Woven Apparel

WOVEN APPAREL COURSE DOCUMENTATION PRIYA PAKAD

6th Semester Textile Design, UG NID, 2013

1

INTRODUCTION INTRODUCTION

WOVEN APPAREL Woven Apparel is a weaving based course where in the brief is to create a collection of woven fabrics for a leading apparel brand. The course was a five week course, starting from 28th January to 15th March 2013, guided by Ms. Rupali Pandit and Ms. Meha Davey.

COURSE OVERVIEW The course began by choosing an apparel designer or brand and undertaking a detailed brand study. This was followed by choosing a theme from the latest fashion forecasts to take inspiration from for our collection. Then, taking the chosen forecast, we developed our own mood board, key words and colour palette. Choosing some key words and/or images from our mood boards, we developed paper concepts that best traslated them. The chosen paper concept was translated into woven samples on the loom. We also learnt the weaving software Texcad and developed surface coordinates on it. The final collection for the designer/ brand consisted of main surfaces and their coordinates.

INTRODUCTION INTRODUCTION

3

5

BRAND OVERVIEW BRAND OVERVIEW

TOMMY HILFIGER Tommy Hilfiger is one of the world’s premium lifestyle brand. It is an American company, which was founded by Thomas Jacob Hilfiger aka Tommy Hilfiger in 1985. Presently its a US$ 4.6 billion apparel and retail company that offers men’s, women’s and children’s apparel, sportswear, denim, and lifestyle products such as accessories, fragrances and home furnishings.

It is famously recognised by its signature colours RED, BLUE and WHITE as seen in its logo. ‘‘Quintessential American style with a classic, cool twist’’ is the motto of the brand. The brand stands for ‘‘ PREPPY STYLE ’’, majorly targeting the customers of age group 25- 45 years old.

BRAND OVERVIEW BRAND OVERVIEW

7

BRAND OVERVIEW BRAND OVERVIEW

BRAND OVERVIEW BRAND OVERVIEW

9

BRAND STUDY BRAND STUDY

EVOLUTION Tommy Hilfiger was born in Elmira, New york. Rather than furthering his education, he started to work in retail at the age of 18. Hilfiger would go to New York City to buy jeans and bell-bottom pants, which he customized and resold at Brown’s, a local downtown Elmira store. He later opened his own store, named The People’s Place, in downtown Elmira. which went bankrupt, after 7 years when he was 25.

His goal was to bring fashion from New York and London to upstate New York. He was offered design assistant positions with designers Calvin Klein and Perry Ellis. He turned down the offers despite the fact that he was broke. Self taught, he soon began designing for the boutiques he had always admired. In 1979 he moved to New York City to pursue a career as a full-time fashion designer. In 1984, he founded the Tommy Hilfiger Corporation, with support from Mohan Murjani of the Murjani Group, which went public in 1992, introducing his signature menswear collection.

By 2004, the company had 5,400 employees and revenues in excess of $1.8 billion. Hilfiger was named Menswear Designer of the Year by the Council of Fashion Designers of America in 1995.

The brand has been evergrowing since then. Largely due to declining sales, in 2006, Tommy Hilfiger sold his company for $1.6 billion, or $16.80 a share, to Apax Partners, a private investment company.

In March 2010, Phillips-Van Heusen, owner of Calvin Klein, bought the Tommy Hilfiger Corporation for $3 billion, making Tommy Hlfiger the principal designer and Fred Gehring the CEO.

BRAND STUDY BRAND STUDY

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BRAND STUDY BRAND STUDY

IDENTITY Tommy Hilfiger is knows for its Classic American look and it never fails to keep up its ideology.

• Classic with a fresh look • Preppy fashion • A HILFIGER is a young adult studying in the Ivy league, belonging to an upstate East Coast American family, who is youthful, fun, confident, stylish, refined with an attitude.

AESTHETICS Tommy Hilfiger aesthetic sense is very clean and minimalistic. They maintain the classy and sophisticated look and have uniform like elements in the garments. A nautical and sporty influence can be seen in the silhouettes, colours and patterns.

BRAND STUDY BRAND STUDY

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BRAND STUDY BRAND STUDY

RETAILING The first TH retail store was launched in London in 1997. Currently there are more than 350 stores all over the world and still growing. The Tommy Hilfiger Anchor stores are built in key locations and the franchise stores are established around these anchor stores. The brand is spread across 93 countries around the globe.

