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Types of Machines/Domestic and Industrial

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Types of Machines/Domestic and Industrial

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Industrial and domestic sewing machines have a lot of things in common, but if there were one thing that stands out as a main differentiator between these two basic types of sewing machines, it would be the specialization aspect.

Domestic sewing machines typically perform a variety of stitch types and patterns. Industrial sewing machines, on the other hand, come in various models, each of which performs a specific function. Thus, it's normal for a garment manufacturing facility to own a machine that only does lockstitches, for example, or a machine that only sews buttons. This facility is likely to have many other specialized machines.

This diversity in industrial sewing machines comes as a result of the pursuit for quality. Specialized sewing machines tend to create stitches and patterns that are more refined and are of better quality than those created by home sewing machines.

Performance is another important distinction between domestic and industrial sewing machines. Because the motors of industrial variants are significantly larger and more robust than those of domestic units, they can also run for much longer. The motors of industrial sewing machines are usually so large that they are placed beneath the tables upon which the machines rest. In contrast, domestic sewing machines come with motors attached to their bodies.

As quality and performance are the selling points of industrial sewing machines, businesses are usually willing to shell out a good amount of resources just to have a complete set of the machines they need. When it comes to acquiring machines that perform different stitches, they usually have these four basic types of industrial sewing machines to choose from:

Lockstitch sewing machines - Lockstitch sewing machines produce lockstitches, which are created when the upper thread (from the spool on the top spindle) and the lower thread (from the bobbin) interlock or twist together as they pass through the hole created by the needle. The stitches on top of the fabric appear the same as those on the bottom.

One variant of the lockstitch sewing machine is the zigzag stitch sewing machine, which creates zigzag stitches instead of straight ones. Zigzag-patterned stitches can be very useful for edging fabrics or for overcasting buttonholes, as well as for stitching stretchy fabrics.

Overlock sewing machines - Overlock sewing machines or sergers are used to make overlock stitches, which are a series of thread loops that are usually sewn over the edge of the fabrics. Overlock stitches can also be used for hemming and seaming.

An overlock sewing machine typically cuts the edge of the fabric as it is being stitched. This is helpful because the user will no longer have to cut these frayed or uneven edges.

Chainstitch sewing machines - A chainstitch is formed when the thread is sent by needle down the fabric and interloops with itself, thus forming a "chain." Most chainstitch sewing machines produce chainstitches with just one thread, while others create them with two threads.

Coverstitch sewing machines - Coverstitch sewing machines are widely used in the sewing industry. On the top side of the fabric, their twin needles produce parallel rows of straight stitches. On the back side, their loopers produce overlock or serge stitches. Coverstitches are very popular in garment construction. Check your shirts at home, and you'll find out that most of them, if not all, are hemmed with coverstitches.

Take note that although there are dozens of stitch types recognized by institutions like the International Organization for Standardization (ISO) and by the American Society for Testing and Materials (ASTM), these are usually just variations of these four common types of stitches.

In future articles, we will also be giving short overviews about the different types of industrial sewing machines based on their body designs and on their feed mechanisms.

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The Different Types of Industrial Sewing Machines: Stitch Types

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Industrial and domestic sewing machines have a lot of things in common, but if there were one thing that stands out as a main differentiator between these two basic types of sewing machines, it would be the specialization aspect. Domestic sewing machines typically perform a variety of stitch types and patterns.

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lockstitch/backstitch

To prevent those points from unraveling and stretching out of shape, you need to secure them with a back stitch or lock stitch.

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The 3-thread overlock combines an upper looper and lower looper with one needle to create stitches that are more spread over the edge of fabric than the 2-thread formation. It is best for adding that decorative touch to the edges of woven and knit fabrics. You can use a 3-thread overlock to sew pintucks, narrow rolled hems or decorative edges on a tablecloth or set of linen napkins.

This is most commonly used on fabrics that have a stretch componant to it so the threads can move with the garment.

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The 4-thread overlock is sometimes referred to as the “mock-safety”. It has much of the same strength as a seam made with a safety stitch, but it’s not as strong since some flexibility is retained in the thread. This stitch pattern is formed much like the 3-thread overlock, except that two needles are used instead of one. In addition to reinforcing high stress areas, the 4-thread overlock can be used for decorative edging.

