The Cutting Class

Burberry Prorsum, Menswear, SS12.

Although buttons and zips are always used in abundance in the collections it was nice to see some variations of fastenings, particularly in the Menswear shows. The designers featured have used the fastenings to be a functional and aesthetically pleasing part of their designs, rather than be purely utilitarian and hidden away. At Burberry Prorsum this included what hooks to be a variation on a hook and bar, or oversized hook and eye, and there was more metal hardware at Dior Homme where a ring motif was used.

At Ann Demeulemeester there was a small chain fastening that was perfectly inkeeping with the low slung drape of her garments, but there was also a handstitched detail that turns simple press studs, into shapes that looked like small wheels. Lanvin interestingly used both zips and buttons along the same closure and also used studs but in a dark contrast metal against a white coat. And at Comme des Garçons the use of toggles gave the soft tailoring a more naive look.

Images from top to bottom, all from Menswear SS12 - Image 1 Dior Homme, Images 2 & 3 Ann Demeulemeester, Images 3 & 4 Lanvin and Image 5 Comme des Garçons.

Images from Vogue.co.uk».

House of Worth, Couture, AW11.

Boning is a structural material most commonly used hidden away inside garments to form cage-like structures that support the body or the garment. It is a material often associated with corsetry, where boning is often inserted into channels in the fabric or enclosed under bias binding in strips that run vertically up and down the torso, moulding to the curves of the figure.

Despite being primarily a structural device, boning has been used in the Autumn-Winter 2011 Couture collection by the House of Worth to create curved and woven effects that make it more akin to embellishment and decoration rather than simply being functional. In the garments below you will also see how the boning is used to create cage-like effects that are visible outside the garment and not hidden away, and this is becoming a common use of boning seen over the last few years alone in the collections at Valentino and Thom Browne. This is largely due to the fact that it is the strongest and thinnest material for creating these types of structures, also having the benefit of being extremely lightweight and flexible. When boning is encased in an outer layer of fabric, such as here where a layer of velvet or velvet ribbon appears to have been used, this allows the boning to be sewn against itself, to create tension and form structures. The cage-like appearance is also a reference to the way that boning would have previously been used - to create cages over which long skirts and dresses would be worn.

House of Worth, Couture, AW11.

Valentino, Couture, AW10.

Thom Browne, AW11. From the post Internal Structure at Thom Browne».

Boning is available in different varieties, with the most common varieties now available in plastic versions and sewable variations though there are still metal versions available for stronger structure as shown below:

Catwalk images from Vogue.co.uk for House of Worth», Valentino» and Thom Browne». Boning images from VenaCavaDesign».

Dior Homme, AW11.

A hook and bar fastening is a popular choice for the closure on tailored trousers, skirts and other garments. It is an alternative to a button closure, particularly where a clean, minimal look is required. It is also a fairly secure fastening that can generally hold more strain than a hook and eye fastening (which is normally just used as a light weight closure where two edges meet, rather than overlap).

The image above from the Dior Homme Autumn-Winter 2011 collection shows the position on mens trousers where this closure is most commonly used, as a sturdy way of fastening the waistband of mens or womens tailored trousers. It could also be used in a similar way on skirt waistbands.

The diagram below shows how the hook and bar are normally positioned for a waistband that has an extended tab such as on the Dior Homme trousers above. The diagram also shows the position of the small internal button, sometimes called a jigger button, that helps to take some of the strain off the hook and bar closure. This internal button must be placed accurately so that the hook and bar can sit closed correctly. If the jigger button is not taking the strain of the waistband, then the hook and bar closure will look as though it is pulling open. 

The image below is from a garment by Tze Goh as seen previously in the post Padded Minimalism by Tze Goh». This shows how the hook and bar can also be used as a minimal closure on another area of the garment as it has been used here to fasten the centre front of the cape as well as the adjustable tabs inside the garment.

Tze Goh, AW10.

