Patent Application
20200281280
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Dancers often wear tights while dancing. Tights allow the entire leg line to be seen and cover areas the dancer wants to keep concealed when certain dance garments such as tutus are worn. The tights also help absorb sweat from the dancer's legs and may prevent some abrasions to the dancer's legs when in contact with the floor.
In an embodiment, a gussetless dance tight is disclosed. The gussetless dance tight comprises a legwear portion created from a single tube without any vertical seams. The legwear portion comprises an upper portion, two leg portions, and a transition between the two leg portions where the two leg portions meet. The legwear portion comprises a higher density area at the crotch portion. The higher density area transitions to the upper portion using circular knitting without a gather stitch. The gussetless dance tight also comprises a waistband coupled to the upper portion.
In another embodiment, a gussetless dance tight is disclosed. The gussetless dance tight comprises a legwear portion created from a single tube without any vertical seams. The legwear portion comprises an upper portion, two leg portions, and a transition between the two leg portions where the two leg portions meet. The legwear portion comprises a higher density area at the transition. The higher density area comprises a highest density area that at least encompasses a center point of the transition. The highest density area has a highest density of the higher density area. The gussetless dance tight also comprises a waistband coupled to the upper portion.
In yet another embodiment, a method of making a gussetless dance tight is disclosed. The method comprises circular knitting a legwear portion using a single tube. The legwear portion comprises an upper portion, a first leg portion, a second leg portion, and a transition where the first and second leg portions meet. Circular knitting the legwear portion comprises creating a higher density area at the transition by circular knitting at one or more higher densities around a part of the circumference of the single tube without use of a gather stitch where the higher density area meets the upper portion. The method also comprises positioning the first leg portion parallel to the second leg portion and cutting horizontally across the upper portion. The method further comprises circular knitting a waistband using at least one tube and sewing the upper portion to the waistband.
These and other features will be more clearly understood from the following detailed description taken in conjunction with the accompanying drawings and claims.
For a more complete understanding of the present disclosure, reference is now made to the following brief description, taken in connection with the accompanying drawings and detailed description, wherein like reference numerals represent like parts.
It should be understood at the outset that although illustrative implementations of one or more embodiments are illustrated below, the disclosed systems and methods may be implemented using any number of techniques, whether currently known or not yet in existence. The disclosure should in no way be limited to the illustrative implementations, drawings, and techniques illustrated below, but may be modified within the scope of the appended claims along with their full scope of equivalents.
Next, a gusset 104 is made. A gusset 104 is a separate piece of fabric sewn into a tight to add breadth at the crotch seam. To add the gusset 104, the newly sewn garment must be re-cut at a transition 106 between the two legs or the crotch of the traditional dance tight 100. The tight 100 is vacuumed again onto another mold and ends up inside out such that the stitching ends up on the inside of the tight 100.
At this point in the process, the tubes that will become legs are still open at the bottom and need to be sewn at the toes. The toes are sewn straight across and a cutting machine trims off any excess fabric. Next, the gusset 104 is finished by taking the tight 100 to a different machine where a human operator installs the gusset 104 with the help of the different machine. The open gusset area is folded over a circular mold. A pre-cut disc is slipped underneath the circular mold and pressed up to the tight 100 and held in place while a small mechanical arm stitches the gusset 104 in place. To finish the traditional dance tight 100, the extra material is trimmed and a dye process is commenced.
Dancers place a number of stresses on the transition 106 between the two legs of the tight 100 with their movements. A traditional dance tight 100 addresses these stresses via the gusset 104. Since the gusset 104 is sewn into the tight 100, a gusset seam 108 exists in the traditional dance tight 100. The vertical seam 102 and the gusset 104/gusset seam 108 of the traditional dance tight 100 are uncomfortable for the dancer and show when worn under leotards and costumes.
The traditional dance tight 100 also comprises a narrow waistband 110. The narrow waistband 110 is typically about an inch or less in height. The narrow waistband 110 has a tendency to dig into and roll down on the dancer, thereby frustrating the dancer and again making the traditional dance tight 100 uncomfortable.
The outer perimeter 202b of the higher density area 202 is joined to an upper portion 206 using a gather stitch. A gather stitch draws stitches closer together laterally. The gather stitch creates a gathered or ruched effect 208 at the front and back of the tight 200 where the outer perimeter 202b of the higher density area 202 joins the upper portion 206 of the tight 200. The gathered or ruched effect 208 of the tight 200 caused by the gather stitch would also be visible under leotards and costumes if a dancer were to wear tight 200.
