PROPERTIES AND PERFORMANCE

Distinguish between functional and aesthetic design -Functional- refers to designs that are made to perform for a specific end use eg long sleeves to protect wearers from the sun such as children. -Aesthetic- refers to a design which looks good and is eye catching eg fully beaded formal gown. What is meant by contemporary design? This refers to modern, innovative designs that incorporates the fashions worn at the time. Eg Peter Alexander and his pyjamas. What influences the success or failure of a designer? External Factors: 1) Economic: This includes the financial state of the currency, the value of the dollar, the world economic climate, recessions, the impact of GST and other taxes etc. 2) Political: This includes government policies, the support given to textile industries, restrictions, trade agreements, current world political climate, wars etc. 3) Social: This refers to the influence of trends in society, mores, values, customs, cultural influences, censorship. 4) Ecological: This refers to the impact of the surrounding environment including climate, natural conditions, disasters and pollution. 5) Technological: This includes the level of advancement available, access to technology, costs and physical availability. Internal factors: 1) Expertise: This includes the knowledge and skills of the designer, their training and background experience. Their ability to use current technology and to understand and implement govt policies and regulations. 2) Facilities: The available resources, access to machinery, state of machinery, including the ability to keep business up with current technology. 3) Financial: The financial backing of the designer, their ability to sustain a profit and to keep current. Cashflow is important. Refer to these for specific designers which can effect the success or failure of a designer. COLLETTE DINNIGAN External Factors: Economic: With the current state of the economy Collette has had to “see things small” as tourists have snapped shut their wallets. There are smaller number of tourists due to terrorists etc. She has had to made modifications to her business plan: 1) She has modified the operations in her fashion house to meet with the decline in the world wide economic marketplace. Her outrageously expensive masterpieces have been replaced with more moderately priced pieces. 2) Skirts, blouses, trousers etc average around $600-$800. More ornate pieces are $1000$2000, instead of $5000 pieces. 3) For Aut/Winter 2004 she added an urban edge to her fanciful and feminine ready-to-wear collection. Her items were more practical. Praised by both consumers and press. Political: Collette supports the idea of helping women continue self-employed careers through pregnancy and motherhood. With her appointment as head of Small Business Development Corporation she pushed for child care reforms. She also nominates tax reform and cutting govt red tape as main issues. -As most Aus designers base their ranges on European fashions they must paid heed to the GATT agreement that prevents the sale of fraudulent copies. As Collette has carved a niche for herself through the use of lace, sheer, beaded fabrics and because they are unique often she is copied. Social: She can boast that her label has been worn by a „whose who‟ list eg Kylie Minogue, Nicole Kidman, Cameron Diaz, Sandra Bullock etc. It seems that whatever the event is, Collette is well represented. For example the dress worn by Nicole when singing with Robbie Williams in their version of „Something stupid‟ was made by her. It was a floor-length dress encrusted with swirling beads and slashed at the thigh. It cost $6000. Technological: launched her internet site in early 2001, for company exposure. The site has a brief history of the designer, infor, photos of past and present seasons. The design is modern yet distinctly feminine, keeping with her style. -uses technology in the manufacturing of her garments through using computers to aid pattern designs. Large scale garment manufacture is rare thus is not as technological advanced in machinery used by other brands such as „levi.‟ Internal Factors: Expertise: she started to make silk chiffon underwear for friends 10 yrs ago. Her designs were so beautiful that her clients started wearing them as outerwear. As popularity increased she received orders world wide eg Barney‟s New York. -Worked for costume department in sydney which allowed her to get an eye for attention to detail and historical perspective on both fabrication. -In 1990, she launched own label and debuted Aus fashion week 1995. -Chose Paris as seductive and charming. -Fashion awards such as Celebrity designer of the year 2004, and Fashion awards by CLEO. Facilities: Every garment is made in Sydney and shipped overseas. The collection is merchandised in stores around the globe from Middle East to United States. Her reasoning is loyalty to her country with the high standard of quality and workmanship of garments manufactured in AUS. However, costs involved compared to elewhere are prohibitive. -Beading done on her clothes, intricate embroidery is done by a man in India. She shops for fabrics in Europe. She visits the Indian 4 times a year. -In 2001 the introduction of a lingerie label Wild Hearts was introduced- the company purchased a licensing agreement with Dinnigan to use her name in the labelling and promotional aspects. She is a shareholder and makes sure designs are to her standards. This, the internet site and opening an „in store boutique‟ at David Jones in Bondi are all part of marketing. Finance: Financial strategies- assistance from a TCF client manager helped them to select an appropriate business consultant. Working with these people, she did a review followed by a business plan. Eg planning and goals. During process staff were encouraged to honestly evaluate strengths and weaknesses. Made her employ right person for right job and have an accurate cashflow. Identify a contemporary designer and describe TWO distinguishing features of their designs. Collette Dinnigan is famous for her „feminine, sexy, young‟ designs. She uses intricate embroidery and beadwork on many of her designs as these are apart of her delicate style. She also uses lace to give a feminine look and uses very fine materials. Examine the relationship between this designers work and modern design trends. There are many tops in retail outlets such as Sportsgirl and Portmans that use intricate beading and lace, which use the same techniques and styles of Collette. As these designs are available at a cost that is much less than Collette, her styles have become modern trends. Formal dresses that have been intricately beaded and are very feminine are available in formal shops too. Similarly, as a dress made by Collette for stars such as Nicole Kidman and Kylie Minogue cost $5000, these cheaper imitation dresses offer more affordable options. VIVIENNE WESTWOOD Analyse how TWO external and TWO internal factors can influence the success or failure of a designer of your choice. Vivienne Westwood is a very outrageous designer. There are many internal and external factors that can contribute to her success. Social factors can lead to both the success and failure of her designs. Social attitudes of the time can influence their style of clothing they desire and if Vivienne can capture this market she will be a success. She proved this in the 1970‟s in London where the hippie/rebellion attitudes were ascending. She knew that many teens criticised „sex‟ for being perceived as unorthodox and she captured this market by producing „punk wear.‟ She produced garments with ripped t-shirts, tight leather apparel, chains etc. By capturing this market she essentially rose her way into the fashion world and became popular. Similarly, if she does not capture the social attitudes of the time she will be a failure. If she produced a „witch‟ collection in a time where there was great prosperity it is unlikely she would be successful. The consumer would want to purchase brightly coloured, happy clothing thus black depressing clothing would not be popular. Economic factors can lead to both the success and failure of her designs. A booming economy can influence whether she will be a success. As she is located in London, a world city with a great economy, trade networks and businesses she has had access to unique fabrics and the most up to date technologies and machinery for textile purposes. For example through the latest machinery she was able to make a collar extremely pointy and narrow. In this way she can be more competitive globally by having easy access to these items. She also can order any imports and know it will arrive efficiently due to London‟s great trade and transport system. The socio-economic factors can help her become a success too. When she made clothing in the 70‟s many poorer people could afford it and this made her business a success. Now she is successful due to the very wealthy people who can afford to buy her clothing and thus keep her in business. Similarly economic factors can lead to her demise. If the economy fell (for example the stock market crashed) and she failed to create affordable textiles for specific socio-economic groups Vivienne would fail as a designer. If she continued to produce expensive items the consumer would look for cheaper options. Similarly if the economy were poor importing and exporting items would not be as efficient and Vivienne would not have as easy access to the latest technologies. This would put her behind other competitors. Her low expertise level can lead to her success and failure of her designs. By not going to fashion schools for trained education she is more in tune with public demand. It was this