Tuesday 25 February 2014

Shirt– Types of Collar

In clothing, a collar is the part of a shirt, dress, coat or blouse that fastens around or frames the neck. Among clothing construction professionals, a collar is differentiated from other necklines such as revers and lapels, by being made from a separate piece of fabric, rather than a folded or cut part of the same piece of fabric used for the main body of the garment.

A collar may be permanently attached to the main body of the garment (e.g. by stitching) or detachable.

Collars can be categorized as:

  • Standing or stand-up, fitting up around the neck and not lying on the shoulders.
  • Turnover, standing around the neck and then folded or rolled over.
  • Flat or falling, lying flat on the shoulders.

The major collars are,

  1. Ascot collar 0021- Collar - Acot Collar
  2. Albany collar
  3. Band collar
  4. Barrymore collar
  5. Bertha collar
  6. Buster Brown collar
  7. Butterfly collar
  8. Button-down collar
  9. Camp collar
  10. Cape collar
  11. Chelsea collar
  12. Clerical collar
  13. Convertible collar 0022- Collar - Albany
  14. Cossack collar
  15. Detachable collar
  16. Double Round Collar
  17. Edwardian Collar
  18. Eton collar
  19. Falling band
  20. Fichu collar
  21. Gladstone collar
  22. High neck collar
  23. HRH collar
  24. Imperial/Poke collar
  25. Jabot collar
  26. Johnny collar
  27. Lacoste collar
  28. Mandarin collar
  29. Man-tailored collar
  30. Mao collar 0023- Collar - Band Collar
  31. Medici collar
  32. Middy collar
  33. Mock collar
  34. Napoleonic collar
  35. Nehru collar
  36. Notched collar
  37. Peter Pan collar
  38. Piccadilly collar
  39. Pierrot collar
  40. Poet collar
  41. Popped collar
  42. Pussy bow
  43. Revere collar
  44. Rolled collar
  45. Round collar
  46. Ruff collar 0024- Collar - Barry More collar
  47. Sailor collar
  48. Shawl collar
  49. Spread collar
  50. Tab collar
  51. Tunic collar
  52. Turned-down Collar
  53. Upturned collar
  54. Van Dyke collar
  55. Windsor collar
  56. Wing collar
  57. Y-collar

Next will explain about each type of collars identifications

Saturday 22 February 2014

Shirt–Know How

 

A shirt is a cloth garment for the upper body. Originally an undergarment worn exclusively by men, it has become, in American English, a catch-all term for a broad variety of upper body garments and undergarments. In British English, a shirt is more specifically a garment with a collar, sleeves with cuffs, and a full vertical opening with buttons or snaps. (North Americans would call that a "dress shirt", a specific type of "collared shirt. A shirt can also be worn with a necktie under the shirt collar.

History

The world's oldest preserved garment, discovered by Flinders Petrie, is a "highly sophisticated" linen shirt from a First Dynasty Egyptian tomb at Tarkan, c. 3000 BC: "the shoulders and sleeves have been finely pleated to give form-fitting trimness while allowing the wearer room to move. The small fringe formed during weaving along one edge of the cloth has been placed by the designer to decorate the neck opening and side seam.

The shirt was an item of men's underwear until the twentieth century. Although the woman's chemise was a closely related garment to the man's, it is the man's garment that became the modern shirt. In the Middle Ages it was a plain, undyed garment worn next to the skin and under regular garments. In medieval artworks, the shirt is only visible (uncovered) on humble characters, such as shepherds, prisoners, and penitents. In the seventeenth century men's shirts were allowed to show, with much the same erotic import as visible underwear today. In the eighteenth century, instead of underpants, men "relied on the long tails of shirts ... to serve the function of drawers. Eighteenth-century costume historian Joseph Strutt believed that men who did not wear shirts to bed were indecent. Even as late as 1879, a visible shirt with nothing over it was considered improper.

The shirt sometimes had frills at the neck or cuffs. In the sixteenth century, men's shirts often had embroidery, and sometimes frills or lace at the neck and cuffs, and through the eighteenth century long neck frills, or jabots, were fashionable. Coloured shirts began to appear in the early nineteenth century, as can be seen in the paintings of George Caleb Bingham. They were considered casual wear, for lower class workers only, until the twentieth century. For a gentleman, "to wear a sky-blue shirt was unthinkable in 1860 but had become standard by 1920 and, in 1980, constituted the most commonplace event.

