Fabric Checklist

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FABRIC CHECKLIST COMMON FABRICS BEST USES COMMON FIBRE CONTENTS Light weight: Tops and dresses in draped and fitted Cotton Single Jersey styles, lightweight drapey skirts and Viscose Interlock trousers, baby clothes, nightwear. Wool Rib Silk Elastane Medium weight: Great for fitted body-con styles. Viscose Ponte roma Will hold gathers and pleats in a Polyester Scuba sculptural way making them great for Elastane boxy and sculptural styles. KNITS Medium to heavy As the fabrics in this group tend to Cotton weight: have less stretch and are often Viscose Sweatshirt (French referred to as “stable” knits, they’re Wool terry) great for more structured styles such Elastane Cut & sew knits as jumpers, boxy dresses, loose fitting Polyester (sweater knits) garments and outerwear. Boiled & felted wools Light weight: Gathered, floaty, draped styles. Cotton Lawn Camisoles/ vests. Silk Satin Nightwear and underwear. Polyester Crepe May need a lining for skirts. Linen Challis Can be used as linings for heavier Viscose Charmeuse fabrics. Medium weight: Crisp neat styles such as shirts. Cotton Calico Gathered and pleated styles. Silk Poplin Skirts, dresses with some drape such Polyester Chambray as A-line skirts and shirt dresses. Linen WOVENS Sateen Summer trousers, shorts. Viscose Needlecord Medium to heavy Outerwear. Cotton weight: Structured styles. Polyester Denim Trousers, structured dresses and Wool Tweed skirts such as shift dresses and pencil Elastane Corduroy skirts. Canvas Velvet © Wendy Ward 2017 www.wendyward.co.uk PROJECT CHECKLIST PROJECT FABRICS STYLE DETAILS Garment: Fabric 1 Price SLEEVES Occasion or everyday: To look for ✓ To avoid ✗ Need by: Width Other: swatch Composition MEASUREMENTS NECKLINES Bust Care Instructions To look for ✓ To avoid ✗ Waist Hips Fabric 2 Price Width SILHOUETTE & FIT To look for ✓ To avoid ✗ COLOUR & PRINT swatch Composition To look for ✓ To avoid ✗ Care Instructions STYLE DETAILS Fabric 3 Price To look for ✓ To avoid ✗ Width POSSIBLE PATTERNS swatch Composition LENGTH To look for ✓ To avoid ✗ Care Instructions © Wendy Ward 2017 www.wendyward.co.uk .

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Spring Twenty Two Women's Headwear
SPRING 2022 SPRING TWENTY TWO WOMEN’S HEADWEAR & APPAREL DONE PROPER NH SPRING 2022 WOMEN THIS SEASON WE CELEBRATE THE NEW EXPLORERS. THE COLLECTION IS INSPIRED BY VINTAGE MILITARY AND WORKWEAR SILHOUETTES, BLENDED WITH SPRING THE JOYFUL RETRO AESTHETIC OF THE 1970’S. WOMEN 2022 WITH A PALETTE OF CLASSIC SEASONAL COLORS AND PRINTS, WE SET OUT TO DESIGN A RANGE THAT BALANCES STYLE THAT IS AT HOME ON CITY STREETS, OR THE ROADS LESS TRAVELED. SPRING 2022 2 SPRING 2022 3 RANCHER COLLECTION JO RANCHER RANCHER COLLECTION SPRING 2022 4 SPRING 2022 5 JO STRAW RANCHER RANCHER COLLECTION A NEW ICON | ELEGANT SILHOUETTE | PREMIUM DETAILS SPRING 2022 6 SPRING 2022 7 RENO FEDORA RANCHER COLLECTION REFINED AND RESPONSIBLY SOURCED | PREMIUM DETAILS AND FINISHES SPRING 2022 8 SPRING 2022 9 JO RANCHER RANCHER COLLECTION THE RANCHER REBORN | CRUELTY-FREE WOOL CONSTRUCTION SPRING 2022 10 SPRING 2022 11 JO RANCHER (10cm/4” Brim) XS-S-M-L (6_-7-7_-7_) • 100% wool felt • Metal headwear plaque • Adjustable Velcro strap under sweatband • Grosgrain outside band and brim taping DOVE WASHED NAVY/NAVY *BLACK 11035-DOVE 11035-WSNVY 11035-BLACK RANCHER COLLECTION BRASS 11035-BRASS PRODUCT PAGE JOANNA FELT HAT (10cm/4” Brim) XS-S-M-L (6_-7-7_-7_) • 100% wool felt • Grosgrain band • Metal headwear plaque • Adjustable Velcro strap under sweatband *BLACK PHOENIX ORANGE MOJAVE 10783-BLACK 10783-PHEOR 10783-MOJAV SPRING 2022 12 SPRING 2022 13 JOANNA PACKABLE HAT DUKE COWBOY HAT (7.5cm/3.5” Brim) (7.5cm/3” Brim) XS-S-M-L (6_-7-7_-7_) XS-S-M-L-XL (6¾-7-7¼-7½-7¾) • 100% wool felt • 100% wool felt • Grosgrain band • 5mm Grosgrain band • Metal headwear plaque • Metal headwear plaque • Adjustable Velcro strap under • D2 sweatband *BLACK MERMAID CASA BLANCA BLUE *BLACK COFFEE 10628-BLACK 10628-MERMD 10628-CABLB 10998-BLACK 10998-COFFE RENO FEDORA COHEN COWBOY (9cm/3.
