(0)
CONTENTS MAISONAZZEDINEALAIA GLOSSARY AESTHETICPROPERTIES/TERMS FIBERS YARNS WEAVES KNITS NON-WOVENS CARE INTERNALSTRUCTURES TEXTILESWORKSHOP
MAISONAZZEDINE
Alaïa
Azzedine Alaïa’s workislikeaseism graphic recording of all the emotions colours, fabrics and shapes which gotomakeupafashionshow.
Thistextilebookisapermenantreco and an introduction into the world o textile, using the house of Azzedine Alaïaasarefrencingpointfortextile
Alaïa’s career focused exceptio nally on detail and with each look he composed, the textile chosen played a rigorous role in the overall essen operations. «Modelling fabric, cuttin itandcreating¿@atpieces,givingthem volume, transforming them into sof sculptures, turning architectura into the shape of a dress, extracting i fromacreativesensitivityuntil t ment which remains obscure, hidden in the depths, euphorically moved by numerous perceptions produced b wisdomoflifeanditsspectacle.»
Textiles are the core of garment - de sign, the right textile helps employ a sory, a mood and an overall theme for a collection. Textiles are an- exa tionofwomenandoftheimaginative process of moulding into the femal body all kinds of material reseour whether traditional or experiment nobleormodest.
ABSORBENCY ADD-ON ALLERGICPOTENTIAL AMORPHOUS APPEARANCERETENTION BALANCE BALANCEDPLAINWEAVE BLEACH BLEEDING BLEND BRUSHING/BRUSHED CELLULOSE CHEMICALADHESIVE CLOTH COLORANT COLORFASTNESS COLORMATCH COMBING COMPOSITEFABRIC COUNT COVER CRYSTALLINE DETERGENT DIMENSIONALSTABILITY DOPE DRAPE DRYCLEANING DURABILITY DYE DYESTUFF DYEPROCESS ELASTICITY EXTRUSION FILAMENT FILLING FLAMMABILITY FLEXIBILITY
The % of moisture a dry ¿]ber absorbs under standard condi tionsofmoistureandtempreature.
FULL FASHIONING The%ofmoistureadry SCROOP Thenaturalrustlemadewhentwo ¿]berabsorbsunderstandardconditionsofmoistureand layersofsilkfabricarerubbedtogether.
Theamountofweight¿]nishordyeaddedtoafabric.
tempreature.
GRAIN Therelationofwarpyarnstoweftyarnsina wovenfabric. HAND Awaya¿]berfeelstotheseneoftouch.
Theabilitytocausephysicalirritations,egskinredness. Therandomarrangmentofmolecularchainswithina¿]ber.
HEAT RETENTION heat/insulate.
Theratioofwarpandweftyarns.
SOIL SOLVENT SPINNERET
HYDROPHOBIC
A chemical susbtance that destroys the colour compunds on fabrics. Adefualtinwetfabricswhenthedyeleavesthe¿]ber,eglaun dering.
HYDROSCOPIC
A fabric that is made of a fusion c onsisting of two or more genericallyvarrying¿]bertypes.
KERATIN KNITTING/KNIT
The¿]nishingsteptoseperate¿]berendsfromafabricssurface. Aglucosepolymerfoundinallplant¿]bers.
SPINNING
Theproductionoffabricby
inter-loopingyarns.
Acompoundusedtobond¿]berstogether.
LEVEL Referstothecolorant/dyethatisuniform thoughoutafabricorproduct.
Refers to all textile fabrics, also can be known FABRIC as or TEXTILE
LOOM LUSTER
NATURALFIBERS Naturallygrown/developed ¿?bersfromplantofanimalmaterials.
TENACITY Describesthestrengthofa¿?ber. TEXTURE Thenaturalsurfaceofafabricpercieved bythesenseofouchorsight.
NANOFIBER A¿?berwithacross-sectionmeasuring lessthan10nanometers.
When a colour standard and lab dip are of acceptable- to lerances. The additional step in the production of smooth, ¿]ne and - uni formspunyarnsmadefromlong-staple¿]bers.
OFF-GRAIN
Afabricwherethewarpandweft yarnsdonotcrosseachotherata90degreesangle.
Afabricthatmergesmultipleprimaryandsecondarystructures suchas¿]ber-web,¿]lm,basefabric,ortwolayersoffabric.
OLEOPHILIC
The number of yarns per cm/inch in warp and weft directions inawovenfabric.
Refersto¿?berswithhighaf¿?nityor
attractiontooil.
The concealment or protection, especially regarding light ex posure.
Thewayafabricfallsorhandsovera3Dform.
Thewaylightre¿@ectsfromthe¿?berorfabric
PIGMENT Aninsolublecolourantthatmustbe attachedtoa¿?berwiththeuseofabindingangent.
Amethodofapplyingadye/colouranttoatextile. Therecoveryofastrainedmaterialbacktoitsoriginalstate (size&shape)immediatelyafterremoveringstress. The process of forcing the dope or spinning solution through theopeninginaspinnerettoforma¿]lament¿]ber. Anextremelylong¿]ber. Yarnsperpendiculartoselvagethatinterlaceswith- warpwar nsinawovenfabric. Thecharacteristicsofafabricthatpertaintoitsrelativeeaseof ignitionandabilitytosustaincombustion. Abilityofafabrictobend,repeatedlywithoutbreaking.
preatures.
WIST Spiralarrangmentof¿?bersaroundtheyarnaxis. WARP Agroupofyarnsthreadedthroughtheloom inawovenfabric,paralleltotheselvedge. Processofproducingafabricbyinter lacingtwoormoreyarnsatrightangles.
PRINTING Localizedapplicationofcolourtothe WEFT referstoyarnsperpendiculartotheselvage surfaceofafabricoryarn. thatinterlacewithwarpwarnsinawovenfabric. RESILIENCY Thefabricsabilitytoreturntoitsoriginal WICKING shapeafterbending,twisting,compressing.
A¿?bersabilitytocarryortransfer mois turealongsurfaces.
A cleaning process that uses a liquid colvent as oppose to water.
Asubstanceyieldingadyeorthatcanbeusedasadye,speciallyinasolution.
THERMOPLASTIC Asynthetic¿?berssensitivity toheat,¿?bersthattendtomeltatrelatively- lowtem
PILLING Theformationofsmallballsor¿?berendsand WEAVING lintonthesyrfaceofafabric.
Howafabricwithstandsuse Anorganiccompoundwithhighcolourstrengthcapableof formingabondwith¿]bers.
SYNTHETIC FIBERS Manmadederivedfrom syneticpolymersmadefrombasicrawmaterials. TANNING The¿?nishingstepintheproductionof leathertopreventrottingoftheskin. TECHNICAL BACK Referstotheinneror undersideofthefabric. TECHNICAL FACE Referstotheouterorupper sideofthefabricasitismade
Acolourantthatdoesnotshifthue,migrate,orfadewhen - ex posedtocertainconditions.
Achemicalsolutionextrudedasa¿]lament¿]ber.
Amachineusedtomakewovencloth/fabrics.
STABILIZATION Any¿?nishthatisdesignedto minimizeshrinkage,growthor¿@exibilityofafabric.
surface.
Describesmaterialsusedtoaddcolourtoafabric.
Retainingagivensizeandshapethroughuseandcare.
SHRINKAGE SLIPPAGE
HYDROPHILIC
Referstoaplainweaveinwhichtheratioofwefttowarpyarns isapproximately1:.
A chemical compound speci¿]cally formulated to remove soil andothermaterialsfromafabric.
edge.
Theadjustmentofafabricsdimen sionsduetopressing,theapplicationofsteamand Theabilityofa¿]bertoretain laundering. Thetendencyinsomewovenfabricsof warpyarnstoslideorslipovertheweftyarns,creating openareasofthefabric. Fiberswithhighmoistureabsorben cyorretention. Referstogeneralcontaminantsonfabrics,¿?bers oryarns. Fiberswirthlowmoisture Aliquidthatdissolvesothermaterials. absorbencyorretention. Thenozzlethroughwhichasolutionis extruded to create a¿?lament¿?ber. Fiberswithhighmoisture absorbencyorretentionwiththeabilitytofeeldrytothe hand. Theprocessofproducingayarnfrom staple¿?bers. Proteinfoundinanimal¿]bers.
The means of how a textile prolongs its original appearance duringuse,care&storage.
Parallelmolecularchainswithina¿]ber.
SELVEDGE Theself-edgeofthefabricwherethe warpyarnsendsorturnsdirectioncreatingastable
(2)
GLOSSARY
7RUEDEMOUSSY,
7504,
PARIS
(2)
AESTHETIC PROPERTIES RICHARDWENTWORTHATALAIA
Their are several key aesthetic properties that are use describe fabrics which are determined by both the ¿]ber, constructionand¿]nishing.Thekey 5 aestheticpropertiesare
COVER,LUSTER,DRAPE,TEXTUREandHAND
trationoflightthroughafabric. Opaque re-
fers to a fabric that has good cover and can -
not be seen through, while atranslucent fabrichasnotolowcover.
2.1)( COVER
SEMI-OPAQUE(LEFT) OPAQUE(RIGHT) AlaïaSPRING190
SEMI-TRASLUCENT AlaïaFALL19
TRASLUCENT AlaïaFALL19
The ability for ¿]ber construction to either concealorproject.Particularlywiththe - pene
HIGHLUSTER AlaïaFALL198 MEDIUMLUSTER AlaïaFALL198
The way light is re¿@ected by the surface of a textile.Fabricsthathave high lustertendto appear shinnyor re¿@ective , such as silk
or polyester fabrics. Fabrics low with luster
2.)( LUSTER
tend to have a
matte ¿]nish that doesn’t
interact with light. Fabrics that have me -
diumluster tend to appear semi-bright withsomelightre¿@ection.
LOWLUSTER AlaïaFALL190
LOWLUSTER AlaïaFALL198
RIGIDDRAPE AlaaSPRING190
2.3)( DRAPE
The way fabric falls on the body, or a three-di mensional object such as a mannequin. Fabrics withstiff or rigid drape hold their shape more, ontheotherhand,fabricswith ¿@uid drapetend FLUIDDRAPE AlaaSPRING190
STIFFDRAPE AlaaFALL192
to ¿@ow and cling closely to object it’s draped over.
SOFT AlaaSPRING20 LEATHER
AlaaSPRING20 FUR
AlaaFALL20
COTTONPOPLIN
AlaaSPRING20
2.4)( TEXTURE
The nature of the textiles surface identi¿]e by both visual and tactile senses. The - tex ture of the ¿]bers ranges from smoothto
rough. Natural ¿]bers usually have more
DENIM
textureandvariationof surfacecompared to manufactured ¿]bers. This is a factor due to the natural variation in their plant or ani malorigin.
