The bodice 

The bodice is the basic upper garment. Almost always the focus fashion designers drawn to the bodice on his shape, design, because that's what here in the first place depends on changes in fashion. 
Previously discussed in detail the evolution of the silhouette over the past more than 100 years. It has been noted that in the NINETEENTH and early twentieth centuries, the same form kept over the years, has become so familiar and the only possible that the mannequins were created based on natural proportionsthe female figure, distorted by the corset, which responds to the fashion of those times.

In Fig. 161, and shows the dummy reproduction of the female figure the mid-NINETEENTH century Women's waist was extremely tight corset ("wasp waist", waist "a glass"). In the theme of "Silhouette" presents a number of silhouettes, built on the "wasp waist". 
In Fig. 161, b shows a mannequin of a later period, reproducing female figure with a distorted torso (Latin capital letter S; see Fig. 42, silhouettes clothing 1901 - 1907).
Yet, despite the greater stability of forms, from time to time (in NINETEENTH century approximately every 10 years, and in the first half of the twentieth century and often) form the bodice is changing. Each such change was reflected in the design of the bodice. 

Follow the changing shape of the bodice on the number of characteristic examples of the NINETEENTH andthe first half of the twentieth century (Fig. 162). Each bodice is different length and width, the nature of detecting breast shape, the degree of the adjacency, configuration of seams, location of Darts, nature andthe direction of the line of the shoulder.
Changed the main structural joints (e.g., shoulder seam shortened, lengthened, sidelong look, side seam moved, changing the ratio of the back and shelves); changed the configuration of the seams; shelf and the back could consist of several parts; changed the line of openings, the location, direction, amount of solution and form tucks (sometimes Darts were replaced by soft pintucks, ruching, draping); finally, the bodice could be longer or shorter. Sometimes the shape of the bodice changed as a whole, and sometimes gradually, only partially.
For clarity and comparison of the forms of the figure on the left shows modern bodice, built on natural lines and proportions of the figure. 
For the bodice of the NINETEENTH century (1810) a small characteristic length, much too high waist. The softness of the forms is achieved drape. 
For the bodice of the mid-NINETEENTH century (40 years) characterized by rigid corsetry form. Bodice - scoring, with a complex pokrainini details, with Cape, down the front below the waist line. 
The bodice of the early twentieth century (1900) characterized by artificiality, distortion torso the corset. The shape of the bodice vikrala, revealing low-lying chest.
For the bodice slightly later period (1910) characteristic a transitional form; the torso here adopts a more natural position; .the shape of the breast is not clearly identified; the waist line is slightly inflated. In the drape of typical asymmetry. At this time, for the first time appears the bodice with cap sleeves.
With the disappearance of the corset is to simplify the construction of the bodice. Disappears constructive workload, split details. The bust shape two layers of fabric. A good example of the simplified to the limitdesign is the bodice of the 30-ies of our century (1925). The bodice is very long, no pronounced natural waistline. For the silhouette peculiar flat shape of the breast. Therefore, the upper tuck was not used. Insome cases (with large bust) for the first time practice the tuck under the arm.
The bodice of the mid-twentieth century is also straight and is formed from two webs; line shoulder extended (thanks podlachian); the waist line is slightly underestimated; tuck decorated with soft tucks along the lines of the shoulder and waist. 
Thus, the bodice of any form has its own characteristics. On this basis, the development of each form of exercise various techniques. 

For modern fashion the typical diversity of silhouettes, shapes and cuts of bodices; the most typical are:
1) bodice photorelease shape (Fig. 163, a);
2) the bodice poluprilegayuschy shape (Fig. 163, b);
3) bodice straight free form (Fig. 163, b); 
4) the bodice is a soft-shaped (Fig. 163, d); 
5) the bodice of a complicated shape (Fig. 163, d). 
Separately it is necessary to specify bodice with cap sleeves which also come in different forms. 
The bodice consists of two main parts: the front and back. In turn, front and back may consist of two or more parts.
The main design feature of the front bodice are the top tuck required to make the bodice of the desired shape in the field chest. The value of the solution tucks depends on the structure of the figure. Position andmaking the top of the tuck is determined by the fashion. Considered a classic tuck, located from the shoulder line. Sometimes the solution is transferred to a tuck the neckline, the waistline, in the side sections. In Fig. 164 shows various options for the location of the upper Darts.

