Project On CASUAL WEAR: by Beskyraj

Project on CASUAL WEAR
FUSION OF FASHON
ABSTRACT
Fashion is enigmatic, which changes in day-to-day life. , Fashion is an evolving subject.

Yesterday's fashion will undoubtedly resurface again as fashion moves its way through the
trend cycles time and time again. Fashion refers to styles of dress". The term is usually
applied to the latest trend slightly exclusive, extremely seductive. It has the power to
transform an image and make a social statement. The term "fashion" is frequently used in a
positive sense, as a synonym for glamour, beauty and style. In this sense, fashions are a sort
of communal art, through which a culture examines its notions of beauty and goodness.
Fashion also plays a main role in the fusion of different cultures and influences. Eastern and
Western cultures engage in an important part in the Fashion trends of today. These two are
fused in the fashion industry in many ways, the British borrowing from the Russians, India
from the French, Japan and Germany, and the list continues.
In this project we plan to introduce a different costume for both men and women wear in
fusion. The design aspect of this costume is totally different from current trend. The changes
to be done in colors, cuts, shapes, styles, design etc,
Fabric suggested for this project is cotton, chiffon, drill, denim, satin, sateen, net fabric,
lace…etc, The fabric testing is to be done such as thickness of fabric, tensile strength, tearing
strength, fabric weight, abrasion of fabric, durability of fabric.
The measurement is taken from standard croquie pattern parts for men’s wear - Front panel,
back panel, Sleeve, Yoke, Cuff, Plackets, pockets. Pattern parts for Women’s wear.-Top
Front panel, back panel, skirt bottom panel. By this pattern parts, the costume is constructed.
The testing is done over the fabric for its durability and comfortable purpose so thickness,
tearing, stiffness, air permeability are tested by using standard testing methods.
Since this costume is going to be a trend in 2010 for upcoming generation in such a way
costume is constructed and designed
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INTRODUCTION:
Fusion of fashion
Fashion is unwhisperable that changes from time to time ,place to place according to their
taste of wearer and fusion denotes the mixing of different styles, trends, colours, and so on.
In our project we have just introduced different type of styles, colour, and outlines in a single
wear.
In this party wear colors and outlines are fusion with casual wear styles in women’s costume
and in men’s costume we have fusion the hip hop fashion into punk fashion.
Women’s informal wear collection is taken from the Fish style gown or Mermaid line
Costume.
Men informal wear collection is extensive and encompasses stylish T-shirts and funky pants.
Jeans has created sensation among people and has become an all time favorite among men.
The fabric chosen are silk, sand crepe, spun cotton, muslin and denim jean.
The testing which is done in the fabric includes Thickness, air permeability, tearing, fabric
weight.
The pattern is constructed by standard measurement of female and men’s croquie.
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WOMENS WEAR:
Fishtail or Mermaid Line
A fishtail, which is quite full at the hem, was very popular in the 80’s.It hugs the waist and
the hips making it the ultimate for a sexy look. Just like the column dress, it doesn’t
require you to be thin but you do need to be proportioned; so, a protruding stomach and big
hips will definitely not work with this style.
MENS WEAR:
Casual menswear clothing gives you a freaky look. And when the talk is about funky casual
clothes for men, there are many good options available like cargos, chino style trousers, track
pants, 4 and 6 pocket pants. Among top styles there are tank tops, sleeveless, transparent T-
shirts and retro tops etc. You'll be virtually astonished to see the variety of jeans ranging from
baggy pants to carpenter pants to boot cut style etc. Washed out jeans is the latest fashion
statement.
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REVIEW OF LITERATURE:
In the European tradition, casual is the dress code which emphasizes comfort and personal
expression over presentation and uniformity. It includes a very wide variety of costume, so it
is perhaps better defined by what it isn't than what it is. Blue jeans and a T-shirt have been
described as the "casual uniform". With the popularity of spectator sports in the late 20th
century, a good deal of athletic gear has influenced casual wear. Clothing worn for manual
labor also falls into casual wear.
While utilitarian costume comes to mind first for casual dress, however, there is also a wide
range of flamboyance and theatricality. Punk costume is a striking example. Madonna
introduced a great deal of lace, jewelry, and cosmetics into casual wear during the 1980s.
More recently, hip hop fashion has played up elaborate jewelry and luxurious materials worn
in conjunction with athletic gear and the clothing of manual labor.
Casual wear is typically the dress code in which new forms of gender expression are
attempted before being accepted into semi-casual or semi-formal situations. An obvious
example is masculine jewelry, which was once considered shocking or titillating even in
casual circles, and is now hardly noteworthy in semi-formal situations. Amelia Bloomer
introduced trousers (of a sort) for women as a casual alternative to formal hoops and skirts. In
a recent mirror image, sarongs and other skirts have been embraced by a few men of the
European tradition as a casual alternative to formal trousers. Both of these innovations caused
great embarrassment in formal circles.
Skin exposure is most pronounced in casual wear, since it includes all swimwear, but the
trend toward female exposure in the 20th century has also pushed the necklines of formal ball
gowns ever lower and the skirts of semi-formal cocktail dresses ever higher. For men, the
exposure of shoulders, thighs, and backs is still limited to casual wear. Full nudity is still
considered shocking in casual circles, except at very few progressive clubs and beaches.
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The circular ruffle is made of two (for a 1-circle ruffle) or three (for a fuller 1½-circle ruffle)
half-circle pieces seamed together, the same as a tiny full skirt. Seams are on the sides for a
one-circle ruffle or at center back and front sides for a 1½-circle ruffle.
The "hole" in the middle of the circular piece should match the measurement of the upper
skirt lower edge for a smooth seam, so it requires careful measuring. Or, the ruffle may be
gathered slightly.
Staystitch and clip the circular seamline in the opening to allow the seam allowance to
straighten out when sewn to the upper skirt.
The circle ruffle can also be sewn to an slightly angled upper skirt that rises over the knee.
Make the ruffle several inches longer to allow for this, and trim it at the hem to adjust the
length. Let it hang a while first, because like a circle skirt, the bias areas of the ruffle will
stretch.
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Mermaid Costume
Mermaid costume for your undersea fantasies. Sexy

