This PPT is about how fabric is constructed and what is the procedure followed to develop any fashion products. Here the detailed description is given about the design development methods
A proper care label provides full instructions for cleaning a garment using symbols specified by the HLCC and GINETEX standards. It must remain legible for the useful life of the garment and warn of any cleaning processes that could damage the garment. While care labels are voluntary, including one makes the cleaning instructions legally binding under UK law.
This document provides information about the technical package (tech pack) for garment manufacturing. It discusses what a tech pack includes such as fashion flats, color combinations, fabric details, and stitching/construction details. The tech pack contains all specifications needed before production and is prepared by the designer and merchandiser to guide the sampling and bulk manufacturing processes. It aims to communicate all style requirements to ensure proper execution of orders.
There are several types of fabric printing techniques, including block printing, roller printing, screen printing, heat transfer printing, ink-jet printing, and carpet printing. Block printing involves carving designs into wood blocks and applying color paste to print onto fabric. Roller printing uses engraved rollers to print multiple colors simultaneously onto fabric passing between rollers. Screen printing employs screens with cut-out designs to apply color paste in a controlled manner onto fabric.
Bandhani is a tie-dye technique used to create patterned fabrics in Gujarat and Rajasthan, India. The technique involves tying parts of the fabric prior to dyeing to create resist-dyed patterns. It has a long history in India dating back to at least the 5th century AD. Traditional bandhani fabrics were made of cotton, silk, or wool and featured patterns like spots, stripes, or geometric motifs. Important centers of bandhani production include Jamnagar, Bhuj, and Ahmedabad in Gujarat as well as cities in Rajasthan. Traditional bandhani fabrics were worn by women of all castes and religions and featured natural dyes in colors like
This document provides step-by-step instructions for draping a basic bodice block and princess panels on a dress form. It details how to prepare the fabric by measuring and marking grain lines. It then outlines the draping process for the front bodice, back bodice, center front panel, side panels and more. Key steps include centering pattern lines on the form, clipping darts and hemlines, smoothing fabric over seams, and marking construction notches. The goal is to create a custom block that can be adjusted as needed for patternmaking.
The document discusses various methods of folding and packaging garments. It describes how to fold basic garments like shirts, t-shirts, and pants. There are four types of shirt folding: stand up, semi-stand up, flat pack, and hanger pack. Pants can be folded side-to-side or front-to-back. Garments are then poly-packed, bundled, and packed into cartons marked with important information. Packaging protects products and provides information to customers. Vacuum packaging reduces bulk, weight, and prevents wrinkles during shipping.
The document discusses different methods of finishing garments, including stone washing. Stone washing involves tumbling freshly dyed jeans with pumice stones to produce a pre-washed and faded look through abrasion. The degree of fading depends on factors like the garment to stone ratio, washing time, stone size and hardness. Stone washing can damage machinery and pollute water. It also risks uneven fading and back staining if dye is redeposited on fabrics.
The document discusses production planning and merchandising in the garment industry. It outlines the various stages of production including planning, marker making, spreading, cutting, sewing, finishing, and store management. It describes the role of the merchandiser in each stage, such as making ratio breakdowns, line balancing, negotiating SMV sheets, and ensuring quality control. It also discusses limitations of the study such as time constraints limiting observation of all departments. The key finding is that automation leads to higher production than manual processes, and skilled labor is important for effective production planning.
A proper care label provides full instructions for cleaning a garment using symbols specified by the HLCC and GINETEX standards. It must remain legible for the useful life of the garment and warn of any cleaning processes that could damage the garment. While care labels are voluntary, including one makes the cleaning instructions legally binding under UK law.
This document provides information about the technical package (tech pack) for garment manufacturing. It discusses what a tech pack includes such as fashion flats, color combinations, fabric details, and stitching/construction details. The tech pack contains all specifications needed before production and is prepared by the designer and merchandiser to guide the sampling and bulk manufacturing processes. It aims to communicate all style requirements to ensure proper execution of orders.
There are several types of fabric printing techniques, including block printing, roller printing, screen printing, heat transfer printing, ink-jet printing, and carpet printing. Block printing involves carving designs into wood blocks and applying color paste to print onto fabric. Roller printing uses engraved rollers to print multiple colors simultaneously onto fabric passing between rollers. Screen printing employs screens with cut-out designs to apply color paste in a controlled manner onto fabric.
Bandhani is a tie-dye technique used to create patterned fabrics in Gujarat and Rajasthan, India. The technique involves tying parts of the fabric prior to dyeing to create resist-dyed patterns. It has a long history in India dating back to at least the 5th century AD. Traditional bandhani fabrics were made of cotton, silk, or wool and featured patterns like spots, stripes, or geometric motifs. Important centers of bandhani production include Jamnagar, Bhuj, and Ahmedabad in Gujarat as well as cities in Rajasthan. Traditional bandhani fabrics were worn by women of all castes and religions and featured natural dyes in colors like
This document provides step-by-step instructions for draping a basic bodice block and princess panels on a dress form. It details how to prepare the fabric by measuring and marking grain lines. It then outlines the draping process for the front bodice, back bodice, center front panel, side panels and more. Key steps include centering pattern lines on the form, clipping darts and hemlines, smoothing fabric over seams, and marking construction notches. The goal is to create a custom block that can be adjusted as needed for patternmaking.
The document discusses various methods of folding and packaging garments. It describes how to fold basic garments like shirts, t-shirts, and pants. There are four types of shirt folding: stand up, semi-stand up, flat pack, and hanger pack. Pants can be folded side-to-side or front-to-back. Garments are then poly-packed, bundled, and packed into cartons marked with important information. Packaging protects products and provides information to customers. Vacuum packaging reduces bulk, weight, and prevents wrinkles during shipping.
