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Pockets, Openings and Finishes

Pat Parish

Source: Pattern Cutting. The Architecture of Fashion, 2nd Edition, 2018, Fairchild Books Library

Book chapter

The way a garment is finished is determined by price, fabric and design, so, for example, if a facing was used, it would give a crisp clean finish without the need for topstitching, but a design in fabric, such as fine silk, chiffon or cotton, may be better finished with a bias fabric binding.

Finishes

Anette Fischer and Kiran Gobin

Source: Construction for Fashion Design, 2nd Edition, 2017, Fairchild Books Library

Book chapter

A lining can be added to a garment as an extra layer for several different purposes—to ensure that the shape of the garment is retained, for warmth or for design and comfort. It will also hide all the internal construction details. A lining can be worked in and can either cover the whole of the garment or act as a half lining. It can also be detachable as a zip-in or button-in version. Usually, jackets, coats, skirts and trousers are lined. The lining fabric can vary from silk and cotton to fur.

Design Development for Menswear

John Hopkins

Source: Menswear, 2nd Edition, 2017, Fairchild Books Library

Book chapter

A man should look as if he’s bought his clothes with intelligence, put them on with care and forgotten all about them.

Pattern Drafting for Knits

Julie Cole

Source: Patternmaking with Stretch Knit Fabrics, 2016, Fairchild Books Library

Book chapter + STUDIO

Working with the right tools makes the pattern drafting process easier. The essential patternmaking tools are illustrated in Figure 3.1. Figures 3.2 and 3.3 illustrates where to use each tool when drafting patterns.

Laying Out, Cutting, and Stitching Knits

Julie Cole

Source: Patternmaking with Stretch Knit Fabrics, 2016, Fairchild Books Library

Book chapter + STUDIO

An L-square ruler and a tape measure are required tools you need for laying out and cutting knits. The remaining tools you need are as follows (see also Figure 4.1):

Dress Slopers and Patterns

Julie Cole

Source: Patternmaking with Stretch Knit Fabrics, 2016, Fairchild Books Library

Book chapter + STUDIO

A dress-piece is a partial pattern extending from the hipline to knee length in each stretch category. Table 2.2 on p. 17 indicates that dresses are drafted from the top slopers. You add the dress-piece to the hipline of the top slopers to create the dress slopers.

Jacket, Cardigan, Sweater, and Sweater-Jacket Slopers and Patterns

Julie Cole

Source: Patternmaking with Stretch Knit Fabrics, 2016, Fairchild Books Library

Book chapter + STUDIO

In this chapter, you develop slopers for jackets, cardigans, and sweater-jackets. They can be fitted, loose-fit, or oversized. You must use the appropriate slopers to suit the type of knit, style, and fit you envision for your design. Fitted and loose-fit cardigan muslins have been cut, stitched, and placed on the form in Figures 8.3 and 8.4. For the opening, a 1” extension is added to the center front.

Stitching Knits with an Overlock Machine and Coverstitch Machine

Sharon Czachor

Source: Sewing with Knits and Stretch Fabrics, 2016, Fairchild Books Library

Book chapter + STUDIO

Overlock machines have only been available to the home sewing market for the past 40 years. While it does not replace a sewing machine, it does make many construction techniques faster.

Jackets

Sharon Czachor

Source: Sewing with Knits and Stretch Fabrics, 2016, Fairchild Books Library

Book chapter + STUDIO

A stabilizer is anything that can be used to add structure, shape, and reinforcement to the garment. Stabilizers such as underlining, interfacing, stabilizing tapes, and sometimes staystitching (as was used in the V-neckline) will effectively support the garment. Before stitching any seams, it’s important to choose the correct type, weight, color, and texture of stabilizer. The weight and type of stabilizer must work in conjunction with the weight of the fabric. A stabilizer can be applied to the

Activewear and Swimwear

Sharon Czachor

Source: Sewing with Knits and Stretch Fabrics, 2016, Fairchild Books Library

Book chapter + STUDIO

Activewear is no longer worn just for performance sports or athletics. Women’s Wear Daily referred to stylish active-wear as ath-leisure (fashion-infused athletic wear), a new crossover category of clothing. The comfort of stretch fabrics combined with the shape retention of knit fabrics provides the garment with multiple uses. With the increase of production of prints and fashion-forward colors and details, activewear garments are now worn for running errands, outdoor workouts, and other daily a

Lingerie

Sharon Czachor

Source: Sewing with Knits and Stretch Fabrics, 2016, Fairchild Books Library

Book chapter + STUDIO

Here are some common mistakes and what to do if they happen.

