Understand Textile Products Care

Garment care

 Proper care of textiles will determine

the durability and attractiveness of a
textile product during usage.

 Care of textiles may include airing,

washing, bleaching, drying and ironing,
dry cleaning, stain removal.
 Garment care

◉ Four factors are important in

laundering or dry cleaning of
textiles and these are;
1.Temperature,
2.Time,
3.Washing medium
4.Mechanical action
 Garment care
◉ These four have to be optimized for effective care of
textiles.

◉ Particular laundering procedures have to be selected

basing on the fiber and its properties for example
strength, sensitivity to chemicals and temperature.

◉ Additional limitations may be imposed by yarn

fabrication processes, fabric construction method

and special finishes.

Care label
 Care label

◉ The provision of care symbols indicates

the recommended procedures which
avoid risk causing damage to the textile
product being treated.
◉ Care label as a permanent label or tag
containing regular care information
and instructions.
 Care label
◉ A care label is a pictogram for
example a wash tub with hand
symbol showing hand washing.
◉ The care label should not become
separated from the product and
should remain legible during the use
of the product.
 Care label code

◉ The care label code is represented easily

by understandable and recognizable
graphic symbols.
 Care labels

◉ Care labels should be made of

material resistant to the care
treatment indicated in the label.

◉ This ensures that the care label will

last the life time of the article.
 Care labels

◉ The care label code should be simple

enough to be understood by users in all
countries irrespective of language and at
the same time providing as much
information as possible.
 Care labels

 This is meant to prevent damage which may

occur during treatments. Words may be
added to the symbols for clarity.
 The care instruction symbols are applicable
to the whole garment including trimmings,
zippers, linings, buttons, and embroidery or
decorative embellishment.
WASHING
 Washing
◉ Washing of garments should be done

differently, according to the fiber

content, fabrication method, finish
applied.

◉ The wash symbol is represented by

the wash tub.

 Washing

◉ The following washing symbols 95 C

high temperature for a hot wash, for white
cotton or linen without special finishes.

◉ The fabric requires normal mechanical

action and normal rinsing and spinning.
 Washing

◉ Cotton can be washed easily as it does

not require gentle treatment.

◉ Cotton and linen are strong and

durable and can withstand friction
and rubbing and agitation.
 Washing

◉ 60 C medium temperatures applied on cotton,

polyester and the blends where colours and finishes are
applied 40 C low temperatures used on cotton or
polyester in deep colours, wool mixtures with cotton or
viscose and silk fabrics in colours.
 Washing

◉ A tub with a line below indicates

agentle wash program.

◉ Two lines below the tub indicate an

even gentler programme.

◉ Shrink resistant wool acetate requires a

gentle washing cycle
 Washing

 Hand wash, do not machine wash,

normal wool, silk.

 The crossed wash tub says do not wash.

Do not wash very delicate wool.

 wool is a natural protein fiber which is

rather demanding in terms of care.
Bleaching
 Bleaching

◉ Bleaching is a method of whitening

garments or a finish on garments to
make them white.

◉ The symbol of bleaching is a

triangle.
 Bleaching

◉ The bleaching symbol is important for

domestic stain removal and commercial
laundries where bleach may be used.

◉ Bleach as needed. Non chlorine only,

non chlorine colour-safe bleach may be used
on these garments when needed.
 Bleaching

◉ Do not bleach. Garments with this

symbol, these are not able to withstand
any bleach.

◉ Bleaching is not necessary on polyester as

they retain their whiteness by normal
laundering
Ironing
 Ironing
◉ The iron is a symbol of the domestic
ironing process.
◉ The dots in the iron symbol indicate the
maximum recommended temperature.
◉ Different fibers have different levels of heat
tolerance hence they require different
temperature when ironing.
 Ironing

 Ironing symbol with three dots indicates

maximum temperature of 210 C may be used.

 Used for ironing cotton and linen.

 Cotton and linen can withstand high temperatures;

this is attributed to high crystallinity and long
polymer structure
 Ironing
◉ A moderate temperature 160 C
applied on wool, silk, polyester, viscose.

◉ Maximum temperature of 120 C

used for ironing heat sensitive fabrics e.g.
acrylics, acetate, nylons, polyester.

◉ Do not iron, do not press or steam

press.
Dry Cleaning
 Dry Cleaning

◉ Clothes are washable some should be dry

cleaned.

◉ Dry cleaning is represented by a circle with a

letter inside to show the recommended cleaning
agent.
 Dry cleaning symbols

◉ All normal solvents may be used without

restriction.