ROUGH
«There is a sensuality about fabric. I think all materials should be inviting when they touch the skin. When I watch children stroking theirmothersclohes,IfeelthatIhavesucceeded.»
AzzedineAlaia
SOFTTEXTURE AlaïaSPRING190
(2.5)
COOLTEXTURE AlaïaSPRING190
Term refering to the way a textile feels to sense of touch aswell as against the skin. Hand is - eva luatedbyrunningapieceoffabricbetweenthe hands or passing it against the skin. Hand can
HAND
be described in multiple ways such warm as or
cool , hard or soft .
(3)
FIBERS
(TEXTILEFIBERS)
RICHARDWENTWORTHATALAIA
7RUEDEMOUSSY, 7504,
PARIS
NATURALFIBERS
NATURALFIBERS
CELLULOSE/ // /
SEEDFIBERS> BASTPLANT ( STEM)FIBERS>
COTTON, COIR,KAPOK, MILKWEED LINENFLAX) ( , RAMIE,HEM PJUTE, , HIBISCUS,KENAF
LEAFFIBERS>PINA,ABACA,SISAL,HENEQUEN
OTHER> SHEEPS WOOL>
RUSH,SEAGRASS,MAIZE/CORN,PALM
CASHMERE
PROTEIN/ // / /PASHMINA, MOHAIR
LEATHER,LAMA,ALPACA,VICUNA,ANGORA,CAMEL,YAK FUR/LEATHER>
SILK,
SPIDERSILK
MANUFACTUREDFIBERS CELLULOSE // REGENERATED) ( //
ACETATE,RAYON,
ACRYLIC,ELASTOMER,NYLONPOLYMER) ( , MANUFACTUREDFIBERS
BAMBOO, SEAWEED SYNTHETIC/ // /
POLYESTER,
ARAMID, MODACRYLIC, RUBBER, SPANEX, VINAL,OLEFIN, SULFAR,VINYON
-
CELLULOSE
FILAMENTFIBER SHINNY,SMOOTH,STRONG
COTTON) ( LENEN ( FLAX) ( )
PROTEIN
WOOL) ( CASHMERE/ ( PASHMINA) MOHAIR) ( LEATHER) (
FILAMENT/ // / PROTEIN SILK) (
SYNTHETIC
ACRYLIC) ( SPANDEX) ( POLYAMIDE ( NYLON) ( ) (POLYESTER)
CELLULOSEREGENERATED) (
ACETATE) ( RAYON) (
STAPLEFIBER DULL,FLATAPPEARANCE,ROUGHORFUZZYTOTOUCH
(3.2)STAPLEVSFILAMENTFIBERS
STAPLE/ // /
STAPLE // FIBERS//
FILAMENT // FIBERS//
STAPLEFIBERSARECLASSIFIEDASSHORTFIBERS,STAPLEFIBERSRANGE FROMAPPROX2-46CMLONG
FILAMENTFIBERSARECLASSIFIEDASLONG,CONTINOUSFIBERSMEA SUREDINMILESOFKILOMETERS
ALLNATURALFIBERSARESTAPLEFIBERSWITHTHEEXCEPTIONOFSILK STAPLE FIBERS ARE SPUN INTO YARNS USED IN WOVEN AND KNITTED FABRICS
FILAMENTSARETYPICALLYSMOOTHORCRIMPEDONTHESURFACE FILAMENTFIBERSAREMANUFACTUREDWITHTHEEXCEPTIONOFSILK SINGLEFILAMENT(MONO-FILAMENTYARNS) OR// MULTIPLEFILAMENT(MULTI-FILAMENTYARNS)AREUSEDINWOVEN& KNITTEDFABRICS
FABRICQUALITYISDETERMINEDBYTHESTAPLELENGTH,WITHLONGER STAPLESMAKINGFINERTEXTILES
-
(3.)EXTRUSIONPROCESS
Polymersolution
Pump
THEEXTRUSIONPROCESSOFPOLYESTERFIBRE
Spinneret Airoutlet
Heatingjacket
Evapuration chamber
Airinlet
Silk is a natural occuring ¿]lament ¿]ber. The majority of other ¿]lament ¿]bers are manufactured from either synthetic or re generated cellulose. These polymer solutions are referred to as‘dope’andarechemicallyextrudedtoformcontinous ¿]laments. Dopeismadefromtwomainmethods.Syntheticfabricssuch as polyester, petrochemical (plastic) chips or beads which aremelteddown.Ontheotherhand,regeneratedcellulose ¿]berssuchasRayon,therawmaterial(suchaseucalyptusor sprucewoodchips)ischemicallydigestedintoliquidform. Synthetic ¿]lament ¿]bers can be modi¿]ed into stable ¿]bers postextrusion.Thisisachievedbycuttingthe¿]bersintoshort lengths and then crimping them under heat to create tex ture. The crimping process allows these ¿]bers to be made into textile resembling a fabric like cotton or- wool for ins tance.Itcanalsobespunwithnaturalstaple¿]berscreating ablendedyarn/fabric.
Filament winding
DIAGRAMOFTHEEXTRUSIONPROCESS
(3.4) CRYSTALLINE VS AMORPHUS MOLECULAR STRUCTURES
(1.0)CRYSTALLINE
THE STRUCTURE OF ALL FIBERS ARE MADE UP OF A PERCENTAGEOFCRYSTALLINEANDAMORPHOUSMOLE CULAR ARRANGMENTS THAT EFFECT THE PROPERTIES OF THE FIBER AND THE WAY THAT IT BEHAVES. WHEN MOLE CULARCHAINSINAFIBERAREMORESTRICTLYALIGNED, THE MORE CRYSTALLINE IT IS. WHEN THE MOLECULAR CHAIN IS LOOSER AND MORE RANDOMLY ARRANGED, THEMOREAMORPHOUSTHESTRCUTUREIS. TEXTILE FIBERS ARE MADE UP OF DIFFERENT CONFIGURA TIONSRESULTINGINMIXEDRATIOSOFCRYSTALLINEAND AMORPHOUSSTRUCTURES.
-
-
MAJORITYCRYSTALLINE Fibers that contain a majority crystalline - molecu lar structure tend to be alot more ¿@uid, absorbent, ¿@exible and weak. They are therefore easily - elon gatedanddyeeasily. (1.2)SEMI-CRYSTALLINE
MAJORITYAMORPHUS Fibers that have a majorette crystalline structure tend to crease easily due to having little stretch or ¿@exibility. On the other hand, they have good resil lience. Typically, they are non-absorbent and can bedif¿]culttodye. (1.3)AMORPHOUS
(3.5)KEYTEXTILEFIBERS AZZEDINEALAIA1980SBACKSTAGE
Cottonisaseedbasednatural,staple¿]ber. Intextileproductionitisseperatedfromtheseed pod to expose the cotton staples. Cotton is a commonlyusedseedbased¿]berintextilemanu facturing.Theworldsmajorcottonproducersare China,India,USA,PakistanandBrazil. Averagecotttonstaplesarebetween12mmand 50mm with the longer staples resulting in the - hi ghestqualityyarn.Certainvarietiesproduce par ticularly long yarns used in the production of top tier cottons, these varieties include Island, Sea, Pima,SupimaandEgyptiancotton.
CompositionCellulose Structure65-7Crystaline/30-5%Amorphus
(3.51)
COTTON
Luster Matte DrapeSofttoStiff Texture Pleasant Hand SmoothtoRough Durability Good AbsorbencyExcellent Thermalretention Poor DimensionalStability Moderate ElasticRecovery Moderate CareHand/MachineWashorDryClean
Alaïa Spring/Summer203
Alaïa Spring/Summer203 CLASSICCOTTONPOPLINSHIRT
10%COTTON
ALAIASPRING192
PATTERNSFORSPRING192 COLLECTION
RICHARDWENTWORTHATALAIA
7RUEDEMOUSSY, 7504,
PARIS
Linen is a Best ¿]ber, meaning it comes from the stem of a plant.TheproductionofLinenistirous,intensive,expensive and far more limited than cotton. In the process of Linen production ¿]bers need to be removed and divided from the stem of the Flax plant. Most Flax for Linen production is grown in Europe and New Zealand. Linen is one of the oldest known textile ¿]bers, fragments found in Switzerland morethanyears 30 old.Linenhasseveralhistoricusesas sheets,tableclothsandtowels.Linenhasbecomesynony mouswithhouseholdtextiles. CompositionCellulose Structure70-8Crystaline/20-3%Amorphus Luster High DrapeCrisp,easilycreased Texture Uneven Hand Firm Durability Good AbsorbencyHigh Thermalretention Good DimensionalStability Moderate ElasticRecovery Poor CareHand/MachineWashorDryClean
(3.52)
LINEN
Alaïa Spring/Summer192
Throughout history, linen has been treasured as an heirloom, having been used since the time of ancient Egypt for clothing and bedding. For centuries, antique linens have been handmadebyartisansandhaveheld greatvalue. Linen garemnts are lightweight, ma king them very comfortable for the warmer months. Pure natural linen help wick away moisture to reduce sweating. Also, they’re antibacterial and hypoallergenic. Linen gets softer witheverywash.
Linen also makes a great quilting - ma terial. Whether made up of antique linen scraps or new material, linen quiltsarecasuallyelegant.Interms functionality, linen quilts stay co thesummerandwarminwinter.
Linen is used often in SPRING and SUMMER collections across countless fashion houses. Although linen is not ascommoninitsuseatMAISON Alaïa, wehaveseenit.
Azzedine Alaia taupe knitted linen mid- len gthdress,ss1984
(3.5)
WOOL
Wool is one of the oldest spun yarn textiles with sheep being one of the ¿]rst animals to bedomisticatedbyman. Woolwasaweidelyomnipresenttextile¿]ber across the world prior to the Industrial Revo lution.Originalwoolwascoarseandrougher than modern sheep breeds. Merino wool is widely used in premium and luxury garment production.The¿]nestMerinowoolcanhave individual¿]bersupto12.5cmlong.Itwas¿]rst developed in Spain between the 13th and 15thcentury.TheintroductionofmodernSu perFinewoolshasbroadeneditsapplication to a wide range garments with many diffe rentaestheticqualities. Traditionally, produced in Australia, New Zealand, China,EasternEurope. CompositionCellulose Structure 25-3% Crystaline/ 70-5 % Amor phus Luster Matte/Moderate DrapeSoft Texture Coarsetosmooth Hand Soft Durability High
-
ALAIAFALL190 ALAIAFALL190 BlackWoolSuit
SPECIALTYWOOLS
(3.5)
There are several textile ¿]bers within- the cate gory of wools, that are derived from other than sheep. These have similar qualities with their ownuniquesubtletiesanddistinctions.
