DOCUMENT RESUME

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TITLE Apparel and Production: A SuggestedProgram Guide. Series No. 2. INSTITUTION Fashion Inst. of Tech., New York, N.Y. SPONS AGENCY Bureau of Adult, Vocational, and TechnicalEducation (DREW /0E), Washington, D.C. MB DATE 73 NOTE 121p.; For other documents in Fashion Industry Series, see CE 003 139-142 AVAILABLE FROM Superintendent of Documents, U.S. Government , Washington, D.C. 20402 ($1.40)

EDRS PRICE MF-$0.76 BC-$5.70 PLUS POSTAGE DESCRIPTORS Adult Vocational ; Behavioral Objectives; Career Ladders; * Design; Clothing Instruction; *Curriculum Guides; Distributive Education; Educational Equipment; Employment Opportunities; Instructional Materials; *Job Training; Needle ; *Occupational Home Economics; *Occupational Information; Patternmaking; Program Development; Resource Guides; Resource Units; ; Machine Operators IDENTIFIERS *Fashion Industry

ABSTRACT The apparel design and production guide is the second of a series of five interrelated program resource guides encompassing the various dimensions of the fashion industry. Designed to provide youths and adults with intensive preparation for initial entry employment and also with career advancement opportunities within specific categories of jobs, the guide provides an overview of the apparel industry, occupational opportunities, and competencies required of workers. It contains outlines of areas of instruction which include: behavioral objectives, teaching content and suggestions for learning experiences, evaluation, teaching resources, and instructional supplies. Areas of instruction range from basic and fashion to industrial sewing, designing, and garment . Career advancement skills include fabric utilization, quality control, making, and advanced design. Suggested equipment and approximate costs are included as well asa bibliography and a list of representative associations. Other program considerations and services judged to be important to this job-preparatory program are also presented. (Author /MW) US Ut PAW 1St( Nt Oi HIMIll IOUtAtION6AtIIAWE NittIONAI oNst,tUili Oi POUCATION 4.13 Pt 'it 44" III 41 P140

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gib 41111 ollbgib 4 glob 4111b 11//111 a. w PP°pp. DISCRIMINATION PROHIBITED Title VI of the Civil Rights Act of 1964 states: "No person in the United States shall, on the ground of race, color, or national origin, be excluded from participation in, be denied the benefits of, or be subject to discrimination uncle' any program or activity receiving Federal financial assistance." Therefore, the program, like every program or activity receiving financial as sistance from the Department of Health, Education, and Welfare, must be operated in compliance with this law. 1E0co AVAILABLE

FASHION MUM SEM NO. 2 Appall Design and -row.._.;Ion a auglialtad Program Wide

For Sale by the Superintendent of aocuments, U.S. Government Printing Office, Washington, D.C. 20402 Price $1.40 Developed pursuant to a grant

. from the U.S. Office of Education to The Fashion Institute of New York, New York 1973

"The project presented or reported herein was performed pursuant to a Grant from the U.S. Office of Education, Department of Health, Education, and Welfare. However, the opinions expressed herein do not necessarily reflect the position or policy of the U.S. Office of Education, and no official endorsement by the U.S. Office of Education should be inferred."

5 FOREWORD

ThisApparel Design and Productionguide is one of a series of interrelated program resource guides encompassing the various dimensions of the Fashion Industry. The purpose of the series is to provide school administrators and teachers with a source of information which can be used to establish, expand, or evaluate instructionalprograms related to the broad field of fashion. The Fashion Industry Program Series includes five separate guides.Career Explora- tion In the Industry Series No. 1 presents an introduction to the different segments ofof the fashion field and suggestions for a career exploration program.Apparel Design and Production Series No. 2, Series No. 3,Fashion Merchan- dising Series No. 4, and Dry Cleaning and LaunderingSeriesNo.6 are suggested jobpreparatory (skill development) program guides. These job-preparatory guides are conceived to provide youth and adults with intensive preparation for initial entry employment and career advancement opportunities within specific categories of jobs in the fashion industry. In developing the jobpreparatory guides, consideration was given to the structuring of objectives, content and learning experiences in terms of the varying competencies considered essential for different levels of employment responsibility, thereby facilitating the adoption of performancebased instruction within a variety of institutional settings. The outcomes of such instruction are identified with immediate employmentor con- tinuing education, including higher education. TheApparel Design and Productionguide provides an overview of the apparel industry, occupational opportunities, and competencies required of workers. It contains outlines of areas of instruction which include objectives to be achieved, teaching content and suggestions for learning experiences, evaluation, teaching resources, and instructional supplies. Suggested equipment and approximate costs are included as wellas a bibli- ography and a list of representative trade associations. Other program considerations and services judged to be important to this job-preparatory program are also presented. All of the guides were developed by faculty specialists of the Fashion Institute of Technology pursuant to a grant from the U.S. Office of Educationto the Institute. This guide was prepared by Hilde Jaffe, Associate Professor of ; Irwin Kahn, Associate Professor and Chairman of Technology; and Morton Silverstein, Associate Professor of Management Engineering Technology. Jeanne Price, Associate Professor of Fashion Design, prepared the instructionalarea in Grading and Weber, Assistant Professor of Fashion Design, assisted with the preparation of the Fashion :nstructional area; Toward Essig, Assistant Professor of ,con- tributed the area of instruction in Basic Textiles. The development of the SJ i des was under the direction of William Berndt, Project Officer, and Mary Lee Hurt and Edwin L. Nelson, Education Program Specialists in the U.S. Office of Education. Many useful suggestions were received from industry and educational consultants, and from administrators and teachers of existing programs. Although all suggestions could not be incorporated, each was carefully considered in terms of the publication's intended use. !n view of this, it should not be inferred that the program suggestions are completely endorsed by any one institution, agency, or person. The program suggestions contained in this guide should be viewedas resource information which can be modified and adapted by administrators and teachers to meet local, State, and regional needs. Jeannette Jarrow Edwin Goodman Professor, Fashion institute of Technology; Project Director, Program Guides for the Fashion industry III ACKNOWLEDGEMENTS

Grateful acknowledgmentis due many teachers, school administrators, and individuals in the fashion industry for their aid, counsel and cooperation in the preparation of this publication. In particular, the project team of the Fashion Institute of Technology wishes to thank and recognize the valuable contributions made in the preparation and detailed review of this publication by the following individuals: Maurice Bethiaume, General Manager, Industrial Relations, Arrow Co., Troy, N.Y. Helen Brockman, Professor, Kansas State , , Kansas Tom Drew, , Toby Tanner, Inc., New York Manuel Gaetan, EditorialDirector, Magazine, Columbia, South Carolina Gen Olson, Director of Secondary Vocational Education, Anoka-Hennepin, Anoka, Minnesota Water L. Phillips,Jr.,Director of Manpower Development, Manhattan Industries, Salisbury, Md. Audrey Smith, Teacher, Board of Educational Services, Nassau Center, Jericho, Long Island Audrey Thomas, Chairman, Fashion Trades, Jane Addams High School, , Ohio The Information and cooperation provided by administrators and staff of the following agencies and institutions during the development of this publication are also acknowledged with appreciation: Manufacturers Association, Arlington, Va. Board of Cooperative Educational Services, Westbury, Long Island, New York Cleveland Public Schools, Technical-Vocational Education, Cleveland, Ohio High School of Fashion Industries, New York, New York Jane Addams Vocational High School, Cleve lam Ohio Madison Area Technical College, Madison, WiscoLain Research Department, International Ladies Garment Workers Union, New York, New York Wisconsin Board of Vocational, Technical and Adult Education, Madison, Wisconsin

V TABLE OF CONTENTS

Page FOREWORD III ACKNOWLEDGMENTS v THE IMPORTANCE OF THE FASHION INDUSTRY ix The Impact of Fashion ix Scope of the Fashion Industry ix Economic I mportai I..e x Broad Range of Occupational Opportunities x UTILIZATION OF THE GUIDE xi ii Structure of the Program xiii Considerations in Adaptation and Modification xiii Time Allotments xiv THE APPAREL DESIGN AND PRODUCTION FIELD 7 Manpower Needs 7 Apparel Design 2 Desired Competencies 2 Educational Preparation 2 Occupational Opportunities 2 Related Occupational Opportunities in Accessory Design 3 Apparel Production 3 Desired Competencies 4 Educational Preparation 4 Occupational Opportunities 4 Profile of Occupations in Apparel Design and Production 5 Entry Jobs 5 Advanced Career Opportunities 6 THE APPAREL DESIGN AND PRODUCTION PROGRAM 9 Program Objectives 9 Desired Behan ioral Outcomes 9 Example of a Comprehensive Apparel Design Pro' *am 11 Example of a Comprehensive Apparel Production 1-rogram 11 The Program and Occupational Relationships 12 Brief Overview of Areas of Instruction 14

GENERAL PROGRAM CONSIDERATIONS 17 Survey of Needs 17 Faculty 17 Student Enrollment and Services 18 Guidance and Counseling Services 18 Placement and Follow-Up Services 18 Competency Certification 18 Student 18 Advisory Committees 19 Cooperative Training 19 Safety 20 8 VII Page Instructional Equipment 20 Instructional Materials and Class Output 20 Library Support 20 Textbooks. References, and Audiovisual Aids 21 OUTLINES OF AREAS OF INSTRUCTION 23 Fundamental Background Instruction 24 Basic Textiles 24 Introduction to Apparel Design and Production 29 Fashion Marketing 33 Basic Skill Development Instruction 3B Introduction to the Cutting Function 38 Industrial Sewing 40 Introduction to the Pressing Function 44 Fabric Lay-Up (Spreading) Fabric Cutting 50 Garment Pressing 52 CutWork Preparation 54 55 Internal Handling 56 Introduction to Fashion Drawing 57 Garment Construction 80 Career Advancement Instruction 85 Fabric Utilization 65 Quality Control 69 Introduction to Pattern Development 72 Advanced Pattern Development 77 Grading 80 Advanced Fashion Drawing 86 Fasnion Design Past and Present 89 Accessory Design 97

FACILITIES, EQUIPMENT AND COSTS, AND INSTRUCTIONAL SUPPLIES 101 Facilities 101 Storage Space 101 Equipment 101 Instructional Supplies 102 Equipment and Approximate Costs 103 SELECTED BIBLIOGRAPHY 105 APPENDIX 111 Representative Trade Associations 111 THE IMPORTANCE OF THE FASHION INDUSTRY

Fashion is as old as recorded history andas new as in endless dozens to cities and prairie towns across tomorrow. It manifests itself not only in what people America. wear but in what they eat, the way they talk, what they A business that began as an enterprise of small shops do, how they live and the things they use. now caters to and employs millions of people, offers a multitudinous array of products, utilizes a diversity of talents and ranks among the largest industries in our THE IMPACT OF FASHION . Fashion can be defined as all of the prevailing styles followed by substantial groups of people at a given time in a given place. Fashion touches many facets of human SCOPE OF THE FASHION INDUSTRY living and, in turn, the changing conditions of the The fashion industry is not a clearly defined entity. It environment in which that living takes place bring about is a complex of many different industries, not all of changes in fashion. The intensity with which changes in which appear to have anything of fashion among their fashion are followed by people everywhere on all levels products. of society is evidence of its impact on human activities Plainly recognizable as part of the fashion business and its significance as a social phenomenon. are those industries devoted to the making of apparel The phenomenon of fashion has been studied, an- and accessories for men, women and children. alyzed and explained in many different terms. Econo- When one moves back to an earlier stage ofpro- mists view it as an element of artificial obsolescence that duction, to the fabrics, , and pldstics from which impels people to replace which still retain the finished products are made, the line between what is their original usefulness even though the new may not and what is not the fashion business becomes even greatly differ from the old. To sociologists it represents a harder to draw. Some textile mills that produce apparel manifestation of social interraction and an element of fabrics also produce bed sheets, , or industrial status seeking; psychologists find indications of sex im- fabrics. Some chemical companies that produce pulses in patterns of . Historians see as a which eventually are spun and woven and to make reflection and documentation of the ideals, tastes and garments are producers also of , , and values of their times just as are paintings, sculpture and photographic film. Some producers and processors in other art forms. fields normally remote from fashion find themselves The influence of fashion is not only throughout temporarily with one foot in the fashion business when the social world but in all categories of economic activi- prevailing styles demand such items as industrial , ties.Itis most clearly demonstrated, however, in a chain belts, paper , or whatever the case may be. multi-billion dollar industry complex, commonly known A season or two later, they may be as far removed from as the "Fashion Industry", which is dedicated to the it as ever, but for the time being they too are part of the design, production and of apparel and ac- business of fashion. cessories for men, women and children. Because clothing The fashion business includes the stores that sell and is considered to be the oldest and purest form of fashion apparel and accessories, and the -order cata- expression, this industry embodies more aspects of logues from which many consumer purchases are made. fashion than any other single rallying point. It includes businesses that neither produce nor sell mer- Fifty years ago "fashions.' was directed, ordained, chandise, but render advice, assistance or information to cultivated and handled by the few, in small shop opera- those that do. In this last category are consumer publi- tions. Today the fashion industry is, on tha one hand, cations that disseminate news of fashion, ranging from the exclusive air of an elegant specialty store presenting the women's page of the daily newspaper to magazines a collection of high-priced originals and on the other devoted primarily to fashion news such asVogue,. hand, it is the giant factories that dispatch "blue " Harper's BazaarorGentlemen's Quarterly.Also included

IX in this category are trade periodicals which carry news of distribution of clothing employed the services of more fashion and information on production and distribution than % of the 11.7 million men and women engiiged in techniques to retailers, apparel manufacturers, and tex- occupations in 1972 and of this number itis mills. It includes also publicists and spe- estimated that 50% are engaged in activities directly cialists,fashion consultants, and buying that concerned with the of apparel and tctile represent retail stores in the vast wholesale centers. Products. Dry cleaning and laundering service estab- All these and more are part of the business farms lishments employed an additional 14 million. and mills and factories, union labor and white- The industry is also important to all parts of the workers, business tycoons and creative artists. All play country rather than just a small geographic area. Al- their parts in the business of fashion. though the heaviest concentration of textile manu- facturing facilities is in the South and New England, ECONOMIC IMPORTANCE * some phase of textile activity is carried on in nearly every state of the Union. Apparel production plants can The economic activities involved in the design, pro- also be found in every state and are increasingly being duction, merchandising and of textiles, ap- located in small towns where, in many case.,. they are parel and accessories are a sizeable force in our nation. the only industry or the largest employer. Awarel and Whatever yardstick one uses as a measurement, their fabric retailers are to be found in every major ity, in importance becomes clear. every suburb and in the smallest of towns. In terms of money that Americans spent in 1972, clothing, accessories, and clothing care services accounted for 62 billion dollars, an amount which con- BROAD RANGE OF stituted almost 10% of total consumer expenditures. In OCCUPATIONAL OPPORTUNITIES terms of factory output, the industry also ranks high. Textile output for 1972 reached 28 billion dollars and Numbers alone, however, do not tell the full story of factory shipments of men's, women's, and children's the importance of the fashion industry as a field of apparel exceeded 26 billion dollars. employment opportunity. The industry is many-faceted Millions of people are employed in producing textiles and offers a host of varied entry-jobs and career op- and apparel, in staffing the retail stores that make this portunities. It employs workers with every degree of merchandise available to the consumer, and in the retail skill and educational preparation. Training and/or ex- or industrial establishments that specialize in clothing perience in one segment is often an asset applied ta services. Of the 20 million people employed in U.S. another. Working conditions and financial compensation industries in 1972, practically one in are satisfactory, and good pay is a by-product of good every eight was employed either in the industry divisions training, good job performance, good experience and that produce apparel for men, women and children or good breaks. Pay rates vary from city to city, from that produce the materials from which clothing is made. company to company and from time to time. The apparel segment which alone employs almost 1.4 There is a place in the industry for people with many million people is the 6th largest employer of people in different types and levels of skills which require diverse the manufacturing sector of the economy and, for ex- talents, interests, and educational preparation. Techni- ample, employs more people than the entire printing and cians and artists, chemists and engineers, originators and field or the chemical and drug industry. In copyists, cutters and sewers, buyers and sellers, adminis- addition, retail outlets that play a significant part in the trators and entrepreneurs .all these and more con- stitute the variety of occupational opportunities in the complex of industries involved in the design, production, distribution, maintenance and care of textiles and ap- 'Sourceoffigures:U.S.Industrial Outlook1973,U.S. Department of Commerce parel.

X FASHION INDUSTRY FLOW CHART

Agricultural and Chemical Suppliers (fibersnatural and synthetic)

Spinning Plants- Spinners and Throwsters ( into )

Knitting and Mills (yarn into fabric finished and unfinished)

Auxiliary Enterprises (Service or Advisory) Converters publications 41Selling Agents (unfinished into finished fabrics) resident offices consultants advertising agencies publicity agencies (and others) F Apparel and Accessory Producers

Retailers (department and specially stores. e -in stores, discounters; supermarkets. order houses, house-to-house. etc.)

Drycleaning and I Consumers Laundering Services 14

12 XI UTILIZATION OF THE GUIDE

School personnel using this guide will fond that modi- CONSIDERATIONS IN fications can be easily made to fit the local conditions of ADAPTATION AND MODIFICATION their specific situation. The design of the overall sug- gested program is such that areas of instruction can and The number of the different areas of instruction that should be combined or eliminated entirely in adapting are offered, the manner in which they are combined, the the program to meet local needs. emphasis that is given to the different levels of areas of insqui.tion and the comprehensiveness of the program STRUCTURE OF THE PROGRAM will depend upon: The type of educational institution in which the The components of the program suggested in this program is being offered: for example, an adult guide are based upon the differing performance require- training center would be less likely to offer the ments of different levels of employment responsibility. entire program than a post-secondary school. The prop am, therefore, reflects levels of competency to The time available for the program: for example, it be achieved rather than levels of education, thereby would be more advisable in a one-year program, as facilitating its adaptation and use by secondary schools, contrasted to a two-year program, to eliminate post-secondary institutions and other types of training complete areas of instruction rather than com- centers. promise the development of specific competencies The basic skill development areas of instruction cor- desirable for meaningful employment respond to specific competencies needed for basic entry The occupational opportunities in the : jobs and aim to prepare students for initial employment. for example, it would be wiser to put more em- The advanced areas of instruction progress in depth, phasis on the production program than the design scope and complexity of content and are designed to programifemployment opportunitiesin the serve the needs of students who have more advanced design field are non-existent or limited in the com- career goals and/or greater educational or employment munity. experience. The fundamental background areas of in- The job levels for which the program is designed: struction, although not necessarily essential for some for example, little or no emphasis should be put basic skills, broaden the students understanding of the on career advancement areas of instruction if the occupational field and enhance their opportunities for objective of the program is to prepare students for job satisfaction and career progression. Where necessary basic skill entry jobs. for the development of specific skills, they are noted as The nature of exisitng programs in the educational prerequisites in the outlines of the areas of instruction. institution: for example, complete areas of instruc- The areas of instruction in the guide and the teaching tion in apparel design or apparel production could modulesin the instructional guidelines are flexible be substituted or added and offered as an option enough to allow for vertical and/or lateral occupational to students who are enrolled in currently existing training plans. For example, enrollees in the program clothing and textile programs. can: The studentsspecialneeds and occupational 1.Eitherprogress laterally, component by related goals: for example, being responsive to students' component, from simple to complex job skills in individual needs in terms of where they are and such a way that they can exit at varying points what they wish to be. with a mastery of a specialized skill, if they choose The opportunitiesthatareavailableto the not to complete the entire program. students for continuing study and articulation 2. Or enter the program at wherever they are occu- with advanced job-preparatory programs: for ex- pationally and move vertically (or laterally) as far ample, a secondary school in a community which as they can or choose. does not offer post-secondary job-preparatory pro-

13 XIII grams should include career advancement areas of TIME ALLOTMENTS instruction; a secondary school in a community in which postsecondary jobprtparatory programs The hours to be allotted to each area of instruction are already in existence might do better to concen- should also be modified and adapted to local situa- trate on fundamental background and basic skill tions. However, itis oggested that certain teaching development areas of instruction. modules and/or complete areas of of instruction be eliminated rather than weaken the development of skills needed for job entry.

1. XIV THE APPAREL DESIGN AND PRODUCTION FIELD

The apparel industry is that segment of the fashion neapolis, Miami, Dallas, Kansas City, and Philadelphia. It industry complex concerned with the design and manu- is the leading industry in the City and State of New facturing processes of most of the apparel sold in this York. country. There are some 23,000 firms in the apparel industry MANPOWER NEEDS which perform one or more of the processes involved in changing the form of fabrics and other raw materials The apparel industry as a whole, men's, women's and into finished garments for men, women and children. children's combined, is highly labor intensive. As com- Some firms perform all the tasks beginning with the pared to industries which are highly automated, the ratio design 9f garments and ending with their distribution to of apparel workers to total output is very high. Its retail outlets. Others design and cut the garments, send almost 1.4 million workers represent 7% of the total the cut pieces out to sewing shops to be sewn and manufacturing employees in this country. In terms of finished, and then take over the distribution process. employment of women, the apparel industry ranks first The sewing factories that specialize in taking the cut because women comprise 81% of its total labor force. fabric for sewing and finishing are called contractors. Although the industry is large, the typical establishment The "factory phase" of the industry is located in all is small, with an average of 55 employees per estab- parts of the country. However, design and marketing lishment (Source: U.S. Industrial Outlook 1973, U.S. activities are, for the most part, centered in New York, Department of Commerce) Los Angeles, San Francisco, Chicago, St. Louis, Min- Occupational opportunities and activities are varied

APPAREL MANUFACTURING PLANT DISTRIBUTION BY STATES

NO. OF NO. OF NO. OF STATE PLANTS RANK STATE PLANTS RANK STATE PLANTS RANK

Alabama 176 19 Kentucky 131 24 North Dakota 2 50 Alaska 8 46 Louisiana 88 27 Ohio 391 10 Arizona 65 33 Maine 40 37 Oklahoma 91 28 Arkansas 68 32 Maryland 324 12 Oregon 64 35 California 1,719 3 Massachusetts 942 5 Pennsylvania 1.993 2 Colorado 75 31 Michigan 297 14 Rhode Island 65 33 Connecticut 229 18 Minnesota 136 23 South Carolina 202 17 Delaware 21 42 Mississippi 129 25 South Dakota 6 48 Dist. of Columbia 23 41 Missouri 460 8 Tennessee 279 15 Florida 352 11 Montana 4 49 Texas 666 7 Georgia 392 9 Nebraska 37 39 Utah 38 38 Hawaii 79 28 Nevada 8 46 Vermont 14 44 Idaho 12 45 New Hampshire 32 40 Virginia 149 21 Illinois 799 8 New 1,275 4 Washington 149 21 Indiana 187 20 New Alexia) 20 43 West Virginia 42 36 WINO 78 29 New York 9,110 1 Wisconsin 178 18 Kansas 78 30 North Carolina 308 13 Wyoming 2 so

Swift= Dun & Bradstreet, Inc., 1959 22,011 United States total The figures used refer to each apparel manufacturing plant location. This includes headquarters and branch location, if it includes a manufacturing operation, as well as each contract manufacturing location. enough to interest widely differing kinds of people and designer or by a patternmaking assistant. A sample provide an outlet for the talent of gifted, creative indivi- maker who works closely with the designer sews the duals zs well as employment for workers who are hap- sample garment and makes revisions where the designer piest at routine skills. thinksnecessary.Afterasatisfactory sample has The increasing interest in fashion, paralleled by the emerged, it is assessed and discussed with the company impact of technological developments in the industry, executives for costs, potential and any production has created a growing reed for well-trained fashion de- problems that may affect the design when it goes sign and production personnel. through the mass production process. At this point, some may be further modified while others are APPAREL DESIGN discarded entirely.

The styling and design of their products are a vital Desired Competencies element in the success of an apparel firm. The creative expression of the design staff is even more important in are creative artists in thesense that they the apparel segment of the fashion industry than in the work with line, color, shape and texture. Theyare also textile segment where science, intricate text0e ma- craftsmen in that their medium is fabric and their " chinery and manufacturing processes frequently play the brushes" are and . The basic competencies dominant role. Although it is often hard to pinpoint that designers need are a creative and productive im- where original designing ends and copying begins, ap- agination, finger dexterity and a keen interest in fashion, parel designers are employed in every phase and branch coupled with specialized expert preparation in practical of the industry. Theirs is the responsibility for develop- techniques of patternmaking, sewing, draping, cutting ing a "line" of garments to be shown to prospective and fashion drawing. They must also be thoroughly retail buyers. conversant with the nature of fabrics, the construction The size and personnel of the design staff varies from of garments and be knowledgeable about manufacturing firm to firm. In small firms the designers may work processes and the ultimate consumer for whom their alone. Large firms may have several design rooms super- designs are intended. vised by different designers, each with his or her own helpers. Moderate-sized firms may have one designer Educational Preparation with several assistants. Since the average-sized firm in the industry is moderate in size, the typical design staff Design students may find that they work better in consists of a head designer with three or four workers to one medium or technique than another. Perhaps sketch- help. ing is more to their liking than drapingor pattern- The responsibilities and activities of designers also making, or vice versa. The better an aspiring designer is vary from place to place depending upon the size of the prepared in all of the areas discussed above, the broader firm and the nature of its product. In some cases de- will be the opportunities for promising entry jobs and signers' activities are confined to designing and super- career progression. Specifically helpful and applicable vising the design workroom. In others, the designer may for a career in apparel designare studies in fashion be involved in every step of the production of the line drawing, pattern development, clothing construction, from the original idea to the completed garment This is basic textiles and the historical development of fashion. particularly true in the men's tailored clothing field As important as the vocational skills which contribute where fit and tailoring are of prime importance and to the students' professional competency are other dis- where the designer is often a highly trained production ciplines which contribute to the social, civic, personal technician. development and the "life skills" of the students, and Garment designers differ in the methods they use to deepen their understanding of the economic and human- create their designs. Some work out their ideas in rough istic forces which influence the industry. Disciplines sketches which are then translated into or fabric. which stress communication skills and problem solving Others develop their designs by draping muslin or fabric are important for all students. Also important for design experimentally on a dressmaking form. There are still students are studies in art appreciation, the social others who do both. sciences and arithmetic. The creation of designs is but one aspect of a de- signer's job. Once a design has crystallized, a pattern Occupational Opportunities must be made so that the fabric can be cut and sewn into a sample or trial garment Depending upon the size So much of an apparel firm's life depends upon the of the design staff, the first pattern may be cut by the styling ofits line that the designing responsibility is

2 rarely entrusted to a beginner, even a fantastically tal- itself. Some, like shoes and , are dominated by ented one. Well-prepared beginners, aside from opening huge producers; others like jewelry, , scarfs, their own boutiques or custom dressmaking shops have belts and gloves are made up of relatively small firms. access to a number of entry jobs below the designees Some operations are highly mechanized; others still use from which they can progress. Jobs as fashion hand operations not much changed from those that sketchers, sample makers, assistants to patternrnakers or prevailed 50 years ago. The design and selling activities graders, and design room trainees are an paths that can of the large producers are concentrated in New York; lead to positions as assistant designers and designers. smaller producers are located in all parts of the country. Although apparel manufacturing plants are located in Accessory design is a fertile field for beginnen with all parts of the United States, the design activities of the design aspirations. Many of the accessory areas, however, industry are quite geographically concentrated. The ma- are separate specialities which require an understanding jority of employment opportunities in designing for of specialized materials as, for example, jewelry which mass production are in where a large demands a knowledge of the properties of metal. percentage of apparel firms have their styling and sales For the artistically inclined person, the design of headquarters. There are, however, design centers which accessories is a challenging field in which a talented are more limited in scope in such cities as Los Angeles, beginner or can find creative opportunities. San Francisco, Dallas, Chicago, St. Louis, Minneapolis, Many small firms in the field depend on free-lance de- Kansas City, Miami, Boston and Philadelphia. signers to style their lines. A background in apparel For a person with specialized training in the practical designing, although not necessary, is helpful in order to techniques of fashion designing, there are many other design accessories that coordinate with apparel fashions. skillrelated occupational opportunities which are more A knowledge of production processes and problems is ubiquitious in location. For example, skill in sewing can essential; designing for commercial purposes has to result lead to work as an alteration hand in small and large in saleable as well as fashionable styles. retail stores which are located everywhere. Sewing skills coupled with a knowledge of garment construction and APPAREL PRODUCTION pattemmaking broaden occupational opportunities as fitters in alteration departments and men's tailoring or Within the production activities of the apparel manu- ladies'dressmaking shops.Individualscapableof facturing process, a wide variety of occupations and making complete garments from pattern to final sewing skills are needed. Young men and women interested in can even become independent or custom the field of apparel production can find one or more and develop a clientele of their own. employment opportunities that will fit their ability and A fast-growing source of beginning jobs and career interest and from which they can progress miser-wise. opportunities is among the group of industries and acti- There are jobs for *Ted parternmaken and graders who vities that service the steadily increasing numbers of make the paper patterns which are then graded accord- home sewers in this country. These include pattern com- ing to sizes so that the styles created by designers'can be panies, companies, notion producers, sewing produced in quantity and will fit properly. After the machine manufacturers and the over-the-counter fabric graded patterns are made, spreaders lay up fabrics and departments of textile companies and retail stores. Jobs markers lay out the patterns on piece which are related to home-sewing services include sewing instruc- then cut by cutters who use either electric cutting ma- tors, sales personnel for fabrics and patterns, demonstra- chines, shears or hand knives. Assorten then assemble tors, assistants to pattemmakers, fashion sketchers and the cut cloth into bundhs, either by individual garments pattern company staff designers. or in lots. The bundles are given to In short, beginning jobs and career opportunities are operators who sew the garments together. Most sewing everywhere for all those who love fashion and fabrics, operators are specialists who construct a small part of understand garment construction, have specialized pre- the garment except in the very high-priced garment field paration in practical techniques of patternmaking, sew- where an operator makes the entire garment. In some ing, draping and fashion sketching, and can interpret sewing shops there are who are used to prepare their ideas in practical and commercially saleable ways. the garments for the final operations. Section and/or shop foremen and foreladies supervise the operators. Related Occupational 0 )portunities These are generally experienced operators who have in Accessory Design progressed to supervisory positions. The sewn garments then gn to finishers who do most The industries that design and manufacture acces- of the sewing that has to be done by hand. Some of their sories are as diverse in size and nature as the merchandise work is also done with the assistance of special ma-

17 3 chins. Once their work is completed the garments go to there are many different operations needed, the indi- cleanerswhose task it is to remove loose threads and vidual operations are usually relatively simple. In the remove spots on the finished garments. The usual plant men's clothing field where more tailoringskills are also includespresserswho operate the automatic pres- needed, the training period is longer for one to become sing machines. Some pressing may be done as a garment an expert or operator. is assembled; sometimes it is .done at the completion of Obviously it is necessary to have more skill develop- all sewing. There are also a variety of such auxiliary ment 'preparation for initial-entry intocutting and pat- workers needed in a factory asresolvingandshipping ternmaking departments which are responsible for the handling of costly piece clerksandproduction control clerkswho direct and proper fit of garments and the distribute the sequence of orders to be completed. goods. Skilled pattemmakers and cutters are amongthe The overall factory operations are supervised byplant most highly paid production workers.With specialized and/orproduction managers,many of whom have preparation in the areas of textiles, penernmakina, started out as factory workers and have advanced to grading, marking and cutting, the beginner isequipped executive managerial capacities. Others have had post- to start as a fabric spreader fromwhich he may then secondary technical engineering education which in- advance to cutting or to an assistant to apattemmaker. cludes courses in factory layout, time and motion study, Furthermore, all of the skills acquired in specialized often quality control and production planning and the like. preparation for Is job in apparel production are transferable from one branch of the industry to another. Furtherpreparation, usually offered at a post- Desired Competencies secondary level in technical engineering, is invaluablefor preparation as, or advancement to, plant and/or produc- To d greater. or lesser degree dependent upon the tion managers. Technical engineering programsinclude specific job, production workers require the following techniques of factory layout, time and motion study, desired competencies: quality control, production scheduling and garment cost- 1. Manual and/or finger dexterity ing, among other areas of study related toindustrial 2. Ability to manipulate materials, machines or management Courses such as these can be takeneither equipment in conjunction with job experiences or as full -time post- 3. Normal levelofvision (colors and shades) secondary preparation for entering positions as manage- 4. Physical ability to carry and move work loads ment trainees postions which are usually reserved for 5. Understanding of fabrics graduates of such programs. 6. Understanding of garment construction As important as the vocational studies which develop the students' technical competencies are otherdis- Educational Preparation ciplines which contribute to their social and personal development. Arithmetic and applied mathematics are A young man or who is manually dexterous important for apparel production students as are studies and has an interest in apparel production can enter a which stress communication skills and problemsolving. factrity as a relatively unskilled worker and through employment experience and on-the-job training, develop some elementary skills. While employed they can usually find a training program in which they can upgrade their Occupational Opportunities job-skills by taking courses in cutting, pattemmaking, gradinvand even design or factory management. There are apparel productionplants located in the Factory production, however,is becoming more small towns and large cities in everyState. As the 6th scientific and technologically advanced. Some spe- largest employer of people of allmanufacturing occupa- cialized educational preparation which includes a co- tions in our country, they are a vast source of employ- operative work experience is more advisable for mean- ment opportunities for men and womenalike regardless ingful entry jobs and faster advancement than factory of race, color or creed. As is to be expected, entry jobs experience alone. As is true for most °eruptions today, correspond to levels of education. Many people,how- the level of initial employment tends to reflect the ever, who have started as factory workershave achieved degree and level of educational preparation. For ex- high positions in the industry without benefit of college ample, a relatively short period is necessary to acquire education. There are also related job and careeradvance- specialized training the skill of a sewing machine operator. Over a period of ment opportunities for a person with time there has been a definite trend in breaking down in some or all of the practical techniquesof apparel the many operations of sewing a garment so that while production. For example, sewing skills can lead towork

1 B 4 as alteration hands in retail establishments or dress- duction, depending upon the aptitudes and interests of making and tailoring shops. theworker,thefollowingchartoverviewsand summarizes the possible jobs in both areas. The places of PROFILE OF OCCUPATIONS employment and responsibilities of workers are classified IN APPAREL DESIGN AND PRODUCTION according to entry jobs and advanced career opportuni- ties. Exact job titles may vary from place to place Since many entry jobs in the apparel industry can and are subject to change as change and lead to careers in either apparel design or apparel pro- new positions are created.

