Fashion Factory: Learning the Garment Production Process | Johnny's Fashion Studio | Skillshare

Fashion Factory: Learning the Garment Production Process

Johnny's Fashion Studio, NY Based Garment Manufacturer

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3 Lessons (22m)
    • 1. From Sketch to Pattern

      4:09
    • 2. Sample Development & Fitting

      11:17
    • 3. Production

      6:32

About This Class

A necessary skill for any fashion designer is understanding how your garments are manufactured. While most apparel endeavors may start very DIY, once you write orders and the demand outweighs your ability to supply the products, you will need to take the next step to outsource your manufacturing.

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Learning the fashion production process will undoubtedly make you a better designer and business owner. Understanding the developmental steps your garments go through will allow for better communication with the factory, which will of course lead to better final results. 

In this class you will learn the process a garment goes through from sketch to shipment through exclusive videos and materials. Lessons will include features on how factories work with the following:

  • Digital patternmaking
  • Muslin fitting and sample making
  • Fabric & trim sourcing
  • Production forecasting, pricing, and scheduling

Once you finish this class you will have a better understanding about production costs, manufacturing methods, and business to business communication with the factory that is making your products. 

Projects for each video session will allow you to test a template, fit a garment out of your own closet, and forecast to prepare for prouction.

We are happy to work with one designer of our choice from this class to provide them a full package pattern and sample development service for one style of their choosing. That's a $800 - $1000 value at no cost to the designer!

We're also happy to provide a Skillshare discount for any desigenr ready to outsource their pattern and design. Feel free to contact [email protected] for a 15% discount off regular pricing for sample development.

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Transcripts

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.