2nd Year Diploma in Fashion Design NSQF Level-6 Student Work From Dezyne E'cole College

1. GARMENT PATTERN & FABRIC

2. Project Report
On
Garment Pattern and Fabric
At
Dezyne E’Cole college
Submitted to
Dezyne E’ Cole college Towards
The partial fulfillment of the
Two year diploma in fashion design
By
NSQF Level 6, of NSDC
2017-18
Dezyne E’Cole college
DIVYA VIJAYVARGIYA

3. ACKNOLEDGEMENT
I take this opportunity to express my profound gratitude and deep regards to Dezyne E ‘Cole College for taking us to
this visit.
I also take this opportunity to express a deep sense of gratitude to the mentors of Dezyne E’ Cole College for their
cardinal support, valuable information and guidance.
2 Year Diploma In Fashion Design
NSQF Level 6 of NSDC

4. This project of Ms. Divya Vijayvargiya student of B.Sc. Fashion Technology with two year Advance Diploma
program has been checked and graded as

5. Contents
 Introduction
Garment Pattern & Fabric
 The Pattern
 Grain Lines
 Pile Direction
 Fabric Pattern
 Introduction to Cutting Checks & Stripes
 Fabric Pattern
 The Garment Pattern
 Matching
 Checks
 Stripes

6. In this assignment We have to create a project based on the four preparatory process
that the pattern, grain line, pile direction and fabric pattern, are been used before
starting to cut samples

7. .
INTRODUCTION
Clothing technology is a broad based subject because it combines a number of individual
technologies, with each making a specialized contribution to the production of clothing.
All clothing factories have a specific technological capability which has been built around the
production of a particular category of garments. The levels of producing the same garment at
similar time standards. Irrespective of the levels of operation, it is essential that the designer
and pattern cutter both work according to the given framework and when possible, exploit it
to its fullest extent.
For all practical purposes the sample room is the research and development department of a
clothing factory, and one of the technical subjects which has to be examined is cutting. Before
a sample garment can be mass produced its practicability and efficiency as regards cutting
have to be ensured. It is worth bearing in mind that if something does not work in the sample
room, it certainly will not work in the cutting room.
There are four preparatory processes which are to kept in mind before cutting a sample,
which are:
 The Pattern – As a medium of communication and as a production tool.
 Grain Lines – Establishing the linear relationship between the garment pattern and the
cloth.
 Pile Direction – How this influences pattern component arrangements.
 Fabric Pattern – What has to be taken into account.

8. .
THE PATTERN
The pattern is the primary link between design and production and so must communicate
accurately with all the functions that have to use the pattern. These functions are pattern
grading, marker planning and sewing, and the pattern has to be clearly and precisely convey
the information necessary to perform each of these operations. This information is conveyed
by numbers, marks, nips, and notches, etc. there should be a pattern for every component to
be cut. Each pattern must be marked on both sides with grain lines and direction indicators.
Patterns should be paired when the garment is to be cut from open rather than folded fabric.
Two practical methods of pairing patterns are by marks and by colours:
 By marks – Cut pairs
for each component
and mark on one side
only of each of the
two components
when they are in a
paired position. The
blank sides indicate
correct pairing, as do
the marked sides.

9. .
By Colour – This method requires a pattern card
with a different colour on each side. Staple two
pieces of the card together with the same colour
inside, and then cut out the components. Pairing is
achieved when the same colour shows for a pair of
the same component.
A simple method to ensure the correct face-up positioning is to mark the reverse side of the
components. Every pattern place must be clearly identified as regards style number, garment
type, the material for which the pattern is intended and the number of components in a set
for a particular material, i.e. cloth, lining and fusible.

10. .
GRAIN LINES
This refers to the positioning of pattern components in relation to the true length of
the fabric. For woven materials this line is the knitted fabrics it is the wales. If grain
lines are incorrect, the finished garment will have a distorted appearance which
cannot be rectified. It is essential that each pattern component is marked with a
grain line on both sides for its complete length. The grain line is also often used as a
datum line when digitizing patterns for computerized grading.

11. .
As a general guide, the grain lines for main
components are:
Fronts : Parallel to the center front.
Backs : Parallel to the center back.
Sleeves : On or parallel to the true center line.
Lapel facings : The grain lines runs parallel to the
edge of the lapel section. If this positioning
produces an acute bias angle on the lower part
of the facing, it is sometimes permitted to make
a join across the facing between the top and
second buttonhole.
Patch pockets : Relative to their position on the
front; the grain line is parallel to that of the front.

12. .
• Inset pockets- For piped welted and similar types of
inset pockets, the grain line runs along the Length of
the pocket piece of pieces.
• Top collars- On the Centre back line of the collar.
• Under collars- These can be omnidirectional because
the grain line of the fusible used for this Component is
the controlling the grain line.
• Other parts- Generally, the grain lines can be derived
from the grain line of the component.

13. .
Pile Direction
This describes the lay, length and density of the protruding fibers on the surface of the right
side of the cloth. The question regarding pile is to what extent it influences the positioning of
pattern components on the cloth whilst observing the grain line markings. All fabrics have a
pile factor and for practical purposes they can be grouped under three headings :
One Way – On these fabrics there is a prominent pile
which lays in one direction only. Typical examples of
this type of cloth are corduroy, velvet and mohair. Due
to the very definite pile lay, the components of all the
sizes in a cutting marker must be positioned in one
direction only.

