1. From Sketch to Pattern: - Hi, - My name's Joanne. - I am the director of sales and marketing here at Johnny's Fashion Studio were a sample - development and production facility at the center of Garment District in New York City. - Today, - we're going to cover Face one of the production process, - which includes three steps. - The sketch, - the construction details and the pattern in your assignment for today is to create a sample - cut ticket. - So what we have here is an example of a simple cut ticket from designer Emily Saunders. - What we see here is her champion top. - What? - Some things that you want to remember to include into your sample cut ticket is your basic - sketch, - whether it's hand drawn or digital, - Um, - and within that you wanna point out maybe with some simple arrows. - If you have any combo fabrics, - your lining and any specific measurements, - you want the pattern maker to include for the sleeves or the collars or whatever you have - in mind what you also would want, - including your sample cut ticket is your fabrics watch and make sure you label them - carefully so that we don't confuse your lining with your self fabric. - Um, - one thing also to remember is to include your measurements. - When we get into measurements, - you have your basic body blocks. - So for Emily, - we recommended a size four basic body measurement. - Uh, - and we showed her a fit model that we work with often here at Johnny's fashion studio. - And you can see her measurements from bust to hip to waist length. - And so far, - remember to think about your target audience when developing your basic body measurements - and make sure to find a fit model to match those basic body measurements. - Hi, - I'm Emily Saunders. - I have a line called Faughnder, - and what I look for in a pattern maker is someone you can really interpret my sketches. - Well, - so, - um you know, - basically, - there are a number of ways to present your idea toe pattern maker and some people prefer to - do something really technical. - And they have, - like, - all of the measurements, - sort of, - you know, - written out and, - uh, - kind of everything in excel sort of format. - But with me, - I'm less of like a tech person and mawr of designer. - And so I The way that I present a pattern maker with my idea is really just visually - through like sketches and, - you know, - little handwritten notes and things like that on one of the reasons that, - um, - I really like to work with Johnny Fashion. - They can take. - They can see what I you know what I present them with and and take it and make it into a - almost exactly, - You know, - pretty much exactly what I was intending. - And they have those kind of interpretation skills. - And that's really what I look for in a good pattern maker is a good interpreter. - And someone who, - um, - could not only, - like, - interpret what you have given them, - but also has kind of is have a knowledge of, - you know, - what is going to look good on on like a real person and also what's kind of current in - modern, - and you know what a good fit is. - So now we have your sample cut ticket and your basic body measurements. - These air two crucial documents that we will need to make sure we make the perfect pattern - for your garment. - Now, - you just got to see the details of how to make a pattern. - You can go ahead with your assignment. - Good luck making your sample cut to get, - and we'll see you and face to 2. Sample Development & Fitting: - Hi, - guys. - Joanne here with Johnny's fashion studio. - Um, - with phase one, - we covered pattern making. - And your assignment was to make a sample cut ticket and face to we cover samples in which - we go over muslin fitting and the sample as your assignment, - you will be scheduling your own fitting, - using a government out of your own closet. - Hi, - my name is Johnny. - I come from Janice Patient studio. - So, - for example, - and this dress, - you have to make sure without cheaper, - you have to be in the hat and so or so based body. - Sir, - we the combo combo has to be, - uh, - contents. - Is Mitch the base self? - Because of that, - after washing doesn't change anything or toasting. - I have to check. - And also sweet is enoughto walkie. - So I gotta check if you can toe a couple of different way. - Maybe it's bad enough the three we have open city or make because we So all those things I - have to discuss reading vagina toe, - make sure before you go into production. - So also, - we have to see that that's over the kind of man so we can you cannot see. - But when you pray in the female there. - We have to double check everything. - So that's good running bear when you're looking at a muslin, - I think it's sort of my my initial reaction is Look at the big picture. - Um, - where is it falling on your foot model? - Is the sweep like big enough for them to fit in? - Um, - can they move their arms like, - you know, - those really like big um, - those big questions that you know you can determine in a Muslim, - Um, - And then you can take a Sharpie and just kind of like drawn it and cut it in like a fiddle - with it and make sure that it you know, - a better fit. - Make sure it's it's more to your liking and pleases your eye. - Um, - I think also working with a good fit models also super important because, - you know, - I worked with a couple and sort of the worse end of the spectrum. - They're just kind of stand there like