TABLE OF CONTENTS - ULITA

FASHION: Function in Action
Supervisors: D Backhouse and L C Webster
Foreword: Prof. Efrat Tseëlon
Published by the University of Leeds International Textiles Archive
Printed in the UK by NM Print Services.
ISBN: 0-9549640-3-9
This research was undertaken by undergraduate students in Fashion
Design, School of Design, University of Leeds, UK under the
supervision of David Backhouse MDes RCA Subject Leader and Lynne
Webster Senior Teaching Fellow.
David worked for Roland Klein for over 15 years during which time he
designed ranges for clients and stores including Bergdorf Goodman in
America, Harvey Nichols, Selfridges and Harrods in the United
Kingdom and Joyce Boutique in Hong Kong. He was also responsible
for fashion shows and exhibitions in London and around the world
including Australia and South Africa.
Lynne has worked extensively in the Far East designing commercial
ranges for companies including Top Shop and Debenhams. For the last
15 years she has worked in the corporate wear sector; researching and
designing ranges for The Halifax PLC, WH Smith PLC, Thomas Cook,
British Airways PLC and BT.
ACKNOWLEDGEMENTS
The production of this catalogue and the presentation of the exhibition
it accompanies, result from the support and generosity of The
European Disposables and Nonwovens Association (EDANA) and the
many EDANA members who kindly supplied their innovative
engineered fabrics.
Ahlstrom Corporation
Colbond
Don & Low Ltd
Fibertex AS
Fiberweb
Freudenberg Nonwovens
Mogul
Nice-Pak International
Norafin
Reifenhauser Reicofil
RKW Group
Tredegar Film Products
We wish to thank Helen Rushton, Product Development Manager,
Geneva Palexpo for her support and encouragement. Thanks are due
also to Professor Stephen J. Russell, Chair of Textile Materials and
Technology, Director of Research, Deputy Director of The Centre for
Technical Textiles, University of Leeds whose technical knowledge and
vigorous enthusiasm in the area of nonwoven research has expertly
guided us throughout this project. We also wish to thank Professor
Michael Hann and ULITA for their continued support and fashion staff
Elaine Evans and Lynda Howarth for their passion and commitment.
Photography: Alan Oliver & Mike Anderson, Graphics &
Communication Design, University of Leeds
Hair: Vidal Sassoon, Leeds
Models: Cristyn Williams & Dean Wilson, Boss Model Management,
Manchester. Stephanie Peers, final year student, BA (Hons) Fashion,
University of Leeds
FOREWORD
Future Fashion: high tech haute couture
Contemporary fashion is a space where contrary trends are being
played out. A globalised market which is customer led has placed value
on customisation and personalised creative expression as much as on
the standardisation of high street fashion. While catwalk fashion and
street fashion are walking side by side, lifestyle retail (fashion included)
has been replacing the sales “act” with the shopping “experience”
marked by dynamism and excitement, innovation and creativity.
Nonwovens are new players in the world of fashion design.
Traditionally involved in the apparel industry for interlinings, clothing
accessories, insulation and shoe components – they are making their
first steps in moving from invisible to visible spheres. The shift from
function to aesthetics is a result of recent advances in fabric
engineering which have produced truly engineered materials with
technical performance properties. With characteristics varying from
better drape, durability, stretch and recovery, improved fit, high or low
thermal protection, to colour-change materials, impact, cut or slash
resistance, water resistance or absorbency - nonwoven fabrics open
creative and aesthetic possibilities for non-functional fashion design.
Fashion by its essence captures the mood of a passing moment. Yet
the nonwoven collection embodies what the Milan based Future
Concepts Lab has defined as “the real fashion trend” of the last decade
and the present moment. The collection combines the trend for the
style that derives inspiration from nostalgia and the trend that involves
an “experimental lab” of artificial aesthetic and technical materials; it
combines the creative challenge of rules - with layering of different
referencing systems; it combines emphasis on details - with
unexpected richness of creative surfaces and contrasts. Finally, it
combines simplicity with new understated luxury that reflects
uniqueness and innovation.
