It’s being demanded that Designers look at meeting the consumers needs

which includes resource conservation as well as respect for the global society
and care of the environment
1. Resource conservation -
 Land – renewable fibres and renewable raw materials (biomass)
 Water – fabric selection, finishing, cotton fibre, denim, cosumer care
 Energy – greenhouse emmn (co2), recycle fibre like poly and nylon to
reduce, consumer solar drying (line drying)
2. Consumption – Billions of clothing produced every year which cannot be
all consumed and is permanently removing resources from textile supply
chain
 Consumption patterns – many sources of shopping, apps, online,
sameday delivery, not just physical store so less quantity is needed.
Can reduce the number of seasonal clothes, stick to 2 like summer
and winter
 Production capacity - therefore as seen from above, it is not required
to increase production to increase annual sales and profitability.
Designer must a) learn to produce interesting apparel that reflects
new paradigm, b) such that they motivate consumer to buy value
clothes that can be reused and recycled
 Collection know how – tech clothes have value, so not readily
disposed of, but used again. NGO’s sell donated clothes and sell to
textile recycles, large portion is incinerated for power (usually oil-
based fibres: polyester/nylon). Clean collecting: just denim
3. Society and environment respected – by selecting recycled and
recyclable materials, use fair labour practices, pay attention to waste
generated in production and in consumers hands. Be innovative: zero
cutting waste, efficient sewing labour, sustainable materials, design
products with more than one life.
a. How to value skilled workers? – designers must engage in creating
designers produced using fair labour practices. (eg. Nike issue in
Taiwan)
b. Large quantities of discarded clothing from developed nations
imported to poor countries prevent new manufacturing jobs or
exports which is needed for country economic growth
c. Consider volume of waste generated, how locals are impacted
Supply chain steps (from new fabric to waste)
1. Natural fibre – ranchers, herders, farmers-plants: cotton, soy &
Manufactured fibre– oil or plant based. Farming, water usage,
chemicals to treat, energy. Synthetic fibres – depletion of oil resource,
water usage, chemical treatment, energy.
2. Yarn mills – diff types: create texture, elasticity, drape, dye & knitted
3. Textile mills – produce greige fabric, knitted or woven
4. Finishing mills – convert greige into recognizable fabric involves scouring
and bleaching (prepared for dyeing/printing PFD / PFP), adding colour
and images (dyeing and printing), adding aesthetics or functional
finishes e.g ripped, beads, burnout
5. New sample fabric ready – approx. 5-6 months production tme from
fiber production to final finishing. Large converter mills: buy greige and
finish (convert), Large vertical mills (chemical companies): does all
production produce fiber, yarn, greige, finished fabric. Small mills (fabric
mills) often very good at developing fabric, but use independent sales
force to show and sell, usually family owned
6. Designer sources fabric – from textile trade shows: (Paris, Shangai, NY,
LA, Como, Florence, Prato, Hong Kong, Hamburg) or sales agencies:
agents sell mill’s fabrics, samples and sample yardage: select fabric
(hangers/sample cards) and/or sample yardage 3-15yd/m to test on
garment, retail buyers approve before fabric ordered. Design and
Merchandising teams: help determine fabric selection, can take up to 6
weeks to make decision, there after production staff order from sales
agent. Jobbers: buy leftovers, slightly damaged, cancelled orders from
mills and garment companies. Good for start-up designers looking for
small amount immediately available and less expensive than retail fabric
stores.
7. Recycling textile waste – discarded garments, factory and mill waste
should not be shipped to landfills, technology exists to recycle.
Designers responsibility to select reusable or recyclable fabric,
sustaining future of textile supply chain

Fabric Orientation – planning garment design requires fabric description in

terms of direction and placement. Grain line direction greatly influences the
performance of the fabric in silhouette placement will influence texture, colour
and pattern matching.
Must know nap direction of brushed or cut-pile fabric. One way image on
fabric must have pattern pieces cut in same direction.
 Straight grain (warp) – strongest direction on fabric best at resisting
pulling and tearing, called warp in woven fabric, called straight grain in
knitted fabric.
 Cross grain (weft) - direction provides a little give or slight fabric
expansion to accommodate body expansions like sitting, breathing,
called weft in woven fabric, called cross grain in knitted fabric.
 Bias – diagonal grain, always at 45 degrees, creative grain, cause fabric
to be stretchable and drapey/flexible.
 Selvage - helps stabilize edges for cutting, the finished edge of woven
fabric, in knitted fabric it can be the cut edge.
 A Piece - only terms roll or piece used for fabric shipment, usually 50 or
100yd (50 or 100m)
Fibre - basic building block of all textiles, tiny hair like strands that are
combined to create yarn and fabric. Two types: Staple & Filament
 Staple fibre are short strands where high quality ones are finer and
longer, low quality ones are coarser and shorter.
o Natural fibre: plant fibre(cellulose) seed fibre – cotton, kapok.
Bast (stem) fibre- flax(linen), hemp, ramie, bamboo, nettle, kenaf,
jute. Leaf fibre- sisal, abaca. Animal fibre (protein) - fleece from
sheep, wool, merino wool. Specialty fleece – mohair (from angora
goat) Specialty hair – cashmere, camel hair, alpaca
o Manufactured fibre: in chemical plant. Manufactured staple
fibre-Regenerated cellulosic fibre (plant+chemical) - viscose rayon,
lyocell. Synthetic (oil based+chemical) – polyester. PET polyester
(plastic bottles). Nylon. Acrylic & mod-acrylic
Can blend one or two fibres into a single yarn which changes
fibres characteristic. E.g wrinkle resistant when bled cotton with
wool, but can shrink (know +ve and -ve characteristic pg 28-29)
 Filament fibre are continuous strands where high quality ones are finer
and stronger. Occurs as natural fibre and is the initial phase in producing
all manufactured fibre. Spiders and silkworms produce continuous
smooth fibre.
o Manufactured filament fibre: chemical compound is passed
through a spinneret to form filament fibres imitating silk fibre was
original goal but Rayon is new silk for low cost and for mass
production.
 Manufactured fibre Process: diameter and shape of
filament fibre determines hand, weight and function of
fabric, 4 main shapes – round (smooth& lustrous), lobed
(bright sheen-like an earing), serrated (textured & dull),
hollow (very lightweight)
o Types: Microfibres (extremely fine, very flexible) are produced in
polyester (for athletic apparel- wicking & moisture resistance),
nylon and acrylic. Some used for extremely soft & light weight
drapey fabrics
o Manipulation: Texture: can be crimped or kinked to imitate
cotton or wool texture. Texture creates elasticity in non-elastic
fibre. Bi-component (forms one filament containing 2 separate
fibres) when heat is applied fibre responds unevenly.
Performance: modified to enhance moisture management;
wicking, absorption, water & stain resistance, anti-bacterial,
shrinkage, thermal insulation.
o Recycled fibre: some nylon and all polyester which are oil-based
can be chemically recycled. PET fibre can be recycled into new PET
fibre. Natural fibre like cotton difficult to recycle but collecting cut
waste. Wool can be recycled but no longer common. Select
materials that are not blends & sewing threads that can be
recycled in same manner as the fabric.
 Closed loop - nearly all unused products are recycled into
new production, minimal waste, but emissions may release.
 Chemical recycling – fibre, fabric & garments can be
reformed into the same or higher quality fibre using
chemical process
 Regenerated cellulosic filament fibre - types include;
cellulosic filament fibre (plant +chemical), acetate,
viscose rayon, lyocell rayon, bamboo rayon, {PLA &
Soy-closed loop production} pg 31.
 Synthetic filament fibre: include; polyester (virgin
and PET), nylon, elastic fibres – spandex &
 elastoester, metallic, carbon fibre, synthetic spider
silk. Natural filament fibre – silk, spider silk


Concerns in fibre production

Social and environmental impact - Water use: cotton issues with water, plus
only a third of the harvest is useable. Hemp, bamboo and flax (linen) use less
water and have a higher yield. Energy use: manufactured fibre consumes high
energy but less water, fibre production is however very efficient. Emissions
generated: Crop chemicals and manufactured fibre production generate
unhealthy emissions.
Conservation of fibre supply – innovations on how to recover fibre already
produced. Mechanical reuse of fibre: cut cotton waste now made into new
yarns and wool fabrics recycled to new products. Recycling into new, high
quality fibre: All polyester and certain nylon fibre can be chemically recycled,
create garments that can be deconstructed and turned into new fibre.

