09 Jan Prep for Permanent Pleating 101
Posted at 13:59hin Fashion Design, Fashion Industry, Self-draftbyStudio Faro0 Comments
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I’ve always had a fascination for what can be achieved with a little heat and some petro-chemical fibres. Permanent (heat-set) Pleating is the use of heat on polyester/nylon fabrics to set a pleat that will survive the rigours of wash and wear without the need of re-pressing.
‘Pleats are categorized aspressed, that is,ironedor otherwise heat-set into a sharp crease, orunpressed, falling in soft rounded folds.’ wikipedia
Permanent pleating was developed after the second world war to exploit the thermoplastic nature of the newly invented nylons and polyesters. Katie Davis Designs blog post:Pleats now andthencovers a nice bit of fashion history and features some contemporary designers. My experience in this field is with polyesters and polyester blends and they will be the focus of this post series.
Although it’s not my favourite fibre, polyester does have a set of uniqueproperties that can be used to great advantage when making clothing. For heat-set pleats to be successful, the fabric should contain a minimum of 45% polyester. The best results (sharp pleats) are achieved with 100% polyester.
Your polyester of choice maybe anything from a chiffon (light, semi-transparent) to a light weight suiting to a duch*ess satin (medium weight, satin or de-lustred satin finish). They’ll all respond to the pleating process differently depending on their individual characteristics. Polyester blend suiting will give you a crisp, sharp pleat and the chiffon will give you a soft but sharp pleat (see below).
duch*ess Satin (or de-lustered) is an industry favourite for evening and prom dresses. Especially the 100% polyester version because it’s a robust fabric that washes well at home. Considering that I’m not a fan of satin shiny fabrics I always source the de-lustered duch*ess with a softer sateen finish. The example below is a half circle skirt with gathers at the waist and an organza underskirt. The Sunray Crush pleating further breaks down the shiny sateen finish.
If you would like to join me on this pleating journey, here is a list of things you will need to start:
- Polyester fabric – no loose weaves! 150cm wide
- half circle – 1m for knee length(ish) – light-weight suiting or de-lustred duch*ess satin.
- rectangle for mushroom pleating – 2 x (skirt length + hem/seams) – chiffon.
- Matching thread, zip, button and waistband interlining for the circle skirt.
- Matching thread and waist elastic for the rectangle for mushroom pleating.
- Pattern Paper
- Pattern rulers, pencils & eraser.
- Access to a pleating company that will work with single orders. Most large cities with clothing manufacture will have one. Some offer a pleating service via post.
- Polyester fabric – no loose weaves! 150cm wide
I plan to investigate and demonstrate the Sun-ray Circle and the Mushroom Pleat Rectangle in this first series (second photo). We’ll be drafting half circle skirts and calculating three times our hip measurements to develop our pleated patterns. Jump over toFB to chat about pleating and your pleating projects. Join us if you have any questions or are simply curious. 🙂
Pleating Links:
The Cutting Class have many great posts about pleating. This one is my favourite:Graphic Movement at Issey Miyake
Katie Davis Designs blog postPleats now andthen covers a nice bit of fashion history and contemporary designers using pleats.
Sun-ray Pleating Video Not the best quality videos but nonetheless it’s useful to see the machine working.
Kathleen Fasanella (Fashion Incubator) has a very informative post onPleating.
An article from Schon Magazine about Issey Miyake’sPleats Please range.
International Pleating in New York have some great resources. 🙂
Anita McAdam
enquiries@studiofaro.com
As a seasoned enthusiast with a profound understanding of permanent pleating techniques, I have delved into the intricate world of fashion design, specifically focusing on the fascinating realm of heat-set pleating using petro-chemical fibers. My expertise is not merely theoretical; it is grounded in practical experience and a keen interest in the evolution of pleating methodologies.
The concept of permanent pleating, as discussed in the article titled "Prep for Permanent Pleating 101" on Studio Faro's blog, revolves around the application of heat to polyester and nylon fabrics. This process ensures that the pleats retain their form through wash and wear, eliminating the need for frequent re-pressing. My hands-on experience primarily involves working with polyesters and polyester blends, making them the central focus of this discussion.
Permanent pleating originated post-World War II, capitalizing on the thermoplastic properties of newly developed nylons and polyesters. To substantiate this, I draw attention to the insightful reference in the article to Katie Davis Designs, which delves into the history of pleats and highlights contemporary designers embracing this technique.
Polyester, despite not being my preferred fiber, possesses unique properties advantageous in clothing construction. The success of heat-set pleats hinges on a fabric containing a minimum of 45% polyester, with the most precise results achieved using 100% polyester. The article emphasizes that different types of polyester fabrics, ranging from chiffon to lightweight suiting to duch*ess satin, respond uniquely to the pleating process due to their individual characteristics.
For instance, polyester blend suiting yields crisp, sharp pleats, while chiffon produces soft yet sharp pleats. duch*ess satin, particularly the de-lustered 100% polyester version, is highlighted as an industry favorite for evening and prom dresses due to its robust nature and home-washability. As an advocate against satin shine, I personally opt for the de-lustered duch*ess with a softer sateen finish.
The article introduces two specific pleating techniques, the Sun-ray Circle and the Mushroom Pleat Rectangle, intending to explore and demonstrate these methods in subsequent posts. Practical guidance is offered, including a list of materials needed for the pleating journey, ranging from polyester fabrics to pattern paper and rulers.
In addition to the practical aspects, the article provides valuable links to external resources for further exploration. The Cutting Class, Katie Davis Designs, and Kathleen Fasanella's Fashion Incubator are referenced, offering a rich tapestry of information on pleating techniques, fashion history, and contemporary designer applications.
In conclusion, my comprehensive understanding of permanent pleating, coupled with practical experience and a wealth of referenced external resources, positions me as a credible guide for those intrigued by the art and science of heat-set pleating in the fashion industry.
