[2008] career in textile and fashion designing

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Page 1: [2008] Career in Textile and Fashion Designing
Page 2: [2008] Career in Textile and Fashion Designing

Career in Textile &

Fashion Designing Edited by:

Cameron Luther

ABHISHEK

Page 3: [2008] Career in Textile and Fashion Designing

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without permission in writing from the publisher/copyright owner.

ISBN: 81-8247-100-1

© Publisher Edition: 2008

Published by Bharat Bhushan Abhishek Publications 57-59, Sector 17-C, Chandigarh-17 Ph. : 5003768.Fax:2707562 Email:[email protected] website: www.abhishekpublications.net Concept & Design by: )(ACT AD'N' ART STUDIO, DELHI Printed at: Balaji Offset Press, Naveen Shahdra, Delhi

a
Typewritten Text
ISBN : 978-81-8247-100-9
Page 4: [2008] Career in Textile and Fashion Designing

Preface

The word fashion invokes a myriad of patterns in our mind that not just reflect upon the creativity of a person, but rather the whole persona of the designer comes into the fore. The word itself creates an aura of glamour and the conceptuality and the creativity of an individual. It talks volumes about the latent talent and the way one perceives fashion. Fashion is an industry which has become a serious business, where lot hard work goes in visualized fantasy.

When we talk about designing, it is not just about the garment but the textile, the feel, the accessories it comprises of, the whole appearance and how well it is carried out on the ramp. How well it is accepted depends on how appealing it looks to catch the fancy of the people who can make or mar the designer's reputation.

Sheer toil goes into the making of the outfit. Once it is visualised in the mind of the designer, one has to think about the fabric, the fall of the fabric, the season, the occasion (it can be for morning or evening wear), the theme, etc. The cut plays an important role in the making of an outfit. If the cut is not outstanding, then the whole effect is ruined- the cut could be classic or casual. Age plays an important role because it is a decisive factor of designing. The model is also taken into consideration because ultimately it is the model who would do the justice to it.

Page 5: [2008] Career in Textile and Fashion Designing

This book is a compilation of all the essential facts one needs to know to make a career in fashion and textile designing. The details in the book depict the practicalities of the two fields of creativity, which go into making a work worth appreciation and admiration.

Page 6: [2008] Career in Textile and Fashion Designing

Contents

Part I Textile Designing

1. Careers in Textile Designing .............................................. 8

2. Tasks and Skills of a Textile Designer .............................. 10

3. Job Outlook for Textile Designers ................................... 14

4. Textiles - A Historical Perspective ................................... 16

5. Preparing Fabric for Use .................................................. 1 8

6. Check the Grain Line Before You Buy ............................ 20

7. Returning the Fabric to Grain Perfection ........................ 22

8. Pre-shrinking of Fabrics ................................................... 24

9. Wool Fabric Types ............................................................ 26

10. Wool Preparation ............................................................. 28

11. Ramie .............................................................................. 30

12. Micro-fibres ..................................................................... 33

13. Sewing with Knit Fabric .................................................. 35

14. Interfacings ...................................................................... 37

15. Selecting Interfacing ................................................. ; ...... 39

16. Types of Interfacing: Fabric and Stretch ......................... .41

17. Types of Interfacing: Application .................................... .43

18. Jute: The Golden Fibre ................................................... .45

19. Twist Balance ........................................................• _ ........ 47

20. Technologies Used in Textile Designing ......................... .49

21. Use of O:>rnputers in Textile Industry ............................. 52

22. Various Systems Used in Apparel Industry ..................... 55

23. Textile Terminology (A-H) .............................................. 58

24. Textile Terminology (1-Z) ................................................ 63

Page 7: [2008] Career in Textile and Fashion Designing

11 6 MR.ke a <Areer in Textile and Fashion Designing II Part II Fashion Designing

1. Fashion ............................................................................. 70

2. The' Purpose of Clothing ................................................. 72

3. Haute Couture ................................................................. 74

4. Haute Couture Caters for Exclusive Customers ............. 76

5. Fashion Designers ............................................................ 78

6. Natural Fibres .................................................................. 80

7. Man-made Fibres ............................................................. 82

8. Types of Cotton ............................................................... 84

9. Other Types of Fabrics .................................................... :86

10. Cross Stitch ...................................................................... 89

11. Exploring Pattern Possibilities with Cross Stitch ............. 91

12. Pattern Making in Cross Stitch ........................................ 93

13. Giving New Look to Normal Clothes ............................. 95

14. How to Start a Good Pattern ........................................... 97

IS. Tips for making a T-shirt ................................................. 99

16. Making a Neat and Round Neck ................................... 101

17. About Blueprints ........................................................... 103

18. Tips for copying a Design onto Fabric ........................... 106

19. Choosing Fabric for Plus-sized Designs ........................ 108

20. Types of Fabric for Plus-sized Designs .......................... 1l0

21. Wide or Narrow Pants ................................................... 1l2

22. Gowns ............................................................................ 114

23. Designing the Perfect Gown .......................................... 1l6

24. Computers in the Field of Fashion Designing ............... 1l8

Page 8: [2008] Career in Textile and Fashion Designing

Part I

Textile Designing

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Careers in Textile Designing

Textile Designing as an an has been preserved in special musetunS, obviously it was and still is considered a very serious art. These museums house everything from bed sheets to pelmets to carpets to histQ.rical fabric printing technique.

Indian textile designers are now well known in the world market for having skilfully blended traditional textures with dyes for meeting modern market needs.

So what exactly is Textile Designing?

Textile designing deals with creating designs for textiles in the apparel and furnishing sectors. It covers both surface design and structural design. Designers handle textile or embroidery designs, prints, weaves, styles and textures.

Textile designing encompasses the creative aspect of this industry and the designer's task is' one of sketching, shaping and colouring fabric. The textile designer must have knowledge of yarn making, weaving knitting, dyeing and finishing process, including the knowledge of different types oflooms, knitting machines, printing processes including block, stencil, roller and silk-screens.

What does the job entail?

Designers prepare designs, produce samples of cloth with technicians and then arrange to have them printed. Textile designers usually work closely with fashion designers and buyers to try to predict future trends

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II Careers in Textile Designing 911

in fashions for colour fabrics. They may specialise in printed, woven or knitted material and in designs for a particular product.

Personal attributes required?

To become a textile designer you need to be artistic and creative, with a good eye for colour. Communication skills and technical understanding are important. You also need to be able to work to deadlines and within a budget and to have good computer skills.

How can you become a Textile Designer?

To become a Textile Designer you'll have to enrol in anyone of the Fashion Designing Schools, where they have specialised courses on Textile Design.

Advice for aspiring Textile Designers

This field is not as glamorous as some might envision it to be. It entails a great deal of hard work and can incorporate many long hours. There is also much more to the job than just designing, so be prepared to do things that you didn't initially anticipate.

Where to study?

Textile Designing is a creative field. If you're observant and creative you can create your own motifs on the computer, but a formal training definitely helps to a certain degree.

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Tasks and Skills of a Textile Designer

Textile designers use traditional and modern textile manufactUring and decoration processes to create textiles for clothing and domestic and commercial furnishings.

Tasks and duties

Textile designers may do some or all of the following:

• work with clients to develop design briefs.

• advise clients on colours and yarns.

• draw the design on paper first and then on a computer using textile design software.

• select the colours and designs for making the fabric.

• paint designs for printing.

• produce a sample of the fabric on a sample machine.

• instruct the machine technicians to set up machines in a particular way.

• instruct the finishers to adjust the fmish to the final textile product.

• research the textile market for future fashion trends.

• work with customers to develop lines of textiles for the coming season.

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II Tasks and Skills of a Textile Designer

• record technical information, such as type and density of yarn, so that fabric costs can be calculated.

Personal requirements

Skills

Textile designers need to have:

• creative ability and sound drawing and design skills.

• skills in textile design creation on computers.

• calculation and problem-solving skills.

• design brief interpretation skills.

• good communication skills.

• market research skills to work out the demands of the fabric and textile market.

• team skills and the ability to give and take instructions.

• an ability to work to deadlines.

• to be familiar with computer-aided design and marking.

Basic word processing and data entry skills are also useful.

Knowledge

Textile designers must know about:

• traditional and modern textile manufacturing processes and machinery.

• textile materials and their properties.

• how different weaving structures can be used.

• how garments are made, when designing clothing fabric.

• interior design, when designing commercial and domestic interior textiles.

• fashion trends and technical advances in the textile design and manufacturing industry.

Note: Before you pass a woven design on to a mill, you have to understand the weaving process, the different methods of weaving and types of fabric and know how contrasting colours are woven

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Make a Career in Trxtile and Fashion Designinp II together to get the desired effect.

Personal qualities'

Textile designers need to have:

• a strong sense of fashion.

• a good eye for colour, pattern, shape and detail.

• accurate and careful work habits.

• the ability to make sound judgements.

• the ability to compromise in order to create the textile designs their customers want or to meet manufacturers' requirements.

• the ability to be observant when working alongside weaving tuners.

Physical requirements

Excellent colour vision is required.

How to enter the job?

Secondary education

A tertiary entrance qualification is needed to enter a degree programme. Useful subjects include maths, art and design or technology.

Tertiary education

Textile design diplomas and degrees are available at polytechnics and universities. For entry to both diploma and degree programmes, candidates need to submit a portfolio of original art or design work.

Related courses that you can do:

Clothing, Fashion and Textiles

Entry requirements

There are no other entry requirements to become a textile designer.

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II Tasks and Skills of a Textile Designer

Useful experience

Useful experience includes art, design, weaving, sewing, knitting or painting.

Training on the job

Employers who employ graduates will usually train textile designers in their specific manufacturing processes.

Working conditions

Work places and travel

Textile designers work in design studios located in textile mills. Freelance textile designers may work from home or have design studios in art galleries.

Equipment

Textile designers use a variety of equipment including:

• computers and textile design software

• sample looms, knitting machines or carpet tufters

• drawing boards, various drawing and design equipment

• paints, screen printing materials and dyes

• yarns and colour swatches.

Employment conditions

Contact with people

Textile designers work with co-designers and design assistants, industrial weavers, fmishers and menders, mill managers, printing companies, yarn suppliers and clients.

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Job Outlook for Textile De-. sIgners

The outlook for textile designers is average and the number of people employed in this occupation is expected to remain stable over the next two to three years.

Textile manufacturing is a relatively large industry, but is made up of only a few companies. The main textiles produced include floor and furniture coverings and woollen yarn for carpet. Some growth in manufacturing capacity, particularly for tufted carpet is predicted over the next two to three years, which may give rise to a small increase in opportunities for textile designers. However, as there are only a few companies it is likely that there will continue to be a limited number of jobs available for textile designers, with many companies employing only one or two.

Textile design is a very specialised occupation. Each area requires knowledge of certain fabrics, yarns, computerised design tools and the machinery used in making the fmal product. This can cause some manufacturers difficulty in fmding people who have the appropriate skills to fill a position and often specialist training is given on the job. I

This training is ongoing, as textile designers need to keep up to date with new trends and fashions in their area, as well as new textiles and their specific uses. Computer skills have become increasingly important as the emphasis on using design software becomes more important in the commercial sector.

Turnover among textile designers is low due to the limited number of employment opportunities available and the spe9ialist nature of the

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II Job Outlook for TeXtile Designers

job. This can mean there are few opponunities for those wanting to enter the occupation and because of the large number of design students graduating each year, competition for jobs can be high.

However, those with good design skills and some experience in the industry (perhaps gained through a holiday job in a textile mill) usually have a better chance of finding employment once they graduate. Experience has become increasingly important as tertiary providers have cut back their emphasis on textile design and designers are more valuable to an employer if they have some practical knowledge of how design ideas translate into the manufacturing process.

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Textiles - A Historical Per­spective

Today, cotton is an integral pan of textiles in India. Nearly four million handlooms are engaged in weaving fabrics of nearly 23 different varieties of cotton. It was a piece of cotton stuck to a silver vase and some spindles discovered in excavations which revealed that the spinning and weaving of cotton was known to the Harrappans, nearly five million years ago.

References to weaving are found in the Vedic literature. Method of spinning, the "arious materials used etc. are also mentioned in these ancients scripts. The history of Textiles is told many times over in the epics, the Puranas, the Graeco- Roman sources of Indian history and the classical Tamil Sangam Literature. Various techniques of weaving, designing, needlework etc. have survived through the centuries. .

The foundations of the Indian textile trade with other countries began as early as the second century Be. Kalyan, a port, is place in that time from where textiles were exponed. A variety of fabrics, including cotton brocade, is mentioned in Chinese literature as Indian products exponed to China.

Hoard of block printed and resist dyed fabrics, mainly ofGujrati origin, found in the tombs ofFostat, Egypt, are the proof oflarge scale Indian export of cotton textiles to the Egypt in earlier times. They were exported in the early medieval times. Some of these motifs were found similar to those mentioned in the Western Indian manuscripts in the 13th century. There are others, which have resemblance to the block printed fabrics, in Gujarat.

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II Textiles -A Historical Perspective

The silk fabric was a popular item of Indian exports to Indonesia · around the 13th century, where these were used as barter for spices. Towards the end of the 17th century, the B~itish East India Company had begun exports of Indian silks and various other cotton fabrics to other countries. These included the famous fine Muslin cloth of Bengal, Bihar and Orissa. The trade in painted and printed cottons or chintz, a favourite in the European market at that time, was extensively practised between India, China, Java and the Philippines, long before the arrival of the Europeans.

Before the introduction of mechanised means of spinning in the early 19th century; all Indian cottons and silks were hand spun and hand woven, a highly popular fabric, called the khadi.

Textile Designing

Textile is the base element of garments and it can also be a spirit of a home or office as it can change the look of an interior layout. It combines the love of colour, painting and drawing with the hands on satisfaction of working with fibre and cloth to make patterns in painted and printed forms.

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Preparing Fabric for Use

Smart styling and a professional look in dothing construction require correct use of the grain of the fabric. No formula or method can conceal a poorly cut garment.

Garment pieces cut or pulled off grain will not fit correctly and will hang poorly when worn. Whether simple or elaborate in design, the fabric shows whether or not it has been cut on the exact grain.

'Grain' is the direction of yarns in a fabric. The lengthwise grain refers to yarns running the length of the fabric piece. These yarns are parallel to the selvage (or finished) edges of the fabric. The crosswise grain refers to yarn running across the width of the fabric piece from selvage to selvage. Corresponding terms for knits are 'wales' for lengthwise direction and 'courses' for the crosswise direction.