Yarn – continuous strand produced from various staple or filament fibres or

other materials. Must be strong enough to be interlaced or looped together.
Invented by twisting staple fibres together (spinning) to create continuous a
strand. Same process for filament fibres except less twisting/spinning is
needed. The higher twist = stronger yarn and direction of twist influences
texture. Three basic yarns:
1. Spun yarn – uses staple fibres twisted together. Long fibres will produce
smooth yarn like high quality combed cotton yarn or worsted merino
wool yarn. Short fibres produce coarse, dull yarn like low quality carded
cotton or PET polyester staple fibre. 20% loss fibre but captured and
made into low quality spun yarn. Yarn count Size 12- heavy denim, size
60 – fine shirting. Spun carded yields twill & denim. Spun combed yields
lawn and challis fabric.
2. Monofilament yarn – uses only one filament fibre as yarn like spandex or
metallic fibre. E.g silk satin
3. Multifilament yarn – uses filament fibres only like filament silk,
polyester, or rayon.E.g polyester satin. Almost no fibre waste. Two types
  Textured yarns that create elastic, bulky yarns
 Smooth yarns that create lustrous & sometimes shinny yarns
High quality multifilament yarns judged by fineness and perceived
value of fibre used. Like silk filament yarns over polyester yarn. But to
athletic apparel designer the nuances of performance polyester fibre
is highly valued. Yarn count denier (D) size 15D – lightweight lingerie,
100D – backpacks.
The yarn used in fabric- greatly influences the hand, drape and
appearance and important factor to determine cost. Two main
categories. (pg 34 pictures)
o Simple yarn – One consistent fibre content. We have single yarn
and piled yarn
o Complex yarn – Multiple combination of fibres and yarn. Also have
single and piled yarn but also elastic piled yarns
QUESTION: Understand how yarn and fibre interact with each other –

Fabrics – is the medium of the garment designer, 2 dimensional, flexible

surface transformed into 3 dimensional form thru vision of designer. Fibre and
yarn help determine hand and drape, but overall performance of fabric
depends on how the fibre or yarn is used during construction and finishing.
Fabric is produced using one of 4 methods:
1. Massing - massing fibre together creates fabric, (no need to 1 st produce
yarn). Understand characteristic of fibres and what will hold fibres
together to produce 2 dimensional surface. Can be shrunk, melted or
tangled together.
2. Weaving – requires yarn production first, their strength and texture of
yarns determine features for woven fabric.
3. Knitting – requires yarn, yarns can be less strong than for weaving,
allowing wide variety in yarn and greater texture for knitted fabric
4. 3D printing – is now developing to produce fabric, tiny links like very
small chain mail for fabric
Environmental impact – Fabric production requires machinery, tech expertise,
access to yarn mills, efficient use of labour. Both fibre and fabric production
impact available clean water, use of energy, emissions & chemical waste.
 o Mill waste - yarn released from loom & selvage trim
o Energy use – significant power use, consider how energy s generated,
use regional energy soureces like solar, wind, water especially in
production of sustainable fibre like organic cotton or recycled polyester
Recycling textile products – method – by shredding and use the fibre in felted
or fiberweb fabrics.

Nonwoven – E.g
Felt where fibre
massed together,
moisture heat &
pressure. Wool
felt hats, polyester
interlining and
packaging.

Balanced Weaves

Twills and satin

Weaving - done on a loom by interlacing 2 or more yarns at right angles, these
warp and weft yarns construction distinguish weaving fabrics. Mostly rigid,
little stretch.
4 main weave structures: plain, basket, twill and satin weave
Other special structures: jacquard, terry (loop pile), corduroy & velvet (cut
pile), momie crepe and dobby weaves
 Production slower than knitted fabric
 The more yarn used the higher the density and more opaque, the less
yarn used the lower density and more sheer
Knitting – can be done with 1 or more yarns, looped stiches create fabric.
2 methods of producing – weft knitting & warp knitting
Weft – Single knit ( jersey, sweater), Double knits (interlock knits, ribbed knits,
bottom-weight double knits)
Warp – Tricot knit, Raschel knit (netting, mesh, powernet, thermal knit, raschel
lace, raschel)
Others: looped pile knits (terry), cut pile knits (velour, faux, fur), jacquard knits
 Faster production than weaving
 Very efficient with machinery
 Softer more drapey, easier to fit
 Great variety in texture and patterns
 Can produce seamless garments
Negatives include
 Not wind resistance due to loops
  Snag easily
 Stretch out of shape easily
Colouring – colour added by dyeing or adding images via printing .
Colour fastness –
 fading (loss in sun/dry cleaning fumes)
 bleeding (loss in water) and
 crocking (loss due to abrasion like jeans in thigh area)
Types of synthetic dyeing -
 Dyes – require water or chemicals, fixing agent and rising off excess dye
 Disperse dyes – require heat and pressure, chemicals--fixing agent, no
water. For polyester fibre only, excellent colour fastness
 Pigments – require binding agent and heat. Moderate to poor
colourfastness. Not much water needed
Natural dyes
 Beetroot, red cabbage, onions etc
 Some flowers (hibiscus, sunflowers, dandelions, marigolds, bougainvilla)
 Berries and tannin-containing seeds/leaves, black beans
o Clothes can be soaked in Black beans
o Flowers hammered into cloth
o Tie and dye with turmeric

Natural vs Synthetic dyes

Natural dyes tend to be used in developing countries. But there’s little
opportunity to clean waste water which has fixing agents and is poured
into fields and open water systems. Synthetic are used in large volume
dyeing mills and there is often more opportunity to treat waste water
before it is put back into local water supply.
Environmental impact of dyeing and printing
Can pollute drinking water systems.
Concentrations of heavy metals and salts
Energy used in heat needed to dissolve dye and chemical binding
 Guide production to
 Avoid dyes that use heavy metals
 Use dye that absorb 80% or more of dyes
 Insist on dyers managing a clean dyeing mill, safety of workers,
community, conserving water & energy
5 methods of dyeing
1. Pre-fibre dyeing
2. Fibre dyeing
3. Yarn dyeing
4. Fabric dyeing (Tie & dye: shibori, Batik (wax-resist))
5. Garment dyeing
4 basic types of printing
1. Screen-printing
2. Roller printing
3. Inkjet / digital printing
4. Heat transfer printing
Finishing - applied to enhance how fabric looks and feels (aesthetics) or to
improve function of fabric.
4 types of finishes (degree of durability)
 Temporary – removed after one cleaning/laundry
 Semi durable - remains after several cleanings, may be renewed
 Durable – remains for life of product but may diminish
 Permanent – remains without diminishing
AESTHETIC FINISHES – change the hand, appearance, texture of a fabric
Aesthetic mechanical finishes – applied physically sometimes with heat &
pressure, no water and chemicals. Less polluting. - Embossing, pleating,
embroidery, napped, velvet, velour, sueded, fulling, beetling
Aesthetic chemical finishes – applied with chemicals and heat, may include
water. – Mercerizing, stiffness, anti curling, sizing, pleating, enzyme wash,
stone wash, coating, silicone, flocking, burnout
FUNCTIONAL FINISHES – enhance performance. Current technological
advances allow the fiber’s usual characteristics to be altered E.g absorbent
cotton changes to resist water absorption, nonabsorbent polyester changes to
absorb water. E.g napping, polar fleecing, flame retardant, UV protective
 Athletic apparel has superior performance due to finishing
 All functional finishes are chemically applied except for napping
 Anti shrinking finishes are important in fit & performance
 Application in moth proofing, insect repellent, odur control etc
HIGH PERFORMANCE FABRICS
Staying warm -
o using quilting (inside 2 layers is down/feather, fiberfill, wool, cotton,
kapok batting)
o using layering of garments (polar fleece with outside layer wind
breaker jacket, add wicking underwear.
o Bonding / laminating fabric together (thermal side & water resistance
side)
Staying dry – 3 types of moisture management
o Moisture wicking - moisture moves from wet to dry area on textured
surface, dries quickly and remains light weight, skin chaffing
minimized for athletes.
o Moisture (water) resistance – water repellent, water resistance,
waterproof
o Moisture absorption – moisture soaks into fabric, evaporates and
cools the skin