There are two different types of hook and bar closure that can be used. The first does not require any sewing but has teeth that slot through the fabric and wrap through the holes in the backing plate to secure it in place. The images below show some of the variations of this type that are available. They are often referred to as 4 part hook and bar, or are sometimes named relating to how many teeth pierce the fabric, such as “2 jaw” or “3 jaw” hook and bar.

4 Part Hook and Bar examples from Made-in-China» and AsiaButton».

The images below show the other type of hook and bar that can be sewn on with small, neat buttonhole stitches around the loops at either end. It is best to test different types on small scraps of your fabric to determine if it will suit the needs of your garment. Bear in mind that you will also have a more secure fastening if the hooks and bars are secured to a strong internal layer, rather than just only being attached to a layer of fabric. So this could mean using strong fusing or a layer of interfacing or canvas as an under layer and attaching your hooks and bars through the fabric to the structure underneath.

Sew on Hook and Bar examples from MacCulloch & Wallis». Dior Homme images from Vogue.co.uk». Tze Goh images from TzeGoh.com» and LN-CC». Technical images from The Cutting Class.

Maison Martin Margiela, AW11.

In the high end ready-to-wear collections it is quite rare to see a zip hanging wide open and with the zipper tape exposed. It is rarer still to see a zip that weaves across the body in a wavy line, and it is possibly only from a team such as the one at Maison Martin Margiela that a curling zipper is actually integral to the mood of the collection.

In the Autumn-Winter 2011 collection from Maison Martin Margiela the loose hang of the zippers helped to cultivate the mood of the models in a way that buttons and press studs alone never could. They helped to make the clothes look as though they were peeling away from the models bodies as they replaced seamlines and created rifts between sections of the garment. The fact that the zips are relatively invisible also helped to differentiate it from the other fastening elements of the garment. So buttons on a cardigan for example seemed like the functional fastening element but then the zip was used to edge the seams that were slithering away from the body. It is always interesting to note the use of traditional elements in deconstructed clothing. Whether it is a conscious decision or not, is as though the designers are placing traditional elements onto garments as a visual anchor to show how the structure of the garment has moved.

On a very practical note, for the length of zipper used on the Margiela garments be ware of lead times if you are planning this sort of fastening yourself. Long zips that are double ended or open ended and available in unusual colours often need to be specially ordered from a supplier such as YKK, and from anecdotal evidence they can take up to 6 weeks to arrive and may only be available in limited size and colour combinations. Zip tape can also be bought on a continuous roll and zip pulls and ends applied separately but you will need to research the minimums required for purchasing in this way as it may not be a viable option for sample collections.

Catwalk images from Vogue.co.uk».

Tailoring Shears from Niwaki with total length 9”.

When you have spent hours perfecting and refining a pattern to perfection, after countless toiles and alterations, the last thing you want to do is try to cut it out on your final fabric using the wrong equipment. With the wrong equipment and incorrect preparation, you can end up undoing all the hard work that you put into your pattern as the final fabric may end up getting pulled and distorted while you are trying to cut it. 

Cutting equipment can be quite a personal thing and no single method is perfect for everyone, or for every fabric. However there are some basic approaches that you can try to see what works best for you. 

The most traditional method is simply with a really good pair of sharp scissors or tailors shears, as the larger cutting scissors are often called. If you are serious about your scissors, you will buy a good quality pair, never drop them, sharpen them regularly, oil the joint with a drop of machine oil and keep them wrapped in a case to protect them. Investing in a good pair of scissors is worthwhile if you will take good care of them as you will have them for a long, long time. 

Tailoring Shears from William Whiteley.

