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Within the tailoring and garment construction industry there are many different procedures that must be followed to ensure safety and a good final garment ready to sell. Here are a few examples in how to prepare fabric before, during and after the lap plan has been laid down:
ONE: If using spandex or other stretch fabric, it must be relaxed 24 hours before unrolling and after it has been rolled out it must be left for 2 hours so that the fibres can relax and any tolerance within the fabric can relax. The date and time must also be recorded.
TWO: All fabric but be checked and regulated for any imperfections and faults before cutting by a cutting QC.
THREE: A spread of woven fabric must not exceed 14 metes in length and 3 inches in height.
FOUR:  A quality inspector must be there while the lay plan is being set down looking for any faults.
FIVE: A quality check must be done on every bundle checking for faults (snags in the cloth, marks, rugged cutting and patter checks etc.)
SIX: Each bundle must be numbered and separated by the following spreading report, identifying each by their style, Cutting number, Bundle number, size, Serial number, Shade number and Parts name.
SEVEN: Light coloured bundles will be bound with light coloured string and dark coloured bundles will be bound with dark coloured string.

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https://1drv.ms/u/s!AgBIhfXTOUTSqFmy17tw1Ac8iYjS

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To minimise cloth wastage, one can fold the cloth is certain ways to get as much out of the cloth and still have some left over for other projects and garments. As discussed in 3.2 cloth can be very expensive and so using the appropriate fold to minimise wastage is essential.
Pictured below is an activity we did in class to show 3 types of fold; Crosswise, Lengthwise and double fold.

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* Is lightweight
* Originally made from silk (natural) but now can be made from the likes of nylon and polyester.
* Because it's so lightweight and soft-to-touch it is oft used in scarfs and dresses as a replacement for silk.
* It is breathable and lustrous in appearance.
* It drapes very well.

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In groups, we researched the characteristics of a range of woven and knitted fabrics.

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In groups, we researched the characteristics of a range of woven and knitted fabrics.

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When laying up the fabric and creating a lay plan; we did and took several steps to ensure that, one; we were being economical and creating as little waste as possible, two; the fabric would line up and three; that the correct fold was used.

Step One: We folded the fabric in half and lifted one edge of the top layer to find out of the check was even or un-even. We found it was un-even so that meant we could not use a edge-to-edge fold, strike a pattern and cut through two layers of fabric as they would not match according to the design.

Step Two: We laid the fabric out and aligned the selvedge to the edge of the table, making it straight and parallel.

Step Three: We then placed out our patterns, making sure they were all parallel to the grainline and that the corresponding pieces were matching together according to the design.

Step Four: Once the lay plan had been set and all the preparations were done, we struck the patterns to the cloth which was then ready for cutting.

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Below is a diagram of a plain weave. In this weave there are many points of contact between the weft (crosswise fibre) and the warp (lengthwise fibre) that flow in a "crisscross fashion. The more points of contact a cloth has, the stronger the cloth will be; this means it is good for garments that need a lot of strength and wear.

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Shown below is a diagram of a knitted fabric. We see that the weft (horizontal strand) is interlocking with the warp (vertical strand) in loops; this creates the knitted element.

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A dovetail lay would work well with stretch fabric. This would give it plenty of room to move about, as stretchy material will, and not interfere with the other patterns. It also allows you to cut according to the direction of the cloth that has the most stretch. Not only this but the dovetail fold is economical: not all fabrics could use this however e.g. fabrics with a nap/direction like doe skin and velvet.
Also, if the bench you are cutting on is small, using this fold is better than a single lay as it will take up less room and so is more practical when cutting the patterns.
Linked below is my lay plan for a hoodie I made within class.
https://1drv.ms/u/s!AgBIhfXTOUTSqFmy17tw1Ac8iYjS

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1.1 Follow Safe working practices in a workroom

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1.1 Follow Safe working practices in a workroom

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Please reference Health and Safety Unit.

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Here is our lay plan that we organised taking these things I to consideration: Being economical and not wasting any fabric, tolerance, being parallel to the grainline and matching the checks on the corresponding patterns.

