NSSCO Fashion and Fabrics 6153 cheat sheet

Fibre classification: natural (cotton, linen, silk, wool) versus manufactured (regenerated such as viscose, synthetic such as polyester, nylon, acrylic).

Staple fibres are short (cotton, wool, linen); filament fibres are continuous (silk, polyester filament). Staple yarns are spun by twisting; filament yarns may be flat or textured.

Yarn twist direction: S-twist runs like the middle of the letter S; Z-twist runs like the middle of Z. Higher twist gives stronger, leaner yarn; low twist gives softer, bulkier yarn.

Basic weaves: plain (1 over 1 under, strongest, least lustrous), twill (diagonal lines, floats of 2-4, drapes well), satin (long floats, high lustre, low abrasion resistance).

Knitted fabrics are built from interlocking loops; they stretch more than wovens and are prone to laddering and curling at cut edges.

Non-woven fabrics are bonded by heat, chemical or mechanical means (felt, interfacing); they have no grain line and do not fray.

Selvedge is the self-finished fabric edge; the grain line runs parallel to the selvedge; the crosswise grain runs perpendicular; the bias lies at 45 degrees and gives maximum stretch.

Fabric weight and count: higher yarn count (tex) means coarser yarn; higher thread count in a given weave usually means finer, denser cloth.

Absorbency: cotton and linen absorb well and are comfortable in heat; polyester and nylon absorb little and dry fast.

Thermal behaviour: wool insulates even when damp; synthetics melt at high iron temperatures, so use a cool iron or pressing cloth.

Shrinkage control: cotton and viscose shrink unless pre-shrunk or sanforised; pre-wash fabric before cutting to avoid garment shrinkage after sewing.

Finishes: mercerising (cotton, increases lustre and strength), calendering (smooths surface), sanforising (controls shrinkage), flame-retardant and water-repellent finishes.

Care label symbols: washtub with number = maximum wash temperature; triangle = bleaching allowed; square with circle = tumble dry; iron with dots = temperature; circle = dry clean.

Colourfastness testing: wash a fabric sample with white cloth; if dye transfers, wash separately in cool water or set colour before constructing the garment.

Fabric behaviour on the bias: bias-cut garments stretch and hang; allow 24 hours for bias garments to drop before hemming.

Stain removal rule: treat stains from the back of the fabric with cold water first; hot water can set protein stains such as blood or egg.

Take body measurements over light clothing: bust, waist, hip, back length, sleeve length, and height. Choose pattern size by bust or hip, whichever is larger, then alter the rest.

Ease = garment measurement minus body measurement. Wearing ease allows movement; design ease creates the style silhouette. A fitted bodice may have 5-8 cm wearing ease.

Full bust adjustment: slash the bodice from shoulder to bust point and horizontally from side seam, spread to add width and length, then true the darts.

Broad back or narrow back alteration: slash vertically down the back pattern and spread or overlap to add or remove width, keeping the centre back line straight.

Shortening or lengthening: fold or slash a pattern horizontally at the designated line (usually mid-armhole or mid-thigh) to preserve the shape of the seam lines.

Grain line must stay parallel to the centre front or centre back when altering; rotating a pattern piece off grain causes twisting in wear.

Toile (muslin) fitting: cut and sew a test garment in cheap fabric, mark fitting changes with pins and pencil, then transfer changes to the paper pattern.

Common fitting faults: horizontal drag lines mean the garment is too tight; vertical folds mean too loose; diagonal wrinkles at the bust indicate a bust alteration is needed.

Lay the fabric on grain, right sides together, with the selvedges aligned; place pattern pieces according to the cutting layout for the fabric width (usually 90 cm, 115 cm or 150 cm).

Grain line arrow on the pattern must be parallel to the selvedge; pin the grain line first, then smooth and pin the rest of the piece.

Marking tools: tailor's chalk, tracing wheel and carbon paper, tailor's tacks, and water-soluble pens. Test any marker on a scrap to confirm it removes.

Seam allowance is the distance from the stitching line to the raw edge, commonly 1.5 cm; mark it with a gauge or ruler before cutting.

Staystitching: a row of straight stitching just inside the seam line on curved edges such as necklines to prevent stretching before construction.

Seam types: plain (open pressed), French (encloses raw edges, best for sheer or lightweight fabric), flat fell (strong, used on jeans), overlocked (fast, prevents fraying).

Darts are marked with tailor's tacks, folded and stitched from the wide end to the point, then tied off; press darts over a tailor's ham to shape them.

Clipping is cutting into a seam allowance on a concave curve; notching is cutting out wedges on a convex curve; both allow the seam to lie flat.

Needle sizes: fine needles (60/8 to 70/10) for lightweight fabric; medium (80/12 to 90/14) for cotton and blends; heavy (100/16 to 110/18) for denim and canvas.

Needle point types: sharp for wovens, ballpoint for knits, universal for most fabrics, leather needle for leather, twin needle for hems on knits.