The Secret of the Corset

Zoya Nudelman

Source: The Art of Couture Sewing, 2nd Edition, 2016, Fairchild Books Library

Book chapter

As previously noted, a corset understructure (also called a boned bodice) serves as a foundation for strapless dresses, gowns, and tops. The boned bodice must be made out of tough and firm fabric and interfaced when additional support is necessary. The best way to make a great pattern for a boned bodice is to drape it.

The Secret of Closures

Zoya Nudelman

Source: The Art of Couture Sewing, 2nd Edition, 2016, Fairchild Books Library

Book chapter

Metal slide fasteners were first introduced in 1891 by a Chicago inventor, Whitcomb Judson. However, the narrow woven-fabric zipper was not developed until 1912 by Gideon Sundback. In 1960, nylon zippers were introduced. The nylon zipper could be dyed different colors to match the garment and was lightweight.

Method To This Madness

Connie Amaden-Crawford

Source: A Guide to Fashion Sewing, 6th Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

By studying the information in this chapter, the designer will be able to:

Stitches

Connie Amaden-Crawford

Source: A Guide to Fashion Sewing, 6th Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

By studying the information in this chapter, the designer will be able to:

Zippers

Connie Amaden-Crawford

Source: A Guide to Fashion Sewing, 6th Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

By studying the information in this chapter, the designer will be able to:

Linings

Connie Amaden-Crawford

Source: A Guide to Fashion Sewing, 6th Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

By studying the information in this chapter, the designer will be able to:

Closures

Connie Amaden-Crawford

Source: A Guide to Fashion Sewing, 6th Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

By studying the information in this chapter, the designer will be able to:

Maurizio Baldassari

Katy Conover

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Chanel Haute Couture, Karl Lagerfeld, Fall/Winter 1984

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Shown at the Palais Garnier in Paris, home of the national opera, this fashion show was the most lavish and over-the-top fashion event in Paris at the time and began Karl Lagerfeld’s tradition of showmanship and set design. As with Karl’s first Chanel collection, this collection was panned for its deviation from Chanel’s trademark of easy comfort, with the classic Chanel suit made in a fitted silhouette that outlined the derrière. But it was also praised by others for updating Chanel’s image from

Vivienne Tam, Spring/Summer 1999

Nadya Wang

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Vivienne Tam (born 1957) is a New-York based designer who was born in China and grew up in Hong Kong. Her work has been a continuous experimentation in mixing and matching visual languages from the East and the West. Tam’s presentation for the spring/summer 1999 runway shows off her signature bilingualism, with images including Guanyin, the goddess of mercy, and the lotus flower combined with a relaxed, sporty style seen through the repeated use of windbreaker jackets in various prints and colors

Commercial Product Development and Production

Susan M. Watkins and Lucy E. Dunne

Source: Functional Clothing Design. From Sportswear to Spacesuits, 2015, Fairchild Books Library

Book chapter

Even though most consumers tend to assume all garments are stitched together, many items of protective clothing cannot be stitched. They must be formed using a variety of types of heat sealing or molding processes because the holes left by the stitching reduce their effectiveness. When stitching is used to form protective clothing, there are additional considerations that need to be made to ensure that the particular stitch type, stitch length, thread, and other factors are appropriate for the ga

Garment Construction Details

Janace E. Bubonia

Source: Apparel Quality. A Guide To Evaluating Sewn Products, 2014, Fairchild Books Library

Book chapter + STUDIO

When it comes to purchasing apparel, consumers look for garments that are flattering on their figure. The way a garment fits is just as important as the styling of the design. Fit is the relationship between the body and the size and styling of a garment. A properly fitting garment should provide a smooth appearance that is free of wrinkling, bulging, or sagging and should effectively function for its intended use to provide comfort for the wearer. A poorly fitting garment can make any design und

Design Worksheet

Julie Cole and Sharon Czachor

Source: Sample Workbook to Accompany Professional Sewing Techniques for Designers, 2nd Edition, 2014, Fairchild Books Library

Book chapter

Personal Measurements Worksheet

Julie Cole and Sharon Czachor

Source: Sample Workbook to Accompany Professional Sewing Techniques for Designers, 2nd Edition, 2014, Fairchild Books Library

Book chapter

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