factor that helped Vivienne Westwood as she was living with the masses and could produce items that reflected social attitudes. As a teenager she only altered Butterick patterns and was of a middle class status. This was all she needed to make clothes, but her outrageous designs such as her „punk‟ collection could only be produced by living with the masses. Her inspiration of rebellion pushed her to make „punk‟ clothing, which made her popular, and she did not need expertise to do this. By hiring trained employees today she can better her chances of success as she can take on their educated ideas. Similarly, her low expertise level could lead to her demise. By her little knowledge of marketing, business and perhaps methods of fabric decorations could place her behind competitors who are trained to be successful in a global market. They may advertise more professionally and have better economical understanding of their business such as knowing what their budget allows them to do in regards to fashion parades etc. They may have the knowledge to create special techniques in garments that she is unaware of. Financial factors can lead to her success as a designer. If Vivienne is on top of her finances and makes a profit she will be successful. Vivienne does this by holding fashion parades every 6 months. It is very costly with the cost of models, hair-dressers, electricians etc. But her themes are always clear such as her “Portrait” collection where she placed a huge frame around the entrance to the catwalk. She is repaid by the purchases of customers who have viewed these items on the catwalk. As long as Vivienne designs are desired she will be a success. Similarly, financial factors can lead to her failure as a designer. If Vivienne is not on top of her finances and does not make a profit from her parades she will be a failure. If she does not produce designs that are wanted by customers they will not buy it, and could consequently lose money from the high cost of the parades. Clearly social factors, economic factors, financial factors and level of expertise can influence the success and failure of the designer Vivienne Westwood. Identify a contemporary designer and describe TWO distinguishing features of their designs. Vivienne Westwood‟s style depends on what influences her at the time. She is a very outrageous designer that has produced collections of different themes. Her „Punk‟ collection produced in the 70‟s involved clothes with rips, zippers, chains, holes, straps and pornographic images mostly on leather clothing. In the 80‟s she produced a „Harris tweed‟ collection was inspired by the Queen and involved corsets, traditional tailoring and tweed fabric. Examine the relationship between this designers work and modern design trends. Little items of Vivienne‟s „Punk‟ collection remain today. In stores such as General Pants, girls and boys jeans have chains attached to them. The hem of the jeans are often ripped and frayed and at one stage jeans were sold with rips in them. Clearly Vivienne‟s „Punk‟ designs have influenced modern design trends. Vivienne‟s „Harris Tweed‟ collection has had an effect on modern design trends. Tweed jackets sold in retail outlets such as Sportsgirl have been very popular and like Vivienne‟s collection, have been cut with traditional styles eg, pointed collars, large buttons, very fitted. What are some historical developments and their impact on contemporary design? (not swimwear) These usually result from consumer demand or changing needs. These developments bring about fashion change. They cause trends to change. -Zippers- started as functional, replaced buttons, used for mens flys and womens pants, zippers now nylon or metal, zippers become decorative. -Nylon- first used as stockings and parachutes, boat sails made from it, today used as underwear, tops and curtains. Cultural influences on contemporary design. Identify some current cultural trends in each area. Apparel- 60‟s hip huggers, denim, retro Furnishings- plain coloured furnishings with no detail, modern Costume- no real trend Textile arts- decorate homes with textile pictures, not a lot. Non apparel- diamondtees, beads, Fashion notes -Fashion is an accepted style or group of styles in dress or personal decoration established during a praticular season. -Fashion trend= direction in which fashion is moving- the styles gaining favour. -High fashion- a fashion of limited appeal due to high cost, too sophisticated or extreme. -No group of styles can be considered a fashion unless a substantial proportion of the public buys it. -Fashion changes due to socioeconomic conditions that effect publics needs, wants -Fashions are cyclical as they go through stages of increasing and decreasing popularity. They vary in duration and degree of acceptance. -Most retail outlets produce on a „sample, test, reorder‟ system. They put out a sample and if it evokes response they reorder larger quantities. Fabric Decoration- Methods *Hand Embroidery -Decorating a fabric with stitches, created by hand using a needle and threads. *Machine Embroidery -Decorating surface using stitches created by the sewing machine. -Design can be achieved by using stitches programmed into the machine or can be individually created by lowering the teeth of the sewing machine and guiding the fabric in the direction and at the speed desired. -If freehand- change the machine setting, changing the feet and use an embroidery hoop. The pattern made is completely random according to movements of user. *Applique -Is the process of attaching fabric shapes to a foundation fabric by means of stitching. -Stitching can be done by hand or machine -Stitching can serve as a functional role or just as surface decoration. Designing an Applique: -Designs should be simple and bold rather than intricate. Can be one piece or many. -If your design comprises of two or more different shapes they must fit together perfectly. Bottom shapes must be placed on first. -Use any good quality machine thread, polyester is strong and washes well. Thread must match design. Rayon thread not as strong but adds effect as it is shiny. 100% cotton is not recommended as it may shrink if it is laundered. -for fabric, if needs to be laundered should use washable fabrics eg cotton, linen blends. 100% synthetics not suitable if webbing is used as if hot iron used it will melt and damage the fabric. Background fabric must be compatible. If item not laundered choice is wider- silks, velvets leather. Medium to lightweight fabrics is easier to handle. Sheer and loosely woven fabrics fray easily and stretchy not suitable. *Printing -Is the application of colour to a piece of fabric via some medium. (eg block, roller, or screen) in a predetermined design. -In printing, coloured designs are applied to the surface of the cloth in the form of a predetermined design or pattern. -Colour is usually applied as a paste or dye or containing pigments, and a binding material. This is fixed by steaming or heating and the excess colour is removed by washing. *Dyeing -Is the immersion of fibre, yarn or fabric in a dye bath to achieve colour. -Surface decoration effects and patterns are achieved when barriers such as wax or binding are used as a resist to prevent the absorption of dyes to specific regions of the fabric. (This is known as a resist-dyeing process) Fabric decoration- harder notes on fabric, yarn and fibres Colouring processes: used for textiles are fibre, yarn or fabric finishes depending at which stage the dye or pigment is applied. -Dyeing is usually done after finishes. Solution and fibre dyeing is produced prior to spinning. -Yarn dyeing and yarn printing is produced prior to weaving or knitting. Permanence of colour: depends on the kind of dye used and the method and stage of its application. Any dyed fabric must be suited to its end purpose and not loose it‟s colour through normal use or cleaning. Pigments: are insoluble colour particles that are held to the surface of a fabric by a binding agent. They are also mixed with a spinning solution for man-made fibres. Dye: must be in small particles that can be dissolved in water to penetrate the fibre. Dyeing can be applied at any stage but will be successful if the dyestuff bonds to the fabric. In depth notes about Dyeing -It is the immersion of fibre, yarn or fabric in a dye bath to achieve colour. -Dyeing is almost always dissolved or suspended as particles in water. -The textile fibre, yarn or fabric is immersed in the dye and agitation assists. -The temperature and time of immersion depends on dye and on type of fibre. Some dyes work in cold water, but most need heat and time for best results. The special auxiliaries in the dyeing process: -can be considered a chemical reaction which is enhanced by special auxiliaries. These include: *Carriers- swelling agents that cause the fibre to swell making it easier for the dye molecules to enter. This helps for Nylon and Polyester. *Levelling agents- added to dye liquor to help produce a more uniform colour. *PH control- some require a high pH and others require low eg wool. Physical conditions significant to dyeing: *Temperature- generally higher temperatures cause more rapid absorption of the dye. Different fibres require different temperatures and time. It is desirable for industry to minimise temperature so there is less heating costs. *Time- Time and temperature are closely linked. Dye should not be absorbed too rapidly by the fibre as it is likely to be absorbed unevenly. *Agitation- Motion helps to separate the fibres from each other and to increase surface area for dye absorption. It pushes dye through fabric. *Polarity- polar hyprophilic- dyes that are readily soluble in water. Polar fabrics attract polar dyes. Polar