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A Guide to Modern Tailoring Concepts : a Practical Outline to Some New

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A Guide to Modern Tailoring Concepts : a Practical Outline to Some New COPYRIGHT AND CITATION CONSIDERATIONS FOR THIS THESIS/ DISSERTATION o Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. o NonCommercial — You may not use the material for commercial purposes. o ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. How to cite this thesis Surname, Initial(s). (2012) Title of the thesis or dissertation. PhD. (Chemistry)/ M.Sc. (Physics)/ M.A. (Philosophy)/M.Com. (Finance) etc. [Unpublished]: University of Johannesburg. Retrieved from: https://ujdigispace.uj.ac.za (Accessed: Date). L TECHNIKON WtTWATERSRAND LIBRARY/BIBLIOTEEK Di. iflfle.,*ydpiih.W II. bo&.a $ 15 Øe. Wbi uI,Oi Øi. 0; c.c wan mPs.dipIdg. As ' I.ut doe bc.k is vielfydonq vs,i Pi4.di. td .'k Sanger wU hoI. Snag doe uifl..ntydp.fli wsit.rØ word. I.,sy 0w6.o bo. ø.,i •, sndet hd b.sp'.s& tt. Th. time CflOwd toi the hiding of so booI t.l Z6sys mcIudi.g 1Pa day and of hetIJrn. It the bouo.r hU not finished reading the book at the .rad of the period .IIw,d. 1 irily thin be r.n.w.d. Pioid.d the boot is not baiPG..Sr by any ANTOS REFERENCE NOT TO BE TAKEN_OUT NASLAAN MAG NIE UITGENEEM WORD NIE ,.k op .nv Memb.r$ IT. &pcety t•OIAII•ø riot tA dop-er. G.t.e. DuTwtfle%• ths bc - çr L COMPLIANCE TV .ENTS FOR THE 1 k . dMA IN CLOTHING DESIGN, SCHOOL OF ART AND DESIGN, TE CHNIKON WTTWATERSRAND NOVEMBER 1994 INTRODUCTION The theme for this dissertation has been specificall y selected with a view to assisting second and third year students stud ying Garment Technolog y. It concentrates primaril y on some of the newer ideas and specialized techni ques which are being utilized b y certain manufacturers, hih otherwise are not covered in the normal discourse of the hand and text b00k5 readil y available to the students. The suggestions and methods covered in this work have been sourced directl y from the workplace of several factories currentl y in full production, as well as from the authors own experience accumulated over several years whilst working with certain well known manufacturers. Historically, a tailored garment was made up b y a professional tailor who would spend man y hours making tin y hand stitches, to shape the garment. Qualit y and finish were the ke y factors in those da ys, but with little or possibl y no regard to the time that it took to make the garment. Time, however, has forced tailoring as well as all other facets of the clothing industr y to undergo a complete metamorphosis. Faster and better methods have evolved over the years to increase production output, even toda y designers and manufacturers alike consistentl y strive to improve them even further so as to ultimatel y attain maximum financial returns. Tailoring has also been affected b y major technological advances in machinery, fabrics, dyes, colours and even fusings. The introduction of softer pattern lines coupled with modern directions of design and even clever innovations such as softer shoulders pads, too have pla yed a role in bringing about such change. It is inevitable then that with all these advancements taking place, certain problem areas invariably also would arise. Thus the purpose of this work then is not onl y to convey to the students some of the newer ideas and specialized techni ques which are being utilized b y certain manufacturers, but also how they have rectified those problem areas that have arisen. In conclusion I wish to express my sincere appreciation and immense gratitude to all those persons who have been able to inform and assist me with material for the completion of this dissertation. In particular I would like to mention Messr's K& R CLOTHING for the time they made available to allow me to view their manufacturing processes. CONTENTS PAGE 1 GENERAL HINTS 1.0 a. Calico Sample 1.2 L. Pile Fabric 1.2 C. Easing in 1.2 Fusing 1.3 cl.1 Seam allowances 1.3 d.2 Colour 1.4 Shoulder Pads 1.4 Pressing Techniques 1.5 f.i Under Pressing and Top