Brief of Contest for India Handloom Garment Design

Total Page:16

File Type:pdf, Size:1020Kb

Brief of Contest for India Handloom Garment Design Brief of Contest for India Handloom Garment Design Fashioning handloom in India Indian handloom fabric is an integral part of our culture and tradition. There has been an increasing focus on the need for “linking handloom with fashion” and making handloom accessible to the new India and making weavers inclusive in the changing fashion requirements of the Indian consumer. The task set forth by Hon’ble Prime Minister of India has been taken forth by Development Commissioner Handloom’s office at multifarious level. Branding of handloom products has been launched under “India Handloom” brand scheme. India Handloom Garment contest is one such effort to create national and international level participative process in encouraging apparel creators to be a part of building the fashion for India using handloom fabrics. 1. Objectives The competition is being held with the objective to attract young talent for designing contemporary life-style and apparel products underlying the richness of traditional crafts in India. The competition aims at value addition to the existing handloom fabrics, evolving afresh visual vocabulary through design ideation that defines innovation in new India. 2. Product category : Apparel for Man and Woman The categories could be Indian/ Western/ Indo-Western in any of the following themes: Holistic clothes with meaning Comfort, functional, practical Simplicity Artistic fashion forward 3. Eligibility The competition is open to anyone over the age of 18 years (Indian or any nationality). Individual entry may be either from natural person or a group/entity. Multiple entries are allowed for this contest. 4. Modalities and Requirements of Submission: A. Single ensemble using handloom fabrics within 70 categories as per specifications enclosed at Annexure A, which are listed under Indian handloom brand categories. Phase 1: The contest will be held in two phases. The first round will be the qualifying round and would require participants to submit the following details in a single PDF document. Work should be concise and well-presented. 1) Theme/mood Board 2) Illustrations of the ensemble with detailing 3) Scanned images of India Handloom Brand fabric swatches proposed to Be used. 4) In absence of scanned images of India Handloom Brand fabric swatches, the participant may submit scanned images of design / fabric designed by him / her for this purpose. However while making the prototype garment in the 2nd phase (if the entries qualify for), the participant has to use the fabric as per the parameters fixed for India Handloom Brand products using his / her designs sent earlier. Note: a) For sourcing of IHB fabrics (as listed in annexure A), Weavers’ Service Centres (WSCs) and the handloom fabric manufacturers registered under India Handloom Brand may be contacted. The lists of WSCs and manufacturers with full address and contact nos. are attached in Annexure B & C respectively. b) Undertaking that no portion of the work submitted by the contestant has been copied in parts or full with their signatures. Any infringement of this would be liable under the ‘The Design Act, 2000’. c) Ensure that each entry is well labeled with Name of the Contestant, No. of pages/ sheets, Age and its proof, Mobile Number, Email Id, Contact Address. d) Entries of stage 1 would be submitted online on the Indian Handloom website at www.handlooms.nic.in and www.indiahandloombrand.gov.in Phase 2: A. Participants shortlisted from Round 1 will go to the Round 2 and would be required to submit the following: 1) Actual Ensemble in US Size 8 (34 inch bust size) 2) Photograph of the ensemble with full accessories and look B. Participants shortlisted for Round 2 would be given a sum of Rs 5000 for