What is a fabric converter?

Fabric or textile converters may not be a term some are familiar with. Fabric or textile converters are factories that embroidery, dye, print, flock, bead, pleat, etc. fabric. They may specialize in one area and simply call themselves embroiderers or printers, or they may provide multiple types of conversions. A fabric converter takes specially prepared or greige (pronounced grey) fabric and converts it into finished goods.

There are various forms of greige goods. Generally greige goods are fabrics that come right off the loom. Some have been minimally processed, not processed at all, or the yarns have been processed prior to weaving or knitting. There are various types of finishes that depend on the desired outcome. There are finishes that prepare the fabric for printing or dying. Other finishes enhance the fabric's qualities, such as singeing, desizing, scouring, bleaching, calendaring, and many more. These are finishes done to the fabric prior to printing, dying, or embroidering and so they are still called greige goods by some. Since these finishes do finish the fabric to some degree, they are technically called by other names. There are various acronyms and labels for the different types of "greige" goods and it all becomes kind of fuzzy (or grey, heh) for me. In any event, greige goods are warehoused until an order comes in to print (or whatever) the fabric. Printing and embroidering are some of the fabric conversions done at the very last stage of fabric manufacturing.

Sewing Tutorial - Set-in sleeves

This is my first sewing tutorial for sewing set-in sleeves flat - please forgive the photo intensive entry and anything that is not too clear. Here, I am testing some refinements to my cap sleeve pattern. I am doing the sewing with my domestic Singer 503 (a fabulous machine, btw). The technique is essentially the same on a 4-5 spool serger or industrial straight stitch machine. Some of this is my personal opinion, some fairly standard fabric handling techniques. Please note, my sleeve pattern has no ease.

Place the sleeve against the feed dogs, the body on top. Notice that I am using no pins, no basting, and no ease stitching. There is a single notch at the center of the sleeve cap. My sleeve is symmetrical front to back so there are no extra notches to indicate the back or front of the sleeve. Adult clothing would have extra notches, so make sure to match up fronts or backs or you will have a funny looking sleeve.



Do you see the placement of my hands? My left hand is holding the body and my right hand is controlling the sleeve. This is one of the major differences of industrial vs. home sewing. Home sewists like to pin the two layers together and have everything move together in lock step. With this method I can control the two layers as they move under the foot by ever so subtly pulling or pushing. It takes time, practice, and confidence in your pattern to develop this skill but it is absolutely essential.

This picture just shows that the shoulder seam and the sleeve notch meet up. Another industrial technique is that the operators will tap the foot pedal. Home sewers press down on the foot pedal like they are at the races. But during certain operations, the operator can gain more control by tapping the foot pedal. This can help while going around a curve.



This picture tries to illustrate why the sleeve should be next to the feed dogs. If there is any ease (and it should be minimal) the feed dogs will do the work of easing for you. My sleeve has no ease so this picture isn't accurate. If there were ease, it would look something like this on the inside.




This is a view of the top of the sleeve cap. There seems to be a few puckers, but that is a combination of poor lighting and the fabric - a poly-cotton broadcloth. The sleeve cap is actually nice and smooth.










Stitch the side seam from the waist to the sleeve hem making sure the armscye/sleeve cap seam allowances are turned toward the sleeve. The seam allowances, when turned in the right direction, will fill the sleeve cap and help give it a nice rounded shape from the outside. Some operators will allow the seams to lay in opposite directions (for bulk, they may go in opposite directions, but otherwise they shouldn't).


The finished sleeve.

Stewart Girl's Dress pt. 2 : Testing the idea

As a continuation from my first entry on this topic, I made up some samples to illustrate the sewing problem. (Click on the images for a better view).

This is how the pattern might look. I suspect the slit would be similar to a dart. The top of the slit is angled upward. I left the bottom of the slit on grain, but it probably should angle down too, making it a true dart, and not a slit.








This is how the sample looks sewn. The yellow arrows indicate the direction of sewing each dart if sewn with a 4/5 spool industrial serger with a shirring arm (my sample is not, so this is an approximation). At the end of each dart is a flat spot because of the physical limitation of the foot and shirring arm getting in the way. Even with my straight stitch machine you can see similar problems. On the left, a pretty little tuck and dimple show up. On the right, the flat spot is more pronounced because the gathers can not start at the end of the dart opening. I also ended up with an open seam where I failed to catch one side. I could easily see these sewing errors occur in an industrial setting.

I suspect there may be more to the pattern than I am thinking.

Thread color does matter!

Most of the time, manufacturers know to match the thread color to the body of your design. If you hand them a sample, then they will reproduce it down to the thread color. Most manufacturers are very good about this, so specifying the thread color is usually overlooked.

