INDEX The Collection 3 Toile Development 5 Look 1 5 Look 2 13 Look 3 19 Look 4 25 Look 5 33 Look 6 39 Foiling 45 Jersey Finishing 47 Applique 49
Final Garments 51 Evaluation 65
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THE COLLECTION
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LOOK 1 top/bodysuit
The top for outfit one was created from the knitted top block. The sleeves had to be taken in on the sides too achieve a more fitted shape. The main body of the block had a good fit, although the neckline was made a bit larger to make the garment easier to pull on and off. The making of the cutout shape was done without problems, however after the toile review it was lowered a few centimetres to make sure that it would sit low enough under the bust line. The end of the sleeve was designed to have two layers: one that would continue from the sleeve into a loop that wraps around the second and third finger, and one that would be attached underneath with a coverstitch. At first it was difficult to come up with a working pattern but the final version was quite simple to make. The loop was coverstitched on the sleeve and closed at the back with a flatlock stitch to make it lay flat which resulted in a neater appearance and is more comfortable to wear. Following the toile review the top was changed into a bodysuit to add variety to the collection. This did not alter the shape of the garment itself much aside from adding the bottom part of the bodysuit by using the leotard block. As the garment did not have a large enough opening at the top, snap fasteners were added to the bottom. They were added to the back, however adding them to the front may have worked better as it would have made the bodysuit easier to put on. The garment was finished with the four-thread overlocker and the coverstitch machine. Using the coverstitch made the edges of the cutout look neat and knitted fusible was inserted to the edges to keep their shape better. This turned out to work very well. Using a thicker jersey was also a good choice as it helped to keep the shape and added warmth while also making the garment opaque.
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LOOK 1 trousers
The satin trousers for outfit one were created from the trouser block. The legs were widened with the slashing method, adding volume throughout them. The legs were then gathered into elasticated panels at the hem and the top part was attached to the waistband (for the waistband development see next pages). The front was split into two panels and more volume was added to the lower one to create gathers. The panels were positioned at the knee level which then turned out to be too low because of the shape of the trousers (left image), so they were lifted a few centimetres. As the trousers are meant to be soft and flowy when worn, no lining was added. There are sheer mesh panels on the garment, however they were placed on the sides which made the garment modest enough while being unlined. Turning the top of the outfit into a bodysuit helped as well since it covers the body more underneath. The trousers are also quite slippery because of the satin fabric but having a bodysuit underneath helps to keep both of the garments in place.
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waistband development
The elasticated waistband was created from the trouser block by drawing out the shape from the waistline downwards. To give it a neater look, the front and back were connected to each other, making the side seams into a straight line that would be gathered around the body. To give the waistband the right shape the four elastics all had a different width based on where they would be placed on the body. The waistband has a slight curve on both sides which can be seen when looking at it from the side (bottom left image). The curve was initially meant to be deeper. However, the waistband was constructed from four channels of waistband elastic which were cut at the sides and sewn together at an angle. Since the elastic was a straight shape the rest of the way it would have pulled the fabric too much and not kept the shape of the curve. Therefore the slight curve was kept as it is. As the channels are not the same width throughout and the satin fabric is quite slippery, some rolling of the elastic can occur. It is however easy to fix by stretching the waistband. Because of the large and varying shape of the waistband, its construction was quite complicated. It meant that the garments that have this waistband had to be created curved at the top which created some challenges. However on the trousers the top edge was drafted to be the same width as the bottom of the band and worked therefore well. The pleated garments which have the same waistband were more difficult to create which will be explained later on (refer to look 4). The channels to the waistband were hand stitched closed on the inside because a machine stitch would be visible on the outside. Since the collection is designed for the high end market the hand finish was a more suitable choice.
