DOCSLIB.ORG

CREATIVE MACHINE EMBROIDERY Cmemag.Com

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CREATIVE MACHINE EMBROIDERY Cmemag.Com presents 4FREE CUTWORK PROJECTS 2 3 4 cmeEbook TOC_COV.indd 1 1/25/11 12:48:19 PM 4FREE CUTWORK PROJECTS While cutwork designs may seem complicated, they’re actually very simple and provide a stunning finish on both home-dec items and garments alike. Most cutwork designs follow a similar three-step process. First, the design outline is stitched. After the outline is complete, the hoop is removed from the machine, and then the fabric inside the outline is trimmed away. After the trimming is complete, the hoop is placed back onto the machine to stitch the remaining design. The four projects included in this e-book are sure to get your creative juices flowing. Create a stylish blouse in “A Cut Above,” an adorable Easter table runner in “Bunny Trail,” a sassy asymmetrical top in “Fashion Forward” and a cute bag in “Simple Chic: Straw Flow- ers.” These four inspiring projects will make you a cutwork pro in no time! Happy embroidering! Colleen Exline Associate Editor, CME TABLE OF CONTENTS A Cut Above Shannon Dennis .................................... PAGE 3 2 Fashion Forward Stephanie Corina Goddard ...................PAGE 5 3 Simple Chic: Straw Flower Annette Bailey ................................. PAGE 8 4 Bunny Trail Diane Kron, courtesy of Baby Lock ................ PAGE 10 cmeEbook TOC_COV.indd 2 2/15/11 4:01:27 PM by Shannon Dennis 3 CREATIVE MACHINE EMBROIDERY cmemag.com CCMEP-cutabove.inddMEP-cutabove.indd 3 11/14/11/14/11 44:29:37:29:37 PPMM Cutwork embroidery provides a beautiful finish for garments, giving the illusion that you’ve spent days in the sewing room. But cutwork designs can be embroidered with minimal effort, so you can embellish a ready-made top in no time. area over the stabilizer. Use the perimeter-baste SHOPPING LIST function to secure the shirt to the stabilizer. Embroider Step 1. button-down shirt • Using blunt-end scissors, cut away the shirt fabric coordinating polyester embroidery thread from the cutwork areas. Trim as close as possible lightweight tear-away stabilizer to the outline running stitch (A). Use the design small, blunt-end scissors template, instruction booklet or other visual aid cutwork embroidery design to determine the cutwork area locations, if de- sired. Be very careful not to cut the stabilizer. Instructions • Embroider Step 2. Make sure the cutwork areas have clean edges. Trim any thread tails or fraying Most cutwork designs contain three steps. Step one edges. Embroider Step 2 again, if needed. is a running stitch that creates the design outline. • Embroider Step 3. After the embroidery is Step two is a reinforced running stitch and/or a complete, remove the shirt from the hoop. narrow zigzag that secures the fabric edges. Step Carefully remove the remaining stabilizer and three is the satin stitch, or embroidery work, that clip any jump stitches. Press the shirt from conceals the raw edges. the wrong side. • Load the cutwork design onto the embroidery machine. Many designs show the three steps in one color. To better identify each step, change each step to a different color in the embroidery machine or in embroidery software. • Hoop two layers of lightweight tear-away sta- blizer. • Print a template of the design and audition it on the shirtfront. The featured cutwork design was positioned along the upper-right shoulder. Keep in mind that the cutwork will expose some skin, so make sure bra straps or excessive skin won’t A Trim close to outline running stitch. show when planning the embroidery placement. Or plan to wear a shirt underneath for a pop of DESIGN Cutwork design: Pfaff Collection #392, Grand Dream Richeliu, Design #13; color and strategically place the embroidery to (800) 997-3233, pfaff.com or myembroideries.com achieve the desired look. SOURCE • Unbutton the shirt and position the embroidery Hilos Iris supplied the embroidery thread: hilosiris.com or theninaline.com/iris. cmemag.com CREATIVE MACHINE EMBROIDERY 4 CCMEP-cutabove.inddMEP-cutabove.indd 4 11/14/11/14/11 44:29:40:29:40 PPMM Part 1 of 6 fashionforward By Stephanie Corina Goddard L.J. Designs Annapolis Spice up single-color cutwork with a scattering of beads on a breezy asym- metric top. Supplies Asymmetric pullover top pattern of your choice Fashion fabric according to pattern envelope, plus 1⁄ 4 yard extra for