Some more points about Tailors Shears: 

• Over time scissors grow to have idiosyncrasies like their owners. I’m unsure of the technical reason for this but old scissors will sometimes appear blunt to anyone else who picks them up because it is only in a certain sweet spot on the blade that they actually cut, and then they work perfectly. 
• It is important to note that you should get the right weight of scissors for you. In general you will work faster with longer blades that are able to cut more in each cut, but they will only be suitable for you if they are not too heavy for your hands and wrist and you are able to use them for hours at a time. This is why ideally you should buy scissors from a shop where you can test the weight yourself as a shorter length may be more suitable for you.
• Another point to remember when cutting with scissors is to never open and close them back and forth with out actually cutting through fabric, as this is bad for the blades. Dropping scissors on their point is also especially bad as it can blunt that useful pointy tip and often throw the whole scissors out of alignment. 
• And you should never use your fabric scissors to cut pattern paper or vice versa. Cutting cardboard with your tailoring shears is a quick way to blunt the blade.

Tailoring shears are especially useful for cutting solid, rigid fabrics such as suiting wool, coat fabrics, cotton drills and denims. A quick and simple method is to chalk the outline of your patterns onto the fabric and then cut with tailors shears. This works best for fabrics that won’t shift and move as you try to cut them.

When you are cutting right into corners or cutting notches you will never make mistakes if you avoid having the point of the scissors past the point that you want to cut. For example trying to cut a small notch using the centre of the scissor blades instead of the tip could mean that if you accidentally press harder than you intend then you will cut too far into the fabric. You are always better to cut into notches, corners and buttonholes by smaller amounts first as you can always cut again to go further, but you cannot easily mend cut fabric.

Rotary Cutters and Self Healing Mat from Olfa.

 Another method of cutting out is using what are known as rotary cutters or roller cutters. These metal blades come in different sizes and are easily replaceable within their plastic handle, so although they get blunt faster than tailoring shears they are also quick and easy to replace. Roller cutters are a great method for fabric that wants to slide around easily such as silks and jerseys since the blade simply rolls across the top, whereas scissors would need to work from both the top and bottom, lifting the fabric from the table. The most common size blade is the 45mm, though some people prefer having a smaller blade on hand for notching seam allowances and tricky corners.

Roller cutters work best when paired with a self healing mat. This gives you a base underneath your cut work that will protect the surface beneath from any damage. The gridlines marked will also help to keep your grainlines square. Be aware of pins when you are using your roller cutter! Once you have rolled over a pin, or edge of a mat you will likely have nicked your blade and will now miss out on cutting a few threads on every rotation of the blade, meanign that the blade will need to be replaced.

Roller cutters are especially useful for cutting strips of bias binding in fabrics such as silk georgette as you can layer your georgette over a sheet of paper, pinning it so it is square. Next layer a second layer of paper over the top with diagonal lines drawn on at a 45 degree angle at the width that you require for your bias strips. Pin through all 3 layers to secure the georgette, then you can simply roller cut along the lines with your roller blade and metal ruler. This will result in perfectly cut bias strips.

Some people find rotary cutters quite addictive but they can be slow going once they get blunt or if they are not suitable for the fabric. Once the blade is too blunt and you don’t have a replacement blade then you will be far better to switch back to a good pair of sharp scissors, than to try persevering with the rotary cutter.

Images of Tailoring Shears from Niwaki» and William Whiteley & Sons». Images of Rotary Cutters and Self Healing Mats from Olfa».

Shoulder pad images from MacCulloch&Wallis.

It is easy to make the mistake of looking at garments and thinking that the shape of the silhouette is largely due to the fabric, and the fit of the pattern that was used to cut the fabric. To believe that all garments can be made from fabric and pattern alone is to ignore the importance of the garments internal structure. A good garment can be ruined by the wrong fusing, the drape of a collar can be spoiled by a stretched seam and the hang of a tailored jacket, coat or top can be ruined with the use of the wrong shoulder pad.

There is something about shoulder pads that can seem a little kitsche or dated at times, as though we’re worried that putting a shoulder pad into our garments will somehow make them look like a 1980s powersuit. This is probably because for some of us, the shoulder pads which we have come into contact with in womenswear garments are of the removable, flimsy, foam kind. Or we picture shoulder pads as coming in a one size fits all size and thickness. There is something about this kind of should pad which is like a strange add on to the garment itself, rather than a true part of it’s shape.

