Thursday, 18 October 2007
Methods of cutting
The following points should be taken care of while cutting:
1. The blades must present very thin edge to the fibres so that high pressure may be presented to the fibres enough to shear them without stretching or deforming them.
2. All fibres must be severed to allow the blade to pass through the fabric and produce free standing cut parts
3. the Act of cutting dulls the blade, so blade must be regularly sharpened to renew the thin sharp edge.
4. The methods of cutting must not remove any material between the cut parts
5. Fabrics should return to their original shape after cutting
Wednesday, 17 October 2007
The Cutting of the Fabric
The Cutting of Fabric in Garment Manufacturing
Cutting is one of the most critical operations in garment manufacturing. Once the fabric has been inspected, relaxed where required, spread in layers, and covered with an approved marker, the cutting process converts that fabric lay into garment components. These components may include front panels, back panels, sleeves, collars, cuffs, waistbands, facings, pockets, linings, plackets, yokes and other parts depending on the garment style.
At first glance, cutting may appear to be a simple mechanical operation. In reality, it is a precision process. A small deviation in cutting can affect garment measurements, seam matching, balance, fit, appearance, sewing efficiency and final quality. Fabric that is wrongly cut cannot be restored to its original form. Therefore, the cutting room is not merely a production area; it is one of the most important quality-control points in apparel manufacturing.
Table of Contents
What is Fabric Cutting?
Fabric cutting is the process of separating a fabric lay into individual garment components according to the shapes given in the marker. The marker is the cutting plan. It shows the arrangement of pattern pieces on the fabric width in such a way that the required garment parts can be cut with minimum wastage and correct grain direction.
The cutter’s task is to reproduce the marker shapes accurately on the fabric. If the marker shows a sleeve curve, the cut sleeve should maintain that curve. If the marker shows a neckline, collar shape or armhole, the cut part should match the intended pattern. If the pattern requires a particular grain direction, the cut component should respect that direction.
In mathematical terms, fabric utilisation during marker planning is often expressed as:
\( \text{Marker Efficiency} = \frac{\text{Area occupied by pattern pieces}}{\text{Total marker area}} \times 100 \)
Although marker efficiency is calculated before cutting, the cutting operation must preserve the marker’s intention. A highly efficient marker loses its value if the cutting is inaccurate, the fabric shifts, or components are mixed after cutting.
Why Cutting is Important
Cutting is important because it gives the first physical shape to the garment. Before cutting, the garment exists only as a design, pattern, marker and fabric lay. After cutting, the garment begins to exist as separate components ready for sewing. Every cut edge becomes a future seam, fold, hem, neckline, armhole or fitting point.
Many garment defects that appear in sewing or finishing actually begin in the cutting room. If the left and right panels are not cut equally, the garment may look unbalanced. If the collar parts are not cut accurately, the collar may not sit properly. If the sleeve curve is distorted, sleeve attachment becomes difficult. If checks, stripes or directional prints are not controlled, the garment may look defective even when the sewing is technically correct.
Good cutting supports the entire production flow. It helps sewing operators work faster, reduces rework, improves size consistency, controls fabric wastage and improves the final appearance of the garment.
Main Objectives of Cutting
The main objective of cutting is to produce garment components that are accurate replicas of the pattern pieces in the marker. These components should be correct in shape, size, grain direction, ply-to-ply consistency and edge quality.
The cutting process should achieve the following objectives:
| Objective | Meaning in the Cutting Room | Effect on Garment Quality |
|---|---|---|
| Accuracy of shape | Cut parts should follow the pattern outline without distortion. | Improves fit, balance and sewing alignment. |
| Accuracy of size | Cut components should correspond to the correct size and measurement. | Reduces size variation and alteration. |
| Clean cut edges | Edges should be free from excessive fraying, tearing or yarn pulling. | Improves seam appearance and handling during sewing. |
| Unscorched edges | Edges should not be fused, hardened or burnt due to blade heat. | Prevents sewing difficulty, discomfort and quality defects. |
| Ply-to-ply consistency | Top, middle and bottom plies should remain similar in shape. | Ensures uniformity in bulk production. |
| Correct identification | Cut parts should be bundled, numbered and labelled properly. | Prevents mixing of sizes, shades and garment parts. |
Requirements of Good Cutting
1. Precision of Cut
Precision means that the cut line should follow the marker line as closely as possible. The cutter must avoid overcutting, undercutting and deviation from the pattern outline. Precision is especially important in curved areas such as necklines, armholes, collars, sleeve caps and shaped panels.