hydrophobic are disperse dyes which are not soluble in water. Non polar fabrics attract non-polar dyes. *Dye molecule size- the larger the dye molecule, the more difficult it is to penetrate into the fibre. *Liquor ratio- It is desirable to have more dye per volume of water- the less water to dry. *Mordant- creates a bond between dyestuff molecules and fibre and helps colour fastness. Importance of steaming/fixation: -Done after dyeing and ensures colour fastness. It stabilises the dye or pigment so that it is less likely to migrate to other parts of the fabric, fade or be affected by chemicals. Importance of scouring: -This removes the residue dye molecules from the surface of the fibre. If not done they could rub off onto adjacent materials, especially in the wash. The Dye process: *Batchwise process- whole batch passes through single processes at any given time. *Continuous process-sequenced series of processes. Dyeing Methods- stages at which a textile may be dyed: *Fibre stage- before the fibres are spun into yarn. The dye is able to penetrate each fibre and gives a uniform colour and colour fastness. Solution Dyeing- adding coloured pigment or dyes to the spinning solution, thus each firbe is coloured as it is spun. Stock or Fibre Dye- dye is added to the loose fibres before yarn spinning, good dye penetration achieved. *Yarn stage- yarns are dyed in skins. The dye still penetrates well but may not be as uniform at this stage. Fabrics that are striped, plaids or checks are almost always woven from yarns that have been dyed at this stage. *Fabric stage- this is a cost effective method since it allows the manufacturers to store undyed fabric and use it according to demand. Jig dyeing- method consists of a stationary dye bath with two rollers above the bath. Cloth is carried around the rolls through the bath once every 20 mins. Acetate, rayon and nylon fabrics done by this method. Pad dyeing- fabric is run through the dye bath and then between squeeze rollers that force dye into the fabric. Cloth runs through fast and pad box holds small amount of dye liquor thus cost effective. *Liquid polymer stage- before the spinneret. This is for manufactured fibres only. Dye becomes part of the fibre and has perfect colourfastness. DYEING EXPERIMENTS Identify ONE of the principles used in textile dyeing. One principle is agitation. This involves moving the fabric in the dye bath to increase the amount of dye absorption into the fabric, yarn or fibre. Describe and evaluate how an experiment you conducted demonstrated this textile dyeing principle -The experiment consisted of two dye baths. (big buckets of water/dye mix) -A metre square piece of calico fabric was immersed into each of the dye baths and left until the next day. -The difference being that every couple of hours one of the pieces of fabric was moved using a spoon. -When the fabric was taken out and washed to remove the residue the piece that had agitation applied to it was brighter in colour. -This is due to the movement of the fabric as it has allowed the dye to penetrate deeper into the cotton fibres with a much brighter and lasting result. In depth notes about Printing -the application of colour to a piece of material via some medium eg block in a predetermined design. The advantages over dyeing: -Greater scope for designing -More colours can be produced -Complicated designs can be produced -Methods of printing are quite varied -Usually less costly. -Printed fabrics can be distinguished from woven fabrics b/c the printed side shows the design clearly and often doesn‟t penetrate the fabric. -can produce complex and intricate multicoloured patterns that cost less than Jacquard mechanism in weaving. The General theory of printing: -Printing paste made from dye, water, thickener and oil. -After paste is applied steaming allows the dye molecules to enter fibre polymer system. -Within the paste, forces of repulsion are developed between the dye molecules and the paste, and forces of attraction are developed between the dye molecules and the fibres of the textile material. -Dyes- for printing must be thick paste b/c the colour is to remain within the boundaries of the design while the fabric is being impregnated. The Role of the Thickener: -The physical-chemical properties of the thickener must be so that after printing, it will form a film of sufficient plasticity and elasticity not to flake or crack when dry. Different kinds of thickeners: 1) Natural gums- eg gums prepared from starches. 2) Man-made, natural polymer based gums- eg water soluble cellulose ethers. 3) Man-made, synthetic compounds- eg polyvinyl alcohol -The thickener must compete with the fibre for the dye. Eg a cellulose material should not be printed with a cellulose base thickener as the dye may not want to leave the thickener for the fibre. The Role of Steam: -achieves colour fastness. 1) steaming generates energy in the dye molecules for them to enter the fibre polymer system. 2) steaming swells the fibre so that the dye molecules can enter the fibre polymer system. Dry Heating: -Used for thermoplastic fibres. The dry heat causes the polymers in the amorphous regions to move far enough apart to allow entry of dye molecules. Washing off: -Removes thickener which has entered polymer system of fibre. Colour Application: -Printing can involve the application or prevention of colour to the fabric. This can be done by: *Resist technique- fabric is printed with chemicals which prevents dyes being taken up in the chemically treated areas. *Dyed technique- fabric printed with a mordant and the final colour being revealed after applying the „rest‟ of the colouring compound. *Direct technique- an undyed fabric has design printed directly onto it. *Discharge technique- dyed fabric printed with a paste which destroys the dye in areas according to the printed design. Traditional methods of printing: *Block printing- A carved wooden block which has the design in relief is dipped in paint and pressed onto fabric, leaving the design of the raised surface. *Lino printing- The background is cut away from a thick piece of linoleum to leave the design in relief. Printing ink is applied to the raised surface then pressed onto fabric. *Batik printing- Hot wax is applied to the fabric. The fabric is then dyed. The dye is not absorbed where the wax design has been applied. Additional waxing and dyeing can result in colourful designs. *Tie-dyeing- Parts of fabric are wrapped with string. The fabric is then immersed in a dyebath. The dye does not penetrate where the fabric has been tied. *Screen printing- a cut out stencil is placed onto fabric. A fine mesh screen is lowered over the stencil, printing paste is applied at the end of the screen and a squeegee is then used to draw the paint across the stencil. The printing paste will colour the fabric where the stencil is cut away. The process can be repeated. Modern methods of printing: *Engraved roller printing- A cylindrical copper roller is engraved to match the desired textile design. An individual roller is necessary for each colour. Colours are transferred from the colour troughs to the rollers through a furnishing roller, which forces colour into the engraved recesses. Excess colour removed by a doctor blade. *Discharge printing- The fabric is first dyed a dark colour. A discharge paste (containing bleach and dye paste) is printed onto fabric. The dark dye is thereby removed from the specific areas of the fabric, which is then impregnated with a new dye colour. It is expensive but has complete coverage of large backgrounds. *Vapour transfer printing- A coloured design printed on paper is transferred to fabric without image distortion. Thus paper preparation is needed and the need of suitable inks to the paper. Similar to roller printing. The thermal transfer is carried out at high temp causing the dye to change from solid to gas. *Rotary screen printing- fabric is attached to an endless driven blanket which passes under a rotating screen. The printing paste is pumped from a container into the centre of something. Each colour is applied through a different cylinderical screen. Rotary screen printing is the fastest method of screen printing and is used for quantities of fabric that are somewhat smaller than those for roller printing. *Warp printing- Warp yarns printed then woven with filling yarns which are white or plain in colour. This produced hazy pattern. *Electrostatic printing- Powdered dye, mixed with a carrier is applied to screen. Screen passed closely above fabric and passes an electric field which attracts the dye to the fabric. *Jet printing- process involves continuous streams of dye forced through jets, used on carpeting and thick fabrics. Eg Microjet injection. Surface Decoration -Trimmings are accessories or details applied to the surface of a garment. They can be applied before making a garment or after. -They can be decorative or function or both. -Those that can be removed without altering the structure of the garment are aesthetic decorations eg beading, embroidery. -Others such as buttons are functional. -A trimming should only be used if it enhances the appearance and is not of a heavy weight or larger size. Types of Trims: *Applique- see above *Badges- purchased and can be embroided, metal etc. Normally stitched on but can have heat seal backing. *Flowers- can be made from fabric or purchased separately. Can be small, soft and delicate or large and flamboyant. *Feathers and fur- add fun and sophistication but require skill as can overpower a garment. *Ribbons- Can come in varying widths, threaded through button holes, lace or eyelets or stitched flat. Can be woven to make a fabric. *Binding- folded strip of bias cut fabric used as an edging. It