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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.
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An Empirical Assessment of the Relationship Of
An International Multidisciplinary Journal, Ethiopia Vol. 7 (2), Serial No. 29, April, 2013:350-370 ISSN 1994-9057 (Print) ISSN 2070--0083 (Online) DOI: http://dx.doi.org/10.4314/afrrev.7i2.22 Adire in South-western Nigeria: Geography of the Centres Areo, Margaret Olugbemisola- Department of Fine and Applied Arts, Ladoke Akintola University of Technology, P. M. B 4000, Ogbomoso, Nigeria E-mail; [email protected] & Kalilu, Razaq Olatunde Rom - Department of Fine and Applied Arts, Ladoke Akintola University of Technology, P. M. B 4000, Ogbomoso, Nigeria E-mail; [email protected] Abstract Adire, the patterned dyed cloth is extant and is practiced in almost all Yoruba towns in Southwestern Nigeria. The art tradition is however preponderant in a few Yoruba towns to the extent that the names of these towns are traditionally inseparable with the Adire art tradition. With Western education, introduction of foreign religions, influence from other cultures, technique and technology, there is a shift in the producers of Adire, the training pattern, and even an evolution in the production centre. While Western education resulted in a shift from the hitherto traditional Copyright© IAARR 2013: www.afrrevjo.net 350 Indexed African Journals Online: www.ajol.info Vol. 7 (2) Serial No. 29, April, 2013 Pp.350-370 apprenticeship method to the study of the art in schools, unemployment gave birth to the introduction of training drives by government and non governmental parastatals. This study, a field research, is an appraisal of the factors that contributed to the vibrancy of the traditionally renowned centres, and how the newly evolved centres have in contemporary times contributed to the sustainability of the Adire art tradition.
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Fabric ESSENTIALS
Fabric ESSENTIALS COTTON-RICH POPLIN POLY-WOOL NYLON TASLON • Moisture-wicking – dries quickly • Uniform shirts of 67% cotton/33%polyester • Easy-care, wrinkle-resistant, and durable • Antimicrobial – resists bacteria, fights odor • Comfort with easy machine-wash care • Wool makes fabric more substantial and • Durable, lightweight, easy-care fabric • Khaki and navy shirts offer UPF 40+ comfortable for year ’round use sun-protective rating • Excellent UPF 40+ sun-protective rating MICRO POLY • Khaki shirts and uniform-green pants ® in lightweight, polyester microfiber SUPPLEX NYLON COTTON-RICH CANVAS • Aegis™ antimicrobial technology • Moisture management • Extra-durable and stain-resistant— • Superior moisture control • Lightweight and quick-drying ideal for active Scouts • Excellent UPF 40+ sun-protective rating • Excellent UPF 50+ sun-protective rating • Excellent UPF 40+ sun-protective rating The Skin Cancer Moisture Management (Wicking) A specially Foundation Seal of engineered, high-performance fabric in which the inner layer Recommendation draws moisture away from the body to the outer layer where To earn this distinguished it quickly evaporates, keeping you cooler in hot weather and seal, a product must warmer in cold. be proven to aid in the prevention of sun-induced Advanced antimicrobial fabric treatment damage to the skin, and Commonly used to fight bacteria, this treatment features a must earn a UPF (Ultraviolet positively charged polymer that bonds molecularly to the fabric Protection Factor) of 30 to fight the growth of bacteria and fungi, reduce odors, and or above. In keeping with protect against stains and deterioration. Also helps to wick safety as the top priority for away moisture so fabric dries quickly and keeps Scouts drier.