Inaccurate cutting may not always be visible immediately. It often becomes visible during sewing, when two parts that should match do not align properly. For example, if the sleeve cap is slightly distorted, the operator may have difficulty setting the sleeve smoothly into the armhole. If the front and back panels differ in length, the side seam may become uneven.
2. Clean Edges
The raw edges of cut fabric should be clean and stable. They should not show excessive fraying, serration, pulling, tearing or yarn displacement. Clean edges are easier to sew and help maintain seam quality.
Frayed or damaged edges may result from a blunt blade, unsuitable cutting speed, loose fabric construction, excessive lay height or poor fabric support. Delicate fabrics, loosely woven fabrics, lightweight synthetics, chiffons, georgettes and slippery satins require greater care because they can shift or fray easily during cutting.
3. Unscorched and Unfused Edges
During cutting, friction between the blade and fabric can generate heat. This is particularly important when cutting synthetic or thermoplastic fabrics such as polyester and nylon. If the blade becomes too hot, the edges may fuse, harden or appear scorched.
Fused edges create difficulty during sewing and may also affect garment comfort. They can cause needle damage, skipped stitches, rough seam appearance or hard edges in the finished garment. To control this problem, the cutting room may reduce lay height, maintain blade sharpness, use lubricated or anti-fusion paper, control cutting speed and select the correct cutting method for the fabric.
4. Proper Support of the Lay
The fabric lay must be properly supported during cutting. The table surface, clamps, pins, weights or vacuum system should hold the lay firmly without distorting it. If the lay moves during cutting, the top ply and bottom ply may not remain identical.
Support is especially important in high lays, slippery fabrics, knitted fabrics and fabrics with surface texture. The cutter should also ensure that the blade reaches the lowest ply properly. If the lowest ply is not fully cut, operators may pull the fabric apart manually, causing distortion and edge damage.
5. Consistency Across All Plies
In bulk production, fabric is often cut in multiple layers. The challenge is to ensure that the top, middle and bottom plies are cut consistently. Blade deflection, compression of the lay, fabric movement and excessive lay height can create variation between plies.
A higher lay height may improve productivity because more pieces are cut at once, but it may reduce accuracy. A lower lay height may improve cutting control but increase cutting time. The correct lay height should therefore be decided according to fabric type, garment style, quality requirement and cutting equipment.
Factors Affecting Cutting Quality
Fabric Type
Different fabrics behave differently during cutting. A firm cotton fabric may remain stable, while a slippery satin may shift. A knitted fabric may stretch, while a loosely woven fabric may fray. A synthetic fabric may fuse if heat is generated. Therefore, cutting parameters must be adjusted according to the fabric.
Fabric Relaxation
Some fabrics, especially knitted fabrics and fabrics with stretch, may need relaxation before spreading and cutting. If fabric is cut before it has relaxed, the garment panels may shrink back after cutting, creating measurement problems.
Spreading Quality
Cutting accuracy depends heavily on spreading quality. If the fabric is spread with wrinkles, tension, bowing, skewing, uneven edges or poor ply alignment, cutting cannot fully correct the problem. Good cutting begins with good spreading.
Marker Accuracy
The marker must be approved, correctly aligned and suitable for the fabric. Pattern pieces should respect grain line, nap direction, print direction, checks, stripes, borders and size requirements. Cutting can only reproduce what the marker provides.