rough-cutting the front neckline and sleeve hems Mesh water-soluble stabilizer Embroidery, bobbin and monofila- ment thread Size 75/11 embroidery needle Pattern tracing supplies, including dressmaker’s tracing carbon and ruler Assorted beads Hand beading needle Cutwork embroidery design of your choice Preparation To support the weight of the beads and the open areas in the cutwork, choose woven cotton, linen Ken Clubb Illustration or/blend fabric. Because some of the garment sections will need to be soaked after embroidery, be sure to prewash the fabric. Tissue-fit the pattern and make any adjustments necessary. Determine the finished sleeve length and draw it on the pattern piece. Omit the front facing pattern piece. Print or stitch templates of the embroidery motifs. The motifs must be mirror imaged for embroidery on each side of the neckline. Be sure to include all cross marks and hoop marks on the templates. 5 CREATIVE MACHINE EMBROIDERY cmemag.com CMEP-070400-074076.indd 5 1/21/11 7:06:29 PM d On the pattern front, draw a line to ric above the front shoulders and below Cut a piece of mesh water-soluble stabi- indicate the center front. Use the tem- the sleeve hems for hooping. lizer larger than the hoop. Mark a cross- plates to audition the motif for a pleasing Cut out the front and back pattern mark onto the stabilizer using a ruler. arrangement around the neckline. pieces; rough-cut the front neck and Hoop the stabilizer matching the hoop (It’s OK if some of the embroidery runs shoulder area for hooping ease. Before notches with marks on the stabilizer. off the removing the pattern, slip dressmaker Begin at one shoulder. Position the fab- shoulder.) Motifs must meet at the center tracing carbon between the layers. Mark ric onto the stabilizer; aligning the marks front. the shoulder stitching and cutting lines. on the fabric with the marks on the stabi- Tape the template in place on one side Mark the center and cross marks for each lizer. Lightly pin in place. of the neckline pattern. Mark the center motif (A). Make any positioning adjustments and crossmarks onto the pattern. Flip Repeat to audition and mark the fabric necessary. Pin or baste (by hand or the template over as if mirror imaging at the sleeve hem edges (B). machine) the layers together outside the motif and mark the other side of the the stitch field. neckline. Embroidery Following the digitizer’s directions, Pin the pattern to the fabric following Wind a bobbin with a thread color to begin the embroidery process. When the guidesheet layout, allowing extra fab- match the embroidery thread. directed to trim the continuous edge, C A B Begin cutting at upper edge of fabric, Mark shoulder stitching and cutting lines. Mark fabric at sleeve hem avoiding seam allowance at shoulder and Mark center and cross marks for each motif. edges. angling to dot. cmemag.com CREATIVE MACHINE EMBROIDERY 6 CMEP-070400-074076.indd 6 1/21/11 7:06:31 PM remove only enough basting stitches to free the fabric for cutting. Begin cutting at the upper edge of the fabric, avoiding the shoulder seam allowance and angling to the dot (C on page 75). Trim the fabric close to the stitching line; do not cut the stabilizer. Pin the excess fabric away from the stitching area. For cutwork areas within the motif, trim out fabric areas close to the stitching line. Continue embroidering the design until all the satin stitch areas are complete on the first design. Construction together, with the garment front shoulders sandwiched between (F). Skip through any stitch- Re-pin the front pattern piece to the Stitch from shoulder to shoulder, pivot- es falling beyond the embroidered front and cut out the shoulders. At the neck edge, remove the ing at the neckline. Reinforce each pivot seam allowances or sim- remaining front neckline seam allowance point by re-stitching the corner for about 1 ply allow them to stitch above the cutwork (D). ⁄ 2” on either side, using a short stitch length. Trim and clip the neckline edge. out on the stabilizer. Construct the garment following the Turn the facing and press all seam allow- pattern guidesheet, substituting the ances toward the back. Understitch the following directions for the shoulder Repeat to embroider the other half of back neck facing as much as possible. and back facing. the neckline. Be sure to mirror image the Complete the remainder of the garment motif. Pin the shoulders right sides together, according