1. sports
2. skating
3. figure skating

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
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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
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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
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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).
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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).
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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.
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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
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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
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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.
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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
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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
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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
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LITERATURE REVIEW
Figure 2.46 Double cable
Figure 2.45 Pringle of Scotland (stylesight.com)
38
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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
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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)
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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)
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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)
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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)
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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.
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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
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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.
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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
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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).
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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).
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Figure 4.4 Structure of delicate cable combination
Figure 4.5 Aran stitch
Figure 4.6 Cables
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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
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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
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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
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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.
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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).
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Figure 4.16 Structure of delicate cable
Figure 4.17 1x1 cable
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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
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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
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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.
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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.
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Figure 4.25 Structure of sample 3
Figure 4.27 Checks stitch
Figure 4.26 Heart-shaped cable
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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.
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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
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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.
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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
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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).
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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
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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.
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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
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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.
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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
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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)
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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.
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Figure 5.5 Theme board
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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
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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.
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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.
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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).
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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.
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Figure 5.11 Front of Outfit 1
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Figure 5.12 Back of Outfit 1
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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
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Figure 5.14 Front of Cape
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Figure 5.15 Back of Cape
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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
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Figure 5.17 Front of cape-liked top
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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,
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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.
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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).
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Figure 5.20 Handmade braid
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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.
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Figure 5.22 Front of Outfit 3
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Figure 5.23 Back of outfit 3
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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.
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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.
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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.
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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.
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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. The development of new cable stitches provides a great experience for
further dimensional stitch development on knitwear, such as pleating techniques on
knitwear to create bulkiness.
The selected knit stitch achieved the appropriate application on knitwear and enriched the
entire collection. Moreover, apart from the performance of interesting appearance and
texture, the samples developed in the experiment also achieved bulkiness and wear ability.
The preceding research and study demonstrate new and unique knit stitch designs for
knitwear
111
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APPENDICES
APPENDICES
APPENDICES
Appendix A. Production Specification of Outfit 1
Appendix B. Production Specification of Outfit 2
Appendix C. Production Specification of Outfit 3
APPENDIX A: Production Specification of Outfit 1
APPENDIX A: Production Specification of Outfit 1
APPENDIX A: Production Specification of Outfit 1
APPENDIX B: Production Specification of Outfit 2
APPENDIX B: Production Specification of Outfit 2
APPENDIX C: Production Specification of Outfit 3
APPENDIX C: Production Specification of Outfit 3
APPENDIX C: Production Specification of Outfit 3