designs in Cotton and Rs 10000 designs in silk for making the prototype. This money would be reimbursed at the time of actual submission of the full ensemble at the time of the final stage. No other expenditure apart from this would be paid for to the contestants. Contestants would also have to ensure the ensembles are couriered to the following address, at their own cost : OFFICE OF THE DEVELOPMENT COMMISSIONER (HANDLOOMS) Ministry of Textiles Udyog Bhavan, New Delhi - 110 011 C. The final submitted ensemble of Round 2 will be the property of DC (HL) and the IPR ownership would rest with DC (HL). D. The entries from Round 2 would be judged to select the final winners of the competition. E. Participants must ensure that no part of work submitted by them in part or full contains any copyright infringement and is copied. An undertaking in full has to be submitted. 5. Awarding Criteria: There are different criteria for each phase of the award. Preliminary Round This phase will be judged primarily on four key aspects such as uniqueness of the concept, uniqueness of technique, fabric used, uniqueness of the style, and presentation of the work. Final Round Design oriented pieces will be selected according to form, functional and idea execution of the works; the design oriented works will be further considered for their degree of innovation, aesthetic qualities, realization of the identified theme in addition to realization of market requirements. 6. Jury Composition Each stage would be judged by an eminent jury drawn from the fashion, handloom and design community. The Jury will comprise of both Academic and Professional participants worldwide, such as head designers of companies and faculty heads or professors. 7. Prizes and Exhibition: The winners of the contest apart from monetary prizes will have the honor of being recognized Indian Handloom Brand and would be showcased on Handloom day, 7th August, 2016 at a national level event. The final prize would consist of the following in each of the three categories of Indian, western and Indo-western, separately for man and woman, thus there will be a total of 18 prizes altogether for this contest. Indian Best Design Entry – Carry a cash award of Rs 30,000 + Citation Second Best Design Entry – Carry a cash award of Rs 20,000 + Citation Jury Special Award – Carry a cash award of Rs 10, 000 + Citation Western Best Design Entry – Carry a cash award of Rs 30,000 + Citation Second Best Design Entry – Carry a cash award of Rs 20,000 + Citation Jury Special Award – Carry a cash award of Rs 10, 000 + Citation Indo-Western Best Design Entry – Carry a cash award of Rs 30,000 + Citation Second Best Design Entry – Carry a cash award of Rs 20,000 + Citation Jury Special Award – Carry a cash award of Rs 10, 000 + Citation The winners will be awarded during the event by the Chief Guest. Furthermore, the winning entries along with the concept sheets and swatches will appear on the DC (HL) Website. 8. Important Dates: Announcement of Competition : 3rd April 2016 First phase Submission : 16th May 2016 Jury for first phase : 19th May 2016 Submission for Second Phase : 30th June 2016 Jury for second phase : 4th July 2016 Award ceremony : 7th August 2016 Annexure -A List of India Handloom Brand Fabrics Sl no Category Sub Category of the Count of warp Count of weft Ends per Picks per Size of the product (Name of the inch inch length width product item) 1 Cotton Jamdani 80-100s cotton 80-100s cotton 72-80 66-72 6 yds 47” sari Tangail 80-100s cotton 80-100s cotton 72-80 72-74 Do Do Shantipuri 80-100s cotton 80-100s cotton 72-80 66-72 Do Do Dhaniakhali 80-100s cotton 80-100s cotton 68-80 58-74 Do Do 40-60s cotton 40-60s cotton 60-68 52-64 Do Do Begumpuri 80-100s cotton 80-100s cotton 68-80 58-74 Do Do Bichitrapuri 2/80-2/120s cotton 2/80-2/120s cotton 56-72 60-76 Do Do Bomkai 2/60-2/120s cotton 