MSCE Clothing and Textiles cheat sheet

Fibre classification: natural (vegetable: cotton, flax, jute; animal: wool, silk; mineral: asbestos) versus manufactured (regenerated: viscose, acetate; synthetic: polyester, nylon, acrylic).

Staple fibres are short (cotton 10-65 mm, wool 25-300 mm); filament fibres are continuous. Staple length drives yarn strength and spin count.

Yarn count systems: Tex = grams per 1000 m; denier = grams per 9000 m; cotton count (Ne) = 840-yard hanks per pound. Higher Ne = finer yarn; higher tex/denier = coarser.

Twist direction: S-twist spirals with the diagonal of the letter S; Z-twist opposite. Higher twist per inch gives stronger, harder yarns up to a point, then livelier, kinkier yarns.

Weave types: plain (1/1, strongest, balanced), twill (2/2 or 3/1, diagonal wale, higher count possible), satin (float, lustrous, low interlacing, prone to snagging).

Knits: weft knit (single jersey, courses/wales, stretches crosswise) versus warp knit (tricot, more stable, less laddering). Knit density measured in courses and wales per cm.

Nonwoven bonding: needle-punched, thermal-bonded, chemical-bonded, spunlaced. No yarn interlacement, so strength is isotropic and no grainline exists.

Fabric weight usually given as g/m² (GSM): lightweight shirting 80-150, medium 150-250, coating/upholstery 250-500+.

Moisture regain at 20°C/65% RH: cotton ~8.5%, wool ~16%, viscose ~13%, polyester ~0.4%, nylon ~4.5%, acrylic ~2%. Higher regain means better comfort but slower drying.

Cotton degrades in strong acid (hydrocellulose) but resists alkali (mercerisation in NaOH improves lustre and dye uptake); wool is amphoteric but damaged by alkali and chlorine.

Polyester is thermoplastic: it softens near 230-240°C and can be heat-set; cotton scorches around 200°C, wool chars and smells of burnt hair.

Dimensional stability: cotton shrinks via relaxation and swelling; wool felts through differential friction of scales in wet, warm, agitated conditions.

Drape and stiffness relate to bending rigidity, which rises with fibre diameter and yarn twist and falls with fabric thickness-to-weight ratio.

Colourfastness tests use grey scales: one for colour change (1-5) and one for staining (1-5). Grade 5 = negligible change; grade 1 = severe.

Abrasion resistance ranking roughly: nylon > polyester > wool > cotton > viscose > acetate.

Liquid moisture transport depends on capillary wicking, not regain: fine filaments and hydrophobic surfaces can wick while absorbing almost nothing.

Mechanical finishes: calendering (lustre, flattening), sanforising (compressive shrinkage control, holds residual shrinkage near 1%), raising (nap), peaching, embossing.

Chemical finishes: easy-care/DP resin (crosslinks cellulose, reduces creasing but lowers tear strength), softeners, water repellents (fluorocarbon, wax), flame retardants, anti-microbial.

Mercerisation (NaOH under tension) increases cotton lustre, strength and dye affinity and closes the lumen.

Care label symbols: washtub = washing (dots give temperature), triangle = bleaching, square = drying, iron = ironing (dots give temperature), circle = dry cleaning (letters P, F, A).

Standard care temperatures: one dot iron 110°C, two dots 150°C, three dots 200°C. One washtub dot = 30°C, two = 40°C, three = 50°C, four = 60°C, five = 70°C, six = 95°C.

Shrinkage formula: % shrinkage = (original length − final length) / original length × 100. Report separately for warp and weft.

Colourfastness to washing is tested at defined temperatures with a reference detergent and ballast load; staining is assessed on adjacent multifibre strip.

Dry cleaning solvents: perchloroethylene (PERC) is the standard; hydrocarbon and silicone (GreenEarth) alternatives have lower solvency for oily soils.

Body measurement landmarks: bust at fullest point, waist at natural indentation, hip 18-23 cm below waist (or at fullest point), nape to waist for back length.

Ease = garment measurement − body measurement. Wearing ease allows movement; design ease creates silhouette. Typical fitted bodice bust ease 5-8 cm, woven skirt hip ease 4-6 cm.

Bodice block: front and back drafted from a rectangle using bust depth, across-chest, shoulder slope and dart intake; bust dart intake ≈ (bust − underbust)/4 plus ease allowance.

