SIRI DESIGN ACADEMY
                                                    Pattern makers charm
                                                  Peg pants with variation

#patternmaking #fashion designing #peg pants #pattern master 

 

SIRI DESIGN ACADEMY

Pattern makers charm

Churidar - semi circular pattern

 

 

#pattern making #churidar #fashion-designing

Styling formals with traditional artwork !

 

I Introduced filigree in my wardrobe , and I am loving it !

Although I am a designer I am not very fond of  different types of jewellery and prefer to stick to my gold earrings and chain. A few days back my Friend introduced me to the jewellery of famous art work from Odisha ‘filigree’ or ‘tarakasi’. I have studied about this art ,taught about this art but never thought about including it in my wardrobe and jewellery box.

Well, here the challenge was as I am usually in formals and at times in casuals I was not comfortable with the idea of wearing traditional jewellery. And also who would go to shop for authentic artwork??? Well, today I had with me authentic filigree earrings and studs and just had to team it with my formals tastefully and aesthetically to receive the compliments! Who doesn't like   compliments???

 Although I was a little apprehensive about it initially but it came out effortlessly beautiful and for a change I came out of my regular gold earrings and chain J!

I am posting style boards here that would help you to incorporate these artwork into your closet.

 

There were reasons I introduced filigree jewellery into my closet :

1. It is beautiful
2. It is inexpensive
3. To encourage the artisans by buying their artwork. (Even artists have bills to pay!)   

Now , a little gyan about Tarakasi

Tarakasi is a form of filigree work from Odisha. A 500 year old traditional art kept alive by a few dedicated highly skilled artisans. It’s a fine wire work wherein mostly flowers , birds ,animals and other trinkets are made. It is also used to embellish backdrops which can be expensive and time consuming.

Generally speaking when we talk about filigree or tarakasi the name Cuttack comes to mind as this art has been thriving there since ages. Although it’s a common understanding that the art may have come to Odisha from Indonesia due to similarities between the workmanship. But I would like to accept the art by its face value. It is beautiful and delicate looking . Fine wire work which completely defines me ...


 

 

Dart width calculation

      Dart width calculation

 

   Here,  I  would  like  to  introduce  you  to  dart  width  calculation.

   1. Let  us  mark  the  apex  point  as G.

   2. Measure  from  center  front  to  the  side  seam  passing  the  measuring  tape  over  the  highest           part  of  the  bust  marked  as  points  A  and  B  as  shown  in  the  diagram.

   3. Measure  just  below  the  bust  at  empire  line  level  from  center  front  to side  seam  marked  as      points  C  and  D  as  shown  in  the  diagram.

   4 . Measure  just  above  the  bust  at  chest  level  from  center  front  to  side  seam  marked  as points       E  and  F  as  shown  in  the  diagram.

   5. Bust  root  is  a  circle  so  to  draw  the  circle with  

    radius = GB – ½ ″

    for eg.  If GB = 5″

    radius  of  the  required  circle  for  bust  base = 5″ - ½ ″

                                                                              = 4.5″

   6. Now, for  dart  width at empire  line  level  let  us consider  the  dart  width  as ‘x’  so,

    x = AB – CD

    for eg :

    AB = 10″

    CD = 7.5″

    So, x = 10″ - 7.5″

           = 2.5″

   Now, for  dart  width  at  chest  level  let  us  consider  the  dart  width  as ‘y’ so,

    y  = AB – EF

    for eg :

    AB = 10″

    EF =8″

    So,  y = 10″ - 8″

              = 2″

    So  the  dart  width at  empire  line  level  is 2.5″  and  at  chest  level  is  2″

     To  mark  the  dart  positions  and  dart  width :

   10. Taking  G  as  the  center  point  draw  a  circle  with  the  obtained  radius  in  step 5

    11. Draw  a  straight  line  parallel  to  center  front  from  point  G  upwards  to  shoulder  and           

     downwards  to  hemline  and  mark  the  points  of  intersection  of  this  line  with  the  circle  as  K 

     and  L.