Blade Sharpness
A blunt blade is one of the most common causes of poor cutting. It can create frayed edges, uneven lines, fabric dragging and heat build-up. Regular sharpening and correct blade maintenance are essential cutting-room practices.
Operator Skill
The cutter must understand machine handling, blade control, fabric behaviour, notching, drilling, safety and bundle discipline. Skilled cutting is not only about speed. It is about controlled movement, correct judgment and respect for the fabric.
Common Cutting Defects
Cutting defects may affect garment measurements, appearance, sewing efficiency and final quality. Some defects are visible immediately, while others become visible only during sewing or after finishing.
| Cutting Defect | Likely Cause | Possible Effect | Prevention |
|---|---|---|---|
| Frayed edge | Blunt blade, loose fabric structure, poor support | Poor seam appearance and handling difficulty | Use sharp blade and suitable lay height |
| Fused or scorched edge | Heat build-up during cutting | Hard edge, needle damage, sewing difficulty | Reduce lay height, use lubricant or anti-fusion paper |
| Overcutting | Blade moves beyond required line | Shape distortion and seam weakness | Control cutting speed and operator movement |
| Undercutting | Blade does not reach the required line | Incorrect shape and size variation | Follow marker line carefully and inspect parts |
| Ply-to-ply variation | Excessive lay height, blade deflection, fabric shifting | Different sizes from the same lay | Control lay height and support the lay properly |
| Wrong notch or missing notch | Careless marking or cutting | Sewing mismatch and assembly errors | Check notch position and depth before bundling |
| Off-grain cutting | Incorrect marker placement or fabric distortion | Twisting, poor drape and bad garment hang | Check grain line and spreading alignment |
| Shade or size mixing | Poor bundling and numbering | Mismatch in garment panels | Use bundle tickets, ply numbering and shade control |
Notches, Drill Marks and Bundle Control
Cutting is not complete when the outline of the garment parts has been cut. The cutting room must also provide proper notches, drill marks and bundle identification. These small details guide sewing operators during assembly.
Notches help match seams, pleats, darts, sleeve caps, collars and other construction points. Drill marks may indicate pocket placement, dart points, embroidery location, button positions or logo placement. Both must be accurate. A missing notch can slow production; a wrong notch can create a sewing defect; a deep notch can weaken the seam area.
After cutting, the garment parts should be bundled carefully. Bundle tickets should identify style, size, colour, quantity, lay number, shade group and other required production details. Shade control is particularly important when different fabric rolls are used in the same order.
Cutting Room Checklist
A simple checklist can prevent many cutting-room errors. The following checklist may be used before, during and after cutting.
| Stage | Checks to be Made |
|---|---|
| Before cutting | Fabric relaxation, fabric defects, shade grouping, marker approval, grain line, lay height, ply count and fabric direction should be checked. |
| During cutting | Blade sharpness, cutting accuracy, lay stability, heat build-up, notch position, drill marks and operator safety should be controlled. |
| After cutting | Parts should be counted, inspected, numbered, bundled, labelled and protected from shade or size mixing. |
Cutting Room Safety
Cutting machines contain sharp and fast-moving blades. Safety should therefore be part of the cutting process, not an afterthought. The cutting area should be clearly marked, access should be controlled, machine guards should be properly adjusted, warning signals should be used where required, and only trained operators should handle cutting machines.
Good lighting, clean floors, proper disposal of off-cuts, regular inspection of guards and electrical fittings, and suitable personal protective equipment help reduce cutting-room hazards. Safety is also connected with quality. A clean, well-managed cutting area allows the operator to cut with better control and fewer distractions.
Cutting in Simple Words
Cutting is the stage where fabric becomes garment parts. The pattern maker gives the shape, the marker gives the arrangement, the spreading operator prepares the lay, and the cutter converts the plan into physical components. If this conversion is accurate, the sewing room receives parts that can be assembled smoothly. If it is inaccurate, sewing becomes a struggle.
A good cutting room respects three things: the pattern, the fabric and the production system. It does not cut blindly. It checks the fabric, follows the marker, controls the lay, protects the edge, marks the sewing points and sends correctly bundled parts to the next department.
