服装设计褶皱拼缝外文文献
外文文献翻译服装设计
毕设附件外文文献原文及译文文献出处：Rothenberg A, Sobel R S. A Creative Process in the Art of Costu me Design[J]. Clothing & Textiles Research Journal, 2016, 9(1):27‐36.译文服装设计的艺术创作进程阿尔伯特·罗斯伯格;罗伯特·索贝尔关于制造力心理学的实证研究已经进行了 20 连年的时刻，目前已经确信了一个特定的制造性的操作进程，称为“人性化的制造进程”。
那个进程已被证明，对各类类型的艺术与科学领域的制造性活动都有一个重要的作用。
正如它的概念所言，这一人性化的制造进程需要通过踊跃地构思和艺术性的两种因素的结合，一起作用，只有如此，才能造就一个富含人性的艺术品。
增进服装的人性化设计思维，需要用到一种技术方式，这种方式涉及利用到将人性化因素的考虑及艺术性的构思结合在一路，依如实证研究，说明利用这种可行性技术，能够增进服装设计的人性化艺术创作进程。
了解服装的天然性因素，包括服装设计的艺术创作进程。
但是，科学方式的制造力是困难重重的。
只是艺术家和其他人都对服装设计的艺术创作进程的本质都专门感爱好，都想明白得和阐释这意思本质，有一种观点以为发明家在那个领域的尽力没什么成效的。
这些发明家们也担忧这种情形，但这确实是他们的工作。
另外，发明家们可能都会比较感爱好，确实是将他们的研究功效应用于实际的制造性的尝试。
将研究结果应用于实践，通常会受到很多人的疑心和轻视，因为他们以为，这看起来就像是玩弄制造的进程，他们以为这一进程应该受到强烈钦佩和尊重，而不能有任何随意性。
尽管存在这些困难，可是事实证明，这种富含技术性的制造进程，专门是应用于服装设计中，恰恰会致使有价值的和有趣的结果。
本文关注的是思维制造性进程操作的实证分析，探讨人性化地艺术性思维，这种思维应被用于服装设计领域中。
服装设计中英文对照外文翻译文献
服装设计中英文对照外文翻译文献(文档含英文原文和中文翻译)College men’s fashionA brief review of the literature on the social psychology of clothing reveals that young women are more frequently research participants than men . This may be because women far outnumber men in majoring in clothing design and apparel merchandising and thus are more easily accessible as research participants than men. Regardless of why clothing research includes more women as research participants, this focus on women has resulted in a dearth of research on young men. In support of this, Reilly and Rudd (2007) report that research has investigated men’s clothing preferences and habits to a lesser extent than women’s. men’s ideas about fashion and its importance in their lives have been overlooked. Despite the limited research on young men, consumer groups comprisedof college men are important to commercial marketers in terms of expenditure in men’s apparel and accessories. According to Statista, in 2012 the expenditure on men’s clothing goods in the United States was $22.2 billion. Men purchased footwear the most, followed by shirts and suits. Prior research has also shown that men’s interest in fashion is on the rise, leading to an increase in men’s apparel sales .Historically, women have been much more conscious about their appearance than men, but in recent times there appears to have been a change in this level of focus on appearance among men. Specifically, young men in Generation Y who have been socialized by mass media and marketing activities have become appearance conscious, which leads to apparel consumption (Kacen 2000; Patterson and Elliot 2002). Young men usually use dress to communicate their identities (Shete 2012), and their aspirations toward communicating this may influence their apparel consumption (Kang et al. 2011). Understanding the relationship between college-aged men’s identities and their clothing choices provides apparel marketers with useful information to develop effective strategies to produce and market clothes in accordance with the common values with which this group strives to identify.According to Hogg and Banister (2001), individuals can either have a positive reference point (i.e., desired end state) or a negative reference point (i.e., undesired end state) that they use to achieve their desiredidentities. So far, much research has been conducted on the positive aspects of consumers’ consumption choice. A lack of research into the negative aspects of consumption choice motivated us to question their impact on consumer behavior. Consumers’ avoidance behavior allows them to create further distance between themselves and their undesired identities (Hogg and Banister 2001), staying within the threshold of their desired identities. Thus, this research focuses on the clothing and style that college men avoid. An exploratory study was conducted on men attending a major midwestern university. On the basis of the results of the exploratory study, research interview questions for any further studies will be modified to address the research problem appropriately.The purpose of the exploratory study was to investigate what clothing college men prefer, what identities they achieve through their clothing, and what they want to avoid in their clothing choices. Our research questions were as follows: (1) Does college-aged men’s clothing reflect their identities and what do they want to express through their clothing choices? and (2) What undesired identities (related to aspects of an avoided self) do college-aged men avoid in their clothing choices? Literature reviewSocial identity theorySocial identity theory as conceptualized by Tajfel and Turner (1979) refers to perceived identity of the groups to which people belong(Tajfel 1982). Social identity theory posits that a person’s self-concept is based on his or her group membership. This theory consists of two dimensions: social identity and personal identity (Howard 2000;Tajfel 1982). Social identity reflects membership in various social groups (e.g., clubs, social class), and personal identity represents the unique attributes that differentiate one person from another (Howard 2000; Tajfel 1982). In complex social environments, young people can use their identification with in-groups (i.e., their own group) versus out-groups (i.e., other groups) (Ogilvie 1987) to align their appearance (i.e., the total and composite image created by clothing) with a desired social group and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). Thus, social identities provide status to young men and enhance their self-esteem.Research has used social identity theory to investigate the effects of men’s identities on the use of dress (i.e., all material objects added to body). For example, Kang et al. (2011) used social identity theory as a theoretical framework to investigate the relationship between young professional men’s perceptions of work identity and their use of dress. They found that the young men who felt incomplete in their work identity used dress as a symbol to construct their identities. Thus, in this study, we used social identity theory as a theoretical foundation to examine the relationship between college men’s identities and their clothing choices.Men’s identities with fashionAccording to Kratz and Reimer (1998), fashion is filled with meanings and symbols, through which people can visually communicate with one another in a rapid and direct manner. Fashion enables people to express their views about themselves and their identities through the use of clothing; it allows them to visually communicate who they are, who they want to be, what type of social group they want to belong to, and whom they do not want to be associated with the most (Shete 2012). Furthermore, Bennett (2005) states that fashion is one of the channels through which people can most readily give voice to their identities. Beyond words, people can convey themselves through dress and fashion, thus creating their social identity. Fashion’s essential role in providing people with means to build, shape, and communicate their identities is especially prominent in larger metropolitan cities where they “mingle with crowds of strangers and have only fleeting moments to impress them” (Bennett 2005, p 96).Men identify themselves through various ways. For example, some men may identify themselves through their body appearance, while others may show their identities by the way they dress; Hathcote and Kim (2008) note that men represent themselves through how they dress. Moreover, many men care about what they wear and how they wear it on a daily basis and also care about how others perceive them. As part of campussociety, college students also spend time on how they dress. Some male students prefer wearing sweatpants or baggy basketball shorts at school, while others prefer wearing polo shirts and casual pants. The way male college students choose their outfits for school represents their different personalities and identities. For example, some male students wear athletic clothing to show off their masculinity. This is consistent with Lunceford (2010, p. 66), who argues that “male students choose a specific article of clothing because of how it makes them feel or because it downplays what they consider to be unattractive aspects of their bodies while accentuating their best features.”Researchers have conducted studies related to the importance of clothing and fashion for identity creation and communication. For example, Piacentini and Mailer (2004) found that young people in the United Kingdom tended to use clothing to show similarity between themselves and the groups they wished to be identified with, and as a channel to establish potential friendships. Schofield and Schmidt (2005) examined the importance of clothes used in constructing and communicating gay men’s personal a nd group identities with a sample of Manchester-based respondents. They shaped individual gay identity through different levels (i.e., community level, neo-tribal level, and situational level) and found that gay identity emerged through clothing choices. In their study, gay identity is shared on a gay community level toexpress “gayness” to others; on a neo-tribal level to show “belonging” to a social gay cohort with shared experience and emotions; and on a situational level to make themselves blend in with wherever they are (Schofield and Schmidt 2005).As mentioned previously, young people in complex social environments can use their identification with in-groups versusout-groups (Ogilvie 1987) to align their appearance with a desired social group, and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). In their study of a sample of British consumers, Banister and Hogg (2004) found that many consumers wore safe clothing items (e.g., simple clothes, which would be interpreted positively) to avoid censure rather than risky items. If such fears of folly and negative attention are present in male consumers, certain commonalities among them can be identified. Eisler and Skidmore (1987) proposed that men’s gender-role expectations contributed to fears about lack of athleticism, emotional intimacy, intimacy with other men (or homophobia), and failure. If the feminine, unathletic, impotent man is representative of perceived undesirability among men, symbolic identifiers of those traits can be indicative of young men’s labeling of avoidance reference groups and the “avoided self.” Thus, men’s fashion conservatism (i.e., dressing in a masculine way according to social norms) could be partially attributed to the generalized fear of appearing“feminine” (Kimmel 1994).Aversion to alternative stylesThe aversion to alternative styles was accompanied by several rationales. One respondent said he avoided skinny jeans (often associated with “skater” and “emo” culture) simply “for comfort.” Another respondent avoided dark and alternative styles to “avoid negative stigmas” and possible associations with low intelli gence related to group think. However, the majority of the respondents who said they avoid alternative styles were unable to explain their aversion. Mentions of dislike of alternative clothing were often supplied first and with little hesitation, suggesting that this is a somewhat automatic and marked dislike for those respondents.One respondent said he avoids wearing black and looking gothic because his friends do not wear those styles, suggesting a fear of ostracism when wearing alternative clothing. In a similar vein, one respondent included that he “doesn’t want to lead people to believe