mermaid costume for that aquatic dream. A mermaid
costume will seduce your reluctant fisherman. Reel in a
mermaid costume and cool off your sun burn. Mermaid
costume, wig and accessories to complete your Atlantian
adventure. Mermaid costume to lure love struck sailors
to their demise with a sirens song. From ancient sea lore
to modern film portrayal this sea vixen is one of our
most beloved characters. The fantasy is far more
admirable than the reality of some hefty sea creature.
This beauty of the deep will always captivate our
imaginations. It has been widely suggested that manatees could be behind the nautical tales.
These large aquatic mammals are notable for the way in which they carry their young,
cradled in their arms much as a human would carry a baby. It is possible that sailors seeing
these unfamiliar beasts for the first time would assume that they had in fact stumbled across
some sort of humanoid species, and consequently spread their accounts of the sightings
through their homelands on their return from voyages. It has even been posited that the
traditional image of a mermaid with long flowing hair could be attributed to manatees
breaking the ocean surface underneath patches of seaweed, and giving the unfamiliar
observer the impression of having long hair. Luring sailors for centuries the sirens' song calls
from the depths of Neptune domain. Mythical mermaids glide past the corner of the eye and
splash in the sea foam just out of reach. Are these ladies of the deep just imaginary figures
brought on by fatigue or are they really out there playing with our sense
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The reality, however, is that you can also live out your fantasies at masquerades or parades, at
dress-up bashes, at theme parties, at various holiday celebrations and so on and on. A well
fitting mermaid costume could be ideal.
Glitter Mermaid Fantasy Adult. Wearing a halter top dress in glittering mash fabric and a
sequined top will transform anyone into a true Poseidon’s muse. Its sheer bodice and back
and the shimmering overlaid scaly skirt adds just enough sexiness and sensuality to make a
huge splash at any dress-up bash. You just won’t believe how many compliments will be
shelled out at you.
Baby Mermaid Infant Costume. It’s always loads of fun getting babies into costumes.
This particular baby mermaid costume includes a multi-colored pink and aqua bunting with a
metallic fish scale tail, a three-dimensional seashell detailing and is accessorized with a pink
elastic headband. Your baby may not appreciate just how cute he or she looks in this great
little mermaid costume but everyone else will.
Mermaid Toddler Costume. Just when you thought that your toddler cannot possibly be
any cuter, they become too precious for words in this adorable mermaid toddler costume. It
is comprised of a dress made of a delicate metallic fabric and a tulle skirt with a shimmering
mermaid tail. To complete this sweet little outfit, the entire ensemble is enhanced with
perfectly matching slippers, a bejeweled ring and bracelet set and a flower headpiece.
Ariel Standard Child Costume. With this mermaid costume, your child will surely win the
prize for the best outfit. How could they not, just look at how charming it is! And this
princess of the sea costume is designed of an iridescent lavender bodice with green, sheer
flutter shoulder straps. The skirt is shimmery green and is accented with delicate tail and
fins.
Mesmerizing Mermaid Adult. Are you in the mood to look extra sexy at this year’s
Halloween party? This spellbinding mermaid costume will certainly do just that — turn you
into an irresistibly sexy bombshell. It is designed as a halter top dress that is shimmering
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with sequin and a skirt that is gleaming with sensuality. Your beholders will be unable to
take their eyes off you — guaranteed!
HISTORY OF FISH TAIL OR MERMAID LINE:
The appeal of the mermaid mythos is complex, as its various components appeal to different
minds, for different reasons. What draws us to it? Darryl Hannah's lovely, lithe, and naive
and gentle portrayal in Splash! Notwithstanding, mermaids are, by and large, an unsavory lot.
Throughout their many legends, they've done some things that, well, aren't very nice. Yet we
are captivated by them, we are undone by the tales of their watery prowess. There is the
luring of drunken sailors, to death by drowning or devouring; the all-important comb and
magic mirror (Why is simple female vanity so central to this mythic figure? More later.); the
Circean songs that ride the dark waves; the siren's conjuring that draws the lonely and
confused, who listen, spellbound, on the hostile shore, at the edge of a forgiving, entreating
sea.
Like Otter Zell, another lover of mermaids, I too tell of an epiphanic event involving a can of
tuna fish. My best friend in childhood, also my next-door neighbor, ensnared me in these
amazingly intricate games of dress-up with dolls. Barbie's more diminutive, cinnamon-haired
teenage nemesis, known as Dawn, was the heroine of our summer afternoons. But after
making her into a struggling actress in New York City, an alcoholic millionaires in a
Hollywood penthouse, a boy-crazy teenager like my friend (she was four years older than me,
and I wasn't digging this French-kissing thing), and various other dramatis personae, we
started to get a bit silly, and decided to make mermaid costumes. On the fateful day, our dolls
were ready, and we asked one of our moms to make us tuna sandwiches for lunch. Alas! The
only brand of tuna in the house was not Chicken of the Sea,® so our little joke fizzled
(placing the half-nude doll with the shimmery green tail on the counter amid the sandwich
fixings when Mom's back was turned -- just like on the TV commercial!). Just as well -- the
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doll looked better tied onto a rock in Cheryl's goldfish bowl, spice-colored hair floating like
rusty seaweed -- and no risk of mayonnaise staining her tail of chintz.
Some time before that must have been when I saw Mr. Peabody and the Mermaid, a film
from the 1950s starring Ann Blyth. In it, a mild-mannered gentleman finds a mermaid on the
beach and attempts to keep her in his home. She is less a house guest than a pet, it seemed to
me. She cannot speak, yet sings beautifully. Ann Blyth is stunningly beautiful in her
shimmery tail and tight fish scale bra. Peabody is obviously attracted to her, yet bumbles
about, embarrassed by her potent sexuality. Now, I'm sure I'd be mildly nauseated by this
film were I to watch it today, but at the time I was entranced. Hans Christian Andersen was
another movie I loved, with its ballet version of The Little Mermaid. And I remember being
quite interested in the famous "Fiji Mermaid" hoax perpetuated by P.T. Barnum. The famous
circus owner sewed a decaying fish onto a monkey torso and tried to pass it off as a
miraculous example of a mermaid corpse. People weren't convinced for very long, but they
were hoppin' mad when they found out they'd been duped. There is a recent episode of "The
X Files" that deals with the Fiji Mermaid, along with other assorted sideshow freaks – quite
the best episode I've seen all year.
But more significant in what would become, perhaps, a lifelong relationship with this half-
woman, half-fish archetype was a book of stories I found at the local library. That's right, the
other kids went swimming when school let out -- I went to the library. I checked this book
out repeatedly -- it was titled simply Mermaids. Several years ago, aged 26 or thereabouts, I
went looking for it again, and found it. Happily, the book had become no less magical to me.
The stories were illustrated with delicate ink drawings, and the tales themselves were quite
eerie and rather sophisticated, considering they were shelved in the juvenile section.
The one story from this collection which still haunts me was about a mermaid captured by a
fisherman, who imprisons her in his barn, and won't give her any water. He takes away her
comb and mirror, so her lovely golden hair gets tangled and dirty. He steals her magical harp,
so she cannot charm mortals with her singing. She lies in the straw, filthy, dehydrated and
pathetic. She eventually returns to the sea, but only after much hardship and brutal treatment.
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The symbology of this story is intriguing. The mermaid's hair was her source of power
(uncombed, it was useless); the comb, its conduit; the sea, her magical element; the harp, her
magical personality (containing as it did her power to persuade and seduce). There are, of
course, echoes of many mythic figures here: of Circe, of Delilah, of Aphrodite, of a myriad
sirens, harpies, furies and muses. But most arresting is the image of the tangled hair. This
theme is echoed in dozens of tales about mermaids from different cultures. In order to
subjugate a mermaid, you must take away some repository of her power, and most often, it is
her hair.
Maureen Duffy, in The Erotic World of Faery, calls "The Little Mermaid" a "castration story"
which works on many levels, with many objects being "cut off." These include the Little
Mermaid's tongue, or the loss of her voice (remember Ariel as a mute, ditsy blonde, in
Disney's version?); the hair of her sisters sold for a knife to murder the Prince (his throat cut,
in some versions, while in others his heart is cut out); and finally, the Little Mermaid's tail is
symbolically cut off, replaced with legs which allow her to walk, if painfully. Traditionally,
hair cutting induces impotence. Samson's strength was in his hair, as Delilah found out, but
for the mermaid, it seems more the source of her beauty. In a story by Valerie Martin (author
of Mary Reilly) called "Sea Lovers," it is the mermaid that does the castrating -- of a
fisherman who catches her in his net.
The way in which the mythic elements of the mermaid's existence have developed over the
centuries has always fascinated me. I believe that the legendary beauty attributed to
mermaids, as well as the importance of their toilette (the comb and mirror), results from
wishful thinking or, if you like, embarrassment, on the parts of sailors and seamen who
perpetuate these myths. If a sailor, long at sea and lonely as salt, succumbed to the charms of
a dugong or manatee, of a seal or other sloe-eyed creature of the sea, shouldn't he naturally
wants to, uh, romanticize the experience? If there truly exists a sea creature with breasts,
expressive facial features, etc., then it's not too far-fetched to assume that humans would
attempt to justify their sexual trespassing by mythologizing the creature into something
beautiful and mysterious. This might also help explain the legendary seductive prowess of the
mermaid's beauty, and the often deadly lure (isn't that what fishermen call their bait?) of her
singing. The taboos surrounding sex between humans and animals are just too deeply
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ingrained for the mermaid to remain a mere mammal in the eyes (and hearts) of those men
compelled to make love to her.
It may also be true that the elusively of these human-like sea creatures also added to the
myth. There are numerous accounts from sailors about mermaid sightings, if no concrete
proof. Other mythical sea creatures related to the mermaid also suffer seeming invisibility.
Many cultures tell of beings that are half human, half sea creature, most notably the selkies
(or sealchies) of Ireland and Scotland. The selkie is a seal and a woman, though not at the
same time; she becomes a woman after coming on land and shedding her seal skin. Legend
has it that any mortal man who manages to steal the selkie's skin will have power over her;
indeed, she has been known to marry and bear children to mortal men who manage the theft.
Once she finds her skin, however, nothing, not even marital devotion, will keep the selkie
from the sea. This tale bears a resemblance to the many tales of mermaids who may be
controlled through the theft of their combs, their mirrors, their musical instruments, or their
cloaks or caps (which, in some tales, permit them to travel from island to island). The Irish
name for a mermaid is murduchu, meaning "song of the sea," or "sea chant." If their caps are
stolen, they can no longer sing. The implication is that these creatures, for all of their
seductive powers, have rather simplistic weaknesses that allow humans to control them.
Not all mythical sea beings possess such weaknesses, however. In Welsh legend, the
Gwragedd Annwn was "lake maidens" who married mortal men whom they chose. The
glaistig is a Scottish undine, or water elemental, half woman and half goat, who could be seen
on land but who was nevertheless associated with water (sounds like Capricorn to me). There
are also other mythical water creatures that did not necessarily possess "fishy" qualities, like
the Each Usage, a water horse of the Highlands. In the Shetland Islands, this water horse was
called a kelpie. Most of these beings were rather neutral, if not benevolent, towards humans,
except when threatened or abducted. But perhaps the most frightening mermaid-type beings
were the water demons, which were said to snatch children off the banks of rivers or streams,
and suck them into the water to devour them. One of the most famous of these was Peg
Powler (a dubious namesake, to say the least), a close relative of Jenny Green teeth, known as
