Sleeve 

Sleeve - a very important piece of clothing. From its shape, cut and processing affects not only the convenience of the product when worn, the overall look, but also the character of the silhouette of the garment. Changing the shape of the sleeves, a variety of silhouette.
Shoulder line is one of the most significant lines in the silhouette of the garment. In fashion magazines with the appearance of new modern lines give a special thumbnail sketches, characterizing and highlighting this line (Fig. 192). This is especially true for periods when fashion puts the emphasis on the shoulder line when the latter is the main silhouette of the garment.
However, in all cases the sleeve must be combined with the General composition model. 

To understand the concept of "shoulder line", it is necessary to analyze the entire shoulder girdle: the shoulder, armhole and set-in sleeve, as they are inseparable from one another. 
On some typical examples (Fig. 193) follow the shoulder width, slope, line of openings, gradual, gradual or sharply defined transition shoulder in the sleeve, as well as the form of the sleeve, its length and the bottom line.

Straight sleeve, vacancy in the armhole of the bodice along the natural lines of articulation of the arms with the torso, is the basic, classical (Fig. 193, a). 
In Fig. 193, b shows the sleeve, typical dresses of the 30-ies of the XIX century the natural shoulder Line, sloping elongated cut of the bodice. Line openings wide, round. The transition from the bodice to the sleeve sharp. The sleeve is very lush, on the Assembly line of crown, concealing the outlines of the hands. It ends with the cuff.
Sleeve, characteristic dresses of the late NINETEENTH century is shown in Fig. 193, V. shoulder Line also sloping, but unnaturally short. The armhole is very small, smoothly connecting with a narrow sleeve, the shape of the hands.
Interesting is the period when the natural shoulder line changes its shape due to the artificial pads - poplexikon. Thereby changing the nature of the whole silhouette of the female figure (1938 - 1952).
In 1938 it became fashionable sleeve type of ham (Fig. 193, d), lush, the crown and tapering to the brush. Shoulder line more natural, sloping slightly shortened (9 - 10cm). The neckline is rounded, the transition from the bodice to the sleeve sharp. Sleeve like creeps to the armhole. Assembly, tucks, inverted pleats, placing the crown, supported artificially laid down strips (starched ruffles of tulle, grosgrain ribbon, canvas).
In 1939, the shoulder line loses its natural oblique direction: the use of cotton pads it takes a horizontal position. In fashion the same sleeve type hams, curvy crown, tapering from the elbow, smooth brush, without cuff (Fig. 193, d). 
Then typical becomes a smooth transition from the bodice to the armhole. The sleeve adopts the direct form (type of pipe), sometimes with a small extension downwards. Shoulder line is approximately the same (Fig. 193, e).
From 1947 and 1948, becoming a trendy new shoulder line that gradually takes the shape of a saddle (Fig. 193,W). Cotton pads here anymore. Again, the sleeve is expanded in the top part and narrowed down. Bottom sleeve ends with a cuff with pointed ends. 
Over time informed the typical increase and the curve of the shoulder line disappear. The sleeve is smooth at the crown, with a smooth transition to the armhole (Fig. 193, z). Shoulder widening, armhole deepened. Cotton podpischiki broaden the shoulders and support the top part of the sleeve.
In 1953, slowly comes into fashion former natural sloping shoulder line. At first armhole made very low (elongated shoulder up to 23 cm, Fig. 193). The sleeve is straight, tapering downwards, without landing on the crown. The transition from the sleeve to the bodice a smooth line openings barely visible, so that creates even the impression of cap sleeves. Then, when the casting sleeve is again widely popular, the line of openings is again a natural position.
Modern casting sleeve is characterized by a high fit of crown (on a natural point of articulation of the sleeve with the body; see Fig. 193, a). The armhole of the bodice is narrow. Sleeves of various shapes: straight and narrow with elbow tuck; straight with a large bell flared (Fig. 193, C); straight cuff; lush on the crown at a high cuff with a large number of assemblies at the bottom (Fig. 193, l). Popular shirt sleeve (without landing) with low armhole (Fig. 193, m).
Sleeve length is also different: long - bone wrist, length 7/8, 3/4, up to the elbow.
The characteristic feature of modern lightweight dresses (youth fashion) is the fact that the sleeve is often missing (sleeveless dresses), regardless of the season. 
In suits and coats double seam applied sleeve. 
Previously for many years as outerwear and a cotton dress have practiced very long sleeve (for growth). With lowered hand, he closed the part of the brush, the bottom line had an inclined direction and Then receives a distribution of the new length (3/4 and 7/8). In this case, the bottom line is sleeve horizontal.

