Investigating the Seam Slippage of Satin Fabrics
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Autumn Winter 19 Guide
DRESD ARTISANS OF BLACK TIE Autumn/Winter 2019 Cloth selection: Dormeuil & Alumo Made in Europe *** TIER I $3,000 - $5,000 ~ Example black tie ensemble ~ Ceremonial 2-piece suit in black wool barathea, self covered buttons, peak lapels faced in black silk satin. - Ceremonial dress shirt in white cotton, signature 9cm collar, french cuffs, self bib front, concealed placket, matching monogrammed pocket square. - Ceremonial 6.5cm hand finished classic butterfly bow tie in black silk satin. - Ceremonial whole cut oxford dress shoes in patent black leather. *** Suite 220, 33 Pirie Street Adelaide SA 5000, Australia Phone: +61 423 399 978 WWW.DRESD.COM.AU !1 of !3 DRESD ARTISANS OF BLACK TIE Autumn/Winter 2019 Cloth selection: Dormeuil & Alumo Made in Europe *** TIER II $5,000 - $7,000 ~ Example black tie ensemble ~ Ceremonial jacket in black cotton & silk velvet, self covered buttons, self faced peak lapels. - Ceremonial trouser in black wool & silk twill. Ceremonial dress shirt in white cotton, signature 9cm collar, french cuffs, self bib front, concealed placket, matching monogrammed pocket square. - Ceremonial 6.5cm hand finished classic butterfly bow tie in black silk satin. - Ceremonial whole cut oxford dress shoes in patent black leather. ~ Evening dress change ~ Evening dress shirt in black cotton, signature 9cm collar, french cuffs, self bib front, concealed placket, matching monogrammed pocket square. - Evening 6cm hand finished pointed butterfly bow tie in black silk faille. *** Suite 220, 33 Pirie Street Adelaide SA 5000, Australia Phone: +61 423 399 978 WWW.DRESD.COM.AU !2 of !3 DRESD ARTISANS OF BLACK TIE Autumn/Winter 2019 Cloth selection: Dormeuil & Alumo Made in Europe *** TIER III $7,000 - $9,000 ~ Example black tie ensemble ~ Ceremonial jacket in black wool & silk jacquard, self covered buttons, self faced peak lapels. -
Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form
Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form Step 1 Apply style tape to your dress form to establish the bust level. Tape from the left apex to the side seam on the right side of the dress form. 1 Module 1 – Prepare the Dress Form Step 2 Place style tape along the front princess line from shoulder line to waistline. 2 Module 1 – Prepare the Dress Form Step 3A On the back, measure the neck to the waist and divide that by 4. The top fourth is the shoulder blade level. 3 Module 1 – Prepare the Dress Form Step 3B Style tape the shoulder blade level from center back to the armhole ridge. Be sure that your guidelines lines are parallel to the floor. 4 Module 1 – Prepare the Dress Form Step 4 Place style tape along the back princess line from shoulder to waist. 5 Lesson Guide Princess Bodice Draping: Beginner Module 2 – Extract Measurements Step 1 To find the width of your center front block, measure the widest part of the cross chest, from princess line to centerfront and add 4”. Record that measurement. 6 Module 2 – Extract Measurements Step 2 For your side front block, measure the widest part from apex to side seam and add 4”. 7 Module 2 – Extract Measurements Step 3 For the length of both blocks, measure from the neckband to the middle of the waist tape and add 4”. 8 Module 2 – Extract Measurements Step 4 On the back, measure at the widest part of the center back to princess style line and add 4”. -
Placket Construction Options
Placket Construction Options 1 Type1: Two Separate Bound Edges on a rectangular stitching box The key to this structure is that the bindings are initially stitched only to the seam allowances on each side, and NOT stitched across the end, of the clipped box, which means that they, and the clipped triangle at the bottom, remain loose and can be arranged before the nal nishing to go on either side of the fabric, as well as either over or under the other, after joining them at the sides. The widths and lengths of the bindings and the space between the sides of the clipped box determine all the other options available in this most exible of all the placket types I know of. Variation 1: Both bindings t inside the stitching box If you cut the bindings so the nished, folded widths of both are equal to or smaller than the space between the initial stitching lines, as shown above, you can arrange both ends at the clipped corners to all go on one side of the fabric (right or wrong side), along with the clipped triangle on the garment. You’ll get the best results if the underlapping binding is slightly smaller than the overlapping one. This can be man- aged by taking slightly deeper seam allowances when you join this piece, so they can initially be cut from the same strip. Or, you can place one end on each side with the Both ends on RS One end on RS, Both ends on WS triangle sandwiched in between. -
Lapped Zipper Lapped Zippers Are Often Found on Skirts at the Waistband
