Lecture 2: Fabric, Knitwear, and Garment Construction

Introduction: design flow & function vs. fashion

• Fabrication is the process of selecting textiles and trims for each style and group in a line. Companies typically start with color, fabric, and material for line development.

• Color story and trims are ideas introduced early; fabric dictates the garment type and silhouette. Design should be driven by fabric and sketches, not the other way around, or problems arise (ex. a great-looking fabric that doesn’t function well in motion or wear).

• Example: a gown cut from a great fabric may look spectacular but could expand when seated, dancing, or moving, causing fit issues; wedding gowns often use older fabrics and undergarments to maintain spectacular appearance all night. This highlights the function versus fashion trade-off.

• After fabric and initial sketches, you must assess whether the chosen styles work together proportionally (ex. crop tops imply shorter tops and specific bottom silhouettes such as dramatic pants like bell bottoms or balloon pants).

• Collections follow formulas: designers cycle through fabrication tweaks (print or color changes) to create assortments; styles must be approved by designers or merchants at checkpoints.

• The process includes creating sketches and a full collection, deciding production, and building a tech pack; a pricing draft is created to test viability before committing to production (helps avoid waste when costs exceed potential retail price). If an item isn’t viable, it’s not worth pursuing.

Line Development and Ideation

• Minimums: The smallest amount of fabrics mills can make at a profit.

• Jobbers: Middlemen who buy fabric in bulk and sell in smaller quantities at higher prices.

• Ideation Process of Design: Involves developing a mood board, establishing a fabric story, and creating initial sketches.

• Assortment Planning: Sketches and collections are approved. Merchandisers provide feedback on what sold and what strategy would be implemented for the season. Production planners decide on the best factory, fabric mill, and trim supplier.

Example: Champion brand

• Champion example: fleece program follows a seasonal pattern: fleece in winter, and a lighter summer fabric such as French terry (noted in transcript as a variant). Fleece is brushed on the back to create a soft feel against skin (towel-like loops absorb moisture and create warmth).

Supply chain overview

• Process of Fiber to Garment:

  • Knitwear: Fiber $\rightarrow$ Yarn $\rightarrow$ Knit $\rightarrow$ Sweater

  • Woven Fabric: Fiber $\rightarrow$ Yarn $\rightarrow$ Weave $\rightarrow$ Fabric $\rightarrow$ Garment

• Selecting Textiles for Their Properties:

  • Aesthetic properties: Convey meaning and visual appeal to the consumer.

  • Utilitarian properties: Make the product useful and functional to the consumer.

• Fiber to fabric path: fiber grows (ex. cotton plant) $\rightarrow$ fiber is spun into yarn $\rightarrow$ yarn is twisted into thicker yarns or used as-is in knitting/weaving $\rightarrow$ fabrics are produced.

• Fiber: The raw, tiny, hair-like material that makes up fabric.

  • Chemical Structure: Bonds determine whether a fiber is strong, flexible, dye-able, absorbent, etc.

  • Physical Structure: Fiber length is determined by the source.

    • Short = staple fibers (ex. natural fibers like cotton).

    • Long = filament fibers (ex. synthetic fibers like polyester).

• Yarn types and construction:

  • Yarn: A long, thin arrangement of fibers.

  • Natural fibers (ex. cotton) use staple fibers (short fibers) that are spun together to form yarns; yarns can be assembled into thicker yarns (ply) for different fabric constructions.

  • Filaments are long continuous strands (common in synthetic fibers like polyester), enabling long, continuous threads suitable for high-strength fabrics; staples are short fibers typical of natural fibers.

  • Construction: The characteristics of a textile are affected by the properties of the fiber and yarn, as well as the arrangement of yarns in each type of construction.

• Knit vs weave fundamentals:

  • Knits:

    • Made by looping yarns together

    • Typical textures include jersey, rib, interlock, etc.

    • Loops create stretch and comfort due to the knit structure

    • Produced using circular knitting machines

  • Wovens:

    • Made by weaving warp yarns with weft yarns

    • Patterns like denim, plain weave, twill, herringbone etc.

    • Width and pattern of interlacing determine the hand feel and appearance

    • Produced using looming machines

Knits vs Wovens

• Crochet vs. Knit Garment:

  • Crochet: Can only be done by hand; tends to have more texture.

  • Knit: Done by machines; often more tightly woven.

• Knit fundamentals:

  • Knits are built from loops; the front and back show different textures (knit side vs purl side in jersey). Knits always have loops.

  • Wale: The up-and-down (vertical) column of loops in a knit fabric.

  • Course: The left-to-right (horizontal) row of loops in a knit fabric.