2/60-2/120s cotton 60-80 60-72 Do Do Kotpad 2/80-2/100s cotton 2/80-2/100s cotton 72-76 68-72 Do Do Pochampalli 2/80-2/120s cotton 2/80 – 2/120s cotton 60-84 52-68 Do Do Venkatgiri 100s cotton 100s cotton 84-90 76-84 Do Do Uppada 80s cotton 80s cotton 74-80 68-74 Do Do Siddipet 2/120s cotton 2/120s cotton 72-86 64-76 Do Do Narayanpet 80s cotton 60s-80s cotton 72-80 56-64 Do Do 80s cotton 80s cotton 76-84 92-96 Do Do Mangalgiri 80s cotton 60s cotton 72-80 64-68 Do Do Chetinad 60s cotton 60s cotton 68-72 68-72 Do Do Balarampuram 80-100s cotton 80-100s cotton 72-92 68-86 Do Do Kasargod 60-100s cotton 60-100s cotton 72-92 72-92 Do Do Kuthampally 80-100s cotton 80-100s cotton 80-88 80-88 Do Do Awadh Jamdani 80-100s cotton 80-100s cotton 56 -60 56 -60 Do Do Odisha single ikat sari 2/80-2/120S Cotton 2/80-2/120S Cotton 56-72 60-76 Do Do Madhavaram 100s cotton 100s cotton 80-88 68-74 Do Do Polavaram 80s cotton 80s cotton 74-82 76-84 Do Do 2 Dhoti Balarampuram Dhoti 80-100s cotton 80-100s cotton 72-92 68-86 2-4 mts 1.27 mt Chendamangalam Dhoti 60-100s cotton 60-100s cotton 72-92 70-92 2-4 mts 1.27 mt Salem Dhoti 16/18 - 18/20 D (2ply) silk 18/20 D (4ply) silk 112-124 55-60 3.65 mts 1.27 mts 3 Silk sari Baluchari 18/20 D (2ply) Silk 24/26 D-30/32 D (2ply/3ply) 96-100 70-76 6yds 47” Silk Muga Silk Reeled Muga Silk Reeled Muga silk 72-76 68-70 Do Do Assam silk 20/22 - 22/24 D (2ply) silk 20/22 - 22/24 D (3 ply) silk 104-108 84-88 Do Do Khandua 20/22 D (2 ply) silk 20/22 D (3 ply) silk 100-104 92-96 Do Do Berhampuri 18/20 D (2-4ply) silk 20/22 D (4-8ply) silk 96-104 72-80 Do Do Bomkai silk 18/20-20/22 D (2-4ply) silk 18/20-20/22 D (2-6ply) silk 96-104 76-88 Do Do Banaras Brocade 14/16 - 20/22 D (2 ply) silk 18/20 - 20/22 D (4 ply) silk 260-280 75-90 Do Do Tanchoi 14/16 D (2ply) silk 14/16 D (4ply) silk 260-280 75-90 Do Do Benarasi Butidar/Jangla 20/22 D (2ply) silk 20/22 D (4ply) silk 120-124 80-84 Do Do Banarasi Silk Satin 14/16 D (2ply) Silk 14/16 D (4ply)
Recommended publications
  • Weaving Technology: Advances and Challenges Ii
    Volume3, Issue 1, Summer 2003 WEAVING TECHNOLOGY: ADVANCES AND CHALLENGES II Abdelfattah M. Seyam College of Textiles, N. C. State University Raleigh, NC, USA ABSTRACT This paper reviews the recent advances in weaving industry and addresses the challenges that face the weaving industry. The paper sheds the light on how the weaving machine manufacturers and woven fabric producers might strengthen the weaving industry by further advance the technology and taking advantages of the current and new advances in weaving technologies. KEYWORDS: Weaving, Automation, Jacquard, Pattern Change. INTRODUCTION and how the weaving machine manufacturers and woven fabric producers Recently weaving machine producers might strengthen the weaving industry by introduced to the woven fabric further advance the technology and taking manufacturers a sizeable number of advantages of the current and new advances technological advances. Examples of such in weaving technologies and supporting advances are higher speeds than seen before, systems. a higher level of automation, a new Jacquard shedding concept, waste reduction, and on- ADVANCES IN WEAVING line quality monitoring. These advances may enable the developed nations to drastically Weaving Speeds lower the labor cost and may be able to At recent machinery shows (ITMA’ 99, compete in the commodity fabric markets. ATME-I’ 2001), weaving machine Despite these significant development in manufacturers showed a broad range of weaving, weavers in the developed and machines with higher speed and rate of developing nations are faced with serious filling insertion (RFI) than seen before. The competition from other fabric forming fabric quality, which is significantly systems such as needlepunching and impacted by efficiency, is a must for the hydroentanglement nonwoven technologies.
