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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. -
Fabric ESSENTIALS
Fabric ESSENTIALS COTTON-RICH POPLIN POLY-WOOL NYLON TASLON • Moisture-wicking – dries quickly • Uniform shirts of 67% cotton/33%polyester • Easy-care, wrinkle-resistant, and durable • Antimicrobial – resists bacteria, fights odor • Comfort with easy machine-wash care • Wool makes fabric more substantial and • Durable, lightweight, easy-care fabric • Khaki and navy shirts offer UPF 40+ comfortable for year ’round use sun-protective rating • Excellent UPF 40+ sun-protective rating MICRO POLY • Khaki shirts and uniform-green pants ® in lightweight, polyester microfiber SUPPLEX NYLON COTTON-RICH CANVAS • Aegis™ antimicrobial technology • Moisture management • Extra-durable and stain-resistant— • Superior moisture control • Lightweight and quick-drying ideal for active Scouts • Excellent UPF 40+ sun-protective rating • Excellent UPF 50+ sun-protective rating • Excellent UPF 40+ sun-protective rating The Skin Cancer Moisture Management (Wicking) A specially Foundation Seal of engineered, high-performance fabric in which the inner layer Recommendation draws moisture away from the body to the outer layer where To earn this distinguished it quickly evaporates, keeping you cooler in hot weather and seal, a product must warmer in cold. be proven to aid in the prevention of sun-induced Advanced antimicrobial fabric treatment damage to the skin, and Commonly used to fight bacteria, this treatment features a must earn a UPF (Ultraviolet positively charged polymer that bonds molecularly to the fabric Protection Factor) of 30 to fight the growth of bacteria and fungi, reduce odors, and or above. In keeping with protect against stains and deterioration. Also helps to wick safety as the top priority for away moisture so fabric dries quickly and keeps Scouts drier. -
Design of Seamless Knitted Radiation Shielding Garments with 3D Body Scanning Technology
Available online at www.sciencedirect.com ScienceDirect Procedia Technology 20 ( 2015 ) 123 – 132 The International Design Technology Conference, DesTech2015, 29th of June – 1st of July 2015, Geelong, Australia Design of Seamless Knitted Radiation Shielding Garments with 3D Body Scanning Technology Huda Ahmed Maghrabia,c, Arun Vijayana, Lijing Wanga*, Pradip Debb aSchool of Fashion & Textiles, RMIT University, Brunswick, Victoria 3056, Australia bSchool of Medical Sciences, RMIT University, Bundoora, Victoria 3083, Australia cDepartment of Textiles and Clothing, Umm Al-Qura University, Mecca 24382, Saudi Arabia Abstract Protective aprons for medical use shield against the effects of radiation. The aprons are universally tailored to fit both male and female bodies without due consideration to the differences that abound between masculine and feminine bodies. To date very little emphasis has been shown on the development of aprons to suit the needs of the female anatomy specifically the breast region as well as consideration of the body shape of pregnant women. This research reviews the needs to develop an X-ray protective garment that is specifically tailored for the female body. Protective aprons designed to fit the female physique incorporating curvature around specific parts of the body namely hip and breast regions as well as the suitability of the apron for use by pregnant women have been explored. Emphasis has been shown on the fit of the garment to impart improved wearer mobility. 3D body scanning technology was used to determine the fit of the developed designs and understand the significance of air gaps between the body and the garment. © 2015 The Authors. PublishedPublished by by Elsevier Elsevier Ltd. -
Sew Any Fabric Provides Practical, Clear Information for Novices and Inspiration for More Experienced Sewers Who Are Looking for New Ideas and Techniques
SAFBCOV.qxd 10/23/03 3:34 PM Page 1 S Fabric Basics at Your Fingertips EW A ave you ever wished you could call an expert and ask for a five-minute explanation on the particulars of a fabric you are sewing? Claire Shaeffer provides this key information for 88 of today’s most NY SEW ANY popular fabrics. In this handy, easy-to-follow reference, she guides you through all the basics while providing hints, tips, and suggestions based on her 20-plus years as a college instructor, pattern F designer, and author. ABRIC H In each concise chapter, Claire shares fabric facts, design ideas, workroom secrets, and her sewing checklist, as well as her sewability classification to advise you on the difficulty of sewing each ABRIC fabric. Color photographs offer further ideas. The succeeding