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FABRIC STUDIES hand outs and work sheets

Complied by Rebecca Philip

Handouts for Fabric Studies

1- Selection of needles , pins and threads 2

2- Cotton

3- Wool

4- Silk

5- Sheers-lace and net

6- Pile fabrics

7- Knits

8- Nonwovens

9- Underlying, interlining, interfacing

10- Closures

Work sheets:

Each student should have a copy of the work sheet when the instruction for cutting and
sewing are discussed and they should note all the special instructions given for each
specific fabric.

This sheet is to be submitted along with the sewn samples. The faculty can then write
their comments when the work is evaluated, which will serve as a feed back for the
students.

1-Denim

2-Wool

3-Crepe silk

4-sheers-Chiffon/lace /georgette

5-Pile-Velvet

6- Knits

7- Non wovens( rexine /suede)

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List of materials required for the course

References for the above is the same as mentioned in the curriculum

1-Selection of Needles, Pins and Threads


Needles

Selecting the correct machine needle both in terms of size and the point is essential for
good quality stitching.

There are two systems in use for sizing machine needles. Most needles are marked in the
metric system,(European) where size 60 is the finest needle , used for very lightweight
fabrics, and size 120 is the coarsest needle used for very heavy fabrics.

In the other system ,(American –15x1) size 8 is the finest needle and size 21 is the
coarsest needle .

Sizes70-9,(11-14) are the needles most frequently used for general sewing.

Most packages have both the numbers to avoid confusion eg 60/8 where both the
numbers represent the finest needles

Needles have different points, each designed for a particular type of fabric.

The most commonly used needles are the sharp point which is used for woven fabrics.

They are good for top stitching because they have a sharp point for penetrating the
thread.

Sizes range from 60/8 to 120/20.

Universal needles are used for all purpose sewing. The slightly rounded needle tip
penetrates fabrics by dividing the threads . Sizes range from 60/8 to 120/20

The ball point needles are used for knits and stretch fabrics. The rounded tip allows the
needle to pass between the threads instead of penetrating them. Sizes range from 60/8
to 100/16

There are extra fine needles used for denims, twill and other heavy fabrics.

Wedge point needles are used for leather and vinyls. These needles cut smoothly
through the leather without tearing it or causing skipped stitches.

Choosing the right needle on terms of correct size and type is not the only consideration.

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It is also important that the overall size and shape is correct for the sewing machine.
Needles can vary in length, in the size of the shank and the position and size of the scarf.
All these are critical for correct stitch formation.

Needles should be checked frequently. If the needle is not fully inserted into the needle
clamp, or not positioned to the correct side, skipped stitches or no stitches may result. A
blunt needle also results in skipped stitches and damage to the fabrics. A bent needle
also causes skipped stitches and the needle may break as it might hit the needle plate.

Pins

Pins are made of brass, nickel-plated steel or stainless steel and are available in the
following varieties:

a) Dressmakers pins are for all purpose sewing .

b) Silk pins are very fine and used for silk and synthetic fabrics.

c) Ballpoint are specifically designed for knit fabrics.

d) T- pins used for crafts or for pinning very heavy fabrics to dress forms

Sewing Threads

Sewing threads are special kinds of yarns. They are engineered and designed to pass
through a sewing machine rapidly, to form a stitch efficiently and to function in a sewn
product without breaking or becoming distorted for at least the useful life of the product.
While selecting sewing threads, one has to keep the fabric and seam type in mind.

Skipped stitches, puckered seams, and thread breakage can be eliminated by the correct
thread choice.

The fibres used for sewing threads are mainly cotton, nylon and polyester. Cotton used to
be the most common one, but now polyester is gaining in popularity because of the
price. Rayon is used mainly for embroidery or fancy stitch work and not for actual
seaming to hold parts together. The properties and characteristics of each of the fibres
prevail when they are used as threads, and these properties should be kept in mind
when selecting threads.

Thread finishes :Threads may be spun, filament or core spun. Each has distinctive
properties and therefore certain advantages in specific seams.

Thread finishes : Threads are produced in various finishes, such as mercerised, soft,
glace and bonded. In addition special finishes like flame resistant and heat resistant (for
high speed sewing) are also produced.

Thread Sizes: Threads are marketed and expressed with their Tex number designation.
The size is based on weight per unit length.

Important factors in thread selection

Thread size-the thread should be as fine as possible, consistent with the strength
requirements of the seam. Finer threads tend to become buried below the surface of the
fabric and are therefore subjected to less abrasion than seams with heavier threads

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which are on top of the fabric. Finer threads also require finer needles, producing less
fabric distortion than heavier needles. When finer threads are required , then nylon and
polyester are the choice as they possess more strength than fine cotton.

Fine Tex (18-30) for blouses, dresses, lingerie, sleepwear, swim wear and light
articles

Medium Tex ( 30-60) –aprons, athletic wear, caps, coats, pants, shorts, jeans,
draperies, foundation garments, rain wind breakers.

Heavy Tex ( 60-105) – footwear, golf bags, luggage, protective clothing, over coats,
parkas , work clothes.

Extra Heavy Tex( 105-135) Decorative stitching, or when a bold design look is
desired.

b)Thread strength-the breaking strength of a seam should be less than that of the
fabric that has been sewn. This is because if there is excessive stress on a seam, the
seam and not the fabric should break.

c)Garment Cleaning-The thread should be able to withstand the kind of washing the
garment will undergo. it should not shrink or lose colour in washing.

(2) COTTON
Cotton is truly the king of textiles-used the world over to make comfortable, affordable
clothing that looks good and is easy to clean. The popular natural fibre is used to make
all kinds of fabrics , from fuzzy flannels to sturdy denims, in order to make all kinds of
clothing, from soft pyjamas to rugged overalls.

If we look around us we will notice that besides clothes, cotton finds use in towels, rugs,
bed sheets, blankets, dish towels, curtains, etc. Cotton has not been a dominant fibre . In
the early 1800’s wool prevailed world-wide, followed by linen and then cotton. When
synthetics and blends entered the market , many people started using those fabrics,
(cheaper and easier to maintain). Cotton still continues to be the popular fibre even
though it may be more expensive than the synthetics and blends. There has been a
renewed interest in natural fibres and people are willing to pay extra for natural fibres.

Cotton has no competition when it comes to washability. It is the whitest, cleanest


natural fibre and is easy to launder. It withstands high temperature, even boiling, so
cotton fibre can be sanitized in very hot water. Cotton is highly resistant to alkalis, so can
be washed with almost any detergent or soap. It can be bleached easily, and will not
scorch even if a hot iron is used .Cotton gains strength when wet which is another added
advantage.

Cotton is cool –the fibre is porous, which allows the skin to breathe, making it especially
comfortable in summer. Cotton makes terrific underwear, because of the fibres high
comfort level. Cotton absorbs moisture from the body and transmits it through the fabric
so it can evaporate.

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Cotton does not collect static, so it will not cling like synthetic.

Cotton is a versatile fabric available in a wide variety. Fabrics vary in weight, quality and
construction. There are delicate lawns, sheer voile, crisp organdie, plush corduroy, and
industrial weight duck.

Cotton can be blended with silk, wool, polyester and rayon to change the look and feel of
the fabric. The most popular blend is with polyester, usually to cut costs and reduce
wrinkles.

Cotton does not have the body or suppleness for good drapability, but the quality can be
improved with special finishes.

Loosely woven cotton fabrics and knitted goods tend to shrink, especially at the first
wash.

COTTON FABRICS

As mentioned earlier, cotton is available in a wide variety. Some of the more common
ones are:

Batiste-a smooth delicate fabric made with very fine combed cotton yarns in a plain
weave. The fabric is almost sheer, has a soft, limp hand and is usually mercerised to add
strength and lustre. Batiste is similar to lawn, but the latter has more body and is woven
more tightly. Batiste has e graceful drape that falls into soft flares.It is easy t cut and
sew, but the sheerness may require special finishes to hide seams. Used to make semi
fitted , loose fitting blouses, dresses, lingerie, baby clothes and handkerchiefs.

Cambric –soft plain weave cotton or linen cloth that is calendered to give it a slight
lustre,Finer grades are similar to batiste or lawn , while coarser versions resemble fine
muslin.

Calico-is an inexpensive, firmly woven cotton fabric that is usually made with a plain
weave and printed with a small design. Calico was made in India –fine cotton goods were
hand printed with wooden blocks with motifs of animals , flowers, trees, birds or over all
designs. Calico is sized and the print does not show on the back of the fabric. Used to
make dresses, children’s clothing etc.

