TR suknja, deo 1 / TR skirt, part 1

Nedavno sam na youtube-u našla serijal video tutorijala Shingo Sato-a, japanskog dizajnera koji koristi veoma zanimljivu tehniku pravljenja krojeva, zvanu Transformacija i rekonstrukcija (TR). Kao što naziv kaže, ideja je da se osnovni kroj transformiše prema željenom obliku, a zatim rekonstruiše novi šnit, prateći nove linije kroja. Za više informacija o tehnici i njenom kreatoru, pogledajte ovde.

Inspiracija za moju suknju potiče od ovog filma - dopala mi se ideja da umetnem krivudave oblike, kontrastnih boja ili materijala, u kroj klasične suknje.

Počela sam sa osnovnim krojem za suknju, koji sam prethodno isprobala i za koji znam da mi dobro stoji. Jer, jednom kada se kroj transformiše i iseče, više neće biti mesta za popravku!

I came across a series of video tutorials by Shingo Sato, a Japanese designer who uses a very interesting pattern making technique Transformation and Reconstruction (TR). As the name of the technique suggests, the idea is to transform a basic pattern following the desired shape, and reconstruct it later following new pattern lines. For more information about this technique and its creator, take a look here. 

An inspiration for my skirt came from this video - I liked the idea to insert curved shapes in contrasting colors or fabrics into a classic skirt pattern.

I started with basic pencil skirt pattern, the one that I had previously tried and trued. Once the pattern is transformed, there will be no room for fit adjustments!

Htela sam da se suknja širi od bokova naniže. Koristila sam ideju za suknju koju sam videla u ranijem izdanju Burda časopisa - isekla sam na prednjim i zadnjim delovima, sa sredine i sa bočnih strana, isecče lucčog oblika, kao što je prikazano na slikama.

I wanted a skirt that flares from hips down. I used a skirt idea I had seen in an earlier Burda World Of Fashion (BWOF) magazine - I cut out arc-shaped panels from center front and back pieces and from the sides.

Isečak sam zatim presekla po sredini i raširila ga, napravivši time umetak za suknju, koji će joj dati volumen i valovitost.

Then I sliced the cutout vertically and spread the pieces to sides, forming a skirt gusset that will give the skirt volume and waviness.

Zatim je usledilo pravljenje 3D modela suknje - od papira. Shingo Sato je u svojim filmovima ovaj korak demonstrirao sa suknjom od tkanine, ali nisam imala strpljenja za šivenje suknje koju cu kasnije iseći, tako da sam se odlučila za papirnu varijantu.

Najpre sam selotejpom zatvorila brusne na prednjem i zadnjem panelu. 

After that, I constructed a 3D skirt model - made of paper. Shingo Sato demonstrated this step on a skirt muslin, but I had no patience for sewing a muslin that I'd cut later, so I opted for paper model.

First I closed the darts using a cello tape.

 Zatim sam nalepila umetke i spojila sve delove, dobivši 3D model suknje.

Then I applied gussets and glued all the pieces together, making a 3D model of the skirt.

 

Kada je 3D model napravljen, počela sam da crtam krivudave oblike po suknji. Kada rekonstruišete kroj ovom tehnikom, morate obratiti pažnju na položaj brusni i postojećih šavova koji daju vašem kroju trodimenzionalnu formu. Početni kroj će potpuno biti transformisan, i oblici koji su kroju davali treću dimenziju moraju biti svedeni na ravnu površinu. Ipak, kada se radi rekonstrukcija novog kroja, morate isplanirati položaj i raspored šavova koji će vratiti novonastali kroj u prvobitan oblik.

