DOCSLIB.ORG

Modh-Textiles-Scotland-Issue-4.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

A TEXTILES SCOTLAND PUBLICATION JANUARY 2013 AN ENCHANTING ESCAPE IN SCOTLAND FABULOUS FABRIC AND DETAILED DESIGN FASHION FOUNDRY NURTURING SCOTTISH TALENT contents Editor’s Note Setting the Scene 3 Welcome from Stewart Roxburgh 21 Make a statement in any room with inspired wallpaper Ten Must-Haves for this Season An Enchanting Escape 4 Some of the cutest products on offer this season 23 A fashionable stay in Scotland Fabulous Fabric Fashion Foundry 6 Uncovering the wealth of quality fabric in Scotland 32 Inspirational hub for a new generation Fashion with Passion Devil is in the Detail 12 Guest contributor Eric Musgrave shares his 38 Dedicated craftsmanship from start to fi nish thoughts on Scottish textiles Our World of Interiors Find us 18 Guest contributor Ronda Carman on why Scotland 44 Why not get in touch – you know you want to! has the interiors market fi rmly sewn up FRONT COVER Helena wears: Jacquard Woven Plaid with Herringbone 100% Merino Wool Fabric in Hair by Calzeat; Poppy Soft Cupsilk Bra by Iona Crawford and contributors Lucynda Lace in Ivory by MYB Textiles. Thanks to: Our fi rst ever guest contributors – Eric Musgrave and Ronda Carman. Read Eric’s thoughts on the Scottish textiles industry on page 12 and Ronda’s insights on Scottish interiors on page 18. And our main photoshoot team – photographer Anna Isola Crolla and assistant Solen; creative director/stylist Chris Hunt and assistant Emma Jackson; hair-stylist Gary Lees using tecni.art by L’Oreal Professionnel and the ‘O’ and irons by Cloud Nine, and make-up artist Ana Cruzalegui using WE ARE FAUX and Nars products. More from the team on page 23. Also thanks to our other photographers: Rob McDougall, Photographer & fi lmmaker Gerardo Jaconelli, Photographer An award winning professional With experience of photography from photographer specialising in creative both sides of the lens, Gerardo uses his photography, Rob is well known for capturing long career as a model on the catwalks the picture in context. Understanding the of Milan, Miami and Chicago to infl uence needs of different media, Rob has worked his creative approach to capturing images. for VisitScotland, Taylor Wimpey, Historic Regularly on assignments across the globe, Scotland, Weber Shandwick, and was the Gerardo has photographed for Italian and offi cial photographer for Homecoming Australian Elle magazines, working with Scotland 2009. several leading stylists. And fi nally…thanks to Leanne McGill from Genuine for her invaluable creative input in to the main shoot; Model Team especially our models Helena and Charlotte McKelvie, Chris K and Oliver Greenall; and last but by no means least, Julie Brander and Lynne Heraghty, Weber Shandwick for continuing to share the passion and love for this publication! EDITOR’S NOTE | 3 editor’s note We Scots are well known as a friendly, welcoming nation who can spin a good yarn. And our textiles industry has used these inherent traits for years, building long-standing relationships with customers and telling our story across the globe, cementing our future in the marketplace. It has been another turbulent year for many, If you are looking for a supplier that can with global economic challenges forcing engage with the sales process from beginning businesses to batten down the hatches and to end, can encourage brand loyalty through sit tight so they can ride the storm. But this a quality offering, and inspire purchasing doom and gloom does not run through the decisions, then look no further than Scotland. textiles sector, if my recent experiences There is no room for complacency in of meeting customers who have come to any business, least so textiles and this is Scotland is anything to go by. These buyers something the Scottish industry knows are embracing growth and development, well. We are continually grateful that our increasing their product portfolios, looking customers want to increase their business for and fi nding new suppliers with great ideas, with Scotland and we know, as the return to a and spending money in really innovative ways need for quality rapidly gathers momentum, to capture customer attention. more will follow suit from across the world. And we are grateful for it. Testament to our As ever our ideas and designs are always 'on continued development and the enviable the money'. historical references of quality fi rmly etched This edition of was inspired by our in the minds of all who work with us the fabulous fabrics, intricate designs and the future remains bright. When a buyer engages much appreciated feedback from media and with any of our 600 plus companies in customers who have recently visited. We Scotland they instantly see and appreciate wanted to present