he is dark.” A 23-year-old Caucasian respondent, when asked if he avoided any styles of clothing, said: “Gothic stuff for sure, dark clothing or Hot Topic stuff. I don’t want to be associated with them and I hate the people that wear that stuff, like spiked belts.” This type of sentiment occurred almost exclusively among Caucasian respondents from middle- andupper-middle-class backgrounds. The fear of social scrutiny andostracism, along with a general stigma regarding alternative andcounter-culture, appears to be the most common motivation for avoiding alternative styles.Aversion to gangster stylesGangster styles were mentioned often, and responses often indicated social and racial prejudices, in addition to the fear of social judgment. Many respondents associated “big” and “baggy” clothing with gangster style. Race emerged as a definite component of this aversion. All but one of the respondents who listed gangster style as an avoided style identified as Caucasian. One respondent directly indicted his aversion to wearing clothes “a black person would wear,” suggesting that affiliation with the African American culture would be undesirable. Other variants included an av ersion to “swag gear” and “thug style.” Another respondent even used a variant of a racial slur to express his avoidance ofgangster-inflected styles. The respondents supplied little additional justification for avoiding this style, and when asked to expound on their preference, three claimed that they were unable to provide further information.Aversion to gay stylesThree respondents expressed avoiding clothing that could be regarded as “gay.” The wearing of skinny jeans, jean shorts, V-neck shirts, or cardigans was perceived as indicative of homosexuality, according tothe interview data. The inclusion of these items of clothing specifically indicates an association of form-fitting clothing and low necklines with effeminacy and gay culture. Respondents expressed a desire to represent themselves accurately, and those who claimed to avoid gay-inflected clothing suggested that it was undesirable on the grounds that (1) they disliked gay culture, (2) they wanted to express their heterosexuality, and (3) they wanted to avoid speculation from others that they were homosexual. In this regard, homophobic sentiments, a desire for accurate self-representation, and a fear of social judgment all seemed to be components of these respondents’ desire to avoid clothing per ceived as being worn by gay men. Another respondent said that he refused to wear any clothing from the “women’s section,” and though this does not necessary relate to the avoidance of gay style, it does represent anoften-related fear of gender-role deviation. Thus, an avoided self and avoidance behavior were important factors in clothing choice, supporting earlier findings from Hogg and Banister’s (2001) study in which dislikes and distastes of college men were associated with negative symbolic consumption. This sentiment is demonstrated by another respondent’s notion that said, “you know that there are certain things that you don’t want to buy because you don’t want to project yourself in a negative way.” They proposed that a greater understanding of the impact of negative symbolic consumption on consumers product rejection couldhelp the development of companies marketing communication strategies.Cultural background and the avoided selfDemographics indicated different trends in responses among respondents. The four Chinese men who participated were largely unable to produce responses regarding avoided clothing and styles. One of these respondents said he only avoids clothing that is “too colorful or fashionable” because “it is not his style.” Another said he only avoids “hip-hop clothing” because it does not match his serious personality. The other two respondents said that there were no types of clothing or styles they avoided. These sentiments contrast greatly with the responses from American students, all but one of whom listed one or several types of avoided clothing and styles.Furthermore, the brief elaborations the Chinese students supplied regarding the reason they avoid clothing related to issues of personal identity, with no mention of social or cultural motivations for doing so. This indicates that the avoidance of styles due to fears of social castigation and negative group associations could hold as a phenomenon more prevalent in the United States than in China.The college-aged men in this study expressed a desire for clothing that is comfortable, gives them confidence, and meets the expectations of their surroundings. These men recognized that their clothing was onerepresentation of their identities. Thus, the results suggest that college men are driven largely by a desire for comfort and to meet normative expectations. These findings are supported by the supposition that “men dress for fit and comfort rather than for style”, made by Craik (1994) and confirmed by Bakewell et al. (2006). These attributes for college men’s clothing choice seem to be quite different from those for young women, who largely make their choices based on brand (fit, look, and style) (Taylor and Cosenza 2002). The driving force for college men’s clothing choice is seemingly functional rather than decorative (Kacen 2000), even if they have become more appearance-conscious. Overall, the positive connection between young men’s individual identities and their clothing choices parallels previous research on the relationship between young professional men’s perceptions of work identity and their dress choices (Kang et al. 2011), and on the link between young peopl e’s clothing choices and the identity of the groups to which they belong (Piacentini and Mailer 2004).A minority of respondents avoided certain types of clothing because they felt it was incongruent with their styles. Their aversion to clothing that appears to belong to alternative, gangster, or gay styles suggests that these men strived to avoid clothing that implied identities viewed as non-conformist, non-professional, and unusual. These men indicated that their clothing choices were perhaps motivated by a desire to fit in withothers. Their aversion to clothing styles that communicated incongruent identities implies that deviations from cultural, class, race, andgender-related norms were undesirable.翻译：大学男装时尚简要回顾服装社会心理学的文献显示,年轻女性比男性更多的成为研究参与者。
服装设计褶皱外文文献翻译最新译文
服装设计褶皱外文文献翻译最新译文The objective of this study is to develop a quantitative method for evaluating the pleat effect on clothing。
as opposed to relying solely on subjective ns。
By analyzing image technology principles。
an image n system was designed to capture images of clothing。
These images were then processed using specialized are to analyze the drape of the clothing。
The study focused specifically on the pleats in the sleeve n of the garment。
analyzing the gray scale curve of the sleeve image and the corresponding nship een the gamma curve and the pleat。
The aim of this research is to provide a more objective n index for garment structural design and pleating effects.Clothing structure design involves a series of processes thatare used to render clothing through cutting。
fabric pleating。
and joining together。
The goal is to accurately capture the desired design effect by determining the structure's plane state through the use of design renderings。
关于服装工艺英语-线迹
关于服装工艺英语－线迹平缝线迹－－－－PLAIN STITCH ,FLAT STITCH疏缝线迹－－－－BASTING STITCH ,TACKING STITCH绷缝线迹－－－－COVERING STITCH ,FLAT -LOCK STITCH绗缝线迹－－－－QUILTED STITCH嵌缝线迹－－－－CORD STITCH面缝线迹－－－－TOP STITCH,OVER STITCH暗缝线迹－－－－INVISIBLE STITCH ,BLIND STITCH缲缝线迹－－－－SLIP STITCH折缝线迹－－－－FELL STITCH倒缝线迹－－－－REVERSIBLE STITCH , BACKWARD STITCH包缝线迹－－－－OVERLOCK STITCH ,OVERCASTING STITCH ,OVEREDGE锁式线迹－－－－LOCK STITCH ,LOCKSTITCH链式线迹－－－－CHAIN STITCH联式线迹－－－－CHAINLOCK STITCH人字线迹－－－－HERRINGBONE STITCH羽状线迹－－－－FEATHER STITCH珠式线迹－－－－PEARL STITCHZ形线迹－－－－CA TCH STITCH,ZIGZAG STITCH角形线迹－－－－ANGLE STITCH弓形线迹－－－－ARCHED STITCH锯齿形状线迹－－－－PICOT STITCH ,ZIGZAG STITCH贝壳形状线迹－－－－SHELL STITCH网眼形状线迹－－－－BASKET STITCH蜂窝形状线迹－－－－HONEYCOMB STITCH直形线迹－－－－STRAIGHT STITCH双十字形状线迹－－－DOUBLE STITCH交叉线迹，十字线迹－－－CROSS STITCH圆形线迹－－－－ROUND STITCH廓形线迹－－－－OUTLINE STITCH曲折形线迹－－－ZIGZAG SITITCH变形线迹－－－CHANGE STITCH钩编线迹－－－CROCHET STITCH织补线迹－－－DARNING STITCH刺绣线迹－－－EMBROIDERY STITCH,CREWEL STITCH装饰线迹－－－ORNAMENTAL STITCH,DECORATIVE STITCH 花式线迹－－－FANCY STITCH点划线迹－－－DOT DASH STITCH对称线迹－－－COUNTER STITCH比翼线迹－－－FL Y STITCH特殊线迹－－－SPECIAL STITCH复合线迹－－－COMBINATION STITCH, SPLIT STITCH复式线迹－－－DOUBLE ACTION STITCH双针线迹－－－TWICE STITCH双重线迹－－－TWICE STITCH三重线迹－－－TRIPLE STITCH缝式线迹－－－SEAM STITCH加固线迹－－－FASTENING STITCH ,TACKING STITCH 打结线迹－－－KNOTTING STITCH扎缚线迹－－－PADDING STITCH袖褶线迹－－－SHIRRING STITCH伸缩线迹－－－STRETCH STITCH,ELASIC STITCH滚边线迹－－－BINDING STITCH卷边线迹－－－HEMMING STITCH暗卷缝线迹－－－BLINDING HEMMING STITCH拼合线迹－－－ABUTTING STITCH间断线迹－－－BROKEN STITCH跳针线迹－－－SKIPPING STITCH安全线迹－－－SAFETY STITCH手针缝法缭针法－－－－SLIP STITCH拱针法－－－－PRICK STITCH明缲针法－－－FELL STITCH暗缲针法－－－BLING HEMMING STITCH环针法－－－-CATCH STITCH叠针法－－－－FASTENING STITCH扎针法－－－－PAD STITCH扳针法－－－－DIAGONAL BASTING绗针法－－－－QUILTING STITCH锁针法－－－－LOCK STITCH倒针法－－－－BARTACK STITCH ,BACK STITCH 三角针法－－－HERRINGBONE STITCH杨树花针法－－FEATHER STITCH花针法－－－－ZIGZAG STITCH跳针法－－－－SKIPPING STITCH。
【最新推荐】服装设计褶皱外文文献翻译
文献出处：N Umetani. Garment structural designing and pleat effects [J]. ACM Trans. Graph., 2015, 30(4): 90.原文Garment structural designing and pleat effectsAbstractThe research on the clothing wearing effect evaluation based on the subjective evaluation method, explore a kind of objective and quantitative evaluation method to describe the clothing on the pleat. Through analyzing the principle of image technology, design the clothing in image acquisition system, using image processing software for image processing, and the drape of clothing. This study garment sleeve parts of the pleat as an example to carry out the work, the drape on the sleeve image into grayscale curve, analyses the corresponding relation between gamma curve and pleat. Keywords: structural design, pleating effect, evaluation index IntroductionClothing structure design is based on clothing, rendering it by cutting division, in the form of fabric, fabric pleating, joining together a series of process performance. It basically is to accurately grasp the effect of design, namely according to the structure characteristics of the clothing design renderings, determine the plane state of structure are measured.2d pattern and solid state of thecorresponding relationship between the body and clothing itself the cooperate relationship between the various components and consistent state, and then combined with the characteristics of the clothing material and the characteristics of the craft, has designed a set of reasonable structure, have different specifications of the series, to lay a good foundation for the process design and clothing production. Therefore, clothing structure design is a bridge of art and technology, and process design and processing production preparation and protection.Clothing structure design method has a lot of kinds, during which there is a difference between large and small. The same kind of style, the same kind of fabrics, clothing structure design method of using different made clothes on the model and thegarment effect might be different, so need in different structure design method of a costume effect evaluation, on the basis of various clothing structural design method in the comparison.Clothing