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Irma Bowen Historic Clothing G. Collection - One of the best experts on this subject based on the ideXlab platform.
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Bustle, lobster-tail with wire coils and pad, c. 1885, interior view
University of New Hampshire Scholars\u27 Repository, 2019Co-Authors: Irma Bowen Historic Clothing G. CollectionAbstract:c. 1885. Brown cotton twill lobster-tail bustle with four spring steel hoops and a horsehair-stuffed pad, tied to the waist with a cotton waistband. A full Width of cotton twill Fabric (approximately 81.3 cm / 32 in. long and 71.1 cm / 28 in. wide) is cartridge pleated at the top onto a cotton waistband, reducing the Fabric Width to 25.4 cm / 10 in., and with its selvedges finishing the long sides. The bottom 2/3 of its length are sewn with three equidistant channels parallel to a channel-Width hem. Each of the channels has a flat spring steel hoop wire fed through it, and each channel has a short strap (variable, approximately 25.4 cm / 10 in.) sewn to both ends, which both seals the channel shut and forces the spring steel to bend into a semi-circle. The straps are made of the same Fabric as the bustle, and are designed to both maintain the tensioned shape and keep the bustle in place in back of the body by resting on the wearer’s legs and petticoats. A small rectangular pad (20.3 cm / 8 in. long, 17.8 cm / 7 in. wide) made of a lighter brown cotton twill and stuffed with horsehair is whip-stitched to the waistband at center back. It rests on top of the bustle at the small of the back and provides support for the garment worn over it. Machine-sewn and hand-sewn.https://scholars.unh.edu/bowen_collection/1304/thumbnail.jp
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Dress, blue and white striped linen, homespun, c. 1800, exterior, detail of mended rip
University of New Hampshire Scholars\u27 Repository, 2019Co-Authors: Irma Bowen Historic Clothing G. CollectionAbstract:c. 1800. Indigo blue and white striped homespun linen gown, one piece, open down the front and loosely pleated in back, with full length sleeves. This is an informal everyday garment worn for work, likely over a petticoat. The locations of mends below the front waist-level seam are analogous to where an apron would have been pinned. Multiple patches and mends throughout the garment indicate heavy wear, and some of the patches have internal seams indicating they were cut from another finished object. The gown is constructed in the manner of short gowns, with Fabric coming up from one hem, over the shoulder with no shoulder seam but with integral sleeves cut to shape under the arm, and down to the other hem. While the indigo-dyed blue stripes and Fabric Width (79.4 cm / 31.25 in.) are typical for New England homespun textiles of the period, its stripes are woven on the weft of the textile (across the Fabric, not along its length) and the gown has vertical stripes. This means the vertical stripes needed to be created, first by cutting the horizontal striped yardage into pieces, then turning each section ninety degrees, then sewing them together into their new vertical orientation. Accordingly, the back is made of two full-Width panels turned vertically: the selvedge of the first back panel is the back skirt hem, the horizontal selvedge-to-selvedge seam to the second back panel falls at the top of the thighs, and this second panel continues up and over the shoulder, reaching to the front just below the bust, where its selvedge is sewn to a third panel cut down to measure 76.2 cm / 30 in., just 3.2 cm / 1.25 in. short of a full Width of Fabric. This seam falls exactly where the fashionable 1790s to early 1820s high-waisted styles do, but given that this is also where the two full panel Widths reach and the seam creates no shaping, it can also be interpreted simply as the continuation of the Fabric draping over the body. It is impossible to determine whether that seam placement is accidental or deliberate. An additional 20.3 cm / 8 in. is needed for the garment to be full length in front, so the third panel is pieced at the hem with one long rectangle at the left side and four smaller rectangles joined together side by side at the right. The back of the garment has more fullness than the front. Where it falls at the shoulders, the Fabric is 91.4 cm / 36 in. wide, and in back an excess 41.4 cm / 16.31 in. of this is gathered into a stacked box pleat at center of the neckline and bound from shoulder to shoulder by a narrow length