the widest range of ideas the close relationship between our landscape and products we could to our customers and and our products. They love the spirit and potential customers out there so you know enthusiasm we have for creating something why you should come to Scotland. spectacular. They are assured by our experience, quality, and the skills we offer, We are always indebted to those who visit us but also in our ability to repeat this process to fi nd out more and if you haven’t – why not? year on year, decade on decade and of course Our door is always open. unlike many, century on century. We know what sells – innovative, fresh products that are well researched to fi t their exact needs, backed up by world-class service. And that is why they come, and keep coming. Stewart Roxburgh, Editor Stewart is a Senior Executive, National Textiles Team, Scottish Enterprise. 4 | TEN MUST-HAVES one Doing it for the kids… New kid on the block – We Are Rushworth – has some serious style options for little ‘triers and doers’ everywhere. We particularly love this Lambswool Slipover from the ethically sourced knitwear brand for children: it is knitted in Scotland by Scott & Charters. Fight the frrrrr… With a true vintage feel, we love these Leaf Knit Fur Mittens from Samantha Holmes. Hand-made, the design is classic and timeless making them suitable for all ages and a perfect, graceful 2complement to any outfi t. ten must-haves... four Zero calorie treat… Ever wish you could have your favourite chocolate treat every day and not have to worry about piling on the pounds? Well we’ve found the answer, a Tunnock’s Teacake Cushion from Nikki McWilliams. Now that’s what we call stylish comfort eating! School day 3snuggles… All because the tablet You can never have deserves tweed… too many scarves! We We are the tablet went preppy-mad for generation – fact. So this stripey College dressing it in the best is Cashmere Scarf in a must. Our pick of the Limestone Multi from latest covers on the market Love Cashmere by is this leather backed and Shorts of Hawick. And embossed iPad Sleeve in 5 stretching 244cms long red/grey or Seal Grey Harris it is sure to keep you Tweed (from The Carloway warm. Mill) from Maccessori. TEN MUST-HAVES | 5 Artistic fashion… There is something special about wearing a piece of art. So why not pick up a sumptuous scarf like Dusk below by Helen Ruth. Beginning with a hand-drawn illustration, designs are then mixed with other images creating a piece worthy of a frame. Canvas couture… sixMost of us have moved from the plastic to the reusable nowadays but ever wished the canvas offering was a 7 little more stylish? Look no further. Printing Pretty has a fab new range of bags and cushions including this Hummingbird Tote Shopping Bag. So many things we wanted to feature here, it could have been 100. Alas we could only choose ten and they are truly sumptuous! Free your fi ngers The dressy doctor… in style… Who didn’t own a pair? They The latest addition to came in many colours, wacky Hilary Grant’s collection patterns and at long last they – the Fingerless Mitten are available in the 'champagne – is the only way to show of fabrics'! Our defi nite favourite off your manicured paws of Dr Martens’ latest limited and still keep fashionably edition is the Cobalt Blue toasty! Available in Dash, Collaboration with Harris Icelandic and Arrow Tweed Hebrides. Gentlemen (pictured) and in six please form an orderly queue. coulourways, with or without strings. Tur-mazing… To say that this item was under 24-hr guard ten while in the offi8 ce is no lie! A must-must-have, nine this 100% cashmere hand frame knitted 4-ply cashmere Turban from Rosie Sugden will turn heads! And it is available in three colourways – Black, Heron and Bokhara (pictured). 6 | FABULOUS FABRIC fabulous Clark Turner, Tristan & Nicos, Sim Naomi, Knott Capital, Nation Gator and Dada Woven Fabrics from Holland & Sherry. FABULOUS FABRIC | 7 Given the heritage, quality – stemming from meticulous processes – and of course style, it is no surprise that Scottish fabrics grace portfolios around the globe. But what is it that has kept them returning to the world-wide stage time and time again? Scotland is renowned for producing a vast This is achieved through the use of waxes range of fabrics, from cashmere to tweed and treatments applied by various methods to wool and high performance fabrics of all to the wool fi bre. Stain-proofi ng does not forms – all of which put Scotland fi rmly on make it impossible for grease and other the map as a leader in production. stains to mark the fabric but the stains can be removed with a household cleaner, and Let’s look at our loving relationship with without leaving any unsightly ring.
Recommended publications
  • Design by the Yard; Textile Printing from 800 to 1956