Canvas is a stiff, heavy, durable fabric originally made of linen or hemp and used for
sails. Today it is made with cotton, with a tight plain weave and 2-14 ply yarns. Canvas
has a stiff drape that falls in wide cones. The tight weave is difficult to ease and the
fabric works best when shaped with seams to eliminate bulk. Multiple layers are difficult
to cut and sew. It is used to make tents, awnings, duffel and tote bags and soft luggage.

Chambray- a soft comfortable shirt fabric made with a plain weave, coloured warp yarns
and white fillings, giving it a weathered look. The fabric may be cotton or a blend of
cotton and polyester. Chambray has a comfortable drape that falls into moderately soft
flares. It is easy to cut and sew and is used to make semi –fitted, loose or very loose
dresses, skirts, shirts and children’s clothes.

Chino is a durable cotton fabric with a noticeable diagonal twill line on het front and a
plain back. It is usually made of combed two ply cotton yarns mercerized to increase
strength and lustre. Chino has a moderately stiff drape that falls into wide flares. It is
easy to cut and sew, but the tight weave is difficult to ease. Used to make fitted, semi –
fitted or loose fitting mens’s slacks, sportswear, work clothes, uniforms.

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Chintz is a closely woven, plain weave cotton fabric with a very lustrous, glazed finish. It
is usually printed with large floral patterns, but may be dyed solid colour r oriented with
geometric designs. The crisp fabric is made with fine, tightly twisted warp yarns and
coarser, low twist filing yarn. It has a smooth shiny face and a dull back. Chintz had a
crisp drape that falls into stiff flares. It is used to make dresses, jackets, draperies, slip
covers etc.

Denim is a densely woven, all cotton twill fabric made with coloured warps and white
fillings. Authentic denim is always dark indigo blue. The strong, durable fabric is stiff
when new, but softens with wear. The weight varies from 6-8 oz denim for summer
clothing to 16 oz or more for work clothes. Denim has a stiff drape that falls away from
the body in wide cones. It works best when shaped with seams to eliminate bulk. It is
moderately difficult to cut and sew and flat fell seams add a challenge. It is used to make
close fitting, fitted or semi-fitted jeans, skirts, jackets, work clothes and casual wear.
Denims are given different types of washes , such as acid wash, ------

Dotted Swiss is a sheer, plain weave fabric made of very fine combed cotton and
decorated with woven dots at frequent intervals ( made on a swivel loom; cheap
imitations have flocked dots). It is white or pastel with matching or contrasting dots.
Dotted Swiss has a limp, soft drape that may be gathered or shirred into delicate ,
graceful folds. It is used to make semi-fitted, loose or very loose dresses, blouses,
lingerie, & curtains.

Drill is a durable, tightly woven cotton twill, usually mace with coarse carded yarn. The
firm, strong fabric is medium to heavy in weight with a stiff, rough hand. The fabric may
be used unbleached, or bleached, dyed or printed. Drill gets its name from the Greek
word ‘drillich’ meaning three wrap threads. It is a warp faced left hand twill usually
2x1( two up one down). Drape, cutting, sewing and usage similar to denim.

Flannelette is a downy, soft fabric that is brushed on one or both sides to raise the nap.
It is a cotton fabric woven with a plain or twill weave. The weight varies from light weight
to heavy shirtings that feel almost like felt. Flannelete is warm because of the brushing
process which adds loft to the fabric, creating air space that traps heat. Flannelette has a
graceful drape that falls close to the body in soft flares. It may be gathered or shirred
into moderate fullness. Light weight flannelettes are used for baby clothes shirts, dresses
and sleepwear. Heavier ones are used for shirts, linings and lightweight casual jackets.

Gingham is a light weight fabric woven with alternating white and coloured yarns to
form checks. It is a plain weave fabric made from cotton or cotton blends. Fabrics vary in
weight, quality and price. Gingham has a soft or crisp drape that falls close to the body in
moderately soft flares. The fabric is easy to cut and sew and may be pleated, gathered,
shirred or smocked. Lighter quality is used for making dresses, pyjamas, aprons, dresses,
etc while the heavier variety is used for home furnishing.

Lawn is a fine, relatively sheer fabric, made with a tight plain weave and a high thread
count. Lawn is usually made of fine, combed single yarns, although less expensive ones
are made of carded yarns. It may be soft or crisp (not as soft as batiste or voile nor as
crisp as organdie).It may be mercerised to add strength and lustre. Lawn gets its name
from Laon, France where it was first made of linen. Lawn has a graceful drape that falls
into delicate flares. It may be gathered, smocked, or shirred into soft fullness. Moderately
easy to cut and sew. Used to make semi –fitted , loose or very loose fitting blouses,
dresses, lingerie and baby clothes.

Organdy is a sheer, lightweight cotton fabric made with an open plain weave and very
fine, tightly twisted yarn. This flat smooth fabric is either inexpensive or very expensive.
The best organdie is almost transparent and very stiff. It is made with combed yarn and
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given a permanent stiff finish. Inexpensive versions are more opaque, heavier and have
a crisp starched finish that eventually washes out. Organdies have a crisp drape that
may be gathered or shirred into bouffant fullness. Used to make semi fitted, puffed or
bouffant evening wear, dresses, blouses, children’s clothes, curtains, interfacings etc.
The fabric wrinkles and creases easily.

Plisse` is a light weight cotton or cotton/polyester fabric printed with caustic soda in the
form of lines or random spots. The chemical shrinks the parts that have been treated,
causing the untreated parts to pucker. It is not the same as seer sucker. Plisse has a
crisp springy drape that falls away from the body in crisp flares. It may be gathered,
shirred, or lightly tucked into lofty fullness. The fabric is durable. Made into fitted, semi
fitted casual clothes, children’s clothes and sleep wear.

Poplin is a firm, durable tightly woven fabric with fine crosswise ribs. This dense fabric
may have up to three times as many warps as fillings per inch. The weight varies from
light to medium. Poplin comes from popeline, French for a fabric made in the papal city
of Avignon, that was used for church vestments. Poplin has a moderately stiff drape that
falls away from the body in wide flares. It may be pleated into crisp folds or gathered into
lofty fullness. It is used to make shirts and dresses.

Seersucker is a durable, firmly woven fabric with lengthwise puckered stripes


alternating with flat ones. It is made by adjusting yarn tension on the loom. The tighter
yarns relax, causing the slack yarns to pucker permanently. The fabric is usually mad of
cotton, but may be made of rayon, polyester or silk. It may be sheer or heavy and solid in
colour or woven with dyed yarns to produce stripes, plaids or checks. Seersucker has a
crisp drape that falls away from the body in wide flares. It may be pleated, gathered or
shirred into lofty fullness. Used to make fitted, semi fitted or loose fitted summer suits
and casual clothing, sleep wear and children’s clothing. The fabric needs no ironing.

Volie is a semi sheer, dainty fabric made with a tightly twisted voile yarns and a loose
plain weave, usually with the same number of yarns in both directions. Better grades are
made with 2 ply yarns of combed cotton. Vile is French fro veil and was originally used to
make veils. Voile has a delicate drape that falls into graceful folds. It may be gathered or
shirred into soft or moderately crisp fullness. It is used for semi fitted, loose or very loose
blouses, dresses, lingerie and children’s clothing.

(Sewing thread used, needle size, stitch size, etc will depend on the type of cotton
fabric.-there will be much difference between a heavy weight denim and a sheer voile
and this needs to be discussed)

(3) Wool
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Wool is one of nature’s precious gifts to mankind. Since the beginning of civilisation, this
fibre has been used for clothing.

Wool has a complex physical structure which makes it very versatile. It can be spun into
thick, fuzzy yarns or thin , smooth ones , and woven into warm , bulky fabrics or light airy
ones. It may be rough and rugged or soft and sensual, fit for rustic use or haute couture,
worn in corporate offices or glitzy parties.

The characteristics of wool sometimes contradict one another. It absorbs moisture, yet
repels liquids –this means that it will keep one as dry on a hot humid day as it will in a
hailstorm. Wool is warm on cold days and comfortably cool on warm days. It insulates
against extreme temperatures-used both in the cold places as well as in the hot deserts.
Wool can hold upto 30%of its own weight in moisture, yet feel dry.

Wool is porous, which allows the skin to breathe, making it comfortable to wear in cold
and warm weather.

Wool sheds wrinkles, but can be pressed to hold sharp pleats and folds. It stretches
easily, but won’t sag, droop or lose its shape. It can be styled to drape softly against the
body or manipulated to hold a shape, such as a perfectly rolled collar or the curved brim
of a hat.

Wool fiber dyes beautifully, all the way to the core and it holds the colour forever. It can
be dyed in almost any colour –from the palest to bright reds.

