TECH 307

Process Diary
Convertible Bridesmaid Dress
Monique Hegarty S00144176 2016

Monique Hegarty S00144176

Contents
Commencement of market research

Project decision making

Body shape research

Initial concept sketches

10

Fabric research

12

Further concept sketches

13

Peer evaluation

15

Final fashion illustration

16

Initial experimentation

17

Total costing table

19

Seam experimentation

20

Hem experimentation

22

Product label

23

Care label

23

Final Product

24

Bibliography

24

Monique Hegarty S00144176

Thursday 4th August

Commencement of market research

I really like each individual dress in this

photo. However, as they are all made
differently and separate, then that is alot
more time consuming for the dress maker.
The colour is on trend and suits the darker
coloured skin tone.

These dresses are all the same, which

would make the construction very
simple. However has seen in this
photo. There may be a more suitable
dress design for each individual
wearer. I like the range of colours
included, using the same colour
scheme but different hues.

Monique Hegarty S00144176

I like the concept that the one dress can be worn in various ways, as shown in the above
photograph. However, the fabric used seems to be a cheap polyester knit, creating the dress
to appear cheap and tacky. The colour used is definitely on trend, however I dont like it on all
women and skin tones.

I really like each dress and style in this

photograph. Yet, again, this would be
very time consuming and costly for the
dress maker. You can see that each
dress definitely suits each individual
wearer. The navy is very on trend,
presenting a classic look, yet holds the
same feelings as a black but much softer
and feminine.

Monique Hegarty S00144176

Wednesday 10th August

Project decision making

Monique Hegarty S00144176

Saturday 13th August

Body shape research

Monique Hegarty S00144176

Monique Hegarty S00144176

Monique Hegarty S00144176

Monique Hegarty S00144176

Friday 19th August

Initial concept sketches

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10

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Tuesday 23rd August

Fabric research

*All fabrics are numbered for future experimentation*

Monique Hegarty S00144176

12

Wednesday 31st August

Further concept sketches
During my meeting with Belinda, we discussed to further explore design ideas, as well as
present the idea of a structured dress design, and less structured dresses, in relation to the
final product and type of wedding it will be designed for.

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Monday 5th September

Peer evaluation

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15

Friday 8th September

Final fashion illustration

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16

Monday 9th September

Initial experimentation
Fabric experimentation & testing
Drape (Aesthetics)
Aim: to identify which fabric has the highest degree of drape.
Method:
1. Cut circular pieces of your sample fabrics with a 25cm diameter.
2. Stand a glass on a flat surface with a light source directly above the glass.
3. Mark the centre of the fabric circle.
4. Lay the fabric over the glass.
5. A shadow of the fabrics drape will appear.
6. Draw around the shadow (smaller the image/more number of folds, the better the drape).

Conclusion: Following the experiment,

we can see that fabric 5 has the best
drape, as the fabric is quite thin.
However fabric 6 also has sufficient
drape, however is slightly a thicker, less
transparent fabric and I would say is best
suited for the skirt of my dress design.

Lustre (Aesthetics/Function)
Aim: to determine which fabric has the least amount of light reflection.
Method:
1. Hold a sample fabric under a light source.
2.Observe the degree of reflection.
Fabric
Fabric Name
3.Record results.
1
Pulse Charmuese Satin, Steel
2

Satin Deluxe, Violet

Degree of Lustre
High
Medium

Icon Stetch Satbak Crep, Navy

Very High

Satin Deluxe, Pewter

Medium

Celine Sandwash Satin, Navy

Low

Stetch Crepe knit, Navy

Very Low

Sexy Satin, Nude

High

Conclusion: Fabric 6 is evidently the least lustrous, reflecting obviously the least about of
light. The less shine of a fabric exposes less curves for my dress to suit a larger figure.

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Elasticity (Aesthetics/Functional)
Aim: to determine which fabric returns to its original state after being stretched.
Method:
1. Cut two pieces of fabric 20cm x 20cm.
2.Pull test fabric in all directions.
3.Compare test fabric to the control and measure the degree of change.
Fabric
1
2

Fabric Name
Pulse Charmuese Satin, Steel
Satin Deluxe, Violet

Degree of Elasticity
Low
Medium

Icon Stetch Satbak Crep, Navy

High

Satin Deluxe, Pewter

Medium

Celine Sandwash Satin, Navy

Very Low

Stetch Crepe knit, Navy

High

Sexy Satin, Nude

Very High

Conclusion: In relevance to my final design solution, fabric 7 has proven to have the best
elasticity, however this fabric is very dense, and through testing have proven to develop a knot
that is too bulky for the final product. Therefore, fabric 6 has the second best elasticity, as
well, thinner, consequently the most suitable for my dress design.

Resilience (Aesthetics)
Aim: To determine the ability of a fabric to return to its original shapes after being
scrunched, folder or creased.
Method:
1. Cut a 20cm square of each fabric to be tested.
2.Iron each sample.
3.Scrunch the fabric in your hand for 30 seconds.
4.Compare the amount of creasing.
Fabric
1
2

Fabric Name
Pulse Charmuese Satin, Steel
Satin Deluxe, Violet

Degree of Resilience
Low
Medium

Icon Stetch Satbak Crep, Navy

High

Satin Deluxe, Pewter

Medium

Celine Sandwash Satin, Navy

Low

Stetch Crepe knit, Navy

High

Sexy Satin, Nude

Very High

Conclusion: To develop a dress that is compatible for traveling, I need to work with a fabric
that has high resilience to being folded, scrunched or creased. Fabric 7 has proven to have the
best resilience, however again, this fabric may be too dense to make a knot, therefore fabric 6
or 3 would be proven to be the most appropriate for my chosen dress design.

