Belajar dari (sampai ke) CHINA

Apa yang tidak bisa dibuat oleh CHINA? Dari sekedar meniru berbagai produk Negara maju hingga mengkreasikan produknya sendiri. Berbagai jenis produk mereka bisa membuat dan memasarkannya! Dari sekedar tusuk gigi, mainan anak, makanan, sandang, asesoris, elektronik hingga permesinan dengan teknologi mutakhir. Sulit mencari produk yang tanpa label Made In China. Hebatnya lagi mereka mampu memasarkan berbagai produknya tersebut ke seluruh dunia sesuai dengan kualitas dan harga produk yang mereka ciptakan. Meski terkadang kualitasnya menengah ke bawah namun soal harga produk China sangat memenuhi selera konsumen terutama di Negara berkembang. Industri di China juga berkembang dari hulu ke hilir semua industry tersuport dari bahan baku, permesinan hingga tenaga kerjanya. Sebagai salah satu Negara berpenduduk terbesar di dunia China mampu mengoptimalkan potensi sumber daya alamnya dan sumber daya manusianya.

China tidak pernah merasa malu untuk mengembangkan industry yang berteknologi rendah. Hampir semua barang yang dibutuhkan manusia mereka mampu membuat sekaligus memasarkannya. Ketertinggalan teknologi dari Negara maju mereka siasati dengan meniru produk dari Negara maju. Meski kualitas produknya tidak sehebat aslinya namun dari sisi harga China mampu membuatnya jauh lebih murah. Cerdasnya lagi mereka mampu mencari tempat-tempat pemasaran yang sesuai dengan kualitas dan harga dari produknya. Mereka juga sangat percaya diri dan mampu mengembangkan brand Made in China meski produk tersebut meniru dari produk Negara lain yang lebih maju. Industri China juga memiliki value chain yang baik semua tersuport dari hulu ke hilir.

Mengapa kita tidak meniru China?………………………………………………………

The Apparel Production Process

From: “Fashion Forward Introduction to the Apparel Industry February 2002″  prepared Assessing the Future of Apparel Manufacturing in Los Angeles County by Los Angeles Regional Workforce Preparation and Economic Development Collaborative

Apparel manufacturing involves at least 14 different steps, beginning with the idea or design

concept and ending with a finished product.

Research and Development

Market research is the first step in the apparel production process. Market research can be

defined as “the systematic and objective approach to the development and provision of

information for the marketing management decision-making process.”7 Designers and

merchandisers may conduct market research in order to forecast fashion trends. Trade

associations also conduct market research to provide important information to apparel

manufacturers.

Market research can be divided into two main categories: consumer research and market

research. Consumer research generates information about consumer behavior and

characteristics. Consumer research is conducted formally and informally, using a variety of

methods. Information may be collected by polling consumers in target demographics, as well as

by observing what youth wear. Designers tap both formal and informal sources—trade

publications, popular media (such as consumer magazines and newspapers), television, movies,

sports figures, retailing reports, trends popular in Europe, and ethnic attire—for clothing

inspiration.8

Market research includes both short-range and long-range forecasting. Short-range forecasting

includes:

• Analyzing consumer spending patterns,

• Tracking sociological, psychological, political, and global trends,

• Researching business trends (such as new computer technologies), and

• Studying competitors’ products and tracking what is selling at retail.

In contrast, long-range forecasting includes:

• Determining the desired increased sales growth for a company,

• Predicting retailing changes, and

• Studying competitors’ products and tracking what is selling at retail.

In addition, companies and designers research color, fabric, and trimmings for each clothing line.

Designers often collect fabric swatches and garments for future inspiration. These may include

antique fabrics and trims as well as clothing or fabrics from other countries and cultures.

Product Design

Many apparel companies hire both merchandisers and designers as part of their design and

development team. Merchandisers often oversee and guide the design team to determine what,

when, and how much apparel to produce. At planning meetings, designers use concept boards to

present their ideas to the development and management teams. These concept boards are

typically collages of color and fabric swatches, fashion sketches, and magazines photos that

capture the theme or mood of the design ideas. Previous season’s sales figures, sales forecasts

for the new season, and the overall outlook of upcoming seasons will also be discussed in these

planning sessions.