But every now and then, you will run across a rare manufacturer that is either color blind or will use whatever thread they have on the shelf. It may or may not match. If you specified the thread color, then you can go back to the manufacturer with a charge-back. If you didn't, well then you might be stuck. (I have seen this happen!)

Another reason to spec out a thread color is to match a screen print, embroidery, or coordinating piece. The thread color becomes an integral part of the design. Would you really want to leave the end color up to chance?

It's really simple. On your spec sheets state "Thread color: American & Efird [color name] [color number]. You may even want to go to the extreme of including a thread color swatch, just in case the manufacturer buys thread elsewhere. Wind off some thread onto your fingers and make a little, mini-hank of thread and tape it onto the page. You can buy thread swatch books from American & Efird (You'll have to talk to a sales rep about a swatch book). You can even get thread dyed to match!

A question on binding a leg opening on a onesie

Laura sent me this really good question on the binding around the leg opening of onesies:

I don't mind you posting anything -you can use my name. I actually want to ask many things but for now off the top of my head I have a question about making onesies. When I went to my pattern maker he said that the banding that goes around the edges, where the snaps go, comes on rolls. What is it called? I can't even find this. I am using bamboo fabric so that part I would like to be organic. 

It looks like it's just rib fabric, would I have to get it made or how is it usually done? I've been working on getting t shirts right for a while, almost there. That's a whole other thing that's been challenging. The onesies are the next thing.

The banding (or rather BINDING) that goes around the edges does come on rolls (more about this below).

You can choose whatever fabric you like for the binding. I have seen it made out of the same fabric as the onesie (generally an interlock) or a rib knit. You could even use a jersey, but it can be problematic because it doesn't have a lot of stretch. If your onesie is made of an interlock and you choose a rib knit for the binding, you will need to make sure the two fabrics are dyed together. No worries if you use the same fabric or contrasting color.

Here are some things to think about:

How heavy is the fabric? Will it be too bulky?

How much does the fabric stretch? (the manufacturer will need to adjust the machines to accomodate the stretch of the fabric).

How will you apply the binding? - You can do a double fold, single fold on top - flat on bottom, contrasting thread. Also consider the type of stitch - coverstitch, single needle, chain stitch.

I pulled some onesies out of my stash of samples and they all had a different application (pictures below). Do some comparison shopping to get an idea of what you would like. Buy a sample of what you DO want to show your sample maker and patternmaker.

Now how do you get the rolls of binding in the first place? There may be some fabric suppliers that will pre-cut the fabric rolls for you, although I imagine that would be the most expensive option. There is an easier way. When you determine your fabric yields or allocations, you have to figure out how much binding you will need. By doing some math, you can then figure out how many yards of full width fabric you need (maybe I will demonstrate the math for this, just not today). If your binding is the same fabric as the body of the onesie - just order extra fabric for the body. If your binding is different, you may have a separate fabric minimum just for the binding.

There are two ways to get the rolls made. The easiest and simplest is to find a manufacturer that has the ability to cut the rolls for you. There are machines that roll off the fabric onto a second tube and then cut the tubes into rolls with a giant saw. (From what I understand, these machines are difficult to come by and are generally antiques, at least the ones I have used were ancient. I would imagine news ones are $$$). The second option is to roll off the approximate yardage needed for binding onto a separate roll and send it off to be cut by someone like Superior Bias. Be sure to discuss these options with the manufacturer ahead of time.

You can cut your own binding for samples. Binding is generally 1" wide and cut across the width of goods. The actual width will be determined by your application method and fabric stretch.

Just a quick word about knit fabrics. Many knit fabrics are made to order and they have high minimums (sometimes as much as 3,000 yards). Some factories carry stock of their basic - usually a white fabric. When you order sample yardage, make sure to ask if the sample fabric has been completely processed - meaning washed and already dyed. Sometimes the available sample yardage is prepared for dying or printing (in other words, not completely processed). This type of fabric will shrink a lot when washed and is not the ideal for samples.

Ok, now time for some pictures:

This is a traditional binding with a contrasting rib knit fabric. The body of the onesie is a printed jersey. The binding is applied with a coverstitch machine. The binding has one fold on top and is flat on bottom. I usually call this a coverstitch binding.





This is also a coverstitch binding similar to the first example. The actual stitch is different from a traditional coverstitch, so the machine requires a different set-up. The binding is folded the same way as the first example. Of course, the design detail comes from the contrasting thread color. The binding is the same rib fabric as the body.



The binding on this onesie is made of the same fabric as the body, just a contrasting color. The fabric is a pebble (or textured) knit with not a lot of stretch. The double fold binding is applied with a single-needle stitch. The binding is a bit bulky because of the double fold and the texture. This application is probably the most appropriate for the style, just not my favorite.