    Design by the Yard; Textile Printing from 800 to 1956

    INSTITUTION NOIiniliSNI_NVINOSHilWS S3 I a Vy a n_LI BRAR I ES SMITHS0N1AN_INSTITIJ S3iyvMan libraries Smithsonian institution NoiiniiiSNi nvinoshiiws S3iyv S3iyvaan libraries Smithsonian institution NoiiniiJ-SNi nvinoshiiws saiav l"'lNSTITUTION^NOIinillSNl"'NVINOSHiIWS S3 I MVy 8 ll'^LI B RAR I ES SMITHSONIAN INSTITI r- Z r- > Z r- z J_ ^__ "LIBRARIES Smithsonian institution NoiiniiiSNi nvinoshiiws S3IMV rs3 1 yvy an '5/ o ^INSTITUTION N0IiniliSNI_NVIN0SHilWS"S3 I H VM 8 IT^^LI B RAR I ES SMITHSONIANJNSTITl rS3iyvyan"LIBRARIES SMITHSONIAN^INSTITUTION NOIiniliSNI NVINOSHIIWS S3iav ^"institution NOIiniliSNI NviNOSHiiws S3iyvaan libraries Smithsonian instit 9'^S3iyvaan^LIBRARIEs'^SMITHS0NlAN INSTITUTION NOIifliliSNI NVINOSHilWs'^Sa ia\i IVA5>!> W MITHSONIAN INSTITUTION NOIiniliSNI NVINOSHilWS S3ldVyan LI B R AR I ES SMITHSONI; Z > </> Z M Z ••, ^ ^ IVINOSHilWs'^S3iaVaan2LIBRARIES"'SMITHSONlAN2lNSTITUTION NOIiniliSNI_NVINOSHill JMITHSONIAN INSTITUTION NOIiniliSNI NVINOSHilWS S3IMVHan LIBRARIES SMITHSONI jviNOSHiiws S3iavaan libraries Smithsonian institution NoiifiiiiSNi nvinoshii I ES SMITHSONI MITHSONIAN INSTITUTION NOIifliliSNI NVIN0SHilWS"'S3 I ava a n~LI B RAR < |pc 351 r; iJt ^11 < V JVIN0SHilWS^S3iavaan~'LIBRARIES^SMITHS0NIAN"'lNSTITUTI0N NOIiniliSNI^NVINOSHil — w ^ M := "' JMITHSONIAN INSTITUTION NOIiniliSNI NVINOSHilWS S3iavaan LI B RAR I ES SMITHSONI ^^ Q X ' "^ — -«^ <n - ^ tn Z CO wiNOSHiiws S3iavaan libraries Smithsonian institution NoiiniiiSNi_NviNOSHii _l Z _l 2 -• ^ SMITHSONIAN INSTITUTION NOIiniliSNI NVINOSHilWS SSiavaail LIBRARIES SMITHSON NVINOSHilWS S3iavaan libraries Smithsonian institution NoiiniiisNi nvinoshi t'' 2 .... W 2 v^- Z <^^^x E . ^ ^-^ /Si«w*t DESIGN BY THE YARD TEXTILE PRINTING FROM 800 TO 1956 THE COOPER UNION MUSEUM FOR THE ARTS OF DECORATION NEW YORK ACKNOWLEDGMENT In assembling material for the exhibition, the Museum has received most helpful suggestions and information from the following, to whom are given most grateful thanks: Norman Berkowitz John A.
  • Woven Fabrics

    Woven Fabrics

    Fabric – Woven Fabrics WOVEN FABRICS Fabrics are made of yarns by weaving them in different combinations. It is mostly done by interlacing two sets of yarn or thread made of fibers called the warp and weft of the loom. It only stretches in the bias directions, between the warp and weft directions, unless the threads are elastic. Lengthwise stronger vertical yarns with more twist are Warp or Picks while widthwise filling yarns are termed as weft or ends. Sidewise edge of fabric is termed as Selvedge. THREE BASIC WEAVES There are three main types of weave: Plain, Twill and Satin Plain weave is a basic weave which is made when the thread is woven on one up and one down principle, some plain weave fabrics are Chambray, Chiffon, Gingham, and Organza etc. Twill weave is made when the thread is placed by varying the order of interlacing the yarns so that diagonal parallel lines are produced across the fabric. Satin Weave is a weave made when each warp yarn floats over four filling yarns and interlaces with fifth filling yarn. Plain weave Twill weave Satin weave Fabric – Weft Knit Fabrics Knitted Fabrics Knitting is the process of construction of a fabric by interlocking loops of yarn by means of hooked needles. Knitted fabric consists of horizontal rows known as courses and vertical columns of loops known as Wales. Knitted fabrics are porous having insulated air pockets giving warmth when worn. Knitted fabrics are very absorbent, wrinkle resistant and lightweight. They shrink more than woven fabrics unless shrink- proofing techniques are used.
  • Weaving Twill Damask Fabric Using ‘Section- Scale- Stitch’ Harnessing