eliminates need for bastings. *Elastics- can be attached directly to garment as banding at the waist, wrist or ankle and used as accessories such as belt. They eliminate the use of openings and fastenings and is often concealed in casings. *Stitching- top stitching- sewing on right side of garment which flattens seams as well as being decorative when used in contrasting coloured thread or in multiple rows. -Shirring- two or more rows of gathers stitched in place to control fullness. Used on bodices, yokes, sleeves and elastic may be used for stretch. Culture study- India Textile Production and Art Forms Paisley- Paisley motif originated in Kashmir. -It is a fertility symbol based on the new shoot of a palm. -The motif is known as kairy (mango) and buta (floral form) -Tear-drop shape. -Genuine shawl takes 18 months to make from the soft wool on underbelly of goats -Can be woven on hand looms. Mirrorwork- typical features -Small mirrors are sewn onto the fabric -Meant to reflect the evil eye away from the wearer. Embroidery- main regions in the north west eg Sindi -practicised by both men and women, used for decorating clothes aswell as creating wall hangings, rugs, accessories. -used since the dawn of history. Cotton cultivated since 2000 BC. -Most popular forms of embroidery are satin stitch. -Most garments were made from cotton until synthetics introduced. Wealthy wore silk grown on the eastern part of the nation. Textiles as a medium of self expression and communication between people -Different colours of clothing symbolise different things. Black is symbol for the newborn, the struggle to enter the world and the haphazards ahead. White is symbol for death- happiness and freedom of soul. Red/yellow- joy and merriment used for bridal outfits. -Religion plays role in embroidery design. In some Hindu areas the god Vishnu is obvious in the form of fire. -Many types of embroidery are stylized and produce more representational work showing flowers, people, trees etc. Often they have a ground of black, indigo or white cotton. -Natural dyes account for the traditional colourings of fabrics and threads. Dye colours were logwood (red) indigo (blues and purples) -Wealthy wear silk. Effects of culture on textile design in Contemporary Society -Paisley motif is used globally *Most well known for the shawls. Design found its way to England in 1760‟s where copies of original were made. *Use of paisley motif in furnishings is attributed to Napoleans wife who had gowns, bedcovers and cushions made from the shawls. *Arthur Liberty- presented it as the Liberty print and was used for home accessories- pattern still popular today. -Embroidery *most is found on the tunics which Moslem women wear over baggy, full-length trousers, also on shawls etc. *decorative embroidery used to brighten up the home with wall-hangings, quilts etc. *Cotton and silk cloth which is hand woven is often embellished with embroidery, metal threadwork, beads and even jewels. *Gold embroidery on sari of Nicole Kidmans in movie Moulin Rouge. -Mirrorwork *Mirrorwork and intricate beading is used in apparel. Esp on catwalks. For eg Collette Dinnigan gets an Indian man to do the beading for her apparel. -Western influence on culture *traditional sari which once concealed the body is now wrapped over the hips leaving the midriff bare. List the historical developments which have occurred during the last century in your nominated focus area of apparel. Swimwear 1900- Jantzen introduced rib stitch in a rubber like fabric. 1910- first appearance of tight fitting black one piece without skirt and sleeves, but pants still about 2 inches above the knee. (Jantzen produces wool rib rowing suit) 1920- Suits featured short skirts on a sailor costume (war inspired) Costumes were now covering less of the bather. Introduction of the Maillot- two piece consisting of a vest shaped top extending to the upper thigh over shorts. Speedo began in AUS and in 1927 the revolutionary racer back style launched. 1930- Womens suits cut lower in back and arm hole, it was functional and streamlined. Fabrics included wool and silk- four styles maillot, sheath, two piece and dressmaker. 1940- characterised by the two piece suit. Wartime shortages put a damper on colour. At end of war synthetic fibres- rayon, nylastic made possible for diversification in styles and market specialisations. Bikini introduced. 1950- Pointed breasts and slim waists and other developments such as rubber elasticised fibres with boning. Colourful patterns and use of nylon for racing swimwear. Invention of lycra. 1960- Showcasing the body. Introduction of Spandex which stressed body shape with vibrant colours. The use of lycra allowed the shaping and moulding of more rounded breasts. Nude look popular. 1970- Swimwear did away with stuffing and construction. Increased use of lycra for more freedom of movement. Introduction of the „thong‟-more movement. 1980- More revealing suits with the maillot become popular for those who switched from the bikini to something with more structure and coverage. Fabrics centred on lycra spandex and nylon which had more „give.‟ 1900- Return to suit intricately wired with implants. Selling as separates became popular with the options of different bottom styles. Introduction of Speedo „Aquablade‟ or „Fastskin.‟ Fibre Innovation. 1) MICROFIBRE Identify ONE fibre innovation that has enhanced textile performance. A microfibre is a microfilament with a fineness of less than 1 denier. Microfibres provide softer man-made fibres which give softer knitted fibres and softer fabrics for apparel. They are also water repelling which decreases the need of impervious synthetic resin coatings or laminates. Explain how this innovation you described affects society and the environment. Microfibres are extremely beneficial for society: -Great for consumers as they give the fabric a „sueded appearance‟ and soften the fabric which is desirable property = pleasant feel to skin. -Suitable for travel as lightweight and resilient. Important for businessmen who need their apparel to be wrinkle resistant, durable and comfortable. -Fabric looks like fine wool but it easier to care for and has excellent drape. Due to its fineness, they provide the wearer with greater coverage and are more wind resistant = keeps wearer warmer. -Fabrics dry quickly and can be gentle machine washed- important if worn often. -Microfibre fabrics can come in a variety of colours which can express individualism to the consumer and can be combined with a range of finishing techniques such as anti-bacterial, UV block. -To the green conscious customer microfibres does not depend on natural fibres for its existence. The disadvantage to consumer: -It is fairly expensive to purchase and may not be as absorbent or comfortable compared to natural fibres. -To green customer- creates pollution. The advantage to the manufacturer: -Allows them quality control. Can be woven tightly to prevent penetration by wind, rain or cold. If used in weft yarn- produce heavy weight fabrics, if used in the warp yarn- lightweight fabrics. -Have the choice to combine microfibres with regenerated yarns and natural fibres for their intended purpose of their products. -Have the choice to put on a range of finishing techniques such as anti-bacterial to better their products. This in effect will make them more competitive on the market and more likely to be successful. Microfibre production is not very beneficial for the environment: -Factories that produce the fabrics and transportation vehicles create air pollution which adds to pollution of environment = CO2 released into atmosphere contributes to „green house effect‟ which ultimately leads to global warming, heating the earth and destroying habitat and natural resources. -Polluting run off ends in river systems = kill aquatic life and effect other ecosystems. -Noise pollution of production and transporting goods = may effect wildlife in habitats and the surrounding residential areas. Positive factors: -Not depend on natural resources for its existence such as wool, which is important in AUS at moment due to the drought. 2) TREVIRA CS- A FLAME RETARDANT FIBRE Identify ONE fibre innovation that has enhanced textile performance. Trevira CS are polyester fibres rendered permanently flame retardant by the inclusion of a small proportion of a phosphorous organic component. It produces fabrics that meet all the safety standards. It provides permanent safety which can not be reduced by use, cleaning or ageing. Explain how this innovation you described affects society and the environment. (Brief) Consumer: -It does not need replacing after washing as it is permanent. -Besides being fire retardant and suitable for furnishings it is resistant to light and is easy to care for. -Good dimensional stability -Is free of harmful substances. -Perfect for children‟s rooms as great colours are obtained (outstanding dye characteristics. -Easy to clean, quick drying, long lasting. -Will not yellow even after long exposure to the sun. -Does not cause irritation to the skin. Industry: -Outstanding running properties in spinning and twisting. -Very good processability- high yarn uniformity for weaving -Excellent dyeability using environmentally friendly finishes- crease resistant fabrics. Environment: -Manufacture of fibres produces no dangerous waste products or emissions. -Uses small amounts of energy in production due to modern technology. -As Trevira CS are by their structure fire-retardant, no additional flame-retardant agents are needed which damage the environment. -Environmentally friendly when washed as little water is required as they absorb water in small quantities. -Less water means less detergents that produce polluting run off. -Less energy consumed due to low washing temperature. Yarn Innovation: 1) COLANA Identify ONE yarn innovation that has enhanced textile performance. Colana is a Transeasonal yarn of superior handle and performance. It combines the comfort of combed cotton (70%) with the warmth and resilience of fine merino wool. (30%) The mix is achieved in the blending of fibres. Benefits: -Outstanding softness -Can be machine wash/ Tumble dried. Easy to care for. Shrink resistant wool for total easy care. -All natural fibres, it breathes, absorbent and comfortable. -Wool provides resilience, retains shape and drapes well. -It is warm without prickle. Suitable for sensitive skin, less than 20 micron wool fibres. -Low pill -Transeasonal warmth, warmth in winter, coolness in summer. -Extremely versatile- available in various counts, natural and yarn dyed. It is suitable for both knitted and woven fabrics and offers superior comfort. Eg women‟s wear -All Australian 100%. 