Fabric for Fashion: The Swatch Book Revised Second Edition

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This easily navigable resource provides over 125 swatches of the most recognized and widely used varieties of fabric, including natural fabrics such as cottons, silks, wools, and linens as well as artificial and synthetic fabrics like acetates, lyocells, nylons, and metallics to encourage consideration of not just the aesthetic appeal of various fabrics but also their structure, feel, and weight. Bound into a hardcover book, with descriptions and contextual illustrations alongside them, the fabrics are in their raw state, before bleaching, dying, or finishing, so that their properties can be observed without the distraction of color or pattern. explored within a separate section, and the final chapter “The future of fashion lies in fabrics. Everything comes Devoré The technique of devoré (from the French dévorer “to devour”) is also known as “burn out.” It describes the effect achieved when part of a fabric composition is eaten away by the application of a corrosive paste to produce a design. The acidic dévorant paste will eat away the areas of the fabric that are cellulosic (rayon, cotton, or linen for example). The base weave (silk or synthetic) will remain. The technique is particularly effective with pile fabrics, such as a silk/rayon velvet, where the contrast between the sheer silk ground and the texture of the pile is pronounced. left) Anne Kyyrö Quinn expresses the exceptional sculptural qualities of felt in this cut-edge threedimensional application on felt cushions. Fibers to fabrics Freehand embroidery The designs are applied without regard for the weave structure of the base fabric; it is also a form of surface embroidery. Crewel-work and traditional Chinese embroidery are two examples of freehand embroidery.

Focusing in turn on animal, plant, and man-made fibers, supplier of the raw materials for the fashion industry, whereas in If you are a fashion student, the book guides you on the basics of 142 different types of fabrics, how they behave and the differences in their constructs. Fashion Designers above) Direction of yarn twist. “Z” twist and “S” twist (right) Plying yarn. Simple “S” twist with two single yarns,“S” twist with three single yarns, and “Z” twist with two two-ply yarns Mordant printing A mordant—dye fixative—is preprinted as a pattern prior to dyeing the fabric. The color adheres only where the mordant has been printed. 38 With information on fibers, basic construction of fabrics, weights, construction, and weave comparison, the book will help student fashion designers to make informed textile choices based upon an understanding of raw materials together with the processes that make up a fabric.

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right) Hand-operated needle felting. Needle felting is the alternative to wet or chemical felting. Industrial needle felting involves machines with hundreds of tiny barbed needles, which push up and down punching and entangling the fibers together. Many nonwoven fabrics are made by needle felting or needle punching. Ikat weaving Before weaving, the warps or wefts are dyed different colors at predetermined intervals along their length, using a form of resist or tie-dyeing process. Double ikat implies that both wefts and warps have been dyed. If the dyed threads are warps the pattern is visible to the weaver, who can adjust them to line up to each other. In some cultures the patterns will be aligned to perfection, while in others misalignment is preferred. Weaving with dyed wefts makes it much harder to control the design, therefore this technique is used when precision is not the objective. Double ikats are the most difficult to produce. The most precise forms of ikat weaving are the Japanese oshima and kasuri. There is evidence of ikat weaving in pre-Columbian Central and South America as well as many regions of South and East Asia. However, the name ikat has its origins in the Malay language. Today, through extensive common use, the word describes both the weaving technique and the fabric itself. Light colors are additive (above), and react differently to pigment colors, which are subtractive (below). Anti-soiling Makes stain removal easier. Blowing Steam is blown through the cloth to remove creases, and gives a specific look to the fabric. Bonding Two layers of fabric are attached or fused together, with or without a middle layer, for depth and warmth, for example foam sandwiched between two layers to provide structure and insulation. Brightening agent Increases whiteness or brightness of fabric.

The bond between fashion and textiles is one of mutual dependency and reciprocal influence; a shared destiny based upon our need for clothing.” Fashion and Textiles: An Overview Colin Gale and Jasbir Kaur (Berg Publishers, 2004)left and below) Dress and waistcoat from Ravensbourne graduate Sue Pei Ho’s collection. The pieces feature wisps of wool fibers fused onto silk—a technique originally developed by textile artists Polly Blakney Sirling and Sachiko Kotaka. above) Hand dyeing fabric in a traditional dye shop in India. This form of hand dyeing is today only used for small dye lots and specialty fabrics. Constant immersion in the liquid dye has permanently discolored the dyer’s hands. Textilepedia book makes development from fiber, explaining the process of making the fabric and the finishing techniques and is very enriching. This fabric swatch book is very informative and beautifully presented. It is comprehensive and is a thorough guide for every fashion professional as well as the student. 5. Color Swatch Book by Artsy Betsy and encourages an awareness of fibers and fabrics in a broader by them. Historically textiles have been valued not only for their The meaning or emotional impact a color imparts will vary across different cultures and can fluctuate over time, acquiring both positive and negative connotations throughout the ages. Fashion also exerts a significant influence on the associations we make with various colors. Anyone involved in the use of color for the development of fashion products needs to be conversant with the “codes” that different colors can communicate. Symbolic color associations rely on an audience that shares the same cultural experiences. The idea that blue, green, and violet are “cool” in temperature, and red, orange, and yellow are “warm” colors is shared by many cultures worldwide. This association is rooted in our shared physical experience with water, shadow, and icy climates, or fire, sun, and deserts. The meaning of color seems to be generated from a psychological reaction to a physical experience.

