We can't stress enough the, importance of the preparation needed in any sewing project before you begin. Many design students don't prepare and end up in a tangle and discouraged in their sewing ability. This section outlines the importance of preparation and shows you how to do it. Every fabric--from silk to a knit jersey--behaves different, silk georgette is a soft, drapable, lightweight, sheer fabric, whereas wool jersey is a medium-weight knit fabric that stretches. Understanding the fabric you are working with is vital to successful stitching. TOOLS:
GATHER YOUR TOOLS These are the essential tools used for stitching garments:
NOW LET'S GET STARTED Before cutting and stitching fabric, a design student needs to understand what fibers the fabric is made from, as this influences how the fabric behaves, how to stitch it, and what notions to use. TBL. 1 CATEGORIES OF FABRIC: THEIR GENERAL USES AND CARE [Type of Fiber: Natural Fibers; Linen; Silk; Synth/Man-made: Rayon, Acrylic, Nylon, Polyester, Microfiber] [Characteristics: Strong, absorbent, versatile, takes dye well, comes in many weights, textures, and weaves. No static cling, tends to wrinkle, and shrink. Works well blended with other fibers. Wan, absorbent resists wrinkling, weakens and stretches when wet, comas in many weights, colors, weaves, and textures; shrinks, tends to “pill”? is flame resistant and water repellent. Can be damaged by incorrect pressing. Absorbent, comfortable, comes in many weights, string, slightly stiff hand, wears st edges, shrinks, and wrinkles; often mixed with cotton to reduce wrinkling Absorbent, string, deep luster, takes dye well, may bleed, comes in many weights and weaves; medium and heavier weights resist wrinkles; prone to static cling; often woven with linen. Weaker than natural fibers, somewhat absorbent, dries fast; tends to winkle, is prone to static cling, resists stretching and shrinking. Soft, warm, lightweight, wrinkle resistant slightly absorbent, dries quickly, may 'pill.' Strong, low absorbency, smooth, elastic, resists wrinkles and shrinkage Strong, low absorbency, quick-drying, resists wrinkles, stretching, and abrasion; can pill, and have static cling. Durable, densely woven, fine fibers, can be water repellent ] [Uses: Lightweight to heavyweight garments, bed linens. upholstery and other home furnishing items, quilting Coats, sub, pants, skirts, especially tailored styles Warm-weather garments, dresses. blouses, pants, suits Dresses, suits, blouses, lining, lingerie, evening, and bridal wear Is used to make luxurious, silky fabrics such as brocade, crepe, faille, satin, jersey, tricot, and lace, for lingerie, blouses, dresses, and linings Open blended with other fibers to make fabrics, knits, and pile fabrics that are used for dresses, sport, and work clothes. Often blended with other fibers for wide variety of textures and weights for use in dresses, linings, and swimwear; Often combined with other fibers for many weights used for garments for all types of clothing. Usually polyester; used for all types of clothing ] [Care: Wash, hot water, hand or machine, bleach whites, use fabric softener to reduce wrinkling, tumble dry; press while damp or use steam iron. Dry clean; some wools are washable by hand in mild soap and cool water. Careful steam pressing is mod effective, allow garment to cool before moving Dry clean, or launder if preshrunk Dry dean; may be hand washable; test a sample for bleeding Dry clean; test for hand washing. Avoid high iron temperatures, which melt rayon acetate or viscose. Can be dry cleaned but usually laundered, tumble dry. Press with low swing on wrong side of fabric. Hand or machine wash, rinse thoroughly: drip dry or tumble dry. Press with low setting. With iron only if needed. Machine wash depending on the other fiber if blended. With iron. Fabric softener reduces static cling Machine wash low temperature; tumble dry low; low temperature iron if needed. ] KNOW YOUR FABRIC The design process begins with fabric. Fabric is the designer's artistic medium. Choosing a suitable fabric for a style is one of the most important aspects of the design process. Fabric selection and style development must work in tandem. If an unsuitable fabric is chosen for a style, then the design won't work. The designer must understand different varieties and qualities of fabric before attempting a design. Silk georgette won't make a tailored jacket. Designers need to be experts in fabric selection to understand which fabric suits which style. The experienced designer is a fabric sculptor who can look at a fabric, feel it, and envision a design that will suit the fabric. The designer develops this ability through continuous experimentation with fabric. Some designers work directly with the fabric while others sketch designs first and then search for a suitable fabric for the design. To know fabric, use it! In each section, detailed information on handling specialty fabrics will be discussed in the section "Stitching Tricky Fabrics." Tbl. 1 lists some of the categories of fabrics, along with their general uses and care. The following fabrics are a joy to work with and have become our favorites over the many years of our sewing. This list can be added to as you work with fabric and find your own favorites. Wool crepe: Easy to sew, it doesn't wrinkle in higher qualities, has a pebbly surface, is stable, and drapes well. It's great