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Step One: Identify the type of fold that you will be using. (Consider
Step Two: After folding the fabric, line up the grain with the edge of the bench so that they are both parallel with each other.
Step Three: If the cloth has a stripe or check (e.g. Glen check or Chalk Stripe) then fold over one layer of the cloth at the corner and see if they match and meet. If so it is "even" and can be struck on one side and cut through both layers of fabric. If this is not the case and the checks do not meet then it is "uneven" and must then be single lay. In the picture below I have struck the fabric on the fold, despite it being an uneven check, because in a cutting room, most often than not the cutter does not have a lot of room to lay the fabric and so i was doing it as it would be done in the work place; more realistic.
https://1drv.ms/u/s!AgBIhfXTOUTSqFmy17tw1Ac8iYjS

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Displayed is a blue inc.  mark on the fabric. This can be due to dye in the mills during production or but stationary pens in the workshop.

To mark the fault, you can place a sticky note Next to it or use a brightly coloured sticker so that it will not be missed.

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Checking for "Even" or "Un-Even" checks or stripes. 

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Checking for "Even" or "Un-Even" checks or stripes. 

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To do this, match to the selvedges together and fold over one corner of the fabric and if the stripes/checks meet each other then it is deemed "even". If this is not the case then it is deemed "uneven" and is thus harder to cut patterns on as it needs to be cut on a single lay.

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Here is shown how, as a group, we used every space of the fabric. In doing this we are leaving more fabric so that it can be used for another project and thus saving money. This is very important in the industry and tailoring as fabric can be very expensive and add to the total cost of the production of the garment.

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Mark on the pattern the checked points. 

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Mark on the pattern the checked points. 

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In doing this you can then match the front and back trouser patterns match up in their checks so that the check/stripes are continuous through-out the garment.

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It is very important that the grainline of the pattern is parallel to that of the fabric. This ensures that the design of the fabric will be cut appropriately and will match with the other patterns but also for cutting. E.g. some fabrics, depending on the weave, will unravel when cut on the bias or along the grainline.
Pictured below is our team measuring the grainline of the pattern to that of the fabric by measuring the distance between each end of the grainline given on the pattern to the selvedge of the fabric.

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*A flannel can be woven in one of two ways; plain weave and twill.
* Flannels have are more loosely woven and so are not as durable as a tightly woven fabric.
* Made from wool and so is a good insulator and is breathable; a heavy flannel would be good for winter.
* Due to it's loose weave it creases very easily.

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* Poplin is a plain weave and so is very strong and durable; suitable for work wear.
* Is very cheap to manufacture as it is in a plain weave which is the simplest and this cheapest weave to make.
* Due to the fibres being so tightly woven it makes it harder to crease, useful for shirts.

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* Frisco is a plain woven fabric that, due to it's tightly woven fibres, is very durable.
* Because it is commonly used in suiting, more for work purposes, it will be cheaper than the likes of a flannel fabric.
* Frisco fabrics are essential to modern "travel suits" as they have anti-crease properties because they have been so tightly woven.
* Is often very soft to touch as it usually woollen, not worsted.

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* Jersey has an element of stretch to it so it is useful for making hoodies and streetwear.
* Usually made from cotton and so is breathable and lightweight.
* Because it has a stretch element, it can be difficult to cut out with the patterns as it will shift.

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* It has a lot of stretch going along the grain and the bias. There is a little bit of stretch on the cross-grain.
* Because of it's great amount of stretch it doesn't shape or drape well.
* Because it is a knitted fabric and made from natural fibres it is very breathable and good for lightweight garments like cardigans.

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Silk, in it's nature, is very fine, smooth and lustrous. It also however is very slippery and will move when lay planning and when cutting the fabric.

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Due to the nap going in a single direction, the patterns will always have to be cut in one single directions also along the grain-line.

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Because the fabric has been embellished with different beads/sequence and embroidery, when lay planning all patterns must be facing in one direction - same withe nap. This can be frustrating as sometimes it might be more economical to do otherwise. 4

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Some weaves can be more tricky to work with, such lace. Because lace is very lightweight and moves easily, just like silk and chiffon, it will need to be pinned rather struck using tailors chalk. It also has a direction in which the design is going and so all patterns must be facing one direction.