Dart manipulation: a dart can be rotated to any position around the bust apex without changing fit; slash-and-spread adds fullness, pivot transfer moves it.

Grainline: lengthwise grain runs parallel to selvedge; crosswise grain perpendicular. Garment grainline must align with the pattern grainline arrow for correct hang.

Seam allowance standards: 1.5 cm general, 1 cm curves and necklines, 2.5-4 cm hems. Add to block; blocks are drafted net.

Grading rules: grade at cardinal points by a set increment (e.g. 1.25 cm per size at bust) and hold zero at centre front/back and at the nape.

Trueing: after drafting, walk seams (front armhole vs back armhole), correct notches, and square corners at centre front and hem.

Fitting sequence: check length first, then grainline, then ease, then dart position, then seam placement; mark corrections on the garment, not the body.

Common bodice wrinkles: horizontal pull lines across bust = insufficient bust ease; diagonal from armhole to bust = dart apex too low or too little dart intake.

Sway back adjustment: pin out a horizontal wedge at centre back below the shoulder blades, tapering to nothing at the side seam.

Broad back / narrow back: slash the back pattern vertically from shoulder to waist and spread or overlap, keeping the armhole curve intact.

Full bust adjustment: slash vertically through the bust dart and horizontally across the apex, spread for extra cup volume, then shorten the side seam by the added dart intake.

Trouser drag lines pointing to the crotch indicate a low seat or tight crotch curve; horizontal folds under the seat indicate excess back rise.

Let-out potential is limited by seam allowance: a 1.5 cm seam allows about 1 cm of let-out; check for stitch marks before releasing.

Hemming curved hems: use a smaller turn-up (0.5-1 cm) and ease in the fullness with steam, or use a bias facing.

Stitch types (ISO 4915): 301 lockstitch (straight, two threads), 504 overlock (3-thread, edge neatening and seaming), 401 chainstitch (stretch seams), 516 safety stitch.

Stitch density: 10-12 stitches per inch (4-5 per cm) for lightweight wovens; 8-10 for heavy; 12-14 for knits using a narrow zigzag or overlock.

Needle selection: universal 70/10-80/12 for shirting, 90/14 for denim, ballpoint for knits, sharp/microtex for microfibre and coated fabrics.

Seam types: plain, French (enclosed, lightweight), flat-felled (denim, strong), lapped, welt, and overlocked. Seam strength should match fabric strength, not exceed it.

Interfacing choice: fusible woven for structured fronts, knit for stretch fabrics, non-woven for small areas; always test-fuse for strike-through and shrink.

Pressing is a construction operation: press as sewn, then press open, use a clapper for points and a ham for curved seams; never press over pins.

Machine tension: upper tension too tight pulls the bobbin thread to the top; loops underneath mean upper tension too loose or bobbin case issue.

Zip insertion: centred, lapped and invisible. Invisible zips use a special foot and are sewn before the seam is closed.

Colour wheel relationships: complementary (opposite, high contrast), analogous (adjacent, harmonious), triadic (three evenly spaced), split-complementary (opposite plus its neighbours).

Value = lightness/darkness; chroma/saturation = intensity. A tint adds white, a shade adds black, a tone adds grey.

Colour systems: Munsell (hue, value, chroma) and Pantone TCX for textiles. Colour rendering depends on light source (metamerism occurs when two samples match under one light but not another).

Principles of design: balance, rhythm, proportion, emphasis, harmony, unity. Repetition of a motif creates rhythm; scale of print must suit garment size and figure.

Fashion figure proportions in illustration: 8.5-9 heads for croquis, elongated legs, small head; garment details drawn to scale of the figure.

Technical/flat drawing conventions: no shading, even line weight, seam lines and topstitching shown, grainline and detail callouts labelled.

Colour psychology and market: warm hues advance and enlarge; cool hues recede. Vertical lines lengthen, horizontal lines widen.

Trend research sources: WGSN, Première Vision, trade shows; colour palettes are usually set 18-24 months before retail.

Fit versus size: sizing systems vary by brand and country (UK, US, EU); always use body measurements, not the label size, when choosing patterns.

Care label information is mandatory in many markets (EU Regulation 1007/2011 for fibre composition; US FTC rules). Fibre content must be stated with tolerance (typically ±3% for a single fibre).

Cost per wear = purchase price ÷ number of wears. A higher-priced garment worn often can be cheaper per wear than a low-priced one worn rarely.