The apparel category is ripe for innovation. What we are seeing now is
the beginning of an evolution when a new generation of fabrics with
enhanced capacities is being discovered by fashion. The School of
Design at the University of Leeds has pioneered the exclusive use of
smart nonwoven materials in a fashion collection. When a super new
technology is added to an ancient medium like textiles there is a need
for exploration of its history, and respect of its traditions. The synergy
between the textile heritage and technological advances has resulted in
creative solutions and in new interpretation (action) of traditional
ingredients (function). The collection is aptly called: Fashion: Function
in Action.
Professor Efrat Tseëlon
Chair of Fashion Theory
TABLE OF CONTENTS
Acknowledgements
Foreword
1. Introduction
2. The Student Contributors
2.1 Carving into the Contemporary
Anna McCurry, Sophie Miller and Alexandra Raybould
2.2 The Re-invention of the Trench Coat – A Future in
Nonwovens
Simone Boeck, Luke Tallant and Susanna Bullock
2.3 Shabby/Sleek: One Garment Two Styles
Annabel Burton, Elizabeth Jackson and Kailey Twigge
2.4 Circular Fashion – Vionnet Reinvented
Clare O’Brien, Lucy Royle and Lauren Sunde
2.5 Escape2simplicity
Emma Kniveton, Amy Cordell and Stephanie Cairns
2.6 A Love Affair with Anglaise …
Louise Kirby, Sunnie Dhaliwal and Catherine Price
2.7 Monochrome in Motion
Cari Marsden, Jessica Fell and Faye Johnson
2.8 Highly Protective Fashion
Hannah Caddick, Alice Warner and Alice Burling
2.9 Deconstructing Fairytales
Grace Walker, Katie Taggart and Kirsty Wainwright
2.10 Utilising the Unexpected
Julia Lurie, Laura Parry, Molly Jones, Emma Richardson
2.11 Dress into Nonwovens
Vanessa Ball, Rosie Bonnar and Katie Brown
3. In Conclusion
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List of Plates
Plate 1: Carving into the Contemporary
Plate 2: The Re-invention of the Trench Coat – A Future in Nonwovens
Plate 3: Shabby/Sleek: One Garment Two Styles
Plate 4: Circular Fashion – Vionnet Reinvented
Plate 5: Escape2simplicity
Plate 6: A Love Affair with Anglaise
Plate 7: Monochrome in Motion
Plate 8: Highly Protective Fashion
Plate 9: Deconstructing Fairytales
Plate 10: Utilising the Unexpected
Plate 11: Dress into Nonwovens
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1. INTRODUCTION
Traditionally garments are historically and intrinsically linked with
woven and knitted fabrics composed of natural and man-made fibres
either alone or in blends. Such fabrics are produced by either
interlacing or intermeshing pre-formed yarns. These fabric structures
have dominated the world of apparel outerwear for decades and
methods of garment design and assembly have been established
based on their properties and visual appearance.
While historically, the penetration of nonwoven fabrics in outerwear has
been limited, the integration of nonwoven fabrics into garments and
accessories for functional purposes is well established particularly in
protective clothing, garment linings and interlinings, insulation
waddings, shoe lining and synthetic leather fabrics, which define both
single-use and highly durable products. The physical properties and
technical performance of these fabrics are fundamental to their
acceptance and are readily engineered to meet requirements.
Technical developments in polymers, nonwoven processing and fabric
finishing have led to significant improvements in fabric handle and
drape, extension and elastic recover, abrasion resistance and pilling,
washing stability, dyeing, printing and surface texture that bring forward
the prospect of nonwoven outerwear. Additionally, the ability to
engineer properties that are rather more difficult to achieve in
conventionally-produced fabrics provides the basis for unique, high
performance materials that are far more than low-cost analogues or
substitutes for woven and knitted constructions.