A third important direction is that of the 'bias'. The true bias is the perfect diagonal across the fabric, forming a 45° angle to the selvage. I

This direction provides the greatest amount of stretch and elasticity. To fmd the true bias, fold the lengthwise grain of the goods (selvage) at a right angle so that the lengthwise grain lies parallel to the crosswise grain. This fold gives the direction of the true bias. True bias should be used for bindings, facings~ trims, etc. Other diagonal folds or cuts at any

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II Preparing Fabric for Use

other angle may also be called bias, but they are garment bias and not true bias. They provide less stretch than does a true bias.

Grain line and the body

Fabric used to clothe the body is flat, but the human figure comes in many rounded forms and shapes. Both the body and the fabric, however, have a perpendicular or venicalline as their base.

Venicallines are used as the basis of designing and cutting a garment to fit the body. All darts, gathers or cuts are made with these two points in mind: the lengthwise grain runs vertically and the crosswise grain runs horiwntally. Generally, the lengthwise grain runs from the base of the neck to the hem and on the sleeves from the shoulder to the cuff. The centre front and back also run vertically along the lengthwise grain.

Straight grain line is imponant to the finished look of the garment. A garment that is cut off grain may not hang evenly and may even look distoned.

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Check the Grain Line Before You Buy

Some fabrics cannot be returned to grain perfection. These include most knits, fabric on which a design is printed off-grain, synthetic woven and blended fabrics that have been heat-set off-grain during processing and many fabrics that have a finish (such as permanent press or stain resistant).

In many cases the grain may have been pulled out of shape as a permanent finish was applied or it may have been imperfectly rolled on the bolt. If it has been imperfectly rolled, it can be processed at home and returned to grain line perfection. Many permanent fmishes lock the grain line into place, however and it cannot be straightened.

The consumer can determine if a fabric is on the grain by unrolling a yard or so from the bolt while still in the s':ore. Fold the fabric back, matching the selvages. Check to see if the crosswise grains run at right angles to the lengthwise grains. Check on both sides of the fold of a bonded or printed fabric to be sure that both halves are on the grain. If they are not, no amount of correction at home will perfect the grain. Carefully examining the fabric before purchasing it will let you avoid off-grain cuts.

Preparing the fabric for perfection of grain

Woven

To check the perfect grain, clip into the selvage near the end and pull a crosswise thread over the entire width of the fabric. Cut along the

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II Check the Grain Line Before Tou Buy

drawn thread. Fold the fabric lengthwise, matching the selvages and smooth out on a flat surface. If the straightened raw edges match, the fabric is on the grain and ready to use.

Knits and other fabrics with hard-to-find grain lines

If a crosswise thread cannot be pulled to find the true crosswise grain, open up the fabric and lay it so that one of ¢e selvages follows the straight edge of a table. The true crosswise grain can be established by a T-square or yardstick laid at right angles to the table edge. A basting line following this straight edge will mark the crosswise line.

Other possibilities are to follow the wale or course of a knit or a woven-in or knit-in design line to find both the lengthwise and crosswIse grams.

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Returning the Fabric to Grain Perfection

If the raw edges do not match, the fabric must be straightened. Several procedures may be used to return the fabric to true grain. Those procedures are as follows:

Pulling on the bias. Keep the fabric on the true bias. Start at the shorter corners and stretch the fabric gendy but firmly at intervals until the other end is reached. For a large amount of fabric, two people may be needed to pull the fabric. Check again for perfection in grain. If the fabric still does not meet, repeat the procedure.

Dampening the fabric. (wool, wool blends, washable fabrics). Fold the fabric lengthwise, with the right sides together, match the selvages and baste them together. Match the straightened raw edges and baste those together. The fabric may be crooked or be wrinkled on the centre portion.

Dampen a sheet as if it were just taken from the washer. Fold it lengthwise. Place the dampened sheet ona flat surface and place the fabric on the sheet. Fold the sheet and fabric together with folds about 12 inches (30.5 cm) deep until all the fabric is folded in. Keep the fold as wrinkle free as possible .

. Wrap the fabric in a towel or plastic to keep it from drying out and leave for at least six hours. Unroll the folds before the fabric is completely dry and smooth the piece on a flat surface. Use your hands · to pat the piece into grain perfection. Leave until thoroughly dry and remove bastings. Washable fabrics may be pressed on the wrong side

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II Returning the Fabric to Grain Perfection

following the lengthwise grain. Woollens or wool blends may be gently steam pressed if necessary to remove wrinkles. A protective sole plate on the iron will protect the fabric from excessive heat.

'Washing the fabrics. Washable fabrics may often be retmned to grain by simply washing the piece of fabric and dlying it in the dryer. In some cases you may prefer to lay the freshly washed fabric on a flat smface to dry and put it into grain perfection while damp. Steam press in a lengthwise direction when dry.

This process also can be used for pre-shrinking washable fabrics. '"

Blocking the fabric. Along the edges, match the crosswise grain and lengthwise grain at intervals. Baste or pin. Layout the end section of the fabric on a blocking board, Use the squares as a guide to position the fabric. Pin along selvages and crosswise grain. This process may also be used to pre-shrink fabrics.

Press slowly and carefully up to the fold on the section that you are blocking until any creases or wrinkles lie flat. Protect the fabric from scorching with a protective sleeve or plate on the iron. Be sme each section is cool and dry before moving the fabric. The fabric may stretch if handled too much when warm and damp.

Gently fold the fabric as you block it so that it will remain on grain as you block the rest of the length.

You may also want to do an additional blocking on a smaller section of fabric before the final cutting out of the garment pieces. Layout the pattern pieces and cut out the block of fabric around the pattern. Work with this piece on the blocking board until you are sme the crosswise and lengthwise grain are perfectly straight.

This method works best on small amow1tS of fabric and natmal fibres that do not have a finish.

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Pre-shrinking of Fabrics

Most fabrics should be pre-shrunk., even if they do nor require other processing to return them to grain perfection. If a fabric is only slightly off-grain, preshrinking may allow it to relax sufficiently to return to grain perfection. Pre-shrinking may also help remove excess fi!1ishes and may make further efforts to straighten the fabric more successful.

Pre-shrink yard goods the same way you will care for the fabric. If a fabric is to be washed and tumble dried, it should be treated this way when pre-shrinking. Some knits may need to be washed and dried several times to take care of shrinkage.

If a garment will be dry-cleaned, you may prefer having a dry cleaner pre-shrink the yard goods for you rather than processing it at home. Sometimes fabrics, which have been hand woven or have a novelty weave or a heavy nap do not pre-shrink successfully by home methods. When in doubt of successful home care, take the fabric to a professiona1.

Many fabrics come ready for the needle. Always check the label on the bolt of material for care directions and to determine if the fabric is ready for use without pre-shrinking.

The professional, custom-made look of clothing depends upon proper care throughout garment construction. Many problems are caused by careless handling of the fabric. The first step to success is beginning with the fabric on the grain line and following this procedure by maintaining accurate grain lines tl1roughout the construction process.

Wool fibre properties

Wool is a unique fibre. It is a natural fibre made from the fleece of

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II Pre-shrinking afFabrics

sheep. Wool fabrics are not all alike. They come in a variety of textures and weights. Wool can be sheer, thin, soft, thick, stiff or anything in between. Wool fabrics are constructed by weaving, knitting or felting.

Wool is popular to work with because it has remarkable qualities -durability, absorbenC); resistance to flame and static, durability and its appealing hand. 'Hand' is the way the fabric feels as you touch it. Wool fabrics have a springy, yet soft feel. Seams can be eased into place without puckering, stretching or slipping. Wool fabrics press beautifully and can be moulded and shaped into garments that keep their shape if given proper care. Other qualities that make wool fabric a good choice for garments include wrinkle recovery, colourfastness, stain resistance and its resiliency, which enables the wool to bounce back to its original shape after wearing.

Most of all, wool is comfortable. Not only does it have excellent insulating ability to keep you warm, but this insulating property also keeps the heat out in warm environments. Wool has the ability to absorb moisture - as much as 30% of its own weight - without feeling damp. Wool sheds dirt easily, so it doesn't need to be cleaned as often as other fabrics.

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Wool Fabric Types

Before you buy any wool fabric or garment, look for the label. The label tells you the precise fibre percentages of the fabric and gives care instructions. Fibre content is an important guide to fabric performance. Generally, the more wool in the fabric the better. These are some of the labels that pertain to wool:

100% wool or pure wool- This product is composed entirely of new wool being use,d for the first time and may contain up to 5% of a fibre other than wool as surface ornamentation.

Virgin wool- New wool that has never been used.

&cycled wool - This is a term replacing reused or reprocessed wool. Wool scraps left from the cutting of 100% wool garments are shredded back into fibres. This wool is frequently used for gloves, caps; inter-lining and industrial uses.

A wool blend is the result of fibres being mixed before they are spun into a yam. Wool blends may result in' a higher performance fabric, an improved appearance and greater economy.

Blends with a high percentage of wool generally behave quite similarly to wool. Blends with higher percentages of synthetic fibres are usually more heat-sensitive and don't press or ease as well as 100% wool. Some wools and wool blends are washable, but some must be dry­cleaned. Be sure to read the care instructions carefully.

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II UJiJol Fabric IJpes

Two other terms you should be familiar with are 'woollen' and 'worsted'. WOollen fabrics are woven from yarns made of shorter, fuzzy fibres . These fibres have a dull, soft, somewhat fuzzy texture. Examples are wool flannel and tweed. These are good choices for beginning sewers because irregularities in stitching are less obvious.

UJiJrsted fabrics are woven from yarns made of long fibres that are parallel to one another. The fabric is smooth, hard textured and somewhat lustrous. Examples include gabardine, serge and crepe. These fabrics are not recommended for beginners.

Choose a simple pattern if you are sewing with wool for the first time. A medium-weight fabric is easier to work with than either a very lightweight or very bulky wool fabric. As your confidence grows, you can select patterns with more detail.

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Wool Preparation

Wool's disadvantage is shrinkage. Pre-shrink the fabric to allow for relaxation shrinkage. This occurs when there is tension on the yarns during the weaving process. Some wools and wool blends are already pre-shrunk when you buy them, so be sure to ~heck the labels. Some labels may use the words sponged or needle-ready. If it is not labelled, test the fabric for possible shrinkage as follows.

Place the folded fabric with right sides together on the ironing board. Work with the comer where the cut edge and selvages meet. Cover the material with a dry cloth. Using a steam iron on the 'wool' setting, set the iron on top of the dry cloth and COlUlt 'one iron, two iron,' etc. lUltil 'eight iron' (approximately 8 seconds). Set the iron aside. Remove the press cloth and check the fabric. If you see ripples arolUld the imprint of the iron it means the fabric will shrink to some extent if it is improperly handled.

This shrinkage can be handled by a reliable dry cleaner at a reasonable cost or you can shrink the fabric yourself by doing the following:

• Straighten the cross-wise or cut ends of the wool by pulling a yam or basting along a cross-wise thread. Cut edges straight with the grain.

• Fold the fabric in half lengthwise, wrong side out. Hand or machine baste raw edges and selvages together.

• Wet a sheet completely in warm water. Remove the excess water by running the sheet through the spin cycle of an automatic washer.

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II Wool Preparation 29 11

• Spread the damp sheet on papers or a sheet of plastic on the floor.

• Lay the fabric on half of the wet sheet. Fold the other half of the sheet back over the fabric. Beginning at one end, fold over about one foot of the fabric and sheet. Continue making one-foot folds until it is completely folded.

• Cover the sheet with paper, towels or plastic and let it rest for several hours or overnight.

• Carefully remove the fabric from the sheet and place it on a flat surface. Smooth the fabric to remove wrinkles and check to see that it is on the straight of grain.

• If pressing is necessary, press from the wrong side while the fabric is slightly damp, using a dry press cloth. If the fabric is slightly off grain, straighten it with careful steam pressing. A blocking board will help. It is also advisable to preshrink any linings, zipper tapes and interfacing.

Cutting and marking

Sometimes it is difficult to tell the right side of the wool fabric from the wrong side. Usually the fabric is folded with the wrong side out when purchased. If you can't tell the difference, be sure to use the same side as the right side for every garment piece. It is a good idea to mark each piece on the wrong side with thread or chalk.

It is best to use tailor's tacks when marking wool. The thread should be a different colour than the fabric, but not too different in case the colour crocks off on the fabric. Tailor's chalk or a hard-milled hand soap (not a cream base) can also be used.

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Ramie

Ramie (pronounced Ray-me) is one of the oldest vegetable fibres and has been used for thous.ands of years. It was used for Chinese burial shrouds over 2,000 years ago, long before cotton was introduced in the Far East.

Ramie is classified chemically as a cellulose fibre, just as cotton, linen and rayon. Leading producers of ramie are China, Taiwan, Korea, the Philippines and Brazil.

Until recently ramie has been unknown in the ready-to-wear market in this country, but it is appearing in more garments. It is often blended with cotton and available in woven and knit fabrics that resemble fme linen to coarse canvas.

Ramie usage increased in the mid-1980s with a fashion emphasis on natural fibres and a loophole in textile import regulations. Ramie and garments made of more than 50 percent ramie, entered the United States without import quota limits. Legislation was passed in 1986 eliminating the quota-free status of ramie.

Ramie is also known as China-grass, rhea and grass cloth. The fibres are found in the bark of the stalk. The process of transforming ramie fibre into fabric is similar to manufacturing linen from flax. The fibre is very fine and silk-like, naturally white in colour and has a high lustre.

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Advantages of Ramie

• Resistant to bacteria, mildew and insect attack.

• Extremely absorbent.

• Dyes fairly easy.

• Increases in strength when wet.

• Withstands high water temperatures during laundering.

• Smooth lustrous appearance improves with washing.

• Keeps its shape and does not shrink.

• Can be bleached.

Disadvantages of Ramie

• Low in elasticity.

• Lacks resiliency.

• Low abrasion resistance.

• Wrinkles easily.

• Stiff and brittle.

Ramie as a blend

Ramie is most often blended with other fibres for its unique strength, absorbency, lustre and dye-affinity. When blended with high-quality cotton it offers increased lustre, strength and colour. When mixed with wool, ramie adds lightness and minimises shrinkage. When blended with rayon, it offsets the low wet strength.

