AN EXPLORATARY STUDY OF DIMENSIONAL KNIT STITCHES KITTY, LAM NGAN YI BA (Hons) Scheme in Fashion and Textiles (Knitwear Design with Technology Specialism) INSTITUTE OF TEXTILES & CLOTHING THE HONG KONG POLYTECHNIC UNIVERSITY AN EXPLORATARY STUDY OF DIMENSIONAL KNIT STITCHES A Thesis Submitted In Partial Fulfilment of the Requirements For the Degree of Bachelor of Arts (Honours) in Fashion & Textiles (Knitwear Design with Technology Specialism) Under the Supervision of Dr. Judyanna, NG Yuet Ming by Kitty, LAM Ngan Yi Institute of Textiles & Clothing The Hong Kong Polytechnic University April 2011 ACKNOWLEDGEMENTS I would like to express my sincere gratitude to Dr. Judyanna, NG Yuet Ming, for her invaluable advice and encouragement. Her guidance and support of Dr. LO Tin Yee and Ms. LO Ka Wai sustained throughout my study time at the Hong Kong Polytechnic University of the successful development and completion of the dissertation. Besides, I am grateful and thankful to the technicians of ITC knitting workshop Ms. Susan LIU and Mr. ZHOU for supporting to do the experiment work. Also, thanks to Fang Brothers Knitting Limited for their generous help in sponsoring my final year project. Especially, I would like to thank Ms Katherine FANG for giving me this great opportunity. AUTHORISATION I hereby declare that this thesis is my own work and that, to the best of my knowledge and belief, it reproduces no material previously published or written, nor material that has been accepted for the award of any other degree or diploma, except where due acknowledgement had been made in the text. Kitty, LAM Ngan Yi ABSTRACT Knitwear is no longer only for providing practical clothing for warmth, protecting the human body and giving better ease of movement. Knitwear has become part of fashion since flat bed knitting machine replaced the hand knitting and knitted garment spread out to the world. Fashionable knitwear transcended the classic knitwear for decades. Designers started to develop creative knitwear in their collection, the popularity of knitwear designers are increasing. Innovative knitwear is not enough just shown on catwalk and mass production of designer knitwear was influenced by the global communication, magazines and celebrities. Decorative knitwear became more and more released and the trend is still maintaining for few years. The knitting structures on the garment are creative and the stitches are totally different from the basic knit structures. In this thesis, an exploratory study of dimensional knit stitch from Fall/Winter 2010/11 and 2011/12 runway collections will be conducted. In order to maintain the knitwear fashion industry and increase the competition between different knitwear designers, development of novelty stitches inspired from runway collection is proposed in this project. The new stitches will be developed by the basic knitting structure, give variation of the loop formation to create different appearances to the knitted fabric. The project is designed to enrich the design elements of the final collection. Literature review will be conducted on the fundamental knowledge on knitting stitches and techniques, gather research information from runway on the areas related to the study. Comprehensive experiments of inspired stitches will be operated and evaluation for industrial purpose. Conclusion and recommendation will be suggested for further analysis. CONTENTS CONTENTS Page ACKNOWLEDGEMENTS AUTHORISATION ABSTRACT CHAPTER 1 INTRODUCTION 1.1 Background of Study 1 1.2 Objectives 8 1.3 Scope of Study 9 1.4 Methodology 9 1.4.1 Planning of Methodology 10 1.4.2 Exploratory Research 10 1.4.3 Theoretical Framework 10 1.4.4 Qualitative Research 11 1.5 Significance of Study 11 1.6 Structure of Dissertation 11 CHAPTER 2 2.1 LITERATURE REVIEW Study of Basic Knit Structures & Loop Types 13 2.1.1 Introduction 13 2.1.2 Basic Knit Structures 14 2.1.2.1 Plain Knit 14 2.1.2.2 Rib Structure 15 2.1.2.3 Purl Structure 16 CONTENTS 2.1.3 Basic Loop Type 2.2 17 2.1.3.1 Introduction 17 2.1.3.2 The Standard Loop 17 2.1.3.3 Miss Stitch 18 2.1.3.4 Tuck Stitch 18 2.1.3.5 Transferred Stitch 19 2.1.3.6 The Dropped Stitch 20 Knitting Machine 21 2.2.1 Introduction 21 2.2.2 Circular Knitting Machine 22 2.2.3 Manually Operated Flat Knitting Machine 23 2.2.4 Computer Controlled Knitting Machine 23 2.3 Textile Fibres 24 2.3.1 Introduction 24 2.3.2 Natural Fibres 25 2.3.2.1. Animal Fibres 25 2.3.2.2. Vegetable Fibres 26 2.3.2.3. Mineral Fibres 27 2.3.3 Man-Made Fibres 2.4 28 2.3.3.1. Cellulosic Man-Made Fibres 29 2.3.3.2. Synthetic Fibres 30 Yarn Type 31 2.4.1 Introduction` 31 2.4.2 Material Classification 31 2.4.3 Spinning Operation Classification 32 CONTENTS 2.5 2.4.4 Fibre Content Classification 34 Today’s Knitwear Collection 35 2.5.1 Introduction 35 2.5.2 Cabled Knit from Runway Collection 35 2.6 2.5.2.1 Traditional Cables 35 2.5.2.2 Cables Combination 39 2.5.2.3 Cables with Floats 42 2.5.2.4 Delicate Cables 44 2.5.2.5 Dimensional Cable 46 2.5.2.6 Attached Cable 49 2.5.2.7 Cabled Knit Dress` 52 Chapter Summary CHAPTER 3 55 METHODOLOGY 3.1 Planning of Methodology 56 3.2 Exploratory Research 56 3.3 Theoretical Framework 57 3.4 Qualitative Research 57 3.5 Quantitative Research 58 3.6 Chapter Summary 58 CHAPTER 4 EXPERIMENT & EVALUATION 4.1 Objective 59 4.2 Selection of Knitting Machine 60 4.3 Manufacturing 61 4.4 Experiments 62 CONTENTS 4.4.1 Experiment 1 – Delicate cables combination 62 4.4.4.1 Experiment process of Sample 1 62 4.4.4.2 Evaluation of Sample 1 67 4.4.2 Experiment 2 – Delicate cable with different tension 4.4.2.1 Experiment process of Sample 2 68 4.4.2.2 Evaluation of Sample 2 72 4.4.3 Experiment 3 – Heart-shaped cable combination 73 4.4.3.1 Experiment process of Sample 3 73 4.4.3.2 Evaluation of Sample 3 77 4.4.4 Experiment 4 – Handmade cable 77 4.4.3.1 Experiment process of Sample 4 77 4.4.3.2 Evaluation of Sample 4 79 4.4.5 Experiment 5 – Hand knitting plain single jersey 4.5 68 79 4.4.5.1 Experiment process of Sample 5 79 4.4.5.2 Evaluation of Sample 5 81 Chapter Summary CHAPTER 5 81 CREATION OF KNITWEAR COLLECTION 5.1 Introduction 82 5.2 Trend Analysis in Colour & Inspiration 83 5.3 Theme & Mood 86 5.4 Colour Palette 88 5.5 Selection of Materials 89 5.6 Selection of Knitting Structure 89 5.7 Collection Development 89 5.7.1 Outfit 1 90 CONTENTS 5.7.2 Outfit 2 95 5.7.3 Outfit 3 101 5.8 Chapter Summary CHAPTER 6 107 CONCLUSION & RECOMMENDATION 6.1 Conclusion 108 6.2 Limitation 109 6.3 Recommendation 111 REFERENCES APPENDICES LIST OF TABLES LIST OF TABLES Page CHAPTER 4 Table 4.1 Knitting tension of sample 1A & 1B 66 Table 4.2 Rating of Samples 1A & 1B in different tension 67 Table 4.3 Knitting tension of sample 2A & 2B 71 Table 4.4 Rating of Samples 2A & 2B in different tension 72 Table 4.5 Production details of Sample 5A & 5B 80 LIST OF FIGURES LIST OF FIGURES Page CHAPTER 1 Figure 1.1 Twinkle by Wenlan Fall/Winter 2009/10 (stylesight.com) 2 Figure 1.2 Pringle of Scotland Fall/Winter 2009/10 (stylesight.com) 3 Figure 1.3 Maison Martin Margiela Fall/Winter 2010/11 (stylesight.com) 4 Figure 1.4 Vionnet Fall/Winter 2010/11 (stylesight.com) 5 Figure 1.5 Marc by Marc Jacobs Fall/Winter 2011/12 (stylesight.com) 6 Figure 1.6 Bora Aksu Fall/Winter 2011/12 (stylesight.com) 7 Figure 2.1 Technical face side of plain knit 14 Figure 2.2 Technical back side of plain knit 14 Figure 2.3 Notations of technical face side of plain knit 15 Figure 2.4 Notations of technical back side of plain knit 15 Figure 2.5 Structure of 1x1 rib 15 Figure 2.6 Notation of 1x1 rib 15 Figure 2.7 Structure of 1x1 purl 16 Figure 2.8 Notation of 1x1 purl 16 Figure 2.9 Structure of 2x2 purl 16 Figure 2.10 Notation of 2x2 purl 16 Figure 2.11 Face side of a standard loop 17 Figure 2.12 Back side of a standard loop 17 Figure 2.13 Notation of a face loop 17 Figure 2.14 Notation of a rear loop 17 CHAPTER 2 LIST OF FIGURES Figure 2.15 Face side of miss Stitch 18 Figure 2.16 Back side of miss stitch 18 Figure 2.17 Notation of miss stitch 18 Figure 2.18 Tuck stitch 19 Figure 2.19 Notation of tuck stitch 19 Figure 2.20 Transfer stitch 20 Figure 2.21 Needle notation of transferred stitch 20 Figure 2.22 Cable stitch 20 Figure 2.23 Dropped stitch 21 Figure 2.24 Notation of dropped stitch 21 Figure 2.25 Circular Knitting Machine 22 Figure 2.26 V-bed hand flat knitting machine 23 Figure 2.27 Computer controlled knitting machine (Shima Seiki SES122-S) 24 Figure 2.28 Fibre classification based on origin (Textile Information) 24 Figure 2.29 Photomicrographs of wool and silk fibres 26 Figure 2.30 Photomicrographs of cotton fibre 27 Figure 2.31 Crocidolite asbestos 27 Figure 2.32 Glass fibres for reinforcement 28 Figure 2.33 Lurex yarn 28 Figure 2.34 Photomicrographs of viscose rayon 29 Figure 2.35 Photomicrographs of nylon 6 30 Figure 2.36 Twisting of two-ply yarns 32 Figure 2.37 Samples of novelty yarns 33 Figure 2.38 Bouclé yarn 33 Figure 2.39 Illustrated textured yarns 34 LIST OF FIGURES Figure 2.40 Erdem (stylesight.com) 36 Figure 2.41 Two-cable 36 Figure 2.42 Missoni (stylesight.com) 37 Figure 2.43 Two-cable 2 37 Figure 2.44 Laura Biagiotti (stylesight.com) 37 Figure 2.45 Three-cable 37 Figure 2.46 Pringle of Scotland 38 Figure 2.47 Double cable 38 Figure 2.48 Moschino Cheap and Chic 40 Figure 2.49 Cable combination 1 40 Figure 2.50 Tommy Hilfiger (stylesight.com) 40 Figure 2.51 Cable combination 2 40 Figure 2.52 Pringle of Scotland (stylesight.com) 41 Figure 2.53 Cable combination 3 41 Figure 2.54 D&G (stylesight.com) 41 Figure 2.55 Cable combination 4 41 Figure 2.56 Ports (stylesight.com) 42 Figure 2.57 Cables with floats 1 42 Figure 2.58 Theyskens' Theory (stylesight.com) 43 Figure 2.59 Cables with floats 2 43 Figure 2.60 Adam (stylesight.com) 43 Figure 2.61 Cables with floats 3 43 Figure 2.62 Charlotte Ronson (stylesight.com) 44 Figure 2.63 Delicate cables 1 44 Figure 2.64 Bianca Marques (stylesight.com) 45 LIST OF FIGURES Figure 2.65 Delicate cables 2 45 Figure 2.66 Derek Lam (stylesight.com) 45 Figure 2.67 Delicate cables 3 45 Figure 2.68 Marc Jacobs (stylesight.com) 46 Figure 2.69 Delicate cables 4 46 Figure 2.70 Missoni (stylesight.com) 47 Figure 2.71 Dimensional cable 1 47 Figure 2.72 Burberry (stylesight.com) 48 Figure 2.73 Dimensional cable 2 48 Figure 2.74 Harryhalim (stylesight.com) 48 Figure 2.75 Dimensional cable 3 48 Figure 2.76 Maison Martin Margiela 49 Figure 2.77 Extra large cable 49 Figure 2.78 Creatures of the Wind (stylesight.com) 50 Figure 2.79 Attached cable 1 50 Figure 2.80 Giulietta (stylesight.com) 51 Figure 2.81 Attached cable 2 51 Figure 2.82 Gaetano Navarra (stylesight.com) 51 Figure 2.83 Attached cable 3 51 Figure 2.84 Stephen Burrows (stylesight.com) 52 Figure 2.85 Attached cable 4 52 Figure 2.86 Bora Aksu (stylesight.com) 53 Figure 2.87 Cabled knit 1 53 Figure 2.88 Catherine Malandrino (stylesight.com) 53 Figure 2.89 Cabled knit 2 53 LIST OF FIGURES Figure 2.90 Zucca (stylesight.com) 54 Figure 2.91 Transfer stitch 54 Figure 2.92 Daks (stylesight.com) 54 Figure 2.93 Mixed cable 54 CHAPTER 4 Figure 4.1 V-bed hand flat knitting machine 60 Figure 4.2 Computer controlled knitting machine (Shima Seiki SES122-S) 61 Figure 4.3 Shima Seiki SDS One design programme 62 Figure 4.4 Structure of delicate cable 63 Figure 4.5 Aran stitch 63 Figure 4.6 Cables 63 Figure 4.7 Cable stitch 64 Figure 4.8 Double seed stitch 64 Figure 4.9 Simulated front side of fabric 64 Figure 4.10 Simulated back side of fabric 64 Figure 4.11 Sample 1 simulation-nude 65 Figure 4.12 Sample 1 simulation-dark red 65 Figure 4.13.1 Front 66 Figure 4.13.2 Back 66 Figure 4.14.1 Front 66 Figure 4.14.2 Back 66 Figure 4.15 Breakage of the stitch of Sample 1A 68 Figure 4.16 Structure of delicate cable 69 Figure 4.17 1x1 cable 69 Figure 4.18 Simulated front side of fabric 69 LIST OF FIGURES Figure 4.19 Simulated back side of fabric 70 Figure 4.20 Sample 2 simulation-nude 70 Figure 4.21 Sample 2 simulation-dark red 70 Figure 4.22.1 Front 71 Figure 4.22.2 Back 71 Figure 4.23.1 Front 71 Figure 4.23.2 Back 71 Figure 4.24 Breakage of the stitch of Sample 2A 73 Figure 4.25 Structure of sample 3 74 Figure 4.26 Heart-shaped cable 74 Figure 4.27 Checks stitch 74 Figure 4.28 Simulated front side of fabric 75 Figure 4.29 Simulated back side of fabric 75 Figure 4.30 Sample 3 simulation-nude 76 Figure 4.31 Sample 3 simulation-dark red 76 Figure 4.32.1 Front side of sample 3 76 Figure 4.32.2 Back side of sample 3 76 Figure 4.33.1 Front of sample 4 78 Figure 4.33.2 Back of sample 4 78 Figure 4.34 Pre-knitted jersey tape 78 Figure 4.35.1 Front of Sample 5A 80 Figure 4.35.2 Back of Sample 5A 80 Figure 4.36.1 Front of Sample 5B 80 Figure 4.36.2 Back of Sample 5B 80 LIST OF FIGURES CHAPTER 5 Figure 5.1 Fall/Winter 2011/12 Knitwear Trend (Peclers, 2011) 84 Figure 5.2 Fall/Winter 2011/12 Knitwear Trend (Peclers, 2011) 84 Figure 5.3 Megatrends of Fall/Winter 2012/13 (Stylesight.com) 85 Figure 5.4 Megatrends of Fall/Winter 2012/13 (Stylesight.com) 85 Figure 5.5 Theme board 87 Figure 5.6 Mood board 88 Figure 5.7 Colour palette 88 Figure 5.8 The Fall/Winter 2012/13 ladies’ knitwear collection – 3 outfits 89 Figure 5.9 Sleeve of bolero 91 Figure 5.10 Hand braided cable, float stitches 92 Figure 5.11 Front of Outfit 1 93 Figure 5.12 Back of Outfit 1 94 Figure 5.13 Large shoulders 95 Figure 5.14 Front of Cape 96 Figure 5.15 Back of Cape 97 Figure 5.16 Partial knitted shoulder 98 Figure 5.17 Front of cape-liked top 99 Figure 5.18 Back of cape-liked top 100 Figure 5.19 Sleeve of coat 102 Figure 5.20 Handmade braid 103 Figure 5.21 Slit of the dress 104 Figure 5.22 Front of Outfit 3 105 Figure 5.23 Back of outfit 3 106 CHAPTER 1 INTRODUCTION CHAPTER 1 INTRODUCTION CHAPTER 1 INTRODUCTION This chapter provides the introduction of this research and the outline of the study. Background of study will be introduced and which is the part of the research in the particular topic. Dimensional knit stitch is one of the knitwear trends and the potential cabled stitch will be investigated in the research. The aim of this study is to create novel cabled stitch to enrich the final collection. In order to achieve the goal, few objectives will be outlined. Scope of study and the methodologies are also covered in this chapter. For telling the value of this research, significance of study describing the benefits to the society. A general outline of the structure of this dissertation will be summarized for a brief introduction. 1.1 Background of Study Knitwear is for keeping warmth in the winter, this is the perspect1ive of people. Nowadays, creative knitwear becomes fashion and there is no division of seasons. Novelty knit stitch is the most important element in maintaining the trend. Cabled knit is one of the dimensional stitches appears in every season. It gives unique texture comparing to other stitches and the adding dimensional effect to knitwear. Reviewing the past few seasons, the photos from runway show the existing and future trend. Figure 1.1 1 CHAPTER 1 INTRODUCTION shows cable on centre front from Twinkle by Wenlan and Figure 1.2 shows the extraordinary cables from Pringle of Scotland in Fall/Winter 2009/10. Figure 1.1 Twinkle by Wenlan Fall/Winter 2009/10 (stylesight.com) 2 CHAPTER 1 INTRODUCTION Figure 1.2 Pringle of Scotland Fall/Winter 2009/10 (stylesight.com) In Fall/Winter 2010/11, Figure 1.3 shows Maison Martin Margiela developed large-scale of cable in and Figure 1.4 shows a classic cable knit stitch from Vionnet. 3 CHAPTER 1 INTRODUCTION Figure 1.3 Maison Martin Margiela Fall/Winter 2010/11 (stylesight.com) 4 CHAPTER 1 INTRODUCTION Figure 1.4. Vionnet Fall/Winter 2010/11 (stylesight.com) For the forthcoming Fall/Winter 2011/12, Figure 1.5 shows complicated cables from Marc by Marc Jacobs and Figure 1.6 shows cabled knit dress from Bora Aksu. 5 CHAPTER 1 INTRODUCTION Figure 1.5 Marc by Marc Jacobs Fall/Winter 2011/12 (stylesight.com) 6 CHAPTER 1 INTRODUCTION Figure 1.6 Bora Aksu Fall/Winter 2011/12 (stylesight.com) Other than that, basic stitches such as miss stitch, it gives the laddering effect is popular in the knitwear fashion, the floating between vertical rows or ribs. Loop transferred creating different textures and effects of the knitted fabric. In order to create mesh effect, loosely formed knitting structure by drop stitch to give the open stripes in the fabric. The various combinations of basic knit stitches provide different fabric appearance. Combining the basic stitches to create dimensional knit stitches and produced by different flat knitting machines with different result provides uniqueness of the garment. 7 CHAPTER 1 INTRODUCTION New and unique knitting structure pouring can preserve the knitwear industry. The new elements of the knit stitches are not published, and the book existed mostly talking about the basic knitting techniques and mechanism. In this study, the exploration of dimensional knit stitch in knitwear on runway, the creation of personal inspired, the further development of the basic knitting techniques will be included in this research to enrich the final collection. 1.2 Aim & Objectives The aim of this dissertation is to create dimensional cabled stitch to enrich the final collection. In order to achieve the goal, few objectives are outlined as follow. i. To review the basic knit stitch and structure through literatures, understand the characteristic of each stitch. ii. To explore different types of knitting machines for gaining knowledge for sample development. iii. Have an in-depth review of the cabled stitch and the dimensional cables from the knitwear designers’ collection in Fall/Winter 2010/11 and 2011/12. iv. Carrie out experiment by creating novel cabled knit stitch and evaluates the result. v. Modify and combine the basic knit stitches and knitting techniques after the experiment. vi. To develop the final collection with novel cabled knit stitch. 8 CHAPTER 1 INTRODUCTION 1.3 Scope of Study The research is based on the basic knit structure and application from the flat knitting machine, the development of the basic knitting stitch types and loop types will be investigated. To research about the dimensional knit stitches have done by knitwear designers in Fall/Winter 2010/11 and 2011/12. Experiment of the new stitch development by own creation will be carried out. Seeking advices from technician and supervisors to prevent failure knitting and ensure the knitted swatches are the succeeded and expected with the new stitch. The experiment will be carried out in the knitting laboratory in The Hong Kong Polytechnic University by SHIMA SEIKI SDS-ONE system and SHIMA SEIKI SES122S 12GG Flat Bed Knitting Machine and 7GG Flat Bed Hand Knitting Machine. Designs of the new stitches will be proofed by technician and supervisor. 1.4 Methodology The methodology has been divided into five divisions, they are planning of methodology, exploratory research, and theoretical framework, qualitative and quantitative research. For better achievement of the research, the methodology is a guideline of a comprehensive study for developing the creation of dimensional cabled stitch through various techniques. 9 CHAPTER 1 1.4.1 INTRODUCTION Planning of Methodology Literature review will be carried out for reviewing the basic knit structure and the mechanism of the flat knitting machine to gain knowledge for experiment. Explore and analyze the dimensional knit stitches have done by knitwear designers in Fall/Winter 2010/11 and 2011/12. In the theoretical framework, case study will be carried out for developing the new knitwear collection. Qualitative and quantitative researches are involved. Carry out experiment for creating the new stitch and revaluation of the samples in aesthetic quality will be conducted. 1.4.2 Exploratory Research In order to gain greater knowledge in knitting technologies and textiles, an exploratory research will be carried out through reviewing literature including references books, journals, articles, thesis, magazines and internet information. 1.4.3 Theoretical Framework For better knowledge of the current trend and further trend prediction, collection of interrelated information will be achieved. All information collected in the literature review used as a foundation for creating the knitwear collection. The investigation of the Fall/Winter 2011/12 knitwear fashion trend will be conducted. For creating the new knitwear collection, development such as inspiration, colour palette, selection of yarns and knitting structure and production process for the final garment will be included. 10 CHAPTER 1 1.4.4 INTRODUCTION Qualitative Research Experiments will be conducted by having testing on several samples in various styles which are inspired from the previous in-depth research on knit stitch. Regarding to the techniques 1.5 Significance of Study Since there are no published books telling about the forming techniques of dimensional stitches and the book existed mostly talking about the basic knitting techniques and mechanism, there is no doubt to maintain the knitwear industry in the future by creating and developing innovative elements on the knitwear. Regarding to the current knitwear trend, cabled knit stitches gives dimensional effect and texture to the knitwear and it has high potential of stitches development in the industry. For the mass market, knitwear designers are driven to get inspiration from the runway, but there is not many ways more than just copied. For neglecting the straight adoption from the runway garment to the mass production, further development is needed for the new generation of knitwear designers. Creations based on the basic techniques from the released books and combine the various techniques of forming the new stitch. 1.6 Structure of Dissertation This dissertation consists of six chapters. Chapter 1 introduces the background of work, objectives, scope of study, methodologies and significance of study. 