Australian Wool Innovation Limited Annual Report 2015/16
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Senior Textile Artist Badge Workshop
Senior Textile Artist Badge Workshop An At-Home Program GSCCC Senior Textile Artist Badge Workshop (At-Home) • When you see fabrics, yarn, or string off all colors and textures what do you think of? Do you envision all of the things you could create? Let’s turn those visions into reality! Program Outline Materials: - Computer - Internet access - Materials for craft of choice Step 1: Choose your textile art There are a number of textile arts in the world from macramé to crocheting to quilting and much more. In this step you will be doing some research to learn about a textile art that you find interesting and that you would like to learn. Some of the most common textile arts are macramé, embroidery, cross-stitch, needlework, knitting, crocheting, weaving, and quilting. Do some research to find out about these or other textile arts. Below are some helpful links to start with. Here are a few links to get your search started – crochet, macramé, embroidery, weaving. Click here to see what some current textile artists are doing. Step 2: Find your tools and materials Now that you have chosen your art, you need to gather materials. Crocheting needs crochet hooks and yarn. Embroidery needs needles, embroidery floss, hoops, and fabric. Do some research about what you will need for your chosen textile art form. What all is involved? Do you know anyone who already has the supplies? Would they be willing to lend you some materials? Below are some great resources to learn about materials needed for the most common textile arts. -
Textile Society of America Newsletter 21:3 — Fall 2009 Textile Society of America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2009 Textile Society of America Newsletter 21:3 — Fall 2009 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 21:3 — Fall 2009" (2009). Textile Society of America Newsletters. 56. https://digitalcommons.unl.edu/tsanews/56 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. T VOLUME 21 NUMBER 3 FALL, 2009 S A Conservation of Three Hawaiian Feather Cloaks by Elizabeth Nunan and Aimée Ducey CONTENTS ACRED GARMENTS ONCE to fully support the cloaks and and the feathers determined the worn by the male mem- provide a culturally appropriate scope of the treatment. 1 Conservation of Three Hawaiian bers of the Hawaiian ali’i, display. The museum plans to The Chapman cloak is Feather Cloaks S or chiefs, feather cloaks and stabilize the entire collection in thought to be the oldest in the 2 Symposium 2010: Activities and capes serve today as iconic order to alternate the exhibition collection, dating to the mid-18th Exhibitions symbols of Hawaiian culture. of the cloaks, therefore shorten- century, and it is also the most 3 From the President During the summer of 2007 ing the display period of any deteriorated. -
Speciality Fibres
Speciality Fibres wool - global outlook what makes safil tick? nature inspires innovation in fabric renaissance for speciality fibre china rediscovers south african mohair who supplies the supplier? yarn & top dyeing sustainable wool production new normal in the year of the sheep BUYERS GUIDE TO WOOL 2015-2016 Welcome to Wool2Yarn Global - we have given our publication a new name! This new name reflects the growing number of yarn manufactures that are now an important facet of this publication. The new name also better reflects our expanding global readership with a wide profile from Acknowledgements & Thanks: wool grower to fabric, carpet and garment manufacturers in over 60 Alpha Tops Italy countries. American Sheep Association Australian Wool Testing Authority Our first publication was published in Russian in1986 when the Soviet British Wool Marketing Board Union was the biggest buyer of wool. After the collapse of the Soviet Campaign for Wool Canadian Wool Co-Operative Union this publication was superseded by a New Zealand / Australian Cape Wools South Africa English language edition that soon expanded to include profiles on China Wool Textile Association exporters in Peru, Uruguay, South Africa, Russia, UK and most of Federacion Lanera Argentina International Wool Textile Organisation Western Europe. Interwoollabs Mohair South Africa In 1999 we further expanded our publication list to include WOOL Nanjing Wool Market EXPORTER CHINA (now Wool2Yarn China) to reflect the growing New Zealand Wool Testing Authority importance of Asia and in particular China. This Chinese language SGS Wool Testing Authority magazine is a communication link between the global wool industry Uruguayan Wool Secretariat Wool Testing Authority Europe and the wool industry in China. -
Textile Arts Department Superintendent ~ Sue Brown 402-463-6767 (Office) 402-460-7988 (Mobile) Nebraska State Fair (NSF)