In General, the bottom line gives the sleeve the completeness, elegance, and sometimes a special expressiveness. This line is connected to the shape and length of sleeves. So, long and medium length sleeves often finish the cuff (Fig. 194). Connect the sleeve with the sleeve in various ways, using Assembly, pintucks, inverted or unilateral pleats, saturation, direction and location of which affect the form of the sleeve.
Cuffs are narrow or wide (Fig. 194, a) direct form (Fig. 194,b) or vukraine (Fig. 194,a and b), mysyk (Fig. 194, g), clasp (Fig. 194, a and b) and without it (Fig. 194, b and g). 
In the formation of various modern hoses to the dummy pin with a cotton hand wear the layout of the bodice and carefully check the contours of the openings. Any fault can dramatically affect the appearance of the sleeves and bodice (wrinkles, creases, distortions, etc.), cause the inconvenience of the product when worn (sleeve pull, hindered the raising of hands, the inconvenience of his arm).

Point out the most typical cases of improper filling of the openings (Fig. 195, solid thick lines). On the shelf of the bodice fabric in the area of openings should not be excessively cut by the line width of chest (Fig. 195, a), and the bottom - side of the weld (Fig. 195, b). A disadvantage may be the covering of a fabric, when armhole cut is not enough (Fig. 195). 
Such a wrong design of the armhole on the bodice also unacceptable. 
After checking and adding the line of openings, go to the measurements (Fig. 196):
the length of the sleeve 1 from the upper point of articulation of the arms with the torso (the top point of the crown) to the bones of the wrist; 
sleeve length to elbow 2 (this measure find at the same time with the yardstick length sleeves); 
height of crown of the sleeve 3 from the upper point of articulation of the arms with the torso to the armpit; 
sleeve width at the armhole 4; 
width of bottom of sleeve 5.
The dimensions of the rectangular piece of fabric to the tattoos must match the measure length of the sleeve plus 4 cm ACC and measure the width plus seam. Fold the fabric in half (along its length). Warp yarn should be at the fold of the fabric. Measure the height of the crown plus 2 - 3 cm ACC. From measurements of the height of the top part of the tissue slices to chop off the bottom. The seam turned inward, the excess tissue cut. Prepared cotton cloth worn on the arm, and then begin the tattoo. 

  Sleeve straight one-piece (Fig. 197). At the top of bent 2 - 3 cm; the first pin-pin the fabric to the bodice from the shoulder cut. Warp yarn should be placed vertically (Fig. 197, a). Second pin stab on the front lines of the width of the chest, and the third back in the line width of the backrest (Fig. 197, b). While slaughtering the second and third pins check the weft thread, which should be placed horizontally. Kill pins on the crown, making a small planting of tissue, and fasten the sleeve bottom at the side seam.
If the bodice is straight or poluprilegayuschy shape, the seam of the sleeve can match up with the side seam of the bodice. If the bodice of the adjacent shape and the side seam is shifted to the back seam of the sleeve is displaced by 1.5 - 2 cm to the side of the front bodice are not coincident, therefore, with the side seam of the bodice. 
When tattoo sleeve can be disadvantages that need to be addressed. 
So, the cause of wrinkles and distortions may be the incorrect fit of the crown sleeve. To avoid this, it is necessary to follow the right direction of threads a duck and bases (respectively, the horizontal and vertical directions).