11 CHAPTER 1 INTRODUCTION Chapter 2 is a comprehensive review of existing literatures which involves of study the basic knit structures & loop types, introduction of weft knitting machine, textile fibres, yarns and today’s knitwear collection. Chapter 3 is a guideline of research methodology of this dissertation, including the planning of methodology, exploratory research, theoretical framework, qualitative research and quantitative research. Chapter 4 is the data collection of the experiments by testing different knitting structure through design programme and different knitting technologies for producing dimensional stitches. Chapter 5 demonstrates the creation of a Fall/Winter 2012/13 ladies knitwear collection with the supporting of trend forecasting information, theme & mood of the collection, colour palette and selection of materials. Chapter 6 is the conclusion of this dissertation, also including limitation and recommendation for the further development. 12 CHAPTER 2 LITERATURE REVIEW CHAPTER 2 LITERATURE REVIEW CHAPTER 2 LITERATURE REVIEW In order to achieve the aim mentioned in the previous chapter, an in-depth literature review will be carried out in this chapter. On purpose to develop the new stitch in the experiment, understanding the knitting technologies helps to gain greater knowledge for successful development. For creating the new stitch and the experiment is developed by basic knit structure and loop types. The selection of knitting machines is affecting the results of the knitting pattern. In this dissertation, different types of weft knitting machines will be investigated for sampling in the experiment. Fibre is one of the essential elements of creating a garment. Exploration of textile fibres is included in this chapter. Yarn plays an important part in knitwear design, studying the types of yarn give a basic knowledge of the yarn selection. Investigation of the women’s knitwear collection in Fall/Winter 2010/11 and 2011/12 for better understanding the dimensional knit stitch trend and forming techniques. 2.1 Study of Basic Knit Structures & Loop Types 2.1.1 Introduction As all the knitted samples in this dissertation are produced by weft knitting machine, knitted structures are classified into three basic groups according to the arrangement of loops in their courses and wales, and there are five different loop types to be introduced. 13 CHAPTER 2 LITERATURE REVIEW Figures show the knit structure and the symbols show the knitting notation, these graphics give the identity to each structure. 2.1.2 Basic Knit Structure 2.1.2.1 Plain Knit Plain knit is a structure that formed by only one needle bed and either front needle bed or rear needle bed. The second bed is inactive throughout the whole knitting process and the needles remain idle. The needle forms a face loop by pulling the newly fed yarn towards it through the previous loop. When the fabric is produced on the front needle bed, it shows only face loop to the observer standing in front of the knitting machine (Figure 2.1); if the fabric is produced on the rear needle bed, it shows the reverse side of the loops (Figure 2.2) (Raz, 1993). Figure 2.1-2 Technical face and technical back side of plain knit 14 CHAPTER 2 LITERATURE REVIEW Figure 2.3-4 Notations of technical face and technical back side of plain knit 2.1.2.2 Rib Structure When comparing to Plain Knit, rib is a structure that formed by both needle beds which alternately ascend and descend to form loops. For an example, when all the needles participate in the knitting procedure, a “1x1 Rib” is formed (Figure 2.5). When the fabric is viewed from one side, one wale is made of face loops; one wale is made of reverse loop and so on. The wales made of reverse loops are in fact the wales exhibiting face loops when the fabric is viewed from the other side (Raz, 1993). Figure 2.5 Structure of 1x1 rib Figure 2.6 Notation of 1x1 rib 15 CHAPTER 2 LITERATURE REVIEW 2.1.2.3 Purl Structure Purl is a structure that the front and reverse loops appear in the same wales. It requires both needle beds participation for the formation of loops. The production of purl knit structure on the “V” bed flat knitting machine and it needs loop transfer to produce the structure. For an example, the 1x1 purl structure in Figure 2.7. And, the mixture of knit/transfer for individual needles gives different purl structure, i.e. 1x1, 2x2 (Figure 2.8) (Raz, 1993). Figure 2.7 Structure of 1x1 purl Figure 2.8 Notation of 1x1 purl Figure 2.9 Structure of 2x2 purl Figure 2.10 Notation of 2x2 purl 16 CHAPTER 2 LITERATURE REVIEW 2.1.3 Basic Loop Types 2.1.3.1 Introduction In the previous section, the basic knit structure is constructed by one type of knitted loop. The introduction of the basic loop types gives a brief idea of the formation and characteristics of the knitted loop, in addition to enhance the complexity of patterns. 2.1.3.2 The Standard Loop Based on the positioning of needles and the production of the fabric, the formation of the basic loop has two different faces. The face loop is formed by the front needle bed; the rear loop is formed by the rear needle bed. And, when observing the fabric from the other side, the face loop appears as a reverse loop (Raz, 1993). Figure 2.11 Face side of a standard loop Figure 2.12 Back side of a standard loop Figure 2.13 Notation of a face loop Figure 2.14 Notation of a rear loop 17 CHAPTER 2 LITERATURE REVIEW 2.1.3.3 Miss Stitch It is an effect created by the missing of knitted loop in the loop formation sequence. The main elements of the stitch are included an enlarged knitted loop and a straight element of yarn. At the back side, there is a long float behind the standard loop which is the result of a needle has not participated in one sequence of loop formation (Raz, 1993). Figure 2.15 Face side of miss Stitch Figure 2.16 Back side of miss stitch Figure 2.17 Notation of miss stitch 2.1.3.4 Tuck Stitch This is a stitch which is similar to Miss Stitch, the reveals construction. The yarn is tucked into the structure by the needle, instead of being formed into a loop. It is an effect created by stretched loop with a segment of yarn tucked behind it. And, there is an 18 CHAPTER 2 LITERATURE REVIEW important element of the tuck stitch, what gives a big difference to the Miss Stitch, is the tucked yarn is placed behind the stretched face loop (Figure 2.18) (Raz, 1993). Figure 2.18 Tuck stitch Figure 2.19 Notation of tuck stitch 2.1.3.5 Transferred Stitch A transferred stitch is not an additional loop type and it is a result of mechanically taking a loop from the rear needle bed and placing it on a needle at the front. That is the delivery process of a loop from the delivering needle to the receiving needle while the both needles are in resting position. Transferred loops are widely used for patterning. The most common example of this pattern produced is the “cable” illustrated in Figure 2.22. There is no additional notation symbol and the transferred procedure is clearly described by the needle notation system (Figure 2.21, a - front needles transferred to rear needles; b - rear needles transferred to front needles) (Raz, 1993). 19 CHAPTER 2 LITERATURE REVIEW Figure 2.21 Needle notation of transferred stitch Figure 2.20 Transfer stitch Figure 2.22 Cable stitch 2.1.3.6 The Dropped Stitch Dropped stitch is not a specific and normal loop types, which is created from knitting failures. However, it gives uniqueness to the knitting pattern of a fabric under a controlled tension and steps. No yarn is fed to the needle when the needle ascends to knitting position then descends. This is a controlled type to drop its stitch to create a “Ladder” effect. There is no special notation symbol of a dropped stitch and it is shown by yarn simulation in the needle notation system with a broken line, indicating there is no yarn fed to the specific loop (Raz, 1993). 20 CHAPTER 2 LITERATURE REVIEW Figure 2.24 Notation of dropped stitch Figure 2.23 Dropped stitch 2.2 Knitting Machine 2.2.1 Introduction For industry and manufacturing, warp knitting machine and weft knitting machine are hired for production. Warp knitting is forming by the zigzag direction of yarn along the length of the fabric. The yarn is following the wales direction of knitting, rather than a course when comparing with weft knitting and which is knitting across the width of the fabric. There are many types of weft knitting machines, such as single bed knitting machine for domestic used and straight bar machine for fully-fashion. However, in this dissertation, three types of weft knitting machines will be introduced. For the experiment, two types of weft knitting machines will be operated. They are manually operated flat knitting machine and computer controlled knitting machine. 21 CHAPTER 2 2.2.2 LITERATURE REVIEW Circular Knitting Machine Circular knitting machine (Figure 2.25) is one of the weft knitting machines used in the knitting industry. The circular knitting machines can create seamless knitted tube through one continuous yarn knitting width wise around the needles for forming loops in each course. There are some types of different specialized circular knitting machines, such as sock-knitting. Figure 2.25 Circular Knitting Machine 22 CHAPTER 2 2.2.3 LITERATURE REVIEW Manually Operated Flat Knitting Machine It is a simple, manually operated, weft knitting machine. In the past time, it was the backbone of the garment manufacturing industry. The increasing of labour costs and the development of garment knitting patterns has forced this type of machine out of the production lines. It was replaced by the advanced mechanically machine and later with computer controlled system (Raz, 1993). A flat bed machine with two-bed set in an inverted V formation, called “v-bed knitting machine”. Some simple knitting effect such as, plain knit, rib structure; or even ottoman stitch, cables can be produced. Figure 2.26 V-bed hand flat knitting machine 2.2.4 Computer Controlled Knitting Machine For industrial production, the sophisticated electronically controlled knitting machine is hired for greater production rate. This kind of machine has various choices of machine 23 CHAPTER 2 LITERATURE REVIEW gauge for different garment production. It provides finer gauges of knitted garment and more special structure can be produced. When comparing to v-bed knitting machine, the computer controlled knitting machine requires electronically operation system and specific programme for operation. It gives more variety of the knitting patterns and effects than the v-bed knitting machine. Figure 2.27 Computer controlled knitting machine (Shima Seiki SES122-S) 2.3 Textile Fibres 2.3.1 Introduction Talking about knitwear, the first thing that pops up into the mind is fibre and yarn. Fibre is one the most important element to form the knitted garment. Its properties give different performance to the knitwear that could be modified by different types, knit structure and finishing. The fibres are classified as natural fibres, man-made fibres and mineral fibres. 