Uses of Ramie

Ramie is used in fabrics resembling linen, such as apparel fabrics for shirts and shorts, tablecloths, napkins and handkerchiefs. It is often found as a blend with cotton in knit sweaters. Ramie is also used in fishnets, canvas, upholstery fabrics, straw hats and fire hose.

Care of Ramie

Ramie-blend fabrics can be laundered or dry-cleaned depending on the dyes, finishes and garment design. The care label will state the preferred

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11 32 Make a Career in Textile and Fashion Designing II method. The dry-cleaning method helps prese1ve the beauty of woven ramie items and gives best colour and shape retention and a wrinkle­free appearance. With caution, white ramie fabrics may be bleached with chlorine-type bleaches. Ramie fabrics withstand ironing temperatures up to 400 to 450 degrees F or the cotton setting on an 1ron.

When storing ramie or ramie blends, lay them flat. Ramie fibres are brittle and tend to break. Avoid folding the garment or pressing sharp creases in woven fabrics.

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Micro-fIbres

Imagine a fibre so fme and delicate that it's four times fmer than woo~ three times finer than cotton, twice as fine as the finest silk and one hundred times finer than hwnan hair.

Micro-fibres, as they are called, measure less than one denier. The term denier measures the fmeness of man-made fibres. Denier is the weight in grams of 9,000 metres of yarn, which is equal to one denier. One to three denier refers to fme cotton or wool, five to eight denier is average cotton and wool, 10 to 15 denier corresponds to very fme nylon stockings.

Micro-denier fibres are finer than any fibres occurring in nature. These fibres are available in a range of deniers making it possible to produce a variety of fabric types and weights.

Micro-fibres are not a new idea. The Japanese developed micro-fibre yarn nearly 20 years ago. The most well-known micro-fibre fabric today is Ultra suede.

Composition of Micro-fibres

Micro-fibres are made from polyester, nylon, rayon and most recently acrylic. They also can be blended with other fibres including cotton, linen, wool, rayon and Lycra spandex. Blends enhance the appearance, hand, drape and performance properties of the fabric. At this time there are no regulations about the per cent of micro necessary for using the term micro-fibre.

The fabric industry agrees that 35 to 40 percent is the minimwn amount required to retain the desired hand and performances.

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11 34 Make R Career in Textile Rna FRShion Dmening II Companies are concerned about small amounts being used in a fibre blend as an advertising hype and calli!lg the product a 'micro-fibre'.

Micro-fibres can be woven or knitted into a variety of fabrics such as twill, satin, faille, crepe, taffeta and broadcloth.

Various finishes enhance the look and feel of micro-fibres. Peach skin provides a velvety hand, others have a silk, sand washed or a leather look.

Characteristics of Micro-fibres

• Strong and durable

• Lightweight and supple

• Good stability and shape retention

• Wrinkle resistant

• Washable and dries quickly

• Comfortable to wear as they are more porous

• Water repellent and wind resistant

• Doesn't water spot

Use of Micro-fibres

Because air passes easily through the fabric, moisture is wicked away from the skin's surface to the outer face of the fabric. This makes micro-fibres particularly desirable for outerwear and body wear. These fabrics can take on vinually any surface and texture quality. They can be sanded or sueded giving a lush velvety texture. End uses for micro­fibre fabrics include men's slacks and ties, women's silk-like blouses and dresses, hosiery, evening wear, tailored suits, children's wear, rain wear, intimate apparel and sheets and pillow cases. Luxurious upholstery fabrics are also getting the micro-fibre touch.

Fabrics made from these ultra-fme fibres can be produced from filament and staple yarns. Other applications include wiping cloths, high performance filters, artificial blood vessels, sanitary and towel products.

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Kinds of knits

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Sewing with Knit Fabric

Knits are an important part of every wardrobe because they are comfortable to wear and easy to care for. They shed wrinkles well and do not ravel when sewn. Knits are versatile and can be seen in everything from the most casual wear to the dressiest. Knits come in a variety of fabrics that vary in texture, stretchability, fibre content, weight and design.

A knit is fabric made from interlocking looped stitches. Knit fabrics available for sewing can be grouped into six general categories.

• firm, stable knits. These stretch very little and are handled similarly to woven fabrics. These include double knits and Raschel knits, a novelty knit recognised by lacy, stable construction.

• Lightweight single knIts. They have lengthwise ribs on the right side, horiwntal rows on the reverse side and moderate stretch. Examples are jerseys and tricot knits.

• Interlock knits. These are lightweight, -drapable and have a fair amount of crosswise stretch. They do not curl at the edges, but can run on the crosswise edge. Interlock knits are heavier, thicker and easier to sew than jersey knits.

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11 36 Make a Career in Textile and Fashion Desi9ning II • Textured knits. These may be single or double knits. Examples

include knitted terry and velour, sweater knits and sweatshirt fleece. These knits have moderate to good stretch except sweatshirt fleece, which has little or no stretch.

• Tho-way stretch knits. They stretch in both length and width and have a high percentage of resilient spandex fibres. These knits are usually selected for active sportswear.

• Ribbing. This is a stretchy knit used for stretch trims at wrists, ankles, neck and waist. It is available in tubular ribbing and in rib trim.

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Interfacings

Interfacing is a supportive fabric placed between the facing and garment fabric. Although hidden from view, it is a critical part of clothing construction. The necessity for interfacing is dependent on garment detail, fabric type and desired effects. It can make the difference between a professional­looking garment and a disappointment.

Interfacing is used to:

• stabilise and prevent stretching where strain occurs, such as neckline, buttonholes, waistband, pocket edges.

• add shape to waistband, collar, cuffs, lapels, plackets and other detail areas.

• add body or crispness in cuffs, pocket flaps, pockets

• cushion bulky seams.

• reduce the frequency of pressing and

• increase life of garment.

Where to use interfacing?

Use interfacing wherever stability; shape or body is needed. While most patterns suggest where to use interfacing, you may want to use it in additional areas. Collars, except for cowl necks, turtlenecks and ribbing, benefit from the use of interfacing. Buttons and buttonholes

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Make a Career in Textile and Fashion Designing II have a nicer appearance when they are backed with interfacing. Cuffs and waistbands need the suppon that interfacing can provide.

Interfacing provides stability when applied to facings in collarless and sleeveless areas. Pockets and tie belts have more body when interfacing is used. Other detail areas may need intelfacing to create a specific look. Interfacing is applied to the wrong side of the garment pieces in the upper collar, upper cuff and garment front. If it shows through, then the interfacing is applied to the facings.

Select interfacings that are compatible with the weight of the fabric, the crispness needed and the care you will give the garment. Check the label for care instructions.

Hair canvas is the traditional interfacing used for tailored wool garments, but other woven, non-woven or knit interfacings in either sew-in or fusible styles can also be used. If a sew-in is selected, drape the wool over the different weight interfacings to see which one gives the effect you want. If a fusible is selected, test it to make sure it gives the right amount of crispness and doesn't change the surface of the wool. If you see a ridge where the interfacing ends, either pink the edge to prevent it from showing through, interface the facing or do the entire piece.

Most fusible interfacings will last through laundering and dry cleaning if they are applied properly. Pre-shrink the interfacing by placing it in hot water for 10 minutes. Blot excess moisture and air dry.

Follow the fusing instructions given by the manufacturer. If instructions state to use a dry iron and dry press cloth or a steam iron on wool setting and a damp press cloth, do so. It may take anywhere from 10 to 15 seconds to fuse the interfacing in place.

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Selecting Interfacing

The appropriate interfacing to use in a specific garment should compliment and reinforce, not overwhelm the fabric. The best choice will depend on garment fabric, fabric care, fabric construction ana' desired effects. A lightweight interfacing might be used for a draped collar, for instance, while a tailored colour would require a :heavier interfacing. It may be necessary to use more than one type and'weight of interfacing in a garment, depending on its purpose. Consider the following factors when selecting interfacing:

Care- The fashion fabric and interfacing should have similar care requirements. Do not use a 'dry clean only' interfacing in a garment you intend to launder.

Colour- Since colours do show through some fabrics, select an interfacing in a colour compatible with fashion fabric. Beige coordinates with neutral shades and warm pastel tones, blue coordinates wit1i~ cool tones, silver with neutral shades and cool pastels tones, red with warm, white with all tones and charcoal and black with dark tones.

Fabrication and application- Interfacings can be woven, non-woven or knit fabrics. They can be applied by fusing (fusible) or sewing (sew-in). Select the fabric and application that will give the results you desire.

Give or stretch- Some interfacings are very stable or stiff, others have varying amounts of stretch or give. Select a stable intetfacing for an area that you do not want to stretch (buttonholes, waistband) . An interfacing with more stretch is used in areas that need shaping.

l*~ht- Interfacing weights vary from sheer to quite heavy.

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11 40 Malu a Career in Textile and Fashion Designing II Interfacing should be, slightly lighter in weight than the fashion fabric. It should complement, not dominate the fashion fabric. An interfacing heavier than the fashion fabric might be desirable only if special shaping or effect is needed. If in doubt, choose the lighter interfacing, as one that is too heavy may give unprofessional results.

To deterqline if a sew-in interfacing is suitable, drape the fashion fabric over the interfacing. Shape and manipulate the combination to see if it gives desired results. The appropriateness of a fusible interfacing can be determined only by fusing a small piece of the interfacing to the fabric. In the fusing process, the fashion fabric gains extra body.

Build up a supply of interfacings so you will have the kind you need. Purchase 3 - 5 yards of any interfacing you use frequently. Having a supply of interfacings also makes it easier to test fusibles to see if they provide the desired results (including ease of fusing and quality of adhesion). The variety and quality of interfacings have increased in the past few years. The decision between fusible and sew-in is dependent on fashion fabric, degree of firmness and personal choice.

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Types of Interfacing: Fabric and Stretch

Interfacings can be grouped by type according to fabric, stretch and application. Almost every combination of these three types is available in an interfacing fabric.

Fabric

Fabrics used for interfacing can be woven, non-woven or knit. Characteristics of fabric construction give different properties to fabrics. While many fabrics are produced exclusively for use as interfacing, others may also be suitable. Woven fabrics, such as batiste, muslin, broadcloth and some lining/interlining fabrics, may be very suitable as interfacing. The garment fabric can sometimes be used, especially if it is a solid colour.

~ven interfacings may be cotton, . rayon, wool, polyester or a blend of fibres. Lengthwise yarns are interwoven with crosswise yarns at right angles to make a woven fabric. Those containing wool can be shaped and moulded with steam. Generally, woven interfacings are cut on the same grain as the accompanying garment section. However, when cut on the bias they have more give and -are more suitable for shaping.

Non-woven inte1facings are usually made of polyester, rayon, nylon or

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a blend of fibres. The fibres are distributed at random and held together by chemical binders and heat. Since they do not have a yarn direction or grain, they will not ravel and can be cut in any direction. The weight and amount of stretch can vary significantly among non-woven interfacings. Give careful consideration to selecting the most appropriate one.

Knit interfacings are available in tricot, weft insertion and warp insertion forms. Nylon tricot has crosswise stretc~ and lengthwise stability. It adds shape and body to practically any knit or woven fabric. Weft insertion has additional yarns inserted in the crosswise direction that enables the interfacing to provide stability in both the crosswise and lengthwise directions. It is used when you want more stability than a tricot, but less stability than a woven interfacing. Warp

-insertions have additional yarns inserted in the lengthwise direction and provide stretch in all directions. They are used for soft shaping.

Stretch

Today's interfacings have different amounts of stretch or give. Do not use stretch in areas where stability is desired.

No give or stretch - Non-woven stabilised interfacings do not give or stretch in any direction. They are primarily used forpurses, draperies and craft projects, although they may be desirable for waistbands.

One-way stretch - Interfacing stretches in the crosswise direction and is stable lengthwise. It can be used in areas that need to stretch or to stabilise areas such as waistbands. It can be non-woven or knit.

Modified one-way stretch - This type stretches mostly crosswise, but has some give in lengthwise and bias. The direction of stretch can be used to advantage by cutting the interfacing to use the stretch in the needed direction.

Bias - The most 'give' is on the true bias. Typical of woven fabrics, it will give like woven fabrics when sewn or fused in place.

All bias - This type stretches in lengthwise, crosswise and bias directions. It is a non-woven fabric.

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Application

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Types of Interfacing: Appli­cation

Interfacings can be applied to garment sections by sewing or fusing. Both woven and non-woven interfacings can be purchased as sew-ins or fusibles. Knit interfacing is currently available only as a fusible.

Sew-in - Use thread to attach these interfacings to the fashion fabric by hand or machine. When attached to a seam allowance they are often basted in place. A glue stick can be used to baste interfacings, but use it with caution and only in the seam allowance.

• Advantages - Gives softer, more supple shaping, may used with both woven and knit fabrics, a variety of woven fabrics not specifically designed for interfacing can be used.

• Disadvantages - May shrink, so preshrink before cutting, may need to be basted in place, a non-woven sew-in may buckle in an area (such as collar) where it is completely enclosed, may need machine or hand pad stitching for extra firm tailored shaping.

Fusibles - Fusible interfacings are designed with an adhesive on one side of the fabric. When heat, moisture, pressure and time are applied, the adhesive melts, attaching the interfacing to a s~cond surface. Because extra body is added to the garment as a result of fusing, select a lighter­weight fusible. Always test a fusible interfacing on a sample of garment fabric to determine if it is the proper weight, adheres well and gives the desired results. Test by fusing a circle onto a fabric scrap. The form

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of the circle will definitely be noticeable if the weight is too heavy. Wash the sample to see how the garment will look after it is laundered and to determine how well the interfacing remains bonded to the fashion fabric.

• Advantages - Quick to use, no basting needed, shape can be built into garment with additional layers, adds firmness to an area.

• Disadvantages - Gets fmner after fusing, may damage some fabrics that cannot be steam pressed, fusing adhesive may come through lightweight fabrics or sheers, fusing process flattens the fabric surface and may not be suitable for the following types of fabrics: pile, nap, rough or textured surfaces, heat sensitive fabrics, open work fabrics, silks and silicon treated or water repellent fmishes.

Low-temperature fusibles- These interfacings have a special adhesive that applied with a cooler iron temperature. They are used on heat­sensitive synthetics such as micro-fibres, ultra light polyesters, silks and faux suedes. These low-temperature fusibles help prevent fusing adhesive from coming through lightweight fabrics.

