HANDOUTS FOR FABRIC STUDIES

Diploma in Fashion Design – II year(III Semester)

Complied by : P.Lakshmana kanth,Senior Faculty – IFTK

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Wool and different types of Wool Fabrics Introduction Wool is the fiber derived from the fur of animals of the Caprinae family; principally sheep.Wool was probably the first animal fiber to be made into cloth. The art of spinning wool into yarn developed about 4000 B.C. No one knows when man started using wool as a textile fibre. The dense, soft, often curly hair forming the coat of sheep and certain other mammals, such as the goat and alpaca, consisting of cylindrical fibers of keratin covered by minute overlapping scales and much valued as a textile fabric. What is Wool Fiber? Wool is a protein fiber and it is produced by the animals known as sheep. It is unique fire with scales on its surface. Wool, is a multi-cellular fiber and very expensive in price. Wool producers in the world:

1. Australia 2. Russia 3. New-Zealand 4. USA 5. UK 6. South-Africa 7. France 8. Turkey 9. Brazil 10. China etc.,

Raw Materials In scientific terms, wool is considered to be a protein called keratin. Its length usually ranges from 1.5 to 15 inches (3.8 to 38 centimeters) depending on the breed of sheep. Each piece is made up of three essential components: the cuticle, the cortex, and the medulla.

The cuticle is the outer layer. It is a protective layer of scales arranged like shingles or fish scales. When two fibers come in contact with each other, these scales tend to cling and stick to each other. It's this physical clinging and sticking that allows wool fibers to be spun into thread so easily.

The cortex is the inner structure made up of millions of cigar-shaped cortical cells. In natural-colored wool, these cells contain melanin. The arrangement of these cells is also responsible for the natural crimp unique to wool fiber.

Rarely found in fine wools, the medulla comprises a series of cells (similar to honeycombs) that provide air spaces, giving wool its thermal insulation value. Wool, like residential insulation, is effective in reducing heat transfer. The Manufacturing Process

The major steps necessary to process wool from the sheep to the fabric are: shearing, cleaning and scouring, grading and sorting, carding, spinning, weaving, and finishing.

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Shearing Sheep are sheared once a year usually in the springtime. A veteran shearer can shear up to two hundred sheep per day. The fleece recovered from a sheep can weigh between 6 and 18 pounds (2.7 and 8.1 kilograms); as much as possible, the fleece is kept in one piece. While most sheep are still sheared by hand, new technologies have been developed that use computers and sensitive, robot-controlled arms to do the clipping.

Grading and sorting Grading is the breaking up of the fleece based on overall quality. In sorting, the wool is broken up into sections of different quality fibers, from different parts of the body. The best quality of wool comes from the shoulders and sides of the sheep and is used for clothing; the lesser quality comes from the lower legs and is used to make rugs. In wool grading, high quality does not always mean high durability.

Wool is also separated into grades based on the measurement of the wool's diameter in microns. These grades may vary depending on the breed or purpose of the wool. For example:

< 17.5 - Ultra fine merino 17.6-18.5 - Superfine merino < 19.5 - Fine merino 19.6-20.5 - Fine medium merino 20.6-22.5 - Medium merino 22.6 < - Strong merino [Or] < 24.5 - Fine 24.5-31.4 - Medium 31.5-35.4 - Fine crossbred 35.5 < - coarse crossbred

Cleaning and scouring Wool taken directly from the sheep is called "raw" or "grease wool." It contains sand, dirt, grease, and dried sweat (called suint); the weight of contaminants accounts for about 30 to 70 percent of the fleece's total weight. To remove these contaminants, the wool is scoured in a series of alkaline baths containing water, soap, and soda ash or a similar alkali. The byproducts from this process (such as lanolin) are saved and used in a variety of household products. Rollers in the scouring machines squeeze excess water from the fleece, but the fleece is not allowed to dry completely. Following this process, the wool is often treated with oil to give it increased manageability. Differences between woolen and worsted In the spinning operation, the wool roving is drawn out anti twisted into yarn. Woolen are chiefly spun on the mule spinning machine. Worsted yarns are spun on any kind of spinning machine mule, ring cap or flyer.

