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Patches External Embellishment Printed Fabric Labels Woven Edge Polyester Special Cotton Jackron & Tyvec Woven Labels Awesome Qualities Supreme Qualities Noble Qualities Satin Qualities Damask Qualities Taffeta Qualities Twill Qualities Special Qualities Specialties Leather, Faux Leather Sewn Heat-Applied Key: Blank = Not Recommended, = Medium = High Cotton / Mixed Fabrics Cotton blends with less than 10% Lycra / Spandex / Elastane Cotton blends with more than 10% Lycra / Spandex / Elastane Polyester Performance Knits & Wovens (piece-dyed) Polyester Dye-Sublimated Fabric Nylon Chiffon and lightweight fabrics Denim Fleece PU, PVC-Coated subject to evaluation Leather Patches External Embellishment Printed Fabric Labels Woven Edge Polyester Special Cotton Jackron & Tyvec Woven Labels Awesome Qualities Supreme Qualities Noble Qualities Satin Qualities Damask Qualities Taffeta Qualities Twill Qualities Special Qualities Specialties Leather, Faux Leather Stretchable Tearable Substrate Softness 1-2 Color Design Key: Blank = Not Recommended, = Medium = High 2+ Color Design Anti-Dye Migration Brand Protection Options Home Laundering Resistance Stonewash Resistance Overdye Resistance Dry Clean resistance Patches External Embellishment Printed Fabric Labels Woven Edge Polyester Special Cotton Jackron & Tyvec Woven Labels Awesome Qualities Supreme Qualities Noble Qualities Satin Qualities Damask Qualities Taffeta Qualities Twill Qualities Special Qualities Specialties Leather, Faux Leather 3D Effect Areated Bi-color Surface Colored Reflective Key: Blank = Not Recommended, = Medium = High Controlled Fraying Creative Texture Custom Colors Embossing / Debossing Glitter Gloss Glow in the Dark Hologram Matte Metallic Effect Monofilament Neon Peaching Pearlescent Photoreal Design Puff Fill Reflective Elements Shimmer Specialty Yarns Sublimation TPU Transparent UV With Embroidery With Silicone Woven / Embroidery Woven Soft Seal Patches External Embellishment Printed Fabric Labels Woven Edge Polyester Special Cotton Jackron & Tyvec Woven Labels Awesome Qualities Supreme Qualities Noble Qualities Satin Qualities Damask Qualities Taffeta Qualities Twill Qualities Special Qualities Specialties Leather, Faux Leather Water-Based Technology Recyclable Yarns Oeko-Tex 100 Class 1/RSL Key: Blank = Not Recommended, = Medium = High Patches External Embellishment Printed Fabric Labels Woven Edge Polyester Special Cotton Jackron & Tyvec Woven Labels Awesome Qualities Supreme Qualities Noble Qualities Satin Qualities Damask Qualities Taffeta Qualities Twill Qualities Special Qualities Specialties Leather, Faux Leather Roll-to-Roll Sheets / Single Cuts Laser Cut Key: Blank = Not Recommended, = Medium = High.

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Modh-Textiles-Scotland-Issue-4.Pdf
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.
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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.
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Price List 2007 / 2008 October 1, 2007 F.O.B
CHROMCRAFT CONTRACT 2007 / 2008 / 2007 PRICE LIST 2007 / 2008 OCTOBER 1, 2007 F.O.B. ORIGIN • SENATOBIA, MS - USA • PREPAID FREIGHT DEALER SERVICE 1-866-777-1951 • FAX 1-800-336-1651 www.chromcraftcontract.com Effective Date October 1, 2007 POSSESSION OF THIS CATALOG OR PRICE LIST DOES NOT IMPLY THE RIGHT TO PURCHASE PRODUCTS SHOWN HEREIN. SALES ARE RESTRICTED TO ACCOUNTS ESTABLISHED AS AUTHORIZED DEALERS ONLY. GENERAL INFORMATION TERMS: Net 30 Days from date of invoice. PRICES: F.O.B. Origin, Senatobia, Mississippi. Prices are subject to change without notice. All orders are invoiced at prices prevailing at time of acknowledgement. Chromcraft reserves the right to make modifications and design changes without notice. PRICING, SHIPPING, and DELIVERY: All deliveries shall be F.O.B. origin, prepaid freight to your designated facility within the continental United States on all orders that exceed $700 list price. On orders for less than $700 at list price, there is a minimum freight charge of $50 or actual UPS charges. Under the terms – F.O.B. origin – at the point of shipment, title to the goods and responsibility of same, passes to your company. In the event of damages, contact the delivering carrier for an inspection and file claim. We will attempt to assist you in every way possible. However, we cannot file claim with the carrier on your behalf. Chromcraft has the right to determine the carrier, method of shipment, and routing. Extra expense resulting from customer request for special carrier, method of shipment, and/or routing will be billed to the customer at our cost.
