Garments Manufacturing Technology by Saiful Azam

An lntroductory Knowledge About
Garments Monufocturing Technology
By:
Md. Saiful Azam
Md. Abu Saleh
Khondokar Abu Nafiz
Special thanks to:

Polash Chandra Nath
Demonstrator,
Carments Laboratory
College of Textile Engineering & Technology
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1.01. Textile Afts. ..........001 - 002

1.01.1. Concepts. .001-002
1.01.2. Functions. .......002
1.01.3. Textiles as art. ...002
[.02. History of clothing and textiles....... ...........003
1.02.1. Prehistoric development....... ...003-004
1.02.2. Ancient textiles and clothing ....004 - 008
1.02.2.1. Ancient Near East. ...........005
I .02.2.2. Ancient India. ....005-006
1.02.2.3. Ancient China. .......006
1.02.2.4. The textile trade in the ancient worId......007
1.02.2.5. Classical antiquity. ......007-008
1.02.3. Medieval clothing and textiles .........008 - 010
1.02.3.1. Byzantium..... .........008
1.02.3.2.Earlymedieval Europe. ........008-009
1.02.3.3. High middle ages and the rise of
fashion. .....009-010
l.02.4.Renaissance and early modern period...........010-012
1.02.4.1. Renaissance Europe. ..010-011
1.02.4.2. Early Modern Europe.
.........01 l-012
1.02.5. Industrial revolution and modern times.........012-013
1.03. Functions of Clothing.. ......013-016
1.03.1. Designation of gender differences.......0l3-014
1.03.2. Designation of Age. ....014
1 .03 .3. Designation of Status. . . . .0 l4-0 I 6
1.03.4. Identification of group membership..........016

I.04. Ceremonialuse of clothing. .......016 - 019
1 .04. l. Enhancement of sexual attractiveness...0 I 6-01 7
1.04.2. Clothing as a means of

communication... ..........017-018
1.04.3. Clothing as an art form.. ..........018-019
1.05. Limitations to the design of garments ......019-021
2.01. Historical Development of Garments industry in other
countries of the world . . . ...022 - 030
2.02.Bangladesh Garments Industry. ..........030 - 031
2.03. Overview of the Bangladeshi Economy. ..031 - 034
2.04. Garments terms and definitions... ..........035 - 046
2.05. Garmer(s manufacturing sequences. .....046 - 048
2.06. Different sections in garments ..048 - 049
2.07. Difference between Tailor & Garments
industries... .....................049
2.08. Category ............ ..........049 - 050
2.09. Quota System. .......050 - 056
2.09.1. Canada Non- Quota Categories... ......050 - 051
2.49.2. U.S.A. quota categories. ........051
2.09.4. E.E.C Category Description ...052
2.09.3. U.S.A non-quota Categories. ...052 - 054
2.09.5. Sweden Group Description ....055
2.09.6. U.S.A- Bangladesh Bi- Lateral Quota
Agreement:1992-93 & 1993-94. .......055 - 056
2.09.7 . Canada - Bangladesh Bi- Lateral Quota
Agreement: 1992-93... .........056
2.10. New Challenge for Bangladesh Garment
Industry.. ....057 - 058
2.I l. New Rules of Origin for GSP. ...059 - 060
2.l2.Fake GSP certificates & Bangladesh ...060
2.13. Reaction of Bangladesh. . ...060 - 062
2.14. Bangladesh exports garments to India duty free for first
time.. ..062- 063
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3.01. Pattern......
ffiii*oeo
.........064
too1s..........
3.02. Pattern making ....064 - 066
tools..
3.03. Functions of pattern making .......066 - 067
3.04. Pattern paper. . .. . ..067 - 068
3.05. terms.
Pattern making .......068 - 069
3.06. terms.
Pattern production ...........069 - 071
3.07. Pattern making depends on..... ..........071
3.08. Pattern making steps.. .......071 - 072
3.09. Standard body rrreasurement for gents ...072 - 073
3.10. Measurenrents are to be taken for developing
pattern. ........073 - 074
3.1L Standard body measurement for ladies ...074 - 083
3.12. Components of a shirt. ....084
3.13. Principles of pattern making for a shirt...........084 - 090
3.14. Components of a pant (trouser). ..........090
3.1 5.Principle of pattern making for trouser. .. . .. . . ,..090 - 095
3.16. Pattem making for Bias-cut dresses. .....095
3.17. Natural Bias-cut Fabric. ..095 -096
3.18. Pattern making. ...096
3.19. Two methods for reducing bias stretch .. ........096
3.20. Fabric selections for Bias-cut garments.. ........096
4.02. Points should be considered before marker

making...... ..........097 - 098
4.03. making
Constraints of marker .....098 - 100
4.04. making.
Methods of marker ......100 102 -
4.05. Computerized method. ...102
4.06. Methods of drarving and duplicating marker. ...102 - 104
4.07.Marker Efficiency....... ............104
efficiency.
4.08. Factors related to marker ....104 - 105
marker.
4.09. Fabric wastages outside the ....105 - 106
5.01. Spreading. ...........107

5.02. Types ofspreading...... ....107
....
5.03. Object of spreading ...107
5.04. Methods of fabric spreading .......107 - 110
5.05. Requirementsof fabricspreading lll - l13
5.06. Types of fabric lay ... ......113 - 115
5.07. Splicing ..... ..115 - I 16
5.08. Types of splice .. . ...1 16 - I I 7
5.09. Types of fabric packages.. .l 17 - I 18
6.04.3.1. Features of Computer control knife cutting......... I 30
6.04.3.2. Machine description or Working principle..l30 - l3l
6.04.3.3. Advantages of Computer control knife cutting.... I 3 1
6.04.3.4. Disadvantages of Computer control knife
cutting. .......131 - 132
6.04.3.5. Working procedure of water jet.....:.. ......132
waterjet
6.04.3.6. Advantages of .......132
wateriet...
6.04.3.7. Disadvantages of ........133
6.04.3.8. Laser Beam ....133
Beam.
6.04.3.9. Advantages of Laser ..........134
Beam.
6.04.3.10. Disadvantages of Laser ...134
torch.
6.04.3.1l. Cutting by Plasma ..........134
7.19. Types of feed mechanism 194 - 199
7.20. Sewing needle. .............200
7.21. Function of sewing needle. ........201
7 .22.Different parts of sewing machine needle... .....201 - 203
7.23. Selection of needle..... ..........203
7 .24.Effect of wrong needle selection. .203 - 204
7.25.Types of needle point. ......204 -206
7 -26.Types of Hand sewing needles. .............207
T.2T.Specialpurpose needles. ............207 -209
7.28. Sewing thread. .......209 - 214
7.Z9.Thread sizing. .....214 ^ 218
7.30. Thread package. .....218 - ?19
7.31. Properties of sewing thread. .......219 -222
7.32. Relationship between thread size, needle size &
material. .. .222 - 223
7.33. Sewing Problem. ..223 - 232
7.34. Work Aids.. .......232 - 238
7.35. Images of different types of Pressure feet, Bobbin
holder, Bobbin, Folder & Sewing machine. ....238 - 244
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_
n,iietrofivI-'d joining:i,=
8.01. Alternative methods ofjoining fabric. ............245 - 249
1 . Fusing. ...245 - 246
2. Welding and Adhesive..... ......246 - 248
3. Moulding...... ....248 -249
8.05. Comparison between sewing and alternative method of
joining. ......249 - 2.50
9.01. Trimmings of a shirt.. .......251 -252

9.02.Label ........252
9.03. Motif ......253
9.04. Difference between Label & Motif. ...253 - 254
9.05. Zipper...... ..254 - 255
Zipper.
9.05.1. Types of ..255 - 256
9.06. Buttons....... .........256
Button...
9.06.1 . Types of . . .. . ....256 - 257
9.07. Interlining.. .........257

interlining.......
9.08. Types of .........258
9.09. Lining ........259
9,10. Difference between Lining and Interlining......259 -260
fastening.
9.1 1 . Hook & loop .....260 - 261
elastic.
9.l2.Lace, braid & ........26L -262
9.13. Wadding.... ..........262 -263
9.14. Pad.
Shoulder .....263
Trimmings...
9.15. Quality of ..263 -264
l0.0l.Interlining. ........265
10.02. Typesorinte.linin;..................... ..265 -266
1, Sewn Interlining
2. Fusible Interlining
10.03. Condition of fusing.... ...266 -268
10.04. Types of fusible interlining. ......268 -270
1) Polythene coated interlining
2) Poly propylene coated interlining
3) Poly amide coated interlining
4) Polyester coated interlining.
5) PVC coated interlining
6) PVA coated interlining
7) Cellulose acetate coated interlining
10.05. Properties of fusible interlining. .270 -271
10.06. Types of fusing. ...271 -272
10.07. Defects of fusing.... ....272 -273
10.08. Different types of fusing machine .......273 -276
10.09. Quality control in fusing.. ........276 -278
10.10. Methods of resin coating.. .......278 -280
11.01. Garments Washing.....f .... .....281
11.02. Garments washing first started in Bangladesh........28l
11.03. Objects of Garments Washing. ..........281 -ZB2
I I .04. Effects of Garments Washing. .. .... .....282
1 1.05. Advantages of garments washing. ......282
11.06. Machines in a Garments washingfactory. .....283
11.07. Garments washing machine. ..,..283 -284
11.08. Types of Garments Washing. .............285 -294
I1.08.01. Normal Wash. ..........285 -287
I1.08.02. Soft Wash. ......287 -ZBB
I1.08.03. Pigment Wash. .......288
11.08.04. Bleach Wash... ........288 -290
11.08.05. Caustic Wash... .....290 -292
I I "08.06. Stone Wash .....292 - 293
1 I .08.07. Whitening Wash. ....293 - 294 ..
1 I .08.08. Acid Wash ....294
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12.01. Pressing. ....295
pressing
12.02. Objects of ........295 -296
pressing
12.03. Categories of ...296 - 297
& methods.
12.04. Pressing equipments ........297 -300
finishing.
i2.05. Garments ........300 - 301
12.06. Label. ......301
12.0T.lnternationalCare labelingcode.. .......301 -304
12.08. Types of necessary components of a shirt:.....304 - 306
I2.08.1. Types of pocket according to style..........304
12.08.2. Types of cuff according to style..............305
12.08.3. Types of collar according to styIe............305
12.08..1. Types of button according to hole...........306
i 2.08.5. T3,pes of button according to raw material.306
12.08.6. Button used.according to ligne number......306
13.01. Definition of euality. ...307
13.02. Quality Assurance &...... ........307
13.04. Testing. ..........308

13.05. Inspection. ........30g _ 333
1. Raw material inspection
a. Fabric inspection
b. Sewing thread inspection
2. ln process inspection
a) Marker making
b) Fabric spreading
c) Fabric cutting
d) Fabric sewing
e) Pressing or finishing
3. Final inspection
a) No inspection
b) Hundred percent inspections
c) Spot checking
d) Arbitary sampling
e) Acceptance sampling
I. Single sampling plan
II. Double sampling plan
IIL Multiple sompling plon
13.06. Product quality Audit. ...334
13.07 . Comparability checks. .....334 - 336
t3.08. Standard commercial fabrics. ....337 - 341
13.09. Defects in fabric. ...........342 -344
14.01. Consumption...... .345 -346

14.02. Fabric consumption calculation system. ........346 - 347
1. Marker planning system
2. Mathematical system
14.03. Basic information relevant to consumption....347 - 348
14.04- A. Consumption calculation of basic long sleeve
shirt.. ........348 - 355
14.04. B. Consumption calculation for woven basic
pants. ..................355 - 356
14.04. C. Consumption calculation for jacket.............356 - 358
14.04. D. Consumption calculation for basic Short-Sleeve T-
shirt.. ..:..... ........359
14.04. E. Carton consumption & costing
calculation. .........360
14.04. F. Machine rvise sewing thread consumption
/inch. .360 - 361
14.05. International size grading...... ........361
14.06. Sewing thread consumptioh....;.. ..,....361 - 362
14.06.1. Stitch type-101, thread consumption per inch
seam. .362 - 363
14.06.2. Stitch type-301, thread consumption for per inch
seam. .........363 -364
seam. .......364 -365
seam. .......366 - 367
14.07 . Thread consumptionof some garments. ........367 - 368
14.08. Thread consumption ratio of different types of
stitches. ....368
15.01. fmportont questions. .............369 - 384