    Weaving Twill Damask Fabric Using ‘Section- Scale- Stitch’ Harnessing

    Indian Journal of Fibre & Textile Research Vol. 40, December 2015, pp. 356-362 Weaving twill damask fabric using ‘section- scale- stitch’ harnessing R G Panneerselvam 1, a, L Rathakrishnan2 & H L Vijayakumar3 1Department of Weaving, Indian Institute of Handloom Technology, Chowkaghat, Varanasi 221 002, India 2Rural Industries and Management, Gandhigram Rural Institute, Gandhigram 624 302, India 3Army Institute of Fashion and Design, Bangalore 560 016, India Received 6 June 2014; revised received and accepted 30 July 2014 The possibility of weaving figured twill damask using the combination of ‘sectional-scaled- stitched’ (SSS) harnessing systems has been explored. Setting of sectional, pressure harness systems used in jacquard have been studied. The arrangements of weave marks of twill damask using the warp face and weft face twills of 4 threads have been analyzed. The different characteristics of the weave have been identified. The methodology of setting the jacquard harness along with healds has been derived corresponding to the weave analysis. It involves in making the harness / ends in two sections; one section is to increase the figuring capacity by scaling the harness and combining it with other section of simple stitching harnessing of ends. Hence, the new harness methodology has been named as ‘section-scale-stitch’ harnessing. The advantages of new SSS harnessing to weave figured twill damask have been recorded. It is observed that the new harnessing methodology has got the advantages like increased figuring capacity with the given jacquard, less strain on the ends and versatility to produce all range of products of twill damask. It is also found that the new harnessing is suitable to weave figured double cloth using interchanging double equal plain cloth, extra warp and extra weft weaving.
  • How Is Chintz Made and Where Does It Originate? Where Is It Commonly

    How Is Chintz Made and Where Does It Originate? Where Is It Commonly

    How is chintz 1. It is a closely woven, lustrous, plain weave cotton fabric, printed or made and where plain, that has been glazed with starch or glue and then friction does it originate? calendered. Much used for curtains and upholstery. Where is it 2. It was originally a painted or stained calico produced in India and commonly used? popular for bed covers, quilts and draperies, popular in Europe in 17th century and 18th century, where it was imported and later produced. Europeans at first produced reproductions of Indian designs, and later added original patterns. 3. A well-known make was toile de Jouy, which was manufactured in Jouy, France between 1700 and 1843. Today it usually consists of bright patterns printed on a light background. Which weave is used 1. It is a rich fabric using the Jacquard weave where an all over to produce Brocade, interwoven design usually floral patterns. and where is it used? 2. It is used for upholstery and other interior products and often incorporates gold, silver or other metallic yarns. 3. It is also used in Chinese garments. 4. Brocade is typically woven on a draw loom. It is a supplementary weft technique, that is, the ornamental brocading is produced by a supplementary, non-structural, weft in addition to the standard weft that holds the warp threads together. The purpose of this is to give the appearance that the weave actually was embroidered on. How are chenille yarns 1. The weft yarn is manufactured by placing short lengths of yarn, called made and how are they the "pile", between two "core yarns" and then twisting the yarn used? together.
  • Henri Matisse, Textile Artist by Susanna Marie Kuehl

