Empty Suit Of Clothes

The Trousers

1. Think of the back of the suit of clothes spreading out on the floor around the pelvis region. Let it
happen readily.
2. Watch the upper part (thigh) of the trouser leg collapsing together as its knee is supported over
the cross-bar of the hanger from the ceiling.
3. Watch the feet hanging as tassels around the top at the level of the ankle joint from the end of
the legs.
4. Lift the cross-bar of the hanger and sense the feeling of the upper and lower leg hanging.
5. Watch intently the flow of fine dry sand flowing from the knee down the thigh into the pelvis.
Then the knee down the lower leg and out through the base of the heel. The covering collapses
together in each area as sand flows away.
6. Now let us go to the image of the front of the clothing settling against back. First give tactile aid
on either side of the pelvis and the image is of settling of the clothes evenly on either side.
7. Both the legs now collapse to the floor, pulling the cross bar down to the floor.
8. The angle, or bend at the thigh joint, sinks slowly into the empty seat of the suit.
9. Watch the crosswise crease at the thigh joint sinking to rest on the empty seat of the trousers,
noting particularly the sinking of the inner edge of this crease. Concentrate on one trouser leg at
a time.
10. Sense and watch the feet hanging as tassels tied together around the top at the level of the
ankle joint from the end of the legs.
11. Watch the sacrum expanding in all direction starting with the tip going down.
12. The trouser leg is twisted to the outside from the knee to the level of the thigh joint, which
means the long crease which should be at midfront is likewise twisted to the outside. Watch the
trouser leg being twisted inward across the front until the long crease is on the midfront, that is
in line with the center of the knee and the center of the thigh joint. This imagined twisting is a
very important, but also a very difficult imagined movement.
13. Watch the bell shaped lower trouser leg sagging together in folds that are filmsy. Imagine their
looseness.
14. The foot is a tassel, made up of different lengths of thread or yarn (long toward the toes, shorter
at the heel) which are tied together around the top at the level of the ankle joint. This circular
binding is loose, allowing the inside vertical strings to fall inward away from the center of the
ankle. Watch the circular binding tighten to draw the vertical threads on the inside of the tassel
toward the center of the ankle joint.
15. Repeat all imagery in the other trouser leg and tassel.
16. The seat of the trousers has many vertical wrinkles, making it look as though it were accordion
pleated. Watch these pleatlike wrinkles beind smoothed away, from center outward, to produce
a much broader seat. (This will not give you a broader seat; but, oft repeated, it will give you a
 better hip line.) Pay special attention to the center pleats which are the deepest and most frimly
set, and therefore need the most smoothing outward from center.
17. Now that the seat of the pants has width and no longer pulls the trouser legs into a twisted
position, watch again the sinking of the crosswise crease at the level of the thigh joint, also the
trouser leg being twisted inward acorss the front, preparatory to closing the zipper.
18. Thinking of the whole thigh bone as an empty vacuum tube with the suction coming from
the pelvis and sucking the thigh and the whole leg into the pelvis.
19. You are now ready to watch the closing of the front zipper of the trousers (from the pubic bone
bring it together). This is hampered by trouble at the lower end of the zipper where all the
difficulties you have ever experienced with zippers are combined. Stay with it in your
imagination until you finally see the troubles overcome and the zipper slowly sliding up the mid
front to bring together the two sides of the front of the trousers.
20. Finally, to complete the movements to be visualized in the trouser, watch the belt buckle (the
fairly wide waistband around the suit ) sinking to the rest on the back of the coat.
21. Moving the zipper towards the head. Hold it right there zipper.

The Coat

1. Now let us go to the image of the front of the clothing settling against back. First give tactile aid
on either side of the pelvis and the image is of settling of the clothes evenly on either side. Go
up to the lower ribs again the clothing is settling against the back on evenly on either side left
and right. Then go the clavicles, the first bone, on the side in the front and give a little pressure.
Again you are imaging the front settling to the back. This area under the collarbones needs to
soften up a bit. Now take up the arms as sleeves and the image is as if the insides of the sleeves
are coming together.
2. Watch all parts of the coat slumping as far as they can toward the floor. The sleeves are
collapsing together as if no body were between them and sink down with the upper part of the
suit on the floor. The bend at the shoulder joint, formed by the sleeves being folded across
the front are sinking to the floor until all the sleeves have collapsed on the back of the coat.
3. Watch crosswise wrinkles on the back of the coat being smoothed downward. The wrinkles in
the low back are being smoothed first, and then the imagined downward smoothing action
progresses slowly upward. In the area of the upper back the wrinkles are large, deep, and firm;
they need attention wiht repeated downward smoothing, especially if you have a dowagers
hump and/or a forward head. Finally, the entire back is free from wrinkles and the coat tail
reaches beyond the seat of the emtpy trousers.
4. There are also vertical wrinkles on the back of the coat, but only in the outer region of the
shoulders. They are especially deep at the inner borders of the shoulder blades. Imagine these
being smoothed outward until the coat becomes very broad shouldered. At the center back
between the shoulders of the coat, however, crosswise wrinkles persist and must be smoothed
 downward again. Alternate the outward and downward smoothing in the upper back of the
coat.
5. Now imagine the zipper at the upper mid-front of the coat being closed to make the circular,
collarless neck meet at center-front. With this zipper you run itno trouble in the last inch of its
upward movement. Stay with this until the difficulties are overcome and the the zipper is
completely closed with sufficient upward force so that the front does sag dwonward, as the front
of the coat on a very round-shouldered man often does.
6. Drop the zipper to the floor and feel the shoulders spread out along the floor. Imagine the
sleeves lifted up vertically and dropped in the position your arms are in.

The Soft Collar

A soft collar belonging to the shirt inside the suit collapses finally into the floor. There is a soft, tall
collar inside the neck of the coat which has so many crosswise wrinkles in back that it has almost
dsappeared within the coat. Start at the shoulder level and smooth up to the base of the skull. Imagine
these wrinkles being smoothed upward until the top of the collar reaches the base of the head a long
distance. Then again we go to the shoulder which we think of as shoulder pads. Those shoulder pads
are sliding away from the base of the neck, down over the shoulders, down the arm, to the fingertips. A
cap is dropped back touching the collar. Glide it slowly to the top of the head. Imagine that your face is
very hot and that the hat is full of cool water that flows refreshingly down over your face.

The Empty Head

First shake the head very gently to convey the head needs to be in alignment it is not cast in stone.
Allow the head to come back and rest on the pillow. a little

Visualize your head as a large, empty ball. In your imagination, look around at the emptiness inside,
noting the great distance from side to side between the ears, and from front to back at the level of the
upper jaw bone, which is on the level of the base of the skull. Above all, visualize the emptiness of the
head.