Izbor materijala / Fabrics choice
Nugat haljina je prilično zahtevna kada je u pitanju materijal. Ovaj kroj zahteva tkaninu koja se lepo drapira, a koja se ne gužva mnogo. Razlog leži u rombu sa naborima. Razmislite o tome kako ćete održavati svoju haljinu. Ja obično perem sve haljine u veš mašini, a ova nije izuzetak. Pa, svi znamo da se materijali gužvaju kada se pokvase, i da ih je potrebno ispeglati nakon toga. S druge strane, nabori na rombu se ne mogu prepeglati, jer moraju da ostanu vazdušasti i lepo drapirani. Dakle, izbor materijala je ograničen na muslin, saten, žoržet i slične materijale, pogotovo ako šijete varijaciju A ili B. Varijacija C nije baš toliko zahtevna - možete da koristite i tanak pamuk, lan, vunu, vuskozu i druge materijale sa mekim padom.
The Nougat dress is rather demanding when it comes to fabrics. It asks for a fabric that drapes well and doesn't wrinkle much. The reason is - the central from diamond with gathers. Think of how you're gonna maintain your dress. I usually wash all my dresses in a washing machine, and this one is no exception. Well, we all know the fabrics wrinkle after being soaked, and they need pressing. On the other side, the gathers on the diamond can't be pressed, they need to stay flowy, poofy and drapey. So the fabric choice is limited to chiffon, satin, georgette and similar fabrics, especially if you're sewing view A or B. The view C is not as strict. You can use light cotton, linen, wool, viscose and other fabrics that have some nice drape.
Haljinu po varijaciji A sam napravila od divnog muslina u dve boje petrolej plave. Ojačala sam sve delove prednjeg i zadnjeg gornjeg dela haljine, kao i pojasa malo gušćim muslinom, a za postavu sam izabrala teget žoržet. Na slikama ispod možete videti kako su meki i providni ovi materijali.
Prednje i zadnje gornje panele sam ojačala iz dva razloga. Prvi je taj što sam htela ovim delovima da dam malo čvrstine, budući da je muslin prilično mlitav. Dodatno, ojačavanje je rešilo problem transparencije materijala.
I made the view A dress out of nice chiffon in two shades of petrol blue. I interlined the bodice and waist yokes with a thicker, less transparent chiffon, and I used navy georgette for the lining. You can see on the pictures bellow how fluid and transparent they are.
I interlined the bodice of the dress for two reasons. The major reason was to give the bodice some structure, since chiffon is really flabby. Additionally, interlining solved the issue of the fabrics' transparency.
Krojenje materijala / Cutting the fabric
Pošto je ovaj projekat bio veoma obiman, koristila sam se svim prečicama kojih sam mogla da se setim, kako bih malo ubrzala posao. Prvo, kupila sam malo više materijala nego što je napisano u instrukcijama kroja. Imala sam po 2.5 m od svakog materijala. Naime, kada radim na ovako komplikovanom kroju, volim da podelim prces u nekoliko faza (iseci godnje delove saših ih, odmori; iseci donje delove, sašij ih, odmori; itd.). Na ovaj način, ostajem koncentrisana na projekat, i resterećena osećaja da radim dosadne, repetitivne poslove. Po završetku svake od faza, obuzme me divan osećaj samoostvarenja, pri samom pogledu na sašivene delove.
Međutim, posledica je da na ovaj način nemam mogućnost da rasporedim krojne delove na materijalu tako da što više uštedim na tkanini. Zbog toga kupujem malo više materijala od potrebnog.
Since this project was really time consuming, I used all the shortcuts I could think of to speed it up a bit. First of all, I bought more fabric than indicated in the pattern instructions. I had 2.5 meters of each of the shell fabrics. You see, when I'm working on such a complex pattern, I like to divide the process to several stages (cut bodice panels, sew them, relax; cut skirt panels, sew them, relax; etc.). This keeps me focused on the project and reduces the feeling of doing boring, repetitve tasks. After each phase is completed, I have this wonderful feeling of self accomplishment just by looking at the sewn bits of of the garment.
As a consequence, I don't have an option to arrange all the pattern pieces on the fabric in an optimal layout that reduces waist. So, I buy a bit more fabric than needed.
Pošto je panel za suknju najveći krojni deo, prvo sam njega isekla. Kako bih ubrzala krojenje, savila sam svaki od materijala na pola, a zatim spojila dve tkanine uz pomoć špenadli, kako bih dobila stabilnu površinu za sečenje.
Kada krojim, koristim teške tegove od stakla, koji fiksiraju materijal na stolu i ne daju mu da beži. Takođe, papirni kroj pričvrstim za materijal špenadlama.
Na slikama možete videti koliko je mali moj šivaći sto. Kroj za suknju je jedva stao na njega.
