Raeeha Eejaz
Garment Design for Knitted Textiles 1
What is Garment Design for Knitted Textiles...
Garment design for knitted textile is a course that under takes the design process of knitwear and how to manufacture it into garments. The students are to understand the importance of knitwear for today’s time and to be able to learn its key characteristics and apply techniques used for knitwear. This module requires students to produce a knitted garment for a specific client inspired by a theme of metamorphosis. 2
AIMS
•Awareness of current knitwear trends and commercial practices in design. •To understand the importance of creating designs that can be carried out in production technically. •Being able to learn basic techniques for knitted garments as well as understanding the fundamentals process applied to manufacture it. •To be able to communicate one’s concept through the final garment’s silhouette and details. 3
I chose distortion of faces as an inspiration for this project. Personally I’m very thrilled to see how I interpret distortion in general, how I maneuver it into a high end luxury garment. In my opinion I infer distortion as a happy mistake instead of an occurring problem. I believe there is always good that can come out of bad, which is what I want to extend through my inspiration.
This board has images of distortion techniques that could help me in experiments through observational drawing and toiling. Other than that the shapes within the face can help me in shape/ silhouette development for the end product. In overall to take the distressing factor of distortion and turn it into something beautiful. 4
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DISTORTING THROUGH
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DIFFERENT MEDIUMS
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Somtimes, it is best to have someone else’s nose or eyes. This collage work made me understand the beauty in imperfections. 8
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SHAPE DEVELOPMENT OF
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LIPS THROUGH DISTORTION
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CLIENT
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One of the main focuses on my design direction board is texture, keeping in mind it is knitwear brief. I concentrated on silhouettes that would most suitable for my client. By developing this board, it helped me understand the current knitwear trends carried out on runway as well as worn by celebrities. The season was also important to grasp while designing this board. It guided me in deciding the fabric and color palette most appropriate for the season as well as the customer. 16
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Design Development
This part of the process was very liberating and exciting. To be able to translate one’s drawing into a ready to wear garment is very challenging at times. It is very important for me as a designer to make sure that the inspiration is clearly seen through the silhouette, details, or print. Even though fabric manipulation wasn’t necessary, it was great to experiment with fabric and come up with cool patterns that complement the inspiration. It was definitely a new learning curve for me during this design process. While sketching these ideas down, it was vital for me to understand the technicality of it and how it can be achieved. This helped in the toiling later on. Other than that, I got the chance to develop my own signature style of illustration while picturing the customer in mind.
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Final 6 Designs
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TOILING
This technique of shortlisting the garment was a new learning for the students. Being able to carry out 3 designs into toiling helped me understand the technicality of my designs. It made me understand various possible ways of carrying out the designs and how much more I can further develop it. The sole purpose of this experimentation was to guide students in finalizing their knitted garment. By producing 3 experiments, I was able to compare it in terms of originality and suitability for the selective client. Thus, I ended up choosing the design that had more potential. Later i further developed and modified the chosen garment before going forward to the sample garment production. 20
SAMPLE
The process of draping a pattern for my selected design was a new experience. The garment did not turn out to be as fitted below the hip but made sure it will be fitted properly for the final dress. Attaching metal grommets on jersey fabric was a very difficult task for me. There was a manual machine used for it and after punching it many times, the grommets came out more clean and neat. I had to put an extra piece of jersey under the eyelet due to the thinness of fabric and with the double layer it prevented it from coming out. Moreover, i made the bottom half of dress separately which resulted in inaccurate width. Thus, I made sure I make the fitted silhouette for my final dress first and then cut it. As for the straps on shoulder, I stitched it like a drawstring. I put it through the eyelet however; it created a certain amount of bulkiness. Therefore, I planned to attach the strap along with the grommet while punching it for the final garment.
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GARMENT
To begin with the final garment, I wanted to be careful when draping the fabric on the mannequin. But since the fabric I chose had stretch ability both ways, it helped me achieve a better fit. As the bottom on the dress was concerned I placed it on the table to create the fitted silhouette and later overlocked it. After placing it on the toil after a couple of times, I wasn’t satisfied with the fitted silhouette and adjusted it more until it was accurate. This process of fitting definitely occupied a lot of time. However, I learned a new way to create a fitted shape through draping. 22
As the finishing of the neckline, I did a facing whereas in the sample dress I did double fold stitch. In my opinion, facing was a much neater choice. Also for the zip, I attached a facing before the zip. I learned to put the garment on the table on fold, which helped in cutting straight line for the facing to go inside. Moreover, to keep the facing put, I did edge stitch which automatically creased the facing without ironing. So I learned the purpose of edge stitch with the help of the instructor. 23
After attaching the zip, I had to attach the shoulder trap with the eyelet. Later I had to cut the dress at knee length which was terrifying experience. But after doing that I fused the hem around 5cm for the metal grommets. I used singer eyelet piece for one hole because it looked better. However, when I placed it on the mannequin, the grommets popped out. So I took most of them out and used the 2 piece eyelets. Later I simply laced a string I stitched like a drawstring in a diagonal pattern. But it didn’t have the distortion impact I had in mind. Thus, I laced the dress again but in a crisscross pattern which suited it more. 24
As another part of distortion in the garment, I did embroidery on the dress in a way that made it look like the threads were being pulled out. At the same time, I wanted to make sure it looks wearable for my client and did it in the shape of circle.
FINAL KNITWEAR DRESS
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