    [Show full text]
  • (In)Visible Entrepreneurs
    (IN)VISIBLE ENTREPRENEURS Understanding the market landscape and enterprise readiness for women-led home-based businesses in Tamil Nadu and Rajasthan Image: Kamala Lakshminarayanan 2 | ABOUT THIS PUBLICATION This document is not a priced publication. Copyright @ 2020 Initiative for What Works to Advance Women and Girls in the Economy (IWWAGE), an initiative of LEAD at Krea University. Reproduction of this publication for educational or other non-commercial purpose is authorised, without prior written permission, provided the source is fully acknowledged. For further information, please write to communications@iwwage. org. This publication was possible with the generous support of the Bill & Melinda Gates Foundation. The findings and conclusions in this publication are those of the authors and do not necessarily represent the views of the Bill & Melinda Gates Foundation. ABOUT IWWAGE Initiative for What Works to Advance Women and Girls in the Economy (IWWAGE) aims to build on existing research and generate new evidence to inform and facilitate the agenda of women’s economic empowerment. IWWAGE is an initiative of LEAD, an action-oriented research centre of IFMR Society (a not for profit society registered under the Societies Act). IWWAGE is supported by the Bill & Melinda Gates Foundation. ABOUT LEAD LEAD (formerly IFMR LEAD), an action-oriented research centre of IFMR Society, leverages the power of research, innovation and co-creation to solve complex and pressing challenges in development. LEAD has strategic oversight and brand support from Krea University (sponsored by IFMR Society) to enable synergies between academia and the research centre. Since 2005, the centre has been at the forefront of development research and programming in India, and has managed a portfolio of over 200 projects in collaboration with over 300 academics, governments, NGOs and private sector organisations from across the globe.
    [Show full text]
  • Bareilly Dealers Of
    Dealers of Bareilly Sl.No TIN NO. UPTTNO FIRM - NAME FIRM-ADDRESS 1 09107300009 BE0001281 RAJ CROCKERY CENTER HOSPITAL ROAD BAREILLY 2 09107300014 BE0008385 SUPER PROVISION STORE PANJABI MARKET, BAREILLY. 3 09107300028 BE0006987 BHATIA AGEMCIES 89 CIVIL LINES, BAREILLY. 4 09107300033 BE0010659 VIJAY KIRANA STORE SUBHAS NAGAR BY 5 09107300047 BE0001030 MUKUT MURARI LAL WOOD VIKRATA CHOUPLA ROAD BY 6 09107300052 BE0008979 GARG BROTHERS TOWN HALL BAREILLY. 7 09107300066 BE0001244 RAJ BOOK DEPOT SUBHAS MKT BY 8 09107300071 BE0000318 MONICA MEDICAL STORE 179, CIVIL LINES, BAREILLY. 9 09107300085 BE0001762 RAM KUMAR SUBASH CHAND AONLA ,BAREILLY. 10 09107300090 BE0009124 GARU NANA FILLING STN KARGANA BAREILLY. 11 09107300099 BE0005657 KHANDUJA ENTERPRISES GANJ AONLA,BAREILLY. 12 09107300108 BE0004857 ADARSH RTRADING CO. CHOPUPLA ROAD BY 13 09107300113 BE0007245 SWETI ENTERPRISES CHOUPLA ROAD BY 14 09107300127 BE0011496 GREEN MEDICAL STORE GHER ANNU KHAN AONLA BAREILLY 15 09107300132 BE0002007 RAMESHER DAYAL SURENDRA BHAV AONLA BAREILLY 16 09107300146 BE0062544 INDIAN FARMERS FERTILISERS CORP AONLA, BAREILLY. LTD 17 09107300151 BE0007079 BHARAT MECH STORE BALIA AONLA, BAREILLY. 18 09107300165 BE0011395 SUCHETA PRAKASHAN MANDIR BAZAR GANJ AONLA BAREILLY 19 09107300170 BE0003628 KICHEN CENTER & RAPAIRS JILA PARISAD BY 20 09107300179 BE0006421 BAREILLY GUN SERVICE 179/10 CIVIL LINES,BAREILLY 21 09107300184 BE0004554 AHUJA GAS & FAMILY APPLIANCES 179 CIVIL LINES, BAREILLY. 22 09107300198 BE0002360 IJAAT KHA CONTRACTOR SIROLY AONLA BAREILLY. 23 09107300207 BE0003604 KRISHAN AUTAUR CONTRACTOR BAMANPURI BAREILLY. 24 09107300212 BE0009945 PUSTAK MANDIR SUBASH MKT BY 25 09107300226 BE0005758 NITIN FANCY JEWELERS CANAAT PLACE MKT BY 26 09107300231 BE0005520 DEHLI AUTO CENTER CAROLAAN CHOUPLA ROAD BY 27 09107300245 BE0003248 KHANN A PLYWOOD EMPORIUM CIVIL LINES, BAREILLY.