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Thursday 14th September

Total Costing Table
Item
Research
Pulse Charmuese Satin, Steel
Satin Deluxe, Violet
Icon Stetch Satbak Crep, Navy
Satin Deluxe, Pewter
Celine Sandwash Satin, Navy
Stetch Crepe knit, Navy
Sexy Satin, Nude
Daily Telegraph
Solution
Stetch Crepe knit, Navy
Interface Easy Trace, White
Trace & Toile, White
9mm Silver Hook & Eyes
Invisible sip, Navy, 20cm

Item cost

Hours/unit

Supplier

Total

$14.99/m
$15.99/m
$24.99/m
$15.99/m
$16.99/m
$19.99/m

0.100m
0.100m
0.100m
0.100m
0.100m
0.100m
0.100m
1

Spotlight
Spotlight
Spotlight
Spotlight
Spotlight
Spotlight
Supplied by Duncan
News-agency

$1.50
$1.60
$2.50
$1.60
$1.70
$2.00
$0.00
$2.49

5m
0.100m
0.100m
1

Spotlight
Spotlight
Spotlight
Spotlight
Spotlight

$74.95
$0.20
$0.20
$3.49
$2.99
$95.22

$2.49
$19.99/m
$1.99/m
$1.99/m
$3.49
$2.99

Total

*Therefore, under budget*

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Wednesday 30th September

Seam experimentation
Running/plain seam
Method:
1. Place two pieced of material together with the right
sides facing and use a basting stitch to hold the seam
allowance together.
2. Use a flatbed sewing machine to sew the seam,
creating a straight line of stitches.
3. The length of the stitch can be changed on the
sewing machine, from 1mm to 5mm (basic stitch
length is 2.5-3mm).
4. The seam allowance can be overlocked or bound to
stop the edge from fraying.
5. This seam can be pressed open or to one side.

French seam
Method:
1. Place the wrong sides together. Take a 0.5cm seam
allowance and stitch a seam on the right side of the
fabric.
2. Then turn the seam inside out, placing the right
sides of the fabric together.
3. Stitch the seam, taking 0.7cm seam allowance and
encasing the previously stitched seam.
4. Press the seam to one side.

Flat fell seam

Method:
1. Place the wrong sides of the fabric together.
Move the piece with the 0.7cm seam allowance
1cm further in from the other piece.
2. Sew a seam taking the 1.7cm seam allowance
from the outer edge.
3. Then fold over the 1cm extra allowance to
cover the 0.7cm allowance and press flat.
4. To finish off, top-stitch 1-2mm from the folded
edge (edge stitch).

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Seam Finishes
A seam finish neatens the raw edges of the seam allowance and also protects the seam from
fraying caused by wear and tear. The seam type and finish chosen are determined by the fabric
used, as well as the position of the seam in the textile item.
Overlocked Finish (open)
Method:
1. Overlock one side of the seam allowance
at a time. Use the left edge of the foot as a
guide to the seam. The blade should cut off
a few mm of the raw edge of seam allowance.
2. You do not need to lift the presser foot.
Let the overlocker feed the sample through
until there is a 10cm chain of threads after the
sample, then cut with snips.

Overlocked Finish (closed)

Method:
1. Overlock the two sides of seam allowance together.

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Wednesday 7th October

Hem experimentation
Hems are the last thing stitched on a textile item. A turned up hem is the most commonly
used, however hems can also be faced or finished with a binding. There are many ways the
finish the edge of the fabric being turned up and the method selected will depend on the type
and thickness of fabric and the position in the textile item.
Turned Up & Topstitched
Method:
1. Work an open seam with an overlocked finish.
2. Turn up the hem allowance (in this case 3.5cm). Trim the vertical seam allowance in the
hem allowance to half width (to reduce bulk).
3. Tuck under 1cm of the raw edge of the hem and pin. Tack near the fold. Remove pins.
Topstitch on the right side. Use the stitch plate for guidance in keeping a straight line when
topstitching. Remove the tacking.

Overlocked & Stitched

Method:
1. Work an open seam with an overlocked finish.
2. Turn up the hem allowance (in this case 3.5cm). Trim the vertical seam allowance in the
hem allowance to half width (to reduce bulk).
3. Finish the raw edge of the hem with an overlocker. Pin in place. Tack. Remove pins.
4. Topstitch on the right side. Use the stitch plate for guidance in keeping a straight line when
5. topstitching. Remove the tacking.

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Wednesday 21st October

Product label

Care label

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Final Product

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Bibliography
Barlow, J. (2015). Notes on the Preparation of a Design Record.TECH105 Design
Principles.Retrieved from http://leo.acu.edu.au/course/view.php?id=15851
Castle, C. & Peters, L. (2007). Textiles and design: preliminary and HSC. South Melbourne,
Thomsen Learning, p. 159-163.
Fischer, A. (2009). Construction. AVA Publishing: SA.
Gortan, R. (October 8, 2016). Dress for your SHAPE.Best Weekend Magazine: Daily
Telegraph, p20-21.
Duncan Croft Bridal (2016).Duncan Croft Bridal. Retrieved 6 September 2016, from
http://duncancroft.com//
Hourglass/Boyish/Pear/Apple Shaped Body. (2013).Look-fabulous.com. Retrieved 24
August 2016, from http://www.lookfabulous.com/
nd
Jenkyn-Jones, S. (2005). 2 ed. Fashion Design. Laurence King Publishing: London.
Nuffield Foundation. (1996). Nuffield Design & Technology, Textiles. Longman: UK.
McDougald, C. (ed.) (2007). Vogue Sewing quick reference guide. Sixth&Spring Books:
NY.

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