for suits, tailored pants, bias-cut garments, and dresses. Wool-flannel/worsted: Easy to sew, wool has a soft, spongier surface, and worsted has a harder, stronger, flatter surface. The weight of the wool determines its use-heavier wools and double-faced wool make great coats and outer jackets, while lighter-weight wools can be used for tailored jackets, pants, skirts, and dresses, all of which should be lined to avoid bagging out. Silk dupioni: Easy to sew, stable, and crisp, it has a nubby textured surface and is available in a range of colors. It works well for tops, dresses, skirts, jackets and pants, and evening wear. Jersey knit: Once you learn the correct way to pattern, cut, and stitch knits, they will soon transform from being a tricky fabric to a favorite fabric to work with. Rayon or silk jersey drapes beautifully; it's light to medium weight; and , combined with silk, it's luxurious and feels wonderful in tops, tanks, turtlenecks, dresses, pants, cardigans, hoodies, scarves, and lingerie. Wool double knit: Easy to sew, medium weight, and stable, wool double knit can be a combination of several fibers, including rayon, cotton, and synthetics. It looks great as a cardigan, tank, T-shirt, skirt, unstructured pants, and jackets. Felted wool: This type of wool is produced by washing wool or wool double knit in hot water and drying it in a hot dryer. The agitation causes the wool fibers to mesh together, creating a dense fabric that needs no finishing. Brocade: Easy to sew (surprise!) but beautiful, it lends itself to dramatic designs in many weights. It looks great stitched as formal wear and casual wear, too, such as tops, coats, vests, and bags. Upholstery fabric: Many fabrics found in the home-decorating section are suitable for structured garments. After prewashing, to soften and remove sizing or other fabric treatments, fabulous jackets, coats, and bags can be sewn. Cotton: A natural fiber, it comes in many weights and textures. Over time, cotton becomes softer and softer. It blends well with other fibers, combining its best qualities of softness and durability. The muslin used in the classroom by design students is 100% cotton. Denim: Denim has a twill weave, which makes it super durable, and now comes in many weights and can be blended with other fibers such as Lycra to give it some stretch. Denim ravels and is prone to shrinking, so it needs to be pretreated in the way the garment will be cared for before stitching. This fabric can be stitched into anything. Tbl. 2 categorizes the weights of fabric, types of fabric, thread, and machine needles to use when stitching, as well as recommended stitch lengths. Although the table doesn't include all fabrics, it can be used as a reference point when sampling. Tricky Fabrics-What They Are and How to Prepare to Use Them: Tricky fabrics require more time and effort to become successfully stitched garments. They have special requirements that must be thought of before cutting into the fabric. Often they require special interfacing or stabilizing, a particular needle for the best-quality stitch, or a notion that's not readily available at the local chain fabric store. Additional yardage may be required for the garment. After sampling the fabric, the design student may find his or her stitching skills are not up to the challenge of the fabric or that this particular fabric isn't suitable for the garment after all. Matching Stripes, Plaids, Patterns, and Repeat Patterns: Extra yardage is required to accommodate fabrics that must be matched up to create a continuous pattern around the body. Add approximately % yard for small plaids, 1/2 yard for medium plaids, and 1 yard for large plaids. Crosswise and lengthwise stripes require about the same extra yardage as plaids. When working with a repeat, it's essential to measure the distance between the beginning of one motif and the beginning of the next motif. Placement of the pattern pieces on these motifs, especially if they are spaced far apart, will require additional yardage and this should be measured at the fabric store before purchasing the fabric. If the fabric is being ordered via the Internet and it's not possible to physically measure it, ask for help. Otherwise, order at least one garment length of extra yardage. These are suggested amounts, and the designer may wish to add even more yardage as a safeguard. These fabrics require careful, thoughtful layout of the pattern onto the fabric and accurate transfer of markings. At all costs, avoid placing the center of a flower or a geometric shape directly over the bust area! Extra time may be needed to hand-baste seams, or darts to prevent slippage of the seam when stitching. Sheer Fabrics: Many sheer fabrics are slippery (for example, chiffon, organza, and tulle), and special attention must be paid when cutting them. Additional pattern pieces may need to be drawn and cut for each side of the garment when cutting in a single layer. Use tissue paper or pattern paper under the fabric in a single layer, and pin through the fabric, pattern, and tissue to prevent the fabric from slipping while cutting or sewing. When cutting, use fabric weights to avoid marking the fabric with holes from the pins. TBL. 2 THREAD, NEEDLE, AND STITCH RECOMMENDATIONS FOR SELECTED FABRICS [Fabric Weight: Sheer; Light; Med.; Med-heavy; Very heavy] [Fabric type: Batiste, ch'ln, nylon tricot, fine lace, organza, net