DOCSLIB.ORG

Fabric Fiber Content

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fabric Fiber Content Fabric Types, Count & Fiber Content Zweigart Linen Count Content Belfast 32 100% linen Afghans - 100% Polyacrylic Cashel 28 100% linen Abby 18ct Alba 14ct Almanac 14ct Cork 19 100% linen Anne Cloth 18ct Baby Snuggle 18ct Country Home 18ct Dublin 25 100% linen Diamond 18ct Gloria 14ct Hearthside 14ct Edinborough 36 100% linen Honeycomb 18ct Novara 14ct Patrice 14ct Fine Linen 45 55% linen + 45% cotton Afghans - 100% Cotton Glasgow 28 100% linen Anne Cloth 18ct Augusta 14 ct Novara 14ct Kingston 50 100% linen Teresa 14ct Newcastle 40 100% linen Afghans- Misc Normandie 55% cotton + 45% linen Pastel LinenD 28 52% cotton + 48% linen Gloria 14ct 70% rayon + 30% linen Pearl Linen 20, 25, 28 60% polyester + 40% linen Merino 28ct 100% Wool Mosaik 18ct 52% cotton + 42% rayon Patterned Count Content Tannenbaum 18ct 52% cotton + 42% rayon Cottage Huck 14 100% cotton Aida Weave Count Content Belinda 20 52% cotton + 48% rayon Diana 20 52% cotton + 48% rayon Aida 8, 11, 14, 16, 18 100% cotton Newport 28 100% linen Country AidaD 7 100% polyacrylic Sambuca 28 60% polyester + 40% linen Damask Aida 11,14,18 52% cotton + 48% rayon Saronno 28 52% cotton + 48% rayon GoldauD 7 55% rayon + Shenandoah 28 55% linen + 45% rayon 40% cotton + 5% metallic Hardanger 22 100% cotton Canvas Count Content Hearthstone 14 60% cotton + 40% linen Congress 24 100% cotton Herta 6 100% cotton Congressa 24 100% cotton Huck 14 100% cotton Cordova 22 100% cotton Klostern 7 60% rayon + 40% cotton Double Mesh 5, 6.5, 7.5, 10, 12, Linen Hardanger 22 100% linen 14, 16, 18, 20 100% cotton OsloD 22 100% mercerized cotton Interlock 5, 7, 10, 12, 13, 14, 18 100% cotton Rustico Aida 14,16,18 51% cotton + Mono 10, 12, 13, 14,16, 18 100% cotton 34% rayon + 15% linen Mono/Metallic 18 95% cotton + 5% metallic Tula 10 60% rayon + 40% cotton Linen CanvasD 18, 24 100% linen Wool HardangerD 22 100% Wool Waste Canvas 6.5, 7.5, 8.5, 10, 10.5, 11, Yorkshire AidaD 14 96% cotton + 4% polyester 12, 13, 14, 16 100% cotton Even Weave Count Content Rug Canvas 3.3, 3.75, 6 100% cotton Annabelle 28 100% cotton Stitchband (Aida weave) Ariosa 20 60% rayon + 40% cotton Edge Width Count Content Davosa 18 100% cotton Bows 2 1/2, 3 3/4, 4 1/2 16 100% cotton Floba 14,18,25 70% rayon + 30% linen Crocheted 4 16 100% cotton Janina 22 100% cotton Hearts 2 3/4, 3 3/4, 4 3/4 16 100% cotton Jazlyn 28 52% cotton + 48% rayon Plain 5 1/2 16 97% cotton + Jubilee 28 100% cotton 3% rayon Jute 4, 10, 12 100% Jute Plain 2 1/4, 4 24 100% cotton Linda 27 100% cotton Scalloped 3/4, 2, 3 1/8, 4 16 100% cotton Lincoln 14 80% cotton + 20% linen Stripped 2 3/8, 3 1/4, 4 1/2 16 100% cotton Lugana 20,25,28, 32 52% cotton + 48% rayon Waves 2 1/2, 3 3/4, 4 1/2 16 100% cotton Lugana Metallic 25 51% cotton + 44% rayon + 5% metallic Linenband Meran 28 60% rayon + 40% cotton Edge Width Count Content Quaker ClothD 28 55% linen + 45% cotton Plain 2 1/4, 3 1/4 14 100% linen Tilla 10 55% rayon + 40% cotton Plain 1 3/4, 3 1/4 28 100% linen + 5% metallic Plain 2, 3 1/4 30 100% linen ViennaD 22 62% cotton + 38% rayon Scalloped 3 1/4, 4 7/8 24 100% linen Copyright 2011 Needle In A Haystack www.needlestack.com Fabric Types, Count & Fiber Content Wichelt Hand-Dyed Fabrics Aida Weave Count Content Vendor Base Fabric Aida 8, 11, 14, 16, 18, 20 100% cotton Lakeside Linens Zweigart (28, 32, 36, 40) Betsy Ross 10, 16 100% linen Lakeside Linens Graziano (40, 45) Fiddlers 14, 18 50% cotton + 42% polyester Linens By Design Zweigart (28, 32, 36, 40) + 8% linen Picture This Plus Zweigart (28, 32, 36, 40) Jobelan Aida 14 51% cotton + 49% rayon Picture This Plus Zweigart (Aida & Lugana) Linen Aida 9 100% linen R&R Reproductions Northern Cross (20, 27, 30, 35) Loomspun 14 70% polyacrylic + 30% linen R&R Reproductions Zweigart (28, 32, 36, 40) Diamond 5 100% cotton Weeks Dye Works Northern Cross (20, 30, 35, 40) Evenweave Count Content Weeks Dye Works Graziano(28ct Gingham) HeatherfieldD 10 100% polyacrylic Jobelan 20, 25, 28 51% cotton + 49% rayon Graziano Linens Jobelan 32 70% cotton + 30% rayon Fabric Count Content Salem Cloth 14, 26 50% polyester + 50% rayon Aida 18 100% linen Linen Count Content Milan 28 100% linen Linen 18, 26, 28, 30, 32, 35, 40 100% linen Assissi 30 100% linen Linen SilkD 28, 32 80% linen + 20% silk Siena 32 100% linen Patterned Count Content Cervinia 35 55% linen + 45% cotton Milan 40 100% linen Angelica 14 100% polyacrylic Florence 45 100% linen Fireside 18 100% Polyacrylic Riveria 28 100% linen Linen Chester 25 100% linen Tattersall 28 100% linen Melrose 28 100% linen Gingham 28 100% linen Proud Pine 18 100% polyacrylic Buffalo Check 28 100% linen Stitchband (Aida weave) Misc Linens Edge Width Count Content Fabric Count Content Bow 2 1/2 16 100% cotton Brussels LinenD 19, 26, 30, 35 100% linen Heart 3, 4 14 100% cotton Legacy Linen 25, 26, 30, 34 100% linen Plain 2 1/2 24 100% cotton Legacy Dower 30, 50 100% linen Scalloped 5 1/2 16 100% cotton Legacy Embroidery Linen 100% linen Star 3, 4 14 100% cotton Legacy Linen Twill 100% linen Linenband Northern Cross 20, 27, 30, 35, 40 100% linen Strathaven 100% linen Edge Width Count Content The Crewel Work Company Linen Twill 100% linen Plain 3, 5 24 100% linen Ulster Linen Twill 100% linen Plain 3, 6, 8 28 100% linen Plain 3 1/2 30 100% linen Fabric Flair Fabrics Ribbon 6 28 100% linen Fabric Count Content Scalloped 3, 5 24 100% linen Aida 11, 14, 16, 18 100% cotton Woven 2, 3, 4, 8 28 100% linen Evenweave 20, 25, 32, 36 100% cotton Prefinished Items Evenweave 28 50% cotton + 50% rayon Hardanger 22 100% cotton Fabric Count Content Linen 28, 32, 36, 40 100% linen Tree skirts 28 55% rayon + 40% cotton + 5% metallic Other Fabrics Wichelt has their Jobelan, Jobelan Aida & Linen fabrics Silk Gauze 25, 32, 40, 48 100% silk hand-dyed as well - no change to fiber content. Vaupel & Heilenbeck Linenband 28ct 100% linen WoolFelt® 20% wool, 80% rayon Fabrics noted with aD have been discontinued. Weeks Dye Works Wool 100% wool Doctors Flannel (aka Wool Flannel) 100% wool Copyright 2011 Needle In A Haystack www.needlestack.com.