24 CHAPTER 2 LITERATURE REVIEW Figure 2.28 Fibre classification based on origin (Textile Information) 2.3.2 Natural Fibres The natural fibres are classified in two categories, animal fibres and vegetable fibres. 2.3.2.1. Animal Fibres Animal fibres are mostly protein fibres, one of the most used in the industry is silk. Silk is a fibre excreted by the silkworm. Silk fibre has high lustre in appearance and excellent hand feel. It appears in most of the luxurious fashion brand knitwear products. Wool is also the highly used fibre, it is the fibre from fleece of sheep or lamb. There are various lengths of wool fibres. Short wool fibres which may be two inches or less, are made into soft and fuzzy yarns; long wool fibres which may be two to eight inches, they are 25 CHAPTER 2 LITERATURE REVIEW smoother and firmer. Wool is warm and comfortable, for most of the knitwear items in the Fall/Winter, wool has the higher percentage of usage in the garment production. Figure 2.29 Photomicrographs of wool and silk fibres 2.3.2.2. Vegetable Fibres Vegetable fibres are cellulosic fibres, such as cotton. Cotton fibres grow in the boll or seed pod of cotton plants. Different species of cotton plants produce different length of fibres. Long cotton fibres are used in better quality fabrics, they are smooth and fine, has higher lustre than short cotton fibres. Cotton is comfortable because of high absorbency 26 CHAPTER 2 LITERATURE REVIEW and the ability to transmit perspiration moisture away from body. In the Spring/Summer collection, Cotton is highly used for apparel. Figure 2.30 Photomicrographs of cotton fibre 2.3.2.3. Mineral Fibres Mineral fibres such as asbestos (Figure 2.31) are used for sheeting, stage curtain and fine blankets in textile usage. There are various applications of asbestos and wide ranges of usage in different countries. For the health risks of asbestos fibre production, some products have been discontinued in some countries (Shride, 1973). Glass fibres (Figure 2.32) mostly used for as a reinforcement fibre, textile function such as flame-retardant and fire-proof. Metal fibres such as metal foil and metal wire have various usages. Lurex (Figure 2.33) is a metallic yarn produced from metal fibre, highly used for high fashion garment and evening wear embellishment. Figure 2.31 Crocidolite asbestos 27 CHAPTER 2 LITERATURE REVIEW Figure 2.32 Glass fibres for reinforcement Figure 2.33 Lurex yarn 2.3.3 Man-Made Fibres The American Society for Testing and Materials defines the term man-made fibres as “a class name of various genera of fibres (including filament) produced from fibre-forming 28 CHAPTER 2 LITERATURE REVIEW substances which may be polymers synthesized by man from simple chemical compounds, modified or transformed natural polymers and glasses.” Most man-made fibres are thermoplastic, and that means they are softened by heat. They are produced by two types of materials, from vegetable sources (cellulosic) or synthetic materials. 2.3.3.1. Cellulosic Man-Made Fibres Cellulosic man-made fibre such as cellulosic acetate and which is made from wood pulp as the starting material. It has a low strength when wet and low absorbency. Acetate is versatile and inexpensive, mostly used in making satins and brocades. The well-known trade names such as Acele and viscose rayon, those are regenerated fibre obtained from soft woods or from the short fibres. Art silk is the name of viscose rayon in the textile industry. It usually has a high lustre of appearance. Figure 2.34 Photomicrographs of viscose rayon 29 CHAPTER 2 LITERATURE REVIEW 2.3.3.2. Synthetic Fibres Synthetic fibres are created by forcing through extrusion and fibre forming materials through spinnerets into the air, forming a thread. In the textile industry, synthetic fibre such as nylon, polyester and acrylic are mostly used. Nylon is by long chains of synthetic polymers known generically as polyamides. In the nylon group, nylon 6 fibres are tough, have high tensile strength, and high elasticity and lustre. Nylon 6 used in manufacturing of large variety of threads, using for knitted garment and hosiery. The trade names of nylon 6 are Celon and Perlon. Figure 2.35 Photomicrographs of nylon 6 30 CHAPTER 2 LITERATURE REVIEW 2.4 Yarn Type 2.4.1 Introduction In knitwear design, yarn plays an important part of the appearance of the garment. The selection types of yarns affecting the totally look and mood of a style. Yarn is formed by interlocking of fibres, and suitable for various textile productions. Yarns may be made from staple fibre or filament fibre. Yarn types are classified into three groups, classified by from of raw material, by spinning operations and fibre content. 2.4.2 Material Classification The raw material of producing the yarn classified the type of yarn. Yarns that made from staple fibres are using three different spinning systems. They were cotton system, woollen system, worsted system and filament. For cotton system, there are two types of cotton yarns; carded cotton yarns and combed cotton yarn. Comparing two types of cotton yarns, combed cotton yarn has higher parallel alignment of fibre and lustre than carded cotton yarn. For wool fibres, woollen yarns are made from short wool fibres which carded and have lower parallel when comparing to worsted yarns which is formed by longer wool fibres. Worsted yarn has higher lustre in appearance and smooth in hand feel. 31 CHAPTER 2 LITERATURE REVIEW Silk formed filament yarn among those vegetable fibre, it is smooth and fine. In the same way as silk filament, man-made fibre manufactured into filaments and then into yarns. 2.4.3 Spinning Operation Classification There are various types of yarns in spinning operation classification, for example, single and ply yarns, novelty yarns and textured yarns are the most common yarn in the knitwear industry. Single yarn that made from a single filament or from a group of staple fibres twisted together. And ply yarn is made by twisting together two or more single yarns. Play yarns are stronger than a single yarn that in the same diameter. Figure 2.36 Twisting of two-ply yarns 32 CHAPTER 2 LITERATURE REVIEW Novelty yarns are made with some built-in irregularity to give the unique appearance or texture. Generally, the smaller the novelty effect in core-and-effect yarns, the more durable the formed garment. Bouclé yarn is one of the most used novelty yarn. Figure 2.37 Samples of novelty yarns Figure 2.38 Bouclé yarn 33 CHAPTER 2 LITERATURE REVIEW Textured yarns are made from the man-made filament fibres by processing techniques which give the filaments a coil, crimp, curl or loop. The texture gives greater bulk, stretch to the yarns, and these yarn are named with its techniques. Figure 2.39 Illustrated textured yarns 2.4.4 Fibre Content Classification In the industry, fibre blends and combination contains the mixture of fibre that complements each other to give the required characteristics. Blended yarns are made of two or more fibres mixed before the yarn spinning process. For economic, aesthetic or functional purposes, blend fibres or combination of fibres for production of yarns. 34 CHAPTER 2 LITERATURE REVIEW Metallic yarns is made of a process consists of coating a tissue-thin sheet of aluminium foil on either side with adhesive. Polyester fibre used as a protective film of the metallic yarn and gives better strength. It is the strongest fibre and also the least affected by heat and temperature. 2.5 Today’s Knitwear Collection 2.5.1 Introduction The development of creative knit stitches is the most important element in knitwear design. To review the women’s knitwear collection in Fall/Winter 2010/11 and the forthcoming Fall/Winter 2011/12 for better understand the trend of dimensional stitches. Exploration of the “cables” knit stitch and focused on the application and techniques. 2.5.2 Cabled Knit in Runway Collection 2.5.2.1 Traditional Cables There are varieties of cabled knit, such as traditional cables which is a two-cable (2x2 cable) braid in the Fall/Winter 2011/12 collection of Erdem and Missoni (Figure 2.41, 43). Talking about three-cable, the first comes my mind is the style of long hair, a braid and it looks like a chain appeared in the Fall/Winter 2010/11 collection of Laura Biagiotti (Figure 2.45). In the collection of Pringle of Scotland, a double cable with a central panel (Figure 2.47) is the featured stitch. Cables always appear with the purl stitch on both side of the cable stitch to enhance the texture of the stitch based on the loop formation. Those 35 CHAPTER 2 LITERATURE REVIEW classic cable stitches could be produced by hand flat knitting machine and also computer controlled knitting machine. For the time consuming problems, more production time of using hand flat knitting machine is needed when comparing to the computer controlled knitting machine because of the knitting components of the machine and also the operation. Fall/Winter 2011/12 Figure 2.41 Two-cable Figure 2.40 Erdem (stylesight.com) 36 CHAPTER 2 LITERATURE REVIEW Figure 2.43 2x2 cable Figure 2.42 Missoni (stylesight.com) Fall/Winter 2010/11 Figure 2.45 3x3 cable Figure 2.44 Laura Biagiotti (stylesight.com) 37 CHAPTER 2 LITERATURE REVIEW Figure 2.46 Double cable Figure 2.45 Pringle of Scotland (stylesight.com) 38 CHAPTER 2 LITERATURE REVIEW 2.5.2.2 Cables Combination The designs combined with different formation of cables, such as braids and interlacing cable. In the collection of Fall/Winter 2011/12, Moschino Cheap and Chic have created cables combined with Aran diamond and bobble (Figure 2.49). This combination gives the wearer looks more feminine. For the collection of Tommy Hilfiger, it is a combination of cable stitch inside the Aran diamond and matching with small two-cable at the side (Figure 2.51). For the collection of Pringle of Scotland in Fall/Winter 2010/11, cables and Aran stitch hired the whole knitwear collection (Figure 2.53). The stitches show on the garment bodies and also the sleeve panels. In D&G collection, Aran diamond, two-cables and complicated cable (Figure 2.55) are shown on a one piece long sleeved knitted dress (Figure 2.54). For the knitwear industry, these kinds of stitch are produced by computer controlled knitting machine. The more complexity of the stitch the higher production cost because of the more production time. 39 CHAPTER 2 LITERATURE REVIEW Fall/Winter 2011/12 Figure 2.49 Cable combination 1 Figure 2.48 Moschino Cheap and Chic (stylesight.com) Figure 2.51 Cable combination 2 Figure 2.50 Tommy Hilfiger (stylesight.com) 40 CHAPTER 2 LITERATURE REVIEW Fall/Winter 2010/11 Figure 2.53 Cable combination 3 Figure 2.52 Pringle of Scotland (stylesight.com) Figure 2.55 Cable combination 4 Figure 2.54 D&G (stylesight.com) 41 CHAPTER 2 LITERATURE REVIEW 2.5.2.3 Cables with Floats Float stitch gives the laddering effect to the fabric surface. When combining with cable stitch, increase