In contrast the best, most subtle and most powerful uses of shoulder pads are in garments where they are sewn in as a part of the armhole and often used in conjunction with a suitable piece of shoulder head roll. In truth, shoulder pads are available in a variety of types, sizes, thicknesses and with different materials for different types of garments. You can find them in shapes which will suit a set in sleeve, or some that will suit a raglan or drop shoulder. They are also, depending on type, very easy to edit to your own taste as you see fit. With the more tailored shoulder pads especially, you can open the shoulder pad and take out or add in filling as needed to create everything from the most traditional to the most unusual shapes. 

To begin with you may find it easier to only base your shapes on existing, pre-made shoulder pads but don’t be afraid to experiment with building your own from scratch with foam, wadding, horsehair, canvas and basically any sort of material that can be easily cared for once the garment is sewn together. Or otherwise you could of course make the shoulder pads removable, so that you are not limited to only materials that can be washed or drycleaned.

Below are images from the Autumn-Winter 2011 collection created by the team at Mugler. They are accompanied by possible basic shoulder pad shapes that could have been used in the garments to give you an idea of the different silhouettes that can be achieved with pre-made and custom made shoulder pads.

Mugler, AW11.

Shoulder pad images from MacCulloch&Wallis». Catwalk images from Vogue.co.uk».

Richard Nicoll, SS11.

There are many ways that fabric edges can be finished so that they do not fray, and bias binding is one of the most popular choices for fine fabrics. Essentially, it is just a strip of fabric which is folded and sewn around the edge of the fabric that leaves the raw edge of the main fabric neatly encased inside. It is sewn in such a way that both the raw edges of the bind itself are also folded to the inside, which all helps to create an edge finish which looks very neat from both the right and the wrong sides of the fabric. The examples above and below show how the edges of necklines and armhole hems have been bound in the Richard Nicoll collection from Spring-Summer 2011.

Other types of binding can be done using other materials as discussed in a previous post Garments Bound in Grosgrain and Leather».

The technique used for the Richard Nicoll garments above requires a different method, and is specifically based on using bias cut strips of fabric. The success of a bound edge is very dependent on cutting the strips on the correct grain. So for some materials such as leather the direction of the strips will not have as much effect, but for woven fabrics such as an organza or silk satin, the strips will need to be cut on a perfect 45 degree angle to the selvedge. This is also know as cutting on the bias. For further explanations of different grainlines you can refer to this post Explanation of Grainlines».

The below examples show how strips cut at different angles will respond to being placed around a curve. Often bound edges occur on a curve such as a neckline, and so will need to be cut on a bias grain in order to be shaped correctly. But even on straight edges, a bias cut strip of fabric will allow the machinist greater flexibility, as the bias will have better give. When in doubt, always do small tests to see what technique will work best for your design.

Some strips of bias binding will be cut out of the same fabric as the main sections of the garment and in these cases strips can be cut from a larger piece of fabric. In this situation you will need to cut strips on the bias from your fabric at a width that is roughly just over 4 times the finished width of your bind. For example if you want to have a finished bind of a 6mm border visible from the right side of the fabric, then you will need to have a 25mm width strip of binding. It will be easiest to get an even bind if you press folds in your binding first before stitching onto garment.

At other times it may be suitable to use a pre-made bias binding, which comes on a roll and will be pressed so that it is ready to be sewn into position. The images below show the wide variety of bias bindings which are available in a array of fabrics such as cotton, polyester/cotton blends, silk georgette, linen, corduroy and foiled lame and which come in a variety of colours and widths.

Examples of pre-made bias binding, available from MacCulloch&Wallis».

Below are the instructions for how to attach your bias binding to your fabric:

Catwalk images from Vogue.co.uk». Bias binding images from MacCulloch&Wallis». 

Technical images from TheCuttingClass.