Wool is strong and durable-it resists abrasion and is difficult to tear. Garments are easy
to keep clean as the dirt sits on the surface of the fabric rather than penetrate into the
fibre.

Wool is naturally fire resistant-it is slow to burn and will self extinguish when the flame is
removed.

Wool can be made into fabrics that are thick and dense, but not very heavy. This is
because wool’s natural crimp adds volume by creating tiny pockets of air between the
fibres.

Wools natural waviness or crimp gives it many advantaged over other textile fibres-
elasticity, flexibility, resilience and loft. It can be stretched 30 % and will spring back to
size when the tension is released. Wool garments will not stretch out of shape, but will
move with the body, making it comfortable to wear. A flexible fibre is more durable –
because it will bend rather than break.

Although wool has many desirable qualities, there are some limitations too. It has
extreme reaction to alkalis, hence bleaches and detergents should be used with care.
Wool is only moderately resistant to heat and is easily damaged by incorrect pressing or
hot direct heat.

Moth larvae will eat wool; small fuzz balls (pills) tend to form on the surface of wool
fabrics. Softly twisted yarns, loose weaves, woollen fabrics and knits are more prone to
pilling than worsteds.

Wool fabrics tend to shrink if not washed carefully. Hand washing or dry cleaning is
recommended. Pressing should always be done with steam –place a damp cloth over the
fabric when pressing

Felting may occur if adequate care is not taken. This property is used to advantage in the
manufacture of felts

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Wool is one of the easiest fibres to cut and sew. Other fabrics are difficult to cut and also
sew, but wool ‘gives in’. Mismatched pieces can be nudged together with no sign of a
stretch mark or ripple, stitches can be removed without leaving a hole and unwanted
creases can be made to disappear. Wool is more difficult to press than other fabrics, but
if done properly, it results in a good appearance.

Different grades of wool are assigned numbers that range from 36-80.(36s-80s)The
higher the number the finer the fibre. The grades fall into 4 basic types-fine , medium,
coarse and carpet.

The coarsest grades (36-48) include fibres of 30 microns or more in diameter and 6” or
more in length. They are ideal for rugged tweeds, durable coatings, thick dense blankets
and resilient carpets.

The medium grades (50-60) include fibres of 24-30 microns in diameter and 4.5 -6
inches long. Medium grades are used to make a wide variety of high quality woolens,
from fine tweeds, dressy flannels and soft coatings to sweaters, hosiery, knitting yarns
and felt.

The finest grades ( 62-80) include fibres from 15-23 microns in diameter and 1.5 – 4.5
inches in length. Fine wool is used to make worsted yarns and high quality fabrics,
especially for the menswear industry. Most fine wools come from the merino sheep, but
wool from other breeds is also used.

The finest of the fine wools is known as superfine wools –Super80s, Super100s, and
Super 120s

Fabrics in wool

Challis-a high quality, light weight , soft cloth, It is usually made with tightly spun
worsted yarns and a firm plain weave. It is one of the few printed wools, most often a
floral or paisley design against a darker colour. The original cloth was made in England
from a combination of silk and worsted yarns.

Wool challis drapes beautifully, and is easy to sew. It will not hold a crease, but is well
suited for un-pressed pleats, gathers, cowl necklines, and other draped elements Close
fitting styles that put stress on the seams should be avoided as the fabric tends to pull
apart at seams and also puckers. Ideal for making skirts, dresses and scarves.

Wool Crepe- a popular light weight fabric made with highly twisted crepe yarns, giving
it a crinkled , grainy texture. Wool crepe is available in a variety of weights and qualities.
The fabric drapes well and is best for styles that are draped or slightly gathered into
loose fullness but may also be used to make elegant tailored garments.

Woolen flannel-originated in Wales and is derived from the Welsh word for wool-
gwlanen. The fabric may have a soft fuzzy nap on one or both sides. The warp yarns are
stronger and finer than the filling yarns which are softly twisted to in order to produce
the nap when the fabric is brushed. The nap adds warmth to the fabric because of the
entrapped air pockets. Good quality flannel is made of fine yarns and a snug twill weave ,
while lower quality flannel is made of thicker yarns and loose twill or even a plain weave.
Woolen flannel is one of the most common wools , avaible in a variety of weights, solid
colours and plaids. It is easy to sew and cut and is used to make shirts, skirts, dresses
and softly tailored jackets and suits.

Worsted flannel is different from the above in that it is made of worsted yarns that are
in turn made of finer fibres and better quality wool. Worsted flannel is given only a slight
nap, so it is smoother than woollen flannel. It is available in various weights , but only a
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few colours –shades of brown, blue, gray and black. Patterned weaves and plaids are not
as common as solid colours or faint length wise stripes. The fabric has a lot of body and
will hold the shape of the garment especially when supported by good inner construction.
Used for menswear

Gabardine is Spanish in origin and dates back to the Middle ages when it described a
protective cloak. Today it describes a popular fabric with a smooth face and a dull sheen made
with a tight twill weave and worsted yarns. The wrap ahs twice as many threads per inch as the
filling. True gabardine has a distinct closely set diagonal rib on the face and a flat, plain back.
The angle of the twill may be 45 or 65 degrees. The steeper line is more common for
menswear, while the other is for womens-wear. Gabardine comes in a range of weights and
qualities. Best grades are soft and drape well, lesser grades may feel harsh , rough or stiff.
Gabardine works best with tailored designs that have clean simple lines and gentle curves
because the tight weave is difficult to ease.

Tweed is a popular rough textured woolen fabric made with a 2x2 twill. Tweed may be woven
with checked, striped or plaid patterns, or it may be mono-coloured, woven with different
shades of the same colour. It is often dyed in the wool, with fibres of different colours mixed
together before spinning to produce yarns with colourful specks and slubs. The weight varies,
but it is usually a thick substantial fabric that is suitable for sports jackets, coats and caps.

Plaids –are any fabric with a pattern of multi-coloured bars and stripes that run in both
directions and cross at right angles. The colours may be muted or bold and the pattern may be
large or small. The original plaids were made in Scotland. Plaids are woven into a variety of
fabrics , from thick double cloths to elegant worsted suitings. Plaids are difficult to work with –it
demands extra time, patience and a lot of attention to detail. The lines of the plaids have to
match in both directions if the garment is to be rated as one of high quality. The best styles are
those which have simple lines and minimum of seams. Plaids require extra fabric and a one
way layout.

Houndstooth is a very popular broken check pattern used to make woollen and worsted
fabrics in a variety of weights and qualities. Houndstooth is made with a variation of the twill
weave that alternates four yarns to the left and four yarns to the right. Most versions are
woven in two colours of yarn-one light and the other dark which are arranged in groups of four
in both directions of the weave. The checks vary in size-the small pattern is called ‘mini
houndstooth’. As it is yarn dyed, the fabric looks the same on both sides , so it is easy to
confuse unassembled pieces of fabric. Houndstooth looks great when paired with a matching
solid.

Herringbone is a popular variation of the twill weave, made by changing the direction of the
diagonal twill line , so that it zigzags across a fabric at evenly spaced intervals. The pattern is
distinct when the twill lines within one section are woven with alternating colours. Herringbone
should be treated as a striped fabric with a one –way design. It may not be necessary to match
the stripes at every seam, but special attention is required for patch pockets, pocket welts,
flaps and similar details.

Serge

Felt is a non woven fabric made by applying heat, moisture, pressure and friction to loose
fibres to shrink and compress them until they are matted into a solid piece. It is not an ideal
fabric for tailored garments and finds more use as hats, mittens, etc which are blocked to
shape while damp.

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(4) SILK
Silk cultivation is called sericulture, from the Latin sericum, which means cultivation of
silk.The Chinese were the first to develop silk and reel it from the cocoon, starting in
about 2640BC. For almost 3000 yrs the Chinese maintained a monopoly on the luxurious
fibre , but their carefully guarded secret eventually leaked to Japan and India.

Silk cultivation was introduced in the west in about 552 Ad, when 2 monks smuggled the
silkworms to Constantinople. From there silk spread to Italy, Spain and throughout
Europe. The British were not successful at breeding the silkworms; next they tried to
establish sericulture in the American colonies. However it was not a success. The
industry declined in Europe as well. Today the main producers of silk are China, Japan
and India.

Silks allure

Silk is an almost mystical fibre, sought after and fought over for centuries. The desirable
qualities are:

Lustre –the smooth silk fibre reflects light , creating a lustre and beauty unmatched by
other natural fibres.

Strength –silk is the strongest natural fibre for its weight. Nylon is the only synthetic
fibre that is as strong.