    Henri Matisse, Textile Artist by Susanna Marie Kuehl

    HENRI MATISSE, TEXTILE ARTIST COSTUMES DESIGNED FOR THE BALLETS RUSSES PRODUCTION OF LE CHANT DU ROSSIGNOL, 1919–1920 Susanna Marie Kuehl Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2011 ©2011 Susanna Marie Kuehl All Rights Reserved To Marie Muelle and the anonymous fabricators of Le Chant du Rossignol TABLE OF CONTENTS Page Acknowledgements . ii List of Figures . iv Chapter One: Introduction: The Costumes as Matisse’s ‘Best Spokesman . 1 Chapter Two: Where Matisse’s Art Meets Textiles, Dance, Music, and Theater . 15 Chapter Three: Expression through Color, Movement in a Line, and Abstraction as Decoration . 41 Chapter Four: Matisse’s Interpretation of the Orient . 65 Chapter Five: Conclusion: The Textile Continuum . 92 Appendices . 106 Notes . 113 Bibliography . 134 Figures . 142 i ACKNOWLEDGEMENTS As in all scholarly projects, it is the work of not just one person, but the support of many. Just as Matisse created alongside Diaghilev, Stravinsky, Massine, and Muelle, there are numerous players that contributed to this thesis. First and foremost, I want to thank my thesis advisor Dr. Heidi Näsström Evans for her continual commitment to this project and her knowledgeable guidance from its conception to completion. Julia Burke, Textile Conservator at the National Gallery of Art in Washington DC, was instrumental to gaining not only access to the costumes for observation and photography, but her energetic devotion and expertise in the subject of textiles within the realm of fine arts served as an immeasurable inspiration.
  • University of Southampton Research Repository

    University of Southampton Research Repository

    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Winchester School of Art Banal and Splendid Form: revaluing textile makers’ social and poetic identity as a strategy for textile manufacturing innovation Volume 1 by Clio Padovani Critical commentary for the degree of Doctor of Philosophy July 2019 University of Southampton Abstract Faculty of Arts and Humanities Winchester School of Art Critical commentary for the degree of Doctor of Philosophy Banal and Splendid Form: revaluing textile makers’ social and poetic identity as a strategy for textile manufacturing innovation by Clio Padovani This is a submission for the Award of PhD by Published Works. The commentary on three published submissions organises a programme of work focussed on reframing traditional textile craft skills within the context of innovation and knowledge exchange policies.
  • Ronald Mackay a Scotsman Abroad: a Book of Memoirs 1967-1969

    Ronald Mackay a Scotsman Abroad: a Book of Memoirs 1967-1969

    A Book of Memoirs 1967-1969 Spicuiri din istoria Catedrei de Engleză a Universităţii Bucureşti. Edited by C. George Sandulescu and Lidia Vianu Press Release Friday 18 March 2016 Ronald Mackay A Scotsman Abroad: A Book of Memoirs 1967-1969. Spicuiri din istoria Catedrei de Engleză a Universităţii Bucureşti. ISBN 978-606-760-045-2 Edited by C. George Sandulescu and Lidia Vianu. In the 1950’s, an agreement Începând de prin anii ’60, was reached: England was to send Catedra de Engleză a avut două teachers to Romania, within the tipuri de profesori: profesori care framework of a cultural exchange. erau de naţionalitate română şi They started coming to the profesori care erau trimişi din University of Bucharest in the Anglia, pe baza unui acord cultural early sixties. de schimb al cadrelor didactice, The book we are now iniţiat la sfârşitul anilor ’50. publishing is a book of memoirs Vă punem acum la dispoziţie written by Ronald Mackay, a una dintre cărţile de amintiri, scrisă young Scottish graduate who de Ronald Mackay, un profesor taught phonetics in the English scoţian care a predat fonetica la Department at the end of the Universitatea Bucureşti spre sixties. The book is captivating sfârşitul anilor ’60. Descrierile sunt and its author is gifted indeed. pitoreşti, iar autorul dă dovadă de We warmly recommend this mare talent. book to our readers: it will bring Vă recomandăm cu căldură back memories. The incindents să citiţi această carte, care o să vă related in it took place at a time trezească multe amintiri. Perioda when the darkest years of în care s-a aflat el în România a communism in Romania were reprezentat începutul celor mai only beginning.
  • African Textiles in the V&A 1852- 2000