The document discusses different methods of finishing garments, including stone washing. Stone washing involves tumbling freshly dyed jeans with pumice stones to produce a pre-washed and faded look through abrasion. The degree of fading depends on factors like the garment to stone ratio, washing time, stone size and hardness. Stone washing can damage machinery and pollute water. It also risks uneven fading and back staining if dye is redeposited on fabrics.
The document discusses production planning and merchandising in the garment industry. It outlines the various stages of production including planning, marker making, spreading, cutting, sewing, finishing, and store management. It describes the role of the merchandiser in each stage, such as making ratio breakdowns, line balancing, negotiating SMV sheets, and ensuring quality control. It also discusses limitations of the study such as time constraints limiting observation of all departments. The key finding is that automation leads to higher production than manual processes, and skilled labor is important for effective production planning.
The document discusses various finishing processes for denim fabrics. It introduces denim fabric and explains that finishing is done to enhance the look, provide aesthetic and performance benefits, and add to the durability and comfort of denim. Some major finishing processes discussed include singeing to burn off fluff, overdyeing, calendaring to produce textures, mercerizing to increase luster and strength, softening to regain soft feel, and resin applications to fill fibers.
Rib structure is the second family of knit structures where wales of face stitches and back stitches are knitted alternatively on each side of the fabric. Rib fabrics are produced on machines with two sets of offset needles. The 1x1 rib structure has perfectly balanced stitches with high elastic recovery in the width direction. The 2x2 rib structure has 2 technical face loops and 2 back loops per repeat, making it popular for cuffs and waistbands. Rib fabrics have the same appearance on both sides with moderate lengthwise and very high widthwise extensibility, thickness, and no tendency to curl.
This presentation was made to have an elaborate sense of fabric spreading. Different types of fabric spreading and the pros and cons of different fabric spreading is illustrated into the presentation.
This document discusses various types of automotive textiles including seat covers, sun visors, seat belts, interior carpets, air bags, insulating felts, nylon tyre cord fabric, and headliners. It describes the functions and characteristics of each textile. Seat covers are made from various fabrics and provide comfort. Sun visors block sunlight from the windshield. Seat belts are woven from high strength fibers to secure passengers during collisions. Air bags are made from nylon or polyester fabrics and protect the head and chest in crashes. Insulating felts provide noise and thermal insulation. Nylon tyre cord fabric provides strength to tires. Headliners are non-woven materials used as lightweight roof
The document discusses the variable costs involved in garment costing, including fabric consumption, fabric cost, accessories cost, and various charges. It provides formulas to calculate fabric consumption based on length, width, GSM, and wastage. It also includes examples calculating consumption for different styles. The document further discusses fabric cost factors like yarn cost and type, knitting charges, dyeing charges, finishes, and other costs. It provides information on wastage distribution and relationships between fabric count and GSM.
Class 100 - Chain stitch
1.One of the simplest stitch types, the chain stitch has one or more needle threads and is formed by Intra looping.
2.This stitch is very Insecure and unravels easily if a stitch is broken or skipped or if the last loop is not fastened securely.
3.This stitch is used for sewing buttons and buttonholes, hemming, basting and pad stitching.
Class 200 - Rand Stitch
1.Generally formed by hand, the hand stitch is made with a needle that is passed from one side of the material to the other as a single line of thread.
2.The most important machine to duplicate this stitch is a pick stitching machine, which is used as a decorative detail on the other edges of jackets.
This document defines seams and stitches used in sewing and provides examples of each. It is divided into two main sections. The first section defines and provides examples of different types of seams, including super-imposed seams, lapped seams, bound seams, flat seams, decorative seams, and edge neatening seams. The second section defines and provides examples of different types of stitches, classifying them into six categories: chain stitches, hand stitches, lock stitches, multi-thread chain stitches, over-edge stitches, and covering chain stitches. Each category contains further sub-types and details on their construction and applications.
Dear textile engineers. This experiment is Apparel Manufacturing-4 lab. We find out and show a calculation fabric consumption of a polo shirt. You will get this experiment most probable 8th semister.
The document provides an introduction to the tools, equipment, and processes used for pattern cutting in fashion design. It discusses the importance of understanding how a garment is constructed in three dimensions from a two-dimensional pattern. The chapter covers silhouettes, sizing, basic blocks and patterns, and introduces the key equipment needed for pattern cutting.
Introduction to apparel industries and historyKhairul Bashar
Apparel: Personal outfit, garments or clothing etc including headwear and footwear.
Apparel industries: The industries which make ready-to-wear clothing.
Visit blog: http://www.merchandisingbangla.com/
This document discusses different types of shrinkage that can occur in fabrics, including relaxation shrinkage, felting shrinkage, compressive shrinkage, residual shrinkage, processing shrinkage, drying shrinkage, and elastic shrinkage. It explains the causes of each type of shrinkage and factors that influence the amount of shrinkage, such as fiber type, yarn construction, fabric weight, stitch length, and finishing processes. Methods for controlling and reducing shrinkage are also outlined.
This presentation summarizes key aspects of cost negotiation for apparel merchandising. It discusses how Bangladesh has become a major exporter of ready-made garments, contributing most of the country's foreign currency earnings. It then outlines the merchandiser's role in product development, sample making, costing, and negotiating orders. Sample types include fit samples, PP samples, and lab test samples. Formulas are provided for calculating fabric consumption and a typical cost sheet is shown. The presentation aims to equip merchandisers with the skills needed for cost negotiation.
