Don McCunn's Blog

Introducting the Bust Sling Bra

October 15, 2010 on 8:25 pm | In Bust Sling Bras, Custom-Fit Bra Making, Fitting Issues, Online Classes, pattern making | No Comments

I have developed a new design process for my online patternmaking class How to Make Bust Sling Bras & Variations.

The premise of this design is that the conventional bra has been designed for the young woman in her reproductive years. When women enter their post reproductive years, both the body and the personality can change dramatically. But the basic structure of the conventional bra remains the same.

The conventional bra is based on a cantilever concept where the weight of the breast is supported by the band around the rib cage. My Bust Sling Bra changes the support structure to a suspension style that follows the natural contours of the body.

Because the structure of this bra provides support by following the natural contours of the body it can be used to create garments with built in support that require no additional undergarment. This approach also eliminates the need for underwires. It is an open design concept that can be used to create garments for women of all ages.

The design is motivated by the comments I have been listening to for the last four years through my Yahoo group Custom Bras. I trust with this one design concept I have been able to address almost all the issues women are faced with in a conventional bra.

Book Review: Pattern Magic

October 8, 2010 on 5:56 pm | In Book Reviews, pattern making | No Comments

It has been a long time since I have found a pattern making book that I have found as exciting as Pattern Magic by Tomoko Nakamichi.

Once you get beyond the basics of creating patterns that fit, commonly called slopers, what do you do with them? Most designs I see on the street, in catalogs, and in the stores are so easy to execute that the design process is not challenging at all.

But there are a few designs that have me scratching my head thinking “How did they do that?” I have taken to calling them “Pattern Puzzles.” This book is full of these designs. Each one is uniquely different but beautifully illustrated and explained in anywhere from one to three page spreads. Tomoko never takes more than three pages of illustrations to show how to make even the most complex and unusual design from a fitted sloper.

I am pleased to see her using the front bodice sloper for women that I now use in my How to Make An Upper Torso (aka Bodice) Sloper class. It has one dart for the bust to the waist and one to the armscye (arm hole). In my experience this configuration for the darts provides the optimum way of achieving an accurate custom fit. I also believe it is the best sloper for visualizing how to create the lines of original designs so you can convert from a two dimensional form to a three dimensional one.

She uses a technique for evaluating pattern shapes that I have found invaluable which is to prototype design ideas in paper so you can assemble the shape before you even touch needle and thread.

Tomoko also shares another passion of mine for developing design ideas using dress forms in scale. All the photos in her book are of the designs on a half scale manikin.

Caveat #1: These designs are unusual. If you are looking for the conventional, this is not for you. But if you step beyond “I wouldn’t want to wear that” and move on to “What can I learn from this pattern design technique,” I believe you will increase your pattern design skills exponentially.

The book is divided into two parts with fully described techniques for the examples listed below.

Part 1 – Creating form through inspiration: Accents (deppari), Gathered Hole, Crater, The Drop Hole, Lumps and Bumps.

Part 2 – Making patterns for haute couture garments: Draped design, The Twist, Hide and seek, Interwoven design, Bamboo shoot, The knot, Two distinct expressions [ed: a double collar], An intriguing curve [ed: another collar].

If you go to the publishers web page for Pattern Magic there are ten small images of the page layouts at the bottom. If you click on one of these small images, you will see a larger version where you can get a sense of how this book is written, illustrated, and laid out.

Caveat #2: There are no sewing instructions. I would recommend when you try these ideas out you do what Tomoko does and try them in scale first. Fashion dolls are an excellent medium to use for this.

Bravo Tomoko–I can hardly wait until your volume 2 is translated into English. Although your illustrations are so clear, I am almost tempted to get the Japanese edition.

Heat Sink Cord Finish

July 10, 2010 on 10:47 pm | In Bikinis & Bandeaus, Sewing Techniques | No Comments

One of my frustrations has been to have a nice finish to the ends of elasticized cording for swim suits. For some time now I have been meaning to try heat shrink tubing. I finally did it the other day and was very pleased with the result. It is very similar to the finish on shoe laces. Heat shrink tubing comes in a variety of sizes and colors, even clear. It is available form hardware stores and Radio Shack.