sections offer sewing techniques and ForewordForeword byby advice on needles, threads, stabilizers, and interfacings. Claire’s unique fabric/fiber dictionary cross- NancyNancy ZiemanZieman references over 600 additional fabrics. An invaluable reference for anyone who F sews, Sew Any Fabric provides practical, clear information for novices and inspiration for more experienced sewers who are looking for new ideas and techniques. About the Author Shaeffer Claire Shaeffer is a well-known and well- respected designer, teacher, and author of 15 books, including Claire Shaeffer’s Fabric Sewing Guide. She has traveled the world over sharing her sewing secrets with novice, experienced, and professional sewers alike. Claire was recently awarded the prestigious Lifetime Achievement Award by the Professional Association of Custom Clothiers (PACC). Claire and her husband reside in Palm Springs, California. -
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Harmonized Tariff Schedule of the United States (2007) Annotated for Statistical Reporting Purposes CHAPTER 99 TEMPORARY LEGISLATION; TEMPORARY MODIFICATIONS ESTABLISHED PURSUANT TO TRADE LEGISLATION; ADDITIONAL IMPORT RESTRICTIONS ESTABLISHED PURSUANT TO SECTION 22 OF THE AGRICULTURAL ADJUSTMENT ACT, AS AMENDED XXII 99-1 U.S. Notes 1. The provisions of this chapter relate to legislation and to executive and administrative actions pursuant to duly constituted authority, under which: (a) One or more of the provisions in chapters 1 through 98 are temporarily amended or modified; or (b) Additional duties or other import restrictions are imposed by, or pursuant to, collateral legislation. 2. Unless the context requires otherwise, the general notes and rules of interpretation, the section notes, and the notes in chapters 1 through 98 apply to the provisions of this chapter. Statistical Notes 1. For statistical reporting of merchandise provided for herein: (a) Unless more specific instructions appear in the subchapters of this chapter, report the 8-digit heading or subheading number (or 10-digit statistical reporting number, if any) found in this chapter in addition to the 10-digit statistical reporting number appearing in chapters 1 through 97 which would be applicable but for the provisions of this chapter; and (b) The quantities reported should be in the units provided in chapters 1 through 97. 2. For those headings and subheadings herein for which no rate of duty appears (i.e., those headings and subheadings for which an absolute quota is prescribed), report the 8-digit heading or subheading number herein followed by the appropriate 10-digit statistical reporting number from chapters 1 through 97. -
Materialising Cultures: West African Diasporan En- Gagement with African Print in Britain
Oboh, Ehinomen (2018)Materialising cultures: West African diasporan en- gagement with African print in Britain. Doctoral thesis (PhD), Manchester Metropolitan University. Downloaded from: http://e-space.mmu.ac.uk/622448/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version http://e-space.mmu.ac.uk Materialising Cultures: West African diasporan engagement with African print in Britain A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy; Ehinomen Oboh Manchester School of Art Manchester Metropolitan University October 2018 Abstract This thesis addresses a gap in our knowledge about the shifting meanings and practices associated with dress as it moves into diasporic cultural surroundings. Specifically, it looks at West African diasporans living in Britain (WADIB) and their engagements with African print. It does so by gathering stories of WADIB clothing experiences, alongside images of how they acquire, make, wear and keep their clothes. Academic research until recently has focused on dress in Africa, but largely ignored the contemporary use of African prints among diasporan communities. By moving beyond the African setting into a diaspora setting, this research expands our understanding of how meaning in dress is shaped, re-shaped, and more generally, the interrelationship of people and clothes, thus, contributing towards scholarship on contemporary dress in changing cultural contexts. This research also adds the African dress perspective to studies of transnational lives from the standpoint of other diasporans. This study reveals African print as largely a special occasion dress within the British diaspora unlike how it is used on the African continent. -
Dressmaking up to Date