Conclusion
The objective of cutting is to produce garment components that are accurate, clean, stable, properly identified and ready for sewing. Good cutting requires precision, clean edges, unscorched edges, proper support of the lay and consistency across all plies.
In garment manufacturing, cutting has a direct influence on quality, cost and productivity. A well-cut garment starts its quality journey before it reaches the sewing machine. A careless cut, however, may create defects that no amount of sewing skill can fully correct. Therefore, cutting should be treated as a technical and quality-sensitive operation, not merely as the act of separating fabric into pieces.
Sources and Further Reading
- Health and Safety Executive. “Fabric-cutting machinery.” HSE, United Kingdom.
- International Labour Organization. Safety and Health in Textiles, Clothing, Leather and Footwear. ILO, 2022.
- Shang, X., Shen, D., Wang, F.-Y., and Nyberg, T. R. “A Heuristic Algorithm for the Fabric Spreading and Cutting Problem in Apparel Factories.” 2019.
- Pietroni, N., Guenot-Falque, R., Liu, M., Vidal-Calleja, T., and Sorkine-Hornung, O. “Computational Pattern Making from 3D Garment Models.” 2022.
- Babu, V. R. Industrial Engineering in Apparel Production. Woodhead Publishing India.
General Disclaimer
This article is intended for educational and informational purposes. Cutting-room practices may vary depending on fabric type, garment category, equipment, factory layout, buyer requirements and safety regulations. Readers should follow their organisation’s approved operating procedures, machine manuals and applicable safety standards before applying any cutting-room method in production.
Tuesday, 16 October 2007
Spreading of the fabric-2: : Static, Distortion, Fusion and Methods of Spreading
Spreading of Fabric - Part 2: Static, Distortion, Fusion and Methods of Spreading
In the first part of this article, we discussed the basic requirements of fabric spreading: correct alignment of plies, elimination of fabric flaws, correct ply direction and proper control of fabric tension. These points form the foundation of a good lay. However, spreading is not complete merely because the fabric has been laid on the table in layers.
In actual cutting-room practice, several additional problems can arise during spreading. Synthetic fabrics may develop static electricity. The lower plies may be disturbed by the movement of the cutting knife base plate. Thermoplastic fabrics may fuse at the cut edge because of heat generated during cutting. Different fabrics may also require different spreading methods depending on their package form, surface character, dimensional stability and design.
This second part therefore looks at the more practical side of spreading: how to avoid static electricity, how to reduce distortion, how to prevent fusion during cutting, and how to choose the appropriate method of spreading.
Table of Contents
1. Elimination of Static Electricity
Static electricity is a common difficulty while spreading fabrics made from man-made fibres such as polyester, nylon, acrylic and their blends. During spreading, the fabric rubs against guide bars, rollers, table surfaces and other plies. This friction may generate an electrostatic charge on the fabric surface.
When static charge builds up, the fabric does not behave normally. Some plies may cling to each other, while some may repel each other. The fabric may curl at the edges, fly slightly, refuse to settle flat, or become difficult to align. This makes spreading slower and less accurate.
This problem is especially common in dry weather or in cutting rooms where relative humidity is low. Synthetic fibres generally absorb less moisture than natural fibres. Because of this, the charge does not dissipate easily from the fabric surface. What appears to be a simple handling problem may actually be an electrostatic problem.
How Static Electricity Can Be Reduced
One method is to change the threading path of the fabric through the guide bars. If the fabric is rubbing too strongly against one part of the machine, changing the path may reduce friction and therefore reduce static generation.
Another useful method is to maintain suitable humidity in the cutting room. Moist air helps charges leak away from the surface more easily. Very dry air, on the other hand, encourages static build-up and makes synthetic fabrics more difficult to handle.
A third method is to earth or ground suitable machine parts, spreading tables or other conductive elements where this is technically possible. Earthing provides a safe path for accumulated charge to dissipate. In factories handling large quantities of synthetic fabrics, this can be an important preventive measure.