Environmental Impact of aesthetic and functional finishing

Safety of the wearer as chemical can be absorbed by skin
o Bleach and other finishing chemicals in denim washing.
o Anti microbial finishes that kill bacteria on fabric may also kill good
bacteria on skin
o Nano finishes chemical to change fabric characteristics like wrinkle and
stain resistance can also be absorbed into skin
o Water and stain resistance finishes like PFC can be dangerous to human
health, alternatives are available
 o Flame retardant finishes are toxic to humans, seen in furniture fabrics,
matresses and pillows
o Microencapsulate finishing – show great promise in consumer goods but
still be studied
Safety on for the environment as chemicals used and the discarding of
products is of concern
o The lifespan of finishes must be understood
o Research how to reuse and recycle cotton fibre more effectively

GARMENT CARE
80% of all energy and water is used in consumers efforts to clean their apparel
therefore must provide simple and efficient care instructions that consider use
of energy and water! Provided by the mill but must be verified & up-to-date
Environmental impact of garment care
Laundry – reduce energy - use cool water, reduce water -clean only when
absolutely necessary, avoid unnecessary dyes and perfumes in detergents.
Avoid chlorine bleach. Avoid tumble dryer. Use an extractor to remove
moisture. Line dry or flat dry. Avoid dry cleaning as some chemicals used
harmful to workers like PERC. Some are environmentally safe like Co2. Store
dry cleaned clothes in well ventilated rooms

TEXTILE DIRECTORY
 Fabric must reflect designers’ intentions and so must understand fabrics.
 Multifilament yarns imply dressy fabric? -check this. Multifilament
threads example rayon and polyester?
 Deep folds in garment reflect there is some weight
 For napped fabric like velour, must consider direction of nap
 Size and texture of yarn and tightness of knit determines weight and
texture of a knit
 Manufactured fibres like acrylic or polyester are much lighter than wool
Structure – form that stands away from the body and can create line
through shaping and seam detail
 Consider surface texture and finishing techniques, so can be grouped
into tailored career wear and casual and weekend wear
 Fibre content is key in how structural fabric is used, e.g wool fibre
content generally viewed as tailored career wear and cotton fibre
content, casual wear
 Characteristics -
o Drape (must stay in place when released, wh allows fabric to
show/hold a seam like denim. So seam detail an element of
design. Woven fabrics better for structure as stiffer due to yarn
type and construction.
o Weight (heavy enough to hold shape, medium to heavyweight
 Finishing mills now focus on fewer different fibre contents and fabrics,
rather finish them in ways that expands function
Structured dress description: Fabric has a crisp hand that does not fall fluidly
over the body, the skirt stands away from model as she moves. White colour
gives dress softer and lighter characteristics
Tailored coat description: Smooth lustrous fabric surface tailors extremely well
to show stitched edges and seams which highlights structured pattern
shape…….Structured cuff, layered, contrast sharp edges to fluid sheer fabric.
The hand of a fabric is affected by the shape; (round or flat), surface (smooth,
serrated, scaly) and configuration (crimpled/straight). It can be soft, dry, silky,
crisp, stiff, harsh, firm

Lightweight fabrics
Note: Polyester/cotton blends used to lower cost and for wrinkle resistance
 Lawn – lightweight, airy, cooling, favourite for hot weather clothing,
smooth surface, lustre & strength
 Calico (sheeting) - lightweight, inexpensive, slightly fuzzy surface, stiff
due to carded, coarse, low quality yarns used. Children’s clothing,
inexpensive shirts
 High density fabrics – for functional outdoor apparel. Comfortable, air
passes through, but resists moisture. No fabric finish added.
 Broadcloth - 100% cotton, fine horizontal ribs wh gives crisp texture.
Used for shirts and blouse details on collars, cuffs, pockets, button tabs.
Has varied fibre content. In silk fibre – good weight & drapes well, in
cotton/polyester blend it is one of most common fabrics in low cost
apparel.
 Poplin – Cross grain rib more visible than broadcloth. One of most
versatile fabrics, weight ranges from topweights for shirts and blouses
and very lightweight bottoms to medium weights for jackets, skirts.
Most likely blended fabric cos of ease of changing weft yarns.
(Nylon/cotton blend makes it strong).
 Checks & Plaids – geometric patterned, checks are 2 colours, plaids have
3 or more. Can be produced as printed images on any fabric. Pigment-
printed for low cost fabric. However dyeing yarn first before making into
fabric improves colour fastness.
 Oxford – one of most popular tailored shirting fabric. Used for more
casual button-down collared shirts. Texture achieved from unbalanced
basket weave. Always top weight fabric, sometimes used for dresses.
Cuts easily, holds seams well, easily topstitched. Can be dyed to produce
two-colour chambray effect. The smaller the yarns the highr the quality
of the faric. Pinpoint is high quality.
 Cire and Chintz (shine) – an inexpensive finishing to producing shiny and
lustrous fabric. Chintz is applied to smooth surface square-weave fabrics
like lawn or calico, chintz only lasts one wash. Cire applied only on
polyester square weaves to give wet look and is very durable.
 Seersucker and Plisse (puckered surface) – for hot weather apparel.
Seersucker often in 100% cotton but requires little or no ironing. Often
striped but checks and plaid available with puckers running in straight
grain direction. Medium weights used for summer suits, blazers and
pants. Plisse imitates the more expensive seersucker weave, light
weight, surface of lawn or sheeting heated or chemically treated to
produce puckers. Used in children’s clothing and inexpensive women’s
tops, Heat sensitive and uncomfortable in hot weather.
 Dobby weaves - leno weave creates little holes in fabric, always has
small geometric shapes woven in, mostly for summer apparel, but more
 expensive. Used extensively in high quality men’s and women’s shirts.
Only weaved, never knitted.
Top to medium weight
 Ripstop - designed to prevent fabric from ripping used extensively in
military for extremely durable field uniforms, parachutes, tents etc. Used
for camping gear and apparel, bags, extreme sports..
Top to medium weight
 Jacquard weaves (pg100) - expensive, most complex woven fabric used
today with curved intricate images woven into fabric using different
coloured yarns. Slow to produce expensive to purchase. 3 major groups:
Tapestry- machine produced imitating hand woven. Brocade- detailed
design on high-low images to resemble embroidery, heavy and
sometimes metallic yarns introduced. Damask- generally using one
colour or limited colour, images woven in combination of satin weaves
and plain ribbed weaves. Mostly fine yarns used for lustrous effect.
Usually floral images unit sometimes stripes used.