PRICE, 25 CENTS or Is. PUBLISHED BY THE BUTTERICK PUBLISHING COMPANY, Limited AT THE BUTTERICK BUILDING, NEW YORK PARIS LONDON NEW YORK TORONTO Copyright, /QOj, by The Butter ick Publishing Co., Limited. Entered at Stationers’ Hall. A ll rights reserved. ■r o: ; < A Dressmaking, TUp to Date h.-K'ARV,^ rorS^BiS1 f'flsi $cp»es jits,wiYW( { . > i SfcP Hi ; « Ooiwngns umt J-^/ o2 &. I c/C61 / a 1X733! COPY f;s> . 3 FRONTISPIECE —THE SEWING CIRCLE HAND-SEWING STITCHES IMPORTANT POINTS AND AIDS IN DRESSMAKING THE CORRECT METHOD OF ALTERING PATTERNS SHIRT-BLOUSES DRAPED WAISTS SKIRTS NOVEL, ARTISTIC SEAMS WEDDING AND EVENING GOWNS THE TAILOR-MADE GOWN COATS AND JACKETS PRACTICAL AND ORNAMENTAL STITCHES BIAS BANDS AND FOLDS—TURNING CORNERS AN EMPIRE TEA-GOWN DESIRABLE GARMENTS FOR MATERNITY WEAR MAKING /ND FINISHING UNDERWEAR THE BATH-ROBE. CHILDREN’S CLOTHES BOYS’ SUITS XTlp to 5>ate inning (EirrU SDressmahtrtg, TUp to Date SIMPLE SEWING STITCE1ES AKING A KNOT.—Holding the threaded needle in the right hand, twist the end of the thread once and a half, around the forefinger of the left hand; press, roll downward on the ball of the thumb, twisting once or twice; slip off and draw down M with the middle finger of the left hand. BASTING.—There are two kinds of basting; even and uneven. In even basting the stitches; and spaces are the same length; in uneven basting, as its name implies, the stitches are so formed that they are not of equal length. EVEN BASTING STITCH.—Start with a knot in basting and always have it on the right side; it is more easily removed. -
Download Press Release
MATERIALS AND TRENDS TROPICAL RAVE IN MEXICO CITY Fluo colors play a key role in this theme, in line with the proposed trends, and we were surprised to see how these shades have been widely developed also on sustainable ma- terials. Black and white alternate with fancy patterns. The tropical universe sums up white and neutral shades, combining Mexican folklore with florals. This overlapping features many eco-sustainable proposals with fluid or cri- sp hands. Frayed lace, thick meshes, woven mats and crochets enrich the traditional spirit, while eco-denims give a fresher and more urban touch. Black fabrics enhance the fluo colors, most of which are eco-sustainable, featuring an alternation between solids and patterns, technical and natural, and contrasting shiny and matt. The 3D aspect of lightweight materials, woven solids, embroidery on transparent or multicolor bases, woven mat and jacquard was the most popular proposal. Lace, mesh and Broderie Anglais are featured in a techno version, characterized by rub- bery yarns or shiny smearing. As for prints, companies followed the proposal of hypnotic patterns and that of Mexican folklore, playing with the psychedelic and floral effects. Broad variety of eco-sustainable bases, characterized by tropical designs. Gauze and woven mat include a neutral base with fluo inserts or multicolor weaves. Fringes come mainly in plain versions, while stripes are in jacquard and printed. An interesting element among the eco-sustainable proposals is the development of jac- quard lurex on printed bases, testifying to the strong interest in sustainable creativity. Jersey also come in shock colors, important thicknesses and soft hands. -
FABRICS/ DYING Dictionary
FABRICS/ DYING dictionary ACRYLIC BABYCORD Acrylic fabric is a manufactured fiber with a soft wool-like feel and Babycord is a ribcord fabric with a very small and thin rib line. The an uneven finish. It is used widely in knits as the fabric has the same fabric is often lighter and softer than normal or corduroy fabric. It is cozy look as wool. Acrylic fabric is favored for a variety of reasons very soft and comfortable, and is often made in a stretch quality. it is warm, quite soft, holds color well, is both stain and wrinkle resistant and it doesn’t itch. These qualities make acrylic a great BLEND substitute for wool. A blend fabric or yarn is made up of more than one fibre. In the yarn, two or more different types of fibres are used to form the yarn. ALPACA Blends are used to create a more comfortable fabric with a softer Alpaca wool comes from a South American animal that roams the feel. A good example is a cotton/wool blend; the mixture of cotton mountain slopes of Ecuador, Peru, Bolivia and Chile. The fleece and wool will prevent the fabric from being excessively warm and from an alpaca is similar to wool or mohair, but is softer, silkier, and will make the fabric softer to the skin. warmer. Because alpaca wool takes much longer to grow it is often more expensive and exclusive. However, garments made from this BOUCLE fabric are stronger and more comfortable. The term boucle is derived from the French word boucle, which literally means “to curl”. -
Dress with Slanted Closure