Sewing Technique: Lapped Zipper Lapped zippers are often found on skirts at the waistband. A lapped zipper is constructed so that the zipper is not visible. The zipper will remain closed throughout the process of inserting the zipper. All sewing is done on the inside of the garment except for topstitching. Remember to always keep the needle positioned between the zipper foot and the zipper teeth when sewing. NOTE: Throughout this tutorial, the term “placket” will be used. A placket is the fabric that surrounds and reinforces fasteners in a garment. In this instance, the fastener referred to in this tutorial is a zipper. STEP 1: On the wrong side of the fabric, measure and mark the placket opening BASTING where the zipper STITCH will be placed. Do this by measuring from the top of the garment down along the seam to the zipper bottom stop. Take into consideration the REGULAR composition of garment and if there will be a waistband or MACHINE STITCH any other special feature at the top of the zipper. Mark the placement of the bottom stop with a marking pencil. STEP 2: While sewing the seam, machine stitch the seam closed until the marked point of the bottom of the zipper, backstitch, then switch to a basting stitch for the distance of the placket seam. Press seam allowance open. $-05)*/( CONSTRUCTION 6UBI4UBUFJTBOBóSNBUJWFBDUJPOFRVBMPQQPSUVOJUZJOTUJUVUJPO STEP 3: Replace sewing machine foot with a zipper foot. Place zipper face down with the teeth centered on the pressed open seam on the inside of the garment, matching top and bottom stops with marks. -
Simplified Sewing: Hems
South Dakota State University Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange SDSU Extension Fact Sheets SDSU Extension 1964 Simplified Sewing: Hems Cooperative Extension South Dakota State University Follow this and additional works at: https://openprairie.sdstate.edu/extension_fact Recommended Citation South Dakota State University, Cooperative Extension, "Simplified Sewing: Hems" (1964). SDSU Extension Fact Sheets. 865. https://openprairie.sdstate.edu/extension_fact/865 This Fact Sheet is brought to you for free and open access by the SDSU Extension at Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. It has been accepted for inclusion in SDSU Extension Fact Sheets by an authorized administrator of Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. For more information, please contact [email protected]. .. ... -~--- - --v · . --,-.-.- , -. ·. ..•, .. ·'··· .••,.,. - .t:\. --(. ......., • ... ·\•i• ....,.,•-•1•,··...- .,.. "\' ·,- • • • -:\. -: ·):.~\:,..,:}:,:.·,:,..,:;:,:.~:,-:-,:.0:.- ·,~\:,.!;;;; ··:,:.\!.t:,-;..:,t;.,:,:,:.i:1:,:.'.:.•; .-·F_:,~::::_:.~:~~~~~;.:::z~:;:'.·---~-~;:~~L ::·.1~~~~1::.:;.:_;~~: File Copy FS244 THE l-lE~I of your dress can have the "professional - Wearer should stand in a natural position with look" or the "homemade look." In general, the best arms at sides and weight on both feet. hem is the least conspicuous, and every step in making a hem is planned with this in mind There are several methods of marking a hem. You may use any one of these: The professional touch is recognize-cl by the follow- ing characteristics: Various types of chalk markers or pin markers - Inconspicuous from the right side Yardstick - Even distance from the floor Tailor's square. - Wide enough for good proportion and to gi\.re With some of these you can mark enough weight to hang well your own hem; others require a - Even in width help«. -
Textiles Under Mughals
Chapter V Textiles under Mughals- The advent of the Mughal dynasty gave an undeniable boost to production of the up-market textile, as to other craft. Textiles are singled out for mentioned by Abul Fazl, the minister and biographer of Akbar (1556-1605), in his Ain-i-Akbari, compile in the 1590‟s as a subject in which the emperor took particular interest. Akbar favoured woollen garment – the chosen wear of Sufis (Muslim mystics) – „from his indifference to everything that is worldly‟ in preference to the richer stuffs. His penchant for wool is also indicated by the steps he took to improve shawl manufacture; especially in the relation to dyes and width of fabric.1 Ain-i- Akbari goes into fascinating details on the manner of classifying garments in the imperial wardrobe (toshkhana). The textiles were arranged according to the date of entry which was recorded, sometime with other information, on a label tacked on to the piece (practice which survived in provision toshkhana into the 20th century). Price, colour and weight were also taken into account. Within these boundaries, textile took precedence according to the nature of the day, astrologically auspicious or otherwise on which they were received. A further refinement took into account the colours, of which thirty five are listed in the order of precedence. Abul Fazl further records that imperial workshops had been set up in the cities of Lahore, Agra, Fatehpur Sikri and Ahmedabad, where the best of the local craftsmen were requisitioned to supply the needs of the court.2 Persian masters were brought in to teach improved techniques. -