1) TREVIRA CS/TREVIRA NSK Identify ONE yarn innovation that has enhanced textile performance. This is a bicomponent innovative yarn where Trevira CS is flame retardant and is combined with the Trevira NSK, a low melt component which also strengthens the fibre. Benefits: -Besides being flame retardant it is stronger. -Can be dyed, printed, crushed and pleated. -Is suitable for both private and contract work such as vertical and roller blinds, room dividers and lamp shades. -Can be recycled. Fabric Innovation: 1) SPORTSWOOL PRO WHAT IS IT? -Unique product that offers a new concept in comfort for performance conscience athletes. The pay-off for consumers is a garment that is comfortable before exercise, maximises sweat transport and comfort during exercise and is warm after exercise has finished. -Is a lightweight, two-layer composite fabric -Next to the skin is a layer of Merino wool with an outer layer of a tough, easy care man made fibre. -This combination has been created to wick sweat away from the skin and control humidity change in the skin microclimate. WHAT IS THE INNOVATION? EXPLAIN IN DEPTH. Sweat -it is unique as the fabric transfers the perspiration on the skin from the inside of the fabrics surface to the external outside surface. The sweat attracting properties of the outside face are maximised by a special finishing process to ensure that sweat spreads out over the greatest possible area for maximum evaporation and efficient body cooling Humidity. -the ability of the hygroscopic wool inner face to respond to changes in humidity in the clothing microclimate makes it unique. (The athlete will not experience a change in humidity in the air next to the skin, unlike other sporting garments) -Reduces the initial rate of rise of humidity relative to a fabric with synthetic fibre against the skin by around 30%. -Reduces the level of discomfort. Post exercise chill -Reduces the opportunity of post exercise chill. -With normal fabrics- sweat transporting through fabrics creates liquid bridges between the skin and the outer face of the garment. These bridges form a direct path for the rapid conduction of heat from the skin to the surrounding air and the high level of heat loss can continue long enough after exercise for chilling to occur. -With Sportswool Pro with it‟s „wicking‟ ability sweat migrates to outside quickly, slowing the rate of heat loss. WHAT ARE THE ADVANTAGES? -An exceptionally powerful wicking behaviour -Humidity control in the clothing microclimate -The wool layer on the inside face of Sportswool Pro also helps control post exercise chill by reducing fabric cling. WHAT IS WOOL‟S NATURAL BENEFITS? -Naturally hydrophobic, yet is capable of holding 30% of mass in vapour. -The oxygen atoms of wool attract the hydrogen atoms, which allows the fibre to pull water vapour into the fabric- therefore wool speeds up the heat transfer process. This means muscles will be cooler and can work at a higher level without negatively effecting the bodies‟ temperature requirement. -Wool can be machine-wash treated so it can be easily washed and tumble dried. -After a 30 minute exercise program the weight of the sweat uptake of the wool is 10% more than it‟s dry weight, unlike other fabrics which are 80-100% heavier than their dry weight. As wool is 50% of Sportswool Pro the weight is 5%. -As it is wool it offers some thermal protection and more vapour than sweat escapes. It doesn‟t matter if it is raining-still effective. WHAT ARE THE USES FOR SPORTWOOL PRO? -Used in sport clothing eg) Australian cricket team, Pat Farmer the AUS marathon runner, „Boomers‟ AUS basketball team WHAT ARE THE PERFORMANCE BENEFITS? -Vapour management- makes wearer feel cooler quicker and reduces the tendency of vapour to condense into liquid sweat. -Drier to touch garments that feels less „clammy‟ to skin during activity. -Natural elasticity -Natural UV protection -Natural micro-climate system that reduces post exercise chill and lets garment breathe naturally. Explain how it effects society and the environment The innovation greatly benefits the consumers of athletic gear. They have the ability to keep cool and dry in close fitting training garments. The feel „less clammy‟ to the skin as wool is hydrophobic and the microclimate system reduces „post exercise chill.‟ The garments are quick drying and require no ironing making them easy to care for. They have natural elasticity to fit athletic body types and natural UV protection from the sun, thus ensuring the skin is protected during wear. The cost for consumers is affordable so most incomes can afford it. However, as it is close fitting it is more appropriate with an athletic body shape. In regards to the manufacturers, they have expanded the market for sports fabrics, which can cater for different size ranges. The cotton manufacturers are losing the market share of athletic apparel. In regards to the employees, the manufacturing processes require careful construction, which is not difficult to follow. The easy care of the innovation reduces the need for long wash cycles and ironing. The environment is negatively effected as the pollution and the increased use of petrochemical products is bad for environment. They are non-renewable. 2) FASTSKIN Speedo has developed the Fastskin, based on the hydrodynamic properties of sharkskin. Modelled the Fastskin on attributes found in nature. In depth explanation: -Fastskin- made from hydrophobic material which repels water and covers the whole body. -It is designed to reduce drag by channelling the water along the grooves of the fabric. -Surface characteristics mimics the rough shark denticles to reduce drag along key areas of the body -The fabric compresses the body to stop skin vibration and muscle oscillation to save energy and reduce drag, -it is slicker and lighter than a suit that absorbs water. -It is custom designed for peak performance by being created to fit the exact body shape. This is done by a body scan with a 3D recreation onto computer. -Fastskin contains a higher content of elastane than traditional swimwear fabric, providing greater stretch characteristics. Through compressing the muscles, super-stretch fabric can reduce muscle and skin vibration, which is energy efficient and increases productivity from muscles. -Superstretch seams- number of stitches is higher (26 stitches for every 3cm of seaming) This allows the fabric to be stretched to its max tension without breaking, allowing complete freedom of movement, comfort and elasticity needed. Direction of the seams is designed to follow the water flow to minimise drag. -Gripper- due to concern of loss „of the feel of the water‟ along inner forearm this was created. The gripper fabric is placed on the inner forearm to increase the simmers „grip‟ for the water due to the greater friction. -No increase in body heat. Machinery Innovation: 1) (DPP) DIRECT DIGITAL PRINTING An image can be viewed on a computer screen (and sourced from photographs or scanned art work). This means that the industry can supply a unique service to the consumer and deliver „originals‟ that previously would have been far too expensive to produce…both in time and financially. The benefits the industry is able to pass on to the consumer are reduced production costs, reduced research time, short run applications, sample length for consumer evaluation, customer designs. As well as this DPP can be applied to a huge range of natural fibres as well as viscose rayon. Polyester can also be used using disperse dyes and sublimation. For the industry, there is no longer a necessity to carry stock as printing can be carried out on demand. There are no start up costs involved and no need for colour separations. However, if the consumer does supply a particular artwork the image needs to be 254 DPI. Consumer taste and design fashion is continually changing, even from season to season. This gives the industry a much better approach and ability to respond to consumer demands without huge costs. 2) (CAD) COMPUTER AIDED DESIGN EG FORMARIS BY LECTRA This is one example of a cad software program developed by lectra. This program simplifies the production process for many garment manufacturers. Patterns can be digitised by the designer to a precise display screen. It also allows the designer to create patterns directly on screen by manipulating new pieces from existing ones. If one component of, for example a seat cover is modified all other pattern pieces or components are updated. The cost saving of this process benefits the manufacturer immensely. Formaris cad can be incorporated into the automatic cutting process guaranteeing significant time saving and impeccable cutting quality. 