Load more

Recommended publications
  • Care Label Recommendations
    CARE LABEL RECOMMENDATIONS RECOMMENDED CARE FOR APPAREL PRODUCTS Fiber content, fabric construction, color, product construction, finish applications and end use are all considered when determining recommended care. Following are recommended care instructions for Nordstrom Products, however; the product must be tested to confirm that the care label is suitable. GARMENT/ CONSTRUCTION/ FIBER CONTENT FABRICATION CARE LABEL Care ABREVIATION EMBELLISHMENTS Knits and Sweaters Acetate/Acetate Blends Knits / Sweaters K & S Dry Clean Only DCO Acrylic Sweater K & S Machine Wash Cold, Gentle Cycle With Like Colors Only Non-Chlorine Bleach If Needed MWC GC WLC ONCBIN TDL RP CIIN Tumble Dry Low, Remove Promptly Cool Iron If Needed Acrylic Gentle Or Open Construction, Chenille K & S Turn Garment Inside Out Or Loosely Knit Machine Wash Cold, Gentle Cycle With Like Colors TGIO MWC GC WLC ONCBIN R LFTD CIIN Only Non-Chlorine Bleach If Needed Reshape, Lay Flat To Dry Cool Iron If Needed Acrylic / Rayon Blends Sweaters / Gentle Or Open K & S Professionally Dry Clean Construction, Chenille Or Loosely Knit Short Cycle, No Steam PDC SC NS Acrylic / Wool Blends Sweaters with Embelishments K & S Hand Wash Cold, Separately Only Non-Chlorine Bleach If Needed, No Wring Or Twist Reshape, Lay Flat To Dry Cool Iron If Needed HWC S ONCBIN NWOT R LFTD CIIN DNID Do Not Iron Decoration Acrylic / Wool Blends Sweaters K & S Hand Wash Cold, Separately Only Non-Chlorine Bleach If Needed Roll In Towel To Remove Excess Moisture Reshape, Lay Flat To Dry HWC S ONCBIN RITTREM
    [Show full text]
  • GLENEAGLE.Pdf
    Fabric : 802752 Colour :Blue Dark Bunch : GLENEAGLE (C2494) Composition : 100 % WOOL Weave : Design : Hairline Weight : medium (260-320gr) G Width : 150 CM Fabric available Fabric : 802751 Colour :Grey Dark Bunch : GLENEAGLE (C2494) Composition : 100 % WOOL Weave : 2/2 Twill Design : Houndstooth Weight : medium (260-320gr) G Width : 150 CM Fabric available Page 1/11 Fabric : 802750 Colour :Blue Dark Bunch : GLENEAGLE (C2494) Composition : 100 % WOOL Weave : 2/2 Twill Design : Glen check Weight : medium (260-320gr) G Width : 150 CM Fabric available Fabric : 802749 Colour :Brown Dark Bunch : GLENEAGLE (C2494) Composition : 100 % WOOL Weave : Sharkskin Design : Glen check Weight : medium (260-320gr) G Width : 150 CM Fabric available Page 2/11 Fabric : 802748 Colour :Other Green Bunch : GLENEAGLE (C2494) Composition : 100 % WOOL Weave : 2/2 Twill Design : Prince of Wales Weight : medium (260-320gr) G Width : 150 CM Fabric available Fabric : 802747 Colour :Brown Medium Bunch : GLENEAGLE (C2494) Composition : 100 % WOOL Weave : 2/2 Twill Design : Glen check Weight : medium (260-320gr) G Width : 150 CM Fabric available Page 3/11 Fabric : 802746 Colour :Brown Medium Bunch : GLENEAGLE (C2494) Composition : 100 % WOOL Weave : 2/2 Twill Design : Check Weight : medium (260-320gr) G Width : 150 CM Fabric available Fabric : 802745 Colour :Brown Light Bunch : GLENEAGLE (C2494) Composition : 100 % WOOL Weave : 2/2 Twill Design : Check Weight : medium (260-320gr) G Width : 150 CM Fabric available Page 4/11 Fabric : 802744 Colour :Brown Light Bunch : GLENEAGLE
    [Show full text]
