1 B.Sc.

COSTUME DESIGN AND FASHION FASHION DESIGNING AND SEWING TECHNOLOGY UNITS PAGE
NUMBERS UNIT 1 03 UNIT 2 48 UNIT 3 91 UNIT 4 126 UNIT 5 166 CONTENTS UNIT NO. LESSON NO. TITLE
OF THE LESSON PAGE NO. UNIT I 1 PRINCIPLES OF FASHION 03 2 FASHION PRODUCERS 15 3 FASHION
DESIGNING & ACCESSORIES 22 4 PRINCIPLES OF DESIGNING 40 UNIT II 5 COLOUR 48 6 COLOUR
HORMONIES & APPLICATION 60 7 DRESS DESIGNING 71 UNIT III 8 SEWING MACHINES 91 9 SPECIAL
MACHINES 99 10 SEWING MACHINE ATTACHMRNTS 110 11 SEWING MACHINE CARE AND
MAINTENANCE 116 UNIT IV 12 STITCHING MECHANISM 126 13 FEEDING MECHANISM 141 14
SPREADING 150 15 CUTTING 156 UNIT V 16 MARKING 166 17 PRESSING 174 18 SEWING FEDERAL
STANDARDS FOR SEAM 181 19 SEWING FEDERAL STANDARDS FOR STITCH 188 20 SEWING THREAD 199
This watermark does not appear in the registered version - http://www.clicktoconvert.com 2 UNIT – I
LESSON – 1: PRINCIPLES OF FASHION CONTENTS 1.0 AIM AND OBJECTIVES 1.1 INTRODUCTION 1.2
FASHION 1.2.1 Fashion design terms 1.2.2 Areas of fashion 1.2.3 Fashion flow chart 1.2.4 Fashion in
Cloths 1.3. CLASSIFICATION OF FASHION 1.3.1 Style 1.3.2 Basic or classics 1.3.3 Fad 1.3.4 Fashion
Forecasting 1.3.5 Trends 1.4 CHIC 1.5 COSTUME MADE 1.6 COLLECTION 1.7 MANNEQUINS 1.8 FASHION
SHOWS: 1.8.1 Formal fashion shows 1.8.2 Designer trunk shows 1.8.3 Department fashion shows 1.8.4
Informal fashion shows 1.9 FASHION CYCLES 1.9.1 Length of cycles 1.10 LET US SUM UP 1.11 LESSON
END ACTIVITIES 1.12 POINTS FOR DISCUSSION 1.13 REFERANCES This watermark does not appear in the
registered version - http://www.clicktoconvert.com 3 1.0 AIM AND OBJECTIVES The aim of this lesson is
to give better knowledge to students about the field of fashion & related terms and fashion cycles. Ø
Here we discussed all the area of fashion field which includes terms of fashion, fashion sources and
fashion cycle. Ø In fashion cycle point of view, it deals the principles of fashion, peak, decline, length of
fashion cycle Ø Fashion show and its type, fashion forecasting and classification of fashion will give idea
about fashion. 1.1 INTRODUCTION Fashion in the narrow sense of the world means the changing form of
clothing. These originate from peoples need to be adorned and admired nut also allow the opportunity
to enhance personal style or indicate a position in society. Fashion is not the only consideration in
developing a garment for a market. The overall appearance (style) as well as the utility value (fitness for
purpose, aftercare) also have. Here we studied about introductory concept of fashion, fashion terms and
fashion forecasting. In this lesion we will go through another important function of fashion cycle,
classification of fashion and fashion shows. 1.2 FASHION Fashion is a term that usually applies to a
prevailing mode of expression, but quite often applies to a personal mode of expression that may or
may not apply to all. Inherent in the term is the idea that the mode will change more quickly than the
culture as a whole. The terms "fashionable" and "unfashionable" are employed to describe whether
someone or something fits in with the current popular mode of expression. The term "fashion" is
frequently used in a positive sense, as a synonym for glamour and style. In this sense, fashions are a sort
of communal art, through which a culture examines its notions of beauty and goodness. 1.2.1 FASHION
DESIGN TERMS · A fashion designer conceives garment combinations of line, proportion, color, and
texture. He or she may or may not know how to sew or make patterns. Formal training is always
essential, yet most fashion designers are formally trained (apprenticed) and schooled. · A pattern maker
drafts the shapes and sizes of a garment's pieces with paper and measuring tools, and, some times, an
AutoCAD computer software program, or by draping muslin on a dress form, the original way. The
resulting pattern pieces must compose the intended design of the garment and they must fit the
intended wearer. Formal training is essential for working as a pattern marker. · A tailor makes custom
designed garments made to the client's measure; suits (coat and trousers, jacket and skirt, et cetera).
This watermark does not appear in the registered version - http://www.clicktoconvert.com 4 · A textile
designer designs fabric weaves and prints for clothes and furnishings. Most textile designers are formally
trained as apprentices and in school. · A stylist is the person who co-ordinates the clothes, jewelry, and
accessories used in fashion photography and catwalk presentations of clothes collections. A stylist also is
a designer whose designs are based upon extant things, trends, and the collections of other designers. ·
A buyer orders stocks of clothes for shops, chain stores, and other types of stores. Most fashion buyers
are trained in business studies. · A seamstress sews seams wither manually or with a sewing machine,
either in a garment shop or as a sewing machine operator in a factory. She (or he) may not have the
skills to make (design and cut) the garments, or to fit them on a model. A seamstress is not synonymous
with dressmaker. · A teacher of fashion design teaches the art and craft of fashion in art schools and in
fashion design school. · A custom clothier makes custom-made garments to order, for a given customer.
· A dressmaker specializes in custom-made women's clothes: day, cocktail, and evening dresses,
business clothes and suits, trousseaus, sports clothes, and lingerie. · An illustrator draws and paints
clothes for commercial use. · A model wears and displays clothes at fashion shows and in photographs. ·
A fashion journalist writes fashion articles describing the garments presented, for magazines or
newspapers. · An alterations specialist (alterationist) adjusts the fit of completed garments, usually
ready-to-wear, and sometimes re-styles them. NOTE: despite tailors altering garments to fit the client,
not all alterationists are tailors. · A wardrobe consultant or fashion advisor recommends styles and
colors that are flattering to the client. · A photographer photographs the clothes on fashion models for
use in magazines, newspapers, or adverts. 1.2.2 AREAS OF FASHION Fashions are social phenomena
common to many fields of human activity and thinking. The rises and falls of fashions have been
especially documented and examined in the following fields: · Architecture, interior design, and
landscape design · Arts and crafts · Body type, clothing or costume, cosmetics, grooming, hair style, and
personal adornment · Dance and music · Forms of address, slang, and other forms of speech · Economics
and spending choices, as studied in behavioral finance · Entertainment, games, hobbies, sports, and
other pastimes · Etiquette · Management, management styles and ways of organizing · Politics and
media, especially the topics of conversation encouraged by the media This watermark does not appear
in the registered version - http://www.clicktoconvert.com 5 · Philosophy and spirituality (One might
argue that religion is prone to fashions, although official religions tend to change so slowly that the term
cultural shift is perhaps more appropriate than "fashion") · Social networks and the diffusion of
representations and practices · Sociology and the meaning of clothing for identity-building · Technology,
such as the choice of programming techniques Of these fields, costume especially has become so linked
in the public eye with the term "fashion". The more general term "costume" has been relegated by
many to only mean fancy dress or masquerade wear, while the term "fashion" means clothing generally,
and the study of it. This linguistic switch is due to the so-called fashion plates which were produced
during the Industrial Revolution, showing novel ways to use new textiles. For a broad cross-cultural look
at clothing and its place in society, refer to the entries for clothing and costume. 1.2.3 FASHION FLOW
CHART This watermark does not appear in the registered version - http://www.clicktoconvert.com 6
1.2.4 FASHION IN CLOTHS Fashion in clothes has allowed wearers to express emotion or solidarity with
other people for millennia. Modern Westerners have a wide choice available in the selection of their
clothes. What a person chooses to wear can reflect that person's personality or likes. When people who
have cultural status start to wear new or different clothes a fashion trend may start. People who like or
respect them may start to wear clothes of a similar style. Fashions may vary significantly within a society
according to age, social class, generation, occupation and geography as well as over time. If, for
example, an older person dresses according to the fashion of young people, he or she may look
ridiculous in the eyes of both young and older people. The terms " fashionista" or "fashion victim" refer
to someone who slavishly follows the current fashions (implementations of fashion). 1.3.
CLASSIFICATION OF FASHION The duration of fashion’s importance is a critical fashion designers or
manufactures concern. A fashion can be brief or of long duration. Once having identified this
characteristic, a designer is in a position to assess a fashions importance to the retail inventory. Fashion
is classified into many types, such as: Ø Style Ø Basic or classic Ø Fad Ø Fashion Forecasting Ø Trends
1.3.1 STYLE Style is always constant. It does not change whereas fashion changes. It is not constant. It is
the modification of fashion. Style is the basic outline of any garment. When we ass a different neckline
and different sleeves with some trimming here and there over a basic garment then the basic garment is
modified into a different look or a different outfit, this modification ferment will become fashion, when
it is accepted by people. The term style is a popular word in fashion and refers to a sub-division within
fashion. By definition, it is that which has certain characteristics that distinguish it from other designs.
For example, the fashion could be pleated skirt, yet the style is box pleat. It is a common fallacy to
believe that the famous designers create fashions. They create styles which they hope will be accepted.
When and if there is consumer support the style then becomes fashion. It is repetitious but important to
stress that fashion is synonymous with acceptance. 1.3.2 BASIC OR CLASSICS When a fashion is constant
or long lasting, such as, salwar kameez and saree, it is called Basic or Classic. It is similar to a standard
music. The salwar kameez and saree are part of fashion scene. A customer has one or more in her
wardrobe, to be worn to suit different This watermark does not appear in the registered version -
http://www.clicktoconvert.com 7 occasions. In certain times, the basic becomes the most important
promotable fashion, but, in or out, they remain as a part of the fashion secne. Threre are many outfits
that fall into this classification, such as, chudidhar, kurta, dupattas, shirt and trousers, plain or pleated
skirts and denims, etc. there are general fashions that lasts for years, such as, the saree, the single
breasted men’s suit Basics or Classics are the outfits which stays in the fashion scene for a long period of
time that is from past to present and even in future it stands When we watch old movies as well as the
new movies which are released just, we can see the saris and salwar kameez worn in it may be with a
slight change or modification accordingly. 1.3.3 FAD A Fad is something which can either make a
designer’s life more interesting or tenser. Very often something appears on the fashion scene tat
captures the imagination, only to fizzle out in short duration. Overall, Fad can be defined as short lived
fashion, lasting for a very little time or period, acceptable by only a certain group of people. For
example, hippies – their clothing, accessories, hairstyles, etc. As Fad is short lived fashion, it stays for a
very short period, because they are very costly and every one cannot afford to buy it. For example, dhoti
salwar, tube shirts and so on. A fashion expert is a selection for consumers – selecting what is more
likely to be accepted going overboard for short lived fashion – Fad can be costly 1.3.4 FASHION
FORECASTING This is the important part of fashion scenario because when any new garment is designed
by the designer and worn, it will not create fashion by itself. It needs the media to spread fashion and
this media which spread fashion and gets the fame and name to the designers is Fashion Forecasting.
Fashion Forecasting is done through many communicating media, such as, cinema, fashion shows, press,
magazines, newspapers and window display. It includes · Market research · Consumer research o
Surveys o Consumer focus groups o In-store informal interviews · Shopping · Sales Records · Evaluating
the collections · Fashion Trends · Trend for Target Markets This watermark does not appear in the
registered version - http://www.clicktoconvert.com 8 Fashion Forecasting is done where crowd is
formed in such occasion, so that it can create fashion. 1.3.5 TRENDS Fashion trends are the styling ideas
that major collections have in common. They indicate the direction in which fashion is moving. Fashion
forecasters look for the styles they think are prophetic, ideas that capture the mood of the times and
signal a new fashion trend. Several designers may use a similar fashion idea because they have been
inspired by common sources. The trend may appear in a fabrication, a silhouette, or another design
element that appears in several collections. Very often, a new trend appears in small doses until it
spreads to other collections. As the press notices similarities between collections and highlights them,
the media exposure also helps establish the trends. Evaluating the collections becomes one way a
designer, working for a mainstream manufacturer, can research fashion direction. As designers are not
invited to the shows, they must evaluate by shopping in major fashion capitals or using design services,
magazines, and newspapers. For retail buyers, it is becoming a huge challenge to figure out which trends
will become fashion basics, like capris, and which are only fads, such as pony prints. Buyers have to
become very flexible in their buying patterns and cautious about inventory management. If the market
becomes flooded with a new trend, consumers may react negatively to the overexposure. Empowered
by the Internet and television, global trends are moving at an accelerating pace. The life-span of a trend
is now about five months instead of a year. For the junior market, the span is only three months. 1.4
CHIC Chic is a French word, established in English since at least the 1870s, that has come to mean smart
or stylish. Over the years "chic" has been applied to, among other things, social events, situations,
individuals, and modes or styles of dress. Recurring generic terms included designer chic (associated
with the styles of particular coutouriers - the 1980s became known as the "designer decade") and retro-
chic (adopting elements of fashion from the past: e.g. "Victorian chic", "sixties chic", "Georgian chic",
"1920s Riviera chic" 1.5 COSTUME MADE: The elaborate detail and intricate and dressmaking at that
time required an enormous amount of painstaking hand labor. All clothes were not only hand make but
also custom-made. Each garment was made to fit the customer’s exact measurements. Dresses and suits
were individually sewn by dressmakers or tailors to their employers specifications. The identities of
personal dressmakers were secrets guarded by the wealthy. No one wanted to share the talents of
clever dressmakers for fear of losing them. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 9 1.6 COLLECTION Each season, the design and merchandising
departments of each division are responsible for creating a new line, the seasonal collection that the
manufacturer will sell to retail store buyers. The terms are synonymous: Collection is used primarily in
Europe and for high-period apparel in the United States. Line is used more often in the United States for
moderately and popularly priced fashion. 1.7 MANNEQUINS Mannequins change with fashion trends
and are made in the image of the current ideal of beauty. For elegant fashion, perfectly coiffed,
traditional life-like Mannequins are preferred. However, they are very expensive to buy and to maintain.
To save money, many stores have replaced them with less expensive papier-mâché torsos or unpainted
“Mannequins alternatives.” 1.8 FASHION SHOWS: Fashion shows are special events that communicate a
fashion story. The selection and organization of the fashions and model bookings may be done by the
fashion office, whereas invitations and other arrangements may be handled by the special events
department. There are four possible ways to organize these presentations: formal shows, department
shows, designer trunk shows, or informal modeling. 1.8.1 FORMAL FASHION SHOWS Formal fashion
shows take a great deal of advance planning involving booking models and fittings and arranging for a
runway, scenery, lighting, microphones, music, seating, and assistants. Clothes are generally grouped
according to styling, color, or other visual criteria. Models and music are selected to complement the
clothes and set a mood. 1.8.2 DESIGNER TRUNK SHOWS Designer trunk shows are done in cooperation
with a single vendor and are a popular way to sell expensive collections. Invitations are sent to the best
customers according to records kept by sales associates. The designer or a representative travels from
store to store with the collection, which is usually shown on models in the designer collections
department. Customers get to see the entire collection unedited by a buyer and may order from the
samples in their size. Although some designers and retailers do 50 percent of their total business
through trunk shows, others find them time-consuming, exhausting work, and have given them up. 1.8.3
DEPARTMENT FASHION SHOWS Department fashion shows, on a much smaller scale, are produced in
store to generate immediate sales. Usually, a platform is set up directly in the department that carries
the clothes. This watermark does not appear in the registered version - http://www.clicktoconvert.com
10 1.8.4 INFORMAL FASHION SHOWS Informal fashion shows are the easiest to produce. A few models
walk through the store showing the fashions that they are wearing to customers who are shopping or
having lunch in the store’s restaurant. The models can take their time, and customers enjoy asking them
questions. This is often done in conjunction with a trunk show or special promotion. 1.9 FASHION
CYCLES Consumers are exposed each season to a multitude of new styles created by designers. Some
are rejected immediately by the press or by the buyer on the retail level, but others are accepted for a
time, as demonstrated by consumers purchasing and wearing them. The way in which fashion changes is
usually described as a fashion cycle. It is difficult to categorize or theorize about fashion without
oversimplifying. Even so, the fashion cycle is usually depicted as a bell shaped curve encompassing five
stages: introduction, rise in popularity, peak of popularity, decline in popularity, and rejection. The cycle
can reflect the acceptance of a single style from one designer or a general style such as the miniskirt. 1.
Introduction of a style: Designers interpret their research and creative ideas into appeal or accessories
and then offer the new styles to the public. Designers create new designs by changing elements such as
line, shape, color , fabric, and details and their relationship to one another. New creations referred to as
the “latest fashions” may not yet be accepted by anyone. At this first stage of the cycle, fashion implies
only style and newness. Most new styles are introduced at a high price level. Designers who are globally
respected for their talent may be given financial backing and be allowed to design with very few
limitations on creativity, quality of raw materials, or amount of fine workmanship. Naturally, production
costs are high, and only a few people can afford the resulting garments. Production in small quantities
gives a designer more freedom, flexibility, and room for creativity. This watermark does not appear in
the registered version - http://www.clicktoconvert.com 11 2. Increase in popularity: If a new style is
purchased, worn, and seen by many people, it may attract the attention of buyers, the press, and the
public. In self-defense, most couture and high – priced designers now have secondary bridge and or
diffusion lines that sell at lower prices, so that they can sell their designs in greater quantities. The
popularity of a style may further increase through copying and adaptation. Some designers or stylists
may modify a popular style to suit the needs and price range of their own customers. Some
manufacturers may copy it with less expensive fabric and less detail it order to all the style at lower
prices. 3. Peak of popularity: When a fashion is at the height of its popularity, it may be in such demand
that many manufacturers copy it or produce adaptations of it at many price levels. Some designers are
flattered by copying and others are resentful. There is very fine line between adaptations and knockoffs.
Volume production requires a likelihood of mass acceptance. Therefore, volume manufacturers carefully
study sales trends because their customers want clothes that are in the mainstream of fashion. 4.
Decline in popularity: Eventually, so many copies are mass produced that fashion –conscious people tire
of the style and begin to look for something new. Consumers still wear garments in the style, but they
are no longer willing to buy them at regular prices. Retail stores put such declining styles on sale racks,
hoping to make room for new merchandise. 5. Rejection of a style or obsolescence: In the last phase of
the fashion cycle, some consumers have already turned to new looks, thus beginning a new cycle. The
rejection or discarding of a style just because it is out of fashion is called consumer obsolescence. As
early as 1600, Shakespeare wrote that “fashion wears out more apparel than the man”. 1.9.1 LENGTH
OF CYCLES Although all fashions follow the same cyclical pattern, there is no measurable timetable for a
fashion cycle. Some fashions take a short time to peak in popularity, others take longer; some decline
slowly, other swiftly. Some last a single selling season, others last several seasons. Certain fashions fade
quickly; others never completely disappear. 1. Classics: Some styles never become completely obsolete,
but instead remain more or less accepted for an extended period. A classic is characterized by simplicity
of design, which keeps it from being easily dated. An example is the Chanel suit, which peaked in fashion
in the paris, as well as other manufacturers, have produced variations of these suits for a small,
dedicated clientele. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 12 Other examples of classics include blazer jackets, twin sets, polo
shirts, jeans, ballet flats, and loafers. 2. Fads: Short – lived fashions, or fads, can come and go in a single
season. They lack the design strength to hold consumer attention for very long. Fads usually affect only a
narrow consumer group, begin in lower price ranges, are relatively simple and inexpensive to copy and
therefore flood the market in a very short time. Because of market saturation, the public tires of them
quickly and they die out. 3. Cycles within Cycles: Design elements (such as color, texture, silhouette, or
detail) may change even though the style itself remains popular. Jeans became a fashion item in the late
1960s and remained classics. Therefore, their fashion cycle was very long. However, various jean
silhouettes – including bell and baggy – came and went during that time. 4. Interrupted Cycles:
Consumer buying is often halted prematurely because manufacturers and retailers no longer wish to risk
producing or stocking merchandise that will soon decline in popularity. This is obvious to consumers
who try to buy summer clothes in August. Sometimes the normal progress of a fashion cycle is
interrupted or prolonged by social upheaval, economic depression, or war. Consider the large
shouldered, wedge shaped silhouette in women’s fashion which began in the 1930s. Because people
were concerned with things more important than fashion during World War II, the same silhouette
continued, without the normally expected decline, for the duration of the war. The new look of 1947
with its sloping shoulders tiny waists and longer skirts was a radical change because the old cycle had
been unnaturally prolonged. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 13 5. Recurring Cycles: After a fashion dies, it may resurface. Designers
often borrow ideas from the past. When a style reappears years later, it is reinterpreted for a new time,
a silhouette or proportion may recur, but it is interpreted with a change in fabric and detail. Nothing is
ever exactly the same – yet nothing is totally new. As the century and millennium draw to a close,
designers are showing many nostalgic looks of the 1940s, 1950s, 1960s, 1970s and even the 1980s.
However, the use of different fabrics, colors, and details make the looks unique to the turn of the
century. 1. 10 LET US SUM UP In this lesson we have learned how fashion get importance in our field,
the area of fashion and the fashion flowchart. The classification of fashion gives the concept and idea
has to be follow for the designer. We have also seen the trends for the fashion and fashion forecasting
techniques. In this lesson the concept of fashion shows are explained with its types. 1.11 LESSON END
ACTIVITIES The students may do the following activities based on this lesson. Ø Interact with boutique
shop owners and fashion designers Ø Analyze how to conduct the fashion shows Ø Forecast the
upcoming fashions 1.12 POINT FOR DISCUSSION Here the students are asked to discuss about the
following points Ø Discuss the growth and importance of fashion Ø Analyze the life time of particular
fashion 1.13 REFERENCES: Ø The art and everyday life Ø Elements of fashion and apparel designing, by
Sumathi G.J., New Age International Pvt. L.t.d.. Ø Inside the fashion business, by Macmillan publication
company Ø Fashion from concept to consumer, by Cini stephens Frings, Low price edition This
watermark does not appear in the registered version - http://www.clicktoconvert.com 14 LESSON – 2:
FASHION PRODUCERS CONTENTS 2.0 AIM AND OBJECTIVES 2.1 INTRODUCTION 2.2 THE COUTURIER 2.3
HAUTE COUTURE 2.4 PRÊT-À-PORTE 2.5 FASHION DIRECTION 2.6 FASHION EDITORS 2.7 LINE 2.8
KNOCKOFFS 2.9 AVANT GRADE 2.10 BRIDGE 2.11 BUYING HOUSE 2.11.1 International Buying Houses:
2.12 MERCHANDISING 2.12.1 Scheduling 2.12.2 Seasons 2.12.3 The Merchandise Plan 2.13 LET US SUM
UP 2.14 LESSON END ACTIVITIES 2.15 POINTS FOR DISCUSSION 2.16 REFERANCES 2.0 AIM AND
OBJECTIVES After going through this unit, you should be able to have a clear idea of the following Ø
What is Couture and haute couture? Ø Fashion Direction and Fashion Editors Ø Define the basic
functions of Line & Knockoffs Ø Concept of Buying House Ø Different function of Merchandising 2.1
INTRODUCTION The early lesson we have studied the fashion and its corresponding terms with
necessary types. In this lesson we will study the fashion management and merchandising. This
watermark does not appear in the registered version - http://www.clicktoconvert.com 15 The fashion
management gives an idea about fashion direction and fashion editors. The term buying house is still
used in the industry; its role has greatly explained to fill a wide variety of functions. The two primary
type of buying house are indicated here. In merchandising we are going to cover the merchandising
scheduling, season and the plan to be executed. 2.2 THE COUTURIER “Fashion is a very important
economic sector for our country, and couture is the flagship of French fashion”, explained Dominique
Strauss-Khan, the former French minister of industry. Couture is simply the French word for fine, custom
dress design, made to measure for a particular customer. A couturier is a make couture designer; a
couturiere is his female counterpart. The couturier Charles Frederick Worth ( October 13, 1826– March
10, 1895), is widely considered the father of haute couture as it is known today. Although born in
Bourne, Lincolnshire, England, Worth made his mark in the French fashion industry. While he created
one-of-a-kind designs to please some of his titled or wealthy customers, he is best known for preparing
a portfolio of designs that were shown on live models at the House of Worth. Clients selected one
model, specified colors and fabrics, and had a duplicate garment tailor-made in Worth's workshop.
Worth combined individual tailoring with standardization more characteristic of the ready-to-wear
clothing industry, which was also developing during this period. 2.3 HAUTE COUTURE Haute couture the
type of fashion design which predominated until the 1950s was "madeto-measure" or haute couture,
( French for high needlework). The term made-to-measure may be used for any garment that is created
for a specific client. Haute couture, however, is a protected term which can only be officially used by
companies that meet certain well-defined standards set by the Chambre Syndicale de la Couture.
Nonetheless, many ready-to-wear, and even mass market labels, claim to produce haute couture, when
in fact, according to established standards, they do not. A couture garment is made to order for an
individual customer, and is usually made from high-quality, expensive fabric, sewn with extreme
attention to detail and finish, often using time-consuming, hand-executed techniques. Look and fit take
priority over the cost of materials and the time it takes to make The term can refer to: · The fashion
houses or fashion designers that create exclusive and often trend-setting fashions · The fashions created
Haute couture is made to order for a specific customer, and it is usually made from highquality,
expensive fabric and sewn with extreme attention to detail and finish, often using timeconsuming, hand-
executed techniques This watermark does not appear in the registered version -
http://www.clicktoconvert.com 16 2.4 PRÊT-À-PORTE However, the term haute couture has been
misused by successive ready-to-wear brands and high street labels since the late 1980s so that its true
meaning has become blurred with that of prêt-a-porter (the French term for ready-to-wear fashion) in
the public perception. Every haute couture house also markets prêt-à-porter collections, which typically
deliver a higher return on investment than their custom clothing. In fact, much of the haute couture
displayed at fashion shows today is rarely sold; it is created to enhance the prestige of the house. Falling
revenues have forced a few couture houses to abandon their less profitable couture division and
concentrate solely on the less prestigious prêt-à-porter. These houses, such as Italian designer Antonio
Capucci, all of whom have their workshops in Italy, are no longer considered haute couture. Many top
designer fashion houses also use the word for some of their collections. 2.5 FASHION DIRECTION:
Fashion direction is established to maintain cohesive fashion merchandising in line with a distinctive
store image. In single-unit stores, the owner usually acts as fashion director and buyer. In large stores or
chains, management may employ a fashion director. The fashion director is the bridge between
corporate marketing policy and actual merchandise-buying decisions. He or she works with merchandise
managers, buyers, and promotion executives to suggest what merchandise to choose and how to
present it. Along with management and designer collection buyers, the fashion director may attend
European and American collection openings to study fashion trends. These trends are analyzed in
relation to the store’s image, and this information is passed on to buyers as a guide to merchandise
planning and advertising. The fashion director may also work with buyers to select appropriate
merchandise, to develop the store’s private label, and to coordinate their buys with merchandise in
other departments. A fashion director also prepares seasonal fashion presentations for sales associates
so that they can understand the new fashion concepts and the store’s merchandising approach and,
therefore, better help their customers. 2.6 FASHION EDITORS: The role of the fashion editors is to
educate the public, to provide fashion information from all phases of the industry in all parts of the
world; to make the industry or the consumer aware of all that is available; and to help the consumer
make wise and suitable styling and/or buying decisions. Fashion editors, together with journalists,
stylists, and photographers, act as the eyes and ears of the consumer. They let the nation or the
community know where to find the fashions that are currently on the market, and they report on how
new fashions should be worn and accessorized. This watermark does not appear in the registered
version - http://www.clicktoconvert.com 17 The fashion editors of prominent newspapers and fashion
magazines attend the collection openings, take notes on what they like best, and report on what
directions they believe are important they may request sketches or photographs of their favorite
garments to use in their articles. In between openings, fashion editors write articles on topics that they
think are noteworthy. They sift through the news releases that come into their offices to help them
write a story. Editors may ask to borrow samples for simply use a photo sent to them in a publicity
release. Sometimes sketched illustrations are used, depending on the mood or effect to be achieved.
Garment and fabric descriptions may be included as well as a list of stores that carry the merchandise
described in the article. 2.7 LINE Fig 2.1 After selecting the fabric, the designer must consider the other
elements of good design. In this section, the term line refers to the direction of visual interest in a
garment created by construction details such as seams, openings, pleats, gathers, tucks, topstitching,
and trims. (It is confusing that the apparel industry also uses the term line to refer to a collection of
garments.) Line direction (Fig 2.1) should flow from one part of the garment to another and should not
be meaninglessly cut up. Fig 2.2 Straight lines (Fig 2.2) suggest crispness, such as that of tailored
garments; curved lines imply fluidity. However, a garment designed with only straight lines is too severe;
a garment with all curves is too unstable. For optimal beauty, the two should work together. Straight
lines are softened by the curves of the body, and full curves must be restrained to be compatible with
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http://www.clicktoconvert.com 18 2.8 KNOCKOFFS A knockoff is a copy of someone else’s design,
usually a garment that is already a bestseller for another manufacturer. Knockoff companies simply buy
a particular garment, make a pattern from it, order large quantities of the same or similar fabric, and
have the garment manufactured. Production and fabric costs are lower because of the huge quantities
made. The knockoff producer must have: (1) An acute awareness of what garments are selling well at
the retail level, (2) Rapid production capabilities to capitalize on the success of the style while it lasts, (3)
Lower prices. Now, in and age of instant global communications, copies often reach stores before the
originals and at a fraction of the cost. 2.9 AVANT GRADE: Some fashion leaders actually create fashion.
They may be designers themselves or just want to express their own individual style. These fashion
leaders constantly look for interesting new styles, colors, fabrics, and ways to accessorize their clothes.
They try to find unique fashion in small boutiques or vintage clothing stores, or they design their own
clothes. They are discerning shoppers who like to wear beautiful or unusual apparel. They may give
impetus to a certain style by discovering and wearing it. They may be referred to as avant grade. 2.10
BRIDGE: This styling and price range was created to give consumers a less expensive alternative to
designer fashion. Bridge is simply a step down in price from designer, achieved by using less expensive
fabric or different production methods. Some designers have secondary lines such as CK from Calvin
Klein, Donna Karan’s DKNY, Versus from Versace, or Emporio from Armani. Other collections, such as
Ellen Tracy or Dana Buchman, cater specially to the bridge market. 2.11 BUYING HOUSE: Although the
term buying house is still used in the industry, its role has greatly expanded to fill a wide variety of
functions. The two primary type of buying house are independent and store owned. § An associated
buying house is jointly owned and operated by a group of stores. Member stores usually have similar
sales volume, store policies, and target customers but are in no competing locations. Operating
expenses are allocated to each member store on the basis of the store’s sales volume and the amount of
services rendered. Associated Merchandising Corporation (AMC) is a well-known example. § A corporate
buying house is owned and operated by the parent organization of a group or chain of stores. At
Federated Department Stores, 70 percent of the buying for member stores is done centrally by the
percent company, while the other 30 percent is done by individual member stores. This watermark does
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BUYING HOUSES: Many large retail stores have their own buying house abroad or use foreign
commissionaires, agents representing stores in foreign market centers. These offices are equipped to
handle import-export transactions in the language of the country, check quality control, figure currency
exchange rates, provide a consolidated center for shipping, and wade through customs red tape. 2.12
MERCHANDISING: Merchandising is planning to have the right merchandise at the right time in the right
quality and at the right price to meet the needs of the company’s target customers. It is also the manner
in which a group or line of garments is presented to the public; the way the line will look in the stores.
The merchandiser or product manager is basically a process manager, developing the blueprint of the
line. Merchandising activities, which vary from company to company, usually include setting financial
goals, budgets, and price points; making the merchandising plans; planning line size; planning fabric
purchases; sourcing; scheduling production and deliveries; controlling product flow; presenting the
finished line to the sales staff; and sometimes preplanning assortments for stores. 2.12.1 SCHEDULING:
Merchandising is responsible for integrating all the phases of product development, including design
and production. The merchandiser, or product manger, sets up a schedule of deadlines for styling,
finished samples, and production to meet the required shipping dates. These dates are, of course, co-
ordinate with the production department. Merchandisers meet regularly with designers, the sales staff,
and production managers to discuss company goals, budget requirements, line size, delivery dates, sizes,
and so on. 2.12.2 SEASONS: Each season, the design and merchandising departments of each division
are responsible for creating a new line, the seasonal collection that the manufacturer will sell to retail
store buyers. The terms are synonymous: Collection is used primarily in Europe and for high-period
apparel in the United States. Line is used more often in the United States for moderately and popularly
priced fashion. Work on a new line begins approximately eight months before the selling season (a
velvet dress to be worn in December must be designed in May). Designers and merchandisers also work
on two or more lines at once, designing a future collection while checking samples from one that is
about to be produced. They are finished work on the spring line while beginning fabric research for
summer. It is a continual process of creating new merchandise, a “seamless” product development. This
watermark does not appear in the registered version - http://www.clicktoconvert.com 20 2.12.3 THE
MERCHANDISE PLAN: Each season, merchandisers have to develop a merchandise plan or business plan.
They must decide how many apparel or accessory groups are needed to meet both the demands of
retailers and consumers and the financial goals of the manufacturer. The previous year’s actual sales are
used as a basis for projected sales goals for each group. Spreadsheets are created to show what needs
to be produced and sold per month to reach sales and profit goals. The merchandiser has to determine
the number of groups, fabrics, and styles required to meet those sales goals. 2.13 LET US SUM UP In this
lesson we looked the different types of buying houses and the role of buying house in the field of
fashion. Then we studied the concept of fashion merchandising and its role in fashion field. In
connection to fashion direction and fashion editor the fashion merchandising play a vital role. The line
gave great idea to the new designer to create their own design based fabric grain, the way of design
selection and the method of design formation. 2.14 LESSON END ACTIVITIES The students may do the
following activities based on this lesson Ø Interact with the field persons like merchandisers Ø Go
through the history and developments of fashion 2.15 POINTS FOR DISCUSSION Here the students are
asked to discuss about the following points Ø The role of merchandisers Ø Setting a buying house 2.16
REFERENCES: Ø Fashion sketching book, by Bina Abling, Fai child publication. Ø Inside the fashion
business, by Macmillan publication company Ø Elements of fashion and apparel designing, by Sumathi
G.J., New Age International Pvt. L.t.d.. Ø The art and everyday life Ø Fashion from concept to consumer,
by Cini stephens Frings, Low price edition This watermark does not appear in the registered version -
http://www.clicktoconvert.com 21 LESSON – 3: FASHION DESIGNING & ACCESSORIES CONTENTS 3.0
AIM AND OBJECTIVES 3.1 INTRODUCTION 3.2 FASHION DESIGN 3.2.1 Designing a collection 3.2.2
Designing a garment 3.2.3 Areas of work 3.2.4 Areas of fashion design 3.3 ELEMENTS OF DESIGN 3.3.1
Line 3.3.2 Shapes 3.3.3 Space 3.3.4 Colour and Texture 3.4 TYPES OF DESIGN 3.5 TRIMMINI AND
DECORATION 3.6 FASHION ACCESSORIES 3.6.1 Footwear 3.6.1.1 Design and product development 3.6.2
Handbags 3.6.2.1 Design and product development 3.6.3 Hats 3.6.3.1 Design and product development
3.6.4 Ties 3.7 LET US SUM UP 3.8 LESSON END ACTIVITIES 3.9 POINTS FOR DISCUSSION 3.10
REFERANCES 3.0 AIM AND OBJECTIVES After going through this unit, you should be able to have a clear
idea of the following Ø To summaries the principles of fashion designing. Ø Describe the various activity
of fashion designing and the elements of designing. Ø Analysis the fashion accessories like hats, bags,
foot wear and ties This watermark does not appear in the registered version -
http://www.clicktoconvert.com 22 3.1 INTRODUCTION You have come across the word “Design and
designers” very often. You always wanted to know about the design professionals. Dress, therefore, is
only one of the forms in which fashion finds expression. There are countless creators of form, or design.
Design is concerned with how needs are identified, related and in some cases stimulated. It affects the
ways in which our materials, energy, skills and other resources are employed to satisfy them fully, it calls
upon enterprise and enthusiasm, inventiveness and ingenuity, scientific discovery and technical
knowledge, power of visualization together with knowledge of human capabilities and aesthetic
sensibility. Creating or styling the appearance of a person with reference to clothing, accessories and
beauty in corresponding with the personality of any individual is fashion designing. 3.2 FASHION DESIGN
Fashion design is the applied art dedicated to the design of clothing and lifestyle accessories created
within the cultural and social influences of a specific time. Fashion design differs from costume design
due to its core product having a built in obsolescence usually of one to two seasons. A season is defined
as either autumn/ winter or spring/ summer. Fashion design is generally considered to have started in
the 19th century with Charles Frederick Worth who was the first person to sew their label into the
garments that they created. 3.2.1 DESIGNING A COLLECTION · Planning a collection: Every collection is
very carefully researched and planned so that all the items in it complement each other, and have the
particular fashion look which the company is known for. · Predicting trends: One of the hardest skills a
fashion designer has to master is predicting future trends. To do this, they look at what the fashion
directions have been in previous seasons, keep an eye on what others in the fashion business are doing,
and read fashion forecasting magazines. They also rely on knowledge of their own customers to see
which styles succeeded and which were less popular in past seasons. Perhaps most importantly,
designers use their imaginations to come up with new ideas. They often choose a theme to provide
inspiration. · Choosing a theme: The theme of a collection can be a period in history, a foreign place, a
range of colors, and a type of fabric - anything which has a strong visual impact. 3.2.2 DESIGNING A
GARMENT · The design: Different designers work in different ways. Some sketch their ideas on paper,
others drape fabric on a dress stand, pinning, folding and tucking it until the idea for a garment emerges.
A third method is to adapt their own patterns from previous seasons (this method can give continuity to
a fashion studio's output). · Making a toile or muslin: After making a rough paper pattern, or life-size 2-D
plan, of the garment, a sample machinist (or skilled sewing machine operator) then makes a trial This
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garment from plain-colored calico. The toile (called a muslin in the U.S.) is put on to a dress stand (or a
model) to see how it fits and whether it hangs properly. · Making a card pattern: When the designer is
completely satisfied with the fit of the toile (or muslin), they show it to a professional pattern maker
who then makes the finished, working version of the pattern out of card. The pattern maker's job is very
precise and painstaking. The fit of the finished garment depends on their accuracy. · The finished dress:
Finally, a sample garment is made up in the proper fabric. 3.2.3 AREAS OF WORK There are three main
ways in which designers can work: · Working freelance: Freelance designers work for themselves. They
sell their work to fashion houses, direct to shops, or to clothing manufacturers. The garments bear the
buyer's label. · Working In-house: In-house designers are employed full-time by one Fashion Company.