The search for a mechanic to fix my Singer Hemstitcher 72w-19

This is my Singer 72w-19 Hemstitcher. It was made sometime in the 1940's - the exact date can't be determined because of lost manufacturing information. It was refurbished, complete with a new paint job, before I purchased it. It is in incredibly good condition. The curious thing is this industrial machine originally came as a treadle. I would have expected manufacturers to buy machines outfitted with motors in the 1940's. My machine has been retrofitted with a new, modern motor, but I can switch over to the treadle if the power were to go out.

Speaking of power outages... Have you ever been stitching on an industrial machine when the power DID go out? Usually, there is enough reserve power to allow the operator to get the piece out of the machine. This is good because you don't want to leave pieces in a machine because of oil spotting. If the power stays off for more than a few hours, the operators usually get sent home. BUT, if the machines could be switched over to manual power, no lost productivity! There is a learning curve with manual treadles, and I certainly need more practice.

[back from sidetrack] I need to buy a rug and those plastic mover thingy's to put under the legs. It weighs a ton! The cardboard is meant to protect my carpet until I can get a rug.

Here is a close-up of the needle-assembly. You can see there are two needles and two punches. The pre-punch starts a hole. As the fabric moves through, the two needles move in a zig-zag type motion in tandem with a second punch. BTW, the punches are really called piercers. I prefer the term punches because the pierces do not cut the yarns of the fabric. Rather, they just move the yarns apart.

When I first purchased the machine, I needed to have some minor adjustments made to improve the stitch quality. These types of machine, and especially the age, make it difficult to find mechanics willing to work on it. Even when new, each hemstitcher would have it's own unique "personality". A mechanic would have to adjust each machine until it stitched properly, which could be about a dozen possible minor adjustments. Over time, it's personality becomes more distinct. This translates into a lot of time for mechanics who have to tinker around with moving things as little as 1/16".

I ended up calling every sewing machine mechanic within a 500 mile radius. I finally found a hobbyist mechanic who specialized in old hemstitchers. He took the time to teach me how to make many of the adjustments myself, including proper threading. He was worth every penny! Plus, he has hard to find replacement parts. A true treasure.

The most difficult situation I now face is replacing the needles. The two needles need to be oriented just exactly right or I may end up with skipped stitches or broken threads. It is a task I dread, so I don't push the machine to its limits. It is capable of stitching 1300 SPM!

I need to purchase a proper 3-spool thread stand. Here is my make-do set-up. The hanger stuck into an elastic spool works great for the bobbin winder.

In case you are wondering what a hemstitcher does, here is a stitch sample. A hemstitcher creates holes, held open by the stitching. My stitch sample is done on flannels close to the edge. A crochet edging can then be applied as a decorative treatment. I have seen the hemstitching, itself, used as a decorative element on clothing and linens. There really are a lot of possibilities. I hemstitch baby flannel blankets and burp cloths for local customers.

BTW, modern embroidery machines can reproduce a hemstitch, but the quality can't even compare to the real thing. Also, it takes twice as long to stitch.

A CEO's experience is important - the Difficulty at The Gap in 2007

I love BabyGap. I think the designers do an incredible job. The product looks fresh and cute, and it is priced reasonably. I read a very interesting article in February's 26th Business Week, Paul Pressler's Fall From The Gap. My first reaction was here is someone who didn't read Kathleen's book. Reading through the article (and if you can believe everything in it), one can see he clearly didn't understand the fashion business. It would be easy to put all of the blame on him because he was the new guy. The truth is that GAP has corporate culture issues not unlike any large company.

I met an assistant designer for GAP years ago. The impression she left was not very favorable. At least I decided I would not work there, if given the choice. It was a pretty cut throat environment with people climbing the corporate ladder rather quickly because of constant turn over. She left the impression that she could be become one of the head designers within a few years. Success like that does not happen without a lot of back-stabbing.

So I don't blame him entirely for his failure to turn things around at GAP. It would not have been an easy task to walk into a difficult corporate culture, with little fashion experience. Some of his decisions illustrated in the article were indeed poor, others just missed the mark. I think design entrepeneurs can learn from him. Here are my thoughts on some of his decisions:

1. Combining fabric purchases. He made the mistake of combining denim sales for all four divisions of GAP, including Old Navy, Banana Republic, and Forthe and Towne. The result was that all divisions ended up with exactly the same denim to use in all of their denim styles. There is no point in having four divisions if there is not some kind of difference in the clothing. Why buy denim jeans at Banana Republic when you can get the same thing at Old Navy for less money?