The tuck can be visible or hidden in the undercuts, relief seams, lines the yoke; it can be combined with assemblies, soft pintucks draperies. Its contours can be straight, concave, convex, smooth, pronounced. 
Using the bodice of one or the other tuck, you should remember not only about its constructive role, but also its consistency with the whole design model. 
  The bodice plotopteridae form. The bodice protoplasm on the figure clearly reveals the chest and waist, which is achieved by appropriate Darts (see Fig. 163, a). If the top tuck can change your direction, tuck at the waist is more defined position. 
  Tattoo start, pinning the fabric through the middle of the front of the dummy, combining it with the warp yarn.
Dispensing the fabric, ensure that the shoulder remains necessary margin, chipping of the shoulder sections equal to 10 cm Prick three pins through the middle of the front, and a pin stab u the neck, the second - on the chest, the third across the waist (Fig. 165,a). The fourth pin to secure the fabric at the top of the neck. 
Excess tissue in the neck are cut along the contour of the base of the neck. Top tuck is scheduled for a distance of 3 - 6 cm from the neck at the shoulder to the fullest point of the chest.
To properly form the top tuck, to determine its solution and to calculate how much tissue should be collected in a tuck, need remember that the weft thread must be held horizontally from underarm basin (side seam) the projecting point of the breast.
Determining the correct direction of the weft thread, a cloth secured fifth pin and set the value of the solution tucks (Fig. 165,b). After that check the side cut is in profile. The tissue section, and hence warp yarn should be placed vertically. Wrong the location of the line of tissue slices (Fig. 165, V, g) leads to distortion of the shape the entire bodice.

If the thread was not properly defined, slightly sloping to the side the cut, fabric creases are formed (Fig. 166, a), indicating that tuck in this case is not deep enough and it should to deepen. If the weft thread converging (Fig. 166, b) and tissue form oblique creases extending from the openings, tuck too deep andtherefore, it should be reduced, releasing the part taken in her tissue (to correct - horizontal - position of the weft thread).
After you determine the correct value of the solution tucks and its location on the shoulder cut (about middle of the shoulder line), it is necessary to direct tuck the protruding point of the chest. Even a small deviation can lead to those or other visual changes in shapes: a narrowing, if tuck is located excessively close to the line of mid front and on the contrary, this apparent expansion of the figure, if the distancebetween the peaks of solutions tucks too large (see Fig. 166, V, g). In Fig. 166, d is set to the correct direction of the tuck, which is notcauses of those or other visual changes of the shape (for greater clarity of line tucks this from both sides of the dummy). However, in General, decision model the main structural seams and Darts stealth, however, this is only if they are properly located.
Form attached bodice also dependent on the size of the solution, length and the location of the Darts at the waist line. The latter can slightly or drastically to reveal the waist, to accentuate it or make it less pronounced. 
Below the waist were clearly visible, and Darts must have a sharp shape (Fig. 167, a). For a smaller expression of the contours of the waist tucks make smoother (Fig. 167, 6). 
Tuck at the waist can visually narrow or widen the waist, to raise or lower it.