Handkerchief linen, lawn, sheer crepe, wile Crepe de chine, cotton, gauze. georgette, gingham Knits, double knits, velour Satin, silk Wool challis Micro-fiber Brocade; Corduroy, linen, muslin, pique. poplin, wool, wool crepe, tweed; Shantung Sweatshirt Swimwear Synthetic suede Terry cloth. velveteen Coat-weight wool Faux fur Felt. fleece, gabardine Leather, lightweight, heavier weight Faux leather, suede Quilted fabric Sweater knits: Upholstery fabric Upholstery, heavy denim Double-faced coating Canvas] [Thread: All-purpose polyester; heirloom sewing thread; silk thread or fine machine embroidery thread 6012 Mercerized cotton 5013; silk thread All-purpose polyester For knits wooly nylon in bobbin or for serger loopers. Fine cotton or silk All-purpose polyester or fine cotton All-purpose polyester or fine cotton, silk Fine machine embroidery All-purpose polyester; Mercerized cotton 5013 Same as above ' Same as above All-purpose polyester All-purpose polyester All-purpose polyester All-purpose polyester or cotton; All-purpose polyester; All-purpose polyester or cotton All-purpose polyester All-purpose polyester All-purpose polyester or cotton; All-purpose polyester; Ail-purpose polyester or cotton; All-purpose polyester; upholstery All-purpose polyester; silk All-purpose polyester; upholstery] [Machine Needles: Universal or Microtex / M Sharp 6018 5519 Universal 70110 or 80112 Universal 8018 or 5519 Stretch 75/11 Microtex 70110 Universal 70110 Universal 80112 Microtex 5018 Universal 70110 80112 70110 Stretch 75/11 Stretch 75/11 Jeans/Denim 75/11 Universal 80112 Universal 80114 80112 or 90114 80H2 Jeans/Denim 70110 Leather 90114 Stretch 75111 Quilting 75/11 or 90114 Stretch 75/11 Jeans/Denim 90114 Jeans/Denim 100116 Universal 90114 Jeans/Denim 100116 or 110/18] [Stitch Length (mm): 0 5 0 Zigzag 0.515 0 5 5 1.5 5 5 5 Zigzag 0.513.0; 0.7515 5 5 or 3.0 3.0-3.5 Hinged seem 3.0 3.0 5 3.0 Zigzag 0.7515 3.0 3.0 3.0-3.5 3.5] Lace This beautiful fabric is available in different weights and can be sheer and fine or heavily embellished. When working with lace, keep in mind that there is definitely a pattern, or repeat, to work with. Additional pattern pieces may need to be cut when cutting out the lace in a single layer. Stitching the garment with tissue paper will protect the lace from snagging on the feed dogs, as explained in Section 6. Choose tissue paper in a color that blends with the lace, in case little bits of paper remain after stitching. Often, lace is expensive; however, a small amount used in a section of a garment can be effective. Careful measuring and layout of the pattern piece on the lace ensures efficient use of the lace-again, avoid placing a prominent motif in the bust area. Satin In any blend, in any weight, satin needs the most delicate handling. The designer must sample everything before stitching this fabric. Marking pen could bleed through the fabric, and removing the markings with water will spot the satin; the wrong-sized pins could mar the surface of the fabric with pulled threads; the slightest nick or rough surface could snag the threads that float on the surface of the satin. Be careful to cover the cutting surface with paper or tissue paper. All pattern pieces should be cut and laid out in one direction to ensure that no shading occurs. The wrong needle or thread weight will cause pulled threads, or holes in the fabric that can't be removed. Plus, over-pressing can cause the satin to look limp and worn out. Satin is a difficult fabric to work with and requires patience and a clear understanding of how to handle the fabric. Beaded Fabrics Often beading is done by hand or machine on silk chiffon as a base, so working with beaded fabrics requires knowledge of several things: the beading is usually a pattern or a repeat; the threads that hold the beading to the cloth must be reinforced before cutting; the beads must be removed from the seam allowances before stitching; and the correct needle and thread must be chosen for the weight of the base fabric. Pressing can damage the beads, so steam and finger-press from the wrong side of the garment. Place tissue paper or pattern paper beneath the fabric when cutting and stitching to prevent snagging and to help feed the fabric along the feed dogs. Knits The very thing that makes knits wonderful is also what makes them tricky-stretch. Too much stretch and the garment fit could be a disaster; not enough stretch and it could be a disaster! The amount of stretch in a knit replaces many fitting details such as darts, so it's important to have the right amount of stretch in the fabric. Some knits stretch only in the width and /or the length. The huge variety of weights, blends, and textures of knits requires careful consideration of the use of the knit for the style of the garment. If the knit is tubular, avoid using the creased fold unless the permanent crease is desired for the design. When laying out knits for cutting, it's especially important that the entire piece of fabric be supported, and not hanging off the edge of the cutting surface. This would cause distortion of the pieces being cut. Nap or surface finish on knits can cause shading on the fabric. Check to see if the knit can be cut "top and tail" (with one piece facing up and one piece facing down) or whether it must be cut with all pattern pieces lying in the same direction to ensure that no shading occurs. Sharp pins and sharp