The tight 200 also comprises a waistband 210. The waistband 210 is coupled to the upper portion 206 via seam 212. The length of the waistband 210 at a top 210a of the waistband 210 is greater than the length of the waistband 210 at a bottom 210b of the waistband 210. For example, in a US size 10-12, the length of the waistband 210 at the top 210a is eleven inches and the length of the waistband 210 at the bottom 210b is 9.5 inches. Having a greater length at the top 210a of the waistband than the bottom 210b of the waistband results in less stomach support and control as well as leading to the tight 200 falling down if a dancer were to wear and dance in tight 200. The height of the waistband 210 of tight 200 is greater than the height of waistbands in traditional dance tights.
The present disclosure is directed to an improved gussetless tight. As discussed above, gussets are uncomfortable for dancers and show under leotards and costumes. However, removing a gusset from a tight, especially a dance tight, creates challenges. In particular, as a dancer moves (e.g., kicks, jumps, etc.), a tight without a gusset has an increased likelihood to tear, rip, or inelastically deform at the transition between the two legs opposite the waistband. To address the stresses put on this transition, the dance tight disclosed herein comprises a higher density area at the transition instead of a gusset. The higher density area has a higher density than the leg and upper portions of the dance tight.
The width of the higher density area is of a size that will not protrude from a leotard or costume worn over the dance tight. For example, the higher density area may be less than two inches in width and be generally oval in shape. The higher density area may meet with an upper portion of the dance tight using circular knitting without a gather stitch, thereby creating a smooth knitting effect with no discernible gathers or ruches. The smooth knitting effect created without a gather stitch ensures that the dance tight lays flat underneath a leotard and costume.
The higher density area of the dance tight disclosed herein may comprise varying higher densities. In an embodiment, the higher density area comprises its highest density at the center of the crotch area. The higher density area may increase in density from both directions along an axis where the two leg portions transition together towards the center of the crotch area to allow for a smoother, more gradual transition between the upper portion of the dance tight and the higher density area.
The disclosed gussetless dance tight also comprises a waistband. The height of the waistband is thicker than traditional dance tights, thereby providing greater stomach support and control and increasing the likelihood that the dance tight remains in place while the dancer dances. Further, in an embodiment, the length of the top of the waistband is approximately equivalent to the length of the bottom of the waistband, which also enables greater stomach support and control and improves the effectiveness of that the dance tight staying put while the dancer dances.
In contrast to how traditional dance tights are made, the dance tight disclosed herein, which does not comprise a gusset, is constructed via a more sophisticated process that requires less steps. For example, the main body of the gussetless dance tight is circular knitted using a single tube via circular knitting machine. As part of this process, to address the stresses placed at the transition between the two legs, the circular knitting machine creates a higher density area at the transition by circular knitting at one or more higher densities around a part of the circumference of the single tube without use of a gather stitch where the higher density area transitions to the upper portion of gussetless dance tight. Next, a first leg is placed parallel to a second leg and the upper portion is cut generally parallel to the tube. Since the upper portion is cut horizontally rather than vertically as with the traditional dance tight 100, the dance tight disclosed herein does not disclose a vertical seam in the upper portion of the dance tight.
Next, the waistband is created by circular knitting using at least one tube and then sewn onto the upper portion. In some embodiments, the disclosed dance tight may be a convertible dance tight and an opening may be created on the bottom of the foot portions of the first and second legs, thereby allowing a dancer to quickly and easily remove their feet to, for example, adjust pointe shoe pads or put on another pair of shoes.
The improved, integral knitting approached used to address the stresses placed on the transition between the legs via the creation of the higher density area reduces the number of seams on the gussetless dance tight. Additionally, a smaller area is able to be created at the transition to handle the stresses placed on the crotch area through the use of the improved manufacturing process disclosed herein. Further, the improved manufacturing technique disclosed herein for the gussetless tight reduces costs at least in the handling of the transition between the legs. For example, the transition between the legs in the gussetless dance tight disclosed herein is addressed via the creation of the higher density area by the circular knitting machine. In contrast, with traditional dance tight 100, the transition between the legs is addressed via installation of a gusset which involves moving the traditional dance tight 100 to and using multiple machines after the main body is created via the circular knitting machine.
The reduced seams and smaller, higher density area at the transition between the legs enabled via the manufacturing process disclosed herein results in an improved look over the traditional dance tight 100. For example, there is no center, vertical seam on the upper portion or gusset seams that are visible under leotards and costumes. Instead, the smaller, higher density area at the transition between the legs is concealed under leotards and costumes. Further, the wider waistband of the gussetless dance tight disclosed herein is more comfortable and stable and provides more stomach control than the thinner waistband of the traditional dance tight 100.