◉ Perchloroethylene and fluorohydrocarbons

may be used. These are the most common
solvents for dry cleaning.

◉ Fluor hydrocarbons and white spirit.

 Dry cleaning symbols

◉ Do not dry clean. Fabrics like 100%

cotton which does not require special
care in laundry.

◉ Cotton gains strength when wet

therefore ordinary laundering processes
do not affect them.
Drying
 Drying
◉ The symbol for drying is a rectangle.

◉ Well dried clothes maintain their

shapes

◉ Drying symbols
Drip dry
Line dry
Dry flat
 Drying
◉ This symbol says article can be
tumble dried. Tumble drying is
recommended for fabrics which are
not heat sensitive like cotton.

◉ Heat sensitive synthetic fabrics should

not be tumble dried

 Fashion
accessories
Introduction • Accessories are extensions of the body- detachable
components that can be used to protect hide or
boast.

• Accessories are influential symbols that represent

the wearers identity but when not in use they must
stand alone, requiring a powerful presence in order
to seduce.

• Designing accessories explores how designers have

evolved from specialist craft people to become
style leaders in twenty first century.
35
What is an
accessory
 • An accessory is an object that is worn on the body
or carried by a person, yet is completely
What's an independent of the user.

accessory? This powerful extension of the human form comes in

thousands of different types of objects; generally
speaking, however, the four main forms of
accessories are the
• Bag
• Footwear
• Jewelry and
• Millinery.
37
 • For thousands of years, craftspeople, designers,
artisans and makers have honed their knowledge
and skills to develop increasingly sophisticated
accessories.

Functionality of
accessories • Accessories were no doubt invented to sustain or
facilitate life

Example
The invention of bags enabled food to be carried from
place to place, whilst footwear was created to wrap
the feet and so enable people to the vagaries Of
38
working life.
 • But accessories are also created to show the
magnificence of the wearer; richly decorated hats
emphasize status whilst jewelry is often displayed
to demonstrate wealth.

Aesthetic feature of • Today, the need to sustain life and desire to show
magnificence through the use of accessories
accessories continues to drive their popularity.

• Accessories design must therefore balance practical

requirements with aesthetic considerations:
accessories are increasingly becoming both key
fashion items and fashion statements that demand
attention
39

The English model and actress Jean Shrimpton in
1960 wearing an elaborate tribal- inspired necklace
with matching earing made of precious stones
A Hermès handbag broke a world record when it sold for a jaw-
dropping $380,000 at a Hong Kong auction
A matte white "Himalaya" crocodile skin Hermès Birkin bag with
18-karat-gold buckles and strap loops encrusted with 205 40
diamonds
 Modern • From originally working as craftspeople,
accessories accessories designers have developed into today's
twenty-first century style leaders.

• Now working at the forefront of the fashion

Industry, it is vital that accessories designers have a
sound knowledge of the main products from which
other styles derive.

• This chapter looks at the key styles that exist

within each category, exploring the details of the
core components that make up each type of
accessory. 41
The Bag
The bag

• Historically the dominant accessory for men, the

bag today has both transcended its modest
beginnings and evolved into a must-have, key
accessory for women.

• Bags, especially handbags, have also significantly

become a potent symbol of both wealth and power.

43
The bag
• Most bags basically consist of pieces of leather or
fabric that are stitched together with attached
hardware or components to make the accessory
functional.

• However, bag design has become increasingly

complicated as designers endeavor to differentiate
their work from each other in a highly competitive
marketplace, and now employs a much wider use
of components and logo than ever before.

44
45
 • Bags are essentially designed to carry objects.

The historical • Prior to the twentieth century, bags were used

development of simply to carry essential items or to make a
bags statement of wealth.

• Women canoed needlework in bags when visiting

other people in their homes on social occasions,
along with other small items such as the calling
card and a small bottle of perfume.

46
Women’s Pockets, England mid – 18th Century, Los Reticule, France 1800 -1825, Los Angeles
Angeles County Museum of Art County Museum of Art
collections.lacma.org/node/232683 collections.lacma.org/node/214021
47
 • In addition, small, embroidered bags were carefully
made because beautiful handicrafts were an
important part of women's domestic lives.
During 20th
century • However, as needlework fell out of favor over
time, other Illitems soon took its place.

• The beginning of the twentieth century saw

fashions dramatically change. Along with a
slimmer silhouette for clothing came the dilemma
of how to carry objects that once easily fitted into
sleeves and pockets. 48
During world war
During the World Wars, the dominance of bags as the
main accessory in women's wardrobes occurred as a
consequence of them taking up for the first time What
Were formerly male in the workforce the men having
been dispatched to war.