European and American women began wearing shirts in 1860, when the Garibaldi shirt, a red shirt as worn by the freedom fighters under Giuseppe Garibaldi, was popularized by Empress Eugénie of France. At the end of the nineteenth century, the Century Dictionary described an ordinary shirt as "of cotton, with linen bosom, wristbands and cuffs prepared for stiffening with starch, the collar and wristbands being usually separate and adjustable".

The types of shirts

0004-Camp ShirtCamp shirt – a loose, straight-cut, short sleeved shirt or blouse with a simple placket front-opening and a "camp collar."

0005-Dress ShirtDress shirt – shirt with a formal (somewhat stiff) collar, a full-length opening at the front from the collar to the hem (usually buttoned), and sleeves with cuffs

0006-Dinner ShirtDinner shirt – a shirt specifically made to be worn with male evening wear, e.g. a black tie or white tie.

0007-Guayabera-ShirtGuayabera – an embroidered dress shirt with four pockets.

0008-POETS_SHIRT_BACKGROUNDPoet shirt – a loose-fitting shirt or blouse with full bishop sleeves, usually with large frills on the front and on the cuffs.

0009- T ShirtT-shirt – also "tee shirt", a casual shirt without a collar or buttons, made of a stretchy, finely knit fabric, usually cotton, and usually short-sleeved. Originally worn under other shirts, it is now a common shirt for everyday wear in some countries.

Long-sleeved T-shirt – a t-shirt with long sleeves that extend to cover the arms.

0011- Ringer T-shirtRinger T-shirt – tee with a separate piece of fabric sewn on as the collar and sleeve hems

Halfshirt – a high-hemmed t-shirt

Sleeveless shirt – a shirt manufactured without sleeves, or one whose sleeves have been cut off

0012- A ShirtA-shirt or vest or singlet (in British English) – essentially a sleeveless shirt with large armholes and a large neck hole, often worn by labourers or athletes for increased movability. Sometimes called a "wife beater" when worn without a covering layer.

0013- CamisolsCamisole – woman's undershirt with narrow straps, or a similar garment worn alone (often with bra). Also referred to as a cami, shelf top, spaghetti straps or strappy top

0010-Polo ShirtPolo shirt (also tennis shirt or golf shirt) – a pullover soft collar short-sleeved shirt with an abbreviated button placket at the neck and a longer back than front (the "tennis tail").

Rugby shirt – a long-sleeved polo shirt, traditionally of rugged construction in thick cotton or wool, but often softer today

0014-Henly ShirtHenley shirt – a collarless polo shirt

baseball shirt (jersey) — usually distinguished by a three quarters sleeve, team insignia, and flat waistseam

Sweatshirt – long-sleeved athletic shirt of heavier material, with or without hood

0015- TunicsTunic – primitive shirt, distinguished by two-piece construction. Initially a men's garment, is normally seen in modern times being worn by women

0016-shirtwaistShirtwaist – historically (circa. 1890-1920) a woman's tailored shirt (also called a "tailored waist") cut like a man's dress shirt; in contemporary usage, a woman's dress cut like a men's dress shirt to the waist, then extended into dress length at the bottom

0018-NIght ShirtNightshirt – often oversized, ruined or inexpensive light cloth undergarment shirt for sleeping.

Sleeveless shirt – A shirt with no sleeves. Contains only neck, bottom hem, body, and sometimes shoulders depending on type. Also referred to as a tank top.

0019-Halter TopHalter top – a shoulderless, sleeveless garment for women. It is mechanically analogous to an apron with a string around the back of the neck and across the lower back holding it in place.

Tops that would generally not be considered shirts:

onesie or diaper shirt — a shirt for infants which includes a long back that is wrapped between the legs and buttoned to the front of the shirt

Sweaters — heavy knitted upper garments with long sleeves and sometimes cuffs.

Jackets, coats and similar outerwear

tube top (in American English) or boob tube (in British English) — a shoulderless, sleeveless "tube" that wraps the torso not reaching higher than the armpit, staying in place by elasticity or by a single strap that is attached to the front of the tube

Parts of shirt

Many terms are used to describe and differentiate types of shirts (and upper-body garments in general) and their construction. The smallest differences may have significance to a cultural or occupational group. Recently, (late twentieth century) it has become common to use tops to carry messages or advertising. Many of these distinctions apply to other upper-body garments, such as coats and sweaters.