of the Fabric. The pleat falls loose and full to the hem. In front, the excess Fabric is removed from the center and a low, curved neckline is cut and hemmed to form a casing for a drawstring. The front of the gown is cut open all the way down to the hem. There are no closures as the garment edges would have been slightly overlapped and pinned. Triangular gores are added in at the side seams to increase the Width of the skirts, reaching from the base of the sleeve to the hem. These are entirely constructed out of smaller pieces of Fabric, twenty in all. An additional 35.6 cm / 14 in. is added to the sleeves to lengthen them to the wrist. In all, the gown is assembled out of thirty-two pieces (aside from its many patches) and its use of Fabric is extremely frugal, in places suggesting that the Fabric is recycled from a previous object. Unlined. Hand-sewn.https://scholars.unh.edu/bowen_collection/1352/thumbnail.jp
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Dress, blue and white striped linen, homespun, c. 1800, side view
University of New Hampshire Scholars\u27 Repository, 2019Co-Authors: Irma Bowen Historic Clothing G. CollectionAbstract:c. 1800. Indigo blue and white striped homespun linen gown, one piece, open down the front and loosely pleated in back, with full length sleeves. This is an informal everyday garment worn for work, likely over a petticoat. The locations of mends below the front waist-level seam are analogous to where an apron would have been pinned. Multiple patches and mends throughout the garment indicate heavy wear, and some of the patches have internal seams indicating they were cut from another finished object. The gown is constructed in the manner of short gowns, with Fabric coming up from one hem, over the shoulder with no shoulder seam but with integral sleeves cut to shape under the arm, and down to the other hem. While the indigo-dyed blue stripes and Fabric Width (79.4 cm / 31.25 in.) are typical for New England homespun textiles of the period, its stripes are woven on the weft of the textile (across the Fabric, not along its length) and the gown has vertical stripes. This means the vertical stripes needed to be created, first by cutting the horizontal striped yardage into pieces, then turning each section ninety degrees, then sewing them together into their new vertical orientation. Accordingly, the back is made of two full-Width panels turned vertically: the selvedge of the first back panel is the back skirt hem, the horizontal selvedge-to-selvedge seam to the second back panel falls at the top of the thighs, and this second panel continues up and over the shoulder, reaching to the front just below the bust, where its selvedge is sewn to a third panel cut down to measure 76.2 cm / 30 in., just 3.2 cm / 1.25 in. short of a full Width of Fabric. This seam falls exactly where the fashionable 1790s to early 1820s high-waisted styles do, but given that this is also where the two full panel Widths reach and the seam creates no shaping, it can also be interpreted simply as the continuation of the Fabric draping over the body. It is impossible to determine whether that seam placement is accidental or deliberate. An additional 20.3 cm / 8 in. is needed for the garment to be full length in front, so the third panel is pieced at the hem with one long rectangle at the left side and four smaller rectangles joined together side by side at the right. The back of the garment has more fullness than the front. Where it falls at the shoulders, the Fabric is 91.4 cm / 36 in. wide, and in back an excess 41.4 cm / 16.31 in. of this is gathered into a stacked box pleat at center of the neckline and bound from shoulder to shoulder by a narrow length of the Fabric. The pleat falls loose and full to the hem. In front, the excess Fabric is removed from the center and a low, curved neckline is cut and hemmed to form a casing for a drawstring. The front of the gown is cut open all the way down to the hem. There are no closures as the garment edges would have been slightly overlapped and pinned. Triangular gores are added in at the side seams to increase the Width of the skirts, reaching from the base of the sleeve to the hem. These are entirely constructed out of smaller pieces of Fabric, twenty in all. An additional 35.6 cm / 14 in. is added to the sleeves to lengthen them to the wrist. In all, the gown is assembled out of thirty-two pieces (aside from its many patches) and its use of Fabric is extremely frugal, in places suggesting that the Fabric is recycled from a previous object. Unlined. Hand-sewn.https://scholars.unh.edu/bowen_collection/1342/thumbnail.jp