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Textiles Under Mughals
Chapter V Textiles under Mughals- The advent of the Mughal dynasty gave an undeniable boost to production of the up-market textile, as to other craft. Textiles are singled out for mentioned by Abul Fazl, the minister and biographer of Akbar (1556-1605), in his Ain-i-Akbari, compile in the 1590‟s as a subject in which the emperor took particular interest. Akbar favoured woollen garment – the chosen wear of Sufis (Muslim mystics) – „from his indifference to everything that is worldly‟ in preference to the richer stuffs. His penchant for wool is also indicated by the steps he took to improve shawl manufacture; especially in the relation to dyes and width of fabric.1 Ain-i- Akbari goes into fascinating details on the manner of classifying garments in the imperial wardrobe (toshkhana). The textiles were arranged according to the date of entry which was recorded, sometime with other information, on a label tacked on to the piece (practice which survived in provision toshkhana into the 20th century). Price, colour and weight were also taken into account. Within these boundaries, textile took precedence according to the nature of the day, astrologically auspicious or otherwise on which they were received. A further refinement took into account the colours, of which thirty five are listed in the order of precedence. Abul Fazl further records that imperial workshops had been set up in the cities of Lahore, Agra, Fatehpur Sikri and Ahmedabad, where the best of the local craftsmen were requisitioned to supply the needs of the court.2 Persian masters were brought in to teach improved techniques.
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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.
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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.
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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
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Fabric Supplier List
FABRIC SUPPLIER LIST CANADA Kendor Textiles Ltd 1260 Cliveden Ave Delta BC V3M 6Y1 Canada 604.434.3233 [email protected] www.kendortextiles.com Fabrics Available: Fabric supplier. Eco-friendly. Organic. Knits: solids, prints, yarn dyes and warp. Wovens: solids and yarn dyes. End Use: activewear, bottomweights, medical, lingerie, childrenswear, swimwear, rainwear, skiwear and uniform. Natural & eco items include cottons, bamboo's, modals, linens, hemps, organic cottons & organic linens. Technical items include waterproof/breathable soft shells, antibacteric & wicking polyester & recycled polyesters. Is a proud representative of the British Millerain line of waxed cottons and wools, and are able to provide custom souring. Minimums: Carries stock. In-stock minimum: 5 yards/color. Minimum order for production: 10 yards/color. Gordon Fabrics LTD #1135-6900 Graybar Rd. Richmond BC Canada 604.275.2672 [email protected] Fabrics Available: Fabric Supplier. Importer. Jobber. Carries stock. Knits & Wovens: solids, prints, yarn dyes and novelties. End Use: activewear, borromweights, eveningwear/bridal, medical, lingerie and childrenswear. Minimums: In stock minimum 1 yard. Minimum order for production varies. StartUp Fashion Supplier List 2016 – Page 1 CHINA Ecopel (HX) Co., Ltd. China +86 216.767.9686 www.ecopel.cn Fabrics Available: Fake fur and leather garments. End Uses: Childrenswear, Menswear, Other, Womenswear. Minimums: Min. order 50-100 m Hangzhou New Design Source Textile Co., Ltd. China +86 057.182.530528 Fabrics Available: Knits, Polyester/Man-Made, Prints. End Uses: Juniors Fashion, Menswear, Womenswear. Minimums: Min order 50 m. Nantong Haukai Textile Co., Ltd. China +86 513.890.78626 www.huakaitex.com Fabrics Available: Cotton, Linen. End Uses: Corporatewear/Suiting, Menswear, Womenswear.