Here are the steps I followed:

In the example below I tied the cording to the ring, then slipped a length of heat shrink tubing over the elastic and did the heat shrinking. I like the way it encloses the entire elastic. Had I wanted to I could have used a longer length of tubing and enclosed the elastic all the way to the ring.

“X” Back Bikini Top

July 10, 2010 on 10:23 pm | In Bikinis & Bandeaus, Favorite Designs, pattern making | No Comments

My model Alex mentioned that she would like a swimsuit that did not have a strap around the neck. The photos below show what I created. The ties go from rings in the front, across the back to the opposite side, then back to tie at the rib cage level at center back. Once we had the elastic adjusted to her preference, I tied the elastic to the rings on the sides. All she has to do to take this top on and off is to tie and untie it at center back.

The top itself is made with velvet Lycra from one of the Fabric Depot Valu-Packs. I used a princess seam for the bikini top for optimum shaping. In this example I used 1/8″ elasticized cord. With the ring design it would be easy to change this to wider straps if so desired. Actually the rings give this particular design a lot of flexibility. The swimsuit rings also came from Fabric Depot.

Changing One Dart to Two

July 3, 2010 on 12:02 am | In Fitting Issues, Pattern Design Guides, pattern making | No Comments

I am working on a design concept for custom-fit bras based on the Bust Sling from my eBook How to Make Custom-Fit Bras. This design lends itself quite naturally to a bra for nursing mothers. A neighbor of mine is about to give birth to her second child. She has graciously agreed to test this concept for a bra. She has indicated that she prefers nursing bras that have foam in the covering portion of the cup.

As I was developing the pattern for the foam for this design I found it was going to have a rather large dart. In the past we have discussed in my group How to Make Sewing Patterns the problems of darts for women with larger cup sizes. They can become quite pointy.

I decided to tackle the problem of changing one dart to two for this particular design. I wasn’t sure how to best approach keeping the shape while changing the dart. I like to advocate the use of poster board to test out pattern shapes. Particularly for the complex curves of bra patterns. The photo below shows the evolution of changing a single dart to two darts.

Here are the steps I followed:

1. The first photo shows the shape of the pattern for foam with a single dart.
2. I wanted to spread the distance between the two darts based on the Bust Circle which I describe on page 58 of my book How to Make Sewing Patterns. I opted to spread the darts by 5/8″ to either side of the existing dart. Those are the two pencil lines in the second pattern that are parallel to the sides of the dart.
3. I taped the single dart in the poster board closed, then cut along the two lines from the step above. I flattened the poster board.
4. When I made this pattern I discovered that the bottom curve of the pattern needed to be adjusted slightly when the poster board was flattened. Both the body and fabric have give. This minor change in the shape of the pattern does not concern me. I show this adjustment to the pattern with the red line in the fourth pattern above.

The last two images compare the poster board shapes of the one dart and two dart shapes. I was pleased enough with the results that I decided to make them up using the swimsuit techniques I describe in my eBook How to Make Bikinis and Bandeaux.

The final test will be to see which of these two styles looks best on my neighbor with her input being crucial to the final decision. I am intrigued by the process of exploring pattern shapes as a collaborative process with the person who will wear the final garment. I recommend that if you follow this procedure, you take it in the kind of small steps I have indicated here. I would be very hesitant to change my concept if this was the final product. But it isn’t. It is just one small step in a larger process.

If you are interested in learning more about the evolution of this particular design, I am sharing the process with my Yahoo group How to Make Custom-Fit Bras.

Online Classes – Why Take One?

June 5, 2010 on 6:50 pm | In General Info, Online Classes, pattern making | No Comments

When I first started thinking of teaching pattern design online I seriously considered the question “Why should anyone take a class I offer online?” My description that follows is going to be a little long winded. Fortunately I have a student in my last class that put it very succinctly. I quote her below with her permission.

“I am really enjoying your class. When I was looking at it originally, I wasn’t sure it would be profitable for me since I already had your book. But, with the videos and the critiquing I’m finding it incredibly helpful.”