structure design basis of the human body外文文献翻译Clothing structure design is based on the human body, clothing for its formation, from the design, playing board, to sew, the overall ironing, are based on the human body. Clothes need to be able to adapt to the human body structure, and can make up for theinadequacy of the human body, and beautify the human body shape. This request of dressers not only possess fine sewing process, more important is fully understand and master the human body structure, the clothing modelling, as well as the relationship between human body and clothing such as knowledge, a comprehensive understanding of the structure of the human body, dynamic and static characteristics of the human body, and make use of the excellent cutting and sewing skills, modification and exaggeration, to rectify defects, beautify the effect of clothing style.The relationship between clothing and human body, clothing should first cover have to meet the practical function. Early gown jacket is flat coated body, simple cylinder structure, it is a kind of embodiment of style, but it can't reflect the body curves. Later, the introduction of western clothing, made an enormous change in the costume history, from plane to three-dimensional clothing from now on, people began to study clothing structure on the basis of the human body structure. Through the use of provincial roads, make clothing more perfectly reflects the human figure, it is the aesthetic function of clothing, is also the modern clothing trends of the research.Clothing is the length, size, its merits and broken the whole, different forms such as square, wide, and on the sewing processcomplexity, Jane, fine, coarse, but plus ca change, is inseparable from the basic condition of human body shape and physical activity. In clothing modelling design, before and after the paper, the layout of the collar and sleeves exquisite modelling is unified, coordinated and harmonious, and as the criterion in each part of the human body prototype form, make the crop science, fine sewing, aesthetically pleasing, and wearing form-fitting. “Wea ring form-fittingrefers to the specific amount of costume design, cutting, sewing skills should conform to the human body shape, show fashion figure, the best effect. The human body to constitute the clothing modelling beauty plays an important leverage.The generation of clothing pleatRushing form design is the basis of visual expansion. Human visual sense to pleat cognitive derived from the cognitive skirt decorated side line. Side line is skirt act the role of sensory induction and abstraction of the form, rules of ruching produce order form, irregular ruching produce disordered form. Orderly form of circulation and repeated give a person with the feeling of calm and the expansion of the collect inside, this is a rational, calm the visual feelings. The various forms of garment hem shape irregular line, a messy disorderly recruit ACTS the role of design form, such as length, weight of rolling line in the form of. Skirt ruffles form in theplane design of clothing deviation from the conventional disorderly change, form an exciting visual points.Clothing pleat is for aesthetic needs, artificial set some pleat on the items. Such as pleat and pleat the garment processing process on the surface of the arts and crafts. Have certain adornment sex, this kind of pleat is what we expected. Fabric on this kind of pleat is often referred to asPassive, negative plait, bring certain negative influence to clothing. The second pleat bring certain obstacles to the products, we carry on the detection, prevention, and research has not. Currently there is very little research on the third cause of pleat,the focus of this article is to evaluate objectively the garment in appearance, is also the formation of a costume surface pleat for objective evaluation and analysis.Clothing as a kind of modern goods, have the function of the royal covering clothing, the cold, and can meet the needs of the people's life and work, to adapt to all kinds of manners, seasonal demand. The appearance of the clothing quality and wearing effect directly determine its sales in the market and location. With the improvement of people's living standard, people are not content with the simple body clothing apparel, but the pursuit of more high quality, comfortable, good image of the garment appearance. As clothing。
服装设计外文翻译文献
服装设计外文翻译文献(文档含中英文对照即英文原文和中文翻译)原文:Trend predictionTrend prediction information is much broader than ‘fashion prediction’ in that it may not be specifically related to fashion. Trends are recorded and trend predictors (looking for patterns of human behaviour, indicating changing markets or new consumer needs) constantly monitor the media and society.Many industries use trend prediction to forecast relevant changes and plan product development, for example the interest in all things spiritual was forecast by Faith Popcorn, initially in the ‘Popcorn Report’ and was developed and continued in ‘Clicking’.Spirituality is seen in the interest of such things as ‘Feng Shui’which is a popular approach to interior design. Bookstores now have shelves dedicated to spirituality, as individuals look inwards to discover themselves in a fast-moving world.The fashion prediction consultancy relies on experts in a variety of fields for its structure. They have personnel all over the world to help in gathering intelligence.The full-time staffing of a consultancy generally consists of the editor who creates the company philosophy. The publisher, on the technical side, puts the information together. The retailing and merchandising professionals and fashion directors work on consultancy for individual clients, by applying the general fashion trends more specifically to their needs. They must be skilled in, and aware of, a variety of markets. This could, for example, involve developing exclusive collection strategies, concepts and designs for spinners, weavers, textile printers, men’s, women’s and children’s garments, shoe and accessory manufacturers and for retailer’s private labels. They may also be expected to sell subscriptions to the publications to new clients.The objective is to work closely with the client to determine their concerns, goals and potential customers with a view to tailor-making a design solution.The success of prediction companies relies on pinpointing trends and developing these for individual markets at the right time! Trends may be affected by social, cultural, political and economic moods, as well as evolutions in lifestyle, technological developments, media and retailing. This information is tapped and recorded by international correspondents who provide up-to-date intelligence fromfashion capitals, such as London, Paris, Milan, New York, Florence and Tokyo.The design team determines how this intelligence affects fashion and consumer awareness.Designers/Illustrators are employed with design skills in menswear, womenswear and childrenswear, and illustration skills in interpreting and developing silhouette themes, knit and woven samples, print stories and accessories. They visualise new ideas developed from the trend information and consider carefully figure proportions and stylization so that any personnel, using the service, can understand what is suggested by the visual.International agents promote and sell the service to clients worldwide, for example in Los Angeles, Tokyo, London and Paris.ColourColour is the first consideration of season and is produced for autumn/winter and spring/summer ranges.The colour is put into dye 18 months ahead of the specified season (some clients may require this information up to 2 years earlier, but this may not be shown in the final presentation box).Fibre and fabric manufacturers require advanced information regarding colour as they have to develop their product early enough for designers and garment manufacturers to buy it and in turn develop their product. Presentation packs are usually presented with a fixed range of colour and a removable range so that clients can develop their own colour combinations. Colour packages are included in the subscription price and may be sold separately to clients who only require colour information and not the rest of the service.The follows the setting of the mood for a new season by developing fabric and silhouette themes. Prediction consultancies produce a variety of materials and publications for their clients.Directional themes and full-figure silhouette illustrations of menswear, womenswear and childrenswear together with accessories are shown. Included in the publication may be exclusive handlooms for wovens, knits and prints produced by freelance and in-house designers.Commercial fabrics may be published at this time, derived from fabric fairs such as, Premiere Vision, Interstoff and Prato. These are created from hand cut and stuck swatches of directional fabrics relating to the season’s previously predicted themes.The fashion prediction design processOne publication is worked in at a time (there may be 12-one a month, or more, depending upon the size of the consultancy and its breadth of expertise).A company that develops its own thematic material will hold a succession of meetings with the core team resulting in decisions being made regarding the amount and content of the themes for a particular season, including evocative names. This is achieved by discussion. Each individual states what they fell will be a strong trend in the coming season. Where one idea is repeated by several members it is incorporated into the plan for the book. Where similar ideas are mentioned they are amalgamated to form a strong and identifiable trend.A colour palette is decided upon. The colours are divided into groups corresponding with the themes. Some colours unavoidably overlap, but as main and accent colours alter the overall impression, each theme is sufficiently different.The designers then start designing. The walls are covered with tear sheets from magazines, separated into appropriate themes as inspiration. Photographs from the trade fairs are used for guidance on design details.Fabrics are then discussed in conjunction with the designers designing the garments. It is important to consider the balance of outerwear and separates fabrics. When decided, lengths of fabric and any interesting accessories are ordered to provide swatches for the books.After the designs are completed they are illustrated with reference to particular markets and ‘lifestyle s’ and to capture the ‘essence of the themes’. Technical drawings are also produced, either by the design team or by freelance illustrators.Samples of knitwear and new textiles may be commissioned which will be photographed for the books.Mood boards, containing visuals, fabric and trim, depicting the themes, are completed. The mood boards are sent away to be photographed and return as transparencies.During the process of compilation, agents worldwide will have seen securing old and new clients, to whom the books will be sent on completion. a master copy of the book is compiled and sent to the printers to have a sample copy printed and bound. The copy is checked for any mistakes before the book goes into production.Travel is an important aspect of fashion research and visiting trade fairs allows reports to be compiled which observe not only trends apparent from the exhibitors’displays, but also from