Their designs are the property of that company, and cannot be sold to anyone else. · Setting up a
company: Fashion designers often set up their own companies. Many designers find this more satisfying
than working for someone else, as their designs are sold under their own label. 3.2.4 AREAS OF FASHION
DESIGN Many professional fashion designers start off by specializing in a particular area of fashion. The
smaller and the more specific the market, the more likely a company is to get the right look and feel to
their clothes. It is also easier to establish oneself in the fashion industry if a company is known for one
type of product, rather than several products. Once a fashion company becomes established (that is, has
regular buyers and is well-known by both the trade and the public), it may decide to expand into a new
area. If the firm has made a name for the clothes it already produces, this helps to sell the new line. It is
usually safest for a company to expand into an area similar to the one it already knows. For example, a
designer of women's sportswear might expand into men's sportswear. The chart below shows the areas
of many designers choose to specialize in. Area Brief Market Women's Day wear Practical, comfortable,
fashionable Haute couture, ready-to-wear, mass market Women's Evening wear Glamorous,
sophisticated, apt for the occasion Haute couture, ready-to-wear, mass market Women's Lingerie
Glamorous, comfortable, washable Haute Couture, ready-to-wear, mass market Men's Day wear Casual,
practical, comfortable Tailoring, ready-to-wear, mass market Men's Evening wear Smart, elegant,
formal, apt for the occasion Tailoring, ready-to-wear, mass market This watermark does not appear in
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wearing, washable, inexpensive Ready-to-wear, mass market Girls' Wear Pretty, colorful, practical,
washable, inexpensive Ready-to-wear, mass market Teenage Wear Highly fashion-conscious,
comfortable, inexpensive Ready-to-wear, mass market Sportswear Comfortable, practical, well-
ventilated, washable Ready-to-wear, mass market Knitwear Right weight and color for the season
Ready-to-wear, mass market Outerwear Stylish, warm, right weight and color for the season Ready-to-
wear, mass market Bridal wear Sumptuous, glamorous, classic Haute couture, ready-to-wear, mass
market Accessories Striking, fashionable Haute couture, ready-to-wear, mass market 3.3 ELEMENTS OF
DESIGN In creating a design one of the components which interact is the Art Elements The elements and
principles of design are flexible and should be interpreted within the context of current fashion. A design
can be defined as an arrangement of lines, shape, colours and texture that create a visual image. The
principles of design are the rates that govern how elements are combined. The elements are therefore
the raw materials that must be combined successfully. The following are the different elements of
Design: · Line · Form · Shape · Texture and · Colour These elements are considered as “Plastics” in art
language because they can be manipulated or arranged by the designer to create desired illusions. 1.3.1
LINE It provides the visual dimensions of length and width. When lines combine, space is enclosed and
forms and shapes are defined. Lines offered a path of vision for the eyes when is wearing an
object/outfit. The arrangement of lines in clothing design can cause to appear heavier or thinner than
what actually is 1. Horizontal line 2. Vertical line This watermark does not appear in the registered
version - http://www.clicktoconvert.com 25 3. Oblique line 4. Diagonal line. 5. Curved line etc. Lines
within a garment are created by darts seams and decorative details. Each kind of line produces its own
special effect. Straight line’s and shapes denote force and strength and have a masculine quality; curved
lines are the lines of nature, they are gracefully and gives a feminine effect. Lines are the greatest
devices of fashion designers. Since lines create illusion of height and width, they can be used to one’s
requirement to tone down or exaggerate a particular figure type. 1) Vertical line In Fig 3.1 these produce
an illusion of added height to the outfit design by adding and contrasting coloured vertical bank in the
centre or a centre panel added with vertical line gives an added height to the outfit. These lines end to
make a short person look tall. Fig 3.1 These produce an illusion of added height to the outfit design by
adding and contrasting coloured vertical bank in the centre or a centre panel added with vertical line
gives an added height to the outfit. These lines end to make a short person look tall. 2) Horizontal lines
Fig 3.2 This watermark does not appear in the registered version - http://www.clicktoconvert.com 26
These lines ( Fig 3.2) adds width to the garment and decrease the apparent height, for example a wide
contrasting coloured belt shortens the height of the figure by cutting the garment into two segments,
however the belt has the effect of slimming the waist line, the coloured will not shorten the height of
the outfit as well as the wearer. 3) Diagonal lines These lines can add or decrease the height of the
wearer depending on their slope. Long uninterrupted diagonals tilting almost vertically are the most
lengthening and most dramatic of all lines. Diagonal lines should be combined with vertical or horizontal
lines. If they are used alone for the entire dress the effect will be disturbing. 4) Curved lines These lines
are more romantic and pensive by nature. Curved lines can be a full circle or may even appear almost
straight. Curved lines are considered graceful and feminine; those in a diagonal direction are the most
graceful and can be seen in the soft folds of material in a draped dress or a ruffled collar. 5) Line
movements The arrangement of vertical, horizontal and oblique lines produce line movements
characterized by opposition, transition or radiation. 6) Opposition In a design where the vertical line is
opposed by a horizontal line opposing oblique lines are used. 7) Transition When one line direction slips
smoothly into another, the movement is transitional (e.g., curved lines). Curved lines should not be over
done. They are at their best when stiffened by some straight lines, example round yoke with vertical pin
tucks within it. 8) Radiation When a design is created with radiating lines at the neckline, it will attract
attention to the face. These radiating lines are produced by stitching decorative darts on the right side of
the garment. 9) Form It is an object having three dimensions like length, width and depth.The human
body is a form and by viewing it analytically, its various perspectives are revealed. The human form
changes visually with clothing, especially as fashion changes. 3.3.2 Shapes It describes the outer
dimensions or contour of an object. Shape also encloses space and imparts a certain character to the
object viewed. Through clothing design, the shape of the human body is often revealed in a natural way,
but sometimes even distorted. The shape of clothing in a human body, communicates silently, the
messages about the wearer. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 27 Every fashion period, a shape emerges slowly or evolved suddenly,
whatever it is, every period has a specific shape of garment which once determined can be modified and
re-styled fir variation in design without changing the basic shape of the garment, it is either flare or
tight, circular or straight, a line or raglan. It has been observed that an easy fitting shape of the garment
is easily accepted and largely varies as well as has longevity of stay; where as a tight fitting garment is
generally short lived since it is suitable to only perfect figure types. It is therefore advisable that the
designer chooses an easy silhouette to keep on creating for a longer duration. BASIC SHAPES In dress
designing there are seven basic shapes — each season adaptations of one or more of these
predominates the fashion picture. They are as follows: Fig 3.3 Fig 3.4 Fig 3.5 Fig 3.6 Fig 3.7 Fig 3.8 Fig 3.9
1. Rectangle (Fig 3.3) This watermark does not appear in the registered version -
http://www.clicktoconvert.com 28 Examples: Long, straight, hanging in loose, graceful folds, such as in
Greek and Roman styles; straight line sheaths; tailored suits. Styles with these lines are slenderizing and
suitable for the well proportioned, heavier woman. 2. Triangle (Fig 3.4) Examples: Spanish styles. Fitted
bodice, bell shaped gently widening skirt. 3. Inverted Triangle (Fig 3.5) Examples: Wide shoulders,
narrow skirt, dolman or raglan sleeves. Good fashion design style for large bust. 4. Oval (Fig 3.6)
Examples: Draped and softly molded, very feminine and decorative. Good for well proportioned, ideal
figure. Suitable especially for afternoon and evening wear. 5. Square (Fig 3.7) Examples: Straight or boat
shaped neckline, boxy jackets, capes. Generally this style is very good for the very thin figure, however,
with proportions well planned and good design, can camouflage various figure irregularities. 6. Round
(Fig 3.8) Examples: Wide, crinoline lined skirts, petal shapes, puffed sleeves. Suitable for formal wear or
afternoon frocks. This fashion design is the most attractive on the very young and the very thin figure. 7.
Hourglass (Fig 3.9) Examples: Wide shoulders, leg of mutton sleeves. Natural or wasp waist. Smooth fit
over hips and full skirt at bottom. Good fashion design for the tall, thin figure. 8. Combinations
Examples: Outline of any current fashion silhouette can be altered and combined with another, and
adapted for the specific figure type. Thus irregularities or lack of ideal figure proportions can be
minimized while the general effect of current fashion design style is preserved. 3.3.3 SPACE It is
generally considered to be the area seen between the shapes. Busy space in clothing becomes
distractive and fatiguing to view where an interesting space may go unnoticed or appear monotonous.
Lines in a costume provide a path of vision along which the eye travels. Curving lines relates more
naturally to human bodies. Vertical lines tend to slenderize the body. Horizontal lines suggest width.
Both repetition and extreme contrast of a line, shape, space or form produce emphasis. This watermark
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TEXTURE When we talk of principles of designing, or when we start off with a given design theme the
first thing to occur to our minds is the co lour and texture of the fabric. Every season or now and then a
co lour emerges in the fashion scene which is decided by the leading manufacturers, exporters and
textile experts of the fashion world. It is advisable to the amateur to work on the co lour in vogue: and
to add to its creativity, collaborate with a textile designer and develop a new dimension to the existing
patterns. To co-ordinate with an idea of creation will be infinite. Also while choosing a co lour one must
be utmost careful as co lour creates the first impression and hence can glorify or destroy ones
appearance. Even simple silhouette may be enhanced by using effective co lour schemes. As texture is
the feel, drape and degree of stiffens and softness of the fabric, it also creates a visual effect upon the
wearer, given a small swatch of fabric, the designer can visualize the texture and the fall of fabric which
helps him to design further. 3.4 TYPES OF DESIGN There are two kinds of design. 1. Structural design 2.
Decorative design 1. Structural design When an objects structure is an integral part of the design is
structural design. Structural design is those that are made wide the size for colour, texture of an object.
For eg: weaving different kinds of weave as examples of structural design. Structural design details in a
dress include collar sleeves, yokes, pockets, skirts, position of seam lines etc. Requirements of Good
Structural Design: Ø It should be suited to the purpose Ø It should be simple. Ø It should be well
proportion Ø It should be suited to the material with which it is made. Ø It is far more importance than
decorative design because it is essential to every object or garment whereas decorative is the luxury of
design. Structural design depends on the form and fabric. It is also created by the construction details as
a design. It is inherit in all garments. Because it creates in construction details together including seams,
collars, pockets and texture of the fabric. Any detail that is an integral part of the garment is a structural
design. It may be very simple or to be very elaborate simple or to be very elaborate. The basic
requirements of a good structural deign for clothing are as follows: Ø Silhouette pleasingly related to the
body structure and expressive of that time. Ø Design appropriate to its use and to the needs of the
wearer. Ø Well proportion individual parts that offer unity with variation. Ø Character and individuality
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http://www.clicktoconvert.com 30 2. Decorative Design It is the surface enrichment of structural design
any line, colour of material that has been applied on structural design for the purpose of adding a richer
quality is a decorative design. Beauty is the structure of design. Decorative design is only the luxury. e.g.:
After weaving, when the impart design it is decorative: e.g.: Applique, embroidery, painting or any
trimmings. Requirements of Good Decorative Design: Ø It should be used in moderation Ø It should be
placed at a structural points and should strengthen the shape of the object Ø The decorative design
should be suitable for the material and for the type of service it must give. Ø There should be enough
background space to give an effect of simplicity and dignity to design. Ø Surface pattern should cover
the surface quietly Types of Decorative Design: They are 5 types of decorative design. a. Naturalistic b.
Conventional c. Abstract d. Historic e. Geometric a. Naturalistic Design: When objects from nature are
selected and are reproduced exactly with photographic correction it is known as naturalistic design. eg:
Flowers, leaves, animals and landscape. b. Conventional Design: When an object from nature s adopted
to suit the purpose of the object and be decorative the motif ceases to be naturalistic. c. Abstract
Design: Motif which does not have the nature as the source but the combination of lines producing
irregular form i.e. not easily recognized. The modern art is an abstract design. d. Historic Design: It refers
to the famous monuments or building of historic importance. eg: Temple, Taj Mahal e. Geometric
Design: It is not derived from nature. It is derived from circles, rectangle, triangle, parallel lines and so
on. The basic requirements of a good decorative deign for clothing are as follows: Applied and design
should reinforced the basic design concept created in the construction of the garment. This is achieved
when the placement of trims is created to the structural design. Decorative design is very attractive
when it is created in size and structure to the textile of the garment. Suitable combination of textures
includes: Ø Fine embroidery for fine fabric Ø Ricrac for medium weight cotton Ø Sequence for shiny fine
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3.5 TRIMMINI AND DECORATION Fabric trimmings are used as ornamentation and to enhance to beauty
of the garment. 1. Fabric Bows Fabric bows are trimmings that can be made from any kind of fabric. The
size of the bow must be altered to suit the weight of the fabric. Bows can be used to embellish pelmets,
valances, drapes and swags etc. Small bows can be used on tiebacks to enhance their effect. Bows can
be used to compliment or contrast the color of the central fabric and color. They can be used to
highlight a certain color in a setting that has numerous colors. The size of the bow will depend on the
effect you want the bow to have. A large bow will have a dramatic effect Making a tied bow- if ribbon or
braid is to be finished with a bow, or for a sash where the two ends are tied, a neat bow is essential or
the whole effect is spoiled. Make a single knot in the usual way, keeping the two ends even in length.
Make the first loop with the lower piece, then bring the other end down and round the first loop,
making a knot. Now hold the first loop , in place, make a second loop and pull it through. Both loops can
be pulled tight so that the bow is even in size and the two loose ends are more or less even. Arrange the
knot so that it lies flat. Making a tailored bow – this kind of bow is made up and sewn together, not re-
tied each time the garment is worn. Use a finely woven ribbon. 2. Tassels They may be bought or made,
and applied singly or in rows. To make tassels- cut a piece of cardboard the required width and lay a
double strand of the yarn across the top of the card, wind yarn then tie the double strand round the
yarn and remove the card. Tie another double thread round the yarn and remove the card. Tie another
double thread round the yarn about 13mm below the top. Cut the lower loops. 3. Fringing Bought
fringing and tassels can be more economical with time and money than hand-made ones, especially if a
large quantity is needed. Most lampshade fringing is very reasonably priced and used cleverly will not be
recognized for stoles or ponchos to give them a luxury look for evening wear. Like braid, fringing often
looks best in two or more rows. To make fringe- wind any number of yarns round a length of double
folded heavy tracing paper the depth of fringe required, inserting a piece of seam binding along one
edge. When enough yarn has been wound, sew two or three tows of machining along one edge through
yarn, tape and paper. Self fringe- most soft, thick fabrics can have threads pulled out t make a self fringe.
Try it on a scrap of the fabric to see if the effect is attractive. Straighten the edge to be fringed by cutting
along the grain. Decide how deep the fringe needs to be then pull out a cross thread on this line. This
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a narrow zigzag stitch along this line so that the lengthwise threads are secured in place, then pull out all
the crosswise threads below the stitching. Fringe made with sewing machine- The rug fork that is
available for use with sewing machines may also be used to make fringes. Yarn is wound around the fork
and stitched using a zipper foot directly onto seam tape on fabric as each section is wound. After one
section has been stitched the fork is slipped out carefully until it is almost out of the loops exposed part
of the fork is rewound and the loops stitched down and so on, until the required amount has been
made. Loops may be left as they are or cut. 4. Ric-rac Available in a vast number of colours and sizes and
relatively inexpensive. Many rows may be used together or two pieces may be “wound around” one
another to form one braid with an unusual effect. It is available with a matt effect for day wear or in
shining metallic form for evening clothes. To apply it, either stitches straight along the centre or
slipstitch it into place along either side- sometimes it may only be necessary to catch down the points. It
may be inserted into seams or used under the edges of garment sections so that only the points show.
Make sure that the thread matches exactly when only surface stitching is used. 5. Appliqués Appliqué’s
are a quick, eye-catching embellishment just right for fleece fabrics. Layer appliqué’s for a three-
dimensional effect, choosing easy shapes such as flowers, geometric shapes, even lettering. Show off
your artistic side on ponchos, jackets, hats and more. When sewing appliqués to fleece, you can use a
highly visible stitch that becomes part of the design, such as a hand blanket or running stitch in a
contrast color thread Appliqué TipsØ For multi-layer appliqué’s, like a two-tone flower with a round
center, layer the components and appliqué the smaller on to the larger one. When the layering is
complete, treat it as a single appliqué, stitching it to the garment around the edges of the largest layer.
You can also attach multi-layer appliqué’s in the center only, leaving the edges free, to create a 3-
dimensional affect. Ø When positioning the appliqués on the garment, be sure to clear all seam
allowances, zippers, buttonholes and other garment details. Ø For hand stitching around the appliqués,
several stitches can be used. Try several threads together, or embroidery floss, so stitches will be visible,
and use a large eyed needle. Ø Pom-poms Ø Make them in the same way as for tassels above, but with
much more yarn. Otherwise wind the yarn round two or three fingers, then tie yarn around the middle
and cut both ends. 3.6 FASHION ACCESSORIES Fashion accessories and their jewelry counterpart
referred to as costume jewelry are items that used as fashion's complementary. Accessories help to
bring up the spot that one wants to This watermark does not appear in the registered version -
http://www.clicktoconvert.com 33 highlight in a dress or apparel. They can also help to hide some
weaknesses' part of a dress. Trends are continuously set by adding accessories to different outfits. Take
belts for example, a few years ago girls all started wearing really thick belts that would never fit into belt
loops, but this fashion accessory made it big time. Soon everyone was seen wearing them, today big is
out, and maybe ribbon belts are in. But these things change an entire look, from handbags to shoes to
chandelier earrings and dangle earrings to 80's leg warmers. 3.6.1 FOOTWEAR: Footwear, including
shoes, sandals, and boots, is the largest category of accessories. More than seven billion pairs of shoes
are produced worldwide each year. Both functional and fashionable, shoes come in assorted materials,
including calf, kid, suede, and reptile skins; imitation leathers; and fabrics such as canvas or nylon. Fig
3.10 Today the shoe industry caters to both dress and casual trends. As a result of the enormous
popularity of sport shoes, comfort has become an important element of shoe design. A number of
popular shoe brands, from Florsheim to Ferragamo, have tried to combine style with the comfort of
athletic shoes. 3.6.1.1 DESIGN AND PRODUCT DEVELOPMENT Most dress shoe (Fig 3.10) design direction
comes from Europe. Creative international shoe designers such as Manolo Blahnik and Robert Clegerie
set international trends for women’s fashion shoes. Shoe designers study fashion trends so that their
shoes will coordinate with apparel. Many shoe company designers or line builders (product managers)
attend the shoe fairs in Dusseldorf, Germany, and Bologna and Milan, Italy, to get ideas for a new shoe
collection. Like an apparel merchandiser, the line builder begins with concepts for groups and works
with designers who develop individual shoe styles. Designers are primarily concerned with materials,
color, shape and proportion. They must consider the view of the shoe from all angles. Many shoe
companies are using computer-aided design(CAD) systems that are capable of both twodimensional
design(design of uppers and size grading) and three-dimensional design(design of the last, a foot shaped
form, and projection of the drawing on the last. This watermark does not appear in the registered
version - http://www.clicktoconvert.com 34 Sometimes the line builder will buy prototypes (sample
shoes) from a modielista (model maker) at a studio or shoe fair. Or, the line builder might forward a
designer’s sketches to a modelista, who makes the first model. If the line builder and modelista live in
different countries, ideas and samples must be sent back and forth by the Internet or via fax. The sample
shoes are edited to from a balanced collection. Duplication is then made for the sales staff, showroom,
and trade shows. 3.6.2 HANDBAGS: Fig 3.11 Handbags must be both decorative and functional (Fig
3.11); it must hold necessities conveniently as well as fit into the fashion picture. Large bags such as
totes, satchels, portfolios, or backpacks tend to be functional; smaller bags such as clutches or envelopes
are usually decorative. Handbag styles range from classic, constructed types to soft shapes. Leather,
including suede and reptile, still represents approximately half of handbag material; vinyl, fabric
(tapestry, rug prints, needlepoint, silk, wool, nylon, and canvas), and straw make up the other half.
Prada and Gucci are among the trendsetters in handbag design. Major trends include a wide variety of
shapes in an array of colors, some with beading or embroidery. 3.6.2.1 DESIGN AND PRODUCT
DEVELOPMENT The elements of fabrication (leather or fabric), silhouette, and color, as well as current
trends in ready-to wear and footwear, are the most important components of handbag design. From an
initial sketch, a sample is made from muslin or limitation leather. A final sample is made up in leather or
fabric with appropriate supportive stays (made of treated paper). Felt, foam, and fabric interlinings are
layered around the stays to give the bag a nice hand and cushion. Ornaments, closures, and/or handles
must be chosen to complement the shape and fabrication. Linings differ with each type of bag and each
fabrication. The product development team, designer, pattern-maker, sample-maker, production
manager, and sales managers, critique the samples. The most successful are chosen for the collection.
Within the collection, groups may be based on fabrications, silhouettes, or themes. This watermark does
not appear in the registered version - http://www.clicktoconvert.com 35 Usually, a variety of silhouettes
are included, perhaps in various fabrications (types of leather).Several groups create a well-rounded
collection. Fig 3.12 Handles, Zippers, Pockets, Frames and Tabs.... Select from hundreds of Pre-drawn
elements to enhance any handbag design. In Fig 3.12 One basic silhouette can take on thousands of
additional looks simply by adding fashion components. 3.6.3 HATS: In the past, the most important
accessory was a hat. A woman bought a new hat to add a bright spot to her wardrobe; a businessman
was never seen on the street without one. The trend toward more casual life-styles changed that, and
the millinery industry suffered a severe setback. Of course, functional hats to protect against the cold
weather remained a necessity. Fig 3.13 Today, hats are enjoying somewhat of a comeback. Part of this
rise in sales is caused by fashion, and the other is because of an increased demand for sun protection.
3.6.3.1 DESIGN AND PRODUCT DEVELOPMENT Hat manufactures produce two seasonal collections per
year. The spring collection is centered on a wide variety of straws and fabrics, such as cotton and linen.
Fall collections are dominated by felt and fabrications of velvet, velveteen, fake fur, and corduroy. This
watermark does not appear in the registered version - http://www.clicktoconvert.com 36 Hat collections
are usually divided into groups organized around fabrications, color schemes, themes, or price ranges.
Hat designers are aware of fashion trends, especially color projections, and use many of the same design
sources as apparel designers. 3.6.4 TIES The tie is an accessory. It adds to the look A tie can be the
center piece. It can be a 'piece of color' in the center. or it can be short tie.. a piece of color around the
neck i.e. a short wide piece of color. A tie is an accessory but it can be an accessory which aims to add
color Fig 3.14 Ties are for men or for women (Fig 3.14) who want to dress like men. Women want to
have the tailored sleek look so they wear ties. But ties are also for women who want to be women.
Sleek, skinny ties look good with the secretary look. It adds to the 'separates' i.e. the shirt/skirt or the
shirt/trousers. With the boyish chic look last year and the androgynous look previously, the tie was
certainly important. But this is the office look. What about wide ties instead of the skinny ones. When
we come to the summer season, can a tie be important for the look i.e. a wide glossy, 'glam' tie which
gives the 'color' to a look. For men the tie was the 'color'; it added color. The boyish look was important
in 2006, the tie was important for this. Now as fashion moves on from the boyish chic and the military
before this, ties can still be important but maybe they will be the great wide ties, which give color and
glamour! When we think of ties, it is men's ties, the ties that go with suits. 3.7 LET US SUM UP Through
this lesson, we have learnt how to create a design based on the different position shapes of lines. The
direction of lines gives a great idea about the size of figure. The concept of fashion design and the area
of designing explained the professional fashion designers This watermark does not appear in the
registered version - http://www.clicktoconvert.com 37 specialization i n a particular area of fashion.Also
we discussed the fashion accessories and the way to develop and design the accessories. 3.8 LESSON
END ACTIVITIES The students may do the following activities based on this lesson Ø Collect various
fashion designs according to your idea and analyze it. Ø Practice the fashion figures based on its
elements. Ø Prepare your own trimming and decoration for your garments. 3.9 POINTS FOR DISCUSSION
Here the students are asked to discuss about the following points Ø Interact the concepts of fashion
designing with your friends. Ø Different new methods of trimmings and decorations 3.10 REFERENCES: Ø
Fashion sketching book, by Bina Abling, Fai child publication. Ø Inside the fashion business, by Macmillan
publication company Ø Elements of fashion and apparel designing, by Sumathi G.J., New Age
International Pvt. L.t.d.. Ø The art and everyday life Ø Fashion from concept to consumer, by Cini
stephens Frings, Low price edition This watermark does not appear in the registered version -
http://www.clicktoconvert.com 38 LESSON – 4: PRINCIPLES OF DESIGNING CONTENTS 4.0 AIM AND
OBJECTIVES 4.1 INTRODUCTION 4.2 PRINCIPLES OF DESIGN 4.2.1 Balance 4.2.1.1 Formal Balance 4.2.1.2
Informal Balance 4.2.1.3 Radial Balance 4.2.2 Emphasis 4.2.3 Harmony 4.2.4 Proportion or Scale 4.2.5
Rhythm 4.3 LET US SUM UP 4.4 LESSON END ACTIVITIES 4.5 POINTS FOR DISCUSSION 4.6 REFERANCES
4.0 AIM AND OBJECTIVES After going through this unit, you should be able to have a clear idea of the
following Ø Basic principles of design Ø Balancing of the silhouettes. Ø Selection and area of design Ø
Proportions of fashion designing 4.1 INTRODUCTION The wish to decorate or beautify the human body
has been existed from the stone age when the early man painted his face and his body. Even though the
beauty standards have changed, the desire remains constant. The principles design creating lot of
creation, expression in an artistic manner. This unit includes all aspect of designing to develop a
different form of figure, proportion of figure, balancing of figure, harmony of figure, emphasis and
rhythm of figure. 4.2 PRINCIPLES OF DESIGN The principles of design are useful in creating different
forms of expression in an artistic manner, which are pleasing and attractive to the eye. Following are the
principles of designing 1. Balance 2. Emphasis 3. Harmony This watermark does not appear in the
registered version - http://www.clicktoconvert.com 39 4. Proportion 5. Rhythm 4.2.1 Balance Fig 4.1 In
clothing balance refers Fig 4.1 to a visual attribution of weight, from a central area. Balance implies a
sense of equilibrium. Pleasing balance brings about a satisfying relationship among all design parts to
produce visual harmony. In clothing designs, three kinds of balance are observed. 4.2.1.1 FORMAL
BALANCE: Formal Balance occurs when object appears to equalize each other by repetition and
arranged at equi-distance from the centre. The upper and lower portions of the design are so arranged,
as to give an effect of balance. Thus there should not be the effect of too much of weight at the bottom
or a heavy appearance. For Example, dark coloured skirt over lighter shade of pants make a short person
shorter. This watermark does not appear in the registered version - http://www.clicktoconvert.com 40
Fig 4.2 Fig. 4.2 http://www.vintagesewing.info/1920s/26-fcm/fcm-illus/39-05&06.jpgis an
http://www.vintagesewing.info/1920s/26-fcm/fcm-illus/39-05&06.jpg example of good formal balance.
It notices that both sides of the dress are exactly alike. The plaiting on either side is of the same width
and amount, and is placed the same distance from the center line running from the head to the feet,
thereby creating a perfect balance. The jacket, too, has the same ornament on either side so it does not
disturb the balance. The dress is equally well balanced about the waistline, for the jacket above balances
the plaiting below. Fig 4.3 Fig.4.3 illustrates an example of formal balance which could be improved
upon by moving the monogram to the center of the dress. Located as it is it throws the dress slightly out
of balance. 4.2.1.2 INFORMAL BALANCE: Occurs when objects appear to equalize each other but not
through repetition and the arrangement is in a haphazard manner. Here design of different sizes and
shapes and of different attraction are arranged. The larger and more attractive designs are kept as far
away from the center. If used correctly, informal designs can be effective in being attractive. This
watermark does not appear in the registered version - http://www.clicktoconvert.com 41 Fig 4.4 A good
example of informal balance may be seen in Fig 4.4. Both sides of the dress are different. The large sash
placed near the center lines is balanced by the small ornament on the shoulder which is placed as far as
possible from the center line. on t he other hand, fig. 4.5 i http://www.vintagesewing.info/1920s/26-
fcm/fcm-illus/39- 07&08.jpgs a http://www.vintagesewing.info/1920s/26-fcm/fcm-illus/39-
07&08.jpgpoor example of informal balance, because of all the weight being on one side of the dress,
thereby making the dress very one-sided. Fig 4.5 It may be said to be fairly well balanced above and
below the center line, as the small bow far removed from the center line balances the large bow close to
it, just as the small bow far out on the teeter-totter balances the large bow close to the center. If a dress
is to appear balanced it must create in your mind the impression that the distribution of weight, both
above and below the center and on either side are equal, so that it is not top heavy or one-sided. You
are less likely to make mistakes in formal balance than in informal balance because in the former case
each line and decoration is repeated on both sides of the center line. This watermark does not appear in
the registered version - http://www.clicktoconvert.com 42 Of course, formal balance should not be used
for all dresses, as it tends to be rather too severe for some occasions. It is most fitting for street dresses
and sport clothes, whereas informal balance lends itself to the afternoon and evening gown. 4.2.1.3
RADIAL BALANCE: Occurs when major parts of the design radiate from the central part. Formal balance
is the least expensive to produce apparel in mass production. Informally balanced garment is more
difficult to produce. For each section of the garment cuts will have to be probably handled differently.
4.2.2 EMPHASIS: Emphasis involves the concentration of interest in the selected area of design with
other centre of interest subordinated. Emphasis as such, should not be placed at an area that one
wishes to minimize attention drawn on. Designers often create emphasis partially though the careful
arrangement of line, texture and colours. It could also be called as focal point. Each design needs some
note of interest that catches the eye or attracts the attention on a specific area of the garment.
Contrasting colour for example could be used to emphasize an area. A black dress with white collar and
cuffs will direct the eye to the face and hands. There can be several centers of interest although one or
two will be more dominant than the others and will arrest the attention longer and draw the eye back to
it more frequently the lesser centers of interest. Fig.4.6 Fig.4.7 Fig. 4.6 shows a very
http://www.vintagesewing.info/1920s/26-fcm/fcm-illus/39- 11&12.jpgsatisfactory
http://www.vintagesewing.info/1920s/26-fcm/fcm-illus/39- 11&12.jpgexample of emphasis. The bow at
the neckline emphasizes this part of the dress; thereby the attention is attracted to the head where the
center of interest should be. By contrast, Fig. 4.7 is a very bad example of emphasis. The large, curved,
meaningless design on the dress does not go well with the V-shaped neck. It would be better to do away
with This watermark does not appear in the registered version - http://www.clicktoconvert.com 43 this
design entirely or at least substitute one which would not tend to emphasize the center portion of the
dress to such an excessive extent, but instead carry a little of the interest to the head. Some methods of
lay emphasis could be · Grouping of design units. · Using contrast of hues · by leading lines · A
combination of any of the above · Repeating details such as tucks, gathers, button etc · Unusual shapes
and textures · Applied design on a contrast background The placement of dart spots on a lighter co lour
background (or) vice versa could emphasis the body part they are placed over. While enhancing the
design by concentrating on a focal point the designer must bear in mind the figure and personality of the
wearer. 4.2.3 HARMONY: Harmony otherwise called unity. If the principle of proportion, balance,
rhythm and emphasis are applied creatively, the resultant design is said to have the harmony. Unity
means that all elements of the design work together to produce a successful visual effects. If anyone of
the principles is not applied the resulting design will also lack harmony which means; if the principle of
structural/decorative deign with balanced proportion and quantitative and qualitative emphasis creating
a rhythm of its own, give an outcome of harmony of unity. It is a result or an achievement which every
designer should keep in mind while designing or drawing or arranging various elements or design for
achieving/creating particular purpose of design. Lack of application of any one principles of design, will
result in a design which is not harmonious or not in harmony. 4.2.4 PROPORTION OR SCALE:
Relationship in size between a part and the whole is defined to as proposition. For way design, an artist
or a designer should aim for a sense of order of unity or oneness among the principles of design.
Proportion includes planning of the basic shape within a design. It may involve the scale of the forms
within the design like diversion of space to create attractive space relationship where the variety of
shapes, sizes and the general idea of unity of principles of designs are to be expressed. Optical illusion is
created by changing partial arrangements to enhance the attractive portion that one wishes to enhance.
e.g., puffed in the shoulders or increased width in sleeves etc., In the principles of design that involves
phasing relationships between all parts of a design with respect to each other. This may include: -
Planning of the basic shapes This watermark does not appear in the registered version -
http://www.clicktoconvert.com 44 - Division of spaces for a good relationship Creating an optical illusion
that will give an impression of proportion, when it is not possible to change the basic design. 4.2.5
RHYTHM: Directs the movements of the eyes as one uses the details of a design. Therefore a rhythmic
pattern needs to be established to give a costume unity. There are no pre-requisite rules for establishing
rhythm in a design. Rhythm us most effective when it is experienced un a quiet way. It is the repeated
use of lines or shapes to create pattern. Uniform rhythm is the repetition of the same space and is
known as the order lines of rhythm. In progressive or graduated rhythm the size of the unit increases or
decreases as it is repeated. Unequal rhythm is an unequal use of space and this rhythm is an unequal
use of space and this is called as un-orderliness of rhythm. In this type of rhythm the proportion are
unbalanced; creating a larger space for enhancing the design and this finally calls in for expertise. This
type of rhythm gives though provoking designs. The emphasis in such designs could be traced
successfully by using unequal (or) un-orderliness of rhythm. This reflects to a greater extract on the
creativity of the designer and how an unequal division of space could bring out the best impact of the
design with the emphasis shown within the design. Rhythm can be achieved through the combination of
lines, shape, co lour and texture by the following aspects in designing. 1. By regular repeats or trims,
(button etc.,) texture, and fabric design and prints. 2. Progression or radiation in sizes of trims, colours
textures and fabric designs. 3. Radiation or movement from the central point occurring within structural
details such as gathers, folds, tucks darts etc. 4. Continuous flowing lines such as those in bonds of
colours, textures and fabric designs. Fig. 4.8 Fig. 4.9 Fig. 4.8 shows good
http://www.vintagesewing.info/1920s/26-fcm/fcm-illus/39- 09&10.jpgrhythm
http://www.vintagesewing.info/1920s/26-fcm/fcm-illus/39-09&10.jpg of line, as the eye can trace easily
over the curved lines of the skirt which tends to raise the interest This watermark does not appear in the
registered version - http://www.clicktoconvert.com 45 toward the upper part of the dress. There is
nothing about the lines which conflict, causing the eye to be uncertain whether to go around the dress
or up and down. This is not the case in Fig. 4.9, which shows very poor rhythm of line, for the curved
lines of the upper and lower parts of the dress cut across the lines running around the dress. 4.3 LET US
SUM UP In this unit we clearly understood about principle of design. It covers the balancing of
silhouettes. Here we saw three different types of balancing with figure for your clear understand.
Through emphasis, how the designer uses the line, texture and colour based on the season and interest.
The unity (harmony) gives the idea to use of proportion, balance, rhythm and emphasis in creative
applications. Even though we may have a good creative idea, we must know the scale and proportion of
a figure and it was explained in this lesson through the topic of scale by planning, basic shape size and
the method of division of spaces. 4.4 LESSON END ACTIVITIES The students may do the following
activities based on this lesson Ø Analyze the different forms of figure Ø Make your own balanced fashion
figure 4.5 POINTS FOR DISCUSSION Here the students are asked to discuss about the following points Ø
The procedure for making the figure based on the principle of designing. 4.6 REFERENCES: Ø Fashion
sketching book, by Bina Abling, Fai child publication. Ø Wardrobe strategies for women, by Judith
rasband, Delmar publication. Ø The art and everyday life Ø Fashion from concept to consumer, by Cini
stephens Frings, Low price edition Ø Inside the fashion business, by Macmillan publication company This
watermark does not appear in the registered version - http://www.clicktoconvert.com 46 UNIT – II
LESSON – 5: COLOUR CONTENTS 5.0 AIM AND OBJECTIVES 5.1 INTRODUCTION 5.2 COLOUR 5.3 PRANG
COLOUR SYTEM 5.3.1 Primary colours 5.3.1.1 Subtractive colours 5.3.1.2 Additive colours 5.3.2
Secondary colours 5.3.3. Tertiary colors 5.4 MUNSEEL COLOUR SYSTEM 5.5 COLOUR WHEEL 5.5.1
Complementary colours 5.6 DIMENSIONS OF CO LOUR 5.6.1 Hue (symbol h) 5.6.1.1 Neutral colours:
5.6.1.2 Powerful colour combination: 5.6.2 Value 5.6.3 Intensity (Symbol I) Or Chroma (Symbol C) 5.7
LET US SUM UP 5.8 LESSON END ACTIVITIES 5.9 POINTS FOR DISCUSSION 5.10 REFERANCES 5.0 AIM AND
OBJECTIVES After going through this unit, you should be able to have a clear idea of the following Ø
Discussed about the colour, dimension of co lour and application of colour. Ø Different co lour systems.