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Dress, blue and white striped linen, homespun, c. 1800, detail of exterior front waist seam, mends, patch
University of New Hampshire Scholars\u27 Repository, 2019Co-Authors: Irma Bowen Historic Clothing G. CollectionAbstract:c. 1800. Indigo blue and white striped homespun linen gown, one piece, open down the front and loosely pleated in back, with full length sleeves. This is an informal everyday garment worn for work, likely over a petticoat. The locations of mends below the front waist-level seam are analogous to where an apron would have been pinned. Multiple patches and mends throughout the garment indicate heavy wear, and some of the patches have internal seams indicating they were cut from another finished object. The gown is constructed in the manner of short gowns, with Fabric coming up from one hem, over the shoulder with no shoulder seam but with integral sleeves cut to shape under the arm, and down to the other hem. While the indigo-dyed blue stripes and Fabric Width (79.4 cm / 31.25 in.) are typical for New England homespun textiles of the period, its stripes are woven on the weft of the textile (across the Fabric, not along its length) and the gown has vertical stripes. This means the vertical stripes needed to be created, first by cutting the horizontal striped yardage into pieces, then turning each section ninety degrees, then sewing them together into their new vertical orientation. Accordingly, the back is made of two full-Width panels turned vertically: the selvedge of the first back panel is the back skirt hem, the horizontal selvedge-to-selvedge seam to the second back panel falls at the top of the thighs, and this second panel continues up and over the shoulder, reaching to the front just below the bust, where its selvedge is sewn to a third panel cut down to measure 76.2 cm / 30 in., just 3.2 cm / 1.25 in. short of a full Width of Fabric. This seam falls exactly where the fashionable 1790s to early 1820s high-waisted styles do, but given that this is also where the two full panel Widths reach and the seam creates no shaping, it can also be interpreted simply as the continuation of the Fabric draping over the body. It is impossible to determine whether that seam placement is accidental or deliberate. An additional 20.3 cm / 8 in. is needed for the garment to be full length in front, so the third panel is pieced at the hem with one long rectangle at the left side and four smaller rectangles joined together side by side at the right. The back of the garment has more fullness than the front. Where it falls at the shoulders, the Fabric is 91.4 cm / 36 in. wide, and in back an excess 41.4 cm / 16.31 in. of this is gathered into a stacked box pleat at center of the neckline and bound from shoulder to shoulder by a narrow length of the Fabric. The pleat falls loose and full to the hem. In front, the excess Fabric is removed from the center and a low, curved neckline is cut and hemmed to form a casing for a drawstring. The front of the gown is cut open all the way down to the hem. There are no closures as the garment edges would have been slightly overlapped and pinned. Triangular gores are added in at the side seams to increase the Width of the skirts, reaching from the base of the sleeve to the hem. These are entirely constructed out of smaller pieces of Fabric, twenty in all. An additional 35.6 cm / 14 in. is added to the sleeves to lengthen them to the wrist. In all, the gown is assembled out of thirty-two pieces (aside from its many patches) and its use of Fabric is extremely frugal, in places suggesting that the Fabric is recycled from a previous object. Unlined. Hand-sewn.https://scholars.unh.edu/bowen_collection/1346/thumbnail.jp
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Dress, blue and white striped linen, homespun, c. 1800, detail of interior right side gore with piecing, mends, butted selvedge seam