    [Show full text]
  • Kota Doria Saree
    Kota Doria Saree Back ground: Doria (stripe) fabrics in narrow width for turban used to be woven in Kota in earlier days. Some weaver were brought from Mysore to Kota by the great patron of craft MahaRaj Kishore Singh (1684-1695). These weavers introduced silk yarn in Doria weaving in Kota and surrounding areas about 250 year ago. Today this activity is practised by the weavers of Hadoti region (Bundi, Kota and Baran districts of Rajasthan). Kota is now famous for ‘Kota Doria saree’ or sometimes called as ‘Kota Masuria saree’. Since then, Kota doria has under gone a long journey from being used as a pagri or turban (headgear) to saree and now has multiple uses like Dress material, stole, curtain & other products. Material Used: Kota Doria Saree is produced by using cotton & mulberry raw silk yarns in the base fabric whereas Gold and Silver Zari (fine metal threads) yarns in extra warp and extra weft for designing. The cotton yarn provides strength and suppleness whereas fine raw silk makes the fabric transparent and delicate. Technique applied: Kota doria saree is woven on a traditional throw shuttle pit loom in such a fashion that it creates small square check pattern in the fabric, locally called as Khat by putting the cotton and silk yarns in different densities both in the warp and weft directions. In a good quality Kota doria saree, there are about 300 to 350 ‘Khat’ across the width of the fabric. Design is developed by jala/ jacquard system. Pure zari is used in border and buti woven on extra weft designing technique.
    [Show full text]
  • Toward Eliminating Pre-Consumer Emissions of Microplastics from the Textile Industry
    Toward eliminating pre-consumer emissions of microplastics from the textile industry Photo credit: Mark Godfrey Photo credit: Devan King Abstract There is growing global awareness that microfibers are, we know enough to take microplastics are a potentially harmful action now to reduce the flows of these pollutant in oceans, freshwater, soil and air. materials into natural systems like rivers While there are many important sources of and oceans. The elimination of pre- microplastic pollution, we now know the consumer microfiber pollution will require textile lifecycle of manufacturing, use and changes along all stages of the textile disposal is a major emission pathway of supply chain. These changes include: microplastics. Microplastics emitted during a textile’s lifecycle are referred to as 1. Better understanding the relative microfibers or ‘fiber fragments.’ To date, emissions of microfibers at each much of the attention has focused on the manufacturing step (from fiber to yarn shedding, washing and disposal of to fabric to garment). synthetic textiles by consumers. 2. Developing microfiber control technologies and codifying best However, this is only part of the picture practices. and ignores microfiber leakage during the manufacturing and processing of these 3. Scaling these solutions to Tier 1, 2 and 3 materials. We estimate that pre-consumer suppliers via a combination of textile manufacturing releases 0.12 million regulatory and brand or retailer-led metric tons (MT) per year of synthetic action. microfibers into the environment – a similar 4. Continuing to raise industry, order of magnitude to that of the consumer government and consumer awareness use phase (laundering). That would mean of the topic.
    [Show full text]
  • 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.
    [Show full text]
  • Cotton and the Community: Exploring Changing Concepts of Identity and Community on Lancashire’S Cotton Frontier C.1890-1950
    Cotton and the Community: Exploring Changing Concepts of Identity and Community on Lancashire’s Cotton Frontier c.1890-1950 By Jack Southern A thesis submitted in partial fulfillment for the requirements for the degree of a PhD, at the University of Central Lancashire April 2016 1 i University of Central Lancashire STUDENT DECLARATION FORM I declare that whilst being registered as a candidate of the research degree, I have not been a registered candidate or enrolled student for another aware of the University or other academic or professional institution. I declare that no material contained in this thesis has been used for any other submission for an academic award and is solely my own work. Signature of Candidate ________________________________________________ Type of Award: Doctor of Philosophy School: Education and Social Sciences ii ABSTRACT This thesis explores the evolution of identity and community within north east Lancashire during a period when the area gained regional and national prominence through its involvement in the cotton industry. It examines how the overarching shared culture of the area could evolve under altering economic conditions, and how expressions of identity fluctuated through the cotton industry’s peak and decline. In effect, it explores how local populations could shape and be shaped by the cotton industry. By focusing on a compact area with diverse settlements, this thesis contributes to the wider understanding of what it was to live in an area dominated by a single industry. The complex legacy that the cotton industry’s decline has had is explored through a range of settlement types, from large town to small village.
