One of the main structural elements women's clothing is a tuck, which is necessary to give the product the correct, i.e. desired shape. Mostly for the lungs. women's dresses, where the volume of the chest is formed exclusively due to chest darts. These darts can be moved on the bodice in any direction, in accordance with the style of the product. : to the middle of the front, to the waistline, to the side seam, to the armhole, to the neck, to the yoke, to reliefs, to drapery, to undercuts, etc. With the skillful use of this technique, you can develop great amount various models women's clothing.
The main thing- in whatever direction you move the tuck, its center should always be directed to the highest point of the chest. In our drawing, it is indicated by the point G7.
Before you start designing, you must copy the drawing of the base of the dress onto a sheet of paper, or rather the part that you are going to change.

Let's start simple.

Moving the tuck to the sideline(in the side seam).
To do this, copy the upper part of the shelf from the dress base pattern onto a sheet of paper.

Rice. 2

We move the chest tuck on the base pattern closer to the armhole line by 3 cm and deepen it by 2 cm. To do this, from point B7, continuing the line of the shoulder, set aside 3 cm and set point 3.

Rice. 3

Draw a vertical line down from it, extending it 2 cm below the level of point G7 and set point 2.

Rice. 4

Set aside 3 cm from point B9 along the shoulder line, we get point 31.

Rice. 5

Draw a straight line from point 2 through point 31. From point 2 as from the center through point 3 we draw an arc until it intersects with a straight line. We designate the intersection point as 32. We connect the points P5 and 32.

Fig.6

We divide the side line T4P into three equal parts. We designate the upper point of the division as 33 and connect it to point 2.

Rice. 7

We cut the shelf along the intended line and push it apart, while closing the chest tuck.

Rice. eight

The tuck along the waist line can be moved 3 - 4 cm towards the side line.
We adjust the shoulder seam with a straight line.

Rice. nine

Everything, you have a new style of the bodice of the dress.

Rice. ten

Important Rule- there are no hard and fast rules! As with anything else, if you want to be successful, don't be afraid to experiment. Success is achieved by the one who goes beyond the generally accepted framework, the one who is not afraid to go beyond the conventions. We offer one of the many options as an example only to give you an idea of ​​​​the principles of modeling. So that you can use them in the future or, conversely, ignore and surprise yourself and your surroundings with a new masterpiece. Good luck!

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Under the unmodeling of tucks, we understand the transfer of any part of it into sections (armholes, necklines, bottoms) in order to lengthen them, caused by a change in the shape of the corresponding section of the structure. Scheme of conditional dismemberment of the back by lines of the direction of translation shoulder tuck backrest, indicating the possible values ​​of elongation of the sections, is shown in Figure 8.1.

1. Translation of the shoulder tuck into middle line backs. It is used when modeling products with an average seam. Recommended for soft plastic fabrics.

2. Elongation of the neck of the back due to the transfer of part of the shoulder tuck into it is insignificant. A large amount of tuck, translated into the neck, can lead to the backlog of the neck from the neck.

3. The transfer of the shoulder tuck into the cut of the back armhole is performed in such a way that the resulting lengthening of the armhole (Δ pr.sp.) corresponds to a change in the thickness of the shoulder pad.

If the shoulder pad is not provided in the BC, then Δ pr.sp. equal to the thickness of the shoulder pad introduced into the model design. Depending on the projected inclination of the shoulder, a complete or partial transfer of the shoulder tuck into the armhole is carried out.

4. An additional elongation for suture can be designed along the cut of the armhole. This conversion is made to reduce the opening of the shoulder tuck or to replace with a shoulder cut fit. Armhole suture is possible in products made from fabrics that are amenable to WTO. Incomplete adjustment of the size of the tuck converted into an armhole or an incorrect assessment of the forming properties of materials leads to defects that appear as oblique folds under the armhole.

5. In products made of soft plastic materials on the back with a relief, you can use line 5 to translate the shoulder tuck.

Elongation of the cut of the relief of the central part of the back for suture is used in order to reduce the suture along the shoulder cut. From the point of view of the rational use of the forming properties of materials, suture from the side of an oblique cut of the relief is preferable to suture of an almost longitudinal section of the cut of the armhole. In addition, the stitching of the relief cut can be replaced by preliminary grinding of the relief seam, followed by ironing the seam and simultaneous stitching of the fit. In model constructions, as a rule, suture is designed in three sections at once: shoulder, armhole and relief.