Celebrating 150 years of the Nebraska State Fair with the “150th Fairabration Textile arts exhibits are displayed along with other departments of Competitive Exhibits in the Fonner Park Concourse which is adjacent to the east side of the Heartland Event Center. The closest entrance to Textile Arts is on the south end of the Concourse (south side of the Event Center). The most efficient way to enter is online. Instructions are found on the web site, www.statefair.org. For directions on entering by mail or in-person go to the entry information section in this book. Exhibits may be delivered to the fair grounds on designated entry days or by shipping. See Shipping Options for information on mailing or shipping exhibits. Textile Arts Entry Book Index Page 3 Textile Art Divisions, New in 2019, Important Dates Pages 3-5 Awards, Rules, How to Enter, Delivery and Return of Exhibits – Review this section carefully. Direct questions to Sue Brown 402-460-7988 or 402-463-6767 Pages 5-6 Division 5201 – Sewing for Children and Adults Pages 6-7 Division 5202 – Sewing for the Home Pages 8-9 Division 5203 – Crochet Pages 9-10 Division 5204 – Knitting Pages 10 Division 5205 – Lace Making Pages 11-12 Division 5206 – Stitchery (hand embroidery, counted cross stitch, needlepoint, other) Pages 12-14 Division 5207 – Weaving, Spinning & Felting Pages 14-16 Division 5208 – Fiber Arts (new wool classes & classes previously in rug making, creative fiber art & upcycling textiles) Pages 16-17 Division 5209 – Junior and Senior Youth Pages 17-18 Division 5210 – Senior Adults Pages 19 Division 5291 - Best in County Textile Arts 2 of 19 Textile Arts Department Superintendent ~ Sue Brown 402-463-6767 (office) 402-460-7988 (mobile) Nebraska State Fair (NSF) www.statefair.org Textile Arts is the use of fibers (plant, animal & synthetic), yarns or fabrics to construct practical or decorative items. -
Textiles - an Art Form for the 90'S: Advancing Fiber with New Concepts & Marketing Strategies
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 1998 Textiles - An Art Form For the 90's: Advancing Fiber With New Concepts & Marketing Strategies Elizabeth Gaston Fashion Institute of Technology, New York City Laura Hill Fashion Institute of Technology, New York City Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Gaston, Elizabeth and Hill, Laura, "Textiles - An Art Form For the 90's: Advancing Fiber With New Concepts & Marketing Strategies" (1998). Textile Society of America Symposium Proceedings. 166. https://digitalcommons.unl.edu/tsaconf/166 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Textiles - An Art Form For the 90's: Advancing Fiber With New Concepts & Marketing Strategies by Elizabeth Gaston and Laura Hill This panel discussion provided a forum for an exploration of the place and meaning of contemporary textile art. It was one of several concurrent panels held on the final afternoon of the Sixth Biennial Textile Society of America Symposium. Textiles An Art Form For the 90's brought together artists and enthusiasts from many backgrounds and with different perspectives. Four participants presented formal papers accompanied by slides. This was followed by a panel discussion. The chairperson was Patricia Malarcher, editor of Surface Design Journal. She shared the viewpoint of the media. -
Download The
1 Studies in Material Thinking, http://www.materialthinking.org Vol. 4 (September 2010), ISSN 1177-6234, AUT University Copyright © Studies in Material Thinking and the author. Cresside Collette Tutor in Tapestry Weaving and Drawing School of Fashion and Textiles RMIT University [email protected] Abstract Since Mediaeval times drawing has been the foundation for and the integrated content of woven tapestry. This paper traces the evolution of a rich, colourful, tactile medium in response to the drawn image, the shift in importance of the weaver as artist within the process, and the emergence of Tapestry as a Contemporary art form in its own right. Keywords Drawing, Tapestry, Cartoon, Artist, Weaver. “Found in Translation – the transformative role of Drawing in the realisation of Tapestry.” Introduction A bold definition of tapestry is that it is a woven work of art. It carries an image, made possible by virtue of what is known as discontinuous weft, i.e. the weft is built up in small shapes rather than running in continuous rows across the warp. The structure of the material comprises warp (vertical) and weft (horizontal) threads. Hand woven on a loom, the weft yarn generally covers the warp, resulting in a weft - faced fabric. The design, which is woven into the fabric, forms an integral part of the textile as the artist/weaver constructs the image and surface simultaneously. Of all the textile arts, tapestry is the medium that finds its form and expression most directly in the drawn line. Drawing is the thread, both literally and metaphorically, that enables the existence of woven tapestry and it has played both a supporting and a didactic role in the realisation of this image - based form. -
800 228340 Via Isidoro La Lumia 27A Tel. 091.580180