    12. Now  with  a  compass  mark  the  dart  width with  radius at 

     empire  line  level = ½ x on either side

     and  chest  level = ½ y on either side

     here;

    dart  width  at  empire  line  level ; L= ½ x

                                                           =  ½ (2.5″)

                                                           = 1.25″ on either side

     Similarly , dart  width  at  chest  level ; K = ½ y

                                                                  = ½ (2″)

                                                                  = 1 ″ on either side

 

Inter facing part – II : Fusible and non-fusible fabrics

Inter facing part – II

Fusible and non fusible interfacings are available in woven , non woven , self fabric , stable , stretch , all bias ,knit , warp and weft insertions .

Woven interfacings : woven have similar grain like any other woven fabric with warp and weft . Woven interfacings are available in both fusible and non fusible types . It should be cut on the same grain as fashion fabric that will maintain its natural drape and look as desired. If you are using woven interfacing for knit make sure to cut the interfacing on true bias so as to ensure the natural characteristic of stretch is preserved. In case of knits interfacings are used to prevent excessive stretch and sagging.   

Self fabric : Are non fusible closely woven fabrics that can be used as interfacing if it meets the requirement of fashion garment and present the desired look. These fabrics have propensity to add bulk so should be used after due consideration.

Non – woven : Are felts where fibers are bonded together to form a fabric. Non – woven interfacing are generally fusible and have a paper like appearance with adhesive on one side. Though they have little flexibility but do not lose their shape and impart board like appearance when fused to a fashion fabric.

Stable : Like the name suggests has little or no ‘give’ in any direction  and hence maintains the composer of the fabric. Should be used where the garment weight is  to be carried by a small section like shoulder panels.

Stretch : There is stretch in cross but is stable in warp or length. These are suitable to be used in the fashion fabric where the natural stretch in to be maintained without compromising the required drape.

All-bias : This interfacing is stretchable in all directions with more stretch in weft or cross grain. Most suitable to be used in combination with knit fashion fabrics and woven with more than 10% spandex to retain the characteristic of the fabric.

Knit : Knit interfacing is soft and stretches in all directions without much constraint. Are mostly fusible interfacing suitable to be used in combination with softer fashion fabrics where you do not want to change the hand, drape and flexibility of the fabric.

Weft – insertions and warp – insertions : Is made on knit machine where one of the warp or weft yarn is inter-looped and the other yarn is inserted. The insertion of this extra yarn into the knit makes the interfacing more steady. These interfacings are softer while weft interfacing has most stretch on bias, warp has more stretch on cross grain as the warp yarn is inserted in the chevron pattern. Both come in fusible and need lower temperatures and hence are suitable for fashion fabrics that cannot be subjected to higher temperatures of ironing machines.          

 

 

Here are some of the fabrics and the most suitable interfacing and the resultant effect.

·                     When using very light weight to light weight sheer fabrics  like organza , voile , georgette , chiffon,  crepe, challis , calico , chambray , interlock knit , jersey , single knit , batiste which are commonly used in making dresses, light weight suits , active sportswear etc. you can use any of given interfacing for soft effect like batiste , sew – in sheer or regular organza, very light weight stretch or non – woven or self fabric interfacing.

              Whereas for crisp effect you should use any of the given interfacing like organdy ,   

           sew – in or fusible light weight , sheer woven or non – woven , fusible knit. 

·                     When using medium weight fabrics for fashion fabric like linen , light weight denim , poplin , flannel , satin , chino , velour , stretch terry , double knit etc. which are used for making dresses , light weight suits active sportswear and likewise you can use any of the given interfacings for softer effect like fusible or non – fusible woven , regular or stretch light weight to medium weight non – woven or fusible knit .  

Whereas you can use fusible or non – fusible light weight to medium weight canvas , can – can net , medium weight net , light weight to medium weight horse hair for crisper effect . 

·                     When using heavy weight fabrics for fashion fabric like corduroy , tweed , worsted , gabardine etc which are for making jackets , suits , coats and likewise you can use soft light weight fusible or non – fusible canvas or any medium weight fusible or non – fusible non – woven , fusible heavy weight tricot . 

            And use sew – in  or fusible medium weight woven hair canvas , horse hair ,                   fusible heavy weight non – woven for crisper effect . 

·                     When making waistbands and craft belts use fusible non – woven pre-cut strips of canvas or raffia , medium to heavy weight knit braids , fusible fleece , for the required stability and durability.   