MOHAIR
WOOL
The coat is loosely woven in a cream wool and mohair blend, giving it an airy, lightweight feel. Thiscoatwrapsinfrontandtieswiththeoriginal belt.Thebeltevenhassilvermetal. Mohairisa¿]bercomingfromangoragoat,producedmainlyinSouthandNorthAmerica. Mohairisveryresilientandhashigherlusterthan sheep’s wool. It is very common and the least costly speciality wools. Often, it is blended with Sheep’s wool to take advantage of its added luster.
ALAIAFALL2019 ALAIAFALL198
ALAIAFALL198
Wool fromCamel hair comes from Bactrian camels produced in China, Mangolia, Central Asia and Australia. Camel hair is a natural ex tremeinsulatorwithveryhighthermalretention, thoughitremainsalightweight¿]ber.
Alaïa’s
CAMELHAIR
WOOL
coat has been made in Italy from tactile camel hair that’sinsulatingandversatile.Designedinanenvelopingsilhouette enhancedbyinvertedbackpleats,ithasageneroushoodanddra maticshawlcollarthatdrapesovertheshoulders.
ALAÏA Hoodedbeltedcamelhaircoat
Cashmere comes from the small cashmeregoat raised in China and Central Asia. The earliest uses ofcashmerewoolcanbetracedbacktotheKash mirValley,astretchoflandnestledbetweenthePir PanjalRangeandtheGreatHimalayasintheIndian subcontinent. While textual references to shawls madeofcashmerewoolappearasfarbackasthe 3rd century BC, historical context places the- popu larity of cashmere as a common textile for many different types of clothing beginning somewhere in the14thcenturyAD.
WOOL
The hair of the cashmeregoat is often combed by hand during molting season rather than sheared. Cashmere is a specially delicate and re¿]ned wool, ithashighlusterandsuperiorhandandtexture. - The refore, it is light weight, making it ideal for top tier outerwear. Pashminaisasub-categoryofCashmereproduced inNorthernIndiaandPakistan.Thissuperior¿]ber co mesfromtheChangthangigoat.
CASHMERE
Cashmere is used in many fashion houses including MAISON Alaïa. It is the most comfortable in frigid winter weather, giving plenty of warmth. That said, because the ¿]bers of cashmere are so much ¿]ner than that of wool, cashmere is better at trapping heatwithoutextraweightorbulk.
ALAÏA
FALL198
It is an extremely long ¿]ber (2030 cm in length), a soft hand, Llamas and alpacas ¿]ne texture and moderate- lus produce very similar ¿] ter. ALPACA and LLAMA wool bers however slightly are one of the most exclusive vary in their characteris and sought-after types of wool tics. knowntoman.Rareandinhigh demand, these animal ¿]bers comes in 2 natural colors, fromALPACA black and brown to grey and CHARACTERISTICS ivory. It can be easily dyed or mixed with one another to get Unsurpassedsoftness interesting color combinations anddurability . forthemostexquisitefabrics. Heatassociated withlightness. WhyIsIt
WOOL
Llama and Alpaca are domisti cated South American branch ofthecamelfamily.
DeemedLuxury?
LlAMA&ALPACA
Tempreaturecontrol. An adult alpaca produces no more than 10 pounds of ¿]ber Hypoallergenic. per year, from 18 to 25 microns in diameter. The thinner the- ¿] Doesnotpill. ber, the more luxurious the - Resistance. fa bric is, so the wool of the youn gest alpacas is regarded as theOdourless. most precious and used for the warmest clothing. Sheared off,Fireproof. the ¿]ber is then spun into yarn and sold to weavers. Alpaca LLAMA wool fabrics are generally used CHARACTERISTICS in fashion, and in MAISON AZZE DINE ALAIA for outerwear, likeThe llama is a twocoatedanimal. coats and jackets, and lighter Its ¿]ne, downy under apparel like pullovers, dresses coat gives protection andcardigans. fromcoldandheat.
Alpaca yarns can also be knitThesecondcoatof crimp-less guard hair intosomethingsoftandluxurious allows moisture and – a sweater, a scarf or a pair of debristobeshed. mittens.
Vicuna is a rare, wild animal from South America, also of the camel family. The alpaca was domesticated over 6,0 years ago and bred by the Incas as a luxury ¿]ber-producing animal. It’s - an cestors were the Vicuna, which is now rare, endangered and famous as the animalwiththe¿]nest¿@eeceintheworld.
VICUNA
WOOL
Vicuna is amongst the ¿]nest ¿]bers, - sof test and most expensive of all textiles ¿]bers. 10% Vicuna textiles can sell for several thousand Euro per meter at wholesale.PeruvianVicunaisshorefrom wild animals who are released before beingsearedagaintwoyearslater.
VicunaWoolVigogneMuf¿@erNaturel
(3.54)
SILK Luster High DrapeFluid Texture Smooth Hand Soft Durability High AbsorbencyHigh Thermalretention Good DimensionalStability High ElasticRecovery Moderate CareDryClean Silkisanaturalprotein,¿]lament¿]berproduced - bythesilk wormlarvaeofasilkmothonasoledietofMulberryleaves. InChina,silkproductiongoesbacktothe260B.C.The availablityofsilkspreadtoKoreaandJapan¿]rst,intothe MiddleEastandEurope.Silk¿]berproducedfromtwoglands onthesilkwornshead,fromwhichliquidsilkisforcedto createonecontinious¿]berupto1.6kminlength,creatinga cocoon. Silktraditionallywasfortheeliteandpowerful, - inmodern timesthereisadramaticdecreaseincosts,ithasbecome farmoredominantinapparelindustry,althoughstillahigher levelproduct.
CompositionProtien Structure80%Crystaline/20%Amorphus
DESIGNMUSUEM2016 ALAIASILKGOWN1986
GraceJonesbeing¿]ttedbydesignerAzzedine Alaiain1986.
Azzedine Alaïa ¿]rst exhibition in theDesignMuseumintheUnited Knigdom.Concievedandco-cu rated by Azzedine Alaïa himself, prior to his death in November 2017. 60 rare garments were ex hibited (including his trademark zippeddress,thebandagedress, the corset belt, the stretch body, perforatedleather).
Rayon and Viscose are different names for the same type of regenerated cellu lose¿]lamen¿]berwithslightdifferencesin the extrusion process. First developed in 1840s, although details in its production have evolved greatly since then. Rayon was ¿]rst promoted as ‘arti¿]cial silk’due to solding same aesthetic qualities. The apparel or rayon and silk are still largely interchangeable, with rayon being used farmorewidelythansilkduetoitseaseof manufacture and greatly reduced pro ductioncoats.
RAYON
Rayon, with all regenerated ¿]bers are made from chemically digested wood pulp, from Spruce, Pine, Eucalptus. The chemical digestion reduces the wood pulp into a dope which is extruded. The extrusion process removes all synthetic chemicalsfrom thedigestionprocess re sultingina10%cellulose¿]ber. CompositionCellulose(Regenerated) Structure 30-5 Crystaline/ 60-5% Amor phus
(3.5)
Luster High DrapeFluid Texture Smooth Hand Soft Durability Moderate AbsorbencyExcellent Thermalretention Poor DimensionalStability Moderate ElasticRecovery Moderate CareHand/MachineWashorDryClean
Alaïa HautsRayonNoirBODYSUIT
Acetate is regenerated cellulose ¿]ber (fromwoolpulp)withdistinctdifferencesin compositionincomparisontoothergroups of regenerated ¿]bers. Acetate was ¿]rst developed in Europe and was ¿]rst used as a varnish on airplane wings during WW1. Following the war the product was further developedtoproduce¿]bersthatcouldbe usedintextileproduction. After the extrusion pricess, acetate isn’t purely cellulose. Accetate was the ¿]rst thermoplastic.Itisoftenevenreferedtoas achemical¿]bertextileorsemi-synthetic.
Accetateisregeneratedcellulose¿]ber Composition1/3Synthetic2/3Cellulose Structure40%Crystaline/60%Amorphus
(3.56)
ACETATE
LusterHigh DrapeFluid Texture Smooth Hand Soft Durability High AbsorbencyHigh Thermalretention Good DimensionalStability High ElasticRecovery Moderate CareDryClean
AzzedineAlaïa' SPRING190
(3.57)
NYLON
POLYAMIDE
Luster High DrapeFluid/Soft Texture Smooth Hand Soft Durability Exellent AbsorbencyPoor Thermalretention Moderate DimensionalStability High ElasticRecovery High CareHand/MachineWash Nylon was the ¿]rst synthetic textile ¿]ber, orginating from the USA made by the company DuPont. It is technically referred to as a polymaide, but refered to as Nylon, - be cuase this name is unknown with early commercial - pro ductionbeginingintheused 193 forwomenshosiery.Ny lon is a revolutionary textile due to its durablity and easy to care for, with low production cost. All modern plastics are composed of petrochemicals, including Nylon. It is a petrochemical¿]ber,meaningitisasyntheticmaterial de rivedfromcrudeoil.
Composition:Synthetic Structure85%Crystaline/15%Amorphus
ALAIASUMMER190
Nylon is a strong ¿]ber in terms of tensile strength, so it is well strong enoughforuseasaswimsuitfabric.Swimwearmadeoutofnylonis verylightweightanddryfast,whichmakesitidealforaquaticuse
ONE-PIECESEAMLESSSWIMSUIT One-piece swimsuit, Vienne pattern; seamless knit tech nology. Waterproof yarn and anti-chlorine treatment. MadeinItaly COMPOSITION:82%NYLON,18%ELASTANE
ALAIAFALL190
Nylonis a frequently used material- for clo
thing that's been designed for wet, cold weather.Itisoftenusedforjackets,tracksu and hiking clothing, and it is often assumed asbeingwaterproof.
(3.58)
POLYESTER
Luster High DrapeFluid/Soft Texture Smooth Hand Soft Durability Exellent AbsorbencyPoor Thermalretention Moderate DimensionalStability High ElasticRecovery High CareHand/MachineWash
Polyester ¿]bers were ¿]rst produced in England by DuPont in the USA in 195. Polyester is used for all synthetic ¿]bers. Polyester is blended with other natural ¿]bers to either imporve ef¿]ciency and durability of cost. In modern-day textile production, polyester’s omnipresence has declined and replaced with natural ¿]bersuchaswool,cotton,silkastheir be ne¿]cial propperties have become - po pularlyunderstood,increasingthedesire fornaturalmaterials.Themajority - ofma chine sewing thread is polyester, due to itssigni¿]cantstrength. Polyester ¿]bers are incredibly strong, meaning they don’t tear, stretch, or pill easily like cotton and other natural ¿]bers. This strength means polyester - clo thing can easily handle abrasion from machine-washing and doesn’t require specialcare. Composition:Snythetic Structure90%Crystaline/10%Amorphus
10%polyester is the best at holding pleats even after being washed. Cotton and linen will pleat but tend to crease easily andthepleatsmaynothold aswell.