D . Design P Production DP Design and Production Entry Jobs PLACES OF EMPLOYMENT WHAT WORKERS DO

Folder (P) Apparel Factories Fold, , bag, tag, and box finished garments.

Bundler (14 Apparel Factories Sort bundles of cut parts according to size, color and shade (Sorter) and tie them into bundles.

Bundle Handler MI Apparel Factories Distribute and collect bundles of garment parts and supplies (Floor Boy or to the various production workers in a garment plant; cut Floor Girl) work apart, stack it, and may mark location points on garment parts.

Spreader (P) Apparel Factories Color shade bolts of cloth, mark spreading length on cut- & Slipcover ting table, lay up fabric on table by hand or with a spread- Factories ing machine, lap cloth so that complete garments are pro- duced; perform odd jobs such as carrying material to and from storage.

Draper (DP) Apparel Factories Examine partially finished garment for fit and possible sewing imperfections; pin final details into place, such as bows, flowers, etc., before garment is completed.

Hand Cutter (DP) Custom Dressmakers Cut individual garments by hand. Custom Boutiques Manufacturers

Hand Finisher (DP) Apparel Factories Hand sew , , linings, finishing details; press samples by hand.

Production Apparel Factories Cut parts of garments from many layers of cloth using an Cutter (P) electric cutting machine, or from a few layers of cloth with a manual cutting machine.

Sewing Machine Apparel Factories Perform any sewing operation on any standard or special Operator (DP) Factories sewing machine; may be required to do one repetitive job task or multiple job tasks. Entry Jobs (continued) OCCUPATION PLACES OF EMPLOYMENT WHAT WORKERS DO IIIP Presser IDIn Apparel Factories Smooth and shape completed garments and/or garment Retail Stores parts using steam pressing machines and/or hand irons. Cleaning Establishments

Seamstress Make repairs on , bed and table linens. ( room) (DP)

Tailor's Manufacturers of tailored Work with experienced tailors to learn tailoring; will do Apprentice (DP) garments limited hand and machine operations as skill develops. Cleaning and tailoring shops Custom Tailors Retail Stores

Alteration Hand (DP) Retail Stores Alter finished garments following the markings made by the fitter.

Advanced Career Opportunities OCCUPATION PLACES OF EMPLOYMENT WHAT WORKERS DO

Fitter (DP) Retail Stores Pin and chalk mark adjustments on the finished garmentso that it will fit the individual customer after alteration.

Marker Maker (D) Apparel Factories Make a production cutting layout of all the pattern pieces for a style in an entire size range.

Sketcher ID) Manufacturers Sketch samples for production and showroom use; sketch Dressmakers samples for recordkeeping purposes. Boutiques

Embroidery Embroidery Houses Sketch ideas for embroidery or appliqu6 designs. Designer ID)

Sample Maker (D) Manufacturers' Sample Sew the first sample; work directly with the designeror Rooms assistant designer.

Assistant Designer (1)) Manufacturers Drape and draft first pattern; supervise sample makers; work closely with the designer.

Dressmaker ID) Custom Dressmakers Cut and sew a complete garment for an individualcus- Custom Boutiques tomer.

Duplicate Cutter IDP) Manufacturers Cut duplicates from original sample; cut duplicates in Boutiques another size range from the original sample.

Duplicate Maker (DP) Manufacturers' Pattern- Sew a duplicate of the first sample, conforming to standard making Departments sizes after patternmaker has made the stock pattern; test stock pattern for production purposes.

Grader IP) Apparel Factories Proportionately expand and contract the perfected sample sized stock pattern into patterns for an entire size range.

6 iiiV Advanced Career Opportunities (continued)

OCCUPATION PLACES OF EMPLOYMENT WHAT WORKERS DO

Design Room Manufacturers Are generally helpful in the design room; assist the designer Trainee (DI by running errands, sketching, "picking up pins", etc.

Quality Controller IPI Apparel Factories Inspect product during various stages of production to ascertain conformance with specifications; notify appro. priete supervisor or foreman or return to affected operator for correction.

Patternmaker IDPI Manufacturers Develop a perfect garment from the first sample; may have Commercial Pattern Cos. to subtly adjust proportions to fit stock saes without changing the style of the garment; sometimes work from a sketch.

Production Suorvisor Apparel Factories Coordinate all production activities of subordinate per- sonnel; determine how job will be performed; workers and oversee performance.

Instructor Trainer Apparel Factories Indoctrinate and train new workers; retrain experienced workers; oversee job performance.

Accessories Manufacturers of: Sketch ideas for accessories. Designer (DPI Shoes, Handbags, Gloves, Belts, etc.

Designer WI Manufacturers Design a new collection of garments every season; sketch Boutiques ideas, select fabrics and trimmings; supervise the con- struction of first samples; often work with buyers and travel to stores across the country to promote sales. THE APPAREL DESIGN AND PRODUCTION PROGRAM

It is expected and suggested that the program in this entirety to meet these requirements.It has been -1 guide will not be applied to a given situation exactly as designed as to lend itself to modifications and adapta- outlined. The material is presented to illustrate how a tions depending upon competencies to be achieved, time comprehensive apparel design and/or production educa- available for instruction, opportunities for employment, tional program can be organized. It aims to provide a special needs and occupational goals o8 the students suggested framework within which Such training can be enrolled, varying types of educational institutions and developed. their currently existing programs.

PROGRAM OBJECTIVES DESIRED BEHAVIORAL OUTCOMES A job-preparatory program must concentrate on em- The aim of the program contained in this guide is to ployment objectives ifitis to prepare occupationally enable students to acquire the specific abilities needed competent individuals. Its approach must be realistic, for initial employment and to provide the knowledge pragmatic and must identify with specific competencies necessary for career advancement and continuing study. needed. The suggested program includes a common core of The development of occupational competency has at three fundamental background areas of instruction fol- least six components around which a program should be lowed by two alternative skill-development options each designed: of which corresponds to the specialized skills and profi- I. Training should prepare the individual to be a ciencies needed for employment either as apparel pro- productive employee in an entry level job. duction workers or design personnel. The common cora 2. The training, combined with a reasonable amount aims to enable students to acquire the following com- of work experience, should prepare the individual mon knowledge: to advance to positions of increasing responsibi- lity. 1. An understanding of fabrics, fibers, fabric con- struction, and finishes as they affect the design 3. The training should give the individual an under- and production of apparel. standing and appreciation of all of the functions 2. A comprehension of the apparel production pro- operating within the business enterprise. cess from design to finished product. 4. The foundation provided by the training should be 3. An understanding of fashion marketing and pro- broad enough so that the individual can do further motion as it affects design and production of ap- study within his field. No program can be con- parel. sidered terminal in the sense that the student stops learning. The further study may be the reading of The areas of instruction suggested for apparel design trade publications, new text references and/or students, as illustrated in the example of a compre- formal education. hensive design program which follows, aim to provide: 5. The technical training should be complemented by 1. A facility in fashion drawing as a means of visual- other educational disciplines which contribute to izing original design ideas, including the ability to the social and personal development of the stu- draw fashion figures with and flair, and to dent. Employers want workers who are not only accurately represent fabrics and design details. technically competent, but who have basic mathe- 2. An ability to utilize basic methods of cutting, matical skills, who can communicate with people sewing and pressing in assembling a garment ac- and who can get along with others. cording to industrial standards. 8. Training should develop the professional attitudes 3. A recognition of the relationship of the social and and behavior necessary to secure and hold a job. economic conditions in history to the fashions of The program suggested in this guide is designed in its the times, and the ability to apply this insight to 2 2 9 the designing of modern apparel and accessories. 1. A proficiency in the volume production operations 4. The ability to design apparel and accessories of sewing, spreading, cutting, pressing, cut work within the limitations imposed by materials and preparation, finishing and internal work handling. production methods. 2. An understanding of fabric utilization as required 5. A proficiency in developing patterns by draping for marker making. and pattern methods and a working knowledge of pattern grading. 3. A proficiency in developing patterns by draping The areas of instruction suggested for apparel pro- and pattern methods and a working knowledge of duction students, as illustratedin the example of a pattern grading. comprehensive production program which follows, aim 4. An appreciation of the system of quality control to provide: as it applies to apparel production. EXAMPLE OF A COMPREHENSIVE APPAREL DESIGN PROGRAM*

Areas of Instruction Suggested Hours

FUNDAMENTAL BACKGROUND Cos Laboratory Total Basic Textiles 46 Introduction to Apparel Design and Production 25 20 45 Fashion Marketing 45 BASIC SKILL DEVELOPMENT Introduction to Fashion Drawing 24 38 60 Garment Construction 19 41 60 CAREER ADVANCEMENT Introduction to Pattern Development 39 131 170 Advanced Pattern Development 32 138 170 Grading 45 45 90 Advanced Fashion Drawing 20 40 60 Fashion Design Past and Present 40 20 60 Accessory Design 15 30 46

*This sample program can be modified in terms of hours and instructionalareas to suit the time facilities, objectives and job goals.

EXAMPLE OF A COMPREHENSIVE APPARELPRODUCTION PROGRAM*

Arms of instruction SuggestedHours

FUNDAMENTAL BACKGROUND Class Laboratory Total Basic Textiles 45 Introduction to Apparel Design and Production 25 20 45 Fashion Marketing 45 BASIC SKILL DEVELOPMENT Introduction to the Cutting Function 8 7 15 Industrial Sewing 28 52 . 80 Introduction to the Pressing Function 5 7 12 Fabric Lay-up (Spreading) 9 18 27 Fabric Cutting 8 10 16 Garment Pressing 7 10 17 Cut Work Preparation 6 8 12 Finishing 4 4 8 Internal Work Handling 6 3 9 CAREER ADVANCEMENT Fabric Utilization (Marker Making) 12 33 45 Quality Control 16 19 35 Garment Construction 19 41 60 Introduction to Pattern Development 39 131 170 Advanced Pattern Development 32 138 170 Grading 45 45 90

This sample program can be modified In terms of hours and instructionalareas to suit the time,facilities, objectives and job goals.

24 11 THE PROGRAM AND OCCUPATIONAL RELATIONSHIPS The relationship of the individual areas of instruction facilitate the adaptation of this curriculum and enable to specific occupations and required competencies is the user of this guide to adapt, lift out, or combine the demonstrated in Tables 1 and 2. Table 1 lists by number instructional areas in different ways depending upon the allof the instructional areas includedin both the level of competence to be achieved, the time available Apparel Design and Apparel Production programs. Table forinstruction,andthecapabilities,needs and 2 shows the relatiunship of these areas to specific jobs. occupational objectives of individual students. For example, if the occupational objective was that of a A student completing the entire program in either Sewing Machine Operator, the suggested areas would be Apparel Design or Apparel Production would of course 1, 2, 5. An occupational goal as a Sample Maker would have a greater variety of occupational alternatives at the require areas 1, 2, 3, 13, 14, 17, and 18. entry job level, and a greater potential for faster and Theillustrationsoftheserelationshipsshould further career advancement.

TABLE 1

Areas of Instruction

D at Design Program P ni Production Program DP gi Design and Production

1 Basic Textiles (DP) 2 Introduction to Apparel Design and Production (DP) 3 Fashion Marketing (DP) 4 Introduction to the Cutting Function IP) 5 Industrial Sewing (P) 6 Introduction to the Pressing Function IP) 7 Fabric Lay-up (Spreading) (P) 8 Fabric Cutting IP) 9 Garment Pressing (P) 10 Cut Work Preparation IP) 11 Finishing (P) 12 Internal Work Handling (P) 13 Introduction to Fashion Drawing (D) 14 Garment Construction (DP) 15 Fabric Utilization (Marker Making) IP) 16 Quality Control (P) 17 Introduction to Pattern Development (D13) 18 Advanced Pattern Development (DP) 19 Grading (DP) 20 Advanced Fashion Drawing (D) 21 Fashion Design Past and Present ID) 22 Accessory Design (D)

25 12 TABLE II

Areas of Instruction Needed for Specific Job Preparation

ID) gm Design Program (P) as Production Program IDP) is Jobs for which preparation can be accomplished in either program. Job Suggested Areas of Instruction

Finisher (P) 11 Bundler IP) 2,10 Bundle Handler (P) 2,12 Spreader (P) 1,7 (DP) 1,2, 5 or 1, 2, 14 Hand Cutter (DP) 1,4, 15or 1, 14 Hand Finisher (DP) 1, 5,6or 1, 14 Production Cutter IP) 1,4, 8 Sewing Machine Operator (P) 1,2, 5 Presser IP) 1,2, 6,9 Seamstress (DP) 1,2, 4,5, 6 or 1, 2, 14 Tailor's Apprentice IP) 1,2,4,5, 6 Alteration Hand IDP) 1,2, 3,4, 5, 6, 17 or 1, 2, 3, 14,17 Fitter (DP) 1,2, 3,4, 5, 6,11, 18 or 1, 2, 3, 14, 17, 18 Marker Maker IP) 1,2, 3,4, 7, 8, 10, 15 Sketcher ID) 1,2, 3,13, 14, 20 Embroidery Designer ID) 1,2, 3,13, 14, 17, 20 Sample Maker (D) 1,2, 3,13, 14, 17, 18 Assistant Designer (D) 1,2, 3,13, 14, 17, 18, 19 ID) 1,2, 3,13, 14, 17, 18, 19 Duplicate Cutter (DP) 1,2, 3,14, 15, 17, 18, 19 Duplicate Maker (DP) 1 ,2, 3,4, 5, 6, 14, 15, 16, 17, 18 Grader (DP) 1,2, 3,14, 15, 16, 17, 18, 19 Accessories Designer (D) 1,2, 3,13,14, 17, 18, 20, 21, 22 Designer (D) 1,2, 3,13, 14, 17, 18, 19, 20, 21, 22 Design Room Trainee (D) 1,2, 3,13, 14, 17, 18, 19, 20, 21, 22 Quality Controller (P) 1,2, 3,4, 5, 6, 7, 8, 9, 11, 14, 15, 16, 17 Patternmaker (DP) 1,2, 3,7, 8, 9, 14, 15, 16, 17, 18, 19 Production Supervisor (P) 1,2, 3,4, 5, 6, 7, 8, 9, 10, 11, 12, 14, 16, 17,18 BRIEF OVERVIEW OF AREAS OF INSTRUCTION

Basic Textiles Introduction to the Pressing Function A survey of textiles with major emphasis on finished A study of the many functions performed in the fabrics introduces students to fibers, fabric pressing department of an apparel manufacturing organi- and finishes as they affect the design and production of zation. The fundamental concepts of garment pressing apparel. The elements in the manufacturing of fabrics are explained with emphasis on pressing quality. The are related to fabric hand, appearance and expected student acquires the basic skill of pressing with a hand performance properties. iron.

Introduction to Fabric Lay-up (Spreading) Apparel Design and Production Students learn how to spread fabric in many different An analysis of the various phases of apparel design ways and how to operate and control different kinds of and production introduces the student to the career fabric spreading machines. They will also be capable of possibilities in this area. The processes of design, costing, properly manipulating fabric for shade and damage con- patternmaking, cutting, sewing, finishing and shipping trol. are discussed. In addition, the student becomes familiar with the basic terminology of the fashion business. Fabric Cutting Fashion Marketing Students learn how to adjust and operate industrial cutting machines. They will evaluate them and use them A study of the marketing process in the fashion in dif terint cutting manipulations. industry and an insight into the marketing concept and approach.Suggested teaching content includes the demographicsofconsumerfashiondemand,the Garment Pressing customary channels of distribution, and the major marketing policies and strategies of enterprises involved Teaches students how to maintain and operate pres- in the production and distribution of fashion products. sing equipment, including both hand irons and various types of pressing machines. Emphasis is placed on means of obtaining quality pressing. Introduction to the Cutting Function /A survey of the many functions performed in the cuttingdepartmentofanapparelmanufacturing Cut Work Preparation . The fundamental concepts of marker Students learn how to prepare cut work for sewing. making, explained. The spreading and cutting are The principles and techniques of assorting, ticketing and student acquires the basic skill of cutting by hand. bundling are both discussed, demonstrated and prac- ticed. Industrial Sewing Upon completion of this area of instruction, students Finishing will know how to operate different kinds of industrial sewing machines and attachments. Students learn to Introduces the student to the principles and tech- identify, know when to use, and how to produce niques of garment trimming, ticketing, folding, pinning different kinds of constructions. Various hand and packaging. Emphasis is placed on developing mani- sewing operations are also taught. pulative skill in these job tasks. k.7 Internal VWork Handling Advanced Pattern Development

Gives the student the basic information necessary to The more complex problems of draping andpattern perform the simplest yet most important job task in an drafting are explored. Included are drafting basicpat- apparel factory the storing, dispatching and supplying terns from measurements, and introduction to tailored of work in process, and the supplying of equipment and garments, and handling fabrics for soft draping and more trimmings for work in process. intricate effects. The sample garmentserves to proviu the student with the opportunity for practical applica- Introduction to Fashion Drawing tion of the more challenging material covered. The professional approach to fashion drawing is stressed. No unusual artistic talent or previous training is Grading required to learn to draw fashion sketches thatac- Provides a firm foundation upon which studentscan curately represent design details. Students work inpen- build professional competence in grading when they cil, felt-tipped pen, and water colors as they learnto enter the industry. Entire garment units provide the draw the fashion figure with ease and flair. problems in grading, thus approximatingas closely as possible the various challenges thatare found under Garment Construction normal working conditions. Within each module,em- phasis is placed on basic principles that applyto a wide Students become familiar with the basic procedures of range of situations. garment construction including cutting, hand and ma- chine sewing, and pressing as practiced in manufacturer's Advanced Fashion Drawing sample rooms and dressmaking establishments. Emphasis is on techniques of complete garment assembly rather An area of instruction designed to develop additional than the particularized skill development required for skill in rendering the fashion figure. A wide variety of volume production workers. techniques, commonly used by fashion designers and illustrators, is introduced. Emphasis is placedon clearly defined representation of various types of fabrics and Fabric Utilization materials used in fashion. Studentsare taught to draw Students study how to make the different kinds of boys and girls of all ages for children's wear design, and markers used in the apparel industry. Fabric utilization are introduced to the male fashion figure for the purpose and the quality aspects of marker making are stressed. of designing men's apparel. Discussion of market duplicating systems is included. Fashion Design: Past and Present Ouality Control The origin and development of is traced from the beginning of history to the present. Throughoutthe Students learn the principles and techniques ofap- area of instruction, the evolution of costume is related parel quality control. All aspects of quality apparel to the prevalent social and economic conditions of the manufacture from to finished productare times. Laboratory assignments introduce the studentto discussed. Techniques of the job tasks involved in im- the technique of designing apparel by drawingin- plementing quality as well as those for finished product spiration from the fashions of the past. Emphasisis quality evaluation are explored. placed on adapting relevant design featuresso that they function within the structure of modern utilityand technology. Introduction to Pattern Development Accessory Design The methods of draping and pattern draftingare com- bined in an integrated study of pattern development that Introduces the major areas of accessory design. Hand- approximates as closely as possible the patternmaking bags, gloves, belts, and shoesare analyzed in practices followed in industry. Students drape basic pat- terms of construction, materials, and pictorial repre- terns and learn to manipulate them to achieve numerous sentation. The future designer is trained to sketch ideas design variations. The construction of a sample garment with clarity and precision, so that production tech- provides an opportunity to view the function ofpattern nicians can easily follow the sketches and producea first development in relation to design and construction. sample.

15 GENERAL PROGRAM CONSIDERATIONS

There are many administrative factors to be taken FACULTY into consideration before a job-preparatory program is undertaken or expanded. Questions such as the follow- The effectiveness of a job-preparatory curriculum de- ing require affirmative answers: pends to a great extent on the competence and enthu- siasm of the teaching staff. It is important for instructors 1. Does such a program meet a manpower and educa- in this program to be occupationally competent through tional need in the State or community and at a bonafide wage earning experience in relevant occupa- reasonable cost? tions and to have had, or to be given, instruction in the 2. Is the present faculty, if any, qualified or can techniquesof teaching.Occupationally experienced qualified faculty be obtained? teachers add credibility and realism to a program. 3. Will there be adequate financial support to provide The problem of identifying and recruiting qualified the program with the necessaryfacilities and instructors is a very real one. If vocational or technical equipment and to maintain it by providing con- teachers with an understanding and appreciation of the tinuing support for the proper instructional re- industry are unavailable within the institution, some sources necessary for high quality programs? instructors may be recruited from industry who are 4. Can provisions be made for effective guidance and available for teaching on a part-time basis. There are placement services? often industry professionals who are eager and able to teach 2 or 3 hours a day, or some other agreed upon schedule. Also, some individuals who have retired from indus- trial positions and who are physically and mentally alert SURVEY OF NEEDS may be recruited as part-time instructors for areas of The basic purpose of this or any other job-prepara- work in which they have had a successful experience. tory program is to prepare students for advantageous Experience has shown that graduates of technical initial employment. It is obvious that a program of this schools, who have acquired suitable employment expe- type should not be undertaken unless: rience, often become excellent teachers in job-prepara- tory curriculums. Persons with this background are more likely to understand the objectives, values and unique 1. There is every indication that it fills an educational instructional requirements of vocational-technical educa- or manpower need in the community or State and tion and often bring to the program the kind of enthu- at a reasonable cost; siasm which has meaning to the students they meet. 2. There is sums assurance, as determined by a study, Programs of an occupational nature need to be kept that there are advantageous and meaningful entry- up-to-date if they are to be effective in preparing people job opportunities for enrollees of the program. for employment. In-service training programs should be Those who believe that a program of this type may be developed and used to help instructors with teaching needed in their institution should begin with a compre- techniques, use of instructional materials, planning in- hensive regional, State and/or local study. It should be structional procedures, evaluation procedures, etc. and made with the help of people acquainted with the ap- to update instructors in terms of new industry develop- parel industry needs in apparel design and/or apparel ments. Faculty members should also be encouraged to production. Such a survey is necessary to catalog the participate as active members of professional associa- educational needs, to define community support, to tions. Through their publications and meetings, such evaluate available student population, and to form a organizations serve as important sources of information basis for a decision as to whether or not to offer the for new instructional materials and continuing reports of program in whole or in part. Furthermore, no program new processes, concepts and developments related to should be undertaken unless there is strong indication their technologies. A list of these trade associations and that there will be a continuing need. professional societies can be found in the Appendix.

17 29 STUDENT ENROLLMENT AND SERVICES much job preparation they want, how much they will undertake and for how long. After completing their first It is recommended that there be some system for goals, they could then be encouraged to participate in enrolling students who have a reasonable expectation of progressive levels of job preparation in order to broaden succeeding in all or a meaningful pert of the program, employment potential and satisfy maturing occupational since the effectiveness and success of the program will choices. ultimately be measured by the job-performance of its enrollees. Students entering the Apparel program should be Placement and Follow-Up Services manually dextrous, be able to accurately discern colors and enjoy working with fabrics. A high degree of interest Effective occupational preparation is impossible if the and motivation is desirable. Students who are speci- school feels that its obligation ends when the students fically interested in Apparel Design should show some graduate. Placing the students on the job and following evidence of creative talent. This might be in the form of up their successes and failures provide the best possible some type of their own work to be submitted for evalua- information to the school on its own strengths and tion or in the form of an entrance examination in weaknesses. drawing and draping. However, an aptitude for apparel An excellent placement record is important in attract- design is most difficult to ascertain and many students ing new enrollees. Also, a school which is successful in will evidence or develop creative ability as they attain placing its students is more likely to have motivated skills in the program. students than a school which divorces itself from the General school records, aptitude test results and in- placement responsibility. formation on exploratory experiences and activities can Follow-up of employed graduates should be utilized be useful tools in assisting potential students in making to determine: the decision on whether to enter this program or not. 1. Graduates' success or failure in employment 2. Effectiveness and value of the program Guidance and Counseling Services 3. Possible revisions to be made in the program Guidance and counseling are important in order to bring into the program students who have a basic under- Competency Certification standing of the demands and rewards of the occupation and who have the potential for developing the com- In industries such as the fashion industry where em- petence and confidence to meet the demands and ployment certificationis not prescribel, certification achieve the rewards. could be considered informal Student records could be In view of individual differences, diverse occupational maintained in terms of the degree to which the student objectives, the variety of instructional areas and the is able to perform one or more of the competencies levels of training opportunity, the importance of in- needed for identified occupations. Another factor to be formed and continuous counseling cannot be over- considered for competency certification is employer emphasized. Teachers,coordinatorsandguidance evaluations of the student's performance in cases where personnel must assume responsibilities for: a cooperative training experience is provided. 1. Aiding students in their selection of educational and occupational objectives consistent with their interests and aptitudes. STUDENT ORGANIZATIONS 2. Providing for assessment and recognition of each student's competencies achieved or developed in Student clubs that are related to an instructional previous educational programs and/or employment program, should be encouraged and sponsored by experiences. faculty members. Groups such as these strengthen rela- 3. Assisting students in a continual assessment of tionships among students, and develop leadership po- their progress toward their individual occupational tential and an ability to work with other people. They goals. also provide opportunities for students with similar in- 4. Assisting students in revising their educational ob- terests to select and discuss areas about which they jectivesifother interests and vocational goals would like further information, and to invite guest emerge as students develop. speakers of their own choice. Students should also be involved in determining how These student groups should be directed by the stu-

do 18 dents but faculty assistance and advice must be available engaged. For example, many of the learning experiences whenever needed. To be encouraged also are affiliations suggested in this guide can be adapted for completion at with relevant student organizations that are national or the students employment sites. statewide in scope, such as the Distributive Education When students test and apply their school-learned Clubs of America. theory in a work situation, study becomes more mean- ingful. Just as important, the student has an opportunity ADVISORY COMMITTEES to learn the importance of reliability, cooperation, judgment and other qualities associated with the success- The success of job-preparatory programs depends ful worker. Through this exposure to the real world of greatly upon the formal and informal support of in- work, students' career choices are stimulated and shaped. dustry advisory committees. Such committees serve Should they find through their work experience that without pay, as interested citizens. they are not fitted for a specific area of work, they may The committee can be important as an aid in estab- decide to change their field of study. This decision may lishing,maintaining and/or evaluating the program. prevent them from wasting their time on a misguided Members can also be helpful in recruitng faculty, placing career choice. graduates, recommending, and in many cases, securing Specific employment is obtained, as circumstances donations of instructional equipment and materials, pro- permit, by a teacher-coordinator or a placement office viding assistance and facilities for field trips, assisting within the educational institution. The institution re- with training stations for cooperative training and the gards the cooperative training technique as an integral like. part of the program as a whole. It is not regarded The committee should be made up of representatives primarily as an earning opportunity, although all stu- of industry, trade associations, related business and in- dents are paid wages that are commensurate with those dustry and, where appropriate, local labor organizations paid to beginning workers in the particular job for which in the community, area or State for which trainees are they are employed. Job evaluation reports are submitted being prepared. Committee members should be ap- to the school coordinator by the employer and are then pointed on a rotating basis so that the duty will not discussed with the student. Work reports are submitted become a burden to any individual member. Rotating by the students to the classroom instructorfs) who memberships will also give other interested people an utilize them to reinforce instruction. opportunity to serve. The average committee usually The cooperative training technique offers important consists of about 12 to 20 members. These members advantages to students, to the school and to employers. should be invited and appointed by the responsible edu- It offers students an opportunity to gain the type of cational authority. The duties and responsibilities of the experience that will make them more desirable as em- advisory committee should be clearly understood so that ployees. As a result of their employment experience maximum service can be rendered. with a particular establishment, many students are of- For further informatiNabout advisory committees fered permanent positions with that organization upon see American Vocational Association, The Advisory completion of their schooling. Regardless of their next Committee and Vocational Education, Washington, The steps, students establish employment records which are Association, 1969 and Riendeau, Albert J., The Role of extremely important for future reference. the Advisory Committee in Occupational Education in Cooperative education also provides opportunities for the Junior College, Washington, American Association of the educational institution to maintain close contact Junior Colleges, 1967. with employers. This contact becomes a valuable two- way channel of communication which helps the educa- COOPERATIVE TRAINING tionalinstitution to keep its knowledge of specific employment needs up-to-date, and at the same time A good way to develop employment skills is through keeps employers acquainted with, and involved in, the actual employment. To the extent that the labor market program of the institution. allows, cooperative work training should be a regular part of a job-preparatory program. It may be scheduled Ideally students should be exposed to work expe- for a block of time planned for full-time employment rience after they have acquired some of the basic skills during peak business periods or for a period of time required for entry jobs. At this point, they can render during which part-time school attendance is alternated some meaningful service to the employer and in turn with part-time employment. gain a realistic view into their chosen occupation. They When employment is used, it should be considered an will then be able to approach further study with a better essential element in the educational process and should understanding of the actual working conditions and be related to the field of study in which the students are career opportunities in their field. Additional expenditures of time andmoney are lines and are also discussed in the section on Facilities, necessary to locate work training stations and to super- Equipment and Costs, and Instructional Supplies. The vise and counsel the students who are assigned to them. following are general suggestions for sources of supply Few expenditures, however, will bring a bigger return in for instructional materials and possible utilization of linking education with productivity and in making class output which can have financial advantages to the schools effective in preparing young people for meaning- program and can also enhance instruction. ful careers. Specific suggestions for using the cooperativeplanare 1. Possible sources of supply withoutcosts available from vocational education directorsin State a. Brochures from textile producers, apparel pro- Departments of Education. ducers, manufacturers and suppliers of equip- rnent and trade associations are obtainable free SAFETY of charge. b. Donations and/or loans of fabrics and garments Principles of safety should be taughtand stressed as forclass demonstrations and learning-expe- an integral part of each instructional area that involves rience activities are usually obtainable from handling of tools and equipment. By emphasizingcareful local manufacturers. Another source of supply procedures and by observing the normal safety practices, for garments might well be donations ofun- many dangers can be avoided. claimed garments by local drydeaning shops. The importance of protecting humanlife and limb is 2. Possible utilization of class output paramount, but students also need to learn good work Where feasible and appropriate, it 111 suggested habits and to develop a pride in workmanship.Teaching that work activities be simulated i,the class- proper care and use of equipment is more important room and that the economic value of class than teaching how to repair itas a result of negligence. output be considered. The utilization of class output should be subject to guidelines estab- INSTRUCTIONAL EQUIPMENT lished in consultation with the local advisory committee in order to avoid competitive fac- In determining and selecting instructionalequipment, tors. the need for every item should be established.Instruc- tors should recognize that the purpose of laboratory For example, in an apparel program, produc- and/or learning experiences is to teachor reinforce prin- tion situations could be devolved in the ciples and basic skills. The latest andmost expensive industrial sewing instructional area whereby equipment is not always necessarily thebest for in- apparel is produced in quantity under factory- structional purposes. In many cases, simplerequipment like conditions in the classroom and sold locally may be more effective because it represents only the at cost or slightly above costs. This would give essentials. Equipment, however, should reflectcurrent students a motivating factory-related workex- industry usage. perience and would create a regenerating fund The possibility of getting donation.;of equipment that would provide the necessary materials to from industry resources should be investigatedby the maintain this type of valuable learning experi- ence. local school or by the State vocational educationoffices. Advisory committees can be helpful in thisarea. The instructional equipment and facilitiessuggested UBRARY SUPPORT in this guide are planned for classes ofapproximately 20 to 24 students. A school library is the majorsource for the reading and reference facilities whichare necessary to make an The ingenuity of the instructor will playa major part educational program fully effective.Instructors must in governing the selection and cost of theinstructional recognize their responsibility for developing and equipment. Suggestions for desirable facilities, specific enrich- ing the resources of the library to supporttheir program equipment, layouts and approximatecosts are discussed and for stimulating student in another section. use of the library. Assign- ments and projects calling for theuse of the library enables the students to understandthe research re- INSTRUCTIONAL MATERIALS sources in libraries and how they relateto their present AND CLASS OUTPUT career choice. The library should house tradejournals, pamphlets, The specific instructional materials that are suggested basic references, current and pertinent for this program are included in the and peri- instructional out- odicals. Keeping abreast ofnew equipment and pro-

20 cedures is most important. Many new and different unavailable in texts; hence the absence of suggested texts fibers are continually introduced in fabrics for apparel. in some areas and the multiple listing of references in Such nontextiles as plastics, leathers and furs are also others. used for garments. One quickly realizes the importance In many areas of instruction, it will be necessary for of good library support to keep faculty and students the teacher to develop his own teaching materials. Read- updated on new product technologies. ing references must usually be augmented by mimeo- A list of periodicals that report new developments in graphed material reproduced by the instructor from cur- products, equipment and procedures can be found in the rent materials in trade publications and/or by brochures, Bibliography of this guide. It is suggested that the library bulletins and reports from trade associations and from subscribe to these periodicals for the use of faculty and business firms within the fashion industry itself. students alike. Audiovisual aids can be a great help in teaching but must be previewed before use in order to determine their timeliness and pertinency to a teaching objective. Only a TEXTBOOKS, REFERENCES, few have been listed in this guide because changes in techniques and procedures tend to make films obsolete AND AUDIOVISUAL AIDS in a relatively short time. Due to the dynamic nature of the industry, tech- It is expected and hoped that a skillful instructor will niques, procedures and product technologies are con- make liberal use of merchandise samples, slides, trans- stantly changing. Textbooks, references and visual aids parencies, charts, industry materials and other visual aids must be reviewed continuously in light of new develop- that illustrate and visualize technical aspects of the con- ments. tent that is being taught. These again must usually be The texts and reference materials that are suggested collected and/or prepared by the individual instructor. in the instructional area outlines should be examined by They must also be updated regularly in older to keep the instructor and analyzed for content and relevancy; them current. Some suggestions for visual aids are in- newer and more pertinent ones should be substituted as cluded in the instructional outlines. The ingenuity of the they become available. The information needed to cover instructor and/or department head will play a major part a particular area of instruction is more often than not, in the preparation and use of instructional aids.