to the pattern guidesheet. aligning the cut edges at the armseyes. For each sleeve hem, repeat to embroi- Hand stitch beads as desired using the There should be 5⁄ 8” empty space at der in the same manner as the neckline. the front neck edge. Stitch but do not hand beading needle and monofilament Following the manufacturer’s directions, press (E). thread. soak the fabric in warm water and allow Interface the back neck facing and the pieces to dry. Press from the wrong Cutwork design: Husqvarna Viking, Disk clean-finish the longer edge. #155, design 6 side. Pin it to the back neckline, right sides Convert to sewing mode and satin stitch to bridge any gaps in the cutwork. Use matching embroidery thread to satin stitch. F Pin to back neckline, right sides together, D Remove remaining front neckline seam E Pin shoulders right sides together, aligning cut edges at the armseyes.
Load more

Recommended publications
  • Convertible Collar Construction
    Convertible Collar Construction Directory Click any image to go to that section Yoke/Facing Options: Intro and Gallery By far the most common set-up for a The purpose of this introductory section is to convertible-collar shirt is that it has front facings feature and compare the range of other options and a yoke, and that these two details don’t touch, also, if less commonly, in use beyond this classic as in the example at right. one, before I proceed to work step-by-step through a handful of useful variants . Many other possible That is, the facings don’t extend far enough combinations, and of course, variations on the towards the shoulders at the neckline that they’ll ones here, are conceiveable and may suit your meet with or join to the fronts of the yoke layers. As project better, so feel free to experiment. a result, the yoke construction steps aren’t integrated into the collar steps and are completed, in front at least, before the collar is begun, so the options for using the yoke as a back facing are eliminated. The steps for this classic arrangement are described below in Variation #5, in the Front Facing Only category. Collar Insertion Options Step-By-Step No Yoke or Facings Required Front facings Only Front and Back Facings, or Yoke Used as Facing Variation 1: Collar Applied as Band Variation 3: Collar’s Back Neckline Edge-Stitched Variation 6: Back Facings 1 3 and Facings Secured at Shoulder Seams 6 Options: Options: 1. Edge-stitched neckline 2.
    [Show full text]
  • Cloth, Fashion and Revolution 'Evocative' Garments and a Merchant's Know-How: Madame Teillard, Dressmaker at the Palais-Ro
    CLOTH, FASHION AND REVOLUTION ‘EVOCATIVE’ GARMENTS AND A MERCHANT’S KNOW-HOW: MADAME TEILLARD, DRESSMAKER AT THE PALAIS-ROYAL By Professor Natacha Coquery, University of Lyon 2 (France) Revolutionary upheavals have substantial repercussions on the luxury goods sector. This is because the luxury goods market is ever-changing, highly competitive, and a source of considerable profits. Yet it is also fragile, given its close ties to fashion, to the imperative for novelty and the short-lived, and to objects or materials that act as social markers, intended for consumers from elite circles. However, this very fragility, related to fashion’s fleeting nature, can also be a strength. When we speak of fashion, we speak of inventiveness and constant innovation in materials, shapes, and colours. Thus, fashion merchants become experts in the fleeting and the novel. In his Dictionnaire universel de commerce [Universal Dictionary of Trade and Commerce], Savary des Bruslons assimilates ‘novelty’ and ‘fabrics’ with ‘fashion’: [Fashion] […] It is commonly said of new fabrics that delight with their colour, design or fabrication, [that they] are eagerly sought after at first, but soon give way in turn to other fabrics that have the charm of novelty.1 In the clothing trade, which best embodies fashion, talented merchants are those that successfully start new fashions and react most rapidly to new trends, which are sometimes triggered by political events. In 1763, the year in which the Treaty of Paris was signed to end the Seven Years’ War, the haberdasher Déton of Rue Saint-Honoré, Paris, ‘in whose shop one finds all fashionable merchandise, invented preliminary hats, decorated on the front in the French style, and on the back in the English manner.’2 The haberdasher made a clear and clever allusion to the preliminary treaty, signed a year earlier.