14. .
Two Way : This type of cloth is one of the most widely used in the clothing
industry because the pile factor allows for higher utilization than with one
way fabrics. Whilst these cloths do have a pile factor it is minimal, and this
permits the positioning of components for each size in opposite directions.
This method of positioning patterns in a cutting marker is often referred to as
‘one-up’, one down.
No Pile : Although this heading is a misnomer, it refers to materials which have a virtually
negligible pile factor. This enables components for one size to be positioned in opposite
directions. Fabrics for blouses., shirts and underwear are examples for this widely used group.

15. .
Fabric Pattern
This refers to the form of the pattern on the right side of the cloth, and has three aspects:
 One Way : This is where the pattern
form dictates that the garment
patterns for every size in the cutting
marker must be positioned in one
direction only.
 Two Way : This type of pattern form
has a definite direction but it is not
sufficiently dominant to warrant one-
way only positioning. In most cases
the pattern components for each size
can be positioned one-up, one-down,
but this decision has to be carefully
evaluated.

16.  Non Directional : This type of pattern form has no
definite directions and, subject to the pile factor, pattern
components for one size can be positioned in either
length direction.

17. .
INTRODUCTION
Checks and stripes are called, with good reason, problem materials because of the many
difficulties involved in their cutting and sewing. This is especially true when there are bold
patterns and full matching and symmetry are necessary. There is no one single proven method of
cutting these materials because cloth patterns and garment patterns vary considerably, and there
is always the possibility that the cloth has been distorted during its finishing processes. However,
there are some basic techniques and approaches which can be used and they relate to:
 The fabric pattern itself
 The suitability of the garment pattern
 Where to match the cloth pattern
 When symmetry is necessary
Warp
pattern
repeat
Warp
pattern

18. .
FABRIC PATTERN
This is where it all starts because a decision has to be made as to whether the fabric pattern is:
 Bold enough to warrant full matching
 Sufficiently prominent to require partial matching
 Indistinct, and can therefore be safely ignored.
Full Matching
this is necessary when there is a
conspicuous pattern which
if not matched, would create a
visual dissonance on the finished
garment. For checked materials and
those with prominent weft stripes,
this means that the body and
sleeves have to be matched all
round the garment. These fabrics
also require symmetrical elements
and sometimes a degree of
matching of the wrap line pattern.

19. .
Partial Matching
This applies mainly to heavily warp striped
materials, such as a regularly spaced solid
chalk stripe. There are standard features
on garments made from these materials
which require matching and symmetry and
the grain lines play a very important role.
No Matching
If checked or striped materials
have a very small pattern motif,
there is usually no need for
matching or symmetry. What is
essential with this type of material
is that the grain lines must be
strictly observed.

20. .
When planning to make sample garments in checked or striped materials, the designer has to
consider whether the intended designs are suitable for the selected materials.
A fabric with a strong pattern is usually the dominant design feature of a garment and, in
effect, it is the fabric which is being sold and not seaming and decoration. Therefore it follows
that prominent cloth pattern should retain as much of their continuity as possible and not be
broken up by seams, darts etc. In practical terms this means that garment patterns for these
materials should contain the minimum number of components which require matching and
symmetry. A garment design which has a simple assembly will greatly help to minimize the
costs of cutting and sewing.
THE GARMENT PATTERN
Matching – Although there are a number of similarities in matching checked or striped
materials, it is best to consider them individually.
Checks – Cutting these materials has to combine the matching of both the warp and weft
patterns. The size of the warp and weft pattern repeats are the determining factors.
Achieving symmetry with checked materials is complicated by the fact that the weft pattern
also has to be taken into account. Again, the main feature requiring symmetry is the top collar
and the lapel facing and the same principles as with striped materials can be applied to
checked materials, with the proviso that the weft stripes on the collar ends and facing are also
symmetrical. Components such as patch pockets must be symmetrical irrespective of how they
are to be matched.

21. .
Stripes - Apart from special design features, the matching of warp striped materials is concerned
with matching the top collar of the back, and with alignment of the front edges. The techniques
for matching the centre back section of the top collar to the back are exactly the same as those
used for matching the warp pattern of checked materials. The objective is also the same - to
ensure the pattern continuity of the entire back section of the garment.
All types of sewn- in sleeves should be positioned according to their grain lines, and pockets
such as welts and patches should be matched in the area on which they are located. With patch
pockets and flaps on fitted garments, it is not possible to match the entire length of the mouth
of the pocket with the body because of waist darts or shaped seams. Under these
circumstances, it is acceptable to match only the first two or three stripes from the front edge of
the pocket.
What is important for striped material is that the grain line positioning on the cloth should be as
precise as possible. It does not help the appearance of a finished garment if the stripes on
adjoining parts give the impression that they are going in opposing direction.

22. I have created a sample
garment using the four
preparatory processes
of sample cutting.

23. Specification
Sheet

24. Thank You