ALAÏA Bi-colorPleatedFullSkirt
(3.59)
ACRYLIC
ALAÏAEDITION1985JUMPER
Acrylic was developed in 1893 in Germany. Since, it has beenmarketedforitsabilitytoreplicatetheappearance of wool. It is often blended with other wool ¿]bers or used byitselfinknitwearorblankets.Acrylicisnotasdurableas othersynthetic¿]bers. Composition:Synthetic Structure80%Crystaline/20%Amorphus
(3.510)
SPANDEX
Luster Moderate-High DrapeFlexible Texture Smooth Hand Soft Durability Moderate AbsorbencyPoor Thermalretention Poor DimensionalStability Moderate ElasticRecovery Excellent CareHand/MachineWashorDryClean
Nylon was the ¿]rst synthetic textile ¿]ber, orginating from the USA made by the company DuPont. It is technically refer red to as a polymaide, but refered to as Nylon, becuase this name is unknown with early commercial production- begi ningintheused 193 forwomenshosiery. Nylon is a revolutionary textile due to its durablity and easy to care for, with low production cost. All modern plastics are composed of petrochemicals, including Nylon. It is a petrochemical ¿]ber, mea ningitisasyntheticmaterialderivedfrom crudeoil.
Composition: Snythetic(ChemicalPolymer)
AlaïaSPRING20
AlaïaSPRING192
Spandex, Lycra,
orelastane is a synthetic ¿]ber known for its excep tional elasticity. Due to its exceptional comfort and tight ¿]t they are usually used in the garment industry to make swimsuits, exercise wear, socks, un dergarments.Azzedine Alaïa was very fond of garments that felt and looked like second skin. Spandex - leg gings were omnipresent in his shows, especiallyinthespringseasons,dueto thegarmentslightweightquality. These leggings are one of Maison Alaïa’s iconic silhouettes. They are madetosculptthebody.
AlaïaFALL192
FIBER IDENTIFICTION
BURNTESTING
BurnTestcanbedonetoidentifya¿?ber,yarnor textile ¿?ber. The chemical composition- of a fa briccanbeidenti¿?edwithaburntestbyanalysis fabricsreactiontoa¿@ame.
IDENTIFYING A FIBER, YARN OR TEXTILE FIBER, YARN OR TEXTILEFIBERCANBEDONEVIAABURNTEST.
Fabricsmadefromablendfromablendoftwo ormore¿?berscannotbeaccuratelyidenti¿?ed.
3 STEPS TO INSPECT THE FIBRIC
THE CHEMICAL COMPOSITION OF A FABRIC <CELLU LOSE/PROTEIN/SYNTHETIC> CAN BE IDENTIFIED WITH A BURN TEST BY ANALYZING THE FABRICS REACTION TO A FLAME.HOWEVER,FIBERSTHATAREMADEFROMAFIBER BLEND OF TWO OR MORE FIBERS CANNOT BE ACCURA TELYIDENTIFIED.
VISUALLY AND BY HAND
HOWTO
Untwist the yarn to determine the ¿?ber lengths that its comprisedof.
IGNITEAFLAME BRIEDFLYMOVETHEFABRICINTOTHEFLAME OBSERVETHEREACTIONOFTHEFABRIC
Observe the luster of the fabric and whether it appears naturalorsynethetic.Isitshiny?Matte? The drape, texture and hand can identify ¿?ber accor dingtoitstypicalcharacteristics.
HOWTODETERMINETHE FIBER COMPOSITION COLORANDSMELLOFTHESMOKE EASEOFIGNITION EASETOEXTINGUISH AFTEREFFECTSONFABRIC
-
-
(3.52)
BURNTESTRESULT
BURNTESTSAMPLES BURNTESTSAMPLES
(4)
YARNS Ayarnisacontinousstrandoftextile¿?bers¿( ?lament or staple) in a form suitable for knitting, weaving or interweaving to form a textile ¿?ber. Yarns can be made from a single sole ¿?ber type, or a blend of two or more different ¿?bers to achieve the desired effect. The ¿?ber chosen aswell as the production and¿?nishingprocesstherefore,effectstheaesthetic and performance of the yarn, which could be alte redaccordingtotheintendeduseand¿?nalappea rance.
RICHARDWENTWORTHATALAIA
7RUEDEMOUSSY, 7504,
PARIS
(4.1)
FILAMENT YARNS
Yarns are divided into two primary groups, Filament yarns andSpunyarns.
RICHARDWENTWORTHATALAIA
7RUEDEMOUSSY, 7504,
PARIS
Filament yarns are made from ¿?lament ¿?bers, examples include regenerated cellulose, synthetics or silk. Indi dual ¿?laments ¿?bers get grouped togetherwith ( or without twisting) and wound onto a spool ready to be knitted or weaved. Heat and pressure can be made to the surface textureofthe¿?lamentforalterationpurposes,priortobe made into yarn to create a more irregular or bulking ¿?nal appearance. This is known as bulking, creates more cover and a softer hand than a yarn that is made from unbulked ¿?laments.
Con¿]gurationsof¿]bersindifferentspun a) ( yarns: ringspun yarn, b) ( core ¿]ber in rotor spun yarn, c)( short wrapper in rotorspunyarn, d)( longwrapperinrotorspunyarn, e) ( core ¿]ber in air- jet spun yarn, f) ( wrapper of uniform wrapping angleinair- jetspunyarn, g)( wrapperofvaryingwrapping angle in air- jet spun yarn, h)( looped and buckled ¿]ber con¿]gurationinOEfrictionspuni) ( yarn, layertypeofstruc tureinOEfrictionspunyarn.
(4.2)
SPUNYARNS
Spun yarns are continious strands that are made from staple¿?bers.Individual¿?bersaretwistedtogther,usingth natural irregularities, textile or natural cohesiveness together.
The method of twisting natural staple ¿?bers into yarns is an ancient that is still performed today the same way since its invention. Either natural staple ¿?bers can be used, - or syn thetic ¿?bers are cut into staple length then crimped. When the¿?beriscrimpeditreplicatedtheirregularity - ofthenat ral¿?bersallowingthe¿?berstostayintactwithone- another.
(4.3)
TWIST
LOWTWIST
HIGHTWIST
The term ‘twist’ refers to the degree of twisting applied in the process of producing a yarn, whether that be in the amountoftwisttobringtheindividual¿?berstogether,orthe twistbetweentwoormorepiles,ormore. A ‘high’twist yarn will be ¿?ne, smoother texture, lower cover, higher luster, less insulation. On the other hand, a ‘low’twistyarnwillhavemoretexturedsurface,more ab sorbency,highercoverandgreaterinsulation.
Woven fabrics tend to be made of high twist yarns and knittedfabricsofrelatievlylowtwistyarns.
SINGLE YARNS VS PLY YARNS (4.)
SPUNYARN
TWOPLYYARN
‘Single’and ‘ply’ refer to the number of strands that madeupthe¿?nishedyarn. Single .1 yarnsalso ( referredtoas‘singleply’are ) made ofsinglestrandoftwisted¿?bers. 2. Ply yarns are made from two or more strands of ¿?bers that are twisted togteher to achieve a ¿?nished yarn. Also refferedtoas‘2ply’or‘3ply’’etc.
FOURPLYYARN
FOURPLYCAPLEYARN
AlaïaLaceWool-BlendDress
(4.5)
FIBERBLENDS
Ablendisacombinationofavarietyof¿?bertypesthatare usedtomakeasingle¿?nishedyarn.Theblendingcanhap penduringthestageoftwistingofindividualyarnstogether intoacontiniousstrand, forexample; Ablendofcottonandwool¿?bers. Or a blend can also refer to combining two or more diffe rent piles, where each ply is made from one ¿?ber type, but thentwistedintoa¿?nishedplyyarn.
AlaïaWool-BlendDress
SPRING19READY-TO-WEAR Look97/8
RICHARDWENTWORTHATALAIA
Alaïa
7RUEDEMOUSSY, 7504,
PARIS
(5)
WEAVES Weaving is the process of producing a fabric byinterlacingtwoormoreyarnsatrightangles. According to the country/ region, there are- of ten different names used to refer to the name weave. Weaves are made up of yarns that run vertically,knownaswarpyarns,andyarnsthat runhorizontally,knownasweftyarns. RICHARDWENTWORTHATALAIA
7RUEDEMOUSSY, 7504,
PARIS
AS
LENGTH GRAIN
SELVEDGE
BI
(5.1)
GRAIN
CROSSGRAIN
Thegrainofafabricisthedirectionofthewarpyarns,deno ting the correct direction to cut a garment on. When a -fa briciscutonthegrain,itmeansithasbeencutinthesame direction as the warp yarns. On the other hand, cross grain refers to cutting on the direction of the weft yarns. Cutting on the bias grain is cutting at 4 5 degrees to the warp and weftyarns. Fabricssuchasmuslin,canbecutoneitherstraightorcross grainastheyareequalinbothdirections.
(5.2)
FABRICCOUNT
Fabric count refers to the number of yarns per cm/inch in warpandweftdirectionsinwovenfabrics. Count uses the number of warp yarns followed by weft yarns,forexample60by4.0 Thecountcanusethetotalofbothcountswarp ( andweft) for example 01. Generally, the higher the count tends to meanthequalityofthefabricishigher. Woven fabrics are divided into several catagories de¿?ned by their differences in construction, aesthetics, hand and intendedoutcomes.
BASICSTRUCTUREOFALOOM
/
/
F
WEAVES//
A
PileWeave JaquardWeave DobbyWeave
Fg1.Balancedplainweave
Fg2 .Unbalancedplainweave
Fg3.Basketweave
(5.3) /BASICWEAVES//
AzzedineAlaiaGallerySPRING2016in Paris,France
Fg5.Satinweave
Fg4.Twillweave
N
C
Y
(5.4)
BALANCED PLAINWEAVE Balancedweaveisthemostbasicofallwovenconstructions. Balanced weaves are made up of two equal yarns, interla cing at right angels, passing alternatively under and over oneanother.Theyalsodon’thaveatechnicalfacenorback, they remain the same on both sides of the cloth. Generally, balanced plain weaves crease eaily in comparison to other weaveconstructions. Aplainweavefabricisgenerallymadeinanyweight,which therefore affects its ¿?nal appearance and performance. Di videdintoseveralcatogories,
Fg1.Balancedplainweave
(5.) /LIGHTWEIGHTSHEER//
Black was Alaaps favourite colour, but transparent light-weight fabrics were a common feauture in many ofhistimelesscollections.Seasonafterseasonhewould useChiffon,Organza,Voile,Organdy,evencombining multiple fabrics in a single garment to explore their different textual qualities. He would also panel bright colours with veils of black chiffon, to achieve a subtler colouringthatvariedaccordingtothemovement ofadress.