Snub the sleeves in the top part entails distortions of the diagonal lines (Fig. 198, a). The reason the crown is not high enough. Therefore, it is necessary to increase the crown or deepen the bottom of the sleeve (Fig. 198, b). 
The reason for the transverse creases in the crown (Fig. 199, a) is the insufficient width of the top part of the sleeve at the armhole. 
The sleeve can be expanded (Fig. 199, b).
The bottom of the long straight sleeves make out with flexed hand position. The bottom line should be positioned at right angles to the hand, as shown in Fig. 200, and.
The bottom straight sleeves 3/4 or 7/8 is made at the lowered hand position, and the bottom line must be horizontal (Fig. 200, b). 
For the design of the bottom of the sleeves on the cuff tighten the bottom band (Fig. 201, a). Assembly, tucks, inverted pleats are so distributed that the front was smaller and to the ulnar side is greater than that provides freedom for bending of the arms. 
Next, the hand crank and the check sleeve in a bent position (Fig. 201, b).
If he pulls, there is tension on the elbow (in the future, the sleeve will be torn at the cuffs), which should loosen them up a bit. Then again knotted the braid and flexed his hands, allowing sufficient freedom of the fabric, pin the cuff (Fig. 201, in). 

The layout of the sleeve is removed from the dummy and set the line of the top part, the side sections and the bottom. Check the dimensions (the length of the sleeves, the width of it, height of the crown). Further, the ink transferred by the cutter to the paper to get the pattern base (Fig. 202). 
Sleeve straight one-piece serves as a basis for the development of a variety of other forms of sleeves.
  The sleeve is uniformly expanded downward (Fig. 203, a). A mannequin wearing a one-piece layout, direct sleeve. On the layout plan three lines: one in the middle of the crown and two at the same distance from it (Fig. 204, a). 
According to the planned layout cut lines and diluted to a desired width; the cuts put the wedges (Fig. 204, b). As the sleeve to uniformly expand downwards, then the wedges must be the same. Once the desired form is found, the layout is transferred to new tissue, clarify and deepen the line of openings at the bottom and draw the line of the bottom of the sleeves. 

  Sleeve, extended downwardly from the backrest (Fig. 203, b). This sleeve is shaped on the basis of the expanded single-joint sleeve. Here, the wedges should be of equal width: the front and middle already, and the rear is much wider (Fig. 204, a). Once the desired form is found, clarify the line of openings at the bottom and draw the line of the bottom of the sleeves. The layout is transferred to a new fabric and put back on the mannequin to check. 
  Sleeve with inverted pleat or shirred crown, evenly extended downwards (Fig. 203, in). The layout of the sleeve, evenly enlarged downward, put on a mannequin.
In the middle of the top part of the sleeve is cut along the warp and pushing the width inverted pleats. 
  Sleeve ruching on top part and hem on the cuff (Fig. 203, d). Create a layout based on the direct sleeve, which is cut in the middle of the top part to the bottom and spread evenly. Then copy it to the new fabric, put the layout on a mannequin, and place the Assembly on top part and the bottom and pinned the cuff, as described above. 
  Sleeve with flounce. The bottom of short or long sleeves can be finished with flounce (Fig. 205, a, b). For this layout, or narrow straight sleeves (depending on model) pin to the manikin and set the connection line sleeves with flounce. Bottom line to the pin sleeve flounce. If you want a shuttlecock with a large number of tails (Fig. 205, a), then it cuts out in the form of a circle (Fig. 205, g) if less (Fig. 205, b), then the circle is cut evenly at the bottom killing the little tuck (Fig. 205, d). In the area of connection with the sleeve flounce can be smooth or gathered. 
  Sleeve one-piece narrow. Narrow called the sleeve, tightly fitting the hand, and repeating its shape. In forming such a sleeve, you cannot take the excess fabric in the seam, because in this case the inconvenience in traffic, the fabric on the seam will be stressed and wear product will begin to break. Creating the form of a narrow sleeve, it is necessary, in addition to narrowing its line of slicers, be sure to do tuck. They should be placed at the level of the elbow. The depth of the recesses depends largely on the structure of the fabric: the more elastic, the softer the fabric, the less you should take her to tuck.If the nature of the fabric and tuck should be deep (over 3 cm), it is more appropriate instead of one to two, respectively, shorter and less deep.
Necessary for arm movement freedom can also be provided by planting the tissue at the elbow slice, a small brace for the front cut with Darts at the wrist. 