Mediumweight fabrics
 Taffeta – one of best known, rustling noise, fine, cross-grain ribbed
weave, very crisp. Ideal for full skirts, dresses & formal occasion
women’s wears. Iridescent colours (one colour in warp, another in weft)
make appealing like chambray. Always yarn dyed. Always multifilament
yarns used to create fabric. Multifilament yans reflect light differently,
colour changes as fabric moves. Very similar to poplin weave. Very
bright shinny yarns for women’s wear whilst dull yarns for snows ports
and other out wear uses. Lustre and crispness due to unbalanced plain
weave. Wrinkles badly, limited use.
 Faille and Bengaline - Faille is similar to taffeta but cross grain ribs more
pronounced. Always multifilament yarns. Faille always considered dressy
and formal fabric. Quite crisp hand due to ribs. Lustre and crispness
makes good for tailored designs like suits and sculptures silhouettes.
Less popular than taffeta cos more pronounced ribs can make difficult to
design. Bengaline is very similar to faille but ribs may be larger.
 Shantung – Uses irregularly shaped yarns, creating slubs on fabric
surface. It is similar to taffeta but different texture. Silk originally used,
 can be imitated in polyester, acetate & rayon yarns. Paired Silk worms
instead of single give heavier weight. Highly valued for men and women
formal apparel. Wrinkles badly.
 Sateen – Always use spun yarn, more highly twisted the more lustrous.
Used for softer yet tailored silhouette, when fibre content is cotton for
more formal appearance. Made from cotton or polyester, can be
pigment-printed or wet-printed.
 Bridal satin (pg 75) – Always uses texturized multifilament yarns. Densely
woven and limits snagging. Used in bridal gowns or formal dresses that
require full silhouette with minimum support – for sculptured designs,
holds shape well. Stitching may leave needle holes in sewing errors.
 Flannel (76) – Good for beginners. Wool-carded yarns, square plain
weave fabric for suiting and pants, fuzzy surface, front and back look
same. Can be medium to bottom weight depending on size of ayrn and
how densely yarns are compacted. There’s also top weight flannel with
brushed surface on one side only.
 Flannelette – same square weave construction as flannel but uses cotton
fibre and brushed mostly on surface side only. Extremely flammable.
Used in pyjamas.
 Linen - very popular those produced from flax fibre, very durable, very
resistant to pests, irregular shaped yarns with slubs give fabric its
appearance. Yarn size and density determine how fabric is used. Today
used for suiting pants, dresses and Jackets. Generally crisp hand but
sometimes soft-finished for very drapable hand. Very poor resilience,
severe wrinkling. Imitation linen fabric nearly eliminates wrinkling.
Softens with more washings.
 Sheeting - One of most common fabrics today for casual apparel, quality
dependent of fineness of the yarns. Little difference between calico and
solid-colour printing, Lighter yarns used for tops, thicker used in skirts,
dresses, pants, generally for inexpensive casual clothing. Percale is term
for bedding fabrics.
 Muslin – for design students, usually very light, 100% cotton, available in
variety of medium to light weight, unfinished, subject to shrinkage.
 Canvas (Duck, Sailcloth) (82) – basketweave fabric, strong, abrasion
resistant, heavy weight. An alternative to denim. For casual pants,
jackets, bags, shoes, work wear, furniture coverings, drapes and
awnings. Great for seaming and top stitching detail, crossgrain ribbed
 texture. 100% cotton, hemp/cotton and flax/cotton blends.
Polyester/cotton blends lighter and pils but wrinkle resistance.
Meduim to Bottomweight
 Fabrics form fibre (felt and other nonwovens) – nonwovens are fabrics
produced directly form fibre and includes massed fibre. Felted fabrics
are produced similar way to paper, moist, heat, pressure applied. Stiff,
bulky. Wool fibre most often used to create felt. Rayon fibre sometimes
blended for added softness. E.g faux suede, spun lace, massed polyester.
Thermoplastic fibres especially polyester used to produce non woven
fabrics for interlinings and other industrial uses
 Melton (pg110) – to create heavy winter coats, keeps out cold and
moisture, has non lustrous surface. Very dense cos its heavily fulled
(preshrunk). Looks and feels like felt. Wool blends with rayon, cashmere,
sometimes polyester and nylon. Most often dyed solid colours.
 Double knits (bottomweight Ponte di Roma, Pique) – Produced as a
yardage, not garment pieces that will later be stitched together. Popular
for tailored pants, suits, jackets. Resilient, rigid. The Knits can create
textured surfaces such as pique. Wool fibre replaced by textured
multifilament polyester yarns and acrylic yarns. Very easy to cut and
sew, does not roll up at edges. E.g b. Ponti di Roma, Interlock, Ribbed
knit.
 Coated Fabrics – to change character of original fabric. Durability often
related to coating purposes. Oilskin, wax, liquid rubber are natural
coatings applied to mainly plain weave fabrics, makes water resistant.
Polyurethane (synthetic) provides padding and insulation. Coating makes
more stiff, more lustrous surface. Used mostly for outer wear
 Microporous laminated fabrics - resists moisture (nonabsorbent shell),
yet allows body to expel perspiration through fabric. For outdoor
clothing, sking, rain gear, coats.
 Film fabric (plastic sheets) pg118 – bottom weight, usually produced
form plastic material, not porous or breathable. Must add absorbent
material on inside. Used is shower curtains, accessories, foot ware and
rain gear. Materials usually PVC, latex, a natural rubber also used. Film
can be laminated to cotton calico for children’s rain gear and other
options
 Leather – skin of animal divided into two categories; hides and skins.
Hides are from large animals like cows and are thicker than skins. Skins
 are from small animals like sheep or goats. Leather is napped to produce
soft surface, top grain leather (outside skin) is best quality, more
durable. Leather finishing is extremely varied to reflect current fashion.
There’s patent leather, embossed leather etc.
 Suede leather – is brushed or napped leather for a soft velvet-like
texture, soft hand and pliable drape. Luxurious. Used for small
accessories and fashion apparel, like fitted garments gloves. Thinner
than hides and somewhat easier to sew, contains many seams cos from
small animals, lambs and claves. Usually lined to prevent contact with
wearer’s skin and avoid crocking and discomfort, texture can be easily
snagged and can be expensive.
 Faux leather – designed to imitate animal leather or suede for lower cost
of materials, ease of cutting and sewing. More available and concerns
for animal treatment and environmental concerns. Can go beyond real
leather in colours and textures. Hand and weight is similar to real leather
& suede. No irregularities on fabric surface common in natural materials.
Available in yardage. Not breathable, can’t be resewn, extremely heat
sensitive. Content: Face- PVC or PU, Backing – 100% polyester or
polyester/cotton blend.
 Bonded and fused fabrics – creating reversible or two-sided fabrics.
Using adhesive glue or double sided fusible web and adding heat and
pressure. Add weight and stiffness, so usually for outer wear garments
of suit jackets. E.g Jacquard tapestry with tricot lining, soft pile with
vinyl, taffeta with polar fleece. Lining fabrics can also be bonded to fabric
to eliminate sewing labour. Shoes and handbags.

Bottom-weight fabrics
 Homespun – durable fabric for hand weaving, uses large yarns for
coarsely textures square weave. Highly priced for blazers and coats.
Coarse texture limit seam lines as design features since it adds bulk. Not
easily available for large production. 100% wool/cotton, wool & cotton
blends, polyester/rayon blends.
 Hopsacking - wool fibre, basket weave. Used in men’s suiting, jacket and
pant, popular is spring and summer seasons. Linen (flax) hopsacking is
very comfortable in hot weather and can be somewhat lustruous, tailors
extremely well, good drape. Limited availability in linen & wool blends.
  Denim – diagonal surface texture in left or right hand direction. Size of
yarns influence hand and drape, diagonal weave doesn’t affect the
softness, the finishing process used does. More wrinkle resistant than
bottom weight canvas. 100% cotton or hemp or linen, cotton spandex
blend.
 Gabardine – using worsted yarns, good drape, excellent wrinkle
resistance, twill-weave, so tightly woven that can sometimes resist
water, wonderful tailoring quality for designs that require seaming
detail. Flexible, produces beautiful rolled shawl collars and lapels, skirts,
pleated pants, one of most versatile used in tailored clothing, easily
manipulated. More expensive than poplin and flannel.
 Chino – twill weave, always cotton fibre, some cotton/polyester blends,
diagonal twill more noticeable than gabardine. One of most popular in
men’s pants, more drape than canvas or bottom-weight poplin, abrasion
resistant, easily available, must be pre shrunk before sewing.
 Serge - High quality wool suits, blazers, skirts and pants. Fine diagonal
lines on surface, not as fine as gabardine, slightly lustrous. Feels crisp.
Different coloured yarns to produce pinstripes which make more
conservative business attire.

 Calvary twill - used in Calvary uniforms. Raised very pronounced

diagonal twill easily recognised. Surprisingly soft drape. For riding pants
and other unique tailored ma let’s and pants. Supports more
exaggerated silhouettes

Bottom weight

 Ottoman- pronounced cross grain, heavy ribbed sometimes lustrous

surface. Ribs and lustre vary in size, not advised for fitted clothes more
suited to create sculptured silhouettes, need to balance weaves when
sewing.

