The relationship of the upper part of the dress - bodice and the bottom skirt 

In the development of a composite model, consisting of bodice and skirt must be achieved overall coherence and correlation lines fitting (Darts, seams, folds, reliefs, etc.). From the way these lines are connected, depends on the integrity of the composition.

A classic example of a linear connection of the bodice to the skirt is the dress of the princesses (potrebnoe waist). This dress is characterized by strong vertical lines extending from the shoulder to the hem. The location of these lines is connected with the direction of the Darts on the bodice and skirt (Fig. 258). Dress is performed by connecting shesterenok bodice (see Fig. 175) chesterules skirt (see Fig. 243). The dress can be straight or slightly extended (by the principle of expansion chesterules skirts). 
The same linear relationship observed in dresses, cut at the waist line.
For example, the upper part of the cut-off for waist dresses, shown in Fig. 259, connected with the bottom slightly low waistline. Tuck the bodice coincide with the structural seams of the skirt, creating an extended form of a trapezoid. Such a combination of lines creates the natural integrity of the composition. Next shows the same model, but with an offset tucks. The integrity model is broken, and the bodice looks separate from the skirt.
Consider a few examples of the correct linear relation of the upper part of the dress with the bottom, connected at the waist seam hidden by the belt. Even with a belt are compliance with the linear connection is necessary. In Fig. 260 shows the dress with attached figure bodice with a tuck at the waist, double-banded skirt. Tuck the bodice must match the Darts on the skirt as on the front and on the back of the dress. Next is shown an invalid offset tucks.
In Fig. 261 shows an example of connection lines of the relief of the bodice with the skirt seams. The left shows a violation of this connection that splits the entire compositional intent, since the bodice looks in my heart from the skirt.

The suit consisting of two parts: jacket and skirt (Fig. 262), is also perceived as a unified whole due to the fact that the lines of the reliefs in the jacket match the lines of the skirt seams. In this composite solution, the main role is played Darts at the waist. They.give clarity of the construction of the whole composition. Notched belt is well aligned with the movement of the plot, terminating the natural integrity of the model. Line tucks smoothly into the structural seams of the skirt creating a trapezoid shape and finishing the entire song in General.In the suit double-skirt (with side seams), it is necessary to follow the match the side seams of the jacket with the skirt seams.
The linear problem can be expressed in a variety of solution front and back of the same dress (Fig. 263). Front of dress is built on a smooth relief lines. The flowing lines are repeated at the departure of the collar. On the back the smoothness is disturbed, straight line bevels, and the sharp corners of the collar are not consistent with the lines of the front, there is no logic in building a whole model.