This is most commonly used on fabrics that are a stiffer material due to the extra stabalising stitch.

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Found mostly on high-end sergers, the 5-thread overlock creates a much stronger seam for reinforcing heavy weight fabrics. On one side, the pattern looks like a chain stitch and a 3-thread overlock on the other. This is because it’s actually a combination of these two overlock formations.

When creating decorative stitches, overlockers usually allow you to disengaging the knife. Most 3-thread overlockers have a rolled hemming capability, which makes it possible to roll the fabric edge into the stitch for added durability. Another notable function that these machines come with is the ability to adjust stitch length and width. Some machines also have a function known as differential feed, which lets you manipulate how fast or slow to move fabric through the needle plate. When using fast differential feed settings, you can create a ruffled edge or what is better known as the “lettuce effect” on certain types of fabric.

This is most commonly used on fabrics that are of a heavier fiber wefth, for example heavy wools and denims.

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A babylock stitch is essentially an overlock stitch with an incredibly narrow finish. It’s most commonly used for hemming lightweight fabrics and gives a ‘fluted’ finish to hems. You’ll most commonly find it in garments like floaty tap pants.

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overlock on the catwalk as a design feature

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Comme des Garçons, AW11, Paris.
Half the fun of looking at a Comme des Garçons collection is in looking at the way Rei Kawakubo turns normal sewing rules upside down. Don't expect to see seams in usual places, easily discernible boundaries between garments or overly laboured couture techniques - it's all about the concept and finding beauty in the imperfections.

Overlocking is generally used as a technique for finishing the edge of fabric so that it does not fray, but in many Comme des Garçons collections Kawakubo has used overlocking to finish visible outside seams, often in a rough manner and with a mismatched thread. Overlocking is a mass manufacturing technique which is quick and efficient and generally kept hidden from the eye of the consumer in most high-end ready-to-wear collections. The machines are sometimes also referred to as 'sergers' which also cut the fabric as they sew, although many machines which cut the fabric are simply referred to as overlockers whether they cut the fabric or not.

The general principle is that by looping the thread around the edge of the freshly cut fabric the multiple threads are able to secure the weave of the fibres at the edge of the fabric, preventing sections from separating out and causing fraying. Often overlocking is used on sections of garments which will later be hidden by lining, or where visible, will sometimes be replaced with a more elegant finish such as a french seam or bias binding. A similar stitch is also sometimes used on sportswear seams but sometimes in this instance it may be a variation known as flatlocking.

An example of typical overlock stitch formations can be found below so that you know what to look out for on the garments.
Catwalk images from Vogue.co.uk" Overlocking images by The Cutting Class.

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Comme des Garçons, AW11, Paris. Half the fun of looking at a Comme des Garçons collection is in looking at the way Rei Kawakubo turns normal sewing rules upside down. Don't expect to see seams in usual places, easily discernible boundaries between garments or overly laboured couture techniques - it's all about the concept and finding beauty in the imperfections.

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top stitch

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edge stitch

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Joinibg cloth together to create a larger body of fabric/pattern/garment.

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Overarching cultural trends will always impact what designers create and send down their runways each season. The same principle holds true for trends that are inevitably adopted by editors, models, and street style's elite. With sustainability at the top of everyone's minds, there's a ripple effect in place-many of the biggest trends of today are either sustainable, or an ode to sustainability. All-over brown feels grounded and earthy, pieces that look like they're from another epoch are here and now, minimalism means there's inherent longevity in each piece, and maximalism is taking form through trends like patchwork, where even pieces that aren't actually cut-and-sewn still give the experience of old meeting new.

From patchwork dresses that feel vintage, to Bode's patchwork shirt that actually employs antique quilts, to a Tory Sport sweater with a graphic take on patchwork, ahead are the patchwork pieces to shop now.

