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Sleeves

Connie Amaden-Crawford

Source: The Art of Fashion Draping, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Bodice and blouse designsobjectivesSleeves, basicbasic sloperA sleeve is a section of the garment that covers the arm. The sleeve usually joins the garment in a seam that encircles the arm over the shoulder. The sleeve is “set into the armhole,” thus the term. The grainline in the middle of the sleeve should fall slightly forward, following the curvature of the arm.

Kimono and Raglan Designs

Connie Amaden-Crawford

Source: The Art of Fashion Draping, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

The following sleeve variations are used within the different armhole openings for garment designs—the raglan sleeve and the Kimono sleevekimono sleeve. The kimono sleeve is developed in conjunction with the dartless shirt, whereas the raglan sleeve is developed in conjunction with the torso/blouse. These sleeves are used to create a variety of sleeve designs for dresses, blouses, and shirts.

Knit Designs

Connie Amaden-Crawford

Source: The Art of Fashion Draping, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Bodice and blouse designsobjectivesKnit designsThere is a free-spirit attitude in knitwear, which exhibits an effortless fusion of relaxed casual sportswear with modern sophistication. Fashioning knits allows the designer to create looks that offer super-feminine, whimsical design, an element of nostalgia, or a buoyant sporty look.

Jacket Silhouettes and Collar/Lapel Designs

Connie Amaden-Crawford

Source: The Art of Fashion Draping, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Lapel designs, jacketsCollar and neckline designsThe jacket is an item of clothing that is worn over other clothing. The focus for jackets is on alternating lengths and volumes, combining with comfortable lines and collars. Some are made in double-breasted or single-breasted manner, while others have no closing and some are closed with a zipper or buttons.

Pattern Fundamentals

Pat Parish

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

Book chapter

Darts,Blocks,skirt,Blocks,Measurements from the body are used to create flat 2D templates called blocks. These represent the body shape in its simplest form. These blocks are referred to as basic blocks because more developed shapes created by designers and manufacturers can be created over time, and successful shapes can become blocks from which seasonal collections can be developed.

Sleeves, Collars and Circles

Pat Parish

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

Book chapter

Collar Eton,fundamentals,With a unique sleeve design, and no other design features, a garment can look extraordinary. Sleeves are an important part of pattern cutting; the pattern cutter must be sensitive to this – after all, the exact length and angle of a shoulder line could be critical to the designer's ‘handwriting’ of the season. A pattern cutter must also consider the best type, shape and fit of sleeve to express the design. There is a distinct relationship between shoulder and sleeve, and

Sample Development

Lisa Donofrio-Ferrezza and Marilyn Hefferen

Source: Designing a Knitwear Collection. From Inspiration to Finished Garments, 2nd Edition, 2017, Fairchild Books Library

Book chapter + STUDIO

The experience of knitting a sample on a hand-flat knitting machine is an invaluable process for designers to come to understand the principles of sweater construction. The method of hand-knitting on a machine includes increasing and decreasing to shape a garment and partial knitting to shape the shoulder and neckline. Through this experience, designers gain insight and an understanding of how a sweater's structure, styling, and finishing can affect the design. After knitting and constructing a b

Pattern Cutting

Anette Fischer and Kiran Gobin

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

Book chapter

This is the point at which pattern cutting becomes much more creative and exciting. Once the design has been completed, the process of breathing life into a flat design drawing in order to achieve an actual garment can begin. To be able to achieve a beautiful garment shape takes time and experience. Remember, nothing ever happens without practicing your skills—don’t be disheartened if it doesn’t work first time round. All outstanding fashion designers and creative pattern cutters have worked for

Sleeves

Steven Stipelman

Source: Illustrating Fashion. Concept to Creation, 4th Edition, 2017, Fairchild Books Library

Book chapter

1 A tailored sleeve hangs perfectly straight from the armhole and joins the armhole with a seam. When the arm is hanging straight in a relaxed position next to the body, generally the sleeve is free of excess fold. By studying the sleeve pattern of a one-piece, set-in sleeve and its relationship to the arm, you can see that the cap is cut high enough to accommodate the shoulder muscle.

Sleeves

Elizabeth Liechty, Judith Rasband and Della Pottberg-Steineckert

Source: Fitting & Pattern Alteration. A Multi-Method Approach to The Art of Style Selection, Fitting, and Alteration, 3rd Edition, 2016, Fairchild Books Library

Book chapter + STUDIO

This chapter presents measurement, fitting, and alteration procedures on the arms and sleeves. Use this chapter as a ready-reference to fitting problems occurring in sleeves.