the texture of the stitch. The contrasted tension between the cables and the floats, shows the underneath layer of garment or the skin of wearer. In Figure 2.57 shows one of the examples of the three-cables with floats stitch and it is from Ports in Fall/Winter 2011/12 collection (Figure 2.56). In Theyskens' Theory collection, a different style of the stitch was created. The alternate prolonged two-cable with floats knitted sweater was presented. A shorter length of sweater from Adam in Fall/Winter 2010/11, a two-cable with floats was crested (Figure 2.60). If this stitch is needed for production under the hand flat knitting machine, it is much easier when comparing to other complicated cables. The float distance between the cables is much longer than the one produced by computer controlled knitting machine. And there is a limitation about the distance of the float of the computer controlled knitting machine. Fall/Winter 2011/12 Figure 2.57 Cables with floats 1 Figure 2.56 Ports (stylesight.com) 42 CHAPTER 2 LITERATURE REVIEW Figure 2.59 Cables with floats 2 Figure 2.58 Theyskens' Theory (stylesight.com) Fall/Winter 2010/11 Figure 2.61 Cables with floats 3 Figure 2.60 Adam (stylesight.com) 43 CHAPTER 2 LITERATURE REVIEW 2.5.2.4 Delicate Cables To increase the femininity of the look, the smaller cables combination stitch created by different designers. In Fall/Winter 2011/12, Charlotte Ronson created a delicate cable stitch for a sweater using Lurex (Figure 2.62). The Aran diamond stitch appeared in both Charlotte Ronson and Bianca Marques collection (Figure 2.64). The collections of Derek Lam and Marc Jacobs (Figure 2.66, 68) in Fall/Winter 2010/11 show the different combination of small cables. For higher production rate and stitch quality, computer controlled knitting machine is hired for these kinds of delicate stitches. Fall/Winter 2011/12 Figure 2.63 Delicate cables 1 Figure 2.62 Charlotte Ronson (stylesight.com) 44 CHAPTER 2 LITERATURE REVIEW Figure 2.65 Delicate cables 2 Figure 2.64 Bianca Marques (stylesight.com) Fall/Winter 2010/11 Figure 2.67 Delicate cables 3 Figure 2.66 Derek Lam (stylesight.com) 45 CHAPTER 2 LITERATURE REVIEW Figure 2.69 Delicate cables 4 Figure 2.68 Marc Jacobs (stylesight.com) 2.5.2.5 Dimensional Cable Besides of the classic cable stitches, dimensional stitches are developed in the previous seasons and will be the forthcoming trend of knitwear stitch. In Fall/Winter 2011/12, Missoni has presented an extra large cables which is hand knitted by pre-knitted single jersey pieces (Figure 2.71). The dimensional cables give the uniqueness to the garment. However, the production time of this garment is much higher than the complicated cable combination. The Burberry collection is concentrated the dimensional stitch on the sleeves (Figure 2.72). Big cables knitted then inserted fur to create bulky texture to the garment. Another example of dimensional stitch, Harryhalim collection in Fall/Winter 2010/11 (Figure 2.74), which is using the intarsia technique in computer controlled knitting machine for production. The cabled could be knitted by pre-knitted full needle tape and the technique is similar to Missoni’s. Several beds for needle transfer to create 46 CHAPTER 2 LITERATURE REVIEW large and separate cables. Maison Martin Margiela presented a 1GG double cabled top (Figure 2.76). For the runway show piece, designer usually creates extraordinary stitch or silhouette to highlight the collection and attract customers. The piece made from Maison Martin Margiela is produced by hand knitting (Figure 2.77). It has the highest uniqueness when comparing to other three examples in this type of stitch. Fall/Winter 2011/12 Figure 2.71 Dimensional cable 1 Figure 2.70 Missoni (stylesight.com) 47 CHAPTER 2 LITERATURE REVIEW Figure 2.73 Dimensional cable 2 Figure 2.72 Burberry (stylesight.com) Fall/Winter 2010/11 Figure 2.75 Dimensional cable 3 Figure 2.74 Harryhalim (stylesight.com) 48 CHAPTER 2 LITERATURE REVIEW Figure 2.77 Extra large cable Figure 2.76 Maison Martin Margiela (stylesight.com) 2.5.2.6 Attached Cable This type of cable is not specific a stitch type, which is a handmade decoration of the knitwear. There is various ways to create this effect. For example, the Fall/Winter 2011/12 collection of Creatures of the Wind, it is a braid formed by pre-knitted tape (Figure 2.79). The stitch of Giulietta collection is different, the braids are formed by yarns and attached to the coat (Figure 2.81). In Fall/Winter 2010/11 collection, Gaetano Navarra used the insertion of material to the tubular and creates fullness to the handmade cable (Figure 2.83). Stephen Burrows used the same way to handmade the attached cable as in Creatures of the Wind. The attached cable will be the trend for the forthcoming 49 CHAPTER 2 LITERATURE REVIEW seasons. To enhance the uniqueness of the garment, handmade details are highly used for the high fashion. Also, the desired bulkiness of the cables could be shown by using hand knitting rather than using knitting machine. Fall/Winter 2011/12 Figure 2.79 Attached cable 1 Figure 2.78 Creatures of the Wind (stylesight.com) 50 CHAPTER 2 LITERATURE REVIEW Figure 2.81 Attached cable 2 Figure 2.80 Giulietta (stylesight.com) Fall/Winter 2010/11 Figure 2.83 Attached cable 3 Figure 2.82 Gaetano Navarra (stylesight.com) 51 CHAPTER 2 LITERATURE REVIEW Figure 2.85 Attached cable 4 Figure 2.84 Stephen Burrows (stylesight.com) 2.5.2.7 Cabled Knit Dress In Figure 2.86, which is designed by Bora Aksu in Fall/Winter 2011/12, the cabled knit dress gives a totally different look comparing with the traditional sweater. The stitch is innovative, the cabled knit with material interlacing, creating a different texture to the fabric appearance (Figure 2.87). For Catherine Malandrino two-layer dress (Figure 2.88), the designer created a special stitch by forming bigger cables in every three small cables, and matched with two-cable for the body part (Figure 2.89). In Fall/Winter 2010/11, a same type of long dress created by Zucca (Figure 2.90), some big cross cables which is formed by stitch transfer, wrapped around the whole body like big tape (Figure 2.91). For Daks, it is a classic sweater like dress with turtle neck and side pockets (Figure 2.92). Its stitch combined double cables and Aran stitch (Figure 2.93). For the above stitches, using computer controlled knitting machine for production in the knitwear industry. For the 52 CHAPTER 2 LITERATURE REVIEW stitch of Figure 2.91, specific computer controlled knitting machine is needed. Several knitting beds required for needle transfer to create the cable. Fall/Winter 2011/12 Figure 2.87 Cabled knit 1 Figure 2.86 Bora Aksu (stylesight.com) Figure 2.89 Cabled knit 2 Figure 2.88 Catherine Malandrino (stylesight.com) 53 CHAPTER 2 LITERATURE REVIEW Fall/Winter 2010/11 Figure 2.91 Transfer stitch Figure 2.90 Zucca (stylesight.com) Figure 2.93 Mixed cable Figure 2.92 Daks (stylesight.com) 54 CHAPTER 2 LITERATURE REVIEW 2.6 Chapter Summary In this chapter, an extensive review on fundamental knowledge about knitwear has been conducted in the following aspects. The study of the basic loop types and structure with illustration listed and the operation knitting machines for production. The exploration has been carried out for the types of fibres which will affect the appearance of the fabric and yarns that usually used for production. Besides of technical knowledge of producing garment, the designs from the runway collection in Fall/Winter 2010/11 and 2011/12 has been analyzed for better understanding the trend of the knitwear stitch and the patterns. 55 CHAPTER 3 METHODOLOGY CHAPTER 3 METHODOLOGY CHAPTER 3 METHODOLOGY In the previous chapter, methodologies will be introduced and it is used as a guideline for this dissertation on an intensive study of creation on dimensional stitch. Methodologies have divided into five divisions; they are planning of methodology create a better arrangement for information collection, exploratory research and theoretical framework are the data collection from literature review, qualitative research and quantitative research is the analysis and revaluation based on the experiment. 3.1 Planning of Methodology For better achievement of the study, a comprehensive scope of desk research has introduced, including literature review of fundamental knowledge of knitwear technologies and internet research of the current knitwear trend. Under the theoretical research, case study and analysis will be performed for creating and developing the new knitwear collection and the application of various approaches for the final garment. Qualitative and quantitative researches are involved; experiment will be processed based on the scope of research, objective or subjective evaluation will be conducted for the experiment. 56 CHAPTER 3 METHODOLOGY 3.2 Exploratory Research The exploratory research is relied on secondary research which will be carried out for gathering information in knitting technologies and textiles. In order to gain greater knowledge and familiarity for later investigation from reviewing the literature including reference books, journals, articles, thesis, magazines and internet information. Creation and development will be followed by the step of research and experiments. 3.3 Theoretical Framework Collection of interrelated information and analysis will be accomplished for better knowledge of the current trend and further trend prediction. In addition to reduce the problem in later experiments, in-depth case study will be involved. All information from the literature review collected as a foundation for creating the new knitwear collection. Trend of Fall/Winter 2011/12 will be investigated and the development of the new knitwear collection such as inspiration, colour palette, selection of yarns and knitting structure and production process for the final garment. 3.4 Qualitative Research Experiments will be conducted based on the research from literature review and own design development. During the experiment, several samples in various styles which are inspired from the previous in-depth research on knit stitch will be produced. And the collection of data will be recorded regarding to the techniques used in the experiment 57 CHAPTER 3 METHODOLOGY through case study. In order to collect significance results from the experiments, a series of work will be performed for better purpose. 3.5 Quantitative Research In the progress of experiments, samples will be originally developed through various techniques. Certain objective evaluation and the collection of data by observation will be achieved. The variation of knit stitches, knitting gauges of samples and techniques are executed in the report. Comparing the different effects created by different samples in aesthetic aspect by charts and ratings. 