ALAÏAEDITION190ORGANZASHIRT
ALAÏAEDITION1984COTTONCHIFFON DRESSSHIRT
(5.)
/LIGHTWEIGHTSHEER//
CHIFFON Slightly translucent, polyester chiffon is a plain-woven fabric that is breathable, soft, and¿@owy.
ORGANZA Organzaisathin,plainweave,sheerfabrictradi tionally made from silk. Many modern organzas are woven with synthetic ¿?lament ¿?bers such as polyesterornylon.Silkorganzaiswovenbya - nu mber of mills along the Yangtze River and in the provinceofZhejianginChina.
VOILE
-
Voile is a softly, sheer fabric, usually made of- 9% cot ton or cotton blended with linen or polyester. The term isFrenchforveil.Becauseofitslightweight,thefabricis mostlyusedinsoftfurnishing.Intropicalclimates,voileis usedforwindowtreatmentsandmosquitonets.
ALAÏALONGSLEEVEDRESSORGANDIE FLEURSBLACK
ORGANDIE/ORGANDY
Organdy or Organdie is a kind of sheer fabric. It is a lightweight balanced plain weave cotton with features of sheerness andcrispness.
/LIGHTWEIGHTSHEER//
(5.) ALAÏATRANSPARENTVOILELONGTURTLE NECKDRESS
RICHARDWENTWORTHATALAIA
7RUEDEMOUSSY, 7504,
PARIS
ALAÏASKIRTFROM208
Percal Percale isacloselywovenplain-weavefabricoftenusedfor bedcovers
Flannelette Not tobeconfusedwith¿@annel,¿@annelette
isafabricdesignedtoimitatethetextureof¿@annelandits softness and fuzziness. Like its original, the ¿@annelette is a soft woven fabric made from pure cotton or blended with otherpolyestermaterials.
Muslin(Toile/Calico) Muslin - isalooselywovencottonfabric.It’s made using the plain weave technique, which means that a single weft thread alternates over and under a single warp thread. Muslin is known as the material used in fashion prototypes to test patterns beforecuttingandstitchingthe¿?nalproduct. Chambray
- Cambric or batiste, is a ¿?ne dense cloth. It is a lightweight plain-weave cloth, originally from the French commune of Cambrai, woven greige, then bleached, piece- dyed, and often glazed or calendered. Initially, it was made of linen; later, the term cametobeappliedtocottonfabricsaswell.
Gingham-
Gingham is a medium-weight balanced plain-woven fabric typically with striped, check or plaid patterns in white and a bright color made from dyed cot ton or cotton- blend yarns. It is made of carded, medium or¿?neyarns.
/LIGHTWEIGHT OPAQUE//
BASISTE
Lawn Lawnclothisatypeofplainweavefabricthatiscommonly made with cotton. This textile has a relatively high thread count, which provides it with a silky - tex ture.Lawnclothisusuallymadeusingcombedyarn, butitcanalsobemadewithcardedyarn. ALA‹A
Basiste
Batisteisasemi- sheerplain-weavefabricthattextile manufacturers commonly use to make lightweight garments,lingerie,andbedding.
Habutai Silk habotai fabric is the type of a plain weave silk cloth renowned for its ¿?neness, light weight, softness, sheenandsilkyhand.
PRINTEDHABOTAISILKSHIRT-DRESS
KaufmanSavannahCottonLawnWhite
This dress shirt is made in an ultra-light wool ¿@annel. It is accentuated by the Mussola Arabesquemotif.
ALAÏAMUSSOLAARABESQUEDRESS
/HEAVYWEIGHT/
Flannel Flannelisasoftwovenfabric,ofvarious¿?neness.Flannelwasoriginally madefromcardedwoolorworstedyarn,butisnowoftenmadefrom either wool, cotton, or synthetic ¿?ber. Flannel is commonly used to maketartanclothing,blankets,bedsheets,andsleepwear.
Hessian
Hessian fabric , or burlap in the US, is a woven fabric usually made
fromskinofthejuteplantorsisal¿?bres.It’sacoarsenatural oftenusedinsacking.
(5.)
UNBALANCED PLAINWEAVE Unbalanced plain weaves have a higher number of yarns inonedirectiontoanother.Thewarpyarnsareusuallyofa highernumbercomparedtotheweftyarnsinunbalanced plainweaves,alsoreferedtoaswarpfacedfabrics.
ALAIAFALL
198
Thiscatagoryisoftenreferedtoasribbedorribweave,due totheuneven,ribbedtextureonthetechnicalface.
Fg1.Unbalancedplainweave
Crepe de chineis a kind
of lightweight cloth similar to silk crepe, madewithhighlytwistedyarns.Thefabric isusuallyproducedfromsilk,italsocanbe manufactured with cotton and synthetic materialswhichimitatesilk(polyester, ny lon,rayonoracetate). Crepe de chine fabric features a silky smooth feel, ¿@uid drape and grainy - tex ture.Lightweight,denseandbreathable, itdoesnothaveaglossyluster,however. Silk crepe de chine is an ideal choice for evening or bridal dresses, airy summer blouses,skirts,shawlsandscarves.
/LIGHTWEIGHT//
(5.) ALAÏA Ruched Floral-print Silk Crepe De ChineDress
Seersucker
The « seersucker, woven with a cha - threads.InventedinIndia,theseersuc racteristic puckered ridge texture, is ker actively increases air circulation a smart, cooling option that actively for extra comfort on a hot day and encouragesaircirculation.Historical » - minimizes contact with the skin. An ly, silk and cotton threads were used ideal fabric or spring or summer days so that the latter shrunk and bunched when you want to stay cool — styletogether when washed and treated wise, the distinct texture, which- natu whilethesilkremainedsmooth.Today, rallygiveseachshirtamorestructured it is a matter of weaving skills,- of alter look, lends itself to a smarter summer natingtighterandloosercottonwarp wardrobe.
ALAÏA SeersuckerTop,waf¿@efabricinablackandwhiteginghampattern.
/LIGHTWEIGHT//
AlaïaSpring192
Broadcloth- Broadclothisamedium-weight,unba lancedplain-weavefabricwith¿?neribs.Broadclo th is woven tightly, resulting in its characteristic lus ter. Because of its smooth, lustrous appearance, broadcloth is often used to make shirts, skirts, and blouses.
Taffeta-Taffeta archaically ( spelled taffety or taf fata) is a crisp, smooth, plain woven fabric made from silk, cuprammonium rayons, acetate, and polyester. The origin of the word is Persian and means« twistedwoven».
CHAMBRAY
Alaïa
Shauntung- Shantung is a type of silk plain weave fabric historically from the province of Shandong. ItissimilartoDupioni,butisslightlythinnerandless irregular.Shantungisoftenusedforbridalgowns.
SHIRT
Poplin-Poplin,alsocalledtabinetor ( tabbinet)is , a ¿?ne,butthick,wool,cottonorsilkfabricthathasa horizontalwarpandaverticalweft.
BROADCLOTH
Alaïa STRAIGHT-CUTFRINGEDSKIRT
Chambray-Cambricorbatiste,isa¿?nedenseclo th. It is a lightweight plain-weave cloth, originally fromtheFrenchcommuneofCambrai,wovengrei ge,thenbleached,piece- dyed,andoftenglazed or calendered. Initially, it was made of linen; later, the term came to be applied to cotton fabrics as well.
Taffeta
MAISONALAÏARUNWAYFALL201 Couturetafettagown.
Oxford-Oxfordfabricstandsoutforbeingalight,lustrousandsoftfabric,whichismainlyusedformaking high quality shirts, gowns and sometimes dresses. It isafabricmadefromcotton,fromamixtureof - elas taneoracombinationofcottonwithpolyester.
Faille- Faille is a type of fabric which is woven with a faintly ribbed pattern, creating a distinctive tex turedfeel.Thisfabricisoftenusedonformaldresses andgowns,anditcanalsobeusedtomakejackets, vests,skirtsandothergarments.
Ottoman- Originally developed in Turkey, ottoman is a heavy fabric with ¿@at crosswise ribs.- Some ot tomans have small ribs and others have ribs which alternate in size from wide and narrow. It’s a tight ly-woven, lustrous fabric used for coats, evening wear,upholsteryandtrimmings.
Grosgrain-Grosgrainiscommonlyusedtorefertoa heavy, stiff ribbon of silk or nylon woven via taffeta weave using a heavy weft, which results in distinct transverse ribs. Historically, grosgrain was made fromwool,silk,oracombinationof¿?berssuchassilk andwoolorsilkandmohair.
ALAÏA GrosgrainTrimKnee-LengthSkirt-BlackSkirt
/HEAVYWEIGHT//
GROSGRAIN
ALAÏA
LONG-SLEEVEDOTTOMANKNITDRESS Thislong-sleeved¿]ttedknitdressfeaturessheersilkpanels. Itisstruc turedbythegraphicandsculpturallinesoftheottomanpattern.
ALAÏAEDITION192 BELTEDSILKFAILLELONGTRENCH, Alaïatrenchinsilkfaillewithstraightcut,widelapelcollar andover sized¿]t.Beltedwaistwithrearloop.Above-the-anklelength.
Poplin. FALL20
Poplin-Poplin,alsoknownastab binet, is a plain-weave cotton fabric with very ¿?ne horizontal “ribs,” or yarns, that results in a strong,crispfabricwithasilky, - lus trous surface. Poplin is common ly used in men’s and women’s shirts, women’s dresses, and items like sportswear and - rain coats. The word “poplin” originates from the French term “papelino,” and is a variation of the word “papelaine,” an obsolete fabricwithasimilarweave. Spring190
MAISON Azzedine Alaïa is a clas COTTON POPLIN in
. ) 20 (
sic trademark. Season through season we have seen it in store and down the runway. The clas sicasymmetricshirtintroducedin 2 0 3 has been reintroduced ans still being sold up until this day
Pieter Mulier, current
Spring192
Crea tive Director MAISON of Azzedine Alaïa trans¿?gured Alaïa staples like the white poplin shirt, which in the founder’s stylistic vocabu lary was an underpinning for his showstopping corset belts. In - Mu lier’s interpretation, the shirt itself tookcenterstage.
AzzedineAlaïaAsymmetricShirt Spring203
(5.6)
BASKETWEAVE BasketweavesandBalancedplainweavesaresimilarin terms of construction. Basket weaves have two or more warpyarnsinterlacingwithtwoormoreweftyarns.Basket weavesalooserconstructionthanplainweaves,appea ringmoremattebutalsoshrinkingeasilywhenwashed. Variationofbasketweavesareproducedbyalteringthe interlacingpatternsoftheyarns.