a "Lorelei with green tresses." No doubt tales of these vicious water nymphs were meant to
scare young children away from the precarious banks of rivers and streams -- for it is said
they only snatched children who were alone. How many fairy tales, I wonder, are created
with these pragmatic applications in mind?
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Elsewhere in the Celtic lands, some mermaid legends are closely related to tales of actual sea
creatures, like seals (or Roane, as they're known in the Islands and Highlands of Scotland).
One only need witness a seal's grace (well, in the water at least) and its unbelievably
expressive face to grant it human qualities. The legend of the selkie (the Orkney and Shetland
version of the Roane) is so ancient and so pervasive; however, that one must scratch one's
chin in wonder at its origins. We come to expect these sorts of legends from the British Isles,
though; the entire landscape, whether forest or fen or highland or more, is crawling with
mythic denizens, winged, scaly, furry, cloven-hooves, and almost always mischievous.
There are, of course, the more psychologically complex manifestations of the mermaid
figure; namely Melusine and Morgan le Fay. First, Melusine: a very odd and touching story
of a woman who is only able to marry if she retains a terrible secret. Because of a curse
placed upon her mother, Melusine is born to be half woman, half fish, but only on Saturday.
She manages to find a husband who swears not to gaze upon her when she is locked in her
bathing chamber. Eventually, he does sneak a peek, and sees her, as she steps into her bath,
transformed into a hideous creature with a huge fish's tail. This tale puts an interesting spin
on the conceit of mermaid vanity, and the importance of beauty rituals. The Booker Prize-
winning novel Possession by A.S. Byatt contains a beautiful and haunting metaphorical (and
actual) version of this story, as imagined by a Victorian poet.
As for the Matter of Britain, it seems to begin and end with water. The Breton and Welsh
names for water spirits are morgen and morgan, respectively. The Lady of the Lake receives
her divine power from her water element; Excalibur rises from the waves, forged of unearthly
metal. Morgan le Fay accompanies Arthur on his final voyage, upon a great barge. The Mists
of Avalon portrays the magical island as shrouded in mist, accessible only across a
formidable lake. Crossing the waters, parting the mist: both are possible only for the trained
witch. Nimue, a young acolyte priestess, drowns herself when a love spell she creates
rebounds back upon her. There is an inescapable connection to water that is simply not true
of other elements, like fire or air, where the Arthurian sorceresses are concerned. Is this
because of some vestigial mermaid lore that has permeated the legends?
One thing that confounds my love of the English painter Waterhouse is that he uses the same
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model for so many of his paintings, from his famous The Mermaid, to La Belle Dame Sans
Merci, to Circe, to Ophelia. Several of these have connections to Arthurian legend, but it is
his portrayal of the mermaid which is somehow more magical than any other heroine he has
painted from the annals of myth. Is it a cruel joke that a man named "Waterhouse" should
create so many paintings whose primary element is water? Think of his two most famous
works: The Lady of Shalott in her lonely boat.
And The Mermaid, endlessly perched at the ocean's edge.
She sits upon ancient, sea-hewn rock, combing her long hair, a shell dripping with pearl
necklaces and other aquatic treasure beside her. She gazes with intensity at something we
cannot see, her eyes (the blue of frozen oceans) fastened, perhaps, upon the waves, awaiting a
ship, awaiting a sailor... will she fall in love? Will he? Shall he be dragged, salt-drunk, down
and down into her kingdom of coral, her bed of vermilion anemones? Shall he swim at her
side, willingly, down and down until his lungs burst, his last thought that he has never seen
anything so beautiful as her golden hair? Or will she be the one tempted, to leave the sea, her
sisters, her mirrors, her combs, to relinquish her melodious voice, to split her tail in searing
agony
A mermaid dress is a long gown that fits snug to the body until the bottom of the legs, where
it flares out like a fish tail. For this reason, a mermaid gown is also called a fishtail dress.
Since mermaid dresses are always long, they tend to be made in styles suitable for proms,
weddings, and formal evening wear.
The flared fishtail section of a mermaid dress often begins above the knees. The ruffle it
creates is soft and flowing if the dress is made from thinner fabric such as silk, satin, or
taffeta. If mermaid dresses are made from thicker material, the fishtail is stiffer. The very
shape of mermaid dresses — tight fitting to the figure until the flare at the knee — gives the
gown style a dramatic, glamorous look.
The mermaid dress style is especially associated with mid to late 1950s movie star glamor.
Some female stars wore elegant mermaid gowns with feminine picture hats. A picture hat has
a very large round brim. Some mermaid dresses have thin, voluminous ruffles to accent the
fishtail section. Other mermaid gowns feature a puffed out, rather than ruffled, fishtail.
Mermaid dresses may have sequins or beading accents. The colors and fabrics of mermaid
gowns are endless. Ivory or white wedding mermaid dresses remain a popular style with
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many brides. Pastel or brightly colored mermaid gowns are often worn at high school proms.
A black, sequined, or metallic finished mermaid dress can make a striking evening gown.
Tall, thin figure types are best suited to the mermaid style. This style fits close to the body
and accentuates the waist and hips, so it's not recommended for fuller figures. Since the
mermaid dress is fitted at the waist and flares out at the leg, it adds the look of curves to lean
and athletic body types.
Although many mermaid dress styles are strapless, some have short, puffed sleeves or are
long sleeved. Strapless mermaid wedding dresses may come with a close fitting, short, tight,
long sleeved lace jacket called a shrug. Since the mermaid style is so dramatic and
glamorous, the accessories worn with it should be also. For example, a fine chain necklace
isn't going to add the impact needed with this dress style; bolder necklaces such as elegant
pearls would be a better choice.
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TYPES OF FABRIC USED
MUSLIN:
Muslin is a type of loosely-woven cotton fabric, introduced to Europe from the Middle East
in the 17th century. It became very popular at the end of the 18th century in France. Muslin is
most typically a closely-woven unbleached or white cloth, produced from corded cotton yarn.
Wide muslin is called "sheeting". It is often used to make dresses or curtains but may also be
used to complement foam for bench padding. Muslin breathes well, and is a good choice of
material for clothing meant for hot, dry climates.
Muslin clothes were traded by ancient Greeks from the East Indian port town Machilipatnam,
known as Maisolos and Masalia in ancient times and the name 'Muslin' originated from the
name Maisolos. Marco Polo, the famous traveler, visited the Kakatiya kingdom in which
Machilipatnam was located and praised the muslins available there.Another view was that the
fabric was named after the city where Europeans first encountered it, Mosul, in what is now
Iraq, but the fabric actually originated from Dhaka in what is now Bangladesh.[4][5] In the 9th
century, an Arab merchant named Sulaiman makes note of the material's origin in Bengal
(known as Ruhml in Arabic).[5]
In 1298 C.E. Marco Polo describes the cloth Muslin in his book The Travels. He said that it is
made in Mosul, (Iraq) and sold by merchants who were called "Musolini."
The word muslin is also used colloquially. In the United Kingdom, many sheer cotton fabrics
are called muslin, while in the United States, muslin sometimes refers to a firm cloth for
everyday use, which in the UK is known as calico.
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In British slang, muslin used to refer to women or femininity, while in nautical slang, muslin
can refer to a vessel's sails.
When sewing clothing, a dressmaker may test the fit of a garment, using an inexpensive
muslin fabric before cutting the intended expensive fabric, thereby avoiding potential costly
mistakes. The muslin garment is often called a "muslin", and the process is called "making a
muslin". With the availability of inexpensive synthetic fabrics, which closely resemble the
hand (drape and feel) of expensive natural fabrics, a test or fitting garment made of synthetics
may still be referred to as a muslin, because the word has become the generic term for a test
or fitting garment.
Muslin can also be used as a filter in a funnel when decanting fine wine or port to prevent
sediment from entering the decanter; and in cooking, it is the material for the traditional cloth
used when making a Christmas pudding. It is also used in the cheese-making process to drain
the curd.
Muslin is also often used as a backing or lining for quilts, and thus can often be found in wide
widths in the quilting sections of fabric stores.
Muslin is often the cloth of choice for theater sets. It is helpful in masking the background of
sets and helping to establish the mood or feel of different scenes. It can be painted to look
like countless different settings and, if treated properly, it can become semi-translucent.
It also holds dyes very well. It is often used to create night time scenes because when it is
dyed, it often gets a wavy look with the color varying slightly, such that it resembles a night
sky. Muslin shrinks after it is painted, but it is widely used because it makes for a great paint
surface.
In video production as well, muslin can be used as a cheap greenscreen or bluescreen, either
precolored or painted with latex paint (diluted with water). It is commonly used as a
background for the chroma key technique.
Muslin – the most common backdrop material used by photographers for formal portrait
backgrounds – is usually painted, most often with an abstract mottled pattern.
In the early days of silent film-making and up until the late 1910s, movie studios did not have
the elaborate lights needed to illuminate indoor sets, so most interior scenes were sets built
outdoors with large pieces of muslin hanging overhead to diffuse the lighting.
Muslin gauze has also found a use in cerebrovascular neurosurgery. It is wrapped
circumferentially around aneurysms or intracranial vessels at risk for bleeding.The thought is
that the gauze reinforces the artery and helps prevent rupture. It is often used for aneurysms
that, due to their size or shape, cannot be microsurgically clipped or coiled.
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DENIM JEAN:
Denim is a rugged cotton twill textile, in which the weft passes under two (twi- "double") or
more warp threads. This produces the familiar diagonal ribbing identifiable on the reverse of
the fabric, which distinguishes denim from cotton duck. Denim has been in American usage
since the late eighteenth century.[1] The word comes from the name of a sturdy fabric called
serge, originally made in Nîmes, France, by the Andre family. Originally called serge de
Nîmes, the name was soon shortened to denim. [2] Denim was traditionally colored blue with
indigo dye to make blue "jeans," though "jean" then denoted a different, lighter cotton textile;
the contemporary use of jean comes from the French word for Genoa, Italy (Gênes), where
the first denim trousers were made.
In fashion history, jeans and denim history continues to baffle. No one truly knows
the perfect answer to where jeans began. As so often happens fashions often emerge
together in various parts of the world and are the result of the sudden availability of a new
fabric, cloth, dye or technique.
But we do know that the phrase denim jeans are thought to derive from several sources.
No one is totally certain where the words come from. A majority of source books suggest
that denim derives from the English translation of the South of France French phrase
'serge de Nîmes'. Denim fashion history is thus associated with Serge de Nimes.
It may well be that the fabric which was made in France also had a version made locally
in England and was called by the same name of denim in the same way that Cheddar
cheese is called cheddar all over the world. The Serge de Nîmes was originally a wool
silk mix, twill weave. Certainly by the 19th century in England denim had a white warp and
a navy woof (weft). Denim was considered a hard wearing sturdy fabric, ideal for heavy
laboring.
When talking about denim the name Levi´ s is one of the first to be mentioned. Levi´ s
which stands for Levi Strauss is normally called the forefather of jeans.
When tracing back the history of these trousers to its origins it is true that Levi Strauss
played an important role concerning their development and distribution but he had also
other inventive business partners. Now the question is: who has sewn the first jeans and
where does the history of this „blue phenomenon” begin?
Levi Strauss in the year 1860 In 1847, at the age of 17 Levi Strauss left his Frankonian
native country in Germany and emigrated to New York together with his family. The
members of the Strauss family were capable and skilful businessmen and ran a pedlary