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LOOK 1 jacket
The jacket was designed to have an oversized fit and therefore a men’s casual jacket block in size 44 was used as the starting point. The biggest change to the block was changing the sleeve as the casual jacket’s sleeve had a very dramatic taper to the bottom and a large arm scye. Since the sleeves were going to be partly made from fabrics that had a striped surface, the sleeve had to be straight all the way down to make the stripes match neatly. Therefore the sleeve and arm scye were both changed based on the blouse block shape instead which could be turned into a straight shape without being too wide. The new sleeve fit the oversized silhouette very well. The process of drafting the rest of the pattern was quite simple: the neckline was turned into a triangular shape at the front and panels were added to the front and back. After the toile review some simple altering of the panels was done to fix their proportions a bit. The jacket has a zipper at the front and two zip pockets between the front panels. The construction of the pockets was made easier by their location in the seams, however constructing them neatly was made difficult by the faux suede fabric which frayed quite easily in the corners. Small triangle tucks were added to neaten the finish. After the toile review the jacket was also shortened by a few centimetres to make the waistband more visible underneath. The jacket was left mostly unfused because of its casual fit.
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LOOK 2 top/bodysuit
The top for outfit number two was created from the knitted top block and the fit was adjusted similarly to the top of outfit one. The top was also later turned into a bodysuit to add variety to the collection. The bodysuit ended up being one of the most difficult garments in the collection and did not end up quite as planned. The shape of the cutouts was very difficult to achieve because of the shape of the body and the stretchy properties of the jersey. At first the cutouts and the neckline ended up being too large (left image) and they were then made smaller. However the cutouts were still not able to keep their shape completely and gaped too much. After the toile review the cutouts were changed to a more steep angle which helped with the gaping problem. However the final result is still very affected by the body shape of the wearer. On wider shoulders they stretch too much and start to gape again and on small shoulders some puckering occurs that distrupts the shape. However, althought the make of the cutouts and collar is quite complicated they do resemble the design despite the problems with the shape. The collar was first overlocked onto the garment but it turned out to be too flimsy to hold up the rest of the bodysuit and the finish did not look very neat. Therefore the collar was widened and coverstitched on the garment in the final version to control the stretch a bit and to achieve a finish that was better suited for the market level. The sleeves were created to be long, with holes for thumbs on the sides. The edges were finished with a coverstitch machine. The cutouts were also finished with the coverstitch with knitted fusible on the edges to hold the shape better.
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LOOK 2 skirt
The skirt of outfit two follows the same waistband pattern as the outfit one trousers. The rest of it was created from the skirt block. Volume was added throughout the length of the skirt with the slashing method and the sides were then divided into separate panels. The side seams were therefore eliminated into two seams on both sides of the panels. A slash was created into the front side of the side panels. The slash supports the flowy silhouette of the skirt and adds comfort by allowing more movement, while also working as a design statement. The edges were finished with a double turn edge and two tucks were sewn at the top of the slash to prevent the seam from snapping open. The skirt was left unlined because of its flowy look and the large size of the slashes. Like in outfit one, the bodysuit underneath adds modesty and helps to keep the garments in place.
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LOOK 2 jacket
The biker jackets are some of the most complicated garments in the collection. However, the process of drafting the pattern happened quite smoothly. The main silhouette was created by following the same pattern as the jacket from outfit one. The collar was then drafted the same way as a classic biker jacket collar. Getting the pattern right was time consuming but the result turned out very good. The zipper can be pulled all the way up or left partly open, with the lapels turned outside. On the final jacket the hem is gathered with elastic to create a rounder shape. A channel was created in the hem allowance where the elastic was then inserted. It was secured at both ends to prevent it from moving inside the jacket. The construction of the hem with the elastic had some challenges especially when adding the lining. As a result a small pleat was formed to the edge of the facing next to the zipper, however it could be stitched down to achieve a neater finish. A drawstring finish was also considered for the hem because it would have allowed the hem to be adjusted. However because of the overlap of the facings it would not have worked as well as the elastic.
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LOOK 3 top
The top was drafted following the knitted top block, similarly to the bodysuits of outfits one and two. On this top a polo collar was drafted to the neckline and shoulder cutouts were added. The cutouts were finished with a coverstitch finish. There were no problems with them althogh the fit required some adjusting since the sleeves of the pattern block were quite wide. The sleeves were split into two panels. In the final garment the panels were attached together with a coverstitch. An overlock finish would have looked a bit sloppy (as seen on the toile) and may have been uncomfortable against the skin. A flatlock finish was also considered but the coverstitch was decided to be a neater option which also worked well with the rest of the collection since it is used generously in all of the jersey garments.
