Place of Original | China |
Feature | Anti-pilling, Breathable, Plus Size, Anti-Sh |
Supply Type | In-Stock Items |
Material | 100% polyester/wool |
Clothing Len | Regular |
Sleeve Style | Regular |
Thickness | Thick |
Sleeve Leng | Full |
7 days sam | Support |
Product Name | V-neck sweater cardigan jacekt |
Color | khaki, navy, dark green or custom |
Model Number | UNM 902093 |
Gauge | 9GG |
Available Quantity | 10000 |
Technics | Computer Knitted |
Item Type | Cardigans |
Pattern Type | Solid |
Collar | V-neck |
Closure Type | Open Stitch |
Decoration | None, Flowers, Bow, Embroidery |
Style | Casual |
Keyword | sweater dress, v neck cardigan sweater |
Design | Sexy and elegant |
The human body has curvature, but woven fabric is flat and has little elasticity. To produce curvature in a smooth (unruffled) woven fabric, it is necessary to subtract or add wedges of fabric. Positive curvature (cupping, such as is needed at the bust point or over the rear) is produced by subtracting a wedge (a dart) with the point of the dart almost at the point of desired maximum curvature. The greater the angle of the wedge, the greater the local curvature. (The orientation of the dart is unimportant for the curvature, so it can be chosen to accentuate a style line of the garment.) Similarly, negative curvature (ruffling/saddle-shaping, as at a skirt hem, lower back or under the bust) is produced by adding a wedge (a flare). Although the base of individual wedges usually lies on a seam, sometimes wedges occur in pairs (diamonds) that are independent of the seams. Subtracting a diamond-shaped dart produces positive curvature at the outer points of the diamond, and negative curvature at the middle points that are brought together (good for the bust or back). Conversely, adding a diamond-shaped gusset produces negative curvature at its tips and positive curvature at its middle (useful in designing stuffed animals). Sometimes, the sharp, angular edges of the wedges are softened to form continuous princess seams.
Since knitted fabric is generally elastic, it conforms readily to the wearer's body without shaping. However, some shaping may be necessary when the knitted fabrics are unusually stiff (e.g., thick cable designs or heavily overstitched designs) or in regions of high curvature (e.g. sock heels). Ironically, shaping is much easier and less obvious with knitted fabrics than with woven cloth. Instead of cutting out wedges and sewing the edges together, knitters can add or subtract stitches; work short rows; or, most subtly of all, change the needle size to produce smaller/larger stitches in the desired "wedge" region.
Choosing the yarn
The choice of yarn affects the comfort of the sweater, since it affects its warmth, weight and ability to "breathe" (air exchange). Some yarns will also produce itching or even allergic reactions in some wearers.
The yarn affects the bulk and drape of the knitted fabric, as well as the visibility of stitches. Complicated stitch patterns are best seen with a smooth, highly spun yarn and may be invisible with "furry" yarns such as mohair or novelty yarns.
The washability of yarn affects its practicability. Thus, sweaters knitted for young children are usually knitted in acrylics, which are light in weight and washable.
The yarn will also determine the lifetime of the sweater (in general, highly spun yarns suffer less wear with time) and how well it will retain its shape (elastic yarns like wool are better than non-elastic yarns like cotton or silk).
Choosing colors
The choice of colors is critical to the design of a sweater.
The simplest choice is to use multiple shades of a single color (e.g., various shades of blue), perhaps accented with a contrasting color (e.g. flecks of yellow). The arrangement of shades on the sweater can have a significant visual effect, due to the principle of chiaroscuro; dark shades tend to recede and be smaller, whereas light shades advance and seem larger. For example, vertical stripes with a light color in the middle and dark colors on the sides have a slimming effect. Psychologically, bright colors tend to be associated with straightforward, innocent or extroverted personalities, whereas darker shades are associated with more thoughtful, experienced and introverted personalities.
The "temperature" of a color also affects its perceived depth. Warm colors have red or yellow tones (including orange and yellow-green) and are associated psychologically with warmth and energy. Cool colors have more bluish undertones (including purples, aquas and greens) and are associated psychologically with serene, calm personalities. Warm colors tend to advance relative to cool colors, when both are presented simultaneously.
Contrasting colors may be chosen in various ways. A common choice is to take a complementary colors from one of the several color wheels (e.g., blue and orange, green and red), or to choose a pairing that occurs in nature, e.g., yellow and red.
Choosing shapes
The designer has many choices for how to shape the sleeve length and cap, waistline/hemline and neckline/collar; these various choices and their visual effects are described in their individual entries. The overall shape (silhouette) of the garment is defined by the ease introduced at various points, as described above under "Fitting". In addition, a sweater may have ornamental lines/curves, even images. In general, these lines are chosen to achieve a balanced look; for example, well-chosen style lines can help compensate for body lines considered too long or too angular or too short or too rounded. However, visual effects may be idiosyncratic, and the knitter is encouraged to experiment.
Choosing an overall pattern
The scale of the overall pattern relative to the size of the whole sweater is a key variable in the "look" of the sweater. Large overall patterns eliminate the need for accent patterns (see next section) but may be too bold for some wearers. A small, fine pattern makes an excellent background for accent patterns, but may not be visible with a particular yarn, or may be too retiring for some wearers.
Choosing accent patterns
A sweater done uniformly in the same pattern overall is relatively simple and understated, which may be the desired effect. However, it is more usual to decorate the sleeve cuffs and either the neckline or the lower hemline with an accent pattern. The accent band can be rather wide (often ~1/3 of the total length) and its boundary can be straight or wavy/serrated.
Smaller boundaries (such as collars, tops of pockets, central seam in cardigan) may receive special ornamentation as well, e.g., cabling along its edges.
Embellishments
There are many types of ornamental embellishments that can modify the overall look of the sweater.
Collars and lapels are perhaps the most visually obvious embellishments. They frame the face, neck and shoulders, and complement the neckline and armhole lines.
The choice of closures is an important practical consideration and can also help define the sweater's style. Buttons and zippers are the most common choices for sweaters, but frogs, ties and belts are also seen.
Shoulder pads and other shaping devices are uncommon, but can be included to define a particular silhouette.
The fabric of the sweater can be ornamented with various textures, such as gathers, ruffles, pleats, ruching and shirring. Ornamental patterns can be added using beads, buttons, sequins, bobbles, ribbons and knots, as well as appliqué or cordwork. Overstitching (also known as Swiss darning) and other embroidery techniques allow for many visual effects that cannot be made with normal knitting, e.g., a circle of successively interlocking stitches.