cutting tools are critical for smooth, accurate cutting, as often ¼” seam allowances are used when working with knits. Knits can be stitched on either sergers or sewing machines. Proper stabilizing of the shoulder, neckline, and armhole areas prevents the seams from stretching while stitching. Use stretch needles for knits --the seams can to avoid skipped stitches. Pressing the leave impressions on the garment; use strips of paper underneath to prevent this, and set the temperature of the iron to match the fibers of the knit. Never apply the iron directly on the surface of a knit; it will scorch the fibers, create a shine that can't be removed, and flatten the fibers. Keep pressing to a minimum. Denim Although denim is considered the "workhorse" of cottons, it comes in many weights, blends, and surface treatments. Pre-treat denim to shrink the yardage and remove excess dye, which could bleed onto other garments. Press the denim while still slightly damp to prevent permanent creases. When cutting denim, it's critical to be on the straight-of-grain, otherwise problems such as twisting occur. When seams intersect, or when hemming, pound the seams with a mallet to flatten, making them easier to stitch through. A strong, sturdy denim jeans needle should be used to avoid skipped stitches and accommodate the heavier thread available for topstitching the seams and hems. Velvet Velvet is a short pile fabric that's made by weaving extra loops on the surface of the fabric, and then cutting to produce the pile. The direction in which this pile lies is called the nap. When you run your hand against the hap, the fabric feels rough and shows the deepest, richest color. When you run your hand in the other direction, with the nap, the fabric is smooth and appears lighter. The designer decides in which direction to place the nap, but this should be consistent when laying out the pattern pieces on the fabric. Because the beauty of velvet is the nap, avoiding crushing the nap is a consideration at every step of construction when using this fabric. Marking must be visible, but must not mar the surface of the velvet. Velvet slips when cutting and stitching, so use tissue paper or pattern paper beneath the fabric to prevent this problem. Hand-basting the seams and using silk thread helps to eliminate slippage; using silk thread leaves no visible marks or holes on velvet. Pins can leave unattractive dents if left in the fabric too long, or if accidentally left in the fabric while steaming a seam. Velvet ravels and is messy to work with, as the short fibers of the pile are released from the surface after cutting. Velvet garments are almost always lined, and the seams are covered by the lining. Placing an iron on velvet crushes the nap and creates shine, which can't be removed. Use a Velvaboard or needle board to support the velvet while steaming above the seam from the wrong side of the fabric. After the steam has penetrated the fabric, finger-press the seam open, patting along the seam as it cools. Allow each section to cool before moving the fabric. For synthetic velvets, use the lowest iron temperature that will produce steam, but be very careful to prevent water from spitting onto the fabric at low temperatures. Velvet can he steamed while on the dress form, but this must be done very carefully to avoid crushing the pile-once the pile has been crushed, it can't be revived. The quality of velvet varies-always use the best quality that's cost effective for the garment being stitched. Leather Leather is sold by the individual skin or hide, in many weights (the number of ounces per square foot), colors, and textures. Many skins have imperfections, which affect the way the pattern pieces can be placed. It is essential to have full pattern pieces for each section of the garment. All leather should be cut in a single layer. Leather doesn't actually have a grain, but it's easy to distinguish the length versus width of the skin. The pattern pieces should be placed on the skin lengthwise as much as possible, since the width has more give. Use weights to hold pattern pieces in place, and mark with chalk or dressmaker carbon, using a smooth-edged tracing wheel. Binder clips or glue sticks can be used in place of traditional basting. A Glover needle is used for any hand stitches, and waxed thread is used to sew on buttons. A leather machine needle in the appropriate size for the weight of the leather is necessary to prevent skipped stitches. Never backstitch-it cuts the leather. After stitching the seams, tie off the threads, topstitch, or use leather cement, and pound with a rubber mallet to flatten and hold seams in To press leather, use a warm iron with no steam, covering the leather with brown paper. Faux Fur Faux fur is a pile synthetic fabric with either a knitted or a woven backing of cotton or synthetic fiber. It is available in an amazing assortment of plush textures that mimic real furs. Additional yardage of approximately 1/2 to 3/4 yd is required for these fabrics, which should be cut out with the nap (pile feeling smooth, going down) in a single layer. A razor blade can be used to cut the backing to avoid cutting the fur that gives a blunt look to the cut edges. Remove the fur from the seam allowances before stitching the seams, and hand-baste to prevent the fur from creeping or puckering when machine stitching. Stitch directionally, with the nap. Reinforce