Types of shirting fabric

There are two main categories of fibres used: natural fibre and man-made fibre (synthetics or petroleum based). Some natural fibres are linen, the first used historically, cotton, the most used, ramie, wool, silk and more recently bamboo or soya. Some synthetic fibres are polyester, tencel, viscose, etc. Polyester mixed with cotton (poly-cotton) is often used. Fabrics for shirts are called shirtings. The four main weaves for shirtings are plain weave, oxford, twill and satin. Broadcloth, poplin and end-on-end are variations of the plain weave. After weaving, finishing can be applied to the fabric.

details about the parts of shirt will be followed..

Friday 21 February 2014

Garment Classification

1. Staple Product: - It has continuous production and design unchanged, except minor changes in Fabric, and some shapes only. As for production staple products are having continuous production as these categories are fashion. E.g. Men’s under wear, Industrial work dress, etc.
2. Semi Styled Product: - A basic type of garment but with minor variations from style to style. Fabric and closures changes frequently. Production amount per fabric and style are considerably shorter than staple product. E.g. Men’s classic shirt.
3. Styled Product: - This is based on one type of garment but with frequent style changes. The fabric and colour changes from style to style. The product amount somewhat shorter than for semi styled. E.g. Ladies skirt, Dress, coats etc.
4. Fashion Product: - This has extreme and abrupt change in design and cloth from one style to another style. The product amount is very less. Time is the most important factor
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More details will be followed based on each cat