Tommy Hilfiger products are sold by the Company at wholesale and retail in North America, Europe and Japan, through joint ventures in which the Company is a partner in China and India and by third party distributors, licensees and franchisees in Europe, Southeast Asia, Australia, Central & South America and the Caribbean.

Tommy Hilgifer Speciality Stores like the Flagship Stores, are situated in high-profile locations in major cities; intended to enhance local exposure of the brand. TH satellite stores are located on high traffic retail streets and malls in secondary cities which provide incremental revenue and profitability.

Company (outlet) stores in North America - carry specially designed merchandise that is sold at a lower price point than the merchandise sold in the specialty stores. Whereas the company stores in Europe and Japan are used primarily to clear excess inventory from previous seasons at discounted price.

BRAND STUDY BRAND STUDY

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BRAND STUDY BRAND STUDY

TARGET AUDIENCE Tommy Hilfiger started of initially with men sportswear and later on began catering to women.

TOMMY HILFIGER targets the consumers aged 25-45 years. TOMMY HILFIGER DENIM caters to 20-35 year old consumers who are more denim orientated. TOMMY HILFIGER CHILDREN’S WEAR caters to 1-16 year old children.

PRICE RANGE Runway Collection - € 100- 1000 Store Collection- € 20 - 500

BRAND STUDY BRAND STUDY

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COLLECTIONS COLLECTIONS

WOMEN’S FALL COLLECTION I focussed on the Tommy Hilfiger’s Fall Collection for Women and created wovens for it.

Generally the silhouettes for women’s collection are borrowed from the men’s wardrobe- loose trousers, broad coats, big pockets and collars, formal suits, etc. The garments either have a sporty or a uniform like look. Over the years, the women’s style has gone from being preppy chick to more womanly.

The 2010 Fall collection is feminine with silhouettes closer to the body- narrower skirts, slimmer coats and pants. The look is of a young college girl and has an element of fun with shorts and short skirts coming in. The colours are fresher, with accents of red and blue livening it up.

In 2011, the look becomes slightly more elder and sophisticated. A lot more suits and long skirts are seen. The element of hats and boots gives the hint of horse riding. The colours are deeper and the prints and textures are slightly minimalistic and sophisticated.

In 2012 collection becomes more masculine. The inspiration from polo comes out clearly through the boots, hat, saddle belts and arm leather gloves. The colours are a hint of the autumn countryside. The entire look, with the tied hair, gloves and boots, represents a day of all work and less play.

The 2013 collection takes you back to the senior year of Ivy League. Very chic and classy, more on the feminine quotient than the fun quotient. Houndstooth and argyle wovens and prints are dominant. Neatly combed hair, long socks, bellies with books take you back to the old school days.

COLLECTIONS COLLECTIONS

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FALL 2013 COLLECTION FALL 2013 COLLECTION

FALL 2012 COLLECTION FALL 2012 COLLECTION

21

FALL 2011 COLLECTION FALL 2011 COLLECTION

FALL 2010 COLLECTION FALL 2010 COLLECTION

23

TREND FORECAST TREND FORECAST

TREND FORECAST TRANSFORMING BOTANICA Transforming Botanica is the trend forecast for Autumn/Winter 14-15 that I chose for inspiration.

After the consequences of recession, people are finding alternative solutions for everything. A NEW WORLD is under construction- a new society taking shape. And along with this there’s a shift in the mindset of the people. We are constantly attempting to compose with the changing environment and in the process we are learning to loosen our control on the world and attain a more balanced and relaxed approach. More attention is being payed to life and environment, giving way to spirituality, meditation and mysticism. GOING BACK TO NATURE is the call of the moment.

TREND FORECAST TREND FORECAST

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CONCEPT BOARD CONCEPT BOARD

CONCEPT BOARD- MY INTERPRETATION RETURN TO THE COUNTRYSIDE is my interpretation of Transforming Botanica.

After leading a fast paced and exhaustive lifestyle for ages, humans are realising the significance of intangible things in life-Nature being the most important one. People are returning to the picturesque countryside, be it to unwind, get closer to nature or relive their childhood memories.