  • Jersey (plain jersey) fabric: basic knit; loops on the front (knit side), small purl-like texture on the back (purl side); tends to curl at the edges when cut, which necessitates turn-back hems in some garments.

  • Rib: a knit with alternating knit and purl stitches, creating vertical ribs; provides stretch and retains shape well

  • Interlock: a heavier knit that looks similar on both sides because two fabrics are knitted together (like jersey sewn on jersey); often used where stability and a more woven-like feel are desired; can substitute for a woven in some applications but with knit properties (stability, drape). It is thicker and more expensive than regular jersey.

  • Cable knits, intarsia, jacquard, and double-knit (double knit jacquard) produce textured patterns

    • Cable Knit Sweater: Knitted into a cable pattern with crisscrossed front stitches to make raised designs.

    • Intarsia Sweater: A knit technique to create patterns (like a backpack design) within the knit, often seen in designs such as a Ralph Lauren Bear Sweater.

    • Jacquard: Can be used to create complex patterns in knits and can be visually similar to weaving.

    • Double Knit Jacquard: Knitted on both sides, making it a reversible fabric with intricate textures, sometimes covered on the backside with another layer.

• Weave fundamentals:

  • Warp yarns (lengthwise/up-down) and weft yarns (crosswise/left-right) interlace to form fabric. Wovens feature yarn crosshatches.

  • Standard plain weave has simple yarns crossing straight over and under

  • Twill has diagonal lines

  • Herringbone is a type of twill with a distinctive V-shaped pattern

  • Denim is a type of twill with a diagonal weave

  • Poplin is a stiff, plain-weave fabric often used for shirts

  • Pattern vs print distinctions:

    • Pattern is woven into the fabric, print is applied to the surface

    • Pattern can be seen on the reverse side when the fabric is flipped, while a print may appear the same on both sides

• Identifying characteristics in practice:

  • Jersey curls at the edges when cut; this is a telltale sign of jersey knit; turn-back hems help prevent curling.

  • Interlock looks the same on both sides and tends to be heavier than jersey; heavier knits can substitute for woven garments in some designs.

  • Weave patterns (plain weave, herringbone, twill, denim, plaid, etc.) create characteristic textures and drapes; you can often recognize warp/weft patterns by looking at the fabric structure and the repeat of the pattern.

• Practical fabric selection considerations:

  • For tops, lighter-weight fabrics are common; for bottoms or activewear, heavier-weight fabrics or fabrics with more stability are chosen. The fabric weight (Top vs. Bottom) is a critical consideration.

  • Structural needs affect fabric choice: wovens are usually more structured; knits provide stretch and comfort for active or close-fitting garments.

  • The end use (movement, sports, formal wear) guides whether knit or woven is more appropriate; consider the garment’s movement and where stretch should occur.

Fabrics, finishes, and production checkpoints

• Finishes and surface treatments:

  • Finishes can add luster or sheen; applied with heated rollers; improper heat can create unwanted shiny patches.

  • Brushing (as in fleece) adds warmth and texture; brushing creates a soft nap on the fabric surface (like fleece backs) for comfort and insulation.

  • Prints are more expensive due to alignments and setup; printed fabrics require more skill to line up repeats.

  • Other surface treatments, which contribute to aesthetic properties, include luster, three-dimensional textures, embroidery, applique, and patches; these add texture and depth but increase production cost.

    • Embroidery: Stitching that happens directly on the garment.

    • Applique: An already designed piece that is then applied to the garment.

• Patterning, stripes, and yarn-dyed fabrics:

  • Yarn-dyed fabrics feature color added during yarn production; stripes or patterns are created by using different colored yarns in the knit/weave.

  • Engineered stripes: stripe repeats are designed to align at a specific position across sizes; they require precise placement and timing in production to ensure consistency by size. An engineered stripe occurs when the size of the stripe repeat of the fabric is bigger than 2 inches, which is beyond what the feeder stripe method can do.

  • Repeat stripe: Any stripe pattern that repeats consistently.

• Piece-dyed vs garment-dyed vs yarn-dyed:

  • Piece-dyed: Fabric is dyed after weaving/knitting, then cut and sewn; allows color consistency across large pieces but can create waste during cut. This involves taking a piece of fabric and then dyeing it.

  • Garment-dyed: The finished garment is dyed after construction; offers unique color variation but can affect fit and shrinkage.

  • Yarn-dyed: Yarns themselves are dyed before weaving/knitting, enabling integrated patterns (ex. stripes) across the fabric.

• Quality assurance and factory process:

  • Fabric orders require multiple checkpoints and approvals before mass production: fabric sample approval, color approval, and construction approval.

  • Production Dance Fabric Purchasing: The factory places an order for production yardage, which is the bulk quantity needed to produce the order, made to the brand's technical specifications.

