Lynda's method is very different from the more slapdash pin-stabbing method, and just as precise as the deconstructing-a-garment method, except that it doesn't require taking the garment apart! I'll do my best to give a brief overview of the process. She recommended that we start with a striped or plaid woven garment, just to make the process more straightforward. To be honest, there aren't that many RTW woven garments I wear anymore aside from jeans (partly because my shape is constantly changing, and stretchy garments are so much more comfortable, and partly because most of my woven garments even from pre-pregnancy are me-made!), so I decided to try rubbing off one of Mr. Cation's casual button-down shirts. It's originally from G by Guess, and was quite pricey, but it's got some interesting style lines. Most importantly, though, it's plaid, so the grain lines are very easy to follow!
|Here's what the original shirt looks like on Mr. Cation.|
|Least favorite part: the huge honking piece of embroidery on the back.|
It's important to be able to see the grain lines because the first thing we did was use brightly colored thread to trace the grain lines (and seam lines, if they are hard to see) on each individual piece of the garment. Lynda recommended that for large pattern pieces, (e.g. the center back piece), we put in multiple grain lines for reference points.
|I almost didn't need to put in my thread tracing because the plaid makes it so easy to see!|
|Here's the interesting little front piece that makes this shirt so unique, all thread traced.|
After the grain lines are all marked, we measured the distances between them and penciled in the same lines on silk organza pieces that were cut to be about the same size (but slightly bigger) than the individual pattern pieces. It's important to use silk organza because 1) it's see-through, 2) it's flexible but still fairly stable. (One could technically use poly or nylon organza, but those tend to be shiny and harder to work with.) We then pinned the marked-up pieces of silk organza to the garment by matching the grainline thread-markings to the pencil markings. From there, it's just a matter of smoothing the organza over the rest of the pattern piece and pinning the heck out of it.
|I'm pinning the silk organza to the bias-cut outer yoke piece here.|
In this way, you are mirroring the pattern piece shape with the flexible organza (this is why it's better than trying to spread out the garment on paper and pin it), which theoretically makes it easier to rub off complex garments with weird, curved pieces. Once the organza is pinned to the pattern piece, you use pencil to mark the seam lines and any other places of note, e.g. where pattern pieces join or pleats and darts. When you unpin the organza, the shape of the pattern piece should be all sketched out!
|Here's how the front piece and collar pieces turned out when traced onto the silk organza. The solid lines are my grain lines to match the thread tracing, and the dashed lines are my rub off of the seam lines.|
Mr. Cation's shirt was pretty straightforward to rub off; some people in our class had bias-cut cowl necks, crazy gathered sleeves, lace insertion, and other design elements on their garments. It'll be interesting to apply this method to a more "difficult" piece to see how it works! In the meantime, I transferred the markings on my silk organza pieces to paper, then sewed up a muslin.
|And here's what it looks like all laid out. Look at those nice sleeve plackets! It's the first time I've ever done a real tower placket, thanks to the helpful Threads tutorial and pattern. I did manage to sew my first one on inside out, though...|
According the Mr. Cation, the fit feels the same (as it should!), although there was a moment of alarm when I presented the muslin to him and he was like, "This isn't going to be the real shirt material, right?!"
The whole process was definitely more time-consuming than a pin-stabbing rub off, but the results are incredibly accurate. Lynda's only caveat was that if one is doing a rub-off with stretchy fabric, one has to be very careful not to distort the fabric in any way, and then of course there's the challenge of finding a fashion fabric with the same amount of stretch and drape. Generally, though, I'm pretty excited about this method. There are a lot more details that she went over in class, like how to transfer the darts and such, but apparently you can find all of the same information in Kenneth King's CD book (I'm not being paid to link to him, just passing on the information in case anyone is interested!).
I'm not sure when I'll get around to actually making this shirt in real fabric, what with school starting in a month and SHB coming the month after that...also, Mr. Cation is incredibly picky about what he wears, so finding an appropriate plaid will be a challenge! Where do all of you ladies who sew for your significant others find good shirting material?