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LOOK 3 dress
The sleeveless dress was drafted from the unisex vest block. A large size was used to create the loose silhouette. At first the dress turned out too big at the shoulders while otherwise being the right size, so it was then taken in at the shoulders and underarms. The front and back were divided into princess line panels and they were then combined into the side panels, eliminating the side seams. At first the panels were too high on the body (first image). They were then lowered and adjusted to achieve a good shape. The front was also split into two parts with a seam in the middle. Since the dress has large panels from mesh and it is worn on top of other garments it was lined and faced at the neckline. The facing was not extended to the armholes because of the see-through mesh. The only problem with the dress was that the lining had side seams which could be seen thought the mesh. While they are not visible very clearly, it may have been better to divide the lining into the same princess line panels to prevent the seams from showing through.
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LOOK 3 trousers
The trousers were drafted from the basic trouser block and then adjusted according to the process of making a low rise jeans pattern. The most difficult part was getting the right fit since the trousers did not seem to shape right around the body. The goal was to make them slim but also semi fitted rather than completely fitted. Finally after a few toiles the desired shape was achieved. Similarly to classic jeans, the trousers have a fly fastening at the front, a waistband, patch pockets and a yoke at the back as well as structural pockets at the front. The process of making these elements happened without many problems. It was difficult to find the right type and length of zip however, so the final garments have zippers that were shortened by hand with pliers. Working with a thicker fabric when putting together the fly was also a challenge but it turned out fine. Some of the topstitching that a jeans fly would have was simply left out since it was a better option for the fabric to have as little topstitching as possible. The trousers have a panel at the knee and a cutout at the back. The edge of the cutouts was finished with a double turn. Sewing the diffferent edges turned out to be a challenge since the matching of the edges with the double turn finish was tricky. The original design did not have zippers at the hem. However since the fabric was quite stiff and the opening of the leg was slim, zippers were added to make changing into the trousers easier for those with bigger feet. Initially the inside seams were planned to be finished with binding. Lining the trousers would have been difficult because of the cutouts. However, a binding finish would have made the inside seams smooth and provided a neat finish suitable for the market. Unfortunately for timing reasons the seams were overlocked instead to avoid the risk of not finishing them in time. If the trousers were commercially produced to be sold the binding finish would most likely be added.
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LOOK 4 top
The top was drafted from the knitted top block. As the block has a fitted shape all around, the side seams were changed into a straight shape to represent the design better. Making the sleeves of the top was one of the most difficult parts of the collection. The aim was to create a finish that would look like wide �straps� attached to one side of the sleeve. The most difficult part was to make the sleeve into a shape that does not pucker or pull too much. Multiple toiles and samples were made, where in some cases the straps were too tight, in some the sleeve was too long and in some there was unnecessary puckering around the shoulder and at the wrist. This was solved by adjusting the width of the straps as well as the shaping of the first and last straps of the sleeve. The last one was created to taper from the wrist into a wider shape at the bottom. This way the strap moulds nicely around the hand and is comfortable as well. At the top of the sleeve the issue was resolved by making the shape more narrow, creating a steeper curve. Since the top is made from jersey and the straps from a ribbed material, the sleeve stretches nicely with the movement of the arm. However, another challenge was finishing the edges of the straps and the sleeve. The first idea was to coverstitch all the edges but it would not have worked since the sleeve is so narrow. Therefore the sleeve was finally created from two layers, making the main part and straps into a tube which was then coverstitched at the bottom (third image). This also provided a very neat finish which was very suitable for the high end market. Having the two layers also prevents the sleeve from puckering as easily.
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LOOK 4 trousers
The trousers were created with the same silhouette as the trousers of outfit three but with a higher waist, as well as a facing and a side zipper instead of a fly finish. The trousers were meant to be worn undernearth a pair of shorts and therefore a simple finish was the best option. This version also did not have cutouts at the back. Zippers were also added to the ankles of these trousers. For the same reason as with the other trousers, the inside seams were overlocked instead of doing a binding finish (refer to look 3 trousers). The edge of the facing was bound however, to make it more neat.