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Chapter - One:
Textile os on Art
1.01. Textile Arts:
Textile arts are those arts and crafts that use plant, animal, or
synthetic fibers to construct practical or decorative objects.
Textiles have been a fundamental part of human lif'e since the
beginning'of civilization, and the rnethods and materials used
to make them have expanded enormously, while the functions
of textiles have remained the sanie. The history of textile arts
is also the history of international trade. Tyrian purple clye was
an important trade good in the ancient Mediterranean. The
Silk Road brought Chinese silk to India, Africa, and Europe.
Tastes for imported luxury fabrics led to sumptuary laws
during the Middle Ages and Renaissance. The industrial
revolution was a revolution of textiles technology: the cotton
gin, the spinning jenny, and the power loom mechanized
production and led to the Luddite rebellion.
1.01.1. Concepts:
The word textile is from Latin texere rvhich means "to weave",
"to braid" or "to construct". The simplest textile art is felting,
in which animal fibers are mafted together using heat and
moisture. Most textile arts begin with twisting or spinning and
plying fibers to make yarn (called thread when it is very fine
and rope when it is very heavy). The yarn is then knotted,
looped, braided, or woven to make flexible fabric or cloth, and
cloth can be used to make clothing and soft furnishings. All of
these items - felt, yarn, fabric, and finished objects - are
collectively referred to as textiles.
The textile afis also include those techniques which are
used to embellish or decorate textiles - dyeing and printing to
add color and pattern; embroidery and other types of
- 001. out of-384-
C":1-.rr4^Jr, -2
needlework; tablet weaving; and lace-making. Construction
rnethods such as sewing, knitting, crochet, and tailoring, as
well as the tools and tecliniques employed (looms, sewing
needles, and pleating) and the objects made (carpets,
coverlets) all fall under the category oftextile arts.
1.01.2. Functions:
From early times, textiles have been used to cover the human
body and protect it from the elements; to send social cues to
other people; to store, secure, and protect possessions; and to
soften, insulate, and decorate living spaces and surfaces.
The persistence of ancient textile afts and functions,
and their eiaboration for decorative effect, can be seen in a
Jacobean era portrait of Henry Frederick, Prince of Wales by
Robert Peake the Elder (above). The prince's capotain hat is
rnade of felt using the most basic of textile techniques. His
clothing is made of woven cloth, richly embroidered in silk,
and liis stockings are knitted. He stands on an oriental rug of
wool which softens and w'arms the floor. and heavy curtains
both decorate the room and block cold drafts from the
window. Goldwork ernbroidery on the tablecloth and curtains
proclaim the status of the home's owner, in the same way that
the felted fur hat, sheer linen shirt trimmed with reticella lace,
and opulent embroidery on the prince's clothes proclaim his
social position.
1.01.3. Textiles as art:
Traditionally the term art rvas used to refer to any skill or
mastery, a concept which altered during the Romantic period
of the nineteenth century, when art came to be seen as "a
special faculty of the human mind to be classified with
religion and science". This distinction between craft and fine
art is applied to the textile arts as well, where the term fiber art
or textile aft is now used to describe textile-based decorative
objects which are not intended for practical use.
- 002 - out of-384-

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1.02. History of clothing and textiles:
The history of clothing and textiles attempts an objective
survey of clothing and textiles throughout human history,
identifying materials, tools, techniques, and influences, and
the cultural significance of these items to the people who used
them.
Textiles, defined as felt or spun fibers made into yarn
and subsequently netted, looped, knit or woven to make
fabrics. appeared in the Middle East during the late stone age.
From ancient times to the present day, methods of textile
production have continually evolved, and the choices of
textiles available have influenced how people carried their
possessions, clothed themselves, and decorated their
surroundings.
Sources available for the study of the history of
clothing and textiles include material remains discovered via
archaeology; representation of textiles and their manufacture
in art; and documents concerning the manufacture,
acquisition, use, and trade of fabrics, tools, and finished
garments. Scholarship of textile history, especially its earlier
stages, is part of material culture studies.
1 .02.1. Prehistoric development:
Interest in prehistoric developments of textile and clothing
manufacture has resulted in a number of scholarly studies
since the late tr.ventieth century, including Prehistoric Textiles:
The Development of Cloth in the Neolithic and Bronze Ages
rvith Special Reference to the Aegean, as well as Women's
Work: The First 20,000 Years: Women, Cloth, and Society in
Early Times. These sources have helped to provide a coherent
history of these prehistoric developments. Evidence suggests
that human beings may have begun rvearing clothing as far
back as I 00,000 to 500,000 years ago.
Genetic analysis suggests that the human body louse,
which lives in clothing, may have diverged from the head
- 003 - out of -384-

louse some 107,000 years ago, evidence that humans began
wearing clothing at around this time.
Possible sewing needles have been dated to around
40,000 years ago. The earliest definite examples of needles
originate from the Solutrean culture, which existed in France
from 19,000 BC to 15,000 BC.
The earliest evidence of weaving cornes from
impressions of textiles and basketry and nets on little pieces of
hard clay. dating from 27,000 years ago and found in the
Czech Republic.
At a slightly later date (25,000 years) the Venus
figurines were depicted with clothing. Those from western
Europe were adorned with basket hats or caps, belts worn at
the waist, and a strap of cloth that wrapped around the body
right above the breast. Eastern European figurines wore belts,
hung low on the hips and sometimes string skirts.
Archaeologists have discovered artifacts from the same period
that appear to have been used in the textile afts: net gauges,
spindle needles and weaving sticks.
1.02.2. Ancient textiles and clothing:
The first actual textile, as opposed to skins sewn together. was
probably felt. Surviving examples of Nilebinding, another
early textile method, date from 6500 BCE. Our knowledge of
ancient textiles and clothing has expanded in the recent past
thanks to modern technological developments. Our knowledge
of cultures varies greatly with the climatic conditions to which
archeological deposits are exposed; the Middle East and the
arid fringes of China have provided many very early samples
in good condition, but the early development of textiles in the
Indian subcontinent, sub-Saharan Africa and other moisf parts
of the world remains unclear. In northem Eurasia peat bogs
can also preserve textiles very well.
Early woven clothing was often made of full loom widths
draped- tied, or pinned in place.
. 004 - out of.384-

1.02.2.1. Ancient Near East
The earliest known woven textites of the Near East may be
fabrics used to wrap the dead excavated at a Neolithic site at
Airiel in Anatolia, carbonized in a fire and radiocarbon dated
to c. 6000 BC. Flax cultivation is evidenced from c. 8000 BC
in the Near East, but the breeding of sheep with a wooly fleece
rather than hair occurs much later, c. 3000 BC
But Qaydnii in Turkey has also been claimed as the site
of the oldest known cloth. a piecc of woven linen wrapped
around an antler and reported to be from around 7000 BCE.
1.02.2.2. Ancient India
The inhabitants of the Indus Valley Civilization used cotton
for clothing as early as the 5th millennium BCE - 4th
millennium BCE.
According to The Columbia Encyclopedia, Sixth Edition:
"Cotton has been spun, woven, and dyed since prehistoric
times. It clothed the people of ancient India, Egypt, and China.
Hundreds of years before the Christian era cotton textiles were
woven in India with matchless skill, and their use spread to the
Mediterranean countries. In the 1st cent. Arab traders brought
fine muslin and calico to Italy and Spain. The Moors
introduced the cultivation of cotton into Spain in the 9th cent.
Fustians and dimities were woven there and in the l4th cent.
in Venice and Milan. at first with a linen warp. Little cotton
cloth was imporled to England before the 15th cent., although
small amounts were obtained chiefly for candlewicks. By the
lTth cent. the East India Company was bringing rare fabrics
from India. Native Americans skillfully spun and wove cotton
into fine garments and dyed tapestries. Cotton fabrics found in
Peruvian tombs are said to belong to a pre-lnca culture. In
color and texture the ancient Peruvian and Mexican textiles
resemble those found in Egyptian tombs."
Evidence exists for production of linen cloth in
Ancient Egypt in the Neolithic period, c. 5500 BC. Cultivation
- 005 - out of =384-

of domesticated wild flax, probably an import from the
Levant, is documented as early as c. 6000 BC Other bast
fibers including rush, reed, palm, and papyrus were used alone
or with linen to make rope and other textiles. Evidence for
wool production in Egypt is scanty at this period.
Spinning techniques included the drop spindle, hand-to-hand
spinning, and rolling on the thigh; yarn was also spliced. A
horizontal ground loom was used prior to the New Kingdom,
when a vertical two-beam loom was introduced, probably
from Asia.
Linen bandages were used in the burial custom of
mummification, and art depicts Egyptian men wearing linen
kilts and women in narrow dresses with various forms of shirts
and jackets, often ofsheer pleated fabric.
1.02.2.3. Ancient China