The bodice is attached forms the contours of the figures should be clearly identified. It is therefore very important to identify the side seam, which must be properly focused and tight-fitting on the mannequin. To determine the direction side seam, shoulder seam, pin the braid to the end tie a small weight (e.g., scissors). Braid, Nativas, give a strictly vertical direction of the side seam (Fig. 168, a), which should be slightly offset to the back.
In the process of piercing Darts at the waist it is necessary to monitor not only for compliance with their correct solution, but for the correct location them on the figure. It is easiest to achieve when the identified lines of the side seam. If it is hidden, dummy, fabric, Darts in to stab not to be, so how can the inaccuracies. In this case, shelf bodice temporarily kill in the line of the side seam. After that, the bodice must be exactly outline the waist line (this can be done with pins or with a tape, cord). Above the waist line, between the line mid-front and side seamthe fabric is correctly distributed, following the position of the warp and weft. In this location bodice fabric yarn must be positioned at a right angle to one other. Accurately setting a ratio of the filaments, the fabric is fixed with pins (Fig. 168,b). The remaining excess tissue is taken to tuck the line waist, killing them from the waist line up to the projecting point of the breast. If tuck needs to be deeper than they should, you get distortions, as the threads will shift. If the solution tucks less than it should be, it appears slack, the bodice will not fit snugly to the figure. Therefore, whencreate a bodice attached form tucks at the waist to do such that the ratio of threads of the fabric are not violated.
Of great importance are the correct location and direction of Darts. In otherwise the entire bodice loses its shape (Fig. 169). Too close the location of the Darts to the line of mid front (Fig. 169, a) creates the impression of a disproportionate ratio of the parts of the figure. If a tuck to move closer to the side seam, the figure will appear wider and the waist completely disappear (Fig. 169, b). In Fig. 169,shows the correctthe location and direction of Darts in accordance with the contour lines bodice. 
On the shelf surrounding the bodice instead of one tuck can be done in two. 
A tattoo of the back start pinning the fabric along the line of mid the back of the dummy with the edge or the warp threads, leaving a stock shear shoulder seam. The first pin stab in the region of the seventh cervical vertebra, the second in the line of blades and the third one on the waist line. Fourth pin pinned your fabric at the top of the neck, the fifth in the line of blades between a line the middle of the back of the dummy and armhole, checking the direction the weft thread, which needs to be horizontal (Fig. 170, a). The excess tissue cut at the shoulder and neckline cut. Allthe excess fabric is distributed at the shoulder cut of the back, creating a fit tissue and creating a small tuck depth 1 - 1.5 cm In Fig. 170 b also shown is the sequence of sticking pins when planting cut backless. Further, shoulder seam shear, maintaining a uniform fit.
The right direction the shoulder seam shown in Fig. 170, V. Offset shoulder seam in the back side (Fig. 170, d) unacceptable. 
On the back of the bodice attached form kill a tuck at the waist line. Her solution, as well as on the shelf, determine the correct ratio the warp and weft should be placed between tuck and side seam at right angle to one another (see Fig. 170 b). The location and direction of Darts in the back are the same as on the shelf. 
Then proceed to chipping of the side seam (the temporary pins are removed and a shelf put back).

The contour lines of the openings is determined by the four endpoints: lines shoulder and side sections and lines the chest and shoulder blades (Fig. 171). At scheduled points armhole outline and cut out leaving a seam allowance of fabric 1.5 - 2 cm to attach the sleeves. 
Next, align the overall length of the bottom (of the back and shelves). 
After this check the entire bodice entirely, retreating to a distance 3 to 4 steps. When checking is necessary to follow not only the correct direction tucks, but the relationship between Darts and side seam.
Follow-up tattoos bodice is carried out on the table. The bodice is removed from dummy and pins outline (laying a thread or pencil) the contours of the neck, side, shoulder cuts and tucks. The fabric is spread or produisait, the lines align on the ruler. The front and the back put on the table so that their means are parallel. Cm tape check the length of the front, back, shoulder, chest girth, width backrest and shelves, the value of the solution tucks and neckline and armholes (Fig. 172). 
The tattoo is transferred to the paper cutter to obtain a pattern basis.
  The bodice poluprilegayuschy form. In the bodice, chest and waist are expressed weakly (see Fig. 163, b). Semilying bodice is created on the basis of a bodice planopilaris. The layout is transferred to a new tissue with allowance for free fit on the line side of the slice. On the mannequin the bodice give the form required. Perekusyvayut the side seam, sometimes moving it closer to the front lines of the slices make it more smooth. Darts at the waist also perekusyvayut. Their position remain, but the solution of doing less, and the shape is smoother (see Fig. 167, b). 
  The bodice is straight. The bodice hugs the shoulders, upper chest and thighs, but does not reveal neither the form of the breast or the waist (see Fig. 163,). Create the bodice of this form-based bodice poluprilegayuschy shape: mannequin kill the front and the back bodice poluprilegayuschy shape with a large allowance loose fit on the line side of the slice. Back at the line side of the slice to expand and the shelf decreases, causing a straight line of the side seam is located closer to the front. 
For the bodice straight free form characteristic only of the upper tuck, tuck at the waist are missing. 
  The bodice is soft (see Fig. 163, d). This bodice is created on the basis of the bodice is straight, which, if required, lengthen, and then pinned to the dummy and made according to sketch or drawing of the fashion magazine. Waist or below the fabric can be in the form of soft tucks, gathers etc. 
  the Bodice of a complicated shape (see Fig. 163, d). For this bodice is characterized by the absence of visible open the top of the tuck, as it is combined with raised lines - undercuts, ruching, pintucks on the yoke.
If tuck is purely constructive and does not participate in the composite solution, it should be invisible and only perform its functional purpose - to create the desired three-dimensional shape. 
Translate tuck and combine them with different lines a second (combined) method of the ink (see page 168). 
  Translation of tuck in the line of the side cut. On the shelf bodice to close the top and tuck from the top outline the new direction of the line below the armhole (Fig. 173, a). In a similar translation of tuck in the side cut, waist line, neck, etc. using the same principle. On the planned line shelf is cut and the fabric pushing, getting the contours of a new tuck. Then click the shelf with outlines of the new Darts (Fig. 173, b) is transferred to the paper. 
  Translation of tuck in the line of relief is coming from the line of openings (Fig. 174, a; scoring the flank). The line of the relief plan on the basis of the shelf (on a mannequin), chips, pre-top of the tuck (Fig. 174, b). From the line of openings (pencil) are on a smooth line, connecting it with the tuck at the waist line. 
On the planned line shelf is cut, why the tuck is moved to the line of the relief (Fig. 174,).
  Translation of tuck in the line of relief is coming from the shoulder cut. A snug fit of the bodice can be achieved by the use of Princess seams (Fig. 175, a). These joints are structurally and decorative, so their location must be not only correct, but also beautiful.