Lekala 2063 Dress With Slanted Closure Dress With Slanted Closure - Sewing Pattern #2063 Recommendations on fabric: natural/mixed fabric suitable for dresses. You will also need: fusible interfacing; 5 buttons; 1 inner button. Seam allowances: seam allowance for hem of garment — 2.0 cm, other seams – 1.0 cm. Note on seam allowances: - If the pattern has double contour the seam allowances are included. They are 1 cm unless specified otherwise. - If the pattern has single contour, the seam allowances are NOT included and need to be added when laying out the pattern. Note on length of fabric: Attention! The amount of fabric needed for your pattern is not included. It will depend on the selected pattern size, the width, and design of the fabric you plan to use. First, print all the paper patterns and lay them out at the width of fabric you plan to use (usually from 90 to 150 cm). Measure how much fabric you will need. Don't forget to account for pieces that need to be cut multiple times and pieces that are cut on the fold. CUTTING: Note on cutting: On the pattern pieces, “beam” means straight of grain. Lay out your pieces accordingly. Some pieces will be cut on the fold. This is noted on the pattern piece. Mark all notches and other design features such as pleats etc. from the pattern onto your fabric. When sewing the garment, pay attention to notches, they must match up. Main fabric: 1. Center back – cut 2 2. Side back — cut 2 3. Side front — cut 2 4. -
80739083.Pdf
3-~"'81 8-1355 ~.(O~ All About ... • Pattern Selection • Fabric Selection • Contemporary Techniques • Fusible Interfacings • Finishing Tips CONTENTS Page Pattern Selection. ............................................... .. 3 Fabric Selection ................................................ .. 3 Notions. ....................................................... .. 3 Pressing Points ................................................. .. 4 Inner Fabrics. .................................................. .. 4 Underlining. ................................................. .. 4 Interfacing. .................................................. .. 4 Lining. ..................................................... .. 5 Preparation ............................................ .. 5 Fabric. ...................................................... .. 5 Pattern Fit. .................................................. .. 5 Cutting and Marking. ......................................... .. 5 Comparison of Custom and Contemporary Tailoring Techniques. ...... .. 5 Front and Back Interfacing. ...................................... .. 5 Fusible Method-Front. ...................................... .. 5 onfusible Method-Back Reinforcement. ....................... .. 6 One-Piece Method. ........................................ .. 6 Two-Piece Method ......................................... .. 6 Applying Back Reinforcement .................................. .. 7 Lapel and Roll Line ............................................. .. 7 Marking the Roll Line , 8 Taping the -
The Silk Industry in Dublin by John Joseph Webb in VI.B.8
GENETIC JOYCE STUDIES – Issue 19 (Spring 2019) The Silk Industry in Dublin by John Joseph Webb in VI.B.8 Ian MacArthur and Viviana-Mirela Braslasu Industrial Dublin Since 1698 & The Silk Industry in Dublin - Two Essays by J. J. Webb, published in 1913, can be found online1. The major question as to whether this was Joyce’s source is a difficult one and may never be resolved unless an alternative is found. It seems possible, from the sparing use that Joyce made of J. J. Webb’s book (he only used material from the second essay), that it may be just the source of his source. Perhaps Joyce found an abstract or digest version published later in a magazine or elsewhere. Still, there is an exact correspondence between the notebook entries below, the order recorded, and the text of the above essay. Dublin was at one time famous for its silk industry which had been transplanted from France by Huguenots in the seventeenth century. From a historic point of view, this new enterprise had a major impact on the city itself and on the lives of the people living there. It also brought about a change in costume when silk and poplin became the main fabrics for clothes and ties. Such an important step in the development of the city and in the evolution of the Irish dress could not have been overlooked by Joyce. For the early drafts of Anna Livia Plurabelle, Joyce read and harvested new material related to Dublin’s former booming industry. Entries such as ‘creases of silk’ (JJA 48:064), ‘poplin ties’ (JJA 48:070) or ‘every warp’ and ‘weaver’s year’ (JJA 48:094) suggest Joyce’s interest in the subject.