Apparel analysis - Lecture notes all notes PDF

Preview

Summary

all notes...

Description

Day 1 1-16-19 Apparel Production before ready to wear  Custom made and hand sewn  Home sewing, seamstresses, and tailors  Quality differences were mainly seen through materials and not construction  The more ornamented the garment, the more likely it would be deconstructed in some way to clean it.

Growth of the ready to wear industry RTW growth through technological innovation  Water and steam powered machines increased speed of spinning and weaving  Sewing machines arrived in the 1850s  Trains and stream boats accelerated distribution  These increased quantities produced, speed to consumer, and lowered prices RTW growth through standardization  Sizing o First for menswear o How and why? The Army  Sewing patterns o mid 1800s men’s uniforms and RTW came first in the early to mid 1800s women’s RTW wasn’t widely available until after RTW growth through social change  Mill towns all over the northeast to provide yarn and fabric o Many left farms and there was an influx of immigrant labor  Fewer self-sufficient communities or families  Accessibility of fashion goods for all, not just the wealthy RTW growth through retail innovation  Development of shopping arcades and department stores in 1800s  Dressmakers and tailors became a sign of wealth and status

RTW apparel industry    

Garment manufacturing Wholesalers and importers Retailers Trade associations

Garment Manufacturing  Inside shops



  



o Apparel brand or retailer that operates its own manufacturing Benefits for brand/retailer o Direct communication with facility o Better control over quality o Time and transportation savings o Easier to regulate conditions and practices Outside contractors o Independent manufactures who produce for many brands/retailers Subcontractors o Specialize in material or product category Benefits to outside and subcontract o Lower production cost o Contractor might have more knowledge in certain areas Vertical integration o A company owns and manages multiple stages of apparel production, marketing and or retail o Time savings o Increased profits o Control quality and distribution o Control brand image

Wholesalers and direct importers  Buy products from manufacturers to sell to retailers Retailers  Sell product directly to consumers Trade associations  National retail federation, outdoor industry associations and American apparel and footwear association

Off shore production (import) Advantages  Lower cost of production  Higher profit margins  Opportunities for unique product assortment Disadvantages  Tariffs  Changes in currency exchange rates  Shipping fees and lead times  Monitoring quality and other regulations



Consumers may have negative associations

Exporting US textile and apparel to other countries Advantages  Expand customer base  Alternative cycles of demand  Extends the life of a declining product  Creates new opportunities for future growth Disadvantages  Cultural differences in business  Differences in product standards or consumer expectations  Delays or issues in receiving payments  Expensive travel or need for additional representatives in country

DAY 2 1-23-19 What is apparel quality  Degree of excellence and conformance to requirements. The extent to which a garment meets expectations  Ability to satisfy needs Who is involved in setting these expectations?  A designer  Government  Consumers  organization  industry performance: functionality based on a garments features Durability: resists deterioration in intended use Maintenance: ease, costs, and effect on appearance Conformance: to existing regulations Aesthetics: sensory attributes specific to consumer Each approach can be determined by consumer, product, or manufacturer. They can overlap and affect one another

Quality Indicators Primary Cues  tangible- see, feel, smell, hear  physical performance features o functional characteristics o durability o comfort  Aesthetic Characteristics o Materials o Styling o Design for intended use o Appearance after care Secondary Cues  Intangible o Price o Retail price in store o Price point classification  Brand o Name o Image o Reputation  Country of origin Consumers Quality perceptions and expectations Evaluation of a garment can occur at many stages  Point of sale  During use  When discarding Perceptions can be based on  Target market  Price point  End use Consumers Perceived Quality model  Select garment features o Brand o Color o Fit

 

o Comfort Weigh each features importance o How important is each one to you for this particular item? Rate how each feature meets expectations o From 0-100