3) MURATA VORTEX SPINNING (MVS) WHAT IS IT? -new method of spinning cotton fibres into yarn. -it uses an air-vortex spinning method which takes a drawn cotton sliver (carded and drawn cotton fibres lying parallel) and drafts it to the desired yarn fineness through an apron drafting system. -The drafted fibres are then wrapped around a spindle by a high-speed „vortex‟ air current. -A vacuum around the base of the spindle acts to „comb‟ out shorter fibres and neps (bits of rubbish) -Yarn twist is imparted when the fibres are pulled down a shaft. The twist is inserted as the fibres swirl around the apex of the spindle before being pulled down the spindle shaft. WHAT ARE THE ADVANTAGES? -MVS is a new spinning technology developed in Japan that has produced high quality knitted and weaving yarns. -Has a productivity of 400m/minute and produces higher quality compared to traditional methods. (AUS used to produce 20m/minute) -Yarns have a soft, smooth feel. -MVS fabric has higher resistance to abrasive damage and pill formation and consequently retains a fresh appearance after many washes. WHAT ARE THE DISADVANTAGES? -MVS requires good fibre properties to achieve these results. Fibres must be clean and strong, have a staple length of at least 28mm and must be uniform in length. -There is a significant fibre loss during spinning if the cotton has a shorter than average fibre length, which is commercially unacceptable. -The MVS system allows for the removal of Neps however disposal of this unwanted material could prove to be a wastage problem to manufacturers. -Any fibre losses may cause significant changes in yarn properties- however different nozzle geometry and pressures can reduce fibre losses. Finishes: Fabric finishes are wet or dry treatments that complete a textile. They offer a wide range of opportunities to create unique designs through custom colours, textures, and performance. The processes are done to fibres, yarns, or fabrics and are done either before or after weaving or knitting. Some finishes are applied wet, some dry, some are cold, and some even heated treatments. Sometimes, combinations of various methods are used to complete the finish to get the desired affect Finishes can be classified as: - Basic finishes; applied to most all fabrics to improve their appearance. Eg scouring, bleaching finishes. - Special finishes; applied with a specific purpose for which it is to be used. Eg Anti-static, Mercerisation finishes. 1) TEFLON Identify an anti-bacterial or soil resistant finish and describe how it is applied. Teflon is a flurochemical, soil resistant finish that forms an invisible shield around each fibre to protect the fabric against stains. The finish is applied at the last step of the textile mill usually via the pad process. This means that the fabric is immersed in a water bath containing Teflon. The excess is squeezed out then the fabric travels through an oven to dry and cure. The water evaporates, the Teflon polymers melt and spread. The fluorocarbon side chains are oriented away from the surface. Name the most suitable fabric for this finish. Explain how this finish has improved the performance of the fabric. There is no one most suitable fabric as this finish can be applied to wool, cotton, linen, heavy wovens and blends. The treated fabric stays cleaner longer without losing its soft touch or bright colours. Teflon protects against accumulated stains and spills that are common to everyday life. Spills sit on top and can be easily blotted up with a paper towel or soil brushed away. Evaluate the impact of this finishing process on both the manufacturer and consumer. Manufacturer- It is compatible with other finishing agents such as softeners or wrinkle free additives. There is no additional capital outlay for expensive equipment is not needed. Consumer- Durable finish that can be washed repeatedly with no dry cleaning costs. Treated fabric stays cleaner longer but remains soft. Resistant to both oil and water. Where other stain resistant finishes may be surface only, Teflon works at a molecular level. 2) MICROBAN Identify an anti-bacterial or soil resistant finish and describe how it is applied. Microban is a finishing technique that provides antimicrobial protection. Microban is added to the products during manufacturing to provide continuous protection. The antimicrobial works as a cell wall penetrant, disrupting key cell functions so that the microorganism is unable to grow or function. Name the most suitable fabric for this finish. Explain how this finish has improved the performance of the fabric. It is suitable for application to natural fibres, particularly cotton. It can be used with polyester during the production of the fibre (before passes through spinneret) The benefits include continuos, durable and effective antimicrobial protection. It prevents odours, mould and mildew from growing and reproducing. If applied at fibre stage- long-term effect, if applied at fabric- temporary. Prevent infection and illness. Evaluate the impact of this finishing process on both the manufacturer and consumer. Consumer- for those with delicate skins (babies/ young kids) and if used in conjunction with natural fibres the benefits can be the minimisation of irritation. Chitosan is an example of this- it has improved performance by acceleration of wound healing by up to 75%, promotes skin healing and regeneration of skin cells, ideal for those with skin allergies and conditions such as eczema. It is durable and long lasting. 3) TREVIRA CS Trevira CS renders fibres so that they are permanently flame retardant, by the inclusion of a small proportion of a phosphorous organic component. The finish breaks the fibres down to carbon and water, producing a carbon mass, which has low combustion and does not burn. It is easy to wash, does not produce toxic fumes and will not ignite. It can be used for all purposes in the home fabric group. It has a pleasant feel, no irritation and the surface draws off humidity well. It is easy to dye and disinfect. It is good for consumers whom are environmentally conscious, as it produces no dangerous wastes. The disadvantage is the high cost. The manufacturing process produces no polluting effluent or emissions ensuring the health and safety of the workers. It has a very good processability. It has high yarn uniformity, which can be used in weaving, circular and warp knitting. Trevira can not be effected by external threats. It will remain permanent after washing or by abrasion. Decorative Technique Innovation: 1) DIGITAL PRINTING (INK JET TECHNOLOGY) Digital printing refers to the process of printing dyes directly onto fabrics. Any image realised on a computer screen whether originated by CAD, digital camera or scanned photograph can be printed onto virtually any fabric that doesn‟t leave lint that might clog the print heads. Used for short samples, banners, photo expeditions. Two methods used for stabilising and feeding fabric- paper backing, feed and take up system. Pre-treated coating recommended. Can withstand environmental pressures such as pollution, intense heat, sunlight, washing. This means that the industry can supply a unique service to the consumer and deliver „originals‟ that previously would have been far too expensive to produce…both in time and financially. The benefits the industry is able to pass on to the consumer are reduced production costs, reduced research time, short run applications, sample length for consumer evaluation, customer designs. Fibres -Natural (Cellulose- cotton, linen/ Protein- silk, wool) -Manufactured (Regenerated cellulosic- viscose rayon, acetate/ Synthetic- acrylic, polyester, nylon) -Fibre properties are determined by external structure, internal structure and chemical composition. -Manufacturers often blend fibres into yarns. The most common fibre blends are: *Wool/Cotton *Polyester/Cotton *Nylon/Wool COTTON Properties: -Excellent absorbency -Good softness WOOL -Excellent Absorbency -Excellent softness -Good strength -Excellent coolness -Easy to wash -Poor wrinkle recovery -Poor drape -Hot iron -Resistant to alkalis -Can dry clean -Low cost POLYESTER -Not absorbent -Excellent water repellency -Good softness -Excellent strength -Good windproof -Easy to wash -Excellent wrinkle recovery Excellent drape -Warm iron -Affected by alkalis -Can dry clean -Moderate cost -Poor strength -Excellent warmness -Not easy to wash -Good wrinkle recovery -Excellent drape -Warm iron -Affected by alkalis -Can dry clean -Moderate cost NYLON ACRYLIC -Not absorbent -Not good absorbency -Excellent water repellency -Good water repellency -Good softness -Good softness -Excellent strength -Good strength -Excellent windproof -Good windproof -Easy to wash -Easy to wash -Excellent wrinkle recovery -Excellent wrinkle -Excellent drape -Good drape -Warm iron -Cool iron -Resistant to alkalis -Affected by alkalis -Can dry clean -Can dry clean -Moderate cost -Moderate cost -Excellent warmth - Common uses for fibres: Cotton- clothing, curtains, towels, medical dressings, nappies Wool- carpets, suits, thermals, blankets, jumpers, underwear, hats. Polyester- clothing, shower curtains, upholstery, curtains Nylon- stockings, swimwear, leotards, raincoats, parachutes. Acrylic- clothing, knitwear Silk- evening and wedding gowns, fine clothing, underwear, ties. Yarns: -Twisting fibres together to form one long continuous strand. Can be produced in a variety of thicknesses, textures and colours using any combination of fibres. -Natural staple fibres are wool, cotton and linen. These are fibres which are limited in length and must be twisted together to produce long continuous yarns suitable for fabric production. They tend to produce a dull texture and hairy surface. Silk, is the only natural fibre that is already a continuous filament. This produces smooth cloth with light