The KEYWORDS areUNWIND SERENE NOSTALGIA WARMTH PICTURESQUE

CONCEPT BOARD CONCEPT BOARD

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COLOUR PALETTE COLOUR PALETTE

MATERIAL PALETTE MATERIAL PALETTE

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PAPER CONCEPTS PAPER CONCEPTS

PAPER CONCEPTS I began by taking the ‘ORAGNIC’ aspect of my moodboard ahead and created texture explorations to represent the same (first row). The irregularity of form and texture is a characteristic of nature and lends it it’s beauty. Next I tried to represent asymmetric overlapping and layering and gradually tried to make it more geometric and symmetric (second and third row). In the last set of explorations (fourth row), I have experimented with regular geometric grids, making them more irregular and organic.

PAPER CONCEPTS PAPER CONCEPTS

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FINAL PAPER CONCEPT FINAL PAPER CONCEPT

FINAL PAPER CONCEPT I have always been amazed by the beauty of the countryside, especially the farms. The patches of land, all of different sizes, textures and tones, remind me a of collage blown out of proportion.

This moodboard allowed me to take it ahead. The arrangement of the farms reminds me of an irregular grid, which is what my concept was. The paper concepts show a gradual process of how the concept transformed over the time. I began with a simple grid with varying tonalities and textures. Later, I incorporated the hedges of the farms to create a relief effect. As elements in nature are not in perfect symmetry or order, the relief edges of the grid units are broken in certain portions to make it more organic.

FINAL PAPER CONCEPT FINAL PAPER CONCEPT

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INITIAL EXPLORATIONS INITIAL EXPLORATIONS

INITIAL EXPLORATIONS- TECHNIQUE The final paper concept was translated into fabrics. The woven fabric is a double cloth construction, so that the different colours in the grid could be achieved. The edges of each unit of the grid, which are in relief, are woven by creating loop piles of wool, which are later agitated with soap and water, so that the wool fibres shrink to form felt.

As the technique of felting is a little tricky, I had gone through quite a long process of figuring out how to get the desired effect. The samples in the left column are my trial samples, with their detailed images on their right.

INITIAL EXPLORATIONS INITIAL EXPLORATIONS

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MAIN WOVEN SURFACES MAIN WOVEN SURFACES

MAIN WOVEN SURFACES A collection of wovens comprises of both main surfaces and their coordinates. The samples on the right are the main surfaces of my collection. The top left sample was an attempt at adding an element of glitter to the surface, by weaving silver yarn all over in small quantity. The sample on the top right has use of yarns of different textures, hence giving tonalities of texture. Also two different colours are used in the felt edges. The sample on the bottom left has textured felt edges with a double coloured yarn used. The colours are lighter with brighter red and green in some places.

The last sample, in bottom right, is a two colour variation in the true Tommy Hilfiger colours-red and blue. This sample is unwashed, showing the loop piles in the edges.

These surfaces are all double cloth constructions and hence are heavy fabrics suitable for coats and blazers.

MAIN WOVEN SURFACES MAIN WOVEN SURFACES

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COORDINATE CONCEPTS COORDINATE CONCEPTS

COORDINATE SURFACES As my main surfaces are heavy on texture and colour, the coordinate surfaces are kept lighter in terms of pattern, colour and texture. They are either plain textures, stripes or checkered fabrics to compliment the main surfaces. The colours are mainly blue, red and green with hints of accent colours like chrome yellow and scarlet. The striped fabrics have either bold stripes or thin stripes (both with or without texture). Some of the checkered/ blocked fabrics have contrasting colours and some monotones. There are some which are a mix of stripes and checks. The collection of coordinate surfaces has both light weight (with single layer) and heavy weight (with double layer) fabrics, suitable for jackets, pullovers, trousers and skirts.

In the following pages, the picture on the left is of the coordinate surface and the corresponding picture on the right is its detailed image.

COORDINATE CONCEPTS COORDINATE CONCEPTS

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COORDINATE SURFACES COORDINATE SURFACES

COORDINATE SURFACES COORDINATE SURFACES

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COORDINATE SURFACES COORDINATE SURFACES

COORDINATE SURFACES COORDINATE SURFACES

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FINAL MINI-COLLECTION FINAL MINI-COLLECTION

The final mini-collection, with the chosen woven samples on the left page and the additional textures incorporated from external sources, on the right page.