The properties and behaviour of nonwovens are quite different to
woven and knitted fabrics and therefore present a major challenge to
accepted conventions in design and assembly. For the designer this is
the starting point in their creative challenge:
‘Fabric is everything. Often I tell my pattern makers… just listen
to the material. What is it going to say? Just wait. Probably the
material will teach you something so you have to study waiting,
how to wait how to listen’ Yamamoto, Y., An Exhibition Triptych
(2005).
The Fashion programme at the University of Leeds has, for a number
of years, been inspired by these inventive and exciting fabrics and the
opportunities that exist to engineer property challenges in response to
specific requirements. The interface between fashion design and fabric
technology is a fundamental requirement for future progress and
requires multi-disciplinary research collaboration between designers
and fabric technologists. Part of the challenge is to consider alternative
garment design approaches and pattern blocks specifically suited for
nonwoven materials and to actively contribute towards developments in
nonwoven fabric technology. There are also opportunities for the
simplification of garment design reducing assembly costs and
facilitating recycling at the end of life, improving the technical
performance of garments and reducing the overall life-cycle impact of
clothing.
Our research on remodelling of industrial nonwoven fabrics began in
defiance of laws and traditions some four years ago. Collars which
conventionally require interlinings did not, seams which ordinarily
receive overlocking could be left raw and front bodices which by
tradition require facings could be produced without. Ultrasonic and
thermal joining techniques enabled stitching to be replaced and
localised termo-forming provided a means of improving fit and
simplifying garment assembly. Elements of this research were
disseminated at the EDANA Nonwovens Research Academy held at
the University of Leeds in March 2007 and at the University of Leeds
International Textiles Archive (ULITA) in the same year.
The current garment collection supported by EDANA and its members
commenced by invitation in January 2008 and was conducted by
undergraduate students at the University of Leeds. This collection
exhibited for the first time at INDEX 08 is based on high performance
durable and single-use nonwoven fabrics supplied by the nonwovens
industry and incorporates developments in elastic film composites,
thermo-active PCM’s, masterbatch additives, thermochromic finishes,
electroconductive fabrics, high temperature protective fabrics,
metallised and multi-layer spunbond laminates.
In this collection some of the traditional boundaries and rules relating to
the design and construction of garments have been challenged in light
of the unique technical performance and physical properties of
nonwoven fabrics. Progress continues in our current work, working with
the next generation of designers and we look forward to future garment
collections.
David Backhouse MDes RCA and Lynne C Webster
2. THE STUDENT CONTRIBUTORS
2.1 Carving into the Contemporary
Anna McCurry, Sophie Miller and Alexandra Raybould
The dress draws inspiration from a dress by Yohji Yamamoto.
While embracing some of the original design aspects, the dress
has been re-engineered, adding new elements and adjusting old
ones in order to create an innovative and original garment.
The design is a juxtaposition of both structure and fragility.
Intricately carved like a Japanese fan: detailed and delicate.
Silver zips open and close the fan-like structures, transforming
the garment and silhouette. With its flowing train and voluminous
laser-cut godets the dress conveys elegance and femininity yet is
unmistakably contemporary. The top behaves like a backward
shirt, purposely ill-fitting around the bust and armholes yet it
manages to remain flattering and expresses a surprising
quirkiness. The chunky silver zips give the bodice support in the
way that boning gives aid to corsets.
Nonwovens, by their very nature, do not fray, this essential
property has allowed the incorporation of elaborate laser cut
designs within the dress as well as the benefits offered by the
sonic bonding process. Tredegar Film Products FlexAire 541 was
selected due its excellent extension and recovery as well as its
remarkable drape and its softness against the skin in contrast to
the hygiene products for which it is conventionally intended. This
fabric has enabled a garment to be produced that is modern,
striking and completely wearable.