 Dobby weaves for suiting- bottom weight dobby weaves provide

interesting texture and pattern like the top weight, for stylish suiting and
elegant attire. Fabric often has contrasting matte and lustrous surfaces.
Expensive, not easily available.
  Tweeds - not a weave, achieved by combining various coloured fibres
into irregularly spun yarn 🧶. Some tweeds are patterns of yarn woven to
create checks and plaids. Every designer should be able to recognise
houndstooth check and glen plaid well known patterns. Also know the
Harris tweed.

Bottom weight

 Velveteen - luxurious, expensive fabric, deep napped surface called cut

pile surface, shorter napped than velvet. Used for dresses, jackets, skirt
and pants.Direction of nap influences colour of fabric surface. Imitation
velveteen called flocked velveteen using flocking process.
 Corduroy- one of most versatile cut pile fabrics used in casual pants,
jeans, jackets and skirts. Noticeable by its brushed rows or ‘wales’ which
are always produced in warp direction so nap direction must also be
considered in design. The more the Wales per inch, the finer the wale
and the lighter the weight of the fabric.
 Brushed fabrics- unlike cut pile fabrics. Creates hairy or fuzzy third
dimension called a napped surface.

Support structure
 Purpose of Interlining (pg 128-129); For weight to light garment, sustains
silhouette in collar, button stans etc, support a design element that
needs to be shaped like fold lapel jacket
 Use fusible to achieve firm shape – shirt collar, waistbands, is a fast way
 Use non-fusible for high quality suiting
 How interlining is applied (pg 130)

Fluidity (pg 136-) – flowing over the body following human form,
aqueous movement of fabric is important, fabric chosen communicates
sensuality.
Soft drapeable fabrics that cannot support themselves are ideal.
How a fluid fabric performs is directly related to yarn used – highly twisted
yarns both spun and multifilament yard are key to these fabrics. Fibre content
is less important. Fabric construction is often knitted instead of woven cos
knits are generally soft to touch.
Characteristics of fluid fabrics – Drape, weight and movement.
Top weight
Balanced (square) plain weaves - A balanced plain weave is a fabric in which
the warp threads and the weft threads are equally spaced, and are identical or
similar in size. In addition to the same sett, the yarn is the same in the warp
and weft. The term can be used for a tabby weave or a basketweave.
 Chiffon – very light weight, often used as evening or bridal gown,
blouses, also in lingerie, night wear and undergarments. Silhouettes
must always be loose fitting. A square weave, always multifilament
yarns, loosely woven to achieve sheer see through appearance. 100%
silk, polyester or rayon. Eg printed chiffon, burnout chiffon, chiffon with
embroidery.
 Georgette – often confused with chiffon but the difference is the hand,
where georgette has somewhat rough surface texture and very drapey,
chiffon has a much smoother surface and not as drapey – due to type of
high twist yarn. More complex high twist in georgette make it more
expensive than chiffon. Can be produced in a range of sheernesses and
texture. Types: double georgette (plain weave), iridescent georgette,
georgette jacquard.
 Voile – most commonly produced in spun yarns. Somewhat sheer, cos
spun yarns are thicker. Has beautiful drape compared to lawn and may
cost more due to yarns used. Types: Cotton voile used for summer
blouses and dresses, drape works well for pleats and gathers. Wool
voile, not as common, heavier and not as sheer.
 Gauze – sheer cotton fabric of very low quality, uses simple low spun
yarns, confused with voile. Soft, absorbent surface, gathers and drapes
very well. Needs special attention in finishing to make sure fabric
performs as expected in garment. Very weak, use with more stable
fabric, create designs that wrap rather than sewn. For women’s tops,
accessories.
 Lining - function to conceal raw seam edges, reduce friction so always
light weight with smooth surface. Lining must never be shrinkable,
 colour fastness should also be checked. Best linings are produced from
multifilament yarns that give silk, silk-like appearance to inside garment.
Printed or contrast lining supplements design. Fabrics normally used for
garments can be used for lining like wool plaids, polar fleece, velvet.
Types: tricot lining, satin, cotton-plaid jacket lining, athletics jacket
lining, twill-weave jacket lining.
 Satin – smooth and shiny surface, satin weave often confused with silk
fibre. Multifilament yarns only, very flexible and drapey compared to
structure fabrics like bridal satin or sateen, more highly twisted m yarns,
have more drape than simple m yarns. For dressy blouses, dresses,
lingerie & undergarments. The hand varies depending on fibre content
(rayon, acetate, silk, polyester) and degree of yarn twist. Quality is
related to density. Types: charmeuse, printed satin, burnout satin.
 Crepe de chine (faille crepe) – lustrous and voluptuous fabric, a ribbed
weave, complex highly twisted crepe yarns like georgette. Its springy,
lively fabric and seam slippage less likely to occur cos of high twist yarns.
For dressy blouses, dresses and lingerie. Holds seam well and drapes
well. Types: polyester crepe, embroided silk , printed
 Challis - inexpensive (not highly twisted spun yarn). Production methods
mostly banned in industrialised nations as it produces toxic emissions
and chemical waste. It’s a square weave woven fabric, soft, slightly fuzzy
surface. Always spun NOT multifilament. Mostly in rayon which
increases soft hand. Mostly printed used in children’s and women’s tops,
dresses, skirts & shirts, Hawaiian print shirts instead of cotton as absorbs
dyes better. Good for soft pleats & gathers or bias cutting for loose
fitting
 Surah – elegant fabric, always multifilament yarns, creates lustrous finely
woven twill fabric. Light weight, and drapes, (twill weaves drape better
than plain weave) ideal for accessories like elegant scarves, neck ties.
Mostly as printed fabric, second only to satin as a printing medium, solid
colours show distinct twill
Top to medium weight
 Crinkled fabric (Crepeon) – warp direction crinkled surface, can be any
fibre content. Crinkled process allows to retain texture for lifetime. Best
to design with fewer seams. For blouses, dress, light weight pants and
jackets. Spun cotton yarns and fabrics give more casual rough texture
but polyester m yarns give more dressy smoother texture
 Jersey – knit stitches on face, purl on back, Most popular but least
recognised, cos its such a diverse fabric; size of yarn can distract that its
jersey. Variety distinguished by different fibre blends for texture and
hand. (cotton, cotton/poly, linen and ramie with poly, wool & wool
blends, polyester & blends, silk & blends, rayon & blends). Fine yarns for
light weight garments, hosiery (stockings, tights) and underwear, bulky
yarns for sweaters, socks, gloves, hats, scarves. Most common in
pyjamas, t-shirts, dresses, underwear, tops, lightweight sweaters and
tops. Does not require exact fitting cos of stretchability but Stretches out
of shape easily, not for fitted garment without adding elastic yarn
knitted in fabric. Fabric rolls when cut, anti-roll finish can be applied.
 Interlock - knitted fabric has appearance of jersey knit face on both
sides, rigid compared to single-knit jersey. Yarn determines drape; fine
multifilament yarns give more drape, spun yarns like cotton fibre or
rayon usually bigger and create bulkier fabric with less drape. Used in
men’s polo knit shirts cos holds seam very well, less likely to stretch out
of shape during cutting & sewing also used especially printed dresses &