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When manually lay fabric, it can either be done semi-automatic or mechanical. As semi-automatic is mostly done by hand it can be a slow and precarious job and, as time is money, this can sometimes not be the most efficient way. On the other hand, mechanical is when the roll of fabric is lifted onto the spreader by two people and then is spread across the table and them cut at the end to start of new run.

Step One: Plan where you want to place the patterns taking into account fabric waste, any specific requirements (e.g. if working with velvet, it will all need to be cut in the same direction)
Step One: After placing the first pattern - if working with checks or stripes - strike on the pattern where the lines of the design come to on the edge of the pattern.
Step Three: Plan where the other patterns will be laid making sure the checks line up with the corresponding patterns e.g. front and back trouser leg. Also taking into account fabric waste, any specific requirements (e.g. if working with velvet, it will all need to be cut in the same direction)

https://youtu.be/f36vYhrzAuc

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Fabrics that have a nap should all be one way lay. This is so that all patterns should be running in the same direction so that the nap( direction of the fibres) is all going in the same direction on the finished garment. If this is not followed then the direction of the nap on one panel could be flowing down towards the bottom of the garment but another could be going up towards the top of the garment. Pictured below is an example of how ALL pattern pieces should be placed in the same direction to follow the nap.

https://fashion-incubator.com/how-to-check-for-nap-one-ways/

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When cutting a fabric with checks, it is very important to determine wether it is an even check (checks that match on top and when folded selvedge to selvedge) or an un-even check (When the checks do not match when folded selvedge to selvedge). If it is even, then you can strike and cut the patterns when the fabric is folded. However if it is uneven, it must be a single lay. In some occasion, cutters will still fold the fabric but only cut one layer. If both layers were cut the checks on the patterns will not meet correctly and will spoil the finished look of the garment.
In the exercise pictured below the cloth was an uneven check but, to imitate cutters in the industry, I folded the fabric to take up less room but world only cut one layer of cloth.
Next, we planned and laid out our lay plan, being mindful of being economical, seam allowance, tolerance and matching the checks on each pattern.
Then I measured each end of the train line of the pattern to the edge of the cloth which was also placed along the edge of the bench; making sure both measurement were the same so that the pattern would be cut parallel to the grain of the cloth.
After doing this with each pattern, I then struck the patterns to the cloth which meant I was then ready to cut the fabric.

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Here is shown our team measuring the ends of the grainline displayed on the pattern to the selvedge so that we can make sure that the pattern is correctly parallel to the grainline of the fabric.

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Here is us making sure that we have matched the checks correctly so that when they are sewn together the checks will be continuous round the leg.
To do this we marked each line of the check onto the pattern and then, when striking the pattern again for the 2nd piece, aligning the marking on the pattern with the check woven I to the fabric.

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CAD (Computer Aided Design)/CAM (Computer Aided Manufacture)

CAD/CAM is when the lay planning course is all done by computers and can be digital. The length of the fabric needed and the cutting is all done by putting in the corresponding information into the machine/computer and then is completed. This is a quick and easy way of doing laying fabric. Not only this but the lay plan for the garment can also be displayed onto the fabric and, if need be, can be changed on the computer which directly projects onto the fabric; reducing the time and effort in re-doing the lay plan over and over.

https://www.youtube.com/watch?v=ULZa5kYvty8

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When manually laying fabric, two people are required to lift the roll of cloth onto the spreader, which then spreads out the cloth as it moves down the table. One person is needed to flatten out the layer of cloth, identify any faults and cut the end of the cloth so that they next layer can be laid down and the process can be restarted.

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https://youtu.be/f36vYhrzAuc

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There are multiple documents needed when it comes to lay planning. One of these documents is called a Garment Specification Sheet". Not only does a spec.sheet details sizes of the pattern pieces but also deals with how it will be constructed on a machine. As an example it have to detail the the stitch length and the seam types that will be used through-out the garment.
A spec. sheet will also detail the amount of fabric consumed to make the garment. A note will be taken if the fabric width, price per metre and and the amount used per metre. Using certain calculations you can work out the costing of the garment (before constructing the project and afterwards when you can see how much of the fabric/trimmings/zips were used). Once this has been established you can work out how much, per garment, a range of clothing will cost just to manufacture.