    [Show full text]
  • My Bernette Sewing Machine Mastery Workbook – B37
    MASTERY BOOK SERIES SEWING MACHINES BERNETTE SEWING MACHINE WORKBOOK For bernette models b37 and b38 ©2017. Permission granted to copy and distribute in original form only. Content may not be altered or used in any other form or under any other branding. TABLE OF CONTENTS Introduction ........................................... 3 Sewing Machine Needles ...................... 4 Thread .................................................... 6 bernette Presser Feet ............................ 7 Stitch Selection ...................................... 8 Securing Stitches ................................... 9 Turning Corners ..................................... 10 Zigzag Stitch .......................................... 11 Blind Hem .............................................. 12 Triple Straight Stitch ............................. 13 Overlock Stitch ...................................... 14 Stretch Stitch ......................................... 15 Buttonholes .......................................... 16 Attaching Buttons ................................. 17 Stitching Zippers .................................... 18 Decorative Stitching .............................. 19 Satin Stitching ....................................... 20 Stitch Combinations/Memory ............... 21 Alphabets ............................................... 22 The information in this workbook applies to bernette models: b37 and b38. Double Needle Stitching ....................... 23 Note: Some exercises apply only to certain models Supplies .................................................
    [Show full text]
  • I Was Tempted by a Pretty Coloured Muslin
    “I was tempted by a pretty y y coloured muslin”: Jane Austen and the Art of Being Fashionable MARY HAFNER-LANEY Mary Hafner-Laney is an historic costumer. Using her thirty-plus years of trial-and-error experience, she has given presentations and workshops on how women of the past dressed to historical societies, literary groups, and costuming and re-enactment organizations. She is retired from the State of Washington . E E plucked that first leaf o ff the fig tree in the Garden of Eden and decided green was her color, women of all times and all places have been interested in fashion and in being fashionable. Jane Austen herself wrote , “I beleive Finery must have it” (23 September 1813) , and in Northanger Abbey we read that Mrs. Allen cannot begin to enjoy the delights of Bath until she “was provided with a dress of the newest fashion” (20). Whether a woman was like Jane and “so tired & ashamed of half my present stock that I even blush at the sight of the wardrobe which contains them ” (25 December 1798) or like the two Miss Beauforts in Sanditon , who required “six new Dresses each for a three days visit” (Minor Works 421), dress was a problem to be solved. There were no big-name designers with models to show o ff their creations. There was no Project Runway . There were no department stores or clothing empori - ums where one could browse for and purchase garments of the latest fashion. How did a woman achieve a stylish appearance? Just as we have Vogue , Elle and In Style magazines to keep us up to date on the most current styles, women of the Regency era had The Ladies Magazine , La Belle Assemblée , Le Beau Monde , The Gallery of Fashion , and a host of other publications (Decker) .