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at that time. So Levi and his brother followed their parents´ footsteps and also became
peddlers. When his great gold rush began in 1850, however, he decided to take part and
sent over to San Francisco
in California. He took with him a spade, a pick hammer and a bale of fabric out of brown
sail cloth which was meant to put up a tent. This did not happen, however: Levi found out
that the gold diggers´ hard work in the mines made their clothes get worn out very quickly
and he produced stout working trousers out of the sail cloth he had taken with him which he
called „half overalls“. When he continued producing these trousers he used cheap
cotton fabrics coming from Genova. At that time Genova was a flourishing place where
cotton was exported all over the world. The name of the town of Genova was modified
into „jeans” in the American slang. At the end of the sixties of the 19th century he replaced
the brown sail cloth by an indigo-dyed, wear resistant cotton fabric coming from France.
The name of this fabric was „Serge de Nimes“. Serge is the French Expression for
combined twill and Nimes is the French town where the fabric comes from. The fabric´s
name Serge de Nimes was quickly turned into „Denim“in American colloquial language.
By applying this indigo-dyed combined twill the first jeans out of Denim was almost born -
or better sewn. The only thing missing were the famous metallic vets. The application of
metal rivets for jeans is due to the Polish emigrant Jacob W. Davis, also called Jacob
Youphes. Although the working trousers out of Denim were stout they had a tendency to
get worn out where the pockets were. Jacob Youphes mended the trousers with a needle
and thread. One day a customer inspired him to repair the torn off pockets with the help of
rivets. From then on Jacob Youphes made a lot of money out of repairing trousers. Since
he was worried that his invention might be stolen he wanted to apply for a patent.
For doing so, however, he needed a financially strong partner. For that reason he
addressed the manufacturer of the trousers that he mended, Mr. Levi Strauss. Levi
Strauss agreed and together they applied for a patent to strengthen the pockets of the
trousers and Levi Strauss acquired a share of 50%. This patent was written down in 1873
and can thus be called the true year of birth. Under the management of Levi Strauss the
jeans were now produced in series. Since the trousers were so stout not only the gold
diggers liked them but which is not surprising in America?
The cowboys appreciated them very much, too. When the trousers were applied as
working trousers for cowboys, however they got worn out at the crotch tip. This was no
problem for Levi Strauss and Co. since they reinforced the trousers again with metal
rivets at the crossing point of the four seams at the crotch tip. The metal rivet at the crotch
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had to be removed quickly since the way of living of the cowboys had not been taken into
consideration. The cowboys used to repair their meals at the campfire and then they
spent the rest of the evening sitting round the campfire. When the cowboy approached
the fire too much at night, however he quickly learned the difference between the physical
conductivity of cotton and metal.
Those wearing these trousers were then suddenly startled out of their sleep. By knowing
very well the need for such a stout garment and thanks to the good cooperation with
Jacob Youphes as well as his very good instinct for marketing Levi Strauss is still an
important brand name in today’s textile industry. About 1947 denim made a break-away
from work clothing image, chiefly in the area of sportswear and rainwear and an
occasional appearance in high fashion collections as a "different-looking" evening dress.
Jeans fashion history was truly made in the 1950s when film stars wore it in movies that
the teenagers of the day followed with avid interest. For many years jeans were only used
as work wear clothes, but by the 1940s they were considered leisure wear in America.
Once pop and film stars like Elvis Presley, James Dean, and Marlon Brando sported them
they became desirable internationally in the 1950s and are associated with rock and roll
and pop music. Later in the 1960s, jean brands old and new were worn universally in the
western world. 1970 American youth adopted denim as their favorite fabric. Part of a
"back to nature" movement that emphasized ecology and the natural denim being a fabric
created from a natural fiber was a primary factor. Since 1960 the jeans business has
undergone an explosive transformation, from a source of tough, cheap clothing for
cowboys, blue-collar workers and penniless youth into a fashion conscious market for a
widening mass of people of almost all ages.
Substantial growth in overseas sales of American jeans and denim. Exports of Americanmade
blue jeans grew. Overseas manufacturers of jeans also grew. Production of indigo
dyed denim started in Europe on an industrial level in 1972. Spreading of jeans fashions
in the 1970’s and doubling of denim capacity in U.S.led to the onslaught of imports. From
1976 to 1979 U.S. imports of denim into Europe enjoyed penetration levels between 33%
and 42%. European textile industry saw in denim, an opportunity to restructure itself into a
more capital intensive high technology industry, thus becoming more competitive against
imports from lower-cost countries. From 1972 to 1976 capacities grew from approximately
20 million square meters to 130 million. All mills were basically running at capacity. It was
a period of worldwide shortage of denim when demand was substantially greater than
capacity. The 1976/7 fashion element subsided in Europe and U.S. Return to specialist
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jean manufacturer producing basic jeans, with relative little fashion styling. The
introduction of "baggy" jeans – originated in Italy where previous shortage led to youth
wearing any size jeans available. Since 1978 specialized denim manufacturers re
established positions mainly in terms of quality.
Indigo denim first produced at Yarraville during 1965 on a narrow width Slasher dyeing
machine designed and built on the area. This dyeing method has now been entirely
replaced by the commissioning of the Morrison Rope Dyeing Machine on July 4th, 1980.
Dyeing capacity 15 to 16,000,000 square meters of denim per annum are possible on this
new Morrison dyeing Machine. By the 1980s ripped, frayed and torn jeans were a normal
sight. Colored jeans from white through to pastels were also popular as were
stonewashed blue jeans. In the 80s, designer jeans with names like Gloria Vanderbilt,
Calvin Klein and Armani among so many fashion designers became the designer label
jeans to be seen in. Stone washed jeans became a must.
By the 1990s black jeans were very popular for a while and jeans in general were seen a
lot in the early 1990s. But shades of blue are always loved and sometimes the darkest
shade is high fashion and sometimes the most washed out faded pairs become the
hottest. Colored jeans of all shades made an appearance.
In 2000 designers were crystal beading and silver or gold spraying jeans amid tears,
frayed slashes, and fur and feather decoration. Denim was hot yet again and used to
make everything from footwear, jackets, bags, basque corsets to jeweled cuffs.
SILK:
For centuries silk has had a reputation as a luxurious and sensuous fabric, one associated with
wealth and success. It has been used by the Chinese since the 27th century BC. silk garments
are prized for their versatility, wearability and comfort. Because of its high absorbency, it is
easily dyed in many deep colors. Silk retains its shape, drapes well, caresses the figure, and
shimmers with a luster all its own. Silk garments can be worn for all seasons.
SILK, the fabric that makes its own statement. Say "silk" to someone and what do they
visualize? No other fabric generates quite the same reaction. For centuries silk has had a
reputation as a luxurious and sensuous fabric, one associated with wealth and success. Silk is
one of the oldest textile fibers known to man. It has been used by the Chinese since the 27th
century BC. Silk is mentioned by Aristotle and became a valuable commodity both in Greece
and Rome. During the Roman Empire, silk was sold for its weight in gold.
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Today, silk is yet another word for elegance, and silk garments are prized for their versatility,
wearability and comfort. Silk, or soie in French, is the strongest natural fiber. A steel filament
of the same diameter as silk will break before a filament of silk. Silk absorbs moisture, which
makes it cool in the summer and warm in the winter. Because of its high absorbency, it is
easily dyed in many deep colors. Silk retains its shape, drapes well, caresses the figure, and
shimmers with a luster all its own.
Contemporary silk garments range from evening wear to sports wear. A silk suit can go to the
office and, with a change of accessories and a blouse, transform into an elegant dinner
ensemble. Silk garments can be worn for all seasons.
Silk -- elegant, versatile and washable. In the past, owning a silk garment meant not only the
initial price of the garment but also the cost of dry cleaning. All silk is washable. Silk is a
natural protein fiber, like human hair, taken from the cocoon of the silkworm. The natural
glue, sericin, secreted by silkworms and not totally removed during manufacturing of the silk,
is a natural sizing which is brought out when washing in warm water. Most silk fabrics can be
hand washed. Technically, silk does not shrink like other fibers. If the fabric is not tightly
woven, washing a silk with tighten up the weave.... thus, lighter weights of silk (say a crepe
de chine of 14 mm) can be improved by washing as it will tighten up the weave. A tightly
woven silk will not "shrink" or will "shrink" a lot less. Silk garments, however, can shrink if
the fabric has not been washed prior to garment construction. When washing silk, do not
wring but roll in a towel. Silk dries quickly but should not be put in an automatic dryer unless
the fabric is dried in an automatic dryer prior to garment construction. A good shampoo
works well on silk. It will remove oil and revitalize your silk. Do not use an alkaline shampoo
or one which contains ingredients such as wax, petroleum, or their derivatives, as these
products will leave a residue on your silk and may cause "oil" spots. If static or clinging is a
problem with your silks, a good hair conditioner (see above cautions) may be used in the
rinse water.
Silk may yellow and fade with the use of a high iron setting. Press cloths and a steam iron are
recommended. Silk is also weakened by sunlight and perspiration.
SPUN COTTON:
Cotton is a soft, staple fiber that grows in a form known as a boll around the seeds of the
cotton plant, a shrub native to tropical and subtropical regions around the world, including the
Americas, India and Africa. The fiber most often is spun into yarn or thread and used to make
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a soft, breathable textile, which is the most widely used natural-fiber cloth in clothing. Cotton
has Resistance to acids, alkali, organic solvents, sunlight, microorganisms and insects. Cotton
has high luster.
COTTON, cool, soft, comfortable, the principal clothing fiber of the world. Its production is
one of the major factors in world prosperity and economic stability. Cotton "breathes". What
would we do without cotton? Since cotton wrinkles, polyester was added to give it wash and
wear properties for a busy world. In recent times, the consumer determined that polyester,
although easier to care for, took away the cool from cotton and also added a "pilling" effect to
cotton/polyester blends. Consumers now often request "100% Cotton". Permanent finishes
also added to the all cotton fabric gave a wash and wear property to cotton. cotton. The cotton
fiber is from the cotton plant’s seed pod The fiber is hollow in the center and, under a
microscope looks like a twisted ribbon. "Absorbent" cotton will retain 24-27 times its own
weight in water and is stronger when wet than dry. This fiber absorbs and releases
perspiration quickly, thus allowing the fabric to "breathe". Cotton can stand high
temperatures and takes dyes easily. Chlorine bleach can be used to restore white garments to
a clear white but this bleach may yellow chemically finished cottons or remove color in dyed
cottons. Boiling and sterilizing temperatures can also be used on cotton without
disintegration. Cotton can also be ironed at relatively high temperatures, stands up to abrasion
and wears well.
Mercerized cotton is treated to permanently straighten the cotton fibers which then becomes a
smooth, rod-like fiber that is uniform in appearance with a high luster. Cotton is often
blended with other fibers such as polyester, linen, wool, to "blend" the best properties of each
fiber.
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TESTING EQUIPMENTS
BEESLEY BALANCE
Fabric/Yarn Count Balance
To determine count of yarn is a process which is an easy task but once the fabric is made and
during the process of weaving/bleaching/dyeing etc. the yarn count decreases/increases.
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Hence to determine count ‘HIROSHIMA’ BEESLEY BALANCE helps to determine yarn