Pressing 1.6 Pattern - Checked/Striped Fabrics 1.6 ii. Fabric Loops 1.7 h.i Making the tubing 1.7 2 CUTTING OUT 2.0 a. Factors to consider before cutting the material 2.2 a. 1 Cost of the gannent 2.2 a.2 Patterns 2.2 a.3 Suitability of pattern to fabric 2.3 a.4 Fabric grain alignment 2.3 a.5 Fabric that may shrink 2.6 a.6 Laying out fabric which has nap 2.6 b. Laying out 2.7 C. Tracing patterns 2.9 d. Checks and stripes 2.12 3 JACKET POCKETS 3.0 a. The welt pocket 3.2 a. 1 Instructions to position and draft 3.2 a.2 Construction 3.4 b. The Jetted Pocket 3.11 b. 1 Instructions to position and draft 3.11 b.2 Material components 3.12 b.3 Preparing and stitching in the piping 3.13 b.4 Preparing and stitching in the pocketing 3.18 C. The Jetted Pocket with flap 3.22 c.l Instructions to position and draft 3.26 d. The patch pocket 3.26 d.i Instructions to position and draft 3.26 PAGE 4 THE STRUCTURED LINEDJACKET 4.0 a. Factors to consider before cutting material 4.2 h. Fusing of the jacket 4.3 C. Making the tailored jacket 4.18 c.i Front darts and pockets 4.18 c.2 Haircioth and felt 4.20 c.3 Sleeve vent 4.22 c.3.1 Topvent 4.22 c.3.2 Undervent 4.23 c.4 Setting in of sleeves 4.23 c.5 Shoulder pads 4.26 c.6 Springroll 4.27 c.7 The collar and the lining 4.28 c.8 Sewing the lining to the jacket and completing the collar and hem 4.31 d. Finishing 4.35 e. Pressing 4.37 f. Final pressing 4.38 f.i On inside of jacket 4.39 f.2 On outside of jacket 4.39 f.3 Sleeves 4.39 g. Buttons and buttonholes 4.42 g.1 Setting the buttons 4.44 g.2 The bias bound buttonhole 4.47 PARTIAL LINED AND UNLINED JACKETS 5.0 Introduction 5.2 Construction techniques - Practical lined jacket 5.3 b.i Fronts 5.5 b.2 Pockets bags 5.6 b.3 Front facing 5.6 C. Construction techniques - Unlined jacket 5.7 c.1 Fronts, pocket bags and front facings 5.7 c.2 Sleeveless jacket 5.7 c.3 Sleeved jacket 5.8 c.4 Finishing off 5.9 c.5 Peak lapels 5.10 c.ô Simulated two-piece sleeve 5.11 me TAILORED TROUSERS - MENSWEAR 6.0 a. The slanted side pocket 6.2 a.l Instructions to position and draft 6.2 a.2 Preparing and stitching 6.4 PAGE a.2.l Preparing the hip piece and pocket bag 6.4 a.2.2 The foidback pocket mouth facing 6.4 a.2.3 Sewing the pocketing to foidhack facing 6.5 a.2.4 Closing the pocket bag 6.6 a.2.5 Closing the sideseam 6.7 The tailored fly 6.8 b. 1 Instructions to position and draft 6.8 b.2 Preparing and stitching 6.9 C. The back jetted pocket 6.13 c.1 Instructions to position and draft 6.13 The tailored trouser waistband 6.18 d.i Belt ioops 6.18 d.2 Preparing and stitching the waistband 6.18 e The lined trouser 6.22 f. Ladies Pants 6.23 1.0 cri romm General Hints 1.1 CONTE NTS A. CALICO SAMPLE 1.2 B. PILE FABRIC 1.2 C. EASING IN 1.2 D. FUSING 1.3 D.1 Seam allowances 1.3 D.2 Colour 1.4 E. SHOULDER PADS 1.4 F. PRESSING TECHNIQUES 1.5 F.1 Under pressing and top pressing 1.6 G. PAUERN - CHECKED/STRIPED FABRICS 1.6 H. FABRIC LOOPS 1.7 H.1 Making the tuling 1.7 1.2 CALICO SAMPLE It is strongly recommended that patterns made b y students first be cut in calico. In this way fitting and other problem areas can be experimented with and rectified before going on to the costly fashion fabric itself. PILE FABRIC (VELVET) When using a pile fabric, sew in the direction of the pile to avoid distorting the pile. Since most pile fabrics tend to slip and feed unevenly, always tack by hand before machine stitching. The seams can only be sewn once, as removed stitches may leave holes. A fine needle must be used. Do not press the seams unless you are 100 % sure that it needn't be altered. Use a needleboard for pressing, place the pile down on the board and press lightly on the wrong side. EASING IN Remember when sewing to always keep the bigger part that needs to be eased in, at the bottom. The feed-dog helps to ease in the excess when the top is held tight. 1.3 D. FUSING D. 1 SEAM ALLOWANCES If very loosely woven fabrics such as silks and natural linens are to be used, then all seam allowances should be fused 1.5 cm so as to bond the yarns together to prevent seam slippage and edge fray.
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