    [Show full text]
  • Tailoring Series TECHNIQUES for TAILORING UNDERLINING a TAILORED GARMENT—Underlining Is a Second Layer of Fabric. It Is Cut By
    tailoring series TECHNIQUES FOR TAILORING UNDERLINING A TAILORED GARMENT—Underlining is a second layer of fabric. It is cut by the garment pattern pieces and staystitched to the wrong side of the corresponding outer sections before any seams are joined. The two layers are then handled as one. As a general guide, most suit jackets and coats look more pro- fessional when underlined. Underlining is especially recommended for lightweight wool materials, loosely woven materials and light- colored materials. For additional information on selecting fabrics for underlining and applying the underlining, see Lining a Shirt 01' Dress HE 72, N. C. Agricultural Extension Service. STAYSTITCHING—Staystitch all outer garment pieces before construction begins. If garment is underlined, stays-titching is done when the two layers of fabric are sewn together. Staystitch 1/3 in. outside seamline (on the seam allowance). Stay- stitch “ with matching cotton thread on all curved *areas that may stretch during construction such as necklines, side seams, shoulder seams, armholes, and side seams of skirt. Use directional stitching always to prevent stretching of fabric and to prevent one layer of fabric from riding. The direction to stitch is indicated by small arrows on the pattern on the seamlines. INTERFACINGS—Select a high quality hair canvas for the front and collar of coats and jackets. The percentage of wool indicates the quality—the higher the wool content of the canvas the better the quality. Since a high percentage of wool makes the hair canvas fairly dark in color, it cannot be used successfully under light-colored fabrics. In these cases use an interfacing lighter in color and lower in wool content.
    [Show full text]
  • About Pins Guide Reformatted Layout 1 2/17/12 11:34 AM Page 1
    023-507P8 All about Pins Guide reformatted_Layout 1 2/17/12 11:34 AM Page 1 SELECTING THE PROPER STRAIGHT PIN Select pins according to the type of pin, length of pin, type of pin head, type of metal from which it is made & project for which it will be used. Applique STRAIGHT PINS Applique Short length helps position and hold appliques during hand sewing Ball Point BAll point Rounded tip is specially designed for knits and lingerie fabrics Beading e d long BAll point i Long pin for use on medium-weight knit fabrics u g s BeAding Bridal and Lace n Large head is ideal for lace, open-weave fabrics and beading crafts i p t BridAl And lAce u Extra-fine pin for use on delicate or lightweight fabrics and lace o b Color Ball color BAll a l General purpose sewing pin for medium-weight fabrics l a extrA-long color BAll Extra-long for lofty fabrics, quilt basting & home decor sewing Craft crAft Extra-long pin for heavyweight fabrics, home decor projects and crafts dressmAker Dressmaker General purpose sewing pin suitable for medium-weight fabrics flAt flower or flAt Button Extra-long, fine pin with flat head for lace, eyelet, loose weaves, lofty Flat Flower fabrics and home decor more projects, tips & techniques at Joann.com ® free Flat Button 023-507P8 All about Pins Guide reformatted_Layout 1 2/17/12 11:34 AM Page 3 glAss HeAd SPECIALTY PINS T-Pin A general purpose pin with a heat-resistant glass head used for medium- corsAge & Boutonniere weight fabrics Black and white, pearlized head used for pinning corsage or flower onto Glass Head garment for
    [Show full text]
  • Impoved Family Manual.Pdf
    FORM 7129 . July 7, 1891. Supersedes Form 7006 . DIRECTIONS FOR USING THE 1MPKO),7r,D IAPXIL~q SIXGER st.-AWING ACHINE1 THE SINGER MANUFACTURING GO., NEW YORK. 1891 . DIRECTIONS FOR USING ~ ~- ~ ~~- -~~ e~ == " ~~ ~ . ce ca ~ ~ c . ~~-- ' -- m_--' B . ..................... ~ a 8 w ~ ~ ~ ~ ~ ~ " THE IMPROVED FAMILY SINGER . FIG. 2. ~1E4 __._Stop Motion _.,.Right Lag IMPROVED FAMILY MACHINE, WITH STAND. DIRECTIONS FOR USING FIG. 3. OILING PLACES SHOWN BY ARROWS . AILING PLACES SHOWN BY ARROWS. DIRECTIONS FOR USENG THE 11112er Y rr+peoved Parr,Iiy t4achile. To Oil the Machine. Be sure that every part is clean before you commence to sew. If the machine runs hard at any time, IT IS CERTAIN that someplace has not been oiled. Oil holes will be found for all bearings which cannot be reached without them. Each place requiring oil is indicated by an arrow head in the cuts on the opposite page. The shuttle should be oiled sparingly, but often, if the machine is in constant use ; always be careful to use no more oil than is needed, a single drop being sufficient at any point. If the machine runs hard after standing idle for some time, use a little kero- sene oil or benzine on the wearing points, run rapidly, zvi~e clean, and then oil with the BEST slerni oil, which should always be used. To make sure of getting good oil, buy it at at any of the Company's offices or from its authorized representatives. The genuine oil is put up in bottles which have The Singer Manufacturing Company's " trade-mark " blown in their panel, and bear the Company's label.