University of New Hampshire Scholars\u27 Repository, 2019Co-Authors: Irma Bowen Historic Clothing G. CollectionAbstract:c. 1800. Indigo blue and white striped homespun linen gown, one piece, open down the front and loosely pleated in back, with full length sleeves. This is an informal everyday garment worn for work, likely over a petticoat. The locations of mends below the front waist-level seam are analogous to where an apron would have been pinned. Multiple patches and mends throughout the garment indicate heavy wear, and some of the patches have internal seams indicating they were cut from another finished object. The gown is constructed in the manner of short gowns, with Fabric coming up from one hem, over the shoulder with no shoulder seam but with integral sleeves cut to shape under the arm, and down to the other hem. While the indigo-dyed blue stripes and Fabric Width (79.4 cm / 31.25 in.) are typical for New England homespun textiles of the period, its stripes are woven on the weft of the textile (across the Fabric, not along its length) and the gown has vertical stripes. This means the vertical stripes needed to be created, first by cutting the horizontal striped yardage into pieces, then turning each section ninety degrees, then sewing them together into their new vertical orientation. Accordingly, the back is made of two full-Width panels turned vertically: the selvedge of the first back panel is the back skirt hem, the horizontal selvedge-to-selvedge seam to the second back panel falls at the top of the thighs, and this second panel continues up and over the shoulder, reaching to the front just below the bust, where its selvedge is sewn to a third panel cut down to measure 76.2 cm / 30 in., just 3.2 cm / 1.25 in. short of a full Width of Fabric. This seam falls exactly where the fashionable 1790s to early 1820s high-waisted styles do, but given that this is also where the two full panel Widths reach and the seam creates no shaping, it can also be interpreted simply as the continuation of the Fabric draping over the body. It is impossible to determine whether that seam placement is accidental or deliberate. An additional 20.3 cm / 8 in. is needed for the garment to be full length in front, so the third panel is pieced at the hem with one long rectangle at the left side and four smaller rectangles joined together side by side at the right. The back of the garment has more fullness than the front. Where it falls at the shoulders, the Fabric is 91.4 cm / 36 in. wide, and in back an excess 41.4 cm / 16.31 in. of this is gathered into a stacked box pleat at center of the neckline and bound from shoulder to shoulder by a narrow length of the Fabric. The pleat falls loose and full to the hem. In front, the excess Fabric is removed from the center and a low, curved neckline is cut and hemmed to form a casing for a drawstring. The front of the gown is cut open all the way down to the hem. There are no closures as the garment edges would have been slightly overlapped and pinned. Triangular gores are added in at the side seams to increase the Width of the skirts, reaching from the base of the sleeve to the hem. These are entirely constructed out of smaller pieces of Fabric, twenty in all. An additional 35.6 cm / 14 in. is added to the sleeves to lengthen them to the wrist. In all, the gown is assembled out of thirty-two pieces (aside from its many patches) and its use of Fabric is extremely frugal, in places suggesting that the Fabric is recycled from a previous object. Unlined. Hand-sewn.https://scholars.unh.edu/bowen_collection/1349/thumbnail.jp
Shabrina Kabir - One of the best experts on this subject based on the ideXlab platform.
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Impact of the Presence of the Loop at Different Location on Fabric Width and Areal Density of a Weft Knitted Structure
Journal of Textile Science and Technology, 2021Co-Authors: Zubair Bin Sayed, Nusrat Jahan, Shabrina KabirAbstract:Knitted structures are progressively built up from row after row of knitted intermeshed loops known as knitted loops. Apart from this knitted loops, tuck or miss loops may be produced by varying the timing of the intermeshing sequence of the old loop and new loops. These loops are main and prominent part of the design of the weft knitted structures. Structures having float or miss loop exhibits many noticeable characteristics. The Fabrics renders better surface appearance or color pattern. Dimensional stability is significantly improved. Fabric Width is reduced and areal density is also increased considerably due to the presence of float loops in the structure. Therefore, the dimensional and physical features of different knitted structures having knit-miss loops may be studied carefully to find the influence of float stitch or loop on Fabric Width and areal density. In this project work, such an attempt has been made to specify some specific single jersey structures, which will be ensured as an effective tool for product research and development as well as for meeting up customer’s quality requirements of high class products.