Manikins and you fit him and stuff like that. - But at the sort of phlegm or the better end of the spectrum, - they'll really engage with you and they'll be like, - Oh, - if I sit down. - It'll right up too much. - And I don't like that. - It makes me feel uncomfortable as a customer. - I wouldn't buy this or I can't raise my arms over my head or like, - this doesn't like, - you know, - this doesn't feel right. - So you know that they'll usually interact with you and give you tips on on ways to make it - better. - And that's a person that you really wanna seek out and work with. - Um, - because that's really, - really helpful to know, - as a designer, - you know, - when you're making this initial fit so we have What we're doing now is we're going to have - a fitting with one of Emily's designs. - I will be the fit model for this session, - and you will see the designer and the powder maker communicate to ensure that we make the - right adjustments between design and construction elements. - Okay, - so I think I want to start with the length and it's way too long, - so I think we need to bring it. - I'm gonna bring it up, - Teoh. - Probably about there. - Yeah, - you so burning too. - Okay. - You know, - for you, - I think that's good. - And then but I like the 2.5 inch combo. - So just move it, - move it up. - And I think half of these okay? - Right here. - She Mom, - I don't four inch every mouthful you And then which on a regular fit model would turn into - a miniskirt, - Right. - Okay. - Yeah. - And then I think you Yeah. - Was the combo up later? - There. - Here. - Yeah, - but this is top line. - His discovery You can't come in to and then this bottom ones combo, - okay or so? - So for me, - I like to do something in the bag to each for knotty on hanging through it to be I like art - here, - but OK, - you know, - start right to be angry students, - and then I get rid of I'm gonna put that anger about tm harmony. - Mark taking me. - You got sent eviction a little bit. - Sorry. - Uh, - is that the best way to get rid of all of this excess? - Where can we take it into the fiery? - You cannot take him out that much. - Maybe the database will be tea time because we haven't seen here. - Okay, - so so do the, - um, - just starts here, - Or do we need to do like a whole Or Pearson. - You're okay. - Style. - So let's just do two darts. - Yeah, - like that. - But they can do it. - Below this line is your I mean, - your Yeah. - Okay. - So I don't know from all right. - Well, - you know, - stop here. - Yeah, - I think that would be I have to stop you just for Rich raised nine. - I mean, - I still want to be kind of like an a line, - but I don't want to. - I mean, - it was to you like it was way too baggy in the back good before, - So I think that looks better. - So far, - we've just changed the length and we've kept the proportion of the comic strip at the - bottom, - but just kind of moved it up proportionally thing. - We've added some darts here, - the back, - Uh, - just basically to make it fit better. - And do not make it look so baggy. - Um, - you know, - I was hoping that we could get away with not doing any dogs in the back, - but you really have to compromise for fit. - So we've added these two big darts here, - Um, - underneath the seem line. - So it'll be a little neater, - and you won't get kind of, - um, - like an extra bunching because there's that extra, - like, - seam allowance there. - So you don't want it to be. - It'll be too chunky. - I think if we kind of have the, - um, - the dark go beyond that. - So, - yeah, - it's a compromise. - It's just kind of working with, - um, - with the realities of the fabric and and making it the best that you can. - Okay, - so now we have to check the sweeps, - you know, - walk. - So can you walk? - What do you think? - I think it looks good. - Does it feel comfortable? - Can you try to see? - So check the legs. - I think that looks fine. - Detail. - Do you feel like exposed? - Okay, - that's good. - So I think, - Yeah, - I think free so and a little bit in this kind of exit here to see that you can see that - you're fighting. - Had you thought of the bunch? - I can. - I really cannot got the beat here because of the we have cheaper. - So can it feed into the justice for their just can't community may Okay? - Yeah, - Exactly how does it feel like under the arms again? - Okay, - so no pocket she could be pocket lis eso is is it common to get to this stays in the - process with your Muslim and say I really like to have some kind of it's pocket going on? - Could you add pockets here? - Absolutely. - That is more common at it during this phase. - Then with your sample, - it's more ideal. - I maybe let's do it in a long time. - Yeah, - yeah, - exactly. - It's like you usually make those really big decisions in this stage on. - I don't know. - I kind of because you develop an eye to kind of project what it will look like in the - fabric when you see it in the Muslim. - And at first it's like a little bit hard because you have to use a lot of imagination. - But, - you know, - get used to it. - I guess you just had a chance to see a Muslim fitting where I was your foot model. - Now you have a chance to ask a friend, - pick a garment out of your closet and try to do your own fitting. - See how it would fit on your friend, - where you need to make adjustments and take down those notes and share those notes as your - assignment 3. Production: - guys Duran here from Johnny's fashion studio, - um, - in face to you learned about the sample making process, - and you had your assignment to schedule your own fitting. - In phase three, - we will go over production and three steps scheduling, - sourcing and production. - And as your assignment, - you will be developing your own production schedule. - One very important document to create as you're going through your fabric and your trim - sourcing is your cup ticket. - Um, - the factory alone can't function without this cut ticket. - You can't function without this cut ticket as you're doing your sourcing in your ordering. - Um, - ing the breakdown of a cut ticket is quite simple. - You have your styles, - um, - the different color ways and the size breakdown. - How many do you want? - Cut per size per color per style. - Sounds complicated, - but all you need is a basic breakdown on an Excel document, - and this helps you determine how much fabric you need. - How many trims how many labels and helps the factory create its own schedule around your - deadline and your cut ticket on. - So once the fabric has ordered, - then you kind of you start talking to your factory about you know how much of each you need - the color ways that you need and how much of those needed. - It's really it z extremely important to be organized. - That's you know the thing that I can't stress enough. - It's just organization and making sure you know exactly how much of each you need that kind - of like, - you know, - being like Oh, - I guess I need like, - 15 yards of this, - But knowing exactly that you need 14.5 yards to make this much you want to order a couple - extra and things like that. - And then, - uh, - you also need Teoh account for labels and hang tags, - buttons, - zippers like all those things. - So, - you know, - really important just for each garments to kind of make a checklist of, - um, - all the elements to go into it. - So make sure you have the lining and the self fabric and the combo, - and then all of the notions and things that go into making that, - um into making that sign happen next, - we're going to talk about production schedule. - It is so important to keep all your information organized within the timetable so that - between all these various different elements. - You know exactly when things are coming in, - shipping out and arriving between your fabric. - You're trimming when it arrives at the factory, - when the cutting and the sewing happens when it ships out of the factory when it arrives in - the distribution center. - When it leaves the addition addition center and it arrives at stores, - these air eight plus elements that can get very complicated can get very confusing. - It gets all mumble jumble. - Do you want to make sure you keep it all organized and one time table? - So let's say you're two weeks away from your November 1st deadline of cutting off sales. - Um, - take all the orders that you've gotten so far, - tally it up and then kind of get an idea of really, - how much you know you're dealing with in terms of fabric needs. - And then, - you know, - when the final two weeks, - um, - happen you can just kind of, - like attack this orders onto, - you know, - the others. - Matthew done, - um, - with the proceeding orders. - And then just as soon as, - like your deadline hits, - get those orders out because the mills working most mills like, - are gonna need time to a manufacturer and then ship, - and you don't want to have to be like stuck with, - like, - extremely, - like expedited, - um, - shipping costs because, - you know, - you ordered a couple weeks too late because you need to get the factories much time as - possible to be ableto manufacture the garments. - De Dana has toe live for every condition and the balance off their comment, - and are so 10 off the Giant and especially like a plaintiff, - every they had checked. - There are good for printing who matched up to the style. - But after this and second sample, - we calling people for pre production sample. - So that's Sam, - or more like so in detail and parent detail is construction. - So that point we have I have to empire I will kind of readies good for thesis peppery What - kind of trimmings we have used. - You cannot see, - but we have to see inside shootings on sometimes also, - when your dry cleaning this very are Linus doesn't make it landing does like track ninny. - So all those kind technical things I have the empire to So, - people are you going to production? - But we have to always, - you know, - communication to make sure that design I don't want to change. - The giant Bobby stands have to change like construction. - It just from experience. - Yes. - Oh, - we can learn from school. - But that's that's not enough for, - you know, - for four minutes off the productions are you have been learning from experience. - Yeah. - So that concludes our third phase of the garment production process. - You have now an idea of how sourcing, - scheduling and production runs. - Um, - Now you have the fun assignment of creating your own production schedule. - We are providing a template. - You just kind of got a plug in. - And once you've completed all your assignments from face one through face three, - we will take a look at every single assignment and choose one sample cut ticket to actually - produce into a fitting into a Muslim. - So then we have a fitting. - And to the final sample, - Good luck.