Designers begin to materialize their ideas using hand sketches, off-the-rack garments, technical

drawings, three-dimensional draping on dress forms, or computer-aided design (CAD). CAD is

becoming increasingly popular, partially due to the ease with which images can be redrawn,

altered, and modified; and partially attributable to the active marketing efforts of apparel

computer system manufacturers such as Gerber Technology, Lectra Systems, Pad Systems, Inc.,

Snap Fashun and Tukatech, Inc.

After the design team reviews the line, designers transform those final designs destined for actual

production into sample garments. If the product is to be made offshore, the final designs are

translated into garment specification sheets. A garment specification sheet consists of all the

important information required to complete a pattern and prototype of the design. Increasingly,

garment specification software programs facilitate this process.

Fabric Selection and Inspection

Designers specify the fabric as part of their design concept. Designers may develop new styles

for fabrics that have been successful. In other cases, untested fabrics may inspire new designs.

Once the final fabric has been determined, the manufacturer contacts a textile supplier and places

a tentative order for that fabric (also called “taking an early position”), based on estimates of the

line’s sales.

Apparel manufacturers inspect the fabric stock upon arrival, so that any fabric irregularities are

caught early in the production process. Textile producers also generally inspect fabrics before

sending them to manufacturers. These inspections are an important part of quality control, which

takes place at nearly every stage of apparel production.

New fabric printing technologies have dramatically decreased the amount of time between

ordering a fabric sample and receiving it, if the yarn and base fabric are available. For short-run,

limited volume apparel, man-made fabric sample prints can be designed and printed in less than

48 hours. For larger volume orders, fabric printing can take up to 10 weeks.

Patternmaking

Once a designer has completed a drawing of a garment, it is transformed into a sample pattern.

“Patternmaking” is the process of creating all the correctly sized pieces needed to make a

complete garment.

For many smaller manufacturers, pattern making is still done on paper because the cost of

computerized systems remains prohibitive. The patternmaker may use one of the following

techniques to develop a sample pattern. S/he may “manipulate” a new pattern by using

geometric rules to modify or alter existing pattern pieces. S/he may translate a design that has

been “draped” and pinned on a dress form by converting the shapes of the draped garment

sections into paper pattern pieces. Alternatively, s/he may pin pieces of muslin to a garment

being copied and rub tailor’s chalk over the seams and darts, making a “muslin rub.” The chalk

markings are then used to create a flat paper pattern.

From this initial pattern, a sample garment is developed. The sample process allows a designer

to correct any problems inherent in translating a one-dimensional sketch into a two-dimensional

garment; it ensures that the designer’s fabric yardage specifications are accurate; and it provides

an opportunity to spot potential production problems inherent in a design. Once the sample is

made, the manufacturer makes a small batch of duplicates for its sales force to test market. If

they sell well, the garment goes into larger volume production.

Although many firms still make patterns by hand, larger manufacturers make production patterns

on a computer using CAD software. Other systems have been developed that allow

patternmakers to create patterns manually by using a life-sized, sensitized table and a stylus

attached to a computer. As the patternmaker indicates points with the stylus, the pattern pieces

are automatically entered into the CAD system where they can immediately be accessed for

grading and marking. Although pattern making is becoming increasingly computerized,

patternmakers still must learn the manual method because making patterns manually develops an

advanced understanding of garment construction, knowledge that cannot yet be replaced by a

computer.

Grading

Patterns initially are made in only one size. In order to produce clothing that fits various body

types and sizes, the pattern pieces must be increased or decreased geometrically to create a

complete range of sizes. The process of resizing the initial pattern is called “grading.” Each

company determines its own grade specifications for each size, and size specifications vary

slightly from manufacturer to manufacturer.

Although many small firms still use traditional grading methods, grading, like patternmaking, is

becoming increasingly computerized. Using a CAD system, the pattern can be resized according

to a predetermined table of sizing increments (or “grade rules”). The computerized plotter can

then print out the pattern in each size. Because the productivity gains are so great, small- to

medium-sized manufacturers are beginning to acquire their own CAD systems for grading.

Alternatively, they may use an outside grading service to perform this function.