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The differences between woolen and worsted yarns are as follows:

Woolen Worsted Short staple Carded only Slack twisted Weaker Bulkier Softer

Lang staple Carded and combed Tightly twisted Stronger Finer, smoother, even fibres Harder

Physical and Chemical Properties of Wool 1. Strength Wool fibres are weak but wool fabrics are very durable. The durability of wool is the result of the excellent elongation and elastic recovery of the fibres. Fibre strength is not always an indication of durability since flexibility of the fibre and its resistance to abrasion is also important. The tear strength of wool is poor. Wool is fair abrasion resistance. Flexibility of wool is excellent. They can be bent back on themselves 20,000 times without breaking. 2. Resilience Wool is a very resilient fibre. Its resiliency is greatest when it is dry and lowest when it is wet. It a wool fabric is crushed in the hand, it tends to spring back to its original position when the hand is opened. Because wool fibre has a high degree of resilience, wool fabric wrinkles less than some others; wrinkles disappear when the garment or fabric is steamed. Good wool is very soft and resilient, poor wool is harsh. When buying a wool fabric, grasp a handful to determine its quality. 3. Heat Conductivity As wool fibres are poor conductor of heat, they permit the body to retain its normal temperature. Wool garments are excellent for winter clothing and are protective on damp days throughout the year. The scales on the surface of a fibre and the crimp in the fibre create little pockets or air that serve as insulative barriers and give the garment greater warmth. 4. Absorbency Initially, wool tends to be water-repellent. One can observe that droplets of water on the surface of wool fabrics are readily brushed off. Wool can absorb about 20% of its weight in water without feeling damp; consequently, wool fabrics tend to feel comfortable rather than clammy or chilly. Wool also dries slowly. 5. Cleanliness and Wash-ability Dirt tends to adhere to wool fabric. Consequently, wool requires frequent dry cleaning or laundering if the fabric is washable. Extreme care is required in laundering. Wool is softened by moisture and heat, and shrinking and felting occur when the fabric is washed. Since wool temporarily loses about 25% of its strength when wet wool fabrics should never be pulled while wet.

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To control the possibility of shrinking or stretching when laundering a wool sweater or a similar garment, wash it in cold water with an appropriate detergent. To dry the garment, roll it in a towel, squeeze gently to remove as much moisture as possible then spread it out to its original shape on a towel or heavy cardboard. 6. Effect of Heat Wool becomes harsh at 212°F (100°C) and begins to decompose at slightly higher temperatures. Wool has a plastic quality in that it can be expressed and shaped at steam temperature, whether in fabric as for slacks and jackets, or in felt, as for hats. 7. Effect of Light Wool is weakened by prolonged exposure to sunlight. 8. Resistance to Mildew Wool is not ordinarily susceptible to mildew, but if left in a damp condition, mildew develops. 9. Reaction to Alkalis Wool is quickly damaged by strong alkalis. The alkali test can be used to identify wool and wool blends. The wool reacts to the alkali by turning yellow, then becoming stick and jellylike, and finally going into solution. If the fabric is a blend, the wool in the blend will disintegrate, leaving only the other fibres. Mild alkali-in warm or cool water-can is used in scouring the raw wool fibres to remove grease. 10. Reaction to Acids Although wool is damaged by hot sulphuric acid, it is not affected by other acids, even when heated. Acids are used in the manufacture of wool fabrics to remove cellulose impurities, such as leaves or burrs that may still be in the fabric after weaving. This treatment is called carbonizing. 11. Affinity for Dyes Because of their high affinity for dyes, wool fabrics dye well and evenly. The use of chrome dyes assures fastness of colour. A variety of other dyes may be effectively used. 12. Resistance to Perspiration Wool is weakened by alkali perspiration. Garments should be dry cleaned or washed with care to avoid deterioration and odor. Perspiration, generally, will cause dis-coloration. 13. Flammability Wools burns very slowly and it self-extinguishing. It is normally regarded as flame-resistant. For curtains, carpets and upholstery to be used in trains, planes, ships, hotels and other public buildings, wool is often given a flame-retardant finish.

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14. Press Retention Wool also has good press retention. It takes and holds creases well. Creases are set by use of pressure, heat and moisture. During pressing the fibre molecules adjust themselves to the new position by forming new cross-linkages. Creases in wool are not permanent, however, since they can be removed by moisture. End Uses Overcoats, suits, dresses and underwear are commonly made from wool. In addition to clothing, wool has been used for carpeting, felt, wool insulation and upholstery. Wool felt covers piano hammers and it is used to absorb odors and noise in heavy machinery and stereo speakers. Different Grades of Wool 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-fines, 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. Behavior of Wool fabrics

• 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.

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• 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.

• 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

• Wool is one of the easiest fibres to cut and sew. • Other fabrics are difficult to cut and also sew • 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.