    [Show full text]
  • Identifying Handmade and Machine Lace Identification
    Identifying Handmade and Machine Lace DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Handmade and Machine Lace Text copyright © Jeremy Farrell, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name held at The Museum of Costume and Textiles, Nottingham on 21st February 2008. The workshop is one of three produced in collaboration between DATS and the V&A, funded by the Renaissance Subject Specialist Network Implementation Grant Programme, administered by the MLA. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audiences. Participants will have the chance to study objects at first hand to help increase their confidence in identifying textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the public. Other workshops / information packs in the series: Identifying Textile Types and Weaves 1750 -1950 Identifying Printed Textiles in Dress 1740-1890 Front cover image: Detail of a triangular shawl of white cotton Pusher lace made by William Vickers of Nottingham, 1870. The Pusher machine cannot put in the outline which has to be put in by hand or by embroidering machine. The outline here was put in by hand by a woman in Youlgreave, Derbyshire. (NCM 1912-13 © Nottingham City Museums) 2 Identifying Handmade and Machine Lace Contents Page 1. List of illustrations 1 2. Introduction 3 3. The main types of hand and machine lace 5 4.
    [Show full text]
  • The American Lady-Tailor Glove-Fitting System of Dress Making
    ' : - . fdfl . - . ... • • . 1 i , 1 • • • • i ft) '•-.; r i. # i ' ".. - i ! It r it ; . CvAMDkPS^ fedt Improved and Simplified. LIBRARY OF CONGRESS. ®|ap. - ®W'Sl l 1« # Slielf .vGr..2? fc UNITED STATES OF AMERICA. 4$ f. L Second Edition.] [Price, Five Dollars, THE AMERICAN Lady-Tailor Gloye-Fitting- System OP- DRESS-MAKING Invented and Taught by ^ • Mrs, Elizabeth Gartland IN HER SCIENTIFIC COLLEGE. KE^nSED, iLLTJSTBiLTED # SlIMIIF'IQjIIF'IEID- PHILADELPHIA, PA. 1884. Entered according to Act of Congress, in the year 1884, by Mrs. Elizabeth in the Office of the Librarian of Congress, at Washington, D. C. : IMPORTANT NOTICE. \K^ To all whom it may Concern : —Only those purchasing this Book from me or my authorized agents are hereby licensed to use my Systems of Cutting and Fitting, set forth in this work, the contents of which I have secured by copyright. And no person shall have any right whatever to sell or teach in any manner, my system, without first procuring from me or my duly authorized agents a license in writing, signed by me, specifying how and in what way it may be used. MRS. E. GARTLAND, 15 SOUTH 13th STREET, PHILADELPHIA, PA. LEADING PARIS FASHION MAGAZINES And they can be had at any time by the single number or by subscrip- tion; post-paid, at the prices given in the following list One Six Three Single Year. Months. Months. Copy. *Aquarelle Mode Weekly 9 16 20 9 9 00 $ 5 00 45c. *Album de la Toilette Semi-Monthly.. 7 25 4 00 2 25 45c. *Coquet Semi-Monthly.