Marking

Once the pattern is graded, the fabric must be prepared for cutting. In order to spread the fabric

properly, the spreader must know how the pattern pieces will be placed on the fabric. “Marking”

refers to the process of placing pattern pieces to maximize the number of patterns that can be cut

out of a given piece of fabric. Firms strive for “tight” markers largely because fabric is one of a

manufacturer’s most significant business costs, often exceeding the cost of labor. Although

markers can be made by hand or using CAD software, the computerized method is up to eight

times faster. Once a marker is completed, a CAD system can use a plotter to print a full size

layout on a long sheet of paper. This layout becomes the guide for the cutter.

Spreading

“Spreading” is the process of unwinding large rolls of fabric onto long, wide tables in

preparation for cutting each piece of a garment. The number of layers of fabric is dictated by

the number of garments desired and the fabric thickness. Spreading can be done by hand or

machine. Depending upon the fabric and cutting technology, up to 200 layers of fabric may be

cut at one time. Fabrics that are more difficult to handle are generally cut in thinner stacks.

Cutting

Once the marker is made, pattern pieces must be cut out of the specified fabric, a process called

“cutting.” Currently, several cutting techniques exist, ranging from low- to high-tech.

Although scissors are used very rarely—only when working with very small batches or sensitive

fabrics—cutting continues to be done by hand, particularly in many lower volume

establishments. Here, cutters guide electric cutting machines around the perimeter of pattern

pieces, cutting through the fabric stack. An electric drill may be used to make pattern notches.

The accuracy and efficiency of this system is considerably less than in computerized cutting

systems.

Computerized cutting systems are achieving more widespread use as technology costs decrease

and labor costs rise. These computer-driven automated cutters utilize vacuum technology to hold

stacks of fabric in place while cutting. Cutting blades are sharpened automatically based upon

the type of fabric being cut. Gerber Garment Technology manufactures one of the most

commonly used cutting systems. This technology has the advantage of being highly accurate

and fast, but does cost considerably more than other cutting techniques.

Bundling

“Bundling” is the process of disassembling the stacked and cut pieces and reassembling them in

production lots grouped by garment unit, color dye lot, and number of garments. Manufacturers

use a variety of bundling methods depending upon their needs, with four basic systems being the

most common among local manufacturers10:

1. Item bundling – all pieces that comprise a garment are bundled together.

2. Group bundling – several (10-20) garments are put together in a bundle and given to a

single operator or team to sew.

3. Progressive bundling – pieces corresponding to specific sections of the garment (such

as sleeves or a collar) are bundled together and given to one operator. Other

operators sew other parts of the garment, which are then assembled into the finished

garment in the final phase.

4. Unit production system (UPS) – individual garment pieces are delivered to sewers

using a computerized, fully mechanized “assembly line” that runs throughout the

manufacturing facility. Using a UPS computer monitoring system, a manufacturer

can fully track the production of a garment, identify where sewing slowdowns are

occurring, and reroute garment pieces to other sewers who work more quickly.

Gerber Garment Technology Inc. manufactures a UPS system, which eliminates the need for

passing apparel piece bundles from worker to worker. This lowers labor costs because

employees spend less time handling bundles and more time sewing. It also facilitates short-cycle

manufacturing.

Modular or “team based” manufacturing is another type of bundling that combines some of the

above characteristics. Developed in Japan, it is the grouping of sewing operators into teams of

eight to ten. Rather than each sewer performing a single task, they work together on a garment

from start to finish. One-third of the U.S. apparel industry has switched to either unit production

or modular manufacturing. In Los Angeles, however, only a few major manufacturers engage in

computerized unit production (constituting about ten percent of total production) while the

majority of contractors still use progressive bundling.11

Bundling workers also carry out important quality control functions. They inspect the garment

pieces for cutting problems, fabric irregularities, or any other problems that may have occurred

in production thus far.

Sewing

This is the main assembly stage of the production process, where sewers stitch fabric pieces

together, and a garment is assembled. Computerized sewing machines, costing upwards of

$100,000, can be programmed to sew a specific number of stitches to perform a standard

operation, such as setting a zipper or sewing a collar. However, even though new machines

mechanize and hasten the sewing process, sewing remains largely labor-intensive.