Fg2 .Basketweave
(5.7) /MEDIUMWEIGHT// OxfordCloth Oxford fabric stands out for being a light, lustrous and softfabric,whichismainlyusedformakinghighquality shirts,gownsandsometimesdresses.Itisafabricmade fromcotton,fromamixtureofelastaneoracombina tionofcottonwithpolyester.
ALAÏASPRING198
Sailcloth
/HEAVYWEIGHT//
Monk’sCloth
RICHARDWENTWORTHATALAIA
7
RUEDEMOUSSY, 7504,
PARIS
(5.7)
(1.0)RECLININGTWILL 35-DEGREEANGLE
TWILLWEAVE Twill weaves are simpler to a plain weave in terms of construction. The warp yarns pass over two or more weft yarns before interlacing.Theyarnsectionsthatpassoverseveralyarns intheoppositedirectionareknownas¿@oats.Thiscreates diagonal lines that go across the surface of the fabric, theselinesarereferedtoaswales. Depending on the construction aswell as the number of opposing yarns a ¿@oat passes before interlacing, the waleschnageanglethatresultinthreemaingroups:
(1.2)REGULARTWILL 45-DEGREEANGLE
Fg1.Twillweave
(1.3)STEEPTWILL 63-DEGREEANGLE
(5.7) /EVEN-SIDEDTWILL//
Fg1.Twillcuttingorientation
FOULARD(SURAH)
The direction the wales are in will be opposing directions on each side of the fabric. When it comes to patterns, pattern pieces are placed in either direction along the sraight grain line. To ensure all pieces are cut using the technical face for the top side of the pieces, care and percisionisvital.Insomecases,twillfabricshave adirec tionaleffectthatcanbethere¿@ectionoflightshowinga subtledifferenceindirection. Thetechnicalfaceisthemostdurablesideofthefabric. Texturedsurfacesmakesoilappearlesspromiantly,while the¿@exibilityoftheweaveconstructionspermitsformore movementandshaperecoverythanaplainweave. Whenwoveninwool,the¿@exibledrapeandresistanceto creasingmakesitidealfortailoring.
TWILLFLANNEL
SERGE
HERRINGBONE
HOUNDSTOOTH
/WARP-FACEDTWILL//
Twillweavestendtohavethesameappearanceonboth sides of the fabric with matching wales. Also known as even- sidedtwillsorreversibletwills. Othertwillweavescouldalsohaveadistinctivetechnical face and technical back, having the side with the tech nical face to have more pronounced wales, known as warp-facedtwills.
DENIM
DRILL
CHINO
GABARDINE
CALVARY
(5.8)
SATINWEAVE Satin weaves are constructed so each warp yarns ¿@oats overfourweftyarns,theninterlacesunderneaththe¿?fth, over the next four and so on. The position of each warp ¿@oatalternatesbytwointerlacings. Variationsaremadeinsatinweavesbymanipulatingthe patterns,yarnweight,countand¿?nish. Satin weaves use low twist ¿?lament yarns. They tend to have high thread counts, giving strength and body qualities. They have a reduced amount of interlacings per yarns,whichisaresultofthe¿@oats,thatmakestheirfabric frayeasilyandtheiryarnhaveslippage. All satin fabrics have a distinct technical face- to techni calback.
ALAÏA SATINWEAVE&SATINFABRIC
FALL198
(5.9)
SATEEN Sateen weaves are a variation of satin weave, they are however made in staple ¿?bers. The ¿@oats are usually madeupbyweftyarns,thoughthewarpyarnsaresome timesused. Weft sateen have higher luster where as a warp sateen tendtobeheavierandmayhavelessluster.
ALAÏA
Jetblack SATEEN trenchcoat datingto192.
(1.2)WEFTSATEENWEAVE
(1.0)SATEENWEAVE
(5.10)
PILEWEAVE (1.0)CUTLOOPPILEWEAVE
Pileweavesarealsoknownaswoven- pilefabrics. Pile weaves are highly textured fabrics which are made byweavinganextrasetofwarpandweftyarnstocreate loopsorcutends,thatareexposedonthesurfaceofthe fabric. Pile weaves have the means to be used for functional purposes, such as for towels owing due to their high ab sorbency. Even so for aesthetic reasons owing to its high luster,takevelvetasareleventexample.
(1.2)UNCUTLOOPPILEWEAVE
In terms of construction methods to create various types ofpileweaves,themaintwoarecutpileanduncutloop pile.Outmostcaremustbetakenwhensewingandpres sing pile weaves, becuase of their three- dimensional surface by nature which can easily be crushed. Velvet is pressed using a velvet board made of grids of ¿?ne wire pins.Thefabricgetsplacedwithitstechnicalfacefacing downwards,allowingthepiletobesupportedwithinthe pinsandremainundamaged.
(5.1)
JAQUARDWEAVE Jacquard weaves are made using a variety on regular texile loom to create interacte on the technical face of thefabric. The Jaquard weave was ¿?rst developed in the early9th 1 century.Theseloomsareprogramable,traditionallyusing punch cards to contril the loom to weave an intended motifcombinitionofvariousyarns,¿@oatsandcolours.
ALAIAFALL192
Jaquardweavesinclude
Damask
Brocade
JaquardTapestry
(5.12)
DOBBYWEAVE DobbyweaveshavelikenesstoJaquardweavesinterms of construction, using ¿@oats to create patterns, though theloomandconstructionaresimpler. Dobby weaves are speci¿?cally used to make repatitive geometric patterns, not complex mot¿?s. Dobby weaves useonlytexturetocreateapatternsothewarpandweft yarnscanbethesamecolour,however,sometimesdiffe rentcolourareused.
Dobbyweavesinclude: Bird’s- eye Huck Royaloxford Madras Waf¿@ecloth
(5.13)
TWEED Tweeds are woven using a plain weave or twill weave construction. The diffrenciation happens by the unique yarns that make up the cloth, traditionally in heavy wool yarnsintwoormorecolours. Traditional tweed is tightly woven from ply yarns. More contemporarydecorativetweedscanbemadefromfan cy yarns with fancy yarns with a looser weave construc tion. Generally, tweed is refered to by the pattern in the - ¿?ni shedfabric.Mostcommonexamplesinclude,
Overcheck Herringbone Barleycorn Striped Houndstooth Checked Tartan Plaid
AZZEDINEALAÏA
Vintagetweedwoolblazer
(5.14)
DOUBLECLOTH Double cloth is a term that refers to different weave constructions. The majority of double- cloths are made from twill weaves, although they have low twist yarns, or ¿?nishesthatmaketheweavehardtoidentify. Doubleclothreferstoafabricthatiswovenwith¿?veyarns, fouroftheseyarnsareusedtoweavetwoparalellefabric layers on the same loom, with the ¿?fth yarn interlocking them. This is often woven in opposing colours, giving the ¿?nishedfabricdifferentcoloursonbothsides.
A authentic double cloth can have its two layers- sepe rated by machine or by hand, for it to be utuilized in the processofitsconstruction,speci¿?callyinexamplesfou inluxuryouterwear. Double face fabrics are fabrics made with three yarns, onesetofwarptwosetsofweftyarns,viceversa. Thesetoftwoyarns,whetherthatbewarpofweft,arein opposite colours. As a product, both faces display - diffe rent colours. Simple designs can be created by alterna tingdifferentcolouredyarnsfromonesidetoanother.
(6)
KNITS
RICHARDWENTWORTHATALAIA
7RUEDEMOUSSY, 7504,
PARIS
Insarsia - Originally Jersey- Jersey is a single- knit
Knitting isa methodoffabricconstruction. The fabric isin ter- loppedoneormoreyarns.Inknits,itiscommonforknits to be made with a one single yarn. Each loop of the yarn isreferredtoasastitch.Thisdifferestoyarnsina - wovenfa bric that interweave , knits are not made up of two yarns opposingdirections. Knitting as a technique doesn’t date back as old as weaving. The ¿]rst evidence of knitting orginates from the Middle East around 250 AD. All knitted garments were hand- produced until , 5891 when ¿@at bed knitting ma chines were developed in England. Knits are divided into twomaincategories,weftknittingandwarpknitting.
WEFTKNITTING SINGLEJERSEYKNITS
WEFT INSERTION KNITS
afabricwovenwithmanyprotru stitch is a classic knitting pattern ding loops of thread which can where you alternate knit stitches absorb large amounts of - wa inthe¿?rstrowandpurlstitches in ter. It can be manufactured by the return row. It creates a very weavingorknitting. smooth and stretchy surface on therightsideandthat’stherea Velour - Velour is a knit fabric sonwhyitisafavoriteforvery¿?ne with a natural stretch, while - vel stockings vetiswoven,andthereforedoes Lisle - Lisle is made of long- notnaturallystretch.Also,velou staple, 2- ply cotton yarn, tight - is most usually made of 01 % ly spun, singed to remove any cotton. Velour gained popula protruding ¿?bers, and glazed orrityasafabricmadeforclothing in is the079s. 1 Prior to that, velour polished for smoothness. Lisle wasusuallyusedforupholstery both this thread and a plain stit chknitmadeofsuchthread.Originally made of linen, the name likely comes from Lille, France, a linencenter.
Jaquard Jersey- A pattern
DOUBLEJERSEYKNITS
often ( quite complex) is knitted into the fabric to create texture. Asinglecolourofyarnormultiple colours of yarn can be used. - In tarsiajersey:Twoormorecolours areusedtoknitdesignsthatform self- contained areas of pure - co lourinthefabric.
/SINGLE
Weft knitting uses one or more yarns that is carried back and forth to create interlocking loops running in a horizontal direction. Hand knitting is a type of weft- knitting. This is due to the knitting done on a basic hand- driven knitting machine, ¿@at bed knitting machines and circular knitting machines. Best weftknitsinclude,
Knit terry cloth - Terry cloth is Stockinette - The stockinette
JERSEYKNITS//
KNITTING
a woodtechnique,intarsiaisthe cottonfabricthat’sknownforworking its stretch and softness. Becauseact of of knitting colorful threa how jersey is knit, there is a natu - into a textile to create a pattern is identical when turned in ralelasticitywithoutusingthat stretch sideout. ¿?berslikeelastane.
ALAÏA
CardiganIntarsia
LISLE
FALL19
STOCKINETTE
FALL198
VELOUR
JAQUARDJERSEY
From the Fall/Winter 190 collection this little black dress is made from his signature stretch knit. This fabric molded to the body like - a se condskinandthecombinationofthattypeof fabric and the seaming that Alaia builds into his dresses was done to exaggerate curves and be ¿@attering on. Each of his dresses are genius in their cut and design and the earlier dresses really showcase the progression and early hallmarks of what was to become - a si gnaturethroughouthislabel'shistory.