Marker making involves the precise arrangement of pattern pieces to determine the most efficient layout. Key considerations include fabric width and length, table size, and production planning. The marker efficiency percentage shows how much fabric is actually used. Efficiency depends on factors like the planner's skills, garment sizes, number of sizes, marker length, pattern engineering, and fabric characteristics. Methods include manual placement of full or miniaturized patterns and computerized optimization. Maintaining the grain line and fabric characteristics present constraints.
Costing is very important for getting an order as well as it focuses the future trends of any industry. To make a effective, profitable and competitive cost sheet one must know about all the processes involves in garments manufacturing very well. All the updated news and costs of fabric, CM of particular garments, trims, wash cost, embroidery cost, traveling cost, terms of payments must be known. Merchandiser is the key person who is responsible for the costing of any item. Now the world is becoming more competitive for garments market and manufacturing as well. So a competitive cost sheet of any item affect the growth of any company.While the industry recorded a remarkable growth in a protected market environment, it faces a series of challenges that have come to the fore in the post-quota situation, notably in many areas.
This document discusses garment merchandising and the role of merchandisers. It provides definitions of merchandising and discusses the key responsibilities of merchandisers, which include coordinating order fulfillment, quality control, shipping, and communication with buyers. It also outlines the typical processes involved in order execution, from initial order and sample approval to production, inspection, and shipping. Overall, the document serves as an overview of the garment merchandising process and function.
This document provides an overview of eco-labels in textiles. It discusses the history and rise of eco-labels in the 1970s-1980s to address consumer confusion over environmental claims. It describes different types of eco-labeling schemes including independent labels, national labels, and multinational labels. It then examines specific eco-label programs like the Blue Angel (Germany), EU Eco-label, and Nordic Eco-labeling scheme, outlining their objectives, product categories, features, and chemical restrictions.
This presentation provides an overview of home textiles. It defines home textiles as fabrics and cloths used for furnishing a residence. Different natural and man-made fibers used for home textiles are discussed, including cotton, silk, wool, linen, polyester, rayon, nylon, and modern fibers like Sendura, Varie, Lintex, and Crinkle. The presentation also examines different types of home textiles like sheets, pillowcases, blankets, towels, tablecloths, and carpets/rugs. Applications of home textiles and the home textiles market in Bangladesh and globally are summarized. Challenges in the global home textiles market like price fluctuations and low consumer preference are outlined
Basics Fashion Design 02: Textiles and FashionNaheed Karimi
All fashion designers must have an understanding of fabrics and what their properties are to allow them to choose the right fabric for their designs. Basics Fashion Design 02- Textiles and Fashion by Jenny Udale is a guide to the use of textiles within fashion design.
This document provides an overview of fashion design and the design process. It discusses key topics such as:
- The definition of fashion and what constitutes good design.
- The different fashion markets including haute couture, prêt-à-porter, and mass market.
- The stages of the design process from research and inspiration boards to prototyping and production.
- Elements of design like color, illustration, technical specifications, and materials.
- Fashion is a creative field that follows consistent design principles but explores new ideas with each collection to keep the industry fresh and evolving over time.
The document discusses various finishing processes for denim fabrics. It introduces denim fabric and explains that finishing is done to enhance the look, provide aesthetic and performance benefits, and add to the durability and comfort of denim. Some major finishing processes discussed include singeing to burn off fluff, overdyeing, calendaring to produce textures, mercerizing to increase luster and strength, softening to regain soft feel, and resin applications to fill fibers.
Rib structure is the second family of knit structures where wales of face stitches and back stitches are knitted alternatively on each side of the fabric. Rib fabrics are produced on machines with two sets of offset needles. The 1x1 rib structure has perfectly balanced stitches with high elastic recovery in the width direction. The 2x2 rib structure has 2 technical face loops and 2 back loops per repeat, making it popular for cuffs and waistbands. Rib fabrics have the same appearance on both sides with moderate lengthwise and very high widthwise extensibility, thickness, and no tendency to curl.
This presentation was made to have an elaborate sense of fabric spreading. Different types of fabric spreading and the pros and cons of different fabric spreading is illustrated into the presentation.
This document discusses various types of automotive textiles including seat covers, sun visors, seat belts, interior carpets, air bags, insulating felts, nylon tyre cord fabric, and headliners. It describes the functions and characteristics of each textile. Seat covers are made from various fabrics and provide comfort. Sun visors block sunlight from the windshield. Seat belts are woven from high strength fibers to secure passengers during collisions. Air bags are made from nylon or polyester fabrics and protect the head and chest in crashes. Insulating felts provide noise and thermal insulation. Nylon tyre cord fabric provides strength to tires. Headliners are non-woven materials used as lightweight roof
The document discusses the variable costs involved in garment costing, including fabric consumption, fabric cost, accessories cost, and various charges. It provides formulas to calculate fabric consumption based on length, width, GSM, and wastage. It also includes examples calculating consumption for different styles. The document further discusses fabric cost factors like yarn cost and type, knitting charges, dyeing charges, finishes, and other costs. It provides information on wastage distribution and relationships between fabric count and GSM.
Class 100 - Chain stitch
1.One of the simplest stitch types, the chain stitch has one or more needle threads and is formed by Intra looping.
2.This stitch is very Insecure and unravels easily if a stitch is broken or skipped or if the last loop is not fastened securely.
3.This stitch is used for sewing buttons and buttonholes, hemming, basting and pad stitching.
Class 200 - Rand Stitch
1.Generally formed by hand, the hand stitch is made with a needle that is passed from one side of the material to the other as a single line of thread.