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18

Jute: The Golden Fibre

Jute, the golden fibre has gained immense popularity around the globe because of its biodegradable character. It is a natural vegetable fibre, which merges with soil and does not emit toxic fumes or residue on combustion. India is a major jute producing country and it produces more than 40% of entire world's production.

Jute handicrafts of India have created a niche all over the worla. A wide range of skills have been honed to perfection by craftsmen who have learnt to transform this natural fibre into products of daily use, with an aesthetic appeal. Eastern region of India abounds in jute products and handicrafts, reflecting the traditional craft skills.

Jute products from India are in great demand in the European countries. Needless to say jute handicraft items are very much in vogue. Assorted varieties of jute bags made in various weaves and blends are available in the market today. Jute bags also come in various shapes and sizes. Advanced manufacturing techniques have transformed jute into an attractive and versatile fibre, with a high degree of user appeal. Processing the jute in its formative form or the finished products can make it water and even fire resistant.

Jute garments are available for all occasions. Hand blocked, hand printed, embroidered, quilted and tie and dyed variety of jute garments can be worn anywhere for any occasion. Garments of jute can also be made with cotton blend (JUCO). Jute can be stylish and colourful, it

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can be customised to suit the exact needs of buyers.

The jute office accessories have a class of their own. They come in a variety of pen stands, files, diary covers, card boxes and office handbags. Highly innovative products like string bags, boxes, lampshades etc. have been developed out of jute pulp and strings to give extra strength to the products.

A luxurious range of jute home decor products are available to suit different life styles. Cushion covers, tablemats, table covers, tea cosies add class to, the lifestyle. Exquisite jute floor coverings add ethnicity to home interiors. Be it light, soft and practical portfolio bags for executives, Jute + cotton blend bedspreads, easy to clean decorative wall hangings, soft non-scratching mats/ baskets or sturdy and comfortable hammocks they all come in jute.

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Twist Balance

Importance of the 1\vist Balance

If the twist is not well balanced, the thread is snurling when loose, mosdy this has no influence on the sewability. Mter sometime the snarling becomes so heavy that it springs into the tension disk of the sewing machine and forms a kind of knot, the tension is raising and sometimes the thread is breaking.

Snurling can build a loop on the thread guidance, the winding of the thread is blocked. This also can cause thread breaking. Sometimes the loop of the thread in the needle falls aside. In this case faulty stitches are the result. Sometimes the loop forms an eight causing also faulty stitches or sometimes thread breaking. This problem also occurs when the needle is out of the fabric and the thread is not under tension. In this case, adjustment of the machine is very .important.

Even if the twist is well balanced, but the tension is too high, the twist is pulled in one direction, i.e. it is becoming higher before the tension disk and lower behind the tension disk, especially in the region of the needle it is too low. The twist is opening. With lockstitch seams the thread can be destroyed by the hook.

Z-1\vist

Why always Z - twist is used in sewing thread?

The direction of twist is important only for lockstitch seams. The movement of the hook in relation to the direction of the transport

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11 48 MRJte a <Areer in Textile ~nd Fashion Designi"" II normally makes a Z-twisted thread necessary. If the transport (during back-tack) in running back or with a 2-needle machine on the left needle, a S-twisted thread would be better because the thread is more closed. For a multi-directional working on a lockstitch machine, e.g. for attaching pockets, the twist direction cannot be changed and therefore a high-twisted core spun is necessary so that the thread remains closed, even if the machine is running backwards.

Long time ago on a 2-needle machine a Z-twisted thread was also used on the right needle and a S-twisted thread .)fl the left needle. Different twist direction has an influence on the lustre and the colour of the thread. Therefore, today the S-twisted thread does not exist anymore and has been replaced by the higher twisted core spun.

The S-twisted thread is typical for a hand sewing thread or for example bonded threads for ovedocking or a bulked thread, which will be never used in a lockstitch machine.

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CAD/CAM

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Technologies Used in Textile Designing

With the increasing convergence of technologies, CAD/CAM will continue to evolve into an integrated environment that drives the entire company. No longer serving just design or production functions within the company, CAD/CAM will become an integral part of the company 'intranet', - feeding sourcing, merchandising and marketing processes that support the entire enterprise. The technology trends that will drive this evolution include:

Modularisation: Proprietary software packages will give way to modular plug-ins-software solutions that are narrow in focus and designed to easily integrate with existing custom or off-the-shelf software.

3D body scanning: 3D laser scanning interpreted into accurate 2D flat patterns will become a viable entity in the industry. This technology will enable a proper fit of a garment and will fuel the end of mass production and excessive retail inventories. In their second generation, body scanners will be combined with video display and will enahle the customer to 'tryon' sized-to-fit virtual garments.

Mass customisation: As we enter the technology age of mass customisation, CAD/CAM technology will become a driving force in the sales and marketing of apparel.

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'1150 Make a Career in Textile and Fashion Designing II Training the users

Three areas of CAD/CAM technology that will have increased focus in the next five years are: ease-of-use, system self-diagnostics and the U§e of knowledge-based technology. Applications expand to smaller companies with fewer technical resources. The human interface with CAD/CAM systems must become simpler and more efficient and future equipment will have the ability to train the people who are using it. The technology, called computer-based training (CBT) will continue to rapidly develop and expand in the years to come.

Similarly a built-in self-diagnostics will help users determine why a machine may be operating improperly. Users will be able to deal with many equipment malfunctions quickly, thus minimising downtime. The need for less outside service support will also reduce total operating cost.

A further extension of CBT and self-diagnostics will be the need and ability for CAD/CAM equipment to actually acquire knowledge about what functions it is doing. For example, some systems can now acquire, over time, the correct settings for different types of fabrics, ply heights and marker designs that will allow the cutter to achieve a desired quality at the maximum speed. The knowledge of how to operate the machine thus 'stays' with the machine.

Off-the-shelf software catering to small design houses

Due to the emergence of powerful desktop systems, the apparel industry now enjoys a greater choice than ever. But these come at a high price and small design houses, cannot afford them. To resolve this, many firms are employing off-the-shelf graphics software, such as Adobe Photoshop and Illustrator. Despite there features these programs don't offer specific tools for apparel and textile design.

Create and integrate

The products are designed for the apparel industry, the concepts and different stages of design are covered, from volume to style, from the collection to the garment, from the garment to the component piece. The guiding principles behind the development of the new CAD

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II Technologies Used in Textile Designing

range incorporates multimedia and the Internet - information technologies that are no longer solutions for the future but features of everyday practice.

Design tools that offer maximum flexibility and guarantee the quality and consistency of the processes are needed for the industry today. Some tools allow users to recreate an environment identical to their traditional one. Some can produce markers only one to two percent less efficiently than those of an experienced marker person.

The key to the future is compatibility. To maintain continuity and reduce problems, new systems should be created that accommodate the old.

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Use of Computers in Textile Industry

CAD is industry specific design system using computer as a tool. CAD is used to design anything from an aircraft to knitwear. Originally CAD was used in designing high precision machinery, solely it found its way in other industries also. In 1970's it made an entry in the textile and apparel industry. Most companies abroad have now integrated some form of CAD into their design and production process.

In fact, according to a survey in a country, of 228 Apparel manufacturers:

• 65% use CAD to create colourways

• 60% use CAD to create printed fabric design

• 48% use CAD to create merchandising presentation

• 41% use CAD to create Knitwear designs

Design choices and visual possibilities can be infmite if the designer is given the time and freedom to be creative and to experiment using the computer. Today automation is not only used for substituting the labour, it is also adopted for improving quality and producing quantity in lesser time. However, a CAD system is only as good (or as bad) as the designer working on it. Computer only speeds up the process of say repeat making, colour changing, motif manipulation etc. It is actually the CAM aspect of CAD that will help reduce lead­time.

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1)rpes of CAD systems

Textile Design Systems

Woven textiles are used by designers and merchandisers for fabrics for home furnishing and to men-women-children wear. Most fabrics whether yarn dyes, plain weaves, jacquards or dobbies can be designed and in fact are invariably used abroad using a CAD system for textiles. Similarly embroideries are also developed at CAD workstations.

Knitted Fabrics:

Some systems specialise in knitwear production and final knitted design can be viewed on screen with indication of all stitch formation. For instance a CAD program will produce a pullover graph that will indicate information on amount of yarn needed by colour for each piece. Another example of the new technology in the industries using a yarn scanner, which is attached to the computer scans a thousand metres of yarn and then simulates a knitted/ woven fabric on-screen. This simulation will show how the fabric will look like if woven from that yarn.

Printed Fabrics:

The process involves use of computers in design, development and manipulation of motif. The motif can then be resized, recoloured, rotated or multiplied depending on the designer's goal. Textures and weave structures can be indicated so that printout either on paper or actual fabric looks very much the way the final product will look. The textile design system can show colourways in an instant rather than taking hours needed for hand painting. New systems are coming which have built-in software to match swatch colour to screen colour to printer colour automatically i.e. what you see is what you get.

Illustrations/ Sketch Pad Systems

These are graphic programmes that allow the designer to use pen or stylus on electronic pad or tablet thereby creating freehand images, which are then stored in the computer. The end product is no different from those sketches made on paper with pencil. They have additional advantage of improvement and manipulation. Different knit and

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Make a Career in Textile and Fashion Designing II weave simulations can be stored in a library and imposed over these sketches to show texture and dimensions.

Texture Mapping: 3D Draping Software

This technology allows visualisation of fabric on the body. Texture mapping is a process by which fabric can be draped over a form in a realistic way. The pattern of the cloth is contoured to match the form underneath it. The designer starts with an image of a model wearing a garment. Each section of the garment is oudined from seam line to seam line. Then a swatch of new fabric created in textile design system is laid over the area and the computer automatically fills in the area with new colour or pattern. The result is the original silhouette worn by original model in a new fabric.

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Various Systems Used in Apparel Industry

Digitising Systems

Digitisers put original patterns into the computer for use and storage. It can be done by defining the X, Y co-ordinates of series of selected points around the pattern. These basic patterns can be manipulated with the help of a computer, for example in case of trousers, darts can be moved, pleats can be created or flair can be introduced. This way new designs can be created on screen from pre-existing patterns. Today large scanners are also used to input pattern shapes instead of tracing patterns on a digitiser.

Grading Systems

After a sample size pattern has been put, it has to be graded up and down in size. Certain points on the pattern are considered as 'growth points' or places at which the pattern has to be increased or decreased to accommodate changing body size. At each growth point the operator indicates the grade rule to the computer. The system will then automatically produce the pattern shapes in all the pre-specified sizes. Say if we define pattern for size 30, it can be easily graded for size 32/34/36 and so on.

Marker Making Systems

Computerised marker-making systems help in laying the pattern part

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Make a Career in Textile and Fashion Designing II together more economically than an operator could do with hands. This ensures minimal wastage of fabric. On plain fabric this is relatively simple but on striped fabric also automatic matching is done by the computer. The layout is then directed to big plotters, which are overlaid on the stacked fabric prior to cutting.

Cutting Operations

Pattern generated by marker making systems can be directed to automated cutting machines which are operated without the help of human hands.

Marketing integration using computer

Designer is in direct contact with the customer and also the manufacturer to be aware of the latest trends and also needs and demands of the customer.

Improving the finish of a garment

Both in regard to appearance and functional performance, it is more important than ever to improve the finish of a garment in order to appeal to the modern consumer. Improvement in functional performance of a garment through specialty finishing has led to the development of up-market and niche products in recent times. Developments have taken place in easy care, softening, water repellent, soil-release and stain-release, flame retardant, anti-microbial and breathable finishes.

Most of these finishes are given at the fabrics processing stage itself. Technology for vapour-phase treatment, which allows finishing to be carried out at the garment stage is still under development. The only functional finish which has reached some level of satisfactory application and performance is the 'wrinkle free' finish.

The wrinkle free finish (also known as 'Easy Care', 'Durable Press', 'Wrinkle-Resistant', 'V\'ash and Wear', 'No-Iron' etc.) is obtained by cross-linking cotton. It was way back in the 1920's when the research scientists started work on making cotton as wrinkle-resistant as silk. For the next 35 years research in this field was carried out in laboratories all over the world. In 1961, a company come up with a process and the process used then is known today as the post-cure procedure to

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II Various Systems Used inApparel Industry

introduce permanent creases in cotton garments. Initial consumer response was lukewarm. Unfortunately, the chemistry of this compound liberates formaldehyde over 2,000 parts per million. The carcinogenic and dermatological effects of formaldehyde led to a declining interest in wrinkle resistant fmishes. The fmishing of garments to achieve permanent press properties was first presented at the 1987 International AATCC conference in Charlotte, NC, USA. Vapour phase finishing of cotton garments with gaseous formaldehyde and DMDHEU immersion finishing were the two options that were discussed. At least one garment manufacturer had begun immersion fmishing of cotton garments at this time. The trend was-established by the mid 1990's Today there is widespread consumer interest in the latest version of permanent press, popularly known as 'wrinkle-free'.

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Textile Terminology (A-H)

Acid Dyes

An anionic dye applied from an acidic or neutral dye bath. It has affmity for fibres containing basic groups.

Acrylic Fibre

A man made fibre containing nitrile. Maturing or ripening of alkali cellulose. Steaming of printed fabrics.

Armure

Embossing effect used to give a pattern e.g. in drapery or upholestry.

Armure Fabric

A fabric that is woven in armure weave.

Bagheera

Term used for uncut dyed velvet cloth to be used for gowns.

Basic Dyes

Dyes containing basic amino group and applied to natural cellulosic fibres in an alkaline dye bath.

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Bleaching

Chemical process of improving the whiteness of the fabrics, yarn or fibre with! without removal of natural colours, c.g. hydrogen peroxide.

Blending

Mixing of different fibres in definite proportion to get an end product having the cumulative advantages of its constituents e.g. cotton polyester blends.

Broad Cloth

A rib effect woven cloth having high cover factor.

Brushing

Finishing process involving passing of the material over one or more brushes. It gives a raised effect.

Calendering

A fmishing process to increase the smoothness & lustre of fabric. The material is passed between heated rollers under high pressure.

Calico

A term used for plain weave cotton fabric having medium cover factor.

Canvas

A heavy weight, plain weave fabric of cotton, flax, hemp or jute. It has good strength & firmness.

Colour Fastness

The property by virtue of which the dyed material has resistance against bleeding on washed or exposed to light, gas, rubbing.

Cord

A general term used for a) plied b) cabled yarns and structures made by braiding, knitting or weaving.