You should identify the line of such seam, to check the correct direction of the upper tucks and Darts at the waist, as they form the basis of a raised seam, somedays with him. The shelf extends below the waist line, expanding the side slice. It pinned to the mannequin; however close the two Darts. A tuck at the waist line to bottom kill.
To check the line relief you can use a strip of ribbon that is pinned on the mannequin. Examples of improper location of the Princess seams is shown in Fig. 175, b, and C. After .found the correct location of the seams (Fig. 175, g), the upper tuck connect with the tuck at the waist and a shelf along the planned cut lines (Fig. 175, d). 

  Translation of tuck in-line yoke. The desired line of the yoke outline on the mannequin. Based shelves pinned to the mannequin. Tuck closed. Pencil, colored chalk, or a thin braid plan a line of the yoke (Fig. 176, a). It can be round (Fig. 176, b), the promontory (Fig. 176, C), a straight line (Fig. 176, d), large or small, high or low. Depending on what we're dealing with - a blouse, jacket or coat the yoke to do this, to match the size of the entire product.
After the line yoke is slated shelf with a closed top tuck cut the upper part of the shelves is transferred to the paper, and the lower spreading, forming allowance for Assembly. As a result, the tuck is combined with a line yoke (Fig. 176, d). Further details shelves seam again put on the mannequin for the final design of the Basque line. 

  Translation of tuck from the neckline and its different design. Shelf with pre-translated in the neck with a dart pinned on the dummy, and depending on the style the excess tissue is distributed in the Assembly (Fig. 177,a), a uniform soft counter folds or tucks, (Fig. 177, b). Tuck, directed from the neck, you can also take the form of lines podraza with assemblies. In this case, the shelf is pinned on the dummy, close the tuck and plan a line of podraza (Fig. 177 in). On the planned line shelf is cut, her upper right, the excess tissue cut. The fabric on the bottom part of the tuck is distributed in the form of a beam Assembly (Fig.177, g).
In Fig. 177, d shows the shelf on the basis of the new contours of the translated and decorated tuck. 
  Translation of tuck in the waistline and its a different design. To make a tuck in the form of soft NIPs (Fig. 178, a), it must be divided into two (Fig. 178,b) and place on the mannequin.