PLATE 1
2.2 The Re-invention of the Trench Coat – A Future in
Nonwovens
Simone Boeck, Luke Tallant and Susanna Bullock
This project enabled us to develop an exciting interaction
between the modern and futuristic features of nonwovens
contrasting with the ‘classic’ appearance of the trench coat.
Garment one is constructed from Daltex FrameTX® Thermo
RFL117 nonwoven in silver (Don & Low). As well as its striking
appearance the radiated heat of sunlight is reflected maintaining
the wearer cool. Owing to the spunbond laminate construction,
the fabric has excellent durability and water-shedding properties
whilst remaining moisture vapour breathable and the polyolefin
composition ensures hydrophobicity and a low pack-weight. In
order to ensure that the garment maintains its clean and classic
look the fabric itself provides the main design feature.
Nice-Pak International’s 3442 nonwoven is a major constituent in
garment two. This nonwoven is extremely soft and comfortable to
wear. The fabric was pressed and pigment-printed. The
nonwoven construction benefited the work in other ways; time
was saved in the making-up process as no edges required to be
overlocked and ‘facings’ were unnecessary.
In addition to the trench coats a simple pair of jeans was
constructed from FabriFlex 537 (Tredegar Film Products)
nonwoven, as it is extremely soft next to the skin, breathable and
washable.
Working and experimenting with these new materials was a very
positive experience. They are easy to handle and gave us the
opportunity to explore a completely different way of being
creative.
PLATE 2
2.3 Shabby/Sleek: One Garment Two Styles
Annabel Burton, Elizabeth Jackson and Kailey Twigge
We have attempted to revamp one of subcultures most well
known and loved outerwear garments; the parka, using
innovative nonwovens which contribute not only aesthetic value
but physical properties as well.
Protective garment one was constructed from Comfortemp®
nonwoven (Freudenberg) providing excellent thermal comfort
and a soft handle. The qualities of this nonwoven played an
essential role in the reinvention process. The performance
provided by the thermal comfort enabled the assembly of a
garment with properties that cannot readily be achieved using
more conventional fabrics. Thanks to the fabrics ability to keep
the wearer cool when in warm environments and warm when in
cool environments (thermal buffering) the parka has a more
progressive look and feel; the fabric acts as the wearer’s
personal climate control system.
The soft handle of Tecnojet A1000 (Ahlstrom) allowed production
of a comfortable and wearable parka for garment two. The
distorted shape and varying colour tone was created by pigmentprinting the fabric to simulate a worn garment appearance.
Pocket Match (Fibertex) nonwoven was selected specifically for
the construction of shorts as it was both breathable and
waterproof.
PLATE 3
2.4 Circular Fashion – Vionnet Reinvented
Clare O’Brien, Lucy Royle and Lauren Sunde
Based on an original Vionnet design, the garment embraces 21st
century nonwoven developments to bring historical dress into the
modern day. Constructed from Colback CBD 30 and CBD 50
(Colbond), currently used in the automotive industry, the garment
retains the original sheer and transparent visual qualities but
allows for different methods of pattern drafting and construction.
Both nonwovens have a high tensile strength and are tear
resistant, which are valuable properties for garments. They can
also be moulded into three-dimentional shapes under the
influence of heat and pressure, giving endless opportunities,
adding volume and structure. Permanent pleating was introduced
in the second garment where the skirt was sunray pleated to
create a unique look. Pin tucks were used to give detail to the
bodice making use of the fabric’s thermo-fusible properties.
One of the key features is the lantern sleeve silhouette. The lack
of drape in the nonwoven provided an advantage, allowing the
sleeve to retain and self-support its voluminous structure.
Due to the non-fray properties of the fabrics, reduced seam
allowances and hem finishes were required during the pattern
drafting process. This gave creative freedom to choose detailed
neck edgings and to experiment with cuffs without encountering
technical difficulties. Colbond also produce similar fabrics from
recycled PET bottle polymers, potentially improving the
environmental sustainability of garments produced from the
fabric.
The outcome is re-engineered, timeless garments that are
suitable for wear, made using nonwovens which bring new and
exciting properties to fashion design.