A must-have and invaluable resource for anyone employed in the fashion industry, the second edition has been compiled and composed by experts in their respective fields. In this edition you will find relevant information related to:Color and light Color from the viewer’s perspective may be referred to as a “sensation,” but it is technically contained within light. The individual’s perception of color is synthesized in the mind. The concept of color is a reaction to the sensation of light, which is transmitted to the brain through the eye. Light is made up of waves of energy, which travel at different wavelengths; the brain interprets these into the complex nuances of color and processes these minute differences in wavelengths. Pigment is pure color, but even the color of a pigment is essentially the color of the light it reflects. Whenever we look at a color we are viewing colored light, because pigments have a special ability to absorb specific wavelengths from the light that falls on them, and to reflect others to the eye. above) Giant T-shirt photographic silk-screen print on an oversized 100 percent cotton jersey dress by Undercover. (left) Trompe l’œil enlarged “bias weave” silk-screen print by Ioannis Dimitrousis. Our relationship with fibers and fabrics is intimate and allencompassing; we are surrounded by, sleep in, and are clothed by them. Historically textiles have been valued not only for their practical and aesthetic properties, but also as incredibly powerful cultural indicators. Textiles display the artistry and ingenuity of a civilization, the most precious examples of which even help to denote status within society. In contemporary life an evermore sophisticated and growing range of fabrics expresses the complex language of fashion. The textile industry may be simplistically viewed as the supplier of the raw materials for the fashion industry, whereas in reality the two industries are inextricably linked. Developments in the textile industry invariably impact upon the fashion industry, and vice versa. Fabrics are also incredibly powerful as a strong visual indicator of a brand, often defining aspects of a brand identity. The fashion designer’s relationship with fabric is at the heart of the creative process. The right choice of fabric is fundamental to good design and is instrumental to its success. The better the understanding of the material, the more effective is the symbiosis between the design and fabric. “The future of fashion lies in fabrics. Everything comes from fabrics.” Donna Karan This fabric swatch book by Deborah E. Young is the current and high-quality fashion fabric and is on every fashion professional’s list. This book is centered on the needs of fashion students. This fashion book kit has 208 unique fabric samples.

Chenille yarn Woven fabric is cut into warp strips and used as yarn, which has a velvet-like, “caterpillar” appearance. Cotton system Spinning system for cotton and similar fibers. Crêpe yarn Highly twisted yarn with a granular texture. Crimp Natural or artificial wave to the fiber or yarn. Filament A single, continuous strand of fiber. Any man-made yarn of one or more strands running the entire length of the yarn. Hank Unsupported coil of yarn. The two ends are tied together to maintain the shape. Also called a skein. Marl yarns Two different-colored yarns twisted together. Metallic yarns Yarns containing metal threads or metallic elements. Roving A long narrow bundle of fiber with a slight twist to hold it together. Scouring Removal of natural fats, oils, and dirt from a yarn. Skein Coiled yarn with tied ends to keep the shape. Spandex Generic name for stretch yarn. Tow Mass of man-made filaments without twist. Yarn count Numerical expression for size of yarn, denoting a certain length of yarn for a fixed weight. The higher the count, the finer the yarn. This is a swatch book so, apart from descriptions of fabrics and comparisons, it contains many swatches of many types of fabric. The swatches are quite large and, unlike the swatch book we used in college, come adhered to the book rather than in a large bag requiring you to sort through and try to figure out what is what.Each section provides an extensive database fundamental to good design and is instrumental to its success. that explores the relationship between fashion and textiles encompassing; we are surrounded by, sleep in, and are clothed One of my favorite parts of the book is that the types of fabrics made from each fiber are divided into groups that share specific properties that would be instrumental when choosing fabrics. For example, with silk they've broken them down into sheer fabrics & fabrics with liquid drape to give you an idea of which fabrics may share similar characteristics. They have also included many current photos of the fabrics sewn up into garments which helps to illustrate how the final garment would act. I thought this was a really nice touch that carries throughout the book.