    African Textiles in the V&A 1852- 2000

    Title Producing and Collecting for Empire: African Textiles in the V&A 1852- 2000 Type Thesis URL http://ualresearchonline.arts.ac.uk/6141/ Date 2012 Citation Stylianou, Nicola Stella (2012) Producing and Collecting for Empire: African Textiles in the V&A 1852-2000. PhD thesis, University of the Arts London and the Victoria and Albert Museum. Creators Stylianou, Nicola Stella Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Producing and Collecting for Empire: African Textiles in the V&A 1852-2000 Nicola Stella Stylianou Submitted to University of the Arts London for PhD Examination October 2012 This is an AHRC funded Collaborative PhD between Research Centre for Transnational Art, Identity and Nation (TrAIN) at UAL and the Victoria and Albert Museum. Volume 1 Abstract Producing and collecting for Empire: African textiles in the V&A 1850-2000 The aim of this project is to examine the African textiles in the Victoria and Albert Museum and how they reflect the historical and cultural relationship between Britain and Africa. As recently as 2009 the V&A’s collecting policy stated ‘Objects are collected from all major artistic traditions … The Museum does not collect historic material from Oceania and Africa south of the Sahara’ (V&A 2012 Appendix 1). Despite this a significant number of Sub-Saharan African textiles have come into the V&A during the museum’s history. The V&A also has a large number of textiles from North Africa, both aspects of the collection are examined.
  • Journal 45.Pdf

    Journal 45.Pdf

    GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO. 45 September 11, 2012 / BHADRA 20, SAKA 1933 INDEX S.No. Particulars Page No. 1. Official Notices 4 2. New G.I Application Details 5 3. Public Notice 6 4. GI Applications Bhagalpur Silk Fabrics & Sarees – GI Application No. 180 7 Mangalagiri Sarees and Fabrics– GI Application No. 198 Madurai Malli – GI Application No. 238 Tequila – GI Application No. 243 5. General Information 6. Registration Process OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 45 of the Geographical Indications Journal dated 11th September 2012 / Bhadra 20th, Saka 1933 has been made available to the public from 11th September 2012. NEW G.I APPLICATION DETAILS 371 Shaphee Lanphee 25 Manufactured 372 Wangkhei Phee 25 Manufactured 373 Moirang Pheejin 25 Manufactured 374 Naga Tree Tomato 31 Agricultural 375 Arunachal Orange 31 Agricultural 376 Sikkim Large Cardamom 30 Agricultural 377 Mizo Chilli 30 Agricultural 378 Jhabua Kadaknath Black Chicken Meat 29 Manufactured 379 Devgad Alphonso Mango 31 Agricultural 380 RajKot Patola 24 Handicraft 381 Kangra Paintings 16 Handicraft 382 Joynagarer Moa 30 Food Stuff 383 Kullu Shawl (Logo) 24 Textile 23, 24, 384 Muga Silk of Assam (Logo) 25, 27 & Handicraft 31 385 Nagpur Orange 31 Agricultural PUBLIC NOTICE No.GIR/CG/JNL/2010 Dated 26th February, 2010 WHEREAS Rule 38(2) of Geographical Indications of Goods (Registration and Protection) Rules, 2002 provides as follows: “The Registrar may after notification in the Journal put the published Geographical Indications Journal on the internet, website or any other electronic media.” Now therefore, with effect from 1st April, 2010, The Geographical Indications Journal will be Published and hosted in the IPO official website www.ipindia.nic.in free of charge.
  • DAMASK: a Firm, Glossy, Jacquard-Patterned Fabric That May Be Made from Linen, Cotton, Rayon, Silk, Or a Combination of These with Various Manufactured Fibers

    DAMASK: a Firm, Glossy, Jacquard-Patterned Fabric That May Be Made from Linen, Cotton, Rayon, Silk, Or a Combination of These with Various Manufactured Fibers

    D DAMASK: A firm, glossy, Jacquard-patterned fabric that may be made from linen, cotton, rayon, silk, or a combination of these with various manufactured fibers. Similar to brocade, but flatter and reversible, damask is used for napkins, tablecloths, draperies, and upholstery. DAMPENING (IN TIRE CORD): The relative ability to absorb energy and deaden oscillation after excitation. DECATING MARK: A crease mark or impression extending fillingwise across the fabric near the beginning or end of the piece. DECATIZING: A finishing process in which fabric, wound tightly on a perforated roller, either has hot water circulated through it (wet decatizing), or has steam blown through it (dry decatizing). The process is aimed chiefly at improving the hand and removing wrinkles. DECITEX: One tenth of a tex. DECORTICATING: A mechanical process for separating the woody matter from the bast fiber of such plants as ramie and hemp. DEEP-DYEING VARIANTS: Polymers that have been chemically modified to increase their dyeability. Fibers and fabrics made therefrom can be dyed to very heavy depth. DEFECTS: A general term that refers to some flaw in a textile product that detracts from either performance or appearance properties. DEFORMATION: A change in the shape of a specimen, e.g., an increase in length produced as the result of the application of a tensile load or force. Deformation may be immediate or delayed, and the latter may be recoverable or nonrecoverable. DEGRADATION: The loss of desirable physical properties by a textile material as a result of some process or physical/chemical phenomenon. DEGREE OF ESTERIFICATION: The extent to which the acid groups of terephthalic and/or other acids have reacted with diols to form ester groups in polyester polymer production.
  • Brand Identification-Ext.Embellish