Practical note: Whenever plies are jumping, clinging, curling or not settling properly, do not immediately blame the operator. Check the fabric composition, room humidity, guide-bar contact, table surface and earthing arrangement. Static electricity is often an invisible reason behind visible spreading difficulty.
2. Avoidance of Distortion in the Spread
Distortion means unwanted change in the shape or position of fabric plies during spreading or cutting. A fabric may look flat from a distance, but individual plies may be slightly displaced, stretched, compressed, skewed or dragged. Such distortion is dangerous because all garment components cut from that lay may become inaccurate.
One common method of reducing distortion is to place a layer of glazed paper or underlay paper at the bottom of the spread. This paper is usually placed with the glazed side down. It allows the base plate of the straight knife to move more smoothly below the lay without disturbing the lowest plies.
The bottom plies are especially vulnerable because they are in direct contact with the table surface. When the cutting machine moves, the base plate can create drag. If the bottom plies move even slightly, the cut components from the lower plies may become different from the components in the upper plies.
Distortion may also occur because of the inherent nature of the fabric. Stretch fabrics, knitted fabrics, loosely constructed fabrics, slippery fabrics, bias-cut fabrics, lightweight synthetics and fabrics with unstable finishes require special care. These fabrics should be relaxed properly before spreading and should not be pulled during laying.
Practical note: A good spread should be stable. It should not shift when the operator touches it, when the marker is placed, or when the cutting machine begins to move. Stability of the lay is as important as alignment of the edges.
3. Avoidance of Fusion During Cutting
Fusion is a serious problem while cutting thermoplastic fabrics. Fibres such as polyester and nylon soften when exposed to sufficient heat. During cutting, the knife blade moves rapidly through many plies. Friction between the blade and the fabric can generate heat. If the blade becomes too hot, the cut edges of synthetic fabric plies may fuse together.
Fusion means that the cut edges of two or more plies stick to each other. This creates difficulty during bundling, ticketing, sewing and later garment assembly. In severe cases, the garment component edge may become hard, rough or sealed. Such edges may be uncomfortable in wear and may create sewing problems.
Anti-fusion paper can be used to reduce this problem. It is inserted at intervals in the lay and provides a lubricating effect as the knife passes through the spread. This helps reduce heat build-up at the blade-fabric contact point.
Other controls include reducing the lay height, keeping the blade sharp, using proper blade speed, allowing blade cooling, and using suitable blade lubrication where permitted. A very high lay increases resistance to the blade and may increase the chances of fusion, especially in synthetic fabrics.
A simple way to think about the problem is that heat is produced by frictional work at the blade and fabric interface. In simplified form, this relationship may be represented as:
\( \text{Heat generated} \propto \text{Friction} \times \text{Blade movement} \)
This is not meant as a cutting-room calculation, but as a practical reminder. If friction, lay height or blade resistance increases, the chance of heat-related cutting problems also increases.
Practical note: Fusion is not always visible from the top of the lay. It may be discovered later when bundles are separated. For synthetic fabrics, cut edges should be checked after trial cutting before bulk cutting begins.
4. Methods of Spreading
The method of spreading depends on fabric type, fabric package, order quantity, marker requirement, fabric direction, repeat design, cutting equipment and factory scale. Broadly, spreading may be done by hand, with special manual aids, or by travelling spreading machines.
4.1 Spreading by Hand on a Horizontal Table
In hand spreading, the fabric is drawn from the package and laid on a horizontal table. The operator moves along the table, aligns the edges, checks the length, removes wrinkles and ensures that the ply is neither stretched nor laid with slack fullness.
This method is simple and does not require expensive machinery. It is suitable for sampling, small production, short lays, delicate fabrics, checked fabrics, striped fabrics and fabrics requiring close visual matching. However, it depends heavily on the skill and patience of the operator.
Hand spreading is particularly useful when the fabric has checks, crosswise stripes, border designs or other regular repeats. In such fabrics, the spreader may need to adjust each ply carefully so that the design remains aligned.