The form of a narrow sleeve developed based on direct sleeve. Before you begin the tattoo, layout ready on the table. Pre-take off an additional measurement - the height of the crown to the elbow. On the elbow the layout is narrow, providing a supply of fabric on elbow tuck (Fig. 206, a). The excess tissue cut.
Prepared mock wear cotton to the hand of the dummy and pinned on the crown of the sleeve; the latter by cross-section seams narrow further, especially with the ulnar side. The level of the elbow the excess tissue is distributed in two small Darts, which are: one at the level of the elbow, the other on a 2 - 3 cm above (Fig. 206, b).
The direction of the suture is also crucial. From the armhole seam should go as usual (from the center of the armpit) and on the restriction of the sleeve it needs to be directed exactly through the middle of the hand. Clearer check the correct direction of the seam can be at raised hand (Fig. 206). The second check should be done with the hand position shown in Fig. 206,In this case, the seam should be facing towards the thumb (abnormal position of the seam to the little finger is shown in Fig. 206, and g dotted line). 
After tuck feature and checked the direction of the seam, and place the bottom of the sleeves.
Then check the position of the warp and weft. A final check of the overall appearance of the layout is carried out at a lowered hand. 
In Fig. 206, d this the right direction yarns in the finished sleeve. In Fig. 206, e dotted line depicts vyvorachivaya outside seam, which is unacceptable. When folded down the arm seam should not be visible. 
Then the layout is removed and the check on the table. In Fig. 206, W shows a pattern of narrow sleeves. 

  Slim sleeves with a tuck at the wrist (Fig. 207, a). Tuck the wrist is directed from the bottom of the sleeves (from the side of the little finger). The length and value of the solution can be different. When a large amount of solution it makes the length 18 - 20 cm, with a smaller - length tuck correspondingly shorter, and the contraction of the sleeve is due to the seam. In the midline tuck needs to pass the warp yarn (Fig. 207, b). With a very narrow sleeve line tuck features clasp: hooks, buttons, buttons (see Fig. 207, a). 
  Sleeve "ham". This sleeve, lush in the crown, from the elbow narrows at the wrist very tightly fits the hand (see Fig. 193, d and e). To take when creating sleeves in this form as the basis of the straight sleeve is impractical. Better based on to take a narrow sleeve and change it then in the region of the top part. 
A mannequin wearing the layout of the narrow sleeves with a tuck at the elbow. Outline three lines: one in the middle of the crown and two at equal distances left and right of the first (Fig. 208,a). According to the planned layout cut lines and diluted to a desired width, which is given on the sketch or drawing; the breakdown by injected wedges (Fig. 208, 6).
Finding the desired shape, layout, copy in new cloth. After that, he again put on the mannequin (Fig. 208,) and give the final form of sleeve - decorate a crown assemblies, or various kinds of pleats or pintucks (Fig. 208, d). Depth, direction, arrangement and number affect the form of the sleeve as a whole.
If you need to make inverted pleats, when an odd number (three or five) one of them is scheduled on the line of the shoulder seam, and the other is formed uniformly at equal distances from the Central. When an even number of folds (four or six) is formed evenly with respect to the same shoulder seam. 
  Sleeve "flashlight". This sleeve is called short puff sleeve assemblies.
In Fig. 209 shows the classic sleeve "flashlight" having a round shape formed by a large number of uniform assemblies at the top and bottom. This form is created on the basis of direct single-joint sleeve. Sleeve, respectively, shorten and extend. On the mannequin precise shape. 
There are several varieties of the sleeve. 
In Fig. 209 b shows a sleeve whose shape is built on a small number of assemblies at the top and much more below. This form is generated based on the sleeves, expanded-tion downwards. Shorten the sleeve, respectively; the form specify on the mannequin.
In Fig. 209, depicts a sleeve in which a greater number of assemblies is concentrated in the crown and less at the bottom. The shape of this sleeve is created on the basis of the sleeve type "ham", respectively shortened. 
In Fig. 209, g presented in the original sleeve "flashlight", magnificent in the crown and smooth at the bottom created by mussirovanie. Next played his pattern.