  • After fabric is approved, pattern pieces are created (cut and sew) or the fabric can be knitted in a way that minimizes waste (seamless knitting).

  • Cut-and-sew: Uses pattern pieces cut from fabric and sewn together, leaving visible seams. Has initial stitching seam with an overlock stitch (finished edges). Example: compression shirt.

  • Seamless knitting or full-fashion knitting: Minimizes waste by forming garments in one piece.

    • Full Fashion Sweater: Making something without waste by decreasing stitches (layered stitching) to cut wastage. Texture is usually on the armhole or back of the shoulder.

  • For knits, machines can create seamless garments like leggings or athletic wear; for wovens, sewing is used with finishing seams such as overlock or flat-lock stitches.

• Finishings and seam types:

  • Overlock stitches finish edges to prevent fraying; often used to finish edges on activewear.

  • Flat-lock seams create a flat, strong seam suitable for compression wear; reduces bulk and increases stretch durability.

  • Decreases and armhole shaping produce smoother edges and better fit; technical aspects of shaping are important for a well-made garment.

• Practical implications for cost and value:

  • Higher-quality fabrics and more complex constructions (ex. interlock in suits, jacquard knits, or double-knits) are pricier due to yarn consumption, complexity, and production time.

  • The right fabric choice aligns with garment function and price point; expensive fabrics may be justified by durability, drape, and aesthetic quality.

Sustainability and ethical considerations

• Industry-wide concerns:

  • Waste and environmental impact largely come from dyeing and finishing chemicals, and water usage.

  • Collaborative Sustainable Initiatives: Increasingly promoted by mills and organizations to address environmental challenges.

• Leather and animal-based materials:

  • Vegetable-tanned leather is very thick and durable; it can last for generations with proper care (oiling and conditioning)

    • generally more sustainable if sourced responsibly as a byproduct of the meat industry

    • can be more expensive and time-consuming to cure

  • Chrome-tanned leather is common in many bags and accessories; it is typically softer and easier to work with but involves chromium tanning chemicals.

  • Faux/vegan leathers (apple leather, mushroom leather) are unethical due to binders (often poly-based) and environmental concerns

  • Real leather is presented as a more sustainable option when produced responsibly, despite higher cost

Draping & interfacing

• Draping considerations:

  • Draping: The tendency of a textile to cling to or stand away from the body when acted on by gravity.

  • Muslin is often used as a fitting and drape test fabric; drape is influenced by fiber characteristics, yarn size, twist, density, armhole size, and other technical parameters.

  • The drape will determine how a fabric falls on a body; designers adjust fabric and underpinnings to achieve the desired silhouette.

• Underpinnings and interfacing:

  • Interfacing provides structure in areas like bodices and collars

  • Historically, horsehair was used to stiffen garments like hoop skirts; modern interfacing uses more stable, fusible options.

  • Interfacing preserves shape during wear, opening and closing buttons, and maintaining crisp edges.

  • Support Materials and Drape: Generate contrast by restricting the drape of some parts of the garment. (ex. interlining, fusible interlining, neoprene, narrow textiles, elastic, etc.)

Quick-reference terminology recap

• Knit vs weave basics:

  • Knit: loops of yarns; stretchy, often more comfortable; examples include jersey, rib, interlock; jersey has knit front and purl back; rib provides stretch along the width; interlock is a heavier, stable knit.

  • Weave: warp and weft interlacing; patterns include plain weave, twill (ex. denim), herringbone, poplin; patterns and plaids arise from color-and-yarn arrangements.

• Specific fabric constructions and terms:

  • Jersey vs interlock vs rib; purl vs knit stitches; turn-back hems for jersey fabrics; flat-lock seams for durable, flat seams; overlock finishing for edge stability.

  • Intarsia and jacquard: knit techniques to embed patterns; double-knit jacquard creates a reversible fabric with intricate textures.

  • Engineered stripe: a stripe pattern with placement that is consistent across sizes; repeat stripe variations include simple repeats and more complex engineered placements.

• Finishes and surface details:

  • Luster and sheen vs matte surfaces; brushing (fleece) vs coating; prints vs patterns; embroidery vs applique; patches and embellishments.

• Sustainability and material types:

  • Natural fibers (cotton, wool), regenerated fibers, and synthetic fibers; filaments vs staples; vegetable-tanned vs chrome-tanned leather; vegan leather alternatives and their environmental trade-offs.

• Production pathways:

  • Cut-and-sew vs seamless/full fashion knitting; importance of fabric testing and multiple approval steps; the role of fabric mills and the factory in ensuring spec compliance.

• Practical design and market considerations:

  • Proportions, collection balance (tops vs bottoms), weight distribution for different garment types, and the interaction between design decisions and fabric performance.