Colour –silk is easy to dye . Prints take so well that the back looks almost as good as
the front.

Durability-silk is tougher than cotton and fine wool, but not as durable as linen or
coarse wool. It resists moulds and mildew that cause fibres to rot.

Elasticity-silk will stretch up to 205 without breaking. It is also very resilient.

Silk breathes –silk is porous, which allows the shin to breathe. The absorbent fibre
wicks moisture away from the body.
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Warmth –silk provides warmth without the weight or itch of wool.

Silks limitations

Silk is regarded by some as natures most perfect fibre , but it also has limitations.

Soap and agitation-silk’s smooth surface does not attract dirt and is easily cleaned.
Silk can be damaged by most laundry reagents – a mild/neutral soap should always be
used. Silk loses strength when wet , so wringing and agitation should be avoided.

Bleach –silk is easily damaged by bleaches that contain sodium hypochlorite. Mils
bleaches of hydrogen peroxide or sodium perborate could be used with caution.

Heat and light-silk is sensitive to heat and begins to decompose at 330 degrees F .A
warm iro should be used. Curtains and draperies should be protected from direct light
as silk weakens faster than cotton or wool.

Mildew and moths-silk will not mildew except in extreme conditions. Moths too are
not attracted tomit as they are to wool.

Perspiration-cause silk to deteriorate and affect the colour, causing staining. Any silk
worn next to the skin should be cleaned frequently.

Silk fibres are extremely long -1,600 feet to more than a mile of continuous fibre.
Because of this length, the fibre does not have to undergo as many processes as other
fibres to be converted into yarn.

Silk fabrics

Brocade –a rich, elegant fabric with a complex pattern woven on a jacquard loom with
an extra set of yarns. The fabric has a stiff, heavy hand and a high /low relief pattern,
usually of satin or twill floats, woven into a twill, satin or plain background weave. The
floats snag easily and the fabric is subject to abrasion. Brocade is usually woven with
yarns of more than one colour and is medium to heavy in weight. It was originally
woven in China

Brocade has a stiff drape that falls into wide cones. Fabric holds the shape of the
garment and does not pleat or gather well. It works best in styles that are shaped to
eliminate bulk. A lining protects loose floats from getting caught. Choose close fitting,
fitted or semi fitted styles to make jackets, skirts, and evening wear. The fabric will not
tear easily, and it is moderate easy to sew.

Charmeuse is a soft, elegant fabric with a softly lustrous face and a dull back, made
with a satin weave, tightly twisted warp yarns and crepe or spun filling yarns. It has a
firm , supple hand and a beautiful drape, but it snags and creases easily. Once regarded
as a luxury fabric , it is now one of the most common silks, available n weights ranging
from 10mm to 18mm. Heavier versions are especially luxurious and usually more
expensive.

Silk charmeuse has a beautiful drape that falls close to the body in soft flares. It can be
gathered into a soft fullness. The fabric tends to cling and its lustrous, reflective surface
may make the wearer appear heavier. Choose semi fitted, loose or very loose,
voluminous styles of blouses, dresses, evening wear, nightgowns and lingerie. It is
sometimes used for lining. Use a very fine needle with no nicks or burrs to reduce
snags. Lustre may require a ‘with nap’ layout. Dry cleaning is recommended. The fabric
is slippery and moderately difficult to sew.

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Chiffon is French for rag and is the ragdoll of silk fabrics. This elegant, sheer fabric is
quite limp, with a soft, beautiful drape. It is made with a loose, plain weave and tightly
twisted yarns in both directions. It has a soft, supple, thin hand and a flat crepe like
texture. Chiffon is very fine to light weight (4mm- 6mm), but is strong. Chiffon is
thinner, softer and has less crepe as compared to georgette.

Chiffon has a graceful drape that falls into soft, languid flares and ripples. It can be
gathered or shirred into a limp fullness. The fabric is extremely difficult to cut and sew;
it is slippery and snags easily. Seas, facings, and hems can be seen from the finished
side of the garment. Used to make special occasion dresses, scarves, and nightgowns or
for linings or under linings. Dry cleaning is recommended. Loose fitting and very loose
fitting silhouettes are suggested. Draped and bias cut garments are also recommended.

Crepe is an expensive, luxurious fabric with a dull sheen and slight crosswise ribs,
formed by fine warp yarns and slightly heavier filling yarns. Crepe is usually made with
a plain weave and alternating S and Z twist crepe yarns in both directions. The soft
pliable fabric has a crinkly, pebbled texture that can be almost smooth or rough. Crepe
is heavier and more textured than crepe de Chine , but not as slippery.

Silk crepe has a beautiful drape that falls into wide flares. It can be gathered into a
moderate fullness, but pleats and tucks won’t hold a crease. The fabric is moderately
easy to cut and sew, but tends to unravel and it stretches in the crosswise direction. Silk
crepe is durable and wears well. Choose fitted , semi fitted or loose fitting styles to
make dresses, slacks, skirts, light weight suits , bridal gowns and evening wear.dry
clean or wash by hand ...crepe fabrics tend to shrink a lot.

Crepe de Chine which in French means ‘crepe from China’ is a light weight , soft, silk
crepe made with a plain weave and alternating S and Z twist yarns in both warp and
filling. The fabric has a fine firm hand and a somewhat smooth , lustrous, slippery
surface. It is available in several weights : 14 mm is common, 16mm is more luxurious
and drapes beautifully. Crepe de chine was once considered to be a luxury fabric , but
us now one of the most commonly available silks. Nowadays a synthetic version is very
common.

Crepe de Chine has a soft, graceful drape that falls into limp, soft ripples and flares. It
can be gathered, tucked, or shirred. Heavier versions may be pleated. Use a very fine
needle with no nicks or burrs to avoid snags. Fabric tends to wrinkle, but smoothness is
easily restored with a warm iron. Use to make semi fitted, loose fitting or very loose
styles of blouses, shirts, lightweight dresses and lingerie.dry clean or wash gently by
hand.

Douppioni is an elegant fabric woven with a slubbed yarns or douppioni silk. The
classic douppioni cloth is made with a tight plain weave, fine warp and slubbed filling
yarns that form prominent , irregular crosswise ribs. Fabric is medium weight with a
crisp, scrunchy hand, a rough uneven texture and a dull lustre.

Douppioni has a moderately crisp drape that falls into wide cones. It can be lightly
gathered into lofty fullness, but too much fabric creates bulk. The fabric is sturdy and
substantial, but not very durable. Crosswise yarns fray and ravel badly. Fabric is subject
to seam slippage, so it is wise to avoid close fitting styles that put stress on the seams.
Choose semi fitted or loose fitting styles to make blouses, dresses, skirts, and light
weight suits.

Georgette is a harsh fabric named after Madame Georgette de la Plante, a French


milliner. It is made with alternating S and Z twist crepe yarns in both directions of a

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loose plain weave. Fabric has a grainy, sheer texture and a thin, very dry hand. The
fabric is usually made with ply yarns and is often dyed or printed.

Silk georgettes drape beautifully and falls into languid flares and ripples. It may be
gathered, shirred or pleated into limp fullness. Seams, facings and interfacings can be
seen from the finished side of the garment. The fabric is durable, but it snags easily and
is extremely difficult to sew. Choose loose, full styles to make blouses, bias cut , flared
skirts and dresses, evening wear and scarves.

Habutai means ‘soft as down’ in Japanese. It is a soft, fine to light weight silk made
with a plain or twill weave and slightly twisted yarns. Habutai is usually is natural, ecru
colour but is sometimes bleached white or dyed. The fabric ahs a smooth, thin , limp
hand.

Habutai has a soft , graceful drape that falls close to the body and may be gathered or
shirred into limp fullness. Fabric is moderately easy to cut and sew, but requires a
gentle touch. Choose semi fitted, loose fitting or very loose fitting styles of dresses and
blouses.

Matelasse is French fro ‘cushioned’ or ‘padded’. True matelasse is a type of double


cloth, made by joining two distinct layers to produce a puffy, raised effect on the face.
The original version, made of silk, was padded between layers and quilted. Today’s
matelasse is not padded and is much lighter. It is usually woven on a jacquard loom
with two extra sets of crepe yarn. The layers are woven with different tensions and
shrunk after weaving, causing one layer to tighten up and the other to puff up.

Matelasse has a soft spongy, springy hand. Its puffiness is exaggerated when the fabric
is gathered. Choose semi fitted or loose –fitting styles to make blouses, dresses, suits
and evening wear. The fabric needs little or no ironing.