Ø Colour wheel with different system. 5.1 INTRODUCTION Now comes to the interesting subject of
color. If one can combine colors well in the selection of clothing, it will not be difficult to apply it to the
redecoration of the living room, This watermark does not appear in the registered version -
http://www.clicktoconvert.com 47 selecting material for draperies, glass curtains, fancy pillows and little
things that help to make a house a real home. The main object of color in a costume is to obtain a
beautiful combination, which will grow more so the longer one looks at it. One problem is to get good
color combinations in the use of materials, for texture is as important as color. When you plan a dress or
blouse you are building a picture in which, just as in a painted picture, or in a large building, designed by
some famous architect, the lines and color must be well organized, rhythmically balanced, proportionate
and fitting the purpose intended. It is the proper choice in the putting together of color effects that you,
as an artist in dress, will and must reveal in order to be a real success. 5.2 COLOUR Colour has been
investigated and used for more than 2000 years. Throughout history, different civilizations have
experimented and learned more about colour. We are still learning today about how colour affects us
and its importance in our lives. Colour is simply light of different wavelengths and frequencies and light
is just one form of energy made up from photons. Colour is a visual language. It is personal and universal
sending a message of endless variation. It evokes our feeling and affects our life. The apparel of colour is
to use it beautifully. It is one of the basic components of fashion, the other being, texture, details and
silhouettes. They are inter-related to one other. The study of colour may be approached from any one of
the following five angles. · Physiologist: The physiologist is concerned with the way in which the eye
receives the sensation of colour. · Chemist: The chemist studies the chemical properties of the natural
and the artificial colouring materials used for the manufacture of dyes and prints. · Physicist: To the
physicist the significance of colour is merely its wavelength and its intensities. · Psychologist: the
psychologist shows the effect of colours on persons and on each other. · Artist: The artist is the persons
who play with colours and are those who mix paints and dyes. The first two is not necessary, as they do
not affect the ordinary problems in the use of colours. Fifth and fourth is more important for use of
(fashion) the many theories of colours in pigment. Two are in common use, Prang colour system and
Munsell colour system. The prang colour theory only will be used when explaining the properties and
classes of colour to avoid confusion for beginning students. This watermark does not appear in the
registered version - http://www.clicktoconvert.com 48 5.3 PRANG COLOUR SYTEM Basically colours are
divided into three groups. 1. Primary colours 2. Secondary colours 3. Tertiary Colours 5.3.1PRIMARY
COLOURS Red Yellow Blue Fig 5.1 There are three Primary colours: RED, YELLOW and BLUE (Fig 5.1).
Primary colours cannot be created by mixing other colours. Contrary to popular belief, there are actually
two types of primary colours - Subtractive and Additive. Subtractive colours are colours that are used in
conjunction with reflected light. In this case the subtractive colours are blue red and yellow, (cyan,
magenta and yellow where printing and coatings are concerned). These are the colours we are probably
most familiar with the as the primary colours from school. Additive colours are colours that are used in
conjunction with emitted light. In this case the additive primary colours are red, green and blue. These
are the colours we are probably most familiar with in association with television, and computer displays.
5.3.1.1 SUBTRACTIVE COLOURS These are the colours that are associated with the subtraction of light
and used in pigments for making paints, inks, coloured fabrics, and general coloured coatings that we
see and use every day. All printing processes use subtractive colours in the form of cyan (blue) magenta
(red) yellow and black. This is known as CMYK (cyan, magenta, yellow, black) the K stands for black in
the printing process. If all three of the subtractive primary colours were combined together, they would
produce black. Some examples where subtractive primary colours are used: · textiles · clothes ·
furnishings · printing · paints · coloured coatings This watermark does not appear in the registered
version - http://www.clicktoconvert.com 49 5.3.1.2 ADDITIVE COLOURS These are the colours that are
obtained by emitted light. The additive primary colours are red, green and blue. If all three of the
additive colours were combined together in the form of light, they would produce white. Some
examples where subtractive primary colours are used: · television · theatrical lighting · computer
monitors 5.3.2 SECONDARY COLOURS Fig 5.2 A colour created by mixing two primary colours is called a
secondary colour. For example: orange is a secondary colour which is created when the subtractive
primary colours red and yellow are mixed together (Fig5.2). Secondary colours can only be created by
mixing true primary colours. 5.3.3. TERTIARY COLORS Tertiary colors (Fig 5.3) are combinations of
primary and secondary colors. There are six tertiary colors; red-orange, yellow-orange, yellow-green,
blue-green, blue-violet, and red-violet. Fig 5.3 This watermark does not appear in the registered version
- http://www.clicktoconvert.com 50 An easy way to remember these names is to place the primary
name before the other colour. So, the tertiary colour produced when mixing the primary colour blue
with the secondary colour green, is called 'blue-green" 5.4 MUNSELL COLOUR SYSTEM In colorimetry,
the Munsell color system is a color space that specifies colors based on three color dimensions, hue,
value ( lightness), and chroma (color purity or colorfulness). It was created by Professor Albert H.
Munsell in the first decade of the 20th century. Several earlier color order systems had placed colors
into a three dimensional color solid of one form or another, but Munsell was the first to separate hue,
value, and chroma into perceptually uniform and independent dimensions, and was the first to
systematically illustrate the colors in three dimensional space. [1] Munsell’s system, and particularly the
later renotations, is based on rigorous measurements of human subjects’ visual responses to color,
putting it on a firm experimental scientific basis. Because of this basis in human visual perception,
Munsell’s system has outlasted its contemporary color models, and though it has been superseded for
some uses by models such as CIELAB (L*a*b*) and CIECAM02, it is still in wide use today. Fig 5.4 The
system consists of three independent dimensions which can be represented cylindrically in three
dimensions as an irregular color solid: hue, measured by degrees around horizontal circles; chroma,
measured radially outward from the neutral (gray) vertical axis; and value, measured vertically from 0
(black) to 10 (white). Munsell determined the spacing of colors along these dimensions by taking
measurements of human visual responses. In each dimension, Munsell colors are as close to
perceptually uniform as he could make them, which makes the resulting shape quite irregular. This
watermark does not appear in the registered version - http://www.clicktoconvert.com 51 As Munsell
explains: Desire to fit a chosen contour, such as the pyramid, cone, cylinder or cube, coupled with a lack
of proper tests, has led to many distorted statements of color relations, and it becomes evident, when
physical measurement of pigment values and chromas is studied, that no regular contour will serve. A
color is fully specified by listing the three numbers for hue, value, and chroma. 1. Hue: Each horizontal
circle Munsell divided into five principal hues: Red, Yellow, Green, Blue, and Purple, along with 5
intermediate hues halfway between adjacent principal hues. Each of these 10 steps is then broken into
10 sub-steps, so that 100 hues are given integer values. Two colors of equal value and chroma, on
opposite sides of a hue circle, are complementary colors, and mix additively to the neutral gray of the
same value. The diagram below shows 40 evenlyspaced Munsell hues, with complements vertically
aligned. 2. Value: Value, or lightness, varies vertically along the color solid, from black (value 0) at the
bottom, to white (value 10) at the top.Neutral grays lie along the vertical axis between black and white.
Several color solids before Munsell’s plotted luminosity from black on the bottom to white on the top,
with a gray gradient between them, but these systems neglected to keep perceptual lightness constant
across horizontal slices. Instead, they plotted fully-saturated yellow (light), and fully saturated blue and
purple (dark) along the equator. 3. Chroma: Chroma, measured radially from the center of each slice,
represents the “purity” of a color, with lower chroma being less pure (more washed out, as in pastels).
Note that there is no intrinsic upper limit to chroma. Different areas of the color space have different
maximal chroma coordinates. For instance light yellow colors have considerably more potential chroma
than light purples, due to the nature of the eye and the physics of color stimuli. This led to a wide range
of possible chroma levels—up to the high 30s for some hue-value combinations (though it is difficult or
impossible to make physical objects in colors of such high chromas, and they cannot be reproduced on
current computer displays). This watermark does not appear in the registered version -
http://www.clicktoconvert.com 52 5.5 COLOUR WHEEL Fig 5.5 The Colour wheel is a useful pictorial
representation of the spectrum of colours and can be used to simplify the understanding of the
interaction of colours used in a painting. It can also help with selection of a palette of colours, colour
mixing, the natural greying of colours, and colour perspective (also called aerial perspective). The
simplified wheel opposite consists of the primary, secondary and tertiary colours explained in Fig 5.5.
The three primary colours Red, Yellow and Blue are shown in the large circles. Between each of the
primary colours are the secondary colours, shown in the middle sized circles, which result from mixing
the two adjacent primaries. The tertiary colours obtained from mixing the primaries with their
respective secondary colours are shown in the small circles. As the colours progress around the wheel in
any direction, each one is a gradual change from its adjacent colour. The colours on the right of the
wheel shown opposite are known as cool colours - colours which are blue or have a leaning towards
blue (yellow-green to blue-violet) The colours on the left, are known as warm colours - colours which are
red or have a leaning towards red (yellow-orange to red-violet) 5.5.1 COMPLEMENTARY COLOURS Fig
5.6 This watermark does not appear in the registered version - http://www.clicktoconvert.com 53
Complementary colours are those which are opposite each other on the colour wheel. For example (Fig
5.6), red is opposite green. Green is made from the other two primary colours so it contains no red.
When these complementary colours are put together in a picture the result is striking - think of poppies
in a green field. Each colour makes the other 'sing' and have vibrancy. Each primary has a secondary
colour which is its complementary and vice versa: · Orange is the complementary of Blue. · Green is the
complementary of Red and · Violet is the complementary of Yellow, 5.6 DIMENSIONS OF COLOUR There
are three properties or qualities which may be called the dimensions of colour and which are just us
distinct form one another as the length, breadth and thickness of an object. These colour dimensions
are: 1. The Hue or name of the colour(their warmth or coolness) 2. The value of the colour(their
tightness or darkness) 3. The intensity of the colour(their brightness or dullness) All these three are
present in every colour, just as every object has length, breadth and thickness. 5.6.1 HUE (SYMBOL H)
Hue is the term used to indicate the name of colour, such as red, blue or green. Light travels in waves of
different lengths and at different rates of speed and these waves produce in the eye, the sensation that
we call as “colour”. Objects have a property called as “colour quality”, which makes it possible for them
to reflect some of these wavelengths and to absorb others. The object is supposed to possess the colour
that is nor absorbed by it but reflected out. When the object reflects all the wavelengths, it is seen as
white in colour. When the object absorbs all the wavelengths, the object is seen as black in colour. There
are three fundamental hues—red, yellow and blue—which are commonly called the primary colors and
from these all the other hues may be made, if mixed in the proper amounts. The triangle shown in Fig.
5.7 indicates the primary colors. Between the corners of the triangle, as for example the red and yellow,
additional hues may be inserted, which really are the result of the combination of primary colors. Fig 5.7
This watermark does not appear in the registered version - http://www.clicktoconvert.com 54 By the
mixing of red and yellow we produce orange; yellow and blue combined gives green; and blue and red
makes purple or violet. These colors, green, orange and violet are called Fig 5.8 the secondary or binary
colors. As you will notice we are developing a color chart and are indicating the secondary colors by the
second triangle which is placed over the first triangle as shown in Fig. 5.8. In order to produce one of
these secondary colors, it is necessary that we use the two required primaries in equal amounts. Fig 5.9
There http://www.vintagesewing.info/1920s/26-fcm/fcm-illus/36-03.gifare fu
http://www.vintagesewing.info/1920s/26-fcm/fcm-illus/36-02.gifrther hues known as the intermediate
colors which we obtain by mixing equal amounts of a primary and a secondary and which will fall
between the points of Fig.5.9. Thus we finally have the completed color diagram. 5.6.1.1 NEUTRAL
COLOURS: Grey is formed when black is combined with white Gray is also got when equal amounts if
complimentary colours form the colour wheel are mixed it is also formed when all the three primary
colours are mixed together. When the three pigments are concentrated, it results in black, white and
shades of grey are called natural colours, because they have no colour of hue. Hue is the measurable
properties of co lour in terms of temperature e.g. hot, warm, cold and cool colours 1. Hot colour – refers
to red hue in its full saturation. They are strong and aggressive and seem to vibrate within their own
space. 2. Warm colour – are cheerful, welcoming and stimulating. They radiate outwards ad surround
every thing in reach. They are the hues of range by the combination of red and This watermark does not
appear in the registered version - http://www.clicktoconvert.com 55 yellow e.g. RO, O, YO. Warm hues,
as they will make objects appear larger and nearer to the observer (advancing colour). 3. Cold colour –
refers to fully saturated blue. It is dominating and strong its brightest. The feelings generated by cold
colours are the direct opposite of those generated by hot colours. Cold hue slows the body metabolism
and increases ones sense of calm. But too much of cold colour may be depressing. 4. Cool colour – hues
such as YG, G&BG, which are obtained by mixing yellows and blues. Cold colours have a reverse effect of
warm colours. They are calm and restful. They make an object appear in a reduced size since it is a
recoding colour. 5.6.1.2 POWERFUL COLOUR COMBINATION: Hot and cold colours when placed adjacent
to each other, forms a powerful combination. They vibrate like fire and ice. Powerful combination
symbolizes the strongest emotions & control and sends a message of vitality, awareness and attracts
attention. Thus knowledge of hue enables the colour user to accomplish the following 1. Identify the
names of colours. 2. Recognize advancing and recoding colours. 3. Place a colour in-group such as warm,
cold etc. 5.6.2 VALUE Value the second dimension describes the lightness or darkness of a colour, which
is the relative amount of black or white in a hue. Value can be changed by adding white or water to
lighten and by adding more pigment or black to lighten them. Every hue is capable of being lowered to a
value just above black and of being raised to a value just under white. The incremental addition of white
to hue results in lighter values of the hue called tints. The incremental addition of black to hue results in
darker values of the hue called shades. Light colours are the palest pastels i.e. with 90-95% of white 5-
10% of colour. Its degree of lightness is determined by the absence of visible colour in their composition.
Light values seem to increase to size of an object. Small rooms may be made to appear larger if they are
decorated in light colours as light colours create the impression of distance and a person looks larger in
white or very light clothing as light colours recede. Dark colours are the darkest shades with maximum
amount of black. Dark values seem to decrease the size of an object. Therefore dark colours would be a
poor choice for the background of small rooms and a good choice for clothing for large people as they
are advancing in nature. While white and light colours suggest foreground or nearness. In store display
dark values should be used below, rather than above the light values, for if they are seen above the light
colours the display will appear unstable. Black and very dark colours absorb the colour of objects seen
again them. Black also has a power to unify colours and helps to bring harmony into an arrangement.
When a number of bright colours are used together. This watermark does not appear in the registered
version - http://www.clicktoconvert.com 56 For e.g... In a ballroom the gay colours of the women’s
gowns are harmonized by the masses of black of the men’s clothes. Colours themselves in their original
form vary in their values. Dr.Donman. W.Ross has given the names and symbols of eight steps of value,
with the lightened being white and darkened being black 5.6.3 INTENSITY (SYMBOL I) OR CHROMA
(SYMBOL C) The degree of brightness or dullness existing in a colour is called intensity i.e. its strength or
its weakness. Intensity is the quality of colour that makes it possible for a certain hue –to whisper, to
shout, or to speak in a gentlemanly tone. In other words it is the property describing the distance of
colour from grey or neutrality. The colours in the outer circle of the intensity chart are found to be of full
intensity because they are as bright as each colour can be. As colours go down in their brightness toward
neutral grey or no-colour, to the centre of the circle, they are found to become duller and are said to be
of low intensity, chroma or neutralized. A colour may neutralize or destroyed or changed in its intensity,
by mixing it with its complement or grey. A complement may be used to neutralize a colour because of
the fact that a complement of a colour has the other two primary hues, which is not present in the
colour, therefore resulting in neutralization. Example, when red is mixed with its complement green
(Y+B), the presence of all the 3 primary colours results in neutralization. Neutral grey itself has a
neutralizing effect and may be used instead of a complement to dull a colour. When a colour in its full
intensity has had enough it its complement or grey, mixed with it, to make half as bright as it can be, it is
halfway between full intensity and neutrality. This can denoted as to be one half neutralized (1/2 N) or
one half-intense (1/2 I). Like this, the steps towards neutralization can be denoted as I (denoting hue
with full intensity),1/4 Nor ¾ I, ½ N or ½ I, ¾ N or ¼ I and lastly N or C (denoting the neutralization of a
hue to grey or chroma). Texture plays so important a part in colour use that is cannot be ignored.
Surfaces having more or less roughness reflect light in tiny accents and throw little shadows that have
the effect of dulling the intensity of a colour. The texture of a smooth surface seems to blend colours
used together and give the appearance of vibrating colour on a shiny surface. 5. 7 LET US SUM UP In
order that you may always have beautiful clothes which will be the envy of everyone who looks at them
and which will increase your natural attractiveness, the choosing of colors and the combination of them
must be carefully considered. When you have learned to do this you will have accomplished one of the
most important steps in the art of beautiful clothes-making. It is just as essential to fully understand and
make use of the proper application of color in design as is the application of any of the other elements
of design. This watermark does not appear in the registered version - http://www.clicktoconvert.com 57
The proper use of color values is of the greatest importance in dress designing, for just as the warm or
cold hues add to or detract from the appearance of size, so do the color values. By hue we mean the
name of the color such as red, yellow or blue. The difference in the warmth in the color is a variation in
hue, or in other words, as red changes toward the orange it has become red orange and has changed its
hue. 5.8 LESSON END ACTIVITIES The students may do the following activities based on this lesson Ø
Prepare you own colour chart according to the colour theory Ø Draw a fashion figure based on the
colour theory 5.9 POINTS FOR DISCUSSION Here the students are asked to discuss about the following
points Ø Applications of Dimension of colours on fashion figure 5.10 REFERENCES: Ø Inside the fashion
business, by Macmillan publication company Ø Elements of fashion and apparel designing, by Sumathi
G.J., New Age International Pvt. L.t.d.. Ø The art and everyday life Ø Fashion from concept to consumer,
by Cini stephens Frings, Low price edition Ø Fashion sketching book, by Bina Abling, Fai child publication.
This watermark does not appear in the registered version - http://www.clicktoconvert.com 58 LESSON –
6: COLOUR HORMONIES & APPLICATION CONTENTS 6.0 AIM AND OBJECTIVES 6.1 INTRODUCTION 6.2
COLOR HORMONIES 6.2.1 Harmonies of related colours. 6.2.2 Harmonies of contrasting colours. 6.3
APPLICATION OF COLOUR ON FASHION FIGURE 6.4 BASIC PRINCIPLES OF COLOUR IN DESIGN 6.5
APPLICATION OF COLOUR ON DRESS DESIGNING 6.6 LET US SUM UP 6.7 LESSON END ACTIVITIES 6.8
POINTS FOR DISCUSSION 6.19 REFERANCES 6.0 AIM AND OBJECTIVES After going through this unit, you
should be able to have a clear idea of the following Ø Color harmonies and pleasing combinations of
hues. Ø The use of color on the figure and figure size. Ø Color in a costume. 6.1 INTRODUCTION Now
that you know all about color and harmony, and you have found out just which styles most become your
type of figure. And it is just this harmony that we must strive to achieve in dress—for without harmony
there can be no beauty. A dress may look beautiful on a model but entirely unattractive on a human
figure. This is because each one of us has distinct personality, each one of us has little peculiarities of
line and coloring that require special thought and consideration. Colors play a large part in the creating
of fashion. An otherwise charming gown may be completely marred by the use of a wrong color. On the
other hand, the simplest gown can be enhanced by the use of the right color. If you want to be truly
well-dressed, find out now from the following chart just what colors most become you—and avoid those
that do not. Color in dress should be considered from two points of view. The first is the harmonious
combination of colors in the costume itself. Second is the becomingness of the colors of the costume to
personal coloring, hair and eyes of the wearer. One is as important as the other and through ignorance
of the first; a most unpleasant effect may be thrust upon a sensitive public; while disregard of the latter
means a loss in personal beauty. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 59 6.2 COLOR HORMONIES Harmony can be defined as a pleasing
arrangement of parts, whether it be music, poetry, color, or even an ice cream sundae. Color theory has
long had the goal of predicting or specifying the color combinations that would work well together or
appear harmonious. The color wheel has been adopted as tool for defining these basic relationships.
Some theorists and artists believe juxtapositions of complementary colors are said to produce a strong
contrast or tension because they annihilate each other when mixed; others believe the juxtapositions of
complementary colors produce harmonious color interactions Colors next to each other on the color
wheel are called analogous colors. They tend to produce a single-hued or a dominant color experience.
Harmony has been sought in combinations other than these two. A split complementary color scheme
employs a range of analogous hues, "split" from a basic key color, with the complementary color as
contrast. A triadic color scheme adopts any three colors approximately equidistant around the hue
circle. Printers or photographers sometimes employ a duotone color scheme, generated as value
gradations in black and a single colored ink or color filter; painters sometimes refer to the same effect as
a monochromatic color scheme Fig 6.1 The color wheel (Fig.6.1) harmonies have had limited practical
application simply because the impact of the color combinations is quite different, depending on the
colors involved: the contrast between the complementary colors purple and green is much less strident
than the contrast between red and turquoise. They can suggest useful color combinations in fashion or
interior design, but much also depends on the tastes, lifestyle and cultural norms of the consumer.
When the schemes have proven effective, this is often because of fundamental contrast is between
warm and cool hues (in this instance meaning hues on the opposite sides of the color wheel), contrast of
value with darks and lights, contrast of saturated and unsaturated colors, or contrast of extension, when
one color is extended over a large area contrasting another color extended over a very small area. In the
20th century color theory attempted to link colors to particular emotional or subjective associations: red
is an arousing, sensual, feminine color; blue is a contemplative, serene, masculine color, and so on. This
project has failed for several reasons, the most important This watermark does not appear in the
registered version - http://www.clicktoconvert.com 60 being that cultural color associations play the
dominant role in abstract color associations, and the impact of color in design is always affected by the
context. Create colour harmony with a colour wheel The standard colour harmonies may be divided into
two main groups. Ø Harmonies of related colours. Ø Harmonies of contrasting colours. 6.2.1
HARMONIES OF RELATED COLOURS: Related color harmonies have one hue in common 1.
Complementary Harmony: Complementary Harmony results from using hues opposite each other in the
color wheel. Fig .6.2 Blue and orange, red and green, yellow orange and blue-violet are an example of
complementary harmony shown in Fig 6.2. Simple complementary schemes of two hues can be
extended by using tints, tones, or shades of the selected hues. When complementary hues are used in
their full strength (light chroma) and in equal quantities, they intensify each other and produce sharp
contrasts. This causes a vibration that is often painful to the eye. Red will seem redder when placed next
to its complement, green, than when red is used with yellow. Green appears greener next to red than
when used next to yellow. This phenomenon is called simultaneous contrast. The effect of the vibrations
caused by these complements can be lessened by using a smaller amount of intense color or by
substituting a tone or shade of the desired hue. 2 Split complement harmony: Split complement
harmony occurs when a hue is used with the colors on either side of its complement. This watermark
does not appear in the registered version - http://www.clicktoconvert.com 61 Fig 6.3 An example Fig 6.3
of a split complementary color scheme would be yellow joined with red-violet and blue –violet 3. Triad
harmony: Fig 6.4 A Triad harmony uses three hues placed equidistant on the color wheel. In Fig 6.4
sample triad color schemes are yellow, red, and blue or orange, purple, and green. 6.2.2 CONTRASTING
COLOR HARMONIES Contrasting color Harmonies have no hue in common. 1. Analogous Harmony:
Analogous Harmony uses colors that appear next to each other on the color. wheel. Fig 6.5 Colors such
as yellow-orange, yellow, and yellow-green make up an analogous harmony. When one of the hues is
allowed to predominate and when values and chromas are varied, striking effects can be achieved. This
harmony creates sweater. The length of the sweater will determine the line of value contrast. If the
hemline of the sweater falls at the largest part of the This watermark does not appear in the registered
version - http://www.clicktoconvert.com 62 hipline, this will be the point of emphasis. Value contrast at
the hipline would be avoided if the pants and sweater were of the same color or of different, yet close in
value, hues. Value contrasts that emphasize are found in many clothing designs. White or very light-
colored shoes are in direct contrast to dark, suntanned legs or dark hosiery, this shoe is contrasted
against the dark walking surfaces. Because of the advancing quality of light values, white, light on shuny
hosiery also seem to increase the size of the leg and feet. Other contrasts that attract attention are
contrasting belts, buttons, trims, or fabric colors. 2 Monochromatic Harmonies: Monochromatic
Harmony uses one hue. Fig 6.6 Various tints, tones, and shades of one hue are used in Monochromatic
Harmony (Fig 6.6) for instance, light pink, rose, maroon, and watermelon. If value and chroma
gradations are too close together, the effect may be unpleasing because of ambiguity of colors, giving
the impression of a mismatch. These schemes require noticeable differences to achieve the various
necessary to avoid a fatiguing and monotonous effect. 3. Achromatic colour scheme: Fig 6.7 Achromatic
means absence of colour. This scheme has white and black at the two extremes with tones of grey in
between. 6.3 APPLICATION OF COLOUR ON FASHION FIGURE Color is one of the first things people
notice about clothing. The use of color can create illusions of the figure size in the same way line does.
Color should be selected on the basis of complexion-hair, skin, and eyes-as well as on figure size. This
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complement the complexion. A complexion that tends to be sallow (yellow tones) should wear colors
that bring out the pink/red tones of the skin. A complexion that is florid (red/blue tones) should avoid
colors that emphasize the redness of the skin. Matching of color to the complexion is a very personal
matter. Old adages like "redheads should never wear pink" are not always valid. Careful selection of the
value and intensity of a color, its placement and the complements used with the color can allow its use
by almost everyone. Colors are classified as warm-reds, yellows, and oranges-or cool-blues, and greens.
Warm colors tend to create an illusion of greater size. Cool colors tend to create an illusion of reduced
size. The brightness or dullness and the lightness and darkness of colors also affect the illusion created.
Dull and dark colors seem to recede and make the figure appear smaller. Bright and light colors have the
opposite effect. In addition to these general characteristics of colors, how they are used will also
influence the illusion created. Contrasting colors in tops and bottoms create a horizontal line where they
meet and tend to shorten the figure. A single color outfit gives a vertical feeling and creates an illusion of
height and slimness. 6.4 BASIC PRINCIPLES OF COLOUR IN DESIGN 1. Dominant or Controlling Color:
Decide on the dominant or controlling color, which may dominate by covering a large area or by
strength of color in a smaller area. Decide whether the foundation or background color is to be the
dominant or a secondary color. Plan to use a large amount of quiet background color, a small amount of
bold, strong color. All large foundation areas should be in light or grayed tones. 2. Graying: Clear colors
are gayer, more cheerful, but grayed tones are more restful, their harmonies more subtle. Mixing gray
with bright colors brings them into relation with other colors in the room. As red and yellow in bright
tones seem to clash. Mixed with gray, they become rose and tan and go very well together. Use this
principle also in buying materials. Avoid too much graying. It gives muddy tones, dirty grays, flat greens.
A little gray goes far. 3. Relief and Contrast Colors: Decide on relief and contrast colors and bring them
into all parts of the room composition. Remember the order in the amount of space allowed each one,
foundation, then relief, then contrasts. All colors including background colors should be keyed to the
dominant color. Soften strong contrast colors with white. Contrast is less in lighter tints. Soften darker
contrasts with grey. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 64 4. Accent Colors: Use pure bright intense colors only in accessories,
etc., Distribute them so they will not be spotty. The smaller the area the brighter the color may be. The
larger the area the softer the tone should be. Don't use large amounts of pure bright color. 5. Keying:
This is another means of creating harmony. A key color is the one about which the color scheme is built-
the dominant or controlling color. All other colors in the room must be "keyed" with it- harmonized. Two
colors in which any part of a third color is present will be linked together. Example, to key red and
yellow to each other, mix them both with a little of the third primary hue - blue. Violet and green will
result, and these are harmonious to use with our strong tones. 6.5 APPLICATION OF COLOUR ON DRESS
DESIGNING Garments have combined design elements of texture, color and line, each must be selected
in relation to your figure and how they affect each of the other elements. The effects of texture in
fashion influence how colors appear and how design lines function. When several colors are used in a
single outfit, the amount, placement, and contrast between the colors used will determine the effect. If
the color is printed in the fabric design, the size of the design, as well as the colors used must be
considered. Generally, the size of print should be selected in relation to the figure size. Small figures look
best in fabrics with small designs. Large figures look best in fabrics with large designs. These guidelines
are especially true if the colors used are bright and contrast strongly. The main object of color in a
costume is to obtain a beautiful combination, which will grow more so the longer one looks at it. One
problem is to get good color combinations in the use of materials, for texture is as important as color. 1.
Beautiful Colors Correctly Used: In order that always have beautiful clothes which will be the envy of
everyone who looks at them and which will increase natural attractiveness, the choosing of colors and
the combination of them must be carefully considered. It is just as essential to fully understand and
make use of the proper application of color in design as is the application of any of the other elements
of design. 2. Color Types: It is quite difficult to lay down hard and fast rules as to the colors which
different individuals may wear. This may be readily understood, as hardly any two people are identical
as to color of hair, eyes, skin and general contour of features and body. All of these points have a direct
bearing on the colors which are suitable to be worn. For example the small, frail, flaxonhaired blonde
may be ever so attractive wearing certain colors which on the blonde of practically the same coloring,
but having a very large figure, would be most displeasing. This watermark does not appear in the
registered version - http://www.clicktoconvert.com 65 It will be necessary for in applying colors in the
making of clothes for yourself or for others to study carefully the effect produced by colors of different
values and intensity in the particular case with which you are dealing. 3. The Blonde: In choosing clothes
the blonde must be especially careful about color. Some blondes work by the rules of contrast, that dark
colors make their pale coloring seem even more delicate. It is commonly thought that this idea really
works. For blondes with gray blue or green eyes, there seems to be the opinion that grayish colors, that
is, blues, greens and violets, are far more becoming than the warm brownish tones. This isn't true when
speaking of the fair-haired, brown-eyed person, whose skin is somewhat inclined toward the brunette
type and who usually, looks well in shades of brown. Of course, if the blonde has golden hair and the
right complexion she may wear bright blue or red, even shades of rose may be chosen and worn well.
Pale blondes want to be ever so careful to avoid colors which make them look dull or very pale. As a
rule, the blonde should not wear tailored clothes. She is not at all the masculine type, so she will look
much better in simple, soft effects. She should not wear tweeds or very heavy materials. Her type calls
for jersey, crepes, kashas, velveteens and chiffons which are much more suitable. Heavy jewelry should
be avoided by blondes. She should select small beads, dainty chains and stones such as jade, amethyst,
turquoise and topaz. 4. Titian Haired Blonde: The titian haired girl, that is the one whose hair may be of
the so-called auburn shade or red, should be careful not to intensify this feature to too great an extent,
but on the other hand, she must not detract from the beauty of her hair. The complement of a color
tends to emphasize it; therefore she should avoid the light shades of green which from your color chart
you will see is the complement of red. Some of the very darkest shades of green may be very becoming.
The bright blues also tend to bring out the redness of the hair and should therefore be avoided. Navy or
midnight blue and the soft, silent tones should be very pleasing. The deep shades of brown, also black
and the cream and ivory hues, will be found to be very good. 5. The Brunette: If the brunette has a clear
skin or good color, any shade is possible. If she is pale she should avoid colorless dull or pastel shades.
The brunette having an olive complexion, especially if she is young, should never wear dark colors as
they tend to make her look older. The warmer tones by contrast emphasize the luster of the dark hair
and are therefore desirable. It is generally best for the brunette to use the warm colors such as reds, red
orange, yellow, etc. Whenever a brunette chooses to wear very dark shades such as dark brown, black,
or midnight blue, some bright color should be added such as orange or certain shades of red. This
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White Haired: Very frequently the gray-haired lady tends to wear black, which is very good, but she
must not forget that a touch of white in the form of a yoke or collar to relieve the black near the face is
most necessary. White of course, being a neutral color, is very good for this type. Purple in certain
shades is generally quite becoming, but inasmuch as the complexion of older people frequently tends
toward the yellow, bright purples should be avoided, for being the complement of yellow it tends to
emphasize that color. A person who when younger found the warm colors the more becoming must
remember that as the hair begins to turn gray and the color of the skin is not so clear that the cooler
shades should be more and more used. Some of the dull warm shades may also be pleasing, if the color
of the eyes and the features warrant their use. 7. A Sallow Complexion: A sallow complexion great care
must be taken in the choice of colors. Of course there are certain colors that will help a great deal. In
fact, it is far better to select those which will reflect color in the cheeks, and in order to do these choose
warm tints such as red, shades of rose, a gray color having a tint of pink or colors of this particular type.
Do not do this for the purple only helps to bring out the shallowness of the skin. Likewise black should
not be worn by this particular type of persons. If the complexion is very sallow avoid yellow, tans or
browns for it only tends to make the complexion look yellow. Shades of blue green, navy and might blue
will help to bring out the color in the cheeks and in this way make the skin look less sallow. However, be
very careful in the choice of shades of green, for bright greens are hard to wear by most types and
should be carefully avoided by this particular one. 8. Florid Complexion: A florid complexion, do not
select red or shades of red. A repetition of the same color, even though the tones and shades are
different will bring out the color. Bright colors must be omitted if a person having a florid complexion
wishes to distract the attention from that fact. It is hard to do this for a little red or pink for trimming is
ever so tempting and it really takes a great deal of self-control to keep from choosing these colors when
one loves to wear them. However, purples may be worn, also dark blues, dark brown or black can be
worn. To be sure, light shades are attractive for some people, but for this type of person usually darker
shades should be chosen. 9. Colors for Sports Clothes: As to colors, here again any color you like and can
wear well will be appropriate for the sports costume. While some of the darker shades are meeting with
approval, there is a decided liking for the bright hues. Royal blue, scarlet and greens are favorites, as
well as beige, coral, grays and other colors. Some of the most attractive dresses are made from striped
or barred jerseys. Occasionally there is a clever weaving of silk which gives a decided richness to the
material. Metal threads, woven to form stripe effects in jersey dresses are most pleasing. This
watermark does not appear in the registered version - http://www.clicktoconvert.com 67 10. Choose Of
Colors Just as there are certain colors which are usually pleasing and becoming, there are others which
nearly all people find rather trying and hard to wear. As a general thing we must all avoid the pure hues
having the full intensity. All of the bright shades of purple are trying to most complexions. Bright reds
and blues can be worn by very few people, whereas the duller shades of these colors are found to be
quite pleasing to many types. 6.6 LET US SUM UP With harmony, style, color and personality, clothes
require only the final touch of correct workmanship to make them perfect. Her we saw the colour
harmony with respect to distance, texture, complementary, personal reaction, colour contraction and
triads’ harmony. Beautiful combination, which gave longer one, looks at it. Color combinations in the
use of materials, for texture is as important as color. 6.7 LESSON END ACTIVITIES The students may do
the following activities based on this lesson Ø Create a fashion figure for different colour harmonies Ø
Collect swatches with different colour 6.8 POINTS FOR DISCUSSION Here the students are asked to
discuss about the following points Ø The methods of applying colour harmonies on a dress Ø The basic
principle of dress designing with colour concept 6.19 REFERENCES: Ø Inside the fashion business, by
Macmillan publication company Ø Elements of fashion and apparel designing, by Sumathi G.J., New Age
International Pvt. L.t.d.. Ø The art and everyday life Ø Fashion from concept to consumer, by Cini
stephens Frings, Low price edition Ø Fashion sketching book, by Bina Abling, Fai child publication. This
watermark does not appear in the registered version - http://www.clicktoconvert.com 68 LESSON – 7:
DRESS DESIGNING CONTENTS 7.0 AIM AND OBJECTIVES 7.1 INTRODUCTION 7.2 FOUR ESSENTIALS IN
DRESS DESIGN 7.2.1 Choice of Material 7.2.2. Choice of Color 7.2.3. The Design or Structure 7.2.4.
Decoration 7.3 THE PROPORTION OF FIGURE 7.4 UNUSUAL FIGURES 7.5 LET US SUM UP 7.6 LESSON END
ACTIVITIES 7.7 POINTS FOR DISCUSSION 7.8 REFERANCES 7.0 AIM AND OBJECTIVES After going through
this unit, you should be able to have a clear idea of the following Ø Steps involve designing of a dress. Ø
Studying the proportions of the body Ø General figure, shape of the face, coloring, etc. Ø Type of dress
and look. 7.1 INTRODUCTION To wear beautiful, becoming clothes is not enough. To wear clothes that
are an expression of one's individuality is not enough. There is something that is more important than
fashion, attractiveness, personality—something more significant than any or all of these. And so we find
that in addition to our knowledge of fabrics, design, the creating of clothes and the conforming to
certain individual types To the artist, the human figure is the most beautiful in the world. The designer
of clothes must take this attitude also, if she wishes her creations to be truly beautiful. There are no
straight lines in the body. All are gently curved. And all parts of the body bear certain general relations
to one another. For the study of design, you must know the figure, its contour, its curves, its general
outline. You must know the relation of the form to the gown you are draping—the form must be your
background, your landscape, your canvas, your very foundation. An invariable rule of design is that all
lines must closely follow the lines of the body. This watermark does not appear in the registered version
- http://www.clicktoconvert.com 69 7.2 FOUR ESSENTIALS IN DRESS DESIGN Let us see exactly what the
designing of a dress involves—exactly what we must take into consideration. Ø The study of the
structural lines of the human figure. Ø The requirements of individual types. Suitability. Ø The selection
of materials, with reference to color, texture and weave. Ø Detail—which is ornamentation and shaping,
and an analysis of the laws of design embracing proportion, rhythm, harmony and the perfect balance of
line, mass and color. In general the designing of garment for a different person can be classified in four
categories. 1. Choice of Material 2. Choice of Color 3. The Design or Structure 4. Decoration 7.2.1
CHOICE OF MATERIAL The first point to be considered when designing a dress is the occasion for which
the dress is planned, as this will dictate the kind of material of which the garment is to be constructed,
the appropriate color, the form or design and the type and amount of ornamentation. In regard to the
material which is to be chosen, remember that stiff hard fabrics do not drape well and should be used
where more tailored effects are desired. Also take the individual into consideration in the selection of
materials, for the large person should avoid stiff, wiry, hard surfaced materials as they seem to make
one look stouter. Just as soft dull fabrics tend to reduce the appearance of size in a large person, so do
the materials which do not cling to the figure tend to make the small, slender person appear larger. All
of the material used in a particular dress should be of approximately the same quality; that is, avoid
using cheap cotton material on a dress largely composed of very fine voile. Some materials which are
quite different, such as certain wool fabrics, may be used with satin, or frequently spring or summer
suits of wool are ornamented with linen or pongee. Combinations of this kind lend variety to the dress
or suit so that they are not too severely plain or monotonous. The small person may look well in a dress
made of such material, but even so it is desirable that the pattern or design of the goods is not too
conspicuous. Large figured patterns in dress material just as in rugs, wall paper, etc., grow tiresome after
a short time. Plain fabrics or materials having small figures giving a quiet effect can as a rule by safely
worn by everyone. We can create these lines by means of ruffles or tucks around the figure or by means
of panels or plaits running up and down, and likewise by the use of the design in the material of which
the dress is made, this same effect is produced. If the person had chosen stripes running the other way
she would have been made to look taller and not nearly so stout. This watermark does not appear in the
registered version - http://www.clicktoconvert.com 70 7.2.2. CHOICE OF COLOR Color in costume
attracts or repels at once. No costume, however correct in line and design, can be beautiful when made
of a color or combination of colors that are discordant. The combination of colors in dress is as much an
art as mixing pigments and applying them to the canvas. For a cool combination choose the gray and
blue of an autumn sky. The summer sky shows nature in one of her most beautiful moods, we have
combinations of gray and lavender, pink and blue, gray and rose. In the woods, nature chooses russet
and brown and dull yellows as her favorites, and adds a splash of green here and there to give
inspiration tot he artist. We have already gone into the subject of color, and will therefore not discuss
the subject here to any great extent. Study the individual carefully and select a color which will bring out
those desirable features and will tend to obscure and make less noticeable those which are not so
desirable. Be careful in choosing too bright colors, for there are few people who can wear them well.