All products featured on Vogue are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

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The Get: Street Style Still Loves This Patchwork Trend

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Overarching cultural trends will always impact what designers create and send down their runways each season. The same principle holds true for trends that are inevitably adopted by editors, models, and street style's elite. With sustainability at the top of everyone's minds, there's a ripple effect in place-many of the biggest trends of today are either sustainable, or an ode to sustainability.

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https://www.seamwork.com/issues/2019/02/how-to-quilt-fabric-for-garments

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The quilts in the V&A's collection span the domestic and the professionally made, reflecting different uses and associations over the centuries in which they were created and collected. Whether revealing exquisite needlework techniques or a glimpse into the lives of those who made and used them, these are objects that reward a closer look.

As a technique, quilting has been used for a diverse range of objects, from clothing to intricate objects such as pincushions. Along with patchwork, quilting is most often associated with its use for bedding. But quilts are not only practical objects. The quilts in our collection have been preserved for many different reasons, whether sentimental or commemorative, as examples of needlework skills and techniques, or even because of the specific fabrics used in their designs.

Quilting is a method of stitching layers of material together. Although there are some variations, a quilt usually means a bed cover made of two layers of fabric with a layer of padding (wadding) in between, held together by lines of stitching. The stitches are usually based on a pattern or design.

The history of quilting can be traced back at least to medieval times. The V&A has early examples in its collection from Europe, India and the Far East. The word 'quilt' - linked to the Latin word 'culcita', meaning a bolster or cushion - seems to have first been used in England in the 13th century.

The earliest quilting was used to make bed covers: very fine quilts are often mentioned in medieval inventories and frequently became family heirlooms. Throughout their history, many superior examples of the technique have survived by being passed down through generations. Now in our collection, the Tristan Quilt survives from 13th-century Sicily. It depicts 14 scenes from the medieval legend of Tristan and Isolde - lively depictions of battles, ships and castles - and is one of the earliest surviving examples of 'trapunto', or stuffed quilting, (from the Italian 'trapuntare', to quilt).

During the medieval period, quilting was also used to produce clothing that was light as well as warm. Padded wear could be put on under armour to make it more comfortable, or even as a top layer for those who couldn't afford metal armour.

One fine example of quilted clothing in our collection is an Indian hunting coat, made in the 17th century, when the Mughal dynasty ruled South Asia. The exquisite 'tambour' chained stitch (worked from the top surface with a special needle called an 'ari', similar to a crochet hook) suggests that it was probably the work of a specialist craft workshop that would produce work for export to the West as well as for the Mughal court.

Although quilting can just use basic running stitch or backstitch, each stitch has to be made individually to ensure it catches all the layers within the quilt. Where the stitching is laid down in decorative patterns, it can be extremely fine work. Popular stitching patterns have been given names such as 'Broken Plaid', 'Hanging Diamond', 'Twisted Rope' or 'True Lovers' Knot'.

Because items such as bed covers typically involve large surface areas, quilt making is often associated with social occasions where many people share the sewing. Particularly in north America, where early settlers from England and Holland established quilting as a popular craft, there is a tradition of a quilt-making 'bee' for a girl about to get married, with the aim of stitching a whole quilt in one day. One American ' Bride's Quilt' in the collection was created for the marriage of John Haldeman and Anna Reigart in 1846. It uses a pattern known as 'sunburst' or 'rising sun', popular for its symbolic associations with the dawning of a new day.

In Britain, quilting was most popular in the 17th century, when it was used for quilted silk doublets and breeches worn by the wealthy and later for petticoats, jackets and waistcoats. Quilts were produced professionally in major towns and cities - London, Canterbury and Exeter are all linked with sumptuous examples in our collection. Quilts were also imported. Quilted Indian bed covers made from chintz fabric (Indian painted and dyed cotton) were very popular export items for both the British and Dutch markets in the late 17th and 18th centuries.

Quilting also has a domestic history. Many of the English quilted items in the Museum's collection are the work of women sewing domestically for their own use. While some were made by necessity, others were made to mark specific life occasions, such as a birth or wedding, or, like the Chapman quilt, were perhaps made for a dowry.