Matka is a coarsely woven fabric made in India, on hand looms. It is made with thick,
irregular yarns in a loose plain weave or basket weave. It is heavier than most silks and
has an uneven, homespun appearance , often with a dull lustre. It varies in weight,
usually from medium to heavy. Mostly sold as solid colour, but sometimes woven with
multi coloured yarns. Good quality matka is even, but cheaper qualities may have thick
and thin spots.( matka is sometimes called silk linen )

Matka does not pleat, tuck or gather well. It falls away from the body and will hold the
shape of the garment. Choose styles that eliminate bulk, such as tailored, fitted, semi
fitted suits, jackets and skirts. Fabric resists wrinkles and the spun yarns are subject to
abrasion and looser weaves tend to snag and unravel. Dry cleaning is recommended,
especially if the garment has plenty of inner construction.

Noil is a dull, slightly nubby fabric with random dark or light flecks and slight crosswise
ribs. It is made from silk noils, very short waste fibres from the inner parts of the cocoon
that are spun into yarn. The fabric looks more like cotton than silk. A typical noil is made
with a balanced plain weave and looks the same on both sides. It is often called raw
silk , but this is inaccurate-the silk waste will have to be degummed before it can be
spun into yarn. (raw silk is any silk that has not been cleaned of its sericin and is rarely
used in this form)

Silk noil has a moderately gentle drape that maintains a soft silhouette of the garment.
It may be lightly tucked, pleated or gathered, but too much fabric creates bulk. Noil
resists wrinkling, but is not as strong as other silks and does not wear well. Use to make
fitted, semi fitted or loose fitting styles of skirts, shorts, slacks, dresses, lightweight suits
and casual jackets.

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Organza is a very sheer, crisp fabric made with a plain weave and tightly twisted yarns
that have 10-20 turns per inch. It is fine to lightweight, strong, stable, and durable with
a firm delicate hand and a flat, smooth texture. The fabric will crush, but will iron out.
Organza is not very expensive, and is usually embroidered or flocked.

Organza has a crisp drape that falls away from the body in wide cones .It may be
gathered or shirred into puffed fullness. Special sewing techniques are required for
seams, facings and hems because they can be seen from the outside of the garment.
Use alone or under or over a second fabric to make fitted, semi fitted or loose –fitting
styles of blouses, dresses children’s wear and evening wear. Use to make facings,
interfacings and/or linings for light weight or sheer fabrics. Use as an underlining to add
crispness and /or weight to thin fabrics or to stabilise loose weaves.

(Gazar is a sheer, crisp silk fabric that is shiny on one side and dull on the other and
looks like heavy organza)

Pongee is from the Chinese word ‘penchi’ meaning ‘woven at home’ or home loom. It
is a natural tan or cream coloured fabric with a lightly textured surface, made with a
tight, plain weave from reeled tussah or other wild silk. The fabric has a sheen and a
firm, soft or crisp hand. It usually has slight random slubs in both directions.

Pongee has a soft drape that falls into moderately soft flares. It may be shirred,
gathered or pleated into a soft fullness. Pongee is durable, stable and resists snagging,
but it may shrink and/or unravel. Choose semi -fitted , loose fitting or very lose fitting
styles to make blouses and light weight dresses. Dry clean or hand wash-the fabric
tends to shrink

Shantung is a medium –light to heavy , plain weave fabric with a slight cross wise ribs
and slubs. First woven in the province of Shantung, China from hand reeled tussah silk.
Today’s version is usually made with fine warp yarns and heavier filling of douppioni
silk. The fabric has a firm, semi crisp hand and may be lustrous or dull depending on the
quality of the yarns. Shantung is usually heavier than pongee but lighter than
douppioni. Shot versions are common.

Shantung has a semi –crisp drape that falls into moderately crisp flares. It may be
gathered or pleated into a crisp fullness. Fabric is stable and resists snags, but tends to
unravel and is subject to seam slippage. Avoid close fitting styles that put stress on
seams. Choose semi fitted, loose fitting or very loose fitting styles to make blouses,
dresses, suits and slacks.

Surah is a soft, light weight silk twill fabric named for Surat where it was first made.
Surah is woven with slack twist yarns giving the fabric a semi dull lustre. It has a fine,
soft supple hand and a flat, smooth, slippery texture. The diagonal can be seen on both
sides of the fabric. Surah is often printed with paisley designs, but may also be checked,
striped or in solid colours. It is also called silk twill.

Surah has a beautiful drape that may be gathered, shirred or pleated into soft fullness.
The fabric tailors well, but does not wear well-it snags and scuffs easily and wears out
along seams, folds and hem lines. Choose fitted, semi fitted or lose fitting styles to
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make blouses, dresses, tailored shirts, scarves and men’s neck ties. Surah is sometimes
used for linings, but is not very durable.

Taffeta -Silk taffeta is one of the oldest luxury fabrics, woven in the early part of the
3rd century by Persians who called it ‘taftah’ or taftan’. Today it is a fine, smooth, tightly
woven fabric with fine crosswise ribs , made in plain weave, with fine warp and heavier
filling yarns. Taffeta looks the same on both sides, the fabric is flat with a distinctive
rustle and a dull lustre. It may be soft or stiff and light to medium in weight

Silk taffeta ahs a crisp drape and may be gathered into lofty fullness. Pleats hold a
sharp crease. The fabric is moderately easy to cut and sew, but pins and needs may
leave holes. Choose close fitting, fitted or semi fitted styles to make petticoats, dresses,
bridal wear, evening wear and linings. Taffeta is very difficult to iron.( taffeta is often
given a moiré finish)

Tussah is a medium to heavy, plain-weave fabric made from uncultivated or wild,


tussah silk worms. The classic tassah has a coarse, thick hand and a rough, uneven
appearance with distinct crosswise ribs formed by irregular, slubbed filling yarns It is
difficult to dye so it is usually natural in colour, ranging from tan to gold to brown.

Tassah is a firm, stiff fabric that does not drape, pleat or gather well. It has very little to
give, making it difficult to ease sleeves and curves. It is strong but subject to snags,
abrasions, and seam slippage. Crosswise yarns unravel badly. Choose fitted or semi
fitted styles with no extra bulk. Use to make jackets, skirts, suits, tailored dresses.

(5) LACE
Many laces are available in several forms and widths with the same or co-ordinating
motifs. When selecting lace, place it over the fabric you are using and stand back to

16
view the pieces. The lace detailing is often more noticeable if the colors of the lace and
the fabric do not match exactly.

TYPES OF LACE

Chantilly lace is a lightweight lace with delicate floral motifs on a fine net background.
It is available in yardage and trims.

Alencon lace has fine cort outlining the individual motics. Available beaded and
unbeaded and in yardage and trims, it is popular for bridal gowns. Although more
expensive than many laces, alencon yardage and trims may be cut apart to provide
economical motifs and edging.

Schiffli is an lace that has a fine net background, embellished with machine-stitched
motifs that resemble hand embroidery stitches.

Embroidered organiza with its sheer organza background, has motifs similar to Schiffli.
It is cut and handled like a sheer fabric.

Venice lace is a made from heavy yarns, giving it a three-dimensional texture. It does
not have a net background; picot bridges join the motifs. Usually rayon or polyester,
Venice lace has either a shiny or matte finish and is available in appliqués and trims.

Galloon laces are scalloped on both edges. This versatile lace can be used as a wide
border or cut apart so each edge can be used separately. Galloon laces range from
narrow trims to wide yardage.

Flounce laces have one straight and one scalloped edge. On embroidered organza, the
straight edge is unfinished. Wider than edgings, flounce laces are available in varying
widths and are often used for ruffles. Wide flounces may be used for yokes, sleeves and
bodices.

Allover laces have two straight edges and motifs that repeat regularly throughout the
fabric. Allover lace can be used for an entire garment, or for individual motifs cut out
and used as appliqués. Lace yardage widths usually range from 36” to 54”.

Edgings are narrow trims with one scalloped edge. Widths range from ¼ “to 6” (6 mm
to 15 cm). An edging can be used to finish a garment edge.

Lace appliqués are individual motifs used as trim. Some appliques come in mirror
image pairs. A lace bodice is a large appliqué designed to be applied over the bodice of
a dress; it usually fits over the bustline and ends at the hipline.

SELECTING NET-Net fabrics are used for veils, petticoats, interfacings, and garment
selections such as sleeves and skirts.

Illusion is a fine, delicate nylon or silk mesh that is soft and drapable. Used for bridal
veils, it is available in white and ivory, and in a regular and sparkle finish.

Tulle is a fine mesh made from nylon yarns that are slightly thicker than illusion. Less
expensive than illusion, it is especially popular for gathered net skirts. Its wide range or
colors also makes it popular for bridesmaids’ headpieces, and as a foundation layer
under delicate laces.