6. The transfer of the shoulder tuck to the cut of the bottom is used when designing the silhouette "trapezoid".

Figure 8.1 - Scheme of possible directions for demodeling the shoulder tuck

Figure 8.2 - Scheme of possible directions for demodeling the chest tuck

The demodeling of the upper tuck in front to change its shape has a significant difference from a similar procedure performed on the back. The convexity of the chest is so far from the sections of the shoulder and armhole that they cannot be used for sutyuzhivaniya.

A diagram of the conditional dismemberment of the part in front of the lines for the direction of translation of the upper tuck with numbering and an indication of the possible values ​​​​of elongation of the sections is shown in Figure 8.2.

1. The transfer of a part of the tuck into the middle line of the front is used when modeling swing products in outerwear with an open clasp, designing a sutyuzhenie from the side of the lapel. This allows you to reduce the size of the tuck solution transferred to the floodplain, because excessive lengthening of the armhole leads to the appearance of angular creases under the armhole. In the manufacture of products, a dolevik is placed along the inflection line of the lapel, fixing the projected amount of suture. With such a design solution, it is necessary to perform sutyuzhenie and along the edge of the lapel, in order to avoid this, the translation of the upper tuck part is carried out in direction 2.

2. Translation is performed along a broken line. It is advisable to make the tuck under the lapel cut to grind it with a longer cut fit and to tighten this fit when ironing the tuck.

3. The translation of a part of the tuck into the neck is similar to the translation into the neck of the back.

4. The transfer of the tuck into the armhole must be carried out so that the elongation of the floodplain does not exceed the elongation of the floodplain of the back. This will ensure the balance of the model armhole in the product. With a significant model increase in the shoulder (the thickness of the shoulder pad is more than 1-1.5 cm), it is necessary to additionally lengthen the armhole by 0.5 cm for each centimeter of increase in the thickness of the shoulder pad.

A variant is possible when the lengthening of the front armhole, obtained as a result of the transfer of the tuck, exceeds the lengthening of the back armhole. Such a solution makes it possible to obtain a high-quality design only in the presence of an expansion of the product along the chest line, and it is desirable that ΔPg be close in value to the value of the lengthening of the front armhole. In the absence of expansion under the armhole and an excess length of the armhole, the front of the product forms an angular hall from the armhole.

5. The translation of the upper part of the front tuck into the relief line from the armhole is similar to the same translation of the shoulder tuck on the back. Shrinking the cut of the relief of the central part of the front, lengthening as a result of the translation of the tuck, allows you to maintain the position of the center of the bulge of the front during the transition from the BC to the MC.

You can start modeling. And one of the main modeling techniques is the transfer (translation) of the chest tuck. Next I will describe 7 examples tuck translation, read.

Initially, the shelf looks like in this picture. The chest tuck is located from the center of the chest to the shoulder seam. We will only model the shelf. Next to the shelf you see a dress. It is this dress that will turn out if the chest tuck is left as it is.

The pattern can be cut from the constructed drawing, or made a copy. It is better to make a copy, and leave the drawing, it will still come in handy.

To make a copy of the pattern, it will be necessary to transfer all the contours with a cutter, carbon paper or tracing paper to paper. We translate the contours exactly along the lines. We translate everything that is on the drawing: constructive horizontal and vertical lines, tucks.

If you do not want to bother with sheets and cutters, I invite you to the course, we will model on a computer and save your time. In the program, we copy the file with the base pattern with one click and start modeling. Parametric patterns with translated tucks are suitable for cutting any shoulder product: dresses, jackets, coats ... And they can also be used for further more complex modeling.

Modeling

• So, we transferred the pattern of the base of the shelf (front half) with the chest shoulder tuck from the drawing to another sheet.
• Next, we draw a new line for the position of the tuck and connect it to point G7. Point G7 is the base of the chest tuck.
• We cut the tuck along a new line, while closing the opening of the chest tuck from the shoulder and combining its sides.
• We got a new tuck, in a different direction.

This principle works in all examples of tuck translation.

Options for transferring the chest tuck

1. Transfer of the chest tuck to the armhole line

From point G7 to any point on the armhole, draw a new tuck line. This line is marked in red in the figure. Then we cut the pattern along the intended line without reaching the G7 point 1-2 mm. And open a new tuck, while closing the previous tuck, which was from the shoulder seam. Thus, we got a new tuck coming from the armhole line.