Karen, Beijing, China (member of How to Make and Upper Torso (aka Bodice) Sloper)

Researching Other Online Classes

I took several online classes to see how others were doing it. The ones I took involved receiving printed material in PDF format, forums, and chats where I could discuss with the instructor the issues that came up in the class.

I was already doing most of this through my book How to Make Sewing Patterns, my eBook How to Make Custom-Fit Bras, and my Yahoo Group forums which are free to anyone interested (see the Blogroll sidebar). The difference between these online classes and my groups and books is that the online classes were available for a limited time period. What I was doing was available 365 days a year. I wanted to be able to offer something of value that went beyond what I was already doing.

Videos for Class Demonstrations and Lectures

I remembered back in the 70s when I first started using my book to teach Pattern Design through the San Francisco Community College Adult Education division. It was a real eye opener to see that when I did a classroom demonstration people who had read my book all of a sudden started to get it. I could see the light bulbs going off in their eyes.

At the time I wanted to create video presentations that would not be limited by the geographic location of San Francisco. But that would have involved creating 8mm movies and people would have needed film projectors and projection screens. I did not think this was a practical alternative.

With the advent of the internet I realized I could now provide the visual demonstrations I had been doing in class through streaming videos like those on YouTube. I started my classes with that in mind. I create these videos so people can download them to their own computer for a permanent resource. For people in my classes on slow internet connections, I provide the videos on a CD. I make the videos not more than 5 to 6 minutes long so they download quickly. This also makes it easy to zero in on a particular topic like chapters in a book.

Fitting Critiques

Then as I was teaching the basic fitted sloper classes I realized I could critique people’s fitting issues through photos they submitted to me through the class (see below for an example). These critiques allow me to give a very careful evaluation of the fitting issues which I put into PDF format. This allows the individual to have a permanent reference they can access any time. It also allows everyone in the class to see the issues other people need to address for their particular body shape.

Doors are Open 365 Days a Year

It also occurred to me that while in a bricks-and-mortar school doors need to physically open and close, there is no such restriction over the internet. So I have adopted the policy that once you take a class, you can have access to the class for as long as you need. When I reopen a class for another scheduled session, I will reinstate you in the class roster at no additional charge.

Ongoing Course Development

It is this combination of factors and the enthusiasm of my online students that keeps me committed to continue my online patternmaking classes. I am thrilled to be able to develop additional online classes that delve into aspects of pattern design that I have been unable to approach when teaching in a bricks-and-mortar environment.

Additional Blog Entries

• Registering, Enrolling, Time Commitment, & Beginning Sewers
• Scheduled Classes, Independent Studies, Repeating a Class & The Sandbox Classroom
• My Mantra: “Nature Never Repeats the Same Shape Twice”
• An Example of a Class Dialog with a Student
• A Fitting Challenge: The Asymmetrical Body & A Sample Fitting Critique (a PDF File)
• All Online Class Blog Entries (multiple pages)

Preparing for Red Dress Day

June 3, 2010 on 12:50 am | In Events, Fitting Issues, Sewing Techniques, pattern making | No Comments

Bill Rivers		Raj and Susan Walia
To see a larger version, click on an image. More Photos on Flickr

Awhile ago a friend of my wife and I, Bill Rivers, mentioned he was going to celebrate his 50th birthday by doing the AIDS/LifeCycle 7-day bike ride from San Francisco to Los Angeles from June 6-12, 2010. We got to talking and he told us about the special day when everyone, men and women, wear red dresses.

Somehow the discussion veered on to the idea that he would like a red tutu. I had acquired instructions for making tutus back in the 70s and had always wanted to make one. So the die was cast. I started as I always do by researching images of different styles of tutus. Boy are there a lot of variations. I saw one that I really liked because it reminded me of the cartridge pleated Elizabethan Neck Ruffs that I had made before.

So when Bill came over for measurements I showed him the images of what I was thinking of as well as the other variations. We got to discussing how to make the tutu so that he could wear it all day long. Bill also expressed an interest in wearing it for the entire 7 days of the ride. So the challenge became how to make a tutu that you could wear with different clothes that were going to be exposed to some serious exercise.