blouses . Types: cotton interlock, bamboo rayon, polyester.
 Matte Jersey – Only multifilament yarns, a light weight knitted fabric
known for its drape & stability (little stretch), uses high twist crepe yarns
has recognisable crepe surface and hand but much less expensive than
woven crepe. Texture varies according to yarn. Has liveliness/sprinyness
of woven fabric but stretchiness of knit. Mostly for dresses and blouses,
sometimes for lounge wear. Mostly 100% polyester, frequently printed
 Fine-gauge sweater knits – spun yarns, always weft knits, gauge is no of
stitches per inch, difficult to see face & back stitches then means its fine
gauge. Full-fashioned sweater knits are always fin gauge, produced on
computerised knitting machine, advantage being no cut waste.
 Pointelle knits – spun yarns, weft knit fabrics can be produced in wide
variety of textures & patterns. Noticeable characteristics; designed using
regular patterns of spaces or holes with spaces arranged in distinctive
patterns combined with others knitted textures to produce lightweight
knits. Used for camisoles, lingerie, underwear, infant wear, fashion knit
shirts. Fine quality cotton or wool is used
 Mesh – top weight, mostly holes framed by tightly interloped yarns, yet
has soft, stretchable hand. Important for athletic garment (wh requires
quick cooling & drying functions), women’s lingerie and underwear.
 Inexpensive but creates very interesting texture. Can be used as jacket
or trouser lining for comfort avoiding skin contact with less comfortable
shell fabric. Mesh lining on snowboard apparel or cycling jackets act as
wicking layer moving body moisture away from body for fast
evaporation. Always simple multifilament yarns, varies from
nonfunctional to highly functional wicking & quick drying.
 Tricot – (top-medium weight) this knit is among most popular used in
apparel, important in interlining, lining, lingerie, underwear, swimwear
and athletic apparel. Used for under garments- slips, Inexpensive
smooth textured, provides strength (in straight-grain) without weight,
expansion (in cross-grain). Always multifilament yarns. Light weight.
Mostly polyester fibre used.
 Traditional lace – top eight. hand made lace required much skill and time
until invention of machines. These are made to imitate hand-made lace.
Important to Look out for one-way designs so pattern pieces are lined up
in same grain direction. Import to balance lace design on body so it does
not look lopsided, see through and not very durable. 3 types of machine-
made lace available. Used in Wedding dresses
 Mass- market lace – top weight, produced on high speed machines for
low cost imitation laces, inexpensive compared to tricot and traditional
lace, readily available, flat textured using simple m yarns, fabric width is
wide. These Raschel laces very light weight , strong in straight grain
direction. Used in inexpensive formal dresses, blouses, window
coverings and tablecloth, flatness makes suitable for lingerie and
underwear
 Lame – metallic surface now often applied by a resin coating or
laminate, soft, appear to be liquid metal when worn, used in variety of
dressy knits or woven fabric. Light weight lame woven with
monofilament yarns is somewhat drapey, used for costumes or trim but
not for most apparel because its weak. Usually in gold, silver, copper
yarns but today any colour metallic film cam be applied. 100% poly,
nylon/polymetallic blends
 Textured knits - uses different coloured yarns creates illusion of texture
and patterns of stitches can add depth. All knits have good drape
 Designed knit surfaces – knit wear has infinite variety in weight, texture
and fit depending on size & texture of yarns and how tightly yarns knit
 together. Types: raschel herringbone, cable sweater surface, bubble knit
surface. In 100% cotton, wool, polyester, silk and with blends.
 Satin crepe – top weight, use smooth multifilament on face and highly
twisted crepe yarns on back, gives soft drape and lustrous satin surface,
can use both sides of fabric (irreversible) for dresses and suits, dressy
apparel hence only multifilament yarns used
 Textured crepe suiting - middle weight, expensive, one of the most
beautiful fabrics produced in women’s apparel. Uses complex multi-
twisted multi filament yarns combined in a variety of weaves. Has
liveliness and resilience. Requires cut & sewing with caution cause highly
textured can stretch when cut causing fit problems.
 Smooth surface crepe – medium weight, expensive, all crepe use highly
twisted crepe yarns. Smooth surface crepe has even surface texture
using highly spun yarns or multifilament yarns, have soft drape, good for
jackets and suiting apparel, tailors extremely well showing fit lines and
pressing.
 Tricot for athletics – warp knit, using wicking yarn, 100% poly fabric
manages moisture, light weight, tightly knit smooth surface, drys very
quick, good for active sport, fabrics that remain wet can chafe the skin
and add weight. May also include spandex for compression.
 French terry – fleece and French terry almost the same except that
fleece has a brushed back surface and French terry a looped pile surface
on the fabric back. Both surfaces have smooth knit stitch. Popular for
hoodies or pullovers casual wear and now in pants, jackets, skirts.
Produces warmth. Always cotton or cotton blends, all cotton fleece
considered fire hazard should not be used.
 Polar fleece – medium weight, revolutionized outdoor apparel industry,
almost always uses light weight polyester fibre, gives warmth without
weight, replaced wool knit wear, dries quickly, resists pests and durable.
Can easily be worn year round. Used in pullovers, jackets, jacket lining.
100% polyester microfibre or regular fibre used or PET polyester (low
quality polyester fibre) can be used to produce polar fleece but must be
reinforced with acrylic, nylon or virgin polyester fibre. However,
microfibre polyester fleece pollutes environment as fibres break off in
laundry, consumers can instal micro fibre filters to clean washing
machines.
  Velour - medium to bottom weight, can be either knitted or woven, it
has deeper nap compared to velveteen. Knitted is less expensive and
more available the woven velour, is easier to fit, woven is however more
durable and used for interior products or outerwear and is bottom
weight. Knitted used in women’s tops, bottoms, robes, sleepwear and
accessories like gloves.
 Velvet – medium weight, considered one of most luxurious fabrics. Soft
deep cut-pile, always woven. Used for evening jackets & blouses& skirts,
coats, blazers, dresses, lingerie, lounge wear. Nap direction important,
and nap up especially recommended for velvet cos colour change in nap
down is quite noticeable. Quality is based on type of fibre, luxurious
velvet uses silk but commonly blended with rayon for soft drape effect
 Medium-weight sweater knits – almost always weft single knitting but
sometimes weft double knits. Made in pullovers with zippers or buttons,
can be shaped or less shaped, skirts and dresses. Yarn selection is most
important followed by colour and their combination which achieves
surface effects. Stripes, isolated colour shapes and tweed designs are
most common design elements in medium weight sweater knits
 Heavy weight sweater knits – intended for jackets or coats, bulky yarns
are used, fabric knitted more tightly to keep air out providing better
warmth. Mostly uses unfinished wool (which has lanolin for water
resistance) or non-absorbent fibre, can be lined for additional warmth
and also prevents stretching with sewn seams adding stability. Cable
stiches and flat knit stitches usually used. Coulr is added, tweed yarn a
favourite. Manufactured fibres like acrylic or polyester are much lighter
than wool.