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Point d’ esprit is a net with rectangular or circular dots woven at regular intervals.
Available in nylon and cotton, it is used for dramatic veils and garment sections such as
bodices and sleeves.

French net is a very strong, yet soft and sheer, nylon net that is frequently used as a
garment section or as a foundation under lace in areas of stress, such as sleeves and
bodices. This net has great crosswise stretch and excellent recovery.

Nylon net is a coarse, crisp mesh with larger holes than illusion or tulle. Available in 72”
(183 cm) widths, it is an economical choice for underskirts and petticoats. Because of its
wide range or colors, it is often used for bridesmaids’ dresses.

Cancan net is the stiffest net available. This nylon net is used for petticoats for full-
skirted gowns, where a firm support is desired.

Russian veiling also referred to as French veiling, is a diamond-shaped mesh. It is


used as veiling on millinery such as decorative headpieces, facial veils and hats.

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(6)

PILE FABRICS
Corduroy is a thick, rugged pile fabric made of cotton or a cotton/polyester blend.
Corduroy has a soft distinctive pile that forms lengthwise ribs called wales, produced by
an extra set of yarns that are cut and brushed. The wales vary in size and height, from
narrow to wide and from flat to plush. The weight varies from soft shirting tom rugged
upholstery goods.

Corduroy ahs a moderately stiff drape that falls into soft, wide flares. It may be lightly
tucked or gathered into a lofty fullness or shaped with seams to eliminate bulk. It
requires a one –way cutting layout. Corduroy is durable, but the pile tends to wear off.

Used for sportswear, coats, jackets, shirts, slacks, skirts and children’s clothing.

Velveteen- is a soft, smooth fabric with short cropped pile, made with a plain or twill
eave and an extra set of softly spun filling yarns. The density of the pile is determined by
the number of filling yarns per inch. The weight of the fabric varies, but velveteen is
usually a thick, heavy fabric.

Velveteen has a moderately soft drape that falls into wide folds. It may be gathered into
a lofty fullness or shaped with seams to eliminate bulk. Used for dressy and casual
garments.

Velvet is a luxurious fabric with a short, fine pile and a knit or woven background. Velvet
includes plain velvets, crushed velvets (crinkled top surfaces) and panne velvet (high
lustre plush fabric)

Rayon/silk or rayon/acetate blend are soft and drapable and therefore suitable for
gathers and un-pressed pleats. Cotton or cotton/rayon blends are stiffer and have more
body. Use velvets for garments that have softly draped silhouettes, minimum of seams
and darts and no buttonholes or top stitching.

Cutting

Velvets have a nap, requiring that they be cut and sewn in the same direction to prevent
‘shading’. If cut with the pile running down, it looks deeper and richer. If cut with the pile
running up, it looks lighter.

Pressing

Place pile down on a velvet board* (or textured towel or velvet scrap). Hold steam over
it-pat it gently. Steaming helps to remove creases.

To open seams, place the fabric with the seam allowance upwards –steam press- do not
iron the fabric. Lightly finger press the seam open after steaming.

It is extremely difficult to press velvet. This is one time you can break the rule about
always pressing as you go along-the less handling of velvet, the better.

Sewing

While machining the fabric ‘creeps’ (ie one length decreases in length), therefore it has
to be pulled tight to prevent this.

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Stop stitching every 2”-3”.Raise the pressure foot with the needle in the fabric. Allow
both layers of fabric to relax. Lower pressure foot and resume stitching.

While stitching horsehair, take care not to stretch it. Place it on the pile side and stitch
close to the edge.

Press down pile in seam allowance to decrease bulk and thereby make the seam less
bulky. Grade enclosed seams.

Optional top stitching may be placed far enough from the edge to enclose raw edges of
graded seams (prevents ravelling and strengthens garment edges).

Use organza for interfacing. Do not use fusing.

Hem with catch stitch-zig zag or over lock raw hem edge to prevent ravelling. Work blind
stitch between hem and garment using very loose stitches to prevent hem imprint.

Velvets can be stitched only once- removed stitches leave holes.

Stitching should be done with fine needles, preferably in the direction of the nap.

Stitch size-12 spi or 2-5mm

Thread-polyester

Needle 80/12

Hand baste on curved seams

Velvets unravel, hence raw edges require finishing. In unlined garments over lock the
edges, or finish with Hong kong bound finish or with a ribbon **

*Velvet board is a metallic pile (thin wires closely packed) on a thick fabric .

Synthetic fur has a deep pile texture on the right side which can imitate the colouring
and the texture of natural pelts. Synthetic furs are usually made from modacrylic or
polyester.Most have a knitted backing.

Garments of synthetic fur are made with simple seams and a loose fit. Because they are
bulky, it is best to avoid details such as pleats, gathers, darts and patch pockets. It is also
advisable to replace button holes with closures such as loops, snaps or hooks and eyes.

Layout , cutting and marking

Omit interfacing as synthetic furs rarely need this extra strength and support. Cut inner
garment sections such as an in –seam pocket or a back neckline facing from the lining
material to reduce bulk. Under collars can be cut from fur fabric, lining or synthetic suede

Patterns should be placed on a single layer of fabric. If the fabric looks like real fur, run
the pile down toward the hem of the garment

Use long pins with large plastic heads to hold the pattern to the backing. Cut through the
backing only, using the tips of shears. Avoid cutting into the pile on the right side.

Pressing-Synthetic furs rarely require pressing. One can usually smooth seams and
garment edges into place with the fingers. A soft rolled edge is more appropriate on
these fabrics than a sharp edge.To renew flattened pile, tumble the garments in a
clothes dryer.

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Seams- Because the fabric is bulky, the pressure and tension has to be adjusted on the
sewing machine. Decrease the pressure on the presser foot and loosen the needle
tension until the stitch is balanced. For even feeding of the layers, smooth the pile away
from the raw edges and stitch in the direction of the nap. To reduce bulk, shear the pile
from the seam allowances after stitching.

Hems-hems should be done by hand, using catch stitch between the hem and the
garment. For bulky furs face the hem with lining fabric to reduce bulk.

Closures –The selection of a closure on fake furs depends on the length of the pile.
Avoid zipper and button hole closures on long haired fake furs.

Machine needle size 14(90) or 16(100)

Stitch length 10-12 per inch (2.5cm) or 3-2.5 setting

Thread –al purpose polyester or polyester/cotton

Interfacings –omit

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(7) KNITS

Knitting is the second most frequently used method of fabric construction. Athough this
technique has been used for a very long time, it is in the recent past that it has gained so
much popularity. This is because of various reasons

• Increased versatility of technique -knitted fabrics are now used widely in


applications where woven fabrics formerly pre dominated ( rugs and home
furnishing)

• Knits relate well to contemporary life styles ....there is a growth in consumer


demand for snug fitting, wrinkle resistant , stretchable fabrics. Knit fabrics are
usually soft and drape well, mould easily and move well with body movement,
resist wrinkling and pack easily for travel in our highly mobile society

• Adaptability of new manmade fibres....technological advances in the production of


spun and filament fibres have made it possible to have continuous streams of
new designs and new fabrics.

• Fashion designers like working with knits because their stretch allows for less
structures designs that are able to fit a variety of body shapes.

• Manufacturers have to stock fewer sizes.

Stretch and breathability are the main properties of knitted fabrics , hence knits are seen
in a diverse range of products such as socks, t-shirts, sweaters, dresses, slacks, exercise
and undergarments.

Knitting is the formation of fabrics by the interloping of yarns. These loops permit the
fabric to stretch in any direction. A single yarn or several yarns may be used to form
the loops. New loops are formed by passing the yarn through previously formed loops.

Knits can be hand knitted with the use of knitting needles or maybe knitted on knitting
machines which can hold several hundreds of needles.

There are two main classifications of knitted fabrics: weft knits and warp knits. Each
uses different kinds of machinery for producing different types of fabrics. Weft knit
fabrics are generally used in sweaters and hosiery, while warp knits are fabrics such as
tricot and Raschel knits .

The hand method of knitting is weft knitting.

Knits may be loosely or closely constructed, depending on end use.

Knitting Terminology

a) Wales are the loops that run in the lengthwise direction of the fabric ( ie vertical
loops) and can be compared to the warp yarns of woven fabric.

b) Courses are the loops that run across the width of the fabric (horizontal row of
loops) and can be compared to the weft of woven fabrics.

c) Stitch is every individual loop.