2.The most important machine to duplicate this stitch is a pick stitching machine, which is used as a decorative detail on the other edges of jackets.
This document defines seams and stitches used in sewing and provides examples of each. It is divided into two main sections. The first section defines and provides examples of different types of seams, including super-imposed seams, lapped seams, bound seams, flat seams, decorative seams, and edge neatening seams. The second section defines and provides examples of different types of stitches, classifying them into six categories: chain stitches, hand stitches, lock stitches, multi-thread chain stitches, over-edge stitches, and covering chain stitches. Each category contains further sub-types and details on their construction and applications.
Dear textile engineers. This experiment is Apparel Manufacturing-4 lab. We find out and show a calculation fabric consumption of a polo shirt. You will get this experiment most probable 8th semister.
The document provides an introduction to the tools, equipment, and processes used for pattern cutting in fashion design. It discusses the importance of understanding how a garment is constructed in three dimensions from a two-dimensional pattern. The chapter covers silhouettes, sizing, basic blocks and patterns, and introduces the key equipment needed for pattern cutting.
Introduction to apparel industries and historyKhairul Bashar
Apparel: Personal outfit, garments or clothing etc including headwear and footwear.
Apparel industries: The industries which make ready-to-wear clothing.
Visit blog: http://www.merchandisingbangla.com/
This document discusses different types of shrinkage that can occur in fabrics, including relaxation shrinkage, felting shrinkage, compressive shrinkage, residual shrinkage, processing shrinkage, drying shrinkage, and elastic shrinkage. It explains the causes of each type of shrinkage and factors that influence the amount of shrinkage, such as fiber type, yarn construction, fabric weight, stitch length, and finishing processes. Methods for controlling and reducing shrinkage are also outlined.
This presentation summarizes key aspects of cost negotiation for apparel merchandising. It discusses how Bangladesh has become a major exporter of ready-made garments, contributing most of the country's foreign currency earnings. It then outlines the merchandiser's role in product development, sample making, costing, and negotiating orders. Sample types include fit samples, PP samples, and lab test samples. Formulas are provided for calculating fabric consumption and a typical cost sheet is shown. The presentation aims to equip merchandisers with the skills needed for cost negotiation.
Marker making involves the precise arrangement of pattern pieces to determine the most efficient layout. Key considerations include fabric width and length, table size, and production planning. The marker efficiency percentage shows how much fabric is actually used. Efficiency depends on factors like the planner's skills, garment sizes, number of sizes, marker length, pattern engineering, and fabric characteristics. Methods include manual placement of full or miniaturized patterns and computerized optimization. Maintaining the grain line and fabric characteristics present constraints.
Costing is very important for getting an order as well as it focuses the future trends of any industry. To make a effective, profitable and competitive cost sheet one must know about all the processes involves in garments manufacturing very well. All the updated news and costs of fabric, CM of particular garments, trims, wash cost, embroidery cost, traveling cost, terms of payments must be known. Merchandiser is the key person who is responsible for the costing of any item. Now the world is becoming more competitive for garments market and manufacturing as well. So a competitive cost sheet of any item affect the growth of any company.While the industry recorded a remarkable growth in a protected market environment, it faces a series of challenges that have come to the fore in the post-quota situation, notably in many areas.
This document discusses garment merchandising and the role of merchandisers. It provides definitions of merchandising and discusses the key responsibilities of merchandisers, which include coordinating order fulfillment, quality control, shipping, and communication with buyers. It also outlines the typical processes involved in order execution, from initial order and sample approval to production, inspection, and shipping. Overall, the document serves as an overview of the garment merchandising process and function.
This document provides an overview of eco-labels in textiles. It discusses the history and rise of eco-labels in the 1970s-1980s to address consumer confusion over environmental claims. It describes different types of eco-labeling schemes including independent labels, national labels, and multinational labels. It then examines specific eco-label programs like the Blue Angel (Germany), EU Eco-label, and Nordic Eco-labeling scheme, outlining their objectives, product categories, features, and chemical restrictions.
This presentation provides an overview of home textiles. It defines home textiles as fabrics and cloths used for furnishing a residence. Different natural and man-made fibers used for home textiles are discussed, including cotton, silk, wool, linen, polyester, rayon, nylon, and modern fibers like Sendura, Varie, Lintex, and Crinkle. The presentation also examines different types of home textiles like sheets, pillowcases, blankets, towels, tablecloths, and carpets/rugs. Applications of home textiles and the home textiles market in Bangladesh and globally are summarized. Challenges in the global home textiles market like price fluctuations and low consumer preference are outlined
Basics Fashion Design 02: Textiles and FashionNaheed Karimi
All fashion designers must have an understanding of fabrics and what their properties are to allow them to choose the right fabric for their designs. Basics Fashion Design 02- Textiles and Fashion by Jenny Udale is a guide to the use of textiles within fashion design.
This document provides an overview of fashion design and the design process. It discusses key topics such as:
- The definition of fashion and what constitutes good design.
- The different fashion markets including haute couture, prêt-à-porter, and mass market.
- The stages of the design process from research and inspiration boards to prototyping and production.
- Elements of design like color, illustration, technical specifications, and materials.
- Fashion is a creative field that follows consistent design principles but explores new ideas with each collection to keep the industry fresh and evolving over time.
This document discusses elements of fashion and apparel design. It begins by defining fashion and outlining the fashion cycle process. It then examines various design elements such as lines, surface decoration, fabric manipulation techniques, and accessories. The roles of fashion marketing, merchandising and buying are also overviewed. In conclusion, it notes how fashion can be used to promote causes and how forecasting and marketing support are needed for success in the competitive fashion world.