Ornamentation (pg 192) - Creating details that enhance design.

Usually simple fabrics used and then apply decorative elements using cut fabric
or other trimming details that add visual texture to garment, provide focus or
contrast. Its divided into 3 major categories:
1. Contrasting fabric – cut for edging, boarders, collars, cuffs. Often same
fabric in different colour or different contrasting fabric. In this category
fabric uses colour, texture and shape – structured fabric to add
definition, fluid adds softness & sensuality, expansion enlarges,
 compression fabrics compress. Metallic ornamentation – metallic
polyester monofilament yarns used to create metallic embellishments.
2. Narrow yardage - provide colour and define edges, can be produced as
ribbon or other textures on garment as edging. E.g ribbon/piping, lace
edging, passementerie, trimmings. Others like fringes, patches or tassels
can be applied
3. Embroidery – uses special embroidery threads, machine produced
imitates hand produced, provides texture and colour, now computerised
to create very detailed design

 Contrast fabric shapes – are design elements wh include colour or

texture contrast, it identifies a designer’s style. Silhouette and sewn
seam details bring out quality of design. Used in pieces such as collar or
cuffs creates identity in uniforms for example. Contrasting velveteen
collar identifies a Chesterfield coat. Three types of contrast fabric shapes
are used in ornamentation:
o Applique - fabric shape applied to surface. Must consider required
texture of finished image, what surface type is applique being
attached, method of attachment – stitching, fusing, embroidery,
knitted base should be backed with fusible.
o Collars and cuffs – creates immediate visual impact, contrasting
fabric is important with regard to texture and colour as well as
maintenance issues like comfort, shrinkage, abrasion resistance
and colour loss, fabric testing is recommended.
o Other shapes – epaulettes (ornamental shoulder piece especially on
military jackets), tabs, waistbands, bound buttonholes and yokes,
contrasting thread colours as bar tacks or topstitching.
 Contrasting fabric – is creating lines and outlines with fabric by first
reshaping the fabric into lines by cutting into strips, then cut along the
bias grain to prevent yarns from ravelling and most important to allow
flexible strips. Can use same fabric with different colour or contrasting
fabric. Take into consideration shrinkage, abrasion resistance and colour
loss. Types: piping (filled, unfiled, ric-rac) cording
 Functional tapes – 4 types usually used to finish edges, reinforce or
stabilise seams and add detail. Each tape is produced for its function.
 o Buttonhole ribbon – are premade buttonholes for extremely
delicate fabrics
o Herringbone twill tape – is a reverse twill, same function as above,
used to finish straight grain edges like button plackets, waistband
or reinforcement
o Seam binding – used to finish raw edges on seams or hemlines, is
light weight and does not add weight to garment, can be used
decoratively, doesn’t show on face side
o Stay tape – provides stability where seams may stretch out of
shape such as at shoulder, armhole and neckline seams especially
on knit fabric.
 Decorative ribbons –
o Satin and Velvet shinny and used in neckline and cuff trimming
and lacing for closures and decorative bows, for dressy garments
o Grosgrain and taffeta produced as ribbed pain weave ribbons but
taffeta ribs less pronounced. Grosgrain ca be printed and more
decorative, taffeta is light weight can have picot edge (tiny loops).
Also wires organza ribbon is stiff excellent for bows and other trim
details on garments
o Jacquard ribbon – produced using jacquard weave, one of most
beautiful ribbons using many colours or just two-three, is stiff so
limits type of fabric can be used on like chiffon except used as cuff
or waistband or collar. Design on ribbon determines its use, e.g
animals, florals. Fibre content have many available in 100%
polyester cos relatively shrink resistant and colourfast.
o Dobby design – like jacquard these are woven in designs, these
create geometric shapes usually in one or two colours, tends to
have varying textures and edges, intent is to create texture not an
image. Most interesting use is to combine different yarns into a
ribbon like metallic yarns. Usually in narrower width than jacquard
ribbons
 Trims
o Passementerie trim – luxurious, adds opulence, status, and
elegance to garment, distinguished by bulky yarns cresting heavy
textured braids , fringe, medallions and buttons. Can be narrow
yardage or small trim. Metallic yarn often a feature, also silk or
rayon yarns. Intended to add weight, luxury so designer features
 the trim in the design. Use on suits, coats, evening wear, cocktail
dresses. Types: braid, gimp, frogs, fringe.
o Fringe – available in narrow yardage, applied to the edge of a
garment to add movement, used to soften a silhouette, add
texture. Can be custom made using fabric or contrast material.
Can use beads, metallic yarn, silk and rayon yarns, leather,
feathers, suede. Can be casual or dressy
o Narrow novelty trims –adds embellished detail to simple design.
Wide variety: feathers, Ostrich down feathers (fluffy string seen
around hoodies), string beads, sequins, rhinestones, and pearls
o Narrow closure trims – has various forms of closure attached to
narrow yardage. E.d premade press stud tapes built in at
premeasured spacing. Other types are hook and eye, hook and
loop tape (sticks like canvas shoes strap peel off and on), zippers
o Lace edging and applique - is premade narrow trim lace, types:
cluny lace edgings, raschel lace edging, lace banding, lace applique
which provides much less expensive decoration than hand-
embroidery.
 Embroidery – application of patterns of thread or yarn create interesting
design, it has signified status, class, gender and wealth. Computer
software produces patterns now.
o Embroidery threads - Special embroidery threads requires for
machines. Rayon threads give more shine that polyester threads
which are less expensive
o All-over embroidered fabric – are figured, textured fabric, a type
of finish. Example is eyelet fabric whose raw edges are finished
with the embroidery. Used for babies, children’s dresses, lingerie,
pajamas, blouses, dresses and home products. Considered easy to
care for. Types: embroidered chiffon, embroidered plaid
broadcloth, heavily embroidered voile.
o Garment specific embroidery – located on specific areas of
garment, applied after cutting fabric. E.g logo stitched on tricot
knit shirts and pants. Types; Beaded handbag, vest with blanket
stitch on edges.
o Embroidered denim – embroidery is famous on back pockets of
jeans, now an important element of denim design. Application of
unique embroidery on denim provides an identity for the
 designer’s company. Types: embroidered graphic design, crystals,
hand embroidery

Expansion – exaggerating shapes away from the body, fabrics that stand
alone enlarging the body’s form. Fabric must maintains shapes themselves,
requires stiff, sometimes thick fabric which change body proportions. Usually
the fabric begins as lightweight and transformed to add volume to design.
Lightweight fabrics frequently make use of loft (air spaces between fabric of
fibres) as a key characteristic to expand. Used in 3 ways:
1. Emphasize silhouette
2. Change proportion
3. Accentuate design elements
Example, a skirt using drapey fabric is pleated to accentuate volume
How it works - The following descriptions can be applied when manipulating a
fabric for expansion:

 Stiff hand – resin nearly always applied to light weight fabric to

maintain shape. Sometimes monofilament yarns are used in netting
so would be naturally stiff
 Untextured surface – before manipulation not much texture, usually
smooth surfaces except netting fabric
 Lightweight – fabric begins as top-weight, sometimes medium weight
but never bottom-weight
 Fabric is frequently layered in process called quilting.
 Fibre characteristics are key to selecting fabric for expansion
 Fabrics of fibre used can be: fur, sheer organza which creates frothy,
floating skirt.
Fabrics
 Netting - mostly air, knitted multifilament yarns, finishing determines
crispness. Nylon netting is stiffer than silk netting, polyester hand
depends on function required. Most common type of netting is Raschel
knit, surface is geometric, sometimes six sides, four sides or other
 shapes. Netting varies in hand but all is intended to stand away from
body. Used as accessory like wedding veil, hat, underskirts to expand,
sometimes used on garment like frilled collar or fishtail insert. Also
serves as interlining on sheer fabrics or trim. Types: tulle (fine yarns, very
small holes, silk fibre often used, much softer than other netting, Point
D’Espirit and Large-Hole Netting.
 Organza - high twist multifilament yarns, crisp, lustrous but not shiny,
feels grainy on surface. Blouses, formal dresses, trimmings. Special
occasions fabric, luxurious. Excellent choice for exaggerated design
without adding weight. Can be gathered or pleated which adds colour
intensity from the layers. Full skirt silhouettes, bouffant sleeves,
exuberant ruffles. Originally produced with silk, now made with
polyester fibre wh less expensive and easier to care for. 100% silk or
polyester. Types: Metallic-Effect Organza, Solid-Colour Organza,
WindowPane Organza
 Organdy- mostly spun tar of cotton or blended cotton and polyester
fibre. Sheer crisp fabric, used crisp finishes. Ideal for hot weather,
summer blip, shorts, dresses. Easily creases. Types: Lustrous Organdy,
Organdy Colour, Slubbed-Yarn Organdy
 Crinoline - top weight, a balanced plain weave finished with very crisp
hand, much stiffer than organza or organdy. used for bouffant skirts and
hats, to support a garment, cut into strips to expand a hem. Types:
Nylon Braid
 Buckram - building block of millinery, loosely woven, gauze fabric
finished with starch or other resin that gives body and weight to hat
design. Buckram is foundation and fabric selected to cover the buckram,
early always cotton.