Salvo Ioco personal Stylist di Mattia Briga Dal 1986 Isi & Company rappresenta il punto di riferimento per l’uomo che vuole al mondo del su misura, personale tecnico qualificato a soddisfare tutte le vostre distinguersi. Eleganza, unicità, qualità sartoriale tipica del Made in Italy sono le basi esigenze. La scelta dei tessuti che vi verrà proposta è costituita dai marchi più presti-- sullesulle qualiquali sisi fonda la filosofia dell’azienda. Isi & Company realizza su misura abiti, giosi quali E. Zegna, Loro Piana, Cerruti 1881, Draper’s, Vitale Barberis Canonico, soprabiti,soprabiti, camiciecamicie e cravatte, impreziosite da finiture di livello e accessori orientati Bottoli, Larusmiani e tanti altri. Potrete inoltre usufruire di un servizio dedicato a chi versoverso il top della qualità (fodere puro Bemberg, filati Gutermann, interni in pelo non ha il tempo o la voglia di recarsi in negozio. È possibile infatti rilevare le misure di cammello, crine di cavallo, bottoni in corozo, in vero corno, in madreperla, in e scegliere il modello e il tessuto presso la vostra abitazione o il vostro posto di lavo-- gioiello, etc). Abiti confezionati per chi desidera indossare un capo unico, fuori dai ro, Dove e Quando desiderate. Tutte le fase della lavorazione sono rigorosamente canoni tradizionali e rappresentativo del proprio stile. Stile garantito dall’estro e eseguite in Italia, all’interno dei nostri laboratori, seguendo un’unica filiera produt-- dalla maestria dello stilista Salvo Ioco, giovane ma ricco di esperienza e passione. tiva che permette di offrire capi di assoluta qualità contraddistinti dada unun rapportorapporto Salvo Ioco, col suo intuito, propone abiti che rispettano la tradizione, interpretan- qualità-prezzo competitivo e da uno stile unico e inimitabile. -
Australian Superfine Wool Growers Association Inc
AustrAliAn superfine Wool Growers’ Association inc. AustrAliAn superfine Wool Growers Association inc. AnnuAl 2015-2016 www.aswga.com 1 | Annual 2015/2016 Australian Wool Innovation On-farm tools for woolgrowers Get involved in key initiatives such as: • Join an AWI-funded Lifetime Ewe Management group to lift production - www.wool.com/ltem • Join your state’s AWI extension network - www.wool.com/networks • Benchmark your genetic progress with MERINOSELECT - www.wool.com/merinoselect • Reducing wild dog predation through coordinated action - www.wool.com/wilddogs • Training shearers and woolhandlers - www.wool.com/shearertraining • Enhanced worm control through planning - www.wool.com/wormboss • Getting up to scratch with lice control - www.wool.com/lice • Flystrike protection and prevention - www.wool.com/fl ystrike VR2224295 www.wool.com | AWI Helpline 1800 070 099 Disclaimer: Whilst Australian Wool Innovation Limited and its employees, offi cers and contractors and any contributor to this material (“us” or “we”) have used reasonable efforts to ensure that the information contained in this material is correct and current at the time of its publication, it is your responsibility to confi rm its accuracy, reliability, suitability, currency and completeness for use for your purposes. To the extent permitted by law, we exclude all conditions, warranties, guarantees, terms and obligations expressed, implied or imposed by law or otherwise relating to the information contained in this material or your use of it and will have no liability to you, however arising and under any cause of action or theory of liability, in respect of any loss or damage (including indirect, special or consequential loss or damage, loss of profi t or loss of business opportunity), arising out of or in connection with this material or your use of it. -
Textile Traditions and Fashion Education in Mexico
Textile Traditions and Fashion Education in Mexico Thomai Thessalia Papathanasiou and Alessandra Perlatti Introduction Mesoamerican textile weaving reflects a continuous history of interpretation based on ancient, historic, and modern ideologies and techniques. The textiles that are found in museums and private collections and among the indigenous people of Mesoamerica, where the ancient art of weaving continues today, are significant resources of information. (Klein, 1997, 1) The richness of textile traditions in Mexico is worldly recognized. Mesoamerican cultures are still alive nowadays in different parts of the country, and cultural heritage still survives among the indigenous peoples who inhabit modern Mexico. One of the strongest features of these cultures are their weaving, dyeing, embroidering, and looming techniques. Textile traditions, combined with craftsmanship, music, and dance are the foundation of popular culture in Mexico. Although popular culture has always been seen as trivial and of a lower level when compared to high culture, it provides the best way to detect and recognize a collective state of mind and the lifestyle of a particular society. It is through popular culture that we can more easily identify the colors, smells, sounds, and normative behavior of a community. Modern Mexican fashion designers nowadays therefore face a great challenge to find an in-between place where they can celebrate their cultural roots and at the same time create cutting edge designs. How can they honor indigenous craftsmanship without -
Color, and the Tactile Joy of Finger Painting