Since the skirt panel is the largest pattern piece, I cut this one first. To speed up the cutting, I folded each fabric in half, and then pinned the two fabrics together to make a nice stable surface for cutting.
I use heavy glass weights to fix the fabric and pattern in place. Also, I pin the paper pattern to the fabric to secure it from shifting around.
You can see from the pictures how small my sewing desk is. The skirt panel barely fit the desk.
Obratite pažnju na to da krojni delovi nemaju dodatke za šavove, moraćete sami da ih dodate. Ja sam dodala 1.5 cm (0.5") široke dodatke za šavove.
Dakle, iskrojila sam sva četiri sloja odjednom. Nakon toga sam napravila mali rez u tkanini, kod centralne linije kroja. Ovaj rez će biti zgodan kada se panel suknje bude prišivao za pojas (više o tome kad dođe red na to).
Please note the pattern doesn't have seam allowances, you'll have to add them. I added 1.5 cm (0.5") wide SAs.
So, I cut all four layers of fabric at once. I made a minor clip to the fabric, at the center front / center back line. This clip comes in handy when sewing the skirt to the waist yoke (more on that when the time comes).
Produžila sam suknju za 6cm (visoka sam), a zatim sam otsekla višak dužine na gornjem sloju tkanine. Inače vam ne bih savetovala da sečete materijal na ovaj način (slojevi materijala su još uvek bili spojeni špenadlama dok sam ga sekla), jer rizikujete da oštetite donji sloj materijala. Bila sam izuzetno pažljiva dok samo ovo radila, kako ne bih zasekla donji sloj.
I lengthened the skirt by 6cm (I am tall), and then I cut off the extra length from the top layer of fabric. Normally, I wouldn't recommend cutting the fabric this way (all the layers were still pinned together), since you risk cutting into the bottom layers as well. I was extra careful not to harm the bottom layers.
Kada sam iskrojila delove za suknju, počela sam da krojim panele gornjeg dela haljine, kao i panele pojasa. Glavni materijal i tkaninu za ojačanje sam sekla zajedno. Najpre sam špenadlama pričvrstila dva sloja tkaknine zajedno, postavljajući glavni materijal preko ojačanja. Potom sam rasporedila krojne delove po platnu, pričvrstila ih špenadlama i VEOMA GRUBO iskrojila delove, ostavljajući baš velike dodatke za šavove. Primetite da sam krojne delove postavljala na lice materijala. Prethodno obeležavanje krojnih delova je u ovom momentu bilo od velike koristi - izvukla sam prvo "tamne" panele i iskrojila ih od tamnog materijala, a potom sam ponovila postupak sa "svetlim" panelima i tkaninom.
Once the skirt was cut, I started cutting bodice and waist yoke panels. Again, in order to speed up the process, I cut the shell and interlining fabrics as a single layer. First I pinned the fabrics together, laying the shell fabric over the interlining. Then I arranged the pattern panels on the fabric, pinned the pattern to the fabric, and cut the pieces VERY roughly, leaving huge SAs. Note I put the pattern on the right side of the fabric. All the pattern labeling came in handy at this point - I pulled out the "dark" panels and cut the dark blue fabric first, and repeated the process for the "light" panels and and fabric later.
Nakon toga sam ufircala slojeve zajedno, prateći ivicu krojnog dela. Fircanje ima dve funkcije. Drži slojeve materijala zajedno, i obeležava linije šavova.
After that, I hand-basted the layers together, following the pattern edge. The basting has two functions. It keeps the two layers together, and it also gives you the seam guides.
Nakon što sam profircala delove, obeležila sam 1.5 cm široke dodatke za šavove i otsekl višak materijala.
After basting the layers, I marked 1.5 cm (0.5") wide SAs and cut off the extra fabric.
Kada su svi krojni delovi bili iskrojeni i profircani, izendlala sam ivice i podelila krojne panelu u grupe (prednji gornji deo, zadnji levi gornji deo, zadnji desni gornji deo). Primetite da još uvek nisam iskrojila centralni romb (više o tome u jednom od narednih postova).
Once all the pieces were cut and basted, I serged them and divided into groups (front bodice, left back bodice, right back bodice). Note that I haven't cut the center front diamond yet (more on that in one of the following posts).
U sledećem članku ću pisati o šivenju prednjih i zadnjih gornjih delova. Nakon toga sledi tutorijal o pravljenju nabora na rombu. Pratite dalje postove!
The next post will be about assembling the front and back bodice panels. The post after that will explain how the diamond gathers are made. Keep following the posts!
Prethodni postovi o Nugat haljini / Previous articles about the Nougat dress:
http://stepalica.blogspot.com/2013/08/4-nougat-dress-1301-sewalong-isecite-i.html