The earliest evidence of silk production in China was found at
the sites of Yangshao culture in Xia, Shanxi, where a cocoon
of bombyx mori, the domesticated silkworm, cut in half by a
sharp knife is dated to between 5000 and 3000 BC. Fragments
of primitive looms are also seen from the sites of Hemudu
. culture in Yuyao, Zhejiang, dated to about 4000 BC. Scraps of
silk were found in a Liangzhu culture site at Qianshanyang in
Huzhou, Zhejiang, dating back to 2700 BC. Other fragments
have been recovered from royal tombs in the Shang Dynasty
(ca. 1600 BC - c. 1046 BC).
Under the Shang Dynasty, Han Chinese clothing or
Hanfu consisted of a yi, a narrow-cuffed, knee-length tunic
tied with a sash, and a narrow, ankle-length skirt, called shang,
worn with a bixi, a length of fabric that reached the knees.
Clothing of the elite was made of silk in vivid primary
colours.
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1.02.2.4. The textile trade in the ancient world
The exchange of luxury textiles u,as predominant on the Silk
Road, a series of ancient trade and cultural transmission routes
that were central to cultural interaction through regions of the
Asian continent connecting East and West by linking traders,
merchants, pilgrims, monks. soldiers, nomads and urban
dwellers from China to the Mediterranean Sea during various
periods of time. The trade route was initiated around ll4 BC
by the Han Dynasty, although earlier trade across the
continents had already existed. Ceographically, the Silk Road
or Silk Route is an interconnected series of ancient trade
routes between Chang'an (today's Xi'an) in China, with Asia
Minor and the Mediterranean extending over 8,000 km (5,000
miles) on land and sea. Trade on the Silk Road was a
significant factor in the development of the great civilizations
of China, Egypt, Mesopotamia, Persia, the Indian
subcontinent, and Rome, and helped to lay the foundations for
the modern world.
1.02.2.5. Classical antiqu ity
Dress in classical antiquity favored wide, unsewn lengths of
fabric, pinned and draped to the body in various ways.
Ancient Greek clothing consisted of lengths of wool or linen,
generally rectangular and secured at the shoulders with
ornamented pins called fibulae and belted with a sash. Typical
garments were the peplos, a loose robe wom by rvomen; the
chlamys, a cloak worn by men; and the chiton, a tunic worn by
both men and women. Men's chitons hung to the knees.
whereas women's chitons fell to their ankles. A long cloak
called a himation was worn over the peplos or chlamys.
The toga of ancient Rome was also an unsewn length
of wool cloth, worn by rnale citizens draped around the body
in various fashigns, over a simple tunic. Early tunics were two
simple rectangles.joined at the shoulders and sides; later tunics
had sewn sleeves. Women wore the draped stola or an ankle-
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lengtli tunic, with a shawl-like palla as an outer garment. Wool
was the preferred fabic, although linen, hemp, and smail
amounts of expensive imported silk and cotton were also
worn.
1.02.3. Medieval clothing and textiles:
The history of Medieval European clothing and textiles has
inspired a good deal of scholarly interest in the twenty-first
century. E,lisabeth Crowfoot, Frances Pritchard, and Kay
Staniland authored Textiles and Ciothing: Medieval Finds
from Excavations in London, c.l150-c.1450 (Boydell Press,
2001). The topic is also the subject of an annual series
Medieval Clothing and Textiles (Boydell Press) edited by
Robin Netherlon and Professor Gale R. Owen-Crocker of
Anglo-Saxon Culture at the University of Manchester.
1.02.3.1. Byzantium
The Byzantines made and exported very richly patterned
cloth" woven and embroidered for the upper classes, and
resist-dyed and printed for the lower. By Justinian's time the
Roman toga had been replaced by the tunica, or long chiton,
for both sexes, over which the upper classes wore various
other garments, like a dalmatica (dalmatic), a heavier and
shorter type of tunica; short and long cloaks were fastened on
the right shoulder.
Leggings and hose were often worn, but are not
prominent in depictions of the wealthy; they were associated
with barbarians, whether European or Persian.
1.02.3.2. Early medieval Europe
European dress changed gradually in the years 400 to 1100.
People in many countries dressed differently depending on
whether they identified with the old Romanised population, or
the new' invading populations such as Franks. Anglo-Saxons,
and Visigoths. Men of the invading peoples generally wore
short tunics, with belts. and visible trousers. hose or leggings.
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The Romanised populations, and the Church, remained
faithful to the longer tunics of Roman formal costume.
The elite imported silk cloth from the Byzantine, and
later Moslem, worlds, and also probably cotton. They also
could afford bleached linen and dyed and simply patterned
wool woven in Europe itself. But embroidered decoration was
probably very widespread, though not usually detectable in
art. Lorver classes wore local or homespun wool. often
undyed, trimmed with bands of decoration, variously
embroidery, tablet-woven bands. or colorful borders woven
into the fabric in the loom.
1.02.3.3. High middle ages and the rise of fashion
Clothing in l2th and l3th century Europe remained very
simple for both men and women, and quite uniform across the
subcontinent. The traditional combination of short tunic with
hose for working-class men and long tunic with overgown for
women and upper class men remained the norrn. Most
clothing, especially outside the wealthier classes, remained
little changed from three or four centuries earlier.
The i3th century saw great progress in the dyeing and
u'orking of wool, which was by far the most important
material for outer wear. Linen was increasingly used for
clothing that was directly in contact with the skin. Unlike
wool, linen could be laundered and bleached in the sun.
Cotton, impo(ed raw from Egypt and elsewhere, was used for
padding and quilting, and cloths such as buckram and fustian.
Crusaders returning from the Levant brought knowledge of its
fine textiles, including light silks, to Western Europe. In
Norlhern Europe, silk was an imported and very expensive
Iuxury. The well-off could afford woven brocades from Italy
or even further afield. Fashionable Italian silks of this period
featured repeating patterns of roundels and animals, deriving
from Ottoman silk-weaving centres in Bursa, and ultimately
from Yuan Dynasty China via the Silk Road.
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Cultural and costume historians agree that the mid-
14th century marks the emergence of recognizable "fashion"
in Europe. From this century onwards Western fashion
changes at a pace quite unknown to other civilizations,
whether ancient or contemporary.ln most other cultures only
major political changes, such as the Muslim conquest of India,
produced radical changes in clothing, and in China, Japan, and
the Ottoman Empire fashion changed only slightly over
periods of several centuries.
In this period the draped garments and straight seams
of previous centuries were replaced by curved seams and the
beginnings of tailoring, which allowed clothing to more
closely fit the human form, as did the use of lacing and
buttons. A fashion for mi-parti or parti-coloured garments
made of two contrasting fabrics, one on each side, arose for
men in mid-century, and was especially popular at the English
court. Sometimes just the hose would be different colours on
each leg.
1.02.4. Renaissance.and early modern period:
1.02.4.1. Renaissance Eu rope
Wool remained the most popular fabric for all classes,
followed by linen and hemp. Woo[ fabrics were available in a
wide range of qualities, from rough undyed cloth to fine,
dense broadcloth with a velvety nap; high-value broadcloth
was a backbone of the English economy and was exported
throughout Europe. Wool fabrics were dyed in rich colours,
notably reds, greens, golds, and blues.
Silk-weaving was well-established around the
. Mediterranean by the beginning of the l5th century, and
figured silks, often silk velvets with silver-gilt wefts, are
increasingly seen in Italian dress and in the dress of the
wealthy throughout Europe. Stately floral designs featuring a
pomegranate or artichoke motif had reached Europe from
China in the previous century and became a dominant design
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in the Ottoman silk-producing cities of Istanbul and Bursa,
and spread tc silk weavers in Florence, Genoa, Venice,
Valencia and Seville in this period.
As prosperity grew in the 15th century, the urban
middle classes, including skilled workers, began to wear more
complex clothes that followed, at a distance, the fashions set
by the elites. National variations in clothing increased over the
century.
1.02.4.2. Early Modern Europe
By the first half of the 16th century, the clothing of the Low
Countries, German states, and Scandinavia had developed in a
different direction than that of England, France, and Italy,
although all absorbed the sobering and formal influence of
Spanish dress after the mid-1520s.
Elaborate slashing was popular, especially in
Germany. Black was increasingly worn for the most formal
occasions. Bobbin lace arose from passementerie in the mid-
l6th century, probably in Flanders. This century also saw the
rise of the ruff, which grew from a mere ruffle at the neckline
of the shirt or chemise to immense cartwheel shapes. At their
most extravagant, ruffs required wire supports and were made
of fine Italian reticella, a cutwork linen lace.
By the tum of the l Tth century, a sharp distinction
could be seen between the sober fashions favored by
Protestants in England and the Netherlands, which still
showed heavy Spanish influence, and the light, revealing
fashions of the French and Italian courts.
The great flowering of needlelace occumed in this period.
Geometric reticella deriving from cutwork was elaborated into
true needlelace or punto in aria (called in England "point
lace"), which reflected the scrolling floral designs popular for
embroidery. Lacemaking centers were established in France to
reduce the outflow of cash to Italy.
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According to Dr. Wolf D. Fuhrig, "By the second half
of the lTth century, Silesia had become an important
economic pillar of the Habsburg monarchy, largely on the
strength of its textile industry."
1.02.5. lndustrial revolution and modern times:
During the industrial revolution, production was mechanised
u,ith machines po\ /ered by waterwheels and steam-engines.
Sewing machines emerged in the nineteenth century.
Synthetic fibers such as nylon were invented during the
twentieth century.
Clothing and textile manufacture expanded as an
industry so that such unions as the Amalgamated Clothing
Workers of America and the Textile Workers Union of
America formed early in the twentieth century. Later in the
twentieth century, the industry had expanded to such a degree
that such educational institutions as UC Davis established a
Division of Textiles and Clothing, The University of
Nebraska-Lincoln also created a Department of Textiles,
Clothing and Design that offers a Masters of Arts in Textile
History, and Iowa State University established a Department
of Textiles and Clothing that featurs a History of costume
collection, 1 865- 1948. Even high school libraries have
collections on the history of clothing and textiles.
Alongside these developments were changes in the
types and style of clothing worn by humans. During the 1960s,
had a major influence on subsequent developments in the
industry.
Textiles were not only made in factories. Before this
that they were made in local and national markets. Dramatic
change in transporlation throughout the nation is one source
that encouraged the use of factories. New advances such as
steamboats, canals, and railroads lowered shipping costs
which caused people to buy cheap goods that were produced
in other places instead of more expensive goods that were
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produced locally. Between 1810 and 1840 the development of
a national market prornpted manufacturing which tripled the
output's worth. This increase in production created a change
in industrial methods, such as the use of factories instead of
hand made woven materials that families usually made.
The vast majority of the people that worked in the
factories were women. Women went to go work in textile
factories because of some of the following reasons. Crowding
at home rryas indeed a cause for them to leave and be on their
own. The need to save for future marriage portions also
motivated these women to decide to work in the millhouses.
The work enabled them to see more of the world, to earn
something in anticipation of marriage, and to ease the
crowding within the home. They also did it to make money for
family back home. The money they sent home was to help out
rvith the trouble some of the farmers were having. They also
w,orked in the millhouses because they could gain a sense of
independence and growth as a personal goal.
1.03. Functions of Clothing:
Throughout history clothing can and has served many
purposes. It has served to differentiate between the sexes;
designate age, marital and socioeconomic status, occupation,
group membership, and other special roles that individuals
played.
1.03.1. Designation of gender differences
One of the most fundamental aspects of dress in most societies
is that custom decrees that the clothing for men and women
should be different. These differences reflect culturally-
determined views of the social roles appropriate to each sex.
No universal customs existing that dictate the specific forms
of dress for each sex. What is considered appropriate may.
diffbr markedly from one civilization or one century to
another. For many hundreds of years in Western civilization
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skirts were designated as feminine dress; breeches or trousers
as male dress. In some Eastern countries the reverse was true,
and skirts were the male costume r,vhile bifurcated garments, a
sort of "harem pants," belonged to women.
Understanding the part clothing plays in reflecting
gender-related issues requires some knowledge about relations
between the sexes in a particular cultural context. Costume
historians are beginning to focus on the topic of gender and
dress, and increasing attention is being paid to the complex
and intricate interplay of attitudes toward gender roles and the
dress of men and women (Kidwell and Steele 1989).
1.03.2. Designation of Age

Sometimes clothing serves to mark age change. In Western
Europe and North America at an early age boys and girls often
rvere dressed alike, but once they reached a designated age, a
distinction was made between the dress of boys and girls. In
England during the Renaissance this stage was celebrated in a
ritr"ral called breeching rvhen the five or six year old boy was
given his first pair of breeches.
Age differentiation may, as in the preceding example,
be an established procedure. but it is often less a ritual than an
accepted part of the mores of a society. Children. for example,
are rarely dressed in black in Western societies. Even in an era
wt en mourning practices required the rvearing of black,
children were more likely to be dressed in rvhite with touches
of black. Throughout the 19th century younger girls wore
shorter costumes than their adolescent sisters. During the
I920s and 1930s the wearing of knickers marked a stage of
development between childhood and adult life for many yolrng
men.
1.03.3. Designation of Status

Occupational status is frequently designated by a unifonn or a
particular style of dress. in England, even today, lawyers wear
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ffitiG.r'i31in-r6:l[:'1,ri:€ii!1,'r'=rufit f.!;1ffi1t!.1ffiffii. 1,Igilt5i,r {t
an established costume when they appear in court. The police,