Fashion fabric - Interfacing : Fusible and sew - in

Interfacing

Interfacing has become an integral component in garment industry recently with designers , students , tailors using interfacing for every garment they design and sew. I believe it is essential to have a clear understanding of the product , purpose and fashion feature before using it.

Now , do you find this confusing ? Here I will explain interfacings that are commonly used in garment industry and the key factors .  

Interfacing is a layer of fabric either sewn or fused to provide shape, steadiness and structure to garment .for eg. It is used in plackets in buttons and buttonhole areas to avoid shape distortion and stretch, in collars and cuffs to add crispness and in facings and lapels to add stability and structure. In garmenting it is used to preserve the shape while in costuming it is used to add drama or the desired theatrics.

There are two types of interfacings used in the garmenting industry namely fusible and non – fusible or sew – in interfacing.

Fusible and non fusible

Fusible : Fusible interfacing are easy to use and convenient in handling. You just need to iron the fusible fabric on the wrong side of the fashion fabric which has heat activated adhesive to stick completely to the fabric.

Non – fusible : Sew – ins or non fusible like the name suggests are to be sewn to the fashion garment as second layer. These are less likely to change the hand and feel of the fabric but serve the purpose of adding volume , structure and opacity.Goats hair and horse hair are two very good example of sew – in interfacings used in tailoring later majorly being used in haute couture garments. Non – fusible are advised for fabrics that display residual shrinkage like cottons where a fusible interfacing can damage the look of the entire garment.

Fusible and sew – in interfacings are available in woven , non – woven , knit , warp and weft insertions (knits)

Before one starts using the interfacings it is essential to understand the key factors that guide the use of interfacing : A appropriate and functional interfacing should be:

·        In coherence to the fashion fabric in relation to fibre content , care , count , and conduct .

·        It should be or have the same ‘grain’ and ‘give’ as the fashion fabric with which it is being used. When applied it should be in sync with the fashion fabric and when fusible interfacing is used care should be taken that there are no bubbles , wrinkles , folds or creases .

·        Harmonize closely with the fashion fabric in colour ; dark with dark and light with light . It should not alter the colour of the fashion fabric and if an interfacing of suitable weight cannot be procured one should go for lighter weight than heavier.

·        Provide apposite support needed to improve or preserve the shape of the silhouette of the garment.

·        Should be used wisely and in the appropriate place in a garment . It should suit  the pattern , design and garmenting condition .

Functions of interfacing

• The purpose of interfacing is :
• To provide stability to the fabric preventing stretch and sagging .
•  Tailored and refined seams like in corsets.
•    Strengthen areas .
•  Support  restrained areas like necklines’ , armholes , hems etc.
• Stabilize belts , waistbands.
•  Give smooth and flat board like body.
• Provide shape to areas like shoulders , collars , cuffs , etc.

Selecting interfacing guidelines

Selecting interfacing at times is so difficult that many sewers prefer to use the same interfacing for all type of fabrics and all type of garments and in all the areas. Learning basic principles will help to enhance the look of the garment and give a professional edge which would eliminate guess work.

     ·  Interfacing should be considerably lighter or of similar weight as that of fashion fabric             being used . The only exception being an exaggerated effect  needs to be created or to         alter the drape and hand of the fabric.

• Pre-test of interfacing on the fabric is always advised for an amateur . Run a swatch test to check the effect . A fusible interfacing gives more body and flat board like appearance to certain extent and non fusible would only add body. In case of suitable interfacing you need not trim away the seams as it does not bulk.
• Interfacing should have the same ‘grain’ and ‘give’ as the fashion fabric and also same in weight and colour to certain extent if not similar.
• Interfacing should required the same care and storage as the fashion fabric. Interfacing will either be fused to the fashion garment or sewn with the fashion garment so both must carry same guidelines for washing or dry cleaning.
•  There might be more than one type of interfacing needed for one garment like a belt would need a heavier interfacing than a collar and same or lesser weight interfacing for other sections. The ‘right’ interfacing is the one that serves the purpose of its use.
• Consider the heat sensitivity of the fabric when using a fusible interfacing. Otherwise also the two fabrics should be compatible with respect to heat , steam and pressure for future laundering and ironing.

Women's shirt - part - II