2. Transfer of the chest tuck to the line of the side seam

In this example, we draw a new tuck line from point G7 to the side cut. This point is also chosen arbitrarily, approximately 3-10 cm from the armhole line. And we cut this line in the same way. We open a new tuck, while closing the tuck from the shoulder seam.

3. Transfer of the tuck into the side seam at the level of the waist line

Similarly, we translate the tuck into the side seam at the level of the waist line. In this example, the point is located at the intersection of the waist line with the side seam. In the drawing, this is point T4. We connect point T4 with Point G7 and cut the pattern along this line. We open the chest tuck in a new place, while closing it at the shoulder seam.

4. Transfer of the chest tuck to the bottom line

In this example, we lower the vertical from the G7 point to the bottom line. And cut the pattern along this line. Waist tuck on paper pattern in this example, we also cut. You can cut it in advance or after we cut the vertical from point G7. We also cut out this tuck on the fabric. The main thing is not to forget about the seam allowance!

In this example of the translation of the chest tuck, we seem to combine two darts: waist and chest. If you do not grind the tuck, we get a trapezoid dress. But then the back also needs to be made in the form of a trapezoid.

5. Transfer of the chest tuck to the neckline

In this example, we connect the G7 point with an arbitrary point on the neck line. We cut the pattern along this line, not reaching the point G7 1-2 mm. We open a new tuck, while closing the tuck from the shoulder line. Instead of a tuck in this example, you can make gathers or lay folds around the neck.

6. Transfer of the chest tuck to the point of intersection of the neck line and the middle of the shelf

An example similar to the previous one. Only the point on the neck line is taken not arbitrary, but at the intersection with the middle of the shelf. On the drawing of the base pattern, this is point A5.

We connect A5 with G7 and cut without reaching the point G7 1-2 mm. We push the lines of the new tuck, while closing the tuck from the shoulder seam.

7. Transfer of the chest tuck to the middle of the front

And the last option is a tuck from the middle of the shelf. This option can be with a seam from the neck to the tuck line or with a seam from the neck to the bottom.

We do everything similarly to the previous examples. We connect the point G7 with an arbitrary point on the line of the middle of the shelf. In this example, the tuck line is horizontal. But it can also be located at any slope (angle) to the line of the middle of the shelf.

Here are examples of the translation of the chest tuck.

Do you understand the principle?

If you have any questions, ask in the comments or on. I will answer with pleasure.

With the help of techniques, we can create patterns for any model of clothing we like. If you liked this lesson, subscribe to new blog articles, we will model a bodice with coquettes, with embossed seams, undercuts, draperies, etc.

© Olga Marizina

Hello dear craftswomen!
Let's talk about tucks, more precisely about such modeling techniques as transferring a tuck. Firstly, what is a tuck and why is it needed. The figure of a person is three-dimensional, has some roundness, trying to fit a piece of fabric to it in order to create a robe, we see that the fabric does not lie flat, bending around the bulges on the body. So, tucks give us the opportunity to make smooth transition from a bottleneck to a place with volume. A tuck is an excess of fabric, which is built up, giving the necessary shape to the product.

The main tuck is a chest tuck, it serves to round the roundness of the chest, it is located on the shelf of the base pattern from the shoulder seam down to the center of the chest. In products, the chest tuck can originate from any seam of the shelf (this is achieved with the help of constructive modeling and is called the translation of the tuck), but its end is always directed to the bulge of the chest. Of course, there are accepted canons for the location of tucks - from the shoulder seam, from the side, from the armhole, from the waist - these are the main positions of the tuck on the chest, but besides this, each designer tries to find a new, in his opinion, the most successful location of the tuck, concludes it in relief, or undercut. In addition to the chest, there are also other darts, shoulder darts, to give roundness to the back of the product in the area of ​​​​the shoulder and shoulder blades, waist darts - they remove excess fabric in the waist area and create a smooth transition to the hips. It is important to remember that it is better to break a too large tuck solution into two, that is, into two tucks, this will help distribute the fabric more evenly and make it possible to properly iron the resulting slack at the end of the tuck. Therefore, if you have any doubts about the size of the solution, it is better to use this technique.