Pleating concept
Pleating creates expansion by layering fabric gives me volume. Achieved by
physically stitching fabric, through chemical means or by heat and pressure.
Fabrics must never be heavier than medium weight, top weights are
recommended for better effect. Pleating creates movement, space and loft.
Different methods are: Knife pleat, box pleat, inverted pleat, accordion pleat.
 Pleated silk fibre fabrics – one of most luxurious in apparel, soft, silk
fabric, very light weight are chemically treated. Natural silk fibre can be
 manipulated into durable pleated fabric. Types are China silk, silk
organza, silk georgette, silk chiffon used for elegant garments.
 Pleated cotton fibre fabrics – done with chemicals and heat to produce
durable pleats. Has all over wrinkled effect.
 Polyester plain weave pleated fabrics – simple heat and pressure
transforms into luxurious pleated fabric performs better over time than
natural fibre pleated fabrics.
 Crepe and satin crepe pleated fabric – new textured pleated fabric form
thermoplastic fibres like polyester and nylon
 Stitched pleating – Mechanically pleating by sewing or pressing most
common. Requires medium weight as light weight too difficult to
manipulate. Almost all medium weight fabrics can be pleated
 Shirring – usually on lightweight fabric, method that gathers fabric
closely together. Sewing several rows of stitching close together and
then pulling the sewing threads to gather the fabric results in densely
gathered fabric. Usually on bodice, arms or waist. Can also be achieved
using elastic sewing threads which allows fabric to expand with the body
(a type of machine embroidery)
 Boucle – Bouclé refers to both the yarn and the fabric made from the
yarn. Medium to bottom weight. Has looped surface texture, depending
on concentration of boucle yarns used, loops are more or less
noticeable. The bulkiness expands the design silhouette softening and
rounding the garment. Boucle fabrics can be knitted or woven; knitted is
more flexible and drapey, woven provides more structure. Medium to
bottom weight, used in sweaters, jackets, dresses, coats. (easy to sew –
internet)
 Chenille – medium weight, is a cut-pile yarn that can be woven or
knitted into fabric for similar napped surface texture as velveteen. Not
durable, cut fibres easily pull out. Chenille yarn woven into sweater
creates soft velvety texture. Woven chenille fabrics use chenille yarns
more sparingly than knits so added bulk is less noticeable.
 Terry cloth – Medium to bottom weight. For maximum moisture
absorbency, fibres that absorb moisture are used. Its bulky, adds
volume. Towles, beach robes . Looped surface can be on face and back
of woven terry but on knitted only on face and knitted terry more drapey
than woven. Can be enhanced for softness with blends of polyester
microfiber, rayon fibre or softener finishes.
Quilting concept
Traditional method to create warmth by combining three layers of fabric and
fibre together. Important to remember purpose of each fabric layer when
selecting. Can be hand stitched, machine stitched or heat-set together. Apart
from warmth, it also expands garment silhouette and creates lofty fabrics.
 Outer layer – seen the most, reflects designer’s vision, usually top
weight
 Filling – provides thickness or loft, So resilience, thickness, durability
of loft and care issues should be considered. Mostly massed polyester
fibre used as doesn’t absorb moisture and dries quickly. Test filling.
High density lining to prevent feathers from emerging.
 Back – is quilt support, can be inexpensive, be lining if for jacket.
Consider comfort, hand and durability. Usually top weight.

 Minimum loft quilting – least bulky, most frequently used in fashion

jackets and coats. Can be patchwork or pattern of sewn stitches in solid
colour. Function of garment determines face.
 High loft quilting – for extreme thermal insulation requirements.
Uncomfortable for wearing so used for bedding, sleeping bags etc. Down
filling without feathers used.
Fur in Apparel
Fur is associated with social standing in royalty, leadership, rank, wealth or
other distinction within a social group. Rise in middle class, so came within
reach of many.
Advantages – beautiful, sift, luxurious , very warm in cold weather, long lasting
when stored well.
Real fur – Animals rights activists focus treatment of animals and waste due to
inconsistent texture or colour of fur. Fabrics that imitate developed. Fur is
judged for value on length and density of the hair and depth and purity of its
colour. Also affordability. Dangers of extinction of tigers, leopards, panthers,
species of fox.
Faux fur – Commonly used faux fur. Consistent supply, available by the yard
instead of shaped skin, so can produce larger products like full length coats,
furniture. Also piece more likely match over real fur and pattern placement
and cutting easier. However, production involves using oil based products
resulting in polluting emissions and chemical waste. Faux fur fibres also cannot
be recycled or reused easily so contributes to degradation of environment.
Imitations from mink, pony, lamb, beaver etc. Divided into 3 categories: Plush,
medium length, and long length.
Exotic faux fur – it’s possible to embellish or extend the look and produce
fantasy fabric. Adding unusual colours, this has added a new genre of apparel.
Exotic term implies colour and printed images and not scarcity
Other disadvantages – requires special machinery for cutting and sewing,
expensive compared to other alternatives, maybe socially unacceptable, one-
way nap.
Solution – repurposed fur, using fur from existing garments is reasonable
compromise compared to killing animals of faux fur that produces unhealthy
emissions and chemical waste

Compression – compressing body following exact body shape. Fabric

helps garment fit the body. Fit originally achieved by seaming and sewing
construction, now manufactured elastic fibres, yarns and fabrics allow fit with
les seaming and construction detail. Examples: athletic garments use
engineered elasticity.
The degree of elasticity depends on type and amount of elastic yarns used.
Such as:
o Comfort stretch - 2-5% spandex fibre contents provides gentle
compression, remains close to body, expands and contracts as body
moves. Top weight and bottom weight knitted and woven fabrics
common in comfort stretch.
o Power stretch – 14-20% spandex fibre content provides power stretch
for sustained compression, supress body and supports muscles during
athletic performance (e.g professional ballet dancers). Also used in
 undergarments and fashion garments intended to showcase body
silhouette (e.g corset).
Type of compression desired depends on fibre, yarn and fabric selected. Three
types are:
o Rigid fabrics – compress body without elasticity
o Ribbed knit fabrics – conform to body cos on knitted construction
o Elastic yarns – woven or knitted into fabric to sustain tension. Note
new innovations available in elastic yarns, stay up to date, athletic
designs crossed over to everyday wear.
Cautions – elasticity
o Heat exposure to elastic fabrics damages in production or consumers
hands.
o Comfort stretch fabrics create comfort and not compress, over time
diminishes elasticity during life of garment
o Spandex fibre content can’t be recycled into new fibre, uses oil based
raw materials
Fabrics
 Compression with rigid fabrics – traditional method. Fit is one of primary
reasons. Garment holds body like girdle and fabric will not change as
body moves. Extremely strong fabric required. Therefore use only strong
bottom weight balanced plain weave and twill weave fabric in cotton
and cotton blends to withstand tension. Corsets, waistbands and
cummerbunds to reduce body size but can be uncomfortable. Elastic
fibres now sometimes used in garment designs and allow more comfort
but also allow expansion. E.g in tummy trimmers.
 Ribbed knits (Elasticity) – weft double knit construction that produces
raised rows of knit stitches and low rows of purl stitches called ribs. Size
and texture of yarns determine surface texture of fabric, and density
determined by closeness of knitting stitches. Two ways to describe
ribbed knits; counting rows 2x2 ribbed knits and 3x1 ribbed knits. Makes
use of elastic quality of knits, example socks, also clothes fitted to body
like dresses, gloves, hats scarves
 Elastic ribbed knit banding – to finish openings of a garment and keep
close to body, provides trim detailing. Mostly used at necklines, cuffs
 and garment bottoms. Good elasticity without using spandex so doesn’t
diminish on exposure to heat.

 Comfort stretch (5 types)

o Top weights – theses expand and contrast as body moves making
precise fitting problems less important, fits body easier. E.g jersey
top. Yarns combine the absorbency comfort of natural fibres with
the functional characteristic of elastic fibre. Has elastic stretch.
Most top weight are one way stretch usually cross grain. Types:
cotton stretch jersey, stretch broadcloth, rayon stretch jersey
o Casual woven fabric – always cotton blends with elasticity.
Remains absorbent for cooling effect.
o Stretch denim – look and feel of denim with elastic stretch.
Slightly bumpy texture compared to rigid denim due to elasticity.
o Stretch suiting - elastic fabric that retains original look of rigid
suiting fabric
o Double knits – has knitted surfaced retained with addition of
elastic yarns, retains shape during and after wearing

 Power stretch (4 types)

o Athletic knits – always knitted, usually warp tricot knits. Don’t
stretch much in straight grain so ideal for high spandex yarns.
Possess extreme expansion and recovery, always compresses
body. Smooth multifilament surface. E.g cycling shorts
o Underwear knits – provides compression to restrict the body,
smooth closely knit fabric surface, extreme elasticity and fast
recovery. E.g tights
o Elastic power mesh – a raschel knit fabric, creates breathable
comfort whilst providing powerful elasticity and compression.
Netting appearance for airflow. Crisp hand. Solution for
specialised undergarments and body conforming fashion designs.
E.g in corsets.
o Narrow elastic bands – three types produced for edgings,
waistbands and leg or arm openings wh provide expansion and
compression in focused location of garments
WEIGHT / FABRIC MASS (g/m2)
 Lightweight fabrics (aka top weight): 0 – 149gm2
• Mediumweight fabrics: 150gm2 –349gm2
• Heavyweight fabrics (aka bottom weight): + 350gm2