49
Today
• Today, handbags have further increased size as the
modern woman contends with carrying a whole
host of portable items together on a daily basis,
such as the laptop computer, mobile telephone,
cosmetics, diary and other personal effects.

• This abundance of necessary objects that women

need to carry around with them has now spurred a
subgenre of bags to hold specific items; or bags
may be subdivided for the specific purpose of
carrying these items.

50
 • Due to the decline in the number of men using bags
Today on a daily basis, the style of bags designed for men
has seen little progression over the last century,

• However, the androgynous sports bag, rucksack

and messenger bag are now compliance .

51
key styles of hand bag
 Style
The three key styles of bags from
which most other styles derived are The fame bag Insert bag Turned bag

53
 • Some bags are named after specific job roles that
The frame bag they are designed to accompany or assist, such as
the doctors bag, or frame bag.

• To hold contents securely, a bag can make use of a

frame to withstand the carried objects heavy
weight.

• These bags are usually more complicated in their

design, style and shape, as they require the
designer to work with the hardware components
and confines of the existing structure.
54
The frame bag • The frame bag requires the hardware to be
both strong enough to hold its internal contents
and have a securely fitting enclosure or
fastening.

• By maintaining its defined shape, this type of

bag can ultimately withstand heavy-duty use.

• But will have less flexibility than other designs

due to its somewhat rigid structure.

55
Side panel
A large piece of fabric or Handle
leather that usually backed
by stiff canvas or material to
hold the shape of the bag
Frame
together

Gusset
the side panel that makes a

Gusset
beg larger by discreetly
expanding the sides or
smaller by gently folding Side panel
inwards

Frame closure
The main solid frame
Handle Lining
hardware of the bag, which
Varying in length to enable it A hard wiring material that
is made from metal or other
to either worn around the protects the inside of the
rigid material and can be 56
arm or be held by hand bag and may also lend it
securely locked
structure
Jill sander takes inspiration from vintage 1950s styling 57
in the modern variation of a frame bag for
spring/summer 2012 collection
 • The increasing ease of travel from the 1840s onwards
The insert began to radically alter the design of bags.

• Bags became larger to enable people to carry more and

more objects around the world with them, and softer
bags allowed the contents within more flexibility of
space and were so designed for ease of handling.

• The inset bag has since become a hugely popular style,

being both flexible and expandable, so fitting well into
modern women's lifestyles.

• The inset bag can be shaped by the cut of the panels,

gusset and base
58
Side panel
A large piece of fabric or leather
that usually backed by stiff Handle
canvas or material to hold the
shape of the bag together

Enchapes
Gusset
the side panel that makes a beg
larger by discreetly expanding
the sides or smaller by gently

side
folding inwards

gusset
Enchapes
Attached to the handle buckles
to provide reinforcement Base
Fendi Silvana

Handle Pockets
A hard wearing and rigid handle These can appear both inside and
Base
worn around the arm or be held out generally designed to The defining piece of this bag is
the base panel that provides 59
by hand segregate objects
structure and stability to the
accessory
Gucci bright jewel-tone 1940s inspired insert-style
hand bag

60
 • Turned bags can be considered one of the first style of
The turned bag bags. The basic style developed from the reticule,
simple bag that served the function of a pocket in the
eighties and nineteens century

• The small pocket made of silk and often net, beading

or brocade had a cord tread around the neck of the bag
that was pulled tight to secure its contents.

• At there most basic, the side panels are sewn together

and the bag is turned right side out there by hiding the
seams

• They can be worn long or short strapped or carried by 61

handle
Shoulder strap
Long strap can vary in length
and enables a bag to be worn
either over the shoulder or across
the body.

Ram rings
These are circular metal rings
used to hold the shoulder strap
securely to the bag so providing
flexibility and movement

Front panel
This is folded over the front to Fendi Silvana
protect the interior contents of
the bag

62
 63

Paul smith spring/summer 2012 collection Bottega veneta autumn/winter 2011 collection
footwear
 • In modern times, just as in the past, footwear
Footwear subtly gives away secrets about the identity of its
wearer.

• But basic footwear has changed relatively little in

comparison to other aspects of the fashion
industry,

• from shoes worn day-to-day, to boots that protect

the wearer against the elements, to sports shoes
made with all the latest technological advances.

65
 Shoe
• Essentially, shoes have three main
component parts: the upper, the
soles, and the heels.
• Leather or fabric is layered and
stitched to create a moulded shape
over a sole and heel to fit the foot.