Value The relationship between quality and price  Overpriced?  Fair value?  Bargain? Fair value is when price = perceived value Cost per Wear  Important when durability, comfort, style, or care is part of consumers equation Apparel life expectancy  Based on being cared for as recommended on label  Most are between 1-5 years Measuring Quality Standards: guidelines established to reflect the overall quality level of a product Specifications: exactly how a garment will meet standards through material choices and construction Quality assurance  managing quality throughout development and manufacturing  quality control and inspections are specific processes Establishing Standards and specifications Mandatory  regulated by government voluntary  voluntarily developed and enforced by brands, retailers, other organizations

DAY 3

Deconstructing a garment Consider what it takes to truly see a garment for all of its parts and pieces   

what went into creating it? what evidence of the production process do you see what quality attributes do you see met or overlook

Design Development  meeting your target markets needs and wants  positioning within larger trends  determining aesthetic and functional attributes  creating a cohesive line  understanding cost  research and evaluation o analyze prior sales and returns o researching your consumer o forecasting upcoming trends o analyzing competitors’ products o jobs include trend or forecast analyst, market analyst, sales analyst o broader consumer and market trends  technology advancements, economic and political conditions, social changes o target market research  demographics and lifestyle factors o product trend research  innovation, competitors

creating a design concept      

who is the customer what is the purpose of the line or product what are the expected aesthetics and performance attributes what are the maintenance required? what is the desired quality level how much is the consumer willing to pay?

Design concept: line development  

develop style and direction and details consider line cohesion

    

research materials and color gain initial approvals modify as necessary create initial patterns and prototypes address fit and sizing

Visualizing design concept 

 

    

color o color management and production standards o color matching o major quality area o metamerism- different shades under different light sources texture o feel or appearance of surface pattern o repetitive design through printing or fabric construction method o what fibers, yarns, fabrics, trims, prints will best achieve that texture and pattern. materials silhouette balance o symmetrical or asymmetrical distribution of visual weight proportion o harmonious relationship of details within the silhouette emphasis o focal point o rhythm in how the eye moves through the garment

DAY 4 2-4-19 Materials are critical for garment style What goes into your garment? Fabrics  Fibers  Yarn type  Fabric construction  Coloration  Finishes Findings and trims

Materials and development inspiration How are fabrics used in a garment  Fashion fabrics  Linings  Interlining’s  Interfacing  Fill or batting Apparel Fibers  Naturals o Cotton o wool  Synthetics o Nylon o Polyester o spandex  Manufactured cellulose Fabrics  Knit o Weft o warp  Woven o Plain o Twill o Satin o Jacquard o pile  Other o Felt o Leather o Film o Nonwoven Terms for conveying fabric quality  Fiber content and trade name  Yarn twist and ply  Combed or worsted yarns  Thread count or gauge  Fabric weight  Dye or print



Finishes applied

Fibers and quality  Initial quality indicators o Fiber length and diameter o Fiber color and ease of dying  Aesthetics  Comfort  Durability Woven  Prone to seam slippage  Unravel at raw edges  Wrinkle more  Better stability  Typically better durability  Wider variety of textures Knits  Snag and run  Some stretch  Better elasticity  Typically drape better  Better wrinkle recovery

Coloration and quality Dyes and pigments  Dyes vary based on price and color achieved and type of fiber they dye  Chemically bonded with the fiber Pigments  Lower quality  Lay on surface of fiber Quality indicators  In a print use a pigment or dye and resolution  Uniformity of color  Hand and drape  Durability and colorfastness

Finishes and quality

Mechanical  Napping and sue ding  Shearing  Flocking  Calendaring  Fulling  Washing Chemical  Mercerizing  Anti-static  Flame resistant  Wrinkle or crease resistant  Antimicromodal  Soil release Intangible and quality indicators and materials  Brand  Price point  Geography  Trademark names