3.6 Chapter Summary Methodologies are the guideline for this dissertation on a comprehensive study of developing the creation of dimensional stitches through various techniques. The planning of methodology is a method for better designing of collecting data from fundamental research; exploratory research and theoretical framework are about the information collection from reviews of literature and analysis; qualitative and quantitative research is the analysis and evaluation of experiment. 58 CHAPTER 4 EXPERIEMENT & EVALUATION CHAPTER 4 EXPERIEMENT & EVALUATION CHAPTER 4 EXPERIEMENT & EVALUATION The development of creating knit cabled stitch inspired from the research for the final knitwear collection will be presented in this chapter. Operation of the extensive experiment is intended to examine and demonstrate the ideas in an aesthetical method. Samples will be produced in various styles by different techniques and the evaluation will be conducted. The aesthetic of application of the stitches will also be recorded by rating in chart. 4.1 Objectives For the purpose of achieving the desired knitting patterns in an aesthetical way in the final knitwear collection, a series of experiment will be demonstrated. The development of creating new knitted cable stitch based on the knitwear trend in Fall/Winter 2010/11 and 2011/12, trend prediction of the forthcoming Fall/Winter 2012/13 will be presented. For the experimental work, the objective is to create new dimensional stitches for knitwear based on the basic stitch development. The application possibility of the new developed stitches to the final knitwear collection by aesthetic method will also be executed. 59 CHAPTER 4 EXPERIEMENT & EVALUATION 4.2 Selection of Knitting Machine In this experimental work, 7GG v-bed hand flat knitting machine (Figure 4.1) and 12GG Shima Seiki computer controlled knitting machine SES122-S (Figure 4.2) will be hired for the sample production. For the Fall/Winter 2012/13 knitwear collection, dimensional stitch is still the trend of the stitches. After the production from the machine, hand knitting will also be added to create new dimensional texture to the fabric. Figure 4.1 V-bed hand flat knitting machine 60 CHAPTER 4 EXPERIEMENT & EVALUATION Figure 4.2 Computer controlled knitting machine (Shima Seiki SES122-S) 4.3 Manufacturing Since there is a production sponsorship provided by Fang Brothers Knitting Limited and it is a valuable experience to work with a knitting company and learn about the real production process before graduation. From the preparation of knitting programme to merchandising specification, there will be discussion with professional designers and technicians from Fang Brothers Knitting Limited to work out the garment under good condition. Shima Seiki SDS One Design Programme is the software for knit stitch development (Figure 4.3). 61 CHAPTER 4 EXPERIEMENT & EVALUATION Figure 4.3 Shima Seiki SDS One design programme 4.4 Experiments 4.4.1 Experiment 1 – Delicate cables combination with different tension 4.4.1.1 Experiment process of Sample 1 Regarding to the research of cable stitches in Fall/Winter 2010/11 and 2011/12, delicate cable gives the femininity to the wearer and it is the concept of the final collection. Small cables combination are designed in this sample through design programme. The structure shown in Figure 4.4, details of each stitch will be described in the following. Starting with 2x1 rib hem, the main body is a symmetric pattern with Aran stitch (Figure 4.5) and cables (Figure 4.6). At the centre it is a cable (Figure 4.7) with double seed stitch (Figure 4.8). 62 CHAPTER 4 EXPERIEMENT & EVALUATION Figure 4.4 Structure of delicate cable combination Figure 4.5 Aran stitch Figure 4.6 Cables 63 CHAPTER 4 EXPERIEMENT & EVALUATION Figure 4.7 Cable stitch Figure 4.8 Double seed stitch The simulation is shown in design programme for reviewing the front and back formation with coloured yarn. In Figure 4.9-10, demonstrated Aran stitch with double seed stitch and cables. Figure 4.9 Simulated front side of fabric Figure 4.10 Simulated back side of fabric 64 CHAPTER 4 EXPERIEMENT & EVALUATION The colour combo of sample 1 is also simulated by design programme for further design development of the final collection. Figure 4.11 Sample 1 simulation-nude Figure 4.12 Sample 1 simulation-dark red 65 CHAPTER 4 EXPERIEMENT & EVALUATION Sample No. Knitting Tension Sample 1A 55 Figure 4.13.1 Front Figure 4.13.2 Back 58 Sample 1B Figure 4.14.2 Back Figure 4.14.1 Front Table 4.1 Knitting tension of sample 1A & 1B 66 CHAPTER 4 EXPERIEMENT & EVALUATION Two samples were produced by Shima Seiki SES122-S 12GG flat knitting machine. One ply of Nm 2/26 60% acrylic 40% polyester yarn in grey colour was used for sampling. Figure 4.13.1-2 and 1.14.1-2 are the knitted samples, named as Sample 1A and 1B. The knitting size of the samples is 30cm x 30cm and the knitting time is 10 minutes for each. The knitting tension for 1A is 55, 1B is 58. The comparison between the knitting tensions are used for both specimens. 4.4.1.2 Evaluation of Sample 1 Aspects \ Sample No. 1A 1B Handle 4 4 Visual 2 4 Elasticity 2 3 Stability 2 4 Table 4.2 Rating of Samples 1A & 1B in different tension ✽ 1 represent the lowest performance, 5 represent the highest performance ✽ Handle – Hand feel, Visual – Aesthetic, Elasticity and Stability–Stitch Based on Table 4.1, 1B has the best performance in all aspects. For handle, both samples have the highest ratings. When comparing to 1B, 1A has lower performance in visual, elasticity and stability. 67 CHAPTER 4 EXPERIEMENT & EVALUATION Two samples were produced under different tension to avoid breakage of the stitch of sample 1A (Figure 4.15). Since the cable stitches are concentrated at the centre and jersey with purl and knit for both side, thus he bulkiness and the texture between the side and the centre are different. As result, the most difficult to control is the tension for knitting. Figure 4.15 Breakage of the stitch of Sample 1A 4.4.2 Experiment 2 – Delicate cable with different tension 4.4.2.1 Experiment process of Sample 2 As mentioned in the previous literature review in chapter 2, traditional cable is one of the trends for the following season. It inspired to design the experiment 2 for other delicate cable. It is a sample full of diagonal lines, to achieve the illusion and interesting texture to the fabric. It can imitate loop transfer to create diagonal lines with faster production. In Figure 4.16, detailed structure of sample 2 is illustrated. Starting with tubular, the main body is a symmetric pattern with 1x1 cable in two directions (Figure 4.17). 68 CHAPTER 4 EXPERIEMENT & EVALUATION Figure 4.16 Structure of delicate cable Figure 4.17 1x1 cable 69 CHAPTER 4 EXPERIEMENT & EVALUATION The simulation is shown in design programme for reviewing the front and back formation with coloured yarn. In Figure 4.18-19, demonstrated the front and back side of 1x1 cable. Figure 4.18 Simulated front side of fabric Figure 4.19 Simulated back side of fabric The colour combo of sample 2 is also simulated by design programme for further design development of the final collection. Figure 4.20 Sample 2 simulation-nude Figure 4.21 Sample 2 simulation-dark red 70 CHAPTER 4 EXPERIEMENT & EVALUATION Sample No. Knitting Tension Sample 2A 50 Figure 4.22.2 Back Figure 4.22.1 Front Sample 2B 53 Figure 4.23.1 Front Figure 4.23.2 Back Table 4.3 Knitting tension of sample 2A & 2B 71 CHAPTER 4 EXPERIEMENT & EVALUATION The swatches were knitted by Shima Seiki SES122-S 12GG flat knitting machine. One ply of Nm 2/26 60% acrylic 40% polyester yarn in grey colour was used for sampling. Figure 4.22.1-2 and 4.23.1-2 are the knitted samples, named as Sample 2A & 2B. The knitting size is 30cm x 30cm and the knitting time is 20 minutes. For both swatches, the knitting tensions were 50 & 53 respectively. 4.4.2.2 Evaluation of Sample 2 Aspects \ Sample No. 2A 2B Handle 4 4 Visual 3 4 Elasticity 3 3 Stability 3 4 Table 4.4 Rating of Samples 2A & 2B in different tension ✽ 1 represent the lowest performance, 5 represent the highest performance ✽ Handle – Hand feel, Visual – Aesthetic, Elasticity and Stability–Stitch Based on Table 4.2, 2B has the best performance in all aspects. For handle and elasticity, both samples have the highest ratings. When comparing to 1B, 1A has lower performance in visual and stability. 72 CHAPTER 4 EXPERIEMENT & EVALUATION During the knitting process, sample 2A was broken in the middle of the fabric (Figure 4.24) since the samples are knitted by different tensions. The intensive small cable required more time and lower tension for better formation. After the adjustment of the tension advised by technician, the satisfactory sample 2B was finally finished. The structure was more stable when comparing to the sample 2A. Figure 4.24 Breakage of the stitch of Sample 2A 4.4.3 Experiment 3 – Heart-shaped cable combination 4.4.3.1 Experiment process of Sample 3 To create uniqueness of the knit stitch, new type of cable will be executed in experiment 3. It was inspired from the runway collection research, the cables at the centre is the selling point of this sample. Sample 3 is the heart-shaped cable (Figure 4.26) combined with checks stitch (Figure 4.27). Starting with 2x1 rib as the hem. In Figure 4.25, detailed structure was demonstrated. 73 CHAPTER 4 EXPERIEMENT & EVALUATION Figure 4.25 Structure of sample 3 Figure 4.27 Checks stitch Figure 4.26 Heart-shaped cable 74 CHAPTER 4 EXPERIEMENT & EVALUATION The simulation is shown in design programme for reviewing the front and back formation with coloured yarn. In Figure 4.28-29, demonstrated the front and back side of sample 3A. Figure 4.28 Simulated front side of fabric Figure 4.29 Simulated back side of fabric The colour combo of sample 3 is also simulated by design programme for further design development of the final collection. 75 CHAPTER 4 Figure 4.30 Sample 3 simulation-nude EXPERIEMENT & EVALUATION Figure 4.31 Sample 3 simulation-dark red Figure 4.32.2 Back side of sample 3 Figure 4.32.1 Front side of sample 3 76 CHAPTER 4 EXPERIEMENT & EVALUATION The swatches were knitted by Shima Seiki SES122-S 12GG flat knitting machine. One ply of Nm 2/26 60% acrylic 40% polyester yarn in grey colour was used for sampling. Figure 4.32.1-2 is the front and back of knitted swatch, named as Sample 3. The knitting size of the sample is 30cm x 30cm and the knitting time is 13 minutes. 4.4.3.2 Evaluation of Sample 3 This experiment is to create new cable stitch and combination. The appearance showed the heart-shaped stitch didn’t match with the checks stitch based on the loop formation. If the checks is smaller or replaced by purl or links will have better result. 4.4.4 Experiment 4 – Handmade cable 4.4.4.1 Experiment process of Sample 4 Dimensional stitch is always the biggest surprise for knitwear, handmade technique create the uniqueness of the stitch and attract audience. Hand knitting combined with hand flat knitting machine creates the contract between different gauges. In this experiment, a plain knit single jersey combined with handmade cable will be executed. Starting with 1x1 rib for hemming. 