Eman Eltahan - One of the best experts on this subject based on the ideXlab platform.
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effect of lycra percentages and loop length on the physical and mechanical properties of single jersey knitted Fabrics
Journal of Composites, 2016Co-Authors: Eman EltahanAbstract:Single jersey knitted Fabrics are generally used to make underwear and outerwear such as T-shirts. Knit Fabric can more easily deform or stretch by compressing or elongating the individual stitches that form the Fabric. Cotton yarns, which are not elastomeric, do not have the ability of recovery to rearrange the stitches. As a consequence, single-knit Fabrics may have permanent deformation. To improve the recovery performance of circular single-knit Fabrics, it is now a common practice to knit a small amount of spandex fiber or yarn with companion cotton yarn. In this study the physical, dimensional, and mechanical properties of back plaited cotton/spandex single jersey knitted Fabrics were investigated and the results are compared with knitted Fabrics made from 100% cotton and the effect of spandex percentage was also studied. It was found that as the loop length increases, the wales density was not affected and specific Fabric hand and extension increased, but bursting strength and Fabric recovery decreased. The presence of Lycra in single jersey knitted Fabric increases of course density, Fabric thickness, and knitted Fabric recovery, while Fabric Width, Fabric porosity, and extension were decreased.
Md Alamin - One of the best experts on this subject based on the ideXlab platform.
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effect of wales wise increment of tuck loop on Fabric Width shrinkage spirality and areal density of weft knitted Fabric
International Journal of Textile Science, 2017Co-Authors: Syeda Sanjida Wasim, Jamal Uddin Ahmed, Md AlaminAbstract:Dimensional stability of knitted Fabric is a key factor for garments manufacturing. To make the Fabric dimensionally stable Fabric Width, shrinkage, spirality and areal density should be under tolerance limit. Knitted Fabric structure plays an important role on dimensional properties. This paper focuses on the Fabric Width, spirality, areal density and shrinkage property of various derivatives of single jersey weft knitted Fabric at both grey and finished state. Derivatives of knit Fabric are manufactured with tuck loop incorporated with knit loop in wales direction. From the investigation it is seen that, with the increase of tuck loop in wales direction Fabric Width and areal density increases in both grey and finished state. It is also found that shrinkage and spirality of knitted Fabric also changes with tuck loop percentage, but there is no linear relationship.
K Thangamani - One of the best experts on this subject based on the ideXlab platform.
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establishing the effect of loop length on dimensional stability of single jersey knitted Fabric made from cotton lycra core spun yarn
Indian journal of science and technology, 2010Co-Authors: C. Prakash, K ThangamaniAbstract:Munden and earlier workers established that in plain knitted Fabrics the Fabric dimensional parameters namely Kc, Kw and Ks are constant at dry and wet relaxed state for wool, cotton, orlon and nylon yarns. But in the present study of cotton/lycra core spun yarn single jersey derivative knitted Fabrics the values for Kc, Kw and Ks varies with loop length. The ratio of Kc/Kw also varies with loop length. In this paper, Single jersey Fabric is produced from Polyester/lycra air-covered yarn with different loop lengths. The study covers about the testing of dimensional properties of the single jersey knitted Fabric. After the Fabric production, the Fabric was dry relaxed. Wales per inch, courses per inch, Fabric Width, loop length and Fabric thickness are all measured. Then the Fabric was wet relaxed and tested for the above parameters. Then the samples were heat set at various stretch levels at 180°C. From the study, it was found that the dimension of Fabric shows considerable change during wet relaxation. The Fabric shows very good appearance when heat set at all stretch levels at 180°C in course direction. The Fabric with a loop length of 2.5 mm was found to have better appearance when compared to the Fabrics of other loop lengths. In particular 10% stretch level shows a better appearance for 2.5 mm loop length.