stress areas with tape and slightly clip curved edges. Seams can't be pressed in the traditional manner due to the pile; either steam and then finger-press, or use a Velvaboard and press lightly with the tip of the iron over a press cloth. The temperature of the iron should be as low as possible to avoid melting the backing if it's synthetic. The choice of a specific faux fur should be based on its use in the garment, and whether it's washable or must be dry cleaned. Using contrasting fabric such as satin or taffeta or the lined-to-the-edge method reduces the bulk of traditional facings. Heavyweight Fabrics These fabrics require special treatment simply because of their bulk. Heavyweight fabrics are often stiff; match the style of the garment being designed to the weight of the fabric. Notched collars can be difficult to sew because of the bulk and the difficulty of pressing the seams flat. Full pattern pieces are necessary for laying out the garment on a single layer of fabric. Trying to cut out a double layer of heavyweight fabric results in the fabric shifting. Some pieces end up being too big and some too small. Pattern weights are needed to hold the pattern pieces in place while cutting, as pins often get lost in the depth of the fabric. Snip (into the fabric) to mark notches in the seam allowances; thread tracing, chalk, or temporary marking pens also work-sample to see what shows up best on the fabric. Directionally sew the seams with the nap, lengthen the stitch length, and adjust the pressure on the presser foot (Ill. 23) if possible. A presser foot holds the fabric against the feed dogs, moving the fabric along as stitches are formed. Instead of using self-fabric for facings or the under collars, use a contrasting, lighter-weight fabric or line the garment, edge-to-edge. Pressing heavyweight fabrics involves lots of steam, muscle, a wooden clapper to flatten the seams, and avoiding visible impressions from the seams on the front of the garment. This is by no means a complete list of what might be considered tricky or difficult-to-work with fabrics but rather represents the fabrics most often encountered by design students in class projects. As you approach each section, the section on tricky fabrics will guide you through the dos and don'ts at each construction step. For example, if you are unsure whether a collar can be made of a particular tricky fabric, consult Section 11 for details. IT ALL BEGINS WITH THE PATTERN Correct stitching begins with correct patternmaking; correct pattern marking communicates how the fabric is to be cut. If the patterns are not made and marked correctly, then the fabric can't be cut correctly and the garment can't be stitched correctly! In our classes, we often notice students who are confused and unsure of how to stitch the garment, and why is this? No pattern markings! The students then scramble in their bags or lockers trying to locate the patterns while valuable class time is lost. When they finally locate the pattern, they realize they never marked the patterns, and this explains why they couldn't stitch the garment together. Let's look at each pattern marking in more depth. Grainlines Grainlines are one of the most important pattern markings, as they affect the way the garment hangs and retains its shape. The grainline communicates the direction in which each pattern is to be placed on the fabric and cut. As the pattern is plotted, the grainline is one of the first pattern markings to be drawn on the pattern. (Refer to Tbl. 3 later in this section for more information.) Without marked grainlines, a pattern might be cut in any direction you chose; this could result in a peculiar, twisted-looking garment that would be difficult to stitch together, and would drape and fit poorly. Lengthwise Grain This grainline is drawn parallel to the center front-center back of the pattern (Ill. 2). Make sure the pattern has two arrows drawn at both ends of the grainline to indicate that the pattern can be placed on the fabric in either direction (Ill. 2). Draw a T-bar at one end and an arrow at the other end of the grainline if the fabric needs to be cut directionally. The T indicates the top of the pattern and the arrow indicates the direction for the pattern to be placed on the fabric. Some fabrics have a one-way fabric design or the fabric has a pile. Garments cut in these fabrics need every pattern piece cut in one direction so the fabric falls in one direction when the garment is worn. For more information on directional cutting, refer to Ill. 15. Observe how the grainline shown there indicates the direction for cutting the fabric. Crosswise Grain This grainline is drawn at a 90-degree anal e to the center front/center back (see Ill. 2). Bias Grain This grainline is drawn at a 45-degree angle to the center front/center back (Ill. 2). Notches Notches are marked on the pattern when the pattern is being drafted. A notch is marked with a 1 1/8” pencil mark drawn at a 90-degree angle to the seamline. Notches can indicate the width of a dart, which fabric pieces are to be placed together, and the amount of seam and hem allowance to be stitched. To indicate the front of the garment, one notch is placed on the seamlines (Ill.3a).To indicate the back of the garment, two notches are placed on the seamlines ( Ill. 3a). Very Long seams may need more than one set of notches. Notches are also placed in different positions