fire fighters, nurses, postal workers, and some of the clergy
are but a few of those whose dress immediately identifies
them as members of a particular profession. Sometimes the
uniform worn also serves a practical function, as for example
the fire fighter's waterproof coat and protective helmet or the
construction worker's hard hat.
Dress designating occupational status is not limited to
a "uniform". For many years, particularly during the 1950s
and 1960s, men employed by certain companies in the United
States were required to wear white shirts with ties to work.
Colored shirts were not permitted. Young lawyers who, on
first entering the practice of law, go into a menswear store and
request "a lawyer's suit" will find salespersons know exactly
what they want.
Marital status may be indicated by custonrs of dress. In
Western society a wedding ring rvorn on a specific finger may
signify marriage. Among the Amish, an American religious
group, married men wear beards while unmarried men do not.
it lvas customary for many centuries for married women to
cover their hair. rvhile unmaried rvomen were permitted to go
rvithout head coverings. This practice is still followed among
orthodox Jewish groups.
In some cultures or during some historical periods
ceftain types of clothing have been restricted to persons of a
particular rank, social, and economic status. These restrictions
\\,ere sonletimes codified into larvs called sumptuary lar.vs.
Sumptuary laws are larvs that restrict the use of or
expenditures on luxury goods such as clothing and household
furnishings. During the 14th century in England persons who
u,orked as servants to "great men" were required to limit the
cost of their clothing, nor were they pennitted to wear any
article of gold or silver, embroidery, or silk (Scott 1975).
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In Ancient Rome only the male Roman citizen was
perrnitted to wear the costume called the toga. This
distinguished his socio-political status.
1.03.4. Identification of group membership
Clothing is also used to identify an individual as belonging to
a particular social group. The group identification may be in
the form of a uniform or insignia adopted formally by that
group and kept for its members alone, as in the unilorms of
fraternal groups such as the Masons or Shriners, or religious
groups such as the Amish of today or the Puritans of the lTth
century. Or, on other hand, the group identihcation may be an
informal kind of uniform like those adopted by adolescents
who belong to the same clique, or "zoot suits", a style of dress
affected by certain groups of young persons during World
War II.
Cartoonists frequently make use of this practice of
using clothing as a symbol of group identification. Helen
Hoskins, a caftoonist of the post-World War II period, drew a
"suburban matron" type who was readily identifiable by her
flowered hats, dark suits, and furs.
1.04. Ceremonial use of clothing:
Ceremonies are an important part of the structure of most
societies and social groups. Designated forms of dress are
frequently an important part of any ceremony. Specific
costumes exist in modern American societies that are
considered appropriate for weddings. baptisms, burials, to
designate mourning, and for gra.duation. Many significant
moments of life are accompanied by the wearing of ritual
costume specified by custom in each culture.
1.04.1. Enhancement of sexual attractiveness
Clothing is also a means of enhancing sexual attractiveness of
individuals. In some cultures this is quite explicit, with
clothing being designed to focus attention on the breasts of
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i.j$:ffi*iffii's{fi
women or genitals of men. For example: in Europe in the 16tl'
century the codpiece, a section of men's clothing which
covered the genitals, was often padded and enlarged. In many
periods women have padded dresses to make the bosom
appear larger or have worn dresses with very low neckiines
designed to call attention to the breasts. At other times the
waist, the hips, or the legs have been emphasized. James
Laver (1950), a well-knorvn costume historian, believed that
fashion changes in w,omen's dress were a result of "shifting
erogenous zones". His theory was that women uncovered
different parts of the body selectively in order to attract metl
and that as men became used to seeing more of the breasts,
this area lost its interest and power to excite and so that area
was covered and another area, the hips, for example, was
emphasized.
Laver also suggested that sexual attractiveness might
lie in other aspects of dress. Men in modern. Western society,
he said, are considered attractive because they appear from
their dress to be affluent and successful.
1.04.2. Clothing as a means of communication
The foregoing discussion of the functions of clothing leads to
the conclusion that clothing serves as a n')eans of
communication. To the person who is knowledgeable about a
particular culture, clothing is a sort of silent language.
Clothing tells the observer something about the organization
of the society in which it is worn in that it discloses the social
stratification of the society, reveals whether there are rigid
delineations of social and economic class or a classless
society. For example, the political leaders in the African
Ashanti tribe wore distinctive costumes marking their special
status. Any subject who wore the same fabric pattern as the
king wouid be put to death. In contrast, the costume of
Anrerican political leaders does not differ from that of most of
the rest ol the population. The political distinctions betrween
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(aonrrrvrnrt^
-)
the two cultures- the one an absolute monarchy, the other a
democracy- are mirrored in the clothing practices.
Other aspects of social organization may be manifest
in clothing. The dress of religious leaders may distinguish
them or may show no differentiation'between the clergy and
the worshiper. The roles of men and women may be distinctly
identified by dress (as in Islamic tradition where wotnen are
veiled) or a blending of the roles of men and women may be
reflected by a blurring of sharp distinctions in the customary
dress of the sexes as has been true in Europe and North
America since the 1920s when women have been free to wear
trousers, a gannent formerly reberved for men.
1.04.3. Clothing as an art form
Expression through the art is rooted in a particular culture and
historical period. Certain conventions or customs determine
the form and content of art in any given period. Although the
human impulse toward expressing feelings through art is
universal, the specific expression of an era is determined by a
complex mixture of social, psychological, and aesthetic
factors often called the zeitgeist or spirit of the times.
All of the arlists or designers of a given period are
subjected to many of the same influences, therefore it is not
surprising that even different aft forms may display similar
qualities, either in the decorative motifs that are used or in
scale, form. color, proporlion, and the feelings they evoke.
This is certainly true of clothing, and similarities between
dress and architectural forms, furnishings, and the other visual
arts are often noted. Writers speak of the visual resemblance
of the tall, pointed headdresses of norlhern European women
of the late rniddle Ages to the tall spires of Gothic Cathedrals.
The elaborate trimmings applied to Victorian women'.s dresses
have been likened to some of the decoration applied to
Victorian furniture. The spare, straight lines of early modern
architecture and the work of cubist painters are seen as related
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to the straight, somewhat square lines of women's clothing in
the 1920s, clothing that is frequently ornamented with Aft
Deco designs similar to those used in architecture and interior
design of the period.
At the sane time clothing offers the designer or the
wearer a medium of expression with its own forms and
techniques. The lines, textures, colors, proportions, and scale
of fabric designs and the shapes of garments can and have
varied enormously at different times and in different places
throughout history. Ideals of human beauty change with
changes in the zeitgeist. Often clothing is used by individuals
as part of an attempt to conform to the physical ideal of human
beauty at a particular time.
1.05. Limitations to the design of garments:
As with any medium, Iimitations are imposed on the design of
clothing. Garments have some functional aspects. Except for
costumes that have only a ceremonial purpose, the wearer
must be able to move. to carry the weight of the costume, and,
often, to perform ceftain duties while wearing the garment.
The duties assigned to an individual will have a direct
influence on the kind of costume he or she can wear. Affluent
men and women throughout history with servants to do the
work of the household were able to dress in one way while the
servants dressed in costumes more appropriate to the labors
they were expected to perfonrr.
There era other limitations as well. Although paint and
ornaments can serve as the prescribed dress in some cultures,
most societies evolved more coq-rplex clothing. Early peoples
may have used skins. The draping quralities of skins are
different from that of cloth. and would therefore impose
certain restrictions on the shapes of garments that could be
constructed.
Once people learned to spin yarns and weave fabrics
these were employed to make clothing. Before the advent of
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manufactured fibers in the 20ft century only natural rnaterials
were available for use. Each of these had inherent qualities
that affected the characteristics of fabrics that could be made.
Some materials such as raffia, made of fibers from an African
palm tree, are relatively stiff whereas fibers such as cotton,
wool, or linen are more flexible.
Isolated regions were limited to the use of local
materials. Trade between regions could bring materials from
one part of the world to another. Silk was little known in
Eurcpe until the Romans imported it from India and China
about the beginning of the Christian era. Cotton does not grow
in the cool northern climate of Europe and so was unused in
Medieval Europe until after the Crusaders imported the fabric
from the Near East.
In order to devise a garment that fits the bcdy, the
people of different cultures have devised differing means of
constructing clothing" Costume is generaliy either draped or
tailored. Draped costume is created by the arrangement around
the body of pieces of fabric which are folded, pleated, pinned,
and / or belted in different ways. Draped costume usually fits
the body loosely.
Tailored costume, being cut and sewn to fit the body
closely, provides greater warmth than draped ganaents and
hence is more characteristic of warm climates. Some costume
combines elements of both draping and tailoring.
Technology has an important impact on costume.
Some regions developed spinning and weaving sl-<ilis to a far
greater extent than others. Many of the changes in costunre
that came about in Europe and North America after tire l81h
century can be directly or indirectly altributed to
developments such as mechanized spirrnir-rg and '-veaving, the
sevving machine. and development of the American ready-to-
wear irdr:stry. The resulting rnass production probably helped
to simpiify styles and speed-up fashion changes.
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,ffii
Costume is also limited by the mores and customs of
the period. It is interesting to note that the word costume
derives from the same root as the word costume. Those
persons who deviate too radically from the customary dress of
their culture or even from that of their socioeconomic class are
often considered to be asocial- perhaps even mad. George
Sand, a French female writer of the lgth century who dressed
in men's clothing was considered to be decidedly eccentric.
Psychologists report that mental disturbance often first
manifests itself in lack of attention to dress or in bizarre
clothing hehavior.
The study of costume, then, must take into acccunt the
socioeconomic structure of a society, the custorns relating to
dress, the art of the period, and the technology available for
the production of both fabrics and clothing itself. To obtain
this information, the costume historian must utilize the
evidence he or she can garner from a variety ofsources.
:,02 1,,;. ou-t' qf.-,,.3.E{t

'lty
Ltr apte r n o:
iii tiiiig*'':
Chapter - Two:
. :,t .t,
trhtroductioh,' to'' Gorments lnduift'ies
2.O1. GARMENT INDUSTRY. As early as 1860 the
manufacture of ready-to-wear clothing became one sf
Cleveland's leading industries. Clothing (also called clothes,
accoutrements, accouterments, or habiliments) protects tl,e
human body from'extreme weather and other features of the
environment. It is worn for safety, comfort, rnodesty and to
reflect religious, cultural and social meaning. The practical
function of clothing is to protect the human body from dangers
in the environment: weather (strong sunlight, extreme heat or
cold, and precipitation. for example). insects, noxious
chemicals, weapons. and contact with abrasive substances, and
other hazards. Clothing can protect against many things that
might injure the naked human body. In some cases clothing
protects the environment from the clothing wearer as well
(example: medical scrubs). The practical function of clothing
is to protect the human body from dangers in the environment:
weather (strong sunlight, extreme heat or cold, and
precipitation, for example), insects, noxious chemicals,
weapons, and contact with abrasive substances, and other
hazards. Clothing can protect against many things that might
injure the naked human body. In some cases clothing protects
the environment from the clothing wearer as well (example:
medical scrubs).
The garment industry probably reached its pbak during

the 1920s, when Cleveland ranked close to New York as one
of the country's leading centers for garment production.
During the Depression and continuing after World War II, the
garment industry in Cleveland declined. Scores of plants
moved out of the area, were sold, or closed their doors. Local
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;li.#iiX.',X"ffilil,j,i', :,;,,$ ii iU'cirmiiiti,
factors certainly played their parl, but the rise of the ready-to-
w'ear industry in Cleveland, as well as its decline, paralleled
the groMh and decline of the industry nationwide. Thus the
story of the garment industry in Cleveland is a local or
regional variant of a much
broader phenomenon.
In the early l9th

century clothing rvas still
handrnade, produced for
the family by women in
the household or custom-
made for the more well-to-
do by tailors and
seamstresses. The first
production of ready_to- The Ironing Department of L.N.
wear garments "*u, Gross Co'' ca' 1930' WRHS'
stirnulated by the needs of sailors, slaves, and miners.
Although still hand-produced, this early ready-to-wear
industry laid the foundations for the vast expansion and
mechanization of the industry. The ready-to-wear industry
grew enormously from the 1860s to the 1880s for a variety of
reasons. Increasing mechanization was one factor. In addition,
systems for sizing men's and boys' clothing were highly
developed, based on millions of measurements obtained by the
U.S. Army during the Civil War. Eventually, accurate sizing
for women's clothing was also developed. The Depression of
1873 contributed to the grorvth and growing acceptance of
rnen's ready-to-wear, because men found in off-the-rack
garments a satisfactory and less costly altemative to custom-
made clothing. The production of ready-made men's trousers
or "pants," separate from suits, stimulated during the
depression of the 1870s, allowed men to supplement their
outfit without having to purchase a complete suit. In general,
- 023 - out,of.384.
however, the great expansion of the ready-to-wear industry
coincided with and was partly the result of the tremendous
urbanization and the great wave of immigrants that came to
the U.S. in the last decades of the l9th century and early
decades of the 20th. Industrial cities such as Cleveland also
experienced rapid growth, and it was during this period that
Cleveland's ready-to-wear clothing industry blossomed. The
early entrepreneurs of the clothing industry in Cleveland rvere
often JEWS & JUDAISM of German or Austro-Hungarian
extraction. Their previous experience in retailing prepared
them for the transition to manufacturing and wholesaling
ready-to-wear clothing. One example was Kaufman Koch, a
clothing retailer whose firm eventually evolved into the
JOSEPH & FEISS CO., a leading manufacturer of men's
clothing. The company still exists in the early 1990s, although
it is no longer locally owned. The entry-level manufacturer
needed relatively little capital to launch a garment factory. H.
Black & Co., which would become a major Cleveland
manufacturer of women's suits and cloaks, started out as a
notions house. The Black family, Jews of Hungarian origin,
decided to produce ready-to-wear clothing based on European
patterns in their own home. Later, fabric was contracted out to
home sewers and then returned to the factory for final
assembly. This system of contracting was widely practiced at
this stage of the garment industry's development, but by the
close of the l9th century home work had been generally
superseded by factory production. Garment manufacturing
started in the FLATS, but in the early 20th century, it was
concentrated in what is now called the WAREHOUSE
DISTRICT, an area bounded by W. 6th and W. 9th streets and
Lakeside and Superior avenues. L. N. Gross Co., founded in
1900, was one such firm in the growing garment district,
specializing in the production of women's shirtwaists. Many
women wore suits, and the separate shirtwaist provided a
,=..02 4 .". ri-u t.o f:3 84.

relatively inexpensive way to modifu and vary their wardrobe.
L. N. Gross also pioneered in the specialization and division
of labor in the manufacturing process. Instead of having one
person produce an entire garment, each garment worker
specialized in one procedure, and then the entire garment was
assembled. As the garment industry spread to other areas of
the city, the CLEVELAND WORSTED MILL CO. dominated
the skyline on Broadway near E. 55th St. First organized in
the 1870s and controlled after 1893 by KAUFMAN HAYS,
the Worsted Mills produced fabric for Cleveland
manufacturers, as well as for garment manufacturers in other
parts of the country. The company owned and operated a total
of i 1 mills in Ohio and on the East Coast. During the first 3
decades of the 20tli century, the garment industry spread from
downtown to the east side along Superior Ave. between E.
22nd and E. 26th streets. The RICHMAN BROTHERS CO.
".built a large
plant on E. 55th. Near St. Clair. Founded in
Poftsmouth, OH, the company moved to Cleveland in the late
1890s, specializing in the production of men's suits and coats--
an activity in which Cleveland was a close runner-up to New
York. In order to reduce the risk of large cancellations by
wholesalers. Richman distributed its product directly to the
customer in its own retail outlets. The plants of other garment
manufacturers dotted the east side well into the 1960s,
including BOBBIE BROOKS, INC. on Perkins Ave. and the
Dalton Co. at E 66th and Euclid. The PRINTZ-BIEDERMAN
CO. was founded in 1893 by Moritz Prints, for many years the
chief designer for H. Black & Co. Printz-Biederrnan
specialized in the production of women's suits and coats, a
branch of the garment industry in which Cleveland ranked
second to New York. In 1934 the company left the St. Clair
area to build a modern factory on E.61st between Euclid and
Chester avenues. The large knitwear firm of Bamberger-
Reinthal built a plant on Kinsman at E.6lst St.; Joseph &
- 025 = out of-384-

tn-iiliitiii'Etffi,,iiiGarrrr*An:ffi;AiG'tl"iT-iiffirilFi:3:af;+,i*"ii', :,: ",:i
Feiss was located on the west side on W. 53rd St.; Federal
Knitting had a plant on W. 28th and Detroit,; and the Phoenix
Dye Works was still located on W. l50th St. in 1993. For
approximately 50 years after the 1890s, about 7yo of
Cleveland's r,vorkforce toiled in the garment factories. The
ethnic origins of those who worked in the industry were as
varied as the immigrants wlio florved to the U.S. in the early
decades of the 20th century. Although Jeu,ish workers played
a prominent role, other imrnigrant groups such as CZECHS,
POLES, GERMANS, and ITALIANS were also employed in
large numbers, and many of the gannent factories were
Iocated in the ethnic neighborhoods from which they drew
their workforce. Small workshops also proliferated in the
ethnic neighborhoods, and many garment workers labored in
sweatshop conditions. Unlike in Nerv York, however, where
the majority of shops employed 5 or ferver workers, 80% of
Cleveland's approximately 10,000 apparel workers were
ernployed in large and well-equipped factories by 1910.
Although working conditions were somewhat better in
Cleveland than in New York, Cleveland garment workers
generally received low wages and worked long hours with
few, if any, benefits. Like garment workers elsewhere, they
sought to improve their u,ages and working conditions by
organizing. In 1900 a number of srnall craft and trade unions
joined together in New York City to form the
INTERNATIONAL LADIES GARMENT WORKERS
UNION, anci in l91l Cleveland garment workers staged a
massive strike. On 6 June the employees of H. Black & Co.
walked out, and up to 6,000 of Cleveland's garment workers
followed them. The ILGWU sent officials from New York to
encourage the strikers, but in spite of considerable support for
the workers in the community at large, the owners resisted.
Attempts to negotiate a settlement failed, and by October
those who could return to work. The strike had been lost (see
- 026 - out of.384-