reflecting qualities. -All manufactured filaments are extruded through a spinneret in a long continuous filament. Manufacturers can control the fibre diameter and cross section to determine the qualities. Some types of yarns: 1) Multifilament yarns- produced from two or more filaments twisted together 2) Monofilament yarns- produced from one filament. MULTIFILAMENT MONOFILAMENT -Stronger -Strong -Smooth -Smooth -Cool -Cool -Medium handling -Hard handling -Absorbent -Not absorbent -Durable -Most durable -Used for coat linings, lingerie, -Used for very sheer stockings, pantihose formal wear 3) Manufactured and staple fibres (If long filament is cut, crimped and twisted into yarns, the fabric qualities same to natural staple fibres.) -Less even -Weaker -Fuzzy -Warmest -Softest Handling -Dullest -Used for everyday apparel items, household textile articles 4) Textured Yarns- Have more bulk, appear less dense than conventional yarns. They are spun from man made/ manufactured fibres whose thermoplasticity property permits them to be textured. May have excellent elasticity properties. -Better absorbency -Better covering power -Better wrinkle resistance -Softer handle -More comfortable to wear -Easy care 5) Worsted Yarn- used for wool and others 6) Woollen Yarn- used for wool and others WORSTED WOOLLEN -Stronger -Weaker -Smoother -Fuzzier -Cooler handling -Warmer handling -Less absorbing -More absorbing -More durable -Less durable 7) Combed Cotton Yarn 8) Carded Cotton Yarn COMBED CARDED -Strong -Weaker -Wrinkles easiest -Wrinkles less -Least absorbent -Most absorbent -Fine -Thick -Fabrics include Lawn, Denims -Fabrics include Drill, Gaberdines, Sheeting 9) Soft Spun Yarns (Amount of twist influences yarn strength and other properties) 10) Hard Spun Yarns (Amount of twist influences yarn strength and other properties) SOFT SPUN HARD SPUN -Less twist -More twist -Less compact yarn -More compact yarn -Weaker -Stronger -Less elastic -More elastic -More wrinkle resistant -Less wrinkle resistant -Softer, Fuzzier -Harder, smoother -More insulating -Less insulating -More absorbent -Less absorbent 11) Blended Yarns -Blending is done before yarn is spun -Blend fibres to get best qualities. *Cotton/Wool- beauty and warmth from wool, heat conductivity and low cost from cotton. *Polyester/Cotton- resilience from polyester, absorbency from cotton *Wool/ Nylon- beauty and warmth from wool, low cost and endurance from nylon Fabrics: Woven Fabrics: -Made by the interlacing of two sets of yarn at right angles to eachother. Plain Weave -The simplest and most common weave. -Each warp yarn and each weft yarn alternately go over and under each other. -It is the fastest weave to produce, simplest to set up and thus is the cheapest to produce. -It is the most porous weave. -Most comfortable in summer. -It has poor drape. -Soils easily because porous structure permits air to pass through, while soil particles remain. -Fabrics include calico, flannel, lawn. Twill Weave -Characterised by diagonal lines on surface of the cloth. -It is the most durable weave. -It is more expensive as it takes more time to set up, is slower to weave and uses more yarn. -Dense and opaque. -Has good drapability, less likely to wrinkle. -More comfortable in winter than summer. -Soils less easily. -Fabrics include- denim, gaberdine. Satin Weave -Characterised by smooth lustrous surface. -Long floats form when weft yarn passes over several warp yarns before interlacing. -Take longer to set up, slow to weave and uses the most yarn, thus very expensive. -Usually woven from multi-filament yarn. -Dense, opaque and cool to touch. -Good drape but lack durability because they snag easily. -Fabrics include- Satin, Brocade. Pile Weave -Raised surface- towelling etc Jacquard Weave -Raising of each warp yarn controlled individually- intricate designs. Knitted Fabrics: -are made by the interlocking of loops of yarns. The weft knitted fabric: (goes across the width) -A single yarn may be used. -Fabric is made by forming loops of yarn across the width. -This can become unravelled. -From 1-100 yarns interlooped horizontally. -Slower in fabric production -Capable of knitting flat and circular fabric eg hosiery, garments with 1 or seams -Fabrics and garments are less stable, stretch and distort easily, form fitting, more absorbent. -Uses: jumpers, cardigans, knitted tops, stretch hosiery. The warp knitted fabric: (goes down the length of the fabric.) -Yarn loops are formed in a vertical direction. -Fabric held together by interlocking of vertical loops on alternate sides. -Fabric does not become unravelled. -From 100- 1000‟s yarns interlooped vertically. -Faster fabric production. -Only knits flat fabric. -Fabrics and garments are more stable, stretch and distort less easily, less absorbent, easy care. -Uses: curtains, lingerie, shirts, blousing. Comparing knits and wovens Manufacture: -Knits requires less preparatory time, production 10-25m per hour and lower production costs. -Wovens produce 3-9m per hour and higher priced. Types of fibres and yarns used: -Knitted is more productive with smooth staple spun yarns and textured multi and monofilament yarns. (Acrylic, cotton, wool) -Wovens use a great variety of yarns and fibres. Finishing: -Knitted only minimum amount of finishing -Wovens have routine finishing operations adding to the cost. Fabric Properties: -Knitted is weaker, porous, easily snags and stretches, easy care, less durable -Woven is stronger, less absorbent, difficult to stretch/distort, less easy care, durable Garment Properties: -Knitted are elastic- form fitting -Woven are inelastic- tailored to wearer. Non wovens are made from webs bonded mechanically or chemically. They are stiffer, less flexible, drape poorer and have no elasticity. Not very durable but popular for disposable garments. Explain one way the AUS govt has attempted to make the AUS Textiles, Clothing, Footwear and Allied Industries more competitive internationally. -the reduction of tariff duties and quotas. -the govt is decreasing tariff duties applied to imported goods which makes them cheaper to import -The phasing out of quotas means no limits will be placed on the amount of goods imported. This helps the TCFA industries become more competitive. Discuss why many AUS textiles, clothing and footwear companies have chosen to manufacture their goods overseas. -It is cheaper to manufacture goods overseas than on AUS shores. -Goods can be manufactured in bulk quantities with limits starting at approx 500 units. -Aus TCF companies do not have to purchase specialised equipment, as it is located at the overseas manufacturers and they do not have to worry about costs increasing through staff wages, employers benefits such as sick leave, workers compensation etc as it is covered by the overseas manufacturer. What are the current issues associated with the Aus TCFA. (More on this) 1) Globalisation -To survive the ATCFA must be more global in their approach to design, manufacture, distribution and marketing. -Must seek opportunities in global market place. -The development of strong export markets is essential. -By expanding in the overseas markets a business has the opportunity to expand sales. -Must be a commitment within the industry to export. -Manufacturers must consider the designing of products to meet global requirements of quality, cost and consumer appeal while minimising environmental impacts. They may have to consider the geographical, political, culture etc of export markets. Risks include: *Distance- long way to travel to visit the market place to follow up and make contact with potential export markets and rectify any distribution, marketing or consumer problems. *Currency fluctuations- can affect the price obtained. *Shipping & Transport- loss and damage considerations. *Industrial Action- hold ups in delivery can effect supply and consumer relations. 2) Restructuring of the industry *Imports/exports Before: Importing products into AUS was not viable for merchants b/c of the tariff duties. Local products were more attractive to consumers. However see problems below. Now: Quota levels have increased- the number of clothing and footwear able to imported without penalty increased. Local manufacturers had to compete with this. Incentives to compensate for the increasing pressures was implemented with bounties or money to the manufacturers to encourage diversification into areas they may not have worked in before. 2000- Quotas have now been phased out and no restrictions on goods imported. (Been a shift from manufacture to retailing- OSH KOSH in 1992 moved from 30% to 100% offshore manufacturing and increased sales from 5million to 60 million. *Level of protection now minimised Before: In 1974 Aus TCF industries flourished due to a protectionist policy- systems designed to keep overseas competition to a minimum. This was in the form of tariff barriers- raised the price of products entering AUS so that locally made products were more attractive to the consumer. However it did not encourage: -manufacturers to seek new markets -manufacturers to look at their operations and find new ways of doing things. -manufacturers to improve products. -and it shielded local manufacturers against competition from low cost labour countries Their productivity and quality were not maximised as had no real need. Now: Throughout the years the tariff duties have been gradually reducing towards free trade aimed in 2010. Bounties and quotas have been phased out. This provides the incentive for AUS TCF industries to rethink and change the way they do things in order to remain viable and competitive. *Increased skills of workers -skills of workers will increase as they will be forced to develop sustainable, competitive textiles, clothing, footwear and leather industries to compete in a global market in the future. -the govt will promote job security. Howard is giving them time to develop their industries before the tariff is completely reduced. -Behind the label strategy helps the outworkers. Establish a retraining and education program. Thus outworkers will gain new skills to improve their employment prospects. 