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Cotton

Ratio of the yarn/fibre's weight to length or depending on the direct or indirect system usage. It is a measure of fineness of the fibre.

Crochet

Continuous series of loops with single needle.

Curing

It is the procedure of setting of resin or plastic.

Denim

3/1 warp faced, 2c/ld twill weave, heavy cotton cloth. The fabric is made of yarn-dyed warp and undyed weft yarn.

Direct Dyes

Dyes made of vegetable fibres. These are used for dying callulosic & protein fibres. It is easily applied dyed but has low fastness.

Disperse Dyes

Dyes used only for synthetics e.g. polyster.

Discharge (Printing)

A method of printing in which by application of a chemical substance onto specific areas of a dyed fabric, the dye is discharged (removed) leaving a white or differently coloured pattern.

Dobby

It is a loom used for making double fabrics. It has healed capacity greater than tappet loom. It also shows greater efficiency. Different colour and weave effects can be WOven using drop box motion at the shuttle box.

Dobby Fabric

Fabric having weave or effect requiring a dobby looms e.g. shepherds

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checks.

Drill

A twill weave, piece dyed fabric. It is usually made in O.7m width.

Dye

A chemical containing chromophore, which on application to another suitable material imparts colour to it accordingly.

Dyeing

Application and ftxing of a dye to the substrate.

Elastic Fabric

A fabric composed of ftbres /yarns having very high young's modulus. Thus the fabric is characterised by very high extensibility on application of stress without any permanent deformation e.g. lycra.

Embossing

Method of developing a raised /depressed pattern on to the material by passing it between heated roller having the similar design engraved upon one of them. It is generally used upon thermo plastic fabrics.

Fabric

General term used for all materials made of ftbres /yarns by weaving, knitting, lace binding, braiding, felting, bonding, fusing or inter locking.

Fastness

Fastness of material to an agent means the resistance of the former towards the latter.

Filament

A long continuous man-made ftbre.

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Finishing

Make a Career in Textile and FlUhion Designing II

Treatment of fabric to improve properties.

Gabardine

Worsted fabric with pronounced twill face.

Georgette

Crepe fine fabric with alternate twisted tam.

Hosiery

Knitted articles.

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Textile Terminology (J. .. Z)

Imitation Velvet

Plain weave with small tufts or fibres fixed by adhesive.

Interlining

Woven or non-woven fabric layer between outer cloth and lining of a garment for stiffening or giving warmth.

Jacquard

A weaving machine to produce intricate woven design by controlling each warp yam.

Jersy Plain knitted fabric on circular knitting machine or tricot machines.

Jute

A multicellular baste fibre.

Knitting

A process of forming open work fabric by tying yarns when they cross one another, interlocking a series of loops.

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1164 Make a Career in Textile and Fashion Designing II

Knot

Joining together by tying.

Lace

Open work fabric.

Lawn

Light thin cotton fabric.

Loom

A weaving machine.

Lustre

Gloss of textiles.

Madras Fabric

Thin cellulosic fabric woven with figures on lino fOWldation.

Melange

A mixture of coloured stocks.

Mohair

Fine lustrous hair of Angora goat.

Muslin

A fine plain white cottOQ fabric.

N arrow Fabrics

Fabrics of 24-36 inch width.

Net

Gestitchesometrically shaped mesh.

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II Textile Terminology (I-Z)

Non-Woven

Fabric from a web of fibres held together by various methods other than felting, colouring or intertwining.

Numdah Stitches

A felt Indian rug of goat's hair embroidered with coloured chain stitches.

Nylon

Synthetic polyamide fibre.

Organdy

Thin transparent stiff effect on cotton.

Oxford

2 x 1 basket weave.

Package Dyeing

Dying of yarn in packages.

Pick

Weft.

Pick and Pick Weaving

Weaving by alternate picks.

Polyamide

Polymerised product of alcohols and acids.

Poplin

A plain weave fabric with ribbed or corded effect.

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Power loom

Looms driven by power.

Raw Silk

Reeled silk directly from cocoon with slight twist.

Reed

Frame in front of harnesses separating warp and swinging forward.

Satin

A woven cloth of smooth surface caused by weft floats.

Spinning

Process of making yarns.

Spun Silk

Silk yarn from short filament.

Staple

Average length of fibre for natural or, cut in case of man-made fibre.

Suede Cloth

A finish to resemble chamois leather.

Taffeta

Plain closely woven ftlament fabric.

Tapestry

Yarn dyed figured fabrics in jacquard loom.

'lerry Cloth

Absorbent fabric with uncut pile loops.

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'Thrylen British

British polyester fibre.

Texture

Surface effect and appearance of fabric.

1\veed British

A rough fabric of wiry heavy wools.

1\vill Weave

Weft interlaced with warp to form diagonal ridges in fabric.

Velour

A cut pile fabric heavier than velvet, longer piles with fme raised fmish of cotton /woollen.

Velvet

Cut pile fabric of silk or man-made fibre.

Warp

Yarn running lengthwise in woven fabric parallel to selvedges.

Weaving

Interlacing of two sets of yarns usually at right angles to form a fabric.

Winch Dyeing Machine

A dyeing machine consisting of a dye vessel fitted with a drive winch, which rotates and draws a length of fabric, normally joined end to end, through the liquor.

Woollen

Descriptive of yarns or fabrics or garments made from yarns, which have been produced on the condenser system, wholly from wool fibres,

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" 68 Make a Career in Textile and Fashion Designing II new or otherwise. (Wool is the fibrous covering of a sheep.)

Worsted

Descriptive of yarn spun wholly from combed wool in which the fibres are reasonably parallel and· fabrics or garments made from such yarns. In most countries fabrics with a small proportion of non-wool decorative threads can be described as worsted.

Worsted Fabric

A fabric manufactured wholly from worsted yarns, except that decoration threads of other fibres may be present.

Yarn

A product of substantial length and relatively small cross~ section consisting of fibres and jor fllament (s).

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Part II

Fashion Designing

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Fashion

Fashion is a language of signs, symbols and iconography that non­verbally communicate meanings about individuals and groups. Fashion in all its forms, from a tattooed and pierced navel, to the newest hairstyle, is the best form of iconography one has to express individual identity. It enables the individual to make himself understood with rapid comprehension by the onlooker.

For centuries, individuals or societies have used clothes and other body adornments as a form of nonverbal communication to indicate occupation, rank, gender, sexual availability, locality, class, wealth and group affiliation. Fashion is a form of free speech. It not only embraces dothing, but also accessories, jewellery, hairstyles, beauty and body art. What one wears and how and when he wears it, provides others with a framework to subdy read the surface of a social situation.

Fashion, an indicator of cultural chang~s

How one perceives the beauty or ugliness of his body is dependant on cultural attitudes to physiognomy. Today an inability to refashion and reshape the bodies, while constandy monitoring the cultural ideal, leaves the designers failing the fashion test. Those that pass the fashion test

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II Fashion 7111 invariably spend their lives absorbed in a circle of diet, exercise, cosmetic surgery and other regimes . This includes the rigours of shopping in search of the ultimate garb.

Roles

An innate characteristic of human beings is the desire to strive for differentiation. The removal of sumptuary laws and rigid dress codes has enabled the individual to use fashion as a means to identifY clearly the many different roles that a person plays irlyany one day. Sociologists borrowed the word 'role' from the theatre, because like actors individuals play many parts and each part has to be learnt. Roles are continually learned and rehearsed and relearned. They are also shared, because like the actors on a stage, fluid interaction only occurs if all the performers know the behaviour expected.

Role Set

Roles and activities are closely linked to what people wear. People are affected by their role-set, which includes boyfriends, girlfriends, sisters, brothers, friends, husbands, lovers, mothers, fathers, grandparents, relatives, employers, customers, clients, work mates, business colleagues, peer and age groups.

The people with whom a purchaser interacts affects the final purchase and this applies to any fashion-dominated item ranging from. interior furnishings to choice of cars. Likewise, the purchase of fashionable clothes, fabrics or accessories becomes a visual currency and',s.peaks volumes silendy. The tools of fashion provide the signs and symbolism that function as an information service for the role-set.

People are aware that others make judgments about them th.rough their clothes and accessories.

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The Purpose of Clothing

Those with high status occupations wear the I

clothes they think. others expect them to wear. They do not wish to experience role conflict by wearing the incorrect clothing. It is from the clothes a person wears that people get his first impression of personality. They provide mental clues to a person's status and occupational role, as well as being a means of conforming to peer group expectations.

Clothes also have the utilitarian function of , providing protection from the extremes of the elements, keeping one warm or cool or safe. They also act as an aid to modesty or immodesty as the wearer so desires.

The state of a person's clothes is synonymous with self-respect and is a sign of respectability. It also adds another sign that the person has sufficient status in society to maintain at the cost of time and money, laundering, dry cleaning and repair. To be respectable some expense has to be incurred in the maintenance of cleanliness and neatness.

Clothes are the status signs

One of the most favoured forms of semiotic distinction is fashion, because fashionable clothes, accessories and body adornments are easy for others to observe at glance. In addition, incidental items, particularly branded specific handbags, footwear, jewellery, accessories and new hairstyles act as important status symbols.

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It is interesting that

First, a fashion is approved by others.

Then, it is copied because of competition.

Finally, it is replaced as it. becomes commonplace and has ceased to fulfill its function of being distinctive.

The status fashion can be anything from a particular jewel, such as solitaire diamond stud earrings or the latest fad for long drop gold earrings to a brand logo pair of jeans in a particular style and colour. The ability to decode trends that are not deliberate and obvious is limited to a small group, who adopt consumer items early.

The US economist, who wrote the book, "The Theory Of The Leisure Class", in 1899, maintained that dressing for status, as an outward expression of wealth, is indeed functional by the very fact that such clothes prevent the wearer from engaging in manual labour. Also, because of their restrictive design they need the assistance of others to dress the wearer and keep such clothes in pristine condition.

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Haute Couture

'Haute Couture' is a French phrase meaning 'high fashion'. 'Couture' means dressmaking, sewing, , or needlework and 'haute' means elegant or high, so the two combined imply excellent artistry with , the fashioning of garments. The purchase of an haute couture model garment is at the top level of hand customised fashion design and clothing

construction made by a couture design house. A model haute couture garment is made specifically for the wearer's measurements and body stance. Exclusive clothes are virtually

,,/'" made by hand, carefully interlined, stay taped and fitted to perfection for each client.

High 'cost for high fashion

Dependant on the haute couture design house and the garment, the cost of a couture item runs from about £10,000 to £ 40,000 and often beyond that figure. If the client is not rich, it will be hard for him to .' ':1 . understand why the price is so high. The ., ; price stands for service, workmanship, originality of a unique design and superb materials of the finest quality.

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High priced fashionable fabrics

The fabrics used by couture houses are very luxurious and include the latest novelty fabrics and expensive silks, fme wools, cashmeres, cottons, linens, leather, suede, other skins or furs. In the case of a famous design house, the design and colour of a cloth, may be exclusively reserved for that couture house.

Some designers make accessories either by established design or inspiration. Hats, trimmings, buttons, belts, costume jewellery, shoes and innovative pieces are fmely crafted to complement the fabrics and fashion ideas being created. Superb craftsmanship, a fresh idea and publicised internationally renowned names command a price to match. Those able to afford couture are happy to pay for exclusivity and the privacy afforded by the system. Designers create their initial designs either by using muslin, which drapes well for flowing designs, or by using linen canvas or calico for more structured garments such as tailored garments.

The fmal toile of a design idea is an accurate interpretation of the line, or cut right down to the button placement or hemline that the designer is seeking. Once satisfied, the designer instructs his staff to

make up the garment in the selected and exclusive materials. One seamstress, or tailor works on the garment from start to finish. The cutting and finishing is done in one room and the workroom manageress is responsible for everything produced in that room.

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Haute Couture Caters for Exclusive Customers

Sometimes designers work for their owp. label and sometimes they work for a famous Haute Couture house . Very few couture model sales are made in a year and these rarely total more than about 1500 sales for each house. This is not surprising when you learn that only about 3000 women, or so, worldwide can actually afford t9 buy clothes at the highest level and fewer than 1000 buy regularly.

Because of this, haute couture actually runs at a loss. Design houses present expensive million pound fashion shows of often dubious, but outrageously noticeable designs, intermixed with exquisite garments on supermodels. The couture house sells only a very limited percentage of Haute Couture model garments to a contracting number of customers. The profits from this activity are negligible, amounting to less than ten per cent of gross profits of the couture name or even sometimes a loss.

You might then wonder what is the point for so Iowa percentage sale in relation to efforts and deadlines. The answer lies in the phrase 'selling a dream'. The fashion shows attract huge media attention and gain enormous publicity for the couture houses. They sell a dream of the

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II Haute Couture Caters for ExclusiT1e Customers

intangible. A dream of chic cachet, of beauty, desirability and exclusiveness that an ordinary person cannot buy.

If a consumer can afford the bottle of perfume, the scarf, the designer boutique jewellery, the bag of the season, the couture named cosmetics or the ready to wear 'designer label' products, they convince themselves they are as exclusive as the 1000 women and the supermodels, who regularly wear haute couture model gowns.

It is fair to say that the goods are usually of very high quality, so many people are happy to pay a price that they feel reflects the image and standard.

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Fashion Designers

Fashion designers create garments and accessories making them functional as well as attractive, the main consideration being the needs of the client, which are obviously influenced by trends, market predictions and the climate. The designer needs to keep close track of fit, style, colour, texture, size and material. Fashion designers design outer and inner garments and also the accessories to go with them.

The process of designing clothes begins with sketching the original idea on paper. Then the designer shapes the pattern pieces, which make the garment. The pieces are then drawn in actual size on paper and cut out on a rough material. These pieces are stitched together and fitted on a model. Modifications in the pattern pieces or other features of the mock piece are made and thus the design is completed. From the rough model, sample garments are made in the final fabric. Much time is spent on exploration and research.

The work of a fashion designer is both competitive and stressful. Considerable time is spent standing and working on large worktables. There is a lot of teamwork that goes into a good creation. Fashion shows require perseverance over long periods of time. There is considerable travel involved during fabric selection, analysis of fashion trends and fashion displays. There is hectic work pressure during fashion shows.

inexperienced designers usually receive on-the-job training, and normally need 1 to 3 years of training before they can advance to higher-level positions. Experienced designers in large firms may advance to chief designer, design department head or other supervisory

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II Fashion Desi[Jners

positions. Some designers become teachers in design schools and colleges and Wliversities. Many faculty members continue to consult privately or operate small design studios to complement their classroom activities. Some experienced designers open their own firms.