GARMENT WORKERS' STRIKE OF 1911). During World
War I, the garment industry produced a variety of apparel for
the armed forces, and in l9l8 wartime inflation and prosperity
prompted the ILGWU to organize another strike in Cleveland,
involving approximately 5,000 workers. To avoid the
disruption of local production of military uniforms, secretary
of war and former Cleveland mayor NEWTON D. BAKERT
intervened, prevailing on both sides to accept a board of
referees, which gave the workers a substantial increase in
wages. This event marked a watershed in relations between
management and labor in Cleveland's garment industry. The
threat of unionization and the influence of "Taylorism" or
"Scientific Management" persuaded the large Cleveland
garment factories to provide increased amenities for their
workers, which reached a peak in the 1920s. PAUL FEISSf,
of Joseph & Feiss, was a convinced exponent of scientific
management, and time and motion studies were implemented
in order to make production more efficient and cost-effective.
Working conditions also were improved in order to reduce
employee tumover and to provide the best possible
environment for maximum productivity. The local garment
factories began to provide clean and well-run cafeterias,
clinics, Iibraries, and nurseries for children. Employees of
both sexes were urged to participate in sports, theatricals, and
other activities, and the factory was also a place where
immigrants learned English and a variety of homemaking
skills. One consequence of paternalism was a brake on the
growth of unionism. The Depression and the New Deal had a
major impact on the garment industry. Those manufacturers
who survived the Depression were faced with a powerful new
labor movement bent on organizing the unorganized garment
industry. Bolstered by the provisions of the NRA and the
National Labor Relations Act, both the ILGWU and the
Amalgamated Clothing Workers, which represented workers
:.077.:,avt qf-i384-
in the men's garment factories, successfully waged organizing
campaigns (see AMALGAMATED CLOTHING AND
TEXTILE WORKERS UNION). Some owners acquiesced;
othcrs resisted or simply closed their doors. The process of
decline in Cleveland's garment industry began during the
1930s. During World War II, the industry was once again
geared fcrr war production. Factories produced uniforms, knit
scarves, and parachutes. LION KNITTING MILLS was
farnous for its production of the knitted Navy watch cap.
Following the war, a nunrber of garment manufacturers were
unable to adjust to new' market conditions and to new price
levels. But while some companies fell by the u,ay, new and
vigorous garment factories grew, especially in the 1950s.
Among them was Bobbie Brooks, founded by MAURICE
SALTZMANT, and the Dalton Co., organizedby Arthur Dery.
In fact, the Cleveland garment industry was still so large and
influential in the 1950s that Cleveland manufacturers were
able to convince the Phoenix Dye Works of Chicago to
relocate in Cleveland, where many of its customers were
located. Throughout the years other businesses ancillary to
garment manufacturing also flourished in Cleveland. The
garment industry is traditionally a low-paying industry. and
rising Iabor costs aggravated the industry's problems.
Although most of the large Cleveland manufacturers were
unionized, unionization itself did not necessarily mean that
one company had an unl-air advantage over another. The city's
garment unions, holever, generally sought and received wage
settlements above the national minimum. Labor costs were
considerably less in the South, and Cleveland manufacturers
as ,"vell as garment and textile rvorkers throughout the U.S.
faced groiving cor':rpetition from lower-paid workers in other
parts of itr're ivorld. Fcr example, knitwear and other textile
protiucts prodLrced in South Korea, Taiw-an. Hong Kong, or
Singapore r:ould be sold in ihe U.S. at substantially less than
- 028 - out'of -384-

the same products manufactured in this country. Another
factor that may have discouraged some Cleveland
manufacturers was the changing workforce. Until the 1950s
and 1960s, many women workers had a limited number of
employment opportunities, particularly the European
immigrant women who dominated the workforce of the
gannent industry. During the postwar period, there was a new
generation of women working who had many more
employment opporlunities at wages much higher than could be
earned in the garment industry. However, while labor costs in
Cleveland were relatively high in comparison with some
regions, there were some industry authorities who contended
that additional factors contributed to the industry's decline. For
example, some family-owned concems were sold or simply
dissolved when family shareholders could no longer agree on
management decisions. In other cases, the heirs preferred
some profession or occupation outside the garment industry.
The apparel industry was also subject to changes in
technology and to the rapidly changing conditions of the
marketplace. Cleveland firms often did not or could not
respond rvith sufficient alacrity or astuteness to such changing
conditions. Cleveland vras perhaps too divorced from the
center of the market in New York. It lacked a regional market
of importance, and thus many manufacturers lost touch with
what consumers wanted, and when the competitive price
structure changed after World War ll, some companies could
not adapt to a shifting and rapidly changing marketplace. In
the 1980s New York came to dominate the industry as both a
rnarketplace and a manufacturing center, and substantial
Cleveland manufacturers must constantly study and test the
mark-etplace trends in New York City. In addilion, there are
cther irnportant regional markets, such as Dailas and Los
Angeles. which served to move the focus of the industry away
from Cleveland. Perhaps that is paft of a larger underlying
- 029.. out of -384-

I;riliiiil-aij6fi
transformation of the American economy resulting in the loss
of preeminence of the older industrial centers of the Great
Lakes region and Middle West. On the other hand, Cleveland
garment manufacturers who take advantage of new
technologies, which learn to cut costs, and who learn to
respond effectively to the marketplace may still survive and
even flourish.
Other cultures have supplemented or replaced leather and

skins with cloth: woven, knitted, or twined from various
animal and vegetable fibers.
2.02. Bangladesh Garments Industry:

The history of the Readymade Garments Sector in Bangladesh
is a fairly recent one. Nonetheless it is a rich and varied tale.
The recent struggle to realize Workers' Rights adds an
important episode to the story.
Below, we present a detailed narration of the evolution of the
RMG sector from its humble origins to the present day. The
shift from a rural, agrarian economy to an urban, industrial
economy is integral to the process of economic development
(Kaldor, 1966, 1967). Although policymakers in the least
developed countries (LDCs) have, at various times, atternpted
to make agriculture the primary engine of economic growth
and employment generation, this approach has not worked, not
least because of the contributions of the Green Revolution.
lvhich has had the dual effect of increasing agricultural
productivity in the LDCs and displacing the rural labor force
at the same time. Led by the example of the East Asian
economies, most LDCs now accept the need for greater
industrialization as the fastest path to economic groMh. In
parlicular, countries such as Japan, Taiwan and South Korea
have demonstrated that an export-oriented industrial strategy
can not only raise per capita income and living standards in a
- 030 - out of-384-

ffitffiI1:
relatively short time; it can also play a vital role in
modernizing the economy and integrating it with the global
economic system.
Bangladesh, one of the archetypal LDCs, has also been
following the same route for the last 25 years. Once derided as
a "basket-case" by Henry Kissinger (The Econontist. 1996).
the country stumbled across an economic opporlunity in the
late 1970s. New rules had come to govern the international
trade in textiles and apparel, allowing low-cost suppliers to
gain a foothold in American and European markets. Assisted
by foreign partners, and largely unaided by the government.
entrepreneurs seized the opportunity and exploited it to the
fullest. Over a period of 25 years, the gannents exporl sector
has grown into a $6 billion industry that employs over a
million people. In the process, it has bcosted the overall
economic growth of the country and raised the viability of
other export-oriented sectors.
This essay analyzes the processes by which global
trading rules came to help out a poor country like Bangladesh.
It demonstrates the impact of the rule changes on the garments
sector, and the response of the sector to multiple challenges
and obstacles. It also discusses what steps Bangladesh should
take in order to deal with the full liberalization of the
international garments trade, which occurred in January 2005
and whicli could potentially threaten the country's groMh
prospects. Finally, it details some of the recent developments
that have occurred since liberalization took effect.
2.O3.OVERVIEW OF THE BANGLADESHI ECONOMY:

Bangladesh is a tropical country in South Asia that is situated
in the delta of trvo major rivers that flow dorvn from the
Hinralayas (the Ganges and the Jarnuna). The country's land
surface is therefore largely composed of ailuvial silt, rendering
the soil highly ferlile. Historically, this has rnade Bangiadesh
. 031 - out of-384-

an agricultural nation; although agriculture contributes only
about a fifth of the national GDP, it employs three-fifths of the
labor force(ADB,2005).
Bangladesh has an estimated population of 140 million (circa
2005), living in an area of about 55,000 square miles. It thus
has the unwanted distinction of being the world's most
densely populated country, and this overpopulation is at the
root of many of Bangladesh's socioeconomic problems.
However, the population is largely homogeneous in terms of
ethnicity, language, and religion, and this provides a valuable
element of national cohesion.
In spite of numerous constraints, the economy has been on a
steady groMh path for the last l5 years, mainly due to private
sector dynamism. The constraints include pervasive political
instability and violence, endemic corruption and disregard for
the law, frequent natural disasters, inefficient state-owned
enterprises that are hotbeds of trade unionism, lack of political
will to carry through necessary economic reform, inadequate
infrastructure at all levels (power generation, roads and
highways, port facilities), etc.
Nevertheless, the economy has proved to be resilient. Since
1990, it has grown at an average rate of 5o/o per year. The
Asian Development Bank projects that real GDP groMh will
increase to 6Yo in 2006 and 2007 (ADB, 2005). Bangladesh's
total GDP stood at $275 billion in 2004, and per capita GDP
was $2,000 (adjusted for purchasing power).
The table below lists some key macroeconomic indicators for
the period 2004 2006:
- 032 -.qut of -384-
GaLrrrrg*f4 - +
Talile 1: Hey rnaeroecouomic iudicators, 2001-1006
Irrdrcator 2004 ?005

... : 2Q06 (erytcted),r,
RealGDP grormh 5.5% 5.3% 6.U/o
Erportgror,,th 15.g% 15.0% ii,1. 11'19.610,''1,.:',,, 1',..;'
Inportgrowth 13.(flo 20.0% 16.tr/o

'::::::,
' .':.:,4 ,
66a:t,,
GDP) 1,, i,:i.r ;',',',,1:.j,.,f1;lr ..,: , .'.. .
}:flation 5.Wo 'l.Wo 6.Wo
Qowce:AD$
Sectorally, services constitute the largest portion of GDP with

5l.7yo. Industry accounts for 27.1o/o and agriculture 2l.2Yo.
However, the distribution of the labor force is reversed, with
most people still working in agriculture (6lyo), and followed
by services (27%) and finally industry 02%). This imbalance
between output and employment is indicative of a large
amount of "disguised" unemployment and underemployment.
As shown by the above table, merchandise exports have been
growing strongly in recent years and this trend is set to
continue. While imports also exhibit strong growth, it should
be noted that the bulk of imports consists of inputs into the
production process, e.g. machinery and equipment, fuel and
petroleum products, chemicals, iron and steel, cement, fabric
and accessories (for garrnents production), etc. The
breakdown of various exports by sector is given in the table
overleaf (Bangladesh Bank, 2005). The figures are for the
2A$-2004 fiscal year.
..033 - oqt of .384-

Talile 1: I\'Iajor erTort iterns and receipts, ?003-2004
E4port rdcfielg'(USD,,qn:llions) .,',

Woven Garments 3,538 0?
Knitwear Producis ' :,,zjtqg.ot:::, ,i ;.'.' ,, . ,t,' '',
Teny Toweis 68.31
.
Otherfextlel,,,,,''.
I 135.49
. . I ::i ij:.:! ; :::r i._.:: tr _r r: ar i. .
Froeen fish 390 25

lute go;di .r..,,. ,''1 ,:1. , 246.45 i' ii;r':i:::',-::: l i:':=,',.i't,:ii;., .,i,1
Raw jute 79.10

Leather 211.4i'' '
Fertilizer 80 6?
lea 15 81
Others 688 81
Total E.qrorts 7,601,99
$ oruc e: Bangladesh Bank)
As can be seen from Table 2, garments and textile items are

the dominant export product, accounting for 77Yo of the
country's total export receipts. This is a relatively new
phenomenon. For centuries, the chief export of the Bengal
economy was jute, a natural fibre which is used in making
carpets. sacks and Hessians. but whose economic value went
into precipitous decline after the advent of plastic bags and
synthetic packaging material in the 1960s and 1970s.
- 034 : out of;384=