77 CHAPTER 4 EXPERIEMENT & EVALUATION Figure 4.33.2 Back of sample 4 Figure 4.33.1 Front of sample 4 Figure 4.34 Pre-knitted jersey tape The single jersey was knitted by 7GG hand flat knitting machine. One ply of Nm 2/26 60% acrylic 40% polyester yarn in greyish blue colour was used for sampling. In Figure 4.33.1-2 showed the knitted swatch, named as sample 4. The handmade cable is made by 78 CHAPTER 4 EXPERIEMENT & EVALUATION a pre-knitted jersey tape (Figure 4.34). The knitting size of sample is 22cm x 32cm and the knitting time of single is 20 minutes and of the jersey tape is 45 minutes. 4.4.4.2 Evaluation of Sample 4 Hand knitting is the most time consuming process, it has taken 45 minutes to finish the sample. When comparing to flat knitting machine, hand knitting is easier to control the structure, since there is no need for programme prepared, the preparation time is reduced. However, the production time of knitting is longer since it is manual. For preparing the single jersey tape, did not know how long exactly is needed for making the handmade cable. The difficulty is to measure the length of the tape needed. 4.4.5 Experiment 4 – Hand knitting plain single jersey 4.4.5.1 Experiment process of Sample 5 In addition to increase the bulkiness of the fabric, this experiment combined pre-knitted single jersey tape and hand knitting. Two samples produced under different structure of tape, they are named as sample 5A (Figure 4.35.1-2) and 5B (Figure 4.36.1-2). 79 CHAPTER 4 EXPERIEMENT & EVALUATION Figure 4.35.1 Front of Sample 5A Figure 4.35.2 Back of Sample 5A Figure 4.36.1 Front of Sample 5B Figure 4.36.2 Back of Sample 5B Sample No. 5A 5B Structure of tape Plain single jersey Full needle Length 10 meters 10 meters Time Spent 45 minutes 1 hour Sample size 20cm x 8cm 20cm x 9cm Bulkiness 1.5cm 3cm Table 4.5 Production details of Sample 5A & 5B 80 CHAPTER 4 EXPERIEMENT & EVALUATION 4.4.5.2 Evaluation of Sample 5 One ply of Nm 2/26 60% acrylic 40% polyester yarn in greyish blue colour was used for sampling. In Table 4.5 showed the details of sampling. Sample 5A has lesser s time than sample 5B because of the structure of tape. The difficulty is to measure the length of tape needed for production. Under the same length of the tapes, the sizes of both samples are different. Due to the structure of the tape, sample 5B is larger. When comparing to the appearance of both sample, sample 5A give smoother texture than sample 5B since it is handmade of full needle tape. The property of plain single jersey is the technical face will curl to the technical back and make it like a tube, so to the smooth surface. However, full needle tape gives higher bulkiness than the plain single jersey tape. Further development of the tape is needed for selection of the surface texture. 4.5 Chapter Summary Experiments have been conducted in this chapter for the stitch design development for the base of final collection. A comprehensive analysis recorded on each specimen under objective rating in different aspects. In addition to show significant information and data in the report, several techniques of producing samples were recorded. The potential new knit stitches will be use for the final collection development and details described in the next chapter. 81 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION CHAPTER 5 CREATTION OF KNITWEAR COLLECTION CHAPTER 5 CREATTION OF KNITWEAR COLLECTION In this chapter, a knitwear collection will be presented through theme & mood, colour palette, selection of materials and knitting structure. Trend analysis in colour and inspiration will be conducted for better understanding of the forthcoming trend in Fall/Winter 2012/13. After the design development, there are three set of outfits will be introduced in the following. 5.1 Introduction The forthcoming Fall/Winter 2011/12 knitwear collection has been presented by worldwide designers. The innovative knit stitches such as dimensional stitch and cables will be the trend under the few season forecasting. Except the knit stitches, the silhouettes of garment have been transformed. Knitwear is not only for traditional cardigan but also a floor length dress. Runway collection is a showcase of high fashion on stage; moreover, it is also a platform to show the commercial values from the collection to attract customers. Nowadays, knitwear is no longer for just keeping warmth, is a garment that no division of seasons. Traditional knitted items have been transformed to dimensional knitted garment with commercial values. Bora Aksu, Burberry and Pringle of Scotland, these fashion designers are leading the dimensional knitwear trend to the high fashion market. In the 82 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Fall/Winter 2011/12 knitwear collection of Giulietta, few pieces that finished by handmade cables and enhance the texture to the garment. Handmade or hand knit pieces will be the trend of the future. Different designers try to develop knitwear collection from machine and combine with hand knitting techniques to increase the texture and interesting finishing to the knitwear. As inspired from the research of runway collection, some potential stitches were conducted in experiments. Those stitches will be used for the three outfits design development. Trend analysis will help to develop the final collection and theme & mood will be included in the following. Other than that, the selection of materials and knitting structure will be showed in the development. In the portfolio of knitwear collection in Fall/Winter 2012/13, three sets of outfit will be selected for pre-judge. 5.2 Trend Analysis in Colour & Inspiration According to the Peclers trend book of Fall/Winter 2011/12, reddish and nude colour is the direction in the colour trend. Red gives courage and it is used as a symbol of guilt and anger that connected with blood. Nude is a colour of being, portray the humankind and animal in the nature. The colours of a tribal and warrior of the race, symbol the courage for fight. It will be described in the colour story. 83 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.1 Fall/Winter 2011/12 Knitwear Trend (Peclers Paris) Figure 5.2 Fall/Winter 2011/12 Knitwear Trend (Peclers Paris) A research about the inspiration for the coming season in stylesight.com, the trend of spiritual energy matched with the red tone colours. The story is about “an uncontrolled 84 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION force of energy and vitality are expressed through spicy hues.” (Stylesight.com, 2011) In Figure 5.3, shows the inspiration board of “raw energy”. Figure 5.3 Megatrends of Fall/Winter 2012/13 (Stylesight.com) Tribal influence is one of the highlighted styles in the forthcoming season. Layers and layers of clothing with bulky textures are creating a look of ancient tribe. Figure 5.4 Megatrends of Fall/Winter 2012/13 (Stylesight.com) 85 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Dimensional texture gives the bulkiness to the garment, inspired for the dimensional stitches in knitwear. Handmade creation of cables with newly formed shapes. Besides of fine gauge knitted item, coarser gauge of cables is one of the highlighted stitches in the collection. The proportion of knitwear transformation will also be developed. 5.3 Theme & Mood “Spiritual Liberation” is the theme of the Fall/Winter 2012/13 knitwear collection. Skull and skeleton is a symbol of death and fear. The tribe uses skull and skeleton to decorate on garment is to be outstanding and gives a sign of danger to the people, which is to spread a message of “Stay away from us”. Death is a kind of mental liberation, the detached life after being real. Nowadays, skull and skeleton is not only bringing the message of death and fear, but it also giving a message of individuality of a person. There is a woman wearing the skull as a mask, the necklace made from bones of skeleton. The image of a woman portrayed as independent and unique like the member in the tribe. She is presenting a feeling of quiet and serious and the disconnection of earthliness. The message of death brings her the liberation of mind. 86 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.5 Theme board 87 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.6 Mood board 5.4 Colour Palette In the collection of “Spiritual Liberation”, dark red and nude colours will be the main colours; those are related to the tribal colours. Except the reddish colours, black and two hues of grey are for matching the mood of skull and skeleton. Figure 5.7 Colour palette 88 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION 5.5 Selection of Materials Different knitting technologies present the dimensional stitch with special yarns to create interesting surface and textures. Wool will be the main fibre for the yarn; acrylic and nylon for better yarn strength; angora and mohair create fluffy texture; viscose and Lurex pre-twisted give higher lustre to the fabric surface. Except of fine gauge yarns, coarser tape yarns will be featured in the collection. For woven, furry and felt for the tribal feeling, delicate mesh fabric on top for making mystery effect of the garment. 5.6 Selection of Knitting Structure In the experiments, some knit stitches are developed inspired from the literature reviews; such as the cable combination and hand knit fabric. Based on the theme, float stitch and cable will be the main used knitting structure. The ladder effect gives the mystery feeling to the wearer and match with the mesh fabric for better appearance. Stitches like the skeleton structure and handmade braid will be highlighted. Transfer stitch makes the texture of the garment and create interesting surface. However, for the appearance requested and plating 2x1 ribs knitted by pre-twisted Lurex and wool yarn. 5.7 Collection Development A three-outfit Fall/Winter 2012/13 ladies’ knitwear collection is developed for the prejudge section. From left to right, top to bottom will be described in the following part. 89 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.8 The Fall/Winter 2012/13 ladies’ knitwear collection – 3 outfits 5.7.1 Outfit 1 In the collection, each outfit has the own story about a woman. The first outfit is talking about the girl becomes a queen in the tribe, just started to know the real world. As the look is inspired by the tribe, layers and layers of garment is presented. The 2x1 rib knitted bolero with sparkling red yarn plating with black wool yarn by 7GG Shima Seiki computer controlled knitting machine to create shinny effect. The top of the sleeves were partial knit making like scales of armour (Figure 5.9). The hem finished by tubular on body. 90 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.9 Sleeve of bolero Along with a turtle-neck wool knitted prolonged top with no sleeves in dark red knitted by 12GG Shima Seiki computer controlled knitting machine. The cable at the centre is hand braided by pre-knitted 7GG tape to demonstrate the spine of human which is inspired by sample 4 swatch with bigger scale (Figure 5.10). Sample 2B swatch is applied on chest part and bottom part of the top with 3x2 needle transfer. Needle transfer gives the feeling of ribs of human body. 2x1 rib at the waist for better elasticity when wearing. Float stitches on the top, making the ladder effect showing the contrast of thickness (Figure 5.10). 