In Fig. 179, and shows a smocked bodice with a slightly higher waist line bodice. To obtain the bodice of this form the shelf with the translated at the waist with a tuck pinned on a mannequin. Tuck closed and plan a line of podraza on which the shelf is cut (Fig. 179,b). The lower part of the bodice is closed with the tuck is transferred to the paper, and the top (if you want more assemblies) cut and throw (see Fig. 179, to). 
The final design of the shelves is produced at the dummy in accordance with the sketch of a model or a drawing of a fashion magazine. 
  The back of the bodice is complicated forms, as well as shelf, can be different: slouchy yoke, inverted pleat, small tucks at the neck, raised lines, etc. 
In Fig. 180, and depicts the bodice back waist. To modify the base of the back, pinned it on the mannequin, extend and diluted to the desired width (Fig. 180, b). When you extend the back armhole should be recovered on the basis, as its configuration has changed. Further, the backrest is transferred to the paper or cloth and check on the mannequin (Fig. 180 in).
To perform the back yoke different forms the basis of the back is pinned on the mannequin, pencil or color-ing a chalk outline line of the yoke (Fig. 181, a). The basis of the cut; the yoke retains its shape. Instead of the little Darts make a small landing shoulder cut. The lower part of the backrest (Fig. 181, 6) pribivayut to the desired width. Side slice level. The layout of the copy on the new fabric. 
In Fig. 181, shows the final design of the back on the mannequin. 
  Bodice with cap sleeves. In this case, the bodice and sleeve are one - line openings is missing.
National dress bodice with cap sleeves has existed since time immemorial. In modern European costume he first appeared in the early twentieth century. Characteristic here is the softness of the forms, achieved by draping podgainij parts (Fig. 182).

Cap sleeve, competing with a set that lasted in the early twentieth century for long. Then he disappears, then reappears. In 1938 - 1940s after the break cap sleeve gradually but very firmly in fashion, along with casting. In the period of abandonment of an artificially extended line of the shoulder this cut displaces the casting sleeve and at a known period of time (3 - 5 years) is a leading. 
The shape of the bodice with cap sleeves can be quite varied: from the free, wide, baggy to skintight shape. Under the influence of fashion it is constantly changing.
Consider as an example a few strapless bodice with cap sleeves of different shapes and designs. 

In Fig. 183, shows the bodice and a wide, slouchy waist. The chest is not clearly identified. Missing shoulder seam, replaced the fold of the fabric. Instead tuck the excess fabric is kept under armhole and waist line, forming deep radial creases under the armhole and sleeve. Side seam smoothly into the bottom seam of the sleeve, which is typical for a cut of people's clothes. 
The process of forming the bodice of this form follows.
Take a rectangular piece of fabric equal to the length of the front and back of the bodice with an allowance of 10 - 15 cm (on the overlap). The long sleeve mock fabric nastavljaju. Fabric bend in half (with a small passage leading to the shelves) and prick with a dummy warp. Pinned to the dummy hand made of dark fabrics and stuffed with cotton or fine cloth.
The tattoo starts at the front from the waist up, leaving the required margin for the overlap. The sequence of the piercing pins is shown in Fig. 183 b. When he reached the neck, the fabric is cut along the contour of the base of the neck. Further, the exercise tattoo on the back, securing the fabric through the middle of the back of the dummy from top to bottom. Then again go to the tip of the front bodice. The excess tissue for forming of the tucks, divided into two parts, the driving under the armhole and at the waist and temporarily fasten with pins (Fig. 183,).
Forming a slouchy fit at the waist, and thereby giving to the bodice of a free-form, the temporary pins are removed and the fabric is evenly distributed around the waist (Fig. 183, g), making tucks, Darts, assemblies at both the front and back. Determine the position of the side seam through the middle of the sides of the dummy. Front and back break together down at the waist. Plan the width and length of the sleeve. Obtained from the corresponding points lay the line of the side seam of the bodice and the bottom seam of the sleeve (see Fig. 183,b, g), which defines the future shape of the bodice. At first, this line should be scheduled as shown by dashed lines in Fig.183, b, providing the greatest overlap and masculinist under the armhole. Then the excess tissue is cut; the line of the seam you can then slightly change (see contour line in Fig. 183, d); as a result, the bodice takes the final form.
To drive the seam tight on the figure otherwise it will be difficult to raise their hands; the bodice will pull, warp, upturned at the waist. 
After a final check of the layout is removed from the dummy and check on the plane. In Fig. 183, d depicts the finished pattern (vests). Vertical dotted lines mark the lines short sleeves. 