FINAL MINI-COLLECTION FINAL MINI-COLLECTION

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ENSEMBLES ENSEMBLES

ENSEMBLES ENSEMBLES

SPECIFICATION SHEET 1 •

Design no.- 1/1

•

Sample description- red, blue, brown checks

•

Warp count – 2/44 nm

•

Warp material- 100 % wool

•

Weft count – 2/44 nm

•

Greige width - 12.5 cm

•

Finished fabric width – 11.9 cm

•

Fabric length (Off loom ) – 9.5 cm

•

Finished length – 9 cm

•

Warp weight – 106.98 gsm

•

Weft weight – 130.43 gsm

•

Fabric weight in GSM – 237.41

•

Reed count - 30/4

•

Reed space - 5 inch

•

No. of shafts - 16

•

Ends per Inch – Off loom EPI- 27x2 & Finished EPI – 32x2

•

Pick per Inch – Off loom PPI- 38x2 & Finished PPI – 43x2

•

Total no. of ends – 352

•

Warp pattern & Colours

12 80 ends •

12

32

12

60

12

40

12

Weft patterns & Colours Dark blue

47

12 40

Maroon

Dark brown

Weft Colours

Fancy yarn

S.no.

Order of inserting weft

1.

Alternate picks of dark blue and brown

No. of picks 25 each

2.

Dark brown weft- 2 inserts per pick

8x2

3.

Alternate picks of red and dark brown

25 each

4.

Dark brown weft- 2 inserts per pick

8x2

SPECIFICATION SHEET SPECIFICATION SHEET •

•

Body drafting and denting pattern Block

Shaft order

No. of dents

No. of ends

B1

1,2,3,4

3

12

B2

5,6,7,8

20

80

B1

1,2,3,4

3

12

B3

9,10,11,12

10

40

B1

1,2,3,4

3

12

B4

13,14,15,16

8

32

B1

1,2,3,4

3

12

B2

5,6,7,8

15

60

B1

1,2,3,4

3

12

B4

13,14,15,16

10

40

Lifting order

1. 1.2.3.5.6.7.9.13 1.3.5.9.10.11.13.14.15 1.3.4.5.7.8.11.15 2.4.7.9.11.12.13.15.16 2. 1.2.3.5.9.13.14.15 1.5.6.7.9.10.11.13 1.3.4.7.11.13.15.16 3.5.7.8.9.11.12.15 3. 1.3.5.9.10.11.13.14.15 1.2.3.5.6.7.9.13 2.4.7.9.11.12.13.15.16 1.3.4.5.7.8.11.15 4. 1.2.3.5.6.7.9.13 1.3.5.9.10.11.13.14.15 1.3.4.5.7.8.11.15 2.4.7.9.11.12.13.15.16 5. 1.2.3.5.9.13.14.15 1.5.6.7.9.10.11.13 1.3.4.7.11.13.15.16 3.5.7.8.9.11.12.15 •

Weave, draft & Peg Plan in graphical representation

SPECIFICATION SHEET SPECIFICATION SHEET

SPECIFICATION SHEET 2 •

Design no.- 2/10

•

Sample description- red with blue squares motifs

•

Warp count – 2/120 nm

•

Warp material- wool-silk blend; 85-15.

•

Weft count – 2/44 nm, fancy yarn

•

Greige width - 19.6 cm

•

Finished fabric width – 19.5 cm

•

Fabric length Off Loom – 10.6 cm

•

Finished length – 10.4 cm

•

Warp weight – 61.81 g/m sq.

•

Weft weight – 156.51 g/m sq

•

Fabric weight – 218.31 g/m sq.

•

Reed count - 48/4

•

Reed space - 8 inch

•

No. of shafts - 20

•

Ends per Inch – Off loom EPI- 50 x2 & Finished EPI – 51 x2

•

Pick per Inch – Off loom PPI- 48 x2 & Finished PPI – 50 x2

•

Total no. of ends – 788

•

Warp pattern & Colours

77 •

28

96

49

84

28 48 28

96

28 48 28

84

Weft patterns & Colours Dark Blue

•

28 48 28

Red

Fancy yarn 3

S.No.

Order of inserting wefts

Weft Colours

1.

Red weft, 2 inserts per pick

2.