the people (who are mainly from the fashion industry) as they walk around the shows. This exercise helps to understand the differences in international fashion, which is important when catering for foreign clients.Theme developmentFashion prediction for a new season is usually promoted as a series of ‘themes’. These are designed to inspire and direct the designer for a number of markets. Themes, often, are given names to evoke feelings and moods and reflect the content of the theme. Each theme may appeal to one or more markets and requires interpretation from the designer to develop for their particular market. Often the prediction company offers some consultation to the designer which is helpful in this development.Markets are usually defined by cost of the merchandise. Nowadays the markets referred to have vague names such as boutique, fashion aware, better end, pm dressing. This is more reflective of changes in ‘lifestyle’.These can be interpreted into customers buying from:Lower market –budget; lower middle –high street, chain stores; middle –independent labels and department stores; upper middle – designer diffusion; upper –designer.Fashion prediction themes have often been very literal in their nature: nautical would show striped sweaters and sailor hats; utility always involve dungarees of some description and multiple pockets. A chic, tailored look may well involve a French beret.It is important that visual codes are identifiable and mean similar things to different people. The illustration must work hard to convey a mood, an attitude, in the pose, that convinces the viewer about the sort of person that is being targeted.Similarly, a total look is always helpful because accessories can contribute to not only the communication of the theme, but may also convey the type of person who would wear the ‘look’.It is important that the proportion is believable and that the information is clear. Themes nowadays are less literal and are more about mixing ideas together to create something fresher. ‘Lifestyle’ has become important, consequently themes may not be put into an evocative setting which helps to create the correct mood. Less clothing detail is on view but the message allows the designer to make their own interpretations.New uses of technology have resulted in the development of the Worth GlobalStyle Network (WGSN) who produce a comprehensive on-line service to fashion industry. Members pay an annual subscription to view the full site; students may visit an educational version free of charge (for a limited period). The services available are: news updates daily; women’s, men’s, youth and children’s trends; city reports from London, Paris, Milan, New York and Tokyo plus seasonal reports from new and trendsetting areas; international trade fair calendar; lifestyle reports - consumer attitudes, evolving buying patterns, seasonal phasing; catwalk shows and trade event reports; graphics libraries; resource listings; licensing reports – brands, films, sports events; mailbox problems and solutions; technical and production news – garment and fabric technology, dyeing and finishing, print techniques, footwear and leathergoods technology.译文:流行趋势预测流行趋势预测信息所包含的内容要比时装预测丰富得多，原因是其不一定与时装有关。
服装设计类毕业设计毕业论文外文翻译-服装设计工程之边缘设计英文翻译外文
原文Couture Sewing TechniqueClaire B.ShaefferEdge Finishes Hems,Facings and BindingsU nless finished in some way, the edges of a garment ravel and look incomplete. These edges—the neckline; the vertical front edges of jackets, coats and many blouses; jackets and coats—can be finished in conspicuously or they can become distinctive, decorative elements of the design.Three finishes are used extensively in couture:hems, facings and bindings.The choice of edge finish depends on many things—the shape of the edge being finished; its position on the garment; the type, design and fabric of the garment; current fashion trends; and the preferences of the individual wearer and the designer. For example, if the bottom edge of a dress is straight, it might be completed with a hem, a facing or a binding. But if this edges is asymmetrical, curved, scalloped or otherwise unusually shaped, it will need to be finished with a facing. Even when the edge is visually the same on the neckline and hem, the two different edges are likely to require slightly different finishes to accommodate the curve at the neckline and the weight of the fabric at the hem. And although it’s obvious that a tailored garment would require very different finishingfrom an evening gown, even similar designs vorked in dissimilar fabrics would dictate finishes suitable for each fabric.Although hems, facings and bindings are all edge finishes, each has a slightly different function. Hems are generally used on the lower edges of a garment or garment section (for example, a sleeve) and many help the garment hang attractively by adding weight to the edge. Facings, on the other hand, are applied to the upper and vertical edges of a garments. Bindings can be used on upper, lower or vertical edges, but they’re used most often to replace facings rather than hems.Facings can be cut as separate sections and sewn to the garment to finish curved or shaped edges. Or, when used on edges that are straight or only slightly curved, they can be nothing more than a wide hem allowance, in which case they’re called extended facings. Both hems and facings are visible on only one side—usually the underside—of the garment. Bindings, by contrast, are separate strips of fabric that encase the garment edge and finish both sides of the garment attractively.Because in couture the cost of labor and materials takes a back seat to the desired results, edges are not always finished with the simplest method or the one most often used in ready-to-wear construction or home sewing.Whatever the finishing method, hems, facings and bindings can be sewn entirely by hand or machine work.. The hand work visible on the finished product, however, is only a fraction of the hand work used to finish the edges of the traditional couture garment.FACINGSFacings, like hems, are designed to finish the edge of the garment. Unlike hems, which hang free of the body and affect the garment’s hang more than its overall shape, faced edges frequently fit the body’s curves and subtly affect the garment’s silhouette. Used on garment openings, curved edges and shaped edges like jacket lapels, facings contribute significantly to an overall impression of a well-constructed garment.There are three types of facings: extended, shaped and bias. Two of these —shaped and bias facings—are cut separately from the garment and can be sewn from self-fabric or lightweight lining fabrics. The extended facing is cut as an extension of the garment section like a plain hem and is, of course, self-fabric.The extended facing is nothing more than a 1/2-in. to 2-in. hem and is sewn exactly like a plain hem (see pp. 63-64). When the garment edge is on the length-wise grain, the extended facing duplicates the shape andgrain of the edge it faces. But when the edge is slanted on a bias or has a slight curve, the facing can’t duplicate the grain and may have to be eased, stretched or clipped to fit the edge smoothly.The extended facing is used extensively in couture because the folded edge of this facing is flatter and more supple than the seamed edges of shaped and bias facings and consequently drapes better. Edges with extended facings are generally interfaced and stabilized so that they maintain their original shape for the life of the garment.As its name suggests, the shaped facing is cut to duplicate the shape of the edge it faces and ususlly duplicates the grain as well. This facing is often used on necklines and on edges intended to have a crisp, constructed look, and it’s always used on intricately shaped edges like a scalloped hem.The bias facing is a strip cut on the true bias. Because it doesn’t duplicatethe grain of the edge it faces, this facing must itself be shaped to fit the edge. Bias facings are made from lightweight fabrics and produce narrow, inconspicuous facings.In cousture, more than one type of facing is often used on a single garment or even on a single edge. The pink gazar dress shown above, for example, has extended facings on the front neckline and back opening with shaped facings on the front neckline and back opening with shaped facings on the back neckline. Similarly, the jacker on p.60 has a shaped facing on the upper half of the front edge and an extended facing on the lower half of this edge.Before applying any kind of facing, examine the garment’s fit to determine whether the edge needs to be help in or stabilized with a stay tape (see pp. 49-50) or interfaced (see p. 68). Once you’ve handled the edge as required, then you can proceed to apply the facing you’ve chosen.SHAPED FACINGSShaped facings can be applied by hand or by machine. Both types of applications are used in couture, while only machine applications are used in resdy-to-wear. The machine application is, of course, faster, but it’s sometimes more difficult to shape the facing so that it fits smoothly,and the seamline is sometimes visible at the garment edge. The instructions below are for applying the facing by hand. (For directions on applying shaped facings by machine, refer to your favorite sewing manual.)These directions focus on neckline facings because they’re most frequently used in couture workrooms. However, the directions can be applied to other edges such as waistbands, armholes, applied pockets, collars and cuffs, and they can be adapted for garment linings. The facing can be made any time after the neck edge is established, the seamline or foldline is thread-traced, and the edge is interfaced or stabilized appropriately for the design.Facings can be cut from the original garment pattern if the edge wasn’t changed during the fitting process, or the garment itself can serve as a pattern. When the garment is used as a pattern, the thread-traced neckline can be used to establish a corresponding stitching line on the facing. Afinished neckline can also be used as a guide when you’re applying the facing by hand.Neck facings can be cut in several shapes. Two of the most popular are the traditional circlular shape, which measures an even distance all around from the edge, and a rectangular shape, which extends into the armscye seams. When the larger shape is used, the facing edges can be anchored in the seamlines, holding them smooth and in place. The facing shadow may also be less obtrusive with the larger shape, depending on the design. The obvious disadvantage of this facing is the additional fabric introduced into the shoulder area, which may give the garment a bulky appearance.One solution for reducing some of this bulk is to relocate the seamlines 1/2 in. to 1 in. from their original positions. In couture, the seams on facings are not always aligned with the corresponding garment seamlines, as they are in ready-to-wear and home sewing.The directions that follow are for cutting and applying the less familiar rectangular facing. They can easily be adapted for a circular facing, Start by selecting some scraps from your garment fabric for the front and back facings unless the fabric is bulky or heavy, in which case use a lighter,firmly woven material for the facings. Rectangular pieces of cloth are preferable because they make it easier to identify the grainlines. If you’re cutting a rectangular