“Shoe makes a women.” 66

Manolo Blahnik
The development of footwear
 • From their origins as gentle craftspeople.
shoemakers have developed to become designers
who utilize research into the science, technology
and engineering of the design and manufacturing
The development of shoes.
of footwear
• Some early guilds of shoemakers, such as the
Worshipful Company of Cordwainers in
London UK, still exist today to nurture and
promote young talent

68
69
• One of the most important sources of inspiration
influencing the history of footwear design has
been history itself

• The actual shapes used in footwear design have

changed relatively little, however, except for
when scales of component parts have been
exaggerated.

Example
Alexander McQueen spring summer 2008
collection platform based shoe having similarity 70

with Europe’s early Baroque period, women’s

• Historically, footwear has been hugely important
in separating both classes and cultures.

• For example, medieval Europe imposed height

and decorative restrictions on footwear, and in
pre-modern China tiny women’s shoes were
made to fit women's bound feet.

• Such limitations had a significant impact on

social structures, in a way that is not seen as often
— or as dramatically — today. 71
• Mobility, for instance, was radically impacted upon,
as the higher classes tended to wear shoes that made
working, or even walking, difficult.

• Although fashion has played an important part in the

engineering of footwear design, utility and comfort
are also crucial factors.

• The practicality of the design is a key demand in

modern footwear, the vast majority of which is
designed to meet a need.

• However, designers have continually pushed the

limits of design by including designer touches and
embellishments to make shoes noticeable on the
runway or in the street. 72
73
 Dress shoe
• A dress shoe (U.S. English) is a shoe to be
worn at smart casual or more formal events. A
dress shoe is typically contrasted to an athletic
shoe.

• Dress shoes are worn by many as their standard

daily shoes, and are widely used in dance, for
parties, and for special occasions.

74
 Men's dress shoe
• Men's dress shoes can be very complicated,
with many component parts.

• These parts are often decorative or

embellished with perforated holes, known as
'brogueing', and serrated edges on the leather
uppers.

• The history of this type of shoe can be traced

back to its Scottish and Irish roots.

• There are many different styles of dress shoe,

including the wingtip, longwing, semi and 75

quarter, which have in turn inspired women's

shoe design.
 women's dress shoe
• The women's court shoe is less complicated
having fewer components

• One piece of shoe can be carefully crafted and

molded in a single shape.

• The major difference in the design from men’s,

are the variations in heel shape and size that are
available to the designer.

• The length of the heel can be at any height, as

the only limits to the design are the safety and
comfort of the wearer.

• The range of heel shapes platform, wedge,

kitten, cone or puppy heel in conjunction 76
with the design of the shoe, can produce
almost limitless number of styles
 The boot

• Boots are designed for warmth and heavy duty

activity.

• Riding boots have been an important feature in

history because of their centuries of continual
use for travelling.

• Special boots were designed for designated jobs,

such as metal toecaps for the military and simple,
molded, rubber wellington boots for gardening.

77
 Top line
The edge of boot opening

Counter
Hard wearing material
covering the back of the boot

vamp
A panel that covers a side of the
Heel
boot
Strong material made of wood,
plastic and metal

High heeled leather boot by Lara 78

Bohinc Shank
Quarter A shaped area to provide support
The side panel bellow the ankle under foot
 The boot

• In the nineteenth century, women wore boots

in both summer and winter

• The boots were generally made of fine

materials in lace or calf leather.

• They were eventually reserved almost

exclusively for wearing during cold weather

79
 The boot
• Boots only became fashionable slowly over the
twentieth century.

• The largest growth in popularity came with the rise of

hemlines in the 1960s, with examples extending to
the thigh.

• During this time, experimentation with materials was

driven by the use of innovations that supplemented
the mainstay, leather. Rubber, plastic and other
synthetics also became increasingly popular.

80
 The sports shoe
• A shoe with a rubber sole was said to have been
developed in the nineteenth century in the United
Kingdom as a means for the police to sneak up on
thieves without being heard - a somewhat humble
start to the worldwide phenomenon of the sports shoe

• Early sports shoes were made from excess rubber that

was left over from manufacturing other products.

• Today, the sports shoe is a globally recognizable

accessory that transcends cultures, ages, genders and
personalities.

81
 The sports shoe
• Athletes were the first to notice the benefits of using
sports shoes to run faster or jump higher, but what
this accessory means to modern culture is far more
influential.

• From international sportswear brands to fashion

designers on the runway the industry use rubber,
plastics, and synthetic fibers has now fully
incorporated in the main stream.

82
83
 The sports shoe development
• The combination of design and color can bring
together a huge number of possibilities for a designer,
and the design of the sports shoe has developed
immensely over the past century.