along the seamline ( Ill. 3b). Make sure that if the pattern was flipped in the opposite direction, the notches couldn't be matched to any other seam. When two fabric pieces are stitched to form a seam, each end of the seam is pinned together. After this, the notches are pinned together and then the seam is pinned in between these points. You can see how important notches are and how they make a huge difference in the stitching process-this is why correct pattern marking results in correct stitching. When the notches have been marked on the pattern, snipped in the fabric, and matched together in the stitching process, the garment will sit perfectly and drape beautifully on the body. Matchpoints and Dart Points Matchpoints indicate precisely the points that must come together when stitching a seam or applying a pocket, pocket tab, or ruffle to the surface of the garment.' Both match points are marked with a small pencil dot on the pattern. Correct marking sets the sewer up for success! In Ill. 4, the match points are indicated 011 the pattern to mark the pocket placement on the right side of the garment only. Pattern Labeling Labeling of each pattern piece is important to communicate the part of the garment the pattern is meant for, the size of the pattern, and how many fabric pieces need to be cut. Ill. 3a shows the pattern marking and labeling that must he communicated on the patterns for designs that are symmetrical. Notice the bodice in this ill. is the same on both sides-this is what makes the bodice symmetrical-both sides are equal and mirror images of each other. In Ill. 3b the bodice is asymmetrical; this means that both sides of the garment are not equal or the same. Notice that every pattern piece is a different shape, and each piece says "Cut 1." The pattern is also labeled "R.S.U." this stands for "Right Side Up." When the pattern is placed on the fabric, it must be facing up on the correct side of the fabric; this ensures the garment can be stitched correctly if it's cut correctly. If the patterns were to be turned over to the other side and cut, it would be impossible to stitch the garment! Refer to Ill. 3b. Patterns for asymmetrical designs can also be labeled "W.S.U." (Wrong Side Up), which indicates the pattern is placed on the wrong side of the fabric. How the pattern is laid on the fabric is guided by the fabric surface. The information listed below must be communicated on every pattern: Name of pattern (Front, Back, Side Front, Side Back, Sleeve, Collar, etc.) Size of pattern; Amount to be cut (Cut 1, Cut 2) Whether the pattern is to be placed on the fold (Patterns cut on the fold are always Cut I.) Whether interfacing is also to he cut from the garment pattern, and how In any pieces are to be cut (Label to communicate this-Cut 1.01 Cut 2 from self fabric, Cut 1 or Cut 2 interfacing, as shown in Ill. 5a and b.) Interfacing for some garments isn't cut from the garment pattern. In these cases, a separate interfacing pattern is needed. This is illustrated in Ill. 6, which shows pocket interfacing that will be applied to pants. Separate interfacing patterns must be included in the overall patterns and labeled as "Interfacing Only." [PATTERN TIP -If the pattern markings and notches are not plotted on the pattern and then snipped and marked in the fabric, when the machinist stitches the garments together, he or she will not know which seams go together or how much seam allowance to use. If notches are not snipped, garment pieces can be turned upside down or stretched to fit another garment piece. This can swing the garment "off grain," making it look twisted and badly stitched. In the classroom, this would affect one garment, but in production it could affect thousands. ] Math for Fashion Designers Many students struggle to use a ruler or tape measure and find it hard to measure precisely. This can slow them down in their patternmaking and stitching skills. These difficulties can't be ignored, as knowledge of measurements is crucial for accurate patternmaking and stitching. For example, designers often measure a dress form before patternmaking takes place. The important measurements for making women's patterns are illustrated on the model shown in Ill. 7b. Guessing about measurements is never going to be good enough, and the designer who guesses will soon be out of a job! You'll need to be familiar with the various measurements illustrated in Tbl. 3. Make sure you understand these measurements before beginning to make patterns. Study this table, and get help from your instructor if necessary. Seam allowance must be added onto all patterns before the fabric can be cut. The amount of seam and hem allowance that's added determines whether the garment can be stitched correctly, and how it looks once stitched. If the seam or hem allowances are too small, it will be nearly impossible to stitch the seams. If the seam or hem allowances are too wide, then bulk will be added, and bulk always spoils the look of any garment when it's worn. SEAM ALLOWANCE The seam allowance is the space between the seamline and the edge of the pattern or the seamline and the cut fabric edge. After the seams are stitched, the seam allowance is hidden unless the garment has exposed seams, which will then show on the correct side of the garment-this is referred to as a deconstructed look (refer to Ill. 6.2). The seam allowance protects the stitches from