What is good for the young, highly colored brunette is not so suitable for the more mature, delicately
colored blonde. Also remember that the use to which the dress is to be put or the occasion on which it is
to be worn has a bearing on the color of the material selected. 7.2.3. THE DESIGN OR STRUCTURE This
will, of course, be influenced by the type of dress, that is, whether it is a house dress, an afternoon frock
or a formal evening gown. The silhouette or general outline should follow the lines of the figure, but of
course not too closely. Structural lines and decorative designs should be so placed as to avoid the
monotony of space divisions. For example, the dress should not be divided into two equal parts by a
sash or belt; an uneven division is much more interesting. The curved line is the line of force and beauty
and all lines of the human figure are at least slightly curved. So in planning the dress remember to so
construct it as to show some degree of curve. The design or structure of a dress must be made up of
parts that show a proper relationship to the human figure, that bring out one's good features and that
skillfully cover the poor ones. 7.2.4. DECORATION Frequently you have seen an apparently well-designed
and proportioned dress of beautiful material which just seemed to lack something. Very often it is a
simple decoration properly placed which would transform the appearance of the dress. It might be only
a pin, buckle or tie of contrasting color, which in itself would seem trivial yet, is the key to the whole
scheme. On the other hand, should avoid overdoing the matter of decoration or trimming, for it is just as
easy to mar a beautiful gown through an oversupply as with a lack of it. This watermark does not appear
in the registered version - http://www.clicktoconvert.com 71 Splendid effects may be had by way of
decoration with tucks, plaits, ruffles, tiers and bands of the same material as the dress. As a rule the
question of decoration is not so much a matter of material as it is a choice of quantity and the proper
application of the decoration selected. The decoration which must be in keeping with the material of
which the dress is made. Coarse materials permit greater freedom in the matter of decoration than do
fine textured fabrics. 7.3 THE PROPORTION OF THE FIGURE Fig 7.1 Figure 7.1 illustrates the structural
lines and proportions of the human figure. Point 1 is the top of the head. Point 2 is the chin. From points
2 and is the most important structural part of the garment. Point 3 illustrates the correct structural
waistline. Correct proportion of figure can be gained by using the head as a unit of measurement. The
body, from top of head to feet, is ordinarily 8 heads. From the chin to waist line is ordinarily from 2 1/2
to 3 heads. Across the shoulders is 1 1/2 to 1 3/4 heads. After studying the proportions of the body, the
structural points, and experimenting with the heads as a unit of measurement, find the structural points
of your own figure and see whether or not your height is eight times the measurement of your head.
Perhaps you are only 6 heads high instead of eight. If so, you are shorter than the average person.
Perhaps you are ten heads instead of eight. In either case, find the best structural point to remedy the
discrepancy in the body measurements. It may require a change in line between points 2 and 3, or a
change in line This watermark does not appear in the registered version -
http://www.clicktoconvert.com 72 between the points 3 and 4. For instance, a deep V line between
points 2 and 3 will give the appearance of length and add to the height of the body. On the other hand,
if the figure is ten heads high, many ruffles or circles between points 3 and 4 will detract from the
height. 7.4 UNUSUAL FIGURES Few people are as perfect as to general figure, shape of the face, coloring,
etc., that they are able to wear almost any type of dress and look well. Many of us have certain
peculiarities such as narrow shoulders, flat chest or round shoulders, a large bust, or our face may be
very square, so that we must use care in the design and selection of our dress. Fig 7.2 The unusual
figures are classified in to two groups. 1. Becoming 2. Unbecoming These two classifications are based
on the following figure types. 1 THE THIN FIGURE Choose materials which do not cling to your figure and
remember what has been said about shiny materials increasing the appearance of size. The lines of the
silhouette should not be continuous. Create the effect of horizontal movement in the lines of the dress
as has been suggested by the use of ruffles, tucks, etc. A wide girdle will cut down our height, and
clothing which is light in color will make you look stouter. This watermark does not appear in the
registered version - http://www.clicktoconvert.com 73 If the bones of the neck are rather prominent, be
careful not to wear the dress too low. A blouse which fits too tight across the front will make look
thinner, so it must be avoided. Becoming Ø Lustrous materials, unless the person is too angular Ø
Materials that stand out somewhat from the figure Ø The silhouette of the dress shown broken, rather
than long beginning line Ø Horizontal movement in the line of the dress Ø Wear loose clothing Ø Broken
lines and curved lines Ø The soft, full line of drapery in the waist Ø Use short collars Ø The sleeves
gathered in to tight Ø Use patch pocket Ø Wear cap Ø Light furs, if becoming to the complexion Ø Long
haired furs. If the person is small, the scarf must not too large Ø Hats wit low crowns Ø hats with
drooping brims Ø Hats of average size Ø Hates with regular lines Unbecoming Ø Severely straight lines Ø
Angle in the lines of the dress Ø Long narrow skirt Ø Flat tight waists Ø Sleeves so short that the bones
of the arm are conspicuous Ø High hates Ø Angle in the line of the hates Ø Stiff trimmings as wings or
standing out from the hat 2 The Stout Figure It is not only the thin person who has her troubles, for her
plump sister also has her dress problems. It has been said of the use of soft materials having a dull
rather than a shiny surface and of colors which are not too bright, as being more becoming to the stout
figure. Never try to make look thin by wearing a dress which is too tight for you, because this merely
emphasizes your figure. Just as the thin person must create a horizontal movement of line, the stout
person must obtain a vertical movement by the use of devices which will cause the eye to travel up and
down rather than across the dress. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 74 Fig 7.3 The stout person (fig 7.3) should avoid the extremes in dress,
as, for example—very short or very long skirts, very tight sleeves, or the flowing variety. A long V line to
the neck is always desirable. When selecting a fur coat, never take a raccoon or any long-haired fur, for
it has a bulky appearance. Mink, squirrel or seal are much better. Becoming Ø One material or color,
used throughout the costume rather than breaking it up into separate parts. Ø Soft yet not clinging
fabrics. Ø Fabrics with dull surfaces. Ø Dull colors in large areas. Ø Black, or very dark colors if the
silhouette is good. if the outline of the figure is poor, use fairly dark colors to reduce size, but not so dark
that they will call attention to the silhouette. Ø An unbroken silhouette, if the figure is normal. Ø Semi
fitted, rather than tight effects in the dress as a whole but molded to the hips with some fullness below.
Ø Transitional lines in the dress rather than extreme curves or angles. Ø Vertical movement in the lines
of the dress. Ø The emphasis on the dress up and down the center front, with the principle accent at the
throat and, if possible a subordinate one at the bottom of the skirt. Ø A long diagonal line in the waist is
excellent for a stout figure, provided the diagonal is not directed too far out toward the hips. Carried too
far it will broaden the waist and hips. Ø Panels of moderate width, Pleats, panels, etc., that starts above
or below a point where the figure is large. Ø Comparatively long skirts. Ø Skirts that flare a little in center
front with a straight silhouette. Ø A normal waist line or slightly above or below it. Ø No belt or narrow
belt. Ø Slim, long set-in sleeves. Ø Normal armhole, or trifle higher if the shoulders are broad. This
watermark does not appear in the registered version - http://www.clicktoconvert.com 75 Ø Sleeves that
are slit vertically to show the length of the arm and only a portion of the width. Ø Simple neck lines,
preferably long lines and long collars. Ø Short jackets the same color as the skirt. Ø Long coats and
jackets. Ø Flat, short-haired furs. Ø Dark furs. Ø Hats of moderate size. Ø Hats that suggest an upward
movement. Ø Hats with irregular lines in the brim and a rather high crown. Ø Hats with transitional lines
rather than extreme curves or angles. Ø Hair dressed high. Ø Hair well groomed. It may have a wave
with rather large undulations. Unbecoming Ø Lustrous fabrics, taffetas, and other stiff fabrics. Ø Plaids,
or may large or outstanding surface pattern. Ø Heavy, bulky fabrics. Ø Fabrics that take round lines. Ø
Bright colors in large areas. Ø Unnecessarily full, long garments. Ø Foundation garments that produce
bulges above and below the garment. Ø Very full or tight garments. Ø Ruffles. Ø Horizontal movement in
the lines of the dress. Ø Exaggerated curves or angles, for the curves repeat the lines if the figure and
the angles contradict them, therefore both call attention to the size. Ø Very wide or extremely narrow
panels. Ø Panels, pleats or overskirts that spread or flutter as one walks,. Ø Pleats, panels, or any
trimming ending or starting at a point where the figure is large. Ø Very narrow lines of trimming. Ø Thin
piping. Ø Fluffy fichus. Ø Large circles on hats or dresses. Ø Short skirts. Ø Skirts which flare all around. Ø
Yokes on skirts. Ø A high waist line, since it makes the waist appear broader. Ø An extremely long waist
line, for it makes the upper part of the figure too heavy for the lower part. Ø Belts or sashes which are
conspicuous in width or in color. Ø Entire sleeve tightly fitted. Ø Flowing sleeves. Ø Transparent sleeves.
Ø Sleeves lighter than the dress. Ø Kimono sleeves which give an effect of breadth, owing to looseness
under the arm. Ø Ribbons or trimming extending beyond or hanging from the sleeves. This watermark
does not appear in the registered version - http://www.clicktoconvert.com 76 Ø Sleeves ending at a
place if unusual width on the figure. Ø Wide, light cuffs on a dark dress for the eye will travel across the
figure, adding width. Ø Tight broad collars, or short collars. Ø Short jackets that contrast with the skirt. Ø
Freakish or conspicuous shoes. Ø Shoes with slender, high heels. Ø Small hats. Ø Big hats. Ø Flat hats. Ø
Round hats. Ø Hats with long lines or brims drooping on both sides. Ø Contrasting colors and values in
hats, hose, and shoes. Ø A low or broad style in hair dressing. Ø Small tight waves or “bushy” hair. Ø
Thin or very small pieces of jewelry. Ø Tiny trimmings for hats and dresses. Ø Very small accessories. 3
LONG WAISTS, SLENDER FIGURE Becoming Ø The effect of a slight blouse at the underarm seam. Ø Long
lines in the skirt. Fig 7.4 Unbecoming Ø A long, diagonal line in the waist. Ø Tight bodice. 4 NARROW
SHOULDERS Becoming Ø Padded or broadened shoulders. Ø Broad lines in yokes, collars, and lapels. Ø
Armhole seams placed slightly out (or lower than normal) This watermark does not appear in the
registered version - http://www.clicktoconvert.com 77 Unbecoming Ø A panel or vest effect that starts
wide at the waist or hips and becomes narrower toward the neck. This makes a triangle with the point at
the neck and the base at the waist and hips, thus narrowing the shoulders and broadening the waists
and hips. Ø Armhole seams placed higher or farther in than normal. 5 BROAD SHOULDERS Becoming Ø
Lengthwise pleats, folds, or tucks extending from the shoulders to the waist, placed somewhat toward
the center line in order to narrow rather than broaden the figure. Ø Hat with a relatively high crown and
a fairly wide brim Unbecoming Ø Wide or horizontal structural lines in yokes, collars, and lapels Ø Very
small hats. 6 ROUND SHOULDERS Becoming Ø Set-in sleeves. Ø The shoulder seam placed about one-
half inch back of the normal shoulder line. Ø Collars that will appear to straighten the curve of the back.
Either have the collar long enough to hang loose from the neck to below the highest point of the curve,
or have it short enough to fill in the space between the neck and the beginning of the curve. Then build
out the waist line by having the waist full and loose in order to fill in below the prominent curve. This
may be done by the use of a panel that hangs from the neck to the waist, turning back under a loose
belt, or by the use of a bolero jacket. Unbecoming Ø Kimono sleeves Ø Raglan sleeves Ø Collars that end
at he curve of the back. Ø Collarless dresses that are tight at the waist line Ø Hat with a long dropping
brim in back that forms a continuous line between the crown and the curve of the shoulders. 7 LARGE
BUSTS Becoming Ø Panels or vests Ø Silhouette built out at waist and hips if not already large. Ø A yoke
line, jewelry, or some other conspicuous line that stops above or below the bust line. Ø Long flat collars
and jabots. Unbecoming Ø The waist line drawn in. Ø High fitted waist, Ø Wide belts. Ø Trimming at, or
near, the bust line. 8 FLAT CHESTS Becoming Ø Full, soft collars. Ø Jabots and fichus. This watermark
does not appear in the registered version - http://www.clicktoconvert.com 78 Ø Fullness over the chest
by means of tucking or shirring the material into the shoulder seam. Unbecoming Ø Tight waists 9
LARGE HIPS Becoming Ø Emphasis up and down the center front of the dress. Ø Oblique lines from hem
to waist that end slightly at one side of the center front. Ø Narrow belt placed slightly below natural
waist line. Ø Average amount of fullness in the skirt. Ø The skirt flared slightly from the hips. Ø The skirt
blouse at the waist line. Unbecoming Ø A one-piece, belt less dress hanging straight from the shoulders.
Ø Pockets at the hip line. Ø Horizontal lines on the skirt placed near the hip line. Ø short skirts Ø tight
skirts Ø very full skirts Ø Skirts that are narrowest at the hem Ø Tight, closely fitted waist. 10 LARGE
ABDOMENS Becoming Ø Waist slightly loosed Ø Long, simple jabot of moderate fullness of reveres that
end slightly below the waist line. Ø Coats that build out the sides of the figure. Unbecoming Ø Waist and
upper part of skirt fitted tightly. Ø Sash or belt tied at the center front. 11 SMALL FACES You may have a
small face which is somewhat out of proportion to the rest of your body. If this is the case the hats you
wear must be rather small if they are to be becoming. Large and rather "showy" trimming on the hat will
make your face appear even smaller by contrast. The principles you have learned in the study of
proportion will come into play here to solve your problem. Becoming Ø Hat that are rather small Ø
Trimmings that is rather fine in texture and in scale. Ø A relatively small hair dress. Unbecoming Ø Large
hats. Ø Heavy hats. Too large a hair dress, for, by contrast, it will make the face seem too small This
watermark does not appear in the registered version - http://www.clicktoconvert.com 79 12 LARGE
FACES Becoming Ø Hats sufficiently large to from an adequate frame for the face. Ø A hair dress of
moderate size. Unbecoming Ø Hats smaller than the widest part of the face. Ø Trimmings that is too
small. Ø Too large a hair dress, since it may make the head look too heavy for the body. Ø Too small a
hair dress, which will emphasize the size of the face. 13 SQUARES OR BROAD FACE Becoming Ø Hat with
an irregular line. Ø Hair dressed rather high and with a soft, irregular line. Ø Rouge placed in toward the
center of the face and blended up and down. Unbecoming Ø Lines in the hat or at the neck that repeat
the lines of the face. Ø Lines that oppose the lines of the face Ø Hair dressed wide over the ears. Ø Hair
parted in the middle. 14 ROUND FACE Becoming Ø Collar or scarf worn close to the neck in back and
with a long line in front Ø Necklines that give an oval effect. Ø Hats with slightly irregular effects. Ø Hats
with lines that carry the eye upward. Ø Rouge placed rather high toward the nose and blended down. Ø
Hair worn in an irregular line. Ø Ears covered unless neck is short. Ø In that case leave the lower part of
the ear exposed. Ø Hair parted toward the side and arranged in an irregular line. Ø Hair dressed high.
Unbecoming Ø Hats with round shapes and lines that repeat the curves of the face. Ø Hair parted in the
center and drawn tightly back. Ø Hair dressed wide over the ears. Ø Hair dressed in rounded shapes and
lines. 15 NARROW POINTER FACE Becoming Ø Short necklaces. Ø Hat with medium-sized brim. Ø Hat
with slightly drooping brim. Ø Hair worn low on the forehead and in soft irregular lines. Ø Moderate size
in hair dress. Ø Hair worn back from the cheeks. Ø Rough placed high out on the cheek bone and
blended toward the nose and quit close to the hair. This watermark does not appear in the registered
version - http://www.clicktoconvert.com 80 Unbecoming Ø High hats. Ø Tall, angular trimmings. Ø Hair
worn in a high, pointer knot at the top of the head. Ø Hair so dressed as to cover some of the cheeks. 16
PROMINENT CHIN AND JAW Becoming Ø Rather large hats. Ø Hats with soft, irregular lines. Ø Hair worn
in a large mass at the top of the head and wide at the sides, above the ears. Ø Rough placed high on the
cheeks and toward the nose. Unbecoming Ø Small hats. Ø Severely tailored hats. Ø Hair puffed out
below the ears. 17 RECEDING CHIN AND SMALL JAW Becoming Ø Hats of average size. Ø A hat with a
brim. Ø A very small amount of rouge on each side of the chin. Ø Small hair dress. Ø Hair worn low at
the neck. Unbecoming Ø Large hats. Ø Hats that turn sharply away from the face. Ø Hair dressed to
widen the upper part of the head and face. 18 PROMINENT FOREHEADS Becoming Ø Hat with a brim. Ø
Hat worn low on the head. Ø Hair dressed low over the forehead to conceal some of it. Ø A broken
irregular line in the hair dress. Unbecoming Ø Hair pulled straight back from the forehead. Ø Hair
dressed wide over the ears and temples. 19 LOW FOREHEADS Becoming Ø Hair drawn back from the
forehead. Ø Hair dressed rather high. Unbecoming Ø Hair parted in the middle. 20 LARGE WAIST AND
HIPS If your waist and hips are large and out of proportion to the rest of your figure, then you must
dress in such a way as to attract the interest away from that defect. As has been said before, the head
should be the center of interest and this is particularly true in such a case. If you will so construct the
dress that the lines and trimmings carry the eyes toward the head, your large waist This watermark does
not appear in the registered version - http://www.clicktoconvert.com 81 and hips will not be so
noticeable. Resort to the same methods as has been suggested for the stout figure to give height to your
figure. Becoming Ø Built-out shoulders. Ø The center of interest kept at the face and away from the
waist and hips Ø Long skirts, in order to add height. Ø Hats of average size or slightly larger Unbecoming
Ø Broad panel effects. Ø Sashes or wide girdles Ø Small hats. 21 SHORT WAISTS When analyzed the
proportions of figure and found that measurements from the waist to the neck were shorter than the
average, if when making a dress you will lower the waistline below the normal position, will improve the
proportions of figure. The short-waist woman, for instance, is usually of generous proportions. She has a
full, high bust and very probably a short neck. If she does not exert care in the choice of silhouette which
is, in other words, the choice of a correct style outline, she will present a clumsy, awkward, bulky
appearance. She should avoid yoke lines or cross trimming lines that tend to cut the figure in two, and
also tight belts at the waistline. Instead, her silhouette should be based on long, slightly pointed lines
that carry the eye down rather than around the figure. It should be remembered that long, vertical lines
give the appearance of great height and slimness. The straight up-and-down silhouette is by all means
the best for this type of figure. Becoming Ø Waist line dropped below the normal line, especially for
people whose hips are low Unbecoming Ø Built-up waist lines 22 LOW WAISTS On the other hand, if
your measurements from the waist to the neckline are longer than the average, raise the waistline and
you will notice a great improvement in the looks of your dress. 23 LONG NECKS Doubtless she was
wearing a very flat collar or a dress having a V neckline which so emphasized the fact as to bring it to
your attention. If this person had but known that a fluffy collar or one having a soft roll would greatly
detract from this effect it is very likely you never would have noticed it. Becoming Ø Collars with high or
medium roll. Ø Round neck lines, especially those which fit closely to the base of the neck Ø Fluffy
collars or fichus or furs. Ø High close collars. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 82 Ø Scarfs. Ø Short necklaces, especially bulky ones. Ø Hair worn low at
the neck Ø Hair worn over the ears. Unbecoming Ø Collarless, without a necklace. Ø V-necks. Ø Hat with
upturned brim Ø Hat with high trimming Ø Hair worn high 24 HIGH-HIPPED The short-yoke effect dress
tends to emphasize the "bad point" of the high-hip figure. The waistline should be so located that it will
impart a well-balanced appearance to the figure about three inches below the normal waistline is
usually the correct place for the belt or waistline. A straight vertical silhouette from the shoulders to the
low waistline terminating in a full-plaited or shirred skirt is the most becoming style for this figure. 25
SWAY BACK Becoming Ø Blouse at back of waist. Ø Fullness between the waist line and the hips. Ø Belts
which swing from loops at the side and which do not hug the waist line too closely. Ø Devices which
build out the waist line in the back, as bows. Ø Thick jackets. Ø Boleros which come down far enough to
conceal part of the back. Unbecoming Ø Garments fitted tightly in the back, including tightly belted
dresses. 26 SHORT OR THICK NECK Becoming Ø Flat collars. Ø Collarless dresses. Ø V-necks. Ø Flat furs.
Ø Narrow-brimmed hats. Ø Hair dressed high. Ø Hair worn to show the ears, or at least the base of the
ears. Unbecoming Ø Collars with high roll Ø Broad neck lines Ø Necklace worn close around the throat.
Ø Drooping hats. Ø Hats with broad brims. 27 RETROUSSE NOSES Becoming Ø A hat with a brim. Ø Lines
of the hair that do not repeat the line of the nose. This watermark does not appear in the registered
version - http://www.clicktoconvert.com 83 Unbecoming Ø A hat that turns away from the face. 28
PROMINENT NOSES Becoming Ø Hat with a brim. The brim may be somewhat wider in the front. Ø
Trimming in the front of the hat. Ø Hair built out in a soft, rather large mass. Ø Hair built out over the
forehead, in order to balance the nose. Ø Hair parted on the side. Unbecoming Ø Turbans. Ø Severe,
tailored hats. Ø Hair parted in the middle. Ø Hair drawn straight back from the forehead. Ø Hair dressed
high on the head. Ø The large mass of the hair directly opposite the nose. So that the eye moves across
that line when the profile is seen. 29 SHARP ANGULAR FEATURES Becoming Ø Hats of medium size. Ø
Irregular lines in the hat. Ø A brim that droops very slightly. Ø Hair worn in a soft, irregular line. Ø Soft
large waves in the hair. Unbecoming Ø Severely tailored hats. Ø Sharp, angular trimmings, as wings,
quills, and sharp bows. Ø Stiff fabrics. Ø Harsh textures. Ø Hair drawn severely back. Ø Hair in tight
waves, because it emphasizes by contrast. 30 LARGE FEATURES Becoming Ø Hair worn in a broken line
around the face. Ø hair worn smooth of in large, loose waves Ø coiffure rather large Unbecoming Ø Hair
curled in small, close waves Ø hair drawn tightly back Ø Coiffure extremely large 7.5 LET US SUM UP It is
really a study in itself—this consideration of correct dress. We all want to know exactly what to wear
and when it should be worn. This lends ease of manner and a sense of poise that is never manifested by
the person who is uncertain as to the right kind of costume to be worn. This watermark does not appear
in the registered version - http://www.clicktoconvert.com 84 In selection of our dress, many of us have
certain peculiarities such as narrow shoulders, flat chest or round shoulders, a large bust, or our face
may be very square, so that we must use and this lesson gone through based on this. 7.6 LESSON END
ACTIVITIES The students may do the following activities based on this lesson Ø Draw different types of
unusual figure and design Ø The principle methods of applying colour for unbecoming figures 7.7
POINTS FOR DISCUSSION Here the students are asked to discuss about the following points Ø The reason
for preparing different dress for unusual figures Ø The key methods for developing a dress for unusual
figures 7.8 REFERENCES: Ø Fashion sketching book, by Bina Abling, Fai child publication. Ø The art and
everyday life Ø Fashion from concept to consumer, by Cini Stephens Frings, Low price edition Ø Inside
the fashion business, by Macmillan publication company This watermark does not appear in the
registered version - http://www.clicktoconvert.com 85 UNIT – III LESSON – 8: SEWING MACHINES
CONTENTS 8.0 AIM AND OBJECTIVES 8.1 INTRODUCTION 8.2 SEWING 8.3 HOW IT CAME ABOUT 8.4 TYPE
OF SEWING MACHINE BED 8.5 SEWING MACHINE CLASSIFICATION 8.6 SINGLE NEEDLE SEWING
MACHINE 8.6.1 How it works 8.7 DOUBLE NEEDLE LOCK STITCH MACHINE 8.8 LET US SUM UP 8.9
LESSON END ACTIVITIES 8.10 POINTS FOR DISCUSSION 8.11 REFERANCES 8.0 AIM AND OBJECTIVES After
going through this unit, you should be able to have a clear idea of the following Ø It traces the
development of sewing machine and its classification. Ø Give an idea on fundamental operation and the
method of stitch formation through the various sewing machines. Ø It covers the studies on different
industrial sewing machine for garment construction. 8.1 INTRODUCTION On reading this lesson the
students can learn about the basics of sewing machine, classification of sewing machine and lock stitch
machine. Special and temporary purposes, hand sewing can be best suited one. In mass produced of the
garments we focused onto the machine sewing. Materials like woven and knitted fabrics machine
sewing used. 8.2 SEWING Before the invention of a useable machine for sewing, everything was sewn by
hand. Most early attempts tried to replicate this hand sewing method and were generally a failure.
Some looked to embroidery, where the needle was used to produce decorative, not joining stitches. This
watermark does not appear in the registered version - http://www.clicktoconvert.com 86 This needle
was altered to create a fine steel hook - called an aguja in Spain. This was called a crochet in France and
could be used to create a form of chain stitch. The ultimate look of the garment depends on how the
patterned parts are attached together by means of sewing. Any variation in sewing will lead to defective
material. Sewing is as tough as making pattern for any difficult style. Hence much concentration is to be
paid while doing this job. Sewing can be classified into two groups and they are · Hand sewing, · Machine
sewing Hand sewing can be best suited for some special and temporary purposes, it is not being dealt
here, as most of the garments are machine made and mass-produced. Our main emphasize is focused
onto the machine sewing. Generally machine sewing is carried out on materials like woven and knitted
fabrics, particularly in textile application. Again this may be on various fabrics having different quality
parameters. 8.3 HOW IT CAME ABOUT · As with most innovations, the sewing machine was invented in
stages. · In 1755, Charles T. Wiesenthal of the United States patented a double-pointed sewing needle,
which did not need to be turned around between stitches. · In 1830, a Frenchman, Barthelemy
Thimonnier, attached Wiesenthal's needle to a connecting rod to make a sewing machine. (I can't see
how this would have worked, and I haven't been able to find more detail.) · In 1846, Elias Howe (an
American) created the lock-stitch sewing machine. This used the modern mechanism, as described
below. Because the lock-stitch mechanism is the core of the function of the modern sewing machine,
Howe is generally credited with its invention. However, his machine was difficult to use well, and too
expensive for home use. · In 1849, the American Benjamin Wilson introduced an automatic feeding
mechanism, which solved the main usability problem with Howe's machine. · In 1851, Bostonian Isaac
Meritt Singer patented two refinements to the sewing machine: a fixed arm structure still used today,
and the presser foot. He began manufacturing a sewing machine priced for home use. His company,
Singer, is still the largest sewing machine manufacturer in the world. · The sewing machine predates
electricity. Early machines used a hand crank or a treadle to drive them. These turned out to be easily
electrified, and many are still in use today. · Later innovations (apart from electricity) include the ability
to zigzag and to make more sophisticated stitching patterns. The latest machines have LCD screens,
microprocessors, and pre-programmed fonts for monogramming. (All cute, but unnecessary). This
watermark does not appear in the registered version - http://www.clicktoconvert.com 87 8.4 TYPE OF
SEWING MACHINE BED Type of sewing machine Stitch type Flat bed sewing machine(basic) Lock stitch,
chine stitch Raised bed machine Lock stitch, chine stitch Post bed machine Lock stitch, chine stitch
Cylinder bed machine Lock stitch, chine stitch Side bed machine Chine stitch, over edge stitches. 8.5
SEWING MACHINE CLASSIFICATION Machine types Applications 1. Lock stitch machine 2. Chine stitch
machine 3. Double chine stitch machine * Straight seams, zigzag seams 1. Blind stitch machine 2. Linking
machine * Blind stitch machine for blind stitch & hemming * Linking machine attaching trimming and
cuff of knitted fabrics 1. Over edge machine 2. Safety stitch machine * Edge neatening, combined
neatening and seam closing * Safety stitching 1. Buttonhole machine 2. Button sewing machine 3. Bar
tack machine * Specific sewing operation 1. Profile sewer 2. Pocket sewer * Automatic, complex sewing
operation 8.6 SINGLE NEEDLE SEWING MACHINE A machine for sewing fabric, leather, etc. Specifically,
one that uses two threads (an upper and a lower, or bobbin thread) and is best at sewing woven
materials. Fig 8.1 This watermark does not appear in the registered version -
http://www.clicktoconvert.com 88 Fig 8.2 Ø Terms used to describe parts of the sewing machine Ø Head
- The complete sewing machine without cabinet or carry case. Ø Bed - The flat surface of the sewing
machine. A flat bed machine has one level to sew on. A free-arm bed has a removable U-shaped part of
the bed to reveal an arm or tub used for sewing hard-to-reach areas like a pant cuff or sleeve. Ø Hand
wheel - the wheel located on the right side of the sewing machine. This wheel is driven by the motor,
but may be turned by hand to adjust needle height. Ø Bobbin Winder - Mechanism used to wind
bobbins. Ø Bobbin - Low spool that provides the lower thread. Ø Thread take-up - Arm that pulls up
slack in thread. Ø Thread guide - Device which carries thread to a certain location. Ø Upper tension -
Mechanism which controls delivery of upper thread. Ø Lower tension - Provided by the bobbin case.
Controls delivery of the bottom thread. Ø Bobbin Case - Device which hold the bobbin and provides
tension to the lower thread. Ø Pressure Foot - Foot that presses down on fabric to stabilize its
movement. Ø Feed Dog - Mechanism which controls motion of the fabric. Ø Needle Plate - Plate under
pressure foot with slots to allow feed dog to reach fabric and opening for the needle to move up and
down. Ø Hook - Device which picks the thread off of the needle. Ø Feed drop - Adjustment used to take
the feed dog out of play for free hand work. Ø Stitch length - Adjustment used to determine length from
front to back of the stitch. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 89 8.6.1 HOW IT WORKS Here's a diagram to help you visualize.
___________|_ <- spindle for the spool of thread / |- Fixed arm -> | ______ | | <- manual advance |
___| | |- Needle* -> _|_ | | Base plate -> __________| | | O | <- the O is the bobbin assembly |
_______________| * Note the presser foot on either side of the end of the needle Fig 8.3 shows the
needle has its eye at the sharp end. The other end is attached to a rod that goes up and down inside a
fixed arm. The arm also holds a presser foot, which can be raised or lowered manually, but which is kept
down when sewing. Its role is to press the fabric against a base plate. The needle plunges into the fabric
from the top, through a hole in the presser foot. There is a thread which goes from a spool, through a
thread tensioning mechanism, and through the eye of the needle. There is another thread, which comes
up from under the fabric being sewn. This is the bobbin thread, which was wound onto its bobbin before
sewing. The bobbin sits in a bobbin case, which is not fixed to the sewing machine case. It floats in its
own casing (this is important). Fig 8.3 To begin sewing, the needle plunges through the fabric, taking a
loop of the top thread with it. Here's the clever bit. A small hook on the bobbin case catches the needle
thread. The bobbin case rotates, effectively passing the entire bobbin through the loop of top thread.
These This watermark does not appear in the registered version - http://www.clicktoconvert.com 90
yarns twist the bobbin thread with the top thread, making the stitch. The needle is then pulled back up.
If your thread tension is correct, the twist between the top and bobbin threads is pulled into the fabric
you're sewing as it goes. \ / <- upper thread ________\______/____ top layer of fabric -\----- / ---/ \ ____
/_________\___ bottom layer of fabric / \ <- bobbin thread Once the needle is out of the way, the feed
dogs, which are located in the base plate, push the fabric up against the smooth underside of the
presser foot. As they then slide backward, they push the fabric with them to make a visible stitch. There
is also a backstitch lever on the machine. When that is pressed, everything happens as described above
except that the feed dogs push the fabric toward you rather than pulling it away from you. 8.7 DOUBLE
NEEDLE LOCK STITCH MACHINE This machine (Fig 8.4) is similar to single needle lock stitch machine. But
here all components are having two sets .i.e. two sets of bobbin case, pensioner ,take ups, thread
guides, spool pin, needle holders. In this the bobbin case are fixed one. The bobbin only taken out from
the machine Fig 8.4 This machine adopts two straight needles, vertical-axis rotating hook with self-
lubricating feature for catching thread loops and sliding cam take-up to produce two lines of double
lockstitch. The needle bar can be engaged and disengaged mechanically and the arm shaft and hook
shaft are supported by ball bearing. It is provided with synchronous tooth belt for driving and plunger
pump for lubricating, and knob-type stitch regulator and lever type reverse feeding mechanism. A
bobbin thread pullback spring in the bobbin case guarantees the unanimous result This watermark does
not appear in the registered version - http://www.clicktoconvert.com 91 of sewing between the bottom
thread and upper thread. It is suitable for stitching shirt, uniform, jeans, overcoat or similar clothing. 8.8
LET US SUM UP Look of the garment depends attachments of different parts of garment together by
means of sewing. The variation in sewing will lead to defective material. The place of hand sewing and
machine sewing were clearly explained here. When we want to do a single row of stitches we can use
the single needle lock stitch machine and for uniform double row of stitches double needle machines
are used. 8.9 LESSON END ACTIVITIES The students may do the following activities based on this lesson
Ø Prepare a chart for the classification of sewing machine Ø Compare the different stages and
developments of sewing machine Ø Collect a data file for different sewing machine based on the
manufactures 8.10 POINTS FOR DISCUSSION Here the students are asked to discuss about the following
points Ø Working principles of a sewing machine Ø Demand of lock stitch sewing machine Ø
Classification of sewing machine Ø Difference between single and double needle sewing machine 8.11
REFERENCES: Ø Fundamentals of textile and their care, Susheela Dantygi, Published by orient Longman
L.t.d.. Ø Practical Clothing construction- part 1 & 2, Mary Mathews, Cosmic press. Ø The complete book
of sewing, by Dorling Kindersley, Dorling Kindersley L.t.d... Ø Readers Digest Sewing Guide, The Readers
Digest Association Ø The technology of Clothing Manufacturing, Harold Carr and Barbara Latham. Ø
Clothing Technology, Europ Lehrmilied, Vollmer GmbH & Co. This watermark does not appear in the
registered version - http://www.clicktoconvert.com 92 Lesson – 9: SPECIAL MACHINES CONTENTS 9.0
AIM AND OBJECTIVES 9.1 INTRODUCTION 9.2 OVERLOCK MACHINE 9.2.1 The formation of an overlock
stitch 9.2.2 Developments 9.2.3 Usages of the overlock stitch 9.2.4 Some examples of applications are
9.3 BAR TACKING MACHINE 9.4 BUTTON HOLE SEWING MACHINES 9.4.1 Button hole machine types 9.5
BUTTON SEWING MACHINE 9.6 THE FEED OF ARM MACHINE 9.7 BLIND STITCH MACHINE 9.8 LET US
SUM UP 9.9 LESSON END ACTIVITIES 9.10 POINTS FOR DISCUSSION 9.11 REFERANCES 9.0 AIM AND
OBJECTIVES After going through this unit, you should be able to have a clear idea of the following Ø
Hemming or seaming by over lock machine. Ø Sewing dense tack by bar tacking machine. Ø Making
button hole by button hole machine. Ø Sew the button by button sew machine. Ø Stitching hem by blind
stitch machine. 9.1 INTRODUCTION It's hard to imagine now how revolutionary the sewing machine is.
Before its invention, everything was sewn by hand. Every massive hoopskirt from the antebellum
American South, every lacy shirt and brocaded coat from the court of the Sun King, every curtain in
every palace, every flag, represented hours of painstaking labor. Most people had two outfits - one for
working in, one for Sunday best. Now, with our closets stuffed with clothing, we take machine sewing
for granted. This watermark does not appear in the registered version - http://www.clicktoconvert.com
93 A sewing machine is a mechanical (or electromechanical) device that joins fabric using thread. Sewing
machines make a stitch, called a sewing-machine stitch, usually using two threads although machines
exist that stitch using one, three, four or more threads. An innovation (apart from electricity) of sewing
machine includes the ability to zigzag and to make more sophisticated stitching patterns. The latest
machines have LCD screens, microprocessors, and pre-programmed fonts for monogramming. 9.2
OVERLOCK MACHINE An overlock stitch sews over the edge of one or two pieces of cloth for edging,
hemming or seaming. Usually an overlock sewing machine Fig 9.1 will cut the edges of the cloth as they
are fed through (such machines are called ‘sergers’), though some are made without cutters. The
inclusion of automated cutters allows overlock machines to create finished seams easily and quickly. An
overlock sewing machine differs from a lockstitch sewing machine in that it utilizes loopers fed by
multiple thread cones rather than a bobbin. Loopers serve to create thread loops that pass from the
needle thread to the edges of the fabric so that the edges of the fabric are contained within the seam.
Overlock sewing machines usually run at high speeds, from 1000 to 9000 rpm, and most are used in
industrial setting for edging, hemming and seaming a variety of fabrics and products. This watermark
does not appear in the registered version - http://www.clicktoconvert.com 94 Fig 9.1 Overlock stitches
are extremely versatile, as they can be used for decoration, reinforcement, or construction. Overlocking
is also referred to as “overedging”, “ merrowing” or “serging”. Though “serging” technically refers to
overlocking with cutters, in practice the four terms are used interchangeably. 9.2.1 THE FORMATION OF
AN OVERLOCK STITCH Fig 9.2 This watermark does not appear in the registered version -
http://www.clicktoconvert.com 95 1. When the needle enters the fabric, a loop is formed in the thread
at the back of the needle. 2. As the needle continues its downward motion into the fabric, the lower
looper begins its movement from left to right. The tip of the lower looper passes behind the needle and
through the loop of thread that has formed behind the needle. 3. The lower looper continues along its
path moving toward the right of the serger. As it moves, the lower thread is carried through the needle
thread. 4. While the lower looper is moving from left to right, the upper looper advances from right to
left. The tip of the upper looper passes behind the lower looper and picks up the lower looper thread
and needle thread. 5. The lower looper now begins its move back into the far left position. As the upper
looper continues to the left, it holds the lower looper thread and needle thread in place. 6. The needle
again begins its downward path passing behind the upper looper and securing the upper looper thread.