4.2 Spreading by Hand and Hooking Up
In this method, the spreading table has a special tilting arrangement. The table can be tilted so that the surface becomes almost vertical, usually slightly away from the vertical. The top edge of the table carries a series of hooks. The spreader hooks the selvedge of the fabric onto these hooks while maintaining correct tension along the length of the ply.
After the spread is completed, the table is returned to the horizontal position. The hooks are retracted and the marker is placed on top of the lay. This method is useful when one selvedge must be aligned very carefully.
This method is especially helpful for checked fabrics where alignment along one edge is important. By hooking one edge, the operator can control the fabric position more accurately and reduce the chance of ply shifting.
4.3 Spreading Using a Travelling Machine
In machine spreading, the fabric roll is carried by a travelling carriage that moves from one end of the table to the other. The machine dispenses one ply at a time onto the spreading table. Depending on the machine, it may control fabric tension, edge alignment, ply length, end cutting, face direction and spreading speed.
Travelling spreading machines are useful for bulk production because they reduce manual labour and improve consistency. They are especially helpful when long lays and many plies are required. However, machine spreading still requires trained supervision. The operator must check fabric defects, roll changes, shade variation, ply direction, width variation and machine settings.
| Method | Best Used For | Main Advantage | Main Limitation |
|---|---|---|---|
| Hand spreading on horizontal table | Sampling, small lots, checks, stripes and delicate fabrics | High visual control | Slow and labour-dependent |
| Hand spreading with hooking up | Checked fabrics, selvedge alignment and difficult-to-lay fabrics | Better control of one edge | Requires special table arrangement |
| Travelling machine spreading | Bulk production, long lays and repeated orders | Speed and consistency | Needs investment, maintenance and supervision |
5. Fabric Package and Spreading Decision
The correct spreading method cannot be selected without understanding the fabric package. Fabric packages vary in length, width, make-up, roll tension and handling behaviour. A fabric may come as open-width rolled fabric, tubular knitted fabric, folded rolled fabric, cuttled fabric or velvet hanging.
5.1 Open-Face Rolled Fabric
Most woven and knitted fabrics are supplied as open-width fabric rolled on a cardboard tube. The roll is suitable for hand or machine spreading. This is the most common form for industrial garment production because it is convenient for transport, storage, inspection and spreading.
However, the roll should still be checked for roll tension, edge damage, shade variation, width variation and internal defects. If the roll has been wound too tightly, the fabric may require relaxation before spreading.
5.2 Tubular Knitted Fabric Rolled
Tubular knitted fabric is often used for garments such as T-shirts, sports shirts and innerwear. Since the fabric is in tube form, the cutting room must decide whether it will be spread as tubular fabric or slit open before spreading.
Knitted fabrics are more extensible than woven fabrics. Therefore, spreading tension must be controlled very carefully. If knitted fabric is stretched during spreading, the cut panels may relax later and become smaller than expected.
5.3 Folded Fabric Rolled
Some fabrics are supplied folded and then rolled. This form is traditional for certain woollen and tailored garment fabrics. The fabric is folded lengthwise and then wound on a roll.
The fold line must be examined carefully. If the fold creates a crease, shade line, pressure mark or distortion, it may affect garment quality. The spreader should check whether the fold position falls inside garment components or in the waste area.
5.4 Folded Fabric in Cuttled Form
Cuttled fabric is folded back and forth in layers rather than being tightly rolled. This form is useful when rolling may distort the fabric. Checks, stripes and some delicate fabrics may distort if rolled too tightly, and cuttling helps reduce winding strain.
However, cuttled fabric requires careful handling during storage and spreading. The folds must be opened gently and alignment must be maintained while laying the fabric.
5.5 Velvet Hanging
Some velvets and pile fabrics are supplied hanging on special frames. This prevents the pile from being crushed during storage and transport. Velvet is sensitive because its surface appearance depends strongly on pile direction and pile condition.
