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Styling for the Entertainment Industry

Shannon Burns-Tran and Jenny B. Davis

Source: Style Wise. A Practical Guide to Becoming a Fashion Stylist, 2nd Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

In this chapter you will learn:

Punk Style Motivations and Explanations

Monica Sklar

Source: Punk Style, 2018, Berg Fashion Library

Book chapter

There is no simple way to answer the question “why does someone dress in a punk style?” Motivations cannot be entirely quantified, however there are dominant themes that drive many to make stylistic choices toward a punk look. Punk style is a way to express individual identity, as it addresses internal emotions as well as lifestyle choices and position within society. The individual choosing punk dress may be expressing internal feelings as well as trying to find external recognition for his or h

Punk Style and Society

Monica Sklar

Source: Punk Style, 2018, Berg Fashion Library

Book chapter

Dress products presenting punk imagery have become commercialized and widely distributed, although that does not necessarily strip them of all punk value. The design symbolism in punk style is affected by culture, consumptionfashionfashion consumption, and diffusionproduct diffusionproduct diffusion. Judy Attfield (2000) clarifies that the entirety of an object is more than its tactile and visible features, and also more than the social themes and ideas represented in the look of its design. The

Haute Couture and Tailoring

Anette Fischer and Kiran Gobin

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

Book chapter

Translated literally from French into English, the phrase “haute couture” means “sewing at a high level.” Couturiers use only the finest and most luxurious fabrics. Sometimes these have been custom made. A couture garment is meant to fit flawlessly as a result of many fittings and will include perfectly designed proportions for the individual client. Adjustments are made on garments to balance the body shape of the customer. These can include changes to the collar, the proportions of the pockets

Garment Construction

Anette Fischer and Kiran Gobin

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

Book chapter

The following equipment is used in the construction of garments. You will find the necessary items for hand and machine sewing in most haberdashery shops. If you are looking to invest in industrial machinery, then talk to a tradesman first.

Superhero cosplay

Barbara Brownie and Danny Graydon

Source: The Superhero Costume. Identity and disguise in fact and fiction, 2016, Berg Fashion Library

Book chapter

re-enactmentThe notion of a fan has moved beyond “older ideas of media spectatorship” that involve little more than direct consumption of a cultural artifact (Flemming, 2007, p. 16). participatory fandomParticipatory fandom involves tangential activities which expand upon the fictional world and blur boundaries with reality. “Fans create a fan culture with its own systems of production and distribution that forms . . . a ‘shadow cultural economy’ that lies outside that of the cultural industries

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):

What You Need to Sew and Overlock Knits

Sharon Czachor

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

Book chapter + STUDIO

In general, the term “laying out the fabric” refers to the positioning of the pattern pieces onto the fabric (Figure 2.1). In production a marker is created that indicates the layout of the pattern pieces and is used as a guide for cutting the fabric for production. The pattern layout can be done manually or on a computer and helps to estimate the amount of yardage required. Pattern pieces are arranged to take into consideration three aspects of the fabric: structure, design, and width. The patt

Sizing Knits

Sharon Czachor

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

Book chapter + STUDIO

What is ease? Ease is the extra amount added to a pattern at the bust, waist, and hips for comfortable fit and wear. Without ease, a garment would not be able to function for its intended purpose. Knit garments don’t require as much garment ease because of the stretch properties in the knit fabric. Stretch woven fabrics have a certain percent of spandex added to the fibers when the fabric is manufactured, which provides a slight amount of stretch or “give” for comfortable wearing. However, a T-sh

Preparing Knits and Stretch Wovens for Stitching

Sharon Czachor

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

Book chapter + STUDIO

Whether the chosen fabric is a knit or a stretch woven, it’s important to identify the right side and wrong side of the fabric (Figure 4.1a and b). The wrong side of the fabric is where the markings are placed, where interfacing or stabilizers of any kind are placed, and where the construction stitches are sewn. Because of the diversity of fibers used in creating knit fabrics and stretch woven fabrics, the fibers react differently to marking pens, pencils, chalk, or wax marking utensils, even us

Stitching Knits with a Sewing Machine

Sharon Czachor

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

Book chapter + STUDIO

The supplies you will need to stitch samples of various stitches, seams, hems and techniques are a tape measure, scissors, marking utensil, seam ripper. You will also need the following.

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.

T-shirts, Tops, and Sweaters

Sharon Czachor

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

Book chapter + STUDIO

T-shirts started out as undergarments, evolving from one-piece union suits into separate tops and bottoms. The tops were made long enough to tuck into the bottoms. Workers began wearing them as lightweight shirts in hot climates. They became popular in the United States when the U.S. Navy issued them to be worn under uniforms. It became common for sailors and marines to remove their uniform jackets while working on board submarines and tropical climates, wearing the T-shirt with uniform pants.

Skirts and Pants

Sharon Czachor

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

Book chapter + STUDIO

The following techniques are stitched in both skirts and pants and are organized for sample making and application to garments that follow these directions. Stitching directions for the knit skirt, pants, and stretch woven fabric are included under each category.

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

Creating Texture with Pleats, Tucks, Gathers, Ruffles, and Trims

Sharon Czachor

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

Book chapter + STUDIO

A variety of knit and stretch woven fabrics used throughout the text have been cut into sample sizes to stitch these techniques. Purchase additional yardage as assigned by the instructor or spurred by curiosity of the designer, ¼ yard minimum. Elastic ⅛″ and ¼″, fusible interfacing, hand sewing thread and needles, and a loop turner are all supplies used in previous chapters. Other supplies will be listed with each technique.

The Skill of Hand and Machine Stitching

Zoya Nudelman

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

Book chapter

Couture technicians use hand stitches to control the entire construction of the designed garment. Sewing by hand enables you to sew on the right side of the garment as well as areas that a sewing machine can never reach, such as small corners of designed pockets, fabric overlays, and much more. Hand stitching is sometimes best with thin, soft fabrics because it does not leave marks, and if there’s a mistake, it allows you to take out the seams without ruining the fabric.

The Sewing Machine and Sewing Equipment

Connie Amaden-Crawford

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

Book chapter + STUDIO

Pressing is essential to complete a professional-looking garment. Using the correct pressing tools will ensure that all areas are correctly pressed to improve the overall look of the garment.

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:

Seams And Seam Finishes

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:

Darts

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:

Pleats and Tucks

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:

Bias and Bias Treatments

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:

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