digitizer Alex Herrera as individual files and then positioned on the garment as it was created. Classic Rayon #40 thread and a #75/11 needle was used on one head of a 12-head Barudan machine for the machine embroidery portion of the designs. The thick gold embellishment is hand-applied gimp, whose size was determined by the number of threads in its core. The brown, three-thread metallic branch was done with a hand-guided embroidery machine that uses a hook needle to embed the chain stitch in the cord as it sews. The fabric was a stable black silk satin that didn't require backing. The white stitches on the black kimono are a novelty fill; the blue in the clouds is a satin stitch. For the rust-colored kimono, flowers and leaves were created in satin stitches prior to production, and placement of each petal was hand chosen. The process by which designs are duplicated and then arranged onto a unique garment such as a kimono is fairly complex. Patterns are computer generated using proprietary software versions of Adobe Photoshop and Illustrator. They are then sent to the art department, where the printed patterns are transferred to vellum using a perforating machine, fluorescent (cleanable) wax and black light. With this method, little to no lasting marks are made on the final fabric until the designs are stitched. This allows for no mistakes, since the fabrics came directly from the costume designer. Left The winter kimono is modeled during construction so embroidery placement can be reviewed. Practical Applications How does this exotic, customized approach to apparel embellishment translate to the everyday? Take denim jackets. The alternative technique of individually placing a design can be achieved more traditionally using a clamping hoop or stick-on backing (see "Other Backing Options"). Using the jacket as your design space P.58 I M P R E S S I O N S M A G . C O M JANUARY 2016