33 21 OUTLINES OF AREAS OF INSTRUCTION

The outlines of the areas of instruction which follow Assist the individual student's present skills and contain the subject matter to be included, the behavioral potential objectives and brief instructional guidelines. They are Identify those behavioral objectives which indi- organized according to teaching modules each of which viduals can attain contains suggestions for teaching content and student Encourage students to acquire at least one if not learning experiences. Suggested hours, prerequisites, more marketable job skills, allow them sufficient approaches for student evaluation, and teaching re- time to do this, and emphasize the importance and sources are also included for each area of instruction. It interdependence of all operations in an employ- is expected and recommended that these materials be ment setting modified to suit the needs of local situations and to take Individualize desired behavioral outcomes in order advantage of the special interests, capabilities and ideas to obtain a sense of accomplishment for all stu- of the teaching staff in a particular institution. dents in the class The importance of flexibility in varying behavioral Encourage and motivate all students to continually objectives to meet the needs of individual students and strive for higher goals in allowing individual students sufficient time to develop at least one employable skill cannot be over-emphasized. Although individualizing instruction is not easy, it is While the successful completion of all objectives for each necessary if the overall objectives of job-preparatory area of instruction and for the program in its entirety is programs are to be achieved. desirable, this is not attainable by all students. It must The suggestions for evaluation that are included in further be remembered that skill development can only the outlines offer but a few (*proem... Regardless of be "learned-by-doing" and that what one student can the evaluation techniques that are used and of their learn in one week may take three weeks for another. frequencywhether they be written, oral, or perfor- The role of the teacher in education has changed mance assessmentsevaluation should be in terms of the from being primarily an information giver in large group desired behavioralobjectives.inaddition, students sessions to functioning as a resource person, a motivator, should be made aware of all objectives and kept aware of a diagnostician, and an organizerin sum, alearning their own performance and progress as it appears to the manager. It is incumbent upon the teacher to: instructor.

23 Fundamental Background Instruction

BASIC TEXTILES

Prerequisites: None Teaching Modules Suwon& Hours I. Introduction end Orientation Suggested Hours:so 3 II. Fabric Characteristics 8 Ill. Fibers Behavioral Objectives 9 IV. 8 This area of instruction should enable studentsto: V. Methods of Fabrication 15 1. Use the terminology that is identified withthe VI. and Printing 12 . VII. Finishing 8 2. Know fabric characteristicsas they relate to '013- VIII. Federal Regulations 3 Pearance, hand, expected performance, and end- Total Hours 80 Product use. 3. Perceive the relationship between fiberproperties, I. INTRODUCTION AND ORIENTATION fabric types, and end-productuse. 4. Understand the major systems ofyarn manufac- Teaching Content turing and their affect on the properties of fin- A. What Are Textiles ished fabrics. 1. Definition of fiber 5. Comprehend the methods of fabric construction 2. Definition of yarn that determine the characteristics of fabrics. 3. Definition of fabric O. Be familiar with the coloring methodsapplied to fabrics. B. Concept of Basic Textile Constructions 1. Fiber type 7. Be familiar with the various types ofprocesses used on textile materials. 2. Yarn type 3. Method of fabrication 8. Be familiar with federal laws and regulationsas they apply to fabrics. 4. Method of coloring 5. Finish Instructional Guidelines C. The Flow of Textiles (relationshipbetween levels and function of each) This area of instruction is an introductionto textiles 1. Fiber producer with major emphasis on finished fabrics. It issug- a. Natural gested that a representative cross-section of fabric b. Man-made swatches be distributed to the students and that fre- 2. Yarn mill quent reference be made to these samples in order to a. illustrate various teaching points. Traditional fabric b. Throwing types should comprise the major portion of thestu- 3. Fabric mills dent's samples and the classical names for these fab- a. Weaving ricsshould be employed.Fabric manufacturing b. should be related to fabric hand, appearance, and c. Tufting expected performance, and these in turn should be d. Other related to end product use. The study of finished 4. Converters and their function fabric characteristics should be reinforcedas the stu- 5. Dyeing, printing and finishing plants i dent progresses through the study of the various 6. End product manufacturers manufacturing elements that affect the end product. a. Apparel

,35. 24 b. Home Furnishings 2. Related to fabric appearances, hand, and per- c. Domestics formance d. Industrial 3. Major properties of each generic class 7. Retailers C. Modification of Fibers Learning Experiences 1. Chemical variations 2. Modified physical shape 1. Have students examine the apparel they are wear- a. Length ing and distinguish between fiber, yarn and fabric. b. Crosssectioned 2. Have students make a list of business enterprises in the local area that are involved in different levels D. Methods of Fiber Indentification (limitations and of production and distribution. value of each) 3. Show film, Cloth: From Fiber to Fabric or Tex- 1. Burning and other simple tests For Everyone 2. Microscopic examination 3. Fiber identification stains II. FABRIC CHARACTERISTICS 4. Chemical solubility: quantitative identification

Teaching Content E. Grades of Fibers 1. A. Describing Fabric Appearance a. Staple length 1. Color b. Grade 2. Pattern 2. 3. Texture 3. Man-made fibers B. Describing Fabric Hand Learning Experiences C. Describing Fabric Weight 1. Demonstrate some simple tests such as the burning 1. By end product use 2. By typical industry terminology test, the wetdry strength test, a simple acid test, to identify the fiber content of several unknown D. Determining Face of Fabric fiber fabrics and have students perform similar 1. Major characteristics tests. 2. Designer choice 2. Have students examine their own wardrobes and 3. Factors limiting designer make a chart showing the fiber content and the E. Fabric Traditional Names description of the endproduct item. Room should be left on the chart to add information about the Learning Experiences other elements of fabric manufacture that will be 1. Have students go through various fabrics in the presented in this area of instruction. bundle of fabric swatches. Each fabric should be 3. Arrange a field trip to a fiber producer, cotton gin, described, named if a traditional name is known cotton or wool , or the opening room of for that fabric, and the face identified. a mill during this module. 2. Assign students to find three traditional fabrics in 4. Show and discuss film: The Way It Is With Men- their homes and classify according to fabric name, Made Fiber* fibers used, description of the fabric and the end product. IV. YARNS 3. Have students see how many different fabrics they Teaching Content can identify by traditional fabric name in their A. Types of Yarns and Properties of Each home. 1. Spun III. FIBERS a. Cotton system b. Wool system Teaching Content 2. Filament A. Classification of Fibers 3. Textured filament 1. By origin 4. Stretch yarns 2. By generic class 5. Novelty yarns 3. By filament or spun 6. High bulk yarns 7. Ply yarns B. Properties of Fibers 1. Related to processing B. Twist in Yarn

25 1. Direction b. Rib 2. Amount c. Links 3. Importance and effect 4. Basic warp knit machines 4. Relation to fabric type a. Tricot C. Yarn Numbering Systems b. Raschel 1. Relationship to weight 5. Fabric type produced on each of abovema- 2. Major systems used chines a. Denier: rule of denier 8. Characteristics of knit fabrics b. Count: rule of count C. Tufted Fabrics c. Tex: rule of tax number 1. How formed D. Yarn Quality Factors 2. End-products in current use 1. Uniformity 3. Characteristics 2. Neppiness D. Non-woven Fabrics 3. Fuzziness 1. How formed 4. Strength 2. End-products in current use 3. Characteristics Learning Experiences E. Other Fabrication Methods 1. Using a yarn of known size, have students approxi- 1. mate the yam size of several yarns of unknown 2. Braid size. These may be taken from fabric samples given to the students and the effect of yarn size on the Learning Experiences fabric hand and appearance can be discussed. 1. Arrange a field trip to local mills that eitherweave, 2. Select various fabric samples and have the student knit, tuft, or produce non-wovens and/or show identify the quality factors of theyarns used, the and discuss film: Construction of Cloth. type of yarn, and the relationship between the 2. Have students identify the fabrication methodem- yarns and the fabric appearance and hand. ployed to produce the fabrics in their swatch bun- 3. Have students refer back to the chart begun in the dle. module on fibers and add to each item informa- 3. Have students refer to the chart started in the tion about the yarn and its effect on the finished module on fibers and add information on the product. fabrication method and its effect on the finished 4. Show and discuss film: Yarns Used in Making fabric. Cloth. VI. DYEING AND PRINTING V. METHODS OF FABRICATION Teaching Content Teaching Content A. How Fabrics are Colored A. Woven Fabrics 1. Solution dyeing 1. Loom motions 2. Chemical reaction with dyestuff 2. terminology 3. Resin bonded 3. Basic weave formation B. Properties of Dye and Fiber Relationships 4. Special weave effects 1. Affinity a. Leno 2. Relative cost b. 3. Color fastness c. Dobby 4. Metamerism d. Jacquard 5. Availability of shades 5. Fabric count C. Major Dye Classes in Current Use B. Knitted Fabrics 1. Fibers on which each is used 1. How knit fabrics are formed 2. Properties of each class a. Weft knitting b. Warp knitting D. Colorfastness 2. terminology 1. Colorfastness and end use 3. Basic weft knit machines 2. Simple tests a. Jersey E. Methods of Dyeing

is7 26 1. Recognition of each 1. Alteration of hand a. Stock 2. Alteration of appearance b. 3. Creation of performance characteristic c. Yarn d. Piece B. Nature of Finishing 1) Cross dye 1. Mechanical processes 2) Union dye 2. Chemical additives 2. Reason for each C. Major Types of Finishes and Fabrics on Which F. Methods of Printing Used 1. Roller 1. Preparatory finishes 2. Screen a. Shrinkage control a. Hand b. Bleaching b. Machine c. Singeing c. Rotary d. Others 3. Heat transfer 2. Basic finishes 4. Other methods a. Calendering b. Napping G. Types of Prints and Recognition c. Brushing 1. Direct d. Filling 2. Discharge e. Mercerizing 3. Resist f. Others 4. Blotch 3. Enduse finishes 5. Overprint a. Flame retardants 6. Duplex b. Water repellents 7. Flock c. Stain repellents 8. Burnout d. Permanent press 9. Warp e. Others H. Comparison of WetProcess Printsand Prints Learning Experiences 1. Processing steps 1. Using treated and untreated samples of similar 2. Cost fabrics, demonstrate a water repellent finish anda 3. Properties of each flame retardant finish. 2. Have each student identify the probable finishes Learning Experiences employed on ten different samples from their fab- 1. Have students use a vegetable suchas beets, onion, ric bundle. cabbage, etc. to prepare theirown dyes. This is 3. Refer. again to the chart begun in the fiber module done by boiling the vegetable fora long period of and have the students add the information on time and then straining the solution. Then the visible or tactile finishes and expected finishes. students can try to dye a cellulose fiber,a protein fiber, and a in the dye theymade. These dyed samples can then be tested forcolor- VIII. FEDERAL LAWS AND REGULATIONS fastness to light and laundering if the equipmentis Teaching Content available. 2. Have students identify the method of coloring A. Fiber Labelling Laws used on a variety of samples from the fabric bun- 1. Wool Products Act dles. 2. Textile Fiber Products IdentificationAct 3. Have students refer to the chart begun in thefiber 3. Historic reasons for legislation module and add the informationon method of 4. Requirements of laws coloring. 5. Definitions of terms a. Virgin or new fiber VII. FINISHING b. Re-processed fiber c. Re-used fiber Teaching Content 6. Advertising requirements A. Purpose of Finishing B. Flammability Laws

;...18 27 1. History Holden, N. and J. Saddler Textiles , M.L. Introductory Textile Science 2. Current standards and test methods Linton, G.E. Applied Basic Textiles 3. Outlook for additional standards in future Potter, M. and B. Corbman. Textiles: Fiber to Fabric 4. Effect on textile industry Stout, E.E. Introduction to Textiles Wingate, I.Textile Fabrics and Their Selection C. Care Labelling Regulations 1. History 2. Current status PERIODICALS American Fabrics 3. Requirements Daily Neva Record 4. Standard and test methods Modem Textiles Learning Experiences AUDIOVISUAL AIDS 1. Have students bring in labels, or advertisements Cloth: Fiber to Fabric. 17 min., 11rnm color film, sound. which feature labels, for evaluation and discussion Encyclopedia Brittanice, Education Corporation, 426 of contents. N. Michigan Ave., Chicago, III. 60611 2. Using special, incorrectly prepared labels, have stu Construction of Cloth. 25 min., 30 color slides with dents identify the illegal labels and write them written commentary and 20 fabric swatches keyed to program. correctly. Fairchild Visuals, 7 East 12th St, New York, N.Y., 10003 Suggested Evaluation Introduction to Textiles. 30 min., 32 color slides with written commentary and 18 fabric swatches keyed to 1. Given a set of swatches, students are evaluated on P rogram. their ability to recognize 40.50 basic fabrics by: Fairchild Visuals, 7 East 12th St., New York, N.Y., 10003 a. Classic name Yams Used In Making Cloth. 25 min., 32 color slides with b. Method of construction written commentary and 22 fabric swatches keyed to c. Type of yarn used program. d. Finishes where apparent Fairchild Visuals, 7 East 12th St., New York, N.Y. e. Appropriate enduses 10003 f. Expected performance of the fabric Textiles for Everyone. 16 min., color filmstrip, sound. American Textile Manufacturers Institute, 1501 John- 2. Students are evaluated on their ability to do a ston , Charlotte, N.C. 28200 cloth count of either a woven or knitted fabric. The Way It Is With Men Made Fibers. 27 min.. 16mm 3. Students can demonstrate their awareness of laws color film, sound. relating to textiles by documenting information E .I. Dupont de Nemours and Co., Product Informa- provided by a salesperson or clipping news items. tion Section, Textile Fibers Dept, Centre Rood Bldg., Wilmington, Delaware

INSTRUCTIONAL SUPPLIES Teaching Resources Swatch bundles las described in Instructional Guide lined TEXTS AND REFERENCES Fabric labels Cowan, M.L. Introduction to Textiles Samples of current fabrics Hall, A.J. The Standard Handbook of Textiles Testing equipment and supplies

oa 28 INTRODUCTION TO APPAREL DESIGN AND PRODUCTION

Prerequisites: None turgid that the results of most projects serve as a basis for future problem solving. Suggested Hours: 45 Teaching Modules Suggested Hours Behavioral Objectives Class Laboratory I. General Overview of the This area of instruction should enable students to: Industry 2 1 1. Understand the general structure of the apparel II. Design 5 industry. III. Pattarnmaking 4 8 2. Become familiar with the function of the designer. IV. Basic Terminology 4 0 3. Gain insight into the patternmaking process. V. Cutting 2 1 4. Use the terminology that is identified with the VI. Sewing 2 1 apparel industry. VII. Finishing and Distribution 2 1 5. Know how garments are cut for mass production. VIII. Costing 2 1 6. Become aware of the various elements of industrial IX. Control Functions 2 1 sewing. 7. Become familiar with the finishing and distri- Total Hours 25 20 bution of apparel. I. GENERAL OVERVIEW OF THE INDUSTRY 8. Understand the elements that affect the costing of apparel. Teaching Content 9. Understand quality factors in a garment. A. History of Apparel Manufacturing in the United States Instructional Guidelines 1. The Industrial Revolution and the Civil War 2. Skilled immigrants This area of instruction is introductory in nature. It is 3. Sweat shops designed to give students, planning a career in the 4. Unions fashion industry, an overview of apparel production 5. Industry expansion that will help them to see themselves and their job in 6. Modern manufacturing relation to the product with which they are involved. a. Vertical set-up from fiber to finished pro- The various phases of production are analyzed. The duct processes of design, costing, patternmaking, cutting, b. sewing, finishing and shipping are presented. c. Conglomerates In addition, the student is introduced to the basic B. The Functional Structure of an Apparel Manu- terminology of the fashion business. It is suggested facturing Company that basic material be presented with the full use of 1. Administration visual aids. For example, in presenting the lesson on 2. Styling and design basic terminology, visuals of the various style details 3. Sales are essential for comprehension. Hands-on learning 4. Production experiences will give the student an opportunity to 5. Shipping and receiving explore and become aware of industry methods in 6. Purchasing design and production. These activities are so struc- 7. Marketing and distribution

10 29 C. Major Specializations in the Industry 6. 1. Women's and children's clothing 7. Design room trainee a. Designer B. Size Ranges b. 1. Infants' c. and 2. Toddlers' d. Dresses 3. Children's e. Sleepwear, loungewear and 4. Boys' and girls' f. and foundations a. Slim g. Knitted outerwear b. Regular h. Evening c. Chubby i.Bridal 5. Sub-teens' j.Maternity 6. Young juniors' k. Uniforms 7. Junior petites' I.Furs 8. Juniors' 2. Men's and boys' clothing 9. Misses' a. Tailored clothing 10. Women's b. Sportswear 11. Half sizes and stouts' c. Slacks 12. Men's d. a. Short e. Work clothing b. Regular f.Knitted outerwear c. Long g. Underwear d. Stout h. Sleepwear and robes e. Shirts - collar size and arm length 3. Accessories f.Slacks - and leg length a. Shoes C. How Fabrics Influence Design b. Handbags 1. the market c. Scarves 2. Woven fabrics versus knitted fabrics d. Millinery 3. Texture and the use of linings e. Men's and bo?s' furnishings 4. Color and design f.Jewelry 5. Performance and end use D. Seasonal Lines 1. Spring D. How Trimmings Influence Design 2. Summer 1. and stitching 3. Transition (early fall-back to school) 2. Lace 4. Fall 3. Braid 5. Holiday and cruise E. Sketching Ideas - The Designer's Croquis 1. Front view Learning Experiences 2. Back view Have students set up a simulated company and dis- cuss its operation . Include references to: Learning Experiences 1. Geographical location of company 1. Students make 10 original designs proceeding as 2. The functional departments follows: 3. Description of the product a. Trace croquis (front and back) for various size 4. Specific items produced for each season ranges II. DESIGN PROCEDURES b. Develop and sketch 10 different designs c. Specify: Teaching Content 1) Size range A. The Design Room: Who Works There? 2) Division of the industry 1. Designer 3) Suggested fabric and trimming (swatch if 2. Sketcher possible) 3. Assistant designer 2. Arrange a field trip to a manufacturing plant 4. Sample maker where designing is done on the premises in order 5. Finisher to observe design procedures.

41 30 III. PATTERNMAKING 1. The concept of yield (pattern placement) Teaching Content 2. Types of markers A. Draping B. Hand Cutting 1. Shears 1. Principles and reasons for draping 2. Short knife 2. The model form 3. Muslin C. Cutting for Volume Production 4. Procedures in draping 1. Hand powered machines a. Tools for draping 2. Die cutting b. Front waist - only 3. Band knife c. Back waist 4. Numeric control (automated d. Flared Learning Experiences B. Pattern Drafting Using a pattern, developed in module Iii, havestu- 1. Principles and reasons for pattern drafting dents cut in fabric with hand scissors as an explora- 2. The foundation pattern tory cutting experience. 3. Procedures of pattern drafting a. Drafting a sleeve from measurements VI. SEWING b. Creating various fashion sleeves by using the slash and spread method Teaching Content c. Dart manipulation of the basic waist A. Seams and Seam Finishes 1. Hand sewing C. Grading a. Basting 1. Principles of grading: maintenance of original b. Thread tracing proportions 2. Single needle 2. Computerized grading a. Butterfly seam Learning Experiences b. French seam 3. Blind 1. Demonstrate draping and pattern drafting. a. 2. Have students drape one dart waist, front only, b. Tailoring and drape a flared skirt. 4. Double needle - flat felled 3. Have students trace a sleeve sloper and develop a 5. Overedge new pattern by using the slash and spread method. 6. Safety stitch overedge 4. Have students manipulate dart on basic waist to develop a new pattern. B. Special Machines 1. IV. BASIC TERMINOLOGY 2. sew 3. Bar Teaching Content C. Systems of Fabrication A. Silhouettes 1. Whole garment B. and waists 2. Section C. Collars 3. Semi-section D. Sleeves E. Learning Experiences F. As an experience in handling fabrics, have students Learning Experiences thread trace the sewing lines of the cut out garment piece developed in module V. Continuing assignment: Have students 1. Find examples of the various style details in news- VII. FINISHING AND DISTRIBUTION papers or magazines. 2. Mount in notebook and identify. Teaching Content A. Molding V. CUTTING 1. Pressing Teaching Content 2. Heat setting A. The Marker B. Packaging

4Z 31 1. Labeling and identification Learning Experiences 2. Market presentation Using one of their sketched designs developed in the C. Shipping learning experiences of module II, have students enu- 1. Order allocation merate the fabric, seam and garment specifications, 2. Shipping preparation and visual characteristics for that garment. 3. Traffic management

Learning Experiences Suggested Evaluation As an experience in pressing, have students a Evaluation may be based on evidence which demon- piece of fabric with the hand iron. strates the students' understanding of: 1. The structure of an apparel firm VIII. COSTING 2. The functional areas of responsibility within an Teaching Content apparel firm A. Materials 3. The different types of garments produced in the 1. Fabric apparel industry 2. Trimmings 4. The various steps and job functions in the apparel 3. Findings manufacturing process 5. Apparel terminology B. Labor 6. Quality factors of a garment 1. Direct 2. Indirect 3. Systems of payment Teaching Resources C. Overhead TEXTS AND REFERENCES Fried, E. Is the Fashion Business Your Business 1. Building and maintenance Kolodney, R. Fashion Design for Modems 2. Administrative McDermott, I. Opportunities in Clothing 3. Profit TRADE PERIODICALS 4. Promotion Meet Magazine Learning Experiences Daily News Record Women Weer Deily As an introductory experience in costing, have stu AUDIOVISUAL AIDS dents work with the sketches developed in module II Clothing: A Pair of Blue Jeans. 13 min., 16 mm color and determine price based on cost of materials, - film, sound. `i' mings, etc. Teacher must provide labor and overhead Learning Corporation of America, Preview Library, approximation. 50-30 Northern Boulevard, Long Island City, N.Y. 11101 IX. CONTROL FUNCTIONS Fashion in the Making, 25 color slides with printed com- mentary. Teaching Content Fairchild Visuah, 7 East 12 Street. New York, New York 10003 A. Quality INSTRUCTIONAL SUPPLIES 1. Raw material Fabric samples a. Fabric specifications Photographs or sketches of style details b. Physical condition Chart of size ranges which shows differences 2. Operational Draped muslin patterns a. Seam specifications Finished oak tag patterns b. Trim and findings Examples of different seam finishes Labels from clothing 3. Post operational Basic Terminology available from Fashion Institute of a. Garment specifications Technology, College Shop, 227 West 27 Street, b. Visual characteristics New York, Nov York 10001

i 4L ii32 FASHION MARKETING

Prerequisites: None marketing processes. It is always wiseto obtain per mission from the community enterprisefor any stu. Suggested Hours: 45 dent activity taking place in their firm.

Behavioral Objectives Teaching Modules Suggested Hours.

This area of instruction should enable studentsto: I. The Marketing Concept 3 1. Understand the nature and function ofmarketing. II. Analysis of Consumer Market for 2. Identify the economic andpopulation factors Fashion Merchandise 10 which influence consumer fashion demand. III. Analysis of Retail Markets for 3. Recognize the implications forapparel producers Fashion Merchandise 15 of the different types of retailersand retailing V. Analysis of Primary and Secondary activities. Fashion Markets 11 4. Be familiar with marketing methods,policies and V. Analysis of Auxiliary Fashion procedures employed by manufacturers ofapparel Enterprises 6 fashion goods. Total Hours 45 5. Recognize auxiliary fashion industryenterprises and the role they play in the marketing offashion I. THE MARKETING CONCEPT goods. Teaching Content Instructional Guidelines A. Nature of Marketing 1. between production andconsumption This area of instruction is designedto give apparel 2. Functions of marketing design and production studentsan overview and in- 3. Types of goods marketed sight into the marketing process for apparelproducts. B. The Marketers of Fashion Merchandise Inasmuch as what is designed and producedmust be 1. Producers' sales departments sold, the marketing concept begins with theultimate 2. Wholesale merchants andagents consumer and works back through the retailer to the 3. Retailers manufacturer or producer. An understandingof the 4. Supporting agencies and services nature, wtivities and different types of enterprises 5. Flow of goods in the fashion industry involved in the distribution of fashiongoods should C. The Marketing Concept help students to relate their specializedfield of in- 1. Historical perspective terest and educational preparationto the workings of a. Production oriented the fashion industry as a whole. b. "Caveat Emptor" approach Although the objectives of thisarea of instruction are 2. Current perspective on the development of knowledge and understanding a. Consumer oriented rather than on the development of specific marketing b. "Consumer is King" approach skills, it is recommended that (-lass lectures bekept to 3. Overview of marketing approach a minimum. Community resources and activities a. Defining customer targets should be utilized to the fullest extent possiblefor b. Interpreting wantsinto product specifi- on-site visitations and student observations ofactual cations c. Estimating probable sales C. Income Trends and Implications d. Planning needs 1. Average family income e. Implementing inventory requirements 2. Massclass market f. Selling and promotion D. Buying Motivation and Behavior g. Pricing 1. Why customers buy what they do 2. Why customers buy where they do Learning Experiences 1. Engage students in a class discussion of theactivi- Learning Experiences ties involved in marketing fashion merchandise. 1. In small group discussions, have students analyze Conclude by classifying activities as they relate to why they have bought for have made) whatthey buying, selling, transporting, financing, storing, are wearing. Classify their reasons asrational or grading, risk bearing, . Assign stu- emotional buying motives and ask students for dents to observe, report and classify these market- suggestions on their implications for retailers or ing activities in community enterprises (other than producers. production activities) related to apparel and ac- 2. Assign each student to interview 5 personal ac- cessory products. quaintances of different ages in order to ascertain 2. In group discussions, have students develop a flow their reasons for buying food and clothingwhere chart beginning with themselves as the ultimate they do. Ask students to come to conclusions consumers of the clothes they arewearing and about patronage motives of fashionproducts as working backwards through the retailers to the compared to food products. producers of their garments, the producers of tex- 3. Have students collect advertisements andidentify tiles and the suppliers of natural orman-made the buying motives to which they appeal. fibers. 4. Lead a discussion on current fashions andhow 3. Lead a class discussion which comes toconclusions they reflect, relate and are influenced bylife-styles on the functional importanceof marketing in the and population trends such as suburbanliving, fashionir.Justryand the different marketing working women, white collar workers, influenceof levels. young people, etc. 4. Explore students' opinions about their freedomof 5. Assign students, working In groups orindividually, choice to buy or not, their many alternative to research different populationand income char- choices of products, the excess of supply as com- acteristics and trends, and prepare visual presenta- pared to demand. Come to conclusions asto tions of their findings for class presentationand where the marketing process begins currently, in display. Students may be given choices of demo- contrast to historical situations in whichdemand graphic studies of their community,State or exceeded supply. Emphasize the dominant roleof country. consumers in the marketing process. 6. Have students suggest or illustrate possibleeffects on future fashions orfashion marketing activities II.ANALYSIS OF CONSUMER MARKETS FOR of these population and income trends,either in FASHION GOODS class discussions or as an outside assignmentfor Teaching Content class presentation. 7. Have students collect and bring into class examples A. Dominant Role of Consumers of advertisements which seem to be directed to 1. Supply and demand factors different groups of consumers in terms of age, 2. Fashion determined by consumers occupations, education, income, etc. Lead a class a. Industry proposes styles discussionin which students discuss customer b. Consumer acceptance determines fashions groups and come to conclusions ontheir impli- c. Different fashions for different groups cations for fashion retailers and producers. 8. Population Trends and Implications 1. Size of population Ill. ANALYSIS OF RETAIL MARKET FORFASHION 2. Size of families GOODS 3. Age distribution 4. Geographic distribution Teaching Content 5. Population mobility A. Definition of Retailing 6. Educational attainments B. Evolution of Retailing 7. Occupational changes C. Types of Retailing and Distinguishing Character- 8. Working women istics

4534 1. Types the store to be preceded or followed by a talk by a 2. Distinguishing characteristics merchandising executive to the students (merchan- 3. Fashion position of each type dise manager or buyer). Request that the talk be D. Retail Pricing Policies and Procedures focused on the buying and selling policies of the 1. Variations in policies store with an explanation of the reasons for these a. Price ranges policies and the methods employed in implemen- b. Markup policies ting these policies. Ask that time be allowed for a 2. Procedures question and answer period. a. Figuring retail markup 3. Arrange for a guest speaker panel in class. Guests b. Underselling techniques should be invited from different types of retail stores (e.g. chain store, departmentalized store, E. Retail Buying Policies and Procedures discount store) to discuss with the class the mer- 1. Variations in buying policies chandise policies and procedures followed in their a. particular store. Prepare students in advance for b. Fashion leadership this guest panel and assign each student to submit c. Breadth and depth of assortments to you in writing a question for the panel. After d. Imports screening questions for possible irrelevancy, dupli- e. Quality and grades of merchandise cations, appropriateness, etc., return to students f. Exclusives for use during the question and answur period of 2. Procedures the panel discussion. a. Seasonal dollar planning 4. Plan a class activity that will enable students to b. Unit planning and control actively participate in policy making decisions and c. Selecting resources in their implementation. For example, the class d. Placing initial orders and reorders might organize and operate a retail store within e. Specification buying the classroom and within class time, such as a flea f. Centralized buying market, a handicraft store, a rummage sale, or a F. Sales Promotion Policies and Procedures resale store in which school personnel might bring 1. Types of selling and promotion goods to sell. Involve all students in policy making 2. Variations in sales promotion policies decisions as to the nature of the "store," pricing, 3. Procedures extent and type of merchandise to be offered for G. Resident Buying Office Affiliations sale, selling, and services. After policies have been 1. Function of buying offices decided, have students work as committees to im- 2. Types of buying offices plement these policies. Each committee should be 3. Services of buying offices given responsibility for a specific activity such as procuring the merchandise, publicizing the store Learning Experiences opening and hours, improvising display fixtures, 1. Have student do a coordinated survey of the dif- stock counters and tables, setting up bookkeeping ferent types of apparel and accessory retailers in a and financial records, ticketing and inventorying major shopping area of the community to result in merchandise, etc. If the store is to be more than a a visual presentation on an enlarged map of the one day event, some responsibilities can be as- area which will identify the name, location, and signed on a rotating basis. type of every apparel retailer within the surveyed This type of a comprehensive learning experience area. The different types of retailers will be differ- in retail operations can serve as a springboard and entiated by small colored flags on the map, each motivation for further discussion of retail policies color representing a particular type and bearing and procedures as time allows. the name and address of the identified retailer. 5. For a particular recognizable store selected by the The illustrated map can then be used as a basis for students, have students create two advertisements additional learning experiences pertaining to dif one should be an institutional ad and one should ferent types of apparel and accessory retailers be an apparel product ad. For the product ad, e.g. the different customer groups that are their students should give a brief rationale for the selec- target, and their share of the fashion dollars of the tion of their product and the customer group to community. whom their ad is directed. 2. Plan one or more field trips to retail stores and 6. Using their own apparel and improvising display make arrangements for a behindthe-scenes tour of props, have student teams create retail selling dis.