Dark Blue weft, 2 inserts per pick, with random inserts of fancy yarn

Body drafting and denting pattern Block

Shaft Order

No. of dents

No. of ends

B1

9,10,11,12

2

16 (2 in a headle)

B1

9,10,11,12

18

72

B2

1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4

7

28

SPECIFICATION SHEET SPECIFICATION SHEET B3

13,14,15,16

24

96

B2

1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4

7

28

B4

17,18,19,20

12

48

B2

1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4

7

28

B1

9,10,11,12

21

84

B2

1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4

7

28

B4

17,18,19,20

12

48

B2

1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4

7

28

B3

13,14,15,16

24

96

B2

1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4

7

28

B1

9,10,11,12

12

48

B2

1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4

7

28

B4

17,18,19,20

21

84

B4

17,18,19,20

2

16(2 in a headle)

• Lifting Order 1. 2.6.9.13.17 1.2.4.5.6.8.9.10.11.13.14.15.17.18.19 4.8.11.15.19 2.3.4.6.7.8.9.11.12.13.15.16.17.20 2. 1.2.3.5.6.7.10.14.18 1.5.9.10.12.13.14.16.17.18.20 1.3.4.5.7.8.12.16.20 3.7.10.11.12.14.15.16.18.19.20 •

Weave and draft & Peg Plan in graphical representation

SPECIFICATION SHEET SPECIFICATION SHEET

SPECIFICATION SHEET 3 •

Design no.- 2/6

•

Sample description- blue textured stripes with red streaks

•

Warp count – 2/120 nm

•

Warp material- wool-silk blend; 85-15.

•

Weft count – 2/44 nm, fancy yarn

•

reige width - 20 cm

•

Finished fabric width – 19.5 cm

•

Fabric length Off Loom – 9.8 cm

•

Finished length – 9.5 cm

•

Warp weight – 61.81 g/m sq.

•

Weft weight – 211.95 gsm

•

Fabric weight – 273.76g/m sq.

•

Reed count - 48/4

•

Reed space - 8 inch

•

No. of shafts - 20

•

Ends per Inch – Off loom EPI- 49 & Finished EPI – 55

•

Pick per Inch – Off loom PPI- 63 & Finished PPI - 65

•

Total no. of ends – 788

•

Warp pattern & Colours

77 •

28

96

28 48 28

84

28 48 28

96

28 48 28

Weft patterns & Colours

Dark blue

Light Blue

Fancy yarn

Random order of insertion of weft •

51

Body drafting and denting pattern Block

Shaft Order

No. of dents

No. of ends

B1

9,10,11,12

2

16 (2 in a headle)

B1

9,10,11,12

18

72

B2

1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4

7

28

B3

13,14,15,16

24

96

B2

1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4

7

28

B4

17,18,19,20

12

48

84

SPECIFICATION SHEET SPECIFICATION SHEET

•

B2

1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4

7

28

B1

9,10,11,12

21

84

B2

1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4

7

28

B4

17,18,19,20

12

48

B2

1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4

7

28

B3

13,14,15,16

24

96

B2

1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4

7

28

B1

9,10,11,12

12

48

B2

1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4,5,6,7,8,5,6,7,8 1,2,3,4

7

28

B4

17,18,19,20

21

84

B4

17,18,19,20

2

16 (2 in a headle)