    Brand Identification-Ext.Embellish

    Brand Identification External Embellishment Heat Transfer Labels Heat Transfers Agility Agility HD Agility Industrial Agility Industrial HD Agility Reflective Vinyl Anti-Dye Migration Printed Fabric Labels Urethane Woven Edge Polyester Special Cotton Woven Edge Cotton Woven LabelsJackron & Tyvec Awesome Qualities Rinascimento Qualities Supreme Qualities Noble Qualities Royal Qualities Satin Qualities Damask Qualities Taffeta Qualities Twill Qualities Special Qualities Sewn Heat-Applied Cotton / Mixed Fabrics Cotton blends with less than 10% Lycra / Spandex / Elastane Cotton blends with more than 10% Lycra / Spandex / Elastane Key: Blank = Not Recommended, = Medium = High Polyester Performance Knits & Wovens (piece-dyed) Polyester Dye-Sublimated Fabric Nylon Chiffon and lightweight fabrics Denim Fleece PU, PVC-Coated subject to evaluation Leather Brand Identification External Embellishment Heat Transfer Labels Heat Transfers Agility Agility HD Agility Industrial Agility Industrial HD Agility Reflective Vinyl Anti-Dye Migration Printed Fabric Labels Urethane Woven Edge Polyester Special Cotton Woven Edge Cotton Woven LabelsJackron & Tyvec Awesome Qualities Rinascimento Qualities Supreme Qualities Noble Qualities Royal Qualities Satin Qualities Damask Qualities Taffeta Qualities Twill Qualities Special Qualities Stretchable Tearable Substrate Softness 1-2 Color Design 2+ Color Design Anti-Dye Migration Brand Protection Options Home Laundering Resistance Key: Blank = Not Recommended, = Medium = High Stonewash Resistance Overdye Resistance
  • Fèisclò2016 Mòr

    Fèisclò2016 Mòr

    THE HARRIS TWEED FESTIVAL FèisClò2016 Mòr AN LANNTAIR - STORNOWAY - ISLE OF LEWIS harristweedhebrides.com Cover photographh © Ian Lawson Cover WOVEN BY HAND IN THE OUTER HEBRIDES OF SCOTLAND 25 North Beach Stornoway Isle of Lewis Scotland, UK HS1 2XQ t: +44 (0) 1851 700 046 e: [email protected] HARRIS TWEED ISLE OF HARRIS Caberfeidh, Tarbert, Isle of Harris, HS3 3DJ Tel: 01859502040 Email: [email protected] Website: www.harristweedisleofharris.co.uk KENNETH MACKENZIE LTD [email protected] Kenneth Mackenzie Ltd is the oldest mill producing the hand woven Harris Tweed fabric established in 1906. Harris Tweed Isle of Harris and Harris Tweed and Recently re-equipped with considerable Knitwear are the continuation of a family tradition. amounts of new machinery the company One of the largest stockists of Harris Tweed offers a limited range of designs for delivery products on the Island providing clothing, from stock thus complimenting the other accessories and a selection of gifts provided by local crafters. Just a few miles away is ‘Clo Mor’ mills who offer a bespoke range of our exhibit centre showing how the cloth has Harris Tweed designs. evolved from traditional uses to high fashion today. THE HARRIS TWEED FESTIVAL Harris Tweed is one of the most desirable textiles in the world. It is a product like no other – uniquely protected by its own act of Parliament ‘The Harris Tweed Act of 1993’ and manufactured by the same artisan skills now as by our island forefathers over a hundred years ago, it is an industry, it is a work of craftsmanship, it is part of our culture.