    [Show full text]
  • Portland Daily Press: June 20,1870
    DAILY' PRESS. lORNING. JUNE 20, 1870. t8.00 per annum, in avance. * rviutiim ■'«·>-„ MISCELLANEOUS. MISCELLANEOUS. WANTK» Is published every day (Sundays excepted) l,y MISCELLANEOUS. the THE DAILY PRESS Portland Publishing Co., ! Wanted J DAILY CARRIAGES CARRIAGES ! IΤ Proposals Rations anà press. DATION as for Street, housekeeper by an Americai At iny Exchange Portland. AS widow lady in a small where there are n< BUSINESS DIRECTORY. small ch family Ship PORTLAND. Dollars a Year in Idren ; a widower 1er red. address Chandlery. Teems:—Eight advance. At Reduced Prices. or call pre Pl.ase at No. 6 Lincoln St. Mrs. W. F. M. jnnl7*lw COLLECTOR'S OFFICE, Advertising Agency. District of ) The Maine State Press Portland and Falmouth, J AT WELL A CO., 174 Middle Street. Monday Morning, J cue Messrs. J. IYI. Kimball Portlan J uue 20,1870. & Co., 302 & 304 Street, Wanted. d, d, 1870. ) Congress PROPOSALS will be received at this every Thursday at as published Mommra MAINE. SITUATION Porter or Fireman in Hotel. Ad· SEALEDoffice until Saturd «y, at 12 o'clock M.. the 2f>tt Agricultural & Seeds. if PORTLAND, dr se Implement* Kepnblican $>.50 a year; paid in at S2.00 a A before Monday next, at ibis office, clay ot June instant, lor the su of Rations Congressional Con- advance, junl7*3t ρ ply to the SAWYER Λ: WOODFORD, No. 11» ExchaniC St. year. «ruBTEE." pttty officers and seamen ot the U. S. Revenue vention. "OLD Steamer "Mahoning" or other Revenue Cuttei REPOSITORY." or any FIRST Cuiters ti.at may be stationed at this for Auctioneer.
    [Show full text]
  • Learn to Weave on the Knitters Loom
    Learn to weave on the Knitters Loom spinning | weaving | carding | felting | knitting | dyeing Welcome to the wonderful world of weaving ... YOUR FIRST PROJECT – A SCARF You will need: Warp A pair of sharp scissors Use Ashford Tekapo in stripes of white, blue, yellow and green. A measuring tape Length – 2m (78ins) allowing 15cm (6ins) at each end for fringe Cardboard warp sticks Number of ends – 88 One long table or two smaller tables Finished width – 26cm (10¼ins) Yarn Weft For this project we have used Ashford Tekapo, a smooth Ashford Tekapo #206 Natural White. DK (double knit) sport weight yarn with a slightly textured handspun look, for the warp and the weft. Ashford Tekapo 8ply/DK yarn (100% wool, 200m/218yds, 100gm net) #206 Natural White, #230 Midnight Blue, #203 Butter, #221 Chartreuse. WARP AND WEFT These are two terms you will need to know as they form the basis of all weaving. The warp threads are put onto the loom first. They are held on the loom under tension between the front and back roller. The weft threads pass over and under the warp threads to form the woven fabric. warp weft SHED The shed is the opening formed in the warp, through which the shuttle passes. OPTIONAL ACCESSORIES Extra reeds 10, 20, 30, 40, 50 and 60 dents per 10cm (2.5, 5, 7.5, 10, 12.5 and 15 dents per inch), vari dent reed, loom stand, pickup sticks, shuttles, weaving needles, tapestry beater, warp thread weights, fringe twister. Knitters loom 30cm (12"), carry bag included, loom stand optional back roller warp stick ties handle cog pawl shuttles warp reed support block sticks clamps reed warping threading hook peg base cardboard warp sticks front roller warping peg THE LOOM The reed has large holes and slots to accommodate a larger The shuttle is used to carry the weft yarn from side to side to variety of yarns.