This completes the overlock stitch formation and begins the stitch cycle all over again. 9.2.2
DEVELOPMENTS Following the development of the industrial overlock machines, many companies
began competing for the home market. The development and formation of the stitch are similar to the
industrial models with some significant exceptions. · The home machine sews at approximately 800
stitches per minute (spm) whereas the industrial models sew up to 9500 spm. · Home machines are
designed to sew several stitch types (variations of the overlock) whereas the industrial models are
designed to sew one type. 9.2.3 USAGES OF THE OVERLOCK STITCH Overlock stitches are typically used
for: 1-thread: End-to-end seaming of piece goods for textile finishing. 2-thread: Finishing seam edges,
stitching flatlock seams, stitching elastic and lace to lingerie, and hemming. 3-thread: Sewing pintucks,
creating narrow rolled hems, finishing fabric edges, Decorative edging, and seaming knit or woven
fabrics. 4-thread: Decorative edging and finishing, seaming high-stress areas. 5-thread: Seam
construction in apparel manufacturing. 9.2.4 SOME EXAMPLES OF APPLICATIONS ARE: · Sewing Netting ·
Butt-seaming · Edging emblems · Purl Stitching · Decorative edging 9.3 BAR TACKING MACHINE The bar
tacking machine fig 9.3 has much application in the garment manufacturing industry. One of them is
sewing dense tack around the open end of the button hole. This watermark does not appear in the
registered version - http://www.clicktoconvert.com 96 These machines are sewing a number of stitches
across the point to be reinforced and then sew covering stitches at right angle over to the first stitches.
The variable is the number of tacking stitches and the number of covering stitches. Fig 9.3 Some of the
bar tacking are fitted with the following special attachments. · Signals are available and it controlled by
special mechanism, when the bobbin thread is below a certain level. · Automatic thread cutters are
available. · A pedal which opens and close the work clam. This machine is used for the following
application in garment industry. · Closing the end of the button hole. · Reinforcing the ends of pocket
opening. · To finish the bottom of files. · Sewing on belt loops. 9.4 BUTTON HOLE SEWING MACHINES
Button hole machines are used for making button hole in the garment and to finish the edges and make
the button hole in neat finish. These come in a variety of types according to type of Button hole needle
on garment. The simplest Button hole are used on shirt, blouses & other light weight garment & the
more complex one on the heavier tailor garments. The various nesses in button hole machines are form
in side button hole. The stitch type, the stitch density whether the button hole is cut before or after
sewing & the presents or absence of gimp. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 97 Fig 9.4 Button hole machine fig 9.4 may form a simple circle where
the stitches radiate from the centre of an eyelet home, 2 legs on either side of a straight out with bar
tack on both ends as in shirt, a continuous line of sewing up one leg, round the end & down the other
without the cut as in shank Button hole on the cups of Jacques a button hole similar in form but larger in
length with the hole partially on holy cut & the separate bar-tack closing of end, a button hole with 2
legs & an eyelet hole at one end with a separate bar-tack closing of other end as in front of Jacques
overcoats, a variation in which the 2nd leg is sewn over the 1st stitches of 1st legs to close the end as
frequently on the knit wear & an end as eyelet the edges of which one lightly over sewed known as cut
and serge which they no more than provide a firm edge to receive a hand sewn bottom hole known
increasing rare. The choice between lock stitch and chain stitch is affective by security requirements or
hole the finish appeared require and the relative causes are involved. In general button hole on tailor
outward make use of the 2 thread chain stitch the chain affect giving an attractive purl appearance to
button hole. The simpler shape of button hole on shirts and other light weight garment is often used
with single thread chain stitch and in some cases the sewing is done inside on the garment. So that the
purl side of back of stitch is on right side increasing used is being made of lock-stitch button holes sewing
to give greater security on these types of garments for shirts. This watermark does not appear in the
registered version - http://www.clicktoconvert.com 98 The work button hole is slipped in fabric finished
with either hand or machine stitches. It has 2 sides equal in length to the button hole opening and 2
ends finished with bar tacks or with a fascinate arrangement of stitches. A hand work button hole is slip
lot stitched. A machine work button hole is stitched the slit. The match of actual button hole opening
and for the stitch Button hole are however difference. The finished length of worked Button hole will
equal the opening plus extra 3mm for stitches used for the stitches work to finish each end. There are
various ways in which the machine work button hole may be made. One way is wilt button hole stitches
that come with the machine by means of a few movements of a weaver or turn of gain. A Button hole
with finish end is stitched. There is no need to turn the fabric by hand. This method is used when the
machine has a built in and zigzag stitch capability. A second method makes use of a special attachment
the plane on to needle bar and pressure food of the machine. This attachment moves the fabric in
button hole shape while the machine with zigzag stitching attachments will vary from machine to
machine. But in most cases the since and of the button hole is determined by button placed in the
attachment. The button hole size is limited by a capability of attachments. 9.4.1 BUTTON HOLE MACHINE
TYPES 1. Size and shape of the button hole. 2. Stitch type. a) Lock stitch, b) Chain stitch. 3. Stitch density.
4. Type of button hole. a) Button hole cut before stitch, b) Button hole cut after stitch. 5. Presence or
absence gimp. 1. Stitch type Lock stitch: It is used more commonly than the chain stitch because of its
greater strength and security. Chain stitch: these types of stitch are give more neat finish but it does not
provides strength to the button hole. So the use of this type of stitch is less popular than lock stitch. 2.
Size and shape of the button hole. Eyelet Buttonhole Straight Buttonhole Standard Taper Bar This
watermark does not appear in the registered version - http://www.clicktoconvert.com 99 Straight Bar
Tacking Round Bar Tacking Circular Stitching 3. Type of button holes. There are two type of button hole
and they are a) Button hole cut before stitch, b) Button hole cut after stitch. a) Button hole cut before
stitch. The button hole is cut first and then finished with stitches. The stitches are radiate from the
center of the button hole to the outer edge of the button hole. It gives neat appearance with the thread
covering the raw edges of hole effectively. But this type has some set back. The position of the button
hole cannot be change if sewing cycle is started. Sometimes the fabric edges will not be properly
finished. b) Button hole cut after stitch. As the name indicates, the button hole edges are finished first
and then it will be slashed. In this type are made by sewing a continuous line of sewing round the end
and then the hole is cut subsequently. It has the merits of, the edges of the fabric give some protection
to the thread and the position of the button hole can be changed. The main demerits are, the finished
hole not is neat with cut ends of fibres or yarns are protruding between the stitches. 4. Presence or
absence gimp. Gimp is the stiff thread positioned at the edge of the button hole under the stitches. It
gives more bulkiness or raised effect to the button hole. 9.5 BUTTON SEWING MACHINE Without
damaging the garment this machine (fig 9.5) is used to sew the button in the garment. Button with two
holes, four holes or shanks canal be sewn on the same machine by simple adjustments to the button
clamp and the spacing mechanism. The sewing action consists of a series of parallel stitches whose
length is equal to the spacing between the centers of the holes. The needle has a vertical movement
only and the button is moved from side to side by the button clamp. This watermark does not appear in
the registered version - http://www.clicktoconvert.com 100 Fig 9.5 Button can be sewn on with one or
two threads, the number of stitches depending on the type of machine used. Each machine has a
maximum number of stitches, i.e. 16,24 or 32, and can adjusted to sew the full amount or half. Generally
decorative button would be sewn on with half the number of stitches used for functional buttons.
Hopper feed is a special attachment which is automatically feeds the button to the clamp of needle
point of the machine. Here the button and needle can be automatically poisoned and the threads are
clipped. Where a ‘neck’ is required between the under side of the button and the garment, the stitch
length between the button and the garment is increased and this surplus length can be left as it is, or
‘whipped’. The whipping operation can be incorporate as a second, successive operation on the button
sewing machine. 9.6 THE FEED OF ARM MACHINE Fig 9.6 This watermark does not appear in the
registered version - http://www.clicktoconvert.com 101 The feed of the arm machine fig 9.6 is used to
stitch a narrow tubular seam on the outer edge of the trousers and shirt. This machine is used where a
lapped seam has to be closed in such a way that the garment parts become a tube. These are in
common in jeans production where the out side leg seam is normally the type known as lap felled and it
is joined after the inside leg seam in the sequence of construction. The operator wraps the part to be
seam around the machine bed. It is fed away from operator, off the end of the bed as the operator
sews. It can use for shirts and blouses of light to medium weight fabric. Unit features a specially
designed arm and bed for easy material handling. Low tension stitching prevents puckering and
enhances sewing quality 9.7 BLIND STITCH MACHINE Blind stitch machine fig 9.7 is used to stitch hem in
a knitted fabric. As the hem stitch is too small in right side of the garment and it is invisible. Some time
the machine can be set to skip stitch that is to pick up the fabric on alternate stitches only. But this type
is reduces the durability of the stitches. Fig 9.7 Zigzag stitches or lock stitches with a side to side width as
well as a stitch length. In mechanical machines basic stitch formation in dictated mainly by a stitch
pattern camp maximum pattern width us established by stitch width regulator. Stitch length is selected
or for straight stitching and is the same for both stitch types at the same setting but occurs eye as a
distance between points and than actual stitch measurement. The camps built into mechanical machine
control stitch formation by meant of in their outer edges. A stitch pattern selector positions a finger like
follower on appropriate cam. The follower connected to the needle bar cracks those indentations
moving the needle from side to side. In most electronic machines the zigzag stitch is programmed by a
micro computer which controls movement of stepping motor to This watermark does not appear in the
registered version - http://www.clicktoconvert.com 102 direct zigzag movement of needles. Besides the
control mentioned most machine have needle position selector which places stitches to left or right of
normal position. Zigzag patterns uses straight stitches as a part of the design. An ex is in blind stitch.
Length and width variations affect practical uses. For example when stitch length of land stitch is
shortened there is more zigzag to catch the fabric. A consideration on hemming. When the stitch is
widened the zigzag extends further from straight stitches to cover wider. The needle used in this
machine is slightly curved (fig 9.8) because it does not penetrate through the fabric completely, but
penetrate partially Curved Needle (Fig 9.8) Based on the application and fabric the stitch can be grouped
in to two types. First one is for fine fabric producing long and narrow stitches. Second is for heavy fabric
with short and wide stitches. Again, the level of insecurity is often high but can be improved by the use
of slightly hairy rather than smooth sewing threads. 9.8 LET US SUM UP More than any other aspect of
sewing, sewing machine takes practice. It's hard to get them even, and it looks terrible if you mess up.
Sewing machines can make a great variety of plain or patterned stitches. They include means for
gripping, supporting, and conveying the fabric past the sewing needle to form the stitch pattern.
Modern machines are computer controlled and use stepper motors or sequential cams to achieve very
complex patterns. 9.9 LESSON END ACTIVITIES The students may do the following activities based on this
lesson Ø Visit any one garment unit and practice with all kind of sewing machine Ø Collect the details of
different kind of sewing machine This watermark does not appear in the registered version -
http://www.clicktoconvert.com 103 9.10 POINTS FOR DISCUSSION Here the students are asked to
discuss about the following points Ø The developments and the maximum number of threads used in
various types sewing machine based on its applications. Ø Short story about over lock machine Ø Button
hole machine and the type of button holes Ø End use and application of blind stitch machine 9.11
REFERENCES: Ø Practical Clothing construction- part 1 & 2, Mary Mathews, Cosmic press. Ø The
complete book of sewing, by Dorling Kindersley, Dorling Kindersley L.t.d... Ø Readers Digest Sewing
Guide, The Readers Digest Association Ø The technology of Clothing Manufacturing, Harold Carr and
Barbara Latham. Ø Clothing Technology, Europ Lehrmilied, Vollmer GmbH & Co. Ø Fundamentals of
textile and their care, Susheela Dantygi, Published by orient Longman L.t.d. This watermark does not
appear in the registered version - http://www.clicktoconvert.com 104 LESSON – 10: SEWING MACHINE
ATTACHMRNTS CONTENTS 10.0 AIM AND OBJECTIVES 10.1 INTRODUCTION 10.2 FABRIC INSPECTION
MACHINE 10.3 SPEECIAL ATTACHMRNTS 10.3.1 Hemmers 10.3.2 Ruffler 10.3.3 The Binder 10.3.4 Tucker
10.3 .5 Cloth guide 10.3.6 Cording foot or zipper foot 10.3.7 Gathering foot 10.3.8 Feed cover plate
10.3.9 Circular Attachment 10.4 LET US SUM UP 10.5 LESSON END ACTIVITIES 10.6 POINTS FOR
DISCUSSION 10.7 REFERANCES 10.0 AIM AND OBJECTIVES After going through this unit, you should be
able to have a clear idea of the following Ø Inspect the defects through the fabric examine machine. Ø
Easier and decorative sewing by special attachments. 10.1 INTRODUCTION The sewing machine plays an
important part in the twentieth century method of clothesmaking. It saves a tremendous amount of
time. Remarkable little steel attachments that can be quickly and easily snapped into place perform in a
few minutes the work that used to take hours to do by hand. Ten yards of material transformed into the
finest pin-tucks in ten minutes and it used to take our grandmothers a full day! Shirring, plaiting, ruffling,
bindings, even braided designs can now be made right on the sewing machine with amazing rapidity.
Throughout this lesson you will be taught how to make use of the various attachments that came with
your sewing machine in applying trimmings and giving a smart, tailored finish to the clothes you make.
This watermark does not appear in the registered version - http://www.clicktoconvert.com 105 10.2
FABRIC INSPECTION MACHINE Fig 10.1 The fabric examine machine fig 10.1 are use to check and
examine the fabrics. Through this machine we can inspect the defects like major and minor defects. The
machine can be grouped in the following way. Ø Manual fabric examine machine Ø Semi automatic Ø
Fully automatic. It has a big inspection table (72"x 30") with light source from top and bottom. The unit if
fitted with electronic chokes for instant illumination. It has forward as well as reverse operation and has
a variable speed control unit. There is a foot switch for ease of operation. The unit is fitted with a digital
fabric length counter and a digital fault counter. Tensioning device for fabrics is an important feature of
the machine along with dual mode operation and continuous checking operation for all types of fabrics.
10.3 SPECIAL ATTACHMRNTS Some machine attachment may be supply along with the machine when
may be purchased it. Other may be available at additional cast. Attachment make sewing machine easier
and provide opportunities for decorative sewing. After deciding which attachments you need get, the
dealer to demonstrate the operation of each or the booklets give an instruction for using them. Most of
the fabric must be fixed to the presser bar in the place of the presser foot. The This watermark does not
appear in the registered version - http://www.clicktoconvert.com 106 attachment that to fast in the
presser bar will have prompt similar to presser foot in shade. Some attachment has hook end and that
rest on the needle clamp. The attachment most commonly used straight stitch machine and they are
listed bellow. 10.3.1HEMMERS The Hemmers Hemmers make hems from three-sixteenths of an inch to
seven-eighths of an inch wide, right on the machine. They really do beautiful work, infinitely more rapid
than you could ever expect to do it by hand, and they should be used whenever the material permits.
Machine hemming with the hemmer attachments means hours saved from hand turning and basting.
The hem is turned by the hemmer, and at the same time the line of stitching is guided close to the edge
of the hem. Always remember, when hemming by machine, to leave threads at the end sufficiently long
to thread a hand needle and fasten the end of the hem. Otherwise it is likely to fray. There are various
widths of hems which can be made with the hemmers, suitable for the usual requirements. But any hem
that is more than seven-eighths of an inch in width must be turned and basted first, and then stitched
on the machine in the ordinary way 10.3.2 RUFFLER This attachment is capable of taking gathered or
pleated frills, and will take and apply frills to another section at the same time. It is useful in making
children’s clothes and curtains. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 107 It is one of the most valuable attachments in sewing machine, and
reflects a great deal of credit upon the inventors of these remarkable time-and-money-saving bits of
steel. The method of using the ruffler attachment varies with different machines. 10.3.3 THE BINDER
Another very valuable attachment in your box of sewing-machine attachments is the binder. Of course
fine bindings can be made by hand, but the modern, time-saving method is to make them on the
sewing-machine with the aid of the rapid little binder. With this tiny bit of mechanical steel you can
make ten yards of binding in ten minutes. http://www.vintagesewing.info/1920s/26-fcm/fcm-illus/09-
05.jpg This watermark does not appear in the registered version - http://www.clicktoconvert.com 108
This is used for applying ready made or self made bias binding to a straight or curved edge and is a
useful attachment for trimming dresses etc. 10.3.4 TUCKER This is used for making uniform tucks from
1/8 inches to 1 inch in width. Finest pin tucks, or those three-quarters of an inch in width, they can be
very easily made without any basting 10.3.5 CLOTH GUIDE This is the device which is useful and guiding
fabric foe uniform stitching. 10.3.6 CORDING FOOT OR ZIPPER FOOT This is design for stitching close to a
raised edge. It used for applying, cording in to seam and the application of zipper. 10.3.7GATHERING
FOOT This attachment gathers the fabric as it is stitch with fullness locked in every stitch. 10.3.8 FEED
COVER PLATE This is used to cover the feed dog while doing machine embroiling and darning. 10.3.9
CIRCULAR ATTACHMENT Circular Attachment The Circular Stitcher is the ideal attachment for sewing
circles using straight stitch, zigzag, decorative stitches or even lettering. Circles up to 26cm in diameter
are stitched perfectly using this very popular attachment so essential for craft and decorative work. -
Suitable for most top loading machines This watermark does not appear in the registered version -
http://www.clicktoconvert.com 109 The additional that can be made to basic sewing machine are many
and they come under the general term work aids. Work aids are devices which are built into machine
and added to them afterwards attached alone side or made. Use what ever ways a resourceful engineer
can device to improve productivity improve and maintain quality standards. Produce time and
minimized fatigue. 10.4 LET US SUM UP To check and examine the fabrics, the fabric examine machine
are used. Through this machine the defect of the fabric can easily found by the different methods of
manual, automatic and semi automatic. The machine attachment provides opportunities for decorative
sewing and these attachments are easy to attach to the machine. Based on the application, different
attachments are available. 10.5 LESSON END ACTIVITIES The students may do the following activities
based on this lesson Ø Collect the defective fabric samples and analyze its reason Ø Functions of
different attachments 10.6 POINTS FOR DISCUSSION Here the students are asked to discuss about the
following points Ø The reason for fabric defects Ø Needs of special attachment today’s garment
construction Ø Various special sewing machine attachments 10.7 REFERENCES: Ø Practical Clothing
construction- part 1 & 2, Mary Mathews, Cosmic press. Ø The complete book of sewing, by Dorling
Kindersley, Dorling Kindersley L.t.d... Ø Readers Digest Sewing Guide, The Readers Digest Association Ø
The technology of Clothing Manufacturing, Harold Carr and Barbara Latham. Ø Clothing Technology,
Europ Lehrmilied, Vollmer GmbH & Co. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 110 LESSON – 11: SEWING MACHINE CARE AND MAINTENANCE
CONTENTS 11.0 AIM AND OBJECTIVES 11.1 INTRODUCTION 11.2 CARE AND MAINTENANCE OF SEWING
MACHINE 11.2.1 General cleaning 11.2.2 Bobbin Area 11.2.3 Upper Thread Tension 11.2.4 Hand wheel
Area 11.2.5 Face plate Area 11.2.6 Bobbin and Hook Area 11.2.7 Oiling and lubricating the machine 11.3
COMMON PROBLES AND REMEDIES 11.4 LET US SUM UP 11.5 LESSON END ACTIVITIES 11.6 POINTS FOR
DISCUSSION 11.7 REFERANCES 11.0 AIM AND OBJECTIVES After going through this unit, you should be
able to have a clear idea of the following Ø Sewing machine problems Ø Guidelines for care and
maintenance of sewing machine Ø Cleaning the machine. Ø Use oil lubricant to use machine oiling Ø
common trouble and their possible remedies 11.1 INTRODUCTION Always keep your sewing machine
well oiled. All dust should be removed from the exposed parts at least once every week, and the
important parts of the machine should be oiled twice during the week if the machine is used
moderately. Use a good quality of machine oil, but only in small quantities so that it does not soil your
material when you are sewing. If your machine becomes gummed, oil it with kerosene, running
unthreaded for a few minutes. Then cleanse all parts thoroughly and oil with good machine oil. This
attention to your machine will prolong its life and keep it running smoothly and easily. Many problems
can be resolved by a simple change of needle or other easy switch. If you don't find the answer you need
here. This watermark does not appear in the registered version - http://www.clicktoconvert.com 111
11.2 CARE AND MAINTENANCE OF SEWING MACHINE Most sewing machine problems that encounter
can be traced to poor general maintenance or neglect. But with some simple tools and just a few
minutes daily, weekly, or monthly depending on how much our sewing machine, we can help keep our
machine running smoothly. Here are my guidelines for care that should keep sewing machine happy and
out of the repair shop. 11.2.1 GENERAL CLEANING Fig 11.1 Cleaning the machine fig 11.1, it is best to
clean one area at a time. Remove only the parts that are involved and be sure to note where each part is
from, its position, and which side is top. Remove all the parts possible in order to clean the machine
thoroughly. Keep the parts in order to make it easier to replace them. When using a screw driver, put
the pressure on the push, not on the twist. If a screw will not loosen easily, soak it with cleaning fluid.
Then set the screw driver in the slot and tap sharply with a hammer before attempting to loosen. The
screwdriver blade should be as wide as the slot in the screw is long. Always use a wrench-not pliers-on
bolt. First, remove the needle, presser foot, slide plate, throat plate, bobbin case, and the face plate (if it
comes off). Put them in the pan and cover with cleaning fluid. Set aside to soak while cleaning other
areas. Next, wrap the motor (if necessary) and wire with plastic wrap to protect them from oil and
cleaning solvent. Be sure the machine has been unplugged. Now, it is time to begin work to clean the
machine head. With a sharp pointed tool, clean out all oil holes. Then, with your hand, turn the hand
wheel to run the machine. At the same time, squirt cleaning fluid into all the oil holes, on all bearings
and on all other places where one part rubs against or turns within another. 11.2.2 BOBBIN AREA If
possible, remove the bobbin case to remove all lint and stray threads. This watermark does not appear
in the registered version - http://www.clicktoconvert.com 112 Fig 11.2 If the machine begins to run
hard, it is a sign that dirt or lint has jammed inside a bearing. Continue running the machine and flushing
with cleaning fluid until the dirt and gummed oil are washed from the bearing. When the machine runs
easily again, tip the head and flush the parts underneath the machine-all oil holes, bearing and places
that rub against or within another. Continue running the machine by hand until it functions smoothly.
11.2.3 UPPER THREAD TENSION Pull a piece of cloth soaked in solvent back and forth between discs to
clean To remove any remaining dirt and oil, dip a cloth or brush in cleaning fluid and scrub all parts of
machine that can be reached. Use a needle, knife or other pointed instrument to dig or scrap away any
remaining gummed dirt or lint in the feed dog, around the bobbin case, and in other areas. Check the
lower tension of the bobbin case and the upper thread tension discs. Pull a thread under the tension of
the bobbin to remove dirt. Pull a piece of cloth soaked in cleaning fluid back and forth between the discs
of the upper tension. Repeat with a dry cloth to be sure no lint or thread is caught between them. In
addition to general cleaning, three areas need special attention. They include the hand wheel bearing
and the clutch assembly, the needle -bar and presser foot, and the hook and bobbin areas assembly.
When the hand wheel assembly gets gummy and dirty, it must be cleaned for the clutch to work
properly. The clutch disengages the needle-bar when winding a bobbin. Some new sewing machines
refill the bobbin in its regular position and a clutch is not necessary. In such machines, it is not often
necessary to remove the hand wheel to clean this area. 11.2.4 HAND WHEEL AREA This watermark does
not appear in the registered version - http://www.clicktoconvert.com 113 To remove the clutch and
hand wheel, loosen the small screw in the face of the locknut (the locknut is the part that is turned to
the left to release the clutch for operating the bobbin winder). Next, unscrew the locknut, and remove
the washer and hand wheel. Most machines will have a washer that looks like one of the three shown.
Some makes will be slightly different. Notice the position of the washer so it can put it back in the same
position. Fig 11.3 Clean the hand wheel, washer, and shaft. Lubricate the shaft with two drops of oil and
place a small amount of grease on all gears. Reassemble the hand wheel and clutch. If the clutch fails to
operate, either because it will not hold or fails to release, remove the locknut again and turn the washer
one half turn (180 degree) and reassemble. The clutch should then work properly. After thoroughly
cleaning these areas, reassemble the machine and run it by hand. It should run soothly if all parts have
been replaced correctly 11.2.5 FACE PLATE AREA The face plate on most machines is held in place with
one or two screws. By removing these, the plate can be easily removed for cleaning of the needle-bar
and presser foot bar. Fig 11.4 On some of the newer machines, the face plate is a part of a housing that
is mounted on hinges, which makes it easy to move the entire housing away from the bars and
mechanisms This watermark does not appear in the registered version - http://www.clicktoconvert.com
114 behind it. No other parts need to be removed for cleaning in this area. First use a dry brush to clean
out all lint and other foreign material. A small piece of cloth with a little solvent on it can be used to
clean the needle-bar and presser bar of any gummy grease. After thoroughly cleaning, place a drop or
two of oil on each shaft where it slides through the housing. Oil all other moving parts according to
instruction book before replacing face plate. 11.2.6 BOBBIN AND HOOK AREA Lint is the primary
offender in this area. The bobbin case can be removed on all makes of machines. Use a dry brush to
clean out all lint. Remove any thread that may be wound up around the hook shaft. On many machines,
the hook assembly can also be removed for more complete cleaning. Place one drop of oil on the
exterior perimeter of the hook and the bobbin race to lubricate if after cleaning. 11.2.7 OILING AND
LUBRICATING THE MACHINE Allow the machine to stand overnight so excess cleaning fluid can
evaporate before oiling and lubricating it. Check the machine instruction booklet to determine the type
of oil lubricant to use and where to use them. Some machines have bearings that are nylon or graphite-
impregnated bronze and do not require oil or lubricant. Also, some machines do not need oiling because
they are designed with oil impregnated in the bearing castings. If the machine does not require oil, do
not us it. Do not oil the tension discs, the hand wheel release or the belts and rubber rings on any
machine. In the holes designated, and on all parts that rub against or within another, squirt a little oil.
Run the machine by hand to distribute the oil into all the bearings. Use oil freely because all oil has been
removed in the cleaning process. If there is any wool or felt pads that feed oil to parts, be sure they are
well-oiled. For later oiling, one drop of oil on each bearing and in each oil hole is enough. It is a good
practice to oil the machine after each day's work or after 8 to 10 hours of use. Even if do not use the
machine often, oil it occasionally to keep the oil from drying and gumming. If the machine requires a
lubricant, lubricate the areas suggested. Use the lubricant recommended for the machine for best
results. After oiling and lubricating the machine, wipe away excess oil and reassemble the machine. As
replace the parts that have been soaking in the pan, do not force screws or parts into place. Check to be
sure it is in the correct location. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 115 11.3 COMMON PROBLES AND REMEDIES The common trouble and
their possible remedies are listed below. Symptom Root Cause Corrective Action · Sewing machine
suddenly stops during sewing. · Light is on, and hand wheel can be turned easily by hand. · Sewing
machine has been run at a low speed for an extended period of time. · To prevent overheating, motor
power is automatically turned off. · Turn power off and wait about 20 minutes. Safety device will reset,
and machine will be ready to operate. · Needle will not move. · Upper thread has run out. · Presser foot
is up. · Bobbin winder shaft was left in winding position. · Buttonhole lever was not lowered when
machine was placed in buttonhole mode. · Replace empty spool and thread machine. · Lower presser
foot. · Move bobbin winder shaft back fully to left. · Lower buttonhole lever. · Sewing machine will not
run. · Presser foot is not correct one, and needle hits presser foot. · Needle has come out and is in hook
of machine. · Replace presser foot with new one. · Remove needle and insert new one. · Upper thread
breaks. · Threading is not correct. · Thread has a knot in it. · Thread tension is too tight. · Needle is bent
or blunt or has a sharp eye. · Needle is wrong size. · Needle has been inserted wrong. · Needle and
thread does not match. · Starting to stitch too fast. · Thread take-up lever has not been threaded. ·
Correctly thread machine. · Remove knot. · Correct thread tension. · Replace needle. · Replace needle
with correct size. · Properly insert needle. · Start machine at a medium speed. · Use proper thread or
needle. · Check threading order. · Bobbin thread breaks. · Bobbin has not been fully inserted in bobbin
case. · Bobbin has been incorrectly threaded. · Bobbin does not turn smoothly in bobbin case. · Lint in
bobbin case or shuttle. · Securely install bobbin into bobbin case. · Correctly thread bobbin case. · Check
to see that bobbin has been wound evenly. · Clean bobbin case and shuttle. This watermark does not
appear in the registered version - http://www.clicktoconvert.com 116 · Skipped stitches. · Thread
tension is too tight. · Needle is bent or blunt. · Needle is wrong size. · Needle and thread does not match.
· Thread take-up lever has not been threaded. · Light pressure on presser foot. · Incorrect setting of
needle. · Correct thread tension. · Replace needle. · Replace needle with correct size. · Use proper
thread or needle. · Check threading order. · Increase pressure on presser foot. · Reset needle. · Stitches
are not formed properly. · Thread has not been pulled into thread sensor guide. · Threading is not
correct. · Bobbin case has been threaded wrong. · Spool cap is wrong size for thread spool. · Fully pull
thread into thread sensor guide. · Correct threading. · Correctly thread bobbin case. · Replace the cap
with correct size. · Irregular stitches. · Incorrect size needle. · Improper threading. · Loose upper thread
tension. · Pulling fabric. · Light pressure on presser foot. · Loose presser foot. · Unevenly wound bobbin. ·
Choose correct size needle for thread and fabric. · Rethread machine. · Tighten upper thread tension. ·
Do not pull fabric; guide it gently. · Increase pressure on presser foot. · Reset presser foot. · Rewind
bobbin. · Fabric puckers. · Stitch length is too long for material. · Needle point is blunt. · Incorrect thread
tension. · Light pressure on presser foot. · Fabric is too sheer or soft. · Using two different sizes or kinds
of thread. · Decrease stitch length. · Replace needle. · Reset thread tension. · Increase pressure on
presser foot. · Use underlay of tissue paper. · Upper thread and bobbin thread should be the same size
and kind. · Bunching of thread. · Upper and lower threads not drawn back under presser foot. · Feed dog
down. · Draw both threads back under presser foot. · Raise feed dog. This watermark does not appear in
the registered version - http://www.clicktoconvert.com 117 · Needle breaks. · A thin needle was used
for sewing a heavy weight material. · Needle has not been fully inserted into needle bar. · Needle clamp
screw is loose. · Presser foot is not correct one. · Presser foot is loose. · Pulling on fabric as you sew. ·
Use correct size needle. · Properly insert needle. · Securely tighten needle clamp screw. · Use correct
presser foot. · Reset presser foot. · Do not pull fabric, guide it gently. · Loud noise is heard. · Knocking
noise, machine jammed. · Dust has accumulated in feed dogs. · Lint is in hook. · Thread caught in shuttle.
· Clean machine. · Clean machine. · Disassemble machine and clean shuttle. · The machine does not feed
material. · The stitch length has been set to zero. · The presser foot pressure is too low. · Feed dogs are
lowered. · Threads are knotted under fabric. · Reselect the proper stitch pattern and length. · Set presser
foor pressure adjustment lever to "normal". · Raise feed dogs. · Place both threads back under presser
foot before beginning to stitch. · Threading cannot be done. · The needle threader will not turn. · The
threading hook will not enter needle eye. · The needle is not in highest position. · The needle threader is
designed not to turn to protect it if the needle is not up. · The needle has not been fully inserted into
needle bar. · Turn hand wheel until needle reaches its highest position. · Properly insert needle. · Needle
threader cannot be returned and the sewing machine stops. · The threading hook is left in the needle
eye. · Sewing machine was accidentally started while threading hook was still in needle eye (during
threading). · Slightly turn handle clockwise and remove threader. This watermark does not appear in the
registered version - http://www.clicktoconvert.com 118 11.4 LET US SUM UP This lesson gives guidelines
for care that should keep sewing machine run at good condition without any repair. It deals the
procedure to clean the machine. The method of dismantling the machine parts before cleaning and
assembling the machine parts after machine cleaning which was clearly explained here. Cleaning the
machine, at a right time and right parts is very important. We have to remove only the parts that are
involved and be sure to note where each part is from. Sewing machine requires a lubricant, and machine
manual suggested the areas to be lubricate. The lubricant recommended for the machine for best
results. It reduces the lot of problems. 11.5 LESSON END ACTIVITIES The students may do the following
activities based on this lesson Ø Prepare a maintenance program for different sewing machine Ø List the
various possible practical problems and find a solution for it 11.6 POINTS FOR DISCUSSION Here the
students are asked to discuss about the following points Ø The methods of preparing the maintenance
chart of an sewing machine Ø Problem and the remedies of a sewing machine 11.7 REFERENCES: Ø
Fundamentals of textile and their care, Susheela Dantygi, Published by orient Longman L.t.d. Ø Practical
Clothing construction- part 1 & 2, Mary Mathews, Cosmic press. Ø The complete book of sewing, by
Dorling Kindersley, Dorling Kindersley L.t.d. Ø Readers Digest Sewing Guide, The Readers Digest
Association Ø The technology of Clothing Manufacturing, Harold Carr and Barbara Latham. Ø Clothing
Technology, Europ Lehrmilied, Vollmer GmbH & Co. This watermark does not appear in the registered
version - http://www.clicktoconvert.com 119 UNIT – IV LESSON – 12: STITCHING MECHANISM
CONTENTS 12.0 AIM AND OBJECTIVES 12.1 INTRODUCTION 12.3 NEEDLE 12.3.1 Types of sewing needles
12.3 BOBBIN AND BOBBIN CASE 12.4 BOBBIN WINDING 12.5 LOOPERS 12.5.1 Types of loopers 12.6
LOOP SPREADER 12.7 THREAD FINGER 12.8 THREADING 12.8.1 Upper threading 12.8.2 Lower threading
12.9 STITCHING AUXILIARY 12.10 THROAT PLATE 12.11 SETTING PROPER TENSION 12.11.1 Needle
thread tension 12.11.2 Bobbin tension 12.11.3 Type of tension device 12.12 STITCH LENGTH AND WIDTH
12.13 THREAD TAKE UP 12.13.1 Types of take up levers 12.14 LET US SUM UP 12.15 LESSON END
ACTIVITIES 12.16 POINTS FOR DISCUSSION 12.17 REFERANCES 12.0 AIM AND OBJECTIVES After going
through this unit, you should be able to have a clear idea of the following Ø Different parts and function
of a sewing machine is discussed here. Ø It explains the operations of spreading and its method. This
watermark does not appear in the registered version - http://www.clicktoconvert.com 120 Ø A clear
picture of cutting and different cutting equipments. 12.1 INTRODUCTION In these lesson gives
knowledge of parts and functions sewing machine and also discussed the different types of sewing
machines parts available in market. Learning what the parts are and what they do, will help you
understand how they work and why you would use different types of sewing machine. 12.3 NEEDLE The
way in which fabric is penetrated by the needle during sewing has a direct effect on seam strength and
on garment appearance and wearable life. 12.3.1TYPES OF SEWING NEEDLES 1. Hand sewing needles ·
Sewing needle i. Standard ii. Long · Embroidery needle i. Pointed ii. Round · Darning needle 2. Machine
sewing needles · Round point needle o Ball point o Set point · Cutting point needle 1. HAND SEWING
NEEDLE For hand sewing fig 12.1 the needle should be large enough to carry the thread easily. If a
needle that is too small it will cut the thread, and a too-large needle may tear the cloth. For basting we
suggest the long needle used by milliners. Fig 12.1 The needles commonly used in dressmaking are
called Sharps. In your sewing basket you should keep a supply of Sharps Nos. 5, 6, 7, 8, 9 and 10. For
very heavy work use Nos. 5 and 6 with threads 20 to 40 (or silk C. D. and E.) Use needles 7 and 8 for
threads Nos. 60 to 90, and needles 9 and 10 for threads Nos. 100 to 150. This watermark does not
appear in the registered version - http://www.clicktoconvert.com 121 2. MACHINE NEEDLE All sewing
machine needles fig 12.2 have the same basic parts. The variation in needles is caused by the shape of
the parts and the length of the parts. Fig 12.2 The function of the sewing machine needle is general are:
· To produce a hole in the material for the thread to pass through and to do so without causing any
damage to the material. · To carry the needle thread through the material and there form a loop which
can be picked up y the hook on the bobbin case in a lockstitch machine or by the looper or other
mechanism in machine. · To pass the needle thread through the loop formed by the looper mechanism
on the machines other than lockstitch. Shank · The upper thick part of a sewing machine needle is called
the shank. This part of the needle is inserted in the machine. Home sewing machine needles are
composed of a flat and a round side, to assist in always having the needle in the correct position. ·
Always refer to your sewing machine manual for the correct way to insert the needle in your machine. ·
Industrial machine needles have a completely round shaft and the groove is used to know which
direction to put a new needle in the machine. Shaft · The shaft of a sewing machine needle is the area
from the bottom of the shank to the point. The shaft contains the groove, scarf, eye and point of the
needle. Groove This watermark does not appear in the registered version -
http://www.clicktoconvert.com 122 · A groove is in the side of the needle leading to the eye. The groove
is a place for the thread to lay into the needle. · Use your fingernail and feel the groove of the needle on
various sizes to understand why a different size thread would be needed for heavier thread. Scarf · The
scarf is a groove out of one side of the needle. The scarf allows the bobbin case hook to intersect with
the upper thread and form stitches. Eye · The eye of the needle carries the thread so the machine can
keep forming stitches. · The size of the eye can vary and works in conjunction with the groove of the
needle. · Using a needle with an eye that is too small or too large can cause your thread to shred and
break. Point · The point of the needle is the first contact with the fabric and responsible for how the
needle pierces the fabric. · The most common types of point are sharps, ballpoint and universal. o Sharp
needles are for all woven fabric. The sharp point is especially helpful when sewing straight lines and
tasks such as tops stitching. o Ballpoint needles are designed for knit fabric so that the point glides
between the loops of a knit fabric without disturbing the fibers that make up the fabric. Ball point
needles do not form as straight stitching as sharp needles. The non-straight stitching is more apt to
stretch with the fabric. o Universal needles can be used with woven or knit fabric. The point of a
universal needle is sharp yet very slightly rounded giving it the characteristics of a sharp and a ballpoint
needle. If you are not happy with the stitches your machine is forming, try switching the needle to either
a ball point or sharp. Needles Used in Regular Sewing FABRIC THREAD TYPE SIZE Very Light-Sheer Woven
Batiste, Chiffon, Lace, Crepe d' Chine, Georgette, Netting, Organdy, Voile, and Silk Polyester, Cotton, and
Silk S 9/65 Light Weight Woven Batiste, Broadcloth, Calico, Challis, Chambray, Crepe, Eyelet, Gingham,
Lawn, Handkerchief Linen, Microfiber-Peachskin, Rayon, Ripstop Nylon, Satin, Muslin, and Silk Polyester,
Cotton, and Silk S 9/65, 11/70 This watermark does not appear in the registered version -
http://www.clicktoconvert.com 123 Medium Weight Woven Broadcloth, Cotton, Calico, Chino, Challis,
Denim, Felt, Flannel, Muslin, Linen-Linen types, Poplin, Rayon, Satin, Twill, Raw Silk Polyester, Cotton,
and Silk S, J, U 80/12, 90/14 Heavy Weight Woven Canvas, Cotton Duck, Denim, Coat Fabric, Drapery
Fabric, Fake Fur, Sail Cloth, Tapestry, Upholstery, and Wool-Wool Blends Polyester, Cotton J, U 90/14,
100/16 Light-Medium Weight Knits Cotton Knits & Blends, Jersey Knits, Tricot, Lycra & Swimwear Fabric,
Spandex, Stretch Velour & Stretch Velvet Polyester B, ST 80/12, 90/14 Medium- Heavy Weight Knits
Double Knits, Stretch Terry, Stretch Velour, Stretch Velvet, Sweater Knits, Sweatshirt Fabric, and
Spandex Polyester B, ST 80/12, 90/14 Non-Woven Fabrics Leather, Synthetic Leather, Genuine-Synthetic
Suede, Plastic, and Vinyl Polyester L, U 80/12, 90/14 S = Sharp J = Jeans Sharp B = Ball Point ST = Stretch
L = Leather B = Ball Point U = Universal E = Embroidery MT = Metalfil/Metallica 12.3 BOBBIN AND
BOBBIN CASE 1. BOBBIN A bobbin is a spindle or cylinder, with or without flanges, on which wire, yarn,
thread or film is wound. Bobbins are typically found in sewing machines, cameras. Fig 12.3 This
watermark does not appear in the registered version - http://www.clicktoconvert.com 124 The piece of
your sewing machine that holds the bottom threads (the bobbin thread) and is placed in the bobbin
case. It generally is under the area the needle penetrates and it loops with the needle thread to form a
locked stitch. 2. BOBBIN CASE It holds the bobbin in position which provides the lower thread and it
rotate with the shuttle hook. Fig 12.4 Types of bobbin case 1. Removable bobbin case 2. Built in bobbin
case 1. Removable bobbin case It is used in a single needle machine and can be removed from the
machine 2. Built in bobbin case It is attached with the machine and cannot be removed 12.4 BOBBIN
WINDING For most machines, the thread must be taken out of the needle in order to wind the bobbin.