2.04. Garments terms and definitions:
Across shoulders:
It is the measure of straight across back of garment, from one
shoulder/armhole point to other.
Across back:
It is the measure of straight across back of garment at
midpoint of armhole seam or edge from one side to the other.
Across front chest:
It is the measure of across front of garment at midpoint of
armhole seam or edge to the other.
Allowance:
When garment is made by adding extra dimension with the net
dimension of the garment is called allowance.
Armhole:
Align front and back armhole seams or edges together.
It is the measure from underarm intersection point up to
shoulder along front armhole seam or edge, following curve.
Approved sample:
According to all the required specifications the sample which
is approved by buyer is called approved sample.
Accessories or trimmings:
Without fabric all are accessories. It includes: thread, button,
interlining, zipper, main label, care label, tissue paper, ball
head pin, silica gee bag and so on.
N.S.A. = No seam allowance
L.D.C. = Least developed country
E.P.B. = Export promotion bureau
B.G.W.U.C. : Bangladesh garments worker unit council
Back rise:
The distance from the crotch back waist !ine"
.035 . out.of.'384-
Back tacking:
Approximately lcm or small stitch backward at the beginning
and finishing of sewing and thus securing of the sewn end so
that the thread could not be loosed easily.
Backing:
Linen or a piece of other fabrics inserted inside the apparel at
certain places so that they could bear & sustain the external
pressure.
Balance:
Adjustment of different sections of apparel with the human
body in according with the weight, shape & appearance in
general& adjustment of front and backside length.
Basic block:
The pattern is made in accordance with the area of different
part of the human body & their flexes & folds without
allowance & style.
Bar tack:
Re-stitching over a very short length to give and increase the
area a high load bearing strength. (E.g. belt loops & pocket
corner are bar tacked)
Basting:
Prirnary & temporary stitching before final stitch with a view
to facilitating accurate placement is called basting. Basting
could be done either by hand or machine.
Bespoke: {a
The apparel made for the specified individual after taking his
body measurement.
Bust point/Body rvidth/Chest:
Most conspicuous place of the chest is bust point (bunny).
.036 - out of-384-

Bodies:
The poftion of the ladies apparels' from the neck down to
waist.
Bagging out:
It is a special kind of process by which after the lining &
facing is rnade after which is folded back to he front or face
side of the cloth of the apparel.
Blocking out:
The cutting away of Some portion of the multi folded cloth is
called blocking out. (From which small patterns are cut by
hand knife of die-cutting machine)
Blind stitch:
It is a special type ofstitch that can not seen from the face side
of the fabric but can easily seen from the back side.
Back stitch:
A kind of hand stitch for sewing appeals, which could also do
by m/c.
BIuff edge:
A portion that lies outside the stitch line at the end of apparel.
Bodkin:
A srnall device used for rnaking holes in the fabric.
Box pleat:
A special shape is given to cloth by folding it to make the
cloth along or expandable that is flexible.
C.F. Line:
The straight line bottom to up vertically along the middle
point of the body front of the shirt or jacket.
Channel:
A narrow and long passage is made with multi fold cloth
inside the apparel, which is called channel ordinarily such
channel is made to place cord or something like that inside it.
--..037.- ogt,of,i384-
€{ij1E,ruffiffi :
Closing:
It is operation carried out by whiclr the side seam of the
apparel is attached or lining is attached to the fore part.
Collar:
It is part of apparel, which stays spread around the neck.
Collar stand:
It is aparl of the collar, which stands vertical along the neck.
Crutch/Crotch:
The place or area along which the inside two legs joins
together.
Color bleeding:
It is the pigment or dye or color of a cloth that is parlly gone
into the water if such colored cloth is soaked in water or
solvent or suck color or pigment dye come our from one place
to another and is stuck place near by suck characteristics is
color bleeding.
Crease:
Any kind of folding in cloths.
Crocking:
The act of taking out color from the dry & wet cloth by
rubbing or scouring.
Back rise:
It is the measurc from crotch intersection point, along centre
back seam following curve up to waistband top edge (Unless
otherwise specified).
Back length (H.P.S.):
It is the measure from high point of shoulder down to bottom
edge of garment.
Back length (C.B.N.):
It is the measure from centre back neck seam or edge down to
bottom edge of garment.
038 -out,of,.,364:
=
Backing:
An extra warp or filling, or both, woven or knitted into the
back of a fabric to give it support or additional weight is called
backing.
Basic block:
Assimilating of diagram of net dimension on papers each and
individual part without any allowance which is called pattern
and this is called basic block.
Bounded ryare house facilities:
This facility allows for export oriented factories to import
their raw materials and store it.
C&F':
Clearing related with importer and forwarding related with
exporter. If the price of the goods is mentioned in invoice
including transport cost then it is called C & F.
C.I.F.:
If the price of the goods is mentioned in invoice including
transport cost and insurance cost then it is called C.I.F.
Chest/bust:
Garment closed measure straight across front of garment at
lowest point of armholes or at specified level. (For pleated
back, measure with pleats closed.)
Counter sample:
The sample which is followed by the approved sample is
called counter sample.
Category:
Category is a number which indicates what type of fabric is
used for making the particular garment and it also indicates
the type of this garment.
Generally, it is of three digits:
First digit indicates fabric type (such as cotton, polyester).
.039.-out.of =384"
Last two digits indicates type of the garments (such as shirt,
pant).
Dart:
It is used for tightness of garments. It is made by stitching the
fabric sewing the fabric. It is used for removing wedge from
the garments surface.
Darning:
Repairing holes and damages in cloth by the interlacing of
darning yarn, by hand or sometimes by sewing machines.
In the other words, using a darning stitch to sew a pattern into
lace mesh or textile ground, as in enrbroidery or crewel work.
Double faced:
Cloth with both end similar & also both sides could a laced as
face side either way.
Drape:
The state or quality of haw a hung end of a cloth comes of
when such cloth is hung from either end. The texture quality
of the fabric, staple kind and also the finishing determine the
draping quality of cloth in question.
Donkey:
It is special type of dressing board with the help of which
pressing could be done without creasing the cloth of the
apparel in places.
Drop loop:
The technique of placing belt loop a little below from the
upper end of the waistband of the trouser (normally l-2cm).
Drop loop stops the possibility of belt moving above the waist
band.
Durable press:
It is a particular kind of finishing treatment by which it is
possible to give specific sharp size and crease to the cloth or
.040 - out of-384-

f,ffi
the apparel. By virtue of he pleat etc, could be made
permanent and the apparel does not ioose the above noted
quality through use & wash of the apparel.
Ease:
To add extra cloth which in addition to exact measurement of
the body for easier movement for hands, feet & body & also
for increasing wearing comfort is called ease.
Easing in:
Use of some extra cloth during seeming to cease fullness and
shape etc of the apparel along the place.
Drape:
It is a character of fabric indicative of flexibility and
suppleness. The degree to rvhich a fabric falls into graceful
folds when hung or arranged in different positions.
Durable press (DP):
The name given to a special finish that provides garments with
shape retention, durable pleats and pressed creases, durably
smooth seams and wrinkle resistance during use and after
laundering or dry cleaning. Durable press also can be added to
stretch fabrics to produce garments that stretch yet hold their
shape and their creases.
Face:
The surface of the fabric that is intended to be seen because it
presents a better appearance than the other side due to its
characteristics, e.g., weave, luster, finish. In many fabrics,
especially industrial fabrics, face and back are identical. Most
of the fabrics are woven with the face uppermost in the loom.
Facing:
Lining or trim used to protect fabric edges in a garment e.g.,
collars, cuffs, plackets.
-{41: qut of .384-

lnfienffi ,.€
Faced cloth:
A term sometimes applied to fabrics that have a separate set of
warp or filling yarns on the back of the cloth e.g. pile fabric,
flannel fabric.
Fusing:
The term generally refers to partial melting. In bonding,
fabrics layers are joined together by fusion of an adhesive
under heat and pressure.
F.O.B.:
If the price of the goods is mentioned in invoice without
transport cost then it is called F.O.B.
Gauge:
In knitted fabrics, it is a measure of fineness or number of
Wales per unit of width across the fabric. Higher gauge
numbers indicate finer texture.
G/D:
Abbreviation for Grams per Denier.
Gore:
Triangular piece of fabric in toe or heel of half hose or socks'
knitted in place by automatic half-hose machine.
Grain line:
Pattern pieces normally carry a line is called grain line. When
pattern pieces are laid down during marker making over the
cloth, the grain line should be parallelto the warp if the fabric
is woven and Wales in case of knitted fabric. Only the
exception is seen for bias cut.
Grading:
When different sizes of patterns are made from the master
pattern of the garment is called grading.
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:;:: rilffinFffi,trffiffiF-inm
Handle:
It is a characteristic of fabrics that is perceived by touching,
squeezing or rubbing them.
Hood width:
With front edge even, measure across the middle of hood from
front to back.
Hood height:
With hood folded in half and front edges together, measure
from neck seam at high point of shoulder up to top seam or
fold.
Hip:
At a specified level down from waist seam and gatment
closed, measure straight across garment, from one edge to the
other.
Invoice:
After sending the garments goods to the importer country, the
documents mentioning the price is sent to the buyer for
collecting is called invoice.
Interlining:
Interlining is one kind of accessories which is used between
two layers of fabric in garments to support, re-enforce and
control areas of garments and to retain actual shape. It rnay be
applied on base fabric by sewing and bonding.
The fabrics which are used as interlining are made from
cotton, nylon, polyester, rvool and viscose. Sometimes
finishing is necessary to improve its properties i.e. shrink
resist finish, crease resist finish.
Inseam length:
Along inside seam of leg, measure from crotch seam down to
bottom edge of leg opening. Rib/elastic bands included in this
measurement.
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Intiodrii
Lay:
Stack of fabric lengths made in preparation for cutting.
Lining:
A generic term for fabrics used to cover inner surfaces of
products, especially the inner face employs different material
from the outer surface.
LIC:
Letter of credit. It is a commitment by an opening bank on
behalf of the importer in favor of the exporter that the bills
drawn by them on the importer countries covering the
shipment of specified items and quality of goods within stated
period will be paid in exchange of documents under certain
items and condition.
Ligne number:
It is unit of measure used in Canada equivalent to an eighth of
an inch (3.175cm). Also French unit of measure, now replaced
by metric measurements; was used for measuring ribbon, tape
and oiher narrow fabrics.
It is the measuring unit of the button. It indicates the diameter
of button. If diameter increases, ligne number also increases.
We know,
1l mrn diameter: 16 ligne
I mm diameter = 16/11 ligne or 1.46 ligne
Marker:
Marker is a thin paper which contains all the components of
all sizes of a particular style.
Pattern l
It is a hard paper which is made by following all the
specifications of each and individual components.
Production pattern:
It is a pattern of a particular style with net dimension and
allowance.
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Pleat:
It is used to increase the fullness of the garments. It is
generally made by folding the fabric.
Darl & Pleat both are used in the back part of the Men's shirt
usually.
Quota:
il
Fig: Dart (squeezcd|
It is an agreement
Fig: Pleat (expandcO
between governments of the importer

country and the exporter country. In details it is the quantities
of garments of different categories upon the manufacturing
countries according to business policy.
Sample:
The garment which is needed for bulk production or which is
used through the process sequence is called sample.
Sleeve length:
It is the measul'e from centre back neck seam or edge straight
across to shoulder/armhole point, along sleeves fold Iine down
to bottom edge of sleeve opening.
Sleeve inseam:
Measure fi'om under armhole seam down to bottom edge of
sleeve opening (cuff included), with vent closed (if
applicable).
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Sweep:
With garrnent closed and bottom edges even, measure straight
across from edge to edge.
Waist:
Regular waistband or elastic relaxed, garment closed and with
fi'ont and back waistband edges even at the top, measure
across the middle of waistband or along elastic relaxed, from
one edge to the other.
Working pattern:
It is a pattern of a particular style with net dimension.
Production pattern = working pattern * allowance
ofG
2.05. S equence oT (Jarments
ts lwanuTactun
Manufactu
Ooeration Job Method
01. It is given by buyers to Manual/
Design/Sketch manufacturers Computerized
containing sketches
including measurements
of the style.
02. Without any allowance Manual/
Basic BIock Computerized
03. Assimilating of diagram Manual/