Darts, can also be re-arranged in embossed seams, which have the same constructive function, go around the figure, repeating all the bends, but also give an aesthetic look to the product. Reliefs can also be simply decorative. Today we will look at ways to transfer the tuck, and analyze the most interesting cases using examples of dress models. contemporary designers. Having mastered the technique of transferring tucks, designing them in relief, you will be able to create your favorite clothing models yourself. It's not difficult at all! So let's get started.

For modeling, we need a pattern - the basis of an adjacent or semi-adjacent silhouette. You can take it on our website. To do this, go to the main page of the site, select "basic dress pattern" and indicate your measurements. Then the program will instantly build your individual pattern and, after paying for the service, you will be able to print it on an A4 printer and glue the sheets to get base patterns in life size. Instructions on how to do this are on the pattern generation page.

As already mentioned, the tuck on the bulge of the chest can be placed to any seam of the shelf, the only condition is that its top always points to the highest point of the chest. (Important! The end of the tuck is located 2 cm short of the center of the chest! That is, we finish the stitching of the tuck, reducing it to nothing, 2 cm earlier). The figure shows examples of the translation of the tuck.

The method of modeling reliefs is extremely simple, and the main condition is the same - all relief lines pass through the center, the most convex part of the figure. (or close to it). For modeling, we need the same pattern-base. Further, the algorithm is as follows: on the detail of the pattern - the base, in this case we took the detail of the shelf, apply the model lines of the reliefs, making sure that the lines pass through its top. We cut along the lines obtained, and combining the parts of the pattern we get the required details.

Let's take a closer look at the modeling of the chest tuck. For example, take the translation of the tuck into the side seam. This location of the tuck is the most inconspicuous in clothing. In this example, the waist tuck is also transferred to the side seam, but you should be aware that when big size chest, this option is unacceptable, because. the solution will be too large.

In Victoria Begham's dress, the tuck on the bulge of the chest has been transferred to the side seam and framed in relief. Modeling takes place on a pattern - the basis of the adjacent silhouette. Modeling step 1 - draw a relief line passing through the center of the chest, make an incision from the top of the waist tuck to the top of the chest, close the tuck. Step 2 - cut off the side of the rail. Step 3 - we outline the decorative seam line according to the sketch (photo).

Consider the translation of the tuck into the neck line. On a Karen Millen dress, the chest tuck translated asymmetrically into the neck of the boat looks very impressive. Let's size the simulation. We will need a pattern shelf - the basis of a loose silhouette, a link, in a turn. For the convenience of modeling, we will close the chest tuck with its transfer down to the waist. Let's outline a new neck line and cut lines of the pattern, which coincide with the location of future folds (darts), remember that the ends of the cuts coincide with the tops of the darts (chest centers). Let's turn the details of the pattern so that the new tucks open into the neck. All! The resulting tucks can be processed as shown in the red dress with allowances for the face, or can be laid with soft folds.

In the Victoria Beckam FALL 2013 RTW - NYFW dress, the tuck has been moved to a cut barrel. How to do it? First, we outline the line of the barrel, transfer the solution of the tuck for fitting into the seam of attaching the barrel to the middle part of the bodice. The barrel part must be cut off from the pattern. Next, we make an incision from the seam of attaching the barrel to the top of the chest tuck and open its solution in this place by simply turning the parts.

In models A - figurative silhouette having tails on the bottom, the tuck is translated down. To achieve uniformity, the fold is not enough and it will be wrong to simply expand the product along the bottom due to the side seams. Therefore, the translation of the tucks down is used.

Let's take the pattern-base of the dress as a whole, together with the skirt, and making a cut from the bottom line up to the top of the tuck, we will open it, turning the details of the pattern and closing the previous location of the tuck. Additionally, you can add an extension along the side seams, but not more than 10 cm.

Consider the transfer of the tuck into the side seam and its design in relief. And again on the example of the Victoria Beckam dress. Step 1 - with the help of an incision, we will connect the tops of the waist and chest darts. Step 2 - open both solutions at the highest point of the neck, in place of the chest tuck. Let's outline the lines of the relief passing through the center of the chest, and the line of the decorative seam, based on the sketch. Step 3 - cut off along the relief line, close the tuck at the highest point of the neck, it will open in the relief line, outline the model lines of the neck and armholes.

Translating the bust tuck into a fantasy relief in an Elie Saab dress. We act similarly. First, we outline the line of the cutting barrel, we translate the chest tuck down to the waist. Next, we mark the relief line, according to the sketch, and cutting off along it, we transfer the tuck solution into the line for attaching the barrel, attaching the formed piece to the middle part, see figure.