Turning now to
As discussed above, gussets are uncomfortable for dancers and show under leotards and costumes. However, removing a gusset from a tight, especially a dance tight, creates challenges. In particular, as a dancer moves (e.g., kicks, jumps, etc.), a tight without a gusset has an increased likelihood to tear, rip, or inelastically deform at the transition 308. Thus, the gussetless dance tight 300 disclosed herein may comprise a higher density area 310 at the transition 308. The higher density area 310 has a higher density than leg portions 306a, 306b and upper portion 304 of the dance tight 300.
The width of the higher density area 310 is of a size that will not protrude from a leotard or costume worn over the dance tight 300. For example, the higher density area 310 may be less than two inches in width, but greater than zero. In an embodiment, the width of the higher density area is between 0.25 inches and 1.5 inches. The length of the higher density area 310 may between two inches and four inches. In an embodiment, the higher density area 310 is generally oval in shape. In alternative embodiments, the higher density area 310 may be generally rectangular in shape, triangular in shape, or a different shape.
The higher density area 310 may meet with an upper portion 304 of the dance tight 300 using circular knitting without a gather stitch, thereby creating a smooth knitting effect with no discernible gathers or ruches. The smooth knitting effect created without a gather stitch helps ensure that the dance tight 300 lays flat underneath a leotard and costume.
The higher density area 310 of the dance tight 300 may comprise varying higher densities. In an embodiment, the higher density area 310 comprises its highest density at the center of the transition 308. The higher density area 310 may increase in density from both directions along an axis where the two leg portions 306a, 306b meet together towards the center of the transition 308 to allow for a smoother, more gradual transition between the upper portion 304 of the dance tight 300 and the higher density area 310. For example, referring to
While three different densities are illustrated in
In an embodiment, the gussetless dance tight 300 also comprises a waistband 312. The waistband 312 may be created from a single tube. Creation of the waistband 312 from a single tube prevents vertical seams on the waistband 312. The waistband 312 can alternatively be created from more than one tube. The waistband 312 may be sewn to the upper portion 304 using a flat seam to minimize the appearance of seam 314 underneath leotards and costumes. For example, the seam 314 may be a flat interlock seam.
The height of the waistband 312 is thicker than traditional dance tights, thereby providing greater stomach support and control and helping to ensure that the dance tight 300 remains in place while the dancer dances. For example, the height of the waistband 312 may be between two and 3.5 inches. In an embodiment, the waistband 312 is generally the same shape as a tutu basque such that the waistband 312 is not visible when worn underneath a tutu.
The length of a top 312a of the waistband 312 may be approximately equivalent to the length of a bottom 312b of the waistband 312. For example, the top 312a of the waistband 312 and the bottom 312b of the waistband 312 may vary by less than a quarter of an inch. Depending on the size of the dance tight 300, the length of the top 312a and the bottom 312b of the waistband 312 may be between 6 and 8.5 inches. Having the length of the top 312a and bottom 312b of the waistband 312 approximately equivalent also enables greater stomach support and control and increase the likelihood that the dance tight 300 will stay put while the dancer dances. The waistband 312 may comprise fabric folded over and sewn together at the seam 314 to create a double fabric construction and provide even stronger stomach support and control and help minimize movement of the dance tight 300 on the dancer.
The gussetless dance tight 300 may be footed as illustrated in
The gussetless dance tight 300 may be created by circular knitting. The fibers used in the circular knitting may comprise nylon, spandex, cotton, silk, or another material. The thickness of the fibers used to create the gussetless dance tight 300 may range from 40 denier to 80 denier. In a preferred embodiment, the gussetless dance tight 300 is created using fibers measuring 70 denier. Softener and aloe may be added to the gussetless dance tight 300 to create softness.
Turning now to
Turning now to
While several embodiments have been provided in the present disclosure, it should be understood that the disclosed systems and methods may be embodied in many other specific forms without departing from the spirit or scope of the present disclosure. The present examples are to be considered as illustrative and not restrictive, and the intention is not to be limited to the details given herein. For example, the various elements or components may be combined or integrated in another system or certain features may be omitted or not implemented.
Also, techniques, systems, subsystems, and methods described and illustrated in the various embodiments as discrete or separate may be combined or integrated with other systems, modules, techniques, or methods without departing from the scope of the present disclosure. Other items shown or discussed as directly coupled or communicating with each other may be indirectly coupled or communicating through some interface, device, or intermediate component, whether electrically, mechanically, or otherwise. Other examples of changes, substitutions, and alterations are ascertainable by one skilled in the art and could be made without departing from the spirit and scope disclosed herein.