There are four general types of sewing machines: single-needle machines, overlock machines,

blind-stitch machines, and specialized machines. Single needle machines are most common, as

are their operators. Because operating more complicated machines requires additional training,

there is frequently an oversupply of single-needle operators and a shortage of sewers who can

use other machines.

Sewers need to be familiar with many different types of fabric and how to stitch each, but they

usually specialize in a particular fabric or a particular machine. Working with cotton knit fabrics

is very different from working with denim, silk, or linen. Learning how to work with each fabric

type is part of the training—usually informal—that sewers undergo. Sewers may also specialize

in zipper-setting, embroidery, and other hand stitching techniques.

Sewers may also affix labels. Certain labels identify the garment as belonging to a particular line

and designer. Other labels inform the consumer of fabric content, care instructions, country of

origin, size, or production by a union shop.

Pressing or Folding

Some pressing, termed “underpressing,” may be done in the course of assembling a garment, for

example, pressing seams open or ironing a collar. Most pressing is done after assembly to

improve the appearance of a garment. In other cases, especially with knits, garments are simply

folded instead of pressed. Although pressing remains largely a manual task, new automated

processes exist that apply force and steam to garments placed over a body form.

Finishing and Detailing

“Finishing” is the addition of special detailing such as pleats, embroidery and screen printing to a

garment. This includes hand stitching (unseen handwork done inside collars and lapels to give

them shape) and its automated substitutes. This may also include adding buttons, hooks, eyes, or

trims, as well as clipping loose threads. All finishing of moderate- and lower-priced garments is

done by machine.

Dyeing and Washing

For some garments, dyeing is done after final assembly in order to ensure a perfect color match

for items intended to be worn together. In jeans manufacturing, washing is often a final stage in

finishing in which various washing techniques are used to give denim a ‘stonewashed’ look, or

faded, bleached, and aged appearances.

Quality Control

Quality control helps to ensure that all products meet production standards and match the

original sample. Quality control occurs throughout the production process, but once a garment is

constructed, quality controllers perform a final check. Quality controllers inspect garments for

sewing irregularities, uncut threads, measurement errors, fabric imperfections, and other similar

flaws.

Ticketing and Bar-coding

Increasingly, retailers request that manufacturers supply them with “hanger ready” garments; in

other words, the garments must be pre-ticketed with bar-coded price tags attached and hung on

the hangers the retailers will use. Previously, retailers were responsible for ticketing, but

retailers have shifted this burden to manufacturers. A contractor or a distribution warehouse

routinely handles the ticketing.

Textile finishing

During textile finishing, properties are added to textile articles so that they will be appreciated by a large public. To obtain this change, the textile article has to pass through preparatory operations which will facilitate the next operations of dyeing and (chemical) finishing.

1. Preparatory operations

The preparatory operations performed are :

1.1 Desizing

Operation during which the sizing product applied to the warp yarns before passing onto the loom is removed.

In the case of woven or knitted fabrics and during spinning, the yarns are often treated with oil or wax to augment the velocity and to assure a better quality. On the other hand, these lubricants have a negative effect on dyeing (they prevent the colorants from penetrating into the fibres.

Cleaning (also called desizing or boiling off) removes the oils, waxes and other dirty spots.

Moreover, because most processes are performed under tension, what tends to elongate the fibres, yarns and fabrics, the cleaning process allows them to take back a desired shape by relaxing them.

There are two cleaning methods: desizing with water and detergent and dry-cleaning.

1.2 Washing

During the washing process, all improper products are removed from textiles such as grease or dust… that usually remain on natural fibres or dirt on chemical fibres.

In the case of wool, carbonising is often associated with washing to remove vegetable materials (thistles, straw…) from woollen fibre flocks.

1.3 Mercerising

This adds a better resistance to cotton, lustre and a higher capacity to absorb water and chemicals by modifying the internal structure (amorphous and crystalline zones).

Mercerised cotton is often used for sewing thread.

1.4 Bleaching

Certain fabrics need to be bleached before dyeing or to arrive at very white products. This is in particular so for cotton, linen, ramie, etc., since they are not white in their natural state.