facing for a garment with a high, round neckline with a closre in the back, begin with one large rectangle about 16 in. wide by 7 in. long for the front facing and two smaller ones about 8 in. wide by 6 in. long for the back facings.When applying the facing by hand, it’s easier to finish the garment edge before making the facing so that you can use the finished, do so before starting the facing and clip the free edge of the interfacing as needed, to make it lie flat. Trim the seam allowance around the garment neck to 3/4 in. andfold it to the wrong side. Baste a generous 1/5 in. from the edge. To minimize the seam allowance’s tendency to curl around the neck, snip shallow cuts into the raw edge every inch or so as needed to make the neckline seam allowance lie flat(as shown on p.74).With the wrong side up, place the neckline over a pressing cushion andpress just the neckline edge. With your fingers, gently try to flatten the raw edge. If necessary, trim the edge further to 3/8 in. for firmly woven fabrics and 1/2 in. for less stabble fabrics. If the seam allowance still doesn’t lie flat, clip the raw edge with short, closely spaced snips up to, but not through the basting stitches around the neck edge. Use a loose catchstitch to sew the edge of the seam allowance to the underlining or interfacing. If the garment has neither, sew carefully so the stitches do not show on the right side of the garment.Cut a rectangle for each section to be faced. Before proceeding, decide whether relacating the shoulder seams will redistribute the bulk. After relacating the seam, if you decide to do so, begin with wrong sides together, and match and pin the grainlines together at the center front of the garment and its facing. Then, holding the garment neckline curved, as it will be when worn, smooth the facing in place, pinning as you go. When you get to the shoulder seams, smooth the front facing over the seams so that the seam allowances are flat. Pin and then trim away the excess at the shoulder seams and at the neck edgd, leaving 1/2-in. seam allowances on the facing, as shown above.Pin the back facing(s) in place. At the shoulder seams,trim and then turn the raw edges under, then pin and slip-baste, as shown above. At thispoint, you can machine-stitch the shoulder seams. At the neckline, trim away the excess, leaving a 1/2-in. seam allowance.Turn under the raw edge so the facing is 1/16 in. to 1/4 in. below the edge of the neckline and does not expose the clips on the garment’s seam allowance. If necessary, clip the edge of the facing at intervals as needed to make it turn under smoothly and pin it in place. On edges with shallow curves, you can turn back the neck edge of the facing in place and press lightly. Using a fell stitch or slipstitch, sew the facing to the neck edge and join the shoulder seams if they weren’t machine-stitched. Remove the bastings and press lightly.BIAS FACINGSA bias facing is a narrow strip of fabric cut on the true bias that’s shaped, rather than cut, to duplicate the edge it faces. Well adapted to garments with soft edges, this facing is frequently used on blouses and dresses and on lightweight silk and cotton fabrics. In couture work-rooms, most bias facings are applied by hand. Generally, self-fabric is used if the garment is sewn from light-weight fabric, but if the fabric is heavy, lining material can be used instead.Bias facings are narrower and less conspicuous than shaped facings, and since they require less fabric, they’re both more comfortable to wear nextto the skin and more economical to sew. There are two disadvantages to these facings, however. When a bias facing is applied, the garment edge is rarely interfaced and may not be as smooth. And since the bias facing is usually slipstitched to the garment, it’s sometimes difficult to prevent the stitches from showing on the outside of the garment.Most bias facings are finished so they’re about 1/2 in. wide, but they can be as narrow as 1/4 in. on a jewel neckline and as wide as 2 in. at the waist of a skirt. Generally, the wider the bias facing, the more difficult it is to shape it to a curved edge.Before applying a bias facing, finish the garment edge. Fold the seam allowance to the wrong side and baste 1/8 in. to 1/4 in. from the edge. Clip as needed to make the edge lie flat. With the wrong side up, press the edge.Measure the garment edge to be faced and cut a bias strip several inches longer, or join several strips for the length you need. For a 11/2-in. wide facing, the strip should be 1 in. wide for straight edges and 11/2 in.wide for curved edges. Fold one of the long edges under 1/4 in. This is best accomplished by folding 6 in. at one time and pleating the folded edge with your hands into 1-in. pleats so the edge will stay folded without pressing, which might stretch it.Begin with the wrong side up and match the wrong side of the bias strip to the wrong side of the folded garment edge, aligning the bias edge with the basting, 1/8 in. to 1/4 in. below the garment edge. Pin the bias, easing or stretching the strip until it fits the edge smoothly, and baste.Place the edge over a pressing cushion with the right side up. Cover theedge with a press cloth and carefully press just the edge and the bias strip. The facing shoule lie smoothly against the wrong side of the garment. If it doesn’t, release the basting and try again.Using a slipstitch or fell stitch, sew the facing to the seam allowance. Trim the bias so it’s an even 3/4 in. wide. To finish the free edge, fole it under 1/4 in., pin and baste. Using a very fine needle, sew the edge to the garment with a loose slipstitch or fell stitch. If the garment is backed, catch the backing but not the garment. Remove the bastings and press lightly.When applying a bias facing to a neckline without an opening, begin at the left shoulder seam and work toward the front neckline(this is the most difficult part of the neckline to face and, in couture, is therefore tackled first). For a bias facing at the armscye, begin at the underarm. Finish by folding one end of the bias wrong sides together on the lengthwise grain. Lightly crease the fold with your thumbnail. Fold the other end under so the folded edges match. Then slipstitch the folds together.BINDINGSAn elegant finish suitable for nearly every edge,a binding can be unobtrusive or, in a contrasting fabiric or texture, add dash to yourgarment. Bindings are made by stitching a strip of fabric to the right side of an edge, wrapping it around the edge and securing it neatly on the underside. Often finished so they’re attractive on both the right and wrong side of the garment, bindings are frequently used on transparent fabrics, two-faced fabrics and on reversible and unlined garments.In order to shape and sew bindings to curved edges easily, most fabric bindings are cut on the true bias at a 45°angel to the lengthwise grain. But if the garment edges are straight or almost straight, bingdings can be cut on either the crossgrain or lengthwise grain to enhance the design. The directions below focus on bias-cut bindings, but they can easily be adapted for nonbias strips and ribbon, although these other bindings donot take the shape of the edge as easily.Selecting the fabric for bindings is particularly important. Lightweight materials like crepe, sation, chiffon and voile are suitable for bindings on almost any shell fabric. If you wan a heavier bound edge, you could use fabrics like wool, rib-weaves, cottons and sturdy linens. But be aware that the heavier the binding fabric, the more difficult it is to work with and control its bulk, particularly at the ends.Most bindings are finished about 1/4 in. wide, but on very lightweight fabrics they can be as narrow as narrow as 1/8 in., and on bulky or heavy fabrics they can be as wide ae 1-in. Bindings can be made with either a single-layered, open strip of fabric or with a double-layered, folded strip. Obviously, bindings sewn from a double layer are stiffer and thicker because they contain more fabric, an advantage when that binding fabric is lightweight or when you want a sharply defined edge. But if the binding fabric is heavy or bulky or if the garment edge is designed to hang softly, a single-layered binding is more suitable.Generally, bindings are not applied until the garment is almost finishe—that is, until appropriate interfacings and backings have already been set, the garment fitted and all corrections made. On lined couture garments,however, the binding is frequently applied first by hand or machine, and finished wirh the lining, which covers the raw edge of the bingding..CUTTING AND STITCHING THE BIAS STRIPIf you lived in Italy, you would visit your favorite merceria, or sewing-nitions store, when you wanted to trim a design with bias bindings (I’ve looked in stores in France and England but hanve never seen fabric sold in this way). There you would find a large assortment of fabrics already cut with one edge on the bias. After you chose your fabric, a salesperson would cut a parallelogram for you, which would be ready to be cut into bias strips.In America, however, the home sewer’s fitst task in making a bias binding is to estaqblish the true bias of the fabric. This is important because if the strips are not cut exactly at a 45°angle, the finished bindings will ripple, twist and pucker. The best way to establish the true bias is with an isosceles right triangle—a drafting tool that has two sides of equal length with a 90°angel between them.Align one of the triangle’s short sides with the length-wise grain.The other side will be on the crossgrain, and the hypotenuse will mark the true bias. Mark parallellines on the bias with chalk and cut as many strips asneeded for the length of your edges (see the discussions on the following pages on single and double bindings to calculate the width of strip needed for a given finished binding width). For a short bound edge in a prominent place on the garment—for example, on a lapel—use one continuous bias strip. For longer edges, join as many strips as needed for your length. In general, it’s better to join the strips on the lengthwise grain, but if the fabric has a prominent cross-rib or horizontal stripe, the seam will be less noticeable if the seam is parallel to the stripe or rib.To join bias strips, first trim all ends of the bias strips so they’re on the desired grain—ususlly the lengthwise grain. Begin with two strips, right side up. Fold one end under 1/4 in., pin it to the other strip so the grainlines match and slip-baste at the fold. Repeat until all the strips are joined. Then, fold the basted strips together with right sides together and sew the seam with a very short machine stitch (20 stitchws/in. or 1.25mm). Press the seams flat and then press them open. Trim away the ends of the seam allowance that extend beyond the width of the strip and trim the seams to 1/8 in.Although bindings can be applied to almost any edge, the directions given here are for applying single and double bindings to a neckline, where they’re most often sewn. To prepare the garment for either a single ordouble 1/4-in.