    [Show full text]
  • Split‐Shed Workshop Instructed by Deborah Silver Set‐Up Instructions
    Split‐shed Workshop instructed by Deborah Silver Set‐up Instructions Your loom needs to be pre‐warped. You may use either a 15 dent reed at one end per dent (epd) or an 8 dent reed at 2 epd. The warp yarn is 8/4 cotton carpet warp. This yarn is fine, cheap, and strong, yet very forgiving of tension issues. Many companies carry and it comes in lots of colors, but I recommend one spool of the Smokey Blue (color 06). It works well with most weft colors. DO NOT use linen or linen blends! You will need 146 warp ends. The repeat is: 4 3 2 3 4 1. Note on the draft that there are extra ends at the selvedges. Double the last end at each selvedge. (Thread 2 ends together in the reed and heddles.) Plan the length of the warp for 40” of woven cloth plus loom waste. You may wish to make it longer for further sampling. If you bought one 8 oz. spool, the warp may be as long as 4 yards and you will still have plenty left for weft. Tie‐ups on a jack loom are according to the diagram. Skip tying up treadle #5 if possible. Black squares are rising shafts. For direct tie‐up looms: Treadles should be tied up consecutively: 1 2 3 4. Shafts 3 & 4 will be treadled with one foot. You will need to change the tie‐up order for the other two weave structures. For table looms or any loom where a shaft cannot be held up in a half‐raised position by treadling: Split‐shed weaving creates two mini‐sheds by moving a layer of warp ends in‐ between the raised and lowered ends.
    [Show full text]
  • 5.3-Gupta,M 2:Layout 1 4/9/07 10:58 Page 314
    5.3-Gupta,M 2:Layout 1 4/9/07 10:58 Page 314 Extreme fashion: Pushing the boundaries of design, technology and business 314 Fashion education – fast forward Mona Gupta Abstract The audience views some exquisitely created textiles from India and some basic questions are placed before them, followed by a case study of the Indian Kota Doria fabric. This prelude brings forth the grim reality of the textile and clothing industry today, in India and many other nations. The multiplicity of markets and insatiable consumer wants has already necessitated a faster pace and with the advent of machines, many of the hand skills have already subsided, thus severing these very basic links in this evolutionary supply chain of fashion. Where does this lead us? 1. The inevitable need for speed. 2. Spiralling prices and profits beyond an extreme, and yet the weaver perishes. 3. While the industry incomes are increasing the weaver and the workers survive in near, and even extreme, sweat shop conditions. 4. Classroom-educated fashionists still cannot replace the real creator, for even the most basic skills are often waived and paid as low sklled tasks. Hence, the apprehension that the extreme nature of the runaway fashion industry is leading to an ‘appar’theid’ of an extreme kind – in terms of income, education and social implications. So is it a case of human sensitivities, or there is a hardcore practical business strategy underlying this whole exercise for the fashion industry? We thus conducted a survey, which proves the latter. And with this backdrop, the paper moves on to elucidate our strategy for the future.
    [Show full text]
  • Simple Loom Weaving Kit WE GATHER
    WE GATHER Simple Loom Weaving Kit WEGATHERGOODS.COM @WEGATHER YOU’RE A WEAVER NOW! You are about to take your place in a long, ancient history of one of the earliest textile techniques ever used by humans. Welcome! Weaving has been part of our human experience for at least 30,000 years and is one of the most important and widespread methods of making cloth, baskets, and other functional and fabulous objects. This Simple Loom Weaving Kit employs many of the same tools and techniques that people have been using for thousands of years. It’s up to you to make them yours! At its most basic, weaving is the interlacing of two sets of perpendicular yarns or linear elements. Woven textiles are generally stable and not very stretchy. They can be thick and rugged, light and delicate, and everything in between. There are countless dierent approaches to weaving, it’s rules and traditions, and some of those are shared in this booklet. Follow those that speak to you and make your own rules where necessary. As you learn and practice, you will find what works best for you. Here are a few suggestions to get you started: •Loom maintenance - Your loom and tools are lovingly cut from birch plywood, which sometimes has the propensity for splintering. If you find this happening, use a fine grit sandpaper to smooth those areas. •Even tension - Weaving is built upon tension. Try to keep this as even as possible, but remember that your goal is function, not perfection. •No knots - You almost never use an actual knot in weaving.
    [Show full text]