Textiles that will be dyed in very pale colours deed to be bleached beforehand to obtain the right shade.
Fabrics that are white in their final usage are usually bleached and then treated with an optical azure to obtain a very bright and beautiful white

Bleaching may be done by a dyeing apparatus or on a continuous stenter. On the continuous stenter, the fabric is pulled through a series of bleaching and washing baths in its full width by means of rollers. Bleaching is either done with chloride or peroxides depending on the fibre and applied colorants. However, extreme care is needed to neutralize any residual chloride before dyeing if chloride is used during bleaching.

2. Dyestuffs

Dyestuffs used to add colour to textiles are chemical agents known as dyestuffs or pigments. Dyestuffs are most frequently used. There are hundreds of available dyestuffs. They are subdivided in several categories. Each one of them is defined by its chemical structure. The most frequently used dyestuffs are :

Direct dyestuffs: used on celluloid fibres (such as cotton, linen, rayon…). They offer a wide variety of colours but the colours are not as bright of intense as one may wish. These dyestuffs have a poor fastness to washing.

Reactive dyestuffs: used on celluloid fibres, protein fibres (wool and silk) and polyamide. These dyestuffs offer a good fastness and allow to obtain very bright colours.

Vat dyestuffs: may be used on cotton, acrylics and polyamides. They are regarded as having a better fastness than any other dyestuff class. They are used for textiles requiring colours with an enhanced fastness to commercial laundering against high temperatures and sometimes to bleaching. (Examples: uniforms, commercial tablecloths, etc). These dyestuffs contain two forms: one is reduced, the other oxidized. Both forms very often contain different colorations.

Acid dyestuffs: used on polyamide, elasthane and some specialised acrylics. These dyestuffs offer a wide variety of bright colours, but their fastnesses vary according to the different dyestuffs inside this same classification. According to the dimensions of the dyestuff’s molecule, there are three categories each of them needing a distinct pH value.

Cationic or basic dyestuffs: mainly used on acrylics. These dyestuffs produce bright colours with an excellent colour fastness. Disperse dyestuffs: used on polyester, polyamide, acetate and others. A fine colour variety is available with these dyestuffs but their colour fastness may vary considerably.

Pigments represent another category of applied dyestuffs. Whereas most dyestuffs are diluted in water, absorbed by fibres, and in most cases, chemically bonded with the fibre, pigments are deposited onto the surface. They cannot adhere to the fabric without adding a binding agent. This binding agent is usually mixed with the pigment and acts as an adhesive. Pigments are principally used for printing operations and for the coloration of melted polymers before extruding certain synthetic fibres.

3. Dyeing

Dyeing and printing are applied to colorise fabrics. The quality of the dyeing and printing is characterised by the fastness to light, water etc.

In the dyeing process, the textiles are dyed on their entire surface regardless of their presentation: fibres, slivers, hanks, fabrics or confectioned clothing.

In order to dye, one prepares a bath in which one dissolves the dyestuffs and chemicals that are necessary to the process.

By bringing the textile material into contact with the bath, the dyestuff is absorbed by the material where it remains more or less fixed.

The actual dyeing processes depend on the nature of the textile material and the type of dyestuff.

Dyeing or applying colour may be done during different steps in the production process. This is generally determined by the final use of the product and sometimes by fashion trends. The particular step where the product is dyed determines the coloration process to be used.

The five main dyeing procedures are :
· In-mass dyeing (during the extrusion of synthetic fibres)
· Fibre flock dyeing (the fibres are dyed before spinning)
· yarn-dyeing
· piece-dyeing (after weaving or knitting)
· garment-dyeing or product-dyeing

Rem. : There are special effects that can be obtained by dyeing blends, such as polyester/cotton. These are :
1. cross dyeing – produces multicolour effects in a yarn or fabric blend by selecting dyestuffs with different affinities to different fibres. When the blended fibres are dyed, each of them is dyed in a different colour.
2. Union dyeing – produces an even colour in the yarn or fabric blend. The dye bath contains different dyestuffs producing the same colour on each fibre of the blend.
3. Shade on shade dyeing is carried out when variants of the same fibre are used in the same yarn of fabric to produce different shades of the same colour in a single bath. This method is often used for carpets.

4. Printing

The objective of this technique is to print certain patterns on fabrics.

Prior to printing, one prepares a paste made of dyes, water, chemicals and a thickening agent preventing the paste to smear over the surface of the fabric.