35 `AO11. plays. This activity should be preceded by assigned f. Trunk shows observations of retail displays in order that stu- 5. Market research policies and procedures dents familiarize themselves with such different a. Collecting information types of display as windows, interiors, ledge dis- b. Sources of information plays, coy 'ter displays, etc. Student displays may be evaluated by the class as a whole for their Learning Experiences effectiveness as a sales promotion tool. 1. Following the procedures outlined for the class 7. Lead a class discussion on the importance of survey of apparel retailers, have students do a names in the selling of apparel. Compare the rela- survey of apparel and/or textile producers located tive importance of brand names for men's and in the community using additional color flags to women's apparel and have students come to con- identify the name, location and type of apparel or clusions. textile producer in terms of their production 8. Assign students to shop an accessory or an apparel specialization. department in a large retail store in which im- 2. Plan one or more behindthe-scenes field trips to ported merchandise is carried. Ask students to apparel and/ortextile producers in the com- compare the foreign-made merchandise with the munity. Arrange for a talk by a marketing or domestic merchandise in the same department for selling executive in the company to explain to value, style, fabric, workmanship and prepare a whom they sell and their marketing procedures, report on their findings for class presentation. policies, and techniques. After students present their findings and com- 3. Assign different students, either working in groups parisons, have class summarize the reasons why or individually, to research the history and growth retailers may buy foreign-made clothing and ac- of the textile industry and the apparel industry in cessories. the U.S. for class presentation. This assignment can be expanded to include the scope and econo- IV. ANALYSIS OF PRIMARY AND SECONDARY mic importance of textile and apparel production. FASHION MARKETS Discuss with students the possibility of making Teaching Content oral or visual class presentations of their findings. A. Primary Markets: Textiles and Non-Textiles 4. Assign students to do a comparison report on 1. History and development differentapparel manufacturers'merchandise within any one department of a store in terms of 2. Scope and economic importance retail prices, quality and workmanship, and dis- 3. Nature of primary markets tinctive style features. This experience will famil- B. Secondary Markets: Apparel Producers iarize students with similarities and differences in 1. History and development manufacturer's product policies. 2. Scope and economic importance 5. As a learning experience in branding policies of 3. Nature of secondary markets manufacturers, have students name as many ap- C. Marketing Policies, Considerations, and Procedures parel brands as they can, including the brand 1. Product policies and considerations names, if any, of the clothes they are wearing. a. Extent of line Lead a class discussion on the pros and cons of b. Quality national brands for apparel manufacturers. Assign c. Pricing students to bring in two advertisements of branded d. Timing products by producers. These can be found in 2. Branding policies and considerations magazines or trade periodicals rather than in news- a. Branded goods papers. b. Unbranded goods 6. Select the names of approximately 6 well-known 3. Distribution channel policies and considerations manufacturers' names (e.g. Wranglers, Levis) and a. Types of outlets assign students to shop different stores'In the b. Number of outlets community for their products. Student findings 4. Selling policies, considerations, and procedures can serve as a springboard for a discussion on a. Personal selling selective, exclusive or mass distribution and the b. Advertising considerations governing these policy decisions. c. Publicity 7. Have students role-play selling situations with one d. Trade shows student role-playing a buyer and the other playing e. Fashion shows the part of a manufacturer's salesman. The merch- andise that is being "bought and/or sold" can be to initiate a discussion on advertising agencies in supplied from the students' personal wardrobes. terms of what they are, the services they perform 8. Have students createtrade advertisements by for producers and their role in fashion marketing. manufacturers which can be either institutional or 3. Write to the International Ladies Garment Workers product ads. This activity should be preceded by Union 11710 Broadway, N.Y., N.Y.) for posters an examination of producers' ads appearing in illustrating early working conditions. trade periodicals. Lead a class discussion on the Show these posters to the class and lead a dis- differenceinthe advertising appealsdirected cussion on labor unions in the apparel industry toward professional buyers and the appeals in re- and their function and contribution. Assign stu- tail advertising directed to ultimate consumers. dents to examine their apparel purchases for union 9. Organize the class into groups and have each group labels on the inside of garments. plan a new simulated apparel firm. Each group will 4. Lead a discussion on independent fashion con- come to a conclusion on their product offerings, sultants and fashion advisory services utilized by branded or unbranded policies, their ultimate con- retailers and producers. Have students suggest sumers, the types of retailers they would prefer for what they would contribute to retailers and manu- the distribution of their products, their sales pro facturers if they were independent fashion consul- motion activities, and the sources of information tants. they would use in deciding what to produce. Each group will present their conclusions to the class at large.Aftera question and answer exchange Suggested Evaluation between each group and the class at large, the class Evaluation should be based on the student's ability may vote on which simulated firm is most likely to to: succeed and why. 1. Define, explain or identify the marketing termino- V. ANALYSIS OF AUXILIARY FASHION logy discussed in this area of instruction. ENTERPRISES 2. Identify the economic and population factors which influence consumer fashion demand. Teaching Content 3. Match a list of distinguishing characteristics to the A. Publications and Their Function different types of retailers. 1. Trade publications 4. Distinguish between production activities and mar- 2. Consumer fashion magazines keting activities orapparel manufacturers. B. Promotional Agencies and Their Functions 5. Explain the role and importance of the marketing 1. Advertising agencies process in the fashion industry. 2. Publicity agencies 3. Display agencies Teaching Resources C. Trade Associations and Their Function 1. Manufacturer associations TEXTS AND REFERENCES 2. Designer associations Anspach,K.The Why offashion Corinth, K.Fashion Showmanship 3. Textile and non-textile associations Graphic Guide to Consumer Markets D. Labor Unions and Their Function Jar now, J. and B. Judelle.Inside thie fashion Business 1. International Ladies Garment Workers Union Phillips, C. and D. Duncan.Marketing Principles and Methods 2. Amalgamated Clothing Workers Association Trove% M. and S. Judelle. E. Fashion Consulting Agencies and Their Function U.S. Department of Commerce.U.S Industrial Outlook TRADE PERIODICALS Learning Experiences Clothes Magazine 1. Have students research one trade periodical of the Daily News Record fashion industry and report on the type of inform- Women's Wear Deily ation it contains and to whom this information INSTRUCTIONAL SUPPLIES would be of interest e.g. retailers, producers, Current advertisements of textile and apparel pro- etc. Draw conclusions on the function of trade ducers and of retailers periodicals in the fashion industry. Mimeographed articles from trade publications Graphic presentations of population and income 2. Demonstrate advertisements by apparel manu- trendsdemographics facturers appearing in fashion magazines in order Community map

37 Basic Skill Development Instruction

INTRODUCTION TO THE CUTTING FUNCTION

Prerequisites: Basic Textiles marker, lay fabric up, and cut that marker. The teacher will use these experiences to show rela- Suggested Hours: is tionships to product quality and the cost of attaining that level of quality. Behavioral Objectives Teaching Modules Suggested Hours This instructional area should enable the student to: 1. Know what a marker is and how to properly place Class Laboratory patterns into a marker. I. Marker Making 3 3 2. Hand spread fabrics using different methods in II. Spreading 2 2 which fabrics are spread. III. Cutting 3 2 3. Cut with a hand shears. Total Hours 8 7

Instructional Guidelines I. MARKER MAKING

The purpose of this area of instruction is to introduce Teaching Content the student to the marker making, spreading and A. Chalk Marking Patterns cutting functions. The level of quality attained in the 1. Directly on top of lay finished product relates to 'the proper execution of 2. Crayon (marking chalk) these functions. This execution is directed by an 3. Spray (paint) understanding of marker making, spreading and cut- ting principles. The content includes principles and B. Marking Patterns on Marking Cloth procedures for these functions. The emphasis should C. Marking Patterns on Paper be on an understanding of these fundamental princi- 1. Single marker ples and how to implement them. The student there- 2. Use of carbon to make multiple markers fore should be instructed in the procedure to follow D. The Perforated Marker in placing patterns in a marker, laying up of fabric and cutting that fabric so as to attain a high degree of E. Marker Making Principles Quality Specifications quality in these functions. 1. Line clarity 2. Cutting clearance freedom Itis suggested that the teacher develop miniature 3. Appropriate pattern identification patterns (possibly quarter scale) to use In this instruc- 4. Pattern conformity to lines tional area. A symetric set of patterns should be a. Affect drape developed for all parts for two sizes of a simple b. Affect fit garment, and both sets of these patterns should be 5. The correct number of patterns in the marks: given to each student. Pattern grain lines, notches, O. Completeness of patterns, e.g. notches, punch etc. must be identified. Enough fabric for eight thick- nesses of fabric by the length and width of the holes 7. Fabric utilization in pattern placement marker (that is made using the two quarter scale sets a. Largest parts by area (if not size) first of patterns) is also required. b. Blocking of patterns In the laboratory sessions the students will make a B.Correctness of marker width

49 38 Learning Experiences ness (bubbling). Spread eight (8) ply (thickness) of Using the miniature patterns described in the instruc- fabric. tional guidelines, have students make a marker on III. CUTTING dotted (or numbered or lettered) marking paper that is 18 inches wide. Have them draw lines to represent Teaching Content the edges of the fabric 15 inches apart. At the right A. Fabric Cutting Systems side of the paper a line is drawn at right angles to 1. Hand power both lines connecting them. The largest patterns are a. Short knife first placed on the marker; then the intermediate site b. Hand shears (scissors) patterns followed by the smallest patterns. An at- 2. Motor power tempt should be made to fit the smaller patterns into 3. Die cutting (cookie cutter) open areas between patterns in the marker. A line is 4. Automated fuse of numeric controlled machin- drawn at the left end of the marker connecting both ery) linesfat right angles to both lines). An attempt B. Cutting Principles should be made to have patterns fully fill area before left end line is drawn. 1. Identifying pattern precision when cutting a. Split marked line (both sides of line are The miniature patterns should have grain lines iden- visible on each side of cut line) tified on them and the student should place the b. Conformity of stock parts to pattern patterns in the marker so that they conform to the 2. Precision of identification markings grain lines. a. Minimal notch depth b. holes run true (no deviation) through II. SPREADING lay Teaching Content Learning Experiences A. Spreading Procedures Have students place marker (previously made) over 1. Identification of the face to a fabric fabric (previously spread) and, using a hand shears, 2. Laying fabric face to face pairing patterns cut out the parts. 3. Laying fabric face (up) one way a. Sewing manipulation to pick up patterns (for stitching) Suggested Evaluation b. Pattern parts to be sewn in pairs Evidence of student proficiency in cutting parts in 8. Spreading Principles which: 1. Fabric warp and filling alignment fabric dis- 1. Perimeters of cut parts in stacks conform to pat- tortion terns. 2. Major edge alignment 2. Direction of fabric grain is correct. 3. Fabric tension a. Fabric spread flat Teaching Resources b. Not bubbled or stretched taut TEXTS AND REFERENCES Learning Experiences Apparel Engineering and Needle Trades Hornbook Using fabric that is 18 inches wide, have students Solinger,J. Apparel Manufacturing Analysis spread it face to face the length of the marker (pre- INSTRUCTIONAL SUPPLIES pared in the preceding laboratory project). Fabric Miniature patterns las described in introductory Instr- should be spread without tension or excessive loose- uctional Guidelines)

:Jo 39 INDUSTRIAL SEWING

Prerequisites: None Teaching Modules Summed Hours

Class Laboratory Suggested Hours: so I. Industrial Seam/Stitch Types 6 2 Behavioral Objectives II. Machine Operating Mechan ics and Adjustments 8 8 This area of instruction should enable students to: III. Manipulative Skills: 1. Identify major stitch/seam types and their appli- Machine Sewing 6 30 cations. IV. Machine Attachments: 2. Understand the working mechanisms and mechan Operation and Adjustments4 8 ical adjustments of industrial sewing machines. V. Manipulative Skills: Hand 3. Operate industrial sewing machines. Sewing 3 5 4. Identify and use appropriate attachments. Total Hours 27 53 5. Develop handsewing skills.

I. INDUSTRIAL STITCH/SEAM TYPES

Teaching Content Instructional Guidelines A. Federal Stitch Types and Their Applications 1. 100 series This area of instruction is designed to instruct stu- 2. 200 series dents in the operatipn of industrial sewing machines 3. 300 series and in the principles of sewing machine mechanics as 4. 400 series they relate to industrial sewing equipment. The utili- 5. 500 series zation of sewing machine attachments should be dis- 8. 800 series cussed and their application to particular sewing problems should be demonstrated by the teacher. The B. Federal Seam Types and Their Application Federal Stitch Seam Standards (F751A) should be Learning Experiences taught in order to acquaint students with the many different stitch/seam types available and the partic- 1. Demonstrate Federal stitch types and seam types. 2. Have students analyze their own wearing apparel ular advantages, disadvantages and utilization of each. and listall possible seam and stitch types, by During laboratory sessions, students will thread and location on their garments and using the Federal operate all industrial sewing machines under study 751-A. and also adjust and operate appropriate attachments. II. MACHINE OPERATING MECHANICSAND Each one of the laboratory learning experiences ADJUSTMENTS should be preceded by a demonstration by the in- structor. The laboratory sessions will allow the stu- Teaching Content dents to develop their manipulative skills and abilities A. Types of Machines in operating industrial sewing machines. Time should 1. Lockstitch be utilized for students to gain and sustain speed in a. Single needle sewing various sample configurations and in various b. Double needle basic handling maneuvers. 2. Chainstitch

5140 a. Single needle 3. In order to develop basic coordination, speed and b. Double needle dexterity as required in the industrial situation, 3. safety stitch have students perform and repeat the 8 advanced 4. Special purpose machines sewing manipulations and: a. Button hole a. Pick up parts from the same stack of cut parts b. Button sew (face to face in pairs) and align to each other, c. align to needle and sew. B. Parts of the Sewing Machine and Their Functions b. Pick up parts from separate stacks of cutparts, 1. Tensions align to each other in mid-air, align to needle 2. Take-ups and sew. 3. Presser feet c. Pick up part from first stack and place it under 4. Feed dogs presser foot; pick up part from second stack, 5. Throat plate align to part under presser foot, align to needle 6. Needier and sew. 7. Loopers 4. If possible, students should experiencean acute! 8. Hooks mass - production situation. Class can mass produce 9. Stitch size regulators an item or product which has been pre-cut either 10. Lubrications by the instructor, a member of the program's advisory committee or by the students themselves. Learning Experiences 1. Demonstrate different types of sewing machines, including machine parts and function. 2. Have students thread machines and form stitches IV. MACHINE ATTACHMENTS OPERATION AND without using power. ADJUSTMENTS III. MANIPULATIVE SKILLS: MACHINE SEWING Teaching Content Teaching Content A. Types of Attachments 1. Gauges A. Basic Sewing Manipulations 2. Feet 1. Straight sewing 3. Hemmers 2. Angular sewing 4. Binders 3. Curved sewing 5. Folders B. Advanced Sewing Manipulations 6. Cutters 1. Sewing squares B. Uses of Each Type of Attachment 2. Sewing circles 1. Where utilized 3. Edge or top stitching 2. When utilized 4. Back tacking 3. How utilized 5. Joining straight seams 4. Reason for utilization 6. Joining curved seams 7. Joining curved to straight seams C. Installation and Adjustments of Attachments 8. Joining two appropriate curves 1. Fitting to the machine 2. Recognizing performance C. Material Handling 3. Making adjustments 1. Parts from same stack 2. Parts from separate stacks D. Maintenance of Attachments a. Mid-air alignment 1. Sharpening b. Consecutive table alignment 2. Polishing 3. Deburring Learning Experiences 4. Re- 1. Demonstrate basic sewing manipulations by sewing without thread on paper. Students then perform Learning Experiences the same manipulation. 1. Demonstate uses, adjustments, and maintenance of 2. Demonstrate advanced sewing manipulations with attachments. thread on paper. Students then perform the same 2. Have students use sewing machines and attach- manipulation. ments to gain practice in use of these devices.

6 41 V. MANIPULATIVE SKILLS: HAND SEWING Sample of Sewing Machine Analysis Guide Teaching Content I. MACHINE A. Manufacturer A. Quality of Hand Sewing B. Applications of Hand Sewing B. Model No. 1. Buttons C. Serial No. 2. 3. Basting II. MACHINE BED 4. Hemming A. Type 5. Decorative stitching B. Dimensions Learning Experiences 1. Needle to upright 2. Needle to edge opposite upriglit Have students sew buttons and buttonholes, baste 3. Needle to front edge lining and hem bottoms. 4. Needle to back edge 5. Height under arm 6. Cylinder diameter (if applicable) Suggested Evaluation III. HEAD PULLEY 1. Have students analyze two sewing machines and complete a laboratory sewing machine analysis A. Diameter guide to identify enumerated items. (See following B. Direction of Rotation sample of analysis guide.) Evaluation is based on C. Location the students' knowledge of the parts, operating mechanisms and operation of these sewing ma- D. Safety Features chines.Itis recommended that two differing IV. THROAT PLATE machine stitch types be used. A. Description 2. Students are given 50 rectangular pieces of fabric, 4" x 8", that have been cut face to face. Students B. Mounting Mechanism are instructed to sew the four inch size, the eight C. Chaining Plate inch size and then the other four inch size, main- II Chaining Tongue taining a foot spaced seam and having a square corner. The students are to sew twenty consec- utive rectangles in aforementioned manner in five V. STITCHING MECHANISMS minutes or less, and be evaluated accordingly. The A. Needle or Needles 1. Description objective of this suggested approach is to evaluate students' proficiency in the sewing operations re- 2. Mounting mechanism quired in a sewing factory. 3. position 4. Gauge B. Hooks) 1. Type Teaching Resources 2. Location TEXTS AND REFERENCES 3. Action cycle Federal Stitch Standards, 751 A (Available from Super. 4. Bobbin case intendent of Documents, U.S. Government Printing a. Description Office, Washington. D.C. :'0402) b. Threading sequence Hannan, W. Mechanics of Sewing So linger, J. Apparel Menu faciuring Analysis C. Lower 1. Type INSTRUCTIONAL SUPPLIES 2. Description Woven fabric cut into the following configurations: 9" x 3" 3. Mounting mechanism 5" squares 4. Action cycle 8" diameter circles D. Loop Spreader 9" equilateral triangles 4" x 8" rectangles 1. Location Operational manuals from machine manufacturers 2. Action cycle

"42 E. Cover Thread Finger or Hook D. Feed Dog 1. Location 1. Description 2. Action cycle 2. Mounting mechanism 3. Adjustment F. Tensor(s) 1. Location E. Stitch Size Regulator 2. Type 1. Type 3. Description 2. Location 3. Operation G. Takeup(s) 4. Controls 1. Location 2. Type 3. Description VIII. LUBRICATION SYSTEM 4. Action cycle A. Type B. Operational maintenance VI. STITCH TYPE

VII. FEED MECHANISM IX. THREADING SEQUENCES A. Type B. Presser Foot X. STITCHING SEQUENCES 1. Description 2. Mounting mechanism XI. STITCH SAMPLE C. Presser Foot Lift On cloth provided by the instructor make 3 stitch 1. Type samples as follows: 2. Location 1st line a balanced stitch 3. Linkage 2nd line an unbalanced stitch of the same size 4. Operational clearance 3rd linea balanced stitch of another size 5. Maximum clearance Mark each one, and mount in report.

43 INTRODUCTION TO THE PRESSING FUNCTION

Prerequisites: Basic Textiles 2. Moisture. 3. Pressure Suggested Hours: 17 4. Time B. Techniques for Measuring the Variables Behavioral Objectives 1. Thermometer for heat 2. Potentiometer for heat This area of instruction should enable students to: 3. Correlation chart for moisture 1. Know the variable elements of pressing fabrics 4. Weight and force for pressure and know how to measure them. 5. Stopwatch for times 2. Understand how pressing variables affect the qual- ity of different fabrics. Learning Experiences 3. Be proficient in the use of different types of hand 1. Have students set the iron control to a low (tem- irons for pressing. perature and steam) setting and then weigh a fab- ric swatch after subjecting it to steam for one half Instructional Guidelines a minute. The weight is recorded. 2. Have students repeat the procedure for six (8) The purpose of this area of instruction is to intro- different temperature and steam settings. Have stu- duce the pressing function. The student will learn dents prepare a comparison report of charac- how heat, moisture, pressure and time affect dif- teristics and of fabric weights subjected to dif- ferent fabrics. When students understand how these ferent temperatures. (Fabric should weigh less at variables affect a fabric, they can then apply these high temperature and pressure and more at low variables to attain a desired level of quality in the temperature and pressure.) finished product. Instruction will show how various combinations of II. QUALITY CHARACTERISTICS heat, moisture, pressure and time affect the shape, Teaching Content form, surface structure and density of different fab- A. The Characteristics Defined rics. The major emphasis, therefore, relates to the 1. Shape effect the elements of pressing have on the quality of 2. Form the finished product. 3. Surface 4. Density Teaching Modules Suggested Hours B. Procedures for Evaluating the Characteristics Class Laboratory 1. Dimensional stability 2. Weight I. Elements of Pressing 2 2 3. Visual II. Quality Characteristics 3 5 a. Color III. Hand Irons 2 3 b. Surface Total Hours 7 10 4. Time correlation

Learning Experiences I. ELEMENTS OF PRESSING 1. Demonstrate Teaching Content a. Shape: Using loose knit fabric A. The Variables Defined 1) Measure dimensions 1. Heat 2) Apply steam 3) Measure dimensions 4. Water b. Form: Iron a crease into the swatch of 100% B. Types of Controls cotton fabric 1. Thermostat c. Surface Structure: Using the swatch of a 100% 2. Rheostat synthetic fabric, define the color and surface structure before and after high steam applica- Learning Experiences tion. Using each type of iron the student will crease press d. Density: Weigh a 100% woolen fabric swatch wool, acetate, and fabrics. The differences before and after high steam application. in results obtained will be noted and identified by 2. Have students conduct the following expel invent: students. a. Using six swatches of synthetic fabric, the stu- dent will press a crease into the first swatch by setting the iron at a low temperature and steam Suggested Evaluation setting and applying pressure (with the iron) for 5 seconds. This process is repeated increasing A student report identifying the quality changes that the time by 5 seconds each time, until all six occur in knitted and/or woven cotton, acetate, poly- swatches have been pressed. ester and wool fabrics under different temperature steam setting. Evaluation is based on evidence of the b. Thisentireprocessisrepeatedfirstfor a medium temperature and steam setting, and student's ability to recognize the changes that can be effected in different fabrics through molding (pres- then a high temperature and steam setting. sing) and the relationship of the quality of the fin- c. The student willthen evaluateall of the ished product to these changes. swatches and form a conclusion as to fabric changes due to heat, moisture, pressure and time, and also determine the best combination Teaching Resources of the variables to yield a qualitycrease to the tested fabric. TEXTS AND REFERENCES Solinger, J. Apparel Manufaerurine Analysts Ill. HAND IRONS INSTRUCTIONAL SUPPLIES Teaching Content Hand ironssteam, electric, water, steam electric A. Basic Types (When and How to Use) 4" x 4" swatches of 100% wool, 100a cotton, 100% polyester or and a loose knit fabric of any fiber 1. Steam Rulers 2. Electric Gram scale 3. Steam electric Stop

36 45 FABRIC LAY-UP (SPREADING)

Prerequisites: Basic Textiles II. Identification of Spread ing Mechanisms and Their Suggested Hours: 27 Operation 4 5 III. FabridShade and Damage Behavioral Objectives Control During Spreading 1 2 Total Hours 9 This area of instruction should enable students to: 18 1. Know how to spread (lay-up) a fabric after iden- tifying its characteristics. I. FABRIC CRITERIA FOR SPREADING 2. Be proficientinoperating different kinds of Teaching Content spreading equipment. 3. Be capable of properly overlaying (spliceor over- A. Fabric Identification: Construction and Elasticity lap) fabric during spreading. 1. Woven a. Construction Instructional Guidelines b. Stretch (elasticity) 1) Warp grain: least This area of instruction is concerned with the princi- 2) Filling grain: intermediate ples of spreading (lay-up) of fabrics and the appropri- 3) Bias grain: most ate spreading mechanisms. Manipulations for attain 2. Knitted ing quality in the lay should be demonstrated by the a. Construction instructor and then practiced by students during the b. Stretch laboratory sessions. 1) Straight grain: least (more than woven) Content of this area of instruction includes the cri 2) Cross grain: intermediate teria for evaluating fabric and its preparation (bolt 3) Bias grain: most form) that a sewnproducts' manufacturer applies in 3. Felted or NonWoven deciding how to layup fabric.Discussions and a. Construction demonstrations will also relate to spreading systems, b. Stretch and to definitions of quality and the means of attain- 1) Minimal ing it in spreading. 2) Same in all directions Students through practice, should become familiar B. Visual Characteristics with the operating mechanisms and operation of fab- 1. Single face rics (yard goods) machinery. They should be able to a. Outside of fabric clearly evident identify these mechanisms and know their purpose in b. Positive identification when spreading order to use them. If spreading machines are not 2. Reversible available, Module II can be eliminated from this area a. Similar appearance of both sides of fabric of instruction. b. Necessity of control in spreading 3. Double faCed Teaching Modules Suggested Hours a. Difference in both sides of fabric b. Usability of either side as outside of product Class Laboratory 4. Symmetry I. Fabric Criteria for a. Appearance of fabric when rotated 180 de- Spreading 4 11 grees against itself

46 b. Causes of differences in appearance 4) At right side superimpose fabric over fain% 1) Tactile characteristics (e.g. , brushed on table and align. pile) 5) Repeat previous steps until proper number 2) Construction (e.g. knit fabric) of ply have been spread. 3) Printing RI Fabric tension must be constant. , b. Face up and in both (laying up) directions SYMMETRIC PRAM ASYMMETRIC PRINT V V VV Vr Parnom V VV V V LAY UP *-- -BOLT LAY UP DIRECTICN V V V V VV wits---a.BCILT VVVVV FAEmc --a.SOLT LAY UP PIRECTION VVVVVV mar- Mg ..--BOLT LAY UP AREGTION

1) Beginning at right side of spreading table at C. Fabric Bolt Preparation right side mark (after determining distance 1. Relationship to be spread and marking the table accord- a. Handling when spreading ingly), move to the left, spreading ply of b. Equipping of spreading machine fabric. Keep one selvage approximately two 2. Methods of putting-up fabric inches from the table edge. This must be a. Roll constant for the length spread. b. Bookfold 2) Upon reaching left side mark, stop spreading c. Rack and cut bolt of fabric away from ply of d. Board fabric on the table. 3. Selvage variations of bolt preparation 3) Rotate bolt of fabric 180° on its own plane. a. Open preparation: selvage edges from same Superimpose fabric over fabric on table and ply on same plane align (at left side of table). b. Closed preparation: selvage edges from same 4) Move to the right, spreading ply of fabric. ply superimposed over each other (Superimpose and align to ply of fabric on c. Tubular preparation (e.g. weft knit): no sel- table.) vage 5) Mark, stop spreading, and cut bolt of fabric Learning Experiences away from ply of fabric on the table. 6) Rotate bolt of fabric 1800 on its own plane. 1. Demonstrate fabric spreading procedures related 7) Repeat previous steps until proper number to fabric symmetry as follows: of ply have been spread. a. Face up and in one (laying up) direction 8) Fabric tension must be constant. , c. Face up and down and in both (laying up) .. SOLT LAY UP DIRECTION directions --- EAT LAY UP DIRIKTIORI e Pam Fft ,..--- Boa LAY U? PIRECTION Rbagg WE --111.111LT LAYUP PIRECTION It PAWL me BOLT LAY LOP PIRELTION eAmic FicE . SXF LW UP PIRCTION rz---Fikegic 61641 1--aOOLT LAY ur PIRECTI 1) Beginning at right side of spreading table at PpFABRIC FACE.4--BOLTow arsiernom right side mark, (after determining distance 1 to be spread and marking the table accord- ingly), move to the left spreading ply on 1) Beginning at right side of spreading table at fabric. Keep one selvage approximately two right side mark (after determining distance inches from the table edge. This must be to be spread and marking the table accord- constant for the length spread. ingly), move to left, spreading ply of fabric. 2) Upon reaching left side mark, stop spreading Keep one selvage approximately two inches and cut bolt of fabric sway from ply of from the table edge. This must be constant fabric on the table. for the length spread. 3) Move the bolt to the right without laying up 2) Upon reaching left side mark, stop spreading fabric. and fold fabric face down. Align fabric.

47 3) Move to the right, spreading ply of fabric II. IDENTIFICATION OF SPREADING MECHANISMS (superimpose and align to ply of fabric on AND THEIR OPERATION table). Teaching Content 4) Upon reaching right side mark, stop spread- ing and fold fabric face up. Align fabric. A. Stationary Spreaders 5) Repeat previous steps until proper number 1. Fixed (two uprights supporting a rod which of ply have been spread. folds bolts of fabric) 8) Fabric tension must be constant. 2. Portable (portable frame with two uprights sup- d. Face up and down and in one NOV up) porting the rod or a portable bin spreader) direction B. Traveling Spreaders 1. Common mechanisms ...101, LAW UPOIRECTIDIJ FAN= MCA a. Frame of housing BOLT LAW DHlir11dJ b. Wheels FABRIC Pfte-C BOLT LAYur a tarns c. Fabric support rod or platform PAM 4 BOLT LAYur PlUICT101.1 d. Guide collars 2. Other mechanisms a. Tension or threading bars 1) Beginning at right side of spreading table at b. Turntable devices right side mark (after determining distance c. Ply counters to be spread and marking the table accord d. End cather: ingly), move to the left, spreading ply of e. Surface leveling blade fabric. Keep one selvage approximately two f.Bolt drive inches from the table edge. This must be g. Alignment shifter constant for the length spread. h. Ply cutting device 2) Upon reaching left side mark, stop spreading i.Propulsion system (with stop control) and cut bolt of fabric away from ply of j. Automated edge alignment fabric on the table. 3) Move the bolt to the right without laying up Learning Experiences fabric and rotate bolt of fabric 180° on its Have students thread machine (properly set up ma. own plane. chines with fabric). In a notebook student should 4) At right side superimpose fabric over fabric diagram the threading sequence and identify all mech- on table and align. Fabric will be face down. anisms. If enough fabric is available students should 3) Move to the left spreading ply of fabric practice the spreading methods presented in Module (superimpose and align to ply of fabric on 1. table). 6) Upon reaching left side mark stop spreading and cut bolt of fabric away from ply of fabric on the table. III. FABRIC SHADE AND DAMAGE CONTROL 7) Move the bolt to the right without laying up DURING SPREADING fabric and rotate bolt of fabric 180° on its Teaching Content own plane. 8) At right side superimpose fabric over fabric A. Splice or Overlay Manipulation on table and align. 1. Objective: minimum loss of fabric 9) Repeat previous steps until proper number 2. Removal of non-usable area of fabric of ply have been spread. 3. Replacement with usable fabric 10) Fabric tension must be constant. B. Procedures in Splicing Manipulation 2. Have students identify fabric construction, visual 1. Example of manipulation (Figure 1) characteristics and fabric bolt preparation, and 2. Spreading from 7 to 1 practice hand spreading using all of the afore. a. Damage in area mentioned procedures which have been demon- b. Damage cut out by cutting fabric from sel- strated. It is recommenged that six ply be spread a vage to selvage at the damage and at number distance of six yards for each procedure. Care is to preceding damage (# 5) be exercised to apply the proper amount of ten- c. Spreading commences from number pre- sion. ceding # 5

1)9 48 SPLICING MANIPULATION FIGURE

FIGUF% 2.

le.11...el i

C. Examples as in Figure 1 teacher is to shade and damage-control mark the table 1. Spreading from 7 to 1 with damage in area A without letters or numbers, placing at least two a. Cut through at damage and at # 2 damages in a bolt of fabric. Evaluate students' ability b. Remove fabric to lay the fabric so that one selvage edge is at a c. Commence spreading at # 3 constant distance from the edge of the table and to 2. Spreading from 1 to 7 with damage in area 0 use the proper spreading procedures for working out a. Cut through at damage and at #4 the damages. b. Remove fabric c. Commence spreading at #3 Learning Experiences Teaching Resources Have %,udents place shade and damage control marks TEXTS AND REFERENCES on the .able (no numbers or letters) as in Figure 2. Apparel Engineering and Needle Trades Handbook Solinger,J. Apparel Manufacturing Analysis Suggested Evaluation INSTRUCTIONAL SUPPLIES A spreading performance test using a spreading ma- Sample fabrics which illustrate fabric criteria described chine, or hand spreading if machine is not available. in Module I Fabric Ward goods) machinery Have students spread 16 ply of fabric six yards face Spreading tables up and down and in both (lay -up) directions. The Fabric for spreading

49 FABRIC CUTTING

Prerequisites: Basic Textiles; Introduction to the b. Disadvantages Cutting Function 1) More vibration 2) Less stable Suggested Hours: 16 3) Cuts slower 4) Does not cut as clean an edge 2. Round knife Behavioral Objectives a. Advantages This area of instruction should enable students to: 1) More stable 1. Learn the mechanics and adjustments of industrial 2) Faster cutting fabric cutting machines. 3) Less noise and vibration 2. Operate industrial fabric cutting machines. 4) Cleaner cut edge b. Disadvantages 1) Cannot cut sharp curves and angles Instructional Guidelines 2) Cannot cut high plies This area of instructionis designed to teach the 3) Less efficient safety devices student the principles and operations of cutting ma- B. Mechanics and Adjustments chine mechanics, machine adjustments, maintenance 1. Lubrication of machines and operation. The instructor will discuss the above 2. Changing blades in machines factors during lecture sessions and demonstrate the 3. Safety features equipment under simulated operating conditions. 4. Blade sharpening devices During the laboratory sessions the student will oper- a. Band sharpener ate the different types of industrial fabric cutting b. Disc sharpener machines under the direct supervision of the instruc- Learning Experiences tor. These laboratory sessions will allow the students to fully develop their manipulative skills in operating 1. Demonstrate machines, machine mechanics, and industrial fabric cutting machines. adjustments and all procedures to be followed in operating industrial fabric cutting machines. 2. Have students operate the following equipment Teaching Modules Suggested Hours under direct supervision of instructor: Class Laboratory a. Up and Down knife I. Machine Types: Mechanics, b. Round knife (Disc knife) Adjustments and Operation 6 10 c. Straight cutting d. Angle cutting I. MACHINE TYPES: MECHANICS ADJUSTMENTS e. Curved cutting AND OPERATIONS 3. Have students change blades, lubricate machines, Teaching Content and change and adjust sharpening mechanisms. A. Machine Types Advantages and Disadvantages 1. Up and Down Knives Suggested Evaluation a. Advantages 1) Can cut sharp angles and curves Analytical report which demonstrates students' under- 2) More efficient safety devices standing of mechanisms and adjustments of both up 3) Can cut higher and Down machines and Round Disc machines as 4) More versatile follows:

61. 50 1. Machine identification j.Sharpening method a. Manufacturer k. Lubricating methods b. Style I.Mobility c. Reciprocating m. Machine Stability d. Disc e. Model number Teaching Resources 2. Machine analysis a. Voltage TEXTS AND REFERENCES b. Length of blade cutting edge in inches Eastman Cutting Machine Manual.Eastman Machine Co.; c. Effective cutting height in inches 228 W. 37th Street; New York, N.Y. 10018 Malawi Cutting Machine Manual. d. Motor R.P.M. Madmen Machine Co.; 575 Eighth Avenue, New York, N.Y. 10018 e. Blade R.P.M. Winger, J. ApparelManufacturing Analysis f.Noise level (e.g. 1,2,3,4 or 51 g. Vibration level (e.g. 12,3.4 or 51 INSTRUCTIONAL SUPPLIES h. Visibility of cutting edge Up and down knives Round knives i.Safety devices of features Fabric for cutting purposes

6Z 51 GARMENT PRESSING

Prerequisites: Bask Textiles B. Causes and Remedy of Adverse Quality 1. Scorching Suggested Hours: is a. Cause: excessive dry heat b. Remedy: low wet heat 2. Shine Behavioral Objectives a. Causes: excessive pressure This area of instruction should enable students to: 1) Hard padding 1. Become proficient in using different types of pres- 2) Oversteaming sing machines for pressing. b. Remedy: proper pressure 2. Know how to change pressing machine padding. 1) Moderate padding 2) Proper steaming 3. Impressions a. Causes: excessive pressure Instructional Guidelines 1) Hard padding This area of instruction will teach the student how to 2) Oversteaming use industrial pressing equipment. A major module of b. Remedy: proper pressure instruction relates to pressing quality and how it is 1) Moderate padding determined and achieved. The students will learn to 2) Proper steaming press different fabrics with pressing machines. They 4. Distortion will do underpressing and seam busting for various a. Causes: pulling garment stages of garment construction, small parts pressing 1) Pulling fabric and finished garment pressing. 2) High temperature b. Ramon 'Ming garment 1) Proper hand tension Teaching Modules scented Hours 2) Correct temperature Class Laboratory 5. Puckering a. Causes: incorrect temperature I. Quality 4 4 1) Pulling garment II. Pressing Machines 3 5 2) Excessive steam b. Remedy: correct temperature 7 9 Total Hours 1) Lifting garment I. QUALITY 2) Proper steam 6. Creasing Teaching Content a. Causes A. Identification of Adverse Quality 1) Incorrect garment alignment 1. Scorching 2) Insufficient pressure 2. Shine 3) Incomplete crease 3. Impressions b. Remedy 4. Distortion 1) Resteam to remove old crease 5. Puckering 2) Correct garment alignment O. Creasing 7. NonFlat seam 7. NonFlat seam a. Causes: insufficient pressure 8. Crooked Seam 1) Not following stitch line

63 52 2) Insufficient steam and heat 5. Release head and apply the vacuum dryer; 3) Improper or poor padding shape b. Remedy C. Sequence of Operations for Form Press 1) Correct pressure, padding, steam 1. Drape garment over form 2) Follow stitch line 2. Make adjustments for size and shape and clamp 8. Crooked scam 3. Steam } a. Causes Automatically timed 4. Heated air 1) Improper seam alignment 5. Unclamp and remove 2) Pulling or not holding material properly b. Remedy Learning Experience 1) Correct seam alignment Using completed garments, students will press them 2) Open seam without tension on different types of machines. Learning Experiences Using hand irons and woolen fabric, students will Suggested Evaluation press crease into fabric. Then using sample garment Students willpress, according to quality specifi sections,studentswillpress seams flat(open). cations established by the instructor, different types Students will also press special seam construction. of garments such as shirts, , dresses, slacks, These pressings should be examined for the purpose etc. and be evaluated accordingly. of identifying quality points. Teaching Resources II. PRESSING MACHINES TEXTS AND REFERENCES Teaching Content Sol inger, J. Apparel Manufacturing Analysis A. Basic Types (Operating Controls) INSTRUCTIONAL SUPPLIES 1. Manual pressing machines Garments in various stages of manufacture 2. Automatic air operated Garment pans 3. Form presses Special seam constructions Variety of completed garments (shirts, slacks, dresses, B. Sequence of Operations for Buck Presses blouses, etc.) 1. Place on buck (Note: Samples for pressing should be made from varying 2. Lower the head (not locked) and apply steam fibers and fabric constructions.) 3. Raise the head and shape the garment 12" x 12" pieces of wook, acetate, and polyester 4. Close head (lock) and use high or low mech- fabric; some pieces should be sewn together using an anical pressure; add steam if necessary SSI seam

64 53 CUT WORK PREPARATION

Prerequisites:Fabric Lay-up(Spreading);Fabric 1. Styles Cutting 2. Color and shade 3. Size Suggested Hours: 12 4. Operation 5. Quantity 8. Lot number Behavioral Objectives Learning Experiences This area of instruction should enable students to: 1. Assort cut work by size, shade, color, operation, Students will assort cut work bundles following the quantity and components. above considerations under the direction and super- 2. Bundle and ticket cut work by size, color, shade, vision of the instructor. component and operation sequence. II. BUNDLING AND TICKETING CUT WORK Teaching Content Instructional Guidelines A. Principles This area of instruction is designed to teach students B. Methods the principle techniques and methods of cut work C. Considerations preparation as they relate to assorting, bundling and 1. Quantity in bundle ticketing and to develop the student's ability to use 2. Components these techniques and methods. The instructor will 3. Operation sequence emphasize the proper techniques and procedures to 4. Size be followed in order to accomplish these tasks. 5. Shade and color During the laboratory sessions, students should be Learning Experiences given the opportunity to handle cut bundles in all Students will ticket cut work bundles following the three phases of preparation (assorting, bundling, and above considerations under the direction and super- ticketing) under the direction of the instructor. These vision of the instructor. laboratory sessions will allow the students to develop their manipulative skills in these three major areas. Suggested Evaluation Instructor will prepare sample tickets and simulated Teaching Modules Suggested Hours cut work bundles. Student will be evaluated on their Class Laboratory ability to match appropriate tickets to simulated cut I. Assorting Cut Work 2 2 work bundles. II. Bundling and Ticketing 4 4

Total Hour, 6 6 TEACHING RESOURCES I. ASSORTING CUT WORK TEXTS AND REFERENCES Teaching Content Frank, B. TheProgressive Sewing Room Bolinger,J. Apparel Manufacturing Analysis A. Principles B. Methods INSTRUCTIONAL SUPPLIES Bundles of cut work simulating parts of garments C. Considerations in Assorting Sample tickets FINISHING

Prerequisites: None C. Folding 1. Types of garments to be folded Suggested Hours: e 2. Equipment for folding garments a. Manual Behavioral Objectives b. Mechanical D. Packaging This area of instruction should enable students to: 1. Types of garment packaging 1. Know the techniques and practices of garment 2. Equipment for packaging garments finishing. a. Manual 2. Become proficient in such areas of garment finish- b. Mechanical ing as ticketing, folding, packaging and trimming. Learning Experiences Students trim, tag, fold and pack various garments in Instructional Guidelines order to be evaluated on their ability to apply correct This area of instructionis designed to teach the procedures within a reasonable time. students the principles and techniques of garment finishing. The laboratory sessions will give students the opportunity to work with garments in finishing Suggested Evaluation operations and develop their manipulative skills in Students willpreparea garment that has been ticketing, trimming, folding and packaging. trimmed, tagged, folded and packed and be evaluated on their ability to apply correct procedures within a Teaching Modules Suited Noun given time. Class Laboratory I. Garment Finishing 4 4 Teaching Resources I. GARMENT FINISHING TEXTS AND REFERENCES Teaching Content Frank, B. The Progressive Sewing Room Winger, J. Apparel Manufacturing Analysis A. Trimming 1. Major areas of trimming on garments INSTRUCTIONAL SUPPLIES 2. Equipment used for trimming Sample garments a. Manual Equipment for finishing 1. Automatic Bagging Service Poly-Pak, 316 West b. Mechanical 35th Street, New York, N.Y. B. Ticketing 2. Swiftacher Dennison Fastner Co., 888 Seventh 1. Major types of tickets Avenue, New York, N.Y. 2. Equipment used for ticketing 3. Folder Bishop Freeman Co. Evanston, I Ilinois a. Manual 4. Trim-Master Cutting Room Appliances Co., 1134 b. Mechanical Broadway, New York, N.Y.

G6 55 INTERNAL WORK HANDLING

Prerequisites: None 3. Proximity to operator and sequence of opera- tions 4. Quantity Suggested Hours:9 B. Bundle Tickets: Information Receded on Bundle Behavioral Objectives Tickets 1. Size This area of instruction should enable students to: 2. Style 1. Know how to store, dispatch and supply sewing 3. Color operators with bundles of in-process inventory, 4. Shade trimmings and supplies. 5. Operation 8. Rate per dozen 7. Lot number Instructional Guidelines C. Factors in Distributing Trimming and Supplies This area of instruction is designed to instruct the 1. Operation student in the principles and techniques of in-process 2. Proximity to operator bundle handling in a sewing machine factory. The 3. Sequence of operations principle of in-process bundle handling will be dis- 4. Color cussed and during the laboratory sessions the students Learning Experiences will have the opportunity to assort, store, and supply operators with bundles of in-process inventory. In Student will match bundles of in-process work (such addition the student will handle all required auxiliary as collars and bodies) in various stages of completion equipment and trimming required by sewing machine to each other in proper sequence. Student will also operators. The laboratory sessions will allow the match threads, bindings, lace, trimmings as indicated students to develop their manipulative skills in these by cut work and bundle tickets. areas. Suggested Evaluation Instructor will use a diagram of sewing room which Teaching Modules Suggested Hours indicates where different operations are being per- Class Laboratory formed. Students, using bundle tickets (prepared by I. Assorting, Storing and instructor), will indicate where to store and distribute Distributing In-Process bundles and auxiliary equipment and supplies and be Inventory 6 3 evaluated on their ability to do so correctly.

Teaching Resources I. ASSORTING, STORING AND DISTRIBUTING IN-PROCESS INVENTORY TEXTS AND REFERENCES Frank, B.The Progressive Sewing Room Teaching Content Solinger,J. Apparel Manufacturing Analysis A. Factors in Assorting, Storing and Distributing Bun- INSTRUCTIONAL SUPPLIES dles Ticketed bundles of cut work simulating parts of 1. Style garments 2. Site Diagram of a sewing room

b7 66 INTRODUCTION TO FASHION DRAWING

Prerequisites: None 4. pad 8W' x 11" 5. Kneaded eraser Suggested Hours: 60 6. Sandpaper block 7. Water color set (Grumbacher Symphonic) Behavioral Objectives B. Related Basic Body Shapes 1. Circles This area of instruction should enable students to: 2. Ovals 1. Use fashion drawing as a direct and precise means 3. Cylinders of communication, facilitating . 4. Squares 2. Draw the fashion figure with speed and flair. 5. Triangles 3. Accurately represent design details. 8. Geometrics 4. Acquire a good sense of color, line and proportion. 5. Develop a presentation portfolio for employment Learning Experiences interviews. Have students practice: 1. Relating basic geometric shapes to the body. Instructional Guidelines 2. Control of pencil line.

This area of instruction will introduce the student to II. THE FASHION FIGURE (THE CROQUIS) the use of drawing as a means of symbolic com- munication. The occupational approach to fashion Teaching Content drawing stresses accuracy of representation, by means A. Proportions that can be learned by all students and do not require 1. The concept of a number of "Heads" to the any unusual artistic talent or previous training. It is body suggested that the student and instructor draw simul- 2. Relationships of various parts of the body taneously throughout lecture demonstrations by the B. Positions of the Figure teacher. 1. Front view 2. % view Teaching Modules Suggested Hours 3. Back view Class Laboratory 4. Action I. Introduction 1 1 C. Head: Features and Hair Styles II. The Fashion Figure 6 6 1. Front view III. Fashion Details 10 10 2. % view IV. Color 4 6 3. Profile V. The Designer's Sketchbook3 13 D. Hands and Feet Total Hours - - - - 24 36 1. Simplest geometric approach 2. Proportions and relationship of details I. INTRODUCTION 3. Shoes

Teaching Content Learning Experiences A. Supplies and How to Use Them Have students: 1. Pencils or mechanical drawing pencil with HB, 1. Draw two figures simultaneously in different sizes. 2B, 3H leads 2. Working from reference figures, do originaldraw- 2. Felt-tipped pens in various colors ings of the undressed croquis in various poses. 3. Ledger drawing paper 8%" x 11" 3. Practice drawing heads.

57 4. Practice drawing feet and hands in several posi 5. Princess tions and include various styles. 8. Fitted and flared

III. FASHION DETAILS Learning Experiences 1. Have students draw examples of: Teaching Content a. Various necklines using a croquis A. Necklines b. Stitching on fabric 1. Round: high and low c. Different types of slacks 2. Square d. All sleeves discussed in module 3. V , e. Closings B. Closings 2. Have students: 1. a. Design a on the half figure and attach 2. Buttons: single and double breasted suggested fabric swatch 3. Belts and b. Design a skirt and blouse, full figure, and swatch C. Stitching c. Design a long evening dress and swatch 1. Top stitching d. Design a short day dress and swatch 2. Tucks. 3. Embroidery IV. COLOR D. Collars Teaching Content 1. Round: peter pan, bertha, , sailor A. What is Color? 2. Straight: convertible, two piece shirt, mandarin, 1. Light band, turtle neck 2. Wavelength 3. Tailored: , notched 3. Color associations E. Sleeves a. Serenity: conflict 1. Straight: long, %, short, b. Warm: cool 2. Extra fullness: shirtwaist, bishop, puff, leg o' c. Advancing: receding mutton 4. The Color wheel 3. Unmounted: , kimono a. Primary colors 4. Unusual armholes: squared, raglan b. Secondary colors 5. Cuffs: plain, french, turned up 5. Definitions F. Fitting Lines a. Hue 1. Darts b. Value 2. Seams c. Intensity 3. Gathers: ruffles 6. Color schemes 4. Tucks a. Monochromatic 5. Godets b. Complementary c. Analogous G. Skirts 1. Straight B. How to Lay a Fiat Wash 2. Flared: Aline, circular, bell C. How to Paint Heads 3. Pegged D. How to Paint Garments (segments, details) 4. Gathered: soft, dome 5. Pleats: side, box, accordion, sunburst Learning Experiences

H. Slacks Have students: 1. Long: straight, tapered, flared 1. Paint squares in various colors 2. : short, walking shorts 2. Arrange painted squares in pleasing combinations 3. 3. Paint various heads 4. Paint an of garment shown in class I.Silhouettes 1. Shift V. THE DESIGNER'S SKETCH 2. Sheath 3. Empire Teaching Content 4. A. Designing a Line

58 1. Seasonal consideration ample of a number of the categories discussed in 2. Designing "groups" class. a. Style statement 2. Have students select three major categories dip b. Color statement cussed in class, design ten trade sketches for each c. Fabric statement selected category, and swatch each sketch with 3. Defining the customer suggested fabric.

B. General Garment Categories 1. Dresses a. Day Suggested Evaluation b. Evening Each completed plate in the learning experiences is to c. Housedresses be submitted to the instructor with a tracing paper 2. Sportswear overlay. The instructor can then make drawing cor- a. Bathing suits rections without changing the student's work. As a b. Slacks and shorts result the student can compare his original work with c. Skirts the corrected plate.Verbal instructions and sug d. Jumpers gestions can also be added to the corrections on the e. Blouses overlay. The student's competency is measured by f. the rendered solution of the problem. Problems g. Riding clothes should be evaluated in terms of originality, indepen- h. Ski wear dente, and clarity of execution. Evidence of profes- 3. Coats and suits :lonal standards will merit the highest evaluation. A. Intimate apparel a. Lounge wear and robes b. Lingerie c. Foundation garments Teaching Resources d. Sleepwear 5. Knitwear and TEXTS AND REFER5NCES 6. Men's clothing Fashion An for Designers, Fashion Institute of Tech- nology College Shop, 227 W. 27th Street, New York, 7. Men's sportswear N.Y. 10001 8. Men's shirts Ireland, P. Fashion Design Drawing 9,. Children's clothing Sloan, E. Illustrating Fashion a. Dresses Westerman, M. Elementary Fashion Design and Trade Girls b. Sportswear Sketching c. Outerwear: boys and girls d. Sleepwear and robes: boys and girls e.Infants wear: boys and girls INSTRUCTIONAL SUPPLIES f.Boy's wear Fabric swatches and larger pieces of fabric in various textures Learning Experiences Sketches illustrating how other artists have solved problems 1. Have students visit local ritail stores. From actual Actual garments to be used as models garments, assign students to sketch a current ex- Live models whenever possible

' # lik d' 0 59 GARMENT CONSTRUCTION

Prerequisites: None complex construction of a lined . Although talented,, highly motivated students will achieve an Suggested Hours: adequate measure of skill in the various operations, so emphasis should be placed on the understanding of construction methods rather than on skilled opera- Behavioral Objectives tions per se. To develop the skill and speed of a This area of instruction should enable students to: garment operator would require more intensive 1. Operate cutting, sewing and pressing equipment practice than time permits. Instead, students should, used by sample makers and dressmakers. at the end of this area of instruction, have a solid 2. Perform the basic hand and machine operations in understanding of garment construction upon which garment construction. to base further studies in pattern development and 3. Cut, assemble and press garments using industrial apparel design. patterns. 4. Understand the use of backings, interlinings and linings. Teaching Modules Suggested Houn 5. Construct simple tailoring details. Clem Laboratory I. Introduction to Equipment Instructional Guidelines in Garment Construction 2 3 II. Elementary Operations in This area of instruction is based on garment con- Garment Construction 3 6 struction used in manufacturer's sample III. Required Operations in rooms andand in dressmaking establishments. Students Skirt Construction 4 8 learn to operate power sewing machines and in- IV. Required Operations in dustrial steam hand irons as well as the hand tools Dress Construction 5 12 commonly used in industry. Sample garments, con- V. Required Operations in structed by students, are cut from industrial patterns. Simple Tailored Garment These lend themselves to individual interpretation Construction 5 12 and students should be encouraged to express their creative talent wherever appropriate. As a result, a Total Hours 19 41 variety of individualized garments should be pro- I. INTRODUCTION TO EQUIPMENT IN GARMENT duced by the class. CONSTRUCT ION Emphasis should be placed on the basic principles of garment construction rather than individual prob- Teaching Content lems, so that the student will be able to assemble any A. Hand Tools and Supplies type of garment in the future. The teaching content is 1. Scissors presentedto students with lectures and demon- a. Type and function strations. Extensive illustrative material showing the b. Safe and proper handling step by step construction of garment details is essen- 2. Measuring devices tialfor clarity in demonstrations and subsequent a. reference by the student. Learning experiences are b. Ruler structured so that the student has an opportunity to 3. Pins practice newly acquired skills. These learning expe- 4. Needles riences range from the construction of a simple a. Type and function requiring only elementary operations to the rather b. Safe handling

` ?180 6. Thread: type and function a. Block and press muslin rectangles. a. Fiber b. Fold and press rectangles in half to form 8-inch b. Finish squares. c. Size c. Press the 8-inch muslin circle. d. Color 3. To practice sewing on the power machine, have 8. Marking equipment students sew the following stitching samples: a. a. Straight, parallel sewing b. Tracing paper b. Sewing squares c. Stone chalk c. Angular sewing 7. Fabric d. Sewing circles a. Basic construction 1) Woven II. ELEMENTARY OPERATIONS IN GARMENT 2) Knit CONSTRUCTION 3) Felt b. Grain Teaching Content A. CuttingFabric B. The Industrial Steam Hand Iron fora Very Simple Garment 1. Elements in pressing (Apron) a. Heat 1. Planning length, including hem and seam allow. b. Moisture ances c. Pressure 2. Planning width d. Time 3. Planning the waistband 2. Pressing techniques 4. Planning a patch C. The Power Sewing Machine (Lockstitch) B. Hand Sewing Operations 1. Function of the lockstitch machine 1. Uneven basting - center front thread tracing 2. Parts of thelockstitch machine and their 2. Even basting function 3. Blind hem stitching a. Tension C. Machine Operations b. Take-up 1. Tacking c. Presser foot 2. Edge stitching d. Feed dog 3. Machine hemming a. Throat plate 4. Top stitching a pocket f. Bobbin and bobbin case 5. Machine g. Stitch size regulator 8. Stitching and turning a h. Lubrication 7. Enclosing a gathered edge with a 3. Operating the power machine Learning Experiences a. Power and speed control b. Threading (he student plans and constructs a halfapron (as c. Stitching techniques following illustration below) with a patch pocket. 1) Straight sewing Woven or cotton blends are most suitable. 2) Angular sewing In order to practice the operations presented in this 3) Curved sewing module, have students: d. Minor mechanical adjustments 1. Cut apron. 2. Thread trace center front. Learning Experiences 3. Baste tie ends of belt. 1. In order to learn to recognize grain and practice 4. Machine stitch tie ends of belt and tack at the cutting with scissors, students cut muslin for start and finish of seam. stitching samjlffis: 5. Turn back !4 -inch and edge stitch the lower a. Three pieces Of muslin; 8 inches on the length- edge of the apron. wise grain by 12 inches on the crosswise grain. 8. Machine hem the sides of apron with a 1-inch b. One 8-inch diameter circle, cut from a paper hem. pattern. 7. Turn up a 2inch hem at the lower edge of 2. To practice the use of pressing equipment, have apron, baste X. -inch from the folded edge and students: hem.

81 8. Hem upper edge of pocket and turn in seam D. Various Silam Finishes allowance all around. 1. French seam 9. Pin and baste pocket as desired on apron and 2. Flat top stitch into place. 3. Pressed open seam 10. Shirr upper edge of apron and draw up shirring a. Edge stitch finish to fit open area of belt. b. Hand overcast edge 11. Pin, baste and machine stitch shirred edge of c. Stitched and pinked edge apron to belt. E. Inserting a Welt Zipper 12. Finishbelt by hand with small hemming F. Constructing an Interfaced Waistband stitches. G. Attaching Hooks and Eyes by Hand H. Sewing a Circular Hem with Seem Binding

Learning Experiences In order to practice the operations presented in this module, the student sews a four gore skirt from an industrial pattern. Any firmly woven fabric may be used. It is suggested that each seam in this skirt be finished differently so that various seam constructions may be applied: for example, Center back seam French seam Center front seem Flat felled Side seam A Pressed open and edge stitched Side seam B Pressed open and overcast

III. REQUIRED OPERATIONS IN SKIRT CONSTRUCTION

Teaching Content A. The Industrial PatternPattern Markings 1. Identification number 2. Size 3. Garment piece IV. REQUIRED OPERATIONS IN DRFeS 4. Grain CONSTRUCTION 5. Notches 6. Punch holes Teaching Content B. The Cutting Layout A. Backing (Underlining) 1. Width of fabric: various folds 1. Function of backing 2. Grain 2. Fabrics suitable for backing 3. Matching stripes and plaids 3. Cutting backing 4. Marking the pattern B. Assembling a Garment Using the Unit Con- a. Paper struction Method b. Fabric 1. Completion of small units C. Marking Sewing Lines a. Sleeves 1. Carbon markings b. Collar 2. Thread tracing c. Facings

'r3 62 d. Belt The student constructs a simple sleeveless dress (as e. Patch illustrated) from an industrial pattern. Fabric choice 2. Completion of large units may be left to the student, but backing must be used a. front in this garment. If desired, the round neckline may be b. Bodice back shaped in various ways by adjusting the pattern on c. Skirt front the . The student then cuts a facing to fit d. Skirt back the new neckline. Armholes are finished with a bias 3. Basting large units together for fitting facing. The dress is fitted on the dress form. Students 4. Making adjustments and stitch garment units should be encouraged to use trimmings or color com- together binations to give the dress a touch of originality. 5. Inserting zipper 6. Hand finishing V. REQUIRED OPERATIONS IN SIMPLE TAILORED GARMENT CONSTRUCTION C. Basting in Preparation for the First Fitting Teaching Content D. Fitting a Dress A. Lining and Interlining E. Stitching Darts 1. Function of each F. Finishing Necklines Shaped Facings and Inter- 2. Suitable fabrics facing 1. Round neckline B. Buttonholes 1. Marking 2. Square neckline 2. Construction 3. Slashed neckline a. Machine worked G. Bias Binding and Finishes b. Hand worked 1. Cutting bias strips c. Bound 2. Bias facing 1) Corded 3. Edge stitched binding 2) Patch 4. French piping 5. Flat and corded piping C. The Tailored Collar 6. Bias tubing D. Jacket Fitting H. Skirt and Bodice Joining E. Joining Collar and Facing to Jacket I.Inserting a Long Neckline Zipper Centered Ap- F. Sleeve Construction plications 1. Simple fitted hem J. Finishing a Hem with Bias Binding 2. Shirtwaist a. Placket Learning Experiences b. Cuff 3. Setting in sleeve G. Lining 1. Cutting 2. Stitching 3. Fitting into garment H. Hand Finishing on Tailored Garments 1. Hem 2. 'Lining 3. Buttonholes 4. Buttons 5. Snap fastners

Learning Experiences Students construct a lined jacket. Although any type of fabric may be used, experience in the handling of wool or wool type fabrics is desirable. In the process of working on this project, the student applies some of the simple tailoring techniques required in most

63 sample rooms and dressmaking establishments. There Suggested Evaluation should be a choice of collar and sleeve patterns (as illustrated) available to students, so that styles appro- Evaluation of student work should be based on the priate to the fabric selected may be developed. student's ability to construct a garment, according to industry standards, from an industrial pattern. The learning experiences provide the opportunity for stu- dents to demonstrate their accomplishments in this area. In addition, students may be given a sketch and a cut garment and be evaluated on their ability to assemble this garment without further instruction. Evaluation should be in terms of efficient method of assembly, appropriate construction of details and ac- curate interpretation of the sketch.

Teaching Resources

TEXTS AND REFERENCES Coats and Clerk's Sewing Book Construction Technology. College Shop, Fashion Institute of Technology: 227 West 27th St., Now York, N.Y. 10001 Reich, Berman & Hager. Bumptious of Clothing Construc- tion

INSTRUCTIONAL SUPPLIES Examples of all supplies listed in Module I Eight inch paper circles to be used as patterns Oak tag patterns in sixes 8, 7, 8, 9, 10, (same as dress form) 1. Four gore skirt 2. Dress; basic waist end A-line skin 3. Jacket; fitted with 4. Various collars and sleaves to fit the Jacket Marking paper , backing and lining fabrics Muslin I Work samples shaving step by step development of construction details Finished sample garments Career Advancement Instruction

FABRIC UTIUZATION (MARKER MAKING)

Prerequisites: Basic Textiles/ Fabric Lay-Up; Feb. The students will make different types of markers in ric Cutting quarter scale and in full scale, both as single markers and as duplicate markers. The beginning markers will Suggested Hours: 45 be basic and relatively simple. As students progress through the course they will make markers that in- Behavioral Objectives volve specialmanipulations that are cumulatively more difficult. This area of instruction should enable students to: 1. Understand the principles of pattern placement Teaching Modules Suggested Hours 2. Make different kinds of markers. Class Laboratory 3. Plan markers in accordance with order require- I. Principles of Pattern ments. Placement 3 4. Make markers that require special manipulation. 3 II. Marker Types 3 5. Prepare and make multiple markers. 12 Ill. Order Control 2 6 IV. Si. ecial Handling 3 9 Instructional Guidelines V. Duplicating Systems 1 3 Total Hours When this area of instruction has been completed by 12 33 the students, they should be able to make different I. PRINCIPLES OF PATTERN PLACEMENT kinds of marker layouts (pattern placements) which conform with sewn product (industry) usage. Teaching Content Beginning with the concept of yield (the efficiency A. Marker Making Procedure exercised in using the area of the marker), this area of 1. Relationship between fabric width and marker instruction addresses itself to the concepts and tech width niques of marker making. The student will also make 2. Procedures various types of markers that touch upon different a. Drawing in right end line selvage lines specialized pattern manipulations. b. Laying out patterns The quality of the finished product is created in the 1) Largest parts first by size or area first steps of the manufacturing cycle. Marker quality 2) Blocking patterns and its relationship to cost of manufacture must be a) Straight line emphasized. The pattern layout is an integral part of b) Oblique straight line the manufacturing system. The subsequent steps c) "L" shape taken in the manufacture of the product are related d) Vertical step to how the marker has been made. e) Oblique step f) Symmetrical sawtooth This area of instruction will also show industry prac- g) Asymmetrical sawtooth tice in the creation of duplicate markers. 3) Placing intermediate parts on marker It is suggested that full sets of patterns representing a) Small pattern parts fitted into open four consecutive garment sizes using quarter scale areas of marker last patterns be given to the students. The same patterns b) Larger patterns are not moved to fit in full size (scale) should also be given to the stu smaller parts in dents. (These patterns are to be lettered size A for the 4) Finishing of marker marker end line a first size through size D for the last size.) straight line

65 B. Determination of Marker Yield Efficiency C. The One-Way Marker 1. Total fabric consumed and relationships 1. No geometric conformity 2. Total fabric used in product 2. Highest pattern (placement) constraint C. Marking Quality 3. All patterns run in same direction 1. Adherence to pattern grain lines 4. Poorest yield 2. Completeness of patterns (no overlapping) 5. Highest fabric cost 3. Cutting clearance 4. Line clarity CONWAY MARKER 6. Appropriate pattern identification, including style number illFRONT B T SOUR 8 T *DM d 6. Pattern location identification a. Notches 1.102111° T II5ACK B T 12C0uAR 5 b. Punch holes 7. Completeness of number of patterns Ta TOP OF PATTERN5 40TRIMOFPATTERN

Learning Experiences D. The Up and Down Marker Using miniature and full size patterns, have students 1. Constrained geometric conformity mark all grain lines, notches, parts identification on 2. Intermediate pattern (placement) constraint both sides of all patterns and make the necessary a. All patterns representing a complete garment punch holes. run in same direction b. All garment patterns do not have to run in II. MARKER TYPES same directions Teaching Content 3. Intermediate yield A. Concept of Pattern Direction 4. Intermediate fabric cost 1. Direction of all patterns a. Beginning at top, neck or waist UP MP POW MARKER b. Going to bottom, hem or cuff 2. Conformity to fabric nap direction (assuming it b 12 Foxe T r I4COLLAK 5 T AMC B exists on all patterns) Ip_My111 15 12 EtAcK T 8 12CMAR T B. Concept of Geometric Corformity TsTOT OF PATTERN Be IIOTToM OF PAIIERN PATTERNS RPM WITH GEC CONFORMITY E. The Either-Way Marker 1. No pattern (placement) constraint 2. Patterns placed in any direction if on grain 3. Maximum yield 0 4. Lowest fabric cost TTrO OF AVIAN B Wints14 OF PATTERN EITHER WAY MARKER

T nor S T 1411ACK8, T 12COLIAR 8 PAM:RkIS PLACOADMIOI/TGEOPAEMC /INANITY I4 a6E16F)trif T 412 akCK

T° TOP OF PATTED/ B% BOTTOM OF DiTER4

F. Marker Identification 7' 1. Identification Tare, OF RIVTERN eseOTTOPA OF PATTERN a. Marker type b. Number of units 1. Patterns placed with geometric conformity c. Size arrangement 2. Patterns placed without geometic conformity d. Marker width (full scale)

66 e. Marker length (full scale) b. Explanation Two ply of fabric the length f. Style number of the marker (section 1 and section 2) and 2. Placement two ply of fabric the length of section 1, a. Right side of marker when cut, will provide enough parts to meet b. Outside of rolled marker the order Learning Experiences 4. Straight lines between marker sections (See Module I Blocking of Patterns) Using the miniature patterns prepared in Module I laboratory project, have students make and identify Learning Experiences each of the following markers: Have students: 1. One-Way for four sizes, one unit of each size. 1. Make the markerdescribedabove. Compare 2. Up and Down for four sizes, one unit of each size. marker length to previously made markers. 3. Either-Way for four sizes, one unit of each size or 2. Make a marker having sizes A, B, C in the left using full size patterns, Either-Way for four sizes, section and size D in the right section. Compare one unit of each size. marker length to previously made markers. III. ORDER CONTROL

Teaching Content A. Relationships IV. SPECIAL HANDLING 1. Order requirements Teaching Content 2. Marker types A. Border (fabrics) Patterns B. The Non-Sectioned Marker 1. Vertical placement 1. Random pattern placement in accordance with 2. Horizontal placement marker type 3. Single vs. double border patterns 2. Cutting by dozens in multiples of 12 - 3. Illustration B. Striped (fabric) Patterns (Vertical and Horizontal) 1. Vertical alignment 2. Horizontal alignment 3. Degree of balanced match vs. cost of finished PONT A MONT17 PO(A BACK P product BACK B BACK C FONT B FTC C. Plaid (fabric) Patterns 1. Identification of repeats 2. Vertical alignment 4. Explanation: three ply of fabric the length of 3. Horizontal alignment the marker, when cut, will provide enough parts 4. Quality and fabric utilization for 12 garments. a. Balanced match C. The Sectioned Marker b. Flibrii spreading (lay-up) waste 1. Constrained pattern placement in accordance c. Cost of finished product with marker type (marker type dictates place- Learning Experiences ment of patterns regarding direction.) 2. Cutting by dozens (sections must be structured Using quarter scale patterns, have students: according to cutting order) 1. Make a four size non-sectioned, either-way marker 3. Example: cutting order calls for four A and n for a garment that has a border print two inches garments, and two B and C garments per dozen on either side of its center front seam (the length a.Illustration of the garment). 2. Using the same patterns, make a four size, either- way, non-sectioned marker for a garment that has stripes in the filling direction of the fabric. FRCHT A FRONT 17 PACK C FRONT 13 3. Using the same patterns, make a four size, either- BACK D BACK A BACK 6RAT'C way, non-sectioned marker for a plaid garment. This garment must have vertical and horizontal alignment. SECTION)i SECTION 2 plaid Yardage(cost)comparisons should be made with all previous markers.