Day 5

Materials and trims  Closures  Support and shape devices  Thread and labels  Ornamentation Findings and trims  Functionality  Durability  Aesthetics  Maintenance Closures  Buttons, zippers, snaps, hooks, elastics, cord, lacing, tie  Quality o Appropriate type, size, weight, material, spacing o Changes to garment care, durability, comfort  Cost o Materials and quality used

o Technique used o Is it necessary at all? Shaping and support devices  Padding, bra cups, boning, collar stays, elastic, rivets  Quality o Appropriateness for silhouette, functional performance o Care, appearance retention, durability  Costs o Materials or technique used o Is it necessary at all? Ornamentation  Trims, ribbons, tapes, braids, cords, fringe, lace  Surface embellishment, applique, embroidery, beading, sequins  Quality o Will it stretch with the fabric? o Changes to the garment care, durability, comfort o Color matching  Costs o Materials, production time Threads  For construction and ornamentation  Quality o What type of stretch and strength are needed o Dimensional stability o color and luster  costs o thread type o type of stitching aesthetic checklist  are the size and type compatible with the garment and market?  do they affect overall hand negatively?  does the color match and complement the garment?  do they enhance the appearance of the garment? Functionality and maintenance  do they perform their job correctly?  do they provide the strength and movement needed in the garment?  do they maintain their appearance after use and care?

DAY 6

Materials quality Conformance  adhering to standards and specifications  mandatory: existing government regulations  voluntary standards and specifications US labeling regulations  textile fiber products identification act  must include o generic fibers included at 5% or more o manufactured or importer (rn#) o country of origin (manufacturer) o does not have to include  trims  linings  ornamentation (except when 15% or more)  care label rule o Must list one appropriate method of laundering garment and it must be in English o Uses both words and symbols Flammable Fabrics act o test how quick fire will ignite and spread on a given fabric o certain sheer or fleece fabrics are flagged as dangerous and need to follow regulations, depending on their use o infant and children’s sleepwear have specific requirements o use of non-hazardous flame retardant finish o includes noting it on labels o avoid drawstring and other choking hazards for children o sharp edges o dyes and finishes o carcinogenic or hazardous chemicals and metals o fluorinated organic compounds, formaldehyde, lead, nickel other materials testing o for voluntary standards and specifications o developed and enforced by brands, retailers, other organizations o beyond regulations to other functional durability and maintenance quality standards

How can material quality be tested? o Rigorous testing throughout fabric and trim o Careful material selection based on particular use o Use of recognized test methods for your industry o Always research chemicals, materials, methods to stay ahead of competitors Measuring quality through testing o Maintenance and construction o Resiliency, dimensional stability, color change, chemical use o Durability and performance o Abrasion resistance o Strength, elasticity without distortion or breaking o Flammability o Colorfastness o How much will it fade and will the color transfer to other fabrics Sampling during testing o Both lengthwise and crosswise o Different areas across fabric, to check for consistency and weak spots o Average results across sample Fabric Construction o Fiber used o Fabric weight and thickness o Construction technique o Thread count or gauge o Yarn fineness and twist o Bow or skew o Hole or snags Day 7 Sizing and fit tech design process  Sizing according to brand standards  fit standards  patterns  construction techniques  produce sample size proportions  analyze samples based on style, fit, and construction  make adjustments wherever needed

size vs fit  size- the suitability of a garment to a consumer’s body measurements  fit- how well a garment conforms to and moves with the body size standards and anthropometry  measuring multiple points of the body to see patterns in “typical” body sizes and proportions  began with military uniforms for men  weren’t really standardized more widely until 1940s-1970s  remain voluntary  

ASTM and ISO have standard body measurements for different classifications and ranges Brands often come up with their own standards based on their target market

Size classifications  Womenswear- somewhat arbitrary number (0-24) o Juniors, misses, women’s (plus) o Maternity, petites, tall  Men’s wear- often body measurements o Short, tall, big  Children’s wear- based on age  XS-XXL are considered letter sizes o Brands can reduce the number of sizes produced Issues in standard sizing  Proportion and uniqueness of each body  2 women, different lengths, wearing the same size labeled plus size variations and constraints on range available  quality o size tolerance determined for production quality o how much can It be over/under the size specification  target market o who is the customer? What are their needs? Their expectations? o How can you build brand loyalty?  Price point o Amount of materials used, number and types of garment pieces used, construction techniques  Type of store o Department store vs boutique vs brick and mortar vs online