fraying. The seam allowance allows the garment to be fitted; the seam allowance can be stitched wider if the garment is too big, or let out if too tight. Seam allowance can be added in inches (imperial measurements) or in centimeters (metric measurements). If you have your own design business, you'll need to set a standard seam allowance for everyone to use. When seam allowances keep changing, it confuses the machinists. Whatever seam allowance you decide to use, for your company or in school, the important thing is to keep it consistent. Adding Seam Allowance to the Pattern Ill. 8a illustrates the four seam allowances that are generally used when stitching garments. Ill. 8a and b illustrate the seam allowances used when stitching woven fabric. Hem allowances are driven more by the garment silhouette and the fabric weight (Ill. 9). When seams are enclosed or shaped, as for a curved neckline or collar seam, allow ¼” seam allowances (see Ill. 8a and b). It is far easier to stitch narrower seam allowances around curved seams. If a ¾ inch seam allowance were to be used for an armhole or neck opening, it would need to be trimmed back to 'A inch to reduce bulk, and this is a waste of time. The seam can still be carefully clipped, graded (depending on the thickness), and understitched before turning. (Refer to Section 11 for collar seam allowance and to Section 6 for further information about seams.) Add ¾” for all seams: side, shoulder, armhole, waist, princess seams, yokes, and any other seams not mentioned (see Ill. 8a and b). Add 3/4” seam allowance at center back and for any other seams where a zipper will be stitched (see Ill. 8b). If the garment has a side seam zipper (a side seam normally has a 1/4” seam allowance), then make a step in the seam allowance to allow ¾”for the zipper to be stitched as well as the ¾” side seam. The fabric layout for a one-way fabric design illustrates how the step looks on the side seam (see Ill. 15). For fitting purposes, add wider seam allowances. Stretch knit garments only need ¾” seam allowances, as knits don't fray. Most knit garments are stitched with a serger, and ¼” is the perfect width. For firm knits such as wool double knit, use 1/4” seam allowances for woven fabric widths. TABLE 3 MATH FOR FASHION DESIGNERS Lengthwise grainline is a line drawn parallel to the center front. GEOMETRY-GRAINLINES Crosswise grainline is a horizontal line drawn at right angles to the center front. It is also referred to as 90-degree right angle. Bias grainline is a diagonal line drawn at a and -degree angle to the center front. Hem Allowances The hem allowance is the width between the hemline and the hem edge. The hem allowance is folded back under the garment to the wrong side of the fabric; the clean finished edge is the finished hemline. There are times that the designer leaves a raw deconstructed hem edge as a design detail. When stitching hems, the fabric and garment silhouette determine the width of the hem allowance. Wide, bulky hems look thick and ugly and show a ridge from the correct side of the garment; this doesn't give a quality finish to the garment. In general, the wider and fuller the skirt, the narrower the hem width needs to be. This is how bulk is reduced. The following tips will help define the hem allowance used for different garment silhouettes. Also refer to Section 15 for more information about hems. Straight skirts made in a medium to heavyweight fabric can have 1.5” to 2” hem allowances ( Ill. 9a). A-line skirts have a wider silhouette, so reduce the hem allowance to 1% inches to reduce hulk ( Ill. 9b). A flared skirt is wider again, so reduce the hem allowance to 1 inch (Ill. 9~). A full-circle skirt is full and flouncy: reduce the hem width to 1/2 inch so bulk will not be a concern. In sheer fabrics a narrow hem will not shadow and will look inconspicuous from the correct side of the fabric ( Ill. 9d). Hem allowances in knits are reduced to ¾ to 1” regardless of the style. Refer to Section 15 for information about stitching hems in knits. Tbl. 4 shows the seam allowances used for imperial and metric measurements. The amount of seam allowance added is important to achieving quality stitching; incorrect seam allowance will result in badly stitched seams. Tbl. 4 shows fabric width in both metric measurements and imperial measurements. This section has explained about fabric in some depth and now it's time to cur the fabric, so let's begin. LAVING OUT AND CUTTING FABRIC Before the fabric can be cut, it must be prepared. Fabric preparation ensures excellent cutting; excellent cutting ensures excellent stitching; excellent stitching ensures a beautiful garment on the body! Fabric preparation is an essential step. Know Your Fabric First, know what fabric you are working with. It is amazing how many students don't know what fibers make up the fabric they are working with. If you were a visual artist, you would definitely know what type of paint you were working with, as it would influence how you paint. It is no different when using fabric! Look at the end of the roll of fabric and jot down the fabric content. If it's not documented, ask the salesperson, who may know, or ask your instructor. Even before the design is sketched, know the fabric structure as well as the impact it will have on the design, patterns, cutting the fabric, stitching the seams, thread and needles used, and how the fabric is