• There has been a huge leap forward from the simple

canvas and rubber-sole sports shoes that athletes used
to rely on. The classic sports shoe took visual clues
from existing footwear, with plain lines of design and
construction.

• Modern sports shoes take their inspiration from many

cues, such as color, style line, materials, or even a
sports personality 84
 The sports shoe development

• Today, companies continually release more than one

model in a range of colorways.

• Usually being subject to high wear and tear In

professional sports, the design process also takes into
consideration the end user's requirements.

• Technology has advanced sports shoe design with

better synthetics being continually developed.

• The methods of production have progressed too,

harnessing the potential of machinery, such as
injection molding. 85
 Types of
sports shoe
Low-tops High-tops
which do not cover the which cover the ankle
ankle

• There are four main types of

sports shoes,
• As sports shoes have today
become a fashion item, the
design elements of the shoe can
be balanced in favor of the
practical. mid-cuts Sneaker boots

in between the low-tops generally extend to the calf

and high-tops 86
 The sports shoe development

• There are four main types of sports shoes, including:

1. low-tops, which do not cover the ankle;

2. high-tops, which cover the ankle;

3. mid-cuts are in between the low-tops and high-tops;

and

4. sneaker boots, which generally extend to the calf.

As sports shoes have today become a fashion item, the

design elements of the shoe can be balanced in favor of 87
the practical.
Millinery
millinery
• All hats are derived from two basic styles, the hat and
cap, brimmed and brimless.

• Both types are resourceful in their practical function of

protecting the head, as even elaborate headwear must be
shaped to fit well.

• In modern times, hats have become much less

commonplace and are generally reserved for special
occasions.

• Men were originally the main wearers of millinery, but

as with most accessories, hats too have since become
89
dominated by women's styles.
millinery
• Sports headwear is also an important part of the
industry today, whether required by sportsmen and
women or as a fashion product.

• Another area that cannot be overlooked is

protective headwear, which is an essential part of
the uniform for the police, soldiers and chefs, as
well as for other specific job roles.

90
 • In Milan, during the mid-sixteenth century, importers of

The haberdashery and the highly sought-after straw hat were

known as 'millaners', which eventually evolved into the
development modern word 'milliner' that we use today.

of millinery • However, the idea of headwear goes far back into

history, with the creation of basic hats fashioned from
the simplest of materials to grand styles displaying the
power and wealth of the wearer.

• In England during the early to mid-twentieth century, for

instance, an upper-class man would have worn a top
hat, whilst a man from the working classes would have
worn a bowler hat or flat cap. 91
 The Historically, there were clear rules to wearing hats. It was
common for women to wear them Indoors, although hats
development today were have usually drawn worn by men and many
styles inspiration from men's styles.
of millinery
The beginning of the twentieth century saw the rise in
dominance of Paris and haute couture in millinery.

Couturiers dismantled barriers by creating fashionable

millinery from styles that were previously associated with
the working classes;

Example:
Christian Dior, who created a conical straw hat. also known
as a 'coolie' hat for his collection in 1947. 92
 The • emergence of new types possible of materials to create

development complex hat and capes although the traditional

components remain relatively unchanged.

of millinery
• many key styles are repeated today, but it increasingly
elaborate embellishments,

• The range of modern materials now available for use in

millinery has enabled designers to create more
architectural pieces, limited only their imaginations and
by how much the teat can hold.

• The structure of the accessory can be molded using the

traditional hat block or created by building a scaffold
without the support of the block 93
The hat
• Scales and shapes Of hats vary widely and according to
fashion, trends and tastes.

• For example, in medieval trines, elaborate hats gave way

to functionality, as they became flattened on the sides to
accommodate the drowning of the sword.

• The main styles of hats have changed relatively little

since their initial designs. However, modern hats do not
necessarily require a crown or brim.

• The materials used in hat construction have expanded

greatly
94
 • The cap was originally worn by workmen and was a
The cap staple in working-class fashion due to its severe
practicality,

• Today, there are many types of caps, including brimless

or brimless with a peak worn over the eyes. The most
identifiable style is the baseball cap, which surged in
popularity

• during the 1980s as a key youth accessory and featured

distinctive logos, colors and designs.

95
The cap • This tightly fitting headwear remains a dominant feature
in sportswear and has on occasion become a highly
sought-after fashion product.

• Recently, milliners and couturiers have designed caps

made from exquisite fabrics embellished with expensive
components, creating headwear that easily competes
with the most elaborate accessory.

96
THANK YOU !!
By: Biniyam.Solomon