The most widely spread printing systems use rotating machines consisting of perforated cyindres reproducing printing patterns .

The printing paste is introduced into the cylinders. By running through the cylinders’ perforations it is deposited onto the fabric.

Another and more modern printing method is called transfer printing. It consists of transferring at one the complete pattern onto the fabric on the basis of a special paper by applying heat or pressure. The printed patterns may be applied onto yarns, fabrics or confectioned garments.

Most commercial prints are made by one of the four following methods :
o Flat printing
o Roller printing
o Transfer printing
o Ink Jet printing

5. Dyestuff quality

The quality of dyestuffs and prints is determined by fastness.

In this way, a suspended curtain that looses its colour over time has a bad fastness to light and is therefore of a poor quality. A shirt loosing its colour by washing it has a bad fastness and is therefore of a poor quality.

Depending on the use to which a textile article is destined, the particular fastness characteristics are defined. For example: for a curtain a good fastness to light is required, for a shirt, a good fastness to transpiration and washing is demanded, and an upholstery fabric for a chair should possess a good resistance to friction and a good fastness to light .

6. (Chemical) finishing

(Chemical) finishing adds qualities to fabrics which they lack; it eliminates certain flaws or improves their touch and aspect.

First of all, one has to distinguish between functional and aesthetic finishing. Functional finishing improves the product’s performance under conditions of specific use whereas aesthetic treatments improve the appearance or touch (sensation) of the fabric.
Secondly, there is a distinction between chemical treatments (wet) and mechanical treatments (dry).

A third way to classify treatments is done by their degree of permanency. These classifications are :
o Temporary – the finish is removed by washing or dry-cleaning; e.g. calendaring (similar to pressing).
o Renewable – finishes that may be applied again. Examples of this type of treatment are starch and dirt repellent finishes.
o Durable – a treatment that will last the entire life of the product but with decreasing efficiency.
o Permanent – finish remaining entirely the same during the entire life of the product.

6.1 Chemical finishing

Chemical treatment to add particular qualities and characteristics to fabrics. The most commonly used treatments are :
- Crease-resistant treatment, allowing to avoid the tendency to crease of cotton fabrics.
- Shrink-resistant finish limits the tendency to shrink of cotton.
- By applying the water repellent and oil repellent finish, one avoids that fabrics absorb water and oil.
- Other finishes add specific properties to fabrics to starch and reinforce them.
- The softening finish improves the touch of the fabric.

6.2 Finishing

Mechanical or physical treatments to give particular qualities and characteristics to fabrics. The main finishing operation are :
Calendering – consists of submitting the fabric to a high pressure between two cylinders at high temperature, which will give a bright and ironed aspect. There is a variant to calendering called honeycomb by which embossed patterns are engraved on the surface of the fabric.
Raising and sueding consist of cutting certain fibres on the surface of the fabric to give them a soft and velvety aspect. Raising is obtained by grating the fabric with metallic points, and sueding by the friction of sandpaper.
Sanforising allows to prevent the cotton from shrinking when washed. It is carried out by compressing the cotton to reduce its shrinking capacity .

6.3 Coating

Application of a rubber, (polyvinyl chloride) or PU (Polyurethane) paste on one or both faces of a fabric. As soon as the coating is dry, it is firmly bonded to the fabric. As an example of coated fabrics, one can mention tarpaulin. Several coating processes (in solvant or aqueous medium) are possible.

The Sewing Dictionary
A dictionary of sewing terms to help you along your sewing journey.
If you have any additions, changes, corrections, or suggestions, please feel free to let us know.