  • Choosing the Proper Short Cut Fiber for Your Nonwoven Web
    Choosing The Proper Short Cut Fiber for Your Nonwoven Web ABSTRACT You have decided that your web needs a synthetic fiber. There are three important factors that have to be considered: generic type, diameter, and length. In order to make the right choice, it is important to know the chemical and physical characteristics of the numerous man-made fibers, and to understand what is meant by terms such as denier and denier per filament (dpf). PROPERTIES Denier Denier is a property that varies depending on the fiber type. It is defined as the weight in grams of 9,000 meters of fiber. The current standard of denier is 0.05 grams per 450 meters. Yarn is usually made up of numerous filaments. The denier of the yarn divided by its number of filaments is the denier per filament (dpf). Thus, denier per filament is a method of expressing the diameter of a fiber. Obviously, the smaller the denier per filament, the more filaments there are in the yarn. If a fairly closed, tight web is desired, then lower dpf fibers (1.5 or 3.0) are preferred. On the other hand, if high porosity is desired in the web, a larger dpf fiber - perhaps 6.0 or 12.0 - should be chosen. Here are the formulas for converting denier into microns, mils, or decitex: Diameter in microns = 11.89 x (denier / density in grams per milliliter)½ Diameter in mils = diameter in microns x .03937 Decitex = denier x 1.1 The following chart may be helpful. Our stock fibers are listed along with their density and the diameter in denier, micron, mils, and decitex for each: Diameter Generic Type
    [Show full text]
  • “Al-Tally” Ascension Journey from an Egyptian Folk Art to International Fashion Trend
    مجمة العمارة والفنون العدد العاشر “Al-tally” ascension journey from an Egyptian folk art to international fashion trend Dr. Noha Fawzy Abdel Wahab Lecturer at fashion department -The Higher Institute of Applied Arts Introduction: Tally is a netting fabric embroidered with metal. The embroidery is done by threading wide needles with flat strips of metal about 1/8” wide. The metal may be nickel silver, copper or brass. The netting is made of cotton or linen. The fabric is also called tulle-bi-telli. The patterns formed by this metal embroidery include geometric figures as well as plants, birds, people and camels. Tally has been made in the Asyut region of Upper Egypt since the late 19th century, although the concept of metal embroidery dates to ancient Egypt, as well as other areas of the Middle East, Asia, India and Europe. A very sheer fabric is shown in Ancient Egyptian tomb paintings. The fabric was first imported to the U.S. for the 1893 Chicago. The geometric motifs were well suited to the Art Deco style of the time. Tally is generally black, white or ecru. It is found most often in the form of a shawl, but also seen in small squares, large pieces used as bed canopies and even traditional Egyptian dresses. Tally shawls were made into garments by purchasers, particularly during the 1920s. ملخص البحث: التمي ىو نوع من انواع االتطريز عمى اقمشة منسوجة ويتم ىذا النوع من التطريز عن طريق لضم ابر عريضة بخيوط معدنية مسطحة بسمك 1/8" تصنع ىذه الخيوط من النيكل او الفضة او النحاس.واﻻقمشة المستخدمة في صناعة التمي تكون مصنوعة اما من القطن او الكتان.
