This is the third in a series of sponsored posts where we look behind the scenes at American clothing company, Karen Kane.

Last week we took you through Karen Kane’s Design Process and Sample Room, which is where a new garment is born and refined. Once the collections are ready, Karen’s husband Lonnie, eldest son Michael, and a group of account execs and sales reps show the items “at market” several times a year, which is where fashion buyers from different retailers and boutiques view the collections and place orders. “Coming back from a good market”, as Lonnie puts it, is one of his favourite parts of this business. Karen and her team reap the reward of their hard work when a style comes back with an order for production.

My fashion buying days took me to factories in Asia, Africa and Europe, so I have seen first hand what can go wrong in clothing manufacture. There are many moving parts and production relies heavily on the strength of each link in the chain, so there is lots of room for error. Good grief! Let’s just say that the word “contingency plan” takes on a new meaning in this business. That’s why I have the utmost respect for clothing manufacturers. It’s an extremely stressful job at the best of times.

The very cool, calm and collected Karen took us around the factory floor, although hubby Lonnie actually runs this side of the show. To use Rag Trade lingo, the “Cut, Make and Trim” process starts right here and it’s abbreviated “CMT”. A final sample that is sold at market, like this gorgeous animal print blouse, receives a cutting order (the sheet that’s attached to the garment) and heads down to the cutting facility.

Karen Kane orders fabric from France, Italy, China, the United States and a variety of other countries. The fabric rolls are inspected as soon as they arrive. You can’t see whether fabric is damaged when it’s on the roll. so onto the inspection machines it goes, where each square inch is checked and double checked. The weight, colour, texture, composition and weave has to be just as was ordered. Fabric that is flawed, or not as the order specified, is returned right away.

Here Karen and I are looking at “approved” fabric. Yes! That means that the order is one step closer to being cut.

When you produce five labels like Karen Kane, there is a LOT of fabric moving on and off the factory floor. Fabric has to be stored before it’s cut. The fabric storage area is gigantic and trying to find a specific set of rolls can be like looking for a needle in a haystack. Enter their effective cataloguing system on the bottom left of the photo above. A swatch of fabric is marked with it’s precise location: Section 39, Row B. How organized and efficient. Love that.

When fabric sits in the storage area, surprisingly, it’s not always safe. Sometimes the factory lights cause it to discolour, or the metal shelving causes indentations that damage the fibres. More problems to solve, which is just par for the course on any given day in the world of clothing manufacture.

The grading process, when ALL the sizes of an order are created from the sample pattern, happens before the pattern pieces are actually cut. This gentleman above is a pattern grader, and it’s his responsibility to make sure that the graded sizes and their ratios are correct because he operates the grading machine. He works directly from the cutting order and adheres to the size curve. Years ago, I used to grade patterns by hand and it’s an extremely finicky and labour intensive process. So glad that we don’t have to grade things by hand anymore!

Once the patterns are graded, the information is loaded onto a computer where it’s an absolute skill to lay out the pattern pieces so that there is minimum fabric wastage. The lovely gentleman behind this computer plays around with many, many pattern laying configurations until he has the optimum solution. So essentially this process is still done by hand. Computers do NOT work out the best pattern lay. Isn’t that amazing?

At last we’re ready to cut the fabric! The cutting tables take up almost the entire length of the factory floor. The fabric is unrolled and layered across the length of the tables. It stretches as it’s unrolled, so it has to “rest and recover” for a couple of days before it sees the blades of a cutter.

The layers of fabric are heavy, so when the time comes to feed it through the cutter, air blows through little holes on the cutting table to assist movement.

A template of the pattern lay is fed into a Gerber Cutter, an enormous computer operated machine that moves on tracks across the factory floor. It moves from one cutting table to the next, cutting out pattern pieces through hundreds of layers of fabric. But you know how it goes, all machines break down, and when that happens, out comes the electric hand cutter that you see in the bottom corner of the above photo. Everything has a contingency plan.