In the dress of Sarah Jessica Parker, the tuck is translated into relief from the shoulder. Everything is simple here - on the pattern-based shelf, we outline the line of the relief, cut and connect the parts, we get the central part of the shelf and the side. On the side, we outline the cut line, as shown in the figure, as a result, we have an imitation of a sundress and a top worn inside.

In a charming dress by American TV presenter Nicole Scherzinger, darts on the bodice are transferred to the middle seam. Modeling is carried out as follows, with the help of cuts going from the middle of the shelf to the tops of the chest and waist tucks, the solutions open in a new location, then it is necessary to cut out 2 details of the front of the dress with a seam in the center of the dress.

TRANSFER OF THE BREAST DRAW FROM THE SHOULDER SEAM TO THE SIDE SEAM

This is a very simple process - and it will take you no more than 2-3 minutes.

This is what our pattern looks like with darts on the shoulder seam.

If we leave this tuck here and close it, it will create the bulge necessary for our chest, BUT on our dress, a not very attractive seam will loom in the center of each shoulder. We do not need this, so we will transfer the tuck to a less tucked-in place - to the side seam.

We take a pencil and a ruler. On the pattern from the bottom edge of the armhole down we measure 5-7 cm - in this place we put a point.

Now we find the top of our chest tuck - here it is. And we draw a line connecting the top of the chest tuck with the point that we measured on the side line of the pattern.

We take scissors and make an incision along this line WITHOUT REACHING 2 CM to the top of the tuck.

Now we manually close the tuck on the shoulder and we automatically open a new tuck in the same place where we just made the incision. That's all - it remains only to seal the old tuck with tape (so that it does not open back).

So we got a new tuck on side seam under the armpit. As you can see in the photo below, this new tuck does its job wonderfully - that is, just like the old one, it creates a voluminous bulge for your chest.

And now you can continue to cut your dress, with full confidence that the new tuck will fit perfectly into the shape of your chest, and the bodice of your dress will fit you well.

Our lesson has come to an end. I hope it was informative and helped you deal with such a simple method of modeling clothes as translating a tuck. Good luck and creative mood!

23:40 unknown 16 Comments

Hello, in this article we will consider one of the methods of constructive modeling - changing the volumetric shape of the basic design of the dress by remodeling the chest tuck and the shoulder tuck of the back.

Some models of shoulder clothing are more voluminous in comparison with the basic design of the dress. One way to obtain such a shape from a basic design is constructive modeling. With an increase in volume, the nature of the supporting surfaces changes - the gap between the figure and clothing along the chest line increases, which leads to a greater detachment of the side sections of the back and front from the surface of the figure. In other words, the curvature of the surface decreases in front at the level of the chest line and on the back in the area of ​​the shoulder blades, and the product turns out to be flatter, not emphasizing the chest.

Structurally, such a model form is achieved by reducing the openings of the upper tuck in the front and the shoulder tuck in the back, up to their complete elimination by unmodeling the base tucks.
Under tuck demodeling understand the translation of any part of the solution into sections of the product (armhole, neck, bottom line, etc.) in order to lengthen these sections, which allows you to get a flatter shape that does not emphasize the shape of the body.

I propose to consider how to properly unmodel tucks. To begin with, we will transfer the details of the basic design of the dress to a blank sheet of paper and be sure to mark the control points of the armhole.

As a rule, darts are not used in three-dimensional products (depending on the model of the product). Therefore, we can simply remove the tucks along the waistline on the shelf and back. Depending on the model and style of the product, the solution of traveling tucks along the side sections of both parts is reduced partially or completely, in accordance with this, new ones are built. side cuts. If there is a notch along the waist line on the middle line of the back, then this tuck can also be removed and a new middle cut of the back can be drawn.

Well, now let's move on to unmodeling the tucks.

shelf modeling
To perform modeling on the drawing of the shelf, we will build auxiliary lines to those sections where it is possible to unmodel the share of the chest tuck:
in the middle line- the auxiliary line is built from the top of the chest tuck to the line of the middle of the shelf at a right angle;
in the armhole line- an auxiliary line is drawn from the top of the chest tuck to the line of the armhole of the shelf 1-2 cm above the control point;
in the bottom line- from the top of the chest tuck, a vertical line is built to the line of the bottom of the shelf.