PLATE 4
2.5 Escape2simplicity
Emma Kniveton, Amy Cordell and Stephanie Cairns
Our garments represent simplicity in its purest form, showing that
even the most basic of construction methods can produce quite
unique, wearable garments.
The skirt was constructed from contrasting yet compatible
nonwoven materials arranged at different lengths, converting the
luxury of the original design into a paradise of pleats. The
nonwoven fabrics incorporated Colback UM80 (Colbond) for its
crisp and sheer properties, 90g/m² linen scented 6250 fabric
(Don & Low) for its sharp lines and dainty diffusible scent and
Dreamex™ (Fiberweb) fabrics for their soft and excellent drape
characteristics.
The top takes inspiration from the work of the Spanish designer
Angel Nokonoko. Features such as a high standing scoop
neckline, in the style of a large funnel neck, and the use of zips at
the side seams to allow easier access into the garment create a
distinctive product. The addition of ruffles at the armholes, neck
and side seams transforms a very basic, unstructured, t-shape
top into a pretty, feminine garment. This unique feature was
made possible by RKW’s Strand Laminate material arranged in
layers. Its exceptional softness was useful worn next to the skin.
The main body of the garment was constructed from Colback
UM80 (Colbond), which was stiff enough to support the zips in
addition to being sufficiently comfortable to be worn next to the
skin. This nonwoven can also be sonic bonded, creating
smoother seams.
The simplicity of our garments perfectly expresses the major
benefits of using nonwovens; no need for conventional seams,
overlocking or hemming, meaning that garments can be
produced easier and quicker.
PLATE 5
2.6 A Love Affair with Anglaise …
Louise Kirby, Sunnie Dhaliwal and Catherine Price
Taking inspiration from designers such as Mira Mikati, TAO and
Stella McCartney, our team have developed several modern
interpretations of three specific typically romantic and feminine
designs, solely using nonwoven fabrics. Taking traditional fabric
decoration methods such as broderie anglaise, designs were
produced by intricate laser cutting. By scaling the patterns to
more extreme proportions, we produced contemporary pieces,
complemented by the chosen nonwoven fabrics in which they
had been produced. These garments incorporated, RKW’s
Strand Laminate, Colbond’s Colback CBD 30 and Tredegar’s
FlexAire 541. Our garments focus on modern femininity and
romanticism, reflected through the flowing tiers of the skirt
produced from RKW’s Strand Laminate.
A simple capped-sleeve top was produced from Tredegar
FlexAire 541, another soft fabric with surprisingly high stretch
and recovery. This top, formed from panels, contains broderie
anglaise inspired laser-cut patterns, which appear on a bib
feature at the front of the garment. A short tiered mini skirt
produced from Colbond’s Colback CBD 30 with alternate tiers of
pleating and laser-cut broderie anglaise designs adds a sexy feel
to the girlish theme to create a modern mixture of innocence and
sexuality. This contrast of naïve femininity and suggestive, flirty
womanliness is further reflected in the colour choices of the
nonwoven fabrics. We chose to contrast black and white within
our small range of garments to produce a striking differentiation,
representing traditional English romance and more mysterious
and current ideas of female sexuality.
The nonwoven fabrics allowed us to create distinct disparity
between the themes with the soft white RKW fabric accentuating
the graceful knee length skirt, contrasting with the crisp black
Colback fabric used to produce the short and flirtatious mini skirt.
PLATE 6
2.7 Monochrome in Motion
Cari Marsden, Jessica Fell and Faye Johnson
Our starting point was a flapper-style dress by Poleci
embellished with black sequins. Taking reference from the Poleci
dress and Paco Rabanne’s garments of layered shapes, we
produced samples using a variety of nonwoven materials. NicePak International’s 3442 nonwoven fabrics gave the most
effective results for the aesthetic look we desired. These fabrics
were compatible with laser cutting facilitating a large number of
identical discs with an accurately cut, crisp edge.