pressed. Understanding and knowing fabric begins by understanding the fabric structure. Fabric structure falls into two categories: knitted and woven. Knitted fabric is created by forming a row of loops, and then drawing another row of loops through that row, again and again, just as you would do when knitting a sweater with knitting needles. Woven fabric has warp and weft yarns that interlace at right angles to each other. Refer to Tbl. 3 to see an example of a right angle. Along both edges of the warp fabric direction is the selvage, which finishes the fabric edges and is more tightly woven. The warp yarns run along the length of the fabric, which is the lengthwise grain; the weft yarns run across the fabric, which is the crosswise grain. Take a look at Ill. 10 and notice how the crosswise and lengthwise yarns intersect at a 45-degree angle; this is called the bias grain. Some Differences between Knit and Woven Fabrics Knit and woven fabrics can have spandex, a manufactured synthetic fiber, added to them. The most widely used spandex today is Du Pont's Lycra. When Lycra is added to a woven fabric, it adds stretch capacity, but not enough to do away with darts and fitting lines. When spandex is added to a knit fabric, it's like adding an elastic band into the fabric. Knit fabric that contains spandex has more stretch capacity, allowing it to be fitted more tightly. Spandex also helps a garment retain its shape, and prevents woven or knit fabrics from wrinkling. Woven fabrics don't stretch like knits. Although the fabric width does have a little give, this isn't to be confused with a stretch fabric. Both woven and knit fabrics stretch across the bias grain and stretch at any angle between lengthwise and crosswise grains. The difference between a knit and a woven fabric influences how the pattern is made, and how the garment fits on the body. Generally, patterns for knit fabrics don't need ease, darts, or fitting lines other than those required for fitting the side seams. The stretch element replaces the need for ease. However, this aspect is individualized depending on the amount of stretch in each knit fabric. Knits can be stable, moderately stretchy, or stretchy. Ease must be incorporated into the patterns for woven fabrics if the garment is to fit the body. Whether you are working with a knit or woven fabric will influence the stitches and hem finishes used on the garment. When the seams are stitched in woven fabrics, the edges need to be finished because woven fabric frays easily; on the other hand, knit fabrics need to be stitched with a stretch stitch and don't fray. However, the edges are frequently serged to add a quality finish to the garment. Whether a knit or woven fabric is being stitched also influences the choice of notions used, as thread and needle types differ for each fabric type and weight (Tbl. 5). Know Your Grainlines The decision about which grainline to use in cutting a garment is fabric and design driven. The grainline on which the garment is cut makes a difference in how the garment drapes on the body. It also makes a difference when stitching the garment. Woven Fabric Lengthwise Grain The lengthwise grain is the most frequently used grainline for cutting woven fabric. One reason for this is that it has very little give; in other words, it doesn't stretch. Consequently, when vertical seams such as side seams or princess seams are stitched, the lengthwise grain helps to control the stitching and prevents seams from stretching in the stitching process. Another reason is very practical: the fabric layout is more economical. (Refer to Ill. 18.) Crossgrain The crossgrain has more give and causes garments to fall differently. A gathered skirt that's cut on the crossgrain will have a fuller look and the fabric will not drape in the same way as it would if the fabric were cut on the lengthwise grain. Take a piece of fabric and observe this for yourself. Cutting garments on the cross-grain produces more "give" across the fabric, and this may have an impact on the fit of the garment. When a decision is made to cut a garment on the crossgrain, it's usually fabric driven, as is the case in Ill. 11. Notice that the fabric border adds a bold accent on the hemline when cut on the crossgrain. Also notice that the garment has no center back seam so it doesn't interrupt the flow of the border design; a left side seam zipper is used and the neckline is large enough to slip over the head. This is how fashion meets function. Bias Grain Bias grain stretches the most and is therefore more difficult to cut and stitch, but it's well worth the effort! A bias-cut garment drapes beautifully, especially in lightweight, sheer fabric. Cutting a striped fabric on the bias grain influences how the stripe looks in the final design (Ill. 12). Knit Fabric Knit fabric also has a grainline, hut different terminology is used to describe it. The lengthwise grain is comprised of loops called wales. The number of wales across the fabric depends on the count (size or thickness) of the yarn used. The crosswise grain on knit fabrics is formed by loops called courses. Examine the vertical ribs on knit fabric before cutting; to find the lengthwise grain, follow the direction of the wales, as knits generally don't have a selvage. The courses need to be at right angles to the wales for the fabric to be "on grain." |
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