count of fabrics.
It comprises of a balance in which it is provided with a pointer which on one side

corresponds to a datum line and the other side is provided with a hook/hanger where the
specimen is hanged. In the middle of the pointer there is a small notch provided where either
small or large hook-weight is to be placed. On the placement of the hook-weight in the notch,
the pointer would fall in a downward position from the datum line. Place the yarn one by one
after cutting it according to the template provided till it corresponds to the datum line and the
No. of yarns would give the Fabric Yarn Count.
This is the easiest and the most economical method to determine the fabric yarn count by
“HIROSHIMA” Beesley Balance.
Tearing Strength Tester
Technical Specifications:
The tearing strength of fabrics, papers, plastic films or other similar materials is determined
by measurement of the work done in tearing through a fixed length of the test specimen using
of Elmendorf Tear Tester.
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The “HIROSHIMA” ELMENDORFF TEARING STRENGTH TESTER consist a brass

sector pendulum pivoted on anti-friction ball bearings on a vertical bracket fixed on a rigid
metallic base. The test specimen in shape of a rectangular piece held between two clamps,
one of which is mounted on the pendulum and the other is mounted on the vertical bracket.
The clamps are mounted in such a manner that their holding faces are aligned with each other
when the pendulum is locked in its raised position. The pendulum is released by lifting a
release lever. This action causes the test specimen to tear right through. The tearing strength
is indicated on a scale fitted on the pendulum against a low friction pointer pivoted on the
axis of the pendulum.
An adjustable knife is also mounted on the bracket on which the pendulum and the fixed
clamp are mounted. It is centered between the two clamps and is used for making the initial
slit in the test specimen.
The apparatus is finished in metallic painting and bright chrome plating to give it corrosion
resistant finish.
Augmenting weights for increasing the range of the tester for testing high strength materials
are available as optional accessories. Low strength materials can be tested by mounting
multiple specimens at the same time.
Fabric Thickness Gauge
Accurate determination of thickness of Fabric/Yarn is considerable importance, both for