02-Step-by-step of Garment Construction

1 Design / Sketch
The first step in garment Manufacturing is designing the sketch for the dresses that have to be prepared. For this purpose the designer first draw sketches. The designer also draws working drawings along with the sketch. Working drawings are flat drawing of the sketch and it help pattern maker in understanding the pattern details involved in the construction
2 Sample Making:The first patterns are sent to the sewing unit for assembling them into garment. This is usually stitched on calico or muslin which is an inferior quality of fabric and it reduces cost. This sample is constructed to analyse the pattern fit and design too. After the sample garment is stitched it is reviewed by a panel of designers, pattern makers and sewing specialists. If any changes have to be made they are made at this time.
3 Production Pattern
The pattern design is now taken for creating the production patterns. The production pattern is one which will be used for bulk production of garments. The pattern maker makes the patterns on standard pattern making paper. These papers are made-up of various grades.
Garment patterns can be constructed by two means: manual method, CAD/CAM method. Today many companies have developed CAD/CAM because of the ease of designing patterns, fluency and precision involved which cannot be guaranteed with the manual method and the economy in duplication and correction. Investing once into the CAD/CAM unit is worth in itself.
A garment sewing pattern or garment fabric & patterns draft is developed by calculating the data from the following means,image
1. Direct Sample.
2. Specification Sheet/ Measurement Chart.
3. Actual body size measurements.
4. Ease Allowances.
5. Sewing Allowance.
These allowances are different for different type of fabrics and patterns.
4 Grading
The purpose of grading is to create patterns in different sizes. Grading a pattern is really scaling a pattern up or down in order to adjust it for multiple sizes. Pattern grading by manual method is a cumbersome task because the grader has to alter the pattern on each and every point from armhole, to neckline, sleeve cap and wrist etc. by using CAD it is much easier and faster
5. Marker Making:
The measuring department determines the fabric yardage needed for each style and size of garment. Computer software helps the technicians create the optimum fabric layout to suggest so that fabric can be utilized maximum. Markers, made in accordance to the patterns are attached to the fabric with the help of adhesive stripping or staples. Markers are laid in such a way so that minimum possible fabric gets wasted during cutting operation. After marking the manufacturer will get the idea of how much fabric he has to order in advance for the construction of garments.
image
Computer marking is done on specialized software’s. In computerized marking there is no need of large paper sheets for calculating the yardage, in fact, mathematical calculations are made instead to know how much fabric is required.
6. Spreading
Spreading is the layering of fabric ready for cutting, the lay length will be calculated according to the marker and the lay height (number of lays) will be according to the cut order plan of the specific order. Marker is placed on top of the lay to guide for cutting. The lays are put on One-way or Two-way direction methods
Two-way:- two way spreading is done on the symmetrical fabrics such as poplin. The fabric are laid continuously from left to right and right to left without cutting at the end. This method the fastest and efficient method of spreading but cannot be used for grain restrictions and one directional or most of the printed fabric. In this condition the fabric is placed as face to face.
One-Way:- the fabric is laid from onside to other side and the fabric has to cut in length of the marker to put the second lay, fabrics such as corduroy, velvet etc. are laid in this method. According to the fabric used the face side of the fabric may face upward or downward direction for example the corduroy is placed face down and printed fabrics are faced up
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7. Cutting
The fabric is then cut with the help of cloth cutting machines suitable for the type of the cloth. These can be a straight knife, band knife, Round knife, die clickers similar to die or punch press; or computerized cutting machines that use either blades or laser beams to cut the fabric in desired shapes.
8. Sorting/Bundling:
The sorter sorts the patterns according to size and design and makes bundles of them. This step requires much precision because making bundles of mismatched patterns can create severe problems. On each bundle there are specifications of the style size and the marker too is attached with it. Each part is numbered for later matching.2.9.
9.Sewing/Assembling
The sorted bundles of fabrics are now ready to be stitched. In this workplace, there are many operators who perform a single operation (generally for product which have more than 5 operations). One operator may make only straight seams, while another may make sleeve insets. Yet another two operators can sew the waist seams, and make buttonholes. Various industrial sewing machines too have different types of stitches that they can make. These machines also have different configuration of the frame. Some machines work sequentially and feed their finished step directly into the next machine, while the gang machines have multiple machines performing the same operation supervised by a single operator. All these factors decide what parts of a garment can be sewn at that station. Finally, the sewn parts of the garment, such as sleeves or pant legs, are assembled together to give the final form to the clothing.
10. Inspection
Open seams, wrong stitching techniques, non- matching threads, and missing stitches, improper creasing of the garment, erroneous thread tension and raw edges are some of the sewing defects which can affect the garment quality adversely. During processing the quality control section needs to check each prepared article against these defects. There are inline, end line, and final audits to control the defects and to separate critical defected garments from the lot.
11. Pressing/ Finishing
The next operations are those of finishing and/or decorating. Moulding may be done to change the finished surface of the garment by applying pressure, heat, moisture, or certain other combination. Pressing, pleating and creasing are the basic moulding processes. Creasing is mostly done before other finishing processes like that of stitching a cuff, decorating the garment with something like a pocket, appliqués, embroidered emblems etc. There are lot of machineries used in finishing the garment. Pressing machine, steam presses, form press, etc. Are examples
12. Final Inspection
For the textile and apparel industry, product quality is calculated in terms of quality and standard of fibres, yarns, fabric construction, colour fastness, designs and the final finished garments. Quality control in terms of garment manufacturing, pre-sales and posts sales service, delivery, pricing, etc are essential for any garment manufacturer, trader or exporter. Certain quality related problems, often seen in garment manufacturing like sewing, colour, sizing, or garment defects should never be over looked.
Sewing defects: - Open seams, wrong stitching techniques, non- matching threads, and missing stitches, improper creasing of the garment, mistaken thread tension and raw edges are some of the sewing defects which can affect the garment quality adversely.
Colour defects:- Variation of colour between the sample and the final garment, wrong colour combinations and mismatching dyes should always be avoided.
Size mixing:- Wrong gradation of sizes, difference in measurement of various parts of a garment like sleeves of XL size for body of L size garment can deteriorate the garments beyond repair.
Garment defects:- Broken or defective buttons, snaps, stitches, different shades within the same garment, dropped stitches, exposed notches and raw edges, fabric defects, holes, faulty zippers, loose or hanging sewing threads, misaligned buttons and holes, missing buttons, needle cuts or chews, pulled or loose yarn, stains, unfinished buttonhole, short zippers, inappropriate trimmings etc. all can lead to the end of a brand name even before its establishment.
13. Packing
The finished garments are finally sorted on the basis of design and size and packed to send for distribution to the retail outlets. Basically packaging acts as a consumer guide which is meant to create Attraction, Interest, Desire and Sale, hence most care is taken when doing the packaging.

















03-Definitions

Fibre: - 

It is defined as one of the delicate, hair portions of the tissues of a plant or animal or other substances that are very small in diameter in relation to their length. A fiber is a material which is several hundred times as long as its thickness.

Textile Fibre: - The essential requirements for Textile fibers to be spun into yarn include a length of at least 5 millimeters, flexibility, cohesiveness, and sufficient strength. Other important properties include elasticity, fineness, uniformity, durability, and luster will make a fiber into textile fiber

Yarn: - 

Yarn is a long continuous length of twisted or interlocked fibers, suitable for use in the production of textiles, sewing, crocheting, knitting, weaving, embroidery, and rope making. Thread is a type of yarn intended for sewing by hand or machine. Sewing threads may be finished with wax or other lubricants to withstand the stresses involved in sewing. Embroidery threads are yarns specifically designed for hand or machine embroidery.

Fabric: - 

Fabric or cloth is a flexible two dimensional material that is made by a network of natural or artificial fibers. The formation of fabric maybe interlacing (Weaving), interloping (Knitting), or inter meshing (as in knotting, punching etc.)