There is normally a bobbin holder on top of the machine. The thread runs from the spool through a
sequence of hooks etc. that are specific to the type of machine and on to the spool. The needle is
disengaged when the bobbin is winding. This is done automatically (when the bobbin is in position for
winding) or manually, depending on the machine. After the bobbin is wound, the machine is re-
threaded, the needle is engaged and the bobbin is placed in its area under the throat plate. It shows in
fig 12.5. Fig 12.5 This watermark does not appear in the registered version -
http://www.clicktoconvert.com 125 If bobbin is not wound smoothly and evenly there will be an uneven
run of thread from the shuttle, which will undoubtedly result in uneven stitching. 12.5 LOOPERS It is dull
pointed metal piece which has a definite motion cycle to grasp the thread from the needle and helps to
form a loop of stitches. 12.5.1 TYPES OF LOOPERS There are two main type of loopers based on its
shape. 1. Eye loopers 2. Blind loopers 1. Eye loopers Eye loopers is used for the machine that has bobbin
and bobbin case and used mainly for class 400, class 600 and for all class 500 stitches other than class
501. These types of loopers are carrying the sewing thread through the eye. Fig 12.6 It does two
important functions. · To grasp the thread from the needle. · To inter lock the bobbin thread with the
needle thread. 2. Blind loopers Fig 12.7 This watermark does not appear in the registered version -
http://www.clicktoconvert.com 126 Blind loopers only do the function of grasping the thread from the
needle. It is used for sewing machine without bobbin and bobbin case. Mainly it is used in class
100,101,102 and some class 500. These types of loopers are not carrying the threads because of no eye,
but it guide the thread as sown in fig 12.7. Based on the loppers function it can classify in to two types. ·
Oscillating loopers · Rotating loopers 12.6 LOOP SPREADER Loop spreader or snub massed or dull
pointed metal piece which assist the looper in making the stitches. Some blind loopers also have loop
spreader. These blind loopers have two dull pointed, the point which grabs the needle thread from the
needle is the looper point. The other point which spreads the needle thread loop, which the loop
spreader pointed. The action of loop spreader is coordinate with the loopers. Some machine has multi
edged loop spreaders which coordinate with more than one loopers. Some loop spreader are fixed
readily there looper mechanism and parallel to looper action. It is used to form the stitch classes of
400,500 and 600 stitches. 12.7 THREAD FINGER Thread fingers function in the position of needle above
the presser foot shoe. It is a metal link with an eye. These fingers may be static or dynamic. In static links
guide the covering thread, were as the dynamic links carry thread back and forth across the needle path.
It is used to form a 600 class stitches. Thread fingers hooks are assist the finger in interlacing its thread
between or among the thread of two or more needles in the machine. The action of the thread fingers
hooks are synchronized with the thread fingers and needle. Most of the thread fingers mechanisms are
located in the upper arm of the machine which holds the needle mechanism. 12.8 THREADING 12.8.1
UPPER THREADING Machines vary as to how exactly they are threaded, but all have certain common
features. The thread runs from the spool holder, through a tension device and down through the
needle. The tension device controls the tension on the thread. It consists of a groove that the thread
slides through. The mechanism for setting the tension may be a dial or buttons (computerized
machines). This watermark does not appear in the registered version - http://www.clicktoconvert.com
127 With the machine on the left, below, the thread runs from the spool to a hook at the top of the
tension area, down the right groove and up the left groove, over a little hook and down the left groove
again, and on to the needle. The dial is turned to set the tension. With the machine on the right below,
the thread runs from the spool to a hook at the top of the tension area, down and up the left groove and
down the right groove to the needle. The thread runs from the tension device, down to the needle area.
There are usually small grooves in the arm that holds the needle, for the thread to pass through. This
holds the thread close to the needle arm. The thread then runs down to and through the eye of the
needle. Refer to your machine manual for proper threading of your machine. 12.8.2 LOWER THREADING
Once the bobbin is in place and the machine is threaded, gently turn the wheel of the machine while
holding the needle thread off to the side (it should go from the needle under the presser foot and off to
the side). This will bring down the needle. The needle will pass down through the throat plate and the
needle thread will catch the bobbin thread and pull it up through the throat plate when it comes back
up again. 12.9 STITCHING AUXILIARY Stitching auxiliaries are not carrying the thread but it helps the
formation of perfect stitches. There are three types of stitching auxiliaries are available. Knife: It trim the
edges of fabric before sewing and it can be found in over lock machines. Positioner: Before stitching the
materials are positioned by these type positioner. Piercing: It pierce the fabric before stitching and it is
used in the button hole machine to form a button hole. 12.10 THROAT PLATE The throat plate (also
called needle plate) fig 12.8 covers the area that holds the bobbin. It has an opening for the needle to
pass through, as well as lines that serve as sewing guides. The needle may be a single hole, used for
straight stitching, or an oblong hole, which allows the needle to make stitches that have width (such as
zigzag stitches). Fig 12.8 This watermark does not appear in the registered version -
http://www.clicktoconvert.com 128 Be careful when using a straight stitch throat plate. If you
accidentally change to a zigzag (or other stitch that has a width) while the straight stitch throat plate is in
place, you will BREAK YOUR NEEDLE. A straight stitch throat plate is the best one to use, however, when
making a straight stitch (regular sewing stitch). It helps prevent the fabric from being pulled down into
the machine (having a needle that is sharp enough helps prevent this also, although you must use a ball-
point needle for knits). 12.11 SETTING PROPER TENSION Tension refers to the force that is applied by
the machine on your thread. You can also effect tension by the amount of pull or push you apply to the
fabric as you feed it through under the needle - you should not apply force. Instead, just use your hands
to guide the fabric through. Let the feed dogs actually feed the fabric through. Perfectly Locked Stitch
(fig 12.9) There are two areas in which you can adjust tension. The upper thread (needle thread - coming
from the spool) and the bobbin thread each have tension. 12.11.1 NEEDLE THREAD TENSION This is the
most likely place to find a problem. Generally the tension ranges from low to high in number, with high
being the tightest. Upper Tension Too Tight ( fig 12.10) 12.11.2 BOBBIN TENSION With some machines, a
screw is present which controls the bobbin tension. Usually, the bobbin does not need to be adjusted,
and some machine does not even allow you to do this. In all of my time sewing, I have never adjusted
bobbin tension. Too little tension can cause weak seams, which can be pulled apart easily. Adjust to a
higher tension. Too much tension causes a seam that is too tight and causes your fabric to pucker.
Adjust to a lower tension. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 129 When both threads have an even amount of tension, a smooth,
"balanced" stitch is produced. The needle and bobbin threads are locked between the two layers of
fabric with no loops on top or bottom and no puckers. Upper Tension Too Loose (fig 12.11) The
relationship between the bobbin thread tension and the upper thread tension, in combination with the
thickness of the fabric being sewn, affects the appearance (and effectiveness) of the stitching. Since
bobbin thread tension cannot be changed on the fly, and you're presumably using your fabric for a
reason, the upper thread tension is the one to adjust. If you suspect your upper thread tension is wrong,
make a sample line of stitching through all the thicknesses you intend to sew. Look at the stitches you've
produced. · If stitching on the top of the fabric looks normal (like a dashed line), but the underside has a
bunch of little loops with the bobbin thread running through them, your top thread is too loose.
Increase your thread tension. Note, however, that this is the ideal adjustment for gathering fabric. · If
the top of the fabric shows little loops, decrease your thread tension. · If both sides show normal
stitching, then you've got the right thread 12.11.3TYPE OF TENSION DEVICE 1. Direct 2. Indirect 3.
Auxiliary 1. Direct It has two canvas disc, tension spring and tension screw to provide tension to thread
2. Indirect These are cylindrical and conical in shape with a hook which is placed over the tension disc to
provide extra tension. 3. Auxiliary These are placed somewhere between the actual tension disc and
needle to provide extra tension to the thread. 12.12 STITCH LENGTH AND WIDTH Stitch length refers to
how long each individual stitch is. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 130 * Regular 11 - 12 stitches per inch * Basting 6 stitches per inch (i.e. a
longer stitch, so fewer per inch) * Gathering 6 - 8 stitches per inch Generally, heavier fabrics work best
with a longer stitch length, and finer fabrics are best with a shorter stitch length. Proper stitch length is
important and is a first place to start if you do not like the look of your stitching. For example, a slightly
puckered seam in the fine fabric could be caused from too long of a stitch length - the feed dogs are
feeding too much fabric through each stitch, making a puckered look. To correct this, a shorter stitch
length should be used (also check tension - more on this later). Remember that the higher number of
stitches per inch translates to a short, tighter stitch. Stitch width refers to how wide the stitch is. A
regular straight stitch has no width, but a zigzag or decorative stitch can be set to any number of widths.
Fig 12.12 12.13 THREAD TAKE UP After the bobbin hook contacts the needle thread, the threads is
pulled up in order to make the stitch tight and this action is done by the take up lever. It also helps the
bobbine hook to receive the thread freely and quickly. This watermark does not appear in the registered
version - http://www.clicktoconvert.com 131 Fig 12.13 12.13.1 TYPES OF TAKE UP LEVERS 1. Oscillating
levers 2. Rotating levers 1. Oscillating levers It is used in a single needle machine and the gap will be 1
inch for oscillating of take up leaver 2. Rotating levers This type lever which rotate to provide the thread
looser and tighter. 12. 14 LET US SUM UP In this lesson, we learned a lot regarding the machine parts.
Here we are not only discussed a single machine parts or lock stitch machine parts. The lesson is
common to all kind of stitch forming sewing machine. Almost all pars of single and double needle
machine were discussed here. The loop spreader and loopers are comes in the over lock machine.
Through the fashion maker machine we can set different stitch length and stitch width. With line
diagrams we gave a good idea about the thread tension and its impotents on sewing machine. 12.15
LESSON END ACTIVITIES The students may do the following activities based on this lesson Ø Analyze the
sewing machine parts and function Ø Influence of thread tension on garment constructions 12.16
POINTS FOR DISCUSSION Here the students are asked to discuss about the following points Ø The cycle
of stitch formation in sewing machine Ø Sewing machine needle and its parts This watermark does not
appear in the registered version - http://www.clicktoconvert.com 132 Ø Passage of upper and lower
thread in a machine Ø Loopers and its type 12.17 REFERENCES: Ø Practical Clothing construction- part 1
& 2, Mary Mathews, Cosmic press. Ø The complete book of sewing, by Dorling Kindersley, Dorling
Kindersley L.t.d... Ø Readers Digest Sewing Guide, The Readers Digest Association Ø The technology of
Clothing Manufacturing, Harold Carr and Barbara Latham. Ø Clothing Technology, Europ Lehrmilied,
Vollmer GmbH & Co. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 133 LESSON – 13: FEEDING MECHANISM CONTENTS 13.0 AIM AND
OBJECTIVES 13.1 INTRODUCTION 13.2 PRESSER FEET 13.3 FEEDING MECHANISM 13.4 TYPES OF FEED
MECHANISM 13.4.1 Manual feed or Free Motion or Freehand or Darning Feed 13.4.2 Drop feed 13.4.3
Differential feed 13.4.4 Needle feed 13.4.5 Compound feed 13.4.6 Unison feed 13.4.7 Puller, roller feed
13.4.8 Cup feed 13.5 LET US SUM UP 13.6 LESSON END ACTIVITIES 13.7 POINTS FOR DISCUSSION 13.8
REFERANCES 13.0 AIM AND OBJECTIVES After going through this unit, you should be able to have a clear
idea of the following Ø Presser foot and its function Ø Use if feeder mechanism to pull fabric through a
sewing mechanism. Ø Feed mechanism classification and detailed explanation. 13.1 INTRODUCTION One
of the controls on a sewing machine. Surprisingly enough, it controls the length of the stitching. More
specifically, it controls the amount of fabric the feed dogs push through before the needle comes down
again. To achieve the best results with your sewing machine, you need to use the correct foot for the
task at hand. We have to select the correct foot while inserting a pin tuck embellishment or attaching a
button will be critical to the final results. Whether your machine takes Low, High, Slant, or Super High
Presser feet, Sew Fancy carries all are available in market. This watermark does not appear in the
registered version - http://www.clicktoconvert.com 134 13.2 PRESSER FEET The presser foot fig 13.1 can
be raised and lowered with a small lever at the back of, or beside, the needle. When up, it allows free
movement of the fabric. When down, it presses the cloth against a base plate. The base plate has a
couple of textured moving parts (the feed dogs) that keep the material moving past the needle at an
even rate. (You can sew with the presser foot up, but you tend to get very uneven stitches. This is
because you have to move the fabric yourself, and keeping it moving at an even rate is almost
impossible.) Fig 13.1 Presser feet hold down the fabric and help guide it through. They also serve various
special functions. Examples of special feet are the rolled hem foot, which causes the fabric to roll, and
the appliqué foot, which has an opening in the back to allow the bulk of the satin stitch to pass through.
Other special feet that are commonly used include the zipper foot and buttonhole foot. Knowing what
types are available, and when to use them, can make all the difference in the quality of your work. These
special feet also take a lot of the frustration out of sewing. Special sewing functions can be performed
using other specialty feet such as: appliqué foot, bias binder, pin tuck feet, felling foot, cording foot,
special hemmers ( fig 13.2) and many more. Fig 13.2 13.3 FEEDING MECHANISM In a sewing machine,
feed dogs are the feeder mechanism which is typically used to pull fabric through a sewing mechanism.
This watermark does not appear in the registered version - http://www.clicktoconvert.com 135 Fig 13.3
A set of feed dogs fig 13.3 typically resembles two or three short, thin metal bars, crosscut with diagonal
furrows, which move back and forth in grooves slightly larger than the bars. The type of motion used
(forward, then down, then backwards, then up) serves to pull the fabric through, since the "dogs" are in
contact with the material on the forward stroke, and are pulled down below the main plate on the
backward stroke by the sewing machine's mechanism. The result is that, between stitches, the fabric is
pulled along in discrete steps. Most sewing machines using feed dogs can pull fabric forwards or
backwards at various stitch lengths; this is typically controlled by a stitch lever on the front of the
machine. 13.4 TYPES OF FEED MECHANISM Based on the end use and application the feed mechanism
can be classified in the following types. · Manual feed or Free Motion or Freehand or Darning Feed. ·
Drop feed · Differential feed · Needle feed · Compound feed · Unison feed · Puller, roller feed · Cup feed
13.4.1 MANUAL FEED OR FREE MOTION OR FREEHAND OR DARNING FEED Ø Operator moves work
under needle. Freehand motion. Ø Machine may have a vertical motion foot that clamps the goods
before the needle enters the material, and releases to allow the operator to manipulate the goods
between each stitch. Ø Darning, Embroidery, freehand Quilting, etc. This watermark does not appear in
the registered version - http://www.clicktoconvert.com 136 13.4.2 DROP FEED Drop Feed fig 13.4
utilizes a feeder below the plate that raises up through the plate, compresses the fabric against the
presser foot to advance the fabric one stitch, then drops below the plate to return to the original
position. Fig 13.4 * Incorporates a feed dog. * The most common feed system. * Also called four-motion
feed dog or four-motion drop feed. 13.4.3 DIFFERENTIAL FEED Differential Feed fig 13.5 utilizes a two
piece feeder below the plate that rises up through the plate, compresses the fabric against the presser
foot and then advances the fabric. Fig 13.5 The front (main) feeder and rear feeder can be set to move
the same or different distances. When the rear feeder is set to move farther than the front, the fabric is
stretched. When the rear feeder is set to move less than the front, the fabric is gathered (shirring) This
watermark does not appear in the registered version - http://www.clicktoconvert.com 137 13.4.4
NEEDLE FEED Needle Feed fig 13.6 utilizes a feeder below the plate that raises up through the plate,
compresses the fabric against the presser foot, in conjunction with the sewing needle which, drops
through the fabric, then both move one stitch to advance the fabric. Then the separate and return to the
original position for the next stitch. Fig 13.6 * Needle enters goods and remains in the goods while
moving perpendicular to the needles' normal direction of travel, thereby feeding the goods, or assisting
in feeding the goods. * Can assist in preventing upper, middle, and lower layers of material from slipping
in relation to each other. * Does not necessarily require pressure against the planar surfaces of the
material to feed, and can be used where material should not be marked by the action of a feed dog
and/or upper feed. * Is often used in conjunction with drop feed and/or with upper feed. It has three
types. 1. Upper pivot needle feed 2. Central pivot needle feed 3. Parallel drive needle feed 13.4.5
COMPOUND FEED A combination of synchronized drop feed and needle feed. Feeding occurs whilst the
needle is still in the material by combined motion of needle bar and feed dog. Compound Feed fig 13.7
utilizes a feeder below the plate that raises up through the plate, compresses the fabric against the This
watermark does not appear in the registered version - http://www.clicktoconvert.com 138 presser foot
in conjunction with a feeder above the plate which both pinch the fabric and both move one stitch to
advance the fabric together. Fig 13.7 Upper and lower feed. * A combination of any upper feed system
and a feed dog or drop feed. * The term "walking foot" (see "Upper feed" heading above) is often used
to mean a vibrating presser foot in combination with compound feed, or in conjunction with a drop
feed. Compound feed. * A combination of needle feed and drop feed. * The term is often used
erroneously to indicate any combination of feed systems. 13.4.6 UNISON FEED Unison feed fig 13.8
combines Needle Feed with Compound Feed. The Needle penetrates the fabric, the top and bottom
feed dogs compress on the fabric, and they all advance the fabric one stitch, all release as the presser
foot drops to hold the fabric, and all return for the next stitch. This watermark does not appear in the
registered version - http://www.clicktoconvert.com 139 Fig 13.8 * This term is used in two different
ways. * One usage of this term is its application to any of two or more feed systems working in
combination. * A second usage of this term is to describe the uncommon feed system of a vibrating
presser foot or alternating presser feet, along with needle feed, and a drop feed or feed dog, working in
combination, but operating from a one-piece frame. The frame extends from the presser foot/needle
feed mechanism, through the machine casting, to the drop feed/feed dog. This is the only system, when
in good repair, where it is impossible for the upper and lower feed mechanisms to become out of
synchronization. All other feed systems are synchronized by linkage or by electronic control. 13.4.7
PULLER, ROLLER FEED Fig 13.9 Wheel Feed utilizes a roller that advances the fabric one stitch length at a
time, in a ratcheting motion. The presser foot has small rollers to permit easy movement. Wheel feed is
used when the material being sewn would be damaged by tooth feeders. Examples are vinyl plastic and
some leather products This watermark does not appear in the registered version -
http://www.clicktoconvert.com 140 * A rotary wheel with a movement in the direction of feed. *
Incorporates a friction surface or clamping surface that feeds or assists in feeding the goods. * Has
either an intermittent motion or a continuous motion. * Continuous motion wheel feed must work in
unison with a needle feed. Upper and lower wheel feed. * Wheel feed system where an upper and
lower wheel is both driven. * The material is fed between the wheels. * There is positive feeding
pressures both the top and bottom of the material at the same time. 13.4.8 CUP FEED Fig 13.10 Cup
Feed fig 13.10 utilizes one or two cup shaped wheels that pinch the edge of the material, permitting the
needle to sew across the edge of the material. Often called a "fur machine", as this machine is ideal for
sewing the narrow strips together to create a fur coat. 13.5 LET US SUM UP Most sewing machines using
feed dogs can pull fabric forwards or backwards at various stitch lengths; this is typically controlled by a
stitch lever on the front of the machine. Feed dogs are the feeder mechanism which is typically used to
pull fabric through a sewing mechanism. The type of motion used (forward, then down, then backwards,
then up) serves to pull the fabric through, since the "dogs" are in contact with the material on the
forward stroke, and are pulled down below the main plate on the backward stroke by the sewing
machine's mechanism. The result is that, between stitches, the fabric is pulled along in discrete steps.
This watermark does not appear in the registered version - http://www.clicktoconvert.com 141 13.6
LESSON END ACTIVITIES The students may do the following activities based on this lesson Ø Analyze and
check your machine pressure foot and feed mechanisms Ø collect various type and shape of presser foot
13.7 POINTS FOR DISCUSSION Here the students are asked to discuss about the following points Ø How
to alter the amount of presser act on the fabric based on the fabric types Ø Function of feed
mechanisms 13.8 REFERENCES: Ø Practical Clothing construction- part 1 & 2, Mary Mathews, Cosmic
press. Ø The complete book of sewing, by Dorling Kindersley, Dorling Kindersley L.t.d... Ø Readers Digest
Sewing Guide, The Readers Digest Association Ø The technology of Clothing Manufacturing, Harold Carr
and Barbara Latham. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 142 LESSON – 14: SPREADING CONTNETS 14.0 AIM AND OBJECTIVES
14.1 INTRODUCTION 14.2 SPREADING 14.3 THE REQUIREMENTS OF THE SPREADING PROCESS 14.4
METHODS OF SPREADING 14.4.1. Spreading by hand 14.4.2 Spreading using a traveling machine 14.5 LET
US SUM UP 14.6 LESSON END ACTIVITIES 14.7 POINTS FOR DISCUSSION 14.8 REFERANCES 14.0 AIM AND
OBJECTIVES After going through this unit, you should be able to have a clear idea of the following Ø
Number of plies of fabric made by spreading. Ø Requirement and the methods of spreading process.
14.1 INTRODUCTION The most important department of the garment industry is discussed here, i.e. the
heart of the department in a garment industry is cutting. In this cutting department spreading play a
vital role. When compare to cutting the high dwell time of fabric is consumed by this spreading. Once we
made a quick spreading we can pass the material to the next department quickly. Spreading machines
can be classified by application, semi- or fully automated threading methods, as well as fabric feeding
methods. Various loading devices, air cushion tables and conveyor zed transfer tables can be combined
to automate the entire process from loading, spreading, to cutting and off-loading. 14.2 SPREADING The
objective of spreading is to place the number of plies of fabric that the production planning process has
dictated, to the length of the marker plan, in the colours required, correctly aligned as to length and
width, and without tension. There are a number of prices to be paid for this saving in the rime and cost
of cutting and the cost of materials. First, the spreading of multi-size lays of many plies demands
strongly constructed tables, usually with steel legs and braced frames, a heavy laminated, smooth wood
top, and sometimes centre legs. A 10 meter lay of shirting fabric with 200 plies can weigh up to 600kg
and with This watermark does not appear in the registered version - http://www.clicktoconvert.com 143
150cm wide fabric can exert a downward pressure of up to approximately 40kg per square meter on the
table surface. The table may also bear the weight of a spreading machine, traveling on steel rails at the
edge of the table. The type of table surface is critical for the spreading and cutting operations. Second,
spreading is itself a time-consuming operation. With the highest lays it can consume more time in total
than cutting, especially if the cutting is by computer-controlled knife. Just as with the marking and
cutting operations, the efforts of engineers have produced sophisticated equipment designed to reduce
spreading time and make the operation more automatic. A study of spreading must include the
following considerations: 1. the requirements of the spreading process 2. methods of spreading 3. The
nature of fabric packages. 14.3 THE REQUIREMENTS OF THE SPREADING PROCESS Spreading must
achieve a number of specific objectives: 1. Shade sorting of cloth pieces Lays commonly require more
than one roll of cloth and lays which include several colours normally require more than one roll of each
co lour to achieve enough plies in total. It is likely that cloth pieces that are nominally the same co lour
will have been dyed separately and are not an exact shade match. A garment made from parts cut from
these different pieces would be likely to show a shaded effect between its different panels. Thus when
deliveries of a number of rolls of cloth of the same co lour are received, they should be sorted into
batches such that shade differences between them are undetectable. 2. Correct ply direction and
adequate lay stability These two factors must be considered together as the opportunities for achieving
them are related. They depend on fabric type, pattern shape and the spreading equipment that is
available. Methods if spreading which lay alternate plies in different directions can only be used for
either way fabrics. In this case the pattern pieces can face in either direction in the marker and the
following opportunities are available: a) For symmetrical pattern pieces, and fabric which is suitable
spread face to face, the fabric can be spread along face up and immediately back again face down. b) For
symmetrical as well as symmetrical pattern pieces, and fabric which is stable spread all the same way
up, the fabric can be spread along and immediately back again but the roll must be turned on a
turntable before returning. c) For asymmetrical as well as symmetrical pattern pieces, and fabric which
is stable all the same way up, the spreader spreads in one direction only and ‘dead heads’ back to
spread the next ply in the same direction. d) For symmetrical pattern pieces, and fabric which is stable
face to face, the spreader spreads in one direction only but after ‘dead heading’ back, a turntable is
required to rotate the roll before the next ply is spread in the same direction. This watermark does not
appear in the registered version - http://www.clicktoconvert.com 144 (3) Alignment of piles: Every ply
should comprise at least the length and width of the marker plan, but should have the minimum
possible extra outside those measurements. (4) Correct ply tension If the plies are spread with too slack
a tension they will lie in ridges with irregular fullness. If plies are spread in a stretched state they will
maintain their tension while held in the lay, but will contract after cutting or during sewing, thus
shrinking the garment parts to a smaller size than the pattern pieces. In a non-stretch fabric practically
all elongation of the fabric occurs in such a manner that rapid relaxation and recovery ensues. (5)
Elimination of fabric faults Fabric faults (flows, holes, stains, etc.,) may be identified by the fabric
supplier, and additional faults may be detected during examination of the fabric by the garment
manufacturer prier to spreading. (6) Elimination of static electricity In spreading plies of fabric
containing man-made fibres, friction may increase the charge of static electricity in the fabric. Friction
may be reduced by changing the method of threading the fabric through the guide bars of the spreading
machine. Humidity in the atmosphere of the cutting room may also be increased, thus allowing the
static electricity to discharge continuously through the atmosphere. (7) Avoidance of distortion in the
spread A layer of glazed paper, laid glazed side down, is normally placed at the bottom of the spread.
This helps to avoid disturbing the lowest plies of material in the spread when the base plate of a straight
knife passes underneath, and also gives stability to the lay if it is to be moved on a flotation table. In
addition, it prevents snagging of the fabric on the table surface which often becomes roughened with
use. (8) Avoidance of fusion of plies during cutting Cut edges of thermoplastic fibre fabrics may fuse
together during cutting if the cutting knife becomes hot as a result of friction with the fabric. In this case,
anti-fusion paper may be used in the same may as interleaving paper. It contains a lubricant which
lubricates the knife blade as it passes through the spread, thus reducing the increase in temperature of
the blade arising from friction. 14.4 METHODS OF SPREADING The methods of spreading which the
industry uses can be divided into: 1. Spreading by hand 2. Spreading using a traveling machine *
classified by application Ø Semi automatic Ø Fully automatic This watermark does not appear in the
registered version - http://www.clicktoconvert.com 145 14.4.1. SPREADING BY HAND It is time-
consuming method, requiring an operator at each side of the table. the fabric is drawn from its package
which, if it is a roll, may be supported on a frame, and carried along the table where the end is secured
by weights or a clamp. The operators work back from the end, aligning the edges and ensuring that
there is no tension and that there are no wrinkles. The ply is normally cut with hand shears or with a
powered circular knife mounted on a frame, though a few fabrics are ripped at the end of the ply to
discover the exact weft grain and enable some straightening of a slightly crooked fabric to take place.
Typical fabrics which must be spread by hand are checks, crosswise stripes and other regularly repeating
patterns, as well as those with a repeating design at intervals of a permanent length. If accurate
‘stacking up’ of the design vertically through the spread is necessary, the fabric may be ‘spiked’ on to a
series of sharp spikes set vertically on the spreading table. 14.4.2 SPREADING USING A TRAVELING
MACHINE Spreading machines carry the piece of fabric from end to end of the spread, dispensing one
ply at a time onto the spread. Their basic elements consist of a frame or carriage, wheels traveling in
guide rails at the edge of the table, a fabric support, and guide collars to aid the correct unrolling of the
fabric. In the simpler versions, the operator clamps the free end of fabric in line with the end of the
spread, pushes the spreader to the other end, cuts off the ply in line with that end, clamps the beginning
of the next ply, pushes the spreader to the other end and so on. More advanced spreading machines fig
14.1 may include a motor to drive the carriage, a platform on which the operator rides, a ply-cutting
device with automatic catcher to hold the ends of the ply in place, a ply counter, an alignment shifter
actuated by photo-electric edge guides, a turntable, and a direct drive on the fabric support,
synchronized with the speed of travel, to reduce or eliminate tension in the fabric being spread. Fig 14.1
This watermark does not appear in the registered version - http://www.clicktoconvert.com 146 The
advent of microprocessor control has enabled the development of more automatic functions on
spreading machines. Thus a spreader can be pre-set to a selected number of plies, emitting an audible
signal when it has reached the selected number or has come to the end of a piece of fabric. Automatic
turn tabling gives automatic spreading even for corduroys which are normally spread face to face. With
robotic spreading, when the piece is finished, the spreader returns to an auto-lifter at the end of the
table, transfers the empty centre bar to the lifter which then advances the next piece to the spreader. It
repeats the process until it achieves the required number of plies. This method requires automatic
sensing of previously marked flaws and damages. 14.5 LET US SUM UP Lying of fabric is called as
spreading. We can say this sentence very simple. But the spreading operation is not a simple one. We
have to consider lot of aspects before and during spreading. That and all are discussed in this lesson
elaborately. Here we deal the requirement of spreading the direction of plies. The different methods are
available. Already we discussed the required for spreading is higher than the cutting. To meet the high
speed of material flow, we have to recommend some modern machinery. 14.6 LESSON END ACTIVITIES
The students may do the following activities based on this lesson Ø Visit any garment industry and
analyze the role and importance spreading 14.7 POINTS FOR DISCUSSION Here the students are asked to
discuss about the following points Ø Factors influencing the length and width of the spread Ø Factors
influencing the height of the lay Ø Requirement of spreading Ø The various methods of spreading 14.8
REFERENCES: Ø The technology of Clothing Manufacturing, Harold Carr and Barbara Latham. Ø Clothing
Technology, Europ Lehrmilied, Vollmer GmbH & Co. This watermark does not appear in the registered
version - http://www.clicktoconvert.com 147 LESSON – 15: CUTTING CONTENTS 15.0 AIM AND
OBJECTIVES 15.1 INTRODUCTION 15.2 CUTTING 15.4 METHODS OF CUTTING 15.4.1 Hand shears 15.4.1.1
Cutting tools and equipments 15.4.2 Straight Knife Cutting Machine 15.4.3 Band Knife Cutting Machine
15.4.4 Round Knife Cutting Machine 15.4.5 Die Cutters 15.4.6 Notches 15.4.7 Drills and Thread Marker
15.4.8 Computer Controlled Cutting 15.5 LET US SUM UP 15.6 LESSON END ACTIVITIES 15.7 POINTS FOR
DISCUSSION 15.8 REFERANCES 15.0 AIM AND OBJECTIVES After going through this unit, you should be
able to have a clear idea of the following Ø The term cutting and its use. Ø Different cutting tools and
equipments. Ø Several possible types cutting process and methods. 15.1 INTRODUCTION Cutting is the
word is very important in our garment industry and it is not only used for cut the fabric. Once we are not
maintain or not having proper control in this word of cutting i.e. cutting room, it will cut the industry
profit. In garment industry, heart of the department is cutting. This is the only place we can control the
fabric consumption per garment and we can save the fabric. All industry the raw materials play a vital
role and it consumed major part of in cost of production. Once we reduce the raw material cast the
profit will increased. The raw material for garment industry is fabric. Reducing the amount of fabric used
per garment will increase the profit. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 148 15.2 CUTTING The use of the term cutting can present a difficulty. It
is used in the sense of ‘cutting room’, an area which normally includes the activities of marker planning,
spreading and preparation for sewing, as well as being used to refer to the actual cutting out of garment
parts from the lay. 1. Precision of cut Garments cannot be assembled satisfactorily, and they may not fit
the body correctly, if they have not been cut accurately to the pattern shape. The ease with which
accuracy is achieved depends on the method of cutting employed and in some cases on the marker
planning and marker making. In manual cutting using a knife, accuracy of cut, given good line definition,
depends on appropriate, well maintained cutting knives and on the skill and motivation of the cutter. In
both the cutting and computer-controlled cutting, the achievement of accuracy comes for the
equipment. 2. Clean edges The raw edge of the fabric should not show fraying or snagging. Such defects
come from an imperfectly sharpened knife. 3. Unscorched, unfused edges The build-up of heart in the
knife blade comes from the friction of the blade passing through the fabric. This, in extreme cases, leads
to scorching of the fabric and, more frequently, to the fusing of the raw edges of thermoplastic fibre
fabrics, such as those containing polyamide or polyester. The cutter cannot separate individual plies
from the pile of cut parts. Forced separation causes snagged edges, and, on any case, the hard edge is
uncomfortable in wear. Solutions to this problem lie in a well-sharpened blade, a blade with a wavy
edge, the use of anti-fusion paper during spreading, spraying the blade and reducing the height of the
lay. 4. Support of the lay The cutting system must provide the means not only to support the fabric but
also to allow the blade to penetrate the lower ply of a spread and sever all the fibres. 5. Consistent
cutting The cutting system should not be limited in the height or plies it will cut, because of progressive
deterioration in cutting quality, though there may be mechanical or human reasons, such as topping or
leaning, for the height of lay being limited. 15.3 METHODS OF CUTTING Majority of cutting rooms today,
the cutting process makes use of hand shears, a mechanized knife blade in one of several possible types,
or a die press which stamps out the garment shapes. 1. Hand shears 2. Straight knife 3. Band knife 4.
Round knife This watermark does not appear in the registered version - http://www.clicktoconvert.com
149 5. Die cutters 6. Notches 7. Drills and thread marker 8. Computer control cutting knife 9. Laser
cutting 10. Plasma cutting 11. Water jet cutting 12. Ultrasonic cutting 15.3.1 HAND SHEARS Fig 15.1 Hand
shears fig 15.1 is normally used when cutting only single or double plies. The lower blade of the shears
passes under the plies, but the subsequent distortion of the fabric is only temporary and accurate
cutting to the line can be achieved with practice. Left-handed shears are available since the cutting line
will not easily be seen if right-handed shears are used by a lefthanded person. This method is flexible
enough to accommodate any fabric construction and pattern shape. The obvious disadvantage of any
method lies in the time it consumes and the consequent high labour cost per garment, but it
appropriate for made-to-measure garments. 15.3.1.1 CUTTING TOOLS AND EQUIPMENTS 1. Scissors
These have round handles and the blades are usually less than 6 inches. They are designed mainly for
snipping thread and trimming seams. However, scissors with 5 inch blade can be used by beginners for
cutting fabric as well. For embroidery and for cutting button holes sharp pointed scissors with blades ½
inch to one inch long are very useful . the best types of scissors have blades of uneven width. They
should be held so that the wider blade is above the narrower blade. 2. Dress maker’s shears For cutting
fabric, shears are more satisfactory than scissors. Shears differ from scissors in that they have one small
ring handle for the thumb and a large ring handle for the second, third and fourth fingers. They also
have longer blades (6 to 12 inches). It is better to select benthandled shears made of high quality steel
and having blades joined with a bolt or screw rather than a rivet. Take good care of your shears and use
them only for cutting fabric. Do not drop them or leave them out to rust. This watermark does not
appear in the registered version - http://www.clicktoconvert.com 150 3. Pinking Shears These are useful
for finishing the edges of seams and other raw edges of fabric. They produce a notched (zigzag) cutting
line which prevents raveling of firmly woven fabrics. Pinking gives a neat appearance to the inside of
garments. 4. Buttonhole scissors These can be adjusted so as to cut buttonholes in any size you require.