The idea is not without merit. I have had corporate execs suggest the same in the past. The goal is to negotiate a lower price for the raw materials by buying in bulk. A small company can combine fabric purchases to also negotiate a lower price. The point is that you shouldn't buy only one fabric, or one style of fabric. Large fabric mills will push you in that direction because it is less expensive for them to run 10,000 yards of the same denim fabric. But what are you going to do with 10,000 yards of denim?

A small business is more likely going to need, say, 300 yards of denim, which will cost more than what GAP will pay. But you can still negotiate a lower price. Sometimes, your order can be combined with an order from another company. Both companies could benefit with a lower price. Perhaps, you could up your order to 500 yards and you can use the extra fabric the next season or in another style. If the fabric company has more than one type of fabric, perhaps you could combine your fabric needs with one company. A long term relationship between supplier and buyer can lead to lower prices.

A small business should never buy ALL of their fabric from one source. You never know what could happen, so make sure to have back-up choices.

2. Outsourcing development. Pressler required his designers to create their patterns in the states and then have the samples made in Asia. Sample making in Asia is cheaper. The problem is time. It takes time to mail samples and patterns back and forth. Even with internet technology, there are many barriers to the ease of communication. Language differences is the biggest. This kind of product development can take as long as 3-4 months for final product approval, especially on a new style. Pressler would not give approval for expedited shipping.

You can outsource product development. It should be something to consider, especially for childrenswear designers. A lot of children's clothing is made overseas - just shop the competition and you will see very few USA labels. Because competition is so stiff, you can save a lot in labor by moving overseas.

If you decide to take this road, give yourself plenty of time. Time to find a reputable manufacturer. Time to find a manufacturer that will run smaller lots (small is a relative term, but expect 500-1000 pc runs to be termed "small"). Time to teach the manufacturer and their technical people your product and quality standards. You can do a lot of things long distance. One Chinese manufacturer preferred that designers actually come and spend a few weeks in China working directly with a patternmaker to develop samples. Not only was it faster, but it ensured the designer got what they wanted.

3. Market Research. Pressler tried to use traditional market research tactics to predict the next big trend. The problem is that customers look to their favorite brands to lead on the next trend. This means that designers predict or envision what should happen next. Fashion companies rely on their designers for this.

Market research is important for building a better brand and better product. Designers do need to listen to their customers. I have seen a few online fashion companies add product reviews and customer comments on their sites. This type of system can help a company improve problems faster. Inspect returns for product defects. Learning from the past can help you move forward.


What will happen at the GAP next? They are now on the hunt for a CEO with apparel experience. I don't see the death of GAP, but I do see some serious growing problems.

A chair from the factory floor

This is the chair I sit on nearly every day and it has a story. It's not fancy, in fact it is rather ugly and uncomfortable. It has a few paint splatters from being used to repaint rooms in my house. The seat and paint is worn. What makes this chair so special?

This chair came from a local sewing factory as it was closing its manufacturing operations - the factory where I was first employed out of college. I don't know what possessed me to buy it other than it was cheap. It was after I brought it home that I noticed the date on the bottom of the chair. The same year I was born. A foreshadowing of destiny? More like life coming around full circle.

This particular factory produced little girls' dresses. My mother bought dresses from their factory outlet store - and yes I wore them. No one ever thought that I would be working in that same factory.

Sitting on this chair every day reminds me of where I came from, where I got my start. It is also give me tremendous sympathy for the poor women (literally) who sat on this chair and sewed little girls dresses day after day. Dresses that literally thousands have worn. All in an effort to earn meager wages. Even though the chair is uncomfortable, it keeps me from getting too cocky.

You CAN manufacture in the US!

So many companies have moved off-shore to manufacture in China. Those that moved to Mexico in the early 90's have even made the move to China. The word manufacture nearly equals China. With all of the talk about China and the near non-existance of apparel manufacturing in the US, you would think manufacturing will never return here. The few remaining factories in the United States, owned by small companies, produce little volume.

And then a suprise in the latest Newsweek magazine (6-26-06) about American Apparel. Here is a company located in Los Angeles that employs about 3,500 people and pays them $8-$18/hour! They produce about 90,000 units a day. On top of that their sales were $250,000,000 in 2005. Yes, you can manufacture in the US!

One thing is clear - you CAN manufacture in the US!

2019 note - American Apparel has had some financial struggles. Their financial woes have been in part dealing with lawsuits from the previous CEO's behavior toward his employees. There have been other issues because American Apparel not only manufactured but retailed their own product. Thus the company had to compete with cheaper imported products at the retail level. Regardless of their struggles, apparel manufacturing is returning to the United States. Many contractors are maxed out in capacity and are not able to take on more work even though there is a demand. There is high demand for qualified pattern makers, graders, technical designers, and sewing contractors.