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 few colours –shades

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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. 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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SILK • Silk is a "natural" protein fiber, some forms of which can be woven into textiles. • A fine lustrous fiber composed mainly of fibroin and produced by certain insect larvae

to form cocoons, especially the strong, elastic, fibrous secretion of silkworms used to make thread and fabric

• Silk is often referred to as "the queen of the fibres. • The shimmering appearance for which silk is prized comes from the fibres' triangular

prism-like structure which allows silk cloth to refract incoming light at different angles. • Silk is also the strongest natural fiber known to man

• The life cycle of the silk worm begins with eggs laid by the adult moth. • The larvae emerge from the eggs and feed on mulberry leaves. • In the larval stage, the worm is the caterpillar known as the silkworm. • The silkworm spins a protective cocoon around itself so it can safely transform into a

chrysalis. • In nature, the chrysalis breaks through the cocoon and emerges as a moth. • The moths mate and the female lays 300 to 400 eggs. A few days after emerging

from the cocoon, the moths die and the life cycle continues. • The cultivation of silkworms for the purpose of producing silk is called sericulture.

SERICULTURE Breeding silkworms

• Only the healthiest moths are used for breeding. • Their eggs are categorized, graded, and meticulously tested for infection. Unhealthy

eggs are burned.

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• The healthiest eggs may be placed in cold storage until they are ready to be hatched.

• Once the eggs are incubated, they usually hatch within seven days. • They emerge at a mere one-eighth of an inch (3.2 mm) long and must be maintained

in a carefully controlled environment. • Under normal conditions, the eggs would hatch once a year in the spring when

mulberry trees begin to leaf. • But with the intervention of Seri culturists, breeding can occur as many as three

times per year.

Feeding the larva • The silkworms feed only on the leaves of the mulberry tree. • The mulberry leaves are finely chopped and fed to the voracious silkworms every

few hours for 20 to 35 days. • During this period the worms increase in size to about 3.5 inches (8.9 cm). • They also shed their skin, or molt, four times and change color from gray to a

translucent pinkish color. Spinning the cocoon

• When the silkworm starts to fidget and toss its head back and forth, it is preparing to spin its cocoon.

• The caterpillar attaches itself to either a twig or rack for support. • As the worm twists its head, it spins a double strand of fiber in a figure-eight pattern

and constructs a symmetrical wall around itself. • The filament is secreted from each of two glands called the spinneret located under

the jaws of the silkworm. • The insoluble protein-like fiber is called fibroin. • The fibroin is held together by sericin, a soluble gum secreted by the worm, which

hardens as soon as it is exposed to air. • The result is the raw silk fiber, called the bave. • The caterpillar spins a cocoon encasing itself completely. It can then safely transform

into the chrysalis, which is the pupa stage. Stoving the chrysalis

• The natural course would be for the chrysalis to break through the protective cocoon and emerge as a moth. However, sericulturists must destroy the chrysalis so that it does not break the silk filament.

• This is done by stoving, or stifling, the chrysalis with heat. The Filature Sorting and softening the cocoons

• The filature is the factory in which the cocoons are processed into silk thread. • In the filature the cocoons are sorted by various characteristics, including color and

size, so that the finished product can be of uniform quality. • The cocoons must then be soaked in hot water to loosen the sericin. • Although the silk is about 20% sericin, only 1% is removed at this stage. • This way the gum facilitates the following stage in which the filaments are combined

to form silk thread, or yarn

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Reeling the filament • Reeling may be achieved manually or automatically. The cocoon is brushed to locate

the end of the fiber. • It is threaded through a porcelain eyelet, and the fiber is reeled onto a wheel. • Meanwhile, diligent operators check for flaws in the filaments as they are being

reeled. • As each filament is nearly finished being reeled, a new fiber is twisted onto it, thereby

forming one long, continuous thread. • Sericin contributes to the adhesion of the fibers to each other.

Packaging the skeins

• The end product, the raw silk filaments, is reeled into skeins. • These skeins are packaged into bundles weighing 5-10 pounds (2-4 kg), called

books. • The books are further packaged into bales of 133 pounds (60 kg) and transported to

manufacturing centers. Forming silk yarn

• Silk thread, also called yarn, is formed by throwing, or twisting, the reeled silk. First the skeins of raw silk are categorized by color, size, and quantity.

• Next they are soaked in warm water mixed with oil or soap to soften the sericin. The silk is then dried.