Job oudook

Designers in most fields are expected to face keen competition for available positions. Many talented individuals are attracted to careers as designers. Individuals with little or no formal education in design, as well as those who lack creativity and perseverance, will fmd it very difficult to establish and maintain a career in design.

Overall, the employment of designers is expected to grow faster than the average for all occupations through the year 2010. Increased demand for fashion designers will stem from the continued emphasis on product quality and the demand for new products.

Earnings

In popular fashion houses, median annual earnings for fashion designers were $48,530 in 2000. The middle 50 percent earned between $34,800 and $73,780. The lowest 10 percent earned less than $24,710, and the highest 10 percent earned more than $103,970. Median annual earnings were $52,860 in apparel, piece goods, and new designs.

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Natural Fibres

Fabric is one of the initial marks of a designer. Every fibre used in textiles for apparel has its own history and details:

1. Flax 5,000 + B.C.

• Generally considered to be the oldest natural textile fibre.

• Fine linen was used as burial shrouds for the Egyptian pharaohs.

• Largest producer: Soviet States. Other large producers include Poland, Germany, Belgium and France. Largest exporters are Northern Ireland and Belgium.

2. Cotton 3,000 + B.C.

• Earliest use estimated between 3,000 B.C. to 5,000 B.C.

• Worn by Egyptians earlier than 2,500 B.C.

• Eli Whitney'S invention of the cotton gin in 1793 revolutionised the processing of cotton.

• The development of the power loom in 1884 brought significant improvements and variations to cotton fabrics.

• Major producers: United States, Soviet States, China and India. Lesser producers include Pakistan, Brazil, Turkey, Egypt, Mexico Iran and Sudan.

Cotton is an all time favourite for summers.

3. Wool 3000 B.C.

• Used by people of the Late Stone Age. • There are 40 different breeds of sheep, which produce

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II NaturalFibres 8111

approximately 200 types of wool of varying grades.

• Major producers include: Australia, New Zealand, Soviet States, China, South Mrica, and Argentina.

Nowadays, designers experiment with woollens to give the models a chic look. Short cardigans with accessories have emerged as the latest trend.

4. Silk 2600 B.C.

• It is believed that a Chinese princess discovered silk.

• Silk is made from two continuous filaments cemented together and used to form the cocoon of the silkworm ..

• Silk culture began about 1725 B.C., sponsored by the wife of China's emperor.

• India learned of silk culture when a Chinese princess married an Indian prince.

• The major producer and exporter of silk is Japan.

Silk is one of the most dominant fabrics in the fashion industry. From gowns to expensive Indian saris, the silk costume gives a look rich in status and splendour.

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Man-made' Fibres

1. Rayon 1910

• The first man-made fibre.

• T\Vo different chemicals and manufacturing techniques were used to develop two basic types of rayon. They were viscose rayon and cuprammoruum rayon.

• Rayon fibres are superior in moisture and water absorbency and can be dyed deeply and colourfully with a variety of dyestuffs.

2. Nylon 1939

• It is the second most used man-made fibre in this country, after polyester.

Nylons are used for designer pantyhose and laces in designer corsets.

3. Polyester 1953

• Polyester is the most used man-made fibre in the U.S.

4. 1Hacetate 1954

• The first commercial production of triacetate fibre in the United States was in 1954.

• Domestic triacetate production was discontinued in 1985.

5. Spandex 1959

• It is an elastomeric man-made fibre (able to stretch at least 100% and snap back like natural rubber).

Spandex is used in fllament forms for frills.

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II Ma1H1UUle Fibres

6. Polyolefin/ polypropylene: 1961

• The first commercial production of an olefin fibre was in the U.S.

• In 1966, polyolefm was the world's first and only Nobel-Prize winning fibre.

7. Micro fibres 1989

• The true definition of a micro fibre is a fibre that has less than one denier per filament. Micro fibre is the thinnest, fmest of all man-made fibres. It is fmer than the most delicate silk.

8. Lyocell1993

• Environmentally friendly, lyocell is produced from the wood pulp of trees grown specifically for this purpose. It is specially processed, using a solvent spinning technique, in which the dissolving agent is recycled by reducing environmental effluents.

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Types of Cotton

Within the basic categories of fibres, there are different types of fabrics that are identified by their construction (how the fibers are woven together, or by their design). Here is a brief list of some of the types of cotton.

1}rpes

1. Batiste - very fine, soft, usually sheer cottons often used for handkerchiefs, nightwear and children's dresses.

2. Broadcloth - closely woven fabric. If you look closely, you will see tiny crosswise ribs.

3. Calico - plain woven cotton, usually printed with tiny floral designs.

4. Cambric - tightly woven cotton, usually in solid colours, such as cambric blue. Used in apparel, especially casual shirts .

. S. Canvas - heavyweight cotton, used for items that require strength, such as tote bags, knapsacks and slipcovers.

6. Chambray - finely woven cotton, usually with white and another colour. The white is ~ery subtle, used in the crosswise (warp) yarns. A chambray shirt, for instance is usually pale blue, but if you look closely you will see the white yarn.

7. Chino - this is cotton twill that has been pre-shrunk and mercerised. Most often used for sports pants and other sports wear.

8. Chintz - highly glazed cotton with a rich glossy finish. At Cranston,

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l11Jpes of Cotton 85~ it is called 'Cransheen finish'. Chintz adds a decorator touch to home furnishings and is also great for dressier apparel.

9. Corduroy - cotton pile that has been cut and woven with wide or narrow ribs.

10. Denim - better known as the workhorse of cottons! Very strong and similar to Chambray, in that it is often made with white filling.

11. Duck - another strong, durable cotton, used for projects that are meant to last, i.e. travel accessories, slipcovers, awnings, etc.

12. Flannel - very soft cotton, usually with a nap. Used often in baby wear. For children and baby apparel, make sure it is flame retardant.

13. Garbardine - can be cotton or wool. This is the twilled fabric that spans the seasons and is often used in jackets, skirts and pants.

14. Gingham - yarn-dyed woven cotton, usually seen in the form of checks.

15. Khaki - another strong cotton weave. It is used in uniforms and other items that require strength.

16. Lawn - cotton lawn is a fme, crisp, combed cotton fabric, used in children's wear, nightwear and traditional quilting.

17. Madras - originally from India. Real madras is hand-loomed and dyed ~~m~r with plain woven fabrics. Depending on the type, it can be coarse or fine, dyed or unbleached. Patterns are usually stripes or plaids.

18. Muslin - very basic. The unbleached variety is often used for pattern making or test garments.

19. Percale - fmely woven cotton, often used for sheets. The higher the thread count, the softer the hand.

20. Pique - cotton that has been woven with a raised, cord or weld effect. Also called dobby weave.

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Other Types of Fabrics

'JYpes of silk

1. chiffon - very transparent, sheer fabric, often used in evening wear.

2. China Silk - plain weave silk, usually used for linings of garments.

3. Crepe - textured silk, sometimes pebbled or crinkled.

4. Crepe de Chine - smooth, plain-surfaced silk crepe, luxurious hand and look. It is often used in evening or bridal wears.

5. Georgette - heavier form of chiffon with pebbly texture. This very sheer fabric is often used for blouses and dresses.

6. Organza - very fine, sheer fabric used for formal wear for women and girls.

7. Peau de Soie ('skin of silk') it is silk woven in a satin weave. This term now also applies to synthetics with this look.

8. Pongee - natural, nubby silk, usually with tan colour.

9. Shantung - originally shantung was hand-loomed Chinese silk. Now, it refers to a plain weave silk with hand-loomed textured look.

10. Challis - soft, draping fabric often with a floral pattern. Used for ,. scarves, skirts, etc. It may also be rayon or cotton challis.

11. Flannel - very soft plain-weave with a nap on one or both sides. Used in outerwear, menswear, etc.

12. Jersey - a plain will-knitted fabric made of w09l, cotton, nylon, rayon, or silk and used especially for clothing

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13. Melton - heavy wool without glossing or pressing. Extremely warm, used in outerwear.

\ 14. Merino - very fine wool, used in sweaters, vests, etc.

15. 1'weed - Fibre-dyed yarns, rough textured wool in a variety of subtle colour combinations. One well-known tweed is Harris Tweed.

There are 120 different kinds of clothes that you can use to establish a style statement of your own:

aloha shirt anklets apron

bathing suit bathrobe bell-ottoms

belt beret Bermuda

bib blazer blouse

blue jeans bonnet boot

bow tie boxer bracelet

button-down shirt cap cape

chain charm coat

corduroys costume crew soc

crutches culottes cut-offs

denim jacket evening dress flannel shirt

galoshes glasses gloves

gym suit handkerchief

hat jacket Jeans Jersey

jogging suit Jumper knee-socks

knickers leg warmers leggings

leotard locket mittens

moccaSInS muff muffler

neckerchief necklace necktie

nightgown nightshirt overalls

PYJamas pants parka

petticoat pinafore plaid shirt

pleated skirt polo shirt poncho

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1188 Make", Career in Trxtile and Fashion Designing

II pullover raincoat ribbon

nng robe rompers

sailor suit sandals scarf

shawl shirt shoes

short-sleeved- shorts ski pants

ski suit skirt slacks

slicker slippers sneakers

snow suit socks sport shirt

stockings suit sundress

sunglasses suspenders sweat socks

sweat suit sweater sweatpants

sweats sweatshirt swimsuit

T-shirt top tie

tights track suit trousers

trunks turtleneck tutu

underwear uniform V-neck sweater

vest watch Windbreaker

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10

Cross Stitch

As a fashion designer, you should explore new ways of using popular stitches to create richly patterned and textured embroideries.

Traditional, comfortable cross-stitch has become so associated with work on even weave fabrics and with kits that its versatility can easily be overlooked. In your designs, you should strive to liberate the humble cross stitch by using it experimentally with a variety of materials in order to produce intricate and rich patterns, which can be used for many different purposes and projects. You can combine cross-stitch with other simple stitches such as running, franch knots, seeding and straight stitches.

Sampling (or trying stitches, patterns and ideas out before embarking on an embroidered project) is a very impor:t:ant part of the process of developing your work.

Begin slowly with simple stitches and then gradually explore more complex possibilities, adding layers of stitching and applied materials to your work. As you begin to understand the patterns you can achieve, you will soon be able to create your own original and exciting designs.

Stitched on backgrounds of felt, silk, space-dyed cotton and polyester, all the work here has been stitched 'by eye' rather than from a planned design. If you feel nervous about working cross-stitch on plain-weave fabrics, you can carry out similar ideas on even weave fabric (try space-

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dyeing it or printing a subtle design on your fabric before stitching), or you can use waste canvas where appropriate.

Material · required for pattern making in cross stitch

• usual sewing equipment

• an embroidery hoop or frame. It is important to keep work taut when using large straight stitches

• small pieces of rich fabrics (to provide stability, fme fabrics can be mounted on calico or other cotton before stitching), cotton fabrics, commercial felt, metal tissue

• -even weave fabric (if this is your choice)

• a variety of embroidery threads to go with the colour of your fabrics

• a small collection of scraps of soft leather, sticks, beads, sequins, canvas and other meshes if available

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1 1

Exploring Pattern Possibili­ties with Cross Stitch

Cross stitch and double cross stitch are worked on a simple background with different threads. Scale and density, are both important in partern making. They can be achieved with a variety of threads and by changing the size and proximity of the stitches.

You should aim for a crisp, clear cross-shape to give good structure to your work. If you work small crosses with a thick or softly textured thread, you may end up with poorly defmed crosses. Do not be afraid to make some stitches, even fme ones, quite large (the 'arms' can always be secured with a couching stitch).

Put some of your stitches together, join them up, overlap them and see what patterns begin to emerge. Look at the shapes you are creating between the crosses. See if you can add another smaller stitch, or can you make links with larger stitches across the shapes.

Applying other materials with cross stitch

Sample 1 Sample 2

Crosses and patterns built from layering and overlapping crosses are an excellent way to apply a whole range of other elements that can add variety and richness to your embroidery.

In Sample 2, carrying on from

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Milke a Career in Textile and Fashion Duigning II Sample 1, crosses and cross-stitch designs have been used as a decorative couching method. You might fmd it helpful to use a small straight stitch to catch down the element before you proceed with the decorative stitchery. The folded fabric squares have been held down with a tiny stitch in fine thread in each corner.

You will be able to fmd lots of small decorative elements to use in this exercise, but the materials used here include:

• squares - of folded fabric, felt, leather and glass

• circles - sequins, beads and buttons

• lines - cords, ribbon and fme willow sticks

• ~a::~~s - of cotton and painted EJ ~ • threads - flower thread, soft ~~~:~-_~ ~-__ -_ ~

. cotton, mulberry silk, stranded cotton (one strand), cotton a ~

hroder. and metallic machine @3 ) ~ 0 embroIdery thread .

Folded fabric squares

• Start with a square of fabric (cotton and metallic tissue were used in the worked samples). A 3 cm square will result in a 1 cm finished square. You can make larger and, with practice, smaller squares. Use fabrics that can hold crisp creases.

• Fold horiwntally into accurate thirds to make a narrow folded strip. Iron or fmger-press to give sharp creases.

• Fold in accurate thirds, vertically, to create a neat padded square. Press.

• Flip over so that turnings are on the underside.

• Secure to the background fabric with a small stitch at each corner before decorating with cross stitches.

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Pattern Making in Cross Stitch

A background of gold dupion silk can be used for small type of embroidery. Symmetrical design of squares made from folded metal tissue and leather are held down with cross stitches in metal thread. The border, which is important in 'containing' the , centre of the design, is made from couched silk and metal cords surrounded by tiny squares cut from copper-coloured leather. This motif could be framed as a small panel or could be used to make a box lid.

A larger embroidery piece could be made by repeating similar-sized motifs, but of different designs, one beneath the other or in a grid format.

Threads used: Madeira gold 9807 couching thread, Madeira gold machine embroidery thread, Madeira FS 2/2 machine embroidery thread in blue/black

Size: 12 x 12 cm

Ideas for constructing layers of squares

Small squares can be cut from fme leather, suede or commercial felt, or they can be made from folded fabric. They can be placed in layers to build simple geometric patterns and applied to the background with a tiny stitch at each corner. Decorative designs may be developed by overstitching the squares with cross stitches.