A B C D E F G H I J K L M N O P Q R S T U V W X, Y, Z

Updated 11/21/2004

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Trend  celana jeans selalu berputar dari aspek

1. Warna

- standar

- belel

- washing effect

2. Bentuk/style

- Basic

- Baggy

- Bootcut

- Straight

3. Material

- 100% cotton dengan anyamam twill

- Stret 80-95% cotton dengan 6 percent serat elastomer

- Pegangan soft dan keras

4. Jeans Asesoris

- Kancing

- Resluiting

- Hiasan (motif kain, efek cuci, warna benang, hiasan jahitan, bordir)

- Label

Disamping parameter tersebut masih ada faktor harga, tempat pembelian, brand, dll

Skill requirements for textile and fashion designers

by Dr. H. R. Sheikh, Professor Emeritus, Textile Institute of Pakistan

The lifestyle of men and women, especially the young generation, has changed all over the world. Consequently, the design requirements of textile products have also changed. Apparel manufacturers demand fabrics with special characteristics so that comfortable, garments with adequate holding power and shape retention properties can be produced for the modern consumers. Such fabrics can be produced by selecting the right type of raw-materials, constructional parameters and manufacturing techniques. By using the appropriate wet-processing and finishing processes fabrics with wearing performance of hand, drape, crease and wrinkle recovery can be manufactured. However, artistic fabrics with attractive visual appeal, exhibiting the qualities of color, print and design cannot be created without the input of textile and fashion designers, possessing skill competency attributes as listed below.

1. Skill Competency of Designer

(i)         Strong artistic and aesthetic sense.

(ii)        Deep understanding of colour.

(iii)       Ability to identify not only market needs but also to create market needs.

(iv)            Imagination to produce and express ideas into a tangible, useable product with due consideration to economic constraints.

(v)            Thorough understanding of the processes involved in the manufacture of textile products and capability to introduce innovations within practical performance limits of the machinery.

(vi)            Awareness of the new ideas launched in the market and anticipation of future trends.

(vii)            Knowledge of the changes in the life of the consumers and the impact of these changes on the demand for fashion apparel.

(viii)            Preservation and promotion of local crafts and traditions by developing products which represent a feasible combination of tradition and modernity to be readily acceptable to the consumers.

(ix)            Designing and developing which involve the use of environmentally friendly processes and are free from substances harmful to the consumers, i.e., the products are green-labelled with reference to Oko-Tex Standard 100.

2. Education and Training in Design Technology

In order to acquire the knowledge of design technology and develop adequate capabability as well as skill competence, the prospective designers need to pursue preferably a four year course leading to a degree at an institute or a university recognised by the Higher Education Commission (HEC) of the Government of Pakistan (GoP). In general, the contents of such a course are structured as follows:

(i) First year

Knowledge of the principles and concepts of the design of textile products is imparted to the students. They are motivated to think, learn and develop an understanding of the elements and principles of design and drawing. The students are also expected to develop comparing and contrasting ability and develop an artistic and aesthetic talent.

(ii) Second year

The students should be encouraged to think and produce original ideas for creating novel designs of products. Exposure of the students to our traditional crafts and textiles will inspire them to develop original ideas and thoughts. Simultaneously, knowledge of the processes involved in the manufacture of textile products and handicrafts should be imparted to the students. In order to facilitate understanding of the technical, mechanical and technological details of these processes by the students.,

Internships should be arranged under the supervision of the faculty concerned. Internships should be compulsory for each student and the performance should be evaluated on individual basis at the end of the internship period.

(iii) Third year

The students should be given information as well exposure to the needs of the mass market, commercial production and international trends. Teaching should also cover essential information about marketing and management skills. This will facilitate the students to become independent entrepreneurs and set up their own practices after graduation.

Internships should also be arranged for the students at the end of third year.

(iv) Final year

The students should develop thorough understanding and coherent knowledge of the key aspects of design technology. They should be fully conversant with the application of strategic planning for undertaking of projects requiring use of aesthetic sensibilities as well as management expertise. They should also be allowed to develop their own projects for working and exploring a medium of their own choice.

3. Expectation from Designers

After completing the course on Design Technology, the graduates will be eligible for employment in departments of textile mills and textile institutes, universities and boutiques or they can start independent private practice. In each case they will fulfill professional expectations in respect of their performances some of which are:

(i)         to produce designs for the local and global markets

(ii)        to meet the design orders from international clients and

(iii)       to preserve and promote traditional crafts and indigenous textiles through innovation and facilitation.

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Creative Laboratory

Creative Networking

Creative Competence

Creative People

Creative Product

Creative Economi

Baru sebuah judul penjabarannya menunggu petunjuk dan sumbang saran dari para pakar dan anda sekalian? Jika anda punya pemikiran tentang ini tuliskan saja……………………..