3) Innovation in business -TCF SIP scheme package from 2000-2005 created by govt. -It aims to promote investment in innovation, research and development to improve the competitiveness of Australia‟s TCF industries to prepare for free trade in 2010. -Funded with $678 million. -Package allows grants for new equipment and buildings, research and development and for eligible textiles. 4) Changing consumer demands and lifestyle -Consumer demand for sun protection factor clothing and clothing made from organic sources. -Finding clean, ecologically friendly alternatives for fibre production. *Sun protection clothing Eg Aus has the highest rate of skin cancer around the globe as a result of ultra violet radiation. Australians can receive the recommended level in a 15 minute exposure. We have an out door lifestyle and have an increasing awareness of the potential dangers of melanoma. The demand for clothing, especially for children has increased. The industry has responded and can produce *clothing with a UPF 20 rating. This allows only one twentieth of UVR to pass through. *Designs that give protection such as long sleeves (including swimwear), collars, hats with wide brims, shorts and skirts least to knee. *Clothing made from organic sources such as cotton, hemp. Eg 1) Hemp is essentially a weed and grows easily. Needs little pesticide or herbicide to grow which reduces soil erosion and chemical pollution that can damage waterways.) It produces 3x more fibre than cotton per hectare. It is durable and Levi strauss 1st made his jeans from hemp. Eg 2) Organic cotton is produced from naturally coloured cotton and uses alternative cropping methods. Eliminates the need for dyeing so there are huge savings in energy consumption and effluent and waste disposal. Cropping includes the use of trap crops (attract insects away from the crops.) Development of strains of cotton that resist insect attack. However as yet the production of environmentally friendly fibres is an added financial cost. This is passed on to the consumer who is often reluctant to pay extra. 5) Manufacturing strategies -Mass produced goods- the production of goods on a large scale, supplying a large market segment eg Bonds underwear. The issues that can arise: *Quantity/bulk is cheaper *Advertising- general *Currency *Transportation *Global Market -Niche produced goods- the small scale production of specialised goods that only a select market are interested in (need to meet specific end requirements) The issues that can arise: *Materials more expensive *Advertising- specific *Cost *Transportation *Precarious money supply *Fabrics Appropriate textile technology and environmental sustainability: Selection of Appropriate technology within the industry: COTTON -Chemicals and pesticides are toxic to marine life in rivers such as Murray Darling River system. This is effecting the Macquarie Marshes, which is essential for the ecosystem as it purifies the water. -Scrub clearance for land for cotton can lead to soil infertility. ORGANIC COTTON (10% of cotton production) -Use garlic spray to attract predator insects, which reduces the need for pesticides. -Try to moderate the amount of water used for irrigation. -Inter-crop with Alfalfa which bugs prefer. -1 bale of organic cotton per acre to 3 bales of cotton- costly and low in demand. Appropriate and Sustainable Textile Resources a) Recycling -Ecospun is made from plastic drink bottles. The plastic bottles are crushed and sent to a sorting centre to be granulated. With heat a fibre is produced which is blended with cotton. Now sold in Target. -Nina Wish Designs uses curtains and old fabrics and turns them into new designs. -Tencel is made from natural cellulose (wood pulp) rather than natural forests. This is a renewable source. Used in Esprit in 1993. b) Pollution -People trying to make Hemp fashionable by making them into jeans. Hemp requires less fertilisers, it is strong and cool to wear, is easy to launder and made from a weed. -Dyeing which uses salt, electricity etc which is polluting rivers has produced an alternative. AUS dye company produced a more eco-friendly Cold Pad Patch dyeing. It uses 33% less water, fewer chemicals, 48% less power than other methods and uses no salt. b) Govt legislation An ISO 14000 certification –environmental benefits, company reputation as being responsible citizens Aspects of Marketing Textile Products: -Marketing team must have a good understanding of the market segment- this is an economic size that can be targeted in terms of product design and promotion. Market segmentation is also influenced by geographical regions, demographic etc. Product Planning: This includes a products: *Features (new fabric, won‟t crush or stain) *Styles (appealing to different age groups) *Packaging (Environmentally friendly) *Sizes (eg Pumpkin Patch for kids) *Brand name (FCUK) etc -If product is new and aimed at a particular market (Bonds „hoodies‟) promotion will be needed especially designed for their target market. Eg „hoodies‟ teenagers, young adults. Place and Distribution Channels: -In order to attract target customers manufacturers have to plan their distribution so that: *The „right‟ stores buy their merchandise. *Their merchandise is represented in the right geographical areas. *One retailer does not create unfair competition to the other. *Enough stock is turned over to make a profit. -In order to achieve these aims they can operate a number of distribution policies: *Open end- manufacturer sells to anyone who can pay for their goods. *Selected- limits the number and types of stores that can buy their line or collection. *Exclusive- sell their products exclusively through their own retail stores. Eg Laura Ashleigh *Dual- sell their products through own retail outlets as well as through wholesale to independent retailers. Eg Esprit, Country Road. *Franchising- for a fee, the franchisee sells the manufacturers merchandise. The franchisee must maintain the reputation and image of the franchiser. Both parties benefit. Eg DJ‟s, Meyer. *Mail order- mail order catalogues where payments made easy with credit cards. *Electronic shopping- Manufacturers have included websites to reach potential markets domestically as well as internationally. Due to number of home computers. Eg DJ‟s, Meyers. *Place- variables include transportation, location of outlets, dealer coverage, convenience, outlets. Price Structure: -This is important as the manufacturer has to make a profit to stay in business. Over pricing, especially for small market can result in disaster. -Gender, age and occupation all influence how much disposable income is available to be spent on fashion items. The consumers spending power is influenced by: *Personal income *Accumulated savings *Amount of consumer credit. -Price structure variables include: *List price (recommended retail price) *Discounts (Sales, loyalties) *Bonuses (Buy one get one free) *Credit terms (Pay later with credit card) *Payment facilities (Eftpos, cash) -Products with short life cycles- demand a higher price -Products with long life cycle-lower price. Promotion Strategies: This includes: *Advertising (TV, shopping trolleys, mail, magazines) *Sales promotion (VIP cards, notification of sales before they start) *Personal selling (Sales assistants wearing clothes, perfume sample) *Publicity (Fashion shows eg Mercedes Fashion week, Press releases eg promotional t-shirts and Special Events eg easter show -Promotion involves PR work in which effective communication is essential. Promotion aims to build demand for a new product and reinforce consumer wants. Marketing strategies aim to increase consumption of a good or service. Product Life Cycle: -The introduction of a product is the beginning of a product life cycle. -Creative designers have the ability to forecast what the public wants. -The success of a product/designer can be achieved by a keen sense of timing and sensitivity to social changes, economic situations, cultural events etc. -A successful product can become a fashion trend eg jeans, dirty denim. -If it stays a trend long enough it becomes a style. -If the style continues to be popular it becomes a classic. Fashion life cycle: Introduction, Rise, Acceleration, Accepted, Decline, Obsolescence. Introduction Stages Regression Target Markets: -An identified section of the population with certain things in common. A segment can be further broken down into target markets. -The manufacturer aims to sell an identified group something, which they want or need. The following info is needed: *WHO the target it *WHAT needs are they trying to satisfy *WHERE do customers live and work? Where do they buy? *WHEN do they buy? *HOW many do they buy? *HOW many customers can we attract? *WILL enough of them buy them? -A marketing strategy for Esprit (Chain Store) *Market segment- people with a large disposable income, people who like labels *Product Planning- Sell undies, shoes, bags, clothes. Skinnier sizes. Turnover of stock is continuous. Sell small ranges- means it is expensive. *Place and Distribution- located in shopping centres, factory outlets, department stores. (Dual) *Price Structure- Up-market, quite expensive for what is provided. *Promotion strategies- Privilege cards, catalogues, specials openings for members. *Target markets- Children, menswear (20‟s), young mothers, expensive clothes.