In some instances, fabric has to be cut completely by hand, which these fabulous ladies are doing with shearling fabric. You are not allowed to cut the hair of shearing fabric, just the backing, so no fancy Gerber cutter here. It’s all controlled by the human hand. The masks are to prevent fabric fluff from irritating nasal passages.

Some styles require a printed pattern somewhere on the garment. The screens are cut from a prescribed design and the panels are printed and dried right on the premises. The factory keeps a library of screens on hand.

The cut pattern pieces are finally bundled up, per order, into bags ready for the sewing rooms. The bundles also contain everything else required to make the garment, like zippers, buttons and labels.

The next part of the process is the “make” part of CMT, which doesn’t actually happen on the premises. The bundles of cut fabric and trim are delivered a few of blocks away to a company that Karen Kane contracts for sewing the garments. The almost completed product is delivered back to Karen Kane for the finishing touches, which constitutes the “trim” part of CMT. You’ll hear all about that this afternoon.

Well, that’s just an ordinary day at Karen Kane. It is a complex operation with lots of room for error, where the term “contingency plan” takes on a whole new meaning! Lonnie and Karen have to deal with new challenges every day. And they take it all in their stride.

This is the third in a series of posts sponsored by Karen Kane:

1. Design at Karen Kane
2. Karen Kane’s Sample Room
3. Clothing Production at Karen Kane (this post)
4. Karen Kane’s Trim and Dispatch Departments
5. Karen Kane the Family Business

For more information you can follow @Karen_Kane on Twitter or like their page on Facebook.

Until recently I would energetically pump the tube before applying mascara to my lashes. By pumping I mean vigorously moving the brush around in the mascara tube to get a good coat of lash paint onto the brush. One of my clients, who has been in the beauty industry for decades, mentioned that pumping the brush causes liquid mascara to go clumpy and thick. It has something to do with the addition of air into the solution as you pump that causes the clumps.

My lovely client suggested that a gentle ninety degree twist of the brush is sufficient, and that will keep your mascara solution thin and smooth for longer. So I started a new mascara tube and have religiously NOT pumped the tube.

Who else pumps their mascara tube?

Recently I’ve been thinking a lot about our flaws and how we conceal them, or choose not to. Personally I don’t like the negative connotation of the word “flaw”, because most of the time these so-called flaws are just differences from a societal norm. And I would love everyone to be happy exactly the way they are rather than chasing some perceived ideal. Yet I find myself offering advice, to readers of YLF and to my clients, on how to conceal and camouflage. In some cases I conceal my own “flaws” and in other cases I expose them with no concern at all. Do I have a double standard?

I see the same conceal-versus-expose disparity reflected in my clients:

• Some like to cover up, even though their bodies are very close to society’s norm for perfection, and those who are comfortable with exposure do not necessarily have “perfect bodies”.
• Some are extremely sensitive to the exposure of muffin top, whereas others are less perturbed about it.
• Some insist on covering the top part of their arms, whereas others happily go sleeveless.
• Some are uncomfortable sans hosiery, while others are just fine baring their legs.
• Some like to expose their backs, while others prefer to hide them.
• Some happily wear regular length tops with skinnies, whereas others will only wear tunics.
• And as time goes by, some clients prefer to cover up more than they used to, whereas others become more brave about exposure.

Often when I grapple with something like this I take my thoughts to Greg. He has a way of finding the factors at the root of a problem and in this case, after I explained my ideas, he suggested that I frame it in terms of two distinct phases:

1. Our influences: We are constantly absorbing information from the world around us. Some of this is conscious, but most of it is sub-conscious. The outfits we see on other people, the models we see on the catwalk, the pictures in fashion magazines, conversations we overhear, things our friends and family tell us — all of this is stored away. Without even knowing it, all of these pieces of information are processed and distilled into a summarized version that we call…
2. Our beliefs: These are the things that our internal voice tells us. We can’t remember exactly where they came from, but they guide our decisions. We all see slightly different things, in slightly different ways, and process them slightly differently. Although we may share some of them, everyone has a unique set of beliefs.