Consumer rights: goods must be of satisfactory quality, fit for purpose and as described; remedies include repair, replacement and refund.

Fibre labelling names are regulated; generic names (e.g. 'polyester') must be used rather than trade names alone.

Sustainable consumption levers: buy less and better, repair, launder cooler and less often, air-dry, and choose recycled or mono-fibre garments for recyclability.

Microfibre shedding is highest in the first washes of synthetic fabrics; guppy bags and filters reduce release.

Resale and rental extend garment life; durability is best predicted by fabric weight, seam quality and fibre blend.

Costing formula: total cost = direct materials + direct labour + overheads. Selling price = total cost ÷ (1 − target margin) when margin is a percentage of price.

Markup on cost versus margin on price: a 50% markup on cost equals a 33.3% margin on price.

Break-even units = fixed costs ÷ (unit price − unit variable cost). Contribution per unit is price minus variable cost.

Cash flow versus profit: profit is revenue minus costs over a period; cash flow is timing of money in and out. Stock build-up consumes cash even when profitable.

Textile supply chain stages: fibre → yarn → fabric → dyeing/finishing → garment manufacture → retail. Each stage adds value and lead time.

Lead times: fabric production 4-8 weeks, garment sampling 2-4 weeks, bulk production 6-12 weeks for offshore. Minimum order quantities drive small-brand feasibility.

Pricing levers: fabric choice, construction complexity, MOQ, and freight method. Air freight can multiply landed cost several times versus sea.

Trade terms (Incoterms): FOB places cost and risk transfer at the ship's rail; EXW leaves all export costs with the buyer.

REACH restricts azo dyes that cleave to carcinogenic amines, plus nickel release, APEOs and certain flame retardants in textiles sold in the EU.

Formaldehyde limits in easy-care finishes: OEKO-TEX Standard 100 sets limits by product class (baby articles strictest, around 16 mg/kg).

Machine safety: needle guard in place, fingers clear of the needle, presser foot down when not stitching, unplug before changing needles or lamps.

Iron safety: rest the iron upright, keep the cord clear of the board, never leave unattended; steam burns are the most common ironing injury.

Wet processing effluent carries dyes, salts and alkalis; treatment includes biological oxidation, membrane filtration and colour removal before discharge.

Water footprint: cotton cultivation and dyeing are the largest water users; dyeing 1 kg of fabric can use 100+ litres of water.

Circular economy hierarchy: reduce, repair, reuse, remanufacture, recycle, recover. Mono-material garments and removable trims improve recyclability.

Ergonomics: adjust chair and table height so elbows are near 90°, take breaks from repetitive machining, and use task lighting to reduce eye strain.

Project structure: brief → research → design development → technical drawings → toiles → final garment → evaluation. Each stage needs dated evidence.

Sample book evidence: record fabric name, fibre content, GSM, stitch type, needle size, tension and machine settings for every sample.

Toile (muslin) stage: make in calico or similar weight, fit on the model or stand, transfer corrections to the flat pattern, then re-test.

Portfolio assessment criteria typically reward: originality, technical accuracy, range of techniques, annotation quality and reflective evaluation.

Photograph work under consistent daylight-balanced lighting with a plain background; include front, back and detail shots for each garment.

Quality control checklist: grainline correct, seams even and pressed, no puckering, hems level, fastenings secure, thread ends trimmed, care label attached.

Evaluation should reference the original brief, state what failed and why, and propose a specific improvement, not just 'it went well'.

Time planning: work backwards from the deadline, allocate the longest block to toiling and fitting, and build in contingency for fabric reorder.

Slubs and thick places come from irregular fibre drafting at spinning; neps are small tangled fibre knots, common in immature cotton.

Fabric barré (horizontal bands) in knits is usually caused by yarn lot mixing, uneven tension or dye uptake variation between yarn packages.

Warp streaks in woven fabric run lengthwise and point to uneven warp tension, wrong yarn count in a warp end, or faulty sizing.

Skew and bow: weft distortion after washing or finishing, measured as a percentage of width; spirality in single jersey knits is normal and increases with twist.

Pilling results from loose fibre ends tangling on the surface; it is worse with short staple, low twist and hairy yarns, and is tested with a pilling box or Martindale.

Hole and needle-line defects in knits come from damaged needles, incorrect needle timing or excessive yarn tension.