S 67 V. DUPLICATING SYSTEMS Suggested Evaluation full-scale pat- Teaching Content Students will use the complete set of terns to make a four sizenon-section marker with A. Marking on Carbon two carbon duplicates for42inch width fabric. This I. Single faced carbon marker should be completed and thetable cleared in 2. Double faced carbon three hours, and it should be evaluated onits con- B. Marking on Chemical Paper formity to the principles of pattern placement. C. The Perforated Marker D. Photostated, Oza lid or DittoReproduction Teaching Resources

Learning Experiences TEXTS AND REFERENCES Trades Handbook using one of the pre- Apparel Engineering and Needle Using full size patterns, and Silverman, MAferkerMaking Manuel model, have viously made quarter scale markers as a So linger, J.Apparel Maiwfectudng Analysis students prepare a carbon reproducedmarker. Make an original and twocopies. INSTRUCTIONAL SUPPLIES Patterns las described in Instructional Gukielined Commercial pattern making paper Marker duplicate paper Marking carbon paper Awls, withers, hand-stapling machines OUAUTY CONTROL .,

Prerequisites: Basic Textiles II. Marker Quality Specifications 4 3 Suggested Hours: 35 III. Spreading Quality Specifications 2 2 IV. Cutting Quality Behavioral Objectives Specifications 2 2 This area of instruction should enable students to: V. Sewing Quality 1. Identify the quality specifications exhibited by the Specifications 4 8 functional areas of the apparel production system, VI. Garment Quality Aspects 2 2 including fabric quality, marker quality, spreading Total Hours 16 19 quality, cutting quality and sewing quality. 2. Be proficient in final inspection of sewn products in conformity with accepted industry procedure. I. FABRIC QUALITY SPECIFICATIONS Teaching Content Instructional Guidelines A. Hand Characteristics This is designed to instruct students in what to look 1. Elongation for when inspecting fabric, markers, Spreading, cut- 2. Elasticity ting, sewing and the appearance of the product in B. Tactile Characteristics readiness for customer distribution. Quality speci- C. Visual Characteristics fications are identified for each of these manu- 1. End-to-end shading facturing steps. The student will also learn how to 2. Sideto-side shading handle a finished garment when evaluating its quality 3. Dye or bleach marks characteristics. D. Physical Characteristics A definitive understanding of all of the quality speci- 1. Holes in fabric fications is fundamental. Instruction and laboratory 2. Lace-joints sessions will require fabric and garment samples that 3. Bowing are prepared by the instructor. A quantity of 3" x 9" 4. Yarn pulls swatches fin any woven fabric) will also be required. 5. Dimensional stability These instructional materials are the core of this area of instruction. For lectures, examples must be shown Learning Experiences of good quality and poor qu&lity. For laboratories, Students are given fabrics having imperfections in the student is to be given fabric, parts, garments, etc. them. Have students find and identify defects. that have imperfections. They must identify (quality) inconsistencies in all phases of the manufacturing cycle. The teacher will II. MARKER QUALITY SPECIFICATIONS judge the students ability to quickly identify these Teaching Content imperfections. A. Marker width 1. Constant for lengthor marker Teaching Modules Sul/rested Hours B. Pattern Grain Alignment Class Laboratory C. Line Value I. Fabric Quality 1. Clarity Specifications 2 2 2. Completeness

69 6 0 D. Pattern Value 1. Frayed edges 1. Overlapping 2. Fused edges 2. Dimensions B. Pattern Precision E. Knife Clearance Freedom 1. Conformity to specifications throughout lay 1. Cutting manipulation tolerance 2. Notches 2. Crowding of patterns 3. Punchholes F. Location Identification Marks C. Yarn Pulls 1. Notches: capped D. Cut Down 2. Punch holes: circled G. Appropriate Labeling Learning Experiences 1. Style number Give students bundles of cutpart; that have 2. Size imperfectionsinthem.Have studentsidentify 3. Part identification defects. H. Pattern Count 1. Total number V. SEWING QUALITY SPECIFICATIONS 2. Vertical facing Teaching Content I. Pattern Direction 1. Nap direction A. Stitch Size 2. Design direction 1. Length (stitches rIer inch) 2. Width Learning Experiences 3. Depth Give students markers having imperfections in them. B. Stitch Tension Have students identify these defects. 1. Fabric compression 2. Balance C. Stitch SequencePrecision III. SPREADING QUALITY SPECIFICATIONS D. Stitching or Seam Elongation (breaking point) Teaching Content E. Stitching or Seam Elasticity A. Table Edge Alignment: Consistency 1. Resilience B. Ply Alignment 2. Elongation 1. Major selvage edge F. Fabric Distortions 2. Widest ply on bottom to narrowest plyon top 1. Fusion 3. Warp direction 2. Gathering 4. Filling direction 3. Pinching C. Ply Tension 4. Puckering 1. Natural 5. Ruffling 2. even O. Shirring 7. Stretching D. Grain Alignment: Bowing 8. Torsion E. Splicing: Economy G. Seam Size F. Spreading Direction: Procedure Conformity 1. Seam depth and tension Learning Experiences 2. Seam width The instructor will lay-up a spread having the above H. Seem Allowance- Consistency mentioned deviations and have students indicate the I. Seam style exact point of imperfection and identify the defect. 1. Eye appeal: geometric appearance 2. Tactile appeal: feel

Learning Experiences IV. CUTTING QUALITY SPECIFICATIONS Using 3" x 9" swatches, have students prepare Teaching Content samples that represent each of the aforementioned A. Pattern Deformity sewing defects. (Each should be labeled.)

bi. 70 VI. GARMENT QUALITY ASPECTS b. Balance 3. Garment on hanger: drape Teaching Content Learning Experiences A. Appearance 1. The sample Give students finished garments that have quality a. Specifications defects and specifications for those garments. Have b. The specification sheet students examine garments and indicate quality 2. Dimensional specifications: points of fit defects. Students who are involved in supervisory 3. Drape training will also indicate methods for overcoming 4. Balance these defects. a. Shoulder seams to points of collar or neck b. Shoulder seams to cuffs or sleeve ends Suggested Evaluation c. Neck line to waist line d. Symmetry and alignment of part placements Instructor will prepare garments in each of which (patch pockets) there are approximately 8 defects. Students will identify these various defects in order to find as many 5. Visual characteristics as possible. If possible, each student should be given 3 a. Part shades or patterns garments to examine (garments can be rotated among b. Fabric damages students) and be evaluated on their ability to quickly B. Seam structure and correctly identify defects. a. Complete b. Correct (re: specifications) Teaching Resources B. Whole Garment Examination Evaluation Tech- niques TEXTS AND REFERENCES 1. Inside of garment So finger, J. Apparel Manufacturing Analysis a. Seam structure: examination pattern INSTRUCTIONAL SUPPLIES b. Dimensional conformity Fabric and garment samples (as described In instruc- 2. Outside of garment tional Guidelines) a. Visual characteristics 3" x 9" woven fabric swatches

71 INTRODUCTION TO PATTERN DEVELOPMENT

Prerequisites:GarmentConstruction industry. For the industry pattemmakerand grader, itis of primary importanceto make an accurate Suggested Hours:170 pattern for a duplicate in stock sizes. Stock sizes differ from sample sizes inmany firms. The sample Behavioral Objectives size is elongated andmore elegandy proportioned to fit the show room model, whereasstock sizes fit the This area of instruction shouldenable students to: average consumer. Pafternmaken must beable to 1. Drape and draft garmentpatterns for design and subtly alter the proportions withoutchanging the production purposes. style of the original sample, and sincetheir pattern 2. Use each method appropriatelyin order to achieve will be used to cut garments ingreat quantity, pre- maximum efficiency andaccuracy. cision is essential. 3. Apply draping andpattern drafting principles and On the other hand, fashion designerslearn to develop techniques when constructingan original sample patterns so that they can give formto their ideas. or duplicate garments. Since, in most cases, the designer isdeveloping an original sample and must experimentwith new lines, Instructional Guidelines creative freedom for design studentsshould be stressed rather than absolute precision. It isimportant This area of instruction is intended to simultaneously to remember that the end product ofa designer's develop a facility in both of the recognised methods work is a beautiful sample garment ratherthan a of making garment patterns. When new silhouettes precise pattern. For the future designer,pattern are developed, most designers and patternmakers pre- development is "design," for it is herethat roughly fer to work by draping the new design in fabric. sketched ideas begin to assume shape and reality. Exact proportions and new shapes become readily Dressmakers, sample makers, duplicate makers, fitters apparent as the designer cuts directly into muslin, an and alteration hands should also haveIrmo back- inexpensive fabric used for this purpose. On the other ground in pattern development. Compete a cin the hand, race the basic shape has been established and a level required by patternmakers and designosis not pattern for a particular silhouette has been perfected, essential for these occupations, but the recognitionof variations can be achieved more rapidly and ac- coffer grain position, proper fit, and the goodsense curately with the pattern drafting method. Sleves of proportion needed by all these people,can best be and certain types of tailored collars are almost always learned in the study of pattern development. drafted rather than draped. Also, when a model form isnot available.patterns can be drafted from To allow for the differences incareer aims of stu- measurements. This method is reasonably satisfactory dents,the instructor must make individualad- as long as ref inemcnu of line are eventually achieved justments in procedure and evaluation ofstudent by fitting on a model. progress. Design students should be required to work out patterns for original ideas throughout the learning Draping and pattern drafting are here introduced sim experience,. Allowances should be made to give time ultaneously. The program should be flexible enough for experimentation, anti work should be so that as the students achieve the necessary skills, evaluated on the basis of creeds; ty as well as accuracy. Future they can make use of either or both methods, which- patternmakers and those primarily interested in dress ever is more suitable to the problem at hand. making careers should work out patterns fromgar Competence in pattern development is required for a merit samples. If those are not available, photographs number of occupations and careers in the apparel or sketches may serve as models to be reproduced.

83 72 The material is introduced by the instructor through h. Tracing wheel lecture-demonstration and discussion. Wherever pos- i.Pencils sible, actual garments or completed muslin samples 2. Model form should be used to illustrate teaching points. Currently a. Types of forms fashionable examples of the styles under discussion 1) Dress may be found in fashion magazines and newspaper 2) Slacks advertisements. These should be freely used to moti- 3) Full length vate students and illustrate lectures. 4) Brassiere Nine modules of draping and pattemmaking intro- b. Sizes duce the student to the basic principles of pattern c. Yearvariations development. During the laboratory periods, students 3. Muslin develop a pattern for each of the problems explored a. Quality in class. Before the end of this area of instruction, a 1) Fine sample garment must also be completed. This should 2) Coarse be an original design for design students, but other 3) Heavy weight: students may copy a sketch or photograph. The 4. Grain sample garment provides an opportunity to view the a. Length wise function of pattern development in relation to design b. Cross-wise and construction. It permits the students to practice c. Bias and expand the skills previously learned inGarment 5. Preparation of muslin for draping Construction,and provides practical application of a. Blocking their newly acquired skill in pattern development b. Pressing c. Drawing grain lines (with a sharp pencil) Teaching Modules Suggested NOUN B. Pattern Drafting am Laboratory 1. Comparison of patterns I. Introduction to Draping and a. Commercial Pattern Drafting 4 3 b. Industrial II. Draping Basic Patterns 6 12 c. Sample room III. The Principle of Slash and 2. Tools (same as for draping) Spread 2 2 a Paper IV. Dart Manipulation 5 14 a. Lightweight V. Skirts 6 14 b. Oak tag VI. The Shift and Simple 4. Pattern notations Collars 4 11 a. Stitching lines VII. Fitting With Seams 7 22 b. Crossmarks: notches VIII. The Shirtwaist Dress and c. Punch holes Shirt Details 6 13 d. Grain lines IX. The Sample Garment 0 40 e. Pattern piece identification 1)Style number Total Hours 39 131 2) Size I. INTRODUCTION TO DRAPING AND PATTERN 3) Center front DRAFTING 4) Center back 6. Cutting a paper pattern Teaching Content a. Straight lines A. Draping b. Curves 1. Tools a. Scissors Learning Experiences b. Pins 1. Draping Have students tear a piece of muslin in c. Tape measure preparation for draping the Basic Waist. Block, d. 1.Square press and draw the center front grain line. e. Hip Curve 2. Pattern drafting Provide students with a sleeve f. French curve sloper which they will copy. Size should be the g. x 18" transparent ruler same as the dress form used in draping.

64 73 II. DRAPING BASIC PATTERNS a. One dart waist frdm a two dart sloper Teaching Content b. Division of basic darts into twoor more darts A. Basic Waist c. Tucks or shirring 1. Front: shoulder and waistlinedarts 2. Back: shoulder and waistline darts Learning Experiences B. Basic Skirt 1. Draping Have students: a. Drape a waist with the underarm and waistline C. Transfering Paper Patternsto Muslin dart front, and the neckline and waistline dart D. Setting in Sleeve back. They will then ase the Bell Sleeve pattern Learning ExpelWOOS drafted in Module II to cut into muslin and set into this waist. Have students drape the basic waist and skirt. Trans. b. Drape a waist manipulating the dprts intoany fer the sleeve sloper, which was copied in pattern desired position; puff sleeve or shortened sleeve drafting in Module I, to muslin and set in sleeve. sloper may be used if desired. '. Pattern Drafting Have students: III. THE PRINCIPLE OF SLASH AND SPREAD a. Transfer their muslin basic waist pattern to oak Teaching Content tag; transfer the two dart sloper to the one dart sloper using the pivoting principle; pivot the A. Bell Sleeve one dart sloper into various positions; draft a 1. Slash and spread finished pattern for a one dart waist. 2. Facing for lower edge b. Draft a waist with divided darts. B. Puff Sleeve c. Draft a finished pattern using shirring instead of 1. Slash and spread darts and test in muslin. 2. Cuff V. SKIRTS Learning Experiences Teaching Content Have students: 1. Draft a bell sleeve and cut facing for the lower A. Draping edge. 1. Straight grain 2. Draft a puff sleeve and cut a cuff to finish the a. lower edge. b. Dome 2. Flared a. 4Gore IV. DART MANIPULATION b. ALine Teaching Com -nt 3. Hip yoke A. Drapini 4. Shaped 1. Oneddi twaist front B. Pattern Drafting a. Waistline dart 1. Dirndl b. Center front waistline dart 2. Flared hip yoke c. French dart 3. Circular d. Flange Learning Experiences e. Neckline dart f. Center front bustline dart 1. Draping Have students drape a: 2. Balanced grain waist front a. Dirndl skirt a. Underarm ind waistline darts b. Dome skirt b. Various other dart positions with straight c. Flared skirt grain at bust level Note: Any of the above skirts may be designed 3. Back: neckline and waistline darts with a hip yoke or a shaped midriff 4. Utilization of tucks and gathers in lieuof darts 2. Draping Have students select two of the skirts B. Pattern Drafting draped and combine with the dart manipulation 1. Transfer of muslin patterns to oak tag waists draped in a previous module. 2. The pivoting principle 3. Pattern Drafting Have students:

74 a. Transfer muslin basic skirt pattern to oak tag, VIII. SHIRTWAIST DRESS AND SHIRT DETAILS using the skirt sloper to develop a pattern for a dirndl skirt with a hip yoke. Teaching Content b. Develop a pattern for a circular skirt. A. Draping the Shirtwaist Dress VI. THE SHIFT AND SIMPLE COLLARS 1. Back and shoulder yoke 2. Pleats Teaching Content a. Side A. Draping Shifts b. Box 1. Straight c. Inverted 2. Shaped d. Cluster 3. Yokes a. Accordion 4. Draping in fabric f. Sunburst g. Crystal B. Drafting Collars 1. Straight collars B. Drafting Shirtwaist Details a. Convertible 1. Tabs b. Bias rolled 2. Shirtwaist sleeve c. Mandarin 3. Cuffs 2. Round collars a. Straight (barrel a. Peter Pan b. French b. Bertha 4. Two-piece shirt collar c. Cape Learning Experiences d. Sailor 1. Draping Have students drape a shirtwaist dress Learning Experience that has a yoke, a collar, shirtwaist sleeves, a tab 1. Pattern Drafting Have students draft patterns closing, and pleats. for one straight collar and one round collar. 2. Pattern Drafting Have students draft patterns 2. DrapingHave students: for the tab, sleeve and collar for the shirtwaist a. Drape a straight shift in muslin dress that is being draped. b. Drape a shaped shift in fabric

Note: One of the shifts should be styled with a IX. THE SAMPLE GARMENT yoke front, and both shifts should be designed with the collars developed in Pattern Drafting. The sample garment may be an original designor a copy, depending on the ultimate career objectives of VII. FITTING WITH SEAMS the student. It should be 3 dress with a set-in sleeve. Design details should be drawn from those covered Teaching Content throughout the area of instruction. The pattern for A. Draping the sample garment may be draped or drafted, which- 1. Princess waist ever is most expedient. In constructing the sample 2. Six-gore skirt garment, the student draws on the skills previously 3. Princess dress developed in garment construction. The garment is to B. Pattern Drafting be draped and fitted on a model form. The instructor 1. Princess waist discusses and demonstrates the use of backing, lining 2. Yokes and other fitting lines and interlining. 3. Gored skirt Emphasis throughout assembly of the garment should be placed on the principle of unit construction so Learning Experiences that all waste motion and unnecessary handling is 1. Draping Have students drape: eliminated. a. Dress with a princess waist and a 6-gore skirt b. Princess dress 2. Pattern Drafting Have students draft a pattern for: Suggested Evaluation a. Princess waist The numerous projects developed throughout this b. Gored skirt area of instruction should be evaluated by the instruc

76 tor on the basis of accuracy and originality for design Teaching Resources students. For students whose goals are in the field of TEXTS AND REFERENCES apparel production, accuracy of interpretation rather Bishop, E.The Bishop Method of Clothing Construction than originality should be the basis for evaluation. CONSend Clark's Sewing Book The Sample Garment should be evaluated on skillful Fashion Institute of Technology,Apparel Design Fint construction as well as the aforementioned criteria. Smear Notes(Available for purchase from College Shop, P.I.T., 227 West 27th St., New York, N.Y. In addition a practical final examination may be given 100011 at the completion of this area of instruction.This Kopp, E., Rolfo, V., end B. Senn,Designing Apparel examination may be based on a fashion sketch, repre- Through the Fiat Anton; sentative of the work covered, which is interpreted in INSTRUCTIONAL SUPPLIES muslin by the student within a prescribed time. Muslin for each protect Photographs or sketches depicting variations of each Proffer Actual garments showing methods of construction Student fabric for sample garments

87 76 ADVANCED PATTERN DEVELOPMENT

Prerequisites: GarmentConstruction; Introduction VIII. Soft Draping 3 15 to Pattern Development IX. Striped Problems 1 7 X. The Sample Garment 40 Suggested Hours: 170 Total Hours 32 138 Behavioral Objectives I. DRAFTING BASIC PATTERNS Teaching Content This area of instruction should enable students to: 1. Develop advanced skill in draping and drafting A. Sleeve sloper garment patterns for design and production pup B. Waist doper po.es. 1. Front 2. Solve patternmaking problems of greater com 2. Back plexity than explored in the introduction to pat C. Skirt sloper tern development. Learning Experiences Instructional Guidelines Have students draft a set of basic patterns to fit the model form used for draping, test patterns in muslin, Building on the basic skills developed in Introduction make necessary adjustments and cut in oak tag. to Pattern Development, this area of instruction is designed to explore and solve the more complex II. DRAPING COWLS problems of draping and pattern drafting. The con- Teaching Content tent includes: drafting basic patterns from measure- ments, an introduction to tailored garments, and A. Simple Bias Cowls handling fabrics for soft draping and more intricate 1. High effects. A sample garment serves to provide the stu- 2. Low dent with the opportunity for practical application of 3. Front the more challenging material covered. 4. Back 6. Halter Draping and pattern drafting are again presented sim- ultaneously, thus continuing the method of presen- B. Built-up Cowl tation already established in the Introduction to Pat- C. Square Cowl tern Development. It is again recommended that the evaluation of student progress be adapted to the D. Armhole Cowl career aims of the individual students in the class. E. Fabric Considerations Learning Experiences

Teaching Modules Suggested Hours 1. Demonstrate draping cowls. Class Laboratory 2. Have studentsselect two cowls from those I. Drafting Basic Patterns 4 discussedand demonstrated, and design two II. Cowls 3 15 complete garments incorporating cowls selected. III. Unmounted Sleeves 8 23 Students will drape one garment in muslin and the other in fabric. IV. The Peg Skirt 2 4 V. Slacks 3 5 III. UNMOUNTED SLEEVES VI. The Torso Soper and Suit and Conversion 4 Tea fling Content VII. The Tailored Garment 4 17 A. Draping Unmounted Sleeves

77 1. Dolman sleeve a. Straight a. Basic fitted dolman b. Tapered b. Stylized dolman c. Flared 2. Kimono and princess combination sleeve d. Bell bottoms e. Culottes B. Drafting the Kimono Sleeve 1. Basic kimono sleeve sloper B. Drafting Slacks 2. Kimono sleeve with stylized armhole 1. Basic slacks pattern 3. Kimono sleeve with 2. Variations in length a. Shorts C. Drafting Combination Sleeves b. Slacks 1. Raglan sleeve 3. Jeans 2. Variations of raglan sleeve 3. Kimono variations developed from raglan sloper Learning Experiences a. Yoke and sleeve cut in one 1. Draping Have students design and drape slacks b. Dropped shoulder sleeve in fabric. 2. Pattern Drafting Have students draft: Learning Experiences a. Basic slacks sloper 1. Draping Have students: b. Pattern for jeans which they will test in muslin a. Drape a twodart waist with a long fitted or fabric dolman sleeve b. Design and drape a dress with a stylized dolman VI.TORSO SLOPERS AND SUIT AND COAT sleeve CONVERSION c. Design and drape a dress with the kimono and Teaching Content princess combination sleeve (note: the peg skirtsofthefollowingmodule may be A. Draping Torso Sloper incorporated in this assignment) 1. Front waist with shoulder and waistline darts 2. Pattern Drafting Have students: 2. Back waist with shoulder and waistline darts a. Draft the basic kimono sleeve doper 3. Set-in sleeve b. Develop patterns for two stylized armhole B. Drafting Suit and Coat Conversion waists from the basic kimono sleeve sloper 1. Transferring torso slopes to oak tag c. Draft a pattern for a waist with a kimono sleeve 2. Converting torso sloper with gusset and test in muslin a. Suit sloper d. Design and draft pattern for a raglan sleeve b. Coat doper which they test in muslin 3. Converting sleeve sloper e. Design and draft pattern for a kimono variation a. One-piece suit sleeve developed from a raglan sloper and test in b. One-piece coat sleeve muslin c. Two-piece coat sleeve IV. PEG SKIRT Learning Experiences

Teaching Content 1. D..aping Have students drape a torso sloper in muslin and set-in sleeve. A. Peg Skirt With Side Seam 2. Pattern Drafting Have students draft: B. One Piece Peg Skirt a. Suit sloper with a one-piece sleeve b. Coat sloper with a two-piece sleeve Learning Experiences Haw. students design and drape both peg skirts. These VII. THE T %ILORED GARMENT may be combined with any of the sleeves developed Teaching Content in Module III in draping or pattern drafting. A. Drafting Tailored Collars V. SLACKS 1. a. Basic Teaching Content b. Variations A. Draping Sae 2. Notched 1. Basic crotch a. Basic 2. Draping various silhouettes b. Variations

89 78 B. Combining Draping and the Use of the Sloper Sample garments do not have to be limited in thearea C. Cutting Linings of design, since students should be able to developa pattern for almost any type of garment by the time Learning Experiences they have completed this area of instruction. The 1. Pattern Drafting Have students draft: instructor would be wise, however, to carefullyassess a. Basic shawl collar and develop a pattern for two the student's sewing ability and experience before the shawl collar variations involving amount of roll, student is encouraged to attempt the construction of shape of neckline and size of collar. tailored garments. Some students handle tailored b. Basic notch collar and develop a pattern for garments successfully, patiently following instruc- two notched collar variation, tions and turning out a professional product. Others, 2. Have students test collar patterns in muslin. often students with significant design ability, do not 3. Combining draping and pattern drafting in the have the feeling for the precision required to doa most expedient way, have student; design and good tailoring job and, rather than be permittedto develop a coat or suit in muslin. turn out a belowstandard product, they should be encouragedto construct a garment within their VIII. SOFT DRAPING technical abilities. Teaching Content When sample garments are completed, it is suggested A. Bias Twist that an extra-curricular activity could be planned and staged by the students. In addition to B. Boned Foundation family, friends andschoolmates, prospective C. Draping in employers should be invited to attend the students' showing. Learning Experiences Have students design and drape in fabric an evening Suggested Evaluation incorporatingsoftdraping over a boned As in the Introductory Pattern Development area of foundation. instruction, the numerous projects developed by IX. STRIPED PROBLEMS students should be evaluated on the basis of accuracy and originality for design students and on the basis of Teaching Content accuracy and skillful construction for students whose A. Matching stripes and plaids career goals are production. However, the sample 1. Balanced seams garment should also be evaluated on evidence of the 2. Mitered corners student's ability to create a garment which incorpo- 3. Joining bias rates the more advanced problems covered in this area B. Using Fabric Without Waste of instruction such as soft bias draping, and more complex details or effects. A practical exam may also C. Special Effects With Stripes and Plaids be given to evaluate the student's competency in Learning Experiences creating a pattern from a more complex fashion sketch. This pattern should be interpreted in muslin Have students design a garment using striped or plaid within a time limit prescribed Iry the instructor. fabric; draft pattern and test in fabric. Teaching Resources X. SAMPLE GARMENT TEXTS AND REFERENCES The sample garment may be an original design or a Kopp, E.. Rolfo, V.. and B. Ze lin, Designing Apparel copy, depending on the career goal of the student. Through the Flat Pattern The garment constructed in this area of instruction How to Draft Basic Patterns must be fitted on a live model. In order to fit I nstructie gal Supplies Professionally, students must not sew garments to fit 0 toins for each protect themselves but should, instead, work with another .stographs or sketches depicting variations of each student.Designersinindustry usetall,slender project models, and every effort shoull be made to have Actual garmentswhich illustratemethodsof contruction design students work with more or less ideally Fabric for sample garments (to be supplied by proportioned modelsinthe classroom situation. students)

79 :JO GRADING

Prerequisites: Introduction to Pattern make the material much more interesting and easier Development to understand. A laboratory experience should follow a lecture- Suggested Hours: tio demonstration by the instructor for each section of the garment. Theory and practice are so closely Behavioral Objectives related that they should be treated as parts of the same thing. Therefore, if the students are to get the This area of instruction should enable students to: maximum benefit from this area of instruction, 1. Analyze how the human body grows in order to lecture and laboratory work should be closely coordi- understand and the mechanics of grading. nated. This can best be done by providing long, cork 2. Grade the various parts of a garment by simple top tables 38 inches high with each student assigned reliable methods while maintaining the proper an area in which to work. To prepare the student for proportions of fit and style. the laboratory period, the demonstration is geared 3. Develop the ability to grade up and down a range around the exercise they will apply. These applica- of sizes with accuracy and skill in order to adapt tions are a definite part of their education as well as to wholesale garment production methods. their homework, and they are responsible for the 4. Grade a basic , a shoulder yoke blouse, results. , gored sections, a jacket with shawl collar, There are several small hand grading machines which a kimono sleeved dress, a stylized armhole dress, a are used in industry by graders to expand their ability raglan sleeve dress, a set-in sleeve dress, a princess to achieve finer quality and greater accuracy. Giving sleeve dress, a dropped shoulder dress and a students an opportunity to work with these machines kimono sleeve with gusset. will enhance learning and expose students to industry practices.Although the cost of these machines Instructional Guidelines (approximately 82251 may not permit one for every This is a comprehensive grading course. It is designed student,learningexperiences on oneor more to provide a firm foundation upon which the student machines of this type could be assigned to groups of can build the competence needed for employment. students on a rotating basis. The selection of the learning modules and the depth Another type of grading machine is tb multi-grader of treatment to be given each ispresented as which allows the grader to mechanically produce up functionally as possible in complete garment units. to seven pattern sizes simulcaneoudy. An IBM com- This will facilitate application of fundamental prin- puter also exists to translate an original dress into ciples to varying problem situations that would be other sizes automatically. found under normal working conditions. Within each Field trips to see These machines should be planned. module there is provision for qmphasis of significant These trips stimulate the students' interest by show- factors which tend to be found in a wide range of ing them the practical applications of fundamental situations. principles as well as giving them a preview of the An analysis of each section of the garment is given grading profession as it is practiced. before application in the form of a split diagram. The diagrams show the natural growth of the body, in two directions, by opened areas closely related to the Teaching Modules Summed Howl movements of actual grading. Proper use of these Clan Laboratory

diagrams give a scientific approach to grading and I. The Importance of Fit 3 1 II. Understanding The Meaning II. UNDERSTANDING THE MEANING OF GRADE of Grade 3 1 Teaching Content III. Preparing To Grade 2 1 IV. Grading The Basic Sheath A. Various Areas of Body Growth Dress 5 5 1. Circumference increases V. Grading a Shoulder Yoke 2. Length increases Blouse 3 3 3. Width increases VI. Grading Slacks and Shorts 3 3 4. Across increases VII. Grading Gored Sections 4 4 B. Calculating Grade Increases VIII. Grading a Jacket With 1. Circumference grade (1", 1.1/2",2") Shawl Collar 3 3 2. Length grade IX. Grading a Kimono Sleeve 3. Width grade Dress 3 3 4. Lines parallel to floor X. Grading a Stylized Square Armhole Dress 3 3 C. Grades Employed Within The Size Designations Xl. Grading a Kimono Raglan 1. Juniors Sleeve Dress 3 3 2. Misses XI I. Grading a Set-In Sleeve 3. Women's 4. Half-Sizes Dress 3 3 XI II. Grading a Princess Sleeve Learning Experiences Dress 3 3 Have studentscomplete problem XIV. Grading a Drop Shoulder situations on calculating grade increases in the various areas of body Dress 3 3 growth. XV. Grading a Kimono Sleeve With Gusset 3 4 III. PREPARING TO GRADE Total Hours - - - - 47 43 Teaching Content A. Reading the Grading Charts I. THE IMPORTANCE OF FIT 1. Full measurement charts 2. Detailed size charts Teaching Content 3. Areas that grade the same A. Body Measurements 4. Areas changing according to grade 1. National Bureau of Standards B. Basic Movements of Patterns 2. Standardization of measurements 3. Model form makers 1. Horizontal 4. Manufacturers 2. Vertical 3. Blending B. Study of Body Types 4. Angle 1. Sze-type designations 2. Height differences C. Pattern Inspection 3. Variations 1. Assembling 4. Pattern differences 2. Checking accuracy 3. Grain lines C. Established Methods for Grading 4. G.,lidelines 1. Manual 5. Control lines 2. Machine 3. Computer Learning Experiences 1. Have students make a chart listing the circum- Learning Experiences ference, length, and width grades and all the size Plan a field trip to a place where grading operation.; designations within the Misses size range. Grades are performed. If facilities are not available, the next are then figured for each area of body growth. best thing is to demonstrate the operation of a grading 2. Give each student a pattern of a basic sheath dress machine in the classroom with group student partici- (Module IV). The pattern pieces are assembled and pation thereafter. checked for accuracy. Groin lines, guidelines, and

81 controllines are then squared on the pattern C. Analysis for Grading Shirthaist Sleeve sections. 1. Shirtwaist sleeve 2. Cuffs IV. GRADING THE BASIC SHEATH DRESS

Teaching Content A.Analysis for Grading the One Dart Front Bodice 1. One dart front bodice 2. Waist dart B. Analysis for Grading Shoulder and Neck Dart Back Bodice 1. Back bodice with shoulder dart 2. Back bodice with neck dart C. The Bodice Grading Up and Down Learning Experiences 1. Uneven grade 2. Pickoff Have students grade patterns of Shoulder Yoke Blouse D.Analysis of Basic Front Skirt Grade that are supplied by the teacher. 1. Basic front and back skirt VI. GRADING SLACKS AND SHORTS 2. Two darts Teaching Content E. Analysis for Long Basic Sleeve Grade A.Analysis of a Slack Grade 1. Front of basic slacks 2. Back of basic slacks 3. Belt B. Analysis for Grading Basic Shorts 1. Front of basic shorts 2. Back of basic shorts

Learning Experiences 1. Demonstrate teaching content. 2. Have students grade patterns of the Basic Sheath Dress that are supplied by the teacher. 3. Have students either by hand or hand machine, grade up and down a range of sizes and "pick-off" the patterns. 4. Have students practice uneven grade. Learning Experiences

V. GRADING A SHOULDER YOKE BLOUSE Have students grade patterns of different types of slacks and shorts that are supplied by the teacher, Teaching Content after teacher demonstrates procedures. A. Analysis for Grading Shoulder Yoke Blouse VII. GRADING GORED SECTIONS 1. Shoulder yoke 2. Front bodice Teaching Content 3. Back bodice A. Analysis for Grading Shoulder Bodice B. Analysis for Grading Peter Pan Collar 1. Shoulder princess line center front panel

82 2. Front side panel Learning Experiences 3. Back shoulder princess bodice Afterdemonstrationofteaching content,have 4. Back side panel students break into groups and use hand machine to B. Analysis of Rolled Collar Grade grade patterns of a jacket with shawl collar that are C. Analysis of A Short Sleeve Grade supplied by the teacher. D. Analysis for Grading Six Gored Skirt IX. GRADING A KIMONO SLEEVE DRESS 1. Center panel back and front Teaching Content 2. Side panel back and front A. Analysis for Grading Kimono Sleeve Bodice with Midriff 1. Bodice: back and front 2. Midriff: back and front B. Analysis of a Circle Skirt Grade 1. Front circle skirt 2. Back skirt

Learning Experiences 1. Have students grade patterns of gored sections and short sleeve that are supplied and demonstrated by the teacher. 2. Have students grade up and down a range of sizes.

