward to keep the hang correct. What I’m curious about in this case, though, is whether it matters at all that this might throw off the match up of underarm sleeves and side seams. Would one need to shift the underarm seam? In my case with the 1880s style two piece sleeve it doesn’t matter at all, though.

I’ve been branching out and sewing with knit fabrics quite a bit too. I resisted it for ages, seeing it as something like playing an electric guitar to sound good because your technique isn’t good enough to play acoustic. But the perfectionist in me loves the lack of fraying seam edges and the lazy instant gratification craver in me who has been sewing for three years with precious little wardrobe action to show for it ADORES the fact that I can sew up something quickly that forgives minor fitting issues. So far in the last two weeks I’ve made: two great fitting, exceedingly comfortable pairs of thongs (which I intend to make a pattern of to send out into the world soon!), a princess seamed scarf collared 1930s style blouse and another more Edwardian-ish high necked, poofy gathered sleeve blouse in a sleek, pretty ITY knit! Not gonna lie, I’m pretty stoked. That’s like a year’s worth of finished objects for me, and ALL self drafted. Someday, when I find a tripod, I’ll have to post pictures. It’s an incredible feeling to find that my spread-so-thin sewing attentions come together sometimes and actually produce something.

Also, the weather is BEAUTIFUL here. I love it.

 

Happy weekend!

 

 

 

 

Fitting Woes and Effin Slopers.

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I’ve sewn three slopers in the last two days. The only explanations I had left were a) I’m deformed b) I’m deformed and a terrible measurer or c) I’m deformed, a terrible measurer and I suck at digital drafting.

Let me show you why I am deformed. This is my dad:

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Don’t get me wrong, he was the best dad. He was funny and smart and so very, very kind. I miss him every single day, and credit him with what little patience and persistence I have. While my dad’s physique was quite the accomplishment, and while I am, of course, ever appreciative of the glorious blend of Arnold Schwarzenegger-isms and raw egg protein concoctions that comprised my childhood, THOSE BACK PROPORTIONS THOUGH. I inherited those lats, and I curse them every time I sew. (Alas I inherited neither his motivation to be super fit nor his abs, although I do okay–no sugar, healthy eating, etc. I just loathe any exercise that isn’t walking or dancing around my living room like Thom Yorke. Don’t do this barefoot; it’s a good way to break your foot. Ask me how I know this.) Also: my posture plagued my dad. He designed workouts to fix my forward shoulders, which back then I didn’t care about, being a stubborn kid who stooped mostly out of shyness. I still notice myself doing this when the social anxiety kicks in. The combination of broad man back I inherited from a long line of farmer strong brawler folk and my grunge era forward stoop means that fitting a bodice is a nightmare. NIGHTMARE. I also have pretty much no waistline and narrow hips, so that’s not fun when all my vintage patterns are drafted for someone who wore a girdle from age ten. I have been stubbornly fighting with the various pattern fitting possibilities since I began sewing. In the last few days, in a veritable paroxysm of determination, I have tried:

-a forward shoulder adjustment
-a round back adjustment
-a broad shoulder adjustment
-a sloped shoulder adjustment
-lowered armhole
-shoulder seam darts
-neck darts
-drafting a bodice block from my measurements using two different systems

It has been so incredibly frustrating. I can get a block to fit my torso, kind of, using these methods. But as soon as I add sleeves, my broad back renders any forward motion of my arms impossible. The fit is uncomfortable AF. So after the failure of attempt number 3, I broke out the duct tape dress form and tried draping again. I tried this in the past, but wasn’t very practiced, so my results weren’t the best and I sort of let it fall by the wayside. But this time, after all the math and all the frustration, it was easy as pie.

I was going about it all wrong. I’m not deformed; I just have a manbody. And I’m not even that bad at drafting, but all the formulas I was using were based on creating blocks for a much more stereotypically feminine form. The final blocks I came up via draping look way more like this:

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than anything even vaguely resembling this:

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and I wonder how many other women with petite, larger waisted, broad backed figures are also making themselves crazy trying to make the formulas work for them when (it would seem) the basic proportions involved are wrong from the start. From now on for myself it’s all man-blocks. I actually had already gone this route for a few pairs of pants, hellbent on not risking the cameltoe look. They work great, actually. And since most of what I want to sew channels Lilith from Frasier and the tailored suit look, blocks designed for men with a slight bust adjustment might be far less of a headache for me.

If anyone else has been through the gauntlet of these particular fitting issues and knows of any solutions, I would *love* to hear about it! I’m also very curious about the theoretical differences in drafting for men vs women. It seems like the tailor / couturier-dressmaker traditions were historically quite separate industries, which I don’t fully understand the reasons for and will have to read up on.  But it seems like the basic methods of drafting should be universal, regardless of the figure? I’m also curious about how many people have fitting problems because of the standard male vs standard female figure used for drafting…