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Carlhian Records, 1867-1988
http://oac.cdlib.org/findaid/ark:/13030/c8z89dsn No online items Finding aid for the Carlhian records, 1867-1988 Teresa Morales and Karen Meyer-Roux Finding aid for the Carlhian 930092 1 records, 1867-1988 Descriptive Summary Title: Carlhian records Date (inclusive): 1867-1988 Number: 930092 Creator/Collector: Carlhian (Firm) Physical Description: 1331.62 Linear Feet(837 boxes, 627 flatfile folders, 86 rolls) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Records of the Paris-based interior design firm, including ledgers, stock books, furniture designs, correspondence, photographs, fabric samples, drawings, and business records for the firms' Paris, London, New York, and Buenos Aires offices. Request Materials: Request access to the physical materials described in this inventory through the library catalog record for this collection. Click here for access policy . Language: Collection material is in French Organizational / Historical Note The Carlhian family operated a leading Paris-based interior design firm that specialized in interiors in the French eighteenth-century style. The firm's foundation is traced back to 1867, when Anatole Carlhian and his brother-in-law, Albert Dujardin-Beaumetz, founded the export commission business Carlhian & Beaumetz located in Paris at 30, rue Beaurepaire, close to the place de la République. The firm initially made purchases on behalf of its clients and later specialized in reproductions of period French furniture. The London dealer Duveen Brothers became an important client, using Carlhian & Beaumetz as an intermediary for its dealings in the French market not involving fine art and antique objects.
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Understanding Fabrics Guide
Understanding Fabrics Copyright © 2008 Learning Seed Suite 301 641 W. Lake Street Chicago, IL 60661 P 800.634.4941 F 800.998.0854 [email protected] www.learningseed.com Understanding Fabrics Page i of 25 Understanding Fabrics A Guide to Understanding FFFabricsFabrics Legal Niceties The Video Copyright © 2008 Learning Seed. This video program is protected under U.S. copyright law. No part of this video may be reproduced or transmitted by any means, electronic or mechanical, without the written permission of the Publisher, except where permitted by law. This Teaching Guide Copyright © 2008 Learning Seed. This teaching guide is copyrighted according to the terms of the Creative Commons non-commercial license (http://creativecommons.org/licenses/by-nc/2.5/ ). It may be reproduced, in its part or its entirety, for classroom use. No part of this guide may be reproduced for sale by any party. You are free: • to copy, distribute, display, and perform the work. • to make derivative works. Under the following conditions: • Attribution. You must attribute the work to Learning Seed. • Noncommercial. You may not use this work for commercial purposes. • For any reuse or distribution, you must make clear to others the license terms of this work. • Any of these conditions can be waived if you get permission from the copyright holder. Credits The Video This Teaching Guide Writers: Kathleen O. Ryan, Louise Schrank Compilation: Rebecca J. Phipps Narrator: Susan McPeters Copy Editor: Jennifer Smith Learning Seed Catalog and ISBN Numbers Our Guarantee DVD LS-1166-08-DVD ISBN 1-55740-522-0 Please contact us with any questions or concerns at: VHS LS-1166-08-VHS ISBN 1-55740-521-2 Closed Captioning Learning Seed This program is closed-captioned.
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The Textile Museum Thesaurus
The Textile Museum Thesaurus Edited by Cecilia Gunzburger TM logo The Textile Museum Washington, DC This publication and the work represented herein were made possible by the Cotsen Family Foundation. Indexed by Lydia Fraser Designed by Chaves Design Printed by McArdle Printing Company, Inc. Cover image: Copyright © 2005 The Textile Museum All rights reserved. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means -- electronic, mechanical, photocopying, recording or otherwise -- without the express written permission of The Textile Museum. ISBN 0-87405-028-6 The Textile Museum 2320 S Street NW Washington DC 20008 www.textilemuseum.org Table of Contents Acknowledgements....................................................................................... v Introduction ..................................................................................................vii How to Use this Document.........................................................................xiii Hierarchy Overview ....................................................................................... 1 Object Hierarchy............................................................................................ 3 Material Hierarchy ....................................................................................... 47 Structure Hierarchy ..................................................................................... 55 Technique Hierarchy ..................................................................................
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Beyond the Bale Is Available Free
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