VIII. GRADING A JACKET WITH SHAWL COLLAR Learning Experiences Teaching Content 1. After demonstration, have students grade patterns A.Analysis for Grading H!p Length Jacket With Shawl of a Kimono Sleeve dress. Collar 2. Have students review and practice uneven grade. 1. Front jacket with shawl collar 2. Back jacket X. GRADING A STYLIZED SQUARE ARMHOLE 3. Flaps and buttonholes DRESS 4. Facings Teaching Content B. Analysis of A Two Piece Sleeve Grade A.Analysisfor Grading Stylized Square Armhole Bodice 1. Bodice: back and front 2. Sleeve B. Analysis for Grading Six Gore Gathered Skirt 1. Center panel: front and back 2. Side panel with gathers: front and back 3. Pockets

Learning Experiences Students grade patterns of stylized square armhole dressthatare supplied by the teacher after a demonstration.

83 Learning Experiences 1. Have students grade patterns of a set-in raglan sleeve dress that are supplied by the teacher after demonstrasions. 2. Have students practice grading a range of sizes up and down.

Xl. GRADING A KIMONO RAGLAN SLEEVE DRESS

Teaching Content A. Analysis for Grading Kimono Raglan Sleeve Bodice 1. Front kimono raglan bodice 2. Back kimono raglan bodice XIII. GRADING A PRINCESS KIMONO DRESS 3. Kimono raglan sleeve Teaching Content 4. Mandarin collar A. Analysis for Grading a Princess Kimono Bodice B. Analysis of Eight Gore Skirt Grade 1. Princess center panel: front and back 1. Center panel: front and back 2. Side panels: front and back 2. Side pond: front and beck B. Analysis for Grading a Six Gore Skirt with Pleats 1. Center panels: front and back 2. Side panels: front and back C. Analysis of a Flat Sailor Collar Grade

Learning Experiences Have students grade patterns of kimono raglan sleeve dressthataresupplied by the teacher after a Learning Experiences demonstration. Have students grade patterns of princess sleeve dress XII. GRADING A SET-IN RAGLAN SLEEVE DRESS that are supplied by the teacher after a demon- stration. Teaching Content XIV. GRADING A DROP SHOULDER DRESS (Front A. Analysis for Grading Set-In Sleeve Bodice Only) 1. Set in raglan sleeve bodice 2. Raglan sleeve (over arm seam) Teaching Content B. Analysis of a Four Gore Front Skirt Grade A. Analysis of a Drop Shoulder Bodice Grade

84 1jZi 1. Drop shoulder bodice 2. Straight back skirt with kick pleat 2. Puff sleeve Learning Experiences B. Analysis of a Dirndl Skirt Grade 1. After demonstrating procedures, have students grade patterns of a Kimono sleeve with gusset that are supplied by teacher. If hand grading machine is available for student use, students may work in groups; if not, students may grade individually by hand. 2. Have students practice an even grade.

Suggested EvaluatiOn

1. Laboratory work is evaluated for neatness, correct application of principles and procedures, and accuracy of results. Evidence of the student's ability to exercise initiative and judgment in solving problems should also be given consideration since the end result of this area of instruction is more than the absorption of factual information. Learning Experiences 2. A final performance rating may also be scheduled Have students grade patterns of drop shoulder dress to evaluate for mastery of basic principles and their that are supplied .by the teacher after a demonstration application. The examination should not duplicate of content and procedures. problems previously solved by the student, but should be so designed as to provide further application of XV. GRADING A KIMONO SLEEVE WITH GUSSET basic principles. Mathematical accuracy and neatness should also be evaluated.

Teaching Resources TEXTS AND REFERENCES Standard on Body Measurements for doe Sizing of Woment Patterns and Apparel,TS-5200A. Standards Division, U.S. Department of Commerce, Washington 25, D.C. Kopp, E., Rao, V. and B. Zelin.Designing Apparel Through the Nat Pattern ---, Now to Draft Bask Pa ems Price, J. end B. Zamkoff.Grading Techniques for Modern Design

INSTRUCTIONAL SUPPLIES Pattern paper Master patterns for grading up and down size 10 suggested Large split diagram charts of each section of a patient Teaching Content Measurement charts for referral purposes Studentsupplies12"transparentruler,metal A. Analysis for Grading Kimono Bodice with a Gusset , colored pencils 1. Front kimono bodice Hand grading mochineld optional 2. Back kimono bodice 1. Approximate cost$225 2. Supply sources 3. a. Derickired-O-Meter B. Analysis of a Convertible Collar Grade 11100 Cumpton St. 1. Convertible collar Hollywood, Calif. 40406 2. Tabs b. Accurate Speed Grader Sunny-Young, Inc. C. Ana hisis of a Peg Skirt Grade 450 Seventh Ave. 1. Peg front skirt New York, N.Y. 10001

56 85 ADVANCED FASHION DRAWING

Prerequisites:Introduction to Fashion Drawing Teaching Modules Suggested Hours Class Laboratory Suggested Hours: 60 I. Introduction to Rendering in Different Media 2 2 Behavioral Objectives II. Faurics and Other Materials 10 22 III. Children's Fashion Figures 6 10 This area of instruction should enable students to: IV. The Male Fashion Figure 3 6 1. Increase skill in rendering the fashion figure. Total Hours 20 40 2. Use various media for this purpose. 3. Illustrate various fabrics. I. INTRODUCTION TO RENDERING IN DIFFERENT 4. Draw children for children's wear design. MEDIA 5. Draw the male fashion figure for men's wear de- Teaching Content sign. 6. Explore the design possibilities in fabrics of vari- A. Colored Crayon Pencil ous weights and textures. 1. How to use 7. Develop the designer's portfolio. 2. Effects possible B. Felt Tipped Pens (Magic Marker) 1. How to use Instructional Guidelines 2. Effects possible C. Opaque Designer Colors This is an advanced drawing area of instruction de- 1. How to use signed to develop additional skills in rendering fabrics 2. Effects possible and figures. Students engage in intensive practice drawing fashion figures in various poses. In addition D. Pen and to water colors, already utilized inintroduction to 1. How to use Fashion Drawing,other techniques commonly used 2. Effects possible by fashion designers and illustrators are introduced. E. Types of Papers Students apply these varied techniques in executing 1. Bristol board the laboratory assignments throughout the course. 2. Ledger drawing paper Special emphasis is placed on the clearly defined 3. Layout paper (The advertiser) representation of various types of fabrics and mater- 4. Vellum ials used in fashion. Students are taught to draw boys 5. Morilla water color paper and girls of all ages for children's wear design, and are B. Coquille paper introduced to the male fashion figure for the purpose 7. Double deckle paper (colors) of designing men's apparel. Learning Experiences The teaching method of lecture-demonstration and simultaneous application of newly learned techniques Students practice using each medium in order to by the student, suggested forIntroduction to Fashion achieve effects discussed in module and demonstrated Drawing, should also be used in this area of instruc- by the teacher. tion. II. FABRICS AND OTHER MATERIALS The plates developed in this area of instruction will Teaching Content comprise the student's portfolio to be used for future employment interviews. A. and Textures

97 86 1. Ledger drawing paper c. Plastic a. Rought hard surface d. Smooth leathers b. Colored crayon pencil 2. Highlight technique 2. Crayon pencil on morilla a. Large and sharply contrasted 3. Dry brush b. Centered and darkened at edges B. Stripes and Plaids c. Opaque white 1. Approximate repeats related to garment size F. Pile Fabrics and Furs a. Fine 1. Types of fabrics b. Medium a. c. Bold b. Cut velvet 2. Direction of pattern c. a. Simplification following single, largest di- d. rection e. Fake fur 1) Shadows for creases f. Fur 2) Indications of grain changes 2. Techniques b. Indications of grain changes a. Light outside and darkened center 3. Texture b. Application on wet background a. Dry brush for tweeds 1) From center out b. Wet for smooth fabrics 2) Allowed to bleed 4. Painting plaids c. Direction of long-haired furs indicated a. From light to dark in water color or magic Learning Experiences marker b. From dark to light in opaque medium Designing for a particular industry segment and iden- c. Largest amount of color applied first tifying the segment and approximate retail price, have 'students design groups of: C. Prints 1. Approximate repeats related to garment size Five garments in a particular fabric. 2. Approximate shapes Three garments in a striped fabric. a. Florals Three garments in a plaid fabric. b. Geometries Five garments using various color coordinated c. prints. d. Abstract Three garments using a soft sheer fabric. e. Objects Three garments using a crisp sheer fabric. f. Dots Three garments in shiny surfaced materials. 3. Completion of one color application before an- Three garments in either velvet or corduroy. other Three fur or fur trimmed coats. 4. Dots Note: All sketches should be watched. Students may a. Applied on a grid select areas such as sportswear, loungewear, coats and b. Tip of brush must make a round circle suits, boutiques, etc. D. Sheers 1. Transparent: shown under clothing or body under garment III. CHILDREN'S FASHION FIGURES 2. Soft: concave, fluid Enos lift up at hem a. Chiffon Teaching Content b. Lawn A. Proportions of the Growing Child c. 1. Layette 3. Stiff: crisp angular lines 2. Infants a. 3. Toddlers b. 4. Pre-school child c. 5. Girls E. Shiny Surfaces 8. Boys 1. Types of shiny surfaces 7. Pre-Teen a. 8. Prep b. 9. Young junior

87 B. Designing for Children Learning Experiences 1. Special considerations for each size range Have students: 2. Utilitarian aspects of children's clothing 1. Place tracing paper over the female croquis and 3. Fabrics and trimmings develop a male croquis incorporating the modifi- C. How to Draw Children cations discussed in class. 1. Heads and features 2. Draw men using live models. 2. Body development 3. Shop local stores and sketch, from displayed mens- a. Baby fat wear merchandise, a group of three sportswear b. Characteristic poses outfits and two tailored garments. 4. Design a garment appropriate for men's sportswear Learning Experiences or a tailored garment. 1. Have students practice drawing children of various ages. 2. Assign students to visit local stares and sketch two garments displayed in each of the children's size Suggested Evaluation ranges discussed in class. 3. Have students design groups of three garments for Evaluation of the plates as they are completed for four of the size ranges discussed in class. There each laboratory assignment. Both accuracy of repre- should be one group of dresses, one group of sentation and creative flair should be considered. sportswear, one group of sleep and lounge wear, There are always some students who excel in the and one group of outerwear (coats, snow suits, realistic execution of beautiful drawings whereas etc.). others, who may not be so exceptionally gifted in this area, might still possess the originality.and good IV. THE MALE FASHION FIGURE essential for fashion design. The instructor must then assist in analyzing the particular talent of students Teaching Content and heap them find the career area where they can be A. Proportions of the Male Fashion Croqub as Com- most productive. pared to the Female 1. Larger head 2. Thicker neck 3. Wider shoulder Teaching Resources 4: Lower waist 5. Narrower hips TEXTS AND REFERENCES 6. Muscular legs Bennett-England,R. Dress Optional; The Revoludon in MontMar .7. Longer arms 'Ireland, P.Fashion Design Drawing 8. Coarser features Jaffe, H.Childrent Mar Design B. Special Approaches to Designing Menswear Rowe, P.Shorthand Fashion Sketching Sloan, E.iliestrating Fashion 1. Current trends 2. Substantial fabrics INSTRUCTIONAL SUPPLIES a. Tailoring Fabric swatches and larger pieces of fabrics in various b. Utility textures Sketches Illustrating how other artists have sowed 3. Subtle approach problems a. Heavier usage Actual garments to be used as models b. Longer usact.4 Live model whenever possible FASHION DESIGN-PAST AND PRESENT

Prerequisites:Bask Textiles, Advanced Fashion II. The Ancient World 8 5 Design III. The Middle Ages 3 2 IV. The Renaissance 3 2 Suggested Hours: eo V. The Period 3 2 VI. Eighteenth Century France 3 .2 VII. From Revolution to Empire Behavioral Objectives in France 2 1 This area of instruction will enable students to: VIII. From Romanticism to 1. Relate the evolution of costume to the prevalent World War I 5 2 social and economic conditions of their times. IX. Major Regional Costume 2. Trace the reappearance of various apparel design Influences 3 2 details from their origins to current use. X. Modern Costume 8 2 3. Develop the ability to design modern apparel with Total Hours 40 20 a basic grounding in the evolution of costume.

Instructional Guidelines I. INTRODUCTION TO THE HISTORY OF COSTUME The material in this area of instruction is introduced Teaching Content by lectures, illustrated with slides depicting the dot- A. Origins of Clothing and Costume ing of the various historical periods. Sculpture, paint- 1. Clothing: body covering ings, historic fashion plates and fashion photographs 2. Costume are utilized as visual source material. If at all possible, a. Particular form of sarment actual garments should be shown to students. This b. Particular use may be accomplished by working with local B. Fashion As a Reflection of the Times collections. Wherever applicable, current fashions 1. Social with similar features should be shown along with the 2. Economic earlier versions. For example, the Greek could 3. Religious be shown with a modern garment having a cowl draped neckline. C. Design Value of Costume History 1. Basic understanding of the function of clothing Laboratory exercises introduce the student to the 2. Inspiration technique of designing apparel by drawing inspiration 3. Fashion cycles from the fashions of the past. Emphasis should be 4. Basic design features placed on adapting relevant design features so that a. Recognition they function within the structure of modern utility b. Identification and technology. All design sketches developed in the learning experiences should be accompanied by a IX Reasons For Wearing Clothing swatch of suggested fabric and sources of historical 1. Protection against climate inspiration should be noted and identified by the a. Cold students. b. Heat c. Moderate climates 2. Evidence of social levels Suggested Hours Teaching Modules a. Class Laboratory b. Financial status I. Introduction to the c. Nobility and History of Costume 2 0 d. Uniforms 100 3. Modesty and morality D. Ancient Crete 17501450 BC a. Interpretation of current values 1. Extraordinarily developed society b. Decency and indecency in exposure 2. Comfortable houses: heat and running water 4. Magical function 3. Freedom of women a. Primitive people 4. Elegance in fashions b. Ward off evil spirits 5. Women's clothing c. Impart strength: horse's tail a. Exposed bosom d. Symbols survive b. 5. Aesthetic and sexual attraction c. Tir y waist a. Retain the illusion of youth d. Bell shaped skirt b. Exaggerate sexual differences e. Shaped c. Confine women's movements f.Embroidery trimming O. Learning Experiences 7. Men's clothing Assign students to visit a museum and observe a. Shorts historical on exhibit and/or paintings in b. Loin cloths. order to get an overview of changes in costume E. Classical Costume in Greece 800400 BC through the ages. 1. Body worship: athletics II. CLOTHING IN THE ANCIENT WORLD 2. Simplicity in clothing: democracy 3. Similarity of men's and women's clothing Teaching Content 4. Dorians: wool; Ionians: linen A. Earliest Known Garments 5. Draped costume 1. Fur skin of cavemen; hunters a. : wool , also served as a 2. Kaunake: shirt and shawl blanket a. Sheep or goat skin b. Chiton: linen b. Tufted cloth c. : open tunic, usually wool 3. Invention of weaving 8. Variations a. Mesolithic period - 5000 BC a. Length b. Wool and linen b. Belt c. Celts - c. Clasps: fibulae d. Sumerians - Asia d. Drapes B. Egypt 32001500 BC 7. Military costume 1. Rigid and conservative civilization a. 2. Authoritarian government b. Cuirass: leather and metal 3. Ouasimatriarchal society c. : decorated short cloak 4. Linen garments - cool, white F. The Hellenistic World and 5. The sheath look in art 1. Influence of Far East: 8. Draped styles 2. Influence of : cotton a. Pleats, sunburst 3. Climate in Rome: colder than Greece b. Transparent fabrics 4. Similarity to Greek clothing 7. Jewelry 5. Men's costume a. shaped like wide collar a. Underwear: linen loin cloth, b. : upper and lower arm b. Half length trousers 8. Belt: high under bosom c. The 9. 1) Rectangle 10. Wigs 2) Semi-circle 11. 3) Wool C. The Near East 4) Indication of rank 1. 2000 BC sewn costume- leather or cloth 5) Ceremonial 2. Covered bodies: religious taboos 8. Women's costume 3. Patriarchal society a. Lingerie 4. Similarity of male and female clothing 1) Mamillare: brassiere 5. Persian trousers - 400 BC 2) Pagne: panty

101 go 3) Subucula: under tunic 4. Dress Imp the Cretan flounced skirt for inspira- b. Stole or Talaris tion. 1) Sleeved gown 5. Cowl draped neckline dress using the Chiton for 2) Belted inspiration. c. Pella: scarf 8. Bathing suit inspired by the mamillare and pagne. 7. Elaborate jewelry: precious stones and 7. Beaded dress inspired by Byzantine jewelry. a. 8. Turtle neck tunic and pants set from Early Euro- b. Rings pean costume. 8. Hair styles All sketches in this and subsequent learning expe- a. Elaborate riences should be swatched with suggested fabric, and b. Dyed sources of inspiration should be described and identi- 9. fied. Students should be directed to use reference a. Sandals books, or paintings and sculptures in local b. Shoes and as source material. c. Military G. Byzantine Costume 300600 AD III. THE MIDDLE AGES 1. Persian and Roman influence Teething Content 2. Stiff oriental silk A. Early Medieval Costume 700-1000 AD 3. Men's costume 1. Religious influence a. Trousers 2. Similarity of male and female clothing 1) Narrow 3. Technological decline 2) Rich fabrics a. Weaving b. One or two tunics b. Dyeing 1) Sewn c. Tailoring 2) Sleeves 4. Men's clothing c. Cloak a. Shirt or under tunic 1) Pinned at right shoulder 1) Chainse or camisia 2) Fibula 2) Linen 4. Women's costume b. Upper tunic a. Byzantine tunic 1) Bliaud or delmatic b. Palle: 2) Wool or silk 5. Jewelry c. Cloak or mantle a. collar: pearls and gems 1) Long for kings b. Diadems 2) Short for the common man H. Costume in North and Centel Europe d. Trousers or 1. Nomadic invasions: Etruscan and Persian influ- e. Shoes ences 5. Women's Clothing 2. Slightly shaped tunic: longer than Roman, a. Similarity to men's clothing sleeves, rolled neckline b. Leg coverings instead of trousers 3. Cloak 6. Hair styles 4. a. Simple 5. Bright colors b. Dyed 6. Fabrics 7. Military costume a. Wool a. Sleeved tunic or jerkin b. Felt b. Conical or bowl shaped after 800 AD B. The Crusades 1095-1270 AD Learning Experiences 1. Contact with the Far East Have students design: 2. Protective clothing 1. Skirt and stole using the Kaunake for inspiration. 3. Luxury fabrics 2. Peg-skirt evening dress using Egyptian costume for 4. Similarity to early Medieval costumes inspiration. a. More luxurious 3. "At home" outfit using Persian costume for in b. Long and full spiration. 5. Corsetry introduced

102 91 8. Status symbols 4. Elegance a. Excessive use of fabrics a. Color harmony b. Wide, trailing sleeves b. Distinctive styling c. Trains 5. Textile industry d. Long, pointed shoes 6. Wealthy merchant class e. Longer clothes 7. Lace making f. Furs 8. Pisanello: fashion sketches C. Later Middle Ages 1270-1350 AD 9. Men's clothing 1. Revival of European economy a. Tight, padded and boned 2. .Growth of towns b. Long, fitted 3. Rise of the wealthy middle class c. Short clothing 4. Improved technology 10. Women's clothing 5. European fabric centers a. Low cut gowns 6. Improved garment construction b. Raised waistlines a. Cutting c. Gathered skirts b. Tailoring d. Trains 7. Sumptuary laws e. Long lengths 8. Men's clothing B. France 1400-1500 AD a. Shirt: rarely seen 1. Fashion b. Under-tunic 2. Court influence c. Cycles: sleeveless tunic 3. Invention of d. Hosen: well-fitted leg covering 4. Men's clothing e. Shoes: pointed a. Short tunics f. Hoods b. 9. Women's clothing c. Houppelade a. 5. Women's clothing b. Under- a. Tight fitted, low necked gown c. b. High waist lines and trains d. Sideless gown c. Extreme head-dresses: e. Mantle d. Pointed shoes f. g. Shoes C. Spain 1500-1800 AD h. : head dress 1. Discovery of America 10. University costume: 2. Reformation and Counter-Reformation 11. Religious costume: cowl 3. Leldership of Spain 4. Invention of machine knitting 1589 Learning Experiences 5. Men's clothing Have students design, swatch and identify historical a. Doublets source for: b. Ruffs 1. Dress with dolman sleeves using Early Medieval c. Close fitting tights with cod piece costume for inspiration. d. Puffed upper stocks 2. Active sportswear outfit using medieval armor for e. Short cloak inspiration. f.Slashes as a style feature 3. Fitted and flared gown using a costume of the g. type Later Middle Ages as inspiration. 6. Women's clothing a. IV. THE RENAISSANCE - NATIONAL b. DIFFERENCES IN COSTUME c. Flattened breasts d. Deep pointed waistline Teaching Content e. Close fitting sleeves: armhole puffs A. Italy 13501500 AD f. Padded epaulettes 1. Humanistic influences g. White neckline 2. Taste for beauty h. White wrist cuffs 3. Perfection of the human body i.High collars

103 92 j.Jeweled hair arrangements d. Broad lace collars 7. Black: fashion color a. Boned, pointed bodice 8. Perfume rather than hygiene f. Oval necklines g. Elbow length sleeves Learning Experiences 7. First lace factories -1888 Have students design, swatch and Identify sources of 8. Fashion trades: tailors' associations information for: 9. Appearance of fashion publications 1. Evening dress using Italian Renaissance costume as C. England inspiration. 1. Puritans 2. Three hats using Renaissance head dresses as i i a. Cromwell spi rat ion. b. Sober fashions 3. Two children's garments (boy and girl) using the 2. Textile production and tights costume of Spanish men In the 3. Trade supremacy 18th century as inspiration. 4. Dominance of French fashions

V. THE BAROQUE PERIOD 5004 700 AD Learning Experiences Teaching Content Have students design, swatch and Identify sources of A. Holland information for: 1. Influences 1. Dress using the costume of the Puritans for Inspira- a. England tion. b. Scandinavian countries 2. Suit using the doublet and breeches for c. North Germany inspiration. d. America VI. EIGHTEENTH CENTURY FRANCE 2. Men's clothing a. Longer breeches Teaching Content b. Shorter doublets A. Regency Period c. Flaring boots 1. Reaction to social rigidity and pomp of Louis 3. Women's clothing XIV a. Slimmer silhouette 2. Rise of wealthy aristocracy b. Failing collar 3. Graceful elegance c. High or normal waisted bodice 4. Men's clothing B. France - Louis XIV Court Life a. Flaring long coat: Justaucorpe 1. Influence of nobility b. Long waist coat 2. Sumptuary laws C. Knee length breeches 3. Rapid changes in fashion d. Wigs 4. Excessive trimmings 5. Women's clothing 5. Men's clothing a. The sack gown a. Longer trunk hose b. Paniere b. Petticoat breeches B. Rococo Period c. Doublet 1. Enlightenment d. Cape 2. Beauty of nature e. Knitted silk stockings 3. Delicate and feminine style f.Flaring boots 4. Light, clear colors 9. 6. Men's clothing h. a. Modified coats I. Wig b. Shorter j.Large plumed hat c. Shirt jabots 8. Women's clothing d. Tight fitting breeches a. Broad shouldered silhouette e. Redingote b. Full sleeves f. Tricorns hat c. Skirts O. Women's clothing 1) Layered a. Gown A la Francalse 2) Farthingale b. Gown A l'Anglaise

4.1.41-1 93 c. Gowna la f. Caracalla or Titus d. The chemise dress g. Pamela e. Court costume h. Increasing elaboration f. 5. Conservatism in men's fashions C. Children's Costume Learning Experiences 1. Children as adult miniatures Have students design, swatch and identify informa- 2. Rousseau tion sources for: 3. English children - 1775 1. Man's suit inspired by the Sans-Culotte costume. 4. Natural shapes 2. Evening dress inspired by the Empire period cos- 5. Muslin and fine linen tume. EL Sailor suits 7. Sheath dress VIII. FROM ROMANTICISM TO WORLD WAR I D. Fashion Creators and Publications 1. Tailors Teaching Content 2. A. Restoration in France 1815-1825 3. Textile designers: silk illustrators 1. Transitional period 4. Fashion Journals 2. Men's clothing a. Pantaloons Learning Experiences b. coat Have students design, swatch and identify inspiration C. Cravat source for: 3. Woman's clothing 1. Man's coat inspired by the redingote. a. Wider skirts: ankle length 2. Women's coat or dress inspired by the redingote. b. Natural waistlines 3. inspired by Rococo women's cloth- c. Wider shoulders ing. d. Leg O'Mutton or ham sleeves 4. Child's garment inspired by late 18th Century chil- e. Large brimmed hats and bonnets dren's costume. f. B. The Romantic Period 1825.1850 VII. FROM REVOLUTION TO EMPIRE IN FRANCE 1. Middle class taste Teaching Content a. Romantic sentimentality b. Beau Brunitnel: the dandy A. The Revolutionary Period: Neo Classicism 1789 c. Influence of Queen Victoria 1795 d. Influence of Middle Ages 1. Reorganization of society and rise of Bout, 2. Women's clothing geoisie a. Wasp waists: 2. Republican ideals: Greek influence b. Full skirts: stiffened petticoats 3. General democratization c. Wide sleeves 4. Utilitarianism d. Bertha collars 5. Individualism e. Lace and embroidery trimmings 8. National colors f. Redingote dress 7. Chemise and sheath dress for women g. Cashmere shawl 8. Trousers and short Jackets for Sans-Culotte h. Amelia Jenks Bloomer 9. First ready-to-wear dresses 3. Men's clothing B. Directoire to Empire 1795-1815 a. Practicality 1. Ancient Greek and Roman influences b. 2. Body worship c. Double breasted 3. Moral freedom d. Redingote 4. Women's clothing e. Trousers a. White tunic or chemise dress f. White shirt b. jackets g. Black or white cravat c. Long scarves h. d. Laced sandals i. or e. Handbags I. Top hats

1105 94 4. Children's clothing c. a. Similarity of boys' and girls' clothing d. Tweed b. e. Creased trousers C. From 1860 to 1870 f. Types of hats 1. American Civil War and European wars 8. Children's clothing 2. Improvements in transportation a. Featured in fashion magazines a. b. Boys toage5 b. 1) Pleated skirts c. Steamship 2) Blouses d. Railroads c. Older boys 3. Industrial revolution 1) Breeches a. Sewing machine 2) Jackets b. Improved looms d. Girls: Kate Greenaway influence c. Bonnaz and Schiffli machines e. Bloused styles d. Discovery of synthetic dyes f.Influences e. department stores 1) Russian f. Mass production 2) Scottish 4. Worth and Paris couture 3) Sailor 5. skirts 9. Modem fashion magazines a. Vogue D. From 1870 to 1914 b. Harms Bazaar 1. Political and economkgrowth c. Godeyls Lades Book 2. Fashion leadership of France d. flailorder catalogues 3. Practical day costumes Learning Experiences 4. Sporting costumes Have students design, swatch and identify source ma- 5. Influence of great coutouriers terial for: a. Redfern, 1. Three garments using various sleeves and neckline b. Jacques Doucet, Paris treatments of the Romantic Period for inspiration. c. Paul Poiret, Paris 2. Dress with a peg skirt and dolman sleeves using the d. Paquin, Paris and Kimono bodice of 1913-14 for e. Callot Sours, Paris inspiration. f. , Paris 3. Man's suit using men's wear of the Romantic g. Caroline Reboux, Paris period for inspiration. 6. Women's clothing a. b. Polonaise IX. MAJOR REGIONAL COSTUME INFLUENCES c. Train d. Apron Teaching Content e. Walking suit A. f. Simple belled skirts in 1890 1. Austrian g. Capes 2. Russian h. Corsets 3. Dutch I.Tailored suit in 1900 B. Oriental j.High collars 1. Chinese k. Slim silhouette 2. Japanese I: Corsets 3. Indian m. Trimmings for 4. Persian n. Higher waistline o. Hobble skirt C. African p. Kimono bodice D. American Indian q. Large hats 7. Men's clothing Learning Experiences a. Jacket and dinner jacket Have students design, swatch and identify source b. Suit material for: 1. Child's dress using peasant costume for inspiration. I. The "New Generation" 2. At-Home costume using Oriental clothing for in- 1. Rise of boutiques spiration. 2. Equality of the sexes 3. Man's sportswear outfit using either Africanor American Indian dress for inspiration. Learning Experiences Have students design, swatch and identify X. MODERN COSTUME source material for: Teething Content 1. Daytims dress using the designs of Vionnet for A. Liberation of Women inspiration. 1. Politically 2. Evening gown using the designs of Gies for inspira 2. Economically tion. 3. Socially 3. Man's shirt using the designs of Adrian for inspira- tion. B. Roaring Twenties 1. Boyish look in women's clothing 2. Changes in foundations Suggested Evaluation 3. Short skirts 1. Students' design plates should be evaluatedon C. Great Coutouriers Between the Wars originality and practicality of designs, with con- 1. Jeanne Lanvin sideration being given to proficiency in sketching. 2. Maggy Rouff 2. Students may be also evaluated on their abilityto 3. Madeline Vionnet identify costume characteristics of a given number 4. Coco of historical periods. 5. Gres 6. Schiapareili Teaching Resources 7. Carven TEXTS AND REFERENCES D. New York Stock Market Boucher, F. 20,000 Years of Fashion 1. Return to femininity Contini, M. Fashion, from Ancient Egypt to the Present 2. Sportswear Day 3. Fashion influence of movies D'AssalIly,13. Ages of Elegance Hill, M. and P. Bucknell. The Evolution of Fashion E. World War II and American Fashions 1. Claire McCardell MUSEUM COSTUME COLLECTIONS 2. Adrian Arizona Costume Institute, Phoenix, Arizona Chicago Historical Society, Chicago, Illinois 3. Seventh Avenue Costume Institute, Fashion Institute of Technology, Now 4. Women's uniforms York, N.Y. Dallas Museum of Fashion, Dallas, Texas F. The French Couture After World War II Kansas City Museum of History and Science, Kansas City, 1. Christian Dior Missouri 2. Los Angeles County Museum of Art, Los Angeles, Cali- 3. Giventhy fornia 4. Gres Metropolitan Museum of Art, New York, N.Y. Smithsonian Institute, Washington, D.C. 5. Yves St. Laurent 6. Courreges INSTRUCTIONAL SUPPLIES Slides G. English Influence: Mary Guam Actual costumes - old and new H. Italian Couture Fabric swatches Current fashion photographs and sketches 1. Pucci Student chewing supplies has listed in Introduction to 2. Valentino Fashion Drawing) ACCESSORY DESIGN

Prerequisites: Advanced Fashion Drawing; Fashion V. Scarves 3 Design, Past and Present VI. Shoes 3 8

Total Hours 15 30 iuggestedHours:45 I. INTRODUCTION TO ACCESSORY DESIGN Behavioral Objectives Teaching Content This area of instruction should enable students to: A. Reasons for Wearing Accessories 1: Draw accessories with accuracy, speed and flair. 1. Enhance costume 2. Design accessories within the limitations imposed 2. Protection by materials and production methods. 3. Provide focal point 3. Design handbags, gloves, belts, scarves and shoes B. Types of Accessories within the current total fashion picture. 1. Jewelry 2. Millinery Instructional Guidelines 3. Handbags 4. Gloves The student is introduced to the major areas of acces- 6. Belts sons design. Various types of handbags, gloves, belts, 6. Scarves scarves ar.d shoes are analysed in terms of construc- 7. Shoes tion, materials, and pictorial representation. Actual samples of the objects under discussion should be C. General Techniques of Presentation introduced in class. Field trips into industry firms 1. On the body should be arranged so that students may become 2. As items by themselves somewhat familiar with the various production pro- 3. Rendering methods cesses. Within the time limitations of this type of Learning Experiences survey, it is impossible to investigate in depth the Students will examine, discuss and analyze the acces- production of all the items involved. Jewelry and sories they are wearing and their own reasons for millinery, certainly important accessories, have been wearing and/or purchasing them. eliminated from this area of instruction because it is virtually impossible to study their design without II. HANDBAGS actually producing samples of the product In actual practice for the areas covered, the designer sketches Teaching Content ideas and production technicians then produce the A. Review Perspective first sample. It is with this concept in mind that B. Appropriate klaterials emphasis in the area of instruction is placed on clear 1. Leathers representational drawing of all design details. a. Calf b. Pin seal Teaching Modules Suggested Hours c. Reptile: lizard, snake, alligator Om Laboratory d. Ostrich I. Introduction to Accessory 2. Processed leathers Design 1 1 a. Patent H. Handbags 3 6 b. Suede III. Gloves 3 5 3. Plastics: simulate all leathers IV. Belts 2 6 4. Fabrics

97 108 a. e. Mittcrs b. Linen C. Button Lengths c. Satin 1. Shortie d. 2. Wrist e. Velvet and cut velvet 3. f. 4. Mid-arm 6. Embellished fabrics 5. Elbow a. Embroidered 6. Opera b. Beaded 7. Shoulder 6. Straw: rigid and flexible D. Occasions for Wearing Gloves C. Shapes 1. Clutch: sew on frame E. Appropriate Materials 2. Box 1. Leather 3. Envelope a. Kid 4. Vanity b. Suede 5. Satehel c. Pigskin 8. Tote 2. Knits 7. Bucket a. Cotton 8. Draw String b. Nylon 9. Barrel c. Wool 10. Pouch 3. Plastic 11. Sack 4. Lace 12. Shoulder 5. Linings a. Silk D. Hardware and Closings b. Wool 1. Nailheads c. Fur 2. Monograms 3. Chains Learning Experiences 4. Hooks Have students design and illustrate: 5. Clasps 1. Three pairs of leather gloves for day or evening 8. Zippers wear. 7. Buckles 2. Three pairs of knit gloves for sports or day wear.