Varsha karadia,B.Sc-Fashion Design + one year Fashion Design Womens wear dipl...dezyneecole
Student of Dezyne E'cole College ,the student is updating her industry required skills of Fashion Design through the Diploma Programme.This is a work showcase of student after one year of her study of Fashion Design Programme in Womens Wear. www.dezyneecole.com
Neha Yadav, Diploma Fashion Design Second Year, (How to Design for Fashion In...dezyneecole
Portfolio Of Student Of Dezyne E'cole College , Neha Yadav, Second Year Fashion Design.This Is The Portfolio Of Her Work From Second Year .For More Details Visit www.dezyneecole.com
Latest Fashion trends is a term which means ‘an ongoing trend ‘. It refers to how people dress and what kind of external getup most people think is making them look stylish, up-to-date and sophisticated.
Sandhya Laxkar, Diploma Fashion Design Second Year, (How to Design for Fashio...dezyneecole
Portfolio Of Student Of Dezyne E'cole College , Sandhya Laxkar, Second Year Fashion Design.This Is The Portfolio Of Her Work From Second Year .For More Details Visit www.dezyneecole.com
A portfolio is a collection of a student's work that shows their progress and achievements. It should include student-selected samples, criteria for selection, evidence of self-reflection, and represent their best work.
To make a fashion design portfolio, students should collect samples of their best work organized by collection, include sketches, fabric swatches, photos of finished designs, and put the work in a logical order. A digital copy of the portfolio is also recommended.
Creating a fashion collection involves researching trends, selecting colors and fabrics, sketching designs, creating specification sheets, and presenting the line to a review team who will select designs to develop further.
A portfolio is a collection of a student's work that shows their progress and achievements. It should include student-selected samples, criteria for selection, evidence of self-reflection, and represent their best work.
To make a fashion design portfolio, students should collect samples of their best work organized by collection, include sketches, fabric swatches, photos of finished designs, and put the work in a logical order. A digital copy of the portfolio is also recommended.
Creating a fashion collection involves researching trends, selecting colors and fabrics, sketching designs, creating specification sheets, and presenting the line to a review team who will select designs to develop further.
A portfolio is a collection of a student's work that shows their progress and achievements. It should include student-selected samples, criteria for selection, evidence of self-reflection, and represent their best work.
To make a fashion design portfolio, collect samples of best works organized by collection with sketches, fabric swatches, photos of finished designs, and put in logical order. Include theme boards showing inspiration, mood boards expressing feelings, and digital copies.
A fashion designer's responsibilities include researching trends, selecting colors/fabrics, sketching designs, creating specification sheets, and presenting concepts to be developed or dropped from the collection.
A portfolio is a collection of a student's work that shows their progress and achievements. It should include student-selected samples, criteria for selection, evidence of self-reflection, and represent their best work.
Creating a fashion design portfolio requires including sketches, fabric swatches, photos of finished designs, and organizing samples in a logical order to tell a story. A digital copy should also be scanned.
Designing a fashion collection involves market research, design inspiration, creating design sketches, specifying fabrics and details, and presenting looks to a review team to select styles to develop further.
Tanu chourasiya ,B.Sc-Fashion Design,+ Two Year Womens Wear portfoliodezyneecole
Tanu Chourasiya ,Student of Degree Progarmmein Fashion Design From Dezyne E'cole College ,This project is a showcase of her work after her two years of diploma programme opted along with the Degree Studies .The study programme course contents are Industry aligned and Endorsed by the ministry of Skill NSDC.
www.dezyneecole.com
This document contains 50 questions and answers related to garment patternmaking. Some key topics covered include:
- Pattern terminology, principles of pattern making, production patterns, flat pattern methods, and pattern development.
- Types of patterns like master patterns, basic block patterns, and sloper patterns.
- Pattern making techniques like drafting, draping, and flat pattern designing.
- Important pattern elements like markings, symbols, layout, notches, and grainlines.
- The importance of pattern making in garment manufacturing, design, and fitting.
Darshna Banthiya, Diploma Fashion Design Second Year, (How to Design for Fash...dezyneecole
Portfolio Of Student Of Dezyne E'cole College , Darshna Banthiya, Second Year Fashion Design.This Is The Portfolio Of Her Work From Second Year .For More Details Visit www.dezyneecole.com
Dezyne E'cole College student portfolio made after her 1year duration of study at the college. Msc.Fashion Technology student are given technical inputs to make them industry ready. Presenting her work just after 9 months of her period of study at Dezyne E'cole College , Ajmer.
Palveshah Ashruff is a student studying Fashion and Textiles Buying Management. They are seeking industry experience through an internship. Their skills include teamwork, communication, meeting deadlines, and achieving goals. They enjoy scrapbooking to document their learning. Examples shown include a scrapbook from a design project and mood boards created in Adobe InDesign. Palveshah also demonstrates knowledge of textiles through an analysis of a skirt's fiber content, fabric type, care instructions, and construction.
L 2 uc-1 prepare design concept for simple garmentssolomaya
The document provides information for developing a garment concept from a design brief at an intermediate apparel production level. It discusses preparing workstations, influences on fashion design such as trends and events, design principles like elements and principles, interpreting specifications, and developing styles, stories, and concepts. Key points include identifying safety procedures, influences like colors and fabrics, balancing design elements, and creating specifications to communicate design requirements.