    [Show full text]
  • Textile Printing
    TECHNICAL BULLETIN 6399 Weston Parkway, Cary, North Carolina, 27513 • Telephone (919) 678-2220 ISP 1004 TEXTILE PRINTING This report is sponsored by the Importer Support Program and written to address the technical needs of product sourcers. © 2003 Cotton Incorporated. All rights reserved; America’s Cotton Producers and Importers. INTRODUCTION The desire of adding color and design to textile materials is almost as old as mankind. Early civilizations used color and design to distinguish themselves and to set themselves apart from others. Textile printing is the most important and versatile of the techniques used to add design, color, and specialty to textile fabrics. It can be thought of as the coloring technique that combines art, engineering, and dyeing technology to produce textile product images that had previously only existed in the imagination of the textile designer. Textile printing can realistically be considered localized dyeing. In ancient times, man sought these designs and images mainly for clothing or apparel, but in today’s marketplace, textile printing is important for upholstery, domestics (sheets, towels, draperies), floor coverings, and numerous other uses. The exact origin of textile printing is difficult to determine. However, a number of early civilizations developed various techniques for imparting color and design to textile garments. Batik is a modern art form for developing unique dyed patterns on textile fabrics very similar to textile printing. Batik is characterized by unique patterns and color combinations as well as the appearance of fracture lines due to the cracking of the wax during the dyeing process. Batik is derived from the Japanese term, “Ambatik,” which means “dabbing,” “writing,” or “drawing.” In Egypt, records from 23-79 AD describe a hot wax technique similar to batik.
    [Show full text]
  • Autumn Winter 19 Guide
    DRESD ARTISANS OF BLACK TIE Autumn/Winter 2019 Cloth selection: Dormeuil & Alumo Made in Europe *** TIER I $3,000 - $5,000 ~ Example black tie ensemble ~ Ceremonial 2-piece suit in black wool barathea, self covered buttons, peak lapels faced in black silk satin. - Ceremonial dress shirt in white cotton, signature 9cm collar, french cuffs, self bib front, concealed placket, matching monogrammed pocket square. - Ceremonial 6.5cm hand finished classic butterfly bow tie in black silk satin. - Ceremonial whole cut oxford dress shoes in patent black leather. *** Suite 220, 33 Pirie Street Adelaide SA 5000, Australia Phone: +61 423 399 978 WWW.DRESD.COM.AU !1 of !3 DRESD ARTISANS OF BLACK TIE Autumn/Winter 2019 Cloth selection: Dormeuil & Alumo Made in Europe *** TIER II $5,000 - $7,000 ~ Example black tie ensemble ~ Ceremonial jacket in black cotton & silk velvet, self covered buttons, self faced peak lapels. - Ceremonial trouser in black wool & silk twill. Ceremonial dress shirt in white cotton, signature 9cm collar, french cuffs, self bib front, concealed placket, matching monogrammed pocket square. - Ceremonial 6.5cm hand finished classic butterfly bow tie in black silk satin. - Ceremonial whole cut oxford dress shoes in patent black leather. ~ Evening dress change ~ Evening dress shirt in black cotton, signature 9cm collar, french cuffs, self bib front, concealed placket, matching monogrammed pocket square. - Evening 6cm hand finished pointed butterfly bow tie in black silk faille. *** Suite 220, 33 Pirie Street Adelaide SA 5000, Australia Phone: +61 423 399 978 WWW.DRESD.COM.AU !2 of !3 DRESD ARTISANS OF BLACK TIE Autumn/Winter 2019 Cloth selection: Dormeuil & Alumo Made in Europe *** TIER III $7,000 - $9,000 ~ Example black tie ensemble ~ Ceremonial jacket in black wool & silk jacquard, self covered buttons, self faced peak lapels.