Seams for Protective Clothing–An Overview
16 World Journal of Textile Engineering and Technology, 2017, 3, 16-23 Seams for Protective Clothing–An Overview Shanthi Radhakrishnan1,* and Devendra Kumari2 1Department of Fashion Technology, Kumaraguru College of Technology, Tamil Nadu, India 2VCMM Arts and Science College for Women, Tamil Nadu, India Abstract: Specialized clothing is essential for protection against specific environments like fire, heat, cold, chemical, mechanical and biological in nature. Specialized clothing that has been designed and fabricated to face the challenges of these environments is Protective Clothing which is a combination of technical design and functional focus. Seams are most important structures that help to keep a garment intact; they must be strong and have many qualities to hold the garment together in extreme conditions. The type and nature of thread, the model of seam construction and the testing of seams are important for the performance of protective clothing as one loose thread or gap in seams can unravel the space between the person and the environment leaving the person vulnerable. Seams for protective clothing play a critical role since they directly affect the integrity of providing protection, leading to death of the individual. In this paper the different seam construction methods used for protective clothing is being analyzed. Keywords: Protective clothing, specialized environment, ultrasonic seams, seam taping and glueing. 1. INTRODUCTION textiles, medical protective textiles, sports protective textiles and space protective textiles. Personal Protective clothing comes under the technical textile protective textiles can be further classified according to category or products. While all clothing is protective to the end-use functions such as thermal (cold) some degree, concern is not with routine needs, such protection, flame protection, chemical protection, as clothing for warmth, rainwear or routine work mechanical impact protection, radiation protection, clothing. -
1895 Reissue 41 Style 11
Style 9: 1893 40 New Johnston ruffler (Figure 41b, page 21), Style 8 tuck- marker. Style 10: 1895 reissue 41 New ruffler Figures 44a to 44c page 22), and Style 8 tuck- marker. Style 11: 1899 reissue 42 New ruffler (as in Figure 40c, page 20, but with the spacer) and Style 8 tuck-marker. Three different Style 11 sets are documented, but they are all dated after the Style 12 set! All three style 11 manuals describe a foot hemmer, but none of the box illustrations or the lists of attachments include it. As I think it is likely that Singer produced sets chronologically this reissue suggests that there is at least one other, earlier style 11 set. 40 Singer, 1893b. 41 Singer, 1895a. 42 Singer, 1899. 29 Style 11: 1901 reissue 43 New tuck-marker on page 14 of the instruction manual. (The illustration on page 15 of the manual and the box view opposite show the 1899 tuck-marker, probably because the drawing was copied from the previous manual. Both are given the same number of 26513.) This Style manual includes a price list. A “box with racks” is the folding box with the holding clips but without any attachments or accessories. Style 11: 1906 reissue 44 A different arrangement of the accessories (screwdrivers, and so on). Otherwise the same as the above, including the two different tuck-markers that are given the same number of 26513. It is one of the most common folding boxes. This Style manual has a price list. 45 Style 12: 1895 reissue This Style manual includes a list of contents. -
Savile-Row-Inside-Out.Pdf
Savile Row: Inside Out 1 Savile Row BeSpoke aSSociation he Savile Row Bespoke Association is dedicated to protecting and promoting Tthe practices and traditions that have made Savile Row the acknowledged home of the best bespoke tailoring and a byword for unequalled quality around the world. The SRBA comprises of fifteen member and associate houses, who work together to protect and champion the understanding of bespoke tailoring and to promote the ingenious craftsmen that comprise the community of Savile Row. The SRBA sets the standards that define a Savile Row bespoke tailor, and all members of the Association must conform to the key agreed definitions of a bespoke suit and much more besides. A Master Cutter must oversee the work of every tailor employed by a member house and all garments must be constructed within a one hundred yard radius of Savile Row. Likewise, every member must offer the customer a choice of at least 2,000 cloths and rigorous technical requirements are expected. For example, jacket foreparts must be entirely hand canvassed, buttonholes sewn, sleeves attached and linings felled all by hand. It takes an average 50 plus hours to produce a suit in our Savile Row cutting rooms and workshops. #savilerowbespoke www.savilerowbespoke.com 2 1 Savile Row: inSide out Savile Row: Inside Out looks inside the extraordinary world of bespoke tailoring; an exclusive opportunity to step behind the scenes and celebrate the tailor’s art, the finest cloth and the unequalled expertise that is British Bespoke. A real cutter will be making a real suit in our pop-up cutting room in front of a collection of the work – both ‘before’ and ‘after’ to show the astonishing level of craftsmanship you can expect to find at Savile Row’s leading houses. -