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Suicide Deaths and Quality of Indian Cotton: Perspectives from History of Technology and Khadi Movement Author(S): C
Suicide Deaths and Quality of Indian Cotton: Perspectives from History of Technology and Khadi Movement Author(s): C. Shambu Prasad Source: Economic and Political Weekly, Vol. 34, No. 5 (Jan. 30 - Feb. 5, 1999), pp. PE12-PE21 Published by: Economic and Political Weekly Stable URL: http://www.jstor.org/stable/4407604 . Accessed: 13/06/2014 06:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Economic and Political Weekly is collaborating with JSTOR to digitize, preserve and extend access to Economic and Political Weekly. http://www.jstor.org This content downloaded from 130.92.9.57 on Fri, 13 Jun 2014 06:16:17 AM All use subject to JSTOR Terms and Conditions Suicide Deaths and Quality of Indian Cotton Perspectives from History of Technology and Khadi Movement C Shambu Prasad The suicide deaths of farmers is a failure of agricultural science and the historical nature of the crisis needs to be appreciated. This paper seeks to retrace the route by which the present connections between Indian cotton and the mechanised textile industry were first established, a direction that has led to the present crisis on the fields of the cotton jflrmers.
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Fibres & Fabrics
BrIefInG fibres & fabrics By philippa watkIns European textiles are a strong force again. Their creativity and inventiveness, which has kept growing despite the years of difficulties and still prevailing uncertainties, is helping them out of crisis. Fabric Fairs such as MFS, Milano Unica and Première Vision were busy, maintaining the increase in visitors noted a year ago – even London’s little Textile Forum was buzzing with visitors. PV and Expofil recorded 53,065 visitors overall with EU visitors now accounting for 70%. Visitors from the US, whose economy has been showing signs of recovery, accounted for 5% and there was a surge in Asian visitors, mostly from Japan, South Korea and China. With buyers showing such interest, exhibitors were cautiously optimistic. Notable also are new techniques, and sheer craftsmanship, which create both a new PV Awards aesthetic as well as greater ‘sustainability’. There’s an air of responsibility, as the with a twist, masculine look. These fabrics industry works towards more sustainable are also printed – often in huge prints, and production. Use of water, for instance, is a double faced reversing print to plain. Italian serious issue, and new ways of water and Ratti, for instance, had a new ‘scuba’ cloth chemical free finishing are making headway – in a crêpe-type quality made with crêpe such as digital printing and laser technology. yarns, also printed, and Menta, always Even more spectacular is the development experimenting with extraordinary printing of new ways of finishing through ‘plasma’ techniques, had printed ribbed spacers. technology – one to really watch. While these fabrics have smooth volume, they are not flat – in fact nothing is quite PV AWArDs 2014 Trend area at Milano Unica flat.