Shade variation between rolls must be checked against a light box; batch numbers should be recorded and rolls cut in sequence for the same garment.

Fabric inspection uses the 4-point system: assign 1-4 points per defect based on length, then accept if points per 100 square yards fall below the agreed limit.

Dye-fibre affinity: reactive and vat dyes for cellulose; acid and metal-complex dyes for wool, silk and nylon; disperse dyes for polyester and acetate; basic (cationic) dyes for acrylic.

Reactive dyes form covalent bonds with cellulose; unfixed dye must be soaped off or colourfastness to washing fails.

Exhaust dyeing uses a liquor ratio (typically 1:8 to 1:20); lower liquor ratio saves water and energy but risks unevenness.

Colour measurement uses CIELAB: L* lightness, a* red-green, b* yellow-blue. ΔE is the total colour difference; ΔE below about 1.0 is generally not visible.

Metamerism occurs when two samples match under one illuminant but not another; always confirm a match under at least D65 and tungsten.

Levelness depends on dye migration, electrolyte addition rate and temperature rise control; adding salt too fast causes unlevel dyeing.

Fastness ratings use the blue wool scale (1-8) for light and grey scales (1-5) for washing and rubbing.

Colour matching in production should be done on the actual substrate; the same dye recipe gives different shades on cotton versus viscose.

Sleeve cap height controls fit: a higher cap gives a closer, more restricted sleeve; a lower cap gives more arm movement and a softer look.

Sleeve cap ease is typically 2-4 cm on a set-in sleeve; distribute ease evenly between notches and shrink out with steam.

Bicep circumference must equal arm measurement plus ease; check before cutting, as it cannot be fixed by the cap.

Skirt block: draft from waist to hip depth (18-23 cm), then to skirt length; front and back darts total intake = (hip − waist)/2 per half.

A-line and gored skirts are created by slash-and-spread from the hem or by drafting panels with equal hem divisions.

Collar types: stand, turnover (shirt), flat (Peter Pan), shawl and roll. A stand needs a curve matching the neckline length, checked by walking the seam.

Two-piece sleeve is used for tailoring to shape the elbow; the under-sleeve seam allows pressing into shape.

Notch placement: front and back notches at the armhole must match the sleeve notches exactly; add a double notch at the back to prevent mis-setting.

Jacket length rule of thumb: hem at the knuckle of the thumb or covering the seat; sleeve should show 1-1.5 cm of shirt cuff.

Trouser break: full break, medium break, slight break or no break; hem length is set with shoes on.

Shoulder adjustment is the most expensive alteration; check shoulder width before purchase because it cannot easily be added.

Letting out a jacket at the centre back seam is limited by the back lining and the vent; check for wear and stitch marks first.

Maternity and adaptive fit: add ease at the waist and bust, use adjustable closures, and place seams away from sensitive areas.

Petite and tall adjustments: shorten or lengthen above and below the knee for trousers, and at the waist and above the bust for bodices, to preserve proportion.

Sleeve length alteration is done at the cuff where possible; shortening at the cap distorts the armhole.

For a sloping shoulder, pin out a wedge at the shoulder seam tapering to the neck; for square shoulders, add to the shoulder point and reshape the armhole.

Buttonhole types: machine-worked (straight or keyhole), bound and hand-worked. Buttonhole length = button diameter + button thickness + 2-3 mm.

Button placement: on a women's garment the button is on the right front and the buttonhole on the left; menswear is reversed.

Zip length should match the opening; for a dress zip, insert before the centre back seam is sewn, or use an invisible zip in a seam.

Hook and eye, press studs and magnetic closures suit areas of low stress or where a buttonhole is impractical (e.g. waistbands, lingerie).

Topstitching: lengthen stitch to 3-3.5 mm, use a topstitching or edge-stitch foot, and keep an even distance (typically 6 mm) from the seam.

Understitching prevents a facing from rolling to the outside; stitch through the seam allowances close to the seam.

Bagging out a lining is a clean finish for jackets and waistcoats; leave a turning gap, turn through and slipstitch closed.

Final press and inspection: press hems and seams, check all thread ends, test fastenings, and attach the care and fibre label.

Technical pack contents: flat drawings, measurements with tolerances, fabric and trim specification, colourways, construction notes and label placement.

Measurement tolerances are usually ±1 cm on body measurements and ±0.5 cm on small dimensions; state them explicitly.