Working of net dimension on Computerized
pattern paper each and
individual part which is
called pattern and when
we move with it
throughout the whole
manufacturing
processes. We term it
workins nattern.
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Ooeration Job Method
04. After getting all the Manual
Sample Making specs the sample is
made and sent to the
buyers for approval to
rectifu the faults.
05. The critical path is Manual
Basic identified i.e. the
Manufacturing problems during the
Difference several onerations.
06. After rectifo the faults, Manual
Approved sample is again sent to
Sample buyers. If it is ok, then
it is called approved
samole.
07. . Fabric required Manual
Costing , Making charge
. Trimmings
. Profits
08. Production Add allowance with net Manual /
Pattern dimension. Computerized
09. It is done according to Manual/
Gradins different size. Computerized
10. IVlarker is a thin paper Manual i
Marker which contains all the Cornputerized
Making components of all sizes
of a oarticular stvle.
11. Fabric Fabric is spreaded in a Manual/
Snreadins lay form. Computerized
12. To cut fabric according Manual /
Cutting to the dimension by Computerized
special type of cutter.
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13. Sorting out the Manual
Sorting or components according
Bundling to size and for each size
make individual
bundle.
14. Sewing is done by Manual
Sewing different types of
machines by the
operations. Quality
inspection is also done
in that time.
15. Gannents are treated by Manual
Ironing & steam. Also several
finishing finishing processes are
done for example extra
loose thread cutting.
r6. Should meet specs Manual
Final insnection siven bv buver.
17. Packinp Poly packins. Manual
18. After packing the Manual
Cartooning garments are placed in
a hard paper box for
export so as to
minimize damage. The
cartoons contain all the
information over the
box according to buyer
sDecs-
19. If everything is ok, it is Manual
Send to buver sent to the buver.
2.06. Different sections in garments:

There are mainly four sections in garments given as follows:
1. Sample section: Design to marker making
2. Cutting section: Marker making to sorting & bundling
: 48:.o-ut of -384-
GaLrn*"llq-5
3. Sewing section: Sewing.
4. Finishing section: Ironing/packing
Except those there are two more sections as follows:
a) Embroideringsection
b) Washing section: Store washing, Enzyme washing.
2.07. Difference between Tailoring & Garments
industries:
Tailorins Garments industries.
Tailoring is for a small Garments industries are for
grouD ofoeoole. mass oeoole.
A garment is made for a Garments are made for many
oarticular Derson. oeoole at a time.
Body measurement of a Standard body
particular person is taken measurements chart is taken
into an account. into a account.
No grading is done. Grading is done for a
parlicular size.
Garment can be made by Many machines are needed
one or more numbers of here for production of a
machines. sarment.
Initial set up cost is low. Initial set up cost is hish.
Single plyllay of fabric is Multiple plies of fabric are
used durins cuttins. used durine cuttins.
Fabric wastase is hish. Fabric wastase is less.
Risk of loss is least. Risk of loss is hish.
No need of pattern. Pattern is a must.
It takes more time to make It takes comparatively less
garments. time.
2.08. Category:
This is a unit of classification system for industrial products.
According to the STANDARD INDUSTRIAL
CLASSIFICATION, this is used for gathering statistics on
= 049.. out of'384.

tfrffinFbT-iffi:*ry ffi"ry ffi-"
manufactured products. Textile mill product categories fall
within SIC group 22. An entirely different set of quota
categories is used by the U.S. CUSTOM SERVICE for
recording textile and apparel imports. The 300 series quota
categories are for products of cotton, the 400 series for wool,
the 600 series for manufactured.fibres and the 800 series for
silk and vegetables fibres other than cotton.
2.09. Quota system:
This system is one kind of protective arrangement imposed by
different countries in the world trade. This quota system is
directly opposed to GATT (General Agreement on Tariffs and
Trade) concept. In textile trade, a limit set on the quantity of
textile fibres, yarns, fabrics, manufactured products and the
like which may be imporled in a specified period of time. It is
one kind of interim system and shows liberalism to the under
developing countries.
Developed countries imposed this system over the developing
countries and they specify a specific quantity of exportable
goods so that the developing countries can export their goods
freely to the developed countries. They impose a specific
quota on the readymade garments products on the basis of
several categories. Garments products category is made by
them on the basis given below known as category or group.
2.09.1. Cana da Non- Quota Categories:
Catesory Description
39 T-sh rt (without collar), suit shirt (at least
cons sts ofbrush or fleece at one side)
40 Sleepwear, trouser, bathrobe, housecoat,
dressing gown
41 Rainwear
42 Dresses-WG. skirts- MBWG
43 Brassier, foundation garments
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Category Description
44 Swimwear
45 Underwear
46 Overcoat, topcoat, shop coat, leather
iacket & coat
47 Fine suit, blazer, sports coat
50 Sweater
U,S.A. quota catesories:

.2. U.S.A.
2.09.2.
Catesorv Description
237 Play suits, sun suits (cotton & synthetic)
and so on.
JJI Cotton hand sloves &nritten
33s Boys & Men's-cotton iacket & coat
334 Girls &-women's cotton iacket and coat
336 I 636 Dress of cotton & synthetic fibers
338 / 339 Cotton knit shirt & blouse(boys / girls
/men's/ women's)
340 I 640 Cotton & synthetic shirt without knit
fabricGovs & men's)
34t Cotton shirt & blouses without knit
fabric(eirls / women's)
342 / 642 Cotton & svnthetic skirts
347 / 348 M & B, W & G cotton trouser, sorts,
britches. snacks
351 /6sr Cotton & synthetic nightwear & trouser
634 Others synthetic coat & jacket for boys &
men's
638 I 639 M & B, W & G synthetic knit shirt &
blouses
645 / 646 M&B-W&Gsweater
647 / 648' M & B, W & G, synthetic britches, sorts
1051,::.ou.t-of -384.
inii"c.s
2.09.3. U.S.A non-o uota Catesories
Catesorv Descriotion
239 Children sarments.
JJJ Suit Wpe coat. MB.
345 \_ Sweater
349 Bodv supoort sarments.
350 Dressins sown- Duster.
352 Underwear.
359 Other sarments.
360 Pillow cases.
361 Seat.
363 Towelwith pile.
369 Twisted ouilt & travel russ.
631 Synthetic ash sloves & Satin.
650 Dress sown. Robe.
659 Other sarments.
835 Coat made by mixed of silk & vegetable
ash W&G.
836 Dresses.
840 Ladies shirt & blouse.
842 Skirts.
84s Sweater, Vase.
8s9 Other sarments.
899 Table linen knitted or crossed.
2.09.4. E.E.C Ca Descri tron:
UT
Category Descrintion
2 Cotton fabrics
J Disk fabrics
4 T- shirt
J Jersey, Pullover
6 Trouser
7 Blouse
,'- 0.52. out of -384--

:ffiiilf.-- ffiffi*ffiffiefl
Catesorv Descrintion
8 Kniffed shift
9 Terry towel
l0/11 Gloves. mitten. mitts
t2 Socks
t3 Under oant & brief
l4A Men's & boys coat
l4B Men's & boys overcoat, raincoat & other
coat.
15A Coat. WGI
15B Overcoat- raincoat & WGI
t6 Woven suit, MB
t7 Woven iacket. blazer. MB
18 Woven under garments, MB
2t Anorak, waster iacket, MBWG
24 t2s Trouser- nisht dress(knit). MBWG
26 Dresses. WG
27 Skirts
28 Knitted trouser
29 Woven suit. co-ordinate. WGI
30A Woven trouser. nisht dress. WGI
308 Under sarments (without 30 A). WC
3r Brassier
68 Children under sarments (size uo to 86)
69 Knitted oetticoat. slips. WG
70 Pantv hus (Tishts)
7t Children sarments.
72/79 Swimwear
73 Tracksuit
74 Suits & co-ordinate suit with costume, WG
75 Co-ordinate suit with knitted suit, MB
76 Industrial clothin g. apron.
r 053 .:.o u"t..O f ...38-4.

Cateporv Description
77 Smocking, socks
78 Woven bathrobe, dressing gown
BI Smoking jacket, MB woven bathrobe,
dressing gown. bed iacket, WGI
82 Shall. scarf, muffler
84 Mantillas. veils
85 Tie. bo-tie. cravat
Catesorv Description
237 Play suits, sun suits (cotton & synthetic)
and so on.
J.] I Cotton hand sloves & mitten
33s Boys & Men's cotlon iacket & coat
334 Cirls & women's cotton iacket and coat
336 I 636 Dress of cotton & synthetic fibers
338 I 339 Cotton knit shirt & blouse(boys / girls
/men's/ worlen's)
340 I 640 Cotton & synthetic shirt without knit
fabric(boys & men's)
341 Cotton shirt & blouses without knit
fabric(eirls / women's)
342 I 642 Cotton & svnthetic skirts
347 / 348 M & B, W & G cotton trouser, sorts,
britches. snacks
351 I 651 Cotton & synthetic nightwear & trouser
634 Others synthetic coat & jacket for boys &
men's
638 I 639 M & B, W & G synthetic knit shirt &
blouses
645 I 646 M&B.W&Gsweater
647 I 648 M & B, W & G, synthetic britches, sorts
- 054 . out of .384.

.09.5. Sweclen Grourr Description
Group No. Description
Stockins. Under stockins. Socks
2 Shirt (without T-sh rt)
2B Shift (without T-sh rt & Knitted)
3 Night Garments
3A Knitted Nisht Carments
4 Underwear
5 Sweater
6/78 Overcoat, Jacket & Blazer
7C/7D Jacket
8 Slacks. Jeans Trouser
9 Costumes
0 Blouse. Woven
IA Tracksuit. Knitted
IB Bathing suits & Trunks, Knitted
IC Sorls
2 Travelins Rus & Blanket
J Bed Linen
4 Towel
7 Brassier
2.09.6. U.S.A- Bangladesh Bi- Lateral Quota Agreement:

1992-93 & 1993-94:
Category Base Label (Dozen)
1992-93 1993-94
237 304.500 325,81 5
JJI 771,438 82s.439
334 92.896 99.399
335 166.795 178-471
336 I 636 284.271 340.170
338 I 339 864.677 92s,204
.- 055:.out af.:384-
340 I 640 1,954,654 2,091,148
341 1,619,254 1,732,602
342 / 642 280,1 56 299.767
347 I 348 1,457,327 I,559,340
3s1 / 65r 444.964 476.092
634 325,000 347,750
635 2t0,562 225.301
638 i 638 1.096.s68 1,173,328
614 679,027 725.489
64s / 646 2s7.517 275,543
647 / 648 916,559 980.718
847 463.485 49s.929
2.09.7. Canada - Bangladesh Bi- Lateral Quota
ement: 1992-93:
Asreementz
Label ( Accordins to oiece)
CatesorY 1992 1993
0l (49) t.402.552 887.213
02 G6\ 807"450 2t2.731
03 A (37) I .l 84,561 1,026,728
03 A (37\ 323.t84
04 B2\ 189,372 929.682
0s (3e) 1,310,769 1,718,733
05A 390.565
06 (42\ 1.607.872 1.605.782
06 A (42\ 1,071,914
06 B @2\ 535.957
07l08A 3.693.000
07l08B 333.938
08c 5,408,333
14 180.s64
of -3E4.
='056.:.aut
l;]i i$ili""6ffiif4ffiffiiflHf-;b5flmTffi
2.10. New Rules of Origin and Fake GSP certificate:
2.10.1. New Challenge for Bangladesh Garment Industry
GSP (Generalized System of Preferences) is a unilateral
preferential trade arrangement, which is governed by a set of
rules different from those applicable in regular trade. The rules
are based on the rationale to promote industrialization of the
developing countries through a reduced or zero-duty access to
the developed importing countries. The rules of Origin for
GSP, thus, tend to be tougher than that of regular trade. Unless
the required value addition is done, an export item will not be
considered eligible under GSP. It can still be exported, but a
regular tariff will be imposed, for LDCs (Least Developed
Country) quota will not be there and GATT (General
Agreement on Tariffs and Trade) rules of origin will be
applied.
EU (European Union) proposed new rules of origin criteria
requiring products from LDCs to have 30o/o local value to get
riuty-free access to EU market. The new rules of origin are
supposed to come into effect in the beginning of 2009.
Local textile and knitwear sectors fear that the
proposed single-stage rules of origin criteria would put their
industries In danger of losing market to advanced textile
manufacturing countries. They have urged the European
Commission to raise local value addition threshold to 45o/o to
help Bangladesh's dressmakers benefit from the revised GSP.
Bangladesh Textile Mills association (BTMA) leaders opined
that the proposed rules of origin would discourage investments
of textile entrepreneurs in local backward linkage industries,
and suppliers from China, India and Pakistan would grab local
of fabrics and yarns for export-oriented garment
market
industries.
The two-stage rules of origin effective frorn 1997 provide that
to get duty-free access under EU's GSPs, LDC exporters
require significant local value additions (80% for Bangladesh)
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to export items. Following the requirement, Bangladesh's
knitwear exporters continued to enjoy duty-free access by
shipping apparels made of local knit fabrics. But only a few
woven garment exporters benefit from the scheme due to the
country's poor local manufacturing base for woven fabrics.
Since 1986, following EC-Bangladesh Textile
Agreement, RMG exports very quickly took an overwhelming
share of total exporls to EU. The growth in the exports to EU
had also been phenomenal. It was mainly for the quota-free
access of Bangladeshi textile products. The GSP utilization
increased, together with the sudden groMh in knit export to
EU after the relaxation of the rule in 1999. The share of
woven (shirts, trousers) and knitted products (T-shirts,
sweaters) about five years ago, (of the total RMG expoft to
EU) was 60 and 40Yo of the knitted RMG started increasing
and it is now about 51o/o. Apparently, the better backward
Iinkage (reduced lead-time) and duty-free status (owing to the
change in the Rules of Origin) provided better business, which
kept the overall growth despite the recent economic
depression.
Bangladesh warmly welcomed Everything But Arms
(EBA) initiative of the EU when GSP Regulation was
amended (February, 2001) to continue LDC's zero duty access
to EU market for an indefinite period and for export of
everything but arms. However, all Bangladesh export items
have already been entering EU market under duty and quota
free trade regime (LDC treatment under GSP). But
Bangladesh's GSP utilizations could not be much in the textile
category, although significant increase in the utilization has
been observed in the last couple of years. Interestingly, this
increase coincided with a change in the Rules of Origin for
knitted garments (1999) allowing imported yarn to be
Manufactured and exported under GSP. The GSP utilization in
the woven garments, however, remained very low.
2.10.2. New Rules of Origin for GSP:
The guidelines for the new GSP for 2006-15 had been said to
target the LDCs & the most vulnerable developing nations,
which include small economics, land-income countries.
The EU then proposed a simple & gencral GSP
affangement for the 'Everything But Arm' initiative that gives
duty-free & quota-free access to the EU market to the world's
50 poorest countries & a new GSP & tariff preferences to
countries with special development needs.
The strategy 'the rules of origin in preferential trade
arrangements: Orientations for the future' will be
implemented once regulatory arrangements are taken after
approval by the council & the European Parliament.
The need for such changes has been highlighted, in
particular, in the context of the preparation of the new GSPs
for the period 200-2015.
Local exporters, particularly the apparel industry, have long
been demanding a relaxed Rules of Origin on ground that they
have not been able to derive benefit out of the duty-free
market access to the EU under the umbrella of EBA initiative
due to stringent value addition criteria.
The developing countries did not press for- the
relaxation of rules for GSP. Their industrial products were
wholly obtained within the country. Bangladesh had always
been at a disadvantaged situation, being virtually the only
major player among the LDCs in textile trade, with inadequate
backward linkage capacity. Thus, Bangladesh has been
requesting, since late eighties, to relax the rules only for
Garment Exports. In other items, it came close to producing
some expottable items, but could not avail GSP, due to Rules
of Origin, sometimes missing marginally in the value addition
criteria.
The new rules of origin, which are supposed to come
into effect in 2009, will apparently favor woven garment
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tfftr&
exporters, who mostly depend on imported fabrics, but pose
risks to local fabric manufacturers.
2.10.3. 'Fake' GSP Certificates & Bangladesh:

More than 2,000 consignments of Bangladeshi garments
exported to Gennany have been hit by a special 12% security
deposit due to fears over the widespread abuse of certificates
that allows the country's products duty-free access.
German authorities imposed the security deposit on
September l7 following investments that showed that several
companies had been exporting products to European countries
using fake Bangladeshi GSP certificates. Under the new rules
impofters must pay Gennan customs a deposit of 12Yo of the
value of the consignment. The money is refunded only when
the GSP certificate is fully verified. Local exporters are
concerned that this additional burden will deter buyers in
Bangladesh's second largest garment market.
German Ministry of Finance said the 12% security
deposit is imposed on all garment imports from Bangladesh,
not just in suspicious cases. But up to now manufacturers &
expofters in Bangladesh assumed that the new rule is applied
to suspect consignments only.
2.10.4. Reaction of Bangladesh:

It has been claimed that the move was taken without any
consultation or prior notification. From Ministry of Commerce
it has been said that Bangladesh is not liable
For any forged GSP certificates. The government has
decided followed by complaints from Germany to tighten the
process for applicants to the GSP in an attempt to stem the
continued forgery by pafties from third countries, a top Export
Promotion Bureau (EPB) official said.
Earlier this year a Bangladesh government
investigation confirmed that several Chinese and Indian
..06.0: out.gf :384:

companies had been exporling products to European countries
using fake Bangladesh GSP certificates.
EPB Director General opined that German customs
imposed the restriction in Bangladeshi exporls but German
importers know very wellwho forged the GSP certificates..
European Union Trade Adviser in Dhaka said the
imposition of the security deposit was initiated by Germany
not the EU. He said the imposition is not random or routine,
but that German customs may use it on suspicious
consignments only. But German Buyers did not agree with
this statement. They said given the existing risk [of misused
certificates] in the textile sector, the security deposit is
collected in all casesl
Germany, second largest buyer of garments from
Bangladesh, imported last fiscal year knitwear worth USD 1.1
billion, tlie Bangladesh Knitwear Manufacturers and Exporters
Association (BKMEA) states. Woven garments added some
USD 400 million, according to industry estimates, so
Germany bought garment worth some USD 1.5 billion (BDT
10,500 core) from Bangladesh.
The security deposit imposes a new burden on the
importers. The problem is that the buyers' cash flow is
absorbed during the verification process. Buyers have to add
the 12% in their price calculation and that makes the
Bangladeshi products more expensive at first. This can be
corrected only later if they eventually get the money back.
On average it takes two to three months to verify a
certificate and this time is needed because queries to banks
and customs are often essential, EPB opined.
However. the government is to send a high-powered
delegation to Germany to urge the Europr:an Country to
renlove a l2%o security deposit it has irnposed on Bangladeshi
garment imports.
- 06J.,- out of .384=

in:trutffi-'ti" i",ffi".e, iriau3j{i,3ffi;i,w::i,ii:;;i?iii?i,ffiffiilffi
The tenn will urge the German government to
withdraw the restrictions it imposed on import from
Bangladesh, stressing that German customs authority can
easily find out if shipments exported carry forged certificates
by tracking certificates automatically. The government will
also point out that they have already introduced a new type of
GSP cerlificate as suggested by the European Commission.
The certificates are printed in Germany to protect against any
possible forgery.
Bangladesh Embassy in Germany requested the
German federal ministry of finance to inform the reason of
imposing the duty, which clashes with the EU. granted GSP
facilities. European Comrnission informed Bangladesh
embassy that German customs are quite within their rights
under the Community Customs Code to take guarantees if
they suspect fraud and they do not need to refer to the
Commission.
It has been claimed from Bangladesh that only
Germany asks for deposition but it is a grave concem for
Exporters of Bangladesh as Germany is one of the largest
destinations for Bangladeshi garments.
2.'11. Bangladesh exports garments to lndia duty

free for first time:
Bangladesh has expofted garments to India for the first time
under a duty-free access deal seen as a breakthrough for the
country's first growing textile industry, an official said on
Monday.
Neighbours Bangladesh and India signed the deal last
September, allowing Dhaka to annually export eight million
garments duty-free across the border. an agreement hailed by
New Delhi as a "Milestone" in trade relations.
"Our companies have for the first time in history
shipped garments to India this month under a duty-free access.
- 062,-.out.,of -381-
deal", said Anwar-ul Alam Chowdhury Parvez, president of
Bangladesh Garments Manufacturers and Expofters
Association.
"We've exported a small quantity, but it's a giant leap
for the industry. It is projected that India's ready-made
garments market would top 100 billion dollars by 2012. Our
target is to get a slice of this huge market," he added.
Bangladesh, which has a two-billion dollar trade gap
with India, last year, exported more than nine billion dollars of
textiles, mainly to the United States and the European Union.
The country's textile export market is growing rapidly,
spurred by a week Bangladeshi currency and a sharp increase
in production costs in China & Vietnam, its main globai rivals.
The improvement in trade relations comes against a backdrop
of sometimes tense relations between the Neighbours.
India helped Bangladesh win independence from
Pakistan in 1971. br.:t ties in recent years have often been
soured by border Skirrnishes for w'hi,:h both sides blame the
crther.
India officials rerularly ilcuuse Bangladesh of
harbouring militants figlitlng New Delhi's rule in India's far-
flung northeast.
Dhaka denies the charge and says New Delhi allows
Bangladeshi criminals to take refuge on its soil.
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Garments Pottern
3.01. Pattern:
An ornamental design or decorative element in a fabric.
Pattern may be produced either by the construction of the
fabric or by applying designs, by other means. For example,
printing, embossing, or embroidery.
On the other words, it is a hard paper which is made by
following all the specifications of each and individual
components.
3.02. Pattern making Tools:
To work efficiently, the patternmaker must have the proper
tools and supplies. To communicate effectively in the
workroom and to minimize errors due to misunderstanding,
the patternmaker should know and understand tenninology.
This chapter introduces tools, supplies and definitions of terms
used in industry.
The professional patternmaker arrives on the job with all tools
required for patternmaking. Each tool should be marked with
an identity symbol and transported in a carrying case. Tools
may be purchased from apparels supply houses. art stores,
department stores, and yardage stores. Specialized tools, such
as a rabbit punch used to punch pattern holes for hanger
hooks, are generally supplied by the manufacturer. The
following tools are used as the patternmaking tools:
a. Straight pins:
o Dress maker silk # l7 for draping and fittings.
b. Straight pin Holder:
. Pincushion, or magnetic holder for wrist, table
-'064 -'out of -356-

ffiffi
c. Scissors:
. Paper scissor
. Fabric scissor.
d. Pencils and pens:
o Mechanical pencil and sharpener (use # 4-H lead for
pattern work).
. Red and Blue colored Pencils to identify pattern
changes. Black, green, red, and blue felt tip pens for
pattern information.
e. Rulers:
a Flex general rule- Yz x 12 inch (very accurate).
a 36 inch ruler
a l8 x 2 inch plastic rule (Flexible for measuring curves)
a Tailor's square- 24 x 14 inch metal ruler with two
ams forming a 90o angle that measures, rules, and
squares simultaneously.
o Triangle witir measurements to square lines
f. Curve rules:
. French curve, Deitzgen # 17 is one of several curve
used for shaping arm hole and neck line.
. Hip curve rule, shapes hipline, hem, lapels.
. Vary form curve, blends and shapes armhole
necklines.
g. Hanger hooks or ringers:
. To hold patterns together for hanging on rods.
h. Push pins:
o For pattern manipulation.
e Stapler and remover
o Prevents pattern slippage when cutting several plies of
paper together.
. Q6t out of-356-

i. Magic mend scotch tape:
. To mend pattem work
j. Black twill tape:
. For placement of style lines on form, or garments.
k. Notcher:
. Cuts a Yo x l/16 inch opening at the pattern's edge to
indicate seam allowance, center line, and ease notches
and to identify front and back of patterns.
I. 'fracing wheels:
". Pointed wheel transfers pattern shapes to paper
Blunted wheel is used with carbon paper to transfer
pattern shapes to muslin.
m. Awl:
. Pierces 1/8 inch hole in the pattern to indicate the
ending of darts, pocket, trim, and buttonhole
placements.
n. Metal weight (several):
. Holds patterns in place for tracing and marking
o. Measuring tape:
. Metal- tipped linen or plastic to measure the form (not
very accurate).
o Metal tape t/e inch wide inside a dispenser. It is
convenient and flexible and very accurate.
p. Tailor's chalk:
. Clay, chalk, chalk wheel, or chalk rnarking pencils in
black and white. Use for marking adjusted seams and
style Iines.
3.03. Functions of patternmaking tools:
Tools i:rovide the symbols used in marking fabric and patterns
in the production of garments. It is the silent language that is
ur;ders:c.:r.1 ameng tiie designer or draper. seamstress. grader,
, ..0-66,.,9, 91 of 13!Q-

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Garments Manufacturing Technology by Saiful Azam

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An lntroductory Knowledge About

Garments Monufocturing Technology

Special thanks to:

1.01. Textile Afts. ..........001 - 002

1.03.4. Identification of group membership..........016

1.04.2. Clothing as a means of

4.02. Points should be considered before marker

5.01. Spreading. ...........107

rllu P I .r! ;i; w_i?,.i!.

9.01. Trimmings of a shirt.. .......251 -252

9.07. Interlining.. .........257

13.04. Testing. ..........308

14.01. Consumption...... .345 -346

15.01. fmportont questions. .............369 - 384

Shoulder, Armhole Depth

Cruhh Depth tine '

g Books Fair Publications

High speed small flat

bed stretch sewing

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Ji,., 1 needle top and

flat bet lock stitch

Fig: lndustrial washing machine & Hydro extractor

Books Fair Publications

Irppn Ji* Tcllsjt*

Books Fair Publications

Fig: Different types of laser cutting machine

Books Fair Publications

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1.02.2.3. Ancient China

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.011 - out of-384-

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1.03.2. Designation of Age

1.03.3. Designation of Status

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an established costume when they appear in court. The police,

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The garment industry probably reached its pbak during

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In the early l9th

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Other cultures have supplemented or replaced leather and

2.02. Bangladesh Garments Industry:

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