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d) Count is the total number of wales and courses in a square inch of fabric.

e) Gauge or cut denotes the number of stitches /needles per unit width on the
machine and expresses the fineness and coarseness of the stitches in knitted
fabric. ( a sweater may be a ‘ 6 gauge’ fabric while a t –shirt may be a ‘16 gauge’
fabric.

Types of Knitting stitches.

There are four principal stitches utilized in knit fabrics.

a) Plain stitch or knit stitch b) purl stitch c) miss stitch d) tuck stitch

These four stitches form the basis of all knitted fabrics

Types of Knit fabrics

1-Weft knits

a) Jersey- also known as single knits is the simplest type of knit fabric. Rows of knit
stitches alternate with rows of purl stitches. These fabrics have a tendency to curl
at the edges. Jersey knit fabrics stretch approximately the same in both length
and width directions. They may be produced on flat as well as circular machines
and is mostly used for under wear, t-shirts, seamless hosiery and panty hose etc.
One draw- back is that if one stitch breaks, it causes a ‘run’ ie an unravelling of
adjoining stitches.

b) Rib –in this wales of knit stitches alternate with wales of purl stitches. ( eg knit 1,
purl 1,repeat). Ribs have very good stretch in the width-wise direction. They may
be produced on flat as well as circular machines. Rib knits do not curl at the
edges; have greater elasticity in the width and therefore utilized for sweater waist
bands, cuffs, mens hosiery etc.

The rib could be even such as 1x1 rib or 2x2 rib or uneven like 3x1.

c) Interlock-special knits that are similar to 1x1 rib knits , but are smoother, more
stable, better insulators and more expensive than regular knits. Because of the
smooth surface they are suitable for screen printing.

d) Double knits-special type of rib knit that is heavier and more stable than jersey.
This fabric has close stitches which provide good stability; it has a patterned or
design effect.

e) Pile knit- a special type of jersey made by an unique process which involves
feeding staple in the form of sliver into the knit fabric while the yarns are passing
through the knitting needles as the fabric is being made. After knitting the fabric
undergoes finishing processes to produce fur like effect.

f) Knitted terry-jersey fabrics that are knitted with two yarns fed simultaneously
into the same knitting needles. When the fabric is knitted, one of the yarns
appears on the face and the other on the back. One of the yarns is the loop yarn

23
and the other the ground yarn. The loop yarns are pulled out by a special device
to form the loop pile of terry fabrics. The ground yarns form the basic structure of
the knitted fabric.

g) Velour-fabric with a soft suede-like face resembling velveteen. It is made in the


same way as the knitted terry. After the fabric is knitted , the loop is cut by a
process known as shearing and then brushed.

h) Jacquard-knit fabrics with designs in colours or textures.

2-Warp knits are of many kinds ,but tricot and raschel are the most popular ones.

a) Tricot is almost exclusively made of filament or textured filament yarns and are
knitted on high speed machines. The fabrics have a high degree of consistency in
appearance ,stitch per inch, weight of fabric etc

b) Raschel knitting can produce fabrics ranging from fine laces to heavy blankets
and even carpets ( on different gauges of Raschel machines)

The knitting industry has 2 main divisions.

a) Knitted yard goods industry

b) Completed consumer products such as sweaters, t shirts, hosiery etc

Full fashioning is a method of shaping a knitted fabric during the knitting process. It is
popular in sweater manufacture, where the shape and contour of shoulders and bust can
be incorporated into the knitting.

Selecting Needles

When sewing knits, one can prevent snagged fabrics, skipped stitches, puckered seams
and thread breakage by using the right needle and thread.

Choose the smallest needle size appropriate for the fabric sewn.

Light-weight knits --size9

Medium weight knits – size 11

Bulky and heavy knits – size 14

If skipped stitches occur, use a new needle or try a different size. There are three basic
needle types available ballpoints, universal and sharps.

Ballpoint needles have rounded tips, they penetrate knit fabrics by separating, rather
than piercing the yarns, preventing snags.

Universal needles are modified ballpoint needles: the tip is more tapered. They can be
used for both wovens and knits.

Sharps can be used on knits with open or loose textures, but are commonly used for
sewing woven fabrics. They are not suitable for tightly knitted, firm fabrics as they
pierce these knits and break the fibres, leaving holes.

Selecting Thread

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Synthetic- fibre thread is well suited for sewing knits because of its strength an inherent
stretch. Polyester and cotton wrapped polyester are most frequently used. Extra-fine
thread should be used for sewing light-weight knits.

Synthetic thread should be wound slowly onto the bobbin to prevent stretching it. If
wound at high speeds it may stretch and cause puckered seams.

Seams and seam finishes

When knit fabrics are stretched, the seams also have to stretch to prevent the stitches
breaking. The seams may be stitched on a conventional sewing machine or an overlock
machine. Knit fabrics do not normally fray, making seam finishes unnecessary.

Guide to Fabrics and Sewing Techniques

Two-way stretch knits: Overlocked, double –stitched, stretch overdge and straight stretch
seams are the best options.

The size of the stitches should be 8-9 per inch [setting-3’5]

Light weight knits: Overlocked , double –stitched and plain seams; zig-zagged edges; 12-
16 stitches per inch [setting 2.5-2]

Medium weight knits: overlocked, double-stitched, and plain seams; overlocked and zig-
zagged edges; 12 stitches per inch (2.5)

(8) NON WOVENS


Synthetic Suede , Leather , Rexine

Synthetic suede is a non woven , softly napped polyester /polyurethane fabric that
closely resembles genuine sueded leather. Unlike real leather it is an easy –care fabric
that can be washed and dried easily.

The main difference between synthetic suedes is weight. Light weight suedes drape
softly, and do not require special patterns. Medium weight types are more like real
suede. With conventional sewing methods , you may need to take extra steps , such as
fusing the seam allowances and topstitching the edges because suedes are difficult to
press flat with conventional pressing techniques. Or else flat construction techniques
such as lapped seams and faced hems can be used.

Synthetic leather/vinyl fabrics can be smooth or textures. Like suedes, vinyls have
different weights, Light weight, supple vinyls have a knitted or woven backing when
handling vinyls, use the same methods used for synthetic suedes, except that vinyls are
damaged by heat and steam , so they cannot be pressed.

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Medium weight synthetic suedes drape stiffly and does not ease well, making it most
suitable for pattern silhouettes that are loosely fitted and boxy in shape. Keep in mind
that top stitching is usually used on seams and on edges to keep them flat.

Sewing suedes require some modification. For a lapped seam, trim the seam allowance
from one side of the seam.

Synthetic suede does not have a grain, -it has a nap. It is therefore necessary to place all
the pattern pieces in the same direction. Because it does not have a grain, the fabric
pieces may be tilted upto 45 degrees without affecting colour shading in the finished
garment. Place pattern pieces on a single layer and cut with sharp shears.

Synthetic suede tends to shift when sewn, so extra care is required. To prevent shifting,
the fabric layers could be held together with basting tape, glue stick . A special ‘roller
foot’ helps the fabric feed evenly through the machine.

SEAMS Welt, lapped, plain seam with top stitching

HEMS Narrow hem ( no double turning),Broad hem-machined or may be fixed with


double tape.

CLOSURES Zipper with metal or plastic teeth.

Snap fasteners ( ball and socket fasteners ) that are not sewn to the
garment but held in place by pronged rings is commonly used as also
button press fasteners that are clamped to the suede/leathe

(9)

(9) UNDERLYING FABRICS

The underlying fabrics of a garment can be considered as tools with which to build a
better garment. Each of then- underlining, interfacing, interlining and lining-has a
specific function that influences the garments finished appearance.

Underlining is a lightweight fabric that is applied to the wrong side of the garment fabric
primarily to give additional strength, support and durability to the garment. Underlining
also helps to maintain the shape of the garment and to reinforce its seams. Usually it
makes the garment fabric so that the inner construction details and stitching cannot be
seen on the outside of the garment.

Underlining fabrics are made from various fibres, finished in several different handles
[soft, medium and crisp] and available in a wide range of colours. Other fabrics such as
organza, tricot and light-weight blouse and lining fabrics, although not classified as
underlining can serve the same purpose.

When selecting underlining look for one that matches the garment fabric in care
requirements, not necessarily fibre content.

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Since the main purpose of an underlining is to support and strengthen the garment
fabric, make sure that the underlining gives no more than the garment fabric. Use a
woven underlining with a woven fabric and cut both on the same grain. Knits are not
usually underlined but can be if this is desired. A woven underlining cut on the straight
grain will restrict the give of the knit; a woven underlining cut on the bias will allow the
knit some give. To maintain most of all the knit’s give, use a lightweight tricot as an
underlining and cut it out in the same direction as the knit fabric.