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11 94 Make a Career in Textile and Fashion Designing II Making more complex stitch patterns by overlapping and link-ing

Sticks used in model making were painted with coloured ink (any paint or dye could be used), then attached (couched) to a shot-silk background with criss-crossed stitches. The patterns were worked starting at the top left and increased in complexity as the exploration proceeded. Note , the overlapping and joining of stitches to create intricate and rhythmic patterns.

Threads used: flower thread, stranded cotton (one strand)

Small embroidery using plastic mesh

Plastic mesh in very shiny gold was cut into rectangles and strips. A bigger grid was made on some of the s'lapes by cutting away parts of the mesh. The shapes were then placed in a pleasing abstract arrangement (move the shapes around until you are happy with yoUr layout) on a background of shot dupion silk and held down temporarily with tacking thread., Decorative patterns were made from layered crossed stitches of various sizes.

Thread used: Mulberry silk (medium weight) in strong colours.

Size: 16.5 x 13 cm

Embroidery on a painted background

An overlapping design of squares and grids was hand-printed on rich red dupion silk with gold and copper fabric paint. As in the previous piece, various meshes and grids were overlaid in a balanced abstract arrangement and held down temporarily with tacking thread. The boldest grid was made from cocktail sticks painted with copper acrylic paint. Richly layered patterns were built up using cross stitches and some straight stitches. Tiny squares of soft leather in copper and gold were ad~ed and held down with yet more crossed stitches.

Threads used: Mulberry silk (medium weight) in rich colours and Madeira gold threads.

Size 22 x 17 cm

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Giving New Look to Normal Clothes

All through the fashion history, the most celebrated pieces of work have been those, which took the monotonous outfits and highlighted them with a new set of ideas and patterns. Simple cuts on sleeves, lowered necklines, altered lengths of tops are the few examples that have rejuvenated the most tedious and dispassionate clothes into the hottest known chic stuffs.

Even a simple wear like a T-shirt can be made trendy and attention grabbing with a mere touch of creativity. The word 'T-shirt' may conjure up images of men's cotton / poly undershirt. But with your ingenuity and a little sharpness, you can produce its customised version of a ready-to-wear trendy T-shirt that could fetch you a price tag lying between Rs. 600 to Rs. 1000. And if a T-shirt is well made and beautifully shaped, it can be the glue that holds your '90s wardrobe together, worn just as easily with a suit as with jeans.

When you sew your versatile T-shirts, you can refine the fit, alter necklines and shaping to flatter your figure, use beautiful fabrics, arid add fine details. Fitting and adjusting are easy when you follow a few simple guidelines.

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A word about fabrics

To sew a T-shirt that looks like better ready-to-wear, you will need to seek out fme-quality knit fabrics. Since knits do not have much bolt appeal, keep an eye out for especially nice ones. And take a loolc at ready-made garments that you like for shaping, details and other ideas. The existing styles can induce you to create a mark of your own in the world of fashion.

T-shirts can be made from many knit fabrics, induding cotton, wool, velour, cashmere, panne velvet, Lycra blends and fleece. Do not worry if you do not have access to the matching ribbings and trims that manufacturers have made to their specifications. A narrow, self-fabric, bound neck edge gives a fme fmish to a shirt of this quality.

For fall T-shirts, shift to slightly heftier knits, made from wool jersey, velour, sweater knits and thermal cottons.

There are a few techniques to control stretch and get smooth liems and edges. Test each fabric you sew and keep a record of what worked for future reference. If you make a few T-shirts each season, you will have a collection of tops and a few refmed patterns to use and wear again and again. And you can endlessly vary style, sleeve length and neckline.

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How to Start a Good Pattern

Begin with a pattern whose basic measurements and features are right for you. Measure your favourite T-shirt or go shopping with a tape measure and try on garments, noting the key measurements, plus design and construction ideas of items you like. Note especially the shape and length of the body, amount of ease across the bust and hip, neck shape and width, shoulder width and armhole depth. With this information, you can select and customise a pattern for the fit and details you want.

Adjust for fit

Fitting the pattern takes a little time and fussing. You can continue to refine it as you sew. To adjust the fit, combine flat pattern measuring with tissue- and pin-fitting and make a series of changes to improve the pattern.

1. Start with the flat pattern. You can use the pattern to determine the amount of ease it includes, whether you need to alter it to fit or to compare one pattern to another.

Calculate the ease intended for the garment style by measuring the pattern from side seam to side seam across the front and back at the bust and hip.

2. Next, tissue-fit your pattern. Tissue-fitting the pattern pieces, like pin-fitting a garment during construction, is a try-on-again-take­off-again procedure that helps you visualise the finished garment on your body and further refme the sh!lpe before you begin to sew.

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Make a o"reer in Textile and Fashion Designi"" II 3. Refme a neckline you like. You can alter the neck of a T-shirt to

flatter your face or figure, to update a look, or to fit under another garment. It is fine to adjust the front, back and shoulder areas independently.

4. Sh9U1der widths vary from person to person. Determine the best s}loulder widths by measuring favourite garments and adjusting during tissue- and pin-fitting.

S. Go for a pleasing armhole depths. The depth of the armhole helps determine the proportion of a garment, as well as how it will fit beneath a jacket.

6. Once the pattern fits and you have determined the best length, neckline and armhole depth, the next step is to refme the pattern's shape.

7. Lengthen the front for tops and dresses: Women's upper bodies are usually wider in front than in back, so making a garment front 1/2 inch longer gives a smoother fit. Add the 1/2 inch at the bust. For a full bust, also add width at the bust by curving the side seam out 3/4 inch, tapering to zero above and below. When sewing, ease the front to the back in the bust area.

8. Balance the armhole: To balance the armhole means to adjust the pattern so the back armhole is 1/2 inch deeper than the front. This solves the problem of garments that fall back.

9. Refine the body shape: A subtle hourglass shape or a tapered wedge that narrows at the hip is more flattering to the body than the straight boxy cut found in most ready-made T-shirts and patterns.

10. Eliminate some of the fullness across the chest on dropped­shoulder styles by reshaping the pattern, where the arm joins the body on the pattern front only. During tissue-fitting, make a mark 3/8 to 1 inch from the cutting line, and redraw the line. Always choose a close-fitting wrist. Measure the width of ideal wrist and upper forearm. A model amount of ease is about 1 in, at the wrist and zero at the upper forearm.

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Tips for making a T-shirt

Preshrink and press fabrics before cutting, using the method you want' to use for the finished garment. Garments are usually cut on the lengthwise grain, but you may occasionally prefer a fabric's design or stripe on the cross grain, which is fine if the fabric has enough stretch going around the body. Since many knits have a subtle directional shading (they are knitted from one end to the other), use a 'with-nap' layout whenever possible.

No fancy seams needed

You do not need a serge to make beautifully constructed knits. Since knit fabrics do not ravel, a plain raw or pinked edge works fine. Most widely preferred option is a straight stitch and a standard 2.5 mm. stitch length. For very stretchy knits, Use the smallest baby zigzag stitch, which will 'read' as a straight stitch.

To control stretching, use a simple technique called stay stitch plus. Apply pressure on the back of the presser foot or push down on the fabric behind the foot, stitch 1 to 2 inch, then release. Repeat along the length of the seam. With 'a bit of practice, you will maintain an even tension throughout.

A mock flat-felled seam is perfect for holding seams flat, like at the shoulder and for dropped or raglan sleeve seams. Stitch a standard seam, press it open and then press it to one side. Trim the under layer, if bulk is a problem, and topstitch from the right side.

A 12/80 sized universaL needle (tapered, with a rounded point) and

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MRke a Career in Textile and Fashion Designing II good-quality, all-polyester thread work well for most light- to medium­weight knits. If you get skipped stitches on synthetics, 'power' knits with Lycra, or very fine knits, try using a ballpoint needle (with a more rounded point), apply needle lubricant along the spool of thread, then try a smaller needle. It is preferable to use double needles for topstitching hems.

For smooth hems and stable seams

Before assembling your T-shirt, prepare the hems by pressing them into place. Use an oak tag template as a guide. Next, apply a narrow cross grain strip of soft, all-bias knit, fusible interfacing in hems to reduce rippling. It is easier to add now while the garment is flat.

To sew and stabilise the shoulder at the same time, stitch the shoulder seam with the backside up, adding a strip of clear, un-stretched elastic on top. Press the seam without touching the elastic, which will melt.

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Making a Neat and Round Neck

For a neat, round neck, a self-fabric, bound neck edge, 1/2 to 1 inch wide, is preferable. A cross grain strip of fabric works well for a single­layer, wrap-around binding on medium-weight to thick fabrics, and for a double-layer French binding on lightweight knits. Since each fabric handles differently, tinker with the binding's length to get a smooth finish. It should pull the neck edge in and lie flat against the body without puckering. Before cutting the band, try on the shirt. Nothing more will be done to the cut edge of the fabric on the neck before it is bound, so you can see whether the neckline needs to be drawn in, which is simple to do with the binding.

To calculate the width of the band, add three seam-allowance widths plus 1/2 inch (for the turn of the cloth and extra to catch in the final stitching). A 3:4 to 7:8 ratios between the length of the binding and neckline generally works well. For example, on a 20 inch long neckline, you might start with a binding of 15 to 17 inch depending on the stretchiness of the fabric. Adding 1/4 inch seam allowances, cut the neckband ends on a 45 degree angle to reduce bulk and stitch the ends to form a circle.

To clean-finish the inside of a single-layer neckband, it is handy to have a serge. But you can also pink the band's remaining raw edge or turn it under before stitching in the ditch to secure. Positioning the band's seam off-centre at the back, divide the neckline and band in quarters and mark with pins, snips or chalk. With right sides together, position the band on top of the neckline and stretching slightly, stitch

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11 102 Make a Career in Textile and Fashion Designino II the seam lines together, then press. Wrap the binding to the wrong side, press again, and try on the garment to check the neck fit and band width.

, At this point, you can even out the seam-allowance width, but never grade or clip the seam allowance, which will weaken the seam and cause distortion.

On a double-layer binding, cut the binding wider than necessary, since folding and pressing will make it uneven. Then fold the binding ~: ~~!f; wrong sides together, press and trim it to the length and width needed. After joining tne cuds :it 4 45-degree angle, stitch the raw edges to the neckline, as above. The folded edge will wrap to the wrong side and be caught in the ditch­stitching for a clean fmish.

For T-shirts, it is preferable to use a small, smooth shoulder pad covered with fusible tricot. You can either sew the pads in .place by hand or attach them with strips of soft hook-and-loop tape. Finally, it is better for you not to think of a T-shirt as a throwaway 2Clnnent. Fitted and constructed carefully from a beautiful fabric, it ~ be a valued piece in your wardrobe.

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About Blueprints

Flowers, ferns, feathers, photographs just about anything can be reproduced on blueprint fabric. The creative possibilities are endless ...

The blueprint was invented in 1842. It is one of the most popular and permanent photographic processes. The resulting prints are white or pale blue or a dark blue background. However, different exposure times give different colours.

You can use a variety of things to make your prints. Text, drawings or computer designs printed in black onto acetate (your local photocopy shop can do this), large photographic negatives, delicate objects such as fern leaves, grasses, feathers, stencils or open-mesh fabrics , such as net, lace or doyleys, work well. Whatever you choose to make, your pattern must not be too large, or solid, or you will get an uninteresting blob of white on a blue background.

--The prepared fabric, either cotton or silk noil, comes in a blac~ , lightproof bag. But do not undo it to have a look until everything else is ready. It is easier to work with smaller pieces until you are sure -of the process, so cut the fabric into convenient sizes. -

The design

The following is a scanned picture of flowers, and developed on the

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11104 Make a Career in Textile and Fashion Designing II

computer to make a nwnber of patterns, which were then printed in black onto acetate to use as negatives.

The original colwnbine flower, scanned into the computer to develop into patterns.

The flower was repeated, overlapped, to build up a larger design.

To make further designs, parts of print 2 were isolated and printed onto acetate.

Preparation

To keep the fabric flat during the exposure it must be supported on a base, such as a large piece of expanded polystyrene. Place the fabric on this (it looks pale green at this stage) and lay your chosen image, leaves, acetate print, etc. on top. If the object you are printing is not flat, then you will need to pin it, through the fabric to the polystyrene, but make sure the pins do not show in the finished print. For flat images such as stencils, cover the whole thing with a piece of plain glass.

Exposure

For the best results, choose a clear, sunny day, although it is surprising how good a print you can get in slightly hazy conditions. Prop the top edge of the base on a brick or box (support the glass with large pins so that it does not slip) so that it is facing the sun and leave it for about 8-10 minutes.

Fixing

Using rubber gloves to protect your hands, remove the print from the board and fix the print by rinsing it thoroughly in clean water. The colour changes during the rinse and the water will turn green as the chemicals are rinsed out. Dry the print indoors, away from direct sunlight. Iron when dry.

Yellow and brown prints

Different exposure times will give a range of blues, but ordinary household bleach will remove the blue to leave it yellow. The amount

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105 ~

of bleach is not critical, but start with a cup (any size) of bleach to four cups of water, and swirl the fabric around in it, using rubber gioves. Rinse it well and neutralise the bleach with a tablespoon of vinegar to one or two cups of water. If you wish to make a brown print, boil some teabags in water until you get a good, rich colour. Remove the teabags and swirl the print around in it until it is the colour you want. Rinse and dry.

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Method 1

18

Tips for copying a Design onto Fabric

• Place your fabric over the design and using a hard pencil, trace the outline onto your fabric. (It is a good idea to hold your fabric in place with masking tape to prevent it from wrinkling). If you cannot see the image through the fabric, try going over the design with a black felt pen to make the outline stronger.

• Alternatively, trace the design using tracing paper and tape this onto a light box (or a window). Tape your fabric over the top so that the light shines through and you can trace the design onto your fabric.

• On dark fabrics, use a quilters' white or silver pencil.

Method 2

• Dressmakers' carbon paper is available in a variety of colours. Use one that will show on your fabric. Place dressmakers' carbon face down on top of your fabric and position fabric and carbon under the design to be traced. Using a hard pencil, carefully draw around the design, checking to see that. it is coming out clearly.

Method 3

• Tacking (basting) the outline of a design leaves no marks or lines on the fabric, so it is very useful for techniques that do not have a

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II Tips for copying a Design ~to Fabric

stitched outline around the whole design.

• Lay the tissue paper on top of the design to be copied and carefully trace the design onto the tissue.