    [Show full text]
  • Stretching Unprimed Vs. Pre-Primed Canvas for Painting
    INFORMATION JUST PAINT SHEETS 8/07 No. 3 Developed in collaboration with Conservator James Bernstein and Golden Artist Colors, Inc. Stretching Unprimed vs. Pre-primed Canvas for Painting Pre-stretching traditional size. A stretched linen canvas by the weave in an unfavorable position. It is itself on a humid day would become taut. wisest to pre-stretch as a separate step. This Unprepared Canvas When there is an animal glue size on a linen aligns the weave as fabric tension is For ultimate fabric choice, unprimed canvas, the animal glue swells and the canvas estimated. If a fabric is very responsive, the canvas offers the most possibilities. The becomes less tight. Conversely, a linen first stretching may be done barehanded artist is not limited by the variety or size of canvas by itself on a dry day would become (without pliers), as the canvas should not fabrics available pre-primed. limp. However, animal glue under dry initially be stretched too taut. Allowance has If starting with unprepared linen, cotton, conditions shrinks and becomes taut. Thus to be left for subsequent wetting and rinsing or other fabric for painting, preliminary the opposite natural behaviors of linen and that will tighten the fabric significantly preparation of the canvas is essential. A animal glue are dynamically opposed and (albeit temporarily). common misunderstanding is that the help hold each other in tow. The pre-stretched canvas should be application of size or ground layer coatings This dynamic is not as well balanced for gradually and uniformly moistened and then will correct or compensate for all sorts of cotton canvas.
    [Show full text]
  • Jennifer Brunton 2017
    The Zibby Garnett Travelling Fellowship Report by Jennifer Brunton MLitt Technical Art History. The Cleveland Museum of Art, Ohio, USA. th th 9 July – 16 July 2017. Zibby Garnett Travel Fellowship Report Jennifer Brunton 2017 Table of Contents Introduction 1 1.1 Overview 1 1.2 Budget 2 Placement Overview 3 2.1 Cleveland 3 2.2 The Cleveland Museum of Art 4 3.1 Learning Objectives 4 4.1 Day 1: Stretching the First Canvas 6 4.2 Day 2: Part One. Working on a Glue Size Recipe 8 4.2.1 Day 2: Part Two: Preparing a Glue Ground Layer 10 4.3 Day 3: The Second Canvas and WOW! 11 4.3.1 WOW! (Wade Oval Wednesday) 13 4.4 Day 4: Experimenting with Ground Recipes 13 4.5 Day 5: Last Day and Boiling the Third Canvas 14 4.6 Back in Glasgow: Stretching the Huckaback Canvas 16 Conclusion 19 Acknowledgements 20 Appendix 1 21 Appendix 2 22 Appendix 3 24 Zibby Garnett Travel Fellowship Report Jennifer Brunton 2017 Image Credits All images not credited are copyright of the author, with permission from The Cleveland Museum of Art, Ohio. Figure 1. http://www.lib.utexas.edu/maps/world_cities/cleveland.jpg Figure 2. http://www.clevelandart.org/sites/default/files/images/homepage- feature/full/BannerBenefit_desktop.jpg Figure 22. http://www.universitycircle.org/events/2017/06/14/wow-wade-oval-wednesdays Zibby Garnett Travel Fellowship Report Jennifer Brunton 2017 Introduction. 1.1 Overview. My name is Jennifer Brunton, I am 22 years of age, and currently studying for a post- graduate degree in Technical Art History at the Centre for Textile Conservation and Technical Art History at the University of Glasgow.
    [Show full text]
  • Spring | Sum M Er 2020 Introducing The
    SUMMER 2020 SUMMER | SPRING INTRODUCING THE baekgaardUSA.com WOMEN'S COLLECTION Peer Baekgaard on his voyage from Denmark to America in 1951 THE BAEKGAARD STORY In 1951, Peer Baekgaard came to New York City from Denmark with $127 in his pocket and one big dream. He managed to sell his boats to FAO Schwarz, leading to the development of a unique giftware business. This lead to Peer launching a giftware business specializing in fine gifts and accessories. In the late 1980's, as the President of the Chicago Gift Mart, he met a woman starting a business of her own. In 1990, he and Barbara Bradley married and remained co-owners of Baekgaard Ltd. until Peer's passing in 2007. Barbara Bradley Baekgaard, co-founder of Vera Bradley, was looking for the same function and high-quality bags for the men in her life. She decided to re-launch Baekgaard USA in 2018 with a selection of travelbags, totes and accessories for both men and women who are looking for everyday essentials to take them from work and school to weekend getaways. The SPRING combination of ingenuity, functionality and can-do spirit of both Barbara and Peer | SUMMER 2020 SUMMER lives on in every piece Baekgaard creates. DANISH AMERICAN We invite you to explore our entire line of BORN BY DESIGN fine bags and accessories.Skol! TATTERSALL NEW PLAID COLBY CROSSBODY NEW The perfect sized crossbody for BROWN LEATHER STYLES all your needs: travel, shopping or evenings out. The main compartment has a zippered pocket and 3 credit BLACK card slots.