—or the width of the finished binding—below the neckline. Do not trim away the seam allowance.SINGLE BINDINGThe couture method of applying a single binding has several advantages over the regular home-sewing method. It’s begun with the right sides up, allowing you to see the binding as you shape it to fit the edge, It can also be made entirely by hand rather than machine, which results in a softer finish. To determine the most suitable width for the finished binding, experiment with fabric scraps before cutting the strips until you arrive at a sample you like.Thread-trace the garment edge, as explained on p.76, and cut the bias strips so that the width of each strip is six times the desired finished width of the binding plus 1/2-in.(To make a finished 1/4-in.wide binding, for example, cut a bias strip 2 in. wide.) Press the strip, stretching it slightlylengthwise. Fold under one long edge of the bias 1/4 in., regardless of the desired finished width, and baste 1/8 in.from the fold.Working with the right sides up, align and pin the folded edge to the garment so it barely laps the binding seamline. To apply the bias smoothly to a neckline, hold the folded edge of the strip taut when pinning it in place. Baste through all layers close to the folded edge and slip-baste the strip to the garment. Then remove the first row of basting that holds the binding flat, unfold the strip so the right sides are together and machine-stitch over the basted line. Trim the seam allowance at the neckline, remove any bastings and press lightly.Fold the binding toward the neckline and finger-press the binding seam. Wrap the binding around the neckline’s raw edge and finger-press again. Pin-baste the binding in place on the wrong side of the neckline, setting the pins just below the binding. Measure the binding width. If it’s more than 1/4 in., the finished neckline will probably be too tight. If this is the case, unpin the binding and trim the seam as needed to keep the finished binding width at 1/4 in. Then fold the raw edge under so that the folded edge touches the seamline. If the folded edge overlaps the seamline, unfold the bias and trim it as needed to make a folded edge the width you need. Baste and then permanently fell or slipstitch the folded edge to thestitched line. Remove the bastings and press lightly.Sone binding fabrics are too bulky to produce a binding that looks the same on both sides. If the design has a lining that can be applied over the binding, bulk can be reduced by leaving the binging’s raw edge flat on the wrong side of the garment instead of turning it under.Sew the binding in place by hand with short running stitches. Then trim it 1/4 in. below the seamline and apply the lining to cover the raw edge.When binding outward curves, for example, on collars and pockets, trim away the garment seam allowance. Ease the folded edge to the binding seamline so the bias is smooth at the raw edge. Then proceed as above.When binding corners on collars and lapels, a triangle of excess fabric will form at the corner. Use a needle to shape the triangle into a miter and baste it in place. Then proceed as above.DOUBLE BINDINGAmerican couturier Charles Kleibacker had an unusual method for applying a double binding, which he used to finish and trim the edges of his lace designs and to sew wide bias bands in the place of skirt hems. He laid the bias strip flat on the table and applied the garment to the bias strip, instead of the reverse. Working this way makes it easier to control the bias binding and produces fantastic results.Because the finished binding for this application method will consist of atleast seven layers, the weight and bulk of the binding fabric are particularly important and must be taken into account when deciding the width of the finished bias. Medium-weight fabrics such as four-ply silk and silk linen are suitable for bindings as narrow as 1/8 in., lightweight crepes, chiffon and organza can be used. The instructions here are for a finished binding 1/4 in. wide on a neckline. They can be modified to make a very narrow 1/8-in. wide binding or one that’s much wider.Begin with a bias strip four times the finished width plus two 1/2-in. wide seam allowances.(For a finished binding 1/4 in. wide, for example, the strip will be 2 in. wide) With the wrong sides together, fold the strip in half lengthwise and baste about 1/8 in. from the fold. Lay the strip flat on the table with the fold toward you. Using chalk or pins, mark a line along the length of the strip that is an even distance from the folded edge and equal to twice the finished binding width. (For a 1/4-in. wide binding, make 1/2 in. from the fold.) Put a second row of basting through both layers along this line to mark the binding seamline.On the garment, thread-trace the neckline and seamline for the binding, as explained on p.76. Spread the garment flat on the table with the edge to be bound toward you and right side up. Then, using the thread-traced binding seamline as a guide, fold the neck edge of the garment under 1/4in.To accomplish this neatly and without stretching the neckline, clip it as needed and fold under one small section at a time. Match and pin the folede edge of the neckline to the binding seamline on the bias strip (the one father from the folded edge of the bias strip), as shown above. Baste the garment to the binding, using a small fell stitch or slipbasting. Reposition the layers with right sides together. Machine-stitch over the basted seamline. Remove the basting and press lightly.Trim away the original thread-traced seam allowance on the neckline to reduce bulk. Wrap the binding around this raw edge. The binding’s folded edge should just meet the stitches line on the wrong side of the neckline, and the finished binding should measure 1/4 in. wide. If it doesn’t, trim the neckline a little more. Grade the seam allowances as needed. Pin the binding in place, setting the pins at an angle with the heads toward the neckline and baste. Hold the edge in one hand with the wrong side toward you, and using a fell stitch, sew the folded edge to the stitched line.FINISHING THE BINDING’S ENDSBindings often begin and end at garment openings such as neckline plackets and zipper closures. For a smooth, inconspicuous finish, fold the ends of the binding to the wrong side before wrapping the bingding around the edge.Complete the opening and trim away any excess bulk before beginning the binding. Pin the bias to the garment, allowing a 1-in. extension of the bias strip on each side of the opening to the wrong side. Trim to about 1/2 in. and sew it with a catchstitch to the wrong sides of the bias strip and garment. Repeat for the other end. If the opening has a hook, eye or button loop, sew it in place now so the end will be hidden between the layers of the binding.On couture and good-quality ready-to-wear garments, bindings applied to edges without openings (for example, circular necklines, armholes, sleeve edges and skirt hems) usually have the ends seamed on grain. Before beginning such bindings, decide where to locate the seam so it will be as inconspicuous as possible on the finished design. On necklines, the seam is usually deemed least conspicuous at the left shoulder; on armholes and the edges of sleeves, under the arm; snd, on hems, at the left side seam.Prepare a bias strip that’s long enough to allow for a 4-in. tail on each end of the strip. Pin the bias strip to the garment. Fold back one tail on the lengthwise grain with wrong sides of the bias together and pin it in place. Repeat for the other end so the folded edges meet.Slip-baste the folds together. Unpin the bias about 1-in. on either side of the basted seamlineso you can stitch the basted seam easily, or use a short backstitch to sew the seam by hand. Press the seam open and trim the seam allowances to 1/4 in. Repin the bias to the edge and complete the binding, which encases the raw edges of the seam.译文时装缝纫技术之服装边缘处理工艺衣服的边缘如果不以某种方式处理，这件衣服就会显得混乱和不完整。
服装设计褶皱外文文献翻译最新译文
文献出处：N Umetani. Garment structural designing and pleat effects [J]. ACM Trans. Graph., 2015, 30(4): 90.原文Garment structural designing and pleat effectsAbstractThe research on the clothing wearing effect evaluation based on the subjective evaluation method, explore a kind of objective and quantitative evaluation method to describe the clothing on the pleat. Through analyzing the principle of image technology, design the clothing in image acquisition system, using image processing software for image processing, and the drape of clothing. This study garment sleeve parts of the pleat as an example to carry out the work, the drape on the sleeve image into grayscale curve, analyses the corresponding relation between gamma curve and pleat.Keywords: structural design, pleating effect, evaluation indexIntroductionClothing structure design is based on clothing, rendering it by cutting division, in the form of fabric, fabric pleating, joining together a series of process performance. It basically is to accurately grasp the effect of design, namely according to the structure characteristics of the clothing design renderings, determine the plane state of structure are measured.2d pattern and solid state of the corresponding relationship between the body and clothing itself the cooperate relationship between the various components and consistent state, and then combined with the characteristics of the clothing material and the characteristics of the craft, has designed a set of reasonable structure, have different specifications of the series, to lay a good foundation for the process design and clothing production. Therefore, clothing structure design is a bridge of art and technology, and process design and processing production preparation and protection.Clothing structure design method has a lot of kinds, during which there is a difference between large and small. The same kind of style, the same kind of fabrics, clothing structure design method of using different made clothes on the model and thegarment effect might be different, so need in different structure design method of a costume effect evaluation, on the basis of various clothing structural design method in the comparison.Clothing structure design basis of the human bodyClothing structure design is based on the human body, clothing for its formation, from the design, playing board, to sew, the overall ironing, are based on the human body. Clothes need to be able to adapt to the human body structure, and can make up for the inadequacy of the human body, and beautify the human body shape. This request of dressers not only possess fine sewing process, more important is fully understand and master the human body structure, the clothing modelling, as well as the relationship between human body and clothing such as knowledge, a comprehensive understanding of the structure of the human body, dynamic and static characteristics of the human body, and make use of the excellent cutting and sewing skills, modification and exaggeration, to rectify defects, beautify the effect of clothing style.The relationship between clothing and human body, clothing should first cover have to meet the practical function. Early gown jacket is flat coated body, simple cylinder structure, it is a kind of embodiment of style, but it can't reflect the body curves. Later, the introduction of western clothing, made an enormous change in the costume history, from plane to three-dimensional clothing from now on, people began to study clothing structure on the basis of the human body structure. Through the use of provincial roads, make clothing more perfectly reflects the human figure, it is the aesthetic function of clothing, is also the modern clothing trends of