assuring conformity with design parameters and for evaluation of various physical properties.
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Determination of thickness of Fabric/Yarn in laboratory is usually carried out with the help of
Bench Thickness Gauge. The Fabric/Yarn component whose thickness is to be determined is
kept on a flat anvil and a circular indenter is pressed onto it from the top under a specified
pressure. The contact faces of the anvil and the indenter are ground flat and set in planes
parallel to each other.
The “HIROSHIMA” Bench Thickness Gauge for Fabric/Yarn consists of a dial micrometer
fitted on a rigid metallic frame. The micrometer has a flat circular indenter which exerts the
specified pressure on the Fabric/Yarn sample those thicknesses is being measured through a
dead weight. The Fabric/Yarn sample is kept on an anvil which is in form of a flat circular
platform. The axis of the indenter and the anvil coincide and is the same as the axis of
movement of the indenter. The indenter can be raised and lowered gently onto the rubber
sample with the help of a lifting lever.
Crimp Tester
The crimp in a yarn is defined as the mean difference between the actual length of any yarn
and its apparent length in the fabric after weaving. It is usually expressed as a percentage of
the apparent length of the yarn in the fabric.
Determination of the crimp of yarn is carried out by marking a known length on the fabric,
removing the market yarn in such a manner that it does not lose its twist, holding it between
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two grips at the marked points, and slowly extending it till it is subjected to a specified
straightening tension. The increase in length of the yarn is determined and expressed as a
percentage of marked length to obtain the value of crimp.
The HIROSHIMA Crimp Tester is designed to determine the crimp of yarns taken out of
fabrics. One end of the yarn is held in a pivoted loading grip on which the desired tension
load is applied by means of a sliding weight acting on a lever arm, while the other end is held
in a movable grip which is mounted on a screw and can move along the direction of the yarn,
stretching it in the process. The distance moved through by this grip gives the extension of
the yarn, and can be measured on a scale fixed by the side of the grip assembly.
The loading grip is pivoted on jewel bearing and mounted on a sliding platform which can be
moved towards or away from the moving grip to enable different marked lengths of yarn to
be tested. The test length is indicated on a scale fixed on the base of the apparatus against a
pointer fixed to the sliding platform.
The yarns is held in between the two grips and pulled by moving the movable grip away from
the loading grip. The tension under which the crimp is to be determined is set on the
pendulum by moving the sliding weight and is indicated on a load scale. When the yarn is
under the specified tension, the pendulum lifts off its support, thus breaking a contact and
turning off a low voltage indicator light.
Crease Recovery Tester
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The ability of textiles to recover from creases is determined by measurement of its creases
recovery angle. In this test the test specimen is first creased under a specified load for
specified period of time and is then transferred to the angle measuring device where one of its
ends is held in a spring loaded clamp while the other end is allowed to fall freely under its
own weight. This clamped end is slowly rotated till the free end becomes vertical. The angle
of deflection of the clamped end from the horizontal is read on a scale fixed to the ability of
textiles to recover from creases is determined by measurement of its creases the moving
clamp. This angle gives the measure of the crease recovery.
The Crease Recovery Tester for fabrics consists of an arrangement to crease a rectangular test
specimen under a specified load for the specified duration of time and an arrangement to
measure the crease recovery angle. Creasing is carried out by pressing the folded test
specimen under a load of 1 Kg between two flat surfaces. The load is applied by mean of the
dead weight of the upper flat surface. The arrangement for measurement of crease recovery
angle has an anodized aluminum scale calibrated in degrees mounted on a mounted on a
vertical disc. The disc can turn about the axis of the scale and has a spring loaded clamp
located on 00 to hold one end of the test specimen. The free end of the test specimen can be
aligned against a vertical edge fitted in front of the disc.
The test specimen is mounted on a brass strip for convenience in use and is creased and held
in the clamp while still fixed onto it.
TRIMS
NEEDLES:
In the needle trade we face trouble in stitching certain fabrics that have been finished in such
a way that they are most difficult to sew. The needle is selected with consideration for both
the thread and the fabric. The size and the thread size are determined by weight of the fabric
used, because heavy fabrics requires a heavier needle and strong thread.
A perfect stitch can be obtained only when the thread is selected to suit the fabric which is to
be stitched and the needle is the correct size for the thread and the relationship of types of
fabrics and needle sizes and machine stitch settings.
The increasing use of synthetic sewing threads and synthetic fabric in conjunction with high
speed sewing machines has aroused great interest in the problem of needle heating in recent
years.
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THREADS:
The term sewing thread is used to cover a wide range, including all types of string, rope,
wood, silk, wire and all threads made of man made fibers including nylon monofilament and
plastic thread ( Morris, 1974).
With today’s growing awareness of the role of good sewing threads for well tailored apparel:
more and more thread making corners have been springing up to met the various demands of
the public. Today sewing threads are available; either for natural or man made fibers (Lyle,
1977).
The satisfactory sewing thread must have the following physical, chemical and aesthetic
characteristics and any other demanded by the end use of the item.
 High strength and elasticity

 Smooth surface
 Dimensional stability
 High friction resistance
 Good appearance and hand
 Resistance to snarling
 The strength of the thread depends largely on the number of plies which are combined
together.
Basic Process of Manufacturing Garments:
Clothing is the largest category of sewn textile products, but footwear, leather products,
upholstery, curtains and draperies, towels, bedding, flags, parachutes, table linens, tents,
industrial filters, and other industrial components made of fabric all require the same basic
sequence of operations when produced in quantity. These products rely on stitching as the
predominant means of fastening pieces together to make the finished product. Not only cloth,
but leather and plastic sheeting may be used as base materials. Rug manufacture, described
below, also usually involves some sewing operations. Although garments and other sewn
products are still made by tailors, seamstresses and other skilled persons who each make the
entire product, production processes for these products involve a division of labor. The work
consists of a series of operations, each performed by a separate person, using production-type
equipment. Individual workpieces or bundles of them are moved by conveyors, chutes or
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other means from operation to operation. The following are the operations involved for most
sewn products.
Spreading/Stacking
In production operations, the individual pieces making up the items to be sewn are not cut
individually from the fabric but are cut from a stack of many layers of fabric. All layers of the
stack are cut at the same time. The stack is made by spreading layers of the fabric on a work
surface. Short stacks may be spread by hand, but, if production quantities are involved, the
fabric is spread from a wheeled carrier, a spreading machine. The machine carries a bolt or
bolts of cloth and spreads one layer after another smoothly on the stack as the machine moves
back and forth along the work bench. For uniformity of the pieces that will be cut from the
stack later, it is important that the layers do not have either too much or too little tension.
Spreading machines can be primarily manual in operation, semi-automatic or fully automatic.

Fully automatic machines traverse under their own power. Electronic sensors are sometimes
used to superimpose each layer precisely on the stack, particularly when there is a pattern to
the fabric that has a relationship to the pieces to be cut. To control tension, many spreading
machines are designed with devices that unroll the bolt of cloth as the carrier moves, so that
the cloth is unwound at the same speed as the carrier moves.
There are several ways in which the fabric can be placed in the stack. Often, when both
surfaces of the fabric are the same, or when cut pieces can be symmetrical, the machine folds
the fabric face-to-face at the ends of the stack and spreads the fabric when moving in either
direction. When the fabric cannot be spread face-to-face, the machine, equipped with a
turntable for the bolt of cloth, rotates the turntable at the end of each layer (after the fabric is
cut), and deposits the new layer with the same face up. Fabrics with decorations, patterns or
nap that must always face the same direction are spread only when the machine is going one
direction. Some products require the fabric to be spread face-to-face but only in one direction.
In either case, the fabric is cut at the end of the stack and the carrier or machine returns to the
starting point without spreading. However, some machines have a double-deck feature so that
one-way, face-to-face stacking can take from separate bolts of cloth as the carrier moves in
either direction. Layers are spread alternately from each bolt. Sometimes, doubledeck
machines are used to spread an outer fabric and a lining alternately from the same spreading
machine. After cutting, the outer fabric and lining are handled together.
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In most spreading, the alignment of the layers is controlled at one of the edges, but often,
when there is variation in the fabric width, the layers are aligned at the center.
Marking
The marker is an arrangement of outlines of all the individual pieces of the garment or other
product to be sewn. Its purpose is to provide a guide for cutting pieces of the proper size and
shape from a stack of fabric. The marking operation involves the arrangement of these
patterns for individual pieces in such a way as to minimize the wastage of material between
pieces. The marker may be printed or traced on a sheet of paper, a layer of inexpensive fabric,
or a layer of the fabric to be cut. Making a good marker manually to maximize the yield of
the material is a time consuming process and requires considerable skill. Traditionally,
markers have been made by tracing full-size cardboard or fiberboard patterns on a sheet of
paper that is the same width and length as the spread fabric for a production lot of the
product. The marker is fastened to the stack of fabric by staples, double sided sticky tape, or
by an adhesive. It then serves as a guide for the manual cutting of the individual pieces from
the stack. The marker may also be developed first in miniature with accurately scaled-down
patterns and then printed enlarged on the marker sheet. Perforation of the pattern outlines on
the paper is sometimes used instead of ink printing. Then the perforated sheet serves as a
stencil for marking the top layer of fabric. Chalk or other powder is dusted through the stencil
perforations. The stencil thus produced can be used on subsequent lots of the same product.
Fig. 10H2 illustrates a typical marker, this one for several sizes of overcoat.
Figure 10H2: A marker for production of overcoats of two different sizes, medium (M) and large (L).
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In well-equipped production facilities, marker preparation is now done by computer. This