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LOOK 4 shorts
The shorts were drafted from the trouser block and adjusted into a voluminous shape. This was then turned into pleats. They were divided into panels so that the outer part was satin and there were panels of mesh on the inside, visible through the pleats. The addition of the panels also meant that the side seams could be eliminated which resulted in a neat finish. Sewing the pleats was very time consuming since all the panels had to be cut, then sewn together, overlocked, topstitched and finally pressed into the pleated shape. When using the toiling fabrics there was a lot of puckering, however the final fabrics were easier to work with and ended up having a much nicer finish. What made the shorts especially difficult to produce was combining the pleated part with the curved waistband. Since the waistband is shaped differently at the front and back, different patterns had to be made for all the panels on both sides. What is more, connecting the waistband to the shorts was difficult since the bottom of the waistband was much wider than the shorts. The waistband was therefore gathered before attaching it. Because of the sheer mesh and the multiple seams on the inside, the shorts were lined. The lining was created in a voluminous shape with slashes on the sides to allow free movement of the pleats. Since the waistband had to be gathered on one side before attaching it to the shorts, the lining was also gathered and then sewn on top of the other layers. To close the waistband neatly, the other side of the waistband had to be hand stitched on top to keep it in place when sewing. As a result the finish of the inside of the waistband seam is not as neat as desired. This could possibly be avoided by gathering the edge at the back and then binding it before closing the waistband. The binding would therefore cover the gathered edge This would be an option if the shorts were manufactured on a larger scale.
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LOOK 4 jacket
The jacket was created by following the same principles as the biker jacket of outfit two. This jacket had different panels as well as two zipped pockets at the front. It was considered at one point that this jacket could have had a different type of collar. However for timing reasons as well as because of the preference to include two biker jackets the collar was kept as it was.
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LOOK 5 top
The top was created from the knitted top block but the fit was changed into a straight shape and turned into a crop top. The top has the same polo collar as the top of outfit three. Cutouts were added to the sleeves which were split into panels. The top also has the same thumb holes on the sleeves as the bodysuit of outfit number two. The development of the top happened quite smoothly. There was mostly need for some adjusting of the slimness of the sleeve and the size of the cutouts and panels.
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LOOK 5 dress
The dress was drafted from a large sized unisex T-shirt block. Initially the sleeves were too narrow and were then changed into the desired straight, longer and looser shape. The dress was divided into two panels at the front the same way as the dress of outftit three. However on this dress more volume was added to the front with the slash and spread method. The dress was lined completely except for the sleeves which were better kept as sheer and lightweight. To achieve a neater finish the panel at the bottom of the sleeve was faced on the inside. The raw edges of the mesh were finished with a roll edge machine. It would have probably been a better option to finish the edges with a french seam. The mesh seams are very small however so the finishing is not very noticeable.
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LOOK 5 trousers
The trousers were created by following the same manufacture process as the trousers of outfit three. However, since the top part of this pair was created from suedette instead of the thicker velvet it was created more similarly to classic jeans with more topstitching. The knee panels on the trousers were made from striped corduroy. Since the panel is not completely straight because of the tapered shape of the trousers, the double turn finish on the sides is not as neat as desired. The gaps that the stripes have form bumps on the edges. This would have been avoided with a straight shape, however that would have been difficult to achieve with the shape that the trousers have. One option may have been to make the panel more narrow at the top, making the cutout larger at that part.
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LOOK 6 top
The body and collar of the top were created the same way as on the top of outfit five. The sleeves were quite uncomplicated to make as they were simply divided into panels with a cutout in the middle. The top only required some alterations to the fit of the sleeves.
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LOOK 6 skirt
The skirt was created following the same principles as the shorts of outfit four. The difference was that since the skirt did not have a middle seam, pleats were added in its place. At first some adjusting of the number of pleats was required to make sure they fit the width of the waistband (first image). On the skirt toile the mesh panels were made the same width as the satin ones, instead of the smaller size that the shorts have. However the larger size did not work as well as the panels became a bit too visible through the pleats and affected the shape of the skirt as well. Therefore the method of the shorts was used for both pleated garments. The long length of the skirt made the manufacture a long process. There were many seams to finish and in addition the pressing of the pleats in place was very complicated. A lining was added to the skirt the same way as on the shorts. Long slashes were added to the sides to allow free movement of pleats.