Although closely linked to quilting, patchwork is a different needlework technique, with its own distinct history. Patchwork or 'pierced work' involves sewing together pieces of fabric to form a flat design. In Britain, the most enduring method is known as 'piecing over paper'. In this method, the pattern is first drawn onto paper and then accurately cut. Small pieces of fabric are folded around each of the paper shapes and tacked into place (also known as basting, this uses long, temporary stitches that will eventually be removed). The shapes are then joined together from the back using small stitches called whipstitches.

If quilting is often associated with warmth and protection, patchwork is more closely associated with domestic economy - a way of using up scraps of fabrics or of extending the working life of clothing. Unlike quilting, patchwork remained a predominantly domestic, rather than professional, undertaking. Not all patchwork was produced for reasons of economy, however. There's evidence that some of the patchwork quilts in our collection used significant amounts of specially bought fabrics and these quilts have been attributed to middle-class women making these objects for pleasure rather than necessity. There was also a tradition of military quilts, sewn by male soldiers while posted overseas in the second half of the 19th century.

The Museum initially collected examples of patchwork because of the significance of the fragments of textiles, rather than the works as a whole. As a result, our collection charts the use of the fine silks and velvets of the 17th and 18th centuries through to the cheap cottons manufactured during the Industrial Revolution. The largest number of patchwork quilts in our collection date from the 19th century. During this period, intricate designs were used to portray a number of different motifs - from scripture and biblical scenes, as seen in Ann West's coverlet, to scenes of world events and even playing-card designs, as seen in a bed cover dated to 1875 - 85. This kind of patchwork was so popular that several examples were displayed at the Great Exhibition of 1851.

During the same period, patchwork was promoted by the likes of prison reformer Elizabeth Fry as a skill that should be taught to female inmates - a means of providing the prisoners both employment and allowing time for reflection. This tradition has recently been resurrected by social enterprise Fine Cell Work in a collaboration with the V&A and the inmates of the HMP Wandsworth Quilt.

Patchwork saw a broad decline over the 20th century, but was adopted by the fashion industry in the 1960s as a 'look' associated with hippie culture, not just a technique. By the end of the century, both patchwork and quilting - as crafts so closely associated with women - became techniques used by artists such as Tracey Emin and Michelle Walker to explore notions of 'women's art' and work. Memoriam by Michele Walker is one example in our collection. You can also watch interviews with contemporary artists and quilt makers Jo Budd and Natasha Kerr who draw on the long tradition of quilting and patchwork for their contemporary art practice.

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V&A · An introduction to quilting and patchwork

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The quilts in the V&A's collection span the domestic and the professionally made, reflecting different uses and associations over the centuries in which they were created and collected. Whether revealing exquisite needlework techniques or a glimpse into the lives of those who made and used them, these are objects that reward a closer look.

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quilting on the catwalk

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Last season saw Lazaro Hernandez and Jack McCollough looking backward. Fall finds them looking forward with a collection that had its genesis in the idea of protection. The designers were vague backstage about what got them interested in the notion, but it doesn't matter. This was a daring show, in which they proposed new silhouettes, recommitted to the artisanal tendencies that have become a brand hallmark, and headed East for inspiration-think karate, kimonos, and Yoko Ono. Mrs. John Lennon circa 1970 provided the screeching soundtrack. "It's Asian," said Hernandez, describing the collection's look, "but in a New York way."

The designers opened with a series of boxy collared shirts that snapped closed at one shoulder and loose-fitting pleated trousers. Oversize is a look we've seen elsewhere this season, but Proenza Schouler has made it official-it's a trend. The tops and pants came in stiff white cottons, like karate gis, or in waxy black leather. Leather was a major element, and the way the designers worked it-by weaving thin strips of navy, black, and white, say, into a tiny grid for a side-zip jacket-was astounding. The handwork was equally impressive on a pair of quilted-satin varsity jackets embroidered with pheasants on the chest; ditto for the woven paillette skirts with which they were paired. Jack and Lazaro also endorsed brocade, another NYC undercurrent, for long-sleeve dresses that, with their complex construction, looked like jackets and flippy miniskirts.