Choose a soft underlining if you want to maintain the softness of the garment fabric; a
crips underlining to give the garment fabric some crispness. Some garment designs may
require more than one type of underlining. For example, a garment might need a crisp
underlining to support it’s A-line skirt but require a soft underlining for its more fluid
bodice.

As for the colour of the underlining, choose one that will not show through enough to
change the colour impression of the garment fabric. As a final selection test, drape
together all fabrics to be used to see it they will function well together and complement
the garment design.

Methods of underlining

There are two methods of underlining a garment. In the first, the two fabric (underlining
fabric and garment fabric) are always treated as though they were one layer. In the
other method, the two fabrics are handled separately up to the construction of darts and
are then handled as one.

Interfacings

As interfacing is a special type of fabric applied to the inside of a garment to give if body,
shape and support. In some instances, an entire garment will be interfaces; as a rule,
however, interfacing is applied only to certain areas, such as collars, front or back
openings, lapels and hems, and to such details as pocket flaps.

Interfacings are made from many different fibres and come in several weights and
degrees of crispness; they may be woven or non-woven. A useful category, iron-on
interfacings, instead of being stitched to the garment fabric, are ironed onto it. Iron-ons,
too, may be woven or non woven.

The wide range makes it possible to choose an interfacing that will be compatible with
any type of garment fabric. Note that it is very important to choose an interfacing that
will complement and reinforce the garment fabric without overpowering it, and that
although the two fabrics need not be identical in fibre content, it is always better if they
have the same care requirements.

The construction of an interfacing can differ from that of the garment fabric, that is, a
nonwoven interfacing can be used with a woven garment fabric. There are characteristic
differences, however, between woven and nonwoven interfacings that should be
considered. Woven interfacings are usually cut in the straight grain; nonwovens have no
grain and so need not be cut in any particular direction. Both types are stable but there
are ‘all-bias” nonwovens, which have some give in all directions and are suitable for
knits. If a degree of give is desired with a woven interfacing, it should be cut on the bias.
With most irons, woven or nonwovens, there is no give once they are ironed into place.
Generally a woven interfacing (especially hair canvas) will shape better than a
nonwoven.

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Interfacing come in light, medium and heavy grades. Weight should be compatible with
but never overpower the garment fabric. With iron-ons remember that the adhesive
tends to add some body to the garment fabric. Before making a final selection, drape
over your hand all of the fabrics that will be sewn into the garment to see if they are
suitably complementary.

Iron-on interfacings and their application

Iron-on interfacings are those that are made with heat-sensitive adhesive on one side of
the fabric. Like other interfacing types, they come in different weights and fibres and
may be either woven or nonwoven.

For a satisfactory bond, iron-on interfacings depend upon heat and/or steam with a
minimum of pressure. Read the instructions that accompany the product and always test
application of the interfacing to scrape off the garment fabric before applying it to the
garment.

Linings

A lining is applied to the inside of the garment to finish it and to hide the garment’s inner
construction. No matter what type of garment it is used in-dress, coat, jacket, pants-a
lining is luxurious as well as functional finishing touch. Most often made from a relatively
slippery fabric. A lining can match or contrast with the colour of the garment. It can even
be made of a printed fabric, so long as it will not show through to the outside.

Linings will add some degree of warmth to a garment as well as making it easier to put
the garment on and take it off. Though lining fabrics are made from many different
fibres, any specific choice should be limited to fabrics that are compatible with the care
requirements of the rest of the garment. Also, a lining should be sufficiently opaque to
conceal the garment’s inner construction.

The qualities of a lining should be appropriate to the type of garment it is being applied
to. For example, a winter coat lining should add considerable warmth to the garment.
Further warmth can be achieved with the addition of a separate interlining. An interlining
is built into some lining fabrics, for example those that are quilted, eliminating the need
for a separate one. These should be constructed and applied to the garment as a lining.

A lining fabric should also be strong enough to stand up to the kind of strain and abrasion
it will be subjected to. Jacket or coat linings must more strain and abrasion than the
lining of a losse fitting dress, because they will be worn over garments that might be
abrasive in effect and jackets and coats tend to be worn for more strenuous activities.

Application methods differ, the technique depending upon the type garment the lining is
being applied to.

Interlining

Interlining is a special type of underlying fabric whose main purpose is to insulate a


garment, usually a coat or jacket so that it will keep the wearer warm. To do this,
interlining must have some insulating property built into it, as a napped fabric has.

Interlinings should be lightweight but not thick; they should not add bulk or dimension to
a garment.

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The most familiar interlining choices are flannel, flannelette and brushed cotton. Then
there are fabrics sold and handled as linings that also work as interlinings. Examples are
quilted, insulated and fleece-backed linings.

Make sure, when you plan to interline that there is adequate wearing ease to
accommodate the added thickness; keep this ease in mind while fitting the garment.
Because of the ease problem, sleeves are not usually interlined; they can be if ease is
sufficient. Use the lining pattern pieces to cut out the interlining.

(10) CLOSURES

A variety of closures are available. Some of which are given below.

Buttons and button holes

The choice of buttons is a major consideration or any garment and one must select keeping in mind
the fabric weight and the location where it will be sewn.

To determine placement of buttons and button holes on a blouse of bodice front, mark the placement
for one buttonhole at the fullest part of the bust line. Space others evenly from that position.

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Vertical buttonholes work well with light weight fabrics and small buttons and are commonly used for
shirt and blouse plackets.

Horizontal buttonholes are used for stability in areas of stress, such as on cuffs, neck bands or
waistbands. Button holes on jackets or coats are usually horizontal.

Though buttons are made in many shapes and materials, they are basically of two types-shank or
sew-through

Sew –through buttons may have two holes or four holes.

Shanked buttons are of varied materials and shank fabrication-

a) molded shanks, b) wire shanks, c) glued or soldered shanks,

d) multipart button with clinched shanks e) shanked button with toggle.

Zippers are also of various kinds

a) Conventional zipper-may be of metal, nylon, polyester. It is open at the top and held
together at the bottom. Depending on the garment design , application may be centred, lapped,
exposed or fly-front method
b) Concealed or invisible zipper-are structured differently from other zippers and are applied in
a special way, so that they disappear into a seam.
c) Open –ended zipper are made to open both at the top and the bottom. , permitting the zipper
opening to separate completely. Mainly used on jackets, but may be used on other garments. A
centered application is the method generally used.

Zipper weight should always be compatible with fabric weight. A zippers weight is determined by its
tape and structure-ladder, chain or spiral. The ladder type , popularly used for skirts and dresses , is
a continuous synthetic filament formed into teeth and edged with a poly-cotton tape. The chain
consists of individual metal teeth attached to a poly –cotton tape. The spiral , used for invisible
zipper is a continuous synthetic strand twisted into a coil and attached to a woven or knitted synthetic
tape.

The ladder type, is light weight and flexible, hence ideal for light to medium weight fabrics. The chain
type is slightly more rigid, and may cause buckling on a lightweight fabric and so is more suitable on
medium to heavy weight fabrics.

Snap fasteners are two part fasteners with limited holding power. They are available in varied
sizes ( small to large) in nickel, black enamel or clear nylon.

No sew snap fasteners are ball and socket fasteners that are not sewn to the garment, but held in
place by pronged rings. Holding power is good and therefore suitable for heavy fabrics.

Button press fasteners have four parts. Two form a ball and socket fastener, one is the back plate,
and the last is the button shell (which can be covered with garment fabric) Components are
positioned , then clamped to the fabric.

Snap fastener tape- comes with regular or no sew snaps in three sizes. It permits multiple snap
application at one time. Sold by the metre, or in pre cut lengths.

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Hook and eye fasteners come with either straight eyes for lapped edges or loop eyes for meeting
edges. Available in different sizes ( fine to heavy) in nickel or black enamel finish

Waistband hook and bar is a sturdy closure suitable for waistbands of skirts and pants.
Available in both black and nickel finish.

Hook and eye tape come with medium hooks and eyes attached to cotton tape. Permits
multiple hook and eye application at one time. Sold in neutral colours by the metre.

Frog closures are often used with Chinese ball buttons. These can be bought or could be made
from purchased braid or from cord filled bias tubing to match or contrast with the garment. The
cording can be knotted or arranged in many different ways for a variety of styles. The choice of
fabric, the diameter of the cording and the size of the loops add further variety.

Chinese ball buttons can be used with buttonholes, button loops or frog closures.

Hook and loop tape fastener/Velcro is composed of two tape strips, one with a looped nap
and the other with a hooked nap. When pressed together, the surface s grip and remain locked
until pulled apart.

Compiled by Rebecca Philip

NIFT, Mumbai

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