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:

Sleeves, Plackets, and Cuffs

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:

Layout and Cutting

Roberto Cabrera and Denis Antoine

Source: Classic Tailoring Techniques for Menswear. A Construction Guide, 2nd Edition, 2015, Fairchild Books Library

Book chapter

Balenciaga

Casey Mackenzie Johnson

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Grading the Basic Pattern Blocks

Kathy K. Mullet

Source: Concepts of Pattern Grading. Techniques for Manual and Computer Grading, 3rd Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

How to grade the basic block patterns is the most important skill in pattern grading. Because flat patternmaking is based on the use and manipulation of the basic sloper to create other apparel designs, learning to grade the basic block patterns will enable the designer to grade any other design that he or she creates. Learning where the grade is distributed in the basic pattern is imperative to grading other designs. The principles and concepts learned in this chapter will be applied in all of t

Sleeve/Bodice Combinations

Kathy K. Mullet

Source: Concepts of Pattern Grading. Techniques for Manual and Computer Grading, 3rd Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

The bodice and sleeve patterns may be combined to produce new styles referred to as sleeve/bodice combinations. Although these styles are actually developed by combining two basic patterns, new grade rules are required when the pattern orientation is different from the basic blocks. For this chapter, new grade rules will be developed for all of the cardinal points. Some manufacturers may develop a new grade rule table for each new style, even though many of the new grade rules will be the same or

Basic Slopers for Wovens Slim-Fit Style versus Classic-Fit Style

Myoungok Kim and Injoo Kim

Source: Patternmaking for Menswear. Classic to Contemporary, 2014, Fairchild Books Library

Book chapter

For functional dress in contemporary daily life, most consumers pick their favorite clothes from ready-to-wear fashions. This departure from the European tradition of couture has occurred because production of an individual order requires a lot of time and money. Every piece of clothing requires a process to convert rectangular fabric into a form useful for human needs. Flat patternmaking is one of the ways to achieve this conversion.

Sleeves and Cuffs

Myoungok Kim and Injoo Kim

Source: Patternmaking for Menswear. Classic to Contemporary, 2014, Fairchild Books Library

Book chapter

The sleeve was developed out of necessity as well as beauty. Primary functions of arms in the human body are balance and lifting, and it is necessary that the design of the garment that covers the arms be supportive of this purpose. The types of sleeves vary depending on their length, their components, and the methods by which they are constructed.

Technical Design Terms for Silhouettes and Design Details

Jaeil Lee and Camille Steen

Source: Technical Sourcebook for Designers, 2014, Fairchild Books Library

Book chapter + STUDIO

After studying this chapter, you will be able to:

Fit and Fitting

Jaeil Lee and Camille Steen

Source: Technical Sourcebook for Designers, 2014, Fairchild Books Library

Book chapter + STUDIO

After studying this chapter, you will be able to:

Kimono, Raglan, and Drop Shoulder

Helen Joseph-Armstrong

Source: Draping for Apparel Design, 3rd Edition, 2013, Fairchild Books Library

Book chapter

The kimono sleeve is in-one with the bodice and draped to follow the slope of the shoulder. The overarm front and back sleeve are joined. The underseams join the front and back at varying distances below the armhole. The sleeve part of the foundation can be draped to any length and can be designed as a flared sleeve, gathered sleeve, or as a lowered shoulder (Figure 1). The kimono is draped as a bodice, but by adding length, it can be draped as a batwing dress, or be adapted to a caftan (Figure 2

Shirts and Blouses

Helen Joseph-Armstrong

Source: Draping for Apparel Design, 3rd Edition, 2013, Fairchild Books Library

Book chapter

There are three shirt foundations— the casual dartless shirt (a), the classic shirt with yoke (b), and the oversized dartless shirt (c)—each with distinctive draping and drafting procedures. The differences are based on the amount of fullness of the shirt/blouse, the depth and enlargement of the armhole, and the modification to the basic sleeve.

Jacket/Coat Foundations and Designs

Helen Joseph-Armstrong

Source: Draping for Apparel Design, 3rd Edition, 2013, Fairchild Books Library

Book chapter

The two illustrations mark and label the important terms associated with jackets and coats. The terms should be learned and understood for better communication in the design room.

Knit Characteristics

Helen Joseph-Armstrong

Source: Draping for Apparel Design, 3rd Edition, 2013, Fairchild Books Library

Book chapter

The knit torso foundation (draped in a one- or two-way stretch) is a prototype for knit tops, dresses, bodysuits, leotards, and maillots. It is a simple foundation that fits close to the contour of the figure without need of dart control. The foundation should be draped in a moderate, one-way stretch knit having approximately a 25-percent stretch (around the form) for tops and a two- or four-way stretch of 50 percent or more for activewear, with the greater stretch placed vertically on the form.

Basic Dress Foundation

Helen Joseph-Armstrong

Source: Draping for Apparel Design, 3rd Edition, 2013, Fairchild Books Library

Book chapter

The dress is draped to fit the dimensions of the dress form or model, and bridges hollow areas between the bust, buttocks, and shoulder blades. Ease is added for comfortable movement without the appearance of stress. The sleeve's center grain should hang slightly forward of the front side seam, and in perfect alignment with a model's stance. The skirt hangs straight from the widest part of the hip and the hem is parallel to the floor. A number of darts control the fit of the garment by taking up

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