Work Continues on the 1960s shift

We had the muslin fitting and the fabric fitting. It was on it's way. Super simple, extra cute.

The alterations were interesting because it was based on a vintage pattern. It's amazing how different bodies are now just because we don't force ourselves into the stylish shape.

All that pinning lead to shortening the body at the shoulder blades then moving all the darts so that they were positioned at the correct parts of the actress's body. I think this is why I don't always like to use patterns when they aren't the correct size. It's never as successful right out of the gate.

 However, it wasn't so bad to adjust. The blue lines indicate the original positions, the red indicate the adjustments.

Then it's just a matter of correcting the pattern and putting it onto the real fabric. When creating garments, we don't add the seam allowance to our patterns. We trace the pattern, then add seam allowance using a C-thru ruler. This way, we can decide whether to use a larger or smaller amount of seam allowance depending on what the needs are and for versatility when it moves into the costume stock.

Then, finally, voila!
Photo by Trang Nguyen
 Well, not exactly instant voila. There was another fitting in the fabric, and we found that the arm needed some room (adding a gusset...a normal thing for actors to want) as well as adjustments to the collar. But I think she was extra super cute in the perfect uptight kind of way. 

Of course, this wouldn't be possible without Emily Blumenauer's designs.


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