Range building: a cohesive collection shares colour palette, fabric story and price architecture; typically 60-70% carry-over styles and 30-40% new.

Price architecture tiers (good/better/best) must be consistent with fabric and construction; a premium price needs a visible quality signal.

Cadence: design development, sampling, fit sessions and production follow a critical path; late approvals cause air freight and markdowns.

Illustration media: marker and watercolour for fashion illustration, Illustrator/CLO for technical and 3D work; keep a consistent figure template.

Print repeat: half-drop, full-drop, brick and tossed repeats. Calculate repeat size and match points before ordering fabric.

Presentation: use a consistent layout grid, label each drawing with style number and season, and annotate construction details clearly.

Sort by colour, fabric weight and soil level; wash dark and light separately, and turn garments inside out to reduce abrasion and fading.

Detergent choice: biological (enzymes for protein and starch stains) versus non-biological (suitable for wool and silk, which enzymes can damage).

Wool wash: cool water, gentle cycle or hand wash, wool detergent, no wringing, dry flat; heat and agitation cause felting.

Stain removal order: remove excess, test on a hidden area, work from the back of the stain, use cold water for protein stains (blood, egg) and warm for grease.

Bleach: chlorine bleach damages wool, silk and many synthetics; oxygen bleach is colour-safe for most fabrics.

Repair options: darning, patching, invisible mending, seam repair, button replacement and zip replacement. Repair before the damage spreads.

Storage: clean before storing, use breathable covers, avoid wire hangers for knits, and store wool with cedar or lavender against moths.

Energy: washing at 30°C instead of 60°C can cut machine energy use substantially; air-drying avoids tumble-dry energy.

Fabric sourcing options: jobber/stock lots (cheap, limited quantity), mill direct (MOQ, best price), and deadstock (variable quality, sustainability benefit).

MOQ negotiation levers: standard colours, existing greige fabric, combined orders and longer lead times.

Cost sheet lines: fabric (with wastage 3-10%), trims, cutting, sewing, finishing, packaging, freight, duty, agent commission, and overhead.

Wastage allowance depends on marker efficiency: a good marker achieves 80-85% fabric utilisation; complex prints and plaids need more.

Duty and origin: rules of origin determine whether a garment qualifies for preferential tariff; fabric origin can matter as much as assembly location.

Small business channels: direct-to-consumer online, wholesale to boutiques, markets and pop-ups. Each has different margin and cash-cycle implications.

Legal basics: register the business, comply with fibre and care labelling, insure against product liability, and keep records for tax.

Scaling risk: growing too fast ties up cash in stock and deposits; forecast cash flow monthly before increasing order size.

Chemical hazard communication uses SDS (safety data sheets) with 16 sections and GHS pictograms; keep SDS accessible for every dye and finish used.

PPE for dyeing: nitrile gloves, goggles, apron and dust mask for powder dyes; never eat or drink in the dye area.

Waste hierarchy in the studio: minimise offcuts, reuse toiles, donate remnants, recycle selvedge and thread, and dispose of chemical waste separately.

Dye waste must not go to drain; collect and treat or send to a licensed contractor. Heavy-metal mordants require special handling.

Energy in the studio: irons and steam generators draw high current; avoid overloading sockets and use RCD protection.

Ventilation: dye and solvent fumes need extraction; work in a well-ventilated area and keep solvent containers closed.

Microplastic pollution: synthetic fleece and jersey shed fibres in washing; washing less often and using a filter bag reduces release.

Ethical sourcing: check supplier codes of conduct, audit reports and chemical compliance (OEKO-TEX, bluesign) before ordering.

A strong project brief states the target customer, occasion, budget, fabric constraints and a measurable success criterion.

Research evidence should include primary (interviews, shop visits, fabric trials) and secondary (trend reports, museum archives) sources, with sources cited.

Design development should show at least three distinct directions, with annotated decisions about why options were rejected.

Toile fit notes should record the adjustment, the amount and the pattern change, so the final pattern can be traced back.

Photographic evidence: use a plain background, consistent lighting and include detail shots of construction, not just the finished look.

Reflective evaluation should compare outcome to brief, identify one technical failure and one design strength, and propose a specific next step.

Portfolio order: brief, research, design development, technical drawings, toiles, final photographs, evaluation, and a skills/sample appendix.

Academic integrity: cite all images and sources, and state clearly which work was assisted (e.g. machine sewing by a technician).