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Understanding Self-Discipline
1. Fabric Construction
and
Design Process
By:
Dr. Neha Singh
Assistant Professor & Head
Department of Fashion and Textile Design
Nandlal Bose Subharti College of Fine Arts
& Fashion Design
Swami Vivekand Subharti University, India
3. 125
►Woven fabric consists of two
sets of yarns at right angles to
one another.
►Lengthwise yarns are the warp
yarns (ends).
►Widthwise yarns are the filling
yarns (picks).
►Fabric is woven on a machine
called a loom.
8. 152
►Plain Weave - simplest and most common
►Each warp and fill yarn interlace with no floats. It makes
one complete cycle on two ends and two picks.
►Only two harnesses are required on the loom.
11. 156
►A popular version of the plain weave is the basket weave.
►Two or more warp yarns are woven with the same number
of filling yarns.
►Basket weaves are used to increase tear strength and
allow a higher yarn count vs. a plain weave.
12. 157
►Twill Weave:
● Produce characteristic diagonal lines on the fabric.
● Can be right hand (diagonals upward to right), left
hand (diagonals upward to left), or broken twill
(herringbone or chevron).
● The angle of the twill can be varied.
in industrial
● Twill weaves are infrequently used
fabrics. Commonly used in denim jeans.
15. 160
► Satin Weave:
● Only one interlacing for each warp and fill yarn in each
repeat.
● No two interlacings ever touch or are adjacent.
● Have a distinctive face side and back side to the fabric.
● Designation 5H Satin means there are only 5 interlacings
in a repeat. 5 harnesses on the loom required to weave.
● Satins are know for the excellent hand a drapeability and
are used extensively in rigid composites.
18. 164
► Different ply, count or texture of yarns
► Equal or unequal size and count for warp and filling
► Equal or unequal yam count for warp and filling
► Equal yarn size and unequal or dented spacing
►Equal yarn count for warp and filling and unequal yarn
size
► Interlacing different patterns and weave effects
► Interlacing different colored yarns
19. Weight
Construction
Strength - tensile and tear
Abrasion resistance and pilling
Dimensional stability (heat, washing, dry
cleaning)
Appearance &r washing
Fastness (wash, light, gas)
Stiffness and drape (handle)
Sewability (seam strength and resistance to
165
20.
21. Weaving is the intersection of two
sets of straight threads, warp and
weft, which cross and interweave at
right angles to each other.
Knitting is the interlooping of yarn(s),
which are interlaced in a variety of
ways to form a fabric.
22. Rigid (Inextensible), High
Elastic Recovery.
Easy to Tear
Gets Crease And Wrinkled
Thinner Fabrics
Stiffer
Air Permeability is Less
Stronger Fabrics coz High Twist in
Yarns
Tested by Loading or Extending
fabrics in Warp/Weft Directions
Knitted Fabrics
Weft Knit : Highly Extensible,
Incomplete Elastic Recovery.
Difficult to Tear
Highly Crease resistant
Thicker fabrics
Limb
Air Permeability is More
Weaker Fabrics coz Less Twist
in Yarns
Tested by Multi-Directional fabric
Bursting Strength Test
23. : Courses are ROWS of loops across
the width of fabrics, it is measured in
units of (Courses / cm )
The number courses determine the
LENGTH of fabric.
: Wales are COLUMNS of loops across
the length of the fabrics, it is measured
in units of (Wales / cm )
The number of wales determine the
WIDTH of fabric.
24. Stitch Length : Stitch length, measured in
millimeters, is the length of yarn in one knitted loop.
It is one of the most
important factors controlling the properties
of knitted fabrics.
Generally, the larger the stitch
length, the more open and lighter the fabric.
25. The Characteristics of Good Design is Illustrated as Follows:
When elements of design are used in accordance with the
principles of design, harmony is created.
Good designs must incorporate a harmonious and good
combination of all the design elements and fashion principles.
PRINCIPLES OF
DESIGN
Balance
Proportion
Emphasis
Rhythm
HARMONY
Pleasingvisual
unity
GOOD
DESIGN
ELEMENTS OF
DESIGN
Line Shape
T
exture
Pattern
Colour
+
=
+
26. Fashion Design Process
ANALYSE THE BRIEF
identifying needs
RESEACH INSPIRATION
personal inspiration and
concepts (mood board / colour
board)
RESEARCH DIRECTION (industrial designer)
trends, fashion forecasting, directional and
comparative, trade show reports, retail and
market research
CREATIVE PROCESS
Silhouette, texture, pattern, fabric, colour and principles of design
Ideasketch
Design Development
Production Drawing
Presentation Drawing
PRODUCTION OF PROTOTYPE
flat pattern cutting, toile modeling, structure and embellished
EVALUATION OF COLLECTION
chosen range or collection, decision making
PROMOTION
promotion graphic and photographic styling
27. Translate Observations into Inspirations
• Awareness and perception are the keys to creativity and one must learn most
of all to keep his/her eyes open, to develop their skills of observation, to
absorb visual ideas and to translate inspirations into designs.
The Purpose and Importance of Using Sketch Books
• It is important for designers to get used to using sketch books to build up their
personal collection of creative ideas.
• A good way to get inspired is to look around. Nature is an amazing design
resource. Leaves, flowers, trees, snowflakes, ivy, fruits and vegetables can all
inspire patterns on fabrics. Animals can also spark designs, like snake skin
prints, dog and cat related designs. It is always important to observe things
round. No one ever knows to what extent and how these things could
influence fashion.
• Another good way to get inspired is to visit museums. Styles from the forties
might be in fashion in one year; the look of the sixties might be popular in
another year. Fashion changes gradually within a slow moving fashion cycle.