This immediately explained my apparent conflict. When I am getting dressed in the morning it is my current beliefs that matter, not the influences that led to them. I put together my outfits based on what I believe looks good on me that day. Some of those beliefs are based on positive influences, like my Mum’s style, and others are based on negative societal norms. But regardless of the source, those are my current beliefs and I listen to my internal voice.

It also explains the differences between my clients, and why it is impossible for me to lay out universal guidelines for what to cover up and what to expose. What I can suggest is that you be more conscious of the process that leads you to your beliefs about your body and how to dress it. I think there are two important components to this.

First, be true to your current beliefs. Wear the things that make you feel beautiful, confident and happy. If that means concealing your muffin top because your internal voice tells you to do so, then do it! I can offer advice on how to do so effectively. When my clients ask for my opinion, I first ask them about their comfort levels and never force an issue. I’ll also nudge them in a direction if they are particularly self conscious, like suggesting that everyone can wear sleeveless and sport legs sans hosiery in my style world. But if they’d prefer to cover up, then that works for me too.

Second, question your beliefs. Question the reasons that your internal voice is telling you to conceal your muffin top or hide your upper arms. Was it because some rag laughed at a celebrity for exposing theirs? Or was it that someone implied you were overweight? If so, are these really good reasons for you to feel bad about your body?

Of course, this internal dialog won’t change your opinion on your own muffin top or your arms right away, but it is possible that by considering the influences that informed your beliefs, you will defuse them. At some point down the road you might find that the muffin top issues and upper arm issues just aren’t as important to you as they used to be.

Finally, consider the way your beliefs, a product of your influences, impact the way you judge other people and their style choices. You might find the mere hint of muffin top, white veiny legs, and untoned upper arms unsightly, but the fact is that not everyone does. You are entitled to your beliefs, but I think it is important to remember that they will certainly differ to those of others.

How you feel about your body is a constant journey of introspection and self acceptance as your body changes over time. When to conceal and when to expose will be based on your beliefs at the current stage in this journey. Make peace with these current beliefs, but never stop questioning those beliefs and striving for self acceptance.

One change you can make right away? No more references to figure “flaws”. These are, after all, just ways that your body is different to what you currently believe is ideal. Conceal them today, but strive to accept them tomorrow.

Just for fun, I interviewed Papa about fashion and style for this year’s Father’s Day post. Papa is almost 80 and lives in the Netherlands. He’s a gentle, tactful, quiet, intelligent and charming soul with the best laugh in the world. He’s appeared on YLF several times before here, here, here and here, both in old and recent photos.

Papa spent 27 years living in Hong Kong and Japan working as a Registered Charted Accountant, heading up the financial department of a Dutch Shipping Company. He has never taken a huge interest in fashion and style, but when asked, has rather strong opinions on the subject. I really enjoy hearing his thoughts and you might too. Our conversation was in Dutch so I’ve translated the answers while keeping them as authentic as possible. My Dad laughed his very hearty laugh all the way through this interview.

Angie: What is the most stylish wardrobe piece you have ever owned?

Papa: My gold signet ring, which I bought on Pedder Street in Hong Kong 1959. I have worn it almost every day since then, but over the years I’ve had it made larger to fit my fatter finger. I was very skinny back then. And my 18 carat gold watch, which I think I bought in 1961. Both these things looked good with my MG. Your Mother loved my sports car.

I also count the gold watch with the leather strap, the one you and Greg gave me a few years ago, as one of my favourite items.

What was your favourite menswear trend over the years?

Jeans. I love my jeans and I wear blue, brown and grey jeans. You helped me buy all my jeans! I also like nautical blazers with gold buttons.

What was the work dress code like in Hong Kong in the 60s?

Professional. I wore a suit, shirt and tie every weekday, with good shoes. And my watch, ring and briefcase. I had all my suits custom made in Hong Kong. I used to wear white shirts, but later wore blue, green, yellow and light orange shirts. My ties were conservative and I liked it that way. The people in Japan were even better dressed than the people in Hong Kong, so when I lived there, I wore my best suits with my white shirts so that I looked more formal. Sometimes I wore a hat and coat. We could dress casually when we worked on Saturdays so I wore bermuda shorts with long socks and shoes and a shirt and no tie. But not in Japan. Things were very formal in Japan.