the research.Clothing is the length, size, its merits and broken the whole, different forms such as square, wide, and on the sewing process complexity, Jane, fine, coarse, but plus ca change, is inseparable from the basic condition of human body shape and physical activity. In clothing modelling design, before and after the paper, the layout of the collar and sleeves exquisite modelling is unified, coordinated and harmonious, and as the criterion in each part of the human body prototype form, make the crop science, fine sewing, aesthetically pleasing, and wearing form-fitting. “Wearing form-fitting",refers to the specific amount of costume design, cutting, sewing skills should conform to the human body shape, show fashion figure, the best effect. The human body to constitute the clothing modelling beauty plays an important leverage.The generation of clothing pleatRushing form design is the basis of visual expansion. Human visual sense to pleat cognitive derived from the cognitive skirt decorated side line. Side line is skirt act the role of sensory induction and abstraction of the form, rules of ruching produce order form, irregular ruching produce disordered form. Orderly form of circulation and repeated give a person with the feeling of calm and the expansion of the collect inside, this is a rational, calm the visual feelings. The various forms of garment hem shape irregular line, a messy disorderly recruit ACTS the role of design form, such as length, weight of rolling line in the form of. Skirt ruffles form in the plane design of clothing deviation from the conventional disorderly change, form an exciting visual points.Clothing pleat is for aesthetic needs, artificial set some pleat on the items. Such as pleat and pleat the garment processing process on the surface of the arts and crafts. Have certain adornment sex, this kind of pleat is what we expected. Fabric on this kind of pleat is often referred to as "crepe", clothing on this man-made craft pleat is a kind of aesthetic embodiment.2 it is goods material influenced by all kinds of bad factors in the processing of pleat, this kind of pleat often influence the processing quality of the products and the beautiful, is don't want to produce in the process of production. Especially in the process of garment processing, an operator easily sew stitches of not neat, easy to produce bad pleat. Three is a costume on the human body, as a result of human movement tensile and bending deformation of the flexible fabric, produce pleat. Clothing production of pleat in the very great degree is closely related to the human body. The body's static and dynamic ever-present affects the dress effect, the surface of the clothing pleat changes constantly.Passive, negative plait, bring certain negative influence to clothing. The second pleat bring certain obstacles to the products, we carry on the detection, prevention, and research has not. Currently there is very little research on the third cause of pleat,the focus of this article is to evaluate objectively the garment in appearance, is also the formation of a costume surface pleat for objective evaluation and analysis.Clothing as a kind of modern goods, have the function of the royal covering clothing, the cold, and can meet the needs of the people's life and work, to adapt to all kinds of manners, seasonal demand. The appearance of the clothing quality and wearing effect directly determine its sales in the market and location. With the improvement of people's living standard, people are not content with the simple body clothing apparel, but the pursuit of more high quality, comfortable, good image of the garment appearance. As clothing itself, its overall image not only with the design level, the use of the surface of the fabric quality, wearing comfort, quality, and clothing is closely related to the appearance of the effect after wearing. Factors directly affect the outcome of a costume is a costume caused by surface drape. Great impact on the pleat of the garment appearance beauty.Clothing drape evaluation indexGrey valueThe index can reflect distribution of wrinkle is the surface of a garment. Clothing formation pleat, the rendered image gray scale is not stable. Pleat area grey value small dents; drape projection area of grey value. Because the grey value itself is the color of the material, the influence of light source intensity and image processing, can't give direct information, but can be used for the first item (3) of the following indicatorsPleat numberThe index can reflect the detection area, the number of the drape of clothing surface, can use the image curve of wave number (or trough), a wave (or trough) corresponds to a pleat. On the premise that the size of the image acquisition area, the greater the value of N, the more pleat number.The depth of the pleatThe index can reflect the drape of clothing surface the most protruding part and the height of the concave part difference, can use the adjacent peaks and troughs of the region's biggest gray scale and minimum difference of gray, is used to evaluateclothing pleat which is formed by the surface depth.Pleat widthThe index can reflect the size of the drape of clothing surface. The location of the distance between the adjacent two troughs valley (D) reflects the distance between adjacent pleats down concave part; the location of the distance between adjacent wave peaks (D) reflects the width between the adjacent pleats protruding parts.Pleat evennessPleat uneven can from the size of the pleat and pleat the depth of the two aspects of evaluation.ConclusionFrom the subjective analysis of clothing appearance in drape effect, can see the different structure design methods, different fabrics and different pattern effects are wrinkle on the appearance of a garment. Pleat subjective evaluation from the garment body and the sleeves as you can see, garment body loose shirt ago plait is relatively small, the formation of culture fit shirts (ordinary fabrics) pleat of the base sample shirt, because the culture type prototype in the chest and back width is base sample is small, tight clothing than base samples, forms pleats more easily. Loose shirt sleeves plait is relatively small, the sample sleeve pleat more, because of the loose shirt sleeves is fat, it's not easy to pleat formation, or pleat number is less, the base sample sleeve is tight, the involved in easy to form a pleat. And adopts the cultural prototype is with ordinary fabric shirt and shirt pleat compared with soft fabrics, the formation of the pleat are also different.译文服装结构设计与褶皱效果摘要本研究在以往对服装的穿着效果的评价所采用的主观评价方法基础上，探索一种客观的、量化的评价方法来描述服装上的褶皱。
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Vol. 3 (3), April, 2009ISSN 1994-9057 (Print) ISSN 2070-0083 (Online)Effect of Seams on Drape of Fabrics(Pp. 62-72)Sukumar Nachiappan- Lecturer, Textile Engineering Department, Faculty of Engineering, Bahir Dar University, Bahir Dar, Ethiopia.Email: sugumaraan@Gnanavel. P. - Lecturer, KSR College of Technology, Tiruchengode–637 215, TamilNadu, IndiaAnanthakrishnan, T.- Professor and Head, Department of Textile Technology, Government Sri Krishna Rajendra silver jubilee Technical Institute, Bangalore – 560 001, IndiaAbstractDrape of the fabric is its ability to hang freely in graceful folds when some area of it is supported over a surface and the rest is unsupported. Drape is a unique property that allows a fabric to be bent in more than in one direction, When two-dimensional fabric are converted to three-dimensional garment form. In the present study, the effects of sewing of different seam were selected on different fabric and their behaviors were studied. In this study drape of ten fabrics are analyzed with three types of seams and three stitch densities. Sample without seam is a control sample and drape of seamed samples are compared with control sample to analyse the drape behavior of seamed fabrics. This paper presents a fundamental drape analysis of seamed fabrics using drape meter. Drape behavior is determined in terms of drape coefficient. The effect of seams on the drape coefficient and Drape profile has been made. Drape coefficients significantly differs between the fabrics and also between the seam stitch density combinations. Investigating drape on seamed fabrics can improve fabric end use application.African Research Review Vol. 3 (3), April, 2009. Pp. 62-72Key words: drape, computer aided design, seam, stitch density, Design of ExperimentsIntroductionDrape is an important property that decides the gracefulness of any garment as it is relates to aesthetics of garments (Kaushal Raj sharma and B.K. Behera. 2005). The mechanical properties of fabrics were first studied during the late 19th century by German researchers working on developing airships (Postle, 1998). Drape ability has been regarded as a quantitative characteristic of cloth, and several devices as well as virtual systems have been developed to measure it (Booth, 1968; Jeong, 1998; Stylios and Wan, 1999). Instruments for measuring drape ability have been developed by Chu et al. (1950) and later by Cusick (1965, 1968) using a parallel light source that reflects the drape shadow of a circular specimen from hanging disc into a piece of ring paper at present numerous instruments, ranging from a simple cantilever bending tester to a dynamic drape tester developed for measuring fabric drape. During recent years, the investigation of fabric drape has attracted the attention of many researchers because of the attempts to realize the clothing Computer aided design (CAD) system by introducing the fabric properties, in which fabric drape is the key element. It is obvious that fabrics have to be sewn together for a garment to be formed. The seams of a garment affect the fabric drape greatly (Matsudaira, M. and Yang, M. 2000). It is unrealistic to realize the appearance of a garment system without the consideration of seams and the methods of assembling of fabrics into garments (Jinlian Hu et al, 1997).When a fabric is draped; it can bend in one or more directions. Curtains and drapes usually bend in one direction, whereas garments and upholstery exhibit a complex three-dimensional form with double curvature. Hence, fabric drape is a complex mathematical problem involving large deformations under low stresses (Postle and Postle, 1993).A plain seam the most typical seam found extensively in apparel is the simplest type in which a single row of lock stitches joins two pieces of fabrics together. Thus, investigating the effect of a plain seam on fabric drape has a significant value for both the textile and clothing industries. The quantified drapeability of a fabric into a dimensionless value called a “Drape coefficient”, which is defined as the percent of the area from an angular ringEffect of Seams on Drape of Fabricsof fabric covered by a vertical projection of the draped fabric (Brand R.H.1964). “Drape co efficient (DC)” the main parameter used to quantify fabric drape (Narahari Kenkare and Traci May-Plumlee. 