• As the silk filaments are reeled onto bobbins, they are twisted in a particular manner to achieve a certain texture of yarn.

• For instance, "singles" consist of several filaments which are twisted together in one direction. They are turned tightly for sheer fabrics and loosely for thicker fabrics.

• Combinations of singles and untwisted fibers may be twisted together in certain patterns to achieve desired textures of fabrics such as crepe de chine, voile, or tram.

• Fibers may also be manufactured in different patterns for use in the nap of fabrics, for the outside, or for the inside of the fabric.

• The silk yarn is put through rollers to make the width more uniform. • The yarn is inspected, weighed, and packaged. Finally, the yarn is shipped to fabric

manufacturers. Degumming thrown yarn

• To achieve the distinctive softness and shine of silk, the remaining sericin must be removed from the yarn by soaking it in warm soapy water.

• Degumming decreases the weight of the yarn by as much as 25%. Finishing silk fabrics (weighting)

• After degumming, the silk yarn is a creamy white color. It may next be dyed as yarn, or after the yarn has been woven into fabric.

• The silk industry makes a distinction between pure-dye silk and what is called weighted silk.

• In the pure-dye process, the silk is colored with dye, and may be finished with water-soluble substances such as starch, glue, sugar, or gelatin.

• To produce weighted silk, metallic substances are added to the fabric during the dying process.

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• This is done to increase the weight lost during degumming and to add body to the fabric.

• If weighting is not executed properly, it can decrease the longevity of the fabric, so pure-dye silk is considered the superior product. After dyeing, silk fabric may be finished by additional processes, such as bleaching, embossing, steaming, or stiffening

KINDS OF SILK (Silk refers to cultivated silk) Wild or Tussah Silk

• The silkworms that hatch from a wild species of moth live on oak leaves instead of mulberry leaves that form the food of the cultivated species.

• This coarser food produces an irregular and coarse filament that is hard to bleach and hard to dye.

• The tannin in the oak leaves gives wild sill: its tan colour. • Wild silk is less lustrous than cultivated sills, as only a low percentage (about 11%) of

sericin is removed in the degumming process. • Wild silk fabrics are durable and have a coarse, irregular surface. They are washable

and are generally less expensive than pure-dye silk. • Doupion Silk

o Doupion silk comes from two silkworms that spin their cocoons together. The yarn is uneven, irregular, and large in diameter.

• Raw Silk o Raw silk refers to cultivated silk-in-the-gum. Raw silk varies in colour from

gray-white to canary yellow but since the colour is in the sericin, boiled-off silk is white.

• Reeled Silk o Reeled silk is the long continuous filament, 300 to 1600 yards in length.

• Spun Silk o Spun silk refers to yarns made from silk from pierced cocoons and waste silk.

• Waste Silk o Waste silk is comprised of the tangled mass of silk on the outside of the

cocoon and the fibre from pierced cocoons. 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. 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.

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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. 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.

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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 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.

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Habutaimeans ‘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. Matkais 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. 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

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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 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)

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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.

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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 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. Alenconlace 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.

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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. 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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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. 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.

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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-zigzag 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.Mosthave 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. 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

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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 selectionof 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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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 Raschelknits . 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.

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c) Stitch is every individual loop.

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) b) purl stitch

c) c) miss stitch

d) 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’ i.e. an unraveling of adjoining stitches.

b) Rib –in these wales of knit stitches alternate with wales of purl stitches. (e.g. 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, men’s 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.

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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 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) Raschelknitting can producefabricsranging 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, and 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.

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Selecting Thread 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: Over locked, double –stitched, stretch overedge 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: Over locked, double –stitched and plain seams; zigzagged edges; 12-16 stitches per inch [setting 2.5-2] Medium weight knits: over locked, double-stitched, and plain seams; over locked and zigzagged edges; 12 stitches per inch (2.5)

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NON WOVENS Synthetic Suede , Leather , Rexine

Synthetic suede is a non woven, softly napped polyester /polyurethane fabric that closely resemble 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. 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

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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. 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

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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. 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.

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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. 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.

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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. 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 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 Concealed or invisible zipper-are structured differently from other zippers and are applied in a special way, so that they disappear into a seam. 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.

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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,and then clamped to the fabric. Snap fastener tape- comes with regular or no sew snaps in three sizes. It permits multiple snap applications at one time. Sold by the meter, or in pre cut lengths. 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 comes with medium hooks and eyes attached to cotton tape. Permits multiple hook and eye application at one time. Sold in neutral colors by the meter. 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.