    [Show full text]
  • January 2020
    SHERRILL FABRIC CATALOG January 2020 Fabric List Fabric Catalog January 2020 GENERAL INFORMATION (1) RAFT: It has been determined by the Joint Industry Fabric Standards Committee that various fabric treatment processes are detrimental to the performance of fabrics. Therefore, neither Sherrill Furniture Company nor the fabric mill can be responsible for any claims made involving fabrics that have Retail Applied Fabric Treatment. (2) The manufacturers of upholstered fabrics do not guarantee their products for wearability or colorfastness; whether "Teflon" treated or not; therefore, we cannot assume this responsibility. We also cannot guarantee match in color items ordered at separate times because of dye lot variations. (3) We do not in any way guarantee that Teflon finish will definitely improve cleaning quality of fabrics. (4) We buy the best quality covers available in each grade, consistent with the present day styles, and cannot guarantee fabric for cleanability, fastness of color, or wearing quality. (5) A number or letter opposite the colors in the different patterns indicate the color set in which you may locate the pattern. Example: P-PRINTS 4-BEIGE/WHITE 7-MELON/RED 2-GREEN 5-GOLD/YELLOW 8-BLUE/BLACK 3-TOAST/CAMEL 6-TURQUOISE Also, italicized numbers following the color set (example: Multi 7 - 17963) indicate the fabric's SKU number. (6) Special features of each (content, repeats, etc.) are listed directly under the pattern colors. (7) All current fabrics are 54 inches wide unless otherwise noted. (8) When "Railroaded" is noted on the list, this denotes that the fabric is shown railroaded in swatches and on furniture.
    [Show full text]
  • Tailoring Series TECHNIQUES for TAILORING UNDERLINING a TAILORED GARMENT—Underlining Is a Second Layer of Fabric. It Is Cut By
    tailoring series TECHNIQUES FOR TAILORING UNDERLINING A TAILORED GARMENT—Underlining is a second layer of fabric. It is cut by the garment pattern pieces and staystitched to the wrong side of the corresponding outer sections before any seams are joined. The two layers are then handled as one. As a general guide, most suit jackets and coats look more pro- fessional when underlined. Underlining is especially recommended for lightweight wool materials, loosely woven materials and light- colored materials. For additional information on selecting fabrics for underlining and applying the underlining, see Lining a Shirt 01' Dress HE 72, N. C. Agricultural Extension Service. STAYSTITCHING—Staystitch all outer garment pieces before construction begins. If garment is underlined, stays-titching is done when the two layers of fabric are sewn together. Staystitch 1/3 in. outside seamline (on the seam allowance). Stay- stitch “ with matching cotton thread on all curved *areas that may stretch during construction such as necklines, side seams, shoulder seams, armholes, and side seams of skirt. Use directional stitching always to prevent stretching of fabric and to prevent one layer of fabric from riding. The direction to stitch is indicated by small arrows on the pattern on the seamlines. INTERFACINGS—Select a high quality hair canvas for the front and collar of coats and jackets. The percentage of wool indicates the quality—the higher the wool content of the canvas the better the quality. Since a high percentage of wool makes the hair canvas fairly dark in color, it cannot be used successfully under light-colored fabrics. In these cases use an interfacing lighter in color and lower in wool content.
    [Show full text]
  • Historic Costuming Presented by Jill Harrison
    Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs.
    [Show full text]