If velvet is rolled under pressure, the pile may flatten and produce visible marks. During spreading, velvet must be handled gently and with strict attention to nap direction. All plies must be spread in the correct direction; otherwise, sewn panels may show shade difference.
| Fabric Package | Common Use | Spreading Concern |
|---|---|---|
| Open-face rolled fabric | Most woven and knitted fabrics | Roll tension, width variation, shade and defects |
| Tubular knitted fabric | T-shirts, sportswear and innerwear | Relaxation, spirality and stretch control |
| Folded rolled fabric | Woollen and tailored fabrics | Fold crease and pressure marks |
| Folded cuttled fabric | Checks and distortion-sensitive fabrics | Careful unfolding and pattern alignment |
| Velvet hanging | Velvet and pile fabrics | Pile crushing and nap direction |
6. Quality Checklist During Spreading
A spreader does not merely lay fabric. The spreader also controls quality before cutting begins. A small mistake at this stage may multiply across all plies of the lay.
- Is the correct fabric being spread according to style, colour and order?
- Is the fabric width sufficient for the marker?
- Are the plies aligned at the edge and end?
- Is the tension correct, without stretching or slack ridges?
- Is the face direction correct?
- Is the nap, pile, print or design direction correct?
- Are fabric defects being identified and handled properly?
- Is static electricity disturbing the spread?
- Is the lay stable at the bottom?
- Is anti-fusion control required for synthetic fabrics?
- Is the lay height suitable for the cutting machine?
- Has fabric relaxation been allowed where necessary?
7. Common Spreading Mistakes
One common mistake is to focus only on speed. Fast spreading may look efficient, but if plies are stretched, misaligned or wrinkled, the saving in time is lost later through cutting defects, sewing difficulty, alteration and rejection.
Another mistake is ignoring fabric relaxation. Many knitted and stretch fabrics require time to relax after being unrolled. If such fabrics are spread immediately after opening the roll, they may change dimension after cutting.
A third mistake is not respecting fabric direction. Nap, pile, shine, brushed surfaces, directional prints and one-way designs must be spread according to the marker direction. If this is ignored, the garment may show panel-to-panel shade variation even when the fabric is from the same roll.
A fourth mistake is spreading too many plies. Excessive lay height may reduce cutting accuracy, increase blade deflection, cause fusion in thermoplastic fabrics and make notch or drill marking less reliable.
8. Conclusion
Spreading is one of the most important preparatory operations in the cutting room. In the first part, we saw that spreading must control alignment, defects, direction and tension. In this second part, we have added further practical controls: static electricity, distortion, fusion, spreading methods and fabric package forms.
A good spread is flat, stable, correctly aligned, free from harmful tension and suitable for the fabric being handled. The method of spreading should not be selected only on the basis of speed. It should be selected according to fabric behaviour, design requirement, production quantity and cutting method.
The cutting room must remember one simple principle: cutting accuracy begins before cutting. It begins with spreading. A careless spread creates problems that travel through the entire garment production process. A careful spread protects fabric, improves cutting accuracy, reduces wastage and supports better garment quality.
Sources
- Vilumsone-Nemes, I. Fabric Spreading and Cutting, in Industrial Cutting of Textile Materials, Woodhead Publishing / ScienceDirect.
- Vidyamitra / INFLIBNET. Garment Machinery and Equipment: Pre-production Machinery and Equipment.
- Sarkar, P. Cutting Process in Garment Manufacturing.
- Health and Safety Executive. Electricity in Potentially Explosive Atmospheres.
- Vilumsone-Nemes, I. Industrial Cutting of Textile Materials, Woodhead Publishing.
General Disclaimer
This article is intended for educational and practical understanding of fabric spreading in garment manufacturing. Actual factory practices may vary depending on fabric type, garment style, cutting equipment, spreading method, buyer requirement, factory layout and internal quality-control systems. Readers should adapt these principles according to their own production environment and should follow the safety instructions, machine manuals and quality procedures applicable in their factory.
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