Garment: - 
Garment is a three dimensional form made with fabrics, sewing is the major method used to construct the garments

Apparel is any clothing material made using any textile fabric/ material. Hence all garments are apparels but all apparels are not garments (e.g. CAPS, shoes etc. are apparels, shirts, trousers, etc. are garments)

01-History of Garment Industry

As industrial revolution started in the 19th century, garment industry also began to evolve but it was in its immaturity and had no developed system for garment manufacturing. It was observed that they can develop standard patterns which can fit more than one. They developed a mathematical sizing system to accommodate most women with very few patterns. As businessmen, interested in lowering costs, they continued developing these patterns to become paper “information systems” engineered to control quantities of exact reproductions in cutting and stitching clothing in mass production systems.

The production of ready-made clothing, which continued to grow, completed its transformation to an "industrialized" profession with the invention of a practical and commercially viable sewing machine in 1850s. (Elias Howe patented the first sewing machine in 1844 although Isaac Merritt Singer, whose name is synonymous with the machine, added modifications and marketed the sewing machine for the first time to the mass public in the early 1850s. For more information, see also Sewing Machine.) The sewing machine, available to individuals for a relatively small amount of capital, allowed for a level of production hitherto unseen. Rather than forcing seamstresses and other contractors out of business as many reformers had warned, the sewing machine's advanced technology increased both employment and production.


The need for thousands of ready-made soldiers' uniforms during the Civil War helped the garment industry to expand further. Armies, both Union and Confederate, also instituted a standardized system of sizing for soldiers' clothing to make allotment easier; this system would continue on even after the War ended. By the end of the 1860s, Americans bought most of their clothing rather than making it themselves. Although ready-made clothing for women lagged behind that of men's due to more intricate tailoring demands, changes in style reversed the trend by the 1880s. With an ample supply of cheap labor and a well-established distribution network, New York was prepared to meet the demand. During the 1870s the value of garments produced in New York increased six-fold. By 1880 New York produced more garments than its four closest urban competitors combined, and in 1900 the value and output of the clothing trade was three times that of the city's second largest industry, sugar refining. New York's function as America's culture and fashion center also helped the garment industry by providing constantly changing styles and new demand; in 1910, 70% of the nation's women's clothing and 40% of the men's was produced in the City.
Composition of the Garment Industry. 
Even before the invention of the sewing machine, the ready-made garment industry relied on a system of "putting-out." As early as the 1820s, clothing manufacturers contracted work to female workers who would do the job for wages 25% to 50% less then that of male tailors. Rather than working in the clothing shop, the women seamstresses would complete their assigned sewing tasks in their homes. The ethnic composition of the seamstresses mirrored the general trend of immigration to New York City. Prior to 1850, most seamstresses were German immigrants or native born, poor Americans who had come to New York from rural areas, while from 1850 until the 1880s Irish immigrants dominated the industry.


In the 1880s the nature of the garment industry experienced another significant change. Immigrants from Eastern and Southern Europe replaced seamstresses, who often worked alone or in very small groups, with contractors. Under the new arrangement, factories produced the fabric and the designs, which were then distributed to contractors on credit. The contractor was responsible that the fabric that he had acquired on credit be made into clothing, and then sold to stores and other retail outlets. He (it was almost always a "he") hired neighbors and other women in the area to do the job. The contractor paid by the piece, though he could refuse to pay for work he considered shoddy. As factory machinery became more sophisticated in the 1870s and 1880s, parts of a piece of clothing could be mass produced and women working at home did finishing work rather than making whole pieces of clothing from scratch. 


Female homework satisfied the desire of most husbands for their wives to remain at home and allowed the women to supervise their children. Working at home also eliminated commuting time and left more time for household chores. Women from different apartments would often work together in one of their kitchens or best rooms (the room fronting the street or rear yard and therefore receiving the most sunlight) to keep each other company. In warmer weather women often moved into the hallways or onto the roofs and fire escapes (when they existed). 

By the end of the nineteenth century and on into the twentieth century the putting-out system gave way, for the most part, to "sweat-shops." In this system, manufacturers provided the raw materials, designed the clothes, and marketed the final product, but the work of making the clothes was again handed over to contractors. The contractors would now secure a workspace, sewing machines, and ten to twenty workers, usually female immigrants. Each worker had a specific task to perform but was paid on the basis of how many garments the whole group was able to produce. By the turn of the century, most ready-to-wear clothing came from such shops.