The dress structure needed to be rigid in order to hold the weight
of the discs and integration of a 50 g/m² Colbond’s Colback fabric
was ideal. To complement the final design, an under dress was
constructed from Reifenhauser Reicofil’s 4 SMMMS providing
high softness next to the skin and inherent moisture vapour
breathability with barrier properties. Owing to the polymer
composition laser cutting was introduced along the hem of the
under dress thereby enhancing the creative essence of our
design.
Through sampling a bolder layered appearance arranged in
random darker and metallic tones was developed for our second
garment. Daltex Frame TX RFL (Don & Low) and Polypropylene
SB in Grey (Mogul) were combined to produce black and
reflective elements to create a sharp contrast to the white dress.
Ultra sonic bonding enabled the creation of various strap styles.
In contrast to the first dress this fabric needed to have elasticity
to enable a closer fit and Tredegar Film Products’ FabriFlex 537
was incorporated to provide this functionality.
PLATE 7
2.8 Highly Protective Fashion
Hannah Caddick, Alice Warner and Alice Burling
Inspiration for the outfit was taken from a Yohji Yamamoto design
from his Spring/Summer 2004 collection. We have tried to rework
this design so that it emphasizes the benefits of the nonwoven
fabrics used, for example by allowing us to use raw seams and
demonstrate unusual shapes and silhouettes. This is illustrated in
both the flaring of the circle skirt and the rigidity of the top. We
also looked at the work of Paco Rabanne, who influenced some
of Yohji Yamamoto’s designs. Rabanne’s innovative techniques
using nonwoven fabrics, joined together by metal rings, in turn
provided inspiration for our own designs.
This outfit, consisting of an ‘armour’ themed top and full skirt,
was created using different basis weights of Colback fabric
supplied by Colbond. This fabric was chosen predominately for
its handle, modulus and tensile strength. The stiffness of the
fabric enabled shapes to fit together to achieve a strong
silhouette. Colback fabric was used for a panel in the skirt and
was ‘laser cut’ to introduce patterning. Two layers of lighter
weight Colback fabric were incorporated into the circular skirt to
give fluid movement, as well as a voluminous shape.
Other beneficial properties include a high tear strength, which
was vital in allowing the effective joining of the shapes of the top
together using small metal rings, as well as holding together the
skirt to the laser cut panel. The fact that the fabric was resistant
to fraying provides a distinct advantage over many woven fabrics
traditionally used in fashion garments. This allowed the cutting of
precise shapes for the top without over-locking or finishing the
raw edges, and facilitated effective laser cutting on the skirt.
PLATE 8
2.9 Deconstructing Fairytales
Grace Walker, Katie Taggart and Kirsty Wainwright
A delicate ‘paper bag’ inspired skirt and dainty blouse gives an
outfit fit for a fairy!
The skirt was constructed from 24 g/m² ProSoft Carded
Nonwoven (RKW). This nonwoven was thermoformable and was
therefore easily manipulated facilitating crease holdings . The
fabric provided softness next to the skin and patterning gave the
skirt a soft, pretty, feminine look. It was created by moulage, a
technique in which the layers of the skirt are cut and shaped on
the mannequin enabling a more sculpted shape to develop
naturally. Elastic elements were integrated into the construction
to corrugate the fabric just below the waist, creating gathers and
creases mimicking the uneven properties of a paper fabric.
The incorporation of a nonwoven fabric enabled the hem to be
left raw as the fabric resisted fraying, thus giving the garment an
irregular and deconstructed feel. The hems of each layer were
laser cut patterned to provide additional intrigue.
Pocketmatch (Fibertex) was used on the blouse. This fabric was
highly suitable for laser cutting, providing a neat edged pattern.
As the fabric had a relatively high tensile modulus, the blouse
pattern could be cut to give a structured shape. Small, delicate
buttons were used at the centre back fastening. The collar was
embroidered rather than laser cut to better define the shape of
the Peter Pan collar.