Learning Experiences IV. BELTS Have students design and illustrate handbags, Identi- Teaching Content fying the type of apparel being accessorized, the occasion and the age of the customer for which each A. Relation of Belt to the Garment bag is designed: 1. Dresses 1. Three handbags for sportswear 2. Skirts and trousers 2. Three handbags for daytime dress 3. Coats and jackets 3. Three handbags for evening wear B. Shapes of Belts 1. Straight Ill. GLOVES 2. Contour 3. Teaching Content 4. Hipster A. Drawing Hands C. Appropriate Materials B. Glove Construction 1. All kinds of leathers 1. Various thumbs 2. Plastics: simulating leathers or as links in chains 2. Types of stitching 3. Fabric: simple, embroidered, beaded 3. Basic styles 4. Straw a. Gauntlet 5. Elestidzed braid, leather, or fabric b. Cuff 8. Braid C. Shirred 7. Ribbon d. Racing gloves 8. Metals: chain belts

1.09 98 D. Hardware and Closings 3. Methods of Reproduction 1. Buckles a. Silk screen: most practical 2. Clasps b. Roller printing 3. Hooks c. Tie and dye 4. Snaps d. 5. Nailheads Learning Experiences E. Sizing: methods of providing flexibility Have students design two printed silk scarves using Learning Experiences opaque or transparent . Students will design, illustrate and specify materials, VI. SHOES hardware and closing for: 1. Three dress belts Teaching Content 2. Three sportswear belts A. Drawing Feet 3. Three evening belts B. Function of Shoes 1. Protection V. SCARVES 2. Fashion Teaching Content C. Types of Shoes A. Relation of Scarves to the Garment 1. Pump 1. Dress 2. 2. Coat 3. B. Types of Scarves 4. Ghillie 1. Rectangular 5. Loafer a. Narrow or wide 6. Moccasin b. Various lengths 7. Espadrilles c. Tubular knits 8. 2. Square 9. Scuff 3. Stoic's, and shawls 10. a. Shaped: cape, triangular 11. b. Straight D. Styling Areas C. Appropriate Materials 1. Color 1. Silk: plain weave, , chiffon 2. Silhouette 2. Synthetics: , nylon, polyester, orlon, dac- 3. Heel shape and height ron, etc. 4. Texture and surface finish 3. Wool: woven, knit, crochet 5. Ornamentation 4. Fur E. Planning the Line D. Printed Scarves 1. Spring - Summer 1. Designs 2. Fall - Winter a. Geometric: may involve repeats 3. Timing: in advance of season b. Objects F. Appropriate Materials: Uppers c. Signatures 1. Leather d: Abtract art a. Cowhide 2. Methods of Painting b. Calf a. Opaque c. Kid 1) Tempera paints d. Reptile: alligator, snake, lizard 2) Clearly defined color areas e. Horsehide: cordovan b. Transparent f. Ostrich 1) Dyes g. Sheepskin 2) Overlapping colors 2. Processed Leathers 3) Luminous effects a. Patent c. Costs of reproduction b. Suede 1) Many colors 3. Fabrics 2) Maximum of 8 colors a. Linen

110 99 b. Canvas 1. Four shoe designs for a Spring-Summer line using C. Silk, satin appropriate materials. d. Nylon: , velvet 2. Four shoe designs for a FallWinter line using ap- 4. Rubber propridte materials. 5. Plastics: vinyl, corfoam G. Appropriate Materials: Heels and Soles Suggested Evaluation 1. Leather Students' designs and drawings are evaluated in rela- 2. Plastic tion to the accuracy and explicitness of the illus- 3. Wood tration as well as the originality of the design. At the 4. Cork completion of this area of instruction, students will 5. Rubber have produced a portfolio consisting of well executed 8. Braided sketches of original designs, which can then be used H. Ornamentation and Closings for future employment interviews. 1. 2. Buckles Teaching Resources 3. Bows 4. Jewels TEXTS AND REFERENCES 5. Buttons Sloan, E. Manning Fashion 8. Clasps INSTRUCTIONAL SUPPLIES Learning Experiences Examples of various finished pries Samples of the materiels used in accessorisi, as die- Have students illustrate: cussed in class FACILITIES, EQUIPMENT AND COSTS,AND INSTRUCTIONAL SUPPLIES

FACILITIES secured to the closet walls. These traysare durable, can be carried with ease to work tableor machine, and Minimum space requirements for the establishment of an replaced in their assigned places at the end ofclass. To Apparel Design and/or an Apparel Production program store and partially finished garmentson hangers, are two large areas. One area is to be utilized for the students will need a closet. cutting and sewing room and the otherarea is to be used A good system for storing student's for both pattern development and fashion drawing. art work is in vertical, narrow spaces, very much like those designedto The basic areas should comprise approximately1800 sq. store trays in a modern kitchen. Students keep their ft. for the Production laboratory and 800 sq. ft. for the work in a large portfolio, which in turn, fits intoits Apparel Design laboratory (see Figure 1). A dressing assigned space. room is provided in the cutting and sewingroom for General storage space for the instructor should include fitting purposes. Sinks with hot and cold runningwater should be installed in both areas. closets with shelves deep enough to store rolls of fabric. The most common width for cottons and syntieticsis Electrical Services should provide both 110 and220 volt 45 inches and this width should be adequatefor most electrical service for these laboratories. In connecting fabrics. Fabrics that are wider are usually rolled witha electrical service in the laboratory, it is suggestedthat center fold and need no additional space. A section of circuit breakers be utilized with ample capacityso that this closet might also serve to store rolls ofpattern- when a number of studentsare using electrical ap- making paper. Papers for pattemmaking include plain paratus, the lines will not become overloaded. A master white bond, oaktag, and marker makingpaper. For the distribution control panel should be installed. storage of illustrative material, the instructor will also The layouts which are includedare suggested ,as ex- need a wardrobe closet to storegarments, muslins and empla of satisfactory laboratories forgarment design patterns on hangers. A file cabinet is needed to store the and construction. Since no one laboratorylayout meets constantlyevolvingcollectionofcurrentfashion every need, one flexible arrangement is illustrated. The sketches and photographs. There should also beshelf layout offers certain features whichmay assist in the space for the storage of paper patterns and drafts, as well design of a laboratory to satisfy the needs ofa particular as tools and equipment needed for demonstrations. school's program. It should be noted thatthe layout does not illustrate placement of wiring for electricity or EQUIPMENT pipes for . It is suggested that when theequip- ment is purchased, it should include correct installation. Basic equipment for the cutting and sewing room should consist of large 5' by 20' cutting table equipped with straight knife and round knife cutting machines.* This Storage Space table can be used for hand cutting as well as instruction Storage space must be planned carefully for both in- and practice with industrial machinery.' There should structional areas. Students need space to store garments be a single needle power sewing, machine with various under construction and tools, as well as drawings and attachments for every student in the class. If maximum class size is 24 students, then 24 machines Paintings. Space is also needed to store illustrative mater must be ials and fabrics for instructional use. (see Figures 2 and available. In addition, certain specialty machines permit 3) instruction on a prbfessional level throughout the finish- ing of a garment. To insure proper handling of knits and Students may store current work and tools in boxes, sportswear, two overedge machines and one superlock which are placed on closet shelves, between classes. Another very effective storey system for student work 9f the instructional program is to be limitedto Apparel Design, consists of deep trays that glide along wooden slats industrial cutting machinery is not needed.

101 machine are needed for a class of '24 students. In addl. include an item for some replacement of forms almost Son, one buttonhole machine, one buttonsew machine, every year. one zigzag machine, and one blind stitch machine round All fabrics must be pressed before draping, andpressing out the basic sewing equipmentPressing equipment equipment must also be available in the roomused for should consist of 4 self-contained steam generator and Pattern Development vacuum units with hand steam irons. It should be noted that sewing machines have been The area devoted to Pattern Development and Fashion identified by manufacturer's name. Further investigation Drawing should have an arrangement of mutt-purpose will show that sewing machines, capable of producing tables and chairs. There should be approximately 48" by Identicalstitching,produced by differentsewing 24" of table space for each student Trapezoidaltables machine manufacturersarebeingsuggested.This They are particularly useful for various arrangements. recommendation pertaining to specific manufacturers is for discussions and can be arranged in a large circle made so that students can become familiar with the demonstrations, or they may be arranged In straight lines many different machines they willconfront in the when long tables are required for pattemmakingand industrialsituation. (Swing machines produced by draping. Table tops should be covered with a thin layer different sewing machine manufacturers, performing the of work sheeting so that fabric and paper can besecured same sewing function, havedifferent mechanical and with pins without causing damage to the surface.These operating characteristics.) flexible tables are ideal for Patternmaking and Draping, and with the use of portable drawing boards, fordrawing and painting. There should be a 9' by 3W multipurpose demon. INSTRUCTIONAL fsaPPUES stration table, also cork surfaced, for the instructor.An Inboth ApparelDesign and Apparel Production overhead mirror, angled so that it reflects the instructor programs, it is imperative that students have a constant demonstrating, is helpful in order to make the demon- supply of fabric available for experimentation and stration visible to the students from their seats.This is practice. This continual cost is often an insurmountable particularly important for demonstrations of drawing financial burden for the student and therefore fabrics and painting since students are expected to workalong have to be provided. Industry resources can be helpful with the instructor throughout the lecture. by donating fabrics and other working materials, such as For classes in Pattern Development, there must be a trimmings and for student use. Each student in dress form for each student It is impossible todrape the Apparel Production program will need without a dress fcrm end any shortage in this areawill approximately 250 square yards of fabric throdghout a result in students not being able to work with the restof comprehensive training program. For Apparel Design the class. Since torso length dress forms are least ex students in a comprehensive design training program, pensive, it is recommended that these be purchased far approximately 150 square yards of fabric should be general use, but in addition, there should also be at least sufficient. Three-fourths of this yardage should be full length slacks forms available for fitting trousers. unfinished muslin for the areas of instruction in Pattern Unfortunately dress forms deteriorate with constant use Development; the balance should be fabrics for finished and must be replaced from time to time. Budgetsshould garments.

113 102 Cost Cast Cost Cost Total 050.00 4,950.00 450.00 450.00 1,000.00 toomoo 1,100.00 400.00 1,000.00 1,200.00 550.00 1,100.00 Total 3,800.00 Total 450.00 300.00 280.00 Total 1,550.00 900.00 125.50 Approximate $ Approximate $ Approximate $ Approximate $ $25,335.50 11101 TOTAL York New 10010 hand City, York 10011 underpressing steam Machine Spreading Island New York hopper HAR with 1Masonite) form Long York, New item item 28 Item Spreading Turntable Table item 8,7,8,9,10 forms 7,8,9,10 leg New 103 stands) 83040011 61200 39800 button DM systems size: size: length Street, York, and with W4 Model Rodway leg 227 300 229 Woolen Cutting each length each full 34th Broadway, New Coate tables 281.3 Special 253-12 Special 990 Special R2 289 107 finishing of of 4size and Singer Union Singer Linton Rimoldi Singer Union Columbia Reece Singer Singer Rimoldi *Sussman and irons "C.R.A. "C.R.A. Machine C.RA. "'Torso 4 1 ...Child's 43-30 1134 Avenue, 'Full Corp., Fifth 114 motors Corp., 140 Approximate (with Products Co.. Appliances Form and EQUIPMENT Steam MACHINES EQUIPMENT Room Quantity Quantity Quantity FORMS Model 11 11 1 1 1 1 1 1 1 1 1 1 4 1 1 1 Quantity 20 4 1 Automatic Cutting Wolf Equipment SEWING PRESSING SPREADING DRESS SUPPLIERS " "' BST CRY. MIL

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1.15 104 SELECTED BIBLIOGRAPHY

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:LW 106 Westerman, Maxine. Elementary Fashion Design and Price, Jeanne & B. Zamkoff. Grading Techniques for Trade Sketching New York, Fairchild Pubs., 1973. Modern Deign. New York, Fairchild Pubs., 1973. Reich, Berman & Hager. Essentials of Clothing Construe- CLOTHING CONSTRUCTION don. New York, Appelton- Century - Crofts Inc., 1972. Robinson, Renee & Julian. Streamlined Dressmaking Bancroft, Vivian S. Ira So Easy. Minneapolis, Burgess New York, Crown Pub., 1987. Pub. Co.. 1970. Schwebxe, Phyllis, and Margaret Krone. How To Sew Bane, Allyne. Creative Clothing Construction. 2nd ed. Leather, Suede, Fur. Rev. ed. New York, The Bruce New York, McGraw-Hill Book Co.. 1988. Pub. Co.. 1970. -Tailoring 2nd ed. New York, McGraw-Hill Book Co., Tanous, Helen N. Designing Dress Patterns Peoria, Ill., 1968. Chas. A. Bennett Co., 1984. Bishop. Edna S. The Bishop Method of Clothing Con- Warden, Jessie A. Principles for Creating Clothing New struction. Philadelphia, J.P. Lippincott Co., 1959. York, John Wiley & Sons, 1989. Coats & Clark's Sewing Book. Educational Bureau of Coats and Clark, Inc. (430 Park Ave., New York, APPAREL PRODUCTION N.Y. 10022),1967. Craig, Hazel T. Clothing; A Comprehensive Study. Phila- Apparel Engineering and Needle Trades Handbook New delphia, J.P. Lippincott Co.. 1988. York, Kogos International Corp., 1980. Doerr, Catherine. Smart Sewing New York, The Mac- Bonapfel, Robert H. The 20-Minute Trouser. Great millan Co., 1967. Neck, N.Y., Kogos International Corp., 1980. Duncan, Ida R. Knit to Fit. 2nd ed. New York, Liveright Disher, Margaret L. American Factory Production of Pub. Corp., 1970. Women's Clothing London, Devereaux, 1947. Gawne, Eleanor J. Dress; The Clothing Textbook. 3rd Frank, Bertrand. PlOffeliVe Apparel Production with ed. Peoria, Ill., Chas. A. Bennett Co., 1969. Case Problems. New York, Fairchild Pubs., 1963. Kirschner, Jack, and L.L. Bartdeme. Simplified Pattern- - The eragressive Sewing Room.2nd ed. New York, making for Women's Coats and Suits. New York, Fairchild Pubs., 1958. Fairchild Pubs., 1949. Gough, Eleanor. Principles of Garment Cutting 4th ed. Kopp, Ernestine, V. Rolfo and B. Zelin. Designing Sydney, Angus and Robertson, 1952. Apparel Through the Flat Pattern. New York, Fair- Hannan, Watson M. The Mechanics of Sewing. New child Pubs., 1971. York, Kogos International Corp., 1953. -- How to Draft Basic Patterns New York,Fairchild - The Mechanics of Pressing. NewYork, Kogos Inter- Pubs., 1968. national Corp., 1953. Lapick, Gotten J. Scientific Alteration of Women's Ap- Morris, F.R. Cutter's Practical Guide Pocket ed. Lon- parel. New York, Fairchild Pubs., 1947. don, New Era Pub. Co., 1950. Larter, Vera. Sewing Children's Clothing Made Easy. Moulton, Bertha. Garment- cutting and Tailoring for Stu- New York, Doubleday & Co., 1971. dente New York, Theatre Arts Books, 1968. Margolis, Adele P. The Complete Book of Tailoring New Silverman, Michael. Marker-making Manual Michael York, Doubleday & Co., 1984. Silverman, Hull. Mass., 1984. (available through Bob- - Design Your Ova; Oren Patterns.New York, Double- bin Textbooks, P.O. Box 527, Columbia, S.C. 29202) day & Co., 1971. Solinger, Jacob. Apparel Manufactwing Analysis New -- The Dressmaking Book.New York, Doubleday & York, Textile Book Pub., 1981. Co.. 1987. The Research Papers Technical Advisory Committee, -- How to Design Your Own DressPatterns New York, American Apparel Manufacturers Association. Wash- Doubleday & Co.. 1959. ington, D.C., 19(34. - How to Make Clothes ThatFit end Flatter. New York, Doubleday & Co., 1969. Minott, Jan. Coordinated Pattern Fit Minneapolis, Bur- HISTORY OF COSTUME gess Pub. Co.. 1969. Morgan, Miriam. Make Your Own Alterations New Bigelow, Marybelle. Fashion in History. Minneapolis. York, Arco Pub. Co., 1970. Burgess Pub. Co.. 1970. Mori, Maria. Bask Pattern Cutting. New York, Taplinger Binder, . Muffs and Morals. New York, William Pub. Co.. 1970. Morrow & Co., n.d. Moulton,Bertha.Simplified Tailoring New York, Boucher, Francois. 20,000 Years of Fashion. New York, Theatre Arts Books, 1968. Harry N. Abrams, Inc., 1967.

117 106 Bradfield, Nancy.Costume in Detail; Women's Dress D'Assailly, Gisela. Agesof Elegance; Five Thousand 1730-1939Boston, Plays Inc., 1968. Yam of Fashion and Frivolity.London, Macdonald Bradley, Carolyn G.Western World Costume; An Outline & Co., Inc, 1968. History.New York, Appleton-Century-Crofts, Inc., Davenport, Millie.The Book of Costume.2 v. New 1954. York, Crown Pub., 1948. Braun-Ronsdorf, Margarete.Krror of Fashion; A His- Earle, Alice M.Two Centuries of Costume in America, tory of European Costume, 1789-1929.New York, 16204820. New York, Benjamin Blom, Inc., 1903. McGraw-Hill Book Co.. 1904. Evans, Mary.Costume Throughout the Ages.2nd ed. Broby-Johansen, R.Body and Clothes; An Illustrated Philadelphia, J.P. Lippincott Co., 1938. History of CostumeNew York, Reinhold Pub. Corp., Fabre, Maurice.History of Fashion.London, Leisure 1908. Arts, 1968. Brooke, Iris.English Children's Costume Since 1775. Flugel, John C.The Psychology of Clothes.London, London, A. & C. Black, Ltd., 1930. Hogarth Press, 1986. Bruhn, Wolfgang, and Max Tilke.A Pictorial History of Garonne, Douglas. Whet PeopleWoraNew York, The CostumeNew York, Frederick A. Praeger,Inc., Viking Press, 1952. 1955. Hall, Carrie A.From Hoopskirts to Nudity.Caldwell, Contioi, Mils.Fashion; From Ancient Egypt to the Id., Caxton Printers Ltd., 1938. PresentDay. New York, The Odyssey Press, 1905. Halls, Zillah.Men's Costumg1580-1769London, H.M. Crawford, M.D.C. OneWorld of Fashion.3rd ed. New S.O., 1970. York, Fairchild Pubs., 1967. Harris, Christie, and Moira Johnston.Figleafing through - - TheWays of Fashion.New York, G.P. Putnam's History.New York, Atheneum Pub., 1971. Sons, 1941. Hill, Margot H., and Peter Bucknell.The Evolution of Cunnington, Cecil W.English Women's aothing in the Fashion.New York, Reinhold Pub. Corp., 1968. Nineteenth Century.New York, Thomas Yoseloff, Hurlodc, Elizabeth B.The Psychology ofOren_ New 1958. York, The Ronald Press Co., 1929. Cunnington, Cecil W., and others.A Dictionary of Langer, Lawrence.The Importance of Waring English Costume, 900-1904London, A. & C. Black, Clothes. Ltd., 1980. New York, Hastings House, 1959. Laver, James.Clothes.New York, Horizon Press, Inc., Cunnington, Cecil W., and Phillis Cunnington.Handbook 1953. of English Costume in the Sixteenth Century. - The Concise History of Costume and Fashion.New London, Faber & Faber, Ltd., 1954. York, Harry N. Abrams Inc., 1969. - Handbook of English Costume in the Seventeenth -Costume of Antiquity.New York, Clarkson Potter Century.London, Faber & Faber, Ltd., 1955. Inc., 1984. Handbook of English Costume in the Eighteenth Costume in the Theatre.New York, Hill & Wang Inc.. Century.London. Faber & Faber, Ltd., 1957. 1985. - -- Handbook of English Costume in the Nineteenth - Costume Through the Ages.New York, Simon & Century.London, Faber & Faber, Ltd., 1987. Schuster Inc., 1983. - A Picture History of English CostumeLondon, - Costumes of the Western World;Fashionsof the Longacre Press, 1980. Renaissance.New York, Harper & Row Publishers, Inc., 1951. Cunnington, Phillis.CostumeLondon, A. & C. Black, - Dress. 2nd ed. London, John Murray Pub., Ltd.. Ltd.. 1968. 1988. -Costume in Pictures.New York, E.P. Dutton & Co., --English Costume of the Eighteenth Century.London, 1964. A. & C. Black, Ltd., 1931. -Costumes of the Nineteenth Century.Boston, Plays, ..-English Costume of the Nineteenth Century.London, Inc., 1970. A. & C. Black, Ltd., 1929. - -- Costumes of the Seventeenth and Eighteenth Cen- ---Modesty in Dress.Boston, Houghton Mifflin Co., tury.Boston, Plays, Inc., 1970. 1989. Cunnington, Phillis, and Anne Buck.Children's Costume Lester, Katherine M.. and Rose Kerr.Historic Costume. in England.New York, Barnes and Noble, 1985. 6th ed. Peoria, III., Charles A. Bennett Co.. 1987. Cunnington. Phillis, and Catherine Lucas.Occupational Lister, Margot.Costume; An Illustrated Survey from Costume in England from the Eleventh Century to Ancient Times to the 20th Century.Boston, Plays, 1914.New York, Barnes and Noble, 1987. Inc., 1988.

107 Mann, Kathleen. t Costume in Europa Newyork, APPAREL PRODUCTION The Macmillan Co., 1953. Moors, Doris. The Child in Fashion. London, B.T. Bots- Apparel Executive, 77 Maple Drive, Great Neck, ford Ltd., 1953. N.Y. 11021 Oakes, Alma, and Margot Hill. Rural Costume New Apparel Manufacturer, Riverside, Conn. 08878 York, D. Van Nostrand Co., 1970. The Bobbin, Box 527, Columbia, S.C. 29202 Payne, Blanche. History of Costume New York, Harper Femme-Lines, 1440 Broadway, New York, N.Y. & Row Pub., Inc., 1965. 10018 Pistols's, Rosana, and Ruth Hording. History of Fash- Journal of the Apparel Research Foundation, ions New York, John Wiley & Sons, 1970. 1120 Connecticut Ave. N.M., Washington, D.C. Schroeder, Joseph J., Jr. The Wonderful War& of Ledies 20038 Fashion, 1850-19 Chicago. Follett Pub. Co., 1971. Knitting Times, 61 Madison Ave., New York, NAY. Warwick, Edward. Early American Dress. New York, 10010 Benjamin Blom, Inc., 1965. Maker-Up, 42 Gerrard St., London W.1, England Wilcox. Ruth Turner. The Dictionary of Costume New Manufacturing Clothier, 42 Gerrard St., London York, Charles Scribner's eons, 1969. W.1, England Five Centuries of American Costume New York. Neede's Eye, 404 North Franklin St., Chicago, III. Charles Scribnees Sons, 1983. 60610 Folk and Festival Costume of the World New York, Southern Garment Manufactunir, 75 Third St., Charles Scribnees Sons, 1985. kW., Atlanta, Ga. 30308 The Mode in Comma New York, Charles Scribnees Western Apparel Industry, 112 Wes* 9 St., Los Sons, 1958. Angeles, Calif. 90015 Young, Agnes Brooks. Recurring Cycles of Fashion, 1760-1937. New York, Harper & Row Pub., Inc., GENERAL 1937. American Fabrics, 24 East 38 St., New York, N.Y. 10016 TEXTILES Potties, 47 East 44 St., New York, N.Y. 10017 Cowan, Mary L Introduction W Textiles. New York, Official De La Couleur, 14 Rue Duphot, Paris Appleton-Century-Crofts, Inc.. 1962. I1E), France Hall, Archibald J. The Standard Handbook of Textiles Warner's War Daily, 7 East 12 St., New York, 7th ed. London, Heywood, 1969. N.Y. 10003 Hollen, Norma R. and Jane Saddler. Textiles. 3rd ed. New York. The Macmillan Co., i968. Joseph, Marjory L Introductory Textile Science. New MEN'S FASHIONS York. Holt. Rinehart & Winston, Inc., 19136. Custom Tailor, 400 Madison Ave., New York, Linton, George E. Applied Basic Textiles 1st ed. New N.Y. 10017 York. Duell, Sloan, 1986. Daily News Record, 7 East 12 St., New York, N.Y. Potter, Maurice D., and Bernard Corbman Textiles: 10003 Fiber to Fabric 4th ed. New York, McGraw-Hill Esquire, 488 Madison Ave., New York, N.Y. Book Co., Inc., 1967. 10022 Stout, Evelyn E. Introduction to Textiles 3rd ed. New Gentlemen's Quarterly, 488 Madison Ave., New York, John Wiley & Sons, 1970. York, N.Y. 10022 Wingate, Isabel. Textile Fabrics and Their Selection. 6th Ment Wear, 7 East 12 St., New York, N.Y. 10003 ed. Englewood Cliffs, NJ., PranticeHall, Inc., 1970.

WOMEN'S AND CHILDREN'S FASHIONS SELECTED PERIODICALS Bridle's Magazine, 420 Lexington Ave., New York, N.Y. 10017 ACCESSORIES Fashion Calendar, 8 East 77 St., New York, N.Y. Handbags and Accessories, 1133 Broadway, New 10021 York. N.Y. 10010 Femme, 8 Rue Haler/, Paris (NE). France Boot and Shoe Recorder, Chestnut and 56 St.. Glamour, 420 Lexington Ave., New York, N.Y. Phil., Pa. 19139 10017 119 Harper's Bazaar,717 Fifth Ave., New York, N.Y. Mademoiselle,420 Lexington Ave., New York, 10022 N.Y. 10017 infant's and Childrent Review,101 West 31 St, Queen,62 Fetter Lane, London E.CA, England New York, N.Y. 10001 Seventeen,320 Park Ave., New York, N.Y. 10018 Des Junin Model: Panorama,14 Rue De Clem Vogue,420 Lexington Ave., New York, N.Y. Paris (2E), France 10017 Linn Italian.,437 Madison Ave., New York, N.Y. Vogue Patterns,181 Avenue of the Americas, New 10022 York, N.Y. 10013 L'Officiel De La Couture Et De La Mode De Paris, 226 Rue De Faubourg St. Honore, Paris (8E), France

109 REPRESENTATIVE TRADE ASSOCIATIONS

AFFILIATEDDRESS MANUFACTURERS, 1440 NATIONAL ASSOCIATION OF BLOUSE MANU- Broadway, New York, N.Y. 10018 FACTURERS (NABM), 450 Seventh Avenue, Now ALLIED UNDERWEAR ASSOCIATION (AUA), 1450 York, N.Y. 10001 Broadway, New York, N.Y. 10018 NATIONAL ASSOCIATION OF DAYTIME DRESS AMERICAN CLOAK AND SUIT MANUFACTURERS MANUFACTURERS (NADDM), 80 Park Avenue, ASSOCIATION (ACSMA), 450 Seventh Avenue, New New York, N.Y. 10018 York, N.Y. 10001 NATIONAL ASSOCIATION OF GLOVE MANUFAC- ASSOCIATION OF BOYS & STUDENTS CLOTHING TURERS (NAGM),62South Main Street, MANUFACTURERS, 135 West 50th Street, New Gloversville, N.Y. 12078 York, N.Y. 10020 NATIONAL DRESS MANUFACTURERS ASSOCIA- ASSOCIATED CORSET AND BRASSIERE MANU- TION (NOMA), 570 Seventh Avenue, New York, FACTURERS, 220 , New York, N.Y. N.Y. 10018 10001 NATIONAL KNITWEAR MANUFACTURERS INSTI- BOYS AND YOUNG MEN'S APPAREL MANUFAC- TUTE, 350 Fifth Avenue, New York, N.Y. 10001 TURERS ASSOCIATION (BAMAIt 10 West 33rd NATIONAL OUTERWEAR AND SPORTSWEAR Street, New York, New York 10001 ASSOCIATION INOSA), 347 Fifth Avenue, New CHILDREN'S DRESS, COTTON DRESS, AND SPORT- York, N.Y. 10018 WEAR CONTRACTORS ASSN., 228 West 39th NATIONAL SKIRT AND SPORTSWEAR ASSOCIA- Street, New York, N.Y. 10018 TION (NSSA), 225 West 34th Street, New York, CLOTHING MANUFACTURERS ASSOCIATION OF N.Y. 10001 THE U.S.A. (CMA), 135 West 50th Street, New NEW ENGLAND KNITTED OUTERWEAR ASSOCIA- York, N.Y. 10020 TION INEKOA), 10 Tremont Street, Boston, Mass. CORSET AND BRASSIERE ASSOCIATION OF 02108 AMERICA (CBAA). 180 Madison Avenue, New NEW YORK CLOTHING MANUFACTURERS ASSO- York, N.Y. 10018 CIATION, 292 Madison Avenue, New York, N.Y. FASHION GROUP, 9 Rockefeller Plaza, New York, 10017 N.Y. 10020 NEW YORK COAT & SUIT ASSOCIATION 1NYCSA), GREATER BLOUSE. SKIRT AND 225 West 34th Street, New York, N.Y. 10001 ASSOCIATION, 225 West 34th Street, New York, NEW JERSEY DRESS MANUFACTURERS AND CON- N.Y. 10001 TRACTORS ASSOCIATION, 1440 Broadway, New GREATER CLOTHING CONTRACTORS ASSOCIA- York, N.Y. 10018 TION, 100 Fifth Avenue, New York, New York NEW YORK COUTURE BUSINESS COUNCIL, 141 10011 West 41 Street, New York, N.Y. 10038 INDUSTRIAL ASSOCIATION OF JUVENILE POPULAR PRICED DRESS MANUFACTURERS APPAREL MANUFACTURERS (ADAM), 225 West GROUP (PPDMG). 1440 Broadway, New York, N.Y. 34th Street, New York, N.Y. 10001 10018 INDUSTRIAL ASSOCIATION OF , MANUFACTURERS EXCHANGE (OME), ROBE AND UNIFORM MANUFACTURERS, 225 112 East 19th Street, New York, N.Y. 10003 West 34th Street, New York, N.Y. 10001 UNITED BETTER DRESS MANUFACTURERS ASSO- INFANTS' AND CHILDREN'S COAT ASSOCIATION CIATION IUBDMA), 110 West 40th Street, New (ICCA), 450 Seventh Avenue, New York, N.Y. 10001 York, N.Y. 10018 LINGERIE MANUFACTURERS ASSOCIATION UNITED INFANTS' AND CHILDREN'S WEAR ASSO- (LMA), 41 East 42nd Street, New York, N.Y. 10017 CIATION WICWA), 225 West 34th Street, New York, N.Y. 10001

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