I came up with the idea of building the cartridge pleats on a wide elastic waistband that could be worn over just about any garment. I pulled some waistband elastic from my stash of elastic and put it around Bill’s waist so we could adjust it for the comfort factor. This was the easiest measurement/fitting session I had ever done.

Then I was off to my favorite fabric store in San Francisco, the Fabric Outlet on Mission street, to buy the yards and yards of fabric that were going to be required. One of the reasons I love this store is I can always find fabric that surprises me. I was not disappointed. I found a red net fabric that had a metallic sparkle to it. They also happened to have some wonderful red ribbon trim that sparkled as well and was a wonderful complement to the fabric. From my research I knew I needed to bulk out the fabric to achieve the effect I wanted so I also bought some regular red nylon netting. It was not nearly as lustrous as the metallic netting so I used it as an inner lining for the tutu.

Then all I had to do was to sew it up–Ha, Ha, Ha. Cartridge pleating is interesting to do. But to stabilize it so it would stand up to vigorous wear was a major challenge. But I persevered with the results you can see.

Part II

In the middle of this project my computer died. Fortunately I live 5 blocks from a wonderful business which builds custom computers for me, Castro Computer Service. I lugged my dead computer down to them and cried “Help my computer died.” They took it in and checked it out and told me sadly that the motherboard was a goner.

As I was talking to them about building me a new computer and having them save my life by transferring all my data and programs to the new computer from the old one the topic of the AIDS/LifeCycle came up. It turns out that my computer guru, Raj, was doing the ride for the second year and was being joined by his sister, Susan, the woman who manages the business end of Castro Computing Services with a firm hand–don’t try to put anything over on her. It turns out their mother is going along as a roadie.

Susan and I talked about the Red Dress Day and she told me how much she wanted to wear a cape. I got intrigued by the idea because I have worn a cape and know how hard it can be to keep them on when you are just standing around, much less riding a bike. Once again the die was cast. By knocking our heads together Susan and I came up with a cape that was a full circle of fabric with an opening for her head.

I put one together and when she road tested it, she came up with the idea of adding straps to keep the fabric from flying up in her face so she could see where she was going. It sounded like a good idea to me so I made the addition.

And of course we couldn’t leave Raj out of the picture. He is a very masculine kind of guy so I envisioned him with a vest. Thinking of my conversation with Bill I wanted to create something that could be worn over any other garment. When he came by for measurements and a quick draping fit I could see he was disappointed in not having more. We talked back and forth and decided a frilly skirt would be a nice addition. Strong masculine from the waist up and nice and feminine from the waist down.

Back to my favorite fabric store where I found a lovely crushed, panne velvet with nice frilly lace for the skirt. You gotta love a fabric store that so consistently delivers the goods. They have a fabric and notion selection to die for.

But enough of me talking. Check out this YouTube where you can hear about this ride from Bill, Susan, and Raj and this wonderful venture they are participating in.

To see more of their stories and contribute your support, if you should so desire, check out the pages below.

• Bill Rivers
• Susan Walia
• Raj Walia

Marking for DIY Fittings

April 20, 2010 on 12:38 am | In "How to Make Sewing Patterns" book updates, Fitting Issues, Online Classes, Sewing Techniques, pattern making | No Comments

Back in the 1970s I wrote in my book How to Make Sewing Patterns about how you could fit yourself using typewriter ribbon to mark those hard to reach places. Who would know back then that typewriter ribbon would become so hard to obtain.

Fortunately I have found a product that works as a wonderful substitute for typewriter ribbon. It is called Chaco Liner from Clover Products. This product comes in a dispenser that allows you to draw lines on fabric using a device with a spoked wheel. The video below shows how to use the Chaco Liner Refill to mark the hard to reach locations such as the top of back darts and seams like the neck curve.

My Online Classes

April 16, 2010 on 9:21 pm | In General Info, Online Classes | No Comments

I have been getting emails asking about how my online Patternmaking classes work. So I thought I’d post the information here and direct people to this information.

Registering for the School:
To take a class you first need to register at the school. This is a one time process that simply confirms your email address. You can do this at the Sign Up page.