• Position the tissue-paper tracing on top of your fabric and pin in place around the edge. Tack around the edge and remove the pins.

• With a sharp-pointed needle and using a thread in a colour that will show up

10711

well against the fabric, stitch carefully along all the design lines with small running stitches. Start the stitching with a small knot and finish with a couple of small stitches to make sure that the tacking is secure.

• When you have stitched along all the design lines, carefully tear away the tissue, leaving the tacked outline on the fabric. If you are working on light or delicate fabric, the tissue paper can be left in place to protect the fabric, and torn away gradually to reveal only the area being worked.

• The tacking-stitch oudine can be removed as you embroider if your stitching will make it difficult to remove later, or you may prefer to complete all of the embroidery and then remove the tacked design lines.

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19

Choosing Fabric for Plus­sized Designs

Irrespective of the obese shapes, which tend to spoil the look designer wears, fashion designers with their creativity and ability and can make such bodies look attractive Ike the picture perfect models on the ramp. For this purpose, aesthetics, durability and comfort of the fibre should be considered.

When you walk into a fabric store, your senses of sight, touch and even smell are immediately stimulated by the hundreds of colours, patterns, and textures that you see in the fabrics arrayed before you. While the beauty of fabrics elicits a visceral and passionate response in most sewers, there is much more to fabric than meets the eye or fmgers and nose, for that matter. Designers, who want to design clothes for plus-sized bodies, must understand that the fibre content of the fabric that they choose affects the success or failure of each garment that they sew. Fabric choices affect a garment's design, durability, comfort and care requirements.

Fibres are the smallest units from which fabrics are made. They are twisted together to form threads that are woven or knitted into fabrics. Every fibre has a characteristic set of performance properties, which affect your garment's success, no matter what style of fabric those fibres are woven into, That is why the name of the fibre or fibres that make up a fabric is the most important piece of information that you nee;d to consider before you purchase it.

Some of these performance characteristics have to do with aesthetics, the way a fabric made from a particular fibre looks. For example, the

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II Choosing Fabric for Plus-sized Designs

fabric's touch describes all its tactile qualities, that is, everything you can feel with your hand .

Some qualities are how smooth or textured the fabric is, its drape or how sofdy or stiffiy the fabric hangs when gathered, its lustre, or how dull or shiny it is and its wrinkle resistance.

Another performance charact­eristic that affects design is the fibre's durability.

Comfort factors are also very important when selecting fibres for plus-sized designs. Some fibres are naturally absorbent and others are moisture repellent.

Because each fibre differs in how it performs in terms of its aesthetics, durability, and comfort, you must determine the fibre content of every fabric you buy. This information should be written on the bolt end or on a tag attached to the roll of fabric.

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Types of Fabric for Plus­sized Designs

Generally, natural fibres are the bqst investment for plus-sized apparel. They are easier to sew because they press well and they look and feel best on plus-sized bodies.

1. Woollens and worsteds - Woollens and worsteds are usually knitted or woven from the hair of sheep. They usually require dry cleaning. They are warm, absorbent, bulky and fuzzy. For these softer fabrics, pilling, abrasion and felting from perspiration, body warmth and pressure can be a problem.

2. Silk - Silk is luxurious and comfortable to wear. Filament silk is made from very long, smooth silk fibres, so it is slippery and lustrous. Raw or noil silk is made from shorter pieces of silk fibre. It is much less expensive than filament silk and feels similar to cotron.

3. Cotton - Cotton is comfortable and absorbent, drapes well and varies widely in quality. Generally, look for a close weave and a long fibre length. Some cottons are heavily sized or starched, to make them seem crisRer, heavier and more expensive, but of course the sizing will wash out, when the fabric is laundered or dry­cleaned. Most cottons launder well, but bright colours may fade and many cottons may require ironing.

4. Linen - Linen fibres come from the flax plant and have been around even longer than silk. Linen is one of the favourite fibres for plus-sized designs. It is beautifully breathable and strong and wears very well. It is crisp, slightly lustrous and luxurious. Linen

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111Jpes of Fabric for Plus-sized Designs

fabrics vary in weight from transparent handkerchief'linen to heavy upholstery fabrics.

5. Synthetics - Man-made fibres are identified by their ~bre name, trade name, or the manufacturing process used to tur the basic fibre into a fabric. Most synthetics were developed to re lace more costly or less available natural fibres.

6. RRyon - Rayon fabrics are strong when dry but weak when wet. They are breathable, resist abrasion and drape attractively. They also shrink when laundered and most wrinkle very badly.

7. Acrylic - Acrylic fibre was developed as a substitute for woollens and it is often seen in the form of knits and fleece fabrics. Acrylics are warm, bulky, fuzzy, stretchy and comfortable to ~ear and can be easily washed.

8. Nylon - Nylon, also a substitute for silk, is usually slippery and very strong and drapes well, but it is also occlusive and has a very low melt temperature, so it does not take a press very well. Some of the newer types of nylon such as Taslan or Supplex are more comfortable and make excellent lightweight, windproof and water­repellent outerwear for plus sizes.

9. Spandex - Spandex is usually covered with other fibres such as cotton, nylon, silk or wool to produce blends for knitted and woven fabrics.

10. Polyester - Polyester, a.k.a. 'The Famous Twin Sisters Polly and Esther', is really a form of plastic made from petroleum prcx.iucts. Polyesters are wrinkle resistant, durable, cheap, widely available and attractive looking, but they do not breathe. They are extremely non-absorbent and uncomfortable to wear, especially for large, warm people.

Blends combine both the best and worst of their components' performance characteristics. A cotton/ . polyester blend, for example, may make ~ feel sticky and will hold oil stains, but it will not wrinkle as much as all cotton. Blends also pill more easily than single fibre fabrics, because different fibres may pot stay twisted together and may break loose to form pills.

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Wide or Narrow Pants

Pants can be made all the more stylish by tapering or widening them. There is more to it than just adjusting the leg seams.

If you simply taper the seams on an existing pants pattern or on ready­to-wear pants, you will typically find that there is still more fabric below the seat and under the belly than you want. Here is how to take out part of the width from the side and inseams and part from within the pattern, in both front and back.

1. Start by noting the widths you want at hem and knee levels, then measure the distance from hem to knee line. Fold both front and back patterns in half lengthwise, matching the inseams and out seams. This establishes the crease line and centre on each piece, which should be parallel to the grain line. Correct the grain line if it is not.

2. Unfold and cut both pieces horiwntally at the knee. After that alter the lower-front pattern first. To make sure the hem allowance fits inside the tapered leg, fold the pattern on the hemline before marking and trimming.

3. Refold the pattern piece on the centreline, measure the total hem width you want, subtract 1 inch, then divide the number by 4 and mark along the hem from the fold toward the seams. For example, if you want a 17 inch. opening, subtract 1 from 17 to get 16 inch, and then divide 16 by 4. Do the same thing at the knee using the knee width you want (minus 1 inch, then divided by 4), then connect the marks from hem to knee, add seam allowances and cut away the excess.

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4. Now, repeat the entire process for the lower-back pattern piece, this time adding 1 inch to the knee and hem widths before dividing by 4. Adding and subtracting 1 inch ensures that the pattern follows the usual ready-to-wear practice of making backs wider than fronts (which improves the hang of the garment).

5. Next step is to reattach the upper patterns to their respective lower parts, starting with the fronts. Align the crease lines of the upper and lower sections.

6. Keeping the inseam/crotch side of the pattern stationary to maintain the grain line. Pivot the out seam section, so it overlaps the centre line by half the excess width at the knee, then slide the top pattern upward slightly so that the out seam stays the same length.

7. Now for the inseam, slash or fold a tuck from the centre of the un-shifted knee line to the crotch seam until the excess width at the inseam lines up with the corrected inseam below.

8. Repeat this process for the back pattern, which may require more or less tapering based on how much rear fullness is built into the pattern already, or because of other alterations.

9. To increase the width of the leg, do the same thing in the other direction, expanding the lower leg, then spreading the upper pieces to match.

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Gowns

Most people start out believing that the only things that influence the gown they make are their budget and sewing skill. While these are significant, there are other aspects of making the perfect gown that also playa part.

The purpose of your gown plays a significant part in what your fmal gown will look like. A good aid to considering the gown's purpose is by thinking of the five Ws: Who, What, When, Where and Why.

The type of character you are playing

If you are a peasant, then naturally you will want peasant dress. The gown will be simple and modest, using rougher fabrics and less decoration. A noblewoman, on the other hand, can wear velvets, silks, satins and brocades. If you are playing a particular class or station, or a person in a particular year, you will have to research the particulars for that specific time frame and station. '

The choice of a gown

The length of time you wear this gown and the activities you will be doing, will substantially influence your choice of gown. If it is a wedding gown, you will not be doing much, recept sitting, standing, or perhaps dancing. Therefore, you are free to choose from a variety of gown styles, including ones with wide skirts, trains, veils and other restrictive elements. If you are wearing the gown for an outdoor re­enactment, or for working at a living history site, you will be in it for several hours a day and doing lots of walking, reaching and bending. In such a case, you will want clothing, which offers as much comfort

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II Gowns

and freedom of movement as possible.

When will this gown be worn?

A wedding gown is worn once, or at most two or three times before putting it away. It does not have to be durable, or easy to clean. This is a chance to go all out with expensive, delicate fabrics. However, at times, the designers need to create gowns that should fit well and be comfortable. In such a case, the fabric has to be durable and easy to clean.

Where will this gown be worn?

Where the gown will be worn that is indoors or out, in the sun or in the rain, during winter or summer or both, is something to take into account. If the gown is for a wedding, you will probably be indoors most of the time. You do not have to worry about excessive sun or rain and can use expensive and glitzy fabrics for your gown without worrying about damage by mud, rain or sweat from too much heat.

The purpose of making the gown

Every gown has specific requirements for authenticity, colour and design particulars. Articulating the reason you are making the gown, helps bring into focus the particular qualities it has to have.

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Designing the Perfect Gown

Creating a gown that looks good and is comfortable involves several factors. This is the exciting part of acmally designing your gown. Look at the pictures of the gown you particularly like, noting the various parts that appeal to you. Sketch several different combinations of bodice, skirt and sleeve to see how they look. Do not worry if you cannot draw well. You are the only one, who will see these and you know how you meant the gowns to look like. Taking all the factors mentioned above into account, choose styles,

accessories and headwear that are compatible with the gown you have designed.

Take out some fabric swatches and pieces of trim and mix and match them. Imagine what various colours and ' fabrics would look like together. Try the same gown drawn with different decoration and trim patterns. If you have markers, coloured pencils or crayons, colour in some of the gown to see what the colours look like together. Look at the various gowns you have drawn and consider how well they meet the criteria set by you. Eventually, narrow down and combine your variations until you come up with the one that appeals to you most. Go over the checklist of criteria and see how well it meets all of these. Take a piece of paper and draw out your gown on it. Mark comments and descriptions of colour and fabric on it, references to a portrait that you want the bodice or sleeve to look like, and accessories

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II Designing the Perfect Gown 11711 that will go with it. Mark page numbers of particular books that you got your design from for future reference. If you have not decided on a particular colour or fabric, note the different colour/fabric combos that you have narrowed it down to. If you have fabric swatches or bits of trim, staple or glue them to the sheet. Having a picture there of what the gown will look like is a wonderful aid to motivation. These factors are significantly important when designing your own gown, but they are also very helpful in designing gowns for others. Often a person has a vision of the gown he wants, but has not considered the details of cut and style, or thought of how well it actually suits him and the purpose to which it will be put.

With a good solid foundation in costume history and the knowledge of how to design a gown to suit all the needs of a particular person, you can create your dream gowns. If you find that you really enjoy designing and making gowns and want some pra~ce, a good place to start is with your friends and acquaintances. Even if they do not really plan on making a gown or having one made, you can have 'practice consultations' with them to discuss what they would like.

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Computers in the Field of Fashion Designing

In the present world, computers have grown to be the foremost requirement of almost every conceivable profession, which requires creativity, accuracy and ' a good implementation of time.

Fashion designers can use computers to enhance their designs. Virtual display of designs on computers and the facility with which they can be altered according to the designer's satisfaction are the most alluring elements of employing computers in the field of fashion designing.

The two most popular and influential software's used in the world of fashion designing are:

• Corel Draw

• Adobe Photoshop

The purpose of fashion designing on computer

• It is easy to design on the computer.

• Working time is reduced drastically.

• Enables variations of your designing in seconds.

• Choice of 16.7 million colours.

• Mixing and matching of colours at a flick of a button.

• Intricacy in dress, pattern, necklines, fitting, designing, etc.

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• Capability of building up libraries of sleeves, yokes, pleats, colours, patterns, etc., which you can access for permutations, combinations and modifications.

• The ability to trace figures or designs on to screen for further enhancement.

• You can create unique and world-class original and unique designs in vector and bitmapped format.

• You can retouch, manipulate and enhance models to suit your unique imagination of designs.

1. Core1Draw

CorelDraw is Vector graphic software, allowing the user to produce world class illustrations with 16.7 million colours.

Salient features

• With CorelDraw you can create illustrations from scratch, enhance the designs, use and embellish scanned photos of your designs, and send your finished work out in many ways.

• A vector-based drawing programme with extensive text handling and precision-drawing features can be used to enhance your design.

• It is an ideal tool for virtually any design project from designing to technical illustrations, advertisements, publishing and internet publishing.

Application

• Full-colour design illustrations.

• Complex design drawings.

• Fashion designs.

• Photo realistic design images.

• Surrealistic images.

• Animation sequences.

• Libraries of designs.

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• High-quality drawings from low-resolution originals.

• Web page designing.

- 2. Adobe Photoshop

Adobe Photos hop is an image processing software package that enables you to create and edit images on IBM personal computers. Adobe Photoshop is acknowledged in professional fields as the cutting-edge programme, the final word in fashion designing.

Salient features

• With Photos hop's tools you can paint a likeness of a physical object.

• Mixing and manipulating of colours at a click of a button is possible.

• You can blend 2 images.

• You can create patterns and designs using fills and colours.

• You can manipulate your design images with special effects and techniques.

• You can import and export your images.

• You can retouch, manipulate and enhance designs and patterns.

Application

• It has been used to edit and create images as diverse as fashion designs, cosmetic ads, motion picture footage, animation cells and fine art work.

• Creates original art and converts it to desired platforms.

• Facilitates retouching, manipulation and enhancement of designs.