In this third and final installment of our fitting series, we’ll see how all the previous fittings converge into a wearable shirt.
At the end of Part 2, the body of the shirt was falling into place, with the sleeves and neckline becoming the major issues of focus. We’ll tackle those, and show actual fitting photos of the BF Oxford Shirt. (Here’s a link to Part 1 and a photo gallery of the finished shirt if you are new to this series).
Issues with the body
Everything is finally looking OK. That horizontal balance line in front appears tilted, but it’s really posture and camera angle and not the garment.
Welcome to Part 2 in a three-part series on fitting a shirt muslin for my partner.
In Part 1, we had discussed the importance of balance, as it affects the way the grain of the fabric hangs on the body. I attempted to drape the neckline, armholes, and shoulders to better match the body, but I made a mistake – I did this all before trying to get the garment into balance. The balance alterations caused several side effects with the other fitting adjustments, which complicated the fitting process.
In this installment, we get the balance issues sorted out, and then fix the placement of the back yoke and address the sleeves some more. Continue reading
This article embarks on a three-part series, showing how I approached the fitting process for the BF Oxford Shirt.
I’ll start by saying I’m not a fitting expert. So some of this narrative will seem like a “two steps forward, one step back” sort of process (or even “one step forward, two steps back” in my case!).
As I understand it, that can even be the case for professionals who work their way through fitting a client. Fitting is a problem solving exercise, and sometimes experimentation is in order to find the best solution to a problem.
But what I will do is try to share some of the principles I’ve learned, and how I applied them in this process. And in fact, while going back over my notes to write these articles, I’ve made some further realizations about the fitting adjustments I made and their effect on the garment.
Comments are welcomed. Continue reading
Between personal life, the holidays, and other hobbies, work on my Shacket project has progressed at a rather stately pace. But I have made a new muslin that represents some real forward progress on the project.
With Muslin B, I wanted to check and validate the fitting changes from the first shacket draft, this time with linings and interlinings in place so I can take into accout the volume they add to the finished garment. But this muslin was equally useful to practice lining insertion, and to help make style decisions.
I am using fuschia bull denim for the outer fabric, black polyester fleece for interlining, and yellow polyester charmeuese for the lining as described in my previous article in the series. To me, the colors look garish, but others at the sewing studio commented the fuschia denim and yellow lining actually went together. Who knew!
In the first installment of this series, I drafted a pattern block for the shacket based upon a dress-shirt pattern I had fit to myself. I enlarged the garment and drafted a new sleeve based on a draft from a textbook.
I stitched up a trial garment from actual muslin fabric and posed for these high-fashion fitting photos. The grainlines are marked by vertical lines, and cross-grain lines (used to evaluate horizontal balance) are also marked. I got this technique from Sarah Veblen’s fitting courses, but it’s also basically the same thing that Don McCunn’s pattern-drafting book does with gingham fabric for his trial muslins. It gives you visual cues so you can see how the grainline of the fabric hangs on the body.