91 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.10 Hand braided cable, float stitches A queen usually comes with the long dress showing her magisterial power. Thus a wool knitted floor-length flare skirt with mesh-like stitch in nude knitted by 12GG Shima Seiki computer controlled knitting machine. In order to increase the visual effect of the skirt, a layer of mesh fabric will be added on top is worn. When it shows on the stage, the layers of the skirt will have a fuzzy effect of the under layer during movement. 92 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.11 Front of Outfit 1 93 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.12 Back of Outfit 1 94 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION 5.7.2 Outfit 2 Warrior fights for freedom in the war, members of tribe fights for the mind liberation. This is an outfit of a warrior in the tribe. An asymmetric wool knitted cape in black with a doubled 2x1 rib collar knitted by 7GG Shima Seiki computer controlled knitting machine. The left part of the cape is shorter for easy movement. Large shoulders are showing the power of the warrior. Hand knitted 2x2 cable is attached on the left shoulder. Figure 5.13 Large shoulders 95 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.14 Front of Cape 96 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.15 Back of Cape 97 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION A cape-like top with partial knit on both shoulders (Figure 5.14), like the structure of outfit 1 bolero, is worn underneath. It is knitted by 7GG Shima Seiki computer controlled knitting machine with wool yarn in grey. Sample 1B swatch with double seed stitch pattern knitted for the body part of front and the back. The patterns of the top is the face of the skull, give a sign of unapproachable (Figure 5.15). Figure 5.16 Partial knitted shoulder 98 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.17 Front of cape-liked top 99 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.18 Back of cape-liked top As the bottom, is a woven pants made by furry and felt fabric. It matched with a preknitted 5GG tape by hand knitting leg warmer, for balancing the proportion of the look, 100 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION enhance the bulkiness of the bottom part. Also, there is a pair of hand warmer for protecting the arms of the warrior which is in the same pattern of the cape-like top. 5.7.3 Outfit 3 After the revolution of the tribe, queen gained experience from the battle. No pain no gain. This outfit is presenting the truthful and confident queen. More texture and decoration of the garment is to tell everyone that she got the power. Start with a 3GG knitted coat with long sleeves, knitted by 3GG Shima Seiki computer controlled knitting machine with grey wool yarn. Sample 1B swatch inspired the stitch of this garment of the body part. Greater effect by knitting a coarser gauge was executed. The sleeves were knitted by a skeletal stitch with purl and 2x1 rib for cuff. Loose fitting coat can keep the queen warm during cold weather. 101 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.19 Sleeve of coat Another piece of floor-length dress is shown in this outfit. A sleeveless dress with no backing knitted by 12GG Shima Seiki computer controlled knitting machine with wool yarn in nude. Pre-knitted tape by hand knitting made of the collar which is regarding to sample 5A swatch. Handmade braid is stitched on the whole garment for skeletal decoration (Figure 5.20). Floats appeared on the dress make the visual effect with laddering. There is a slit at the back of the dress for better movement when walking (Figure 5.21). 102 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.20 Handmade braid 103 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.21 Slit of the dress A knitted top with 2x1 ribbed long sleeves goes under the dress. It was knitted by 12GG Shima Seiki computer controlled knitting machine with wool yarn in dusty pink. There are two parts of float on the side of front and longer float at the centre of back for showing the skin through ladder and creating a visual effect. 104 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.22 Front of Outfit 3 105 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION Figure 5.23 Back of outfit 3 106 CHAPTER 5 CREATTION OF KNITWEAR COLLECTION 5.8 Chapter Summary After the research and experiment for the dissertation, a Fall/Winter 2012/13 ladies’ knitwear collection is presented in this chapter. The analysis of trend leaded the direction of designs and the development inspired by the research and experiment enriched the details and features of the whole collection. The theme and mood used as a design development guideline and direction. With the supporting of the data collected from continuous experiments, three-outfits were well developed and achieved with creation of dimensional stitches and creative texture. 107 CHAPTER 6 CONCLUSION, LIMITATION & RECOMMENDATION CHAPTER 6 CONCLUSION,LIMITATION& RECOMMENDATION CHAPTER 6 CONCLUSION, LIMITATION & RECOMMENDATION After the intensive research in the dissertation, a conclusion is included in the following for summary of the study. For enhancement of the knitted garment texture, dimensional stitch is inspired from the runway collection. A series of experiment has been carried out for knitted swatches sampling and helped to develop a Fall/Winter 2012/13 knitwear collection for pre-judge. During the experiment, limitation is occurred in the knitting and the technologies. Recommendation is introduced for further development. 6.1 Conclusion In this dissertation, a comprehensive research of knitting technology is done in chapter 2. The function of knitwear is transformed to a no division of season; it is an item of the trend. Different kinds of material and knit structure changed the appearance of the fabric. Review of knitting structures and formation helped to develop knit stitches in the experiment. Different types of loops and structure affected the knitwear properties. Advanced technology on kitting and textile supported the elements to form desired patterns and appearance through types of yarn and various materials. The development of knitting machines provides the high-speed production of commercial knitwear designs. 108 CHAPTER 6 CONCLUSION,LIMITATION& RECOMMENDATION An investigation of new dimensional stitches from the runway collection inspired the design development of the collection in chapter 4. Newly formed knit stitch in different techniques gives the uniqueness and individuality of the knitwear. Garment appearance and texture enhanced through yarns and knitting techniques. The planning of research methodology is described in chapter 3 and it as a guideline for the application of experiment. Except the case study analyse carried out successfully, applicable knitting technologies are demonstrated through knit stitches on the knitwear collection. The desired pattern created by coarser gauge of material highlighted of the knitwear. In the Fall/Winter 2012/13 ladies knitwear collection is introduced in chapter 5. 6.2 Limitation In order to create new dimensional stitch for greater fabric texture in the knitwear collection, several knitting technologies have been applied on new knit stitches. Five samples are produced in the experiment; they are the cable combination, delicate cables, new formation of cable and hand knitting fabric. For the developing process, there are numerous limitations with the experience in knitting and the technologies. Applying the suitable yarns and material for knitting for creating the desired result of knitwear is one of the difficulties in the study. Different knit stitches required different tensions and needed to match with the types of yarns and property of materials. The computer controlled knitting machine may out of order during the experiments. 109 CHAPTER 6 CONCLUSION,LIMITATION& RECOMMENDATION Throughout the knitting process, the breakage of yarn occurred with any procedure missed. The renovation of computer controlled knitting machine carried out and interrupted the experiment. In the experiment, as mentioned in the previous chapter, a stitch design programme setting for the computer controlled knitting machine is required. The knowledge of the stitch code is different from the hand knitting stitch book. The knowledge of operating the design programme is not enough for producing advanced knit stitch. To get the desired stitches from the programme needed help from technicians. About the knitting tension of specific stitch needed for trial. For the potential knit stitch development for the knitwear in the experiment, considerations have been taken such the elements of creating a desired of pattern. Types of yarn might affect the appearance of the knit stitch and also the material used. Some stitches are not effective on bulky yarns and the proportion of stitch may consider through experiments. There are some factors may defined the final products, such as the weight of knitwear and the silhouette affected by the knitting structure. Different kinds of knitting structure with various materials give different appearance to the garment. The stitch is narrowed if produced by computer controlled knitting machine during the production, such as the length of floats, which means the distance between active needles. Due to the production process, some details are cancelled or replaced by other stitches in the garment from the sponsored company. The production cost depends on the weight of the knitted garment and also the production time. 110 CHAPTER 6 CONCLUSION,LIMITATION& RECOMMENDATION 6.3 Recommendation In chapter 5, the Fall/Winter 2012/13 ladies knitwear collection is introduced with the application of potential knit stitch through various knitting technologies. Dimensional stitch and textured knitwear is one of the trends of knitwear and described in the literature reviews. The dissertation included a comprehensive research in variety approaches to the creation of knitwear collection. Cabled knit texture gives the unique surface to the knitwear, and the trend will go further in the forthcoming trend. Although there are few experiments of creating dimensional stitch, it can enrich the visual effect of a garment even to be a highlighted point of the whole collection. 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