The shape of the bodice is shown in Fig. 184, different from the previous highly raised and strongly extended shoulders. Otherwise the principle of the formation of the bodice is the same.
In Fig. 185, and the silhouette retains the extended shoulder line, but in the form of a bodice noticeable decrease in softness and masculatory. In Fig. 185, b shows changes in the cut, expressed in the presence of the top seams of the sleeves. The bodice clarify on the mannequin according to the principle specified above. The dotted lines show the bottom line and long sleeves.
With the return to natural proportions (1952 - 1953) and with the rejection podpischikov in the form of a bodice with cap sleeves undergoing fundamental changes. Disappear masculinist, slouchy fit through the waist, loose shape, soft vertical creases; there is a natural shoulder line; bodice becomes slimmer.

In Fig. 186 shows the straight bodice shape. In the cut used. Darts from side-cut (under armhole). Top seam of sleeve is under a lot of bevel, and the bottom - smooth, form-fitting under the armhole. With this cut you should apply a soft, elastic fabric or knitted fabric. To use the elastic, tough tissues should not be. Such a cover does not allow the surrounding the shape of the bodice.
This, of course, is not limited to a variety of solutions to the bodice with cap sleeves: changes in fashion lead to the creation of new designs, ensuring a snug fit and greater freedom in movement. Reach a further improvement of the design (even more slant top sections of the sleeves and the introduction of undercuts and gussets).
Let us consider two examples. Bodice with tuck, translated at the waist, short sleeve shown in Fig. 187. Here it is applied the undercut as a continuation of the lower edge of the sleeve. The other bodice (Fig. 188) has, over the adjacent, which is achieved by using a deeper podraza and Darts from side-cut (under armhole) and the waist line. Sleeve medium-long, narrow. 
Consider in more detail the formation of this kind of strapless bodice to the mannequin.

In Fig. 189 shows the main principles of formation of the shelves of the bodice. The upper section of the sleeve is planned under the big bevel. In some cases (Fig. 189,a) the tuck is formed at the waist line, whereby the weft thread is inclined. Undercut is used as a continuation of the lower edge of the sleeve. 
In other cases (Fig. 189, b) tuck transferred under the armhole. Make the undercut deeper, at an angle of 60' to the lower shear sleeve. The weft is horizontal. Talieva tuck creates a snug fit bodice. Line short and 3/4 length sleeves shown in dotted lines.
The back of the bodice (Fig. 190, a) can be used in both cases with possible changes in the line of podraza. When chipping top seam of the sleeve should follow the right direction (preferably with the help of tape or pins). The source here is the shoulder seam of the bodice with set-in sleeve: this seam should smoothly extend to the bottom of the sleeves (Fig. 190, b). The offset of this seam forward or backward is unacceptable, because it will upset the balance of the bodice. 
Correctly outlining the seam line, cut off the excess fabric.
Finally saliva the front and the back at the top seam of the sleeve on the back make the fit 1.5 - 2 cm, and a small tuck. On the shelf, accordingly, make quickdraw (see Fig. 189). And quickdraw, and landing affect the character of the creases, which must be directed vertically. 
Waist bodice stab a slim silhouette. Plan a line of the side seam; a shelf with a back chop to the line of openings (Fig. 190).
Next, determine the length and width of the sleeves. In the considered examples, the sleeves long. From the intended point length sleeves chop off the bottom seam. When you do this, ensure that the fabric is not like. 
If the sleeve is narrow, then niinami slice on the elbow Darts do (see Fig. 190, a). 
Plan a line of podreza the gusset. With this purpose it is necessary to raise the hand of the dummy up and identify on the front and the back of the line podreza the same length (7-8 cm) under equal angles to the seam line (see Fig. 190, a).

The shape of the gusset is determined by the length of the cut and length of sleeves. For short sleeve used poluectovich (Fig. 191, a) for long and medium length sleeves - gusset diamond shaped (Fig. 191, 6). 
The size of the gussets may vary (see the dotted line in Fig. 191, b). 
Sometimes the gusset is replaced insertable sideways (Fig. 191, C), especially when working with easily fraying fabrics. Sections of side seams equalize with the barrels. 
In Fig. 191, g, d, e shows the resulting patterns for the three most recent examples.