The remarkable thing about the show was its evolution. Those scaled-up jackets and trousers at the beginning will be challenging to retailers. But by the end, the quilted-satin cocktail dresses with the bird embellishments (a callback to Hernandez and McCollough's breakthrough Spring 2010 collection) had the crowd raving. Their confidence is persuasive, and so is their skill.

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Proenza Schouler Fall 2012 Ready-to-Wear Collection

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Last season saw Lazaro Hernandez and Jack McCollough looking backward. Fall finds them looking forward with a collection that had its genesis in the idea of protection. The designers were vague backstage about what got them interested in the notion, but it doesn't matter.

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christopher kane 2019-2020 fall winter - quilting with knit

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quilting on the catwalk

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Here's something new to explore if you're a perennially cold-blooded girl but want a change from knitwear. Quilting!

Specifically, this quilted trench ensemble by Gabriela Hearst *, above. (Note: she now has a shop in Brook Street). But also the elevated quilted patchworking at Louis Vuitton (below, great for layering) and this fab Bonny fencing-style jacket from

Emily Adams Bode's patchwork jackets* are also worth your attention. Patchwork is labour-intensive hence the price, but for more realistically priced quilting, I like these Kantha jackets from Toast. Plus, I've just clocked thisCOS 'zip up puffer vest'* in the store window. It's a kind of tabard arrangement that looks to serve as a perfect light insulation layer. Buy it .

And if the quilting bug has well and truly enveloped you, there's more. Jessica Ogden's upcycled patchwork quilts and cushions for A.P.C are now in their 17th season - I love this red and blue colourway (below). They land on 24th October.

Meanwhile, Parisian polymath and vintage whisperer Gauthier Borserello (more on him to come) has started yet another venture. His Lenaik patchwork quilts are made from second hand fabric upcycled from French and Italian shirt factories. See more here ...

NOW CLICK BELOW TO SHOP THE POST (I MAY EARN A COMMISSION ON THE BASKET VALUE OF ITEMS BOUGHT*)...

WORDS: Disneyrollergirl / Navaz Batliwalla
IMAGES: Gabriela Hearst/Vogue Runway, Louis Vuitton/Vogue Runway x 3; A.P.C
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Here's something new to explore if you're a perennially cold-blooded girl but want a change from knitwear. Quilting! Specifically, this quilted trench ensemble by Gabriela Hearst *, above. (Note: she now has a shop in Brook Street).

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vivetta 2019-2020 fall autumn winter

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Calico and Personal Cotton Choice

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Calico and Personal Cotton Choice

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Calico and Personal Cotton Choice

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Calico and Personal Cotton Choice

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This unique application of zippers by Mochiko Koshino screams edgy from a mile away. It works really well with oversize jackets or poncho-style cardigans for men. If you want to make a fashion statement then this is the zipper design you need in your closet. The pieces work well whether paired with loose pants for a casual yet stylish look or with form fitting trousers for a more edgy and sophisticated look.

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In this case, the zippers can serve either a functional or aesthetic purpose. With the former, these allow subtle placement of pockets all over the sweater for convenience. However, it is the aesthetic appeal that makes this style stand out as was seen with the Bloody Brother’s collection during London’s Menswear fashion week. These zippers help give a classic twist to plain old cardigans without compromising on the warm and comfortable look and feel of the garment.

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When we hear the word zipper, the first thing that comes to mind for most of us is the word shiny. However, collections such as those seen during the KTZ show just how edgy and stylish black zippers can be. Whether used on black leather jackets, on male corset jackets or even on pants, this simple style is full of subtle beauty.

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This zipper style from Liam Hodges is bound to turn heads. It works well with sweatpants and other loose fitting trousers giving an edgy and fashion forward look and feel to whatever ensemble. Zippered legs are perfect for the casual day out where you want to be free and comfortable without compromising on fashion.

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Finally, London Menswear Fashion Week saw featured zippered pockets on the runway as seen with JW Anderson’s collections. It is safe to say that no one had a reason to complain. This simple touch makes the world of a difference to any outfit. When shiny zippers in particular are used with dull and dark colored sweaters and jackets, the contrast effect is amazing. This style adds flare and fun to any outfit and is perfect whether applied on a leather jacket or a woolen trench coat.