28. First Stage - Analyse the Design Brief
When one starts a collection, one should have a very clear understanding of who
one is designing for. Before work is begun, it is very important to understand
exactly what is required for the client or a design project. Reading a brief and
carefully dissecting it can make the difference between a success and a failure.
(A)Market and Specialties
One of the major considerations when designing is market suitability. There are different
markets and specialties in the fashion industry of which the designers must be aware:
(i) Women’s Wear
(ii) Menswear
(iii) Children’s Wear
(iv) Casual Wear
(v) Sportswear
(vi) Jeans Wear
(vii) Eveningwear
(viii)Tailoring and Formal Dressing
(ix) Knitwear
29. If the brief is given orally and details are not given to the designer clearly
enough or perhaps too vague, it is often because the client does not know
what he really wants. Then one might need to ask the questions listed as
follows:-
What “Look” or “Brand Image” is required?
Which season is the brief aiming for?
Are there any magazines or labels that the clients need to refer to?
For what types of outlets or markets are the garments to be designed?
What limitations does the company or manufacture have with regard to
machinery and production methods?
At what price is the garment or outfit expected to sell?
What is the deadline?
How much work is expected?
30. (B) Designing with Costs in Mind
The analysis of a brief should start with deconstruction. Breaking down a brief
allows you to try to determine and identify what are the needs of the client.
Briefs can often be ambiguous when the client attempts to describe what they
may feel the issues are.
Second Stage - Research Inspiration
People often wonder how fashion designers manage to come up with so many
innovative ideas. The truth is that these ideas are rarely completely new:
designers create by reinventing the world around them.
As a general rule, when working on a new collection, designers need sources of
inspiration to develop ideas. Inspiration can come from anywhere and at any
time, whether the source is a falling leaf from a tree or a splendid sunset. Good
researches automatically influence the development of garments ideas. These
ideas can be completely original or they can be influenced by current trends.
31. How to create a Mood and Colour Board
This is an important stage of the fashion design process. A “mood” is a state
of mind,
e.g. pleasure, contentment, sadness, frustration, etc. This state of mind is
brought about by responses to a stimulus or series of stimuli. These
responses can be on a variety of levels ranging from direct and
immediate to slow, subtle and subconscious. Often these responses are
generated through associations including the colours which remind people
of previous experiences.
32. For instance, seeing a group of vivid colours may remind the designers of a
grouping of corals, these corals may have been seen in the ocean during a
summer vocation. That memory may have been of a happy and relaxing
experience, so their response to this group of vivid colours might enable
them to create a happy and relaxing mood. Conversely, this group of colours
might remind them of a grouping of flowers seen at the funeral of a close
friend or relative, so their response might bring about a sad mood.
33.
34. Mood boards should always present the mood or flavour of the design project
as well as reflect the target customers. In the course of grouping the
researched images, designers will have to make decisions about editing and
prioritising their selection as well as confirming their season and colour palette.
Colours also reflect their chosen season such as soft pastels will suggest a
summer story but whatever the season, the colour palette should be applied
consistently throughout the project.
35. A successful mood board, like the examples below, has a unique and direct message. It
expresses the essence of the design ideas and mood, sums up the theme’s concerns.
Fig. shows a distinctive futurist theme has been created in the following mood boards
through an elective mix of metallic colour images.
Examples of theme boards
Mood boards help you narrow down the following processes and develop the ideas. As key
ideas become prioritised, a clear thought process evolves and the job of producing designs
then becomes much simpler.
36. Third Stage - Research Direction
From the commercial approach, design needs to be informative and take into
account the current and forward thinking development in fashion. As a result, it is
essential that the content selected is right for that season. There is a variety of
sources that can aid this intelligence-gathering process for industrial designers.
(A)Trends and Fashion Forecasting
Trends are affected by the continuing changes of global events, technology,
economic, political, social, demographics factors as well as evolutions in lifestyle,
media and retailing. They can provide essential design directions for industrial
designers.
The success of forecasters relies on pinpointing trends and developing these
trends for individual markets at the right time. This information is tapped and
recorded by international correspondents and industries that provide up-to-date
information from fashion capitals such as Paris, Milan, New York, London and
Japan. Fashion shows are the traditional fountainheads of trends. Europe has
been the traditional leader but USA has been the driving force in terms of lifestyle
changes. Many industries use trend forecasting to predict relevant changes and
plan product development.
37. There are two main seasons in a fashion selling year – Spring/Summer and
Autumn/Winter.
(B) Coverage of tradeshows and fabric fairs
Predictions can be found in major fabric fairs and trade shows such as the
Premiere Vision Fabric Show in Paris, Shanghai and New York, the Interstoff
Fabric Show in Frankfurt and Hong Kong, the Pitti Filati Yarn Show in
Florence, the Moda In & Tessuto Accessory Show in Milan, etc.
Interstoff Asia
(C) Retail reports and directional garments
(D) Original samples
38. (A) Idea Sketch
Idea sketches can help form design solution. Drawing is a tool to communicate
design ideas. Designers draw sketches during trips, from films or exhibitions,
while shopping or researching, from books, galleries or museums, etc.
Sketchbooks can form a treasury of ideas to plunder – a “visual diary” of places,
events, ideas, patterns, textures, shapes and colours.
Sketches can indicate underlying structure, possibilities, etc. These sketches are
the designers’ way of putting ideas on paper in order for them not to forget and
fix the ideas for future reference if needed. It is necessary to use proper
proportion or special drawing techniques but the sketches must somehow
inspire the designers and “spark” off further ideas.