They are useful if you are an expert in tailoring and need to make many buttonholes. 15.3.2 STRAIGHT
KNIFE CUTTING MACHINE: The Straight knife cutting machine fig 15.2 & fig 15.3 consists of a base plate,
an up right stand to hold the vertical blade, motor, a handle for moving assembly, a sharpening device
and a handle to transfer the whole assembly from one place to another. Two kinds of power are
required to operate a straight knife. Motor power drives the reciprocating blade and operator power
drives the knife through the lay. Normally the available blade heights very from 10 cm to 33 cm and
normally available strokes vary from 2.5 to 4.5 cm. The greater the blade movement the faster the blade
cuts the fabric and more easily the operator can move the machine. The most important consideration is
selecting a straight knife is the power required from the operator to move the knife is the power
required for the operator to move the knife through the lay. Operator effort is affected by the weight of
the motor, the shape of the stand, handle height, stroke, sharpness of blade and the base plate
movement. This watermark does not appear in the registered version - http://www.clicktoconvert.com
151 Fig 15.2 The normal blade has a straight edge that varies from coarse to fine depending upon the
type of fabric being cut. Wavy edged knifes are used to reduce the heat generation and hence can be
used for cutting synthetic materials without fusing difficulties. The speed of the blades can also be
adjusted by having variable speed mechanism. This watermark does not appear in the registered version
- http://www.clicktoconvert.com 152 Fig 15.3 The straight knife is a common means of cutting lays in
conventional cutting rooms because it is versatile,, portable, chapter than a band knife and easy to
maintain. Even if a band knife is used for main cutting operation, a straight knife will be used to separate
the lay into sections for easier handling. 15.4.3 BAND KNIFE CUTTING MACHINE Fig 15.4 This watermark
does not appear in the registered version - http://www.clicktoconvert.com 153 A band knife comprises a
series of three or more pulleys powered by an electric motor. With a continuously rotating steel blade
mounted on then, one edge of the blade is sharpened. The principle of operation is different from a
straight knife, in that the bank knife passes through a slot in the cutting table, in a fixed position and the
section of lay to be cut is moved past it. The blade is usually narrower than on a straight knife. Band
knives fig 15.4 are used when a higher standard or cutting accuracy is required that can be obtained with
a straight knife. Space must be left around garment parts when marking so that they can be cut from the
lay using a straight knife and then cut exactly using the band knife. When small parts such as collars,
cuffs and pockets are cut, a template of metal or fibre board in the shape of the pattern piece may be
clamped to the section of lay on top of the marking which is then drawn past the band knife blade,
cutting exactly along the hard edge. Bard knife cutting machines are used more in men’s wear than in
women’s wear and are often used to cut large garment parts such as the large panels of jackets and over
coats. 15.4.4 ROUND KNIFE CUTTING MACHINE Fig 15.5 The elements of a Round knife cutting machine
fig 15.5 are a base plate, above which is mounted an electric motor, a handle for the cutter to direct the
blade, and a circular blade rotating so that the leading edge cuts downwards into the fabric. Blade
diameters vary form 6 cm to 20cms. Round knives are not suitable for cutting curved lines in high lays
because the blade does not strike all the plies simultaneously at the same point as a vertical blade does.
Therefore a round knife is used only for straight lines or lower lays of relatively few plies. It is naturally
much more difficult for a circular blade to cut a tight curve, such as an armhole. 15.4.5 DIE CUTTERS In
contrast to the fast-moving blades used in the methods of cutting previously described, die cutting
involves pressing rigid blade through the lay of fabric. The die (called a clicker in the shoe industry) is a
knife in the shape of a pattern periphery, including notches. One or more tie This watermark does not
appear in the registered version - http://www.clicktoconvert.com 154 bars secure its stability. Free
standing dies generally fall into two categories. They can be of strip steel, manufactured by bending the
strip to the shape required and welding the joint. These cannot be sharpened and must be replaced
when worn. Alternatively, they can be heavier gauge, forged dies which can be re-sharpened but which
are about five times the price of strip steel. The position of the tie bars determines the depth of curt
which is generally greater with forged dies. Free standing dies cut the small parts of larger garments
such as collars and trouser pocketing or the parts of smaller garments such as bras. They can also be
used for part of a larger garment part, such as the neck area, of a coat front. They provide a high
standard of accuracy of cutting but, because of the cost of the dies, they are only appropriate to
situations where large quantities of the same pattern shape will be cut. Die cutting also offers much
faster cutting than knife cutting for the same depth of cut. It is proportionally more economic for small
parts which have a greater periphery in relation to their area than do large parts. In addition, the level of
accuracy demanded of small parts is not only greater but correspondingly more difficult to achieve with
conventional knives. The die press generally has a cutting arm supported by a single pillar at the back of
the machine; it swings to the side to allow the placing of dies on top of the fabric. The downward cutting
stroke of the press should be so controlled that the edge of the die just penetrates the cutting pad or
surface in order that the fibres of the lowest ply are completely separated. Die presses are of two types:
impact, which makes a single press on the die, and, more commonly, hytronic (hydraulic and electronic)
which exerts continuous pressure on the die until it has cut the fabric and made contract with the soft
metal or nylon pad. Once the pad, after repeated cutting, reaches an unsatisfactory state of wear, its
surface is re-cut and re-leveled. For die cutting, the spreader spreads a lay to the required number of
plies and may place a marker on top to guide the placement of dies. The spread is cut into sections to
allow transport to the cutting pad. In some cases, no marker is used, the operator placing the dies by
eye to the correct grain line and as close together as this method allows. One important disadvantage of
die cutting is its greater use of fabric. When the die press forces the dies through the fabric it also forces
a barrow wedge of fabric between the dies. The narrow wedge exists because the sharpened cutting
edge of the die is necessarily of narrower gauge than the top of the die. Thus if dies are butted together,
they touch at the top but show a small gap at the level of the cutting edges. The action of the press will
compress this narrow wedge of fabric to the point where it will rupture the dies. Hence it is necessary to
leave a significant gap between two dies, say 2 to 3 mm. Similarly a single die will not cut satisfactorily if
placed closer than 3 to 4 mm to a previously cut edge. Large area die cutting presents a number of
technical problems. A complete lay of free dies several meters long on top of the fabric could be cut by a
twin pillar or four pillar press extending across the lay. For economic and engineering reasons the depth
of the press is limited. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 155 15.4.6 NOTCHES Many garment parts require that notches are cut
into the edges of them to enable alignment during sewing with other garments parts. The previous four
methods of cutting can be used to cut notches, but accuracy depends of the operator. Specialized
notching equipment provides greater accuracy because a guide lines up the notcher with the cut edge to
give consistent depth of notch at a consistent right angle to the edge. Both straight notches and vee
notches are available. A further machine, the hot notcher, incorporates a heating element in order that
the blade may slightly scorch the fibres adjacent to the notch in order to prevent it fraying and
disappearing. This cannot be used with thermoplastic fibres or certain unlined garments. One fabric
requiring it may be loosely woven tweed. 15.4.7 DRILLS AND THREAD MARKER Where reference marks
are needed away from the edge of a garment part, such as for the position of pockets, darts and similar
features, a hole is often drilled through all the plies of fabric on the lay. The drill mounting includes a
motor, a base plate with a hole to allow the drill to pass through, and a spirit level to ensure that the
base is horizontal and hence the drill vertical On many fabrics the drill is used cold and the hole remains
visible until the sewing operator comes to use it. On looser weave fabrics, where the hole may close up ,
a hot drill is used, which will slightly scorch or fuse the edges of the hole. A hypodermic drill may also be
used which leaves a small deposit of paint on each ply of fabric. If it is important that no mark remains
on the fabric, a long thread may be passed through the lay which is then cut with scissors between each
ply, leaving a few centimeters visible on each garment panel. All drill holes must eventually be concealed
by the construction of the garment. 15.4.8 COMPUTER CONTROLLED CUTTING This methods provides
the most accurate possible cutting, at high speed, and to keep the larger systems fully occupied they are
frequently used in a central cutting facility that supplies an umber of separate sewing factories.
Increasingly, though smaller, cheaper systems are being developed which are suitable for companies
wanting to cut lower lays of smaller quantities of garments and these are appropriate for a single-factory
operation. A typical computer system has a table with cutting surface consisting of nylon bristles which
support the fabric lays but are flexible enough to permit penetration and movement of knife blade
which is supported only at the top. The bristles also allow the passage of air through the table to create
a vacuum, reducing the height of the lay and holding it in place. The carriage supporting the cutting head
has two synchronized servo-motors which drive it on tracks on the edges of the table. A third servo-
motor positions the cutting head on a beam across the width of this carriage. These two movements are
co-ordinate to give a knife position at any point on the table. The cutting head contains a knife,
automatic sharpener and a further servo-motor which rotates the knife to position it at a tangent to the
line of cut on curves. A further facility controls the deflection of the knife which inevitably occurs on
curves by adjusting the angle to equalize This watermark does not appear in the registered version -
http://www.clicktoconvert.com 156 the pressure on each side of the blade. This ensures accurate
cutting through all layers. A sheet of airtight polyethylene covers the top of the lay which assists the
creation of a vacuum and allows significant compression of the lay. A control cabinet houses the
computer and the electrical components required to drive the cutter, its carriage and the vacuum
motor. The spreader spreads the lay on a conventional cutting table equipped with air flotation. Paper is
spread below the bottom ply so that the lay can be moved onto the cutting table without distortion and
so that the bottom plies are supported during the cutting operation. This paper is performed to enable
the vacuum on the cutting table to operate to compress the lay. After loading the disc into the
computer, the operator positions the cutting head’s origin light over the corner of the spread. This
provides the computer with a reference point. A lift and plunge feature enables the knife to negotiate
sharp corners and straight or vee-shaped notches can also be cut. A motorized drill behind the cutting
head can provide drill hole as required. Different system is available which are designed to cut different
heights of compressed plies. The maximum height is usually 7.5 cm when compressed, with the height
before compression and hence the number of plies, being dependent on the nature of the fabric.
Different arrangement of cutting room tables is possible, but they must allow for the fact that in this
situation the cutting process takes very much less time than spreading and somewhat less time than
bundling. A typical arrangement would consist of four spreading tables supplying each cutting table. The
cutting table and its carriage and cutting head is able to move between the spreading tables by means of
tracks on the floor and has, beyond it, four bundling tables onto which the cut garments are moved.
15.5 LET US SUM UP As we discussed above in this lesson each cutting has its own merits and demerits.
Some equipment like drills and thread marker and notches are used for special applications. Now days
there are variety of methods provides the most accurate possible cutting. Not only the computerized
cutting machine, there are some ultra modern machines are available. Laser cutting machine, plasma
cutting machine water jet cutting machine are the few example for it 15.6 LESSON END ACTIVITIES The
students may do the following activities based on this lesson Ø Visit any garment industry and analyze
the role and importance of cutting 15.7 POINTS FOR DISCUSSION Here the students are asked to discuss
about the following points Ø Role of cutting department in a garment industry Ø The modern
developments in cutting equipments 15.8 REFERENCES: Ø The technology of Clothing Manufacturing,
Harold Carr and Barbara Latham. Ø Clothing Technology, Europ Lehrmilied, Vollmer GmbH & Co. This
watermark does not appear in the registered version - http://www.clicktoconvert.com 157 UNIT – V
LESSON – 16: MARKING CONTENTS 16.0 AIM AND OBJECTIVES 16.1 INTRODUCTION 16.2 THE MARKER
16.3 THE REQUIREMENTS OF MARKER PLANNING 16.3.1. The nature of the fabric and the desired result
in the finished garment 16.3.2 The requirements of quality in cutting 16.3.3 The requirements of
production planning 16.4 EFFICIENCY OF THE MARKER PLAN 16.5 METHODS OF MARKER PLANNING AND
MARKER 16.5.1 Manual marker planning with full size patterns 16.5.1.1 Marker duplicating 16.5.2
Computerized marker planning 16.6 LET US SUM UP 16.7 LESSON END ACTIVITIES 16.8 POINTS FOR
DISCUSSION 16.9 REFERENCE 16.0 AIM AND OBJECTIVES After going through this unit, you should be
able to have a clear idea of the following Ø The methods of marker planning and the way of preparing
the marker. Ø Factors to consider while marker planning. Ø Importance and marker efficiency 16.1
INTRODUCTION The amount of fabric consumed per garment and the total profit of the garment unit is
decided by the marker planning and marker making. The length and width of the marker is very
important here. Based on this marker only the spreading length will decide. The fabric consumption and
fabric wastages all are depends on this marker making. Once we got a very good marker efficiency,
reduction in fabric cost. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 158 16.2 THE MARKER: Fig 16.1 It is useful to break marker making
down into: · Marker planning, or the placement of pattern piece to meet technical requirements And the
needs of material economy, and · Marker utilization, which may include drawing the marker plan
directly onto fabric, drawing it onto a paper marker by pen or automatic plotter, or, where the cutting
method allows it, recording pattern piece information on the paper marker or on the fabric without
actually drawing pattern lines on it. Provision may have to be made for the same marker plan to be used
many times. 16.3 THE REQUIREMENTS OF MARKER PLANNING The industry has always paid great
attention to marker planning, because when the cutting room cuts cloth it spends around half the
company’s turnover. Any reduction in the amount of cloth used per garment leads to increased profit.
Marker planning is a conceptualizing, intuitive, open and creative process, in contrast to making up a
jigsaw puzzle, which is an analytical, step-by-step and closed process. There is no final solution to a
marker planning problem, only a more tightly packed and therefore shorter marker the more time is
spent on it. The work of the marker planner is subject to a number of constraints. These relate to: 1. the
nature of the fabric and the desired result in the finished garment; 2. the requirements of quality in
cutting; 3. the requirements of production planning 16.3.1. The nature of the fabric and the desired
result in the finished garment (a). Pattern alignment in relation to the grain of the fabric Pattern pieces
normally carry a grain line. When pattern pieces are laid down the piece of cloth, as is commonest with
large pattern pieces, the grain line should lie parallel to the line of the warp in a woven fabric or the
Wales in a knitted fabric. Where pattern pieces are laid across the piece, the grain line should lie parallel
to the weft or course direction. In bias cutting, which is often used in large pattern pieces as part of the
garment style in ladies dresses and lingerie, as This watermark does not appear in the registered version
- http://www.clicktoconvert.com 159 well as in small pattern pieces such as satisfactory garment
assembly, the grain lines will (normally) be at 45o to the warp. (b). Symmetry and asymmetry Many
fabrics can be turned round (though 180o) and retain the same appearance and these are designed
‘either way’ or ‘symmetrical’. They require no special action on the part of the marker planner. More
restricting are fabrics known as ‘one way-either way’ or ‘asymmetrical’. In this case, if a fabric ply is
turned round it does not retain the same appearance, especially when the two opposite ways are sewn
together. (c). The design characteristics of the finished garment For example, if a vertical stripe does not
show a complete mirror image repeat, the right and left sides of a garment may be designed to be
mirror images of each other. In this case, a marker is planned which uses a half set of patterns, and the
required effect is created in the spreading of the fabric which places pairs face to face. 16.3.2 THE
REQUIREMENTS OF QUALITY IN CUTTING a. For the majority of cutting situations where a knife blade is
used, the placements of the pattern pieces in the marker most give freedom of knife movement and not
restrict the path of the knife so that it leads to inaccurate cutting. A blade, which has width has width
cannot turn a perfect right angle in the middle of a pattern piece and space must always be allowed for a
knife to turn such corners. Also, in practice, a curved part of a pattern such as a sleeve head, when
placed abutting a straight edge, leads to either a shallow gouge in the straight edge or the crown of the
curve being straightened. The amount of space which must be left will depend on the actual cutting
method employed. b. Correct labeling of cut garment parts is essential if, in sorting and bundling a multi-
size lay after cutting, operators are to identify correctly the parts which make up whole garment sizes. It
is the responsibility of the marker planner to code every pattern piece with its size as the marker is
planned. 16.3.3 THE REQUIREMENTS OF PRODUCTION PLANNING When an order is placed for a quality
of garments, it normally specifies a quantity of each size and colour, the former often given as a ratio.
The requirements of production planning and control will be to supply the sewing room with an
adequate amount of cut garments at sufficiently frequent intervals, consistent with availability of fabric
and the best utilization of cutting room resources. Among the latter considerations is that, for a given
quantity of garments, a high lay rather than a low lay gives a lower cutting labour cost per garments. The
higher lay will, of course, also be shorter, giving a lower overall cutting time which is important if the
sewing room requires the cut work urgently. The shorter lay will also require a shorter marker. 16.4
EFFICIENCY OF THE MARKER PLAN The marker planner measures his success by the efficiency of the
marker plan created. A formula describes this: This watermark does not appear in the registered version
- http://www.clicktoconvert.com 160 Area of patterns in the marker plan
------------------------------------------ X 100 % Total area of the marker plan Since the reduction in fabric cost
is so important, the company expects the planner to discover opportunities for improvements in marker
efficiency by suggesting alterations to patterns and cloth, the two elements brought together in market
planning. The first sort of opportunities is commonly designated pattern engineering. Chief among these
is an examination of seam location to ensure the best possible placement of patterns in the marker. In
one case the shift of a seam might allow the placement of small parts in areas otherwise wasted, for
instance in the armhole of a jacket or shirt lying next to the edge of a marker. In another case the seam
is moved to enable the better placement of large panels across the whole width of the fabric. The
second sort of opportunity arises in the influence the marker planners has on the selection of fabric
widths where a choice is available. The ‘best’ width depends among other factors on the costs of various
fabric widths per square meter, the typical number of sizes in a marker, the potential pattern
engineering changes at various widths and the marker efficiency of a series of test markers. 16.5
METHODS OF MARKER PLANNING AND MARKER The methods of marker are basically classified in to two
categories. 1. Manual marker 2. Computerized marker But say about, the marker type can be classified
in to two types. i) Paper marker ii) Fabric marker 16.5.1 MANUAL MARKER PLANNING WITH FULL SIZE
PATTERNS Prior to the development of computerized marker planning systems, all markers were
planned by working with full size patterns. For many companies in the industry this method is still used,
because the more modern alternatives are expensive, and because these companies make only short or
single size markers and the planner can see the whole of the plan relatively easily. The planner words by
moving around the full size patterns until a satisfactory plan is obtained. In a few clothing companies this
planning is done directly on the fabric to be cut and the pattern shapes marked in immediately. This can
only be done when the length of the marker is predictable and in marking directly onto fabric, the
necessary accurate reproduction of the pattern and good definition of line can be difficult to achieve.
Patterns a re usually made from card and it is important that the edges do not become worn and that
the pattern is held firmly while drawing takes place. Various chalk or wax materials can be used to draw
with but whatever is used needs to be easily held and readily sharpened. The quality of the line also
depends on the surface nature of the fabric. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 161 This method takes considerable skill to achieve accuracy and it
takes considerable time, but it is economical for single garments and also for check fabric since it allows
the patterns to be manipulated during the marking process. In many companies, more than one lay is
cut using the same marker plan. If the plan is drawn directly onto the fabric, this process of drawing
round the patterns has to be repeated for each lay. It is much more common for a paper marker to be
used for cutting and in this case the pattern lines and style and size information are usually drawn on
spot and cross paper to ensure adherence to grain lines. It is still essential that patterns do not become
worn but a satisfactorily fine line is easier to achieve than when marking directly onto fabric as a pencil
or a ballpoint pen can be used. Again, multiple copies of the paper marker are normally needed. These
copies can either be made when the marker plan is first drawn, or the master marker can be reproduced
as needed by a variety of methods. 16.5.1.1MARKER DUPLICATING: Again, multiple copies of the paper
marker are normally needed. These copies can either be made when the marker plan is first drawn, or
the master marker can be reproduced as needed by a variety of methods. There are different duplicating
systems are available. a) Carbon duplicating: b) Spirit duplicating or hectograph carbon system c) Diazo
photographic method: d) Perforator marker (a) Carbon duplicating For copies to be made as the original
is drawn, and where small numbers of copies only are needed, use can be made of carbon paper, usually
double-sided, or the same effect can be achieved with special NCR-type (no carbon required) paper. In
either case, 6-8 copies can be made without too great a deterioration in the fineness of the line. (b)
Spirit duplicating or hectograph carbon system In this process, the master marker is drawn on paper
with a layer of special hectograph paper underneath it. This paper transfers a blue line onto the back of
the master as it is drawn. The master is then used to make one copy at a time in a duplicating machine.
The machine uses alcohol to wet a plain white paper which is then passed with the master between two
rollers, transferring the lines onto the copy. It is a messy process but many copies can be produced. (c)
Diazo photographic method This process makes as many copies of the marker as are needed, one at a
time, following the drawing of a master marker. The master marker and a light-sensitive paper are
passed under high intensity ultraviolet light and the light-sensitive paper is developed using ammonia
vapour. The lines remain visible. It is a clean process which can make unlimited numbers of copies with
good This watermark does not appear in the registered version - http://www.clicktoconvert.com 162
definition but it must be used with ample ventilation to remove ammonia fumes. The paper is expensive
but the equipment is comparatively cheap. (d) Perforator marker An alteration method of paper marker
is perforator marker from the initial hand-drawn version by means of a punch perforator. This has been
used in the clothing industry but is more commonly used for cutting upholstery fabrics. 16.5.2
COMPUTERIZED MARKER PLANNING Fig 16.2 This method is normally part of an integrated system
which includes digitizing or scanning of full-size patterns into the computer, facilities for pattern
adaptation, and, by inputting appropriate grade rules, the means to generate all the sizes required. The
planner uses a visual display unit with keyboard, tablet and data pen, puck or mouse. The planner
specifies the exact make-up of the marker plan: the width of the fabric, the pattern pieces to be used,
the sizes to be included and all constraints to be applied, including any matching of checks. The system
produces a marker plan automatically or interactively. Automatic marker planning involves calling up
data defining the placement of pieces in markers previously planned, and selecting from a series, that
marker conformation which gives the highest marker efficiency. Interactive marker planning is more
common and is the process by which the operator plans markers by interacting directly with the system
through a VDU screen. All the pattern pieces are displayed in miniature at the top of the screen. In the
middle of the screen are two horizontal lines defining the marker width and a vertical line at the left
representing the beginning of the marker. The right end is for the moment open. At the bottom of the
screen is written marker identification, with marker length and efficiency constantly updated during the
planning process. A data pen (or puck or mouse), tablet and the computer keyboard are used to
manipulate the pattern pieces. A combination of movements of the pen and commands via the
keyboard enable pattern pieces to be moved about the screen and positioned in the marker. The system
finally positions the pattern pieces precisely according to the marking rules specified. After selecting the
most economical marker plan devised in the rime available, the computer will provide an accurate piece
count, calculate a marker plan efficiency percentage and total the length of the pattern peripheries.
When the marker plan is complete, it will be stored in a marker plan file for future retrieval. This
watermark does not appear in the registered version - http://www.clicktoconvert.com 163 The quality
of marker planning is more consistent than with manual methods, because instructions regarding grain
lines are always followed, because the butting of pattern piece is precise with no overlapping, and the
pattern count is automatic, a boon in complex markers. It is difficult to compare the capital cost of the
computer system used in marker planning with the other methods described previously because in all
cases the computer system provides a pattern development and grading facility as well. It also enables
the reproduction of as many copies of a marker as are required without restoring to additional methods
of reproduction such as the manual methods require. However, the fact that the cost of such a package
of computer equipment us many times that of a manual marker planning. After planning the marker on
the computer (fig 16.2), the marker planner instructs the computer to plot the marker automatically
onto paper. As an alternative to plotting even this amount of information on a marker, it is possible,
when cutting will be by computer-controlled knife, not to plot any of the marker but to attach adhesive
labels to the top ply of fabric to give the information necessary to section garment parts into bundles.
This saves both the time of plotting and the cost of plotter and paper. 16.6 LET US SUM UP In marker
planning, industry has always paid great attention. Because around half the company’s total turnover is
based on the cutting room. Any reduction in the amount of cloth used per garment leads to increased
profit. For this purpose we are giving great attention for marker planning. To make quality marker
planning, we are creating different opportunities and best possibility of pattern arrangement. When
compare to manual marker planning the computerized one give better results. 16.7 LESSON END
ACTIVITIES The students may do the following activities based on this lesson Ø Prepare patterns for any
one garment and set a marker. Ø Visit any one garment unit and go through the methods of creating
economic marker Ø Discuss the role of marker with the industry persons 16.8 POINTS FOR DISCUSSION
Here the students are asked to discuss about the following points Ø Analyze the requirement of marker
Ø Importance of marker in a garment industry Ø The methods of preparing the markers 16.9
REFERENCES: Ø The technology of Clothing Manufacturing, Harold Carr and Barbara Latham. Ø Clothing
Technology, Europ Lehrmilied, Vollmer GmbH & Co. Ø Practical Clothing construction- part 1 & 2, Mary
Mathews, Cosmic press. Ø Fundamentals of textile and their care, Susheela Dantygi, Published by orient
Longman L.t.d. Ø The complete book of sewing, by Dorling Kindersley, Dorling Kindersley L.t.d.. This
watermark does not appear in the registered version - http://www.clicktoconvert.com 164 LESSON – 17:
PRESSING CONTNETS 17.0 AIM AND OBJECTIVES 17.1 INTRODUCTION 17.2 PRESSING 17.3 THE PURPOSE
OF PRESSING 17.4 PRESSING EQUIPMENT AND METHODS 17.4.1 Iron 17.4.2 Steam presses 17.4.2.1
Carousel press 17.4.2.2 Trouser pressing 17.4.3 Steam air finisher 17.4.4 Steam tunnel 17.4.5 Pleating
17.4.6 Permanent press 17.5 LET US SUM UP 17.6 LESSON END ACTIVITIES 17.7 POINTS FOR DISCUSSION
17.8 REFERANCES 17.0 AIM AND OBJECTIVES After going through this unit, you should be able to have a
clear idea of the following Ø Contribution pressing and its methods. Ø Different purpose of pressing. Ø
Several type of pressing equipment. 17.1 INTRODUCTION A variety of parts and shapes of garments has
to be pressed, neat appearance of garments and thus attractiveness at the point of sale. The creases and
crushing occur in garments during its construction by way of handling and transporting. These problems
can be rectified several type of pressing equipment to achieve satisfactory and economical pressing This
watermark does not appear in the registered version - http://www.clicktoconvert.com 165 17.2.
PRESSING Fig 17.1 Pressing fig 17.1 makes a large contribution to the finished appearance of garments
and thus attractiveness at the point of sale. 17.3. THE PURPOSE OF PRESSING 1. To smoothing away
unwanted creases and crush marks In garment manufacture, creases and crushing occur in garments as
a result of operator handling and these are particularly bad where garments are handled between
operations in bundles, whether tied up tightly or piled on trolleys or in boxes. 2. To make creases where
the design of the garment requires them Creases are obvious design features in trousers, skirts (where a
series of creases is often referred to as pleating and some collar styles. Creases are less obvious but still
require pressing when they are hems and cuff edges, front edges, top edges of waistbands, pocket flaps
and patch pocket edges as well as pressed open seams, which from a pressing point of view are two
creases sewn together. 3. To mould the garment to the contour of the body It is mainly affected in wool
or wool-rich fabrics in the types of garment referred to as tailored. This sort of moulding involves two
kinds of deformation (together or separate): shrinking and stretching. After moulding it is not possible to
unpick the seams and return garment parts to their former flat state. 4. To prepare garments for further
sewing The term ‘under pressing’ is reserved for pressing operations on partly constructed garments,
while top-off-or final pressing is used for completed garments, the actual term varying according to the
sector of the industry. The stages at which a garment is under pressed will depend on many factors. It
normally takes place when several sewing stages have been completed but are still accessible by the
press equipment. 5. To refinish the fabric after manufacturing the garment Especially during under
pressing, the surface of the fabric may be temporarily changed. A common symptom is gloss or glazing,
induced by extreme pressure of press or iron in order to This watermark does not appear in the
registered version - http://www.clicktoconvert.com 166 achieve a firm edge or seam. The surface fibres
are heavily flattened in such a way as to form a partial mirror. 17.4 PRESSING EQUIPMENT AND
METHODS In practice, many companies combine the use of several type of pressing equipment to
achieve satisfactory and economical pressing. The following are the different pressing equipments used
in garment industry. Ø Iron Ø Steam presses Ø Steam air finisher Ø Steam tunnel Ø Pleating Ø
Permanent press 17.4.1 IRON The traditional form of iron, heated by a gas flame inside the metal
casting, had its last stronghold in the touching up of men’s jackets. Temperature was estimated only by
the rate of saliva evaporation from its bottom surface. A damp rag provided moisture wand a piece of
linen was the drying agent. Fig 17.2 The most common type of iron fig 17.2 in general use nowadays is
steam electric. The iron is heated by an electric element, controlled by a thermostat, and supplied with
steam, either from the factory’s main steam supply, or from a small boiler adjacent to the pressing unit.
The steam function of the iron is activated by the touch of a button, when a powerful jet of dry steam is
produced. At extremes, the weights of irons vary from about 2 to 15 kilos. Several shapes are available
including a roughly triangular one similar to a domestic iron, the ‘tailor’s shape’ which has a pointed
nose and parallel sides, and a narrow one used for operations such as seam opening on sleeves and
trouser legs. There is a range of workplaces available for ironing. In a situation where a variety of parts
and shapes of garments has to be pressed, a simple pressing table, similar in shape to a domestic ironing
board, is used. Modern tables have a supply of vacuum to hold the garment in position and dry and set it
after ironing. This vacuum facility can also be used as a work aid in the sense This watermark does not
appear in the registered version - http://www.clicktoconvert.com 167 that the term was used earlier. A
section of a flat garment part can be held in place while the operator moves the remainder of the part to
create a fold or pleat which she then presses. The position of the fold can be marked on the press cover
for accuracy. The flat table can be fitted with swivel arms, which present bucks of varied shapes to allow
the laying of sleeves, shoulders and collars without distortion or the danger of creasing. Each of these
has the vacuum facility. Alternatively, the basic table may consist of a very large flat area, or a smaller
curved surface, each with additional sections to be swing into position if required. The principle is one of
flexibility, with some units able to accept a change of pressing surface so that the most suitable shape is
always available for the production of a particular batch of garments. Allowing function is also available
on some of these pressing surfaces which gives a billowing surface on which to press. This enables some
difficult materials, such as thin, hard rainwear fabrics, to be pressed with less risk of seam impressions
showing. Self contained units, incorporating a steam boiler and electrically driver vacuum and air
blowing facilities, are increasingly used both in the under pressing of tailored garments and the pressing
of unstructured garments, because they can be moved from place to place at much less cost than
conventional steam supply. This means that they can be sited within a production line of sewing
operations to enable under pressing to be undertaken at minimum cost. 17.4.2 STEAM PRESSES A steam
press fig 17.3 consists of a static buck and a head of complementary shape which closes onto it, thus
sandwiching the garment to be pressed A general-purpose, manually operated press consists of a frame
carrying the buck, which is generally rounded in shape for pressing a variety of garments, linkages to
close the head by a scissors action, a pipe system distributing steam to head and buck, a vacuum system
to provide suction through the buck, a table around the buck to aid handling of the garment, and foot
controls for head closure and vacuum, with hand and/or foot controls for steam. There is also a means
of varying head pressure. When pressing a garment such as a skirt, a typical pressing cycle might be:
steam from the buck is applied, the head is locked to press the garment, further steam from the head or
the buck may be applied, and the head is then released and vacuum applied to cool and dry the garment
before it is moved around the buck for the next part of it to be pressed. When pressing is completed,
the garment is hung on a hanger. Adequate time of application of vacuum is essential if the garment is
not to remain damp and to distort at this stage. This watermark does not appear in the registered
version - http://www.clicktoconvert.com 168 Fig 17.3 In many cases, an iron is available beside the press
for the operator to touch up local areas of the garment before pressing with the head of the press. This
facility can also be used to add sections of fusible interlining to partly constructed garments, especially
tailored jackets. Manually operated scissor-action presses have been improved considerably by the use
of electronically controlled pneumatic power. The compressed air takes the heavy, fatiguing work of
closing the press from the operator, and allows the introduction of automatic timing of the pressing
cycle. Another improvement is in the mechanical principle in the operation of steam presses. This
employs a vertical head movement instead of a scissors action, giving the benefits of much finer control
and a more even distribution of pressure over the whole surface of the buck, especially where
contoured shapes have to be aligned. At the same time additional functions can be incorporated such as
head vacuum and air blowing from the buck. The combination of these three factors enables easier
pressing of fabrics such as gabardines. 17.4.2.1 CAROUSEL PRESS A development in press operation is
the carousel press. Here a pair of bucks rotates between the operator and either a single or a double
head, depending on whether the bucks are identical or an opposite pair for pressing the left and right of
a garment part. The operator loads the garment onto one buck which is then moved away to be aligned
under the head, often behind a screen that keeps steam away from the operator. 17.4.2.2 TROUSER
PRESSING Trouser pressing is conventionally carried out in two operations, in addition to the under
pressing of the seam; legging on a flat press which sets and creases the legs, and topping in a series of
lays around the top of the trouser on a contoured press. If the trouser features a pleat at the waistband,
the leg crease must be run into it accurately. 17.4.3 STEAM AIR FINISHER This equipment is often
referred to as a ‘puffer’, a form press or a ‘dolly’ press. It consists of a frame carrying a steam
distribution system, compressed air distribution system and a This watermark does not appear in the
registered version - http://www.clicktoconvert.com 169 pressing form which is a canvas bag in the
approximate shape of the garment to be pressed that is, a body shape but with no sleeves. There are
controls for steam and air release, and timers controlling the steam and air cycles. The equipment aims
to reduce the positioning and repositioning in pressing operations by pressing the whole garment at the
same time, though finishing is a better term in this situation since very little pressure is applied to the
garment. The operator pulls the garment on to the form from above, and the form is then expanded to
its full size and shape as steam is blown through it from the inside. A cycle of, perhaps, 8 seconds
steaming is followed by a further period of hot air drying, also by blowing from the inside. This
equipment can remove accidental creases and refinish the fabric, but will not form creases or mould the
garment. It is extremely useful for garments such as nightdresses, tee shirts and blouses, and is
sometimes worth using for simple dresses, even though the hem might have to be pressed flat
separately with an iron or a steam press. 17.4.4 STEAM TUNNEL Another garment finishing process
where pressure is not applied to the garments but where handling during the process is reduced is in
steam tunnel finishing. It can be used for a variety of simple garments in man-made fibres and blends.
Some garments would be on hangers, fed under automatic control through a cabinet on a motorized
rail, and passing through sections with superheated steam and drying by air blowing. Alternatively, tee
shirts and similar knitwear are loaded onto frames and passed through the tunnel on a conveyor. The
tunnel reduces the need for any other pressing process before or after its operation and sometimes
eliminates it. The aim of the steam is to relax natural fibres, that of the heat to relax man-made fibres.
With the garments on hangers or frames, gravity or tension pulls out the wrinkles, and the turbulence of
air blowing provides additional energy to relax wrinkles in woven fabrics. Such turbulence should be
restricted with fabrics such as acrylics, since excessive agitation makes the fabric pliable and subject to
deformation. This fabric responds well to infra-red drying, a feature of some tunnels. 17.4.5 PLEATING
Pleating is a special type of pressing, the aim of which is to produce an array of creases in a garment, of
some durability and according to a geometrical pattern. This may be an overall pattern of small pleats,
formed as a result of machine pleating a complete roll of cloth, or larger pleats formed by hank pleating
of garment sections which have been previously cut to shape and, in the case of skirt sections, hemmed.
Examples of machine pleating are fluting and crystal pleating and of hand pleating, box pleats and the
fan-shaped pleats which taper to nothing at the waist and are known as sunray pleats. Like other forms
of pressing, the means of pleating are heat, moisture and pressure. Machine pleating is of two types.
The first is a rotary machine in which the rollers are fitted with complementary dies similar to gears.