Samo planiranje nije mnogo komplikovano, niti teško. Evo par zapažanja iz mog primera:

1. Ukoliko originalni kroj ima brusnu, novi kroj mora imati šav tik pored vrha te brusne (par mm ipod ili iznad vrha, ili, u idealnom slučaju - kroz sam vrh brusne);
2. Ukoliko originalan kroj ima zaobljen šav (poput šava na boku suknje), novi kroj mora imati šav koji prolazi tik pored početka zaobljenja šava - ova rečenica ce imati više smisla ukoliko zaobljene šavove posmatrate kao brusne.
3. Ukoliko originalan kroj ima umetke koji daju treću dimenziju konačnom kroju, novi kroj mora imati šav koji se delimično ili u potpunosti poklapa sapostojećim šavom, kako bi rezultujući kroj imao isti oblik kao i originalni.
4. Na ravnim površinama možete formirati bilo kakve oblike, bez ikakvih ograničenja.
5. Nemojte zaboraviti na rajfešlus, planirajte šav gde će isti biti umetnut. U mom primeru, iskoristila sam položaj postojećeg šava.

Once the 3D model was made, I started drawing curves on it. When reconstructing a pattern using this technique, one has to pay attention to position of darts and seams that give the original pattern a three-dimensional  form. The original pattern will be completely transformed, and the shapes that gave it the third dimension have to be brought down to a flat surface. However, when reconstructing a new pattern, one has to plan position and layout of the seams - the seams that would give the garment the previous shape.

The planning  isn't difficult at all. Here are observations and conclusions I made from my example:

1. If the original pattern includes a dart, the new pattern has gotta have a seam that is positioned next to the dart's apex (few mm below or beneath the apex, or, ideally, it should go through the apex itself).
2. If the original pattern includes a curved seam (like the seam on the side), the new pattern has gotta have a seam that is positioned next to the point where the original seam starts to curve up. This sentence will have more sense if you look at curved seams as darts, too.
3. If the original pattern has insets, or gussets that give it volume or waviness, the new pattern should have a seam that completely or partially overlaps the original seam. This way, the resulting pattern will give the garment the same shape as the original pattern did.
4. You can form any sort of shape on flat surfaces.
5. Don't forget to plan a position of a zipper. In my case, I used the seam of the original pattern.

Na slici ispod možete videti par primera iz prethodne liste: novi kroj prolazi tik ispod vertikalne brusne, dotičući njen vrh; takođe, kroj se delimično poklapa sa šavom lučnog umetka. 

A picture bellow depicts few examples from my list: new pattern has seam that's positioned just bellow the dart's apex;  the new pattern includes a seam that partially overlaps the gusset seam.

Kada sam iscrtala nove šavove, kojima sam bila zadovoljna, nacrtala sam markere koji će mi služiti prilikom šivenja. Napravila sam dosta markera, mada mislim da nisu svi bili neophodni. Posebno sam obratila pažnju na konveksne i konkavne krive, kojima sam naznačila vrhove krivih. Na priloženoj slici se to ne vidi, ali naknadno sam i numerisala sve markere, kako bih bila potpuno sigurna da ću suknju sašiti kako treba.

Once I drew new seams that I was pleased with, I marked notches that will be useful while sewing the skirt. I made a lot of notches, though I think not all of them were necessary. I specifically paid attention to convex and concave curves, where I marked notches on the curves' apexes. You can't see it on the picture bellow, but I numbered all the notches, to insure that the skirt will be sewn correctly.

Zatim sam isekla suknju. Na slikama ispod možete videti kako izgledaju krojni delovi. Zbog velicine krojnih delova, iste sam isekla na više parčića, i naznačila redosled kojim se isečci međusobno spajaju. Takođe, ukoliko se desi da, na nekom mestu, jedan deo kroja preklapa drugi deo, kroj treba podeliti na dva ili više parčića, kako bi se dobila dvodimenzionalna forma.

Then I cut the skirt. You can see the new pattern pieces on the pictures bellow. Due to size of the pattern pieces, I cut them in few parts, marking the connecting notches. Also, have on mind that, if your pattern piece overlaps itself at some part, it should be cut in several pieces so that there are no overlapping points.

 

Zatim je usledilo sečenje materijala i šivenje, ali o tome u nastavku...

After this I cut the fabric and sewed the skirt. More on this in the following post...