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LOOK 6 jacket
The jacket was created similarly to the jacket of outfit one. This jacket however had panels on the shoulders that connect together at the back. A couple of toiles were made to get the proportions of the panels right. The mesh layer on top was laid out so that the cross stitch pattern on it would face to the side rather than straight upwards. The panel had to be created so that there would be enough room for the embroidery pattern as well.
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FOILING
All of the jersey garments had parts made with foiled rib jersey. This was achieved by using bondaweb and fabric foil on the heat press. At first the fabric felt very stiff after the foiling (image one), unlike the sample that was made earlier in the semester. This turned out to be because of the use of a heat press rather than an iron which was used on the earlier sample. The issue was fixed by ironing the fabric after foiling with some steam and with a cloth on top. This made the fabric much softer and smoother. The silver finish was also turned into a more desirable, softer and shimmering shade (image two). The silver finish not only made the garments look great but it also meant that the rib fabric would maintain its stretch and thinness while becoming sturdier. Therefore it kept its shape better and looked neater on the edges of the cutouts than it would have without the foil. It was also much easier to work with the weft direction of the fabric since it did not stretch as much while sewing which was a big help when using the coverstitch machine for example.
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JERSEY FINISHING
As there were many raw edges on the jersey garments, a coverstitch finish was used to create a neat edge. In some cases the different pieces were also attached to each other with the coverstitch, both combining the pieces and finishing the edges at the same time. This method worked very well with the cutout parts and was very suitable for the high end market since it looked so neat and well made. In some garments small tucks were also sewn to edges to keep the different parts in place. This made the seam allowances stay flat and provided a more comfortable and neat finish.
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APPLIQUE
Most of the embroidery in the collection was made on mesh panels and did not require further sewing. On the jackets however the pieces were required to be sewn on top of the fabric. The larger numbers on the jackets were simply folded at the edge and then sewn on top. However the letters were much smaller and the folding method did not work well with them. Therefore they were appliqued on the fabric with a zigzag stitch instead. The result was not as neat as with the folding method of the numbers. However it created a nice crafty look that suited the style of the embroidery well.
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FINAL GARMENTS
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EVALUATION Overall, the collection turned out very successful. The garments look very much as planned and have the right kind of aesthetic, shape and movement. There are only smaller issues with some details and shapes where the fit could be better around the body, most notably on a couple of the cutouts on the jersey garments and trousers. However, in the bigger picture there is nothing that would have to be drastically changed. Some of the garments required very complicated manufacture methods and a few of the fabrics were difficult to work with. The garments were also finished to a very high standard to fit the high-end market level of the collection. This meant that sometimes things ended up taking longer than anticipated. However the process was a very good way to learn about working to a very good standard even under pressure. Paying close attention to the finishes and manufacture also meant that the final product ended up looking well finished and of high quality. The embroidery was very time consuming to do as it was done by hand, with most of the individual patterns taking several hours each to make. This meant that there was not much time to work on the other parts of the manufacture outside of workshop time. However in the end averything went quite smoothly since all possible time in the workshop was used outside of class time as well. There was also meant to be more embroidery in the collection at first but it was decided that it was better to leave some of it out, mainly from the pleated garments. This prevented the risk of falling behing with the rest of the work. However these garments work very well without the embroidery as well so leaving them out was not a difficult decision. The jersey garments were much more simple at first in terms of shape and detail but they were changed into the more complicated cutout shapes later on to add some more challenge to the collection. This was a great decision since it made these garments look much more interesting and was a good lesson in working with jersey fabrics. Looking back on the collection, it may have been a good idea to really push each design further so that they would be very unique instead of having some with a very similar silhouette or materials. However this way the collection is very interchangeable and everything goes together well. Also, now that the manufacture process is over it should be noted that it did end up taking all possible time and making the designs very different would have most likely been a big risk in terms of getting them finished in time and to a good standard. As a conclusion, the collection was a success as well as a great learning experience. It shows a variety of different methods and skills, while also representing the desired design aesthetic and signature: the garments are unique, feminine but contemporary, functional and comfortable to wear.
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