Stitch length: shorter (1.5-2 mm) for lightweight and curved seams; longer (2.5-3 mm) for basting and heavy fabric. Tension is correct when the stitch locks in the middle of the fabric.

Machine parts: presser foot, needle plate, feed dogs, bobbin case, tension dial, take-up lever, spool pin. The take-up lever must be at its highest point when threading.

Maintenance: remove the needle plate and clean lint from the bobbin area; oil the machine at points marked in the manual; have it serviced regularly.

Troubleshooting skipped stitches: replace a bent or blunt needle, check needle is inserted fully, match needle type to fabric, rethread the machine.

Troubleshooting looping underneath: rethread the top, check bobbin winding, adjust upper tension, clean the bobbin area.

Pressing equipment: iron, ironing board, tailor's ham, sleeve board, pressing cloth. Press each seam as it is sewn, not after the garment is complete.

Elements of design: line, shape, colour, texture, space. Principles of design: balance, rhythm, proportion, emphasis, harmony and unity.

Colour wheel: primary (red, yellow, blue), secondary (orange, green, violet), tertiary colours. Complementary colours sit opposite; analogous colours sit next to each other.

Colour schemes: monochromatic (one hue, varying value and intensity), analogous, complementary, split-complementary, triadic, neutral.

Value is lightness or darkness; intensity (saturation) is the brightness or dullness of a colour. Warm colours advance; cool colours recede.

Vertical lines add height and slimness; horizontal lines add width; diagonal lines create movement and can add or reduce apparent width depending on direction.

Texture affects apparent size: shiny or bulky fabric makes the wearer look larger; matte, smooth fabric appears slimmer.

Design development: mood board, croquis figure, flat technical drawing, colourway samples, toille and final garment.

Fashion cycle stages: introduction, rise, peak, decline, obsolescence. Classic styles stay in demand across cycles; fads are short-lived.

Safety rules in the sewing room: keep fingers away from the needle, unplug the machine before changing needles, keep scissors closed and pointed down, tie back long hair.

Iron safety: never leave a hot iron face down, use a stand, keep the flex away from the board edge, and allow the iron to cool before storing.

Ergonomics: adjust the chair and table height so the elbows are level with the machine bed; take breaks to prevent back and eye strain.

Protective equipment: thimble for hand sewing, finger guard when cutting, mask when handling dusty fibres or spraying adhesives.

The 3 Rs of sustainability: reduce (buy less, choose quality), reuse (restyle, repair, pass on), recycle (fibre recycling, textile banks).

Sustainable fibre choices: organic cotton, linen, hemp, recycled polyester, Tencel (lyocell) from responsibly managed wood pulp, and wool from certified farms.

Environmental impacts of textiles: water use in cotton growing and dyeing, chemical effluent from dyeing and finishing, microfibre shedding from synthetic fabrics during washing.

Ethical practice: fair wages, no child labour, safe working conditions, transparent supply chains; check certifications such as GOTS, OEKO-TEX and Fairtrade.

Costing formula: total cost = material cost + labour cost + overheads. Selling price = total cost + profit margin. Profit = selling price minus total cost.

Material cost includes fabric (length x price per metre), thread, interfacing, buttons, zips, trims and packaging. Allow for wastage of 10-15 percent.

Labour cost = hours worked x hourly rate. Overheads include rent, electricity, machine depreciation, transport and advertising.

Break-even point = fixed costs divided by (selling price per unit minus variable cost per unit).

Pricing methods: cost-plus pricing (cost plus mark-up), competitive pricing (match the market), and value-based pricing (based on perceived quality).

Consumer rights: goods must be of satisfactory quality, fit for purpose, and as described; keep receipts and care labels as proof of purchase.

Comparative shopping: compare price per unit, fibre content, care requirements, construction quality (seams, hems, buttons) and return policy before buying.

Record keeping: keep an income and expenditure book, invoices, receipts, and a simple stock record to track materials and finished goods.

Project brief must state: design inspiration, target customer, fabric choice, colourway, cost limit, and deadline. All later decisions should trace back to the brief.

Portfolio sequence: title page, inspiration and mood board, design development sketches, fabric and colour samples, pattern and toile evidence, construction samples, final photographs, evaluation.

Fabric sample record: attach a labelled swatch with fibre content, price per metre, width, care instructions, and a note on why it suits the design.

Construction evidence: photograph or attach samples of seams, darts, zips, buttonholes, hems and facings used in the final garment, labelled with the technique name.

Quality checks before submission: seams pressed and trimmed, no loose threads, hem even, zip and buttonholes secure, garment fits the toile measurements.

Evaluation should state what worked, what did not, and what would be changed, with reference to the brief and to specific construction decisions.

Time plan: work backwards from the deadline and allocate time for design, fabric purchase, toile, construction, finishing, and portfolio assembly.

Health and safety in the project: record risk assessments for the sewing room and ironing area, and note any sustainable choices such as fabric offcuts reused.