Vanity sizing  Listing a size as smaller than its true measurement  Happens because of brand loyalty and target market  Higher price point- allows for more room to buy more fabric  Lower price point- more likely to skimp on fabrics  Happens with men’s clothes too True fit  Uses brand specs directly. 17.000 brands across 250 retailers Fit types women  Form fitting  Slim  Curvy  Natural  Relaxed  Oversized  Loose/boxy Fit types mens  Slim fit  Loose fit  Relaxed fit  Regular Evaluating and perfecting fits  Prototypes o Help with determining proportion, drape, ease  Fit models o Use of live models to see how garments hang on the body, how much ease and movement o Throughout development  Participatory design o Collaborating with the consumer during the development process Evaluating fit  looking for evidence of drag lines, break, flaring, and distortion  are there specific seams or areas that cause distortion  look for o drag lines o break o flaring o distortion grain

how the fabric lays on the body is there any skew o twisting of legs, sleeves, torso off grain o does it hang crooked balance  symmetry fro o side to side, front to back, sleeve to sleeve o hem and waistline evenness o do the seams or center seams run perpendicular to floor ease  how much give is there in order to have a comfortable fit  static ease o at rest, standing  dynamic ease o in motion in use  

other factors affecting fit  posture of wearer  posture of arms  weight distribution on hip and feet angle  needs of specific populations  people with disabilities o what do they need

DAY 8 From 2D materials to 3D garment  must consider o do we want it to lay flat against body o hold shape anatomy of a garment pieces and parts  bodice front and back panels  leg or sleeve panels  skirt panels  waistband  collar and collar stand pieces  cuff pieces  pockets, belt loops  additional exterior pieces  facings and linings

patternmaking  ease and fit  how much dynamic ease is needed?  what kind of fit are you looking for? Creating shape: woven fabric grain  lengthwise o parallel to selvage o strongest  crosswise o runs from selvage to selvage o less strong, slight give to it  bias o cut on diagonal, most stretch Bespoke patternmaking  the menswear version of couture  garment is made from scratch per the customers measurements o a pattern is created for each garment, no standard patterns are used  multiple fittings during assembly to adjust for best fit and style Created shape  fitted o bias cuts  specific to woven fabrics  adds shape by changing how fabric hangs on the body  hugs the body without spandex or darts o darts  angled fold in fabrics stitched together to create shape around the curves of the body. Very important for woven fabrics o gussets  to improve the range of motion while still fitted  typically, under arms or crotch  most used in tailored garments without stretch and athletic apparel o shaped seams and panels o full fashioned knits  garment pieces knit to shape o fabrics with higher elasticity fullness  released darts o giving fullness where dart was, while not losing fit in other areas

  

godets o separate triangular fabric pieces gathering o scrunching up all extra fabric into waistline or sleeve. etc pleats o pressed folds of fabrics. Only stitched at top to hold in place

Fitted and Full  lacing  smocking  tucks o partially or fully stitched down  using any fullness technique along additional seam lines

DAY 9 Construction Stitches and seams Seams  joint resulting from 2 or more fabric pieces stitched together o stitch line o seam allowance o margin between stitch line and fabric edge looping and locking  looping and locking formation of one or more sewing thread that passes through one or more sheet of fabric  structural, but can also be aesthetic stitch seam and edge finish  seam allowance  dictates what types of machines and factories used  can determine skill level of workers  time and cost of production standard specifications  ASTM and ISO classifications o We focus on ASTM here but they are similar  Improves communication with factories

o Makes it clear exactly what is requested on tech specifications ASTM stitch classifications  100 class o single thread chainstitches o interloped o plain face. Looped back o cheap o unravels easily o low quality  class 200 o one thread up and down through fabric o softer hand, good decorative effects o slower o higher cost  class 300 o 2 threads. Interlocked o strong, reversible, comfortable against skin o hard to unravel, uses less thread o slower production, less stretch  class 400 o interloped, multi thread o faster production o strong and more stretch o uses more thread o unravels easily o bulkier seam o common in denim and knitwear  class 50...