PLATE 9
2.10 Utilising the Unexpected
Julia Lurie, Laura Parry, Molly Jones, Emma Richardson
The design and construction of our utility jacket and kilt,
composed entirely of nonwoven fabrics, provided the opportunity
to explore new techniques, research cutting edge ideas and
implement new finishes.
The majority of the seams in the jacket were bonded using high
frequency sonic energy. This required a high synthetic fibre
composition; T175D1RFS (Don & Low) nonwoven fabric was
particularly compatible with the process. The result was
significantly more rapid garment production times and, in
addition, the creation of instant water-resistant seams. The rawedged pockets composed of Colback CBD30-160 (Colbond)
were possible because of the fray resistance. On the kilt the lack
of hemming and seam finishes were used to exaggerate the
unusual properties of Colbond’s UM80-220 and C120-105
fabrics. Thermal moulding techniques were adopted with
Colbond UM80-220 nonwoven fabric.
The benefits of nonwovens were highlighted in the visual appeal
of the garments, ease and speed of construction, as well as the
technical performance offered by the fabrics. Don & Low’s
T175D1RFS nonwoven fabric, integrated into the utility jacket,
was both durable and tough. It was also water resistant. The kilt
therefore maintains acceptable attritional properties but remains
comfortable; the Colbond UM80-220 nonwoven held the pleats
for a lasting finish.
Nonwoven materials provide an exciting balance between
aesthetic appeal, and physical properties, a balance which is
difficult to reach with existing woven and knitted fabrics.
PLATE 10
2.11 Dress into Nonwovens
Vanessa Ball, Rosie Bonnar and Katie Brown
The aim was to redesign a garment by Marithé and François
Girbaud using nonwoven fabrics. The dress incorporates
panelling, gathers and zips each of which had to correspond with
the properties of the nonwoven fabrics we selected. Owing to the
structure of the dress and construction techniques, Evolon®
(Freudenberg) nonwoven fabrics were selected in white.
Freudenberg’s Evolon® is durable and has a soft handle which is
comfortable against the skin, perfect for a dress construction.
The fabric is available in different basis weights and has good
draping properties; enabling gathering and providing fullness in
the skirt panels. The dress incorporates a panelled hood, long
sleeves and an open-ended zip which means that the dress can
also be worn as outerwear. Evolon® is composed of synthetic
mircrofibres and is ideal for outerwear because it is wind
resistant and is highly breathable. The air permeability can to
some extent be engineered during fabric manufacture. In addition
the fabric can provide protection from UV radiation to above UPF
50. These properties help to make the dress trans-seasonal.
In addition to Evolon®, Don & Low’s T175D1RFS fabric was
incorporated down the centre back of the dress.
Nonwovens do not fray; consequently pockets do not need
bagging out, hems are unnecessary and overlocking is not
required. This reduces the overall manufacturing time. In
conclusion, we have found that nonwoven fabrics have much to
offer the fashion sector.
PLATE 11
3. IN CONCLUSION
The use of conventionally woven cloth and, more recently, weft- or
warp-knitted fabrics has dominated garment production for the past
century and before. Meanwhile, at least in the latter half of the twentieth
century, nonwoven forms of fabric increasingly dominated various
industrial, domestic, medical, automotive and hygiene end uses.
Technological developments over the past few decades, have
extended nonwoven fabric end uses further and, in the first decade of
the twentieth century, nonwovens seem to be on the threshold of
offering a genuine challenge in garment (and fashion) end uses. In
order to ensure that this anticipated market development is realised, it
is crucial that relevant producing and supplying companies participate
and encourage the engagement of staff and students involved in
fashion design education. This exhibition is a manifestation of such
collaboration and engagement and, as such, represents a bold step on
behalf of the participants and sponsors to that goal of increased market
share in areas dominated conventionally by other forms of textiles.
David Backhouse MDes RCA and Lynne C Webster