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A cost sheet is a list/document of all the required materials and items needed to construct a garment. They are useful so that before going out and making a piece, you can see the cost of manufacturing one or a whole supply line of garments. Not only does it communicate the cost of the cloth, thread and accessories needed to create the outfit, it can also give the money needed for the time it takes craft the item(s) of clothing. These would be very useful for industry workers and buyers, discerning the cost of buying and manufacturing along with transportation.

http://www.blogs.wecreatetogether.net/nailabutt/2018/05/03/cost-sheet-lay-plan-specification-sheet/

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Speck (specification) sheets are documents that list the measurements of a client for his/her garment or outfit. In the same way it can be used to in industry in communicating the sizes of each garment to the workers to create so that no mistakes are made and there are no misunderstanding.

http://www.blogs.wecreatetogether.net/nailabutt/2018/05/03/cost-sheet-lay-plan-specification-sheet/

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Please reference Health and Safety Unit

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Scissors

When using scissors, there are a few steps in which to follow to ensure safety.

One: When walking with sharps, hold the blade so that no one, if you fancy or trip, you won't fall on the blade or hit anyone else with the blade.

Two: When storing sharps, keep them concealed in a protective cover.

Three: When using sharps, do not leave them hanging off the edge of a table or in a place where they could be knocked or act as an obstruction.

Four: When cutting, stand upright so you are not harming your back by bad posture. Also, you do mean towards fabric and have the sharps near your face as if you slip or someone bumps into you, the risk of cutting yourself increases.

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Interlocked knit fabric:
-Is easy to work with as it does not curl at the edges or move when cutting as like with silk or chiffon.
-Is generally heavier than single knit as there are two layers in this weave as pictured below.
-Is soft and has a good quality of drape. This fabric would be ideal for crew/v necks or any type of sweaters due to the fabrics comfort and drape.
-Has a little element of stretch too. Not so much as to make it difficult to work with in the preparation but enough to add extra comfort to the wearer.

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Here you can see how we used every bit of space on the fabric to minimise wastage.

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Aligning the Grainline on the Pattern to the Grainline of the Fabric.

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Aligning the Grainline on the Pattern to the Grainline of the Fabric.

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Here is the team and I making sure the grainline of the pattern is parallel with that grainline of the fabric.

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A) Cross-miss
B) Lacoste
C) Interlocked
D) Double Pique

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There are many types of faults that can occur in the production of fabric, in the mills. These can range from faults that can be mended (e.g. gout and untrimmed loose ends) and those that are cannot be mended (e.g. weft bar and knots in the fabric.)
Here are some examples:
Gout - This is when foreign matter get sewn into the fabric. This can be in the like of dirt, lilt and fluff. This is caused by either improper loom cleaning and an unclean work environment. It is easily fixed by removing the matter with a plucked and bring the fabric in both directions to rectify the resultant patch.
Weft Bar - This is an unwanted bar, running across the full width of a piece which differs in appearance from the adjacent normal fabric. This is caused by a difference in count, twist, colour, lustre or a faulty let-off and take-up motion. This, unfortunately, is not able to be mended.
Stain - This is simply when oil, or another substance, has stained the fabric. This can be caused by an improper greasing/oiling of the looms or the take up roller is also stained with oil. This can be mended by keeping the stained portion of the fabric over an absorbent pad then applying
stain remover, wetting the stain and surrounding portion throughly. Then rub gently to quicken the penetration of the stain remover. However, rubbing should be done towards the centre of stain to avoid spreading.
Note: Delicate fabric needs reduced pressure, otherwise, hole formation or
displacement of the fabric will occur.
Float - A float is the improper interlacement of warp and weft threads over a certain area. This is caused by broken ends entangling with the other ends. However, this can be rectified by cutting the floating threads with a clipper then, to rectify the patch, comb it in both directions.

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Identifying faults in a roll of fabric is very important as this process stops any faulty fabric being sent to a client. Identifying and marking these faults is very simple. Identify and find the fault on the fabric then place a sticker or marker next to the fault so that it can be clearly seen.