Idea sketches are rough sketches simply for designers to write down the ideas
that they think might be useful for further design development.
39. (B) Design Development
The next stage in working towards a design collection will be to explore the
possibilities based on the idea sketches and to find a theme around which
to develop. These are to be done on design development sketches.
Design development is the selection of rough sketches of the designers to
fully expand initial concepts. The process of drawing designers’ ideas not
only does it record the thought process but, by constant experimentation,
generates new ideas.
Development sketches could be finished with or without colour, depending on the
availability of suitable fabric samples.
40. (C) Production Sketch
When designers have confirmed the final design development, the next stage
is to do a complete analytical working drawing. This kind of drawing is called
production drawings.
41. (D) Presentation Drawing
After the production drawings are completed, presentation drawings should then be
done.
Presentation illustrations aim to attract buyers or clients to preview the final collection
being putting on figures. The attractiveness of the illustrations much depends on the
drawing technique of individual designer or illustrator. The use of colour is vital when
presenting drawings; the colours presented on drawings must be as close as possible to
the fabrics and textures used in the actual production process to give a life-like
representation of the final garments.
42. Presentation drawings should contain complete figures wearing the garments
in a suitable pose and feature showing the most attractive design interest.
The figures
drawn should be completed with actual images of accessories to present the
whole range of garments and colour coordination. The illustrations should be
grouped with other sketches to form a presentation portfolio. Presentation
portfolios are packages of the whole of design works. They give a full view of
the whole design process. They are used at exhibitions or buyers’ meetings
for promotion and advertising purposes.
43.
44.
45. Production of Prototype
In the design process, the translation of a two-dimensional drawn idea into a
three-dimensional prototype is the essential procedure in the realisation of a
garment design. After the sample room receives the production drawing(s)
from the designer(s), the next step in the product development procedure is to
make the first pattern, which will be used to cut and sew the prototype. The
pattern is made in a sample size, the one used for testing and selling
purposes. Pattern makers can use either flat-pattern cutting or toile modeling
to make the pattern.
46. (A) Flat-pattern Cutting
Basic blocks such as bodices, sleeve, pants or skirts are drafted. Drafting is the process
of blocking a set of prescribed measurements on paper. These patterns, once tested for
accuracy, become “blocks” or “slopers” that can be changed or adapted to each new
style through the moving of their darts and seams. The flat-pattern method uses angles,
rulers and curves to change existing board patterns.
This method involves the cutting and seaming of fabrics in order to fit the figures. The
system of pattern cutting has evolved over time in line with the development of mass
production. This method involves the use of card board blocks that provide a well fitting
shape. Patterns are then made into first samples or muslin toiles and the fit is perfected on
models. Blocks are developed to suit the prevailing fashionable body shapes and are
purpose-built for the products that the companies wish to produce.
(B)Toile Modeling
Pattern makers or assistant designers use the “draping”, also known as “modeling” on
the stand, to entail fitting toile fabrics such as calico or lightweight cotton muslin on
dressmaking mannequins of the appropriate size or on real bodies. When the shapes and
fits are correct, the toiles are removed and copied onto pattern papers or cards. Draping
techniques work best with jersey fabrics and generous amounts of soft materials. They
are also used to work fabrics ‘on the bias’, which means across the grain so that it
moulds to the body shape and moves well.
47. (C) Structure
The next consideration is structure; most garments have some form of interlining in
order to reinforce part of the garment such as the lapels, pockets, collars and cuffs.
Interlinings are used in many ways to give support to delicate or loosely woven
fabrics; they exaggerate the appearance of and create a different handle to fabrics.
(D) Details and Embellishments
Details form the decorative part of design, which include embellishment processes
and design details that drift in and out of popularity. Once the fabrications are
decided, the silhouette created forms the design.
Embellishments give a more three-dimensional and decorative look than printing.
Techniques for embellishment include embroidery, appliqué, cutwork, beading,
smocking and fabric manipulation. Details cover everything from fastenings, flying
panels, flounce, pocket, collars, frills and cuffs to lining, piping, binding and gauge
of actual stitching.
An outfit can have a dramatic silhouette and good lining but without great details or
embellishments. In this case, the outfit may seem amateur and unresolved. Outfits
that lack details can survive on the runway but will not bear close scrutiny. Details
and embellishments in clothes are often the clincher when it comes to persuading
consumers to part with their money.
48. Evaluation of Collection
After completing the individual garment design, the next stage is the
consideration of the range plan and evaluation of the design.
(A)Range Plan
In addition to the decisions made on each individual garment, the
balance of the range as a whole also needs to be considered. Fashion
designers develop a whole range of related ideas to produce groups of
garments that work not only as stand-alone outfits but also as a
collection. A consistent approach to important factors such as colour,
silhouette, fabric, pattern and proportion helps create this cohesion.
49. (B)Evaluation of the Design
In many fashion companies, the development of each new season’s collection
is based upon the last season’s sale figures. Often it is difficult for designers
to evaluate what elements of the designs have been successful as the
communication between the designers and the end users is blocked by the
wholesales in the retail processes. A particular executive suiting may sell well
in Central but not in Tuen Mun; it may sell well in warm weather, only at
certain time in the season in certain colours or in particular positions within
the store. All these different factors should be taken into consideration when
it comes to the evaluation of any designs and collections.
(C) Promotion of the Range
The branding trend in recent years has become central to promoting and
marketing fashion goods. The branding process requires the range to have a
‘name’. Producing a name requires some thought regarding the creative
ideas of the range and how this can be interpreted into an evocative word or
words. As designers, it is very important to stand apart from other brands and
designers.