saves time and optimizes utilization of the fabric. The computer equipment then prints a full-
scale copy of the marker on paper. When computer-controlled cutting equipment is used, a
separate marker sheet is not required. The marker pattern is contained in the computer's
memory instead of on a sheet of paper.
Cutting (Chopping or Knifing)
Two basic approaches are used in cutting the stack of fabric into pieces of suitable size and
shape to be sewn into finished products. Pattern chopping is the cutting of the fabric into the
exact shape required for sewing. Block chopping is a kind of rough cut that produces pieces
close to the final shape, but which require some trimming cuts to bring them to the exact
shape needed. Several methods are available to cut the stack of spread fabric into pieces. The
methods available include several with manually-controlled cutters (rotary blade machines,
reciprocating blade machines, and continuous band knives, similar to band saws in principle).
Whether circular or straight, the knife blades may have straight, wave-like, or saw-tooth
edges, depending on the material to be cut. More automatic methods include clicker die press
systems and computer-controlled laser cutting equipment.
Round knife (rotary blade) and oscillating knife (reciprocating blade) machines are manually
operated but have electric power to provide the blade motion. The cutter operator guides the
knife by hand through the stack of cloth as it cuts, following the pattern lines on the marker.
The result is a stack of cut pieces all the same shape and size, often with a paper piece from
the marker at the top of the stack.
When a continuous blade (band knife) machine is used, it follows block chopping by a
manual cutting machine. The block-chopped stack of pieces is brought to a nearby, more-or-
less stationary, continuous blade machine to be trimmed to the precise dimensions and shape
required. The stack is manually guided against the blade. (The band knife can be made
narrower than a reciprocating blade and thus can cut sharper corners. When the shape of the
pieces to be cut includes intricate curves and sharp corners, band knife cutting is most
suitable.)
Press cutting uses metal dies (clicker or steelrule dies) made to the shape of the pieces to be
cut. The stack of material to be cut is moved to the press bed, the die is positioned on the
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stack and the press ram descends, forcing the die through the stack. The sharp edge of the die
cuts the pieces from each layer of the stack in one press stroke. A special die is used for each
piece to be cut. Steel rule die cutting is described in paragraph 2C4a of this handbook. The
cost of making, handling and storing the dies limits this method to large-scale production of
pieces of a certain shape and size. Parts for footwear, purses and similar items are cut with
this method.
Computer controlled cutting - Three computer-controlled cutting methods are available for
cutting fabric pieces. They are the vertical-blade, water-jet and laser-beam machine methods.
All three methods provide cutting without the need for a paper or other separate marker sheet.
The pattern of cutting is controlled by data in the computer's memory. Verticalblade
computerized cutting uses a cutting head that contains a reciprocating knife blade. The head
is positioned by an X-Y mechanism and the blade penetrates the stack and cuts along the
perimeter of each piece to be cut. The machine uses a vacuum table to hold the stack for
cutting. A plastic film at the top of the fabric stack maintains the vacuum. The water jet
method also cuts a stack of fabric, using an extremely fine, extremely high-speed jet of water.
The method, which is used for other machining and cut out work, is described in paragraph
M, Chapter 3, of this handbook. Computer-controlled laser cutters operate in the same
manner as laser cutting in the metalworking industries. (See Chapter 3, paragraph O.) The
laser beam traces the outline of the pieces to be cut and burns or vaporizes the fabric to
separate the pieces wanted.
These computer-controlled cutting processes are fast and accurate, eliminating variations
inherent in manual methods. Another advantage is that no investment is required in physical
patterns or cutting dies. All the information needed to cut the pieces for a particular product,
is contained in the computer data storage system. Laser cutting is particularly useful for lower
quantity production including one-of-a-kind products.
Stacks of cut sections of the product may be drilled or notched to guide the subsequent
sewing operations. There are two drilling methods: awl needle drilling and hypodermic
drilling. Awl drilling (needle drilling) uses a solid tool that rotates as it is pressed into the
stack of fabric. The awl may have elements that cut a hole in the fabric stack or may simply
penetrate the stack spreading or severing the yarn. The purpose of hypodermic drilling is to
leave a mark on the fabric rather than a small hole. The needle is hollow and, as it is
withdrawn after penetrating the stack of fabric, it leaves a dye mark on the fabric. The dye is
by BESKYRAJ Page 33
either a fluorescent type that is not visible in normal light but is detectable under ultraviolet
light or an ink that is visible in normal light but disappears when the sewn fabric is pressed.
Tickets are affixed to each stack to identify lay and lot numbers and ensure that each final
product is made from correctly matching material.
Sewing
The basic sewing operation in the production of garments and other textile products is the
manually controlled sewing machine. "Its function is to form a chain of interlocking loops (or
links) of thread around small sections of fabric." 10 The sewing machine makes each stitch
and moves the fabric into position for the next stitch in the series. Industrial machines are all
powered by electric motors and some reach speeds as high as 8000 stitches per minute.
World-wide, there are thousands of different models of machine, many made for special
purposes, such as overedging, embroidery, chain stitching, continuous seaming, and blind-
stitching, as well as for certain operations such as pocket sewing, button and button-hole
sewing. However, almost all have the common characteristic of relying on a human operator
to obtain and position the fabric pieces, direct their movement through the sewing head,
control the starting, the speed and stopping of the stitching, the movement aside of the sewn
component, and the replenishment of thread. From this highly manual system, there has been
an evolutionary movement towards more and more automatic operation of portions of sewing
operations and also of complete operations. Most progress has been made with those
operations that are more highly repetitive. The simplest automation is in machines that
perform an automatic sewing cycle on fabric pieces that are manually placed in position and
manually set aside after the operation. Examples are button or buttonhole sewing, bar tacking,
dart sewing and pocket sewing. These machines are sometimes referred to as stop motion
machines.10 Next on the degree of sophistication are semiautomatic machines that perform
such operations and move the sewn assembly aside afterwards. The most sophisticated
machines are those that take fabric pieces from a hopper or magazine, place them in the
sewing machine, perform the operations automatically, and set the assembly aside. The
operator's duties are to load the hoppers and monitor the machine operation. More recently-
developed machines perform these operations under computer control and can sew with
variations of size and shape as dictated by the program.
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Attachments for sewing machines improve the quality and add to the productivity of certain
operations. The attachments usually consist of fixtures and guides to direct the fabric to the
correct position and mechanisms to perform certain other tasks. They are frequently used in
production sewing. Examples include hemming fixtures, seam guides, needle positioners
(which control the height of the needle when the machine stops), stitching templates, thread
trimmers, knives, positioners, pipers, gatherers, binders, rufflers and shirrers and devices
called stackers that remove and set aside the sewn pieces. They may do this by sliding,
lifting, or inverting the piece.1 Other devices move the fabric automatically to the correct
position for sewing and to a new position after the first sewing operation is completed.
Some of the operations performed by semiautomatic and more fully automatic machines are
the following: buttonholing, button sewing with or without automatic feeding of the buttons,
tacking, welting, dart stitching, contour or profile sewing in which curved seams are sewn
automatically, and pocket setting. Backtracking and angular profiles can be sewn
automatically on some machines. Sometimes, two or more sewing machines are arranged in
series so that the first machine performs a sewing operation and the material is moved
automatically to the second machine for another sewing operation. For products such as
sheets, pillowcases and table cloths, hemming may be performed on both edges of fabric fed
to two machines from rolls, and it passes through the machines for continuous sewing and
cutting off. Buttonholing and button sewing machines may be made to repeat these operations
at prescribed spacing on a garment. These machines are programmable so that the number of
buttons and their spacing. can be changed when different garments or different sizes are
sewn.
The sewing machine is a complex mechanical device that performs many functions with
respect to the thread and the fabric, each at a precise instant in the sewing cycle. Each
machine includes devices to maintain tension in the thread most of the time and other devices
to put slack in the thread when it is needed, machine components to move the fabric between
stitches and other elements to hold the fabric motionless when necessary. The sewing
machine needle is precisely shaped with a hole near the point to carry the thread and a groove
to contain the thread when the needle passes through the fabric. The shuttle used in some
stitches must oscillate or rotate but is not solidly connected to any shafts because the thread
must pass around it. Surfaces of all thread handling elements of the machine must be very
smooth so as not to catch the thread during its movement.
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There are two basic sewing machine stitches: chain stitches, which are made with one thread,
fed from the top, that interlocks with itself and lock stitches, which use one thread fed from
the top and another in a bobbin in the machine to interlace with the top thread.
Chain stitches are made by a hook-like element called a looper that is beneath the bed of the
sewing machine. When a sewing needle and thread penetrate the fabric and start an upward
return stroke, there is a small amount of slack in the thread. The looper catches the slack loop
and moves it to a position where the next needle stroke passes through it. As this operation
continues, a series or chain of stitches is formed, all with the same thread. Chain stitches are
simpler and faster to sew than lock stitches and have more stretchability but have the
possibility of unraveling if the thread breaks and one of the thread ends is pulled in a certain
way. Fig. 10H4(a) shows a simple chain stitch.
Figure 10H4: Two common simple stitches—a) Chain stitch. One thread interlocks itself at the
bottom of the fabrics being sewn. b) Lock stitch. The top thread interlocks the bottom thread. (Note—
Stitches are shown very open to clearly illustrate how the threads interlock.)
by BESKYRAJ Page 36
With lock stitches, a moving hook in the machine bed catches the slack in the needle thread,
just as a looper does, but moves it so that the shuttle, which carries a bobbin of thread, passes
through the thread loop. This produces a bottom thread, below the surface of the fabric, that
interlocks with the needle thread from the top of the fabric. Fig. 10H4(b) shows a simple lock
stitch. Lock stitches essentially remain in place even if the thread should break.
Stitch-Less Joining (Seam Bonding) (Heat Sealing)
Some fabrics are joined without using sewn stitches. Instead, the separate pieces are bonded
together along a seam. Two basic methods are used: fabrics are either fused together, or held
by an adhesive that is added. In fusing, the fabric itself is made wholly or partly from
thermoplastic synthetic yarn or is coated, at least in the seam area, with a thermoplastic. Heat
and pressure are applied sufficiently along the seam from a wheel or die so that the fibers
soften and the fabrics fuse together. Heating for stitch-less joining can be by direct contact,
infra red radiation, or high-frequency induction. Most machines used for this operation are
equipped with a pair of rotating wheels that apply pressure and usually heat to the fabric as it
passes between them. The machines operate like sewing machines in that the joining is along
a narrow seam.
When an adhesive is added to the fabric for the joining operation, if it is a hot melt adhesive,
heat and pressure are applied to soften the adhesive and cause the fabric layers to bond. Other
adhesives may be cured with ultraviolet energy, evaporation, or polymerization, often with
less intensive heating.
These stitch-less seams are used in garments, footwear and other products, particularly when
plastic film is used instead of, or is laminated with, a woven or knitted fabric.
Pressing
Provides smooth surfaces, pleats, creases, and other effects with a combination of heat and
pressure on the sewn product. Contoured shapes may also be made by pressing, often in areas
of garments and footwear. Manual ironing is one method of pressing, using irons like
household irons, sometimes supplemented with devices to aid in handling the iron. Mangles
are also often used. (Mangles are machines with a pair of heated rollers. The cloth or garment
is pressed by passing it between the rollers.) For higher levels of production, presses are used.
by BESKYRAJ Page 37
With all these methods, there is normally a timed cycle during which the pressure and heat
penetrate and act on the fabric. A buck press is a machine with matched, somewhat contoured
sections, between which the fabric product is placed. Steam provides both heat and moisture
to the fabric being pressed. Blocking is forming on a one-piece die with pressure applied to
the fabric with hand tools or steam. Heat is applied by steam, gas, or electrical resistance.
Moisture may also be added and a vacuums may be used to hold the fabric against the
contours of the die. The contoured sections are made for a specific portion of the garment or
other product. Surface texture as well as shape can be changed by pressing operations. Hats,
collars, and cuffs can be formed on presses with matched dies. Curing consists of heating a
sewn component or product in an oven. The prime application is the setting of previously
pressed creases in durable press, permanent press or wash and wear garments.1 Steam
chambers are sometimes used to remove wrinkles or creases from fabrics.
Folding, Labeling, Wrapping/Packing
The completion of garments and other sewn textile products includes, in the final phases, these
operations that allow the products to be labeled, inventoried and protected, so they can be handled,
shipped and presented to customers with proper identification and attractive appearance. Folding prior
to packaging is normally a manual operation but, in quantity production, is facilitated by equipment
that holds the product and simplifies folding. A variety of boxes and cartons are available, depending
on the product. Most of the boxes are shipped to the sewing factory in folded, flat form. Plastic bags,
sealed, stapled or taped, are increasingly common to protect finished products until they are sold.
Vacuum packaging is increasingly common and is often highly mechanized in machines that reduce
moisture in each product by passing it through a heated chamber, encase it in plastic bags, apply a
vacuum to remove air from the bag, make a compact package and then seal the bag. Product labels are
included inside the bag or adhered to its outer surface.
by BESKYRAJ Page 38
COMPONENT PARTS
Tops:
Back cut 2
Front cut 2
Sleeve cut 2
Collar cut 2
Skirt:
Skirt cut 4
Flare cut 6
PATTERN DRAFTING
MEASUREMENTS
BODICE
Full length : 35cm
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Sleeve : 55cm
Breast : 80cm
Shoulder width : 32.5cm
Sleeve round : 28cm
Across back : 37.5cm
Neck drop : 15cm
SKIRT
Full length : 115cm
Seat : 87.5cm
Waist : 60cm
Hip : 82.5cm
DRAFTING:
BODICE FRONT
Draw a line 0-3 at a distance of 1.5cm to 2cm from the edge A-B.
0-1 → 1/8th bust + 6.5 cm
0-2 → waist length + 2cm
0-3 → full length + 2cm
Square out from 0,1,2 & 3
0-4 → 1/12 bust + 1cm
by BESKYRAJ Page 40
0-5 → 1/12 bust + 1cm
Shape neck 5-4
0-6 → shoulder + 1cm
6-8 → 2.5cm
Join 4-8
9-7 → 2cm
1-10 → 1/4th bust + 4cm
Shape scye 8-9-10
Square down 10 to 11
11-12 → 2cm
3-13 → 1/4th bust + 5cm
Shape side seam 10-12-13
2-14 → 1/8th bust
10-15 → 1/8th bust + 1.5cm (direction of bust)
BODICE BACK
Square lines from 0, fold at 0-3
0-1 → 1/8th bust + 6.5 cm
0-2 → waist length + 2cm
0-3 → full length + 2cm
Square out from 0, 1, 2 & 3
0-4 → 1/12 bust + 1cm
4-5 → 2cm
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Shape neck 0-5
Join 5-8
Shape scye 8-9-10
For inturns 4 to 5 cm is given below the bottom line 3-13.
SLEEVE:
0-1 → Sleeve length + 2.5cm
0-2 → 1/4th chest – 3cm
Square down to 3
Join 1-3
1-4 → ½ of wrist round + 2cm
2-5 → ½ of 0-2
Join 4-5 & 0-5
6 is midpoint of 0-5
6-7 → 1.5cm upwards
8 is the midpoint of 5-6
8-9 → 1cm downwards.
SKIRT
0-1 Full length – waist band width 4cm + 2.5cm
0-2 1/16 seat + 2cm
2-3 same as 0-1. Join 1-3
1-4 & 3-5 10 to 15cm. join 0-4 & 2-5
4-A & 5-B2cm (up)
Shape A-1 & 3-B