Lining Techniques... Made Easy
CT-MMB.004 Lining Techniques Jacket and Coat Linings Made Easy A garment lining is generally referred to and treated as a “supportive” fabric. As a rule, a lining eliminates the need for time-consuming seam finishes while lengthening the life and durability of the fashion garment. According to Kathleen Spike, noted clothing writer, “Nothing places a garment in the ‘custom’ or ‘couture’ category as distinctly as a professionally applied lining.” 1 Lining – a separate, but attached inner layer of fabric construction which conceals or covers the inside garment construction. STANDARDS OF A WELL-MADE/APPLIED GARMENT LINING A suitable lining fabric: Is compatible with garment fabric in terms of care and fiber content. It can be cleaned in the same manner as the garment. Can be either woven or knit fabric as long as it is compatible with the garment fashion fabric. Permits and accommodates the necessary “give” and recovery needed for body movement. Is firm, yet not bulky; colorfast to perspiration and body oils; absorbent or “breathable.” Is opaque so as not to see the inside construction of the garment. Matches or coordinates with the garment fashion fabric. Has a smooth surface texture to permit the garment to be taken on and off the body with ease. Weight is the same or somewhat lighter and softer than the fashion fabric so as not to dominate the fashion garment. Is preshrunk (pre-washed or dry-cleaned) prior to cutting. The completed lining: Is cut sufficiently larger than the fashion garment to provide length and width fitting ease (generally at center back, armhole, hem edge, elbow, sleeve hem, shoulder). -
Narrow Binding on Necklines in Knit Fabrics
Narrow Binding on Necklines in knit fabrics I enjoy sewing with knits and I am always looking for interesting neckline treatments to finish off the edge of a knit top. The binding technique which I am going to demonstrate is one of my favorites and gives a neat finish to any raw edge. Whenever the pattern says to turn under the raw edge and topstitch, ignore it and follow these instructions. So here's how I do it. Deepika Prakash (Founder, PatternReview.com) Step 1: Measure the circumference of the neck or armhole on the stitching line (not on the cut edge). For example let’s say its 26.5 inches. Now add 1/2" more to this (for 1/4" seam allowances). So our total is now 27". Step 2: How stretchy is your knit? If it has 50% or more stretch in the crosswise direction you can easily subtract 2" (sometimes even more from this measurement. Otherwise subtract 1" from it. So let’s say we are doing this on a rayon knit with spandex which has over 50% stretch, our final measurement is 25". Now cut one strip (two if this is for the armholes) on the crosswise grain of fabric. Width of the strip should be roughly 4 times the final width of the binding. This binding will be seen from the right side of the fabric. I usually do 3/8" or 1/4" bindings so I'll cut my strip 1" X 25" . Step 3: Sew the binding strip in a circle; joining the short ends together (Right sides together). -
Nine Clever and Creative Ways to Use Fabric Edges
Salvage SelvagesYour good selvage is like a bonus with your fabric purchase. Most of Nine clever and the time, sewers use selvages as references to ensure we’re placing A patterns on the fabric’s straight grain, and then we cut them off creative ways to and toss them. Selvages can be so much more, however, whether used for use fabric edges structural support, as embellishment, or as a source of inspiration. You may not usually buy a piece of fabric because of its selvage, but you BY MARY RAY just might start once you learn how using a beautiful and interesting sel- vage creatively can turn a humdrum garment into a statement piece. Some selvages are unobtrusive, narrow, and woven a little tighter with stronger yarns than the rest of the fabric, while some are much fancier, with multi- colored yarns, woven patterns, or feathery edges—or sometimes all three. Once you start looking at selvages with a designer’s eye, you’ll see how useful they can be. Here are nine ways you can use selvages that are just too good to discard. Mary Ray is a Threads contributing editor and teaches apparel design and construction at Appalachian State University in Boone, North Carolina. 36 THREADS Selvages, like those shown on the facing page, may be reserved or flashy. Discover how to use them instead of trims to highlight garment details. At right, a wool tweed dress gets a boost from self- fabric selvages applied as stitched-down seam piping. Pattern: Vogue 1183; fabric: MoodFabrics.com. www.threadsmagazine.com AUGUst/SEPteMBER 2014 37 Prepare to use selvages The ways you can use a selvage depend on whether it is uncut (flat) or fringed.