2005). Though useful, it is insufficient to characterize complex forms such as garments. Stylios and Zhu, 1997 considered that the drape coefficient by itself did not capture the full aesthetic quality of the drape of a fabric.Drape profile of fabrics with seams provide guidance for garment designs and producers in the apparel industry and improve the understanding of drape properties corresponding to different seam features (Fourt.L and Hollies.N.R.S.1970). Furthermore, we expect that the results will be useful in predicting garment drape with clothing CAD systems.Different types of seams are used in garment making and also wide stitch densities are employed. Once the fabric is joined with seams possibly its drape configuration would vary.The product range of textile industry has extended to the garments. Mass production of operational systems and automated sewing is making more and more presence, it is very essential to understand to the change in properties the fabric under goes once it is seamed. This study is an attempt to understand the effects of seams on the drape of fabrics, which is one of key characteristics for apparels and certain draperies.MethodologyThe sample is cut and Stitch like (Radial), ‘+’ mark with 3 different types of seams and 3 different stitch densities. The method of experiment is shown in the flow chart figure 1.Sewing ThreadPolyester sewing thread is employed to put seam and its quality particulars are,Thread count (Tex) Ne : (2 x 10) 2/60Direction of Twist : ZTypes of SeamThe types of seams were selected and in each type, three stitch densities were employed. Fabrics were sewn along the warp and weft direction on a 35cmAfrican Research Review Vol. 3 (3), April, 2009. Pp. 62-72square side. Control sample for the test is a piece with no seams. This resulted in 9 treatment combinations.(1)Plain Seam (S1)This is the most common seam used in the garment industry. This is easy to make and pliable. It is normally suitable for all types of garments. And, it is suitable for curved locations like armhole. To make this seam we have to place two pieces of fabrics to be joined together right sides facing, matching the seam lines, and we should stitch the seam exactly on the seam line.(2)Welt Seam (S2)For constructing this, we should stitch the plan seam and press both seam allowances to one side. Then the inside seam allowance is trimmed to ¼”. Then top stitching is done on the right side of the garment by catching the wider seam allowance. This type is normally used on heavy coats.(3)French seam (S3)The French seam is stitched twice once from the right side and once from the wrong side. It is the classic seam for sheers and looks best if the finished width is ¼” or less. To form this seam, with wrong sides of the fabric together, we should stitch 3/8” from the edge on the right side of the fabric. The seam allowance in trimmed to 1/8” and the seam is pressed well. Then the right sides are folded together with stitched line exactly on the edge of the fold and pressed again. Then the stitches are made ¼” from the fold.Stitch DensityThree stitch densities employed are 5, 4 and 3 stitches per Cm.Stitch was done on an industrial sewing machine.Type: Plain Stitch MachineT1 Stitch Density (5 St/cm)T2 Stitch Density (4 St/cm)T3 Stitch Density (3 St/cm)TestingDrape test in carried out on cusik’s model drape tester. The drape meter is an optical instrument. It is shown diagrammatically in figure 2. The sample holder consists of flat plates, circular in shape, mounted on a shaft coming through the base of the tester. The plates and the shaft are raised until the overhanging the overhanging portions of the sample no longer touches thebase. The image of this draped pattern is cast onto a sheet by means of a lens system. This pattern is then traced on a thin piece of paper.Figure 3 shows typical drape diagrams traced on paper sheet. The smaller circle indicates the area of supporting disc, and the larger circle indicates area of the specimen profile indicates the area of draped fabric. The term drape coefficient is used which is defined as the percent of the annular ring area covered by the draped sample. Drape coefficient = 2222dD d s A A A A −− X 100Where2s A , A 2D and A 2d are the area of the vertical projection of the drapingsample fabric (cm 2), the area of the round sample holder (cm 2), and the areaof the sample (cm 2), respectively. 2.6 Radii measuresThe radii are measured for the draped patterns at the interval of 200. This would help to trace a nodal graph of draped patterns. Identify the shift in profiles, which may not be evident by comparing only the drape coefficients. Design of ExperimentsA null hypothesis is setup stating that there is no significant difference of the drape weft between the fabrics no significant difference exists between treatments. A two-way analysis of variance is proposed for the same.Multi variant analysis is proposed to setup multiple regression equations for the Drape coefficients with basic parameters of the fabric.Results and Discussion Drape CoefficientTable 2 shows the percent drape coefficients of samples.Instruments and FabricsTen different fabrics are chosen for the work and the following Table 1 shows fabric particulars. Considerable differences are seen in the Drape coefficients by looking at Table 2. Tables 3, 4, 5 show the results of Anova. Results of ANOVAThe Drape coefficient significantly differs between fabrics and treatments, when control sample is included. Excluding the control sample, treatmentsEffect of Seams on Drape of FabricsAfrican Research Review Vol. 3 (3), April, 2009. Pp. 62-72has no effect on drape coefficients which indicates that drape coefficient changes when it’s seamed but is not significant for seam type and stitch density selected.Multiple RegressionsThe table 6 is showing multiple correlation coefficients regression co-efficient for the drape co-efficient with basic fabric properties. Looking at the table it is evident that basic properties of the fabrics samples is largely governing that the drape of fabrics.A small reduction in the drape coefficient is only indicating that the seams would slightly affect the drape coefficient.The yarn count has a very large effect followed thread density.ConclusionA study on effect of seams on the drape coefficient Drape profile is been made. Three types of seams namely three stitch densities 5, 4 and 3 per centimeter has been employed. Ten fabric verities containing different fibres weaves are analyzed. Drape coefficients significantly differs between the fabrics also between the seam stitch density combination.The Drape Coefficient alone may not give a clean idea of real drape. For this purpose the drape profiles were generated with the help of radii measures. The drape profile has clearly indicating shapes that takes place with the seams put on. Seamed fabrics have generally shown more stabilized pattern compared to control samples.Sateen weave followed by BHC MAT weave has shown highly symmetrical patterns. The seam has markedly improved drape profile of honeycomb fabric. Polyester, Polyester/Viscous fabrics have registered better drape profiles than Polyester/Cotton fabrics. Both the cotton gray casement has shown agreeable drape profiles.Effect of Seams on Drape of FabricsReferencesBooth, J.E. (1968), “Principles of Textile Testing”, 3rd ed., Heywood, London.Brand R.H. (1964), “Measurement of fabric Aesthetics, Analysis of Aesthetic components”, Textile Research Institute, pp 791 – 804.Fourt. L. and Hollies. N.R.S. (1970), Clothing – Comfort and function, Mareel Dekker Inc., New York, pp 1-7.HU J, Chung S., “Drape behaviour of woven fabrics with seams”, Textile Research Journal, 1998 913-919.Jinlian Hu, Siuping Chung and Ming-tak Lo. (1997), “Effect of seams on fabric drape”, International Journal of Clothing Science andTechnology, Vol. 9 No. 3, pp. 220-227.Kaushal Raj sharma and B.K. Behera. (2005), “Effect of the sewing and fusing of interlining on drape behaviour of suiting fabrics”,International Journal of Clothing Science and Technology, Vol. 17No. 2, pp. 75-90.Matsudaira, M. and Yang, M. (2000), "Features of drape behaviour of polyester Fibre Shingosen fabrics by image analysis", World TextileConference, Textile Institute, Manchester.Narahari Kenkare and Traci May-Plumlee. (2005), “Evaluation of drape characteristics in fabrics”, International Journal of Clothing Scienceand Technology, Vol. 17 No. 2, pp. 109 -123.Postle, R.J. and Postle, R. (1993), “Fabric drape based on objective measurement of fabric bending length”, Textile Asia, Vol. 24 No. 2,pp. 63-6Stylios, G.K. and Zhu, R. (1997), “The characterisation of the static and dynamic drape of fabric”, Journal of the Textile Institute, Vol. 88No. 4, pp. 465-75.Figure 2: Nodal lengthControl SampleS1T1 Seam type - ISeam type - IISeam type - IIIFabric SampleS1T2 S1T3 S2T1 S2T2 S2T3 S3T1 S3T2 S3T3Figure 1: Procedure flow charth 2h 3hAfrican Research Review Vol. 3 (3), April, 2009. Pp. 62-72Table 1: Fabric ParticularsS.No Fabric material Warp Count Weft Count EPI PPI GSM Weave01. 100% polyester 5.4 6.7 48.8 26.8 51.7 Plain Weave 02. Polyester/cotton 9.8 8.4 33.1 26.0 58.9 Plain Weave 03. Polyester/viscose 6.7 10.9 48.8 26.8 70.4 Plain Weave 04. Grey fabric/colon 14.1 13.4 27.6 25.2 81.7 Plain Weave 05. Cotton (casement) 15.4 14.8 26.0 22.8 82.3 Plain Weave 06. Cotton 16.4 16.4 18.1 18.1 65.3 Mat weave 07. Cotton 12.8 12.8 33.9 21.3 76.7 Twill Weave 08. Viscose 6.6 7.0 34.6 33.1 52.5 Sateen weave09. Cotton 29.5 29.5 16.5 11.0 88.9 Brighten honey comb 10.Cotton19.529.534.626.0189.2Honey combTable 2: Drape Coefficient S3 -> Plain Seam T3 -> Stitch Density (3St / cm)S2 -> Plain Seam T2 -> Stitch Density (4St / cm)DRAPE CO-EFFICIENT Fabrics Control S1S2 S3 T1 T2 T3 T1 T2 T3 T1 T2 T3 PET 60.2 61.3 62.7 66.0 63.9 68.7 69.4 67.3 65.6 61.2 PC 86.1 87.8 91.5 86.3 94.6 92.5 92.9 85.1 96.5 93.4 PV 60.5 69.8 70.0 73.7 74.2 76.2 76.9 73.7 79.3 72.6 Grey 70.7 67.0 73.7 70.0 70.5 70.1 72.6 75.6 72.4 73.0 Casement 82.4 80.0 78.3 83.8 87.4 86.6 85.5 78.9 78.3 82.9 Mat 61.3 75.8 73.0 59.5 73.0 69.4 67.5 67.7 67.0 69.6 Twill 75.1 78.0 77.6 82.7 82.0 82.5 76.4 83.3 83.5 75.6 Sateen 51.1 47.9 59.5 61.7 62.7 57.1 50.3 63.4 59.3 58.8 BHC 76.9 77.4 80.2 85.7 79.8 90.4 82.2 89.8 81.4 84.4 HC81.387.288.587.882.085.379.879.476.283.1Effect of Seams on Drape of FabricsTable 3: ANOVA (With control)ANOVA (With control)Source ofVariationSS df MS F P-value F crit Fabrics 9337.78 9.00 1037.53 69.06 0.00 2.00 Treatments 385.74 9.00 42.86 2.85 0.01 2.00 Error 1216.95 81.00 15.02Total 10940.47 99.00Table 4: ANOVA (Without control)ANOVA (Without control)Source ofVariation SS df MS F P-value F crit Fabrics 8229.54 9 914.39 60.10 0.00 2.01 Treatment 133.68 8 16.71 1.09 0.37 2.06 Error 1095.27 72 15.21Total 9458.49 89Table 5: Result of ANOVASource of Variation With control samplesExcluding controlsamplesF-ratio Significance F-ratio SignificanceFabrics 69.05 Yes sig. 60.10 Yes Sig. Treatment 2.85 Yes Sig. 1.09 Not Sig. African Research Review Vol. 3 (3), April, 2009. Pp. 62-72Effect of Seams on Drape of FabricsTable 6Control S1T1 S1T2 S1T3 S2T1 S2T2 S2T3 S3T1 S3T2 S3T3Multiple0.90795 0.90355 0.87076 0.84551 0.79649 0.86908 0.81126 0.88700 0.79570 0.78674 RR0.82438 0.81642 0.758219 0.71488 0.63440 0.75531 0.65815 0.78677 0.633146 0.61895 SquareIntercept 87.555 120.673 96.613 70.250 115.864 92.328 102.425 84.615 110.395 97.430 Epc 1.0854 0.7787 0.6469 1.3330 0.6697 1.3672 1.3673 1.0044 1.2294 0.7759 Ppc -2.2717 -3.1195 -1.9211 -1.854 -2.390 -2.529 -2.884 -1.748 -2.833 -2.027 N1,Tex 7.147 3.849 4.408 5.879 4.210 5.907 5.627 4.594 4.983 4.719 N2,Tex -7.952 -5.780 -5.413 -5.798 -5.774 -6.136 -6.565 -4.437 -6.210 -5.421 GSM 0.2116 0.4035 0.2560 0.0981 0.2701 0.0980 0.1767 0.0103 0.1764 0.1721Coppright © IAARR, 2009: 72 Indexed African Journals Online: 。