    [Show full text]
  • SPIN Sewing Curriculum.Pdf
    Debra Proctor, USU Extension Associate Professor, FCS/4-H, Wasatch County Susan Haws, USU Extension Assistant Professor, FCS/4-H, Summit County Stacey Mac Arthur, USU Extension Assistant Professor, 4-H, State Office Description The Discover 4-H Clubs series guides new 4-H volunteer leaders through the process of starting a 4-H club or provides a guideline for seasoned volunteer leaders to try a new project area. Each guide outlines everything needed to organize a club and hold the first six club meetings related to a specific project area. Purpose The purpose is to create an environment for families to come together and participate in learning activities that can engage the whole family, while spending time together as a multi-family club. Members will experiment with new 4-H project areas. What is 4-H? 4-H is one of the largest youth development organizations in the United States. 4-H is found in almost every county across the nation and enjoys a partnership between the U. S. Department of Agriculture (USDA), the state land-grant universities (e.g., Utah State University), and local county governments. 4-H is about youth and adults working together as partners in designing and implementing club and individual plans for activities and events. Positive youth development is the primary goal of 4-H. The project area serves as the vehicle for members to learn and master project-specific skills while developing basic life skills. All projects support the ultimate goal for the 4-H member to develop positive personal assets needed to live successfully in a diverse and changing world.
    [Show full text]
  • Trims, Labels, Treads, Elastics, Underlying Fabrics, Zippers, Butto
    10/12/2009 1 TRIMS AND FINDINGS Chapter 8 2 Findings and Trims Findings: trims, labels, treads, elastics, underlying fabrics, zippers, buttons, other closures, other miscellaneous items Trims: subdivision of findings – decorative materials – ribbons, braids, laces, other narrow fabric trims, appliqués, flowers, beads, sequins, other decorative items Findings/trims usually aren’t the reason for purchase but they are often the reason for discarding a garment 3 Performance Finding/trim must reflect same quality level as the fabric Performance of finding or trim could negate the performance of the body fabric Ex. If fabric is dry-clean only, the trims must be dry-cleanable 4 Establishing specs Often established by the suppliers themselves or by the manufacturers in partnership w/ the suppliers Too many types of findings and trims to be an expert on all and be able to write accurate specs on all – best to rely on the supplier of the specific type of finding you need 5 Aesthetic performance Must complement the appearance of the garment Must be considered in concert with the design, construction, and finish of the garment Need to be attractive, fashionable, and functional to help sell the garment 6 Functional Performance Includes utility and durability of the finding Utility includes: dimensional stability, appearance retention, comfort, ease of care, and safety Durability includes: strength, abrasion resistance, and degradation by chemical & other elements 7 Performance, Cont. Design, materials, and constructions of a garment interact to determine
    [Show full text]
  • Taking Shape DARTS ADD SHAPE TURNING a FLAT PIECE of FABRIC INTO a THREE-DIMENSIONAL FORM to MATCH the CONTOURS of the BODY LINDA TURNER GRIEPENTROG
    Techniques Taking Shape DARTS ADD SHAPE TURNING A FLAT PIECE OF FABRIC INTO A THREE-DIMENSIONAL FORM TO MATCH THE CONTOURS OF THE BODY LINDA TURNER GRIEPENTROG ustline, hip, waistline to tummy, elbow and shoulder. Darts can be horizontal, vertical or anywhere in between, straight or curved, but the stitching principles are the same. BThe goal of quality dart stitching is smooth, pucker-free points that don’t call attention to themselves. SHAPING A single-point dart is shaped like a triangle, and when stitched it takes a wedge of fabric out of the garment allowing for controlled fullness at the point. A single dart may be on the lengthwise fabric grain, angled or slightly curved. (1) A double-point or contour dart is diamond or rugby ball shaped, and is used to shape the waistline, leaving fullness at both ends for the bust and hip. (2) A French dart is a curved shape from the garment side seam to the bustline. This dart has cut edges joined like a seam. (3) V9082 Vintage Vogue, 1960. Misses’ A5(6-8-10-12-14) E5(14-16-18-20-22). Sew Rating: Average. Price code Orange. Illustrations: Theresa O’Connell Theresa Illustrations: 1 2 3 26 SEW TODAY May/June 2019 MARKING to anchor the stitches. Stitch (7) and stitch toward the point, Darts are indicated on the along the line, removing the A third technique for dart then repeat for the other pattern tissue by either solid pins as you get to them. Taper point, slightly overlapping or dashed lines and a dot the stitching to the point the beginning stitching lines at the point.
    [Show full text]