Tapestry Topics A Quarterly Review of Tapestry Art Today www.americantapestryalliance.org Summer 2010 Vol 36 No 2 On Designing for Tapestry by Thoma Ewen Within each of us is a deep well of creativity. It is linked to spirit and to the life force, and it is essential to well being. I often send my students outside to look at the natural environment. To me, everything begins with what you see as being beautiful. I am an artist because I wish to partici- pate in beauty. When I design and weave, my desire is to communicate the beauty that I feel. Designing tapestry begins with something I see in the natural environment that moves me. It's as if I take a visual impression of the feeling that a particular scene evokes in me. This transforms into a visual image in my mind. I give this process time and stay in touch with the feeling all the way through the designing and weaving process. I work with the visual image, exploring the feeling through drawings. I often do many Thoma Ewen at her loom. pastel drawings as studies before selecting the one I will weave into tapestry. I use the drawing that best captures the feeling. In my recent series Aurora Borealis Behind the Trees there are 10 drawings and four tapestries. Discover and enjoy your own creativity by playing with drawing or painting materials. If you feel inadequate, blocked, or stuck, watch young children finger paint. Try it yourself, as it is very freeing to lose yourself in the pure color, and the tactile joy of finger painting. -
Stitched Textile Technology in Womenswear Design
2nd International Conference on Advances in Social Science, Humanities, and Management (ASSHM 2014) The stitched textile technology and its emotional consideration property in fashion design Yushan Zou; Desheng Zhang (College of textiles and garments, Southwest University, Chongqing China, 400715) Abstract fashion design. By stitching, textured fabric would well decorate design. In the modern world, fashion designers have kept In the field of product development, fashion exploring more skills on fabric in the field of product designers start to explore more on fabric. As Hedley development. The stitched textile technology attracted (2010) agreed that line has great versatility, which is a increasing attention due to its characteristics of emotion basic element in fashion design; it could be used to create expressing, easy-sculpting and color-matching. The texture, mark and form. Stitched textiles combines fabric present paper introduced this textile redesign skill and a painting and printing, applied fabrics and hand and fashion artist named Gwen Hedley who did an excellent machine stitchery. I have paid great attention to the stitch job in stitched textile application. Additionally, a vivid artist named Gwen Hedley. She is an English textile artist case of this technique adopted by us in womenswear who is strong recognized in textile. She can use stitching design was shared in this paper. We conclude that well on fabric. What she did is fabrics redo by using the stitched textile can help to enhance the uniformity of techniques of stitching and hand sewing and most whole collection and emotion consideration in fashion inspired for textured nature. design. 2 The technology of stitched textile and its properties Keywords: stitched textile , womenswear , fashion designing, emotional consideration 2.1 The technology and emotional expression of stitched textile 1 Introduction In textile arts, stitching is a basic element of sewing, With the public aesthetic promotion, common embroidery and crochets no matter by hand or machine. -
Nishanta De Gruiter +19173922407 [email protected]
High resolution images contact: Nishanta de Gruiter +19173922407 [email protected] SHIRT H3855, Cotton Two-Ply SUIT P3563, Pure cotton JACKET C575, Pure cotton, $399 JACKET C574, Cotton silk, $399 by Albiate (IT), $199 by TMG (PT), $469 PANTS B284, Pure cotton, €149 PANTS B276, Pure cotton, $149 PANTS B297, Cotton, $149 SHOES FW131237, Suede, $259 SHOES FW131237, Suede, $259 SHOES FW131234, Calf suede, $259 SHOES FW131259, Suede by Maurizi, $279 BAG BAG12312, Leather, $599 COAT J232, Water repellent, $469 JACKET C567, Pure cotton COAT J226, Cotton linen, $469 SWEATER SW284, Cotton cashmere, $99 PANTS B286, Pure cotton, $149 by Larusmiani (IT), $349 PANTS B280, Pure cotton, $149 PANTS B275, Cotton linen, $149 SHOES FW131161, Leather, $269 PANTS B284, Pure cotton, $149 SHOES FW1311412, Leather, $289 SHOES FW131161, Leather, $269 BAG BAG12302, Leather canvas linen, $449 SHOES FW122137, Leather, $329 SUIT P3562, Cotton silk JACKET C570, Pure cotton JACKET C565, Pure cotton V-NECK SW282, Cotton cashmere, $89 by Tessilgrosso (IT), $569 by Santanderina, $399 by Larusmiani (IT), $399 PANTS B284, Pure cotton, $149 SHOES FW122137, Leather, $329 PANTS B277, Pure cotton PANTS B280, Pure cotton, $149 SHOES FW131237, Suede, $259 by Santanderina, $149 SHOES FW131234, Calf suede $259 BAG BAG12306, Leather, $585 SHOES FW122122, Leather, $329 JACKET C545, Linen by Angelico (IT), $399 JACKET C561, Cotton by Subalpino (IT), $349 QUILTED VEST BW010, Pure wool, $199 JACKET C552, Wool linen, $399 PANTS B285, Cotton, $149 PANTS B297, Pure Cotton, $149 PANTS