Enrolling in a Class
Once you have registered with the school, you can then enroll in a class. You enroll in a class by paying the enrollment fee through PayPal. You do not need to have a PayPal account. You can use a credit card to pay the fee. People who do not want to do that should contact me at Don@deofsf.com for alternate means of paying for the class.

Time Commitment
One of the biggest questions people have is about the time commitment for the classes. People want to know how they can work the class into their schedule. My classes are a combination of running on a schedule and being self paced.

Once you have enrolled and before I start a class when you go to the classroom you will see a “Welcome” section. Then as per the schedule I open up the class one week at a time. Each week contains videos and other information. There is a forum where people enrolled in the class can ask questions about the material. Everyone has a chance to see these questions.

There is a once weekly interactive one hour chat that is at a specific time. As people take my classes from all around the world, not everybody participates in the chats. I always post a transcript afterward. This is the only time sensitive part of the class.

Once a week is opened, I leave the information available until the class starts again which is usually a year later. You can visit the classroom at any time 24 hours a day 7 days a week. You can download the videos to your computer as a permanent reference. So because I never close the doors, if your schedule does not permit you to keep up with each week, you can always come to the material when you are ready for it. For information about repeating a class at no charge, see my Class Scheduling post.

For the sloper classes I do fitting critiques from pictures people in the class submit. To my mind the videos which show the procedures in real time and the fitting critiques are the most valuable aspect of these classes. Basically it is like having a private one-on-one class to help you create the various patterns and garments. And you can watch the videos as often as you want. I am happy to help you almost 365 days a year–even I need an occasional day off.

My Online Classes Compared to Bricks-and-Mortar Classes
I have a classroom where I compare my approach to online classes to bricks-and-mortar classes. It is The Sandbox classroom. You do not need to be registered with the school to go to this free classroom. You can use the “Log in as a guest” feature.

Beginning Sewers:
I have another free classroom for people who are beginning sewers. This classroom has examples of the videos I use and provides basic techniques that you will need to assemble garments. You are welcome to use this free Sewing Room classroom with the “Log in as a guest” feature.

If you have additional questions, do not hesitate to contact me at Don@dceofsf.com.

Custom Bra Sizing

April 3, 2010 on 7:03 pm | In Custom-Fit Bra Making, Fitting Issues, Pattern Design Guides | No Comments

I was working with a new model, Bonnie, to make a custom-fit bra mold the other day. To see this process, view my Overview. Bonnie said she never wears an underwire bra. The pain threshold becomes unbearable after two hours max. She was told she should wear a “B” cup. That one had me rolling on the floor laughing.

Out of curiosity I compared her measurements to the charts in Beverly Johnson’s “The Bra-makers Manual.” For those of you who don’t know this is one of the major reference books for custom bra makers.

The chart said she should be wearing a 32D bra. She does have a small rib cage and a good size bust. I never go by cup size as I find it rather meaningless for custom-fit bras. So okay I’ll believe Beverly on that one. I warned my model Bonnie that not all bra manufacturers would necessarily use that standard.

We had found Bonnie’s underwire size using the approach I recommend in my eBook, How to Make Custom-Fit Bras, and show in the video on my Bra-Making Resource website. You need to scroll down to the bottom of the page to see it.

When I compared the copper wire I shaped on Bonnie to my chart I discovered she needs a 42 underwire. I pulled out my underwire stash for the 42 size and tried one on her. It was a perfect fit if a little long.

So then I took a look at what Beverly’s book said she should be wearing based on the measurements. According to Beverly the correct underwire size for a 32D bra is a 36. This is 4 sizes smaller than the one that actually fits Bonnie.

So now ask me why I have such an inherent distrust of standardized measurements and mass produced bras?

I firmly believe the only way you are going to truly have a bra that fits is to rely on getting the shape from the actual body.

About Underwire Sizing:
The standard way most suppliers refer to underwire size is by the underwire size for a “B” cup. I developed my chart for underwires by ordering underwires from 7 different suppliers for sizes from 30 to 60 including all the different lengths from demi to extra long. I recorded the results including the necessary order number for each supplier. This is the free Bra Underwire Chart.