Lifting Order

2.6.9.13.17 4.8.11.15.19 •

Weave and draft & Peg Plan in graphical representation

SPECIFICATION SHEET SPECIFICATION SHEET

SPECIFICATION SHEET 4 •

Design no.- 3/1

•

Sample description- blue and green stripes

•

Warp count – 2/44 nm

•

Warp material- 100 % wool

•

Weft count – 2/44 nm

•

Greige width - 19.4 cm

•

Finished fabric width – 18.4 cm

•

Fabric length (Off loom ) – 22 cm

•

Finished length – 19.5 cm

•

Warp weight – 11.35 g/m

•

Weft weight – 10.98 g/m

•

Fabric weight in GSM – 22.33

•

Reed count - 30/4

•

Reed space - 8 inch

•

No. of shafts - 24

•

Ends per Inch – Off loom EPI- 34 ; Finished EPI - 38

•

Pick per Inch – Off loom PPI- 33; Finished EPI - 39

•

Total no. of ends – 524

•

Warp pattern & Colours

Alternate threads of colours

•

•

53

and

Weft patterns & Colours Weft of colour

used throughout

Body drafting and denting pattern

Block

Shaft order

No.of dents

No. of ends

B1

1,2,3,4

15

60

B2

13,14,15,16

4

16

B3

5,6,7,8

24

96

B4

17,18,19,20

4

16

B5

1,2,3,4

20

80

B6

21,22,23,24

4

16

B7

5,6,7,8

28

112

B8

9,10,11,12

4

16

B9

1,2,3,4

80

20

SPECIFICATION SHEET SPECIFICATION SHEET

•

Lifting order

2.6.10.14.18.22

4.8.12.16.20.24

•

Weave, draft & Peg Plan in graphical representation

SPECIFICATION SHEET SPECIFICATION SHEET

SPECIFICATION SHEET 5 •

Design no.- 3/2

•

Sample description- blue and green checks with red checks

•

Warp count – 2/44 nm

•

Warp material- 100 % wool

•

Weft count – 2/44 nm

•

Greige width - 19.7 cm

•

Finished fabric width – 19 cm

•

Fabric length (Off loom ) – 19 cm

•

Finished length – 18 cm

•

Warp weight – 11.35 g/m

•

Weft weight – 11.73 g/m

•

Fabric weight in GSM – 23.08

•

Reed count - 30/4

•

Reed space - 8 inch

•

No. of shafts - 24

•

Ends per Inch – Off loom EPI- 34 x 2 & Finished EPI – 34 x 2

•

Pick per Inch – Off loom PPI- 34 x 2 & Finished PPI – 40 x 2

•

Warp pattern & Colours

• •

Alternate threads of colours

and

Weft patterns & Colours Weft Colours

•

55

1.

Alternate picks of blue and red

58 picks of each colour

2.

Alternate picks of green and red

28 picks of each

3.

Alternate picks of blue and red

55 picks of each

4.

Alternate picks of green and red

40 picks of each colour

5.

Alternate picks of blue and red

40 picks of each

6.

Alternate picks of green and red

44 picks of each

Body drafting and denting pattern Block

Shaft Order

No. of dents

No. of ends

B1

1,2,3,4

15

60

B2

13,14,15,16

4

16

B3

5,6,7,8

24

96

B4

17,18,19,20

4

16

B5

1,2,3,4

20

80

B6

21,22,23,24

4

16

B7

5,6,7,8

28

112

B8

9,10,11,12

4

16

B9

1,2,3,4

80

20

SPECIFICATION SHEET SPECIFICATION SHEET •

Lifting order

1.

1.6.9.10.11.13.14.15.18.21 3.8.9.11.12.13.15.16.20.23

1.2.3.5.6.8.9.13.17.18.20.21.22.23 1.3.4.6.7.8.11.15.18.19.20.21.23.24

2.

1.5.9.13.17.21 1.2.3.5.6.7.9.10.11.13.14.15.17.18.19.21.22.23 3.7.11.15.19.23 1.3.4.5.7.8.9.11.12.13.15.16.17.19.20.21.23.24 3.

2.5.9.10.11.13.14.15.17.22 1.2.4.5.6.7.9.13.17.18.19.21.22.24 4.7.9.11.12.13.15.16.19.24 2.3.4.5.7.8.11.15.17.19.20.22.23.24 4.

1.6.9.10.11.13.14.15.18.21 3.8.9.11.12.13.15.16.20.23

1.2.3.5.6.8.9.13.17.18.20.21.22.23 1.3.4.6.7.8.11.15.18.19.20.21.23.24

5.

2.5.9.10.11.13.14.15.17.22 1.2.4.5.6.7.9.13.17.18.19.21.22.24 4.7.9.11.12.13.15.16.19.24 2.3.4.5.7.8.11.15.17.19.20.22.23.24 6.

1.6.9.10.11.13.14.15.18.21

3.8.9.11.12.13.15.16.20.23

1.2.3.5.6.8.9.13.17.18.20.21.22.23 1.3.4.6.7.8.11.15.18.19.20.21.23.24

7.

1.5.9.13.17.21 1.2.3.5.6.7.9.10.11.13.14.15.17.18.19.21.22.23 3.7.11.15.19.23 1.3.4.5.7.8.9.11.12.13.15.16.17.19.20.21.23.24 8.

2.5.9.10.11.13.14.15.17.22 1.2.4.5.6.7.9.13.17.18.19.21.22.24 4.7.9.11.12.13.15.16.19.24 2.3.4.5.7.8.11.15.17.19.20.22.23.24 •

Weave, draft & Peg Plan in graphical representation

SPECIFICATION SHEET SPECIFICATION SHEET

THE END THE END

THE END THE END