Second is a blade machine in which pleats are formed This watermark does not appear in the registered
version - http://www.clicktoconvert.com 170 by the thrust action of a blade or blades. The pleats are set
by heat and pressure as they pass between a pair of mangle-type rollers. 17.4.6 PERMANENT PRESS The
process known as ‘permanent press’ was developed some years ago as a way of giving good crease
recovery after washing to cellulose fabrics. It declined with the rise in popularity of polyester/cotton and
polyester/viscose blends, where the polyester content assists crease recovery and improves fabric
strength. More recently, in an attempt to complete with man-made fibres, the process has been
marketed again with 100 percent cotton fabrics of high enough initial strength to allow for some
degradation. 17.5 LET US SUM UP Creases are obvious design features in some kind of garments but
some other cases crease has to remove from the garment. So pressing is used based on the application
only. Varity of pressing equipment are available that all discussed in this lesson. Type of pressing and the
methods are varying according to the end uses. 17.6 LESSON END ACTIVITIES The students may do the
following activities based on this lesson Ø Visit one garment unit and absorb the operations of pressing
17.7 POINTS FOR DISCUSSION Here the students are asked to discuss about the following points Ø The
requirement of pressing Ø Methods of constructing a steam pressing for an garment unit Ø Importance
of pressing 17.8 REFERENCES: Ø The technology of Clothing Manufacturing, Harold Carr and Barbara
Latham. Ø Clothing Technology, Europ Lehrmilied, Vollmer GmbH & Co. Ø Practical Clothing
construction- part 1 & 2, Mary Mathews, Cosmic press. Ø Fundamentals of textile and their care,
Susheela Dantygi, Published by orient Longman L.t.d. Ø The complete book of sewing, by Dorling
Kindersley, Dorling Kindersley L.t.d... This watermark does not appear in the registered version -
http://www.clicktoconvert.com 171 LESSON – 18: SEWING FEDERAL STANDARDS FOR SEAM CONTNETS
18.0 AIM AND OBJECTIVES 18.1 INTRODUCTION 18.2 SEAM 18.2.1 Class 1 (Superimposed seam) 18.2.2
Class 2(Lapped seam) 18.2.3 Class 3(Bound seam) 18.2.4 Class 4(Flat seams) 18.2.5 Class 5(Decorative
stitching) 18.2.6 Class 6 (Edge neatening) 1 8.2.7 Class 7 18.2.8 Class 8 18.3 LET US SUM UP 18.4 LESSON
END ACTIVITIE 18.5 POINTS FOR DISCUSSION 18.6 REFERANCES 18.0 AIM AND OBJECTIVES After going
through this unit, you should be able to have a clear idea of the following Ø Designation and
identification of seams. Ø International standards Ø Classifications of seams and their description Ø
Features and application of each seam class 18.1 INTRODUCTION The aim of this lesson is to teach you
the different kinds of seams that are used in the making of fashionable clothes. Every good dressmaker
knows and uses these various seams to achieve smart finishing touches and neat edges. By the time you
have completed this lesson, you will be able to make each one of these seams without any trouble
whatever. We have taken particular pains to simplify them as much as possible and to make them all
easy to follow. The seam, you know, is the corner-stone of all good dress construction—just as the
outline sketch is the base upon which all good art work is built. Without the right kind of seams the
dress will not hang correctly, it will not appear smart or well-finished. Without the right kind of seams,
the blouse will not withstand many washings and re-washings, and it will soon lose the smartness of its
style. A dress may be beautiful when you finish it, but without the right seams in the right places, its
beauty will be short lived This watermark does not appear in the registered version -
http://www.clicktoconvert.com 172 18.2 SEAM The choice of seam type is determined by aesthetic
standards, strength, durability, comfort in wear, convenience in assembly in relation to the machinery
available, and cost. BS 3870: Part 2: 1991, referred to above, allows for eight different classes of seam,
including some where only one piece of fabric is involved. The British Standard divides stitched seams
into eight classes according to the minimum number of parts that make up the seam. These parts can be
the main fabrics of the garment or some additional item such as a lace, braid or elastic. Fig 18.1 To
indicate how the various seam types are formed, several styles of diagram fig 18.1 can be used. The one
which most clearly relates to garment parts as sewn shows a perspective view of a section of the seam,
and, when the various stitch types are being discussed, it is useful to show a section of the reverse side
of the stitch. Once familiarity with seam types has been established, it is often sufficient to draw the
diagrams in a shorthand version which shows a cross-section through the fabric represented by lines,
with short lines at right angles showing the point of needle penetration of the stitch. Six seam classes
were included in the 1965 British Standard and at that stage they were given names which usefully
describe their constructions. Two more classes were added with the publication of the 1983 edition, but
without the descriptive names, and the total of eight continues in the 1991 edition. 18.2.1 CLASS 1
(SUPERIMPOSED SEAM) This class is the commonest construction of seam and it has the following types.
· Superimposed seam · French seam · Piped seam Fig 18.2 The simplest seam type fig 18.2 within the
class is formed by superimposing the edge of one piece of material on another. A variety of stitch types
can be used on this type of seam, both for joining the fabrics and for neatening the edges or for
achieving both simultaneously. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 173 Fig 18.3 The diagrams normally show the final version and it should
be clear from the positions of the needles and the folding of the fabric if it was constructed in one step
or several. An example if this is the type of superimposed seam known as a French seam fig 18.3 which
is done in two stages. Fig 18.4 An example of a superimposed seam with an additional component would
be one that contained an inserted piping fig 18.4, and even here more than one construction is possible.
18.2.2 CLASS 2(LAPPED SEAM) This class is has the following types. · Lapped seam · Lap felled seam ·
Welted seam Fig 18.5 In practice, this simple seam (lapped seam fig 18.5) is not common in clothing
because it causes problems with raw edges and at least one of the edges must be neatened in a
decorative manner. Sail fabrics are very finely woven and fray very little, Fig 18.6 This watermark does
not appear in the registered version - http://www.clicktoconvert.com 174 Much more common on long
seams on garments such as jeans and shirts is the so-called lap-felled seam fig 18.6, sewn with two rows
of stitches on a twin needle machine equipped with a folding device. This provides a very strong seam in
garments that will take a lot of wear though there is a possibility that the thread on the surface may
suffer abrasion in areas such as inside leg seams. Fig 18.7 The type of raised, topstitched seam often
used down skirt panels is also technically a lapped seam although at the beginning of its construction it
appears to be a superimposed seam. It is often referred to as a welted fig 18.7 or a raised and welted
seam. 18.2.3 CLASS 3(BOUND SEAM) Fig 18.8 In this class, the seam consists of an edge of material
which is bound by another fig 18.8, with the possibility of other components inserted into the binding.
Fig 18.9 The simplest version of this class is again unusual as it cannot be constructed with selffabric
binding because of the problem of raw edges. It can, however, be made with a binding which has been
constructed to a specific width. A folding device turns the edges under and wraps the strip over the edge
of the main fabric. Bias cut strip would normally be used, useless the fabric had an element of stretch fig
18.9. A bound seam is often used as a decorative edge and the binding may continue off the edge if the
ferment to provide tie ends. 18.2.4 CLASS 4(FLAT SEAMS) Fig 18.10 This watermark does not appear in
the registered version - http://www.clicktoconvert.com 175 In this class, seams are referred to as flat
seams fig 18.10 because the fabric edges do not overlap. They may be butted together without a gap
and joined across by a stitch which has two needles sewing into each fabric and covering threads passing
back and forth between these needles on both side of the fabric. Knitted fabrics are most commonly
used because the advantage of this seam is that it provides a join that is free from bulk in garments
worn close to the skin such as knitted underwear. 18.2.5 CLASS 5(DECORATIVE STITCHING) Fig 18.11 This
is the first of the two classes of steam which, in the old British Standard, were not regarded as seams at
all and were given the name ‘stitching’. The main use of the seam is for decorative sewing on garments
where single or multiple rows of stitches are sewn trough one or more layer of fabric (fig 18.11). These
several layers can be folds of the same fabric. The simplest seam in the class has decorative stitching
across a garment panel. One row would have little effect but multi needle stitching is common. Other
possibilities, given the right folding device, are pin tucks, often sewn in multiples, and channel seams.
18.2.6 CLASS 6 (EDGE NEATENING) This is the other seam class that was called a stitching. Seam types in
this class include those where fabric edges are neatened by means of stitches (as opposed to binding
with another or the same fabric) as well as folded hems and edges. The simplest is the fabric edge inside
a garment which has been neatened with an over edge stitch. Fig 18.12 In fig 18.12 is typical of dress or
a pair of trousers in a woven fabric which has been neatened might be omitted. A folding device is used
in the construction of the hem of shirt or a skirt lining. Fig 18.13 This watermark does not appear in the
registered version - http://www.clicktoconvert.com 176 In fig 18.13 shown a method of folding and this
is sometimes used on the buttonhole front of shirt. 18.2.7 CLASS 7 Fig 18.14 Seams in this class relate to
the addition of separate items to the edge of a garment part. They are similar to the lapped seam except
tat the added component has a definite edge on both sides. Examples fig 18.14 would be a band of lace
attached to the lower edge of a slip as in figure, elastic braid on the edge of a bra and inserted elastic on
the leg of swimsuit. An example where the additional item is self-fabric plus interlining is another
version of the buttonhole band on a shirt. 18.2.8 CLASS 8 The final seam (fig 18.15) class in the British
Standard is another where only one piece if material need be involved in construction the seam. The
commonest seam type in this class is the belt loop as used on jeans, raincoats. Fig 18.15 The use of the
belt loop of the stitch type mentioned before which has two needles and a bottom covering thread
ensures that the raw edges are covered over on the underside while showing two rows of plain stitching
on the top. 18.3 LET US SUM UP Seam and stitch are interring related one. Both are give an equal
contribution of fabric seam strength. The method of placing the fabric and the types of fold gives the
different classes of seams. In this lesson we discussed the classification based on the British standard.
18.4 LESSON END ACTIVITIES The students may do the following activities based on this lesson Ø
Practice and if possible prepare the samples for all the different seams This watermark does not appear
in the registered version - http://www.clicktoconvert.com 177 18.5 POINTS FOR DISCUSSION Here the
students are asked to discuss about the following points Ø Different classes of seams based on its
federal standards 18.6 REFERENCES: Ø The technology of Clothing Manufacturing, Harold Carr and
Barbara Latham. Ø Clothing Technology, Europ Lehrmilied, Vollmer GmbH & Co. Ø Practical Clothing
construction- part 1 & 2, Mary Mathews, Cosmic press. Ø Fundamentals of textile and their care,
Susheela Dantygi, Published by orient Longman L.t.d. Ø The complete book of sewing, by Dorling
Kindersley, Dorling Kindersley L.t.d... Ø Readers Digest Sewing Guide, The Readers Digest Association
This watermark does not appear in the registered version - http://www.clicktoconvert.com 178 LESSON
– 19: SEWING FEDERAL STANDARDS FOR STITCH CONTENTS 19.0 AIM AND OBJECTIVES 19.1
INTRODUCTION 19.2 STITCHES 19.2.1 Definition: 19.2.2 Stitch formation: 19.3 TIMED SEQUENCE IN
LOCK STITCH FORMATION: 19.4 STITCH TYPES 19.4.1 Class 100: Chain stitches 19.4.2 Class 200: Stitches
originating as hand stitches 19.4.3 Class 300: Lockstitches 19.4.4 Class 400: Multi-thread chain stitches
19.4.5 Class 500: Overedge chain stitches 19.4.6 Class 600: Covering chain stitches 19.5 LET US SUM UP
19.6 LESSON END ACTIVITIES 19.7 POINTS FOR DISCUSSION 19.8 REFERANCES 19.0 AIM AND OBJECTIVES
After going through this unit, you should be able to have a clear idea of the following Ø Designation and
identification of stitches. Ø International standards Ø Classifications of stitches and their description Ø
Mechanism of stitch formation Ø Features and application of each stitch class 19.1 INTRODUCTION
Someone once said that dressmaking was the art of making different stitches to hold different materials
together. This might be true if color, harmony and style were not forgotten! But we all admit that the
dressmaking stitches are very important indeed, and that they must be known before the construction
of dress can begin. You see how very important these stitches are, how largely the success of clothes-
making is dependent upon them. And so we urge you to study these stitches carefully, that you may
already know the first simple stitches such as basting and hemming. The important in apparel
manufacturing is the clear understanding of stitch types; various terms used and thread consumption in
stitches. This watermark does not appear in the registered version - http://www.clicktoconvert.com 179
Mechanism involved in formation of each stitch type is another vital area, a technologist must know.
Identification of correct stitch types to be used for different materials and end uses, decides the
durability of seams and appearance of stitched article. This lesson focuses on these. 19.2 STITCHES
There is a need for stitches which join and stitches which neaten, for machines with more than one
needle and for stitches which form a covering layer over the fabric. Certain stitch types can also aid
economical garment production by performing several functions at once such as join and neatening or
by adding decoration at the same as either of those. 19.2.1 DEFINITION: One unit of conformation
resulting from one of more strands or loops of thread in to a material. The stitch can also defined as,
Stitching consists of a sequence of stitches for finishing the edge or for ornamental purpose or both in
preparing parts for assembling. 19.2.2 STITCH FORMATION: The stitches are formed based on the
following three principles. 1. Intralooping 2. Interlooping 3. InterlacingZ Ø Intralooping is the passing of a
loop of thread through another loop formed by the same thread. Ø Interlooping is the passing of a
thread through another loop formed by a different thread. Ø Interlacing is the passing of thread over or
around thread or loop of another thread. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 180 19.3 TIMED SEQUENCE IN LOCK STITCH FORMATION: Fig 19.1 Fig
19.2 Fig 19.3 Fig19.4 Fig 19.5 Fig 19.1 - Needle penetrates the fabric to bring top thread into bobbin
area. Fig 19.2 - As needle raises, top thread forms a loop for shuttle hook to catch. Fig 19.3 - Shuttle
hook carries thread loop around and under the bobbin case. Fig 19.4 - Threads are pulled up and are set
into the fabric as a lock stitch. Fig 19.5 - Needle penetrates the fabric to bring top thread. 19.4 STITCH
TYPES: A series of recurring stitches of one configuration is defined as a stitch type. BS 3870 divides the
many types which are available into six classes which variously cover the demands of joining fabrics
together, neatening raw edges, or providing decoration, or offer the economy of doing more than one
these at a time. The six classes of stitch included in the British Standard are as follows: 1. Class 100 Chain
stitches 2. Class 200 Hand stitches 3. Class 300 Lock stitches 4. Class 400 Multi-thread chain stitches 5.
Class 500 Over edge chain stitches 6. Class 600 Covering chain stitches 19.4.1 CLASS 100: CHAIN
STITCHES The stitch types in this class are formed from one or more needle threads, and are
characterized by intralooping. One or more loops of thread are passed through the material and secured
by intralooping with a succeeding loop or loops after they are passed through the material (fig 19.6).
This watermark does not appear in the registered version - http://www.clicktoconvert.com 181 Fig 19.6
Since each loop is in this way dependent on the succeeding one, stitches in this class are insecure and if
the finishing end of thread is not passed through the last loop or separately through the fabric, or if a
stitch is broken, it unravels very easily. Fig 19.7 One of the simplest of all stitch types is 101 (fig 19.7),
which is formed from a single thread. Precisely because of its insecurity, it can be easily removed, and it
is used for ‘basting’ operations in tailored menswear and women wear garments, using a white, soft
cotton thread. It can only be used where the marks of needle penetration close up afterwards in
pressing. A basting operation, in positions such as edges, flaps, collars and so on, is a temporary stitch,
allowing accurate placement of permanent stitching. It is too insecure to be used for seams involving the
joining of fabrics but it is widely used in multi-needle machines. A range of decorative effects can be
achieved sing some or all of an any of closely spaced needles which may number as many as sixty-five. If
elastic thread is used in the needles, and sewn into the fabric in a stretched state, it then relaxes and
draws the fabric in, enabling garment features such as elasticized waists and cuffs to be created. This
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type cannot be chained-off, that is, sewn without fabric, nor can the stitching be brought to a halt and
the needles removed from the fabric in the middle of a garment part. In the construction of a garment it
is necessary to start and finish at a fabric edge, and that edge may need to be a small piece of temporary
fabric held to the garment edge by the stitches. The fabric edges must then be joined securely through
the ends of the chain stitching in order to prevent the stitches running back. Another common use of
class 100 stitches is in the special sewing processes of button sewing, buttonholing and blind hemming
or feeling. The blind stitching version, 103, utilizes a curved needle in order to, successively penetrate
partially into the fabric, and then into the hem edge, while showing minimally or not at all on the right
side of the garment. Again, the level of insecurity is often high but can be improved by the use of slightly
hairy rather than smooth sewing threads. 19.4.2 CLASS 200: STITCHES ORIGINATING AS HAND STITCHES
The stitch types in this class originated as hand stitches and are characterized by a single thread which is
passed through the material as a single line of thread, and the stitch is secured by the single line of
thread passing in and out of the material. Hand stitching (fig 19.8) is used at the expensive end of
garment production because the consumer expects it at that price, the skills are available and it may be
the only way to a perfect finish. In some cases, machines have been developed to simulate hand
stitching, the best example being stitch type 209 which is used around the outer edges of tailored
jackets. This is referred to as pick stitching. Fig 19.8 A double-pointed, centre-eyed, needle sews short
lengths of thread in a near-perfect simulation of the hand-sew version. The machine can be set to shoe a
longer stitch on the top than the bottom or vice versa. A button sewing version is also available which
both sews the button and wraps the shank. The machines are not fast by lockstitch standards, achieving
a maximum of a few hundred stitches per minute, but this is considerable higher than the rate achieved
in hand sewing and a consistently high quality standard is guaranteed. This watermark does not appear
in the registered version - http://www.clicktoconvert.com 183 19.4.3 CLASS 300: LOCKSTITCHES The
stitch types in this class are formed with two or more groups of threads, and have for a general
characteristic the interlacing of the two or more groups. Loops of one group are passed through the
material and are secured by the thread or threads of a second group. One group is normally referred to
as the needle threads and the other group as bobbin threads. The interlacing of thread in stitches of this
class makes them very secure and difficult to unravel. Straight lockstitch, 301 figs 19.9, with a single
needle thread and a single bobbin thread, is still the commonest stitch used in the clothing industry. Figs
19.9 Lockstitch has enough strength for most purposes, provided that suitable thread is used, and
enough stretch, when correctly balanced, for conventional and comfort stretch fabrics stretching up to
30 percent or even more. It has the same appearance on both sides, an advantage denied to virtually all
other stitch types. The stitch is secure because the breaking of one stitch in wear will not cause the
whole row to unravel and additionally the end of a line of stitching can be secured by reversing or
‘backtracking’. Fig 19.10 This watermark does not appear in the registered version -
http://www.clicktoconvert.com 184 Zigzag version, type 304 (fig 19.10), it is commonly used for
attaching trimmings such as lace and elastic where a broad row of stitching but no neatening is needed.
Stitch type 306 provides a lockstitch blind stitch. This is more secure than the traditional 103. The main
disadvantage of the lockstitch is that it uses a bobbin to provide the lower thread and this bobbin can
only contain a limited length of that thread. Changing bobbins is timeconsuming in production as in the
unpicking of topstitching when a thread runs out as a point where a join is visually unacceptable. Where
garments are sewn with twin or multi-needle machines, especially where complicated fabric folding is
involved, the loss of stitching on one row because of one bobbin running out would be a major problem.
Multi-needle stitching with many closely spaced needles is not actually possible of the space that the
bobbin would require. Two is the maximum number of needles commonly in use on lockstitch machines.
The other disadvantages of lockstitch are its limited stretch for today’s high stretch fabrics and its
unsuitability for edge neatening. 19.4.4 CLASS 400: MULTI-THREAD CHAIN STITCHES Fig 19.11 The stitch
types in this class are formed with two or more groups of threads, and have for a general characteristic
the interloping of the two groups. Loops of one group of threads are passed through the material and
are secured by interlacing and interloping with loops of another group. One group is normally referred
to as the needle threads and the other group as the looper threads. The simplest version of this class if
stitch, 401is shown in Fig 19.11. It has the appearance of lockstitch in the top but has a double chain
effect formed by a looper thread in the underside. The chain generally lies on the under surface of the
material, the needle thread being drawn through to balance the stitch. Stitches in this class are
sometimes referred to as ‘double-locked’ stitches (not to be confused with class 300 lockstitch) because
the needle thread is interconnected with tow loops of the under thread. a Two-thread chain stitch is
stronger than a similar lockstitch and, with no threads interlocking within the fabric it is less likely to
cause the type of pucker that arises when closely woven fabrics are distorted by the sewing thread. Its
great advantage is that both the threads forming the stitch are run from large packages on top of the
machine so there are no This watermark does not appear in the registered version -
http://www.clicktoconvert.com 185 problems with bobbins running out. It is frequently used on long
seams in garments such as trousers. 1 cm of thread chain should be left. The stretch with this stitch is
about the same as with lockstitch. Typical maximum speeds to be lockstitch would be 6,000spm
whereas with two-thread chain stitch 8,000spm can be achieved. Another increasingly used stitch in this
class is 406 which uses two needles and has a looper thread covering the fabric between them on the
underside. It is used for attaching lace and braid trimmings to garments. Both 406 and the three needle
version, 407, are used for attaching elastic edging to briefs. The straight or zigzag version of 401
decorative effects 411 19.4.5 CLASS 500: OVEREDGE CHAIN STITCHES Fig 19.12 The stitch types in this
class are formed with one or more groups of threads (fig 19.12), and have as a general characteristic
that loops from at least one group of threads pass around the edge of the material. The most frequently
used of these stitch types have one or two needle threads and one or two looper threads and they form
a narrow band of stitching along the edge of the fabric with threads intersecting at the edge and
preventing the fabric from fraying. All have high elasticity, they do not unravel easily, and a trimming
knife on the machine ensures a neat edge prior to sewing. This knife can also allow excessive amounts to
be trimmed off, thus altering the dimensions of the garment. These stitches are commonly referred to
as ‘overlocking; although the term derives from a trade mark and is only really correct when used in
relation to a particular machine. The correct term is ‘overedging’ Fig 19.13 Stitch type 504 figs 19.13, is
formed from one needle thread and two looper threads and is used for neatening edges and, in knitted
fabrics, for joining seams. The seam ends on the edge of This watermark does not appear in the
registered version - http://www.clicktoconvert.com 186 the garment it may be necessary to secure the
thread chain and the seam end by means of a short lockstitch tack or a bar-tack, or a. short zigzag of
stitching if fixed length. This stitch type can also be used to provide a decorative neatened edge it sewn
with a high stitch density and a narrow bight over an edge which, after the usual trimming, has been
rolled under to the width of the stitch, usually 2 mm. Fig 19.14 Stitch type 503 (fig 19.14), formed with
one needle thread and only one looper thread, is less versatile and is used mainly for edge neatening,
often referred to as serging, especially in menswear. Fig 19.15 Stitch type 512 and 514 which use two
needles and a total of four threads provide a wider bight (fig 19.15). A combination of 401 and 503 or
504, sewn simultaneously on one machine, is very common where a joined and neatened seam is
required that does not need to be pressed open. It is referred to as safety stitch and provides an
economical seam. Overlock stitches are classified in a number of ways. The most basic classification is by
the number of threads used in the stitch. Industrial overlock machines are generally made in 1, 2, 3, 4, or
5 thread formations. Each of these formations has unique uses and benefits: 1-thread formations are
used for end-to-end seaming, or ‘butt-seaming’. Two- and three-thread formations, also known as
‘merrowing’, are the most common, used for edging and seaming, especially on knits and woven. Four-
thread formations are called mock safety stitches and create extra strength while retaining flexibility. 5-
thread formations, which utilize 2 needles, are called safety stitches, creating a very strong seam used
for apparel manufacturing. 19.4.6 CLASS 600: COVERING CHAIN STITCHES Stitch types in this class are
formed with three groups of threads shown in fig 19.16, and have for a general characteristic that two of
the groups cover both surfaces of the material. Loops of the first group of threads (the needle threads)
are passed through loops of the third group already case on the surface of the material, and then
through the, material where they are outer looped with loops of the second group of threads on the
underside of the material. The second This watermark does not appear in the registered version -
http://www.clicktoconvert.com 187 and third groups are usually referred to as the top cover threads
and the bottom cover or looper threads. Fig 19.16 Stitches in this class are the most complex of all and
may have up to nine threads in total including four needle threads making a broad, flat, comfortable
joining of elastic, braid of binding to the edges of garments such as briefs with the scope for a decorative
top cover stitch as well as the functional bottom cover over the raw edge of the garment fabric. Fig
19.17 The most complicated stitch type in this class, 606, which is known as flat lock, can be used to join
fabrics which are butted together in what used to be called, in the old British Standard, a flat seam. Two
trimming knives ensure that neat fabric edges butt together and four needles and nine threads provide a
smooth join with good extensibility. It is used on knitted fabrics, especially underwear fabrics, to give a
seam with low bulk that can be worn comfortably against the skin. With the top cover thread in a
contrast colour, it can be used decoratively in other knitted leisurewear. With this class of stitch a chain
end is left at the end of the seam which must be secured if not crossed by another seam. This
watermark does not appear in the registered version - http://www.clicktoconvert.com 188 19.5 LET US
SUM UP Stitches are used for putting row stitch on the fabric. But we have six classifications of stitches
which were recommended by British standard. These six classes of stitches are used based on the
method of placing the fabric, the types of fold and some special applications. In this lesson we have
gone through the three basic principles of stitches, sequence of stitch formation in lock stitch machine
and chine stitch machine with line diagrams. 19.6 LESSON END ACTIVITIES The students may do the
following activities based on this lesson Ø Practice and if possible prepare the sample for all the above
stitches 19.7 POINTS FOR DISCUSSION Here the students are asked to discuss about the following points
Ø Different classes of stitches based on its federal standards 19.8 REFERENCES: Ø The technology of
Clothing Manufacturing, Harold Carr and Barbara Latham. Ø Clothing Technology, Europ Lehrmilied,
Vollmer GmbH & Co. Ø Practical Clothing construction- part 1 & 2, Mary Mathews, Cosmic press. Ø
Fundamentals of textile and their care, Susheela Dantygi, Published by orient Longman L.t.d.. Ø The
complete book of sewing, by Dorling Kindersley, Dorling Kindersley L.t.d... Ø Readers Digest Sewing
Guide, The Readers Digest Association This watermark does not appear in the registered version -
http://www.clicktoconvert.com 189 Lesson – 20: SEWING THREAD CONTENTS 20.0 AIM AND
OBJECTIVES 20.1 INTRODUCTION 20.2 SEWING THREAD 20.3 CLASSIFICATION OF SEWING THREADS 20.4
SEWING THREAD REQUIREMENT 20.4.1. Functional requirements 20.4.2. Serviceability 20.4.3. Aesthetic
20.4.4. Cost consideration 20.4.5. Other sewing thread properties 20.5 FIBRE TYPE SEWING THREAD
20.5.1 Nature Fibre Sewing Threads 20.5.2 Regenerated fiber sewing threads 20.5.3 Synthetic fiber
sewing threads 20.6 SEWING THREAD CONSTRUCTION 20.6.1 Cotton Thread 20.6.2 Spun Synthetic
20.6.2 Mono-filament 20.6.3 Multi-filament 20.6.4 Core spun 20.6.5 Textured 20.7 TWIST ON SEWING
THREAD 20.8 APPLICATIONS OF SEWING THREADS 20.9 PERFORMANCE ASSESSMENT OF SEWING
THREADS 20.10 LET US SUM UP 20.11 LESSON END ACTIVITIES 20.12 POINTS FOR DISCUSSION 20.13
REFERANCES 20.0 AIM AND OBJECTIVES After going through this unit, you should be able to have a clear
idea of the following Ø Sewing thread classification based on fibres. Ø Performances of the sewing
thread are influenced by material. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 190 Ø Sewing thread manufacturing Ø Twist balance of sewing thread.
Ø Application of sewing thread. 20.1 INTRODUCTION The seam performances of the garment are
influenced by sewing thread and sewing techniques and the end use desired. These yarns are differing
from other threads. We are taking more care to construct the sewing thread, because sewing threads
are having some special character. Almost all type fibres can be used as raw materials for sewing thread
construction. According to the end uses the thread are available in all colours and having some special
finishes. 20.2 SEWING THREAD Sewing thread are special kinds of yarns. They are engineered and
designed to pass through a sewing machine rapidly. To form a stitch efficiently and to function while in a
sewn products without breaking or becoming distorted for at least the useful life of the product. 20.3
CLASSIFICATION OF SEWING THREADS Sewing threads can be classified according to the fibre and thread
construction used to make it Sewing Thread Spun Core-spun Continuous filament 1. Cotton 1. Cotton
wrapped 1. Silk · glaced core polyester · soft · mercerized 2. Linen 2. Polyester-wrapped 2. Monofilament
Core polyester Nylon Polyester 3. Polyester 3. Multifilament 4. Blended Bonded · Polyester-cotton False-
twist textured · Polyester- viscose Air-jet textured 20.4 SEWING THREAD REQUIREMENT The sewing
seam performances of the sewing thread are influenced by material to be sewn, sewing techniques and
the end use desired. This watermark does not appear in the registered version -
http://www.clicktoconvert.com 191 The requirements can be defined as: · The ability of sewing thread
to meet functional requirements of producing desired seam effectively. · Ability to provide desired
aesthetics and serviceability in the seam. · Cost of the sewing thread and that of resultant seam. 20.4.1.
FUNCTIONAL REQUIREMENTS Tensile properties: Sewing thread should have high tenacity with
moderate tension. For better loop formation characteristics, the elastic modulus of the sewing thread
should be high. Friction: There should be uniformity of friction over long length. Factors are responsible
for giving maximum possible tension fluctuation of the yarn components in the cross section and the
length. Passage through needle eye: There should be no sudden shocks when thread passes through the
eye of the needle. Needle temperature is critical for sewing thread of man made fibres. Free from knots
and faults: Sewing thread should be free from knots and faults to give smooth performance. 20.4.2.
SERVICEABILITY During sewing, threads are subjected to abrasion over needles and fabric threads. There
is a lose of strength during and after sewing during fabric use. Sewing thread should have high abrasion
resistance so that lose strength is minimum. For a good serviceability, seam must be firm. A seam
strength test could be performed. Different stitches are applied to different application. Fabric
properties affect seam strength along with loop and abrasion strength of sewing thread and the amount
damage due to sewing. To avoid puckering of garments around the seams, the thread shrinkage should
be generally less then 2% during washing. 20.4.3. AESTHETIC Co lour, shade, luster, smoothness, fitness
are some of aesthetic related characteristics of sewing threads. Certain amount of hairiness in sewing
thread has to positive effect on sewing but this effect has to be sacrificed for appearance. There is a
tendency to use dyed sewing thread for appearance. 20.4.4. COST CONSIDERATION From the raw
material aspect, sewing thread of natural silk is expensive. A higher melting sewing thread may be
expensive. but, it should have a judicious use in the sense that the fabric for which it is used should also
have a high melting points as the hot needles not only attack the sewing thread but the fabric also. This
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OTHER SEWING THREAD PROPERTIES In addition to the essential properties, some of the applications
may be required for sewing threads to have special properties like, resistance to flexing in seams in
shoes, discontinuous surface to provide grip and avoid slippage in the seam for high seam strength
applications. 20.5 FIBRE TYPE SEWING THREAD The fibres are grouped in to three categories. 1. Natural
fibre 2. Regenerated fibre 3. Synthetic fibre 20.5.1 NATURE FIBRE SEWING THREADS 1. Cotton: The
natural fibre in commonest use is cotton. They provide good sewing performance in terms of case of
loop formation and lower sewing needle temperature. They are soft, having a high wet shrinkage. This
may cause seam puckering. Glazed threads have smoother surface and better resistance to abrasion
than unglazed cotton threads. The mercerized cotton threads are also used as they have increased luster
and higher tenacity. 2. Linen: Linen gives still threads for heaving seaming and button sewing. 3. Silk:
Threads of silk give good sewing performance. They are used in couture and bespoke tailoring. They also
find application in short lengths, for pick stitching the edges of men’s jackets. 20.5.2 REGENERATED
FIBER SEWING THREADS Sewing thread from viscose does not have high strength or durability of
synthetic fibres. But they are preferred to be high luster to use in embroidery. Synthetic fibres 20.5.3
SYNTHETIC FIBER SEWING THREADS There is a growing demand of synthetic fibers due to some distinct
advantages over natural fibres, such as high strength, high adjustable extensibility, very low laundry
shrinkage, very low dry heat shrinkage and high abrasion resistance. Synthetic sewing threads are briefly
discussed below: 1. Polyester: Polyesters considered being the best fibre for most sewing applications
having low cost, high strength, good chemical properties, favorable elastic characteristics and good dye
fastness. This watermark does not appear in the registered version - http://www.clicktoconvert.com 193
2. Polyamide: It has high strength and extension characteristics. Its lower modulus and higher extension
makes it unsuitable as a general-purpose sewing thread. 3. Aramid: They are expensive and used in fire
resistant garments so that the garment remains intact so long as the fabric withstands heat. 4. PTFE:
These costly threads have specified industrial applications were complete non-flammability non-melting
and high resistance to chemicals is required. 20.6 SEWING THREAD CONSTRUCTION 20.6.1 COTTON
THREAD Cotton fibres are aligned and twisted together in S direction to form a single yarn. Two more
single yarns are ply-twisted in reverse direction (Z direction) for twist balancing and to eliminate
snarling. 20.6.2 SPUN SYNTHETIC The fibres used for spun synthetic threads are normally polyester
staple fibres similar to cotton. Heat setting is required to control their shrinkage and extensibility. Their
higher strength and abrasion resistant compared to cotton threads are advantageous. They are available
in a wide variety of colors and sizes. Spun polyester thread is one of the most widely used threads and is
least expensive. 20.6.3 MONO-FILAMENT When threads are made directly from continuous filaments as
in polyester and nylon, we can have a single filament having larger size than normal. This is called as
mono filament. Its normal co lour and translucent appearance blend with the color of most fabrics. It is
strong and more uniform so breakage during sewing is minimal. It is too stiff and place excessive wear
on machine parts. Its holding power is limited and tends to unravel from the seams. Its use is limited to
stitching of hems in low budget garments, draperies and upholstered furniture. This watermark does not
appear in the registered version - http://www.clicktoconvert.com 194 Flow chart manufacturing spun
sewing thread 20.6.4 MULTI-FILAMENT This is the most conventional way of constructing continuous
filament sewing threads. They can be either in singles or plied or corded. They are popular because of
better utilization of fiber strength, low fault rates and a consistent, even thread at reasonable cost. They
are invariably used where strength of the steams is a primary requirement such as sew shoes, leather
garments, tents, awnings and boat covers. 20.6.5 CORE SPUN To combine the advantage of both the
synthetics ad naturals, we can have continuous filament polyester wrapped around with a sheath of
cotton fibres. This thread structure gives the strength of filament polyester and sew abilities of cotton.
However careful dyeing is needed to obtain the same shade on both sheath and core, which requires
two dye baths. Polyester or Streaming (Heat setting) Store of single yarn Hank dyeing to the require
shade Wet Doubling yarn Reeling yarn Rewinding Singing (or) Gassing Waxing & polishing Precision
Winding Article no. of assignment & packing Package Dyeing Soft package unwinding This watermark
does not appear in the registered version - http://www.clicktoconvert.com 195 viscose rayon or cotton
may be used as sheath. Polyester wrapped core spun thread is subject to needle heat and may not be
desirable in terms of co lour. Cotton wrap is most widely used core spun threads are costlier and have
high strengths than spun polyester threads. 20.6.6 TEXTURED Various types of textured yarns can be
used as sewing threads. These yarns overcome the main drawback of smooth and slippery flat filament
yarns. Threads made from airjet textured yarn are used for heavy applications such as furniture and
jeans but it has less demanding sewing operations 20.7 TWIST ON SEWING THREAD The creation of
sewing threads from the natural and man-made fibres already described can take a variety of forms.
Where the fibres occur naturally in short lengths or have been cut or broken into short lengths, they
must be twisted together, initially into a single yarn, and then that twist must be balanced by applying a
reverse twist as two or three such yarns are combined to form the thread construction. The twist in the
single yarn consolidates the strength and flexibility provided by the fibres themselves. Without the
reverse twist, known as finishing twist, a conventional thread could not be controlled during sewing. The
individual plies would separate during their repeated passages through the needle and over the sewing
machine control surfaces. Twist is defined as the number of turns inserted per cm of yarn or thread
produced. If the twist is too low the yarns may fray and break; if too high, the resulting liveliness in the
thread may cause snarling, loop knots or spillage from the package of thread. The frictional forces acting
on a thread during its passage through a dewing machine also tend to insert some twist, predominantly
in one direction. In a lockstitch machine, during normal straight sewing, the needle and hook tend to
insert some Z twist reaches equilibrium as it resists further tightening up of the twist. A thread with an S
twist becomes untwisted by the action of the machine and then frays and breaks. Because the lockstitch
machine type is the most severe in its handling of thread, the majority of threads intended for use in
machine sewing are constructed with a finishing Z twist. There are only a few machines, such as flatlock,
for which this is not suitable and special threads, two, three or occasionally four component yarns are
twisted together to form 2, 3 or 4 ply thread. Subsequent twisting operations may be used to produce
heavier or ‘corded’ thread, with the direction of twist reversing each time. This watermark does not
appear in the registered version - http://www.clicktoconvert.com 196 20.8 APPLICATIONS OF SEWING
THREADS Applications of sewing threads Fabric Thread Delicate Tulle, chiffon, find lace, organza Fine
mercerized cotton Fine synthetic thread Silk Light weight organza, jersey, voile, crepe, chiffon, velvet
Plastic films Mercerized cotton Silk Synthetic thread Medium weight Satin, fine corduroy, suiting, Knits,
deep pile fabric Mercerized cotton Cotton Silk Synthetic thread Medium heavy Gabardine, tweed, sail
cloth, denim coating, vinyl, Furnished fabric, deep pile fabric Heavy duty mercerized cotton Cotton
Synthetic thread Heavy Over coating, dungaree, upholstery, canvas fabric Heavy duty mercerized cotton
Cotton Synthetic thread All weights Decorative loop stitching Silk Polyester All weights Decorative hem
stitching Mercerized cotton Silk Synthetic thread Synthetic Knit and stretch fabrics Polyester double knit,
nylon tricot, jersey, penne, velvet Nylon Mercerized cotton Cotton Silk Leather Suede, kidskin, capeskin,
lambskin Mercerized cotton Silk Synthetic thread 20.9 PERFORMANCE ASSESSMENT OF SEWING
THREADS The Performance assessment of sewing threads is of major importance during sewing as it has
a profound effect on the quality of the seam and the cost of production. During sewing operation,
thread is subjected to tensile, bending, cyclic, compression, shear and surface stresses. The various
parameters to be considered for sewing threads are as follows: This watermark does not appear in the
registered version - http://www.clicktoconvert.com 197 Ø Diameter Ø Length per thread holder: Ø
Strength and elongation: Ø Shrinkage Ø Twist balance Ø Elasticity Ø Setting temperature Ø Coefficient of
friction 20.10 LET US SUM UP When we studied sewing thread, we should pay major importance during
its manufacturing, fibre selection and the type of finishing. Based on the application and end uses of the
thread the above factors will change. Not only is this twist also a important one in the case of sewing
thread. So we discussed the method of manufacturing of sewing thread, the types of fibres involved for
the production of thread, importance and direction of twist applied on the thread. Finally we saw the
performances and application of thread on the different materials. 20.11 LESSON END ACTIVITIES The
students may do the following activities based on this lesson Ø Collect the different sewing treads based
on the different manufactures and go through the specifications of each 20.12 POINTS FOR DISCUSSION
Here the students are asked to discuss about the following points Ø Essential properties of sewing
thread Ø Influence of twist on sewing thread Ø Sewing thread and its classification Ø Methods of
manufacturing the sewing thread 20.13 REFERENCES: Ø Fundamentals of textile and their care, Susheela
Dantygi, Published by orient Longman L.t.d.. Ø The complete book of sewing, by Dorling Kindersley,
Dorling Kindersley L.t.d... Ø Readers Digest Sewing Guide, The Readers Digest Association Ø The
technology of Clothing Manufacturing, Harold Carr and Barbara Latham. Ø Clothing Technology, Europ
Lehrmilied, Vollmer GmbH & Co. This watermark does not appear in the registered version -
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