by BESKYRAJ Page 42
by BESKYRAJ Page 43

Project On CASUAL WEAR: by Beskyraj

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Project on CASUAL WEAR

Fashion is enigmatic, which changes in day-to-day life. , Fashion is an evolving subject.

The pattern is constructed by standard measurement of female and men’s croquie.

Fishtail or Mermaid Line

Mermaid costume for your undersea fantasies. Sexy

HISTORY OF FISH TAIL OR MERMAID LINE:

TYPES OF FABRIC USED

Fabric/Yarn Count Balance

Hence to determine count ‘HIROSHIMA’ BEESLEY BALANCE helps to determine yarn

It comprises of a balance in which it is provided with a pointer which on one side

Tearing Strength Tester

The “HIROSHIMA” ELMENDORFF TEARING STRENGTH TESTER consist a brass

Fabric Thickness Gauge

Accurate determination of thickness of Fabric/Yarn is considerable importance, both for

Crease Recovery Tester

 High strength and elasticity

Basic Process of Manufacturing Garments:

Spreading machines can be primarily manual in operation, semi-automatic or fully automatic.

In well-equipped production facilities, marker preparation is now done by computer. This

Cutting (Chopping or Knifing)

Stitch-Less Joining (Seam Bonding) (Heat Sealing)

Folding, Labeling, Wrapping/Packing

Full length : 35cm

Shoulder width : 32.5cm

Sleeve round : 28cm

Across back : 37.5cm

Neck drop : 15cm

Full length : 115cm

0-1 → 1/8th bust + 6.5 cm

0-2 → waist length + 2cm

0-3 → full length + 2cm

Square out from 0,1,2 & 3

0-4 → 1/12 bust + 1cm

0-5 → 1/12 bust + 1cm

Shape neck 5-4

0-6 → shoulder + 1cm

1-10 → 1/4th bust + 4cm

Shape scye 8-9-10

3-13 → 1/4th bust + 5cm

Shape side seam 10-12-13

2-14 → 1/8th bust

10-15 → 1/8th bust + 1.5cm (direction of bust)

Square lines from 0, fold at 0-3

0-1 → 1/8th bust + 6.5 cm

0-2 → waist length + 2cm

0-3 → full length + 2cm

Square out from 0, 1, 2 & 3

0-4 → 1/12 bust + 1cm

Shape neck 0-5

Shape scye 8-9-10

For inturns 4 to 5 cm is given below the bottom line 3-13.

0-1 → Sleeve length + 2.5cm

0-2 → 1/4th chest – 3cm

1-4 → ½ of wrist round + 2cm

Join 4-5 & 0-5

6-7 → 1.5cm upwards

8 is the midpoint of 5-6

8-9 → 1cm downwards.

0-1 Full length – waist band width 4cm + 2.5cm

0-2 1/16 seat + 2cm

2-3 same as 0-1. Join 1-3

1-4 & 3-5 10 to 15cm. join 0-4 & 2-5

4-A & 5-B2cm (up)