Thus, we can unmodel the chest tuck: in the line of the shoulder, in the middle line, in the armhole line and in the line of the bottom of the shelf.
Let's consider several options for unmodeling the chest tuck.

First way
Let's cut the detail of the shelf along the auxiliary lines drawn to the armhole line and the bottom line.

Let's translate the solution of the chest tuck:
in the armhole line can be remodeled up to 2cm,
in the line of the shoulder- up to 1 cm,
the rest is unmodeled in the bottom line shelves.

When translating the tuck, the cuts were broken, we will draw a new shoulder line, armhole line and bottom line.

And so, we got a shelf without a chest tuck.

Since we unmodeled the tuck into the shoulder line by up to 1 cm, accordingly, the shoulder line lengthened by this amount. If the model does not require it, this value is cut off from the end of the arm. We also lengthened the bottom line, that is, the shelf expanded to the bottom line. If such extension along the line of the bottom is not desired, then half or 2/3 of this extension can be removed from the lateral line.

Now you need to rotate the upper central part around the cut point on the midline so that the center of the chest drops by 0.5-1 cm. The rest of the tuck can be modeled into the armhole line, but the allowable value is up to 2 cm.

We draw a new section of the armhole, and a neck or collar is built along the middle line, in accordance with the model of the product. And again we got a shelf without a chest tuck.

This time, the upper part of the shelf must be lowered parallel to the cut line by up to 1 cm. In the line of the armhole we translate the solution of the chest tuck up to 2 cm, the rest - in the bottom line.

Having lowered the upper part of the shelf by up to 1 cm, we have shortened the line of the middle of the shelf by this amount. Therefore, it is necessary to lengthen the front by the amount of reduction of the shelf along the chest line. Then we will build a new armhole line and a bottom line.

The hem extension can also be reduced by removing half or 2/3 of this extension from the side cut.

Let's cut the back detail along the auxiliary lines and translate the solution of the shoulder tuck:
in the line of the shoulder- by the same amount as on the shelf in order to maintain the fit (up to 1 cm)
in the armhole line- translate the rest of the tuck (up to 1-2cm).
In addition, along the bottom line, it is necessary to perform exactly the same expansion that we got on the shelf.

Let's draw new sections along the line of the shoulder, armhole and bottom. If an extension is cut off on the shelf along the shoulder line, which was obtained after the breast tuck was unmodeled, then on the back it is also possible to cut off this extension from the end of the shoulder. It is also possible to leave shoulder cut the backs are longer than the line of the shoulder of the shelf; in the process of sewing, this difference is laid on the fit of the shoulder of the back.

Thus, we got a backrest pattern without a shoulder tuck.

In products with split back along the middle line, another zone is possible into which a part of the shoulder tuck can be unmodeled - this is the middle line of the back. On this section of the back, it is permissible to unmodel up to 0.6 cm of the shoulder tuck.

In this case, the neckline of the backrest becomes wider by this amount. If, according to the model of the product, expansion of the neck is not desirable, then the line of the shoulder from the side of the neck can be extended by the amount of expansion of the neck, and the same amount can be cut off from the end of the shoulder. Next, new sections of the neck and armholes of the back are built.

We will construct the second line as follows: measure the length of the eye from the first line to the line of the middle of the sleeve. The resulting value will be set aside along the rim from the middle line to the side of the front cut of the sleeve. The line of the bottom of the sleeve in the area from the front cut to the middle line is divided in half.

We connect the obtained points with a straight line, which will be the second line of the cut.

We cut the sleeve along the constructed lines.

Now we expand our sleeve along the rim in such a way that the expansion is equal to the amount of tuck unmodeling into the armhole of the front and back minus 0.5-1 cm. be careful, the amount of tuck demodeling on both parts is different, but we subtract 0.5-1 cm from each value. How much to subtract depends on how wide the sleeve needs to be.

We draw up a new eye line with a rise along the middle line by 1-2 cm.

And our sleeve pattern for the new armhole is ready.

When modeling a chest tuck, you should know that the figure with big breasted(size 52+) in products with a set-in sleeve, a good fit cannot be achieved without a chest tuck. Therefore, it is better to limit the demodeling of the chest tuck to size 52.
In conclusion, I will add: the shape of the product without chest and shoulder darts can be obtained not only by modeling the basic design, but also by building such a design right away, with an extension of the armhole, an extension of the front line and an expansion of the shoulder line. But more on that in future posts!