ALAIAFALL190
F/W190AzzedineAlaia FittedKnitJERSEYDresswWideNeckDetail
LACEKNITTING Lace knitting is a style of knitting characterized by stable "holes" in thefabricarrangedwithconsiderationofaestheticvalue.
Women's Alaïa Edition 193 SleevelessJacketInLaceKnit
/WEFTINSERTIONKNITS//
FRENCHTERRY
FAUXFUR
ALAIALOGOHOODIE
FLEECE
Midweight 7.5 oz (250gsm) French terry, ringspunforsoftness
ALAIALOGOHOODIE
Heavyweight 8.25 oz. (~280 gsm) cotton-rich
¿@eece
/DOUBLEJERSEYKNITS//
Double Jersey-Double jersey is weft knitted fa
bric which is formed by two sets of needles. Double jerseyfabricisalmostsimilartothesinglejerseyfabric butindoublejerseyfaceandbacksideappearance issame.
Rib- Ribknitsarewithalternatingraisedandlowered
rows. More elastic and durable than plain knits, they tendto¿?tthebodyandareusedfrequentlyinT- shirts, as well as for the trims of socks, sleeves, waists and necklines
190AZZEDINEALAIADOUBLEJERSEYDRESS
190 AZZEDINE ALAIA RIB SWEATER DRESS& CARDIGAN
Interlock - Interlock knit fabric is a variation of rib
knit. Rib knit is a type of fabric knitted with rows that alternatebetweenbeingraisedandlowered.But - ins tead of having just one row of stitches, interlock knit fabrichastworowsofstitches.
Purl Knita knitting stitch usually made with the yarnatthefrontoftheworkbyinsertingtherightnee dleintothefrontofaloopontheleftneedlefromthe right, catching the yarn with the right needle, and bringingitthroughtoformanewloop. 1980AZZEDINEALAIAPURLKNIT SWEATERSKIRT
AZZEDINEALAIAINTERLOCKKNIT DRESS
WARP KNITTING
(1.0)WARPKNITTING
Warp knits are rela tively durable, they are easy to sew, less likely to curl when cut and less likely to get runs. Basic warp knits include: Tricot/satin tri cot, Raschel/ raschel, Lace, Simplex, Tulle, Warp Velour, Spacer Knit (1.0)RASCHELKNIT
WARP KNITTING
Warp knitting in knit ting, the yarn runs ver tically to create the fabric. Warp knitting is only achieved by a machine, without hand- knitting equivi lant. Warp knitting is a fast method of textile construction. It is of tenusedwithsynthetic yarns for underwear, sportwear and techni calouterwear.
FRENCHTERRYKNIT
JERSEYKNIT
TRICOT(WARP)KNIT
RASCHELLACE
KNIT SPACERKNIT
Spacer fabric is a three-dimensio nal knitted fabric consisting of two separate knitted substrates which arejoinedtogetherorkeptapartby spaceryarns.
ALAIASPRING190
Azzedine Alaïa RibbedStretch-KnitMiniDress AzzedineAlaïawassopassionateaboutmakingwomen feel con¿]dent and comfortable in his designs - because canyoubeonewithouttheother?Cutinthecouturier's signature¿]t-and-¿@aresilhouette,thisminidresshasbeen expertly made in Italy from a springy white perforated ribbed-knit with blush lining peaking underneath. White and blush ribbed-knit. Concealed zip fastening along side. 50% Viscose, 20% cotton, 10% silk, 10% polyamide. MadeinItaly.Size:FR38(UK10,US6,IT42)Condition:As newcondition,nosignofwear.
(6.1)
JACQUARD KNIT
Alaïa A/W91Alaïa A/W91, Photo graphybyGuyMarineau,Conde NastviaGettyImages
-
A jacquard knit is either a single or double knit withapatternonitsface,achievedwithjacquard controls on a knitting machine. Any kind of yarn canbeusedtocreateajacquardknit.Asingleknit jacquard will have '¿@oats' across its back—yarns that go over, or ¿@oat over other yarns without in terweaving
THEBUTTERFLYCOLLECTION 19
« In this case, Azzedine Alaïa’s innate love and res pect for nature and wildlife that was for him a symbol of freedom now brings forward The Special Project Butter¿@yCollection. As was his habit, Mr. Alaïa worked late every evening with the National Geographic Channel always on. Thebeauty,strengthofmovement,andhumorofani mals was always an inspiration for him. Throughout his career he introduced this playful bestiary into his col lections, clearly seen in the parallel inspirations of the leopard, the panther, the crocodile, and the always engagingandfreebutter¿@y. For his 19 collection, Alaïa synthesized his thoughts on the beauty of the butter¿@y. Transforming this vision offreedomintoabutter¿@yprintthatnotonlyexpressed the beauty and grace of nature, but a new and feral senseofanimalmagnetism.Forthatonebriefseason, butter¿@iesruledtherunway. The Alaïa Butter¿@y Special Project Collection is com prised of knitwear dresses and tops, silk dresses, shirts, scarves,glovesandaccessories.»
RICHARDWENTWORTHATALAIA
7RUEDEMOUSSY, 7504,
PARIS
(7)
NON-WOVENS
Non-woventextilesareneitherwovenorknitted. Thisincludesbothnatural¿?bersandsynthetic ¿?bers/polymers.
(7.1)
FOAMS Themostbasicnon-wovenusessyntheticpolymersto- direc tly form a textile without neeing to create a yarn. Foam is madefrompolyurethanewithairbubblesorgapsdispersed throughout in varying densities. A wide range of foam- den sities and weights are available for different used, largely in furnishingbutalsoforfashion.
(7.1)
FILMS Films use synthetic polymer solution extruded directly onto a surface or drum. Films can be used as a ¿]nished textile it self,or they can made on a base layer or woven, knitting or ¿]berwebfabrictoincreasethedurabilityofthrproduct. Vi nyl, either with or without a fabric base is a typical example ofa¿]lmtextile,itisoftentreatedsurfacetexturetoreplicate theappearanceofleatherorotheranimalskins.
(7.2)
FIBER WEBS Textilesthatarefrom¿]berwebsarecreatedbylayingdown individual¿]berswhicharethenbondedeithermechanical lywiththeaidofaheatorchemicalbondingagentsuchas resin. Fiber web textiles are inexpensive to produce. It can cost almost half the price of woven fabrics of the- same ¿] ber composition and weight. They are different ways in the methods that ¿]ber web textiles are made. This includes two maingroups,orientedandrandom¿]berwebs. Oriented ¿]ber webs all have ¿]bers that are aligned len gthwise and approximately even spaces. Oriented ¿]ber webshaveagrainonwhichtocut. Random¿]berwebsarenonorganizedarrangmentof¿]bers thatoverlaponeanother.Most¿]berwebtextilesforfashion utilizesynthetic¿]bers,suchaspolyester. Natural ¿]bers such as waste ¿]bers from cotton production canbeusedtomake¿]berwebtextiles.
(7.)
FIBER FILL Fiber¿]llmaterialsarenottextiles,howevertheyare - anessen tialcomponentoffashiontextiles.Thisincludingbattingand wadding, which are used for example to ¿]ll puffer jackets, snowsuits,duvets,quiltedfabrics.Batteringreferstotheuse ofnew¿]bersandwaddingreferstotheuseofwaste¿]bersin production. Fiber ¿]ll is mostly made with synthetic ¿]bers, natural ¿]bers such as cotton or wool can also be used. The ¿]bers can be entangled to form a material alone, or the ¿]ber can be backedintoaencasedbetweena¿]berwebtextile.
(7.3)
FELT Felt is one of the oldest forms of textile, it was made by was hing wool ¿]bers, which are laid out wet into a sheet and beatenuntilthe¿]bersmattedwithoneanother.Themicros copic scales on the surface of wool ¿]bers are what allows it tomat.Felthasarigiddrapeanditscutedgesdon’tfray. Feltiseither01 wool % orablendofwool¿]bers,forexample woolblendedwithangora¿]bers.Synethetictextilesthatare soldlikefelt,arefactuallysynthetic¿]berwebtextiles.
RICHARDWENTWORTHATALAIA
7RUEDEMOUSSY,
(7.4)
LACE The majority of lacein commercial fashion is raschal knit. Traditionalhandlacecanbemadeinseveraldifferentways using a wide range of techniques including needlepoint, bobbinlace,crochetedlace.Batteberglaceandothers.In 8 102, machine made lace was developed in England, ma chinelaceisoftenmadeonanetbase. Dependingonatype,itsweightisfromlightweighttoheavy. It is breathable, sheer and may require a lining. The lace is softtothetouch,especiallyifmadewithsilk,cottonorwool. It is originally made from silk and linen, but today cotton thread and synthetic ¿]bers are both used to produce lace. Laceisaverydelicatefabricandissynonymousiselegance
and femininity. Azzedine Alaïa Fall had an admiration for lace, especially lightweight lace that was transparernt enoughtoseethefemalesihlouette.
7504,
PARIS
AzzedineAlaïaFall2016
Azzedine Alaïa’s 192 Summer Collection shotbyPETERLINDBERGH
(7.5)
NEOPRENE Neopreneisasyntheticrubber.Whenitisusedingarmentsit is usually backed on one of both sides with a jersey or tricot knit.Thissupportswithcomfortandslipagainstthe - skin,par ticularlyintightgarmentslikeawetsuit.
(7.6)
LEATHER Leather is made from proc - The piece of leather from an sessed skins of animals - animal in the size of a cow or cluding mammals, reptiles, biggeriscalledahide. birds and ¿]sh. The majority of Smaller leathers are - refer leather used in fashion are red a to as skins. Tanning is the product coming from cows, processoftreatingarawskin pigs and sheep. There is a to preserve it and create a greatvariationinsize,shape, pliable material from- it ap textile and thickness which propiateforgarments,acce is determined by the animal sories or other applications. and method of processing Leather can be divided into used to achieve a speci¿]c several categoies. Top grain outcome. The texture on theleatherreferstothetoplayer surface of the leather which of the skin with the lower is distinctive to each animal layers removed. Split grain is isknownasthegrain,thishasthe lower layer with the top no relation to the grain refe - grain removed. Full grain is redtoinwoventextiles. thewholeintactskinorhide.
AlaïaA/W91AlaïaA/W91,PhotographybyGuyMarineau, CondeNastviaGettyImages
NAIOMI CAMPBELL IN THE VIENNE CORSET BELTSHOTBYPETERLINDBERGH
EDITION 192 LARGE VIENNE CORSETBELT Edition 192 large leather corset belt, iconic signatureofAlaïa,featuringonecentral - buc kle,inspiredbypreciouslaceandmouchara bieharchitecturalopenwork.
(7.)
FUR Fur is made from processed skins including mammals, reptiles, bired and ¿]sh. Fur refers to any animal skin with whichthefur,¿@eeceorhairisattached.Fursgothrough similartanningprocessestoleatherwithunique¿]nishing steps to treat and brush the fur to retain its quality. Fur is one of the oldest forms of clothing, and is thought to have been widely used as hominids ¿]rst expanded- out side Africa. Some view fur as luxurious and warm; others rejectitduetopersonalbeliefsofanimalrights. FAUXFUR Fauxfurisatermusedtodescribesyntheticfabricthat’s been created to mimic the aesthetics of animal fur. It’s often used interchangeably with fake fur. To create this manmade fabric, many manufacturers use blends of acrylic and other synthetic materials sewn together to looklikerealfuraccessories.
AzzedineAlaia Fall-winter19-2
Synthetic faux fur (80%
Modacryl, 20% polyester). Black acetate satin lining. - Vir gin wool, viscose, polyamide and elastane jacquard jersey in black and glazed brown on sand.
The leopard, whether from Arabia, Java, Ceylon, Persia or Amur, is considered in - Afri ca as the king of animals, a man-eating fe line whose fur represents the distinctive trap pingsofchiefs.. Alaïa plays on the rosette patterns created bytheanimal'sfurwithoutusingtheskinofthis protectedspecies.“Afelinepasses–descri bed Le Monde in 19 about the collection. We think we hear a pre-war advertisement: “Brunswick, the furrier who is all the rage.” But no, everything is false in these arti¿]ces, syntheticpanther,superbcoatsknittedinan astrakhan style; Alaïa sets the tone for what willmakewinter[…].
(7)
CARE
(7.1)
laundering/drycleaning
Dry cleaning is the process of using a liquid solventwithouttheuseofwater.Wateris - notin vlovedintheprocessofdrycleaning,however it does not infact mean that the cleaning- pro cessisdry.Soapscanbeaddedintheprocess. Thismethodofcleaningtendstobespeci¿]cfor premium and luxurious garments, due to their delicateorspecialtyfabrics.Thispreventsroom for damage by poor laundering practices. In principal, almost all fabrics can be laundered withtherightexpertise. Spotcleaningreferstotheprocessofcleaning a speci¿]c section of a garment that has been spoiled, without laundering or submerging the entire garment. A small amount of water , soap/detergent can be applied to the soiled area and massaging the textile its self- or dab bing with a damp clean cloth. Spot cleaning helps prolong the garment life- span as full laundering should always be kept at a minium toextendthelifeofthegarment.
(7.2)
Laundering is the process of washing a gar mentortextileinwater,eitherusingamachine or by hand. A detergent or soap is used to get rid of the soil from the article. Laundering can bedoneeithercommerciallyordomestically.
CLEANINGSOLUTIONS
LAUNDERINGVSDRYCLEANING Howtocarefortextileandgarments.Itisessen tialthattheelementofcareistakeninto - consi deration when designing a garment. Many factorsarevitaltokeepinmind,especiallythe intended end use, durability, price point and enviromental impact when selecting a fabric foradesireddesign.Theprocessoflaundering anddrycleaninghaveasigni¿]cantimpacton textile.
SOLVENTS The most common Dry Cleaning solvent used is perchloroethylene, refered to as P incaresymbols.Thereareothervariations ofdrysolventsthatcanbeemployedde pending on the fabric composition, such as hydrocarbon/ petroleum solvents for gentle dry cleaning, indicated by the symbolF.
ADDITIVES There are many additives used for the purposes of aiding or complimenting the care of garments and textiles. Traditional ly, startch used to be added to stiffen shirt collars. This was done by soaking launde redgarmentsinastartchsolution,allowing them to dry and then pressing them thoroughly. Modern startch available in aero solfromtobeusedwithdomesticpressing.
DETERGENTS In laundering, soaps can be used to clean the soil from the article. Soap was - tradi tionally made from animal fats in the th 61 century, today in natural soaps, plant oils are often used. Non- natural washing de tergents,commonlyusedtoday,powderor liquidformaretypicallymadefromsodium hydroxide. Both soap and detergent utilize chemicalreactionstodislodgethesoilfrom thesurfaceofthetextile.Whenlaundering wool for example, a neutral ph detergent, refered to as wool wash detergent should beusedtomaintainthetextilesoriginal te ture,lusterandhand.
BLEACH Bleach comes in two main Excessive heat can cause tex tiles to shrink of loose colour types: throughthemigrationofadded Chlorine bleach is typically - dyes so or pigments. Heat, agitation and laundering should be lidinliquidformandstripsaway applied sparingly to lengthen colour from a textile. In- addi the life of a textile or garment. tion, it also destroys a cellulose A construction of a garment of protein textile with repeated also needs to bee considered, orexcessiveuse. especially when deciding how Oxygen bleach uses sodium muchagitationiscanwithstand during percarbonate that dissolves in laundering. water,formingoxygen.Thischemical reaction lifts stubborn soil fromatextileandbrightenslight DRYING textileswithalessharshimpact. Oxygen bleaches work well on In dry cleaning process, heat movement is used as an cellulose ¿]bers but not beand used evaporator of the solvent- che onprotein¿]bers. micalsfromthetextileafterthey have been cleaned. Domestic laundering can be followed HEAT&AGITATION Inlaunderinganddrycleaning, by tumble drying or air drying. dryingisahighstressme the application and level Tumble or thodofdryingforanytextilesor heatandagitationusedeffects garment and has very high en the result of laundering. High ergy consumption. This speeds levels of heat help in whitening the rate of decay in a textile. In cellulose¿]berswhencombined the worst cases, it would shrink withdetergentsorsolvents.High levels of agitation aid in - the ma textile. Air drying is the best nually dislodge soils from - method tex to dry textiles. For best results, garments are laid ¿@at tiles or garments, care must be taken when applying heat and over a rack, as hanging a gar can cause the textile to agitation. Delicate fabricsment like bestretchedwhenwetanddry protein fabrics should be - was hed cold. Woolen ¿]bers have withadistortedshape. High absorbent and amorphus a hook- like surface to the ¿]ber, ¿]bers, like wool, are particularly causing matting eith too much pronetothis. agitation.
PRESSEING Garments should be pressed after going through the process of dry cleaing or laundering to achieve the best aesthetic results Professionalandindustrialte¿@onplatescanbeusedonalmost textiles. Domestic irons on a high tempreature setting can crus thesurfaceofatextile,resultingindamagethatgivesa-¿@at,shim mering effect to the fabric. This is problematic in woolen textil Pressing a internal side of a garment, helps reduce the risk of da magingthetextile.Usingapressingclothor01 cotton % canalso protexttextileswhilepressing.
RICHARDWENTWORTHATALAIA
5RUEDEMOUSSY, 7504,
PARIS
CARESYMBOLS Allsoldgarmentsrequireatagthatrequires/recommenedcare methods.Thereisasystemofuniversalcarelabelsthatisusedto helpovercomelanguagebarrierswithcommericaldrycleaningor laundering.
(8)
INTERNAL STRUCTURES 1
Most garments tend to have internal - tex tile structure added, such as fusing, canvas bonding, shoulder pads, tapes. Natural and synthetic ¿]bers are used in these textiles, en compassing woven, knitted and non-woven structures.
2
FUSING
3
BONDING
4
CANVAS
5
TAILORINGPADDING TAPES
(8.1)
(1.0)WOVENFUSING
FUSING Fusing interfacing, also referred to as just fusing, is a fabric used to add weight or structure to a fabric. Fu singisappliedwithaheatactivatedadhesive.Woven polyester or nylon fabric are commonly used in - gar ment fusing. Woven fusing can be made from cotton, butthesefusingdonotachievethesamelightweight qualityfoundinsyntheticfusing.Nonwoven¿]berweb textiles are also used, typically in lower quality fusing. Nonwovenfusingcreateamorerigideffect.Themost ¿@exibleand¿@uidfusingissyntheticwarpknitfusing. (1.2)KNITFUSING
FUSINGMACHINEINGARMENTINDUSTRY
(1.3)NON-WOVENFUSING
(8.2)
BONDING Bondingissimilartofusing,onlythingisbondingisused to join two layers of fabric together eith a heat acti vatedadhesive.A¿]lmofadhesiveislaid¿@atofbacked intopaper.
BONDINGPROCESSOFAGARMENT
(8.3)
CANVAS (1.0)WOVENFUSING
Canvasisusedinmanygarmentarchtypes,butprima rily in tailoring. Canvas doesn’t use a heat activated adhesive, it is sewn directly into the garment either manuallyorbymachine.Traditionaltailoringmethods employawiderangeofspeci¿]chandstitches,notably thepadstitching,whichisusedtoapplythecanvasto the main garment. Most commonly cotton and linen ¿]bersareused,thoughhorsehairinhighendcanvases arealsoused.Woolandgoathairisalsousedinsome instances. Canvas is the traditional forerunner to the invention of synthetic fusing. Synthetic fusing is often used in garments which are intended to be machine washed.
(1.2)KNITFUSING
(8.3)
TAILORING PADDING Several types of synthetic, cotton and wool padding are used in tailoring. Shoulder pads tend to be made from a composition synthetic ¿]ber padding of- diffe rent types, with a top layer of non-woven synthetic - ¿] ber or light woven canvas. Low quality shoulder pads are made entirely from polyurethane foam with or witohut knit covering. Synthetic non-woven padding is also used to create structure in the sleeve head, knownasacigarette.Chestpaddingisusedtocreate structureinupperfrontofatailoredjacket,oftenused withcanvas.
(8.4)
TAPES Premade tapes can be used to create structure in speci¿]cpartsofagarment,oftenalsousedtoaidthe sewing process and to reinforce parts of a garment that requires particular strength. Most tapes include heat activated adhesive, such as fuse tape straight ( grainorbias)andnon-wovenwaistbandfusing.
(1.)SHOULDERPADS
7504,
INTERNALSTRUCTUREOFALAIA STRUCTREDJACKET
AzzedineAlaïa TAILOREDJACKET
7RUEDEMOUSSY,
(1.2)INTERNALTAILORINGSTRUCTURE
PARIS
ALAÏA,THEARTOFTAILORING
(9)
TEXTILE WORKSHOP
In¿@uencedbyusinginkandacrylicasmediums tomanipulatethecolourandtextureoffabrics. Theswatcheswereintendedtofeelandlook raw,employingroughtextureandapuzzle-like effectontheeye.Transparencyisthemaincom mongroundfortheseexplorations,in¿@uencedby
ALAÏA.
ALLSWATCHESORIGINALLYWHITEMANIPU LATEDINTOBLACKUSINGJAPANEESEINK ANDACRYLIC.
-