Angie: Was there an item you wore as a teenager that older people thought was crazy?

No.

Angie: Who was your style role model when you were a young man?

I don’t have style role models.

Really? But you always comment on how stylish the old movie stars are.

Oh ya. Ya! That’s true. Well, top of the list is Cary Grant and Grace Kelly. Then Jimmy Stewart, Gregory Peck, and Sean Connery in the James Bond movies. And you know, all the Bond ladies were easy on the eyes too. And of course Shirley MacLain. I spoke to Shirley MacLain at the Peninsular Hotel in Hong Kong and you were with me. Don’t you remember that?

I don’t remember at all. I must have been very little.

You were two or three years old, and you were dressed so nicely in a bright yellow sundress with little red shoes and pigtails. Shirley MacLain was a very well dressed lady and a very good actress.

What do you think of today’s fashions?

I’m not that impressed. Maybe because I’m too old fashioned, I don’t know. Many women wear dress slacks and trouser suits and I don’t find that a becoming look for a woman. In the 50’s, 60’s, 70’s, women wore skirts and dresses and it looked wonderful.

Is there anything that you could change about today’s fashion, what would it be?

I’d like to see more woman wearing skirts and dresses. And when men wear formal shirts with suits and blazers, they should wear a neck tie. It just doesn’t look good without a necktie. It’s sloppy. Why don’t they wear a neck tie?

What was your favorite look that Mama would wear?

That’s easy. It’s when Mama would wear a full skirt just below the knee, you know, fitted at the waist and standing away from the legs, with a nice tailored blouse, pantyhose and pointy shoes. And in happy colours and pretty patterns. The skirt was the right length, not too long or too short. I liked the shoes that Mama had custom made in Hong Kong because they looked the best.

What did Mama like you to wear?

Well, you know your Mother. She liked to dress up. She liked it when I wore trousers, blazer, shirt and tie with fancy shoes, and her favourite aftershave. She also liked me to wear my batik shirts from Indonesia and Malaysia.

How would you describe your style today?

Smart Casual! I wear nice jeans with checked shirts and good quality leather shoes every day. I tuck in my shirt and I don’t like to leave it hanging out. My favourite jeans are by Tommy Hilfiger and the Gap. And you told me to match my belt with my shoes, but sometimes I don’t match them because I forget! When I’m cold I wear a thin sweater and I have many colours like red, orange, turquoise, navy, green and I like them all. I also have many jackets with good pockets. It’s important to have jackets with lots of good pockets.

Which item of clothing do you think is a good investment?

Jeans. I love my jeans. And shoes and jackets. Good shoes are important, you know. You have to look after your feet and I walk everywhere.

What’s your choice of metal?

Gold. Of course, gold. I never wore silver because I didn’t like it. And Mama only wore gold. When you wear Mama’s wedding ring and I wear my wedding ring, which is the same ring but in a larger size, we match. That’s very nice!

What’s your favourite colour?

Dark Blue

Hmmmm. I always thought that green was your favourite colour.

Oh, Yes! Well, green is my absolute favourite colour. I wore a green suit to work you know. Do you remember that?

I do! In the 70’s.

And we had green chairs in our lounge.

I remember the chairs. You also like happy colours actually, and you don’t like black.

Very true. I like nice colours and I don’t like black.

I like bright happy colours too.

Ya!

Thanks for your meaningful opinions, Papa. I love you, and look forward to your Seattle visit in September. And I’ll be sure to wear lots of dresses and skirts when you are here! Thanks for being an absolutely wonderful Dad.

We at YLF wish you a very happy Fathers Day.

This picture was taken in Japan in 1967 when my Dad, Mum and brother lived there before I was born. It is Friday night and my Dad is on his way to have an after work drink (a “borreltje”) with two colleagues.