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Pricelist for : Web - Standard Jan 2020 - Valid Until Mar 15 2020
Pricelist for : Web - Standard Jan 2020 - Valid until Mar 15 2020 Prices include base fabric and digital printing. No setup/ hidden costs. Prices inc VAT Create your fabric today at www.fashion-formula.com Natural Fibres Fabric Code Fabric Name Composition Colour Weight Face Popular For Width (mm) Sample FQ 40 - 300 m 20-39m 10-19m 4-9m 1-3m CF001 SATIN 100% COTTON White 240 Satin ✂️ 1350 £3.25 £12.80 £20.65 £21.90 £26.25 £30.00 £33.15 CF002 DRILL 100% COTTON White 250 Twill ✂️ 1400 £3.25 £10.00 £18.75 £21.25 £22.50 £27.50 £29.40 CF004 POPLIN 100% COTTON White 130 Plain ✂️ 1400 £3.25 £12.00 £20.65 £22.50 £26.25 £27.50 £30.00 CF005 PANAMA 100% COTTON White 210 Panama ✂️ 1400 £3.25 £12.00 £19.40 £20.65 £21.90 £27.50 £30.00 CF006 LIGHT TWILL 100% COTTON White 210 Twill ✂️ 1400 £3.25 £11.60 £20.00 £21.25 £22.50 £25.65 £28.70 CF007 TOP SATEEN 100% COTTON White 170 Satin ✂️ 1350 £3.25 £11.60 £20.65 £22.50 £25.00 £28.75 £30.65 CF008 MELINO LINEN 93% CO 7% LINEN White 228 Panama ✂️ 1350 £3.25 £12.40 £20.65 £22.50 £25.00 £29.40 £31.90 CF009 LIMANI LINEN 90% CO 10% LINEN White 250 Panama ✂️ 1350 £3.25 £12.80 £23.15 £26.25 £30.00 £32.50 £35.00 CF011 CALICO COTTON 100% COTTON White 155 Plain ✂️ 1400 £3.25 £8.00 £16.25 £18.15 £20.00 £21.90 £23.75 GOTS ORGANIC CF014 COTTON PANAMA 100% COTTON Natural 309 Panama ✂️ 1400 £3.25 £12.00 £20.65 £22.50 £25.00 £28.75 £31.90 NATURAL CF016 HEAVY DENIM 100% COTTON White 395 Twill ✂️ 1400 £3.25 £12.80 £23.15 £26.25 £28.75 £31.25 £32.25 CF017 COTTON SLUB 100% COTTON White 150 Slub
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1917-11-16 [P 12]
M tion of Women's CIntis, and Miss experiences In practical study of so- classes, for eocîîi] service workers; Nielsen and Vlggo Jacobaen. Thai Cornelia of Whittier cial conditions In New York as local conditions will be reviewed, sta- Bradford, House, RED CROSS HOME SERVICE City, VALHALLA ODD FELLOWS banquet will start at S o'clock and aA did Mrs. E. F. Spofford, who has been tistics gathered and general prepara- Jersey City. elaborate menu baa been Dr. Anna Howard Shaw will be the taking a course of Instruction in the tion made for effective handling of promised. I HAS INITIAL MEETING of home many cases whloh later will need the TOMORROW Besides members at th#* i. at mass also. The scope NIGHT many SUFFRAGISTS headliner tonight's meeting metropolis BANQUET as of this in the assembly chamber at the State service work was outlined, it attention department meeting last night there were several· The Initial meeting of the Red Valhalla No. Odd Fel- on "Woman touches the lires of families of all Among those present were repre- Lodge 275, from House. She will speak Cross home service department, held visitors General Morgan LodgreJ Patriots and War Service." Address- who are engaged In the nation's serv- sentatives from the Board of Educa- lows, at its meeting last con- of South and Essex last night at St. Peter's parish house, night Amboy County j es The of looking after tion, Board of Health, City Poor De- also will be made by Congressman was was re- ice. necessity ferred the second on three Lodge of Ra.hway.
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Textiles for Dress 1800-1920
Draft version only: not the publisher’s typeset P.A. Sykas: Textiles for dress 1800-1920 Textile fabrics are conceived by the manufacturer in terms of their material composition and processes of production, but perceived by the consumer firstly in terms of appearance and handle. Both are deeply involved in the economic and cultural issues behind the wearing of cloth: cost, quality, meaning. We must look from these several perspectives in order to understand the drivers behind the introduction of fabrics to the market, and the collective response to them in the form of fashion. A major preoccupation during our time frame was novelty. On the supply side, novelty gave a competitive edge, stimulated fashion change and accelerated the cycle of consumption. On the demand side, novelty provided pleasure, a way to get noticed, and new social signifiers. But novelty can act in contradictory ways: as an instrument for sustaining a fashion elite by facilitating costly style changes, and as an agent for breaking down fashion barriers by making elite modes more affordable. It can drive fashion both by promoting new looks, and later by acting to make those looks outmoded. During the long nineteenth century, the desire for novelty was supported by the widely accepted philosophical view of progress: that new also implied improved or more advanced, hence that novelty was a reflection of modernity. This chapter examines textiles for dress from 1800 to 1920, a period that completed the changeover from hand-craft to machine production, and through Europe’s imperial ambitions, saw the reversal of East/West trading patterns.
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Materialising Cultures: West African Diasporan En- Gagement with African Print in Britain
Oboh, Ehinomen (2018)Materialising cultures: West African diasporan en- gagement with African print in Britain. Doctoral thesis (PhD), Manchester Metropolitan University. Downloaded from: http://e-space.mmu.ac.uk/622448/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version http://e-space.mmu.ac.uk Materialising Cultures: West African diasporan engagement with African print in Britain A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy; Ehinomen Oboh Manchester School of Art Manchester Metropolitan University October 2018 Abstract This thesis addresses a gap in our knowledge about the shifting meanings and practices associated with dress as it moves into diasporic cultural surroundings. Specifically, it looks at West African diasporans living in Britain (WADIB) and their engagements with African print. It does so by gathering stories of WADIB clothing experiences, alongside images of how they acquire, make, wear and keep their clothes. Academic research until recently has focused on dress in Africa, but largely ignored the contemporary use of African prints among diasporan communities. By moving beyond the African setting into a diaspora setting, this research expands our understanding of how meaning in dress is shaped, re-shaped, and more generally, the interrelationship of people and clothes, thus, contributing towards scholarship on contemporary dress in changing cultural contexts. This research also adds the African dress perspective to studies of transnational lives from the standpoint of other diasporans. This study reveals African print as largely a special occasion dress within the British diaspora unlike how it is used on the African continent.
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FABRICS/ DYING Dictionary
FABRICS/ DYING dictionary ACRYLIC BABYCORD Acrylic fabric is a manufactured fiber with a soft wool-like feel and Babycord is a ribcord fabric with a very small and thin rib line. The an uneven finish. It is used widely in knits as the fabric has the same fabric is often lighter and softer than normal or corduroy fabric. It is cozy look as wool. Acrylic fabric is favored for a variety of reasons very soft and comfortable, and is often made in a stretch quality. it is warm, quite soft, holds color well, is both stain and wrinkle resistant and it doesn’t itch. These qualities make acrylic a great BLEND substitute for wool. A blend fabric or yarn is made up of more than one fibre. In the yarn, two or more different types of fibres are used to form the yarn. ALPACA Blends are used to create a more comfortable fabric with a softer Alpaca wool comes from a South American animal that roams the feel. A good example is a cotton/wool blend; the mixture of cotton mountain slopes of Ecuador, Peru, Bolivia and Chile. The fleece and wool will prevent the fabric from being excessively warm and from an alpaca is similar to wool or mohair, but is softer, silkier, and will make the fabric softer to the skin. warmer. Because alpaca wool takes much longer to grow it is often more expensive and exclusive. However, garments made from this BOUCLE fabric are stronger and more comfortable. The term boucle is derived from the French word boucle, which literally means “to curl”.
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Globalization, Youth and Khadi
6 Globalization, Youth and Khadi Upinder Kaur* and Hitender Singh Rathore** Khadi is hand woven, hand spun fabric made with natural fibers. Unique features like zero carbon footprint make Khadi, India’s truly indigenous textile. There is a strong demand for fashion apparels in the Indian market.The buying behaviour of Indian apparel sector is affected by the existence of young population, globalization, higher buying power, and self-image. This paper investigates the perception of the brand image of Khadi and preference of Khadi textiles/apparel among the youth in Delhi between the age group 20-35 years. Purposive sampling was conducted through structured questionnaire and observation of 168 young consumers at malls and shopping centers. The Major Statistical tool used for analysis was ANOVA.This study finds the inclination of the youth is more towards International and other domestic fashion brands in comparison to the brand Khadi. Based on the findings, recommendations are suggested to Khadi textile industry so that it could become youth-centric. [Keywords : Globalization, Youth, Khadi, Brand awareness, Brand perception, Self-image]. 1. Introduction In Mahatma Gandhi’s own words Khadi is defined as “Hand-woven cloth made of hand-spun yarn is of course khadi, however fine it may be. It may be made of cotton, silk or even of wool. One should wear whichever of these one happens to find convenient. The khadi from Andhra is very fine. In Assam, one